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Please Read the column Ken considers his most important, ever!

Music Writer Kenny Love contributes to Tell-Mama

A very wise writer, Kenny Love, has offered us some essays about promoting your music. We are very grateful that he found Tell-Mama! This is the kind of page that makes all the work worthwhile. Be sure to read Ken's monthly columns in Sound Waves music magazine. His columns are titled "Alternative Routes to Recording Success" and "Perspectives" respectively.

There are some new columns reprinted here, on 19 November 1999.
The essays on this page are


When in dire straits, call on your "Resident Hero"

by Kenny Love

Resident Hero is a Texas-based Modern Rock band that will release its sophomore recording nationally in January. The band is extremely popular throughout Texas, as well as ten outlying states. In its short life span of approximately 2-1/2 years, "Resident Hero" has garnered significant area media coverage through television, radio, and print interviews, as well as having developed a tremendous fan base. The band's web site is at I had the opportunity to speak with Drummer Jonathan Scott.

Kenny Love: How long has "Resident Hero" been together, and how did you guys get together?

Jonathan Scott: We formed the band in late 1996. We all met at a local talent show. Ryan's band beat mine. =( We talked after the show about playing together sometime. His drummer was losing interest and my band was breaking up. Within a month or so, we all got together and have been jamming ever since.

KL: Was that the Budweiser annual try-outs?

JS: Nope. Just a high school thing...not too many Budweiser events.

KL: Oh,, before this, what kind of experiences had you all had in regard to "live" performances?

JS: Very little experience. I had played a couple of talent shows in high school. Ryan hadn't done much of anything. Lang used to play all over the southern region when he was in college, touring with the cover band, Hot Wire. Of course, that was 68 years ago.

KL: Wow! That's really interesting, because from watching and listening to you guys in television and radio interviews, I would never know that you hadn't been doing it for a while.

JS: Actually it was never really too big of a deal. We are all just doing what we love to do and we just have a good time. I would have to say that everything is so natural when we hit the stage.

KL: So, what are "live" performances like almost three years later for you guys? Are they getting easier?

JS: The crowds usually are pretty intense. Whether it's people jumping as high as they can in the air...or they're slamming their heads...or they're singing as loudly as they can, we definitely have the best fans around.

KL: And, that brings up another question, naturally. How long did it take you guys to develop a following to the point of realizing you had something special? Was it instantaneous, or did it take you a few shows to develop it?

JS: First show we ever played was in Longview (Texas), which is a little town about 45 minutes away from home. Obviously, no one had ever heard of us at that point. But, the crowd went NUTS! We actually even played a few cover songs that night...a rarity. But, the crowd was yelling for us to play more originals because they liked them better than the covers! A very cool feeling! That was the last time we played so many covers. Now, we just do them for fun every once in a long while. So, yes, it was pretty instantaneous.

KL: Wow! Any band should be so lucky! A lot of bands assume that rooms are going to prefer covers if they haven't heard of the act. I know you guys have great material, but do you also attribute your immediate acceptance to the fact that today it has become, primarily, an independent musician's world, so to speak?

JS: Being independent around here is actually pretty tough.

KL: Do you mean within your own geographical area?

JS: Yeah.

KL: How so, and why?

JS: We come from a town that, primarily, only listens to Top 40 that is being crammed down our throats. The fact that we can draw really good crowds to the shows is a very impressive feat.

KL: Does your hometown crowd find it hard to accept the success you guys have attained so quickly?

JS: It's hard to be considered a "success" around here unless you're on the radio.

KL: So, until your recording is released, what are you doing to try and win them over, so to speak?

JS: Nothing special. However, the local media has begun to consider us as a success because of our success outside this region...which is kind of backwards in my opinion, but oh well...

KL: Well, you know how it seems to is almost always accepted away from home before being accepted at home. And, you're right...that does go against the assumed natural grain of hometown support. So, what are some of the outside successes you are having now?

JS: We are getting a lot of airplay in some college markets. In Austin, we are on the playlist on the AMN (Austin Music Network) with three videos in circulation. We also have a lot of radio and TV interviews in a lot of the surrounding cities and states. Obviously, we are gaining fans everywhere we go and play. That, to me, is success.

