From the Gnome... About this blog

In 2004, I left my corporate job and started a new journey. For a month or so, I wasn't sure what to do. I worked on my resume, but I just didn't feel right about getting back into a corporate role. I started a project that turned into a hobby, that turned into a business.

The Metro Gnome was my first website. I worked on it for a year and published 5 issues. Then I incorporated all of that content into Hotsource, a business I co-founded with Sue Stanbridge. In 2008, Sue and I sold Hotsource to another company, and we started to focus on other things....

I have let the www.themetrognome.com.au domain name go, but I've captured the articles here so I can look back on them and remember. This blog is an archive.

My interviews with Jon Stevens and Ian Moss are personal highlights. But as I moved articles over to this blog, I was reminded of the wonderful talents and unselfish effort put in by my friends. What a tremendous effort. Thank you!

Thanks in particular to Ben Little, Wayne Tritton, Cyndy Fahnestock, Rosie Oates Tritton, Paul DeCarlo, Angus Thorburn, Doug Lloyd, Michael Rootes, Dai Pritchard, John Swan, Jon Stevens, Ian Moss, Sue Konan, Stacey Morris, Sally-Heath Lloyd (my most diligent supporter and proofreader), Glenn Ford (creative designer of the Metro Gnome image), Tina Broad from Music Play for Life, Greg Dodge who taught me about Weekend Warriors, Rohan Whitmore and Colin at Encode, and all the proofreaders, fans, and friends for helping me start my writing career. It was a confusing time for me. I needed to be creative, to explore strange new worlds, and to figure out what was important to me. Thanks always to Alan, for letting me take the time to find my feet... I love you!

Enjoy! WLC.

How to Know When You are Ready for a Band Manager?

Band Scenario 1 - You have a covers band, you have the equipment, and you have gigs, but you want more. You all have "day jobs," because the money coming in isn't going to pay all of the bills, and it probably never will, but you do this for fun (and money) and want to keep it up.

Band Scenario 2 - You have original songs - great songs that you want to get out there and showcase. You want to be a professional performer, but you don't want to know how to do all of the business stuff that it takes to get from here to there....

The answer may be that you are ready to hire a band manager. Booking agents either call you or you pursue them. Band managers do things for you on your behalf. They assist you in achieving your goals. You are the customer. You tell them what you want to achieve and then together you divvy up the responsibilities to get to your goals. You'll still have responsibilities, but so will they.

The Metro Gnome asked Rhonda Lewis, from Uptone Entertainment to tell us from a band manager's perspective what it takes to manage a band. We're not going to tell you that you have to engage a manager, in fact, we're going to develop a library of how to do a lot of things yourself - but here's one band manager's perspective on The Basics of Managing a Band....

The Basics of Managing a Band

By Rhonda Lewis, Uptone Entertainment

The following is of my opinion, lessons learnt, mistakes made and what I believe a manager should be.

Some Fundamentals

Firstly, I believe that a manager should be part of the team, whether it is a band, group, duo or solo act. There must be trust, good communication and understanding between all parties to enable the team to function well on all levels. I am a firm believer in contracts that are fair to both parties. Not so long ago there was a time when verbal contracts were the done thing, some of these are still in place now (decades later) and are still as strong as when first taken up. Don't get me wrong, I don't disagree with verbal contracts if that is what you prefer but with the system as it is today you must have a solid back up. Draft your contacts with honesty and care, do not sell yourself short and do not take advantage of your band. Some new bands do not know the ins and outs of contracts and it should be stated in such contract that they have it looked at by a solicitor or at least somebody in the know. There are several basic contracts on the web that can be downloaded, all you have to do then is change what you feel is appropriate to you and your band.

Another belief I have is that your band members should feel comfortable with you and that they can come to you with any questions, ideas, grievances, even personal problems. The more the manager knows about their band members the better the communication. Remember that you are not only their manager but also their shoulder to cry on and sometimes an imaginary punching bag (not literally). At times you will feel like a babysitter at other times a mum or dad, this is all part of management. I personally would never turn away somebody with a problem; even if I can't fix it I can listen and maybe sometimes advise. It's all part of the job, just don't let them become too dependant on you.

