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Music Writer Kenny Love contributes to Tell-Mama, page 3

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Make A Joyful Noise!

By Kenny Love

Free At Last? Free At Last! Thank Technology, I'm Free At Last! I can only imagine this becoming the standard battle cry of many a major label recording artist in the not- so-distant future. A cry in response to he or she regaining his or her "civil" rights , are freed from slavery by Master labels and, subsequently, gain enough self-esteem and confidence to go it alone. Brrrr…

Don't believe me? Then, witness such superstars as Prince, Madonna, and a myriad of others quickly realizing that trimming the excess fat by cutting out unnecessary "middlemen," or "middlewomen," as the case may be, ain't such a bad deal.

I remember "back in the day" (1970's-1980's) when being an independent recording artist was a joke! You led as lonely an existence as the neighborhood crackhead. No one in the industry took you seriously! Sure, you could get the money and have a professional state-of-the-art recording, and top graphic design for your 12-inch vinyl cover. But, so what?

What upstanding music director or disc jockey would put his or her reputation on the line by playing your stuff? Once they realized that the return address did not say Warner, RCA, MCA, Capitol, Motown, or some other big shot label, your goose was cooked. There went wasted time, money, and effort…right down the toilet, literally.

How on earth could you ever hope to have any of the major daily newspaper music editors or major trades such as Rolling Stone, Spin, or Musician review it? Perhaps worst of all, you could kiss organized network distribution goodnight without expecting a morning wake-up call.

Yes, indeed, you were ultimately reduced to sticking your records in the trunk of your car, then peddling them to as many small out-of-the-way stations as possible. And God help you if you were trying to "break" your record in Texas during the summer months. As hot as Texas gets, perhaps that is from where the cuddly name, 'wax', was derived when referring to vinyl.

But, indies are having the last laugh. I double over laughing at the 180-degree turnaround. Somewhere, at some point, there were enough rejected musicians who got finally fed up with receiving rejected product months later, perhaps even years later (I am one of them). Rejected enough to begin a formal independent movement, which spun into many difference micro-movements and networks, to arrive at the independent environment that is so prevalent today.

Today, the Record Pool Directors, Music Directors, Disc Jockeys, Press Editors, and Distributors couldn't care less what the return address says. If it is produced well, fits the format, can be supported with a convincing enough story, along with a track record (pun intended), you're in like my man Flint.

In fact, today, the majors have, for the most part, surrendered in the war of "breaking" records, opting to let the indies wage it among themselves. When the smoke clears, and depending on who is still standing among the indies, they swoop down and scoop up like the Red Cross.

Much of this independent success can be attributed to the affordability of technology to the consumer combined with the communication power and speed of the Internet. Distribution, traditionally, the most difficult aspect to attain, is now an option as the capabilities to download music files and purchase directly online grows more appeasing every day. And, Major label artists are also recognizing it and following in hot pursuit.

Perhaps, this article was meant to only serve as a pep talk to those indie artists who may feel they are alone in their quests. Trust me…you are not alone. Thousands of musicians across the world, at this very moment, are working on their projects. And, somewhere in that independent haystack are, at least, one Gold, Platinum, and Multi-Platinum needle with Grammy thread through the eyes.

Who knows? Yours just may be one of those threaded needles. Now, if we can only get musicians and their managers to start forcing those club managers into a contract for "live" performances, we will have truly reached The Promised Land.

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Editor's Note: A man whose biggest fear is being aboard a non-stop flight from New York City to Manhattan, Kenny Love is also a National Record Promoter and Press Publicist. Promoting all genres of music, he works with "indies" on a "back-end" deal, saving them enormous up- front service fees. Get complete information on his services by sending an Email request to mailto:kennylove@smartbotpro.net. back to the index for this page

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Indie Records: Boom or Bust? It's Your Choice

By Kenny Love

Having received many recordings for review over the past several months from up-and-coming recording artists, I hesitate to write this article, but write it, I must.

And, that is because I feel compelled to not only dispense record promotion advice within the how-to realm, but psychological advice as well. No, I'm not illegally practicing medicine.