KL: Jonathan, I realize this is a loaded question, but after viewing a "Resident Hero" concert, what is a prospective fan's opinion likely to be?

JS: That I'm the sexiest person in the band.

KL: Uh, Dr. Trask, can you pass me some Tylenol for this kid? (laughing)

JS: You need something stronger than Tylenol. (laughing)

KL: Uh, oh...hide the Chalupa.

JS: Seriously though...they should be blown away with our live show. We definitely leave them wanting more. Unfortunately, we are limited to an hour and a half or so. We can't play all of our stuff, which is kind of sad.

KL: Well, I know firsthand what a great band you guys are... isn't your recording being released in January?

JS: It should be ready by then, yes. We are taking our time with the graphics and the sound. It is going to be perfect, even though you can't rush perfection. But, January is a good approximation.

KL: And, a tour? Is that also in the works to support the recording?

JS: You bet. We'll definitely hit the road and make sure every one in America knows who "Resident Hero" is. They deserve to know. We love the fans and also love meeting new people. So, touring is a given.

KL: Well, Jonathan, I am wishing you guys all the certainly are deserving of it. I appreciate you taking the time out of your schedule to speak with me about "Resident Hero."

JS: Thank you for your time as well.

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Editor's Note: Kenny Love is also a National Record Promoter promoting various genres of music including, Rock, R&B, Jazz, Hip-Hop, etc. He accepts unsolicited material for review and consideration while also eliminating the usually high cost of upfront fees charged by most promoters and publicists. To receive complete information on his services, along with testimonials from his satisfied clients, please send an Email request to

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Larry Scott: A Manager's Manager

I recently spoke with Mr. Larry Scott of Scott Management. Manager of the popular Texas-based band, "Resident Hero," he is also preparing to manage the careers of additional acts, including several overseas musical groups that already have a strong foothold in their geographical areas. Mr. Scott can be contacted via Email at, or by telephone at (903)566-5317.


Kenny Love: How long have you worked in and around the music industry?

Larry Scott: Actually I began during the 7th grade. My older brother was a drummer in the school band and began to play in a few rock bands in the early-mid 60s. He was 5 years older than I was and when he graduated from high school, I took over as first chair drummer in the school band as a 7th grader. Back then, high school began in the 7th grade and went to 12th. Anyway, I started playing in Rock bands in 1964 and did so until I got married. I have been doing the managing task for the past 2 1/2 years.

KL: What got you interested in the management side of the business?

LS: I received my Bachelor's degree in Business Management in the late 80's, shortly after a 6-year stint with the US Air Force. When my son's band began to play in clubs in the Dallas area 2 1/2 years ago, I got to thinking that I could use my managerial skills in an area that I really enjoyed...Music. It was at that time that I began managing "Resident Hero" and have done so ever since.

KL: Wow! That must be a great feeling when a band can have confidence of knowing its manager is formally educated in the business aspect of this industry. As you already know, so many people call themselves managers, promoters, producers, etc., yet few can actually fill the shoes adequately and consistently, right?

LS: You're correct. There is definitely a lot more in managing a band than most people realize. Having the formal business training is obviously a plus on your side. After all, it is a Music Business. Most artists, especially young musicians, have no idea what a balance sheet or an income statement is, and could care less. I can appreciate that, but when your "bottom line" is costing you, you may not be in the music business for long. I take pride in working with my bands to allow them to do what they do well (playing music), as I do what I do best (managing), while mixing the two to the benefit of both is quite fulfilling.

KL: What do you look for in bands you are considering managing? What qualities need to stick out with them, so to speak?

LS: I look for a number of things, but first on my list is Honesty. As a manager, I not only have to do the "normal" duties but, at times, have to serve as mediator on the band's behalf as well. If what I hear is not the truth, it makes it very difficult to resolve the situation. And I believe that Honesty on my part is equally important to the artist. There's enough BS in the music world without having to lie about it. Secondly, a band must have a great positive attitude and a 100% commitment to succeed in obtaining their goals. Obviously, having great music and stage presence are important as well. One more thing that a band must possess is a high degree of professionalism, which usually will separate a great band from a high-school garage band.

KL: Some bands, after rehearsing for only a month or so, begin to seek professional management. Is this proper, or should they have more quality time invested in the group in terms of material and showmanship?