You must remember that you are their Band Manager not their Bank Manager, the band must self fund, I personally cannot have hand in pocket all the time and refuse to do so. If the band needs something, the band pays/works for it. Sounds harsh but it is fact. (Guess that comes from years of saying "NO" to my kids, just hope the band members don't ask my kids how they got me to say "YES").

Never stop working, always be on the look out for places for your band to play, ideas pop up in the strangest places sometimes. You are always learning in this business and always ask questions about anything you are not sure of, even those who have been around for ages are still learning something new all the time, and I don't just mean technology either. I have only recently retuned to the industry after a 27 year break and the quickest way that I thought I could catch up on the industry was to attend TAFE. It's working well and I can't believe how much the industry has changed. So if you are in doubt, do yourself and your band a favour and enrol into Music Industry (Business) Cert 111. It will open your eyes to a whole new world. (Especially Copyright & Royalties....wow!!!).

Presentation Pack

Remember to get the presentation pack right. There is nothing worse than underdoing or overdoing it. It should contain a tape or CD (sometimes best to have both), a cover letter and a bio. Hopefully the cover letter has been read first by whomever you have sent it to. Then they listen to your tape or CD. Don't forget that yours isn’t the only one they have received, they may receive hundreds every week. They must be interested in what they are listening to within the first 30 seconds or forget it; the rest won't be heard at all. Always use top quality tapes and CDs, then make sure the mix is perfect and the have somebody neutral listen to it for their opinion before sending it off. Always put your best track first, and then they are more inclined to listen to the others. Only have three maybe four tracks, they don't have time to listen to any more.

What a Manager Does

It can be difficult to put into words what a manager does, exactly. Firstly the act/band does the gigs and the manager does mostly everything else, i.e. dealing with agents, record companies, the press, radio and television stations, administration etc, etc, etc and so on. Learn how to delegate certain tasks. If you cannot afford to hire staff, there would be a lot of friends and family members willing to give you a hand, especially with office work and bookkeeping. Personally, I hate handling the money side of things and would prefer to have an accountant do it, but that comes at a cost, so I will delegate.

The band should also be involved in what the manager does so therefore I suggest that regular meetings are held, at least once a month with the whole band present and weekly with the band leader. This way, you execute the business plan and everyone knows what is happening. Because we all see things differently, it is a good idea to discuss everything and get it right the first time. Even the putting together of a band bio and demo for a promotional kit should be done with all involved so there is no arguments later about what should have been said and wasn't. Everything from where the photo shoot is to take place and who the photographer will be should be discussed and decided upon jointly. Nothing worse than organising a photographer to only find out that he's your drummers ex brother in-law that hates him. Just little things like that can be a big waste of time and energy.

In the end....

What you have just read is of my own opinion and what I have learnt over the years (plus at TAFE recently). It's not easy being a manager but don't let that deter you, if you love what you are doing and can be confident that there is trust and good communication between you and your band then all will be fine. There are so many sites on the web to assist you (and me) that you really can't go wrong. There are also many professional music industry personnel out there that are only too willing to answer any of your questions, just pick up the phone or send an email.

About Uptone

I have just recently started to manage a great bunch of guys who go by the name of Sculptors Mode. They are a rock band from the Hills district in Sydney and will be embarking on the gig scene sometime in July. They are fabulous and are an all original band.

Please feel free to contact me with any questions (if I don't know the answer, I will find it for you). Or if you have any suggestions for me, give me a call or send me an email.

Rhonda Lewis
uptone@gmail.com
Uptone Entertainment
Phone /Fax: 02 9670 1375
Mobile: 0402 459 316

My Warriors Experience... Part 1

By Trevor Housley


First some background....

