Musicgoat.com » Music Marketing

Why You Need An Artist Management Company

Corey Koehler — Thu, 05 Jan 2012 19:36:54 +0000

In the music business, you need to strike while the iron is hot, and take your chances when you get them. You never know when a once in a lifetime opportunity will present itself, and when it does, you need to be ready to step up to the microphone and rock it.

You need an artist management company who knows how to function in the fast paced world of the music business.

Best Kept Secret

The best kept secret in the music business, though, is that, more often than not, “once in a lifetime” opportunities don’t just happen. Most bands and artists who have achieved any degree of success in the business got their big breaks because of someone in the background pulling the right strings and making sure the pieces fell into place so they could get that legitimate shot at success. Most of the time, the ones behind the scenes are aggressive artist managers or artist management companies.

Finding the right artist manager is one of the most important decisions you will ever make as an artist or a band. Unless you happen to really know what’s what in the music industry (and most don’t), you need someone who can steer you in the right directions. You need someone with the right connections who can make sure that the right people get to hear you perform.

Ideal Candidate

You need someone who has natural leadership ability…someone who can deal with the different personalities and egos both in your band and in the music business in general. You also need someone who has a great deal of salesmanship, someone who’s going to be able to convince others in the business that, out of all the up and coming artists, you are the one they should give the gig or recording contract to.

On top of all of this, you need an artist manager you can trust. The music business, like any other business, runs on trust. Be people of your word, and expect the same of your management company. Don’t accept any less. Your career depends on it.

Guest post: Matthew Downes is committed to helping this up and coming generation of musicians optimize their careers by giving them consummate guidance in all areas of the music industry. As president of ktc mgmt, a company specializing in helping artists achieve maximum profits with real world business advice and career consulting, he can help you reach your goals and maximize your profit in the music industry.

For more information about Matthew and his company ktc mgmt please visit http://www.ktcmgmt.com/

PHOTO CREDIT: photo credit: Epiclectic

Bands and Musicians! Here’s A Great Google Plus Music Marketing Circle For You

Corey Koehler — Wed, 05 Oct 2011 14:15:38 +0000

Google Plus Music Marketing Circle

If you are a band or musician looking for some great music marketing resources to follow on Google Plus, look no further.

Here is a link to my Google Plus Music Marketing Circle . All you need to do is click on “Add Circle” and you will automatically have your own circle filled with all of the great music marketing gurus I’ve come across.

Oh and if there is anyone I missed, let me know in the comments below so I can add them.

Like This Stuff? So do 600 plus Musicgoat diehards. Subscribe via RSS now or learn more about what I am doing to find more fans by signing up for the newsletter .

Your Internet Music Marketing Plan Should Include This Powerful Force

Corey Koehler — Thu, 24 Mar 2011 12:38:34 +0000

I was reading an article on CDBaby about being overly protective of your music and frustrating your fans (you can read it here). I understand where they are coming from but they are implying that it is the only way, and I think that’s a mistake.

I too used to think that this was the law when it came to attracting fans but not anymore. All because of one of the most powerful forces in the universe – curiosity. Let me explain.

Check out the landing page I use to promote my music – Free Love Song. Notice there is no music.

Believe it or not it has signed up over 160 fans at a +20% conversion rate since January 3rd. In other words 1 in 5 people that visit this page site become fans without hear even a note. Here are the actual stats.

Landing Page Stats

I just use some compelling copy to invoke curiosity (will it really melt my heart?) and some testimonials from fans and media (they like it, maybe I will too).

When I think it about it isn’t much different than the record store days. Hell, there were many times my friends and I bought tapes/albums/cd’s from bands and artists we never heard of based on the album cover (or its location in the store or on the rack). Sure we got burned here and there but that’s part of the thrill of discovery. I think this proves that there are still music fans like us out there today.The best part is, they don’t risk $10-$15.

Don’t get me wrong, I still have full tracks featured on my main site. I think that is a good idea for those people who do need to hear my stuff plus it is handy for me to send people there if they ask where they can check me out.

All I am saying is don’t think that you HAVE to have music samples to get new fans. Experiment with some good ole curiosity.

Anyway, that’s my two cents. What do you think?

This Internet Music Marketing Plan Is Working

Corey Koehler — Mon, 17 Jan 2011 21:48:01 +0000

Your Next Music Marketing Plan?

As you may or may not know, I am an indie musician just like you. Like you, and I am making an assumption here, I’ve been trying everything under the freakin sun to promote my music online and off.

A month ago I told you I was trying a new internet music marketing plan and today I will share some of the early results with of the Music Marketing Manifesto with you.

I bought the course in early December 2010. I watched every video, set-up and executed everything exactly as John (the course instructor) teaches, I’ve drilled John with a million questions (as you’ll see in the comments if you sign-up) and put the stuff I learned to work. So far, I am really jacked-up about the results.

In about a months time – including two weeks of set-up (all working in my spare time) – I have added 50+ new fans to my mailing list, sold both CD’s and singles as well as increased my following and chatter on sites like Facebook, Twitter and YouTube. And that is just a start. Some of the results aren’t even in yet because some of the techniques take time to brew (for lack of a better word).

Anyway, if you are serious about building your fan list and increasing your sales, this is something you should take a look at. it is working for me. If you have any questions about it, slap them in the comments below and I’ll answer them ASAP.