LS: If you're talking about band members who have never performed professionally before, I would say that a few months of "paying your dues" will result in the long run with higher "Divis" (Biz Lingo!!) for the artist. As they say, you appreciate your success when you have been down in the gutter. A lot of what new bands must go through in booking and managing themselves is a great education for them down the road. Sure, there are a few "overnight success" stories, but not many. Plus, just the amount of time it takes for a band to become tight enough, musically and performance-wise, in my opinion, can't be accomplished in only a month or two.

KL: What are some potentially detrimental mistakes you see artists making when seeking professional representation such as managers, agents, etc.?

LS: Putting all of their eggs in one basket. In other words, relying 100% on an agent for booking that never comes through for the band. Same goes with managers, too. Sometimes it takes a while to weed through a number of agents before you find one that truly works for the artist, rather than just for the agent. In my mind, the artist always comes first.

KL: Are you saying that artists may need to consider booking themselves, in addition to having an agent, or seek an agent that will not request exclusivity in terms of every engagement or appearance?

LS: At first, the artist should not sign an exclusive arrangement, especially if the artist has never dealt with that particular agent. After the agent proves his/her results, and actually comes through for the artist, then the partnership can grow into an exclusive arrangement. As President Reagan stated in the 1980s in reference to the Soviets...'Trust, BUT Verify'!

KL: I agree. Let me ask you a couple of very important questions concerning booking engagements. When booking nightclubs, what should bands request and/or require financially?

LS: It greatly depends on the location of the club. In some cities, clubs treat bands really well financially while in others, the bands almost have to pay to play. It takes a while to really learn what each city's policies are. One way to get a handle on the potential income for the band is a short formula that I sometimes use. If the venue's capacity is, say 300, and if the normal cover charge is $8, then the maximum amount would come to around $2400 for a packed house. Asking $3000 would be out of line, unless the ticket price was increased to $10. I don't, however, think a band should expect anything less than their expenses to get to the show, plus a few dollars for the band. Playing a three hour set of original material for a crowd of 300 and having the club pay the band $200 is ludicrous, but unfortunately, it does happen. Best advice would be to check with other bands in the area to see what their income at a particular club comes to, then go from there.

KL: Many bands, if not most, will use a contract for fear of not getting the gig. Should a band require a contract or agreement for every engagement?

LS: It's always better to have a contract than not. If a venue barks at a contract, you have to ask yourself, WHY? After all, when you agree verbally to play a certain set for a particular amount of money, and the club then refuses to sign an agreement, something may be in the air that is not in the artist's best interest, if you know what I mean. On the other hand, if you present a contract, it shows the venue that you are truly a professional musician and expect to be treated like one...simple as that. If a band wants to play for free, then go ahead. But in my opinion, that would be an amateur band as opposed to a professional band.

KL: What is your feeling on the inclusion of "cancellation penalty" clauses? Should they be included in the agreement and, if so, what time frame is allowable, and what should the financial penalty be in terms of money?

LS: Cancellation penalty clauses are usually included in a performance contract. If a venue cancels a show 4 months in advance, that may not be a problem, but if it cancels a show the week before a performance, then you have to figure that the band has spent a considerable amount of time and expense in setting up publicity interviews at radio and TV stations, have sent out Press Releases, Emails to their mailing list fans and a whole lot of other "Pre-Show Promotion" that has to be re-done. The bands should definitely be compensated for this and the cancellation penalty is set up to address that issue. If we get a cancellation 2 months in advance of a show, the normal penalty comes to 50% forfeiture of the agreed upon wage. If the cancellation is less than a month, it comes to 75% forfeiture while any cancellation less than 2 weeks, escalates the penalty to the full forfeiture of 100% of the agreed upon amount.

KL: Mr. Scott, let's say a band books a gig for, say, $1000 with the engagement to be performed in three weeks. How much of a deposit should the band immediately require upfront, and when should the band collect the balance owed...before it performs, or afterward?

LS: Our standard deposit is almost always 50% of the agreed upon wage due at the time of signing the contract. The balance on a guaranteed amount, as in your example, would be due before the performance. At times, when the performance fee is based on a percentage of the door or bar, which happens occasionally, the outstanding balance would be paid at the conclusion of the performance.