"Lee Rivers and the Rapids" with Trevor on the right (1959)

In 1959, I formed a group with three or four friends and we played a variety of gigs for two or three years. "Lee Rivers and the Rapids" played at the Bradfield Park migrant camp on Friday nights, at youth clubs and private parties and we also organised and promoted our own dances in Masonic Halls at places such as Northbridge and Hornsby. After a year or so, Lee Rivers died suddenly and our piano player, Roland, became our front man. He needed to come up with a watery name to go with "Rapids" so we settled on "Roland Storm." The "Roland Storm and the Rapids" line-up was Roland on piano and vocals, Paul (Tadpole) Reay on rhythm, Ray (Fred) Truman on drums, a sax player whose name escapes me and myself on lead guitar. We played the rock music of the day and a little other stuff. Our sax man could do a good rendition of "Lady Be Good" and we could play a little of that kind of music for the non-rock-n-rollers.

We were a "Third Tier" group if one considered Johnny O'Keefe and Col Joye as first tier, Dig Richards and the R-Jays as second tier and then there was the likes of us. With the exception of Roland, we were amateurs - reasonably good but not brilliant. Roland, on the other hand, had great talent and he is still in the business today. He plays in pubs and clubs and has done a lot of international work throughout his career.

I was better at computing than at playing a guitar and I went to work on the NASA Manned Space Flight Project and subsequently spent my working life in the IT and Telecomms industries. For 40 years, I rarely played the guitar except when my children were young I played children's songs for them.
Rekindling the fire....

A year or so ago Roland's wife threw a surprise party and a lot of old rockers were there. Little Pattie, Lucky Starr, Adam, Brian Davies, Frank Ifield, and others along with lots of musicians. They started jamming and the ad-hoc performance went on for an hour or two and it got me fired up again and I decided to buy a guitar. Not just any guitar but the guitar I wished I had had when I was young and could not afford it.

Next time I was in America, I bought a Stratocaster American DeLuxe and a bunch of "Fake Books" and started playing the tunes from them. I can read music and I thought I'd kill two birds with the one stone and enhance my sight-reading skills and also develop the mechanical dexterity of my fingers with the aim of regaining my old skills within a year or so.

Weekend Warriors....

Along the way, my wife, Jocelyn, drew my attention to an article about Weekend Warriors. The article said WW was aimed at guys like me. People who used to play in a group and had forgotten most of what they knew. WW was to put them together into groups, provide some coaching and help each group to learn a few songs so they could do a gig in front of a real audience. Sounded great! The only problem was that the article said WW was in Melbourne and I lived in Sydney.

A few months later I came across another reference to WW and this time it was in Sydney. I signed up and waited for something to happen. The first round took place when I was overseas so I had to wait another six months before I could get into it. In the meantime, I was on the email list and received emails from time to time and I got involved with a group of WW graduates who wanted to set up an association for people who fit the WW mould. This enabled me to meet a few people as a "Warrior in Waiting."

The next round finally happened. Run by MusicWorkshop at West Ryde, the idea was to get together for a jam one evening, form into groups, practice for two hours each Saturday for four weeks and then do a gig in a pub on a Sunday afternoon.

On the jam night, around 24 guys and one girl rolled up along with a few observers. The MusicWorkshop people had set up an electronic drum kit, a few guitars, a bass and some amplifiers and they encouraged people to get up and show what they could do.

Trevor (right) listens in and looks on....

This is where it started to become stressful for me! I had expected most people to be like me - with some innate ability but few demonstrable skills at the time. The reality was that most people were pretty skilful with their guitar and bass playing, not to mention their singing and it was obvious to me that I was not going to be able to give much of a performance that night. After all, I'd spent my time reading music from fake books and not practicing any rock-n-roll! I could play something like "Miss Polly had a dolly who was sick, sick, sick..." for my grandchildren but could not play a single rock-n- roll riff!

Group after group got up and did their stuff. I became more and more stressed out and it got to the point where nearly everybody had had a go except me. I knew that I had to get up. If I didn't I would not be able to face myself. So, I did and I played a few chords in the background while a couple of the skilful guitarists did some tunes. I have no idea what we played, I only know that I was totally stressed out. When Jocelyn and I left and I had a headache and she told me that a couple of people did not get up at all and I suppose that made me feel a tiny bit better.

The MusicWorkshop chap was to call to tell us which group we were in and I was expecting a call to say I was not up to par and that I'd be left out! However, I received a call saying I was in "Band One" out of four or five bands and that we were all to get together on Saturday to meet other group members and to start working out a song list for a 30-minute set.


