These are the thoughts, ideas and ramblings of Steve Beck, the founder of OnlineRock. As both a fan and a musician involved with many aspects of the industry, I will try to post when I am inspired to do so. I welcome your comments.

A good way to spark interest in your release is to include one or two recognizable covers. Whether your band's version is a carbon-copy or a whole new interpretation of the original doesn't matter. People like the familiar. They like Starbucks (I prefer Peet's); they like Barnes & Noble (I like Powell's); they like songs they've heard many times before.

But recording a cover song on your album says a lot about you or your band. Especially the decision on which tune to cover. Think about it: in the early days Led Zeppelin drew attention to their blues roots by including covers made famous by blues greats; the Rolling Stones did likewise and mixed in a fair amount of Motown originals to boot. Van Halen took off like a rocket with their debut thanks to their wailing cover of the Kinks' classic "You Really Got Me." The Talking Heads had early success with Al Green's soulful "Take Me to the River." The Cowboy Junkies hit the radar after covering Lou Reed's "Sweet Jane."

Each of these covers connected these relative unknowns to the original artists, for strategic reasons possibly as well as the fact that they're all such damn good songs. The upside is obvious, but it also means you better know what you're doing. If you're not giving the cover a new interesting treatment, you'll need to record a version at least somewhat on par with the original. But, in the case of my band Needle, it was well worth a shot. We covered Neil Young's "Helpless" and it's been our most popular song in terms of sales on iTunes.

Besides the artistic considerations, there are legal ones, too. You may wish to contact a lawyer for specific rights and liabilities (I'm not a lawyer and don't play one on TV, or even on this blog). However, I can say that in the case of our recording of "Helpless," we contacted Neil Young's publisher and received a compulsory license where we pay $0.091 every time we sell the song. A service I strongly recommend is HFA's Songfile, which is a web-based directory and database compiled by the Harry Fox Agency and can direct your request to record another artist's song to the appropriate publisher in most cases. It can also help identify the publisher if HFA doesn't handle the clearance.

To download Neil Young's "Helpless" as performed by Needle, Click Here

You know what they say - longevity matters. Or something like that. In any case, longevity does matter in the music business.

As a veteran of many bands myself, I realize a band is essentially a musical house of cards, and keeping it together requires patience and perseverance that few of us have. The chemistry among band mates, family and job responsibilities, and other influences make the lifespan of any band precarious at best. I think that, whenever possible, it's important to remain focused on your original goals as a band and what you need to do to attain them. Blowing the band up is sometimes necessary, but too often it occurs because musicians lose their will and become frustrated, not because it's the right thing to do. No one has ever said making it in the music world is easy.

Band stability and focus means not succumbing to the latest trends, and not running around in circles trying to emulate the industry's "next big thing" whatever or whoever that may be. Bands with a track record of longevity and success stick to their guns, and remain confident in who they are, what they do, and how they do it.

Some of the artists I've most admired have produced some of their finest work long after the normal rock industry shelf life, working their way through the inevitable struggles by remaining targeted, and developing their sound and songwriting over time. R.E.M. has retained its original indie cred while attaining considerable success over the last 28 years by adhering to their original formula. American Music Club and Mark Eitzel have gone through periods of commercial ups-and-downs for nearly as long, but have consistently enjoyed critical success and garnered a large following in Europe. Likewise, one of my favorite artists, whom I've seen recently in both LA and in San Francisco is Eels (Mark Oliver Everett). Twelve years into his career and his floating cast of musicians are building a brand, with a new book and documentary out, and eccentric invite lists to his shows that include the Queen of England and the POTUS, they regularly score high-end soundtrack deals including all three Shrek movies.

Not that it isn't wise to take extensive breaks - weeks, months, years - when required. Feel free to record that solo album, produce an up-and-coming artist or play on tour with that side project band that interests you. Such diversions can keep things fresh and keep everyone in your band focused long-term on what's important.

It's a long and winding road, so enjoy the ride and all of its twists and turns. And remember, sometimes its better to be the rock n roll equivalent of a reliable Honda Accord that will eventually get you to where you're going, than a souped-up sports car that crashes and burns at the first curve.

A few weeks ago I went to see the Winterpills perform at Café Du Nord in San Francisco. The setting was perfect, the acoustics were great, and their sound was really dialed in. One problem, though. Some blabbermouth behind me kept telling his friends what a bad day he had, “And then my stupid idiot boss told me…” Great. That’s not what I just paid almost $20 to hear.

Call me crazy, but when I venture out for an evening of live music it’s generally with the intent of being entertained by musicians on stage, not to talk louder than the band is playing and spill the latest inner-circle gossip to a room full of strangers.  Sure, I like catching up with friends and cohorts, but I can wait until a set break to do so. And if for some reason a conversation can’t wait, I’ll head to the back of the room so as not to annoy others.

A wise trend among clubs these days is helping alleviate this problem. They’re creating distinctly separate areas, out of earshot of the club’s bar area, where artists can perform in surroundings where sound and music are featured front and center. Some venues successfully employing this approach are The Hemlock Tavern in San Francisco, and Piano’s in New York City. Other venues are taking things a step further. Lestat’s in San Diego and The Space in New Haven, CT, for instance. They’ve created dedicated listening rooms, where no food and drink are served, and all eyes and ears are and tuned to the musicians on stage. Such rooms are great for both performers and serious music lovers alike. I’m hoping more bars and clubs that regularly offer live music soon follow suit.