KL: Okay, one final question. What does the future hold for Scott Management, and what do you hope to accomplish even further in the future?

LS: Actually, at this moment, I am in contact with a number of bands across the globe. There are two bands from the New York City area that I am meeting with next week. I have been in touch with a band from Japan that has expressed a desire to tour the States early next year (2000). But what really has me excited, is this band from the Ukraine that we are expecting to bring to America in the Spring for a coast to coast tour. The music business has changed radically within the past five years with the advent of the Internet, MP3, and other new devices that help the musician reach his audience greater than ever. The record business is also going through some technological growing pains as well. It's really an exciting time to be in the music industry and, if I can play a minor part in helping a number of artists realize their dreams, then it will be a worthwhile effort and I'll be able to retire in a few years and listen to our artist's work for years to come in my rocking chair next to the cracklin' fire.

KL: Mr. Scott, thank you so very much for taking the time to provide insight into the business side of the music industry from another perspective.

LS: You're most welcome. I enjoyed it!

___________________________________________________ Editor's Note: Kenny Love is also a National Record Promoter promoting various genres of music including, Rock, R&B, Jazz, Hip-Hop, etc. He accepts unsolicited material for review and consideration while also eliminating the usually high cost of upfront fees charged by most promoters and publicists. To receive complete information on his services, along with testimonials from his satisfied clients, please send an Email request to

Back to the index.

"Paying to Play? Who, Me?"

by Kenny Love

The response to my last article addressing the professional execution of music promotion has already been so positive, I felt compelled to expand it. Now, while I may, possibly, find reader support with this article as well, drive-bys are inevitable. Therefore, I have only one request…please use a semi-automatic weapon as this will allow me at least the opportunity to momentarily dodge any stray ammo.

Seriously though, it is almost a given fact today that if you pick up any independent recording and compare its graphic design artwork and sound quality, there exists virtually no distinguishable differences. In fact, I will go as far as to say that "indie" product, most of the time, carries a much higher quality all around due to its very nature.

So, why is it that most independent recording artists fail to budget, or even consider the provision or allocation of promotional funds for their own recording? Is it because they believe long lines of record labels will be salivating at the mouth for their product as it rolls off the manufacturer's line?

These are some of the same artists who go all out, sparing no expense, and spending thousands of dollars to ensure that not only is their product recorded and mastered to perfection, but some of them also purchase the same top-of- the-line gear that professional studios carry.

They are also the same artists who seek top graphic designers whose special effects often rival the best work of George Lucas. So, once again, why the ongoing and consistent failure to even consider budgeting for professional promotion of their well vested recording as well?

I believe that the main reason is that they feel that with such a professional sound and appearance, it will, indeed, be a "sure thing" to attract investors for promotion, or record labels that will be impressed with their work enough to provide big- dollar funding.

Here is a wake-up call to all subscribing to this far-flung theory: The music game has now changed! It's not done that way anymore! Everyone and his brother (or sister) is creating high quality product, but many are going steps beyond on their own to make sure the promotion ball starts to roll.

So, the fact that you are now producing your music on compact discs is no longer impressionable. It is now considered the standard and expected format in order to be taken seriously.

However, one way to stand out from the crowd is to not become so overly anxious to release your high-quality recording that you don't take the time to acquire your promotional funding for it.

Granted, it is a fact that many promotional and publicity services charge exorbitant and outrageous fees. But, taking the time to shop around for one you can reasonably afford will, ultimately, place you ahead of your competition.

In fact, you should begin to budget for your promotional phase of your recording at the same time that you start to budget for your recording and manufacturing phases.

The current standard rates for independent radio promoters and press publicists now range from a low-end of $400 per week up to a high-end of $2000 per week. DOUBLE this amount if you intend to use both. And, you will normally require both again, one for radio promotion, and the other for print media interviews and reviews.

An average initial promotion campaign for a new recording lasts from 12-16 weeks. Figuring a budget based on the low-end would require you to budget a minimum of $4800 in order to affect a national promotion campaign. And again, this figure is computed on only the radio promoter.

If this means delaying your release date by six months, or even a year, so be it. At least, you will be able to move consistently forward without worry of losing your recording financially in the middle of your marketing campaign, attempting to obtain a bank loan, or worse, borrowing money from family and/or friends later.

