If you read Making it in Music on a frequent basis, you know that I’m all about giving tips and bits of nuggets to improve your game and get one up on the other person. Randomness does nothing but place you in the pack of a whole lot of others who practice the same thing, while wondering why they aren’t getting closer to their “goal.” Don’t know about you, but last time I checked, random and goal are not even close to being related. They don’t even pass as distant cousins.

So before going further, know that I have nothing but love for you all! I appreciate every single one of you who take the time out to stop by. Because of this love, I’m going to be candid, for those same reasons we all rebelled against our parents in their time of nagging (definition: wisdom) and in our time of well…thinking we had it all figured out. Didn’t you hate it when they were right?

Keeping up with your social networks

Can you honestly say you stay on top of your social networks as you should? On a daily basis, you should block off a time to answer any messages and email that relate to the sites you are promoting yourself on. It sounds like such a simple task, doesn’t it? The problem, is that a good many music artists fail to do this important part of their daily activities. The result, is that you continually create a disconnect with the very people that enable you to exist – your fans!

Of course, you can utilize your smartphones. That is a given, particularly for Twitter and Facebook, but there are many messages that require more typing and thought. It’s easy to forget these kind of messages throughout the day. That is why it’s necessary to always make a habit to check all your correspondence through an actual computer at one time, regardless of your mobile activity. That way, you don’t miss anything.

Perception and follow-up

We all know that perception is everything, regardless of how good your “intentions” may be. If you’re perceived as someone who is aloof and unreliable, that becomes reality. This is not the way you want to present yourself, particularly to those in the music industry who reach out, but you don’t reciprocate. That seems like madness, but in reality, it happens all the time, simply because music artists aren’t taking care of their business.

The other day I was talking to a guy from a large entertainment company who mentioned how crazy it is that music artists and bands don’t respond to opportunities because they just aren’t on top of it, or they have incorrect/insufficient contact information.

Slap your contact info on everything!

Speaking of contact info. Your contact information should be EVERYWHERE. It baffles me when I’m trying to connect with an artist and you have to jump through hoops and Google searches to find a valid email address. What’s up with wanting to be incognito? Gene Simmons would spank you.

Proper contact info on CD submissions is a given. This rule has been out there for eternity and every music professional I know has said it over and over again. Don’t miss a spot! On the CD, the jewel case and on cover letters. You can never put it in too many places.

Something else to consider. Make sure your contact information is on your Facebook fan page. I don’t understand why so many artists choose not to do this. Often, industry people don’t want to post on the page, but rather get with you through email or messaging. Make it easy for them.

Lastly, be consistent about the email addresses you use on each social network and update them as needed. That way, there will never be an issue with bad email addresses which can lead to missed opportunities.

Using social network apps to simplify

There are a great many apps and programs to simplify your social network promotions by integrating all or some your social networks into one place. One of the most popular is Hootsuite, which integrates Facebook, Twitter, Linkedin, Ping.fm and others, so you don’t have to individually go to each application. Saves a ton of time. Tweetdeck is another, which enables you to see your popular social networks operating in real-time, all on one page. I recommend you utilize these and other apps/programs out there to simplify what you do.

The solution to your email dysfunction

Most email clients both online and off, have a filtering system and the ability to integrate multiple email addresses. If you really want to stop pulling out your hair, create an email address for each function of your band (booking, PR, whatever). Then, make a folder for each address. When you’ve completed this, go ahead and setup filtering rules for each email address so all correspondence relating to each specific email address will automatically filter into its own folder. The only thing you have to do, is make sure that you check each folder, at least once a day. This will reduce the level of chaos you may be experiencing. Of course, the goal is to create a team (publicist, manager, booking agent) who would be responsible for their own correspondence on behalf of you.

Hopefully, this sparked some realization about how you handle your correspondence, which plays a major role in the success of any business. Take control of yours and I guarantee you that by doing this, you’ve gained a considerable edge over those who shrug it off.

I see a lot of live bands. What I tend to notice, is that many of them have exactly the same issues or similar ones that prevent them from reaching their potential. What’s frustrating, is that they can “up” their game by simply subtracting or adding certain elements.

A friend of mine that had a brief stint in the NFL once told me that the difference between an average player and a great player often comes down to a few seconds. To me, it’s no different with your music career. Often, the difference between a great band or artist vs. an average one is a few tweaks. After that, it’s about staying consistent. 

Here are some actions that you can take to create massive and immediate change that will impact the quality of your band and particularly, your show.

1. Take hold of the “entertainer” mentality

Want to know the secret to getting more gigs, more fans, more downloads, more hits?  Stop thinking of yourself as merely a musician and more as an entertainer.

I know. You think I’m selling out the music, right? Nope. Nothing could be further from the truth. No one said you couldn’t have great music AND a great show. Both are equally important.

People want to be entertained. So do it! You’ll get more fans and attract more girls! Hey, it worked for me. This one change can make all the difference in how you are perceived. Club owners love entertainers. They sell drinks!

So when you ask yourself why a veteran band like Bon Jovi is still one of the biggest concert draws of the day, it’s because Jon has a keen understanding on the art of entertainment. He’s mastered it.

2. Close the gaps

Everyone has been guilty of it at one time or another. Some of us continue to do it. You end a song and turn your back to the audience, while tuning your guitar or saying something to you drummer about how he forgot the changes you practiced on the night before. Whatever it is, you’re creating dead air. On stage, 2 seconds of dead air is an eternity. Time to close the gaps.

It’s essential to understand that the flow of your sets is just as important as the quality of your songs. Take some time outside of your show to work out the details of how your song list will flow. Then, rehearse it.

Fact is, major recording artists place specific attention on the flow and continuity of their live show. This is why they spend months rehearsing it before going out on tour. They’re doing it…why wouldn’t you? Why not raise the bar (couldn’t resist that pun) and make this change now?

3. Downplay your weaknesses

I remember years back when Jennifer Aniston was on “Friends.” Her hairstyle was the craze. Now it’s obviously common, but at that time, it was unique. It seemed every girl wanted to have hair like Jennifer. The problem with this, is that this hairstyle doesn’t look good on everyone. Facial features have a lot to do with how a hairstyle looks on someone. That is why it’s always best to choose one that accentuates those features rather than draw them out.

