DJ Ipod – A Digital Face, But No M.C!

Feb 01 2012

Well here I am at band H.Q (actually my office) and what a day! It might have been a combined precipitation of “Fire and Rain” in the wonderful world of James Taylor, yet it’s largely a day of rain, and more rain here in Manchester.

The iPod – possibly the most extraordinary audio advancement since the 1980′s Walkman, is a lifeline for most seeking to escape the cacophonous noise of every day life. (I quite empathise with Tube commuters.) Yet today, I was asked by a bride to be’s Mum whether she would have to implement such a player, during the intervals of our sets at her function.

No no, clients deserve better than that. If we’re playing background music at a corporate event then it can work, but at a wedding I feel we have a responsibility to keep the entertainment non stop and flowing. I’ve seen bands walk off after their set, plug in an Ipod…then there’s this long silence and a song (oops forgot to stop the shuffle function) and then…a silence again and then….wooah, here comes Dads favourite Rolf Harris number. That’s not right. Even if I do love Jake the Peg. By the way, Rolf Harris recorded the most excellent version of Led Zeppelins “Stairway to Heaven”. Check it out. I think he’s cool.

Back to the point.

True, an iPod can be programmed to play a set-list, but it cannot announce the post-dinner speeches at a wedding. Nor can it encourage guests onto the dance floor. (Unless I have missed the release of yet another ‘Generation’) The only method of satisfying all musical tastes, would be to encourage each guest to bring their own audio and earphones…as in a silent disco. Imagine the ambience!

I have been addressing this issue for a number of years, with the ‘Auto DJ Disco’ feature, and for me that’s what anyone should expect from a professional swing band if there is no DJ booked. I installed an proper DJ software program on my laptop which I take to gigs. Now I must confess that although  I don’t need pitch bend, cup, delays, flangers or beatmix effects, (oooh behave..) or 4 virtual turntables, this program is a boon for me and everyone is happy.  I program the songs and and it cross-fades seamlessly from one song to the next and adjusts the level automatically.

Now this does NOT by any means replace the talents of a professional DJ. (although  to be Frank, some of them I’ve seen shouldn’t  be allowed to call themselves Disc Jockeys) Nevertheless, it keeps the ‘power of play’ in our hands, and allows us to tailor the track-list in accordance with our sets – while keeping in mind the budding dancers in attendance. This lessens the likelihood of  “Poker Face” preceding our second set of  Rat Pack Swing Band classics! And the Bride and Groom are happy because they don’t have to worry and because I care.

I’m inclined to think that the D.I.Y DJ route is something more couples are evaluating – particularly in the current climate. Yet the lack of charisma, humour and flavour without an entertainer or DJ is something that to me, would be screamingly obvious, no matter how high the music volume.

No. Somehow, I can’t see it either.”

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Sinatra’a Hideaway for sale

Oct 23 2011

Late Frank Sinatra’s hideaway home has been put on the market again, and this time for a reduced price of 3.7 million dollars.

Sinatra designed the retreat in the late 1960s with architect Ross Patten and contractor Albinas Zemaitaitus. The home took three years to complete at a cost of 1.9 million dollars, Fox News reported.

It had been designed as a hangout for Sinatra and his Rat Pack buddies, but the home, which was first listed in 2009 for 4.8 million dollars, also hosted a variety of other celebrities and politicians.
The actor had named the home “Villa Maggio” after his Oscar-winning role as

Private Angelo Maggio in the film ‘From Here to Eternity’, and he had owned it for 12 years before he donated it to Loyola Marymount University.

Evidently, the school didn’t make use of it and sold it in 1989 for 1.4 million dollars. Perched on seven-plus acres of elevated granite terrain, Villa Maggio includes a main house and two guest homes, a pool, helipad, and a total of 9 bedrooms and 13 bathrooms, many with views of the surrounding hills.

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Famous Rat Pack Venue is Closing!

Oct 23 2011

The Sahara Hotel & Casino, among a few Las Vegas Strip resorts left from the Rat Pack era, is closing nearly six decades after dealing its first hand.

Several other casinos from the earliest days of gambling in Sin City were remade into new megaresorts, but the Sahara’s owners don’t yet have a plan for the property.

“The continued operation of the aging Sahara was no longer economically viable,” CEO Sam Nazarian of owner SBE Entertainment Group said. The property will close May 16, officials said.”While the closing of any hotel is sad, it is a natural and expected part of our great city’s history,” Murren said. “While today we pause to reflect on many great memories and stories of its legendary past, like so many before it, there is a brighter future for this property.”

Murren pointed to the Desert Inn making way for Wynn Las Vegas, the Dunes becoming the Bellagio, Aladdin renovating into Planet Hollywood and the original Las Vegas Sands giving way to the Venetian. And, when Murren’s company built the $8.7 billion CityCenter, it used the land that had held the Coney Island-themed Boardwalk.
Future uncertain 
Phil Ruffin, the owner of Treasure Island in Las Vegas, said redevelopment of the Sahara would be good for the Strip, but he predicted SBE will have a hard time getting financing.
”I hope we live that long — I don’t see it for a long time,” he said. “I’d like to see it happen but I don’t think it’s anything imminent.”
Ruffin said the Sahara’s neighborhood looks “very bad.”

The unfinished multibillion-dollar Fontainebleau development that filed for bankruptcy court protection is nearby. Billionaire Carl Icahn, who ultimately bought the property, sold its furniture to a casino on the California-Nevada border and hasn’t said when construction might resume.

