Interviews
Dave
Pomeroy
ABOUT
DAVE POMEROY
"Over
the past 25 years, Dave Pomeroy has become a prime example of the
Nashville music scene's increasing creative diversity and complexity.
Consistently on the cutting edge of musical and conceptual innovation,
Dave has established himself as a world class bassist, performer,
and producer.
Dave
has played electric and acoustic basses on over 300 albums with a
diverse range of artists such as Trisha Yearwood, Chet Atkins, Elton
John, Emmylou Harris, and The Chieftains. He has played on Grammy-winning
recordings with Kathy Mattea, Alison Krauss, and Vince Gill, and has
performed in concert with Steve Winwood, Patty Loveless, Mose Allison,
and many others. His TV and video work includes appearances with Earl
Klugh, Eric Johnson, and Vince Gill. He has recorded in the studio
with world-renowned players such as Mark O'Connor, Kenny Aronoff,
Jim Horn, and Adrian Belew, as well as many top producers, including
John Mellencamp, Barry Beckett, Michael Omartian, and Owen Bradley.
In
1991, Pomeroy was named "Studio Musician Of The Year" by
Nashville's Metro Magazine, and his band, Tone Patrol, was named "Jazz
Band Of The Year" in 1990 and 1991. In February, 1997 he was
voted "Outstanding Bassist" at the third annual Nashville
Music Awards, and in July 1997, he was named the first annual Gibson-Tobias
"Bassist of the Year". He has been a member of the prestigious
Advisory Board of Bass Player magazine since 1994, joining such bass
luminaries as Stanley Clarke, Jack Bruce, and Ray Brown. He is one
of twelve musicians profiled in author Jennifer Pierce's book "Playin'
Around - The Lives and Careers of Famous Session Musicians",
published in 1998 by Scarecrow Press.[right] Dave is also featured
in Miller Freeman Books' instructional book, "Modern Bass Masters",
by Keith Rosier, released in February 1999. He also contributed as
a writer to “The Bass Player Book”, published by Miller
Freeman in 2000. ." [...more]
-
from The Official Dave Pomeroy Website [www.DavePomeroy.com]
Mike
Visceglia: What were your early influences and how did
you come to choose Nashville as a place to live and work?
Dave
Pomeroy: My
Dad was in the Air Force and was stationed in England from 1960 to
1964. I was very young, but I still remember watching "Top of
The Pops" with my older brother and sister featuring the Beatles
and Stones in their very early days, before they invaded the States.
Maybe because of that, all the great British rock bands of the 60's
and 70's, especially Cream, The Who, Deep Purple and Yes, were my
first big influences as a teenager. Later I got into jazz and players
like Charles Mingus, Ray Brown, and the German bassist/composer Eberhard
Weber.
We moved to the Washington, DC area in 1964 and I started playing
string bass in the school orchestra at 10 and electric in local bands
at 13. I finished high school in Pennsylvania and went to college
at UVA in Charlottesville, playing and singing in various bands all
the while. I quit UVA after 2 years and moved to London, England to
try my luck. I got in a band, applied for a work permit for a year
and starved while learning a lot about the realities of the music
biz. Meanwhile, a singer I had worked with in college had moved to
Nashville, and when I returned to the States I thought I would give
it a try as I didn't want to go back to a local music scene. I didn't
know anyone in New York or L.A., so I thought I'd give Nashville a
try first. I got a road gig after a couple of weeks, and 25 years
later, I'm still here, so I guess it worked out OK!
Mike:
Was there a single instant or "big break" moment when you
realized you were now a first call session bassists?
Dave:
My first big break was getting the Don Williams touring gig
in 1980, which led to a few sessions on his records, but no singles.
In 1985, things started to pick up when I started playing with the
"A Team" on all of Don's sessions. The first single I played
on was "Heartbeat In The Darkness," which went to #1 in
1986. Don's co-producer, Garth Fundis, produced Keith Whitley's 1987
album "Don't Close Your Eyes" which was probably my biggest
breakthrough as a studio player, especially since I played fretless
or electric upright on nearly the whole record. The single "I'm
No Stranger To The Rain" featured a big slide on the electric
upright that suddenly made my phone start ringing! Unfortunately,
Keith died of alcohol poisoning not long after that song went #1,
a terrible tragedy which made it a very bittersweet moment. From that
point on things really picked up, especially when Garth began producing
Trisha Yearwood, whose first seven albums I played on. I was able
to balance Don's touring with sessions until the end of 1993, when
I got off the bus to stay in town full time.
