In short, I suppose I realized I could sing pretty well in High School as Solos, roles in various musicals and choral responsibilites (helping other kids with their parts) happened on a routine basis. It continued in college, (just a crappy CC in Pittsburgh) I realized I could hang with almost anyone as long as I stayed within my vocal/musical limitations. (I suppose all baritones want to be 1st tenors, but its wasn't meant to be. I've learned to embrace my lower registers over time, lol...

Instrument wise was where I had to work the hardest. I've never taken lessons and am self-taught. Hanging around some killer musicians when I was younger taught me that I didn't have to be Keith Emerson to be an effective piano/kb guy. I knew quickly I was never going to play at that level (Hmm, maybe lessons would've helped after all???) and instead, decided to become the best support/rhythym player I could be. Primarily a vocalist who was learning how to play, I found that my singing ability really helped me accompany myself and others pretty well. I also learned early on how to play and contribute to a tight, killer rhythm section. There are certain do's and don't and a certain way to "listen" or "feel" the part when playing in that situation. I think I've been blessed with a freakishly good ear and it serves me well to say the least.

Growing older, I sensed my performance level was improving and other musicians and audience memebrs were very supportive, so that gave me the confidence to keep at it. During this one man band phase (which has reached 20 years somehow), the interaction with the audience one finds at NH's, RC's, etc.. has always felt very comfortable to me. I think it matched up quite well with my temperment, personality and skill set.

Realizing the power this music has on my audiences has been amazing. The guys who do the NH circuits for a living know what I'm talking about.

I've also taken some time to listen to other performers in the area. A few I consider talented and pretty good but some kind of suck. In general, those who suck don't necessarily do so because of a difference in talent level, but rather in professionalism, dedication to their craft and a lack of personal concern and how they relate to the residents. There's no excuse for not changing up your shows, not being on time, not keeping the focus on the audience and not yourself. IMO.

As Gary has said several times, all this attentionto detail adds up over time and at some point you're such a force and hitting on all cylanders that the work just pours in. Your reputation, professionalism and quality keeps the bookings coming. Just last night, I booked my 499th and 500th gigs for the year, with 4 regular clients still to reserve their dates due to delayed budgets. I live in Dayton, OH, which isn't that big of a town. Yes, I get some business from Cincy and C-bus, but I'm one lucky son of a bitch to be working this much in this area of the country.

(Somewhere on the PSR Tutorial site (I think) is a rather long-winded essay on what I think is the right way to handle the NH circuit gigs. If someone is really interested, I'm sure its around there somewhere.)

Thanks to Donny for the thread...good topic!

Bill