There’s no guarantee something glamorous will emerge. The former site of the Landmark hotel, whose implosion in 1995 was included in the movie “Mars Attacks,” now holds a parking lot for the Las Vegas Convention Center. After the Stardust was razed in 2007 so Boyd Gaming Corp. could build its $4.8 billion Echelon complex, the project stalled. And a $5 billion complex that was supposed to replace the New Frontier never materialized.

The Sahara first gave a hint that change was afoot the same day CityCenter’s anchor casino, Aria, opened with 4,000 rooms in 2009. That’s when the Sahara announced it was mothballing rooms in two of its towers for the winter season.
But Nazarian called the northern end of the Strip, which includes the Sahara, the “future of Las Vegas.”
”With Las Vegas showing early signs of recovery, we are confident that we ultimately will find a creative and comprehensive new solution for this historic property,” Nazarian said.

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Musical seduction – it’s all about the playlist!

Sep 26 2011

One of the most important ingredients for any event is the playlist. Not just the style of music, but which particular songs to play at different points of the evening, based on reading the audience.

We play weddings and corporate gigs with very different crowds of people and no two are the same, so I place a lot of importance on getting a feel for the moment and the crowd. There are full on dancing crowds, sit and listen crowds, guests who look as though they’re ignoring you but then come and compliment you at the end of the evening, and so on.Each person has their own point at which they feel ready to party, so if its straight away you need to be ready and keep the momentum, or build things gradually to finish with a grand finale.

I’m constantly watching the room to see and gauge the reaction. I walk around the room in the band breaks (once I’ve put appropriate background/dancing music on) to feel the energy of the room. (unlike some bands I know who plug in an ipod and disappear to the bar) I monitor the mood constantly, keep the band ready to come back on if required, check with the organisers or hosts to make sure everything is to their expectations and so on.

I take great pride in our bands ability to switch styles at a moments notice, rejig the order of songs, play special requests, or change the setlist timings. Sometimes people are not ready to dance(having just finished eating) so we might play mellow upbeat to still give atmosphere, or for example throwing in teasers early on but adjusting the musical flow when the buffet is ready.

I just don’t get it for example in smaller events of around 100-150 guests, DJ’s start with some thumping disco beat at 8.30 in the evening. That means you’ve got 3 1/2 hours to fill….where so you go from there? (usually an empty dance floor around 10pm)

There’s an art of seduction when it comes to entertaining, you cant just charge in and expect people to go all the way in the first half hour.(please excuse the metaphor)You need to build things appropriate to the feel and character of each specific event.

A bands role is not just to turn up and play music.That’s only part of it. It’s also to be professional entertainers, to work with the crowd, be part of the event and to mirror the audience’s perception of being entertained and having a good time.

Every gig is equally important to me.

 

 

 

 

185 responses so far

Booking the band, or the bandleader?

Jun 13 2011

There are occasions in life when one needs to find a band to provide music for an event, but just how does one go about this task? Excluding the obvious – hiring musicians who performed at a function you attended and who you really thought would be ideal for yours – where do you start looking, what does one need to look for and, when candidates are found, what should one ask? In actual fact, finding the right combo for your affair need not be all that tricky. Locating suitable bands is the easy part – try word of mouth or the internet.

When it comes to what to look for, use the example of a caterer. You would not simply hire a company to produce all the food for your guests without discussing the fine details at length with its representative, understanding what goes on behind the scenes for what they will prepare, making sure that expectations are understood on both sides and feeling comfortable that you are working with a solid partner who will make sure your guests have a great experience.

The same goes for a function band and its bandleader. It’s not just about the music. You need to interview the bandleader, because it is he (or she) who makes the difference between simply having music and having great musical entertainment. It is the bandleader who get his players going, who makes the beat happen and who creates the atmosphere, reading the room, worrying about continuity during the band breaks, making sure the musicians are well behaved etc..

The qualities you need to look for are those of a good leader – someone with a strong personality, who is articulate and has good people skills. Check to see if he (or she) takes his function band entertainment seriously, or if he does the odd part time gig with a few mates every now and then (this is not the man for the job).  Ask about how he puts together the type of music he plays, because you need a band with a wide enough repertoire to be able to feel the atmosphere, match the music to the mood and up the tempo at just the right time. That requires bringing together real entertainers, not just good calibre musicians.

A real professional will also know about the sound and lighting systems, band access, logistics – and will gladly add his penny’s worth.In short, someone who cares as much about the smooth running of the event as you do.

Before you sign on the dotted line, make sure that the bandleader of your choice is reliable, so that all members of his band will be at the venue with their instruments on time and ready to create an event to remember. Because you only get one shot at it-once the event is over, it’s too late..

184 responses so far

Sneak Peak at the Royal Wedding – No Average Brass Function Bands

May 06 2011

After all the hype and hyperbole, the big day has come and gone for Kate – sorry, Katherine, Duchess of Cambridge and Wills, now Duke of Cambridge. They are now old hat and the wedding that was has been replaced in all the media by world events of much greater significance.

While everyone was focusing on The Dress (and what every else was wearing), being a member of a function band I (also being male) was much more interested in the music. Kate and Wills are both well known for being thoroughly modern, so I dared to think that there may be some deviation – either before or after the church ceremony – to reflect their preferences. Alas, no. Clearly Elton John (with David Furnish, but no baby in tow) was happier being a guest than an entertainer. No place in the proceedings for a swing band like mine, either. But I hear Ellie Golding got the gig with a few famous guests.

