Write Songs the Music Industry Wants to Hear!

by: Alex Forbes

Sure, "art for art's sake" is cool... but what if you're pursuing a career as a songwriter? This article is full of suggestions for how you can tailor your songs to suit the requirements of music business professionals.

Many of us bemoan the state of commercial music today, but what are you doing to improve things in your own microcosmic corner of the universe? Are you working to create the next wave of great material — songs that have a lifespan of more than a few weeks or months? How can you use your talents to actually make a powerful contribution... and make a living while you're at it?



The first step is to take a good look inside and explore what you as a unique individual have to say, lyrically and musically. What do you think about, believe in, stand for? What makes you tick? These precious truths that bubble up from the soul provide the driving force behind great songwriting. These sparks of inspiration, these "aha! moments," are what listeners crave when they play a song. They're also what People Behind Desks are desparate to find. Do you have the courage to lay bare your personal truth in public? I firmly believe that's what it takes to achieve success with your songs.

The cynical among us will say, "no, you just need the right equipment, a catchy hook and a whole lot of money behind you." Sure, those things help, but if you're trying to break into the business, your song has to simultaneously grab people by the guts, tickle their ears, and slam them over the head like a 2-by-4. Strive to write songs that take risks, tap into the universal via the personal, and motivate people to laugh, cry, feel, dance or take action. Make an effort to innovate, not imitate what's already out there. In other words, write your passion. Songs miraculously translate to listeners the exact emotion you felt while you were writing them. Do your best to work that magic!

Another quality that professionals look for in a song is strong dynamic flow. Skillful use of the many conventions of songwriting can manipulate listeners in the most enjoyable way. Don't be afraid to push those emotional buttons! Here are some ways to go about it:

• Suck listeners in with lyrical, melodic and chordal tension.

• Create a question in their minds: how will this turn out in the end?

• Throw their bodies off balance with chords or melodies that are unexpected or quirky.

• Take a strong point of view that's boldly provocative, unique or intensely felt.

• Paint a vivid picture in the mind's eye.

• Set a palpable mood.

• Construct an entire sonic and/or lyrical environment.

Once you have piqued people's interest, crank up their involvement using all the techniques in your lyrical toolbox, i.e. rhyme, meter, imagery, metaphor, alliteration... you name it. Avoid clichés like the plague, or turn them on their heads somehow. Experiment until you find the melody lines that best show off your lyrics, and vice versa. Salt your song with enough repetition to make it memorable, but not so much that it becomes predictable. Use chord progressions that are fresh, stimulating the ear rather than lulling it into complacency.

When it comes time for the ultimate payoff, your Hook, don't settle! This is your Money Shot, and most music biz pros will hit the "eject" button if they don't hear a strong hook in one listen. One listen! Here are a few ways to enhance your hook:

• Construct your song so that all roads, lyrically and melodically, lead to your hook.

• Remember that famous music business adage: "Don't bore us, get to the chorus."

• More hooks is merrier! Instrumental riffs, backups, rhythmical chord movement, and verse melodies can provide secondary hooks.

• Fear not repetition (up to a point, of course).

• Throw in memorable "monkey wrench" words that stand out.

• Make sure the world can sing along.

• Play with the language: use slang, twists of phrase, even invent a new word!

Finally, People Behind Desks really appreciate it if you know your marketplace. Don't submit a country ballad when their artist is a heavy metal guitar-shredder. And if you're the performer, have at least 3 crowd-pleasing, radio-ready songs in hand before you shop a deal. Make a detailed study of the hits in your chosen genres, and incorporate those lessons into your work. The Internet has made it incredibly easy to educate yourself about what's selling these days, so there's no excuse for ignorance.

Look at the world for a moment from the perspective of a music industry pro: They'll respond positively if they think your song will save their job. By bringing them dynamic, single-worthy, heartfelt material you'll be well on your way to doing just that, and creating a career for yourself as well.

Happy songwriting!

Copyright 2006 Alex Forbes

Recording; You're ready?? Part Final

So now here you are Mr. Big Shot Recording Artist..

