THE TOP FIVE THINGS EVERY SINGER/SONGWRITER IS DOING THAT NEED TO BE FIXED

There are at least a hundred ways for every singer/songwriter to improve his or her chances of success, but these are the five I already know that need to be addressed without even seeing your show. They are inherent the performance of virtually all aspiring (and sadly many seasoned) singer/songwriters.

FIX #5: WHAT’S YOUR NAME?

How many times has someone told you about a great act they saw the night before but had no idea as to the artist’s name? Hang a banner in the back, put a logo on the front of your keyboard, have your name in pearl inlays on your fretboard, whatever. Make sure that there’s something on stage that somehow visually embeds your name into the mind’s eye of each audience member so that they will remember you, your music, and your name.

FIX #4: NO VISUAL VARIETY

If all of your songs are sung into a mic standing at center stage, the audience will be bored by song three. Move the mic stand to different places on the stage, sit on the front of the stage, go into the crowd, use a bar stool, sing something a cappella away from the mic and get the audience to sing along. Every song must be presented with a different visual; otherwise all of your songs are going to all “sound alike” to your audience.

FIX #3: TOO MANY DISTRACTIONS

The audience only needs to see your mouth, your eyes and your hands. THAT’S IT!  Other than your name on a banner, everything else on stage that may divert their attention away from those three visual means of communication is an unnecessary distraction. That means no flowered shirts or pants, no red boots, no wild hats or hairdos, no white guitars, no orange amps, no musical instrument logos, and above all, little to no skin.

FIX #2: TOO MANY MID-TEMPO SONGS

Mid-tempo songs are stock in trade for all budding singer/songwriters, but performed live to an unfamiliar audience, they’re boring, boring, boring. The first and best way to get to an audience to respond to you right away is by the FEEL of the first song of your set. An up-tempo song (preferably a shuffle) gets their heads nodding and their feet tapping. Always start and end your set with an up-tempo song.

AND THE #1 FIX EVERY SINGER/SONGWRITER NEEDS TO DO: STOP EATING THE MIC

Again, you have three ways to visually communicate your emotions to your audience – your hands, your eyes, and your mouth. If you eat the mic, no one can see your mouth. The Shure SM58 is the standard of the industry. I recommend the Shure Beta 58A – better midrange response. But the solution is not changing the mic. Meet with the FOH person before the show and ask them nicely to push the preamp gain setting up as high as it will go before feedback. Then you can back off the mic. (Side note: lose the shades as well.)

The 96 other ways to improve your show and your career are spelled out in greater detail in my newest book – The Singer/Songwriter Rule Book: 101 Ways To Help You Improve Your Chances of Successavailable at Amazon/Kindle and in digital and book form at http://amzn.to/2o4osB8.

A SUCCESSFUL MUSIC INDUSTRY PANEL DISCUSSION – SERIOUSLY!

Anyone who has spent any amount of time in the music industry has been subjected to (or participated in) an inordinate number of pointless panel discussions. A lot of my jaundiced view stems from the experience that the people who populate panels are doing so more for the prestige and notoriety of proselytizing to the converted than actually saying anything meaningful. Let’s get real: anyone who knows anything about how to get ahead in this business is not about to reveal it to a room full of competitors. Actually, while the panels are going on, the real business is being carried out in the adjacent hallways, or at lunch, or in the hotel lobby bar. Enough said about that.

But after all these years of spending time on both sides of the dais, I recently witnessed a panel situation that actually worked! In reality, I was more than a witness; I was one of the panelists, although that certainly wasn’t the reason it worked. Never in my experience have I been involved in anything so well planned, so well produced, so well done. It was put together by the organizers of the House of Blues Music Forward Foundation’s Bringing Down The House program. It was held earlier last month, not just here in LA at the Live Nation studios in Hollywood, but also Skyped to House of Blues clubs in seven other US cities where similar events were being held. Bringing Down The House is a national program sponsored by the HOB Foundation where local high school-aged artists and bands compete for the chance to perform on stage at their local House of Blues in a special evening performance. This year, they decided to take it one giant step further and incorporate a series of Saturday morning educational panel discussions covering virtually every aspect of pursuing music as a career.

