Sessions and Attitudes

Miguel e Smith · From: Phoenix, AZ

I’m one the guys who believes (and knows from experience) that it’s important to not only have good musical skills in the recording studio but also a good attitude. This really goes for any gig out there, but for this example I’m going to use a situation that just occurred with a songwriter/musician friend of mine in Nashville who had just completed a demo session for a handful of his songs. He told me all of the players that were on the date (to which I said “good crew”) and then proceeded to explain what an awful experience it was. With two exceptions, every one of these cats had uncooperative attitudes and treated the writer as if his ideas were ridiculous and unearned. Now, let me say that this writer/musician is one of the guys I’ve admired and listened to for over 20-years and even if these players didn’t really know what a monster he was, they shouldn’t have thrown this type of attitude around. One exception was (ironically) the steel player who listened and responded to ideas. The other exception was a respected player who smiled and just did a poor job and then bailed out before the last song.

Now I know and have worked with most everyone on this session and I am really surprised that anyone of these guys would approach any session this way, even a demo. I’ve also worked with this writer/musician and he’s not one of those power hungry, know nothings that we all may have had dealings with. He’s one of the good guys who are easy to work with and has credits a mile long.

You know, none of us are “God’s gift” to the musical world and we’re all expendable and replaceable. Being confident isn’t the same thing as being arrogant. I hope that everyone that reads this will understand that a handful of musicians (who really can play) just secured that fact that one future source of income for them will not be available to them again. Towns like Nashville can really hurt a person to the core, but adopting a jerk attitude isn’t the way to protect yourself. This is a business just the same as serving customers at a restaurant or providing service at Wal-Mart. Bad service will kill a business.

For you newer cats just starting into this pursuit, learn to be good businessmen and women. Your customers are who will put bread on your tables.

[This message was edited by Miguel e Smith on 15 August 2003 at 10:50 AM.]

Bill Hatcher · From: Atlanta Ga. USA

Good attitude=keeping your mouth shut when the person in charge wants you play something absolutely contrary to what you think is best.

I worked a session yesterday. My job was to replace all the sampled guitar tracks with REAL guitar. I had ideas that I thought were valid but in the end, I found it was best to make the ad geeks happy and play what THEY wanted. They put on a CD by some crappy sounding band and said "play like that!". I did--I was a hero instead of a zero.

Someone hires you, you do what THEY want. THEY don't know what THEY want--you do what YOU want. YOU do what YOU want and THEY don't like it, THEY blame YOU. THEY like what YOU do, then THEY can take credit for it. Then THEY love YOU.

Studio musicians could double as diplomats.

Gene Jones · From: Oklahoma City, OK USA, (deceased)

All musicians used to be diplomats...the worst thing I used to hear was after the session when the "star" said, "I'm sorry, but what you played wasn't what I had in mind!"...that always cut to the quick!
www.genejones.com

[This message was edited by Gene Jones on 15 August 2003 at 11:38 AM.]

Wayne Cox · From: Chatham, Louisiana, USA * R.I.P.

MIGUEL, all of our forumites (who would like to be session musicians) would be well advised to read your words carefully and absorb them deep into their craniums. This is the very reason I do not consider myself to be a session musician. Its not musical ability so much as it is patience,open mindedness,diplomacy,etc. I hate to admit that I have those qualities in very short supply. Result, I may not insult the "Star" but I wind up carrying a lot of frustration home with me,after a typical recording session.
I feel its better to just be honest with yourself. If your individual personality is not compatible with the customer,you only have two options: supply what the customer
wants anyway and deal with the frustration or find a new profession. I pretty much choose the latter. For those who don't know Miguel's everyday name,I can only tell you that he was once a highly respected Nashville player. Now, he is simply a highly respected multi-talented individual.
~~W.C.~~

[This message was edited by Wayne Cox on 15 August 2003 at 12:16 PM.]

Earnest Bovine · From: Los Angeles CA USA

Who were the guys with the bad attitudes?

Larry Miller · From: Dothan AL,USA

It wasn't me, I do what Andrew Jackson tells me to do. I......am a steel ho.

Jim Eaton · From: Santa Susana, Ca

I have always tried to play by the "KISS" method until "They" ask for a more robust steel part instead of blasting away with both barrels from the down beat.
This has seemed to work very well for me and if "they" are happy with the "KISS" track, cool! I'm done, paid and on my way to the golf course. If they ask for more and I give "them" what they want and "they" like it, cool! I get called again and they think I'm a good guy who is easy to work with and can play what is ask of me.
JE:-)>

Rex Thomas · From: Thompson's Station, TN

Earnest, you're a hoot!!

That's right! Fess up! Who are these guys that took advantage of that writer!? Let's roast 'em internationally!