You have all your Music Recorded now? Well you can do many things from here. The simplest one is to fork out more hard earned cash and buy yourself Recording software with Mixing capabilities or fork out even more hard earned cash and get someone to do the mixing for you. If you were thinking of saving some cash from the start though you could of just did the first thing I mentioned here... Buy a good PC/Laptop software like Cakewalk or Cubase SE. There are many Recording software types that you can buy. I personally prefer Cubase SE, but that's just me.

But I'm not typing in all this stuff now just when you've spent all your money on Music Recorded in the studio now...

Back to where we left off then

You have gotten all of your ideas together and have written everything down on how and what you want to have done with your fresh Recordings. On top of all that you are sticking to a budget right? Always give yourself plus or minus a couple of hundred dollars. You just never now what you'll change your mind on or might want to add a little here and there.

Besides all I hope you have set the terms of your sessions. It's always a good thing to talk all terms before getting into the mixing studio and then second guess everything or think later on "Hey that's not what we agreed upon"!
Always get everything in writing as in:

1. Agree on a price per hour; per Recorded song; per Album. Talk and agree.
2. Keep a schedule and stick to it. Set time and reserve it.
3. What is to be included, example; set up time

You have also picked out who will Mix your Recording and put all your crazy ideas onto what ever type of recording standard you would like to have, Analog or digital? Usually digital is use now more frequently because everything is done the new way of coarse and analog you'll spend a little more on the end when you have to put everything through a final mixing phase etc. Here are a few articles on Analog vs. Digital. My opinion I like analog better than digital then transferred to Digital, why? If you do all of your hard mixing/editing in analog it (to me) seems to keep it's true full sound and when pressed through into digital, the trauma of it all isn't as harsh; If done correctly of coarse. Now if you mix in digital and end up moving too many of your Sound Recordings around e.i. compressing and editing etc. You end up sometimes with little hisses and clicks that normally you can hear right off bat. This is mostly true thought if you get someone who is inexperienced on both side of coin.

Now when mixing/editing run through each of your Recordings and jot down where you want what type of expression, effect etc. This will make things easier for the editing/ mixing engineer to see it the way you want it. Remember all of your over- lay's, as in doubling guitars, vocals and clean recordings as I call them (Recordings without bad tuning, weird noises etc) have been done so you may use them and not have to spend more money correcting all those problems Now!

As I've said before, don't spend too much time on one piece too long if you can't get it right in this crucial mixing/editing stage. Move on and refresh and focus on your ideas for another day. This stage is the most expensive and time flies when your in the cube as I call it, you'll just end up disappointed and have to rework the things you tried to fix anyway... Most likely of coarse.

Remember to always bring blank CD's so you can burn your new mix and listen to the end result of the day. Like I said earlier, you want to listen to your Recorded Mix in different types of CD players.

In closing just remember keep your thoughts focused and do the brainstorming before you go into the Recording studio and or Mixing/Editing room. Not only will you end up with something you wanted in the end result but you'll end up spending less.

Good luck
TONE

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Recording; You're ready?? part 2

So now were at the Recording stage and getting down all the riffs, drums, bass and vocals as you planned. If you don't feel like you have a certain piece of your music right move on. Don't get hung up on a small detail and waste your money, you can always just go back to it later. Also if you do get hung up on a detail you didn't like, have your rough recording burned on a CD so all of you can listen and work out side the Recording Studio.

Note: Always carry CD's with you and keep a personal archive. Don't just depend on the Recording Studio to have all your stuff. The dam awful worst that can happen is after you Record all your music down or even a certain song and then having the Recording studio tell you they misplaced your stuff.. This has happened to us.

Don't spend too much time trying to cram all your songs in just a few days. I really recommend that you spend about 3 to 4 hours in the Recording sessions at a time. Believe me it's not that you can't get everthing out in just one day. I've seen it done, but then only having to come back and redue alot of what you thought sounded great in your Recording, actually weren't that great after all. Your hearing actually shuts down some sounds after a while and you hear in a more monotone sense, than if you were to rest your ears and start freash once again. You'll notice the diffrence.

Don't listen to your recording in a very high volumes. Same happens as I said above. You will actualy hear your Recording details more at a lower volume, you'll be very amazed. Just to add to this; listen to your Recordings in as many diffrent environments as possible, example: Your Car, home, laptop, headphones etc.
This will give you the best idea of how you may want your Music Recording to sound. You will have to do this also after your Recording/Mixing is complete.