Click Here to watch the free video.

Disclaimer: For the record, not only am I a customer of the Music Marketing Manifesto, but I am also an affiliate. I figured it was working so well that it made a lot of sense to raise some money for future projects by helping out my fellow musicians like you.

Advice From The Certified Genius – 1/12/2011

C.G. — Sun, 09 Jan 2011 15:58:41 +0000

C.G.’s Tips of the Week – Advice From The Certified Genius

How’s everyone doing? Good I hope. Happy new year everyone, here’s some new advice for the new year from your favorite producer.

Tips for life: Be thankful. The only thing guaranteed to us in life is death so I’ve come to realize that a lot of things that we take for granted like food, shelter, health and clothing really are blessings. If you look at any third world countries there are people starving to death and dying of malnutrition. Be grateful for what you do have and try not to focus on what you do not have.

Tips for producing/beat making: Diversify. Try new things musically. Don’t be afraid to go out of your element and make a pop or hip-hop beat. Even try some R&B or cross genre tracks. I used to strictly do more rugged and grimey east coast hip-hop. Over the past two years though I really worked on creating my own style and just doing my own thing musically and I have been getting a lot of great feedback. For an example, check out my new remix/cover song to G-Unit’s “Stunt 101″ here: http://www.youtube.com/watch?v=lFF1CsN4ZQU or here C.G. Productionz \”Stunt 101\” Remix/Cover Song (same link)

Tips for song writers/artists: Promote. However you want to do it is up to you but you need to promote yourself. Whether you want to use Twitter, Facebook, Youtube, etc. is your choice but you need to get your music out there. People need to know and hear what you’re doing. In most cases a label doesn’t sign artists that don’t already have somewhat of a fan base (not in all cases but generally speaking). Even if you don’t want to end up with a major label you still need to promote because independent artists need a fan base to. Once you have the music or the movement that catches people’s attention you’re halfway there; now you just need to keep their attention.

Tips for finance: Buy assets, not liabilities. Keep this in mind especially when you start making excess money or get a raise or nice bonus. Even if you’re an artist, producer or song writer. Don’t blow your big check on a brand new Benz or big mansion (liabilities: items that depreciate in value and don’t make you any money). Instead, buy some real estate or talk to a stock broker and invest in some stock (assets: items that can make you money, if done correctly). Before investing in anything or buying any real estate it’s very important to educate yourself and make sure you’re working reliable and professional people on your investments. There’s no sense in blowing a few thousand dollars on new designer clothing and then struggling when the money dries up. The truth is, you never know when you might be out of a job or when your music won’t be the center of attention anymore. For these reasons, I believe it’s very important to purchase assets rather than liabilities. Suggested reading: Rich Dad Poor Dad by Robert Kiyosaki, A Random Walk Down Wall Street by Burton Malkiel.

I hope this advice helps to bring in the new year on a positive note for everyone and I wish everyone much love and success for 2011. Ending on that note, I’ll talk to you guys in another two weeks. Don’t forget to leave some comments and feedback too!

Thanks,

Posted by Christopher “C.G.” Gallucci of C.G. Productionz

P.S. My second mixtape Payback: Certified Genius Volume 2 will be released on Monday, February 28th. Stay tuned for that, especially if you like the remix that I posted!

Find Music Sponsors For Your Tunes Here

Corey Koehler — Wed, 08 Sep 2010 05:48:33 +0000

Here’s some good news for you! According to a Sponsorship.com article, music sponsorships opportunities are growing fast and are even outpacing sports.

Why is that good news?

Well, as musicians, you and I are always looking out for new ways to support what we love doing – make music. Right?

So, I figured I would share a little info on a service that can help you and I with that. The service is called Liquid Online Media.

They are like matchmakers. Instead of hooking up men and women, they hook up musicians and companies looking to use music to advertise their wares. For the savvy musician there are plenty of opportunities out there to partner up with potential advertisers BUT this is sort of a hands of, cut-to-the-chase variety which frees up our time up for more important things.

After hearing about this new service I had a few questions for one the founders, Shayne Locke (an occasional guest poster on Musicgoat), and he was more than happy to answer them. Oh and it is a little long but the insight is worth it. Judge for yourself!

Musicgoat: How did this concept come about?
Shayne Locke: With the increase of piracy and the fact that it is so hard for the average artist to police, unless artists are prepared to give the music away in the hope that fans will pay them (a la Radiohead), we needed to find another way for artists to gain income and exposure. Whilst licensing deals are nothing new, the whole concept of licensing music for advertisers is something that really needed attention…and a name…hence the Sound Branding concept. Matching up bands with brands gives an artist an income and builds their profile by linking with an ad campaign.

“…the concept [of their service] was so unique that it actually caught the attention of actor/musicians such as Harold Perrineau (from Lost and the Matrix series) who believe the Liquid concept could extend beyond the music industry and spill over to actor endorsements.” – Shayne Locke

MG: What make you think that you will be successful?
SL: There are so many bands out in independent land that can’t seem to get the exposure they need. With this site we give them exposure directly to the advertisers, agencies and music supervisors….cutting out the middle man. On the other side, an advertiser can go through the site and listen to music that is in the genre or style that they are looking for. This means that they can specifically pinpoint the sound of their brand and find artists that match. It is a service that has been lacking in the music industry to date or, in some cases, only available if an artist signs over their whole catalogue. In fact the concept was so unique that it actually caught the attention of actor/musicians such as Harold Perrineau (from Lost and the Matrix series) who believe the Liquid concept could extend beyond the music industry and spill over to actor endorsements.