So you see where I’m going with this. Some songs you just weren’t meant to play. Your vocalist sounds like crap singing them and your guitarist can’t play the riffs correctly. So why is it in your set? You have unfinished originals that you’re merely “trying out” on your audience, but you don’t necessarily have a firm grasp on each section. Your bass player is a bit overweight but continually thinks he can fit into skinny jeans. Your keyboardist is not a jazz player. So why would you force her into that role if it will diminish your sound?

The best bands and music artists know what works for them. They stay clear of anything that will shine the spotlight on their weaknesses. Why would you put yourself in the “average” category when you don’t have to?

4. Work on those harmonies

Tight harmonies can take a band to a completely different level. Audiences get stoked when you can nail them live. Understandably, not every band needs them, but I would say that in todays vocal driven music industry, most do.

What not to do, is just carelessly “throw” them into a song with no regard to where your interval is at. Only the Rolling Stones have latitude to do this! But seriously, don’t bother getting into the  mic if all you are going to do is “wing” a certain a backup part, especially if you just sing one or two words and then back off.

Make an effort in rehearsal to pick out the harmonies and then go over them, with say just a guitar for pitch or a keyboard. That way, you can hear everyone and make adjustments. It’s often advantageous to have a person in the band that can pick out and play the harmony parts on their instruments, or better yet, sing them individually to each singing member as a reference.

Utilize your vocalists strategically. For instance, I personally have a high head voice and falsetto which enables me to hit those higher backups. Understand the limitations of each vocalist and place them in the register they sound best in. Remember, it’s the overall blend that you are looking for. You don’t want one overpowering the other. And of course, pitch is everything.

If you only have say, one back up vocalist that is strong, then just use them instead of using an additional member that thinks he or she can sing, but can’t. Again, put into action #3 – downplay your weaknesses!

5. Replace your drummer

Too many bands pay little attention to the quality of their drummer. I mean, c’mon. Let’s be real here. They’re either too fast or worse, they change tempo. You have the ones that think they need to put fills in every pocket of space (which means they don’t understand their role), or others who just can’t seem to enter into that groove and sustain it. If you can identify, look into upgrading now.

A great drummer will impact the quality of your band substantially. You’ll find that everyone plays better. Anyone who has upgraded their drummer knows exactly what I’m talking about.

Oh yeah. There is only one downside to this. If you get a better drummer, make sure your bassist is on it. It’s a tough transition for many, because by default, bassists who play with bad drummers get complacent.  They’re either going to be very happy or pissed off. Either way, you’ll find out quickly!

Although the licensing of beats is nothing new, the agreements that accompany them can be both intimidating and confusing for you as a music artist. That is why I decided to write on this very subject and give you some insight on the process of what beat licensing is all about.

What is a beat?

A “beat” is really a generic term for what I define as the “skeleton” of a potential song. It typically contains a drum loop pattern, maybe some synth bass and other synth textures. Some beats include hooks – which are usually the equivalent of a chorus. Many online beat sites use female vocalists on these types of tracks. An example of how hooks can be used effectively with beats, can be heard in Eminem’s Love the Way You Lie featuring Rihanna (just gonna stand there and watch me burn…) Bottom line, is that beats provide the structure to create a song in which a music artist can make their own.

Basic agreement terminology

First of all, let’s get down to the basics – the terms you should be familiar with when you enter into these agreements.

You, as an interested party who wants to buy a beat, is known as the licensee or sometimes just simply called the buyer. The entity selling the beat (typically a producer) is the licensor. Easy enough, right?  Let’s move on.

There are typically two types of licenses offered. The first (and most popular) is the non-exclusive. The other (can you guess?), is the exclusive license. Some sites offer other types of “sub-licenses” within the non-exclusive such as premium or standard. All of these have different provisions that are attached to each license and which spell out the terms that are set forth (basically, the stuff that tells you what you can and can’t do with the beat).

Non-Exclusive vs. Exclusive

So now that we’ve covered the types of licenses, what exactly do they contain? Although all agreements are different, there are a lot of similarities. Here they are, broken down by each license.

Non-Exclusive license:

Non-exclusive licenses give you the rights to use the master recording beat (say in .wav or .mp3 format) to create a song with your lyrics, raps, choruses or whatever. Understand that the producer or whoever wrote the song, still retains copyright ownership of the beat. You also need to know that the licensor has the right to license the beat to whomever he wants to until the beat is purchased exclusively.

HOWEVER, understand that when you record your lyrics, choruses etc., you now have created a derivative work of the song. This is usually not entirely clear in the majority of agreements. Basically what this means to you as the artist, is that you own the copyright of the work that you completed on the beat you licensed — but you don’t have any copyright claims to the original music contained on that beat. As a newly created derivative, the song you’ve just developed with the beat you licensed, is a new work.

Some beat websites place limitations on how many derivatives you can use. For instance, if you are given permission for one derivative (such as recording lyrics/vocal track), then you may not be able to record any other derivative material without another license. It’s their prerogative.

Usually, non-exclusive licenses have limits on how many units you can sell as well, such as 2000 copies. If you have higher ambitions, and think you’re going to sell more, you may want to go with an exclusive.

Exclusive license:

If you are serious about a certain beat and want to retain ownership of the sound recording, then it’s probably a good idea to get an exclusive license. This normally gives you complete control over what you do with the master recording. Now, you can add as many derivative recordings as you wish (add a new synth part, create a pre-chorus or whatever you want to do). You also usually get unlimited rights to sell as many copies as you wish.

You need to know that producers differ on how they define exclusive and just because you have exclusive rights to the master doesn’t give you exclusivity to the composition. Often, if you had the opportunity to say, use the song in an audio/visual aspect, then you would have to negotiate a synchronization license with the original writers as well.

Also, licensors sometimes will not let you re-sell or license the master to another entity, such as a record company or another producer. And finally, most will want to get credit for their work.

Master vs. Composition: The confusion sets in!

What I find in a good number of these beat agreements is the lack of separation between the master recording (the sound recording or SR) and the composition (the actual song itself). These are two distinct issues that often create the most ambiguity within beat agreements. The reason, is that both composition and master use rights are blended into one, making it tough to comprehend which is which.

For instance, some producers will refer to the master and the composition as the “song” in their exclusive agreements, when in essence, they are referring to the master. Remember, the song (the composition) and the master (the sound recording) are separate.