I'll post soon that's all for now.....

Recording; You're ready??

So you're sitting there wondering if you're ready to put some stuff down onto a CD and hit the Recording studio. Well Something you have to remember about Music Recording is be prepared and patient. I don't know how many times we have Recorded our Music only to end up with something that we weren't satisfied with for lack of preparation before the Mic was turned on. Ok now so you are prepared now after you have rehearsed your Music and be able to pay the money to have some guy Record it. We STOP right here!!

1. Make sure you shop around for the best deal for your money. Remember, just because you pay the cheapest for studio Recording time, doesn't mean your getting the best service. Right now the Industry is charging anywhere from $29.00 to as much as $50.00 and hour (can be higher for well know studios). I highly recommend you asking around when you go see your friends play at the local joins or if you are at a gig. Look around someone has had their Music already on CD and is getting out there. You can ask them on their experience with whom ever they had their stuff Recorded at and ask if they recommend them. Go as far of buying their CD ( hopefully they are giving them away) and see for yourself if the quality is in fact good enough for you. NOTE: Rough Recordings and the actual Mix Recording are two different things. Ask who's' ever Music you are listening to if they had to spend a lot of time on repairing mistakes that were done in the Rough Recordings. This little info. Will save you a few hundred $$.

Now you did your homework and found your studio to do your Recordings.

1st. Thing talk over the things with your band/group on what you want to get done and set a time period on what you want to record first. Some people feel more comfortable Recording all of their difficult stuff first and then their easy stuff or just the opposite. This is your group's decision on what will get done first and go though them.

2nd. Usually the drums are the main thing then bass and last guitar. Guitar will usually take the longest because some bands Record multiple guitar and layer them after. This is done to add effect and fill in the sound. Last but not least, the Vocals which also take time for that same purpose as the guitar. All this depends of coarse on what you are looking for in you final mixing sound. Remember get all that you can at this stage in the Recording Studio because it a lot more time consuming trying to get an extra guitar and vocals added in the mixing faze. This goes for pitch and miss hits (drums) and out of tune instruments.

to be continued.......

5 Sure Fire Ways to get radio play for your “Independent” MUSIC!

Submitted by Guest


You have to find radio airplay time if you’re going to be heard and we’re not just talking the local college campus. The trick is called promotion. Now that doesn’t mean you just put your press kit in an envelope with a demo and hope they take pity on you. Perhaps you call a station and they give you the standard pitch of, “Send it and if we like it we’ll put you in rotation.” After a few months of never hearing your Music, you automatically think you’re not worthy. First, don’t buy that. You’re one of hundreds, maybe even thousands depending on your city. Your disc will probably end up in the trash or, for more enterprising DJ's, on Ebay in a one-cent CD sale. If you want to be heard and make potential sales, you have to stand out from the crowd, and in this jewel of an article, I’ll show you Five(5) Knock ‘em Dead Ways to Do Just That!:



#1 - Get your CD into the right hands. The intern that’s too busy to getting coffee or typing up a report for the station manager isn’t going to be the one making the airplay decision. So find out who the head honcho is in that department and touch base with them. If the club you’re playing at charges an admission or you have a show coming up offer to send the stations tickets to give away to listeners. Now keep in mind you can’t give the tickets to the staff, since that’s illegal and called payola, but you can offer free giveaway items to your potential audience.

#2 - If you’ve got one station in your pocket, then drop names. Let them know that WABC is playing your Music and it’s getting a great response.

#3 - Make genuine friends in the business. If you’ve got a disc jockey that’s got you in rotation and really likes your sound, get to know them. Find out why they enjoy it and see if they’ve gotten any responses from listeners. If they haven’t, ask if perhaps they might Q & A their callers about your music so you get a feel for your target audience. It’s not a bad idea to ask them for a testimonial or quote if they’re well known in your area if you know them personally. People help people. That’s a fact so if you treat your area disc jockeys like a living and breathing human and not dollar signs, that’s a foot in the door. Another good source is club owners. If they play your music and the fans go nuts ask them to say a few words about your sound that you can pass along to prospective stations, but be sure to sit down for a drink with them. Ask them about the picture of him and the woman and two kids behind the Magic Kingdom. Don’t be fake, but be genuinely interested.