MG: How does LiquidOnlineMedia make money?
SL: We only make money when the artist does. We take 15% of every deal and that is it. No publishing contract, no ongoing fee, just a fee for service based on a master license agreement between the buyer (advertiser) and the seller (musician). The site is free for all artists however we do have some fees for extended services such as websites, newsletters, banner ads, etc. We have kept the costs as low as possible so all artists can benefit.

“If each product has a different sound brand then it makes sense that every artist has a shot.” – Shayne Locke

MG: What sort of artist or band is ideal for this program?
SL: I am going to go out on a limb and say every artist because there are millions of different products out there. If each product has a different sound brand then it makes sense that every artist has a shot. We already have everything from standard indie rock like Omaha’s Oxygen to artists like Australia’s Blue King Brown that are Urban Roots. It is our job to match them up with the right type of advertiser. This may be in both sound and belief….artists can be selective about the product they are being branded with.

MG: What sort of company is ideal for this program?
SL: Every company should know what their brand sounds like, be it words and music or just instrumental. Likewise with TV shows and movies. If an advertiser can’t find their sound brand on our Liquid then it becomes our job to search for the sound.

MG: What are some successful examples of the program?
SL: Well we have only just launched but a perfect example would be Jack Daniels. Everyone knows what they sound like…country rock…and they use that so well in ads, campaigns and even competitions. Another perfect example is Cadbury chocolate with the Gorilla Ad. A monkey playing drums to Phil Collins “In The Air Tonight” was so popular, it caused the song to re-enter the charts in England.

MG: What are some not so successful examples of the program and how do you plan on correcting it?
SL: I cant point to a specific source, but i think they are the agencies, companies, films, tv shows that fail to help the advertiser make the connection for the potential consumer. I am not sure there are many, if any, companies like liquid. This is what we created liquid for, to ensure that some connection will be made, and at the same time, bring new, extremely talented artists into the main stream.

MG: Is this only available in certain counties or are you worldwide?
SL: It is available worldwide however we are taking special interest in areas that have been unreachable up to now such as China. Naturally because our home base is Australia we will be active down under plus west coast US because our partners are based in LA.

MG: As an indie artist who is just starting out, I am taking a very local/regional approach. Is the program limited to build relationships/match making on a more country wide/regional approach OR do you plan on marketing your matchmaking services locally?
SL: The campaigns can be as broad or as regional as you desire however maximum exposure equals maximum gain. If you have a song that is liked by a national or international advertiser, why wouldn’t you accept it.

MG: In your experience, what sort of brands are typically looking to for artists to partner up with?
SL: Naturally the big ones like alcohol, food and fashion but then there are so many companies and brands out there that the sky is the limit. There are new shows and movies every week, the opportunities are there, it is just a matter of exposure to the right areas.

“I remember reading a story about Chris Levy who had his song featured on the show Smallville. Now I don’t know how much was paid to Chris but the response was so overwhelming the label had to push forward his album release.” – Shayne Locke

MG: How much money could one of these deals be worth? What can an artist look for?
SL: I remember reading a story about Chris Levy who had his song featured on the show Smallville. Now I don’t know how much was paid to Chris but the response was so overwhelming the label had to push forward his album release. This is the sort of deal that is a dream to an artist. It becomes not how much is a deal worth in upfront dollars, but how much the exposure is worth and the repercussion from the exposure. In saying that, we will be obviously be trying to structure an upfront fee for artists otherwise we don’t get paid.

MG: What types of things do brands require of the artist?
SL: Every campaign will be different. Some brands may just want to do a straight music license whilst other may want to have band endorsements.

MG: What are some examples of endorsement deals?
SL: In Australia, Levi Jeans have just launched Levity Records where they have taken a bunch of artists and are using them in campaigns and promotional opportunities. Probably one of the most famous campaigns was the iPod deal with U2 for Vertigo. By appearing in the commercial, U2 were fully endorsing the product as opposed to just having their music appear.

MG: Are there ways other than with money that artists are compensated?
SL: Let’s face it, everyone loves product. Maybe some bottles of Jim Beam or Jack Daniels? I guess really the best way an artist can be compensated is exposure. To me that is the ultimate aim for any artist. Once exposure occurs the music sales vs piracy issue start to weigh in the artist’s favor.

Whew! I know it was kind of long but there was a lot of info.

What do you think? Did i miss any questions? If so, chuck them into the comments below and I’ll see if Shayne will stop by and answer them.

In the meantime, check out the site and sign up now.

BTW…Like This Stuff? So do 700 plus Musicgoat diehards. Stop by and introduce yourself now. And if you’d like to check out my music and get a couple free downloads ta boot, visit my site PlanetCorey.com.

Thoughts on ‘Success Strategies for Musicians in the Digital Era’

Shayne — Mon, 31 May 2010 03:10:10 +0000

I’m Casey Stewart, the Online Marketing Coordinator for Cowbell Digital Music. I’m sure you have read some of the regular posts by Shayne Locke (CEO of Cowbell) offering his thoughts on the label side of the business and the establishment of a new digital music platform with a focus on the music community and industry insights.