Of all the recordings I have received for review over the last few months (and, there have been many), only a mere five made the grade as far as qualifying as prospects I seriously desire to get involved with from a promotional standpoint.

What did these particular acts have that stood out from among the pile? Well, most of the groups that I chose to pass on seemed to be on a mission of writing exclusively for themselves, giving no consideration to industry demands, or potential consumer demands.

By that, I mean they gave absolutely no thought to commercial and consumer needs such as the length of their recordings, lyrical relativity to everyday life, or commerciality. Instead, they seemed to be on some therapeutic kick, instead of keeping their goals in mind…which should be to keep a song UNDER five minutes so radio may consider playing it, then it sells and puts money back into their pockets.

Now, I'm not one to tell any songwriter how to write, but I must say this. If you don't care about getting radio or video airplay, nor selling records, then by all means go ahead and write songs that are 7-10 minutes long. Oh, heck! Why not go for the whole guacamole and set a Guinness record with a 24-hour tune?

Also, if you are going to strictly write for yourself, why not make lyrics so far out, that no one but you can understand what you are trying to convey, qualifying your lyrics for the annual ACA (Alien Communication Award) (this award exists…really!)

And last, but not least, since you are only amusing yourself, forget about commerciality completely and relating your tunes to everyday situations (past, present, or future).

On the other hand, I venture to say that most seasoned artists have gotten past the totally therapeutic phase and are now seeking commercial national recognition. They have decided it was high time to make some money (that's what we call NOT willing to play covers any longer).

Therefore, if you are, indeed, seeking a professional career, you should immediately familiarize yourself with what the various aspects of the music industry require and not simply assume that anything and everything you personally choose to produce will be accepted with waiting arms.

Firstly, most commercial radio music personnel HATE songs that are longer than 3-5 minutes long. Without going into all the reasons why, at best, it's an imposition due to the commercial nature of their business. Most of the product I receive seems to go on and on, repeating bridges and choruses as much as 4-5 times! I could not, in good faith, present this type of product to my radio and press connections.

Secondly, there seems to be this great desire in some artists to get "deep" with wild metaphors and not allow the listener to comprehend the lyrics. With some of this type of product, I had no choice but to chalk the writing up to LSD revisited.

If you simply desire to be an artist, then paint, paint. But, if you want to also sell records, you've got to put on your salesman's (or saleswoman's) hat and start thinking like it. It has never been expressed more clearly than in that old classic, "Got To Give The People What They Want."

Otherwise, you (and your career) will only be as effective as Resident Hero says, "Burning the Edges" (http://www.residenthero.com) while never attaining desired fame and fortune. Ultimately, the only faint chant that will be ushered will be the lyrics to the disenchanting moniker of Wooster Sang's "Time Passes" (http://www.woostersang.com).

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Editor's Note: A man who firmly believes the Witness Protection Program is a dead issue, Kenny Love is also a National Record Promoter and Press Publicist. Promoting all genres of music, he works with "indies" on a "back- end" deal, saving them enormous up-front service fees. Get complete information on his services by sending an Email request to mailto:sachjainfo@smartbotpro.net.

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The Reality of Prioritizing

By Kenny Love

No matter what aspect of life we are involved in, priorities are a reality that we all must face, accept, and, live with. For instance, Uncle Joe is overlooked as a priority guest on the Family Reunion roster due to his tendency to embarrass the family with undesirable gestures.

Or, while away, we receive several telephone calls, then decide in which order we will return the calls, if we choose to return them at all. An even further example is the types of foods we select to eat over others.

As different as all these aspects are, they all involve prioritizing. And, as recording artists, whether we are going to reach our destinies by undertaking our own promotion, or delegate it to someone else, we should prioritize the various tasks involved in producing and achieving maximum results.

Now, I've mentioned on several occasions prior, the cart- and-horse theory. This is where, once recording artist have their product in hand, they become so overwhelmed to the point of executing secondary marketing tasks, first. To repeat a popular television commercial, "Do their brains go A.W.O.L.?

They exercise two extremes: the first is one in which they have spent every cent on production costs, but not even considered promotional costs, while holding out for the proverbial record deal (do they still make those?).