#4 - Network. Find out if someone you know (or someone they know) has connections to the Music stations. Remember six degrees of separation - you’re only six people away from knowing anyone on the planet and yes that includes station managers, concert promoters and record execs. The trick is it takes a great deal of work and time, but if you’re serious, it’s well worth it.

#5 - Go local, state, national. Don’t think you’re going to skip your local and state stations and be the next Matchbox Twenty. It doesn’t work that way. Start small and then get big. Making contacts and getting names can be tough, that’s why you should start with a tested and proven Music Industry Resource like The Industry Yellow Pages - Music Industry Contact Directory at http://www.TheIndustryYellowPages.com The TIYP is helpful and loaded with contacts you can start using immediately without doing all the legwork yourself.


About the AuthorThis article was written by Ty Cohen, the music industry's most recognizable voice! Ty is the C.E.O of Platinum Millennium Publishing, Platinum Millennium Records as well as owner of http://www.musiccontracts101.com/and http://www.musicindustrysuccess.com/. Some of his work includes: books, directories, mini-courses and software programs including the titles: "How to Make a Fortune in the Music Industry by Doing it Yourself" and "How to Make $500,000.00 "or More" A Year in the Music Industry by Doing it Yourself". For nearly a decade, Ty Cohen's Get Amplified! Newsletter and series of Free Music Industry Success “Mini Courses” has helped over 40,000 independent Musicians, singers, rappers, composers, record label owners, producers, managers, agents and others reach their Music business goals. Using a unique combination of tested and proven Music business success resources, which includes a series of books, directories, software programs, videos, seminars and newsletters, our goal is to educate and empower Musical individuals just like you with the tools needed to succeed! To find out more about Ty Cohen, his services, products and how he may be able to help you succeed in the Music Industry go to http://www.musicindustrysuccess.com/and sign up for his free limited edition Music industry success 10-part “Mini-Course”, it will work wonders for you and best of all, it’s FREE, but EXTREMELY VALUABLE!