In my position at Cowbell, I take care of our online presence and assist artists in establishing a presence for themselves online. Sometimes they are ahead of the game, spread across the Internet, posting regular Youtube videos etc, while some are not even aware of the power behind social platforms like Twitter. I also source relevant information for independent artists to provide them with the necessary tools to remain relevant, present and engaging with the people that matter the most – their fans.

I came across this video over the weekend from the latest Tech Crunch conference, DISRUPT, in New York. The title of the video alone peaked my interest, “Success Strategies for Musicians in the Digital Era.”

Hmmm, what magical formula will they suggest? This is probably just another ‘social media expert’ with their run-of-the-mill ‘tips and tricks’. Well actually, I was wrong…

The two speakers are Troy Carter, Founder & CEO, Coalition Media Group and worldwide Manager for Lady Gaga and Scooter Braun, Founder & Chair, SB Projects and worldwide Manager for Justin Bieber … only the two biggest stars of the current music world … and incidentaly, the two artists that have indeed successfully harnessed online strategies to their advantage.

Here is the video link.

And here is a quick run down on the main points of the video, what I personally derived from the discussion and how that may relate to the independent artist.

1. Youtube is one of the main places that artists are now ‘discovered’ by both labels, managers and most importantly … fans.

A lot of people think they already know this, but:

* How many Youtube videos have you uploaded?
* How often do you provide Youtube content?
* Are you using a variety of techniques on Youtube? (i.e are you speaking to your fans, with your fans, about your fans … as opposed to posting a new music clip every now and then).

Justin Bieber, while a unique case, did not automatically have hundreds of millions of Youtube views. Even he had to build that (with the help, strategy and knowledge of his manager and team).
At Cowbell Digital Music, we are looking to introduce Cowbell TV so that the artists on our platform have a ready-made audience and can be promoted effectively but your own Youtube channel is important to make that connection with your fans.

2. The speakers were quite reluctant to discuss the monetization of Youtube, though it is a difficult topic to side-step with such huge names. They did however, stress the importance of treating social media as a communication device, not a ‘tool’. Whether it is true or not, their argument lies in the fact that both Justin Bieber and Lady Gaga like to interact with their fans on a personal level. The catch? The artist has to want to be engaged. You may be wondering what that even means – in a practical sense. An example from the video is that Justin Bieber spends 2 hours a day on Twitter. If you don’t have two hours to spend on twitter, spend one hour, or even 30 minutes, simply engaging with people online and watch as your fan base builds.

3. There is a balance between using social media to a ‘business advantage’ and engaging with people on a relatable and personal level.

Some people just don’t know how to use social media. They aren’t sure what they can say, when they can say it, or are worried about how it may come across. Do not worry about this! Write what you want to write, when you feel like writing it (within reason!). This is expected across social media. Fans, followers and facebook ‘likers’ know that you have something to sell, they know that you will tell them about your upcoming show or ask them to buy the album or single BUT they also expect something in return … and that is to get to know who you are.

4. Activity on Twitter is essential if only for the immediacy it provides and the personal relationship that it can potentially build.

Twitter is an amazing platform for the immediacy it provides. If you start talking with someone on Twitter, it’s not hard work (140 characters!) an the chances that they will follow back are high because you have shown an interest. If you have no interest, don’t talk to people on twitter; but also be prepared to have no followers!

5. In the “new music economy,” music has to become a multimedia business.

While you still have to engage the traditional channels – as Scooter states – “It’s hard work … you still have to pay homage to radio and kiss a lot of butt,” it is essential to embrace all forms of media, (including – or I should say, especially – social media) to succeed and build a fanbase that will turn up to the ‘main game’ (touring) and build a network that will support you and buy your merchandise when you are at that stage.

6. I think the final point is still important and that is “if you’re promoting shit, it’s still shit.” The indie artist should be sure to produce the best product possible and let it speak for itself … with (of course) some assistance from Youtube, Facebook, Myspace, Twitter…….

Go and upload a Youtube video engaging with your fans and send it through for us to check out!

Casey Stewart

Online Marketing Coordinator, Cowbell Digital Music

Launching in the Digital Age

Shayne — Sun, 28 Mar 2010 01:16:04 +0000

Last night Cowbell launched a new artist, Mutto (www.mutto.com.au). No stranger to the stage, Mutto, was originally in a band called Soulframe until his stint on Australian Idol 2006 started an unraveling process that led to a 3 year hiatus. Now back with a new single and a renewed passion, Mutto has had to become re-educated into the digital age.

Focusing on digital downloads, the release of Mutto’s single ‘Wish’ is a momentous occasion as he is one of the first Australian artists ever to release an exclusively digital single available for download from the iTunes store, his own website, and through the use of a ‘Bandtag’ Card.

‘Bandtag’ has been supplying promotional download cards for artists to give away songs for a few years now, however Mutto is the first artist to use the card as a replacement for the standard CD single, in fact the first artist in Australia to publicly shun cds in favor of a digital download card that allows buyers to download high quality mp3′s to play on iTunes or Windows Media Player.

It also allows fans to download a copy of the video in a format that will work on ipods and iphones. Check it out here Mutto – “Wish” video

To top it off, apart from radio giveaways and promotion, last night’s launch was exclusively promoted through the use of social media platforms like Facebook. With over 200 attendees, the success of the night is a perfect example of the importance of social media marketing in a digital age. It is a new digital era and artists like Mutto demonstrate how results can be achieved online.