To be continued....

Trevor's story continues in the next issue of The Metro Gnome.... In the meantime, if any of you are interested in getting together with some other people to jam - just do it - GET OUT THERE! Weekend Warriors is one way to do it, but there are opportunities everywhere. Find some other musicians and simply do a group practice once a week. Or ask your music teacher if s/he will run a lesson with 3-4 of you so you can learn parts of a song (and, of course, practice together). Or you could even form a band and set a goal to play at a party in the next few months. Whatever! Just GET OUT THERE! If Trevor can summon the nerve to do it after a 46 year break - you can, too!

Gnome Links:

Weekend Warriors is a great program - if you have a day job, are over 30, and you used to play or sing in your childhood or young adult life, and if you need an excuse and a nudge to get back in it - Weekend Warriors is the place to go.

Music. Play for LifeMusic. Play for Life is a national campaign that thrives on getting children and adults out there playing more music. If you're looking for information on this campaign or want to see how you can get involved - click on the logo to go to their website.

Gig Review: The Oceans

By The Metro Gnome

The Oceans
Candy's Apartment
2 June 2005

The Oceans is a five member band with vocals, guitar, bass, keys, and drums. The show I saw was an industry event showcasing the refreshed band and delivering their new release, Prayer for the Sun. Candy's apartment is a cool little venue for live music - in a basement setting with low ceilings, dark alcoves, and candles lit for a nice effect. There's a large family of mirror balls scattered all over the dance floor. One downside for bands is that there doesn't seem to be any "offstage" area away from the audience.

Anyway - to the band - formerly Five Flavoured, The Oceans is trying to reinvent itself and has gone through some extensive work to record this new album. Hat's off to the guys for backing themselves and putting in the effort. The industry night was put together to shop around for a record label to give the album a promotional boost....

Hit the audience solidly from the first song to the last... or not?

Due to the lack of any off-stage area - there's nowhere to warm up - the guys, including the singer, weren't warm when they started. They used the first song to warm up - and that was truly disappointing. Enough said.

The band played 9-10 songs, presumably all off the album, and then finished with some old favourites for their (definitely present) fan base. The songs were all good, but nothing really stood out as amazing. One song completely rubbed me the wrong way - the instrumental, live, techno, dance crap that they pulled out in the middle of an otherwise palatable set. It was too long, too techno, too repetitive, and too loose - the changes didn't look or sound well rehearsed - there was a lot on on-stage communication going on. But, and I suppose here's what counts, the crowd actually seemed to love it. At the end of the diatribe, a 20-something behind me said to his mate, "That was an awesome song!" I have to admit that lost a bit of faith in the future live music at that comment. But, then again, I might just be getting old???? I suppose if you have to see techno, see a band playing it rather than a DJ spinning it....

By the way, this show did have the best light show I have seen in a long long time; it really provide a great vibe to the whole night.

But I digress, the lead singer had a good voice - different - a bit of reminiscent of Yes frontman, Jon Anderson. He had a higher pitch than most male vocalists and it was a nice touch. That said, he does need to develop as a frontman before the outfit can be taken to the next stage....

All in all, I'd say that The Oceans has the potential to develop a strong fan base and to sell records, but only if they play venues - only if they GET OUT THERE! But the feeling I got in the end was that they wanted to do a record and then get a record deal without getting too dirty on the live circuit. My advice: get dirty boys - play more.

Artist Interview With Lee-Ann Rose

Lee-Ann Rose stopped in at the Bat & Ball to participate in a Songwriters Session. She started the night with 3 original songs and she set the bar pretty high. I certainly wouldn't have wanted to follow her.

She sang three original songs: Don't Take the Girl; Cold, Cold Night; and Take a Look. After her mini-set, Lee-Ann (or just Rose if you know her well) met up with The Metro Gnome and we got to talking about her work.

Lee-Ann and her 2 girls, 11 and 12, live in Yass, NSW - a bit of a hike from everywhere actually - so I decided to start the interview by learning what took her there. Turns out, like almost everything else in her life, ther reason was music....