Mike:
There is the perception that there are two strata of professional
musicians in Nashville. One that does all the demo work and one that
does all the record work and rarely, if ever, do the two meet. Is
this a myth? Does there exist a closed circle of first call players?
Dave:
If there is a dividing line, it is more between the road players and
studio guys, rather than between demo and master. When I first moved
to town, it may have been true, but the lines are much more blurred
now. There are only a very few players who won't take demos - more
power to them, but they are the exception, especially in the current
climate. We all try to fill our date books with whatever comes in
first, with the understanding that if you get a call for a master
session, you can bail on the demo and take the record date. Ironically,
these days, the quality of demos is so high, both in playing and recording
quality, that many times master sessions consist of trying to 'beat
the demo,' or worse yet, copy it. There are also many instances where
a demo ends up becoming a record, and the players get paid again when
it gets released. The relationships that you build over the years
with various writers, artists, and producers mean that you may be
asked to do any number of things - live showcases, demos, masters,
or even a short tour, and speaking for myself, I don't rule anything
out. To me the balance of different types of work keep it all more
interesting.
Mike:
Nashville is the center of the country music universe. However, lately
there seems to be a blurred line between country and pop. Do you have
any observations about this, positive or negative? Where do you think
legends like George Jones or Loretta Lynn fit into this environment?
Dave:
Great question! Personally speaking, I get a little tired of Music
Row's periodic tendency to go for the big pop crossover by watering
down the elements that give the country genre its strength - emotional
singing, great playing, and especially great songs with strong lyrical
content. I love all kinds of music and I welcome the inevitable blending
of styles - as long as the song comes first! Unfortunately, I don't
think that is what's been happening the past few years. The trend
has been to copy whatever is successful rather than trying to come
up with original music. Putting steel and fiddle on a lame pop/rock
ditty doesn't change the fact that it's still a lame pop/rock ditty.
Country music has traditionally dealt with complex emotions and adult
themes, and I think that fluffy radio singles and trendy videos that
aim exclusively for a young demographic do more harm than good, regardless
of the sales numbers.
The true country fans have been left out in the cold over the past
few years. There are far too many vital artists like George Jones,
Loretta Lynn, Don Williams, and Merle Haggard who can still deliver
the goods but no longer have a place on the airwaves, thanks to "market
research." There are a few smaller independent country and Americana
stations who will still play these artists, but radio syndication
and program "consultants" have taken almost all the individual
choices away from mainstream radio - how boring. It's also important
to realize that what gets out onto the airwaves doesn't necessarily
reflect what's REALLY going on in Nashville. The recent resurgence
of bluegrass and roots music has been a welcome breath of fresh air,
and has given artists such as Dolly Parton a major career boost. There
is ton of great music by great artists that doesn't show up on the
media's radar, and it's going on ALL the time, regardless of what
country radio's "flavor of the month" is.
Mike:
I've always viewed the rhythm section work in Nashville as very spare
and solid - no fat. How do you approach your average record date?
Do the producers allow you much license to invent a part or inject
your own personality into the track?
Dave:
Well, my first rule of thumb is always to put the song and the artist
first, and to leave out any extraneous stuff unless it feels right.
I always try to find a sound that will enhance the vibe of the song
and blend with the other players, especially the drums and the vocal.
Lucky for me, most of the producers I work with give me pretty free
rein approach-wise. Sometimes I will ask if the producer or artist
would like a certain stylistic thing such as fretless, electric upright,
or a retro/flatwound strings type sound and style, but over the years
I have learned, sometimes the hard way, that the less said the better.
Sad as it may be, the bass is not usually at the top of a producer's
list of things to worry about! I know I'll hear about it if I am heading
in the wrong direction. In general, there is a lot of mutual respect
and trust in our community and I know going in that it is my responsibility
to essentially produce my own part with a minimum of fanfare. I think
that my personality probably comes through no matter what bass I play
or direction I take, and it's up to me to be tasteful with how much
of myself I put into a particular piece of music.
Mike:
Nashville seems to have embraced contemporary production values as
well. Do you find yourself in many non-live bass overdub sessions?
Has pro-tools overtaken the analog recording medium as it has in New
York? If so, do you think this has affected the presumed organic sensibility
of Nashville music?
Dave:
"Presumed organic sensibility" - I love that! Like all recording
centers in this day and age, keeping up with the Jones's technology-wise
is definitely a factor - sometimes to the detriment of the music.