As more artists like Mutto and Nomy reach their full potential they present a very real opportunity for new artists trying establish a solid base. As advocates of the digital age, Cowbell and I will strive to uncover more examples of how new artists are using the internet and its many tools to advance their careers. Stay tuned!

Musicians: Why You Don’t Need to Make an Album

Corey Koehler — Mon, 13 Apr 2009 20:25:52 +0000

Over the past week I’ve come across three music industry pundits discussing the importance – or lack there of – of the album in today’s wide open arena of music marketing. I thought I would share them with you below and then offer up a few of the reasons why, as an aspiring artist, an album isn’t in my immediate plans.

So, if you are an artist these are great reads. They will give you some perspective into how you might want to formulate your marketing strategy from this point forward.

And, if you are a fan who likes to geek out on anything and everything music, you’ll like it too. After all, you are the most important piece of this entire puzzle. Check it out and let us know what you think.

The Pundits

First, check out Bob Lefsetz over at Lefsetz.com. He feels that the Album is dead and explains why in his posts Albums and More Albums.

Meanwhile, Scott Perry of New Music Tipsheet – by way of Hypebot – thinks that Bob Lefsetz is promoting career suicide, and says so in his post In Defense of the Album. (For the record, considering the nature of his site he may be a tad biased. Just my opinion).

And finally, I saw this post this morning by Dave Allen discussing the “End of the Album as the Organizing Principle” over on the Music Think Tank.

My Two Four Cents

Other than the points made by Bob and Dave, there are a few other reasons why for me – as an aspiring indie artist - that releasing my music song by song makes sense right now.

First, I don’t want to spend the time pouring over 10-12 songs. In the time I was spending contemplating the album, I could have 2-4 songs floating around working the crowd and building a little momentum while at the same time allowing me to getting a better feel for who my audience is. This would allow me to make certain adjustments to my marketing strategy if needed.

Second, I don’t have a ton of experience recording and I don’t want to make an entire CD of half ass recordings. Practice makes perfect right? I might have a few below average recordings out of the shoot but after 2, 3 or 4 I should be kicking out some good stuff.

Third, releasing one track at a time gives me opportunity to monetize and/or promte the song more than once. I plan to use the song as a way to get the fan interested enough to opt in to my list and then, down the line, I could release all the tunes as part of a compilation.

Fourth, I think that focusing on one song at a time will make each song better overall. How many times have you bought a cd’s where you just know 5-6 of the track were nothing more than filler. Had the artist had more time to contemplate the tunes they would have either been better or just thrown out.

Honorable Mention

There are few other reasons why a single by single would make sense for an Indie artist.

If you aren’t recording yourself you may be paying for studio time. Recording a song at a time may not be practical over the long haul but in the short run would be. Plus, if you are savvy, having a single or two could help you raise money for future recordings.

Or, maybe you aren’t sure if you have what it takes. Dipping your toe in the water with a single or two before jumping in head first ccould give you some insight as to what is to come.

Finally, maybe you need a little validation of your or your bands talent. Better to find out after a song or two than after a huge investment of time, money and emotion.

The Finish

In general, I think there is something to be said about not blowing your wad in one shot. Slowly releasing a track or two at a time may create a little anticipation for the listener while giving the artist another legitimate opporutnity to communicate with his audience.

Hell, single by single worked for many of the greats The Beatles, Elvis, Cash, etc.

Besides, you can always do an album at some point if you really want to. Afterall, it is what some of you and I were brought up on and there will always be a little bit of nostalgia for that format.

Bottom line, find what works for you and roll with it. What do you think?

Bring the Live Music to You with a Concert in Your Home

Corey Koehler — Wed, 04 Feb 2009 02:08:29 +0000

Ever thought about hiring an artist or a band to come and play right in your living room? If so, today is your lucky day. Over the last few days, I have stumbled upon three websites that are making it their mission to hook up artists with people like you that are willing to try something different for their next party or social gathering. Those three sites are; PrivateConcerts.com, ConcertsInYourHome.com and MPTrax.com.

Now I didn’t see John Mayer, Springsteen or Metallica looking for work on any of the sites – not that most of us could afford their services anyway – but, if you look listen around, you will find some talented artists for some pretty reasonable prices. And I imagine the talent pool will only get better as the popularity of these sites grows.

I think it is a great idea for both the fans and the artists. Hell, as soon as I get my music up and running, you can bet I will be throwing up a profile on one or all of these sites. I mean, how cool would it be to be invited into someones home to party with someones closest friends AND get paid?

So next time you are looking for a live music fix, why go out to the club or coffee shop? Hop on to one of these sites and then hire yourself a capable musician to entertain you – and your pals – right in the comfort of your own home.

Music Marketing Strategies: Where You Can Send Your Music Demos

Corey Koehler — Sat, 17 Jan 2009 14:02:43 +0000

Image via Wikipedia

If you are an artist or band looking for a place to send your music demo and/or get your music into TV, movies, ads or games, I have a few suggestions for you. Check it.

Music Licensing

Music Licencing 101 – If you are looking into getting your music on TV shows, movies, advertising and/or video games, check this program out. I am taking Aaron’s – the teacher at Music Licensing 101 – 90 Day Challenge now and I have already had my tunes accepted into a few publishing library’s so I can tell you that he knows what he is talking about.