The Metro Gnome: Why do you live in Yass? Do you have family in Yass?

Lee-Ann Rose: No. Yass, really, if you look at the map, is perfect. You're 2+ hours from Sydney, 40 mins from Canberra, 3 1/2 - 4 hours from Melbourne, 14 or so from Adelaide, and 12 - 13 hours from Brisbane. It's like the perfect little spot for travelling. I bought a home there. It was cheap. It's in the country - on the Hume Highway. I bought it about 4 years ago. I was going to fix it all up. I wanted a studio - that was my dream. But the house had too much renovating. So I had to get out.

TMG: Can you write and record at your home now?

LR: Yes - I've got my own little studio at home. That's my passion. I do love performing, I do. But I do like to write. To have someone else playing my songs that's the goal. Writing and recording.

TMG: Why do you think that the writing inspires you more that performing?

LR: I don't know. It's more of an achievement. For me. It would be such an achievement to have other people singing one of your own songs. To have so many people around the world - or even the country - and I'm not even looking for the pat on the back. Just to have people walking down the street and singing my songs - that would be the ultimate.

TMG: A big compliment.

LR: Yeah - you can change the way that people think with a song - because music is so powerful. It brings out emotions in people. You can make people feel happy, make them feel sad. Cry. It's so powerful.
Getting out there!

TMG: Are you a professional muso? Is that all you do?

LR: Yeah, pretty much.

TMG: And you're able to make ends meet - that's great. How do you get your gigs? Do you have a manager?

LR: No, I do it all myself. I just get out there and get amongst it - I've never been out of work ever. In 15 years I've never been out of work.

TMG: How have you created that network?

LR: I don't know. You just meet someone and play with them and they say "Hey, come and play with me at this pub." And then you meet that manager and then that manager moves to a new pub. Then people just like your music, and they talk to you and invite you to play. That's all I've really done. I've never really gone down the managing path. A couple of times I looked at a few contracts. I've said no to all of 'em. I'd love to have a manager now to get some of the pressure off - especially now with the album. I'd probably like that. But, I'll see how the album goes first.

TMG: Do you do festivals?

LR: Yes

TMG: Do you like them?

LR: Yes, totally. It's great. You get to play for 40 minutes and then you get to watch everybody else

TMG: Do you get to see other people play often?

LR: No that's another thing that attracted me to nights like this is seeing other people play. And that's the good thing - seeing and playing with people like Dai (Pritchard). He's a rock God and I'm a country chick - he'll play a riff that kind of sparks something and it might not happen that week - but it finds it's way in - and it comes through my music. And that's what I like. I love being educated really. Musically.
Recording...

TMG: How do you get the money to invest in the album?

LR: That's the reason it has taken so long - because I haven't had money. That little cheap house that I bought.... I bought it at the right time and now the prices have gone up. I sold the house for way, way above what I bought it for....

TMG: That'll help you to fund the musicians?

LR: Yeah... well, that has never been the problem. Getting the right musicians has never been the problem. Having the right producer - that's the biggie.

TMG: How did you pick a producer?

LR: Well, he's an old friend. I've known Bill (Chambers) for many, many years. And we've worked together many times. About 2 years ago, I'd had enough, I said, "I'm going to quit. I'm going to get a full time job. Blah, blah, blah." [Bill] rang me up out of the blue and wanted me to do some co-writing. I hadn't seen him for about 2 years. He said, "Don't you dare quit." And I said, "Nope, I've had enough." He said, "Don't quit, don't quit." He said, "You've got to do an album." And I said, "No, I'm too old." And he told me not to quit. He totally convinced me that I wasn't too old. He said that I'm into the good stuff now. And he said, "Come and do an album."

Age is always considered to be a factor for some people. Some people believe if they haven't made it in their 20s that they won't make it at all. At The Metro Gnome, we reject that conclusion. We believe that talented, driven people can make it at any age. Don't use age as an excuse not to move forward and pursue a dream. Continuously hone your skills and keep aspiring for what you want.

TMG: What steps are you taking for the recording?