So what is outlined in most agreements are a combination of the SR and composition. Such provisions include the writers percentages, synchronization limits based on additional licenses, performing rights registration requirements and of course, indemnification which prevents them from liability.

Negotiating the license

Always remember that everything is negotiable. It’s definitely possible to customize agreements, however you should have full understanding of what you are are asking for. For instance, it is possible to negotiate an exclusive agreement that places limits on some of the rights that the licensor has over the master.

Something else to know. When it comes to licenses, beat sites seem to have a tradition of wanting payment first, then they will send you the agreement. This is an uneasy feeling if you are wanting an exclusive license and the producer is asking for a considerable amount.

Always ask for the agreements first, so you can see what is in them. Often, you can view them on the particular beat website you are on within their FAQ area. Mybeatshop has a decent Terms of Service link that outlines their policies on licensing.

If you want to customize the agreement, do that first, and get a buy-in from the producer or licensor before you proceed. Once they commit (always best to use email for a paper trail), then submit payment. If you’re truly wanting to negotiate terms and you are serious about obtaining exclusivity to a certain beat, you may want to secure the services of an entertainment lawyer to help out.

Much of the time, customized deals are never mentioned, as the agreements these beat sites have are all “standard” (really, there is no such thing as “standard” in the legal world). They send you these agreements automatically after payment is made, without any signatures. When you submit payment and they give you access to the beat for download, that creates what is called “consideration” in a contract between you and the licensor.

The bottom line

Choosing which license to obtain depends on what you are trying to achieve. The licensor or producer is going to keep licensing the beat as a non-exclusive until someone ends up getting an exclusive, in which at that point, it will no longer be available. So, if you want to take “ownership” of the beat by developing your own song around it, then the best thing to do, is go exclusive. After all, there may be a lot of others out there already who have permission to the non-exclusive. It may cheapen your brand as an artist if more people come out with the same beat with another derivative.

Like anything on the internet, there is some crazy and inaccurate information floating around on the subject of beat licensing, but in all fairness, there is some good stuff too. As a music artist, I recommend that you study up on copyright law and general licensing points to command a greater understanding of what it’s all about. Knowledge is power.

Happy beat hunting!

PS: For more reading, check out Royalty Free Music – Licensing and Copyright, by attorney Patrick Curley — legal advisor to premiumbeat.com.

This is a beginner guide on how to get started in home recording. Assuming you already have the necessary instruments (guitars, drums, bass, guitar amplifiers etc.), you need the proper recording equipment to transform your work into a professionally sounding demo. This post will list the most basic gear needed. It also includes important buying specifications for quick reference.

1. Computer hardware

You need at least one fully operating computer consisting of either a PC desktop, laptop or Mac. Specifications for the computer are important. You should aim for at least:

• 2GB to 4GB of RAM (4GB preferable)
• Latest set of Intel processors (Pentium 4 Dual core)
• At least 2 USB ports and a dedicated Firewire port (important)
• PCI video card (on board cards have less memory and aren’t recommended)
• Internal hard disk drive of around 1TB (recommended)

2. Operating system

Your computer hardware should be powered by at least one stable OS, depending upon your computer type. Windows XP Service Pack 3/Windows 7 or MacOSx.

3. Recording software (DAW)

Your recording software should support ASIO recording (important), multi-track or multi-channel recording (also important). There are a lot of great options out there for recording software. Do not use free recording software as it lacks a lot of important features for multi-track recording capability and audio interface support. Your recording software should be fully compatible with your operating system and hardware.

4. Firewire (recommended) or USB Audio interface

Look for the one that supports ASIO drivers for recording. The number of inputs and outputs depends on your need. If you are a singer/songwriter that will be recording only two-tracks at the same time (guitar and vocals), then a two-input audio interface is enough. Make sure these inputs have pre-amps on them (important). Make sure there are at least two outputs (so you can monitor using your headphone or the nearfield monitor). Also — it should capable to record at least 24-bit/48KHz resolution. Do not use PCI soundcards or audio interface. Also make sure that your Firewire/USB audio interface supports 48V phantom power for your condenser microphones.

5. Nearfield monitor

Do not use hi-fi monitors; they are different from nearfield or reference monitors. If you are shopping on Ebay or Amazon, type in the search box: “nearfield monitor” and then select from the results. When buying nearfield monitors, they do not need to be very expensive. Just make sure that they are well supported by the community as often indicated by positive feedback and ratings.

6. Cables and connectors for connectivity

If you are using a Firewire/USB audio interface, you need a Firewire or USB cable from the audio interface connected to your computer. You will need the appropriate TRS jacks/RCA jacks for connecting your nearfield monitors to the audio interface output in addition to XLR and 1/4 inch cables for connecting your guitars and microphones.

7. Vocal condenser microphone

This will be used for recording vocals and guitars. It does not need to be very expensive but it should have a frequency range somewhere around 20Hz to 22 KHz. Choose a vocal condenser microphone with high user/community ratings. Do not use dynamic microphones for recording vocals.

8. Dynamic microphones for recording guitar amps

If you are recording distorted guitars, you will be using amps. The best way of recording guitars using an amp is to use dynamic microphones. There are many to choose from and it really comes down to preference.

Once you have all the above equipment, follow the steps below to finally create your home recording studio:

• Install recording software first
• Install the audio interface drivers (for USB or Firewire)
• Connect the Firewire/USB to your computer Firewire or USB port
• Configure your recording software to record from the USB/Firewire audio interface (refer to the audio interface manual for details)
• Connect your musical instruments (condenser microphone or guitar jacks) to the audio interface input

Now you are ready to record!

Some important tips to remember

• Learn how to apply acoustic treatments for your recording studio (very important during mixing). You can ask for some guides in the home recording forums
• Read the manual thoroughly before purchasing something. Make sure you understand how to use all of your gears properly
• Visit Emerson’s Audio Recording Tips for more free tutorials on home recording, mixing and mastering

Building a great fan base – one that is both effective and sustaining, is not out of reach, if you are willing to learn some simple strategies and put forth the effort on an on-going basis to find and connect with those who love what you do!

Here are 10 things that you must know to effectively build a loyal fan base.

1. Stop marketing to everyone

Yes, that’s right. Most music acts are not compatible with the mass-market model. It takes a significant amount of money to launch a new music artist on a major label. Broad appeal and commercial viability are a given. You’ll have more success by narrowing your focus.