I still believe that the rubs are what makes music feel good, and
I don't enjoy playing or listening to music that sounds so perfect
that it feels artificial.
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I
do quite a bit of overdub (usually as in canned or sequenced drums)
studio work, mostly a one or two song session for a songwriter in
a home studio. Bass, especially fretless is harder than many "one
man bands" will admit, so I get the occasional "I've tried
this myself and I just can't get it" call. These days, a lot
people request acoustic bass (upright) so I will do a few specialty
sessions on that as well, and sometimes replace a part on a record
if the previous players' sound or part is not working. People who
have worked with me a lot know that I have a lot of sounds to choose
from, so that does get me work that otherwise might not come my way.
Pro Tools has definitely made a HUGE dent in analog recording, but
there are still a few hold outs. I know a few guitar players who actually
have a full Pro Tools rig in their racks! To me, Pro Tools is best
used for editing, manipulating and post production and not necessarily
for tracking. It depends on who's driving. I still like that fat analog
tape sound if given the choice.
As
far as its influence on production, there is no question that it has
changed the way people make records. Like any new technology, there
are those who will learn how to use it creatively, and there are those
who are into bells and whistles for their own sake. There will always
be certain producers who make "organic" sounding records,
no matter what the recording format. My pet peeve is engineers who
move stuff around because it "doesn't look right" on the
screen without really listening with their ears!
Mike:
What is the music scene in Nashville like outside of "country?"
What percentage of work do you do outside of the genre?
Dave:
There has always been a strong music scene here outside of country,
but sometimes it's hard for some of those acts to overcome the Nashville
stereotype. A lot of contemporary singer/songwriters live here, as
its location makes it a great touring base. The great studios and
laid back lifestyle attract numerous "rock stars" to live
and or work here, for example, Steve Winwood, Adrian Belew, Michael
McDonald, Peter Frampton, and Mark Knopfler. Bob Seger has been recording
here for years, Patti Griffin's new CD was recorded here, and artists
like Edgar Meyer and Bela Fleck and the Flecktones live in Nashville,
too. The contemporary Christian scene is very strong, and there are
killer jazz players and a succesful label, Hillsboro Jazz, here too.
It's
hard for me to say exactly how much of my recording work is country
or not, because in a given session we may run from rock to pop to
country and back again, but I would say that probably at least 35-40%
of my work is non country. Most of my live work is definitely not
country. In reality, there is not as much live country music here
in Nashville as one might think. It's mostly showcases for artist
who are trying to get record deals. My solo gigs are pretty much everything
but country, and I am currently playing in a jazz trio (The Dennis
Burnside Trio) and a original rock band (The Jamie Hartford Band)
Other than those two "steady" gigs, I play some bluegrass,
which I love doing, and the very occasional country showcase gig,
if it's an artist that I believe in.
Mike:
How do you record your basses? Direct? Mic'd? Combination? Do you
bring any outboard devices i.e. compressors, signal processing devices
to your sessions?
Dave:
Personally, I love the sound of an amp mic'd up, but most of the time
it's just not practical. In typical studio sessions I go direct. I
bring one or more of my own racks to virtually every session, as I
will end up going straight to the multitrack 90% of the time, except
for engineers who are more comfortable having me on a fader before
the tape machine. My "big rig" has an Ampeg SVT 2P preamp,
a Trace Elliot V-Type preamp, an Avalon U5 DI and a Tube Tech Recording
Channel, which is a mic pre, eq, and compressor all in one - it's
a great piece of gear. For more rockin' sessions, I will add a second
rack with a SWR Interstellar Overdrive and a Line 6 Bass Pod Pro to
dirty things up a bit if necessary. I have a couple of smaller rigs
for no frills demo stuff, one with a Trace V-Type preamp and a Behringer
Autocom Pro, and one with just a Pod Pro. I will sometimes add the
Avalon U5 to the small rig if I want a little more crunch.
I bring all this stuff for options, but I don't run through it all
at once. Typically, with a passive bass I will use the Ampeg or Trace
preamp into the Avalon, which has great top end to it, and then into
the Tube Tech. With an active bass I will usually go into the Avalon
to the Tube Tech. Sometimes I will plug straight into the Tube Tech
for a rounder sound. I use a Sans Amp Bass Driver instead of the Avalon
for a little dirt sometimes as well. I use a Mackie 1202 VLZ mixer
to blend the pickups of my electric upright before sending it into
my signal chain.