On reflection, the choice of music mirrored the depth of the occasion. One day they will (hopefully) be our king and queen, so the marching brass bands, choirs, organ fanfares, hymns and, of course, the National Anthem just had to play their part – and they did, echoing the solemnness  of the day.

What would a national occasion in Britain be without the Trumpet Voluntary or, indeed, the especially composed Valiant and Brave fanfare played by the Royal Air Force’s Central Band. Never mind, I can’t play that type of music and anyway, I don’t take it personally that my swing function band wasn’t booked, although think of the publicity if I had the opportunity to  to croon “It had to be you” as they walked down the aisle.(and through the trees)

An estimated TV audience of between two and three billion viewed the proceedings, from the arrival of the guests to the happy couple driving away in Charles’ Astin Martin. Pomp and ceremony is what we Brits do so well, so it’s up to you, Harry, to give us the opportunity to show the world we can do it again; and to give those brass bands, carriages and uniforms another airing.

And Harry, if you do read this blog post, go on…make an enquiry. A commoner function band like mine would almost certainly be available.

194 responses so far

Can Function Bands Still Rock It, As Fuel Prices Rocket?

Mar 09 2011

Libya has been dominating the headlines and the British and U.S Governments have confirmed the intention to ‘cease trading in crude oil’ while the present violence in Libya ensues.

Now without adopting a political slant on the subject; the obvious disruption to crude oil supply and trade is going to have a ripple effect upon fuel prices, and as we all remember from the last fuel crisis, prices increased to the extent they became disgustingly extortionate, with panic buying – do you remember the petrol station queues?

Like many a function band, the Stirling Austin Swing Band is reliant upon regular private transport to get from A to B. According to the news stations, petrol prices are set to rocket to 140 pence per litre, a steep rise from the reported 128.65 average of last month. While the increase seems only marginal when you glance at the figures; standing at the petrol pump brings the truth painfully home, especially if you’re a function band musician filling a van or car  prior to journeying to a gig. So what does this mean for function bands? Can we begin raising our prices to meet the inherently rising costs of getting to and from venues?

Unless your function band arrives in an electric minibus,  the added cost spread over 6 or 7 musicians (even  sharing cars ) travelling 100 miles is quite significant. Unfortunately, in the current economic climate the client isn’t always prepared to pay more.

But most of what we pay for fuel has nothing to do with the middle east, its the level of fuel tax that is the problem. According to one online fuel tax calculator (www.abd.org.uk/fuel_tax_calculator.htm) the true cost of fuel at 140p per litre is…57.5p and over recent years the tax rises have been extortionate. Some of you may also have noticed that the VAT is applied to cost of the petrol inclusive of fuel tax. So you pay tax on the tax you pay to buy fuel, and the taxman takes a cut twice after increasing the fuel tax.

Thats ridiculous. So I’ve come up with a better scheme for petrol pricing.

Let’s tax petrol based on the quality of your journey.  If it doesn’t contribute much to David Cameron’s “Big Society” well-being, you will pay more, and if it’s for a good reason, you pay less. For example, if you can’t be bothered to cook real food and you drive to Macdonalds for some Macplasticnuggets and an apple flavoured sugar pie, you pay the highest rate. At the other end of the scale, if  you travel to play good music and bring enjoyment to married couples and corporate delegates, then that should be the least taxed. And to be Frank, exempted.

But in the meantime, till the government adopts my proposals, if anyone knows where I can buy a cheap and reliable electric minibus that has a range of 300 miles, let me know. We’ll turn up at your wedding, recharge the van while we’re all having a party and be gliding silently back down the M1 at no extra cost at all.

183 responses so far

Building Bridges in Business, At Abbey Road Studios!

Mar 03 2011

St. John’s Wood in North West London has had it’s fair share of the gifted and the glamorous. Probably the most famous studios in the world – Abbey Road has been the production centre for many an iconic album, by artist’s such as The Beatles and Pink Floyd.

While it was The Beatles who really put Abbey Road on the map, with the album of the same name in 1970; much of it’s modern attention has been influenced by the use of the pedestrian crossing upon album covers since the ‘Abbey Road’ release. The Shadows, Red Hot Chilli Peppers, and even Oasis, have since used the imagery – although industry insiders still agree it’s in homage, rather than copy-cat creativity.

You might be wondering what on earth Abbey Road has to do with ‘building bridges in business’, and to be honest, so was I, when I first read the Whitebook press release. Perhaps intent on driving some tourism through those infamous Georgian doors, the marketing wigs at Abbey Road have partnered with Hainesnet – the event, tourism, and team-building specialists, to offer a fantastic opportunity for companies. I can quite see the allure actually. Those team-building techniques of old simply don’t cut it in our dog-eat-dog competitive Millennia, but recording a soundtrack with colleagues – yeah that could work and produce a really tight band that instinctively gel , just like the real rock n roll stars do .

Or not. You see, it could go both ways. If the objective of a team building day is to build better relationships with your colleagues at work, then the best way of sabotaging that is to have your drummer (a.k.a. Terry the geeky  guy from IT) constantly missing the beat, the bassist (a.k.a. Kevin from the warehouse) slapping bum notes, the guitarist (a.k.a. Simon the middle aged sales rep) trying to bend it like Clapton, but the wrong way and Jessica (a.k.a. the hottie receptionist) bawling into the mike like Amy Winehouse’s cat after rehab.

After a couple of run throughs, it can become insanely irritating. Anyone who’s ever been in a band where people either hear a different version of the song in their heads to the other band members, or simply can’t play, it can drive you to diva level verbal tantrums that dent egos and destroy relationships .

