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Those who have heard Danny Barnes' 2010 album Pizza Box may be forgiven if they initially assume that Rocket was recorded during the same sessions. Using almost the same studio team, Rocket features Barnes on his requisite banjo, Barnjo (a six-string solid-body electric banjo), various guitars, loops, voices, basses, keyboards, and assorted programming. He reunites with producer John Alagia and drummer Matt Chamberlain -- even Dave Matthews returns on backing vocals for the album's first single, a righteous cover of T. Rex's "Bang a Gong (Get It On)." The only new member of Rocket's ensemble is keyboardist and occasional bassist Zac Rae. There is a solid argument to be made for this, of course: "If it ain't broke, don't fix it." With the exception of the woolly cover of the T. Rex tune, Barnes wrote all the material here using his trademark wiseacre, gallows sense of humor. That said, the other 11 songs here are all winners musically. Opener "Poison," beginning with dubbed-in television or radio evangelist chatter, is the natural companion piece to "Charlie" on Pizza Box. It's the similarly narrated affair of a dope-abusing, alcoholic ex-con. It begins gently enough but kicks into bone-crunching riffery on the chorus. Barnes is as comfortable in the role of a rocker as he was a bluegrass musician in the Bad Livers. Check "Soulcrusher, a strutting, swaggering lead-in to the T. Rex number. Likewise, "Rich Boy Blues" is a funkier, fuzzed-out space rocker with only Barnes' understated vocals holding the track on the rails. Some tracks that begin in American roots banjo traditions (e.g., "Wine") eventually evolve as uptempo intense vampy rockers with singalong choruses adding to the party-til-you-puke ethos. The two closing numbers, "One" and "Safe with Me," break that mold significantly. The former uses some bluegrass licks before transitioning into a spacy groover and the latter is a gorgeous trippy Americana love song with a lilting melody and poetic homespun lyrics. Ultimately, Rocket, like its predecessor, reveals not only that Barnes is a fine songwriter and instrumentalist but -- all these years on from the Bad Livers -- that he's matured into a musical tour de force.

Danny Barnes has been around. He and The Bad Livers made a bunch of records and helped Keep Austin (and the rest of the country) Weird for most of the 90's. This trio of acoustic musicians led by Mr. Barnes, a banjo player, opened for the Butthole Surfers on an early tour. BS member Paul Leary produced their first record, and the punk crowd took them in when the acoustic crowd didn't know what to do with them.

Danny Barnes has come to redefine the banjo's perceived image in an eclectic career for which genre definitions have merely been a polite suggestion. From his early days as the driving force behind the impressive Austin-based Bad Livers, a band of pioneering Americana missionaries, through a prolific solo career and the development of his trademark 'folkTronics' project, a startling approach that incorporates digital technology and various effect pedals to stretch the tonal range of the instrument, Barnes has always listened to his proudly offbeat inner voice.

On 'Rocket', Barnes continues to push the envelop and reinvent the wheel with the creation of the 'Barnjo 15,000'; a prototype of a hard body electric banjo with pickups that allow him to showcase his love for rock and roll, and his passion for melding genres together in a style that is quite frankly, all of his own making.

Fans who pre-order the album will automatically be entered to win a super deluxe grand prize including a custom Danny Barnes model Bishline banjo, a skateboard with custom Danny Barnes artwork, an Estes E-Kit Model Rocket, a t-shirt with album art, an old-school cassette boom box, and an immediate download of 'Angel' (an solo acoustic banjo recording of the album with vocals). As part of the release, ATO is making three configurations of the album available; studio (CD), solo acoustic banjo with vocals (CD), and demos (cassette). For additional details, please visit: www.dannybarnes.com

Barnes' cover of T-Rex's "Get It On (Bang A Gong)" is the lead single from 'Rocket', goes to radio this week, with Dave Matthews on background vocals on. Matthews, a longtime fan of Barnes, signed him to his label, New York-based ATO Records. The album was produced by John Alagia (Dave Matthews Band, John Mayer, Jason Mraz) and features Matt Chamberlain (Pearl Jam, David Bowie, T Bone Burnett) on drums.

