A Quote by Greg Ginn
People from major labels were afraid to go to Black Flag gigs throughout most of the bands existence. They treated our gigs as something threatening. Im sure that it probably was. They probably had reasons to be scared.
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People from major labels were afraid to go to Black Flag gigs throughout most of the band's existence. They treated our gigs as something threatening. I'm sure that it probably was. They probably had reasons to be scared.
I missed a lot of family weddings and funerals because we were out on the road and had these big gigs, and you can't pull out of these gigs at the last minute because too many people are counting on it. It got to the point where I was consumed with that.
In our school, there were lots of bands putting up posters saying 'Come to our gigs'.
Don't edit yourself too much. Don't be afraid of looking stupid, 'cool' is so rarely funny I think. And just do it! Do as many gigs as you possibly can, and watch as many gigs as you possibly can. You'll get the rhythm of it in your head and make lovely friends.
I had known Hal [Needham] for a while by the time he moved in, so I was sure we'd get along well, and we did. He'd go off and do his gigs and I would do mine, and when we were lucky we got to work on the same ones.
Guitar gigs were everywhere in the '50s, and I started diddling around so I could keep working. Playing honky-tonk, simple stuff. I took a few gigs with an organ band that put me out front.
Signing to a major, there weren't many bands from our sphere that were doing it. I mean, obviously R.E.M. had done it, and Husker Du and the Replacements had done it, and maybe Soul Asylum, but that was probably about it. Those four bands were pretty much the only ones from that milieu that had signed to a major.
One of the things I loved about Black Sabbath was, when we were on the road, there were times we had been on the road for so long and we were tired and we were exhausted. We would show up at gigs and we were so tired that we would be fast asleep in the dressing room. Our road manager would come in and say, '20 minutes, guys.'
We had labels offering us deals the first year we formed - 1995 - but we were afraid of them going, 'Let's change this and that.' We had labels telling us to get rid of our singer. I look back sometimes and go, 'Imagine if we had done that-what a shame it would have been?'
I'm not one of those people who sits around knowing all bands and going to gigs all the time.
In Canada, the major centers to play are very few and far between. Bands that are traveling in Canada really have to travel between gigs.
It seemed record companies wanted bands to be creative because they didn't know how to manufacture underground music. We could do our own thing and go at our own pace. But that changed when major labels started wanting bands that would sell 7 million records.
One of the things that happened is I did a lot of shitty gigs. When you do a bunch of shitty bar gigs you have to get used to people yelling at you, you're used to thinking on the fly, to dealing with weird situations.
For new bands, I think a major label is the safest place to be. Independent labels are the ones getting away with murder. A lot of them are hobbyists who rip-off young bands, taking advantage of people who would never get signed to a major.
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've had a very different career than a lot of other musicians. I went through the major labels. I was signed to two major labels and bands. I've toured with Aerosmith, and I've had records on the charts, songs in the movies. If you had checklist of things a person wants to accomplish in music...I've done a lot. And I don't mean that in an egotistical way; I never take it for granted. But you can't think outside the box unless you know what's in the box.
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