You can sign up to get his free ebook here (affiliate link) to get a solid introduction to getting your music in placed.

Also, you do a Google search for “music industry directory”.

All-in-One

Indie Bible -For a measly $34.95, this 330 page music marketing Swiss Army Knife will show you how to get access to 4000 music publications willing to do reviews, 3200 radio stations willing to play your songs along with 1200 other resources looking to help you get the word out. They also have a long list of labels out there that might be looking for what you have to offer.

I know this works because the Musicgoat is listed in here and I get bombarded with tons of mail – e and snail – filled with CD’s, mp3′s, press releases, review requests, etc. Go get a copy now (affiliate link).

Between those to resources you should be well on your way to getting your music out there. And if I missed any, let me know in the comments below. Good luck!

WAIT! You don’t want to miss the next review, podcast, music promotion tip or whatever else music related we decide to put out here. Subscribe to the Goat now for the all time low price of free and you will get all the kick ass content from the Goat fast and easy. Just subscribe to Musicgoat.com newsletter by email now and have this stuff in your inbox seconds after I post it .

Your 13 Step Guide To Becoming a Beatles Fan

treadmarkz — Mon, 14 Jul 2008 01:12:20 +0000

Guest post: Treadmarkz is my brother-in-law, a Human Beatles Encyclopedia and the author of the weblog Treadmarkz.wordpress.com.

I am sure you have heard all the hubbub, but maybe you never quite knew what it was all about, this thing, this MANIA called the Beatles. If you have been thinking of getting into the Beatles (and I mean really into the Beatles, not just buying their latest Greatest hits compilation) this is not the Beatles’ Top 12 Best Albums, and I am not reviewing each album. This is just the order you need to buy them in, in order to feel the full effect of what they did.

The chronological order in which they were originally released seems like the most sensible way to do it. But this isn’t sensible. If you get into the Beatles you have to be prepared for a little disjointedness and things that come out of left field. You don’t have to follow this guide exactly, and as you will see, I give you opportunities to make your own choice. Also, this is just the original Beatles Music we are talking about here, not Let It Be…Naked, or the Love Album. Having said that, I give you…The List:

1. Rubber Soul, 1965: This is the album that really showed the progression starting to happen. The two previous albums showed a little bit of experimentation, but it was more superficial, whereas the progress the Beatles made on Rubber Soul had some substance. Better lyrics and more interesting innovations musically. But the main reason why this is the first Beatles album you need to get is that this shows where they had been and where they were going, musically.

NOTE: If you are going to get the Beatles Past Masters I & II albums (compilations of songs that are not on their albums), and I recommend you do, I think you should get them at this point. They will help guide you through.

2./3. A Hard Day’s Night, 1964/Sgt. Pepper’s Lonely Heart’s Club Band, 1967: Okay here is where you get to make a decision on your own. No matter which of these two you choose first, these are the next two albums you need. You will find out quickly from Rubber Soul what you like about the Beatles. So if you liked the poppy, peppy, happy songs from Rubber Soul (mostly Paul’s) then your next move would have to be A Hard Day’s Night. It is the first Beatles album which was composed entirely by the Beatles themselves. No cover tunes. A big step for the Beatles and mankind.

If you found that in Rubber Soul you got more from the down-tempo, more thoughtful songs (mostly John’s) then I would move forward and make your second pick Sgt. Pepper’s Lonely Heart’s Club Band. This is where the progress they were making on Rubber Soul completely came into fruition. Though John did not do as much on Pepper’s as on Rubber Soul, it was his infusion of Bob Dylan-like lyrics into the Beatles repertoire which strongly affected the music on Pepper’s.

4. Revolver, 1966: If your last pick was Pepper’s, you will want to know how they got from Rubber Soul to Pepper’s. It was a hell of a jump, musically, but with Revolver you get to fill in the blank, while still getting a taste of pre-Rubber Soul moptop from Paul. However, if A Hard Day’s Night was your last pick, then Revolver will serve the purpose of blowing your mind. Get ready.

5. Abbey Road, 1969: Simply the Beatles final recorded album giving generations of rockers something to strive for. This is the benchmark.

It was important that you get a taste of every era of the Beatles music before we move on. Now that you have, with the core of the band’s progressive era covered, you need an album that can show you everything that the Beatles were capable of. And I think from country, to reggae to hard rock to classical, we can only find the answer in….

6. The Beatles, aka The White Album, 1968: The Beatles was an album that, like Rubber Soul, gives listeners a chance to decide what they really like about the Beatles. Did you like the straight up rock songs, or did you like it when they tried something unusual for pop/rock? Well the White Album gives you a little bit of both with a splash of something new…Heavy Metal! This is the album that brought us “Helter Skelter” but it also has a few other head-bangers like “Everybody’s Got Something To Hide Except Me and My Monkey”, “Birthday” and “Yer Blues” which is really metal-blues. So if you are hooked on the Beatles, and at this point you should be, then you are probably ready for a double album. Go for it. You will not be disappointed.