Once in a while, I will get to use an amp as well, but usually the
available isolation space is already taken up by guitar amps or acoustic
instruments. There are also delay and phase issues when using two
tracks or combining an amp and DI that can do more harm than good
if the engineer doesn't take the time to sort them out. I have worked
a long time to get my DI rig to sound punchy, plus the Pod Pro can
emulate amp sounds so well that I haven't really missed the amp too
much. I use the Pod Pro or a Boss VF-1 for effects like chorus, flange,
auto wah, ect. but I sometimes will leave adding effects to whoever's
mixing it, so I don't lock them into a sound they may not like. One
of the nice things about the Pod Pro is that you can put the effect
on the amp model only and blend it with the direct sound so you don't
lose the full range of the bass.
Mike:
What basses are you currently playing? Is there a lot of call for
5 and 6 stringed instruments and electric uprights, which I know you
play very well?
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Dave:
I was afraid you were going to ask that! I own almost 40
basses, and I used 33 of them on my new solo record. I have a
dozen or so basses that I use on a regularly on sessions. My Fleishman
electric upright 5 string aka "The Beast" is a signature
sound for me, so it almost always comes along. I have fretted and
fretless G&L L2000's that I have used for many years, Lakland
fretted and fretless 5 strings, Reverend 4 and 5 string basses, a
'63 P-Bass, a Lakland Joe Osborne J Bass with flatwounds, a Music
Man Sting Ray 5, a '65 Gibson EB-2, a Yamaha BB-450 with a D Bass
neck, a P-Bass 57 Reissue, and Jerry Jones and Music Man Silhouette
6 strings (EADGBE) that I use for tic tac parts. I also have a no-name
Mexican Acoustic bass guitar and a Kay String bass, as well as a BSX
electric upright that splits the difference between the Fleishman
and the Kay.
As
far as 5 and 6 string goes, a 5 is invaluable for certain keys and
styles and is very well accepted, but bringing a 6 may be asking for
trouble! To many people, just holding a 6 implies that you will start
soloing and playing in the upper register whether they want you to
or not, which is totally ridiculous, but unfortunately, many people
judge by appearances alone. For example, seeing an old Fender puts
some people at ease, regardless of what it may sound like! I do find
that I still love playing 4 string a lot - not every song needs the
extra notes. Having said that, I do use 6, 7, 8, and 12 string basses
on my own stuff, and will very occasionally bring them to other people's
sessions, but only if I know that they are open -minded!
Mike:
Who is your favorite or most inspirational artist or producer that
you've worked with? Any stories?
Dave:
There have been a few producers who have really demonstrated to me
the way things should be done in the studio - Don Williams, Garth
Fundis, Allen Reynolds, Jim Rooney, and Randy Scruggs come to mind.
They all set up a great creative environment in the studio, and let
things naturally take their course.
Working with Emmylou Harris on the CD "Bluebird" in 1989
was a real thrill for me. She is not only a great artist, but a truly
wonderful person as well, with a well respected ear for talent. The
list of players who have come out of her bands and gone on to great
careers is truly staggering. She asked me to play on "Bluebird"
which she co-produced with Richard Bennett (who currently plays in
Mark Knopfler's band) after hearing me play on some song demos for
Paul Kennerly. The band and the songs were great, and I had a lot
of freedom. George Massenburg mixed the record and the bass came out
sounding pretty amazing. It's still one of my favorite albums that
I have ever played on.
I got a call one day in 1991 asking if I could do a session the following
week for the Irish supergroup The Chieftains with guest vocalist Emmylou
Harris. A few days later Emmylou, who I had worked with before, called
and asked me to be sure and bring "the bass from space",
her name for my Fleishman electric upright. When I got to the studio
everyone was set up in a big circle. We cut two songs, "Nobody's
Darlin'" and on the second, a traditional Irish ballad, Paddy
Moloney, the leader of the group, asked if I had a bow. I didn't,
as the Fleishman is not really set up for that, but I had a volume
pedal that I used occasionally. I tried it, and he said, "that's
just what I was hearing in me head" - what a thrill! The session
was filmed for the album and video "Another Country". Afterwards,
I went for a beer at Tootsie's Orchid Lounge on Lower Broadway with
a few of the guys, who were all as friendly and down to earth as you
possibly imagine. It was a very special event in my career. Watching
the video, it still seems unreal that it actually happened.