Using the long-tail approach will not only save you money, but will also help to establish a direct relationship with your fans who truly like what you offer. By centering your marketing around your niche, much of the guesswork is taken out of the equation.

Bottom line: plug into the people whose interests and preferences fit your music and lifestyle. Differentiate through market segmentation.

2. Know thy fan

If you want to be effective at building a dedicated following, it is imperative that you have insight on the activity of your fans. You do this this through metrics. Google Analytics in addition to other sites such as FanBridge, Reverbnation, Bandcamp and Nimbit can give you information about the who, what, when, where, why and how of your fans.

It’s amazing that for years, record labels had little, to no information about their bread and butter – the fans. They gauged success on past sales and would then allocate a huge percentage of their budgets to those acts who sold well.

By knowing all you can about your fans, you will be able to give them more of what they want, and in turn, build a hardcore, loyal following that will translate into more revenue so you can actually do what you love. Sounds like a win-win to me! (For further reading, check out my post Using Metrics to Track Your Effectiveness as a Music Artist).

3. All fans are not created equal

As a music artist, chances are you already know on some level that some of your fans are more loyal than others. These fans may buy everything you offer and will chomp at the bit to get ahold of any new recordings. Conversely, there are those fans who like your music and may buy your singles, but that is about the extent of it.

So perhaps now, a light bulb just turned on in your head about the very notion that all fans (who are also consumers) have different levels of interest in you. With this knowledge, you can offer different merchandising packages to fit their needs in terms of value vs. pricing. Additionally, by directly communicating with your fan base, you have the opportunity to convert many of your casual fans into super fans! (For further reading, check out Giving Your Fan’s More Choices to Increase Music Sales).

4. Welcome new fans with open arms

New fans are no longer outsiders. Interact with them immediately and make them feel welcome as a part of your circle. Fans appreciate music artists who genuinely take interest in them.

5. Focus on quality not quantity

Ever see those Myspace profiles with 8,000 fans and 300 plays? How about 2,000 FB likes but only $100 in monthly merch sales? Obviously, there is something not quite right here.

Fan acquisition is nothing new. Even the majors hire independent marketing firms to “create” a fan base on social media sites such as Myspace. The premise behind this, is perception. After all, it can be tough to pitch an artist with 10 fans. But let’s face it. If the music isn’t all that good and your profile sucks, what difference is all this going to make anyway? It’s really the same concept as throwing money at radio stations to get songs played. Whether the song is any good or not, is irrelevant. History shows that many songs have cracked Billboard’s Top 10, but sales didn’t follow.

Much of your focus needs to be centered around your “core” fans. Remember, many of your “likes” are merely smoke and mirrors. Don’t take what I’m saying out of context. Every fan is important, and you should be treating every single fan like gold. However, as I mentioned in #3, the consumption patterns of your fans are not equal. Also, understand that many of those so-called “likes” don’t really mean anything at all. Could have just been someone who saw your page, thought it was cool at the time, liked it and never came back.

While I’m on this topic, let’s talk about impressions. Impressions serve as metric for the level of fan activity (as you notice on your FB fan page). They measure how many times a person has viewed a certain page. Often, impressions are tied in with widget technology which is merely a tool to track impressions.

Analyzing impressions is really anyone’s guess. It’s the equivalent of cars passing by a billboard, but the question is, how many people really paid any attention? As the narrator in the Tootsie Pop commercial says “the world may never know!” 

It often helps if the widget is tied into a certain aspect of say your website, such as streaming music or a tour schedule. At best, it can give you some sense of your popularity among fans. (For further reading, check out a guest post by Dave Scotford: Social Networking Tactics for Musicians: Converting Your “Friends” to Fans).

6. Reward your fans frequently

If your fans are treating you well, then return the favor. Free tickets to your shows, backstage passes, perhaps even some free merch.

Another idea is to create a tie-in with reward vs. activity. Say a fan brings 5 new people to your show. Those fans would get a free t-shirt. Or, perhaps you can classify fans based upon purchases, very much like retail stores do with their rewards cards. Each level has various perks. Be creative.

7. Interact with your fans on a personal level

Creating an emotional connection with your fans will turn more people on to your music. The record business is over, as we know it. To really stand out, you need to be in the music artist business. By positioning yourself as not only a musician and songwriter, but as a name that has brand recognition and prestige, you will be able to maximize both your fan base and your income opportunities in the entertainment industry.

“I connect with people,”  mentions crooner Michael Buble in the Star Tribune. “What I do is a completely emotional thing. I never learned to read and write music. It’s not mathematical for me, it’s emotional.”

A site that emphasizes this important strategy, is TalentWatch. Artists are required to submit a personal video along with their music that tells their story and enables them to create a personal and emotional connection with their fans. It’s the fans that decide who rises to the top on TalentWatch, as it should be – giving each artist an equal chance. It’s free to register.

8. Engage your fans consistently

Remember, you are in the “artist” business. Just because you don’t have a new release to promote, doesn’t mean you shouldn’t be interacting with your fans. Fans want to get to know who you are, as a person. Be creative about the topics you tweet or share on your blog or FB page. What movies, books or songs do you like? Do you have any stories you can tell, or perhaps some encounters you had, that can help to create a special bond between you and your fans? 

9. Work your email list

Your email list is important! If you don’t have an area for your fans to sign up to your mailing list, you need to! What many artists do, is give away free content or merchandise in exchange for an email address. Pop-up’s often work well, but you will always have those who hate them. You’ll never please everyone.

10. Create an unforgettable live show

Anyone that reads my blog knows how big I am on developing your live show. Online promotion is an incredible way to create awareness, but the true connection comes when your fans see you play. You should know your songs so well, that they become second nature to you. Create moments within your sets that will leave a lasting impression with your audiences (For further reading, check out my post Taking Your Live Show to the Next Level).

I receive a lot of emails on a weekly basis from singers and bands wanting me to listen to their music. This is cool, because I love music! Send me a link, anytime and I’ll take a listen. But, please, don’t put me on the spot by telling me you’re going to be as big as Usher, and then try to get me to make a commitment to work with you, BEFORE you send me your music!

This is a true story. I had an artist who told me that if I worked with him, he would then give me the privilege of being able to listen to his material. C’mon folks. That doesn’t even make sense. if you’re truly serious about what you are doing, and want to create lasting relationships with those who can make a difference, let’s get real. Here is my advice to you, as an eager artist wanting to be discovered.