The worst that could happen from not establishing a promotion budget for your recording? Watching your recording collect dust and age as you scuffle daily to locate needy funds. Pay to Play? You Betcha!

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"A Thin Line (Between Pro & Show)"

by Kenny Love

At some point in time, you have probably heard the adage, "Less is More." What this term generally refers to is the idea of a few elements having a more powerful impact, as opposed to an over saturation of elements for the same desired effect. In other words, "overkill."

We will apply this adage to the music industry and what works best in regard to press kits created to obtain successful results…with those results being radio airplay, press coverage and distribution.

Through having worked for some time in the music industry, I have witnessed a gamut of differing quality in the "press kit"…from the press kit that appeared to have been assembled via the "origami" process with much less attractive results, to the press kit that seemingly only Bill Gates could afford to assemble.

And, after having seen such a "variety," my conclusion is that while a "trashed-out" appearance will likely earn a package a speedy trip to File 13, a glitzy kit without the main ingredient (the recording) will not get an artist much farther down the hallway to the radio station Program Director's office either. So, the ideal is to establish common ground somewhere between these two negative and positive extremes.

If a press kit comes to radio personnel (music directors and disk jockeys) "packed to the hilt," they will normally chuck the entire thing. Their reasoning is that they simply do not have the time or personnel to sift through tons of information, much of it often duplicated unnecessarily.

Likewise, print media, or press contacts, will dispose of it just as quickly and in much the same manner if it appears that too much "glitz" has been incorporated in a "hypey" fashion so as to detract attention from the product (again, the recording). They often believe that such unwarranted visual gloss is an attempt to compensate for inferior product.

In today's music industry, as with other industries, press kits should be streamlined somewhat and compacted in terms of paper bulk. And, yes…there is an art to affecting this in order to successfully achieve the desired results of radio airplay, video airplay, press coverage, or even distribution.

Radio personnel are, primarily, concerned with the sound quality of the recording and its format, along with a bit of biographical information on the recording and the artist (in your cover letter, do not hesitate to inform them that you would like for them to consider "adding" your lead single to their regular rotation play list).

If you've also received a strong, favorable review from a recognized trade or major consumer publication, you should also include it as well. But, above all, radio wants to be assured that if they do decide to air your recording, it is readily available at retail stores for their listeners.

Print media personnel also want "just the facts" with some additives allowed. They seek compelling details about you and your recording of which they can cultivate an interesting story for their readership. Thus, you will need to provide them with a news release, bio, and other supporting background materials. If you can accomplish this, the chance is great that they will choose to grant you an interview or review.

But again, as with radio personnel, do not assume that the most unique story will even begin to stand up if the recording is below par, or not deemed by the reporter, writer, or reviewer to be of competent quality in terms of artistry and production. If so, you may simply have not only wasted your time and money, but the media source's as well. Ultimately, you could, lose a future needed resource forever.

So, in order to save any future grief through rejection, learn what you must do (and what you must NOT do) professionally in all aspects, and at every stage. In order to realize your desired success, remember…it's a thin line between pro and "show," so don't break it. The business of music is an area where often less is more…more or less.

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"Keeping Your Nose Clean (Legally & Otherwise)"

by Kenny Love

Why is it that an independent recording artist or band would spend five years trying to get a "deal," then blow it all in five minutes? Have you ever seen or heard of this type of thing happening?

Unfortunately, I recently witnessed it with a 4-member group that had everything in place for it…a truly, once-in-a-lifetime dream come true. In fact, what could have easily become a music industry fairy tale.

Now, the parties shall remain duly unnamed in this article so that I may exercise my civic duty in protecting the guilty (and, the fact that I do not relish the idea of forced courtroom appearances).

After five years of "live" appearances and performances, numerous studio recordings, and even more radio interviews, this particular group was fortunate in attracting a major financial investor label ready to provide the means in musical production and promotion to release product nationally. This act was truly refreshing and contained a uniqueness rarely seen in the music industry.

In order to "sign" the act, the investor afforded the act a festive weekend complete with trimmings that major label acts would die for. With all the unfamiliar lavishness being bestowed upon the group, the members "freaked out." There is just no other way to put it.