The
Elton John/Earl Scruggs session we did in Atlanta in 2001 for Earl's
new CD "Earl Scruggs and Friends" on MCA was also pretty
magical. We rode down from Nashville on a tour bus and assembled at
the studio. We ran the song (Country Comforts) a few times with the
band before Elton showed up, who was obviously in a great mood and
excited to be working with Earl. Elton said he hadn't played the tune
in a while and it was fascinating to hear him "relearn"
it. I had the best seat in the house - about 4 feet from the piano.
We did 3 takes, each one with a very different left hand piano part,
which kept me on my toes. My old friend Dee Murray, who passed away
a few years ago, played bass on the original record, so I incorporated
a few of his licks in tribute. Once we got the track, Elton was very
patient while they tried to find a mic that his very powerful voice
wouldn't distort and then proceeded to sing the hell out of the song
in a couple of takes - in the original key from 1972, no less! Earl's
son Randy produced the session and was his usual calm, egoless self
throughout, and afterwards Elton visited with everyone for quite a
while and even got Louise to sit on his lap for a picture! A fantastic
day for all concerned - I know it was for me.
Mike: What new projects
or CD's are you working on? Any solo CD's coming out soon? Where can
we find them?
Dave:
Thanks for asking - I started my own label, Earwave, a few years ago
to give me an outlet for my own projects. We have released 4 CDs and
one concert video, "The Day The Bass Players Took Over The World",
which features the All-Bass Orchestra with guests Victor Wooten, Steve
Bailey, Bill Dickens, and Oteil Burbridge. Tone Patrol's "Thin
Air" is a world/jazz/space music enhanced CD compiled from years
of live recordings by the instrumental group I led from 1987 to 1998.
"Blue Christmas" is a benefit project featuring over the
top rock/blues arrangements of traditional Xmas classics. However,
the main reason for haing my own label has been my solo projects.
Both "Basses
Loaded" (1996) and "Tomorrow
Never Knows" (2002) are all bass/vocal projects, where I
performed all of the music using nothing but multitracked, looped,
and effected basses. It has been a great learning experience seeing
how far I can go with the bass sonically and arrangement-wise - I
am very happy with how they have turned out, and the great response
I have been getting from listeners and reviewers tells me that maybe
the world is ready for "all bass music".
The
solo CDs also serve as blueprints for the All Bass Orchestra's arrangements.
We have had a great time playing live with multiple bassists - anywhere
from 3 to 16 players. My next project, which will probably take a
while as it is rather ambitious, is to do an All Bass Orchestra studio
CD, using all of my Nashville buddies as well as lots of guest soloists
from around the world. I'm sure you can imagine what my wish list
looks like! It is not out of the question that there could be anywhere
from 50 to 100 bassists on that one. I may not be crazy, but I am
a little obsessive when it comes to stuff like this.
All of the Earwave releases are available online through www.davepomeroy.com,
as well as CDBaby.com,
who also have a toll free ordering number at 1-800-448-6369. We also
take mail orders at P.O. Box 40857, Nashville, TN 37204. The mail
order forms are available
online or you can write us for a catalog.
For the past 10 years or so, I have been doing more producing, which
is something I really love. I am currently producing a number of projects,
including the Jamie Hartford Band, who I also play bass with. It's
a blues/rock/country/jazz hybrid with a serious groove factor. Jamie
is legendary bluegrass icon John Hartford's son, and writes great
songs and is a wonderful electric guitarist and singer, too. I am
also finishing up a record on my wife Lorianna, who has one of the
purest country/bluegrass voices I have ever heard. Her CD has no drums,
lots of acoustic instruments, upright bass and tic tac, really strong
material, and a number of high profile guests from the acoustic world,
such as Tim O'Brien, Jon Randall, and Larry Cordle. At the moment,
I am also working with a couple of bands, one from Texas and one from
New York, and Lanise Kirk, an excellent singer from Illinois.
Producing
is very satisfying work - I love creating a finished product from
raw materials, and helping an artist find their own personal artistic
vision. However, I will still always first and foremost proudly describe
myself as "a bass player".
Mike: What advice can
you give to any bassists aspiring to break into the Nashville scene?
Dave: That's the one
question I get asked more than any other! Things have changed a LOT
from what the scene was like when I moved to town 25 years ago. It
is more open now than it was, and there are more opportunities available
in a lot of different musical styles, but there are also many, many
more players competing for the same work. One thing is definitely
still true, however - Nashville is a songwriters town. I would estimate
that 75% of the work, especially studio work, that goes on is somehow
related to original songwriters trying to get their songs heard.