Seriously, I couldn't sympathize more. My take is right in line with Mike: If you're on a session, song demo, artist demo, master, jingle, I don't care what, if you cop an attitude that the client is a loose screw, then you just AIN'T hungry enough. And what frosts me is here's a good writer with a nice catalog. Goodness, gimme a break! Why are you there in the 1st place? Again, just my take; this is a situation that will eventually give full way to home studio. Why should that writer hassle with that when you can go to your engineer/"pro tools savvy" pal, or make the investment & do GREAT work in bonus room comfort? Oh yeah, if there are home studio owners reading this thread (in TN; TONS), they would probably respond with something like; "If I could find out who that writer is I'll take him & see to it that I KEEP his account". So if you think I'm pretentious, go ahead with the attitude. I believe I'm right in saying that there are PLENTY of hungry musicians & engineers that would snarf that writer up in a hot second.
Ok, I feel better.
Now, to Mike Smith:
Speaking for myself, words cannot express the appreciation I have for your enormous talent, in the fact that I based much of my on/off steel career on one of your solos. Thanks for giving me something to run with. You're also one of those gifted players that can get a great tone out of anything, rubber bands included.
Goodnite Mrs. Calabash, wherever you are.

John McGann · From: Boston, Massachusetts, USA * R.I.P.

The best studio situations (or live performances) are when they hire you to play like YOU and not someone else, and are appreciative and supportive of what you have to offer.

Of course, you have to be flexible and offer options if they don't like everything you do- but that's just part of the job, to fulfill the musical need without a lot of ego attachment.

I don't live in Nashville and the sort of sessions I do are probably atypical of the Nashville scene- and I consider myself very lucky and happy (if not constanly employed as a session player!)

That story sounds like some not too nice folks trying to make someone feel uncomfortable- a bit "Lord of the Flies"!

[This message was edited by John McGann on 15 August 2003 at 05:40 PM.]

Miguel e Smith · From: Phoenix, AZ

I would certainly not want to mention any of the players on this particular session. I’m disappointed in them but I wouldn’t want to damage what otherwise might be a solid reputation. This writer/player didn’t contract this session but he does have a handful of other cats that he regularly works with (and gets incredible product from). I’ll respectfully withhold his name as well so as to not link anyone to this situation. This was a small incident that, unfortunately, will have long-term impact on maybe everyone on this date (although some won’t even be aware of it).

My experience with a good, working crew is that there are usually too many good ideas generated and the big job is to quickly make decisions about which ones to use and lose.

Wayne is one of those cats that never gave anything less than his absolute best in any playing situation. If he’d have ever copped a bad attitude I’d have come down there and kicked his butt (assuming that I could have….NOT).

Rex, from one on/off again player to another, I’m having trouble with getting those rubber bands pulled up to a high G#…any suggestions? (by the way, thanks).

John, the situations you mentioned are probably what we all love the most (I do). But that is what the guys in this situation didn’t offer…what they do and what they are known for. The biz in Nashville is tough enough right now and I hope the negative pessimism doesn’t give way to really good musicians offering average performances and attitudes. Most of those cats are just too good for that.

May the force be with all of us.

Gregg Galbraith · From: Goodlettsville,Tn.,USA

Beauty is in the eye of the employer.

Jody Sanders · From: Magnolia,Texas, R.I.P.

Hi Mike, Very well spoken. The man that pays the bills makes the rules. I have left sessions thinking \, man, I wish he would have let me play that "killer lick', but I got payed and have a reputation for being co-operative, and get call backs. By the way, your and your beautiful wife did a killer performance at the Dallas show. See you down the road, Jody.

Kevin Hatton · From: Buffalo, N.Y.

Mike, this is a very important subject. Attitude is EVERYTHING. Players that bring good vibe to a group are just as, if not more important than technical excellance. Lord keep me humble.

Bob Hempker · From: Goodlettsville, TN.

Mike,

I couldn't agree with you more. I don't like a condescending attitude in anyone. We expect stars, producers, managers,and those folks to act that way. That still doesn't make it right, but we sort of expect it and go on. What we don't expect is other musicians to cop an attitude like what you explained. I, myself would rather deal with a star with an attitude as to have to deal with another player with one. Have you ever noticed that the real "cream of the crop" great players don't have that attitude? I think it's the thing of knowing you don't have anything to prove to yourself, and likewise to others.

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Smiley Roberts · From: Hendersonville,Tn. 37075

Jody,basically,said what I wanted to. The saying goes,"Remember the golden rule. He, who has the gold,makes the rules!".

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  ~ ~


  ©¿©  It don't mean a thang,   


  mm   if it ain't got that twang.


       www.ntsga.com

Damir Besic · From: Nashville,TN.

I heard the story about Pete Drake.He would play it once and if they said ,"well,thats not what we are looking for" he would say," oh ,ok,I know ,I see what you want" and played the same thing again maybe little different and they would say ,"yes ,thats it,great job" .Its all about let them be in charge.