Artist Managers and Booking Agents

By: Tom W. Gauger


As a former talent booking agent with the William Morris Agency, I am always amazed at either the scope and talent of an artist’s business team or the why and how an artist exists within the mediocre framework which they are operating from. And believe me, I’ve seen plenty of both. It would seem that many managers fall into these positions, like in many fields, not out of genuine talent or know-how, but by mere presence alone – They were friends of the artist or a brother to one of the members of the act and so forth. If a manager, important at every turn of an artist’s career, is so important, than what exactly is it that makes up a good manager or booking agent?
Most everyone thinks of contacts. No doubt that contacts are important in this business. The thinking is – “Just as long as they act like they know what they are doing and talk a big game dropping some names along the way,” than they must “know” what they are doing and they can get the job done – Or can they?
Many a talented and well-known manager today got into the field, yes, because they knew an individual in the act, but the big difference in their particular operating style, is that they had drive and authenticity and still do today. They got the job done, and still do, because they were approachable, authentic, and had the vision to see the end result. Many a manager today just drools all over the potential end result without the authenticity and approachability that is needed to maintain crucial and vital career lifelines along the way. Artist career pathways are much like a product off the grocery store shelves – There’s a product life expectancy, and the marketing exec’s and everyone else know this. Same in the music industry with a few exceptions as there are in any business.
While we’re addressing artist management, have you ever asked yourself the question – “What makes up a good artist manager? or Who can truly get the job done for me?” Another way to say it is, “I want a record deal with some industry success and who can take me there?” While obviously not guaranteed, and any authentic and honest manager will tell you this, that not every deserving and incredibly talented individual or act makes it – And we’re not talking to the top, but even to the small break or single CD release. This hit or miss approach has frustrated many a well-intentioned artist along the way.
Let’s take a closer look at what is helpful and what might give you some clues to what a potential manager looks like and what he or she can and should be doing to get the job done.
As already mentioned, some immediate traits that you should recognize when talking with potential artist managers are authentic, honest, approachable, creative, thinking of your absolute best and not their interests, qualities. And these qualities ought to exude from who they are and not a put-on, or faked front. Great managers never promise, but deliver. Don’t over-hype, but convey your act in such a way that labels, booking agents and others in the industry just “Have to be involved in the project.” The bearer of the news commands respect and a listening too, because they are at a minimum seen as an individual with scruples, morals and with solid belief in the act. Great managers deliver on what they perceive as genuine and alleged talent and not a musical whim or fleeting musical industry fad. So if you are to find a great manager you to will have to be honest, approachable, think from their perspective of how difficult their job is and appreciate that, and deliver your artist pitch with a non “artsy fartsy” mentality. You’d be surprised at how many “What’s up dude” artists are out there. You want a professional manager than you’d better come across as a professional and well-intentioned act.
Let’s talk a moment about booking agents and the qualities that you will be looking for. I have written an article, The Talent Agent Inside, that you might find interesting and can be found at www.reelmusician.com/reelmusician_026.htm. While that article addresses your own ability to book your act and take up your cause, I will finish the remainder of this article on finding and securing the “right” booking agent for representation. The talent agent like the artist manager is not always easy to spot or find. Many a booking agent will sell you a bag of goods on what they can do and then really never get around to doing it. Your artist manager, if you have one, will be working on this as well, but you should be talking, making phone calls, and emailing potential agents and individuals who can steer you in the right direction.
In short, you need to find an agent who really believes in your act, who can either book you into appropriate venues as a solo act, or book you as an opening act for headliners. Yes, I’m sure you already knew that, but let’s go a step further. Finding these agents is not an easy task. As an agent do you really want to spend your time, your dollar on the phone and mailing out press kits on no-name acts with little in return? You look at all of the acts out there who want to be booked, but don’t want to help out with any costs associated with the basic costs of doing business as a “baby act.” It’s just expected that, especially with the smaller booking agencies, that the agencies will absorb the costs. That being the case, agents and mangers have to deeply protect who they represent and who they pump valuable time and resources into – Somewhere along the way there has to be something or someone who pays the phone, postage, etc.
Try to look at your securing an agent from that perspective and your insight will greatly increase along with your ability to secure an agent. Volumes more could be written on this subject, but for the sake of time, and from the reality that you’ve got more to start working with, with just the last paragraph alone to get you moving, that we will leave it here and pick up in a future article. Just be aware of not only the “big” talkers in the industry, but the individuals who are working hard, but need something to work with as well. Understanding their issues and frustrations will go a long ways in your ability to secure a manger or booking agent. A good talent agent is worth their weight in gold. Before you set off looking for an agent, put yourself in their shoes and ask yourself, how am I going to make money with this act? How much of my time and energy is going to be purged with little to no financial results? Figuring out an angle whereby you can help the agent out will not only tell them that you care, but that you’re on the ball and that you won’t have your hand out the entire time. You do your part and in time someone will come along and take the necessary risk on your talent.
Tom Gauger is a former talent booking agent with the William Morris Agency. This author may be contacted at 615-300-5030 or tgauger@reelmusician.com. As a singer Mr Gauger can be heard on Fox TV, UPN TV Station ID’s, O’Charley’s and many others. Mr Gauger is also a writer on the song Who To Love slotted for upcoming telecast on the Emmy award winning soap The Guiding Light. Artists Managers and Booking Agents – copyright 2006 by Tom Gauger.

Music Industry Dont's. Don't break links!!

I know starting a Music Band this time and age is very difficult. Some Music/band venues are very picky about booking New bands that yet have their feet wet. So Just keep your eyes open and keep your mouth shut when it comes to hooking up with local bands. The more bands you support, the more you'll get back from them.
Over sometime now it doesn't seem to amaze me how some band members from certain bands in LA (I wont name any)forget how much they need us as much as we need them. I don't know if you've noticed that Rockin Music band that do get that pay day sometimes, almost always get their gig'n friend who have band and are good enough to join them and book them on small tours.

Another thing going back to the phrase of "keep your eyes open and Your mouth shut!" Always and I stress this one point to you. Never ever, no matter how BAD a band sucks, say that they suck when you are either happened to be booked on the same bill or you just happen to go support some other Band. Believe, if you do make stupid remark and someone hears you and happens to be some one who is looking for new tallent. Or let's just say one of their fans hears you make a stupid comment. Then they say something to the band at hand. Well you can pretty much kiss any kind of booking that they might have goodbye. Like I said just because a band sucks (to you)you don't know what kind of fanfair they have and what fan base nor relationships with diffrent venues, especially the one you've been dying to get into.