My panel’s subject matter covered everything from songwriting to home studios to label A&R to performing rights organizations, for which real experts had been invited. Then there were the “kitchen sink” topics, which had apparently been left for me to address. The questions came fast and furious from a panel moderator, but the best stuff came from the high schoolers themselves, not only in the LA studio but also from kids in each of the participating cities in a kind of Face Time, real-time, large-screen situation. How refreshing to find a crowd of young, talented musicians and performers who seemed to be soaking up everything we had to say. A rare audience indeed. Read on!

HOB post panel shot

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HOW TO GET ALL THE CRED OF SXSW WITHOUT THE TIME AND EXPENSE

“Music is spiritual. The music business is not. – Van Morrison

It’s almost that time again – that time of year when every band and singer worth their salt makes that annual pilgrimage to Mecca (Austin) for the week-long SXSW festival. A week of no sleep, watered-down drinks, bad food, unrewarding performances and the heartbreak of the ultimate realization that it wasn’t really worth it. Never have so many spent so much time and money for so little notoriety and reward. 

So, here you are, another year goes by and, once again, you still can’t afford to go and you can’t afford to not go. What the hell are you going to do? Simple: Don’t go….and just say you did.

“WHAT?” you’re probably asking yourself right now. “What kind of fool would give out this sort of advice and what kind of fool would take it?” Hear me out.

Now I’m sure that you think that you might be missing out on something and that you were at least hoping to network and snare some sort of deal. After all, this could be the year! This could be your big break! This could be your time! Or not.

But you CAN still get the promised SXSW payoff even if you don’t actually go! It’s really quite simple. Just follow these six steps:
Step 1)   Two weeks before SXSW: Announce to all your friends and post to all your fans that you’ll be playing multiple cool, hip private parties every night at SXSW. Let them know that most of the parties haven’t been announced yet and you can only get in by special invitation but that you’re going to work on getting a guest list for your friends and fans. Whenever anyone calls or texts or emails, don’t respond right away. Then later apologize, but remind them how busy you are setting up your shows at SXSW.

Step 2)   One week before SXSW: Remind everyone of your trip but that you don’t know where you’ll be staying yet because everything is booked up, but that you’ll try to keep in touch with them on FB or Twitter but to not expect you to be able to answer calls, emails or texts, because everybody knows that since all 20,000 people (maybe it’s 200,000, I don’t know) will be sucking up all the bandwidth in town, it’s going to be hard to get messages back and forth. So tell them to just keep checking the SXSW website, or some such silliness.

Step 3)   Three days before SXSW: Announce that you’re leaving for Austin and that you’re hoping to take advantage of some pickup gigs along the way, hard to say where or when.

Step 4)   Then: You pack up your gear and head out of town to some place where no one knows you. Check into a cheap motel and shut off your phone and your laptop/tablet. Relax. Read. Write a new song or two. Catch up on your sleep. Occasionally you should send out a tweet or FB post about what a wonderful time you’re having and how great you sound, blah, blah, blah. Tip: shut off your GPS location tracking, just in case.

Step 5)   The day after SXSW is over: Turn on your phone again and let everyone know you’re heading home after a very successful trip to Austin. You played to full houses, got drunk with all your idols and made a lot of contacts with some very important people. You even wrote some songs in someone’s van.

Step 6)   Once you get home: Send emails or texts or call every important person that you know was at SXSW and tell them it was so cool to meet them and how much you appreciated the nice things they said about your music and you’re following up on their offer to get together for some lunch to discuss how you guys might work together in the future and that this time, you’ll buy!

Whoever gets your message will have little to no memory of SXSW anyway, since it’s really just an excuse for the industry dweebs to get away from their miserable existences and drink and get high for a week. And since there are over 2,000 performances (I really don’t know how many; maybe it’s 20,000), there’s no way in hell that they can say that they never met you there. They may be a little embarrassed and apologize but you assure them that you meant everything you said and that you’re a person of your word and your word is your bond, etc. – whatever it is you need to say to make sure that they meet with you anyway.