I once worked with an events company to put on a “Strictly Corporate Dancing” style event, with our function band live, choreographers, judges, the whole caboodle. It worked a treat, but only because the organisers knew how not to push people too far outside their dancing capability comfort zones. Hainset are a well established and professional outfit, so I’m sure they have got it covered.

Or of course it can also produce a beautiful experience that builds bridges between colleagues and ultimately leading to more profits. As long as people understand it’s just a bit of fun.

For some it might be safer to just take a photograph of them crossing the road – that way they only need to look good on the album cover.

274 responses so far

TweetUps: The Enlightened Way To A Greater National Product?

Mar 01 2011

A foray into the world of social networking is almost like entering an alternate dimension. Happily, I’ve reconnected with a number of pals working the function band circuit themselves, yet on the other hand, I’ve been subjected to a barrage of ‘Retweets’ and nuances, concerning everything from the political relevance of Lady Gaga’s ‘Rebirth’ via a giant egg, to supposed humor injections that are usually of the play on words variety. Even done a bit of retweeting myself.

Catching up with the news in the corporate sphere at the weekend, I was interested to read of the recent ‘TweetUp’ meeting, held at London’s snazzy new function venue – Altitude London 360 Black. Interesting naming for a venue!

This new social seminar of sorts, joins together social media marketing experts, with those like me, an independent business user, for the purposes of enlightening us on the wonders of social networking for business. I have a sneaking suspicion that it’s really just a big event designed to generate more interest in social media marketing, therefore driving more business the organiser’s way, but the handy lessons and talks could actually prove useful to newbies entering the business world. It might also prove beneficial to function bands unsure of how to brand themselves.

I’m sure I’m not the first person to have remarked on this, but I wonder how twitter will stand the test of time as a business marketing tool, since the amount of information thrown at you can be mind boggling.

Obviously the more you communicate about your business, the more people know about you. But whether social media is a natural way to do business in the long term remains to be seen. Yes it can build brands, but also it can become the business norm in consumer marketing to regurgitate snippets of information with adverse effect.

Now don’t get me wrong, if a company has something interesting to say or relays relevant information, thats great. But for example, I subscribed to one business site where I had found an interesting article. Over the next few days I received no less than 10 tweets per day, some of which were interesting, but with many links to other articles, and if I was easily distracted  I could have spent hours doing something else rather than what I was supposed to be doing. So here’s the thing:

  • lets suppose I follow 5 business sites, and 20 friends , 25 in total
  • The average person/business tweets 15 times per day ( From a TechCrunch article analyzing Twitter stats) Thats 375 tweets per day
  • The average words per tweet (based on traditional publishing guidelines of 5 characters per word and an average of 100 characters per tweet): 20. So 375 x 20 =7500 words. At 30 days per month that’s 225000 words per month.
  • The average published paperback novel contains around 70000 words, so you’re getting the equivalent of a three and a half novels per month. Just for you to read. Thats  42 books a year. And so on. Phew! Brain still working? Oh but there’s more:
  • The average time to type a tweet: 30 seconds
  • In a company, if 10 of your employees are twittering 15 times per day that’s 10 x 15 x 30secs = 4500 seconds / 60 seconds =75 minutes per day.
  • 260 working days per year per employee =260 x 75 minutes per day =19500 minutes in a year which is 325 hours per year.(eg.32.5 hr per year per employee
  • Say the average UK salary of a twittering employee is £20,000 each that’s (37.5 hrs per week)
  • That breaks down to £333.33 per employee per year.
  • Number of employees in UK 29.12 million.
  • If 20% of employees tweet, then the productivity loss in £5.8 million

Now don’t get me started on Facebook updates, not to mention the other social media platforms.

But you can follow me on twitter.

284 responses so far

Live music for business events – A profitable key business process for the corporate soul?

Feb 28 2011

If you’ve ever had the fortune of invitation to a prestigious product launch, grand opening or corporate awards ceremony, you’ll probably be familiar with the general hype surrounding such events. It’s usually taken months of planning, several hundred boardroom meetings, and endless refining to get the show pulled together – and if there’s publicity to be had, you can guarantee the media circus will be buzzing with anticipation.

That’s nothing compared to the expectation of clients – something I have become very much acclimatized to both during my life as a ‘suit’, and even since turning my back on the ‘Man’. Although never I turn my back on stage of course…

Travel, leisure and hospitality are the leading industries within which there is always something going on. Whether it’s a prestigious travel awards ceremony for the best estate agents, or the ‘Master Chef’ post-final party – they attract big attention, lots of coverage and often rely on the publicity for spin-off product launches or sponsorship drives. Inevitably, they also need entertainment that will keep guests entertained for longer than the thirty minutes allocated to speeches, and live music with function bands is often the solution.

Of course for most businesses, budget in many cases will be a key deciding factor and if its a small corporate reception only for an hours networking, then background music will suffice. In the last couple of years, many companies have been cutting live music from corporate hospitality, either due to economic factors or because they didn’t want to appear extravagant in difficult times. Hard to put on a big party for some, at the same time as you might be dispensing difficult news elsewhere.

But in my opinion, if music was made part of our business culture then it could raise profits. No really, I’m serious. Try this for size.