According to Matthews, 'Rocket' is my favorite new music...the music is smart and soulful, and the lyrics are profound. It is heaven and earth. It is Americana, from the back porch to the pulpit, shattered dreams on angels' wings. I can't stop listening. In the haze of over produced, 'perfect' recordings, Danny Barnes spent less than two weeks banging out an album that may well save your soul."

With 'Rocket', Barnes spins tales of American life like a latter-day John Steinbeck, wielding banjo and pen with equal effect, and the character of his voice as the perfect mouthpiece to truly bring these songs and stories to life. 'Rocket' comes stuffed with sharp hooks and addictive vocal and instrumental melodies, but it's Barnes' skills as a storyteller that shine strong. He tells tales with the wry wit and humor of Garrison Keilor, the lyrical eccentricities and intellect of Randy Newman, performed with the southern twang and swagger of Levon Helm. Barnes combines and blends all of these elements into a style that is uniquely his own.

The list of artists he has performed alongside is as eclectic as his music and includes Bela Fleck, Robert Earl Keen, Lyle Lovett, Government Mule, Bill Frisell and members of the Butthole Surfers, Dead Kennedys and Ministry. Barnes is prominently featured on two tracks on Dave Matthews Band's latest Grammy nominated album, Big Whiskey and the GrooGrux King. Rocket will be officially available at all digital and physical retailers on November 8th, 2011.

The track listing is as follows:
1) Poison
2) Low
3) Fun
4) Angel
5) Soul Crusher
6) Bang A Gong (Get It On)
7) S.O.T.
8) Wine
9) Rich Boy Blues
10) One
11) Safe

Look through Larry Keel's discography and it's easy to see that the Virginia-based flat picking guitarist is fond of jamming with others.

He has made albums with several different groups, individual acts and his family.

Now, he's making music with banjoist Danny Barnes.

The duo, along with Keel's wife Jenny on bass, play at 9 p.m. Thursday at the Pisgah Brewing Company in Black Mountain, N.C.

“I love being able to present something new to the crowd,” Keel said. “Mixing it up keeps it fun for the crowd and for myself.”

He and Barnes met up several years ago at the Northwest String Summit Music Festival and have played together on several occasions.

Keel is a big fan of Barnes' music.

“I love a chance to play music with Danny Barnes, I tell ya. He's just the newest, greatest songwriter that I've heard,” Keel said.

“Danny is one of a kind, entirely. He's an amazing banjo player, and completely different from Bela Fleck or Tony Trischka or any of them. His song writing, I don't know, he's like the new John Hartford, I think.”

Their music, Keel said, comes from different sides but “we think it makes for a very interesting show.”

While they don't have a project together, they do have some songs worked up and ready to share. They'll send us other material, then get together a few days before gigs to work up the songs and work on other music.

Adding Keel's wife, Jenny, is a perfect accompaniment to Keel and Barnes.

“It rounds everything out really full and gives people something they can understand with the hard-driving bass beat up in there and a lot of harmony singing as well,” Keel said. “It rounds things out perfectly.”

Keel is one of the top acoustic flat pickers performing today. He'll pick up a banjo or mandolin on occasion, but loves playing his guitar.

It's not his only love, though. Keel is just as comfortable catching fish as he is snagging new fans.

“I fish for everything,” he said. “Every kind of trout. I do a lot of bass fishing on rivers and lakes. I get out to the salt waters as much as I can. I try to cover all the bases that way.

“Sometimes, depending upon where we are playing if there's a good lake or pond or river nearby and we have enough time, I'll try to get out and hit the water.”

Alternative folk rocker Danny Barnes toiled over his electric guitar at the New Orleans Jazz Fest this afternoon, earning praise for his agile fingers from both longtime fans and first-time listeners.

The muscles in Barnes' tattooed arms flexed and his stringy blonde hair hung in his face as he worked to crank out songs like "Caveman" for an audience gathered in the shade around the Lagniappe Stage.