Unless they, too, have read this post and never went at all. But then, they couldn’t admit that, could they?

BTW: This same routine works well for CMJ but not so much for the more limited single-venue events such as Coachella, Bonnaroo, and Lollapalooza – too easy to get caught and, besides, those are way more fun. You should actually go. Have fun.

(Editors note: You may be thinking that this plan is not foolproof (and I agree) and that only a fool would try this stunt. Foolish? Or just foolhardy?  The former implies not noticing risk; the latter, continuing despite it.  Admittedly, it would take someone with a lot of swagger and confidence, plus the ability and desire to pull one over on unsuspecting industry-types. Not only pushing the envelope, but breaking out of it altogether. Do it.)

BTW – I’ve seen it done and it can work.

“I think that the rock ‘n’ roll myth of living on the edge is just a pile of crap.” – Robert Smith

 

THE MUSIC BUSINESS RUNS ON SUSHI – BUT ARE YOU DOING IT RIGHT?

Back in the early ‘80s, Island Records founder Chris Blackwell, after signing Irish-rockers U2, decided to stay ahead of some imaginary country-of-origin curve and signed Japanese art/punk rock band Plastics (or The Plastics). As Island was at the time distributed by Warners, I was assigned to accompany the band on their maiden tour of America to facilitate promotional activities.

The best thing about the tour was that we would entertain radio and press at very nice Japanese restaurants in America where the band would order dishes not on the menu that defied description and pronunciation. Outside of the major markets, however, we would have to sublimate on just the sushi and sashimi on the menu. But as a result, I learned a lot from the band about the etiquette and procedure for properly ordering and eating sushi.

Fast forward to a sushi restaurant the other night (before a show, naturally) where I realized that, for all of the sushi consumption that keeps the music biz running on a daily basis, most of my colleagues are not aware of the correct ways in which one orders and consumes sushi. In fact, most of the others at the dinner admitted that they were only copying something they saw someone else do years ago, which wasn’t necessarily correct. Therefore, as an apparent altruistic public service, allow me to pass on a few major points about sushi given to me in the nicest possible manner by the members of The Plastics.

CAVEAT: A full comprehension of Japanese dining etiquette and the extensive nomenclature surrounding the art of sushi are way beyond the scope of this blog. But it’s kind of like publishing – if you know anything at all, you know more than 90% of anyone else in the music business.

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WHY NOTHING COMPARES TO PRINCE

There’s always been a notion that if we could emulate the lives of those we admire, then our lives would have the same outcomes as theirs – talented, successful, rich, famous, happy, whatever. That, of course, explains all the “Seven Secrets of…..” books and the popularity of biographies as treasure maps to our desired fortunes. Although the lives of successful music artists fall into that same category and there are certainly crafts and skills to be mastered, there are two areas that cannot be duplicated, which are, unfortunately, the two most important things required for success – artistry and luck. Which is why nothing compares to Prince. His was the perfect storm of skills, artistry and luck.

His talents were unparalleled in the world of popular music and so heralded so much recently that there’s really no reason for me to list them here again. Know that each of the skills he mastered required the now-proverbial 10,000 hours of learning, practice, and self-discipline – each of them. All the talent in the world still requires that amount of woodshedding, trial and error and back to the drawing board perseverance. Who among us has that drive? Who’s out there now picking up the torch? 

Even putting in that kind of life-long work doesn’t necessarily produce a successful career in the arts. You have to have the inborn talent to take those well-honed crafts and elevate them into art. Prince had that talent. I don’t and probably neither do you.

And even putting that innate talent aside, there’s the inevitable requirement to be in the right place at the right time with the right thing. Here’s where luck favored Prince. His heritage was black music from Louisiana but he grew up in white bread Minneapolis. That meant he had parental music influence from an early age but wasn’t hampered by local customs of what music he should or shouldn’t be doing. That way, much as the Beatles in Liverpool, he opened out of town so that when his time came, he was ready.