So like I said don't be stupid and "F#%& Up" what might be a good resource in the future.

Laters
TONE

My Industry feedback

I hope these few atricles on the Music Industry have help out a little.

SORRY, You Are Way Off If You Think An Independent Record Label Can't Be Super Profitable!!!

by: Ty Cohen


Independent records labels are usually more profitable for the owner of the label than being allied with a major label because the artist gets to keep 100% of the profit. So if money is the only measure of profitably, independence puts more money in the artist's pocket.
But if you are part of a new genre of music, you will probably need the big boys to make your genre become popular enough to command a world wide audience. Take rap music as an example. Without the backing of the big record labels, rap would still be basically a local phenomenon. The support that the major record labels gave to rap artists is the reason it has become so successful.
Riding on the tails of that success is a very profitable independent market for rapsters and because of the national market created by the major labels marketing and distribution efforts, the independents are raking in huge amounts of money.
Without the initial backing of their genre, the independent artists will still be making more money than artists working for a big label, but the total amount of profit would be less because of the much smaller market for the music.
The smart independent will leverage the money spent by the big labels to help increase the popularity of their own genre of music as the basis for making their own independent label more successful.
Other Factors
Some of the changes that can help out the independent artist make more money include:
* Home-studio systems like ProTools have dramatically reduced recording costs. A sound studio can be built in your home for around $10,000.
* Selling directly to the customer through the internet and eliminating the 70-80% that goes to the retailer. As a result they can offer the public lower prices, take the lessons taught over at http://www.sellmusiconlinelikecrazy.com/ for example.
* Sell music in MP3 format and burn CDs only when they are actually ordered. One of the biggest distribution costs is burning, labeling and shipping CDs to retail outlets with no guarantee the CDS will actually sell.
You need to understand that all of the above savings will not eliminate the need to aggressively market your music. Artists who already have a following have been very successful with their independent labels. The major benefit of signing with a major record label is the marketing they provide. Smaller media consultants can do the marketing and promotion of a CD for much less than a major record label but good marketing and promotion people will never come cheap. However, you may be able to get a smaller media company to work on a low flat rate that covers their basic costs plus a % of the profits from the sale of the music.
Piracy...Help or Hindrance?
Piracy does not necessarily hurting the artist. It does hurt the big record labels and many of the larger independent labels that produce other people's work because they only make money from the sale of the CD or from licensing fees if they own the copyright to the music.
The file sharing networks that allow the piracy of so much of today's music can raise the music's and therefore the artist's visibility. Being more visible can actually lead to increased sales for artists who don't have huge promotional budgets. By being more visible, the artist can become more popular and will be able to book more live performances. Even the most die-hard "free downloader" will shell out money to attend a live concert.
The bottom line is music piracy hurts everyone involved in the creation and distribution of the music except the performer. Historically, under the big record labels, the performer usually got the smallest piece of the profit pie. That fact is behind some performers giving away MP3 versions of their music so they can draw bigger crowds to live performances and also charge their fans for professional quality CDs.

Out about Nothing??

All I can say at this time that we're lagging behind. Right now we have our Guitarist Jules' out of commission for a few weeks and won't be in until the end of April. Now our drummer Rog he won't be in until I think around the same time trying to make something happen in Paris or something of that nature with some honey he calls Babe?? Go figure.. And our singer Romey is probably drinking and smoking in some Keraoke place singing up a storm. Me the lonely TONE am just working my ass off trying to make the $$ see us through. I guess we have some booking for May, which is some what afar, but not really. I'll get back and see what the hell is happening when we all get together in a few weeks and finally finish up some new music we have been working on... Dam it.. Waiting sucks!!

Just Down in the Studio

Dam I just can't think of the last time we have gone in and out of the studio. Practice and Practice just to have everything fall apart. Maybe it's just time to move and move faster than usual. Was of time, I really don't think so. Not when it's one of my passions to be up on stage and just let it all out. You know, the frustration of being caged in these walls one makes. Yeah! Maybe the next day it will be that much better, or maybe no one gives a S*&$. But all in all I guess I'm still Moving as FAST as I can.