Barnes, who teamed with a drummer for today's performance, is known for his unusual innovations on the banjo and collaboration with Dave Matthews, who is featured on Barnes' album "Pizza Box." Barnes is also known for heading the now-defunct acoustic punk-rock band the Bad Livers.
Brian Kelley of Fond du Lac, Wis., said he owns all of Barnes' albums, but today marked his first time experiencing a live performance by the banjo and guitar player.

"He's a virtuoso," said Brian Kelley of Fond du Lac, Wis. "I've never seen a guy's fingers move faster on the frets."
Kelley said he also likes Barnes' voice, particularly his "twang factor."

Kelley, who attended Jazz Fest with a group of friends from other parts of the country, said Barnes and John Mooney & Bluesiana formed the main attractions for him.

Pam Pacelli of Davis, Calif., said she and her husband, Mike Harty, discovered Barnes while researching Jazz Fest acts online.
"I heard him, and I thought he sounded interesting," Pacelli said, adding that she liked the pairing of Barnes with the drummer. "I like the way they work together."

Like others, Harty expressed respect for Barnes' picking skills.

"I just think he really understands his guitar," Harty said. "He makes sounds with it that are very unusual."

Dave Dikeman of Hawaii, who caught the show with a group of his college and high school friends, said he has seen Barnes perform a number of times.
"This guy has just obviously been absorbed with his guitar playing for 100 years," Barnes said. "He's a great, unique guitar player."
Caprice Castano of Fountain Valley, Calif., said she walked over to the Lagniappe Stage to relax in the shade, but wound up enjoying the sounds of Barnes. She said his sound reminds her of The Black Keys with a bit of The White Stripes.

"It's good," she decided.

Barnes' influences include genres as varied as bluegrass and metal. The musician paused near the middle of his show to compliment New Orleans heavy metal musicians, mentioning local bands Down and Goatwhore.

"You guys have got a cool metal scene down here," Barnes told the crowd.

Composer, singer/songwriter, and banjoist extraordinaire Danny Barnes is contemplating his instrument’s bad rap.

“Folks are overwhelmed with images and sounds in contemporary life,” Barnes says. “And they deal with this overstimulation by grouping things in the easiest way. ‘Oh, that guy, well, he’s rich. That guy over there only has one leg. What’s the easiest way to group them so we can get on with it?’

“I look at a banjo like a pencil. You can draw whatever you want with a simple pencil. It’s a channel to get the idea out, it isn’t the idea. But that’s not really the way our world is ordered in a meta-narrative sense, I don’t suspect. I like the way the bible talks about seeing things the way a child sees things; that’s perhaps a more creative way to see things. I like the way the philosopher George Berkeley talked about how things only exist in their particulars.”

IT was a damp, wind-whipped Thursday night in Astoria, Ore., but inside the Fort George Brewery & Public House an eclectic, standing-room-only crowd kept warm and dry. Ol’ Danny Barnes, a Washington State-based singer and banjoist, twanged and crooned before a hooting audience of Astorians who had poured into the space on their way home from work. In the crowd were Coast Guard officers, marine biologists, nursing students — and the waitress who had served me lunch earlier that day.

I finagled a stool at the pub’s sturdy wooden counter and, taking a cue from my bar mates, ordered beer-battered fish and chips and a dark, potent stout. Occupying the next stool over was Josef Gault, a Fort George regular and self-described “wild Hungarian.” Mr. Gault — actually a native of Detroit — is a musician and cultural events coordinator at the local community college. In his estimation, the town’s blustery climate and its cultural vibrancy are intertwined. “Because of its turbulent weather,” he said, “Astoria attracts artists.”