LR: Basically I've brought about 25 songs. Bill and I are going to sit there and sift through them all. And I'm looking for his advice and direction on what makes the album. I like the songs and I've got a really good idea about production but what I don't know about what sits well in an album. He really knows that stuff and I don't. Song selection, what instruments to be used. Basically Bill saw all of my new material about 3 months ago. We haven't actually worked together for about 2 years, so he was dying to see the new stuff I was working on. I've been on a bit of a journey for the last few years. Moving from very soft stuff to working with people like Dai, in a band, for example - it was loud, it was rock. It was cool, but I've toned it down a bit. I've gone from that [soft] to that [rock] and now I want to go back a bit [somewhere in-between]. I've learned so much. It was great - the musicianship and their knowledge and being educated... just learning. I really feel like I'm at a level now where I know what I want with production.... So that's what we'll be working on for the next two days.

MG: I'm a bit embarrassed to ask this question. I feel like I might stick my foot directly into my mouth. But I have to ask.... Lee-Ann Rose is such a beautiful name, and yet the first person I think about when I hear it is Lee-Ann Rhymes - Is that because I'm from the US?

LR: No, I get that all the time. It's shocking. And I've been talking to friends about this. And my name is a problem. I really need for my name to be meaningful. [People say,] "Oh, Lee-Ann Rhymes," and I'm like "No." It's not a made up name - it's a real name. I'm actually thinking about dropping Lee-Ann and just going with Rose. That's my name.

TMG: Is that a compromise that you shouldn't have to do?

LR: I've thought about that, too. But, no. It's been something - since I was 4 years old, I've hated my name. I hated Lee-Ann. So to me, I'm happy to drop it. Just Rose. But my friends call me Rose all the time. "Hey Rose, get over here!" They call me Rose. They text me - Rose.

TMG: Is that your surname?

LR: No, it's my middle name. I'm glad that you mentioned that actually.
Songwriting....

TMG: OK, tell us about co-writing. How do you write with someone else? Maybe we should start with how you write?

LR: I don't know.... hmmmm..... It's really hard.

TMG: Say it's the morning and you walk into the studio with a cup of coffee, and - do you have a piano?

LR: Yeah, I only just got a piano after 14 years.

TMG: Ok - so you have a coffee, and a piano, and a guitar, and probably another guitar, and you sit down to write. What happens?

LR: Absolutely nothing. [She laughs - a big hearty laugh.]

TMG: Do you sit there and play chords and just finally play something.....

LR: If I'm on the guitar or something I'll get a groove happening. And I'll hear something really good. Then I get ahead of myself - thinking about all of the production and I haven't even written a word yet. I have to be careful about that and I get to the point that I'm so drained mentally of all this vision that I don't end up writing anything.

TMG: What about the song about Sydney - coming back from Sydney (Cold, Cold Night). Was an emotion driving the song versus chords and groove?

LR: [She paused to think about that one....] That was the first real song I've written like that in a long time. To be honest, I really let myself be exposed in that one. And that's a rare thing. I don't know - I was in a blue mood

TMG: Do you usually write songs about yourself or stories about other people.

LR: Other people always - whereas in that one... I really came out. I think every song has a bit of you in it - you look at yourself and you're using what you know so it is about you in a way. But when it touches other people....

TMG: OK, so... now, how do you approach writing with someone? When someone asks you to co-write with them - what are they asking you to do?

LR: It's almost like taking your clothes off. I really believe that. It's really embarrassing. Embarrassing. It was really funny because I co-wrote with this guy and he asked me, "What are you thinking about? What are you doing? Sing anything." And I wanted to sing all this stuff - I wanted to belt it out, but I said, "Oh, I've got some stuff.... Later." I've just gotta know the person more before I can let them see me.

TMG: So, you edit as you go?

LR: Yeah - I don't just let it out.
Advice for aspiring musicians....

TMG: If you were to give aspiring musicians advice - what would it be?

LR: Get over it. (She giggles.) No, I'd say go for it - I think it just happens anyway. I don't think it's about people saying that they want to do something. They just do it. Show that they're going to do it. With some kids... they're 16 years old and they're strumming a guitar. And some have got it and some... haven't. And you know that within 12 months time that most of them never touch that guitar again. There's just one out of 20, 30, 40 that just never gives up. And they're at it all the time. And they just keep playing and getting better.