His artistry was influenced by the immediately previous two decades of black music crossover and he blatantly stole from the best of them (a la the Beatles again) – Little Richard, Elvis, Jackie Wilson, James Brown, Smokey Robinson, Sly Stone and, of course, Jimi Hendrix. The time was ripe for someone to combine all of those performance elements with the music of Ray Charles and Stevie Wonder. And that’s where he set himself apart from all of those who preceded him and apparently all of those who followed – live performance.

And speaking of luck and live performance, I was fortunate enough to have been a part of the Warner Bros. Records Artist Relations staff in the early ‘80s, which provided me with the assignment to go out on tour with Prince, mainly to work with whatever other talent he had found, developed and brought out on tour with him, i.e., The Time, Vanity Six, Apollonia 6, Sheila E.  That afforded me the opportunity to witness any number of Prince shows and see first hand on a nightly basis how he had amalgamated all of the now-standard performance tropes into one concert – essentially a history lesson in showmanship, drawing on what had preceded him in the previous two or three decades.

His shows were non-stop music – no between-song tunings or swigs of water from plastic bottles – non-stop music. Just as an example, you can Google the late 1982/early 1983 Controversy tour and find video of the opening numbers. During the course of the first song, “Why You Wanna Treat Me So Bad?”, he went from an a cappella gospel intro, into a funky pop/rock band groove, to an Allman Brothers twin guitar break with Dez Dickerson, to a James Brown thing with the mic stand, to a Hendrix-inspired solo guitar break, to a hair band pose with Dez and bassist Mark Brown, to a stage right stunt playing guitar with his left hand on the fretboard and his right hand banging out a riff on a synthesizer, back to center stage for a heavy metal band bombastic ending, which included a directed vamp to the final chord, à la James Brown on the TAMI show. All in the 12-minute version of the first song! And it went on from there – stopping along the way to visit every possible 20th century musical style – all done seamlessly and with professional panache.

And that’s why nothing compares to Prince.  It’s hard enough to imagine that such an artist actually existed and in our lifetime, let alone thinking someone might be able to duplicate his artistry. Although the luck of being in the right place at the right time with the right thing certainly played a part, this guy had it all. He taught himself how to do it all. He had the drive and the talent to do it all. When his big break came, he was ready. Like no one before him and, from what I can tell, no one since.

Epilogue: Everybody I know has a Prince story – most are either strange or befuddling, but here’s one with an amusing ending. My wife and I attended the “1999” tour show at the Universal Amphitheater in LA later in 1983. We had some great seats in the Warners allotment, about 15-20 rows back, center section, left aisle. Actually we were seats 3 and 4, no one was in seats 1 and 2. Then about two or three songs into the show, two big guys came stumbling down the aisle stairs in the dark looking for what ultimately would be our row. The first guy in apparently couldn’t see a thing and the other guy had to help him into his seat  – it was Stevie Wonder. His security guy asked him if he wanted anything, Stevie said no, and the other guy left, leaving Stevie sitting next to my wife.

We naturally thought that this was pretty cool as did everyone around us and we went back to enjoying the show. Prince kicked into I think “Let’s Go Crazy” or some big rave up song and Stevie turned to my wife and shouted, “What’s he doing?” My wife shouted back, “What’s who doing?” and Stevie replied, “Prince! What’s he doing?” So my wife proceeded to describe to Stevie, to the best of her ability, what was happening on stage.  He thanked her and said, “I love your accent!” Next song, same thing. Every song after, same thing. By the end of the show, she was practically in tears from the ludicrousness of the whole situation.

When Prince left the stage for the false exit, Stevie’s guy reappeared. “C’mon, Stevie,” he said. “Let’s get out of here before everyone else.” And Stevie shouted back for everyone to hear, “I’m not going anywhere until I hear ‘Little Red Corvette!'”  Sure enough, Prince came back on and played “LRC”. Stevie got up for the first time and danced like a wild man, singing along with every word until the final chord of the song. Then he said to his handler, “OK, we can go now.” He thanked my wife for her help and disappeared up the aisle into the passageway out.