{gain twenty years of road experience with a five minute read}

here are some free suggestions for engaging in this type of behavior successfully. i have spent a fair amount of years working and logging miles as a sideman, and likely will do so again at various points. i wanted to give you some ways to perhaps operate more smoothly within this role. what follows are some hard earned/learned lessons for your consideration.

to determine if this article might apply to you, go out and look at the marquee of the club where you are playing tonight. is that your own name up there? if not, this article is probably for you. have you found yourself in a musical version of death of a salesman, and you're not playing the part of willie loman? is the act you are working with called stumpy bill mcknucklehead and you don't happen to be stumpy bill? read on.

the principle rule to remember: your number one job above all else is to make the leader sound good, look good and feel good. {read that again. we will come back to it over and over. we will refer to this as the rule.}

your primary benefit in the transaction: you get to play, learn, work, travel, work with and meet great musicians, get paid, and gain valuable experience, all without having to sweat the business details. it's the modern musical version of apprenticeship.

your path for achieving success is two fold: 1. play great. 2. in all things, be easy to deal with.

reconcile yourself to these facts every waking moment of a tour, or other business engagement of any kind within this scenario. if you forget the rule for even a very short time span, there's going to be static. you can also reverse engineer this, detect some static? have you remembered our little rule?
there are some that will never get these concepts, there are some that can learn them, and sometimes people come along that are pretty much born for this role. you can easily determine if you are in the first group by taking an accurate inventory of your self-centeredness. folks that are really all about their own trip are miserable in this role of sideman. and they make everyone else miserable as well. i'm not intimating that this type of person is bad or anything, however, they might should consider forming their own band.

here is a little test that can be very instructive and may help create that win/win environment on a recording session, gig, tour, practice, writing session, jam, or whatever:

ask yourself, "okay..self….who is The Dude here?" most likely, it is not you. {depending on the size of the band, the odds are one in four, or five.}
who is the dude? who is the person that comes up with the ideas, signs the checks, negotiates the deals, writes the music, does the interviews, provides the credit for all the travel arrangements, keeps the books, collects the receipts, pays the taxes, mails the checks out, has likely spent years starving and building his scene before you ever got there, and as well takes the heat if things go in the crapper? that's probably the dude. identify him or her and make sure they are happy. if they are happy, things stand a chance of going great. if they are pissed off or depressed, you are screwed. {you may be operating under a band name, but that doesn't mean that there isn't a dude. and just because the dude is mellow and easy going, or a zillionaire, that doesn't mean the rule isn't in place.}
if you want to participate in making some art, get along with other musicians, get other jobs, make some bread, travel with some like minded souls, learn something, contribute in the lifting up of the battered human spirit, and otherwise maximize your opportunity, figure out who the dude {or dudette} is, and apply the rule. it's pretty simple.

once the determination is made, don't forget. but it's okay. if you do forget, you'll be able to tell very easily by detecting static. it's like if you are driving down a country road and you start hitting mailboxes, that's a sign to get back onto the road and get out of the ditch. the indicator is wired up with a hair trigger. you'll know instantly.

here is a list of ideas to help you, in no particular order {and i'm assuming you are nailing the music so much that the dude [hereafter referred to in union parlance as the leader], rest of the band, audience, and office staff would have great difficulty imagining the music without your presence. if this is not the case, guess what? you have other problems than this stuff. best to finish the dishes before remodeling the kitchen as it were. i'd hit that woodshed and practice. learn the music better, and get better at what you do in general. then you can wonder about all this other jazz.}

a. money:

don't hammer anybody for money. ever. typically the leaders i've worked for, if they were at the level where they are putting out records on labels and touring and doing stuff, it is in their interest {and they will want} to pay you as much as they can. let them do that on their own. if you like the music, your role in the group, the hang, and you feel as though you can learn something, then go ahead and play with them for a while and let the money scene develop over time. then you can make an informed call on whether or not you would like to stay on. before the first gig is a bad time to start the money hassle. i wouldn't get overly worked up about economics in a brand new situation.

it's a common misconception, that is borrowed from the corporate world i guess, i don't know where this comes from, that you have to really get in there and fight and play hardball to get what you want. the odds of this working are slight. go ahead and try, but i don't think you are going to like the result. i call this "negotiating against your teammates."

