Chris Floyd on working with the 5th Beach Boy, Nashville, and current trends in Music.

Floyd in dining room

It’s a beautiful sunrise in a Kansas City suburb and Chris Floyd is doing what he loves and does best, working on music in his studio. He advises, “Without loving the process, I would have given up long ago.” In fact, he may be one of Kansas City’s best kept secrets.

Chris is no Bruno Mars or Justin Bieber but he has endurance and skill after working in and around the music business for 20+ years. In the late 80’s he spent two years in the studio with Dave “Hard Drive” Pensado. (The Black Eyed Peas, Elton John, Jamiroquai, etc.) Took on so many live projects in the 90’s it would make Willie Nelson exhausted:) Made a record with producer Scott Mathews “The Fifth Beachboy” at Tiki Town – San Francisco in 2000. And spent 4 years in Nashville co-writing, recording, and learning more about the craft of writing.

“At a certain point I realized I was getting more done online than beating the bushes and my wife was still in Kansas City (thank God for Southwest), so I decided to move back to the midwest and work from Cyberspace.”

If you go to iTunes, Amazon.Com, Spotify, etc. you will find multiple releases from Chris Floyd. It’s all for the love of the game. (for fans of Wilco, Jon Brion, and Josh Ritter) – Johnny Wayne Brando

For the love of the game’

‘Blue Sky Songs’



‘Momentary Zen’, ‘The Comeback Kid’, and ‘Tiki Town Sessions.’ (with bonus tracks)
*Available at:

50% of Chris Floyd music sales at Reverb Nation will be donated to World Vision.

“Gives Hiatt a run for his money!” Scott Mathews – Record producer ( John Hiatt, Chuck Prophet, Rodney Crowell, etc.) http://www.ScottMathews.Com

“Chris Floyd writes great songs both in musicality and lyrical quality. That is beyond doubt. ‘For the love of the game’ is proof he is here to stay.” Valsum – Rootstime, Belgium

“I have been appreciating Chris Floyd’s music for quite some time.” Chet Flippo – Nashville editor for Billboard magazine/ former senior editor of Rolling Stone.

Chris Floyd is an American Singer, Songwriter, Multi-instrumentalist, and record producer. He has recorded with: Grammy winning Producer, song doctor, and multi-instrumentalist: Scott Mathews ( The Beachboys, Todd Rundgren, Van Morrison, etc.) Engineer/Producer: Tom Luekens. (Kronos Quartet, Metallica, Sammy Hagar, etc.) Engineer/ Producer: Dave Pensado. (The Black Eyed Peas, Elton John, Jamiroquai, etc.) Engineer/Producer/Multi-Instrumentalist: Scott Nuebert (Hal Ketchum, Trace Adkins)

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Do I need to be able to read music to be a musician?

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Yes and no. Many famous AND great musicians do not read music. (The Beatles, Jeff Beck, BB King, etc.) Others do of course. ( Paul Simon, Donald Fagen, Joe Walsh, etc.) It really comes down to your goals and what you want to do with it.

If you aspire to play in an orchestra, teach music or be a studio musician then you will want to be an excellent sight reader. If you want to be the next Bob Dylan (or Bob Seger for that matter) then you probably don’t want to spend your time looking at sheet music.

I don’t think it’s good to put people in a box and we all have our own path to walk. In the music industry you have a wide range of individuals. (Let’s say for arguments sake) On the extreme right we have very studious and even pedantic individuals. On the far left the most raw punk, country or blues musician you can think of. (probably more interested in the construction of a song or the recording process than learning their Mixolydian scale and an equally challenging task at times)

At the end of the day, I think it’s important to find joy in what you are doing. Learn what you can and say something from the heart. And remember kids, playing one gig is equal to a weeks worth of practice.

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Support the artist and art you care about

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These may seem like no-brainers but they seem to be lost on some folks:)

1) Purchase their music, paintings, etc. Wow, what a concept. Yes, believe it or not people work very hard on their art. It costs them money, time, sleep, personal relationships, etc. They do it because it’s what they do. They don’t do it for fun so you can have it for free.

2) Post a review online. The artist lives and dies by these reviews. Take 5 minutes out of your life and help these fine people out.

3) Attend a show, art gallery, etc. People need people, butts in the seats, etc:)

4) Tell some friends. What’s better than sharing something cool?)

5) Artists need to help and encourage other artists. It’s much better to operate from a spirit of connection. Competition run amuck is ugly.

For those who do their part, pay it forward, etc. I thank you. Best wishes until we meet again.

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Tools for dealing with tools:)

Tools for putting up with tools. I don’t take credit for these ideas but they have served me well. I hope these will be of help to you. Cheers!

 1)      Questions and statements directed toward you are really about the other person. It’s amazing what you can learn about another person by the questions they ask.

 2)  People collapse what happened with their interpretation = their reality. (My father said something hateful to me when I was six therefore he doesn’t love me. Maybe he was just having a bad day. )

 3)      Know your outcome going into a situation. This puts you in control.