Let’s suppose it was considered a “key business process” to accompany business with music. Key business processes, for those of you who haven’t had the pleasure, are those processes which are considered to have  have maximum impact on the success of an organisation, since they deliver results that are directed towards specific and measurable business goals. These are the business processes that an organization must excel at to remain competitive, to be instilled within the organisations corporate culture and methodology so  that employees, management and shareholders can produce the best results.

All senior management teams must have an in depth knowledge and understanding the key business processes in order to drive improvements in these processes through planning and resource allocation, as these improvements will have greatest effect on the business of the company.(Okay, I just put that last bit in because I felt like writing some pointless corporate speak)

If it was a “KBP” to have live music at every corporate event, then maybe business people would begin to act differently, since their “psyche” could be bombarded with mellow sounds and positive lyrics. Sort of subliminal, n’est ce pas?  (The Greeks believed that the soul or “psyche” was responsible for behaviour, so  I’m sure we can still find a quango to make a recommendation on this in the workplace)

The point is, booking live music could equal more profit.

In this vein, seeking something a little bit classy, and fundamentally big for the “Oscars of the travel industry”; the organisers behind the British Travel Awards 2010 sought out London-based big band ‘Red Hornz’ for the main musical stage, while the London Banqueting Orchestra was also on-hand to deliver decadent classical numbers during dining. Both cover weddings and event functions. Similarly, the Cost Sector Catering Awards 2010 held at the London Hilton Metropole, (which recognises excellence within the hospitality industry) also featured a smattering of function bands music, with jazz singers and cocktail quartets during the four hour awards bash.

Just goes to show, some people have got the right idea. And perhaps I should write one of these business guru books, something like “Humming in the boardroom for your ROI”. Must speak to James Caan about writing the introduction…..

94 responses so far

On Trend Wedding Reception: Poker Face Required.

Feb 27 2011

According to the ‘Your Wedding’ publication (yes, even I must delve into the world of wedding event magazines to keep up with things), one of the consistent top five wedding for wedding receptions is the James Bond-esque casino theme; complete with poker tables, croupiers and stacks of chips to ensure every guest is included.

As wedding entertainment ideas go, it’s definitely up there with variety performers as an additional means of keeping the guests amused, and apparently it’s not all that expensive. Popular no doubt because the casino hire company substitute fake for real money bets, but as themes go, it’s also a great way of influencing the other vital entertainment for a wedding reception.

Lounge bands particularly, are synonymous with the elite cocktail parties associated with the James Bond films, and as a lounge band singer myself, I must say it can make a refreshing alternative, singing themed hits within venues that are often dressed to the nines to replicate famous Bond scenes, or debonair casinos. It’s akin to reliving the era, when live bands often made their debuts upon the cabaret stages of casinos, such as Las Vegas’ infamous Imperial Palace, or the Golden Nugget.

So recently, as you can see from the Lounge band website, I put together a repertoire for that style. Lots of Burt Bacharach, some famous Bond theme tunes and a few classics form more contemporary singer-songwriters.

It’s only when you delve into the structure of some of these songs that you realise how finely crafted they are. Its difficult to describe, but the feel and atmosphere of the “Lounge” comes across in the way the composer has put the notes, progressions and words together to produce a certain ambience.

For corporate gigs the  “Bond and Vegas Casino” theme is a sure winner, but it does make me wonder why it’s so popular. Perhaps when certain types of men wear suits, they imagine themselves as suave, sophisticated secret agents with a golden gun in their pocket, whilst the ladies, resplendent in their elegant evening dresses bask in the attention they get from the men trying to play it cool and impress them.

There’s also something quite sexy and provocative about this theme music. With  Tom Jones singing titles like “Thunderball”, what do you expect?

193 responses so far

Inspiration For The Father Daughter Dance.

Feb 26 2011

I’ve never been inundated with requests for the traditional ‘Father and Daughter’ dance. Nevertheless, such requests have still surfaced from time to time – mostly from clients who are choosing to keep all aspects of their wedding truly traditional, including using  a function band rather than a DJ. (ha ha couldn’t resist that one)

I recently received an email from the father of a bride who has already confirmed us for her big day, enquiring whether we could possibly assist in the selection of an appropriate song. It also transpired his enquiry was a covert one – something his daughter knew nothing of, and part of his organising of a surprise element to her wedding day.

Often referred to as the ‘Honours Dance’, the tradition for father and daughter to take to the floor stems from the 40′s and 50′s, when women were realising far more independence. What started out as a trend, became a defining last act (similar to a father ‘giving his daughter away’ at a wedding ceremony) – a symbolism of the cutting of ties, and reliance on the daughter’s part.

Now the bride and groom’s first dance is always a moving moment and in a way, when I’m singing, I certainly feel part of that moment. But when you’re on the bandstand singing words that have been picked for a deeper meaning, and you’ve got father and daughter in a sort of a “last dance as they were, and sharing that last intimate moment with each other, it can sometimes be difficult to suppress a little quaver in the voice ( no pun intended). Especially when you witness the emotion of the moment between these two people, who have such a deep bond, one that will be there for life but now moving to a different place. A mixture of so may emotions, bound together by hope.

Now I’m no Jenifer Lopez, that is to say you won’t catch me breaking down in tears to play to an audience. But happiness comes in moments, and in the hierarchy of beautiful moments this is way, way up there.

So if you’re amongst the guests at a wedding watching me sing a Father-Daughter dance, and its a particularly moving song – spare a thought for this ol’ swing singer. And bring me a hankie just in case.

237 responses so far

Nice Day For A Barry White Wedding?

