La Jolla Real Estate

Giuffria / Dio Guitarist
Craig Goldy

FIB MUSIC:  What's new? What's in the Future?

Craig:  Well, the future would be the next Dio record, Magica 2....I believe we are going to do Magica 2 and 3. Ronnie (James Dio) has got a lot of really good ideas already. It reminds of when he and I wrote Magica. It was based off three songs he had already written on his own. He played them for me and I was like Whoa, that's great, let's just keep those like they are. So, he's got a lot of ideas like that....really, really cool.

FIB MUSIC:  When Ronnie James Dio comes to you with a song are the parts already recorded? Does he play all the parts himself, or does he just strum on a guitar and sing a melody?

Craig:  He is very accomplished in his studio, especially nowadays with Pro Tools. Ronnie and I did the entire album, Master of the Moon, on different Pro Tools for the PC. He runs Pro Tools himself. You know, Ronnie used to be a bass player in Elf and then as a bass player, he can also play guitar and he can also play keyboards. So, he can program the drums, play bass, play guitar, put some keyboard parts down and then sing and do all the background vocals. Most of the time he doesn't sing, he just puts the track together and you listen to it and it's great. So, we have all come to that point where me, Rudy (Sarzo) and Ronnie can program drums, play bass, play guitar, play keyboards and put some ideas together, so we can all take a listen to them and decide what we should use. A lot of times, just by sitting around and listening to the ideas, we can prioritize....we've got to work on that right away.....we'll put that one off for a bit and then progresses from there. But that is what is in the future for the next Dio record. So, obviously Ronnie is doing the Black Sabbath Tour, so I am doing some songwriting for Doogie White, who was the last vocalist for Rainbow, before Ritchie (Blackmore) did Blackmore's Night. Doogie is doing a solo project, but he is going to do some touring in Europe with a band he works with called Cornerstone. He's got a two album solo deal, so I have been sending him some stuff and he seems to really dig it. Then he puts a vocal on it and sends it back to me; he's in London and we do stuff via Itunes. Other than that, I am just doing some songwriting, there are a couple of record companies that want to do a solo project....there may even be a Giuffria reunion.

FIB MUSIC:   Wow, you're kidding...with all the original members?

Craig:  Yes, with all of the original members. That would be great. With Ronnie doing the Black Sabbath thing, it would be an ideal time to do it.

FIB MUSIC:  I thought Greg Giuffria was out of the loop now.

Craig:  He has been. There really hasn't been anything that would inspire him to do it. But now, it seems like he really wants to do it, but we'll see how it goes.

FIB MUSIC:  What else have you been up to?

   There's a band called Virus I have been working with. Through my program, there's a band called Benedictum that has been doing really well in Europe...Germany. My program is directly responsible for them getting signed.

FIB MUSIC:  Yeah, I have seen their name around. Who did they sign with?

Craig:  Locomotive.

FIB MUSIC:  Can you tell us a little more about your program and how it works?

Craig:  Yeah. Actually, it started off as a class as the Musician's Institute. The educators approved it to be part of the bachelor's degree program. But then the college was sold and the new owners did not want to have any programs under two years old and my program was at about a year and half, so they dumped me. (laughs) So, I started doing it on my own. While I was at the college, there were kids lined up down the hallway trying to get into the class. This program is designed to give unknown musicians the equivalency as if they had been in the music industry's top level for twenty years, before they even start. The reason for that is very, very simple. For one thing there is nowhere to go. These musicians have nowhere to go to get their careers started. Especially, rock n roll musicians. There are books and there are colleges, but they really don't teach people how to go from nowhere to getting a major gig with a famous musician, or getting a record deal and getting worldwide distribution and becoming famous. That's what this program does. I was sleeping in a car on the streets and then five years later I was headlining Madison Square Garden with my favorite singer, Ronnie James Dio. I teach people how to do that. There is a thing in the book that shows people how to be unique and how to have your own style....nobody teaches that....this program teaches them how. I have developed a method that guarantees them 100% if they follow that method, that they will develop their own style and will become unique. It teaches them what a hit song is made of....what a hit band is made of....I had a hit song with Dio and a hit song with Giuffria, we had a hit album, hit tour. We were #9 in the MTV top twenty records, as a songwriter....and I have met people who have seen shit behind the changes how you write songs.