The second extreme is where the blindly blanket every radio station or press outlet with hype without giving any consideration to "timing" and what a key role it plays in obtaining results.

The second scenario, while a wee bit better, is not much more effective than the first. And, that is because there are methods to the madness of promotion. Methods such as; radio format targeting, learning the various record pools and how many night clubs they service with YOUR type of music, following up immediately with press coverage in response to radio or video airplay acquired, doing local and regional television interviews, getting national and international radio interviews and, lastly, making sure there effective distributor-to-retail coordination in support of each and every one of these avenues.

Yes, it seems like a lot…and, it is. That is why it should be carefully approached methodically. But, it is all manageable, that is, as long as each phase is prioritized. This means writing it all down…sketching it all out, then taking a look at every piece of the puzzle before embarking on it and leaving huge loopholes that you later must backtrack to repair.

This is why professional radio promoters and press publicists are, generally, worth their weight in gold…their abilities to strategize. They have perfected techniques in prioritizing.

If your recording is a commercial release, you certainly don't want to contact radio first without ensuring that record pool directors also have your product. This is because this particular crucial element is often not only where your record moves first and fastest, but creating this "street buzz" at the night club level strengthens your possibility of getting to the next phase much easier…radio and video airplay.

And, once again, while it is perfectly okay to insure that trade magazines such as Billboard and Radio & Records have your recording, you should refrain from approaching consumer press such as daily, weekly, and monthly newspapers and magazines that are localized until you receive radio or video airplay in those respective areas.

All of these phased and time-managed tactics will provide you with a much stronger presence as your recording consistently moves up the charts in popularity and sales. All said and done, when effectively marketing commercial music, promotional priorities are a must.

Back to the index for this page Editor's Note: A man who claims to have been forced at gunpoint to listen to backmasted recordings of Yanni and John Tesh simultaneously, Kenny Love is also a National Record Promoter and Press Publicist. Promoting all genres of music, he works with "indies" on a "back-end" deal, saving them enormous up-front service fees. Get complete information on his services by sending an Email request to kennylove@smartbotpro.net.

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"Nothing To Fear (But Fear Itself)

By Kenny Love

During an era that was referred to as "The Age of Unreason," Franklin Delano Roosevelt, 32nd President of the United States, stated, "We have nothing to fear, but fear itself." Smart sounding, but not too comforting to a victim of paranoia, are they?

This famous adage opens my discussion on why many people spend years seeking the 'brass ring' and, once it is within their grasp, seemingly, do all they can do to allow it to slip away.

I have witnessed this occur in many different areas of the music business, as well as outside of the music industry. A case in point is my cousin who constructed a very unique agricultural product that would have been extremely beneficial to farmers. I agreed to promote it nationally for him. He even bought a building that would house a number of employees to construct this highly useful tool.

During the course of our 2-hour meeting to discuss various promotional aspects (and when he realized it was finally happening), he, literally, worked against himself and me by coming up with tons of useless excuses why this wouldn't work, even though he was already selling them in his local area. Fear, I tell you, in his eyes I saw plain, unadulterated fear. Now, let's apply this same type of situation to the music industry.

I also, personally, know of a former manager of a very famous R&B recording act who, out of fear of losing this very successful group, chose to stagnate the group's career for years by keeping them working the local Houston night club scene before allowing them to go on to greener musical pastures. Fear.

Even closer to home, and by the same token, in the early 1980's, I was the bass player in an original Houston recording act that had all the elements of success: 5 members, 5 singers, 5 songwriters.

After developing a tight original repertoire and performing "live" endlessly, to the rest of the member's agreement, I initiated contact with several label representatives who were interested in our product. The other members really did not believe it could happen so fast, and became extremely afraid, to my surprise. Fear.

Since becoming a Promoter/Publicist, I still continuously witness independent recording acts that have invested significant money, time, and effort in producing their projects, and are now only steps away from becoming smashing successes.