Feb 25 2011

I’m sure it all started back in 1994, when Mike Newell’s surprisingly sell-out rom-com ‘Four Weddings And A Funeral’ was unleashed upon the world, bolstered by that bumbling, floppy haired chick magnet Hugh Grant. (It must be something to do with that accent.) According to my sources, and personal attendance at weddings over the years, there is a resurgence in the popularity of Barry White impersonators and vocalists, for wedding entertainment.

Research provided by the U.K Disco wedding portal also seems to add credence to this rumoured revival, with ‘You’re My First, My Last, My Everything’, and ‘Can’t Get Enough of Your Love’ consistently ranking among the top ten played songs, by a survey of over 1000 DJ ‘s in the U.K. That dulcet, gravelly voice is most certainly not confined to an era!

Now I am sure there may be Barry White impersonators who, keen to do justice to the great man himself, would not dream of going on stage at a wedding function, and singing to a backing track that (wait, it get’s worse) still features the full voluminous vocals of Mr. White. There’s an endless variety of dubbed backing tracks, karaoke backing tracks and remixes available online, that would probably fair far cheaper than the price an impersonator pays for a full CD album! And there’s even more  of a deluge of backing track entertainers once you look into the wider wedding singer market generally.

Don’t get me wrong, I have no real issue with someone singing to backing tracks, whether it’s at a wedding, corporate, open mic night or even in their bedroom and published on You Tube. I did it myself when I started gigging, and I would do it again, although  perhaps not by choice. (Ok Madonna and Britney, if you twist my arm I’ll duet to backing tracks with you for the MTV awards. But no slobbery kisses please)

The point is, if you are going to sing to backing tracks then I know from personal experience that it’s important to use tracks recorded using real instruments, otherwise the artificial midi notes sound like the Magic Roundabout theme. The original track has got to be in your key. since if you transpose the track to a higher key (without sophisticated software) then the backing vocals can sound like you’ve got Pinky and Perky harmonising in the wings. Or if it’s lower then it’s like having a slower version of Lee Marvin (of Wandering Star fame) crooning from his wagon.(that’s Oklahoma for you youngsters)

So where do you draw the line between concert production and karaoke? I see a lot of single act guitar players using backing bass/drum tracks in bars.I see even some wedding bands using backing tracks as well as having a full 6pc band.   Then again, if people don’t have the budget, or aren’t prepared to pay a decent rate for a band to play live, it’s predictable that the private events entertainment industry becomes flooded with wannabe Rat pack Singers who charge a couple of hundred quid a pop, with sub standard backing tracks. No wait a minute, you say! But is this musical snobbery, or should we forget about making a stand for real music? Does it really matter?

I know a lot of singers who use backing tracks and some of them are excellent vocalists and entertainers. and well worth booking for your wedding or corporate function. But with some I’ve heard you might as well just save the money and book the disco. Let’s face it, if you look at it the other way round, a disco song played through the DJ’s P.A. is just – a really good backing track with singers.

151 responses so far

Function Bands Taking The Stand At Bridal Shows.

Feb 24 2011

Keeping tabs on wedding industry news is a pretty difficult feat – especially when fashions, trends and fads seem to be evolving on an almost daily basis. Maintaining the pace with American news is a different story entirely, yet one trend that I’ve read about, that seems to be snowballing ‘within’ the industry itself, is the new lengths by which Stateside function bands are going, to score new business.Over here, we refer to them as  ‘bridal fairs’, but ever ones to outdo us on size – America trumps with ‘bridal expo’s’ – essentially wedding exhibitions on an uber scale.

Gearing up for the wedding season,  the annual March Plymouth Bridal Show, held in Plymouth, Mitchigan, has cottoned on to the marketing needs of wedding bands; inviting six of Plymouth’s best to showcase on specially designed stages for the event. Obviously not all in unison, although it could have  made for a very interesting ‘fusion’ gig!

To my knowledge, annual bridal shows such as the London National Wedding Show, and London Docks Wedding Fair, tend to be aimed at the ‘fashion and frills’ niche of the market, with little space for function bands amid the multifarious stalls, and make-shift bridal boutiques. Bands  probably don’t tend to exhibit at these shows because the costs are prohibitive for a “micro-business” such as a professional function band, which in most cases are actually made up of freelance contractors who, if they are not playing in the evening, need to teach in the daytime to earn a crust.

But if there was some cost effective way in which the prestigious event supplier invitation catered for entertainers, I’m sure there’d be applications of epic number – simply for the opportunity to take advantage of the best marketing method available to function bands – word of mouth! In turn, this could add a whole new flavour and bring more visitors.

If any wedding exhibition or bridal show organiser would like to get in touch with me, I’m sure I could help find a formula to bring a whole new dimension and flavour to their event by organising the one thing that every wedding show should have – live entertainment with function bands.

Or even six!

136 responses so far

Sinatra’s less listened to numbers are the real gems

Feb 23 2011

When I first started getting my vocal chords around the Frank Sinatra repertoire, I went through his entire back catalogue to try to get a feel for what would be the best selection to sing with our swing band.

Although the classics such as “The way you look tonight” and ” Under my skin” are the ones everyone knows and wants to listen to, that there’s some real gems that many people never get to hear. And that’s a big shame.

Of course when you’re entertaining at a function, it makes sense to play what people know and what they can dance to, and whats appropriate for the mood. It’s a fine line though sometimes, so now I understand the true meaning of segué. Not that I ever thought it was the self balancing two-wheeled electric vehicle that’s now got no license to go anywhere. Ok, that was an awful line….

But back to the Sinatra catalogue.