David Coverdale, when he was lead singer for Deep Purple in 1974, they hardly sold a hundred thousand records, but it was still under the name Deep Purple. It wasn't because he wasn't a good vocalist, or a good songwriter, it's just that know, the machine, the music industry is a machine and it has a certain type of fuel it runs off of. It took him eleven years on the learn as you go program that has been in full force, until now. It took him eleven years before he started selling millions of records with Whitesnake....and it wasn't because he wasn't any good.

FIB MUSIC:   Sure and even a few early Whitesnake songs that weren't hits when they were released, became hits for him after Whitesnake made it big.

Craig:  Yeah. A lot of it is, you start meeting managers of other bands and record company executives and you sit in on meetings. You get to see what program directors and music directors of radio stations and what kind of criteria they use to get an unknown band on heavy rotation. What a record company thinks is a hit song and what a radio programmer thinks is a hit song, what the kids thinks is a hit song and what you think is a hit song. But before that, you really only have what you think is a hit song. Then, when you find out what managers and record company executives and radio programmers and music programmers think....when you see the machine first-hand, you start changing the way you write songs and it's not really compromising, so much as it is, just trying to FIT IN. Then once you fit in, then you become the fuel that the machine needs to run on and depending on how you design yourself, you can have a successful career. It teaches people what goes on behind closed doors. The kind of things they need to know, before they start.

FIB MUSIC:  The music industry has always had this veil of secrecy hanging over it and have made it very hard to figure it out.

Craig:  Well, a lot of it is the point structure. When a band gets signed they get anywhere from 7 to 14 points.

FIB MUSIC:   Which is 14%, right?

Craig:   That's right and a lot of it is because the record company puts out a huge investment and is taking the risk, so they want to make sure they protect their investment. But if the musicians knew what the record companies knew, the power struggle and the point structure would drastically change in favor of the musician. So, they are not in a hurry to educate people. You know, Michael Jackson was still on a 14 point deal for awhile, until he started figuring out things and selling records and then eventually like most people do, they start their own record label. Then the distributor from the major label wants to stay with them, so they get a subsidiary label together and then they start really making a lot of money and record companies don't dig that shit. Because, they learn whats going on, so they keep it to themselves. All that information is in the program. It's a highly competitive atmosphere, musicians don't share information with one another. It automatically makes that person they shared the information with, their competition. So, they keep all this information to themselves, but they'll smile and shake each others hand, but they won't share any vital information.....and they could each be holding the piece of the puzzle the other needs, but they won't ever complete the puzzle, because they are afraid to create new competition. I get rid of that as well.

FIB MUSIC:  And all of this applies to the current state of the record industry?

Craig:  Even more so....The record companies are really tightening their belts and with the internet and everything, they are really being more responsible with their money, so it's even harder if anything.

On top of it all, after they learn all of that. Then I have got producers who have won grammy's, record company executives on major and independent labels, who have signing power...who will then listen to the material from the bands or musicians that have purchased my program, with the intent to get them signed.

FIB MUSIC:  So, it's a forty dollar investment?

Craig:  Forty dollars is for the program and the two hundred dollars is for the contact program. So, it's like $240.00. Most people spend a thousand or more just to get to the NAMM show.....,between flight, hotel rooms and making up a bunch of copies of their cd, just so they may bump into someone, who probably won't even listen to it.

FIB MUSIC:  What do you get for the $200.00?

Craig:   It gives them a legitimate opportunity to make their dreams come true; it gives them a place to start. First thing is, there's a thing called unsolicited material, it bypasses all that. That could be anywhere from five to ten years worth of struggling, completely gone....just trying to make contact. These are all people waiting to hear their songs. People that are working with me specifically and they are waiting for material. The reason they are so excited about it; number one, I've known them a long time, but they agree with me, it's about time something changes in the music industry. Their motivation is, that once they read the book, they thought, "Whoa, I never thought about it that way"...their motivation is that they think they will be able to pick from the cream of the crop. Because once the musicians read the book, these guys will know what they're doing. So when they start writing and recording their new material for their demo, they will submit to us, it's going to be fucking-dead-on-balls-accurate. So, they, the industry contacts, think they are going to gain an edge against their competition.

FIB MUSIC:  Can they buy the book first and then later purchase the contact program?

Craig:   Sure, either way. I suggest that people read through it five times to really soak it all in, because it is twenty years worth of information.....and then write their demo and send it in.....or some people are already....their music is really right on and just need to make a few changes....they don't have to start all over again.....those people may want to buy the program all at once. Some people have to start all over again....some people are going to have to be brutally honest with themselves....does my existing demo really have what it takes?...after reading that book?....and it's not rewriting the songs, we're only talking about five songs, how hard can it be to write five new songs. Record them in a decent studio, doesn't have to be state-of-the-art, just as long as it sounds good and represents the band and send with lyrics and pictures and send five copies of each. These guys that will be listening to the music are heavy hitters.