1. Build relationships, not inquiries

All too often, artists inquire, but that’s as far as it goes. They inquire if a label is signing new acts, they inquire about the possibility of manager working with them, they inquire about a licensing opportunity. But it typically stops there. Stop inquiring and start building relationships. Inquiries typically end with a door that closes. But, when you switch your mindset to relationship building, the doors remain open. Music industry folks, are just that…people! Treat them as such and that will take you further than you know.

2. Ask for feedback and show your sincerity

The best way to start building relationships with people in the industry, is to ask for feedback. That always tends to keep the door open with me. Sadly, I experience more artists who merely push their music on me by spamming my LinkedIn or email accounts than those who try and build relationships. Thus, I typically don’t respond to the majority of artists who solicit me. But, sincerity can take you a long way and those artists who are both sincere, and ask for feedback to help further their career always have an open door with me.

3. Don’t go for the slam dunk the first time out

This goes right along with the first point I made. It’s all about nurturing relationships. It is unreasonable to think that you’re going to contact someone with the mentality that they’re going to be oozing with joy about your songs and then offer you a contract. But, for some reason, I see artists all the time going for that slam dunk.  If you’ve read any of my other posts, you’ll understand that an artist has to be making things happen. You have to show some viability. Simply put, you’re not going to get discovered by your songs alone. That is just unreasonable. There was a time when music was everything, and the image was secondary. I think about the late Paul Davis. He was a big pop star in the 1970’s and early 80’s. Davis had a successful career with many Top 10 hits. What’s funny, is that when you saw him, he resembled someone who was in the Oak Ridge Boys. What he sounded like and what he looked like clashed immensely. But, that was a different time. Talent and great songs are still very much, a big deal, but far from the only thing.

4. Be professional and confident

When you contact people, whether it be on the phone, on social network sites, or through email, you need to have a sense of professionalism and an air of confidence. Note that I didn’t say arrogance!  Of course, we all want to work with artists who think they can move the sun and moon — it’s that tenacity that gets you out of the rough and onto the green. However, being demanding, coming off like your music is the best thing ever and that you just need to listen to it, won’t get you far. Think before you send! Have a clear, concise plan put in place regarding how you want to communicate your vision and music. Do you think that an artist manager really wants to work with someone who is not realistic about the business or has no understanding of what they’re doing?  Oh, and by the way. Stop blanketing emails or messages to people (those dreaded cc’s). I get that all the time on LinkedIn and Facebook and I rarely give them the time of day. Personalization, people. Personalization. That alone will increase your response rate.

5. Keep in touch

Part of building relationships involves staying in touch! After all, how can you really establish any kind of link to anyone if you don’t stay in touch on a consistent basis?  If you fail to stay in touch, you fall right back into the inquiry mode — and you know what that means…closed doors!  Keep your contacts updated with any new events or opportunities that have come your way. Whatever you do, don’t over do it.  That will only have a negative impact on your efforts.

6. Create and maintain contact info

Always keep track of the people you meet and the conversations that you have. There are plenty of database and CRM software programs available to keep your communication process organized. This way, you’ll never forget what you said to someone, or what they promised you!  

7. Expect to get snubbed

You’re not going to be able to connect with everyone. Some will be arrogant, others won’t respond. Don’t worry about it. If you keep at it, in time you’ll build enough valuable relationships that can help you in times you least expect. Remember it’s not about the quantity of your friends, connections and follows. Anyone can build up their social networks with a ton of friends. It’s those select relationships that you build which will help you endure.

The thing I love about music today, is the versatility of genres. This is a huge change from 10 to 20 years ago, where you could essentially count the number of genres on your fingers. There are so many styles to borrow from. Be creative. I challenge you! And remember, don’t get so locked into the production. It’s obvious that the sound is archaic, but this was also a time when there were few overdubs and many of the bands played live on their records with reverb being the primary (and often the only) effect. Nowadays, it’s cut and paste and effects plug-ins are limitless, giving you the ability to achieve any sound you want.

By the way, according to my site analytics, this post is in the top 10. Good to know there is interest!

The Top 15 Obscure Rock/Pop Ballads of the 1970’s

1. Man I’ll Never Be-Boston (1978)

Curse them as you may for influencing the rise of corporate rock, but Boston was in a league of their own when it came to audio production. The greatest gem on their sophomore release Don’t Look Back is the rock ballad Man I’ll Never Be. Vocalist Brad Delp sang like a bird. The beauty of this song, is that no one to my knowledge has re-made it. Any takers?

2. Patiently-Journey (1978)

This is the third Journey song that made it to the list, but with obvious reason: Perry and Co invented the power ballad. From the album Infinity, Patiently was the first song that Neal Schon and Steve Perry wrote together as a tribute to Lynyrd Skynyrd. Though this particular album was known more for hits like Lights, Feeling That Way/Anytime and Wheel in the Sky, Patiently is no doubt, one of Journey’s greatest ballads that is worthy of dusting off, making a great cover for the right band.

3. Seagull-Bad Company (1972)

What else can I say about one of the greatest rock-n-roll bands ever? We all know Bad Company for their timeless hits like Can’t Get Enough, Ready for Love and Shooting Star. But one of my all time favorites of lead vocalist Paul Rodgers is Seagull. Completely acoustic, this song is wide-open in terms of what you can add to it.

4. Here Comes Those Tears Again-Jackson Browne (1976)

Jackson Browne was part of the singer/songwriter surge of the 70’s and penned some of the greatest songs of that era, including The Eagle’s Take it Easy. As a music artist, he was equally as talented with Running on Empty, Doctor My Eyes, and Somebody’s Baby. I use to perform Here Comes Those Tears in a more intimate setting, with just a piano and a keyboard pad, taking away the country feel that that the original recording has. It always went over well. Again, don’t be tied down to the original production. Re-create the song and experiment with various chord alterations, new arrangements and sounds.

5. Fool For You Anyway-Foreigner (1977)

Best known for Waiting for a Girl Like You, Urgent and I Wanna Know What Love Is (brought back to life by Mariah Carey), Foreigner was the quintessential super group of the 70’s and especially the 1980’s. There are so many possibilities for this one, and what an example of how a truly great song can shine through no matter what time period.