Footnote: I happened to be at the House of Blues Foundation’s Music Forward show at the Wiltern in LA the night everyone heard about Prince’s passing. Local KABC Ch. 7 news was there and asked me for a few words in reflection. Here’s the link to an otherwise really nice piece:

R.I.P. Prince

TEN MUSIC BIZ PREDICTIONS, HOPES & DREAMS FOR 2018

Here’s to all of these things coming true in 2018 so that there might be a happy and fruitful 2019!

1. Return of Real Songs

Millennials will come out of their collective fog and realize that what passes for pop music these days – well-produced, pleasant, beat-driven, formula, lyrically repetitive, singsongy, non-melodic music – are not really songs. Real songs – narrative stories with beginnings, middles and ends (as well as the clever bridges) – will stage a comeback, and real songwriters and performers will breathe a collective sigh of relief. It’s already being done in Nashville and quite well at that.

2. Mic Technique Revolution

A superstar singer will set an example on proper microphone technique for the rest of the pop, rock and country music entertainment world by taking the mic out of and away from his or her mouth, allowing us to not only finally see the singers’ facial expressions but to also prevent them from popping their p’s. This epiphany will not spill over into the rap world.

3. Live Performance is Everything

Concert promoters, club bookers and agents will refuse to sign or book any act that isn’t any good at entertaining an audience in a live performance situation. The result? Only artists who have developed an entertaining live show will be allowed to perform. That will bring ticket-buying audiences back into venues and no more pay for play. It will also require artists to learn how to entertain instead of just singing and playing at the same time. Again, it’s already being done in Nashville. There’s a reason why the top award at the CMA’s is Entertainer Of the Year!

4. Who’s your agent?

As live performance revenue continues to be the gold standard for music artists, booking agencies will become even more of an influential aspect of artists’ careers, surpassing record companies and managers in that respect. Again, an artist’s live show will be the centerpiece of their careers.

5. Local Radio Plays Local Music

Terrestrial local radio stations will regain control over the music they play from their national conglomerate home offices. Music fans will have some sway in what gets played on local radio though real-time mobile apps linked directly to the local radio station studios. The rising tide of listenership will raise all advertising rates boats. Win/win.

6. Performance Royalties from Radio

Congress will expand current performance payments made by radio stations to writers and composers to include master rights holders and, hence, the performers (as it is in the rest of the world except mainly North Korea, Iran and China – great company we keep, huh?). When this long-overdue slight is righted, American master rights holders and performers can then additionally start collecting those performance royalties that are currently being collected (but not paid out) to US-based artists from 75 other nations around the world. All in all, it will mean millions of dollars in windfall to the American music creative community from both here and abroad.

7. Better Streaming Rates

The Constitutional right to a regulated and fair compensation for writers, composers and performers will be enforced on digital streaming companies and extended to all future but currently unknown methods of an audience enjoying an artist’s creative endeavors.

8. Music As Merch

CDs, vinyl and downloads will be officially relegated to the merch table, websites and indie stores, as artists and record companies finally concede that streaming is the preferable (and more profitable) way of buying music for instant and daily consumption.

9. Record Companies Evolve

Record companies (still the best source of funding, marketing and promotion of an artist’s music career ambitions) will rightfully continue with their 360 deals, but will divert attention away from music sales and focus more on the revenue that can be generated (and commissioned) from live performances, publishing and merchandising (which now includes CDs and downloads). The strength of an artist’s live show will weigh in larger than before in evaluating label signings.

10. New Artists Breakthough on Indie Labels

Indie labels will continue to be the grass roots discovery and nurturing ground for new and developing artists. Many will offer all the services of a major by utilizing third-party independent marketing and promotion companies.

We can all dream, can’t we?

A TRIBUTE TO THE ARTIST BIO WRITER

Is there no greater work of fiction in the English language than the artist bio? You know, the three-page laudatory pronouncement of some new musical genius suddenly discovered and spotlighted. Or how about the one that signals the mid-career change of musical direction? Or the end-of-career, where-have-they-been, and what-now variety?

The first is largely platitudes of the “most astounding debut of this or any previous musical season” variety, ultimately based on nothing but wishful hoping. The follow up bio usually has more meat to it, especially if the artist had made some kind of mark in the musical world in the interim; although it can become fairly evident by the third paragraph that the creative juices have dried up and they’re going to try something else now, in hopes of maintaining the already waning attention of a fickle audience.