FIB MUSIC:  What are some of the labels?

Craig:   We tried to keep that part annonymous. There was a thing where the labels did this evaluation thing. So everyone had the name of the label and the name of the rep and they would listen to the material and then the reps would tell you what they thought. So people were really thinking this was there shot and yes maybe they could, but it was just an evaluation. These guys were hounded day and night, because everyone knew their name and what label they were working for....."why didn't you dig my demo" and it just blew up in their face. So, we are keeping this annonymous, until somebody hears something they like and then the bands or musicians will be contacted. But if not, these guys don't want to be hounded day and night by somebody that got rejected. But they are major labels and independent labels, with worldwide distribution.

FIB MUSIC:   So the bands wouldn't know if their demo was rejected?

Craig:  No they would know. Once it gets to a certain level.....I am already talking to these people that have already ordered the program....I talk to them on the phone and I email them all the's not like they spend $240.00 and they are left in the dark. These people are hands-on. Nobody gets thrown back in the dark. The whole point of this is to help people, so they feel like they have a place to go. They can talk to me, they can email me and there will be daily or weekly correspondence, where they know what's going on and they know what to do. I have got guys sending me demos that have bought the program and I haven't submitted them, because I listen to them and email them back and say "dude, you have got to re-record your stuff", I will submit it, as it is, but I don't think you are going to get the results you want. But they know I care and I am not just throwing out demos and not caring.

FIB MUSIC:   What happens if a band submits their music and gets rejected? Can they resubmit their music later, if they have made some necessary changes?

Craig:   That's what I was going to say. A lot of times there are different levels of rejection. A lot of times, it's very well what you just said; I leave it up to the A&R guy and the producers and managers. There is one level that's not so much rejection, but more like success. They'll say I heard your demo through the Destiny Bridge program and I think your awesome, but I can't really do anything with it because of this, that, or the other. But please continue to send me your next stuff, because it's a matter of time before I can take it and run with it. Now, that just takes fifteen years of struggle and bullshit and money being spent going to the NAMM show. Even the college I was working at, people were going there from Japan, Germany and Sweden....spending all this money. But the only reason they were going there...., you can get a bachelor's degree anywhere, but a lot of famous people go to the college and they do speeches and do special programs and the musician's can slam their cd's on them. That's why they go to that college. You know, people are spending so much money doing stuff that is so fruitless and there are no promises. This thing, you can learn everything you need to know and you have a legitimate opportunity to make your fucking dreams come true.
FIB MUSIC:  Do you think we are entering a time where the musician's no longer need the record labels?

Craig:  Oh sure, we are already seeing that now. Because of people having such a difficult time making their way, as a musician, a lot times they will think, "hey, I can market myself on the internet". But, the only thing is, one person can't do what a multi-million dollar corporation can do. They hire other people for a reason, because they can't do it. If you are going to do it yourself, you better have a degree in marketing and publicity, communication, english majors....all that stuff. Those are the people that are working for record companies. Being a graphic artist, advertising, there's people that come up with slogans and looks and all that kind of stuff. Record companies have those people, research and development, staff producers, staff, they better be able to do all those jobs and they can't. So, that's why so many people aren't successful with doing it themselves on the internet. What I am going to try to do, if this thing takes off. I want to have a record company, radio station, concert venue, music store, in-house managers, booking agents, offices around the United States, Canada, Europe. That way people can have a global opportunity without being signed to a record label and have the same, if not a better team around you. At the same time, not get screwed. There are legitimate record deals out there. People have the wrong idea, that if they do sign with a label they are going to get screwed. They're not. If they really look at it like a business. Some musicians don't look at their art as a business, but they have to, because the only way to make money is to be in business.
FIB MUSIC:  Well, if there is one constant theme in many of the interviews I have done, it's the fact that most people never made any money. The business side never crossed their minds.

Craig:   Yeah. Exactly. When I graduated high school, I took economics at a college. I didn't graduate college, but I had a good understanding of supply and demand and things like that. There is a bit in the program about that as well. How to make their music a product. They have to treat their art and their sound and music as a business would treat its main product. And if they start seeing it that way, automatically things change.

FIB MUSIC:  So, they can order it from your website, right?

Craig:   Yes. I accept Paypal, check or money orders. CLICK HERE to visit Craig's website.

Also available:
Craig Goldy Part II

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