Pete Burak · From: Portland, OR USA

Just curious, how much (percentage %) does Session work contribute to your total playing time (Gig vs Studio)?

[This message was edited by Pete Burak on 16 August 2003 at 11:46 PM.]

Miguel e Smith · From: Phoenix, AZ

Pete,

I'm assuming since I started this post that this question about live vs. studio is for me. From the standpoint of strickly being a steel player, it may be something like 30% studio and 70% live. However, I work in a studio situation probably an average of 6 days a week but it encompasses arranging, producing and keyboard playing as well as steel playing. For those that may not know, I'm the managing partner in Gatlin Brothers Music, a music production and publishing company (since 1986).

Just as little booster, I mentioned in the original post that the attitude thing is not limited to the studio scene (and no, I've not always been the perfect example of the right way to interact with others...I'm just learning).

Pete Burak · From: Portland, OR USA

Thanks, Miguel.
I'm curious about everybodys studio:live ratio.
I typically do a few Demos and/or Local CD projects a year, but play live typically at least one or two nights a week.

[This message was edited by Pete Burak on 17 August 2003 at 10:26 AM.]

Earnest Bovine · From: Los Angeles CA USA

Read "Dilbert" in your daily newspaper to see the same unpleasant personality traits outside of the recording studio.

[This message was edited by Earnest Bovine on 17 August 2003 at 02:00 PM.]

Donny Hinson · From: Glen Burnie, Md. U.S.A.

The best attitude is none at all. Most people can recognize when they're being patronized, and everyone can recognize when they, or their opinions, arent't taken seriously. You're a hired hand, a fill-in, so "Shut up and play." should be the command of the day!

I've blown more than a few jobs by saying I didn't care for "so-and-so", only to find out that the singer's father, or best friend, or wife was so-and-so. Yup! Be open to criticism, be open to suggestion, and be closed-mouth about everything else.

Mark van Allen · From: Watkinsville, Ga. USA

Mike, I think you're really hitting some "nails on the head" here- it's not just Studio etiquette! As you say, "the attitude thing is not limited to the studio scene". I used to play at the "premier" country nightspot in town, local talent would line up to come out and sit in on open mic nights. I never got over how the band leader would smile at their faces and and turn around and make fun of them within their earshot. Several of those folks are now national recording acts, and that fellow is still playing in the backwaters. Trying to feel superior at the expense of someone else is a bitter road to travel. How much of that resides in comments like "you aren't much of a player unless you have a brand X guitar", or "it's just crap if it ain't classic country"... There's a pervasive "copping of attitude" within the music industry, perhaps borne of personal insecurities and the history of previous attitudes to model from, that serves nobody. I'll never forget the folks who helped me along the way with kindness and positive input- (and Mike, you're one of those!) I think we can all remember that on stage as well as the studio, it's all about what serves the song. I think Jim Eaton was right on the money about the KISS method. I always try to forget any about anything but the music when the "light comes on." Last week I did a session for the Indigo Girls, producer was Peter Collins, who has one of the longest recording pedigrees I've ever seen. I just tried to stay simple, listen to what was said about the direction they wanted, and play from the heart. I think Peter's comment was "How about that, a session player who actually listens to the song and the vocal!" One of the nicest compliments I've gotten at a session, and definitely not a result of any stellar technique on my part! Smiley's right about he who has the gold, making the rules, but I think "treat everybody the way you wish they'd treat you" and "treat every song as if you wrote it yourself" would take all of us a long way...

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C'mon by and visit!- www.markvanallen.com
My Bands: Sugarland Kate and the Retreads Kecia Garland Band Shane Bridges Band Dell Conner Blues Band

Douglas Hudson · From: Galena, Kansas, USA

Boy guys I have a long line of "attitude" musicians I have worked with over the years in Live mode. I dont work with them anymore, I guess that is why I dont work as much anymore! HA HA. I have found out that most steel players are the cream of the crop when it comes to down home people. I like the comaraderie of steelers and others that play other instruments ought to take a life lesson from our brothers into steel guitar.
Douglas Hudson
Steeling Brings Great Folks Together!

Gene Jones · From: Oklahoma City, OK USA, (deceased)

In the "early years" steel players worked hard to achieve that "superior attitude" reputation, (it was expected of us) just as the R&R six-stringers in later years. It's difficult for the oldtimers (like me) to accept that times have changed and we are no longer indispensable!

www.genejones.com

[This message was edited by Gene Jones on 20 August 2003 at 03:10 AM.]

Carl West · From: La Habra, CA, USA (deceased)

There isn't much I can add to what has been said. We've had our share of attitudes from players to the so called stars.
I did a session with the Byrd's. I wasn't satisfied but apparently they were. As for the fine group The Monkey's, attitude was boiling over. I was never so glad to get out of RCA as I was that night. Only one that was cool was Peter Tork ! He played fantastic piano !

Carl West

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