But it is the final level of hubris that is the saddest of the three and generally the easiest to see through. The early promises and successes have been worn out and the second act didn’t prove nearly as fruitful. Worse, all of the previous character flaws that had gone overlooked or unnoticed now glare through. Then it becomes the job of the harried bio writer to take the facts of the matter as they lie and put that famous spin on them in hopes that this last gasp may catch the wave.

If you’re not sure what I’m getting at, read on. Even if you are sure what I’m getting at, what have you got to lose but maybe another few minutes? Like you have something WAY more important to do? Oh, come on.

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SO WHAT DID YOU THINK OF THE SHOW?

THE UNCOMFORTABLE BACKSTAGE AFTERSHOW MEET & GREET

There comes a time in the life of everyone in the music business when one must suffer through the dreaded aftershow meet and greet with the artist. To Fred and Marge from Iowa, it probably sounds like a dream come true – meeting the artist they’ve always loved and admired where they can gush over about how wonderful the show was and how the artist is their favorite all-time performer and how much they enjoyed hearing the song that was played at their wedding, ad nauseum. But we know it’s not like that, is it?

Now that all of the fan/winner/VIP hoopla has been relegated to the before show meet and greet, the aftershow is strictly the domain of the industry (agent/label/promo person), being coerced by management and tradition to meet with the artist on the artist’s turf and try and have a painless conversation, not unlike the photo above of the late Ahmet Ertegun of Atlantic Records with Crosby, Stills & Nash circa 1974. How uncomfortable do they look? Actually, Ahmet seems fine.

Regardless, here’s how it works: Initially, you gather near a backstage entrance, like cattle being led to slaughter, if only to listen to a diatribe from a security or road person about having your stick-on pass visible. Then, like sheep, you’re led down a dimly-lit hallway or two (should you drop breadcrumbs?) to a large room, which is conversely lit up well enough for open-heart surgery. There you will congregate with the bass player’s distant cousins from Peoria and end up in a conversation with them over warm beer and vegetable/cheese trays left over from the before show function. After some interminable amount of time, the artist’s personal assistant will gather you and the other unfortunate industry dweebs for yet another journey down a few more hallways until you are shown into the inner sanctum – the artist’s dressing room.

First, there will be some embarrassing re-introductions because no matter how many times management has told the artist who’s coming backstage, it’s all forgotten. Then you’ll try and help the artist put together who you are, when you last met them, and what you mean to his or her career, oftentimes inflating it more than it really is just to get some kind of positive reaction. Then you’ll talk about what efforts you’ve been making on the artist’s behalf recently and what the results are so far. You can only hope that the artist isn’t more well informed than you are on the subject, otherwise a cross examination could begin that will turn ugly.

But in the end, since there’s really nothing else to talk about, the artist is going to ask you what you thought of the show. Now you have to make a choice. If it were a good show, you’re safe. You can go ahead and say complimentary things and the artist will bask in your intelligent opinions. But what if it were a bad show? What would you say then? If you want to get out with your pride and your pants still intact, read on for some tips. Continue reading…

A BELATED TRIBUTE TO THE RADIO PROMOTION PERSON – SOMEONE HAS TO DO IT!

“The industry is both the enemy and the best friend of the artist. Trouble is, they need each other.” – Chrissie Hynde

You may not be familiar with a rather obscure Rolling Stones’ song “The Under Assistant West Coast Promotion Man”. It was the American B-side of “(I Can’t Get No) Satisfaction” in mid-1965 and also appeared on the Out Of Our Heads LP. Before you read on, if you haven’t heard it, take three minutes: https://www.youtube.com/watch?v=9IImmRrFBz4   (Ignore the vain attempt by the YouTube poster at synching other footage to the song.)***

The target of the song was the promotion rep for London Records on the West Coast in the mid-60s – one George Sherlock. In addition to getting the band’s records played on the radio, Sherlock traveled with the band to set up tour promotions. Apparently Sherlock was from a different time and culture than the Stones (shocker), and so the band was put off by his demeanor. They subsequently wrote and recorded this song about the experience. From all reports, though, the Stones eventually warmed to Sherlock and didn’t mind having him around.