What I did, somewhat unconsciously at the time, when I got to town,
was to seek out talented writers whose stuff I felt was strong, and
try to ally myself with as many of them as possible. I was fortunate
fairly early on to land gigs with Guy Clark and Billy Joe Shaver,
two of the finest Texas songwriters ever. This gave me a measure of
credibility, even though there wasn't much money involved at the time.
If you can hook up with someone who is on the verge of making an impact,
there is a better chance that they will take you along for the ride
as things begin to happen. Not to say that you shouldn't try to hook
up with established writers and singers as well, it's just that becoming
part of a peer group, a "graduating class" if you will,
is one of the most effective way of networking that I know of. Much
of the work that I do is based on business relationships that grew
out of, and along with, friendships that have been established in
a low pressure way.
Most people end up getting some kind of touring job, or "road
gig". This is an important first step, as it is almost impossible
to make a decent living playing clubs in Nashville, and the session
thing takes awhile to develop, unless you come in with a serious resume,
like Dave Hungate did when he came here in the 1980's. The problem
with road work is that while you are on the bus (or motor home or
van), Nashville is carrying on without you. It becomes important to
use your time wisely while you are in town, so people won't forget
about you - we live in a "short attention span" world these
days, and as they say - out of sight, out of mind. A high profile
touring gig with an artist with a major label can have it's advantages,
even though you are gone a lot - TV appearances, opening gigs with
a bigger artist, and very occasionally, a chance to record with the
artist. I was VERY fortunate to get the Don Williams gig after I had
been in town for a couple of years, because 1.) He didn't work as
much as most artists, only 60-80 days a year, and he always encouraged
us to do other things in our time off, 2.) He had ton of artist integrity,
and was always known to have a good band, and 3. He gave me a chance
to play on his records when he saw that I was capable of "cutting
it." I don't know if there is any artist out there today who
would be so generous as he was to me - I'd like to think there is,
though.
As
far as "networking" goes, it is important to be tasteful
in your approach, especially to someone you have no previous connection
to. Respect other people's space, and don't try to put other players
down or try to steal their work. Things have a way of working out
if you keep an open mind to the opportunities that are all around
you, and if you don't get hung up in trying to prove that you are
the fastest gun in town. It's about music, not chops. Chops are there
to help you execute your musical ideas in the service of the song.
As a bass player, it's not about you - it's about making everyone
else sound good! It is also essential to join the musician's union,
as any legitimate recording work will go through the union, and will
give you the chance to build up a pension, as well as participate
in royalties from the major labels through the "Special Payments
Fund".
As far as getting session work goes, over time, you will connect with
certain writers, artists, and producers, mostly through word of mouth.
You can give out resumes and demo tapes, but in the end, most work
comes from someone else who is in the loop putting in a good word
on your behalf. No one person is going to keep you busy all the time
- it's the sum total of all the people you work with that will allow
you to stay busy and make a living. If you give 110% and demonstrate
a genuine enthusiasm for your work, and keep the proper perspective
on the role of the bass in any given situation, you will eventually
start to build up a list of people who want to work with you. Unless
you are working a steady gig with a particular artist, it is essentially
freelance work. You need to be able to handle the ups and downs, because
they will happen sooner or later, and you need to be prepared to deal
with it, both emotionally and financially.
It
requires a lot of patience, determination, and persistence to "make
it" in any major music center, but it is possible. I moved to
Nashville 25 years ago without having much of a clue about how to
succeed. I had some rough times, but I refused to give up because
I wanted it so bad! You need to be willing to do it for the love of
the music, in order to be able to create a demand for yourself so
that people will happily pay for your services. Which leads me to
my last thought - if you are getting into the music business to be
rich and famous, and not because of the music, don't bother - it won't
work, at least not for long!
I
enjoyed talking with you, Mike, and "thanks" for the opportunity
to get up on my soapbox.
THANKS,
GUYS
Thanks
to Dave for the interview.
For
more information:
For
more information on Dave, please visit the following websites:
The
Official Dave Pomeroy Website - www.davepomeroy.com
Dave's
Pages on CDBaby.com:
- "Basses
Loaded"
- "Tomorrow
Never Knows"
Additional
CDs and Videos: - www.davepomeroy.com/catalog.shtml