7. Help!, 1965: Time to cool it down again. Time for something a little more predictable yet captivating. Help! came out just months before Rubber Soul, where we started. This one is just full of great songs, and I think that is what we need right now. “Yesterday”, “You’ve Got To Hide Your Love Away” “Help!” and “Ticket To Ride” are all essentials and they are all here. This album will prove that song after song about love can still be interesting! And if you like it, then…

8. Beatles For Sale, 1964: Now we are really getting back to the moptop days. But this one is interesting because, just like Help!, it shows of the Beatles country/folk chops, without losing that pop flair. There are a lot of cover songs on here as there will be for the remainder. But the Beatles self-penned songs are introspective, and you are able to put yourself in the story. For the first time the Beatles really “take you there” on Beatles For Sale.

9. Let It Be, 1969: We don’t want you to delve too far back into the catalogue. You should probably now pick up Let It Be. Though it is often considered the Beatles most disappointing album, that is only because of what they had done in the few years leading up to Let It Be. They had changed the entire definition of rock music with Revolver and Sgt. Pepper!! So of course it was disappointing for fans to hear them going back to their roots, which is exactly what this is. But you will still get a little taste of psychedelia from “Across the Universe” and “I Me Mine”.

And if that is what you liked…

10. Magical Mystery Tour, 1967: It is kind of like the Beatles trying to expand on the concept of Sgt. Pepper’s but not quite getting there, but it is chock full of great singles, much like the Help! album, but much weirder. “All You Need Is Love” and “I am The Walrus” are on this one, and it is the only place you will get “Strawberry Fields Forever” or “Penny Lane” unless you’ve already got the “1″ album. And if you do, I hope this list has helped you take your Beatles listening further.

11./12. Please Please Me/With the Beatles, both from 1963: The beginning of the Fab Four. These albums show you where the Beatles came from. On these two albums, which really could be considered Vol. 1 and 2 of the same album, they bring you covers of the music that they loved when they were a struggling bar band, and they bring you their hand-written songs in which they use what they learned from the music they loved. To me, it really doesn’t matter which of these two you get first.

13. Yellow Submarine Songtrack, 1999 or the Yellow Submarine Soundtrack: It is up to you which one you get, but there is a huge difference. Either way you are only getting four songs that you haven’t already heard before. But the difference is this: The Soundtrack has the four songs you have never heard before, along with the song “Yellow Submarine” and “All You Need Is Love”, and rest is instrumentals by the George Martin Orchestra, if you are into that. The Songtrack on the other hand, has the aforementioned four “new” songs, and 11 other random songs taken from Rubber Soul to Magical Mystery Tour which appear in the film. It is a nice mix and you can get your fix of a couple of different eras in Beatles music without having to switch CDs.

Welcome to Beatledom, my friends. Enjoy!

How To Succeed In Getting Gig/Tour Press Coverage

Kenny — Wed, 12 Mar 2008 00:06:26 +0000

I recently received a question from a musician who is having more than her fair share of problems obtaining print media coverage in areas where her band is touring.

Hopefully, my advice and ideas that I gave her can benefit you and your band as well should you experience similar difficulties with obtaining print media support for your gigs/tours.

________________________________________________

FROM: Megan

I started touring with my band last fall (we were in New York City before that…), and we are about to leave on another tour for our debut ep. Booking is going as well as can be expected

starting out, but we’re having a hell of a time getting any press…we have a kit and an epk, and a press release, and we send off everywhere, but we’re in that limbo spot where honestly, not many people care about our music enough yet…any suggestions?

________________________________________________

[---MY RESPONSE---]

What has been occurring for several years (if not longer) and, particularly, with local and regional print publications, is a little thing called “nepotism.”

I utilize this phrase to describe print papers that will only devote “ink” (press coverage) to their local/regional up-and-coming musical artists, with the only exceptions being granted for mega superstars or outside artists who are coming into the media sources’ area for performances, of which the latter describes Megan your situation.

And, since you and your band are, indeed, touring and “qualify” for coverage in your performance areas, you should conduct an in-depth search on the web (using Google) for print media in each of your tour stops.

As an example, if you are playing Richmond, Virginia, you should simply use Google to search phrases such as:

* “richmond, virginia print media”

* “richmond, virginia print publications”

* “richmond, virginia music magazines”

* “richmond, virginia arts and entertainment magazines”

* “richmond, virginia daily newspapers”

* “richmond, virginia weekly newspapers”

or similar key phrases.

You should then contact the print editors or music editors in each area where you will appear and inform them on your upcoming performance location, i.e., name of venue, date, time, etc. and also request if the editor would be interested in interviewing you/your band in advance of your performance.

At this time, you should also direct the media to your website for advance review of your music, biography, etc. With print publications, you can do interviews via telephone, or if the media prefers “in person” interviews, you could simply schedule the interview earlier in the day, prior to your performance, which will mean you will need to get into town a bit earlier than

normal set-up time.

You should also bear in mind that, with print publications, “lead time” (the amount of advance time publications require to review projects before writing about them) is very crucial in order to ensure media coverage.

Daily newspapers, generally, demand a minimum of 2-3 weeks “lead time” and, possibly, longer depending on the publication. The “trick” is to stay anywhere from 3-4 weeks ahead with the (“lead time”) of each tour appearance.

Example: For an upcoming May 3, 2008 appearance, daily print media contacts should be initiated around April 10th at the *latest*.

Likewise, you should also contact radio station talk shows, television morning shows, prime time talk/interview shows, television newscasts, and cable music and entertainment shows at *each* station in each of your tour cities.