Although the song is an indictment of the quintessential radio promo guy of the era, there is a line of truth in the song: “I’m a necessary talent behind every rock and roll band.”  Exactly. Records don’t just get played on the radio out of the blue. Someone has to bring it in the door and get it heard. Someone has to have, to quote Artie Fufkin from Polymer Records, a “relationship” with the programmer. (Ed. note: Spinal Tap is funny because it’s all true.) You can’t just walk in to a station and expect to get an audience with a radio programmer. Not going to happen. It takes a seasoned, experienced, professional radio promotion person to get a record played on the radio. There is no other way. None. Period.

Radio promotion is a sales job except that you’re not selling a tangible item – like shoes or cars or real estate – you’re selling an emotion, a feeling, a song and a sound – trying to convince a radio programmer that the song will make an audience feel so good that they’ll keep listening to the station just to see if whatever comes on next makes them feel that way again, over and over, day and night, 24/7/365.

But you have to remember that radio programmers are not really in the music businessthey’re in the music using business; that is, they utilize music to sell airtime to advertisers who want to sell something to a certain segment of the population, not unlike how TV and film use music to enhance a certain scene. So even though radio promotion people are trying to sell the relative value of one record over another to a radio programmer, it’s really the radio audience that needs to be sold to, thereby making the job even harder – convincing a programmer that despite his or her taste, it’s all about what the audience wants to hear.

So who are these radio promotion people and why do they do whatever it is that they do? I’m not sure. On the surface, it would seem like a real cool gig. Working as an important cog in the music business wheel, taking people out to lunch and dinner on an expense account, going to shows, hanging with the bands, and, from the Stones’ description, driving Corvettes and wearing seersucker suits. But much like the tour manager job described in last month’s blog, there is also a downside. Continue reading…

A TRIBUTE TO THE ROAD MANAGER – PRAISE AND A PRAYER

“I have no use for bodyguards; I use two highly trained certified public accountants instead.” – Elvis Presley

When Elvis Presley’s fiancée Ginger Alden found him unconscious in the Graceland upstairs bathroom at 2:00 pm on August 16, 1977, she called to Joe Esposito, Elvis’s longtime road manager. Joe immediately ran upstairs, surveyed the situation, and went right to work. He called for an ambulance from the bathroom phone and he attempted mouth-to-mouth resuscitation and heart massage, but to no avail. However, by the time the paramedics arrived, the bathroom and the adjacent sitting room had been cleaned up, as well as the vomit from the shag carpet in the bathroom. Anyone who has ever done the road manager gig for any length of time knows exactly what to do in these kinds of circumstances.

This month’s dictum is a shout out, a testimonial, some observations, a couple of pratfalls and a warning to the unsung hero of the touring business – the road manager. These men and women are also known as tour managers, the distinction being that on larger tours, the tour manager oversees everything and the road manager takes care of the artist(s). On mid-level to small tours, the road manager does everything. Everything.

At first glance, this road manager gig would seem to be the best job in the music business. It’s a total power trip for a control freak. Everything must be done the way you want it to be done. If you say the show is off, it’s off. If you say everyone must be in the van by 8am, that’s what everyone does. One does not question the road manager. He or she rules. Except that’s not always how it works. There’s also a downside.

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WHAT STEPS ARTISTS NEED TO TAKE BEFORE THEY GO TO RADIO

“Hey, Mister, That’s Me Up On The Jukebox!” – James Taylor

 OK, so, you’ve raised enough money from your friends, family and (let’s hope) fans to record that set of songs in the way you’ve always wanted them to sound and now it’s time to share your creative output with the world. And what better way to do that than through the time-tested path of radio. And, indeed, there is no better way for your music to become one with the masses than through the repeated plays of radio. And it’s free!

No, actually radio is not free. But even if it were, there are numerous steps that you first need to take along the yellow brick road to reach the radio stations of Oz. You’d better sit down.

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