here's an issue to consider. let's say you and i go into a lemonade stand together. we agree to split the money after expenses. and you find you aren't making enough bread. the answer to this isn't to hammer me for more money. the problem is our overall collective income, not our deal between each other. if you go up to 52% and i go down to 48%, you may win that argument. but we haven't changed the cash flow. i see people make this logical error over and over. and over. our fixed costs are the same, and our net is the same. we are merely changing the clothes of the corpse so to speak. tie or no tie, that bastard is still dead.

so what i'm suggesting is to relax about the dough. you stand a better chance of making more money by applying the rule than by negotiating against your teammates. help the leader make a better record. help him or her do better shows. help the leader feel like the work is important if you think it is. in the long run this is going to be way more fruitful than pitching a fit because your girlfriend is mad at you about being gone and not bringing home enough cash.

also remember, if you have lots of outgo in your personal finances, this is no one's problem but your own. do not sweat the leader with this. remember the rule.

b. do not get involved in discussions about collective business affairs.

if you are asked a direct question about your opinion in a business matter, perhaps give a general response, but i would try to stay out of it. everyone thinks their clock has the right time, and musicians all love to speculate about how to do things. especially if they aren't personally at financial risk. just remember our rule, and keep fairly quiet. you'll contribute more by playing really great, and being in a good mood. never forget that one of your main benefits in the sideman modality is that you don't have to sweat the arrangements. all you really have to do is show up on time, play your ass off, and be easy to deal with. worrying about all the business stuff is simply not your bailiwick. enjoy this. it's the great asset of the sideman. don't blow it.

never ask for exact numeric figures on business deals that aren't directly yours {you'll be able to tell if you are involved because you will need a pen to sign something}. a gentleman or lady will never discuss money.

c. while on a tour, or in a business situation, do not, under any circumstances, self-promote your own work outside of the group you are in.

that is the lamest of the lame. this behavior directly violates our simple rule. one of my teachers told me a story about going out on a tour with a particular banjo player guy who would get out of the car at the jobsite, and rush in with a cd to give to the venue owner, before the rest of the band had even walked in. i don't think it would be possible for me to lay out verbally how much i am NOT a fan of this behavior.
don't self-promote anything. play really good. be easy to get along with. don't complain or talk too much. help carry gear. offer others some encouragement. but do not hand out your cd. do not try to "get their number" and all that. if the leader says, "hey the guy that plays keys in my band here has a really cool cd you might like," then by all means, hand it over. but the deal is, you should be asked for it directly. that type of "networking" is totally wack, and i think the term sounds a lot like "not working."

d. do not be weird about the calendar.

if someone asks, can you play march the 3rd? the answer is yes, no, or maybe, let me check. this is not an essay question. if you are unsure, get back to them. quickly. a typical musician will have this conversation about 120 to 200 times a year {one for each gig}. after a few years, it should be very smooth and easy. it's the same question over and over.

e. do not be weird {overly pedantic or confused} about the traveling arrangements.

basically, you are splitting at a certain time, and coming home at a certain time, and in between, you'll be practicing the rule, playing your ass off, and taking care of yourself, and getting along smoothly with a group of other people, productive stuff like that. some folks can never really get it straight in their heads what the order of daily events will be on a tour. i would offer that in a sense, it does not matter. you will be traveling en masse. is it really that big a deal if the in-store is at 5:30 instead of 5:00? who cares? it will be fairly obvious. hint: if you see everyone get out of the van, do so yourself. if you are at a hotel, go brush your teeth. if you are at a venue, set up. if you are at a cafe, get some food.

it's the same deal over and over:
get up
check out
travel
sound check
food
play
sleep
repeat

perhaps there's a periodic in-store or radio interview thrown in there. but that's it. it's not a big mystery. you'll be able to tell because you'll pull up to a radio station, or record store. and get out. and go inside. and guys with clipboards will start telling you stuff.
the reason i point this out, is you'll stress the leader or tour manager out, if you are constantly confused about what is going on. the music is the fun part, the travel is the hard part. do everything you can to make the travel go smoothly.