Sinatra left a vast legacy of recordings, from 1939 with The Harry James orchestra the vast catalogs at Columbia in the 1940s, Capitol in the 1950s, and Reprise from the 1960s onwards, to his 1994 album Duets II and continuing on through the final years.

Apart from the well known ones, there are some real gems that don’t get heard much. Great vocals, excellent arrangements, wonderful tunes.So here’s my top five “less listened to” Sinatra favourites:

  1. You brought a new kind of love to me
  2. Oh Look at me now
  3. East of the Sun (and west of the Moon)
  4. It started all over again
  5. The Coffee Song

Have a listen.

88 responses so far

Dropping The Bomb, On The Electric Proms!

Feb 22 2011

You may have noticed I posted ‘when’s our revolution’ a few days ago – basically my thoughts on the current British music climate, and the abundance of talent stifled by the manufactured entities calling themselves ‘chart-toppers’. Don’t get me started again!

Today’s music headlines have done little to soften my opinion on the subject – in fact, I may well be inclined to climb up onto that soapbox again shortly. Needs must! Anyway, today’s story refers to the extinction (as of this week) of the relatively young BBC Electric Proms.

Launched in 2006, and featuring the legendary late James Brown amongst it’s first annual star-studded line-up; the Electric Proms were a blessing to lovers (like me) of REAL music, offering an eclectic mixture of soul bands, modern ‘ artists and orchestral productions. Since it’s inception, the Electric Proms has also featured spectacular musical performances, with the likes of Amy Winehouse and Paul Weller dueting in 2006, and Smokey Robinson’s ground-breaking collaboration with the BBC Concert Orchestra in 2009.

It seems, despite the eagerness to hike up the cost of the T.V Licence fee, that the BBC are “unable to afford” the production costs involved with the E.P, despite their readiness to increase exposure for other prolific music events – like Glastonbury.

Rather than continuing with their commitment to diverse entertainment for all, it would seem that the Beeb too are succumbing to  the ‘ratings obsession’ of ITV, along with their concentration of programs to the younger audience. The under-30′s make up just 39% of the U.K population, therefore this newfangled idea that they should be the primary target audience really gets my goat. Depriving them of a variety show that features some of the greatest entities in music, along with a healthy sprinkling of soul, pop and swing bands, is inevitably going to add to this problem of talent being stifled [or even wiped out.]

While researching to write about this subject I discovered an excellent website called “Campaign for Real Music”. You can visit at www.radiocafe.co.uk. There’s an eclectic yet top quality and vast choice of music to browse and listen to. I don’t know them personally, but they must be really dedicated and I take my hat off to them for putting the effort in. Read their FAQ section on what real music means. They say it quite succinctly.

So if any bankers or nice oligarchs would like to throw some of their hard earned gazillion bonuses into a good cause, (e.g. my way,) then I’m up for starting a brand new TV channel for more discerning (e.g. real) music lovers. We could call it “DMTV”.  (Discerning Music Television, in case that wasn’t obvious) I’m sure we wouldn’t have a trademark issue,  but I can check with the ITMA anyway.

Then we could program real music for the other 61%. And once interactive “set top box digital schmigital you can have whatever you want just press the red button” TV really gets going, viewers could download what they’ve just heard and the money would go back to the channel to continue funding the concerts, and of course the artists to continue making more real music. And every ones a winner, baby.

Woah, I feel a business plan coming on….Show me the money!

218 responses so far

Daunting Sinatra Classics – and thank you Humphrey!

Feb 22 2011

Certain swing and big band songs are synonymous with Frank Sinatra  and a pleasure to sing, nevertheless it can sometimes be a daunting  privilege  performing some of his timeless classics with our Rat Pack Swing Band at functions.

Yet I can’t begin to imagine how Brian Duprey, of American formed tribute show “The Rat Pack is Back” must be feeling. I mean, how do you revive, or even begin to replicate that  trademark charisma, upon the legendary Vegas stage that Dean Martin, Sammy Davis Junior, Joey Bishop, Peter Lawford and Sinatra graced in the 60′s.  I listened to Brian and he’s one of the best I’ve heard. Apparently on The Howard Stern Show, Howard played a track of Brian singing  Come Fly With Me and special guest Nancy Sinatra thought it was her Dad singing.

That legendary stage in question refers to the well-trodden boards of the Sands Hotel on the Las Vegas Strip;  an historic and premier venue where the calibre of clientele could have pretty much been described as America’s aristocracy. Oh what I’d have given to have been among the audiences of 1964, when the very much alive and kicking Rat Pack, were nightly sell outs.

By the way, Humphrey Bogart is central to Rat Pack history. Although several explanations have been offered for the famous name over the years, according to one version in 1949 Sinatra lived just blocks from Bogart’s house and the story goes that when Bogart’s wife, Lauren Bacall, saw the drunken crew all together in the casino, she told them, “You look like a goddamn rat pack.”

207 responses so far

Live music and new talent is being stifled in the UK – when’s our revolution?

Feb 20 2011

In 1976 I lived in Newcastle upon Tyne and worked in a pub called The Gosforth Hotel. Yes, I know, I don’t look old enough. I was a barman and every Wednesday evening  I worked the bar in the upstairs room. Every three weeks or so there was a brilliant 4 piece band called “Last Exit” fronted by a teacher from Wallsend called Gordon Sumner, a.k.a. Sting. This of course was before he went to the city where the streets are paved with gold to find fame & fortune and joined the Police.

