Zitat des Tages über Gigs:
I really worked with icons in the music business, which really had a strong effect on me. It wasn't just pick-up gigs.
I worked with a guy, I can't think of his name, him and his wife, and one of them had a saxophone and the other played drums. It wasn't a regular job but I did a few gigs around home with them.
I've done that I was touring a couple of years ago with R. Kelly and the Lillith Fair, I would do the late night underground gigs as well because it's always around those times that there was a hot song, either on the radio or in the clubs, it would just be simultaneous.
In my case, I've always been interested in law enforcement. I've always dabbled in law enforcement in between gigs, quite honestly. Back before things really began to pop off for me, I would work in private security for companies and stuff.
Every time I listen back to solos of mine I'll hear something I like and then another phrase that I can't stand. You have to live with what you play. And the recording medium puts that on us. When I play live gigs I don't think so much like that.
I'd done recordings, little demos, since I was in college, which I used to get gigs. But I never thought I'd have a record label.
We played some gigs in Switzerland a couple of weeks ago and it was the first time I really felt the group was really a band in the sense of something I could write for.
I sang in a rock band when I was training as a lawyer. You know, not professional, we just did it for fun. We just did gigs all over Edinburgh and some in Glasgow and some at festivals.
I played cover gigs and traveled the country in my mom's old car, and my drummer and I set up a fake email and sent it out to agents. We pretended to be our own agent.
My feet never touched the ground. Lots of good groups with crazy and unique images. It was wild. I spent all of my time doing gigs, TV appearances, interviews, or recording. I could write a book - and probably will.
The early gigs were pretty panicky - and great, sweaty fun. We were brand new to most people, and they were willing to take anything brand new, for the first time in years.
Certainly, when I left New Zealand, there was no career there as a comedian. I was doing more live gigs than anyone, and I was maybe doing three a week. Even then, it would often be the same people in the audience, going, 'I saw you on Tuesday, mate!'
My most favourite gigs that ever happened were solo, before The Monkees ever happened.
If the baby is sick, you won't find me showing up to play my gigs. If I have a contract, there is going to be a clause in that contract saying that if the baby is sick I will not appear.
I'm not interested in gigs unless I really want to do them. I walked away from music in 1997, and then there was a greatest hits in 2002. Thank God, it didn't do too well because the record company wouldn't promote it.
Folk rock was my real roots. I did a few gigs as a folk artist, in the style of Fairport Convention.
When I got started in New York, it wasn't like it is now. If you were different from Miles and Dizzy, it was very difficult to make gigs and make money with your own style.
All gigs are good gigs. There's never a bad one. Everything have a reason behind it; you just got to find that reason.
I think after 1970 or so, after I sold Soul City, I took off for awhile and didn't do too many gigs.
Just to be around that, to feel a part of it and be able to integrate the experience while I was with the Messengers, of going and playing gigs with other drummers, gave me the chance to realize that it was not just me that was making it happen.
The friends I knew who tutored were well paid for work that seemed far less grueling than waitressing or late-night newspaper copy editing or all the other side gigs I attempted in my early twenties.
I have been passed over on some things because people didn't think I was edgy enough. But the people who took those gigs are gone now, and I am still here.
My ambition when I started out was to play two or three gigs a week. And that's what I'm doing.
At a festival, a lot of people came to see other artists, so you have to put on a signature set and performance: 'This is what I do, this is why I'm here.' At solo gigs, I'm a DJ - I'll play two-and-a-half hours, and not just my own music, also my favorite songs by other artists.
I felt (a) it was a great role and (b) I wanted to stay in town. I wanted to stop going to these four month and five month gigs up in Toronto or Montreal or Vancouver or down in Mexico. I wanted to be around my son, Max. This came along and I was like, 'I really want to play this guy!'
I don't remember what was going through my mind, but what was going through my body was fear and terror. I had been on the road with Johnny and working gigs and playing a lot of the organ clubs.
My grandfather, Arthur Baskerville, he played and still plays a little bit piano and trombone, and so when I was a kid, I always heard jazz around the house, but I also went to his gigs, whether it be a Saturday brunch in my hometown Columbus, Ohio. We'd go and hear him play with some of the local musicians.
Now I'm fortunate to have a good band in CA, and play many solo gigs as well. My point is that I stopped playing in bands and played solo for four years, to get back into the groove and pulse of writing and singing and who I am on stage.
'Sister Act' was my first audition out of school. I was 21 and cast as the understudy. It was non-Equity, so I lived in L.A. on $300 a week. I did that for a month and then came to New York to do a couple of gigs, including 'Hair' in the park, before going to London with 'Sister Act,' where I played the lead.
You've seen one of the our gigs you've seen 'em all. But if you're into the music, you'll know that we played better the night before or we can play better.
The best part was watching Journey grow into this monster. The band was huge, playing these enormous gigs.
I have about 100 gigs of music, and I'm always going through thinking about what song I can match to a scene and all that.
For a long time, my shows were about people walking out or about getting my gigs canceled or having the presenter not wanting to pay me.
I used to do this big rant at the end of some gigs with Ben Folds Five. The band broke into this big heavy metal thing and I started as a joke to scream in a heavy metal falsetto. I found myself saying things like: Feel my pain, I am white, feel my pain.
Mary Gauthier's great. Yeah, we've played a lot of gigs together. She's really wonderful.
The manners thing's got worse. People think they can just text you if they've got bad news for you. It's not on. And as for people taking pictures at gigs on their phones, that's just weird.