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Vol. 2: Iss. 3| B# Newsletter | April, 2001| ISSN 1533-6522

Publisher/Editor: Kenny Love
P. O. Box 1404
Crockett, Texas 75835-1404