Virtually overnight, the group began making all sorts of outrageous demands such as; the format the recording should be manufactured in, which radio stations should be contacted, costume allowance demands accompanied by ballooned production advances, and more.

Notwithstanding, upon the investor's discovery that, at least, two of the four members had tentative legal actions pending, the investor approached these particular members to discuss a workable solution to protect all parties concerned. This consisted of changes to be implemented contractually.

The investor proposed that, pending the outcome of the two member's legal problems, they would be placed in the status of "Work for Hire," and on a 6-month probation until legal issues could be resolved, even though they could and would continue to make appearances as a complete group. In my opinion, this was very sound and reasonable.

However, to my astonishment, after the members in question informed the investor label that their legal situations were none of the label's concern, then opting to toss colorful metaphors around like two-dollar horseshoes, the investor decided that the best recourse would be to simply forego the entire investment and involvement in this particular group.

There is a lesson to be learned here, and that is, should you find yourself in this unique situation, or a facsimile thereof, first of all, be courageous enough to admit to yourself that it is solely your fault, and not the prospective label's. After all, would YOU like to invest, financially or otherwise, in a product or service while being unsure of its practicality? Certainly not. Put yourself in the other party's place and be willing to arrive at any mutually beneficial compromise for all parties concerned.

The worst (and most embarrassing) incident that could occur would be for you to be served with a warrant for your arrest while performing onstage in front of thousands of your fans then, subsequently, being led away in handcuffs. Then again, in some music genres of today, I suppose this public deed would also serve to sell thousands of more records. Go figure.

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"Payola, Crayola"

(A Commentary, Of Sorts…)

by Kenny Love

O, Fellow Peasants! Lend me thine ears! Let me, for thee, a picture paint…of Musical Pied Pipers, ultimately, elected as Kings & Queens, awarded and adorned with crowns of Gold, and thrones of Platinum…not through fairly and equally touching the hearts of their audiences with their lyric, music, and song, but bestowed with their vast wealth unfairly, by and from, a sprouted vile root called 'Payola'.

My attempt at becoming eligible for the Shakespearean Hall of Fame? Not! But absolutely, my intentional address of the recent Payola scandal as reported by Mr. Dan Whitcomb (Reuters/Los Angeles bureau) in the July 2, 1999 edition of "Yahoo! News Entertainment Headlines."

In Mr. Whitcomb's article, titled "California Pop Music Execs. Charged With 'Payola'," he addresses the recent scandal investigated over a two-year period by U.S. prosecutors, whereby, two senior executives of the popular Latin music label, Fonovisa, were charged in a 'Payola' scandal. The scandal involved $2,000 in cash paid out by Fonovisa to a radio station Program Director to play the label's music more frequently. The Times reported that in 1997, Fonovisa dominated the Spanish radio airwaves with a string of No.1 hits.

This incident surprises me in a sense, not because it occurred, but because of the reversion by the label's personnel to the original and historical "cash" process. In my opinion, 'Payola' is, indeed, very much alive in today's music industry, albeit for the most part, shrouded in secrecy and isolated lavishness. Today, it is reflected in "gifts" of fancy, expensive automobiles, dinners, clothing, and materials of that ilk.

On occasion, I converse with independent label personnel and independent artists who wholly subscribe to the theory that the only possible way for them to obtain exposure and recognition for their recordings at the radio level is to grease the palms of PD's with filthy lucre (Say it ain't so, Harry!) Is their theory valid?

Well now, consider that in today's world of first-class dumb-downery, seemingly, in full bloom at every level of our modern, high-tech society (did "dumb-downery" begin with "point & click?"), and where deceit is often considered in the business world as a close relative of adaptation, improvisation, and overcomeness, I believe that there still exists radio station personnel who will not play a recording if there is not an agreeable consensus by the "other" party to play 'Payola'.

No, not because the recording is not of the right format, or the opinion that it is lacking in professional commercial sound quality. But, in some cases, these excuses are what you, inevitably, will encounter from 'Payola'-participating personnel at some stations. This is based on the assumption that you provide your recording to enough stations while involved in "the numbers game" as an independent do-it-yourselfer without the "extra" cash to go along with it.