another word about the schedule, on tour, do not slow down the group by having some personal thing you want to do on your own. "oh i'd really like to go to this hot air ballon museum in thus-and-so town." well forget it. just concentrate on your job and remember the rule. you aren't on vacation. if it works out where you can split for a bit or if you have a day off, by all means. but do NOT hassle the other folks in the group with this kind of stuff. remember our rule.

f. be really careful about getting your annoying friends into the backstage area.

some folks i've traveled with, i don't know, i guess they just don't have enough to think about, and they will look at a tour as a social event. they see "washington dc" on there and they think, "oh well i'm going to invite six of my friends to come backstage." this is a bad idea. you are there to work, do so. if it works out and you can see friends of course that's cool, but remember, the other folks in the group likely have zero interest in your cool pal frank that you went to summer camp with.

g. try to be the easiest person the leader will ever deal with.

if you do that, they will be delighted to have you back. you won't get your needs met by being difficult. or passive aggressive. or endlessly bewildered.

h. transport behavior:

plane
don't bug the leader or office about plane tickets. they will magically appear. check-in online in advance and print out your pass, always. show up at the airport two hours early and get your bags checked-in, get to the gate and relax. have your gear where you can fly with it with no hassles. don't show up to the airport with extra bags and weight. have your trip together where you can roll it on down the street with no hassles. have your scene together going through security. never miss a flight. don't complain about air travel. an adult should not be confused by an airline. it's the same thing over and over.

van/car
keep your personal items together in the physical realm, it's bad form to be spread out all over the vehicle. a good packing plan is to work out how everything can go in, and do it the same way each time so you don't have to re-invent the wheel. have a book and some music so you can entertain yourself. always help load and unload. don't slam doors. try not to make a mess. help the driver.

and when it comes to driving:
if called upon to drive, remember, a good driver never makes the passengers aware that he is driving. he drives really smooth and easy, and is easy on the machine. there are no jerky moves and no one ever gets scared on account of his lack of technique. at this point you are basically commercially driving. be super safe and easy. remember the rule. you want everyone relaxed. if you aren't a good driver, don't. just be honest and tell them.

my suggestion for navigation is kind of inspired from aviation ground school. one person drives safely. another person reads the map {or gps} and never the twain shall meet. the way to tell the driver the directions is like this, "turn left at the next light." "drive forty miles and merge onto I80 W. i'll remind you about two miles out." let the driver drive smoothly and not hit anything. don't hassle him about the directions, just tell him simply and clearly what the turns are, one at a time. and don't give him the leo tolstoy version of directions. "well this road goes parallel for a while, we just came from back here when the gig was over, over there was where we ate the last time we were here, and anyway, this road reminds me of some other event that you aren't interested in that isn't now, so when you get there, don't turn on jackson street. oh we should have turned back there."

one person drives safely, the other person reads the map and communicates with all due clarity.

when the vehicle stops for gas, help pump the gas, check the tires and oil. i can't tell you how many tours i've been on where the band all goes into the store leaving the leader to service the car. over and over and over.

if you pump the gas, the leader or tour manager needs the receipt. always.

hey hollywood, get your rear end out here and wash them windows.

bus
be a very clean person. spend lots of time in your bunk. maintain a cheerful attitude. try really hard not to get sick on a bus {or van/car of course}, as they become germ incubators pretty quickly. be really nice to the driver and help him. he has a hard job and you need him to be safe and happy. never make the bus wait on you. don't collect a bunch of weird food and stick it in the fridge and never throw it out. just because you are on a bus, don't have a bunch of crap on there with you. you should be able to hop on a plane and fly away easily {you'll thank me for this should things ever get weird}. remember the bus is kind of a crucible. don't get into big heavy discussions about politics or religion in a cramped environment. always be aware of other's space. don't talk much. do not invite your friends onto the bus. that's everyone's home. never make the bus stop for you. bring a bunch of vitamins and hand them out like candy. be a really good listener but don't talk very much. stay out of other's way emotionally. if someone is making a personal call in the back lounge, leave them alone. don't take sides in disagreements. if the band starts to have a really heavy business conversation in the middle of long tour and everyone is exhausted, say things like "we should get home to deal with this, let's rest and just play as good as we can and take it easy with each other." don't hassle other's with your drug and alcohol use.