4)      You can be pitiful or powerful. It’s juicy being the victim but it repels others. Don’t do it!

5)      Anger and bitterness are like swallowing poison and wishing the other person would die. We have to forgive others for our own self-preservation. (Forgiving and putting up with habitual abusers are two different things.)

Affirmation: I’m a strong and powerful human being. I don’t give my power away to anyone

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How commercial radio really works

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How commercial radio really works

Posted on January 22, 2011 with 0 comments

Most people’s conception of how the music industry works seems to be derived from movies and television. The movie That Thing You Do!, a film directed by Tom Hanks, is a perfect example. It tells the story of a fictional band called The Wonders in the early 1960s. They write a couple of songs. After sending their record to a radio station, something wonderful happens – it gets played. The Wonders are a hit! The music labels come knocking, and in no time at all the band members are thrust into fame and a national tour.

Unfortunately, although this type of story gets repeated over and over, it’s just not true. While this might be shocking to some, the music industry doesn’t quite work the way Hollywood portrays it.

Possibly the most common goal that bands have for their music is to get it played on the radio. Unfortunately, commercial radio is mostly inaccessible to independent musicians. There’s a reason why you rarely hear of indie bands getting discovered due to commercial radio. You can certainly do it, but it will probably cost you a minimum of $20,000.00, and that’s no guarantee.

Think back to when rock and roll was starting to make a splash. In the late 1950s, record labels were routinely sending record albums with piles of money – and even drugs to DJs to get their songs played on the radio. DJ Alan Freed was convicted in 1962 of accepting bribes to play music. Shortly after, payola laws were passed.

These payola laws have been on the books since then, but there is still payola. Today, it’s just done through intermediaries. While it isn’t permitted for a record label to pay a radio station to play music, it is permitted for them to pay a third party to help get their music played. Thus, the independent promoter was born.

These promoters aren’t allowed to pay money to the radio stations either, but they find other incentives, such as providing vacation packages to radio programmers, giveaways for the stations’ listening audiences, and even payments to cover miscellaneous expenses. The promoter will form alliances with a station’s general managers and cut deals. Typically guaranteeing a station in a medium-sized market $75,000.00 to $100,000.00 annually in what is termed “promotional support”to buy a station van, T-shirts, billboard ads, etc.

The annual promotional payment secures the promoter as the station’s exclusive point man. Once that promoter has claimed a station, he sends out a notice to record companies , letting them know he will invoice them, on average $1,000.00, every time the station adds a new song to the playlist.

So contrary to belief, none of the music on commercial radio is chosen by DJs from submissions by artists. Nor is it made a hit by radio programmers “discovering great music.”

Today, plenty of other distribution channels ARE available to indie musicians, such as college radio, podcasts, and music blogs, to get music heard by music fans. Commercial radio is losing listenership daily. The truth will set you free.

Source: The Indie Band Survival Guide

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Why you may not want a record deal

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Why you may not want a record deal

Posted on January 21, 2011 with 0 comments

Back when studio time was expensive and distribution and promotion channels were limited, musicians needed labels to record, distribute, and promote their music. This has changed. Yet, some musicians dream of getting signed to a major label. This is no longer good business sense and there are a variety of reasons why:

The money’s not there: As record producer Steve Albini revealed in a well-known essay called “The Problem with music,” musicians in a moderately successful major-label band with a $250,000.00 advance (which is owed back to the label) can make as little as $4,000.00 per year. In the end, most albums never earn their advance – the only money most musicians see.

You give up creative control: Labels wield a great deal of control over your creative work, and worse, they can go through the entire recording process with you before deciding to withdraw their support.

You give up your rights: The label keeps the right to the recording master of your album forever. A quote from Courtney Love said it best: “The band owns none of its work. They can pay the mortgage forever but they’ll never own the house.”

Major labels are in turmoil: They are losing money, cutting costs, laying off employees, and consolidating to stay alive. The business model is broken.

Artist development: Labels are spending less than ever nurturing new musicians and bands. Cody Willard writes, “They just can’t cut costs to boost cash flow forever. There is no fat left on these labels.”

Taking even more revenue streams: Major labels are trying to get at even more of the artist’s revenue streams. While the labels used to be limited to album distribution and ownership of the master recordings, they are now taking a cut of music publishing, merchandise, live shows, and even sponsorship revenue under the guise of providing a one-stop holistic approach – something that a band can handle more profitably for themselves.

Word to the wise: Spend your time and energy building your fan base not trying to please some fat cat behind a desk.

Source: The Indie Band Survival Guide

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To artisan or not to artisan?

Is anyone tired of the new advertising label “artisan”? Everything was “extreme” in the early 90′s, now it’s artisan:) Although, some of that stuff’s pretty tasty. Another great word that will be watered down and over used. This sounds silly but I think Andy Rooney would be proud:) Your thoughts?

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