Should you secure any media interviews, you should then notify other media contacts in the same area that you will be interviewing with the particular source, in an effort to influence other area media to consider you as well, in addition to requesting their reviewing your already-scheduled interview. This can (sometimes) serve to foster a bit of competition between local media, with all being good for the musical group.

To add even better “fuel to the fire,” you should invite all media contacts in *each* area out to your performances. This can, potentially, serve as background media coverage *after* you have performed, and the opportunity to get TWO bits of media coverage, thus, prolonging your exposure in any single given area.

Be sure to provide complementary media passes for all local media contacts that have agreed to come out to the show, as well as inform the venue owners of the media contact names. This should be tightly coordinated and confirmed with venue owners or managers prior to the show.

While this seems a bit more work, as you can see, there are definite advantages as well as “extra” opportunities for media coverage within a single tour location if conducted well.

Now, multiply this degree of opportunity within *each* tour area, and you are likely to create quite a buzz on your tour route as well as have a degree of successful results through implementing this proactive process.

________________________________________________

Editor’s Note: Kenny Love is a radio/video promoter and media publicist, as well as co-owner and Director of Marketing for Eartastic Records. Get more information regarding him from his MySpace page at http://www.myspace.com/jazzman795

4th Annual IAMA (International Acoustic Music Awards) Kicks Off

Corey Koehler — Thu, 05 Jul 2007 20:22:18 +0000

Just passing this on. Jessica Brandon at IAMA sent this to me to pass this on to all of you artists out there. Check it out.

The 3rd Annual IAMA (International Acoustic Music Awards) is currently accepting entries. IAMA (International Acoustic Music Awards) promotes excellence in acoustic music performance and artistry. Acoustic artists in various genres can gain exciting radio and web exposure through this competition. Participating sponsors include D’Addario Strings, New Music Wekly, Loggins Promotion, Airplay Only, Superdups, Acoustic Cafe Radio Show and XM Satellite Radio.

IAMA is open to all independent artists and labels. Unlike other music industry competitions, IAMA focuses on developing new markets for Acoustic artists, labels and CD releases.

Win prizes in 8 different categories: Folk/Americana/Roots, AAA/Alternative, Instrumental, Open, Bluegrass/Country, Best Male Artist, Best Female Artist, Best Group/Duo. There will also be an Overall Grand Prize winner awarded to the top winner worth US$11,000, which includes radio promotion to over 250 radio stations in US and Canada!

Winning songs will be heard on radio! Winners and runner-ups will be featured on IAMA’s compilation CD.

Judging is based on excellence in music performance, songwriting/composition and originality. All entries submitted will receive judging sheets containing comments and ratings by e-mail. This is open to any artist who has a CD independently released on a record label, distributed by a major or self released. Winners are selected by a panel of established artists and industry professionals. Past years winners include: Fertitta and McClintock, Jen Foster, David Francey (Canada), April Verch (Canada) and Millish.

Winners and finalists of the Awards will be featured in the IAMA website and e-newsletters, read by music press, talent buyers, promoters and other industry insiders. All songs submitted must be submitted must be original and submitted on CD, the artist may perform original material not yet released and written by other songwriters or composers. DEADLINE: All entries must be postmarked by November 9, 2007 or earlier. Check out:

http://www.inacoustic.com

Jessica Brandon
Artists Relations
IAMA (International Acoustic Music Awards)
*Excellence in Acoustic Music

http://www.inacoustic.com

info@inacoustic.com

I can’t wait to hear the results.

A Way Around Tomorrows Internet Music Blackout

Corey Koehler — Mon, 25 Jun 2007 19:45:13 +0000

Do you listen to internet radio? If so what are you going to do tomorrow?

Not sure if you knew this or not but tomorrow there will be a internet radio blackout to help further the cause of the SaveNetRadio campaign. They are protesting against the proposed internet radio royalty hikes. Here is a heads up as far as what you can do if you have nothing to listen to tomorrow.

The heads up comes from a suggestion that Adam Curry made in this post on his blog the other day. Curry is basically promoting his own Podshow.com and Pod Safe Music Network but it is all good stuff. Either one should keep your toe tapping just like any other day.

I haven’t done to much with the Podshow site but, in preparation for my upcoming podcast, I have spent a ton of time on the Pod Safe Music Network. There is a ton of good stuff on there if you look around. Also, you might want to check out Adams podcast; The Daily Source Code. There is a huge backlog of shows that are entertaining, offer a few laughs and good music.

There ya go. Now you have another avenue to take tomorrow. Don’t be left in the dark (or should I say silence), go check out Adam Curry’s internet radio blackout alternative now and start preparing.

Wanna Know Who’s Gonna Be Rockin’ in Your City?

Corey Koehler — Fri, 15 Jun 2007 13:27:00 +0000

If you are looking for a concert this weekend you might want to check out this site; BeeThere.net. It is a concert search engine which lists a large number of shows around the US and Canada. It is totally free and you can search by city or by your favorite artist or band.

This site is a useful tool for both fan and artist. For the fan there are a bunch of things you can do like; create an artist watch list, load artists from iTunes and get customized updates via email or RSS notification. They also mention something about the opportunity to get discounted tickets and win prizes.

For the artist you have another great tool to stay in touch with your fans and get nationwide coverage. You can add a bio and upcoming your show information.

Being an artist and fan, this sounds like a pretty good deal to me. Check it out this handy concert search engine now.