i. in a radio {or print} interview situation, do not speak unless directly spoken to.

and don't talk about your own work unless the interviewer directly asks you. be quick about the answer and divert the attention back to the person that hired you. it's like being in a play. divert the attention back to the main character. that's your job. do that during the gig as well.

j. keep your intent off the merchandise.

it's not yours. remember the rule. let's say i just got a job playing with the dick nobles review, and i pass by the merch table at the show and he's got cds out there for sale. someone had to take the financial risk of manufacture. and that wasn't me. so if there is a debt to be serviced, and it's not my debt, this transaction is none of my business. if your name isn't on the debt, your name isn't on the profit check. also technically if mr. nobles sells five cds, yet is in debt 50G on the record, there is no profit.
as a sideperson i don't WANT to get involved in his business. what i want to do is play great and be easy to get along with. also, i would never hassle the leader with wanting to put out my own records for sale at the merch table. he may ask if i want to put something out and that's fine then.

k. hotels

never charge anything to the room that you don't pay for yourself. i can't count how many times i've road managed a tour with a group of people, and i go to check-out and someone ordered room service. so i pay the forty bucks and go out to the van, "hey someone spent forty bucks on room service." "oh sorry man i forgot." how does one forget that? answer, they don't. order whatever you want, but pay for it.
i keep the hotel room really neat, the maids have a tough job. tip them. also when you leave for check-out, secure the door to your room. don't go down to check-out and leave the door open. why? someone could come in and call long distance on the phone or eat the food in the mini-bar or whatever and the leader would have to pay it. if you rent me a room, you are basically giving me access to your credit line. if i then make a mess or buy a bunch of crap, i could really screw you up. remember the rule.

and i wouldn't call the leader if you have problems with your hotel room. if you are having trouble getting onto the internet or something, call the front desk, not the leader or tour manager. if you need to move because of the party in the next room, call the front desk. on numerous occasions i have had sideguys that i hired, call me in my room in the middle of the night and complain the internet wasn't working. my 85 year old mother would know to call the front desk. yet mr. cool alternative thinks waking me up is going to help. and also everyone knows, the nicer the hotel, the more expensive the wi-fi is, and the less channels on the tv. so, don't be shocked. your tour manager can do nothing about this to fix it for you. pony up.

l. touring is a series of "what's nexts."

after the show, guess what? you will soon be going to the hotel. after that guess what? travel. and then…i don't know, a load-in, a sound check, dinner, and a gig. what's next in the series. while you are finishing up one thing, get your stuff ready for the next thing. move with ease. a,b,c, what's next in this series? d.

m. don't make others work harder through your own inaction, or inattention to detail or inability to grasp the overall schema.

when it doubt, stop talking and just look.

n. you will be 1099'd for every dime you receive.

this is as it should be.

o. offer to spring for dinner or coffee once in a while.

it's a fine gesture.

p. it would be good for your head to have your own little band or business on the side, just to experience the realities of bidness if nothing else, and to keep a set of real books.

this will help you to understand.

the end.

if any of these comments offends you or rubs you the wrong way, try setting up a tour yourself for a group. try functioning as a leader and see what you think. go ahead and take the financial risk. you'll soon see my point here. the short version is just remember that little rule in all things.

Danny Barnes at Mountainstage

Danny Barnes appeared on Mountain Stage last February (2010.) The episode is scheduled for distribution on affiliate stations on January 28, 2011. For a complete list of stations and airtimes, please check here:

http://www.mountainstage.org/mtnstageaffiliates.aspx

The following week, his set will at posted at NPR.org/mountainstage and archived for continued access.

You can also connect with Mountain Stage on Facebook at facebook.com/mountainstage and the podcast is available on iTunes and Feedburner.

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