Often, 'Payola' is as subtle as the suggestion of station personnel to purchase advertisement for more favorable consideration. But, don't get me wrong! I am NOT saying that every station that rejects the idea of adding your recording to its playlist should make your list of 'Usual Suspects'. That would be untrue.

However, my advice? Simply this: if you should encounter rejection, for whatever reason, don't dwell on it. Simply move on to the next station. Thankfully, Payola is a demon not desiring to emerge from the shadows to the spotlight. And, thankfully, most station personnel are wonderful people there to help you, and who will play the game fairly.

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About Kenny Love

Kenny Love is also a National Record Promoter promoting various genres of music including, Rock, R&B, Jazz, Hip-Hop, etc. He accepts unsolicited material for review and consideration while also eliminating the usually high cost of upfront fees charged by most promoters and publicists. To receive complete information on his services, along with testimonials from his satisfied clients, please send an Email request to Kenny Love finished a novel published on July 4, 1998, available through It's 320 pages, Science Fiction, titled Millenium Eve. To find it on Amazon, you must type in the title all in lower case in keyword search book.

Mr. Love noted:
"I am currently a monthly featured columnist for Sound Waves music magazine, available in print and on-line. My columns are titled, "Alternative Routes to Recording Success" and "Perspectives," respectively.

"My columns focus on dispensing advice and information to independent and unsigned musicians and recording artists on various promotional aspects in the pursuit of recording careers. Sound Waves is published in both print and web editions. In the past, I have written numerous music business articles for both online and offline publications. "

Tell-Mama knows these fine columns can benefit Tell-Mama readers who are involved in promoting independent music, their own or their friends' work.

Contact: Kenny Love
Tel: (972)390-0529 (Media Only)

Kenny Love: An Independent Musician's 'Dream' Promoter

DALLAS, TEXAS - Kenny Love, a music industry veteran, has recently opened his international radio promotion and press publicity services to enable independent recording artists to grasp a significant foothold on the marketing of their releases.

A former College Music Education Major and Army bandsman, he has served in the capacities of; recording artist, producer, co-producer, singer/songwriter, booking agent and, music reference author.

He is also an internationally syndicated music columnist whose monthly articles appear in over eighty print and online music publications.

"Even though the music industry has reverted to an independently controlled environment once again, for the most part, I noticed that many, if not most, recording artists were misinformed or even unaware on how to effectively promote their releases and take advantage of this wonderful industry turnaround.

They were approaching the marketing in haphazard manners without regard to how the timing of an organized plan could significantly benefit them and save them time, money, and tremendous effort. Therefore, I felt their disadvantages created a perfect niche in which I could assist them."

Not simply someone unknowledgeable who got into the business simply because he had a bit of money to do so, Love, on the other hand, is a music industry staple, having come up through the ranks, so to speak.

"I began music on the piano at age four, played in the school band from 6th grade to 12th grade, majored in music in college, and played in Army bands for four years. After getting out of the Army in 1982, I worked in bands producing and co-producing projects in Houston studios, subsequently, producing my own record in 1990, which received national radio airplay and international press coverage. And, after having been rejected by major labels for years, then getting fed up enough to do it for myself."

Not only did he DO it alone, he went on to author several music industry how-to references for independent artists that did quite well also on a national level. His books eventually led to him authoring monthly industry advice columns.

Among his clients are several top-notch acts, "Resident Hero," (, a Tyler, Texas-based Modern Rock group, "Wooster Sang," (, a New York City-based Modern Rock act and, "N'Dambi," (, former background vocalist for R&B Recording Artist Erykah Badu with her debut solo release.

Love is also slated to shortly add Contemporary Jazz Recording Artist Brian Gorrell (, as well as Rock Artist Voodoo Babies to his promotional roster.

"These acts are not only phenomenal musically, but they are also extremely business savvy. They understand how the business works on a daily basis, what they must do, what their goals are, and the time lines involved within each aspect. These are the types of qualities I seek in prospective clients."

If you are an independent recording artist, manager, or label seeking professional promotional assistance for your upcoming project, please get more information about Kenny Love and his services by sending an Email request to You can also send your complete recording and information to Kenny for review at P. O. Box 701231, Dallas, Texas 75370-1231.

See Also many more Kenny Love columns on page two
as well as the new columns on page three.


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