Perhaps, this unfounded fear is like stage fright. You know the type…will I miss a note, break a string or stick, and the people will laugh me to my knees? Brrrr… Even more so, perhaps, it is a delayed reaction, or an extension of stage fright…the idea of realizing that, for once, may, if not all, eyes will finally be on them on a much grander scale for quite some time if their release is a winner.

This leads me to wonder even further (as I now remember some established acts admitting to stage fright) just how many acts are (and have been) selling millions of their recordings with each release, yet, still harbor this feeling. Methinks I might obtain a Music Psychology or Psychiatry degree. This is definitely an area in the industry that has not been given enough review.

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Editor's Note: A man who fears that the Taco Bell dog could tear him from limb to limb, Kenny Love is also a National Record Promoter and Press Publicist. Promoting all genres of music, he works with "indies" on a "back- end" deal, saving them enormous up-front service fees. Get complete information on his services by sending an Email request to mailto:kennylove@smartbotpro.net.

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Shortchanging Prohibited!

By Kenny Love

This article is addressed in particular to music business wannabes who believe the music industry is an overnight goldmine. They are also people who have no knowledge of how the industry works and have never worked in any facet of it but have just enough operating capital to be considered dangerous (yes, Mr. Brown, I'm speaking of you).

They also come from all walks of life such as; accounting, legal, carpentry, electrical, and all sorts of diverse industries. They also have Internet access and feel they can come to publications such as this to learn their wares and ruin well-meaning artists' careers. One catchall phrase to them: "Ya gotta live it to understand it!"

And now back to our regularly scheduled program!

It never ceases to amaze me, the types of unrelated careers some people in the music business have been involved with prior to jumping headlong and overnight into the music business…just to make a fast buck.

I recently consulted with no less than three independent acts that had fallen victims to they types of persons in both booking and promotion areas.

In the cases of promotion, a would-be investor promised the moon, the stars and, if memory serves me correctly, I believe threw in a planet or two.

Six months later, she still had not fulfilled her end of the bargain by getting them out of their city, even on a regional level, not to mention nationally. Her final epitaph: "I just didn't know how to market them."

In the case of booking, the best the would-be "agent" could do was to book the act at some little pizza parlor with (30) diners. That night, they were Muzak's worst nightmare.

It is these types of individuals who make it bad for any well-meaning and experienced people seriously involved in the music field. Not to pat myself on the back, but I feel fortunate in that I came up through the ranks, so to speak.

Practically always a musician, I was in the school band from 6th grade to 12th grade. Then, I attended College as a Music Education Major, followed by a 4-year stint in Uncle Sam's bands.

After my release from the Army, I began producing, co- producing, background singing, songwriting and, subsequently, produced and released my own debut recording internationally.

These accomplishments led to my authoring several how- to music references and, ultimately, to being syndicated to over (80) monthly music publications worldwide. I said all of that to say this.

If you are someone who has never worked within the music industry, but who truly desires to do so, you must understand that you owe your prospective music clients and associates a whole lot more than just the flash of currency.

You also owe them (and yourself) the awareness of how things work in this volatile and ever-changing industry, especially if you intend to manage, book, or promote someone's career.

Likewise, you also owe yourself an in-depth evaluation and self-education on your particular chosen area. Your prospects are individuals who have their hearts and souls in their vocations and dreams 24/7 and are hoping, at all costs, to make them a reality. To provide them with any less effort or interest is akin to making them jilted lovers.

Likewise, recording artists, musicians, and bands should (and need to) become more proactive in requiring prospective individuals interested in serving as representation for them, require the same degree of experience and track record before indulging in a commitment of a portion of their careers. It's just plain good business that makes for a fruitful harvest at the end of the season.

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Editor's Note: A man who admits the Power Puff girls have saved his life on, at least, 3 occasions, Kenny Love is also a National Record Promoter and Press Publicist. Promoting all genres of music, he works with "indies" on a "back-end" deal, saving them enormous up-front service fees. Get complete information on his services by sending an Email request to kennylove@smartbotpro.net.

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LINKS OUT

Please Read the column Ken considers his most important, ever!
Back to page two of Kenny Love's excellent ideas

or back to page one of Kenny Love's insightful advice.

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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 kennylove@smartbotpro.net.

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