A few final thoughts...

TMG: What do you think about the exposure your kids get to music - what they get through school?

LR: There should be more of it - lots more of it. My girls, well, obviously they're around it all the time. Because I've got my own studio, my oldest is like, "Mummy record me, please!" She's been singing on stage now - and she's got it going on. At the same time, I don't want her to do it because it's what I do. I want to make sure it's really her passion. And I think it is, but I don't want to get too excited about that yet....

TMG: Not to be a pageant mother?

LR: Exactly. I act a bit dumb towards it. In actual fact I'm probably non-supportive - I'm a bit cold towards it.

TMG: Make her drive it forward....

LR: Basically, yeah. She'll have to do the hard yakka. But at the same time, I tell did say to her, "If that's your dream, if that's your goal, darling - and if you still want to do it when you're 18.... You're not playing in pubs, kid." I'll help her any way I can. So she doesn't end up on a path - gig after gig after gig. I just don't want my daughter in that scene.

TMG: Knowing that The Metro Gnome is all about taking the next step, are there other messages that you'd offer to other musicians?

LR: Don't waste time. Don't do what I've done do. Advice? Get in there, boots and all, and shake the trees big time. Don't wait. I wish I'd done that 10 years ago.

PLAYING LEFT HANDED: Living in a Right Man's World

By Paul De Carlo

Loads of 1966 Lefty Fender Stratocasters

So you decided to pick up a guitar, but you held it upside down. Don't worry, it is not as bad as they say, and yes, you can be just as an accomplished player as any righty out there. But I won't lie, it does have its drawbacks, but more about that later.

So you were growing up and playing air guitar or tennis racquets upside down compared to most of your friends, or you emulated Jimmi Hendrix and decided it was cooler to be different. Whatever the fact is, you are either left-handed, ambidextrous or it just feels more comfortable to hold a guitar with your right hand at the fret board instead of holding a plectrum.

If you are left handed, it is not your fault that you are statistically 27% better at the creative arts than your right-handed counterparts. It's not your fault that you are trying your hardest in a field that is generally dominated by the right-handed.

If you have picked up a guitar and you have found it comfortable to play right-handed (left hand working the frets, right hand plucking/strumming the strings), then for God's sake, KEEP ON DOING THAT. It will prove to work to your advantage and make things a lot easier, give you wider opportunities in purchasing guitars and be cheaper for you in the long run. If, like me, it is more comfortable to play the guitar upside down then you are in the same boat as me and about 1/9th of the world's population.

Left-handed players Martin Marnell and Paul de Carlo.

So, now you're thinking, why should I pay more for a guitar than my right handed counterparts? Why should I have a smaller selection of guitars to choose from when I am looking to buy? Well the answer is simply because that's the way it is, I agree it is unfair, but no amount of screaming ranting and raving will change the fact that all music/guitar shops are there to make money, and the large majority of players are right handed, so that is what the shops sell. The guitar companies who make the guitars are also there to make money and to make a line of left handed models slows and complicates production, so they only do a few runs a year of only a few models, and that is just the way it is, life is cruel, but I am sure you will learn to deal with it.

Most enterprising guitar shops will always have a small selection of left-handed guitars, and are always able to order left-handed models, but be careful here. As I am sure you are aware, guitars, like most instruments are not all the same, no matter if they are the same model. If you have a guitar in mind, and they make that model in left hand, and you like the tone because one of your mates has the same one BEWARE! When you pick one up to play, you may notice that it does not sound like your mates, or you just don't like the tone. All guitars are not the same, and even the same brands and models differ between each individual guitar.

Be honest with the folks at the guitar store, tell them you are serious about purchasing a new left handed guitar, this is how much you want to spend, this is the style, shape or brand you are seeking and talk with them about what they can do. Make it clear to them that you will not purchase the guitar once it arrives at the store, but you will buy it, if after you play it, it is all you thought it would be.