Wednesday nights listening to them was brilliant.They played both originals and covers, and built up a regular crowd.  I remember one time where Sting ran a live & spontaneous musical competition, playing a 3 chord E, A, B riff. They kept playing for as long as possible without interruption, whilst each band member had to think of a song that fitted. You hesitated, you lost. So it started with Hang on Snoopy, Twist & Shout, La Bamba and so on. It was great fun, with a warm friendly atmosphere, audience interaction, incredible entertainment and I have great memories.

The point is, all over Newcastle, and the rest of the UK at that time, bands regularly played in upstairs rooms in pubs. I remember lots of pubs where live music was easy to find and it was a period where UK amateur music culture was rich. Nobody seemed to complain, people were happy to be surrounded by a plethora of great bands and musicians were able and delighted to play to appreciative audiences. That abundance  seems to have been lost.

This country has produced some of the finest bands who naturally started playing to the public in the great British social institution – the pub.  But these days pub landlords and restaurant owners now have to get permission for the council to have even an acoustic duo for live entertainment. In turn, bands find it difficult to find places to play, since less and less venues are prepared to risk vexing the “protected” new neighbor who decides to move next to a pub and who then complains about the noise. That’s ridiculous. Don’t move there in the first place.

So what happened to this country’s commitment to fostering freedom for artistic development? If we want to continue producing legacy stars who play real instruments (as opposed to manufactured) in the future, then surely things need to change.

Unfortunately the power to influence certain things that affect whole generations, e.g. making it easy for musicians to play in pubs (especially when the pub trade is on its knees) is firmly centralised in the hands of politicians and councilors. In this instance, most of them have wrongly categorised all music as noise threats and thereby potential disturbance.

Perhaps they believe that the public (that’s you and me) should be protected. If so, then it’s from listening to real musical entertainment and and a place for developing talent. Frankly, our  licensing laws and noise limitations seem to me more like  a anachronistic human rights restriction on freedom to listen to real music at normal volumes. Read my blog post on noise limiters.

So when’s our revolution?

(Stirling steps down from soapbox)

P.S. There was an excellent article on this subject this week in the new Statesman by Feargal Sharkey, the star and tireless leader of MusicTank, about how government regulations affect the live music industry.

89 responses so far

What’s the best price you can do for a corporate gig, Mick?

Feb 20 2011

Well now, that depends on what the going rate is.

As I mentioned in another blog post a couple of days ago,  there’s some really famous acts who play corporate functions and weddings. But their rates have gone up over the years.

According to a News Corporation report last year, Elton John serenaded 400 guests to celebrate the marriage of Rush Limbaugh to Kathryn Rogers in the Ponce de Leon ballroom of Florida’s fabled Breakers hotel in Palm Beach. Sir Elton’s fee was apparently $1 million. Now that pays for a lot of nappies. However, the kind dad actually donates all earnings from private concerts to his charity, the Elton John AIDS Foundation, rather than pocket the huge sums. That’s very honorable.

I also read in the New Zealand Herald that the worlds most expensive performers at corporate functions and weddings, according to a poll commissioned by Living TV are as follows:

1. The Rolling Stones – up to £5 million
2. Sir Elton John – up to £2 million
- Kylie Minogue – up to £2 million
4. Christina Aguilera – up to £1.5 million
5. George Michael – £1.3 million
6. Amy Winehouse – £1 million
-  Sir Paul McCartney – £1 million
-  Leona Lewis – £1 million
- Jennifer Lopez – £1 million
10. Barry Manilow – £750,000
11. Rod Stewart – £600,000
12. Duran Duran – £500,000

But for the majority of the “Big Society” (as opposed to High Society”)  regular function bands are the given choices for the big day or event. I don’t think a lot of people realise how blessed this country is with the amazing talent that you find working in the wedding and corporate circuit.

Now I accept that my band and most of the other function bands have never had a hit. Understandable, since I don’t strut my stuff like Mick Jagger does, although I have had a few saucy comments about my renditions of Tom Jones “Kiss” and  “It’s not Unusual” being real hits with certain female party revellers.

But without trying to blow my trumpet players trumpet, for what most of the professional functions bands charge in this country they are a real bargain considering the quality of musicianship. No big egos, no white puppies or drapes and rose petals in the dressing room. Just a decent room with tables and chairs and a hot meal and those bands will work really hard to make your event special.

101 responses so far

If I become a famous wedding singer…

Feb 18 2011

A nice lady called Kate asked me on one of my blogposts; if I become famous, will I still do functions? That’s an excellent question. Well, yes I would.  Firstly you should expect no less of me than X Factor champion Matt Cardle, who is keeping his promise to the manager of The Bull pub in Halstead (where he used to work) to play at his wedding. Good on you Matt. Also, a lot of people don’t know that in 2000, Bublé’s career breakthrough came from being…yes, you guessed, a function band singer!

An aide to former Prime Minister Brian Mulroney saw Buble’s performance at a corporate event and received a copy of his self-financed independent album. He showed the album to Mulroney and his wife and Bublé was subsequently invited to sing at the wedding of Mulroney’s daughter Caroline, where he sang Mack the Knife. At the wedding, Bublé was introduced to David Foster, a multi-Grammy Award winning producer and record executive. Well as they say, the rest is history.

Now when I play my next corporate gig or wedding perhaps we should introduce that well known classic hit from Bros “When will I be famous”.

So if I do become famous and Prince William and Kate Middleton ask me to play at their wedding..well you see, I’ll still be a wedding singer.

181 responses so far

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