2 von 2 Kunden fanden die folgende Rezension hilfreich
- Veröffentlicht auf Amazon.com
It is, as The Four Tops had it, the same old song. A hot new band, achingly-hip, generating a buzz across the nation, with some you-so-should-have-been-there gigs and a couple of must-hear MP3s. The debut album strides purposefully into every end-of-year top 10, perhaps a front cover of Spin, and then a national tour that finds the band in bigger venues. But they don't quite live up to expectations, and reports splutter out that our charismatic frontman - the one with the haircut that everyone's wearing - is indulging a little too much. The bassist leaves citing `nervous exhaustion' and is quietly replaced, although no-one really notices. Then eerie silence, punctuated by the occasional reports of `epic intentions in the studio', the guitarist yo-yoing between Hollywood and rehab, and perhaps a shaky demo somewhere on MySpace. Six months down the line, an enthusiastic press release heralds an `incredible return to form'. The nation listens to the exclusive playback of the new single. And shrugs.
This, in outline, is Bandalism - the wasteful destruction of potential musical glory. The details may vary, but it's been happening for decades. You would think - so well-versed (usually) are they in pop/rock-lore - that aspiring popsters would be savvy to this and act upon it. Well, now they have no excuse. Through extensive research of other bands' foibles and fripperies (and no small taste of those bittersweet fruits himself) Julian Ridgway has written the essential manual to survival and success (and dealing with drummers).
Really, it's all about choosing the right people. All bands are based on types -the cool one, the quiet one, and so on - and a questionnaire allows the reader to assess where he or she fits in - and where his or her bandmates do. Working this out at an early stage saves a lot of hassle down the line, translating into what instrument each band member should play, and how they will endure on the choppy seas of pop stardom. Once the band is correctly assembled, excited about the music they're playing, and wearing the right clothes, it's necessary to construct a music industry igloo. In here, insulated from the chill winds of the business, the band can write the tunes that'll change the world. With analysis of effective bonding techniques (for the Red Hot Chilli Peppers, we learn, not altogether surprisingly, that this involves getting naked), where to practice, how to deal with the drummer and how to stay sane on the tour-bus (each member of the English pop combo The Animals drew a face with double-sided tape above the top lip. A pubic hair from each sexual conquest constituted the moustache), Bandalism deals with every stage of a band's career, through the recording of the debut record, the international tour, the tired return home and the horrors of what to write about for the second album.
More than an idiots' guide (although, judging from the endless disasters that bands appear to construct for themselves, idiots will fall among this book's target audience), Bandalism is interspersed with Venn diagrams and flowcharts, and Ridgway writes with a wry eye. In discussing band member types, the very name of Black Sabbath's bassist provides the perfect summary of the qualities of the typical quiet one/bassist:
"Geezer - the all round decent, solid bloke, and Butler - the honest manservant inhabiting the world of the rich and famous by virtue of an endless capacity to serve uncomplainingly in the shadows".
Bandalism is the key to avoiding the train-wreck that most bands find themselves in. It should be given to anyone buying a guitar.
Probably not to drummers, though. They're a lost cause.