So the first question you need to ask yourself prior to purchasing a lefty is, what do I want? Your answer to begin with is simple. Electric or acoustic? That is an answer I can't help you with, my only suggestion is pick what ever grabs you the most. Learning one is not better than learning the other. Learning something you enjoy listening to is the key.

 Left handed guitarists Sean Nash and Martin Marnell demonstrating their left handed shaker skills.

Shop around, use the net to your advantage and pick up and play as many lefty's as you can. What ever you do, do not pick up a right-handed guitar. Do not even contemplate buying it because you want to string it upside down a la Jimi Hendrix. Jimi had no choice - but you do. If it is an acoustic, the guitar will never sound, nor play as it should when strung upside down. The bracing of a guitar is used for support and tone, if you mess around with the strings, then the bracing is compromised as is the tone, feel and structure of the guitar. If you want electric, then you are lucky as you have a pretty good selection as a lefty.

So there are all the negative things about being a lefty, so what are the positives I hear you ask? Well as a lefty:

• You stand out from the crowd (think Kurt Cobain, Jimmi Hendrix, Paul McCartney, Leonardo DaVinci, Napoleon and of course Ned Flanders from The Simpsons).
• You can play anything a righty can and there are no limitations to what you can play despite all the false information out there.
• It makes guitar lessons a breeze, because if you are sitting in-front of your teacher, all you need to do is mirror what he/she does, which is easier than looking and reversing the finger positions like righty's have to do.
• You are more likely to make it in a band and attract attention because a band is also about looks these days and left-handed guitarists look unique.

Well I hope this has been of some help, below are some useful links for all you lefty's, but most of all, have fun playing, enjoy it and keep playing that baby upside down.

Lefty's unite! ! ! ! ! !

Gnome Links:

• You can find Left-Handed Guitars online: www.anythingleft-handed.co.uk/guitar.html or www.ebay.com
• Compare Guitar Lessons: www.GuitarLessonsReview.com
• Learn Guitar Crash Course: www.learn-to-play-guitar.net
• Left-Handed Heaven: www.lefthandedguitars.co.uk
• Southpaws Rule This Site - this company in the US specialises in left-handed stringed instruments. Guitars, basses, banjos. www.southpawguitars.com
• But wait! There is hope for the Left-Handed In Australia! www.pksmusic.iinet.net.au

From the Gnome... Lessons from Book Clubs

Lately I've been thinking about what we can learn from the book club. A group of people who like to read get together on a regular basis to discuss a book that all of them have read. Then, they collectively offer suggestions for the next book to read. Not everyone will like every book, but most everyone will put some effort into reading each book so that when they do meet, the discussion can be had. Most of the book clubs I've heard about (I've never joined one - just to be clear) include some sort of beverage component - always an enticement for me to participate - coffee and tea maybe, but a social alcoholic bevvy is more likely to do the trick.

So book clubs are a small groups of like-minded people who found something in common and through scheduled meetings, help each other to do more of it - and to get more out of it. They read, discuss, and grow.

Well, if it works for books - it can easily work for musicians. Small groups of players can start a club. Not a band per se - which requires more commitment - but a group that gets together, say, once a month, and plays 1, 2, 3, or however many songs together JUST FOR THE FUN OF IT. And then they break down and discuss what the next 1, 2, 3 or however many songs will be. Everyone leaves exhilarated from the jam and with a deadline for learning some new songs. There's no audience except for themselves. It's just a jam. If one or two people can't make it - it still happens. It's loose, relaxed, fun, and yet, it keeps you challenged and involved. Busy people making excuses and creating opportunities to GET OUT THERE! and play. What could be better?

Who knew there was so much to learn from your everyday book club?

If you like this idea, then do something about it. Start a JAM Club!

Can you make up a better group of words to fit the acronym? I came up with the Just Appreciate Music Club. Send your ideas to me.

Tell The Metro Gnome about your JAM Club - we would love to share your story with the rest of our readers. Don't forget pictures!

Now... GET OUT THERE!

~The Gnome

The Metro Gnome is a supporter of and collaborator with the Music.Play for Life campaign. For more information about the campaign check out the website at http://www.mca.org.au/music.playforlife.htm