6. Everybody Has A Dream-Billy Joel (1977)

I don’t think there will ever be another Billy Joel. His style of piano pop, blended with blues, R&B, classical and gospel has never been matched because the man is simply a tremendous talent. His songs will forever be etched in the stone of greatness with the likes of Movin Out, Honesty, Only The Good Die Young and We Didn’t Start The Fire. From The Stranger, Everybody Has A Dream highlights Billy’s Gospel/R&B roots. The message is strong and this one would be great for anyone in Gospel or R&B. I can hear a huge choir in the background!

7. Just Remember I Love You-Firefall (1979)

Every once in awhile, you’ll hear this one on 70’s radio and definitely on satellite. Although it was a big hit for the band, in 2011 it’s more than obscure! I remember doing this one years ago, and actually played briefly with one of the band’s guitarists when I lived in Colorado.

8. Crazy Love-Poco (1978)

Yep, I know. They sound like The Eagles, huh? For a little music trivia, two members of The Eagles were part of Poco at one time, mainly bassist Timothy B Schmidt (vocalist on The Eagle’s I Can’t Tell You Why and Love Will Keep Us Alive) and guitarist/vocalist Randy Meisner. Ironically, Schmidt also sang back-ups on the previous song, Firefall’s Just Remember I Love You. Love this tune and would be a good fit for the right country band.

9. Songbird-Fleetwood Mac (1977)

Fleetwood Mac’s Rumours is the tenth best selling album of all time with 40 million copies sold worldwide. If that doesn’t say something about songs that stand the test of time, I don’t know what does. I remember playing with a female vocalist who did this one and would bring the house down every single time. Although Songbird has been re-recorded before (most popular from the show Glee) there is still room for another version, because it’s simply an exceptional song.

10. Do it or Die-Atlanta Rhythm Section (1979)

ARS was a group of studio musicians in the 70’s from Doraville, Georgia, just outside Atlanta. Engineer Rodney Mills opened the legendary Studio One and it was ARS who became the house band of the studio. They are known for Spooky, Imaginary Lovers and So Into You. This song was recorded towards the end of their run in 1979 and reached #19 on Billboard in May of that year. Still, it goes virtually unknown. Ronnie Hammond had such a unique voice. He resided in the same area I do – Macon, Central Georgia region and was a great guy. He died March 14, 2011. RIP Ronnie.

11. Racing in The Streets-Bruce Springsteen (1977)

If you are in the Americana genre, you should be all over this one. What separated Springsteen from most (and equally, why he is an icon in the music world), is that he could tell vivid stories within his songs. It was never about his voice. That’s where people are missing the boat. It’s more about his sincerity, his emotion and the connection he creates with his fans through his ability to paint a picture that captures all the senses and takes you to another place. From Darkness on the Edge of Town, Racing in the Streets could be your most requested song, in my opinion.

12. The Sad Café-The Eagles (1979)

The Eagles need no introduction. They are equally revered by artists and fans alike in both country and rock. I always loved The Sad Café, which was written about their times at The Troubadour in LA. It was never a major hit, but always a fan favorite and more than worthy of a re-do.

13. Still in Love With You-Thin Lizzy (1974, 1978)

Phillip Lynott (pronounced “lie-not”), was definitely unique. An “Afro-Brazilian”, Irish bassist/vocalist fronting a rock band. Can’t get anymore original! Fans know them best for The Boys are Back in Town, and Jailbreak. Their live version of Still in Love With You, released on the album Live and Dangerous is incredible. A Gary Moore classic. And to bring home my point? Sade released a version of it this year. Still, I’m partial to the original!

14. Helpless-Neil Young (1970)

Ok. I know that this song is not exactly obscure from a true rock fan’s point of view. But, most people these days have never heard Helpless. It’s easy to get caught up in the old production of this song, and even the genre. One word: Don’t. I can see this song being covered within many genres. Someone in the style of Joss Stone, for instance, could tear this up. So could Crystal Bowersox.

15. Sara Smile-Hall and Oates (1976)

I pulled this one out, not so much because it’s obscure, but to show you the viability of re-creating a song and making it your own. Here are some versions of Hall & Oates 1976 hit.

Hall & Oates Version (Pop)

Brian McKnight Version (R&B)

After 7 Version (R&B)

Jimmy Wayne Version (Country)

Joan Osborne Version (Pop)

Boyz II Men Version (R&B-great production on this one!)

Monte Montgomery duet with Daryl Hall Version (More blues based, another cool one!)

If you’re into some of these, and have recorded, or going to record one of them, please drop me a line and let me know how it worked out. If you send me a link at hugh@makingitinmusic.net, I might just put it up on the Making it in Music website!

Go back to Part 1: The Top 15 Obscure Rock/Pop Ballads of The 1980’s.

The answer to that, is yes — of course. People are doing it all the time. But there are four things to keep in mind if you want to be realistic about this goal and to logically (and reasonably) move forward.

1.Don’t do it for the money

Yep, quite the contradiction isn’t it? Well, if your focus is on making money over being a dedicated songwriter, performer and ultimately a true music artist — then you are in the wrong career!  We all want to make money doing what we love, but not at the cost of being genuine. You can’t “fake” your way in becoming a relevant music artist. Music fans will sniff you out immediately for lack of depth and sincerity. Doesn’t matter what genre, if you’re not passionate about what you do, it will tell on you. So yeah, of course you want to make money. But emphasize the artist first and the money will follow.

2.Brand your band

The recording industry is one that has historically focused solely on selling widgets through the exploitation of a physical product, such as a CD. This is the very thing that has served to work against record labels, as music can no longer be controlled in a fixed format, particularly with the variety of digital distribution outlets and music services such as Spotify, Soundcloud and TalentWatch.

The most successful music artists engage their fans through social networks, newsletters and contests which involve them directly. This focus is more than just selling your recordings — it’s bigger than that. Instead, you’re selling yourself as an artist, which in turn will help you sell anything that is related to you as a brand. It goes beyond music. 

3.Don’t forget your publishing

Spending time building relationships with (film) music supervisors and searching out for licensing opportunities is something all music artists should be doing. Publishing can create residual income which provides ongoing cash flow. To be successful, you need to treat the people you are contacting like human beings and not just someone who you pimp your music to. Take some time to truly build relationships. That goes a long way. Be professional and don’t go for a slam dunk the first time around.

4.Maximize supplemental money-making opportunities

Ok, so what if you’re starting from ground zero, and you have little or no income coming in. After all, you do have to buy new equipment (thought I was going to say eat? C’mon, we’re music artists – what comes first, food or equipment?). Now is the time to take a long hard look at your talent and abilities to discover what other avenues you can supplement your income with. Teaching, being part of the band at a playhouse, writing jingles, or playing weddings are some things that come to mind.

I used to play piano for a national kids theater company that came to the local air force base every year. It consumed about 3 hours of my day for about 4 days and I made $500 from it. Easy money! Build up those kind of gigs throughout the year, along with other income opportunities, and before you know it, you’re actually making money to support what you love to do. There are many opportunities out there, but you have to be aggressive and hit the pavement. Once you get your name circulating, word of mouth will make it easier.

4. Don’t quit if you don’t see immediate results

As a rule of thumb, most businesses that survive don’t normally see a profit for about three years. No doubt that there are always exceptions to this, but the issue at hand here, is that as an original music artist, you can’t expect to start making money right out of the gate. After all, you’re a business too!

Yes, I realize that this might seem cliché, but really this should belong at the top of this post for importance. Original artists need thick skin. You just don’t make a ton of money, until you can start to command an audience. Focus on developing and sustaining your fans.

There were some great rock and pop ballads written throughout these two decades. My aim is to capture not only some of the best, but more importantly, more obscure songs that you very may never have heard of. This can provide a fresh approach when looking for a selected cover song to record and make your own.

So here is the deal. There are things to realize about this post.

First, these lists are obviously subjective, but at the same time, understand that this is coming from someone (me!) who sat for hours upon hours in their bedroom as a kid listening to records, and not just hit songs, but entire albums! I am no doubt, a music freak.

Secondly, depending who you are, there are a few of these songs that may not seem obscure at all. Granted, some of these songs were hits (most of them were not), but the main premise, is that these songs were all classic tunes that you either don’t hear anymore, or were literal “B” sides that were, well…just plain great songs. Fans of these bands certainly know these songs. That is something that has changed completely in the age of singles.

Thirdly and most importantly, I posted these for you to perhaps record for yourself. C’mon. Do some re-arranging, make one of these your own…be creative! A great song is timeless, not matter what the time period. So don’t pay attention to the dress or style of these time periods – that is irrelevant. There are some gems in here, that in my opinion, you may be able to use, provided you look beyond the production and think more of how you could develop a particular song to fit your genre and the current time period.

First, let’s look check out the 1980’s. Here are my picks. Your comments are welcome. Yes, go ahead. Leave a comment!

The Top 15 Obscure Rock/Pop Ballads of the 1980’s

1. Hold On (When You Feel You’re Falling)-Spys (1982)

Founded by ex-Foreigner members Ed Gagliardi and Al Greenwood, Spys were one of the best rock bands of the early 80’s regardless of how much of a splash they made. Too often, people make assumptions of the quality of a band or song based upon their chart status. If you know anything about the business, you’ll be chuckling at that last statement. There were way too many great bands of that day that didn’t get promoted the way they should of. The Spys were one of these bands.

2. It Ain’t Enough-Corey Hart (1983)

Corey Hart broke out on the scene in the early 80’s with his hit Sunglasses At Night. A prolific songwriter and emotional performer, It Ain’t Enough was on Hart’s first record First Offense (1983). As an alternative to the original link, this is the acoustic version with Corey on the piano. (Please note that there is a 1 minute personal intro to this version).

3. Letting Go-Straight Lines (1982)

Straight Lines was a pop act from Canada. Writers Robert Buckley (keys and sax) and David Sinclair (guitars and vocals) were nominated for Composer’s of the Year at the 1983 Juno Awards. Though only a select few radio stations played this song, it always surprised me that it never truly broke out stateside.

4. More Than Just The Two of Us-Sneaker (1981)

The band Sneaker from the West Coast, hit the Top 40 in 1981 with this song, produced by Doobie Brothers and Steely Dan guitarist Jeff Baxter. One element I love is the presence of piano in so many of the ballads of that day. Great melody, vocal delivery and those stacked backing vocals!

5. Why Not Me-Fred Knobloch (1980)

Knobloch is no stranger to the industry, having penned songs for George Strait, Trisha Yearwood, Faith Hill, Etta James and more. In 1980, his song Why Not Me was a radio favorite reaching #1 on Billboard’s AC charts and #18 on the Hot 100. Though the production is obviously incredibly dated, the song remains identifiable. Knobloch has a way of personalizing his songs so the listener can connect – one of the qualities of a great songwriter. This song has truly been lost in time, awaiting for someone to come along and breathe life back into it!

6. Heart Over Mind-Van Stephenson (1984)

If you were a kid back in this time, the name probably doesn’t register, but the song Modern Day Delilah may. On the same album, was the “B-side” ballad Heart Over Mind. Van Stephenson was a decent writer and like many of that time, a talented vocalist.

7. Without You-Franke and the Knockouts (1982)

Most identify Franke Previte, lead singer of his band Franke and the Knockouts with his hit song Sweetheart (that’s the band completely live, mind you). Though Previte always seemed to dress like a pimp back then (I’m sure he cringes at those old pictures – just pickin’ at you Franke), he had an incredible voice and a knack for writing great melodies and hooks. I remember summer nights as a teen listening to this song with my girlfriend while we were…

8. Falling in Love Again-Michael Stanley Band (1981)

Hailing from Cleveland, Ohio – home of the Rock-n-Roll Hall of Fame, Stanley never could break out of the Midwest, but because of the bands hardcore following, they managed to hold major label contracts with Epic, EMI and Arista throughout their heyday. MSB still holds attendance records at the (now demolished) Coliseum at Richfield and The Blossom Music Center. Known for the Top 40 hit song He Can’t Love You, Stanley wrote this country-rock ballad which was always a long-time favorite of his fans.

9. Stay Awhile-Journey (1980)

What more can I say about this legendary band? Their staying power is proven and are still one of the best selling acts of today. From their album Departure (1980), Stay Awhile was one of Steve Perry’s best, however it is often overshadowed by the likes of Open Arms and Faithfully. Definitely doable for any band today wanting a memorable but simple love song to put on their next record.

10. It’s Never Easy-Loverboy (1983)

At one time, Loverboy ruled the charts with songs like Workin for the Weekend, Get Lucky and Queen of The Broken Hearts. They came right before the hair band/glam rock thing became fashionable and were MTV favorites. It’s Never Easy has always been on my list for one of the best unknown ballads. Vocalist Mike Reno delivers.

11. Into The Night-Benny Mardones (1980, 1989)

Mardones actually was lucky enough to have a major hit with Into The Night, twice; once in 1980 and then 9 years later, in 1989. One thing about this song, is that although it was popular, it is often forgotten until you hear it, and then it’s like “I’ve heard this!” Most however, never know the songwriter and artist.

12. Alone Tonight-Genesis (1980)

Genesis went through many artistic transformations through the years. From the eccentric, Peter Gabriel era to the hit pop/rock machine of Phil Collins, Alone Tonight comes from a period in between the two. From Duke (1980), This is one of Collins’ early ballads.

13. Why Can’t This Night (Go On Forever) –Journey (1986)

This song was the last cut on the 1986 album Raised on Radio – the record that American Idol’s Randy Jackson played on. The song never really got its due because of the tour getting cut short, in addition to the band parting ways. Love this power ballad. Wish they would bring this one back. I’m sure Arnel would nail it.

14. Time-Alan Parsons Project (1980)

Best known as the producer for Pink Floyd’s Darkside of the Moon, Parsons had a few radio hits back in the early 80’s, however Time was one of his best. The production effort is superior for that decade, surreal and multi-dimensional – typical of his style.

15. I’ll Be Over You-Toto (1986)

As accomplished studio players and producers, the members of Toto were on some of the biggest albums known to man (Michael Jackson’s Thriller being one), however most people rarely knew it. Toto was a pet project that members launched in the late 70’s and made impact with  Hold the Line, and I’ll Supply The Love.  Their album IV, released in 1984 was probably their most commercially successful, earning 6 Grammy awards and yielding the hit songs Rosanna, Africa and I Won’t Hold You Back. Although I’ll Be Over You peaked at #11 on the Billboard Hot 100, it has quickly been forgotten by many over the years. A great song that no doubt, holds up to anything on Toto IV.

Go to Part 2: Top 15 Obscure Rock/Pop Ballads of the 1970’s.

To some, this attitude is exactly what you need to get ahead. But if you really think about it for a second, this approach can really be a curse just as fast as it can be a blessing. You see, jumping right into something without thinking about it can really set you up for failure if you aren’t careful — mainly because you aren’t really preparing yourself for what may lie ahead. As with all challenges, we all know that there are always going to be road blocks – those annoying deterrents that you just want to quickly remove and move on. Thing is, that is not reality and is precisely why I have to stop myself for a bit of reflection about what I’m about to potentially encounter so I can mentally prepare myself and plan accordingly to meet the challenges that I will face in my quest for the finish line.

Perhaps you get the picture of where I’m going with this.

A common denominator with vocal students is the notion that with a “few” voice lessons, they will be able to expand their singing ability immediately and within a few weeks…maybe even a month or two tops, their vocal prowess will be evident to all. I only wish it worked like this. It doesn’t matter how many times I try to explain this, I still get countless moms asking me why their son or daughter hasn’t seen any improvement within the past few weeks. As described earlier, they are jumping into something without being aware of the factors that help to create a great singer and most importantly, being unreasonable about the amount of time and work that it takes to reach this goal. You have to think of it as a journey. It’s ongoing.

So, besides the notion of practicing what is being taught more than just once every week (ok, I had to throw that in there…anyone that is an instructor can relate), it takes a considerable amount of time to learn a skill! Funny when I compare this to an actual instrument, like piano or guitar, for instance. Would you expect to pick up these instruments and excel in them within a few weeks to a month? Sounds incredibly naïve. So how is the voice any different? 

Don’t set yourself up for failure. Understand that getting your voice up to speed involves a learning curve that takes some time to master. Just know, that it IS DOABLE! But you will have to put the time into it, to make it so.

In closing, I will outline a few factors that will be necessary in your quest to become a great singer. Although this list could include many, many things, I am including what I feel are some of the most important.

1. Tenacity

The definition of tenacity or being tenacious, is holding fast by keeping a firm hold. Additionally, it is being persistent, stubborn and obstinate. Basically, this means that you won’t change your course, no matter what gets in your way. If you don’t have this quality, you may as well hang it up. Not trying to be insensitive or cruel, I’m just being real. You have to possess a burning desire to be a great singer, and do what it takes to get there.

2. Realistic expectations and goals

As I mentioned earlier, jumping in head first without any notion of what you are up against, is not wise. Improving your singing involves much more than just merely practicing songs. Having realistic expectations about what is involved and additionally creating effective goals to help reach those expectations is a must. I’m not being a pessimist here. Far from it. I’m just trying to save you a lot of frustration. Ever been in a relationship with someone who set the bar too high? They had expectations that were so unreasonable that no matter what you did, it was never enough? Just as this thinking sabotages relationships, so to will it sabotage your quest to be a great singer. Don’t go there.

3. Is there something there to work with?

Let’s face it. Not everyone is cut out to be a singer. As an instructor, I can teach vocal principles all day long, but if the talent is not there, it’s not going to make a major impact. Be honest with yourself.

4. Get a competent (and compatible) vocal coach

If you are merely going to your vocal lesson to sing-along to songs, then you are wasting your money. This isn’t teaching you anything. You need a vocal teacher that has the knowledge to help you become aware of habits (like singing out of your nose, shallow breathing etc.) and create an overall program that will enable you to excel. You also need someone who is “compatible” — someone you feel comfortable with. No need for personality clashes.

5.Consistency of practice

You have to create a consistent, weekly practice schedule that will enable you to properly work out your voice. Once a week will not cut it. Honestly, you will be amazed on how much better you will get with this simple concept. I know it sounds obvious, but this is a major issue with voice students (just ask any instructor). If you aren’t practicing on a consistent basis, then all the voice lessons in the world won’t help. Learning is not enough. You gotta apply the knowledge!

6. Implement what you learn

Proper breathing, vocal exercises and other practical techniques need to be implemented into “real-life.”  Don’t throw everything you learn out the window when you hit the stage and go back to your old ways out of nervousness or comfort. To be a great singer, you need to take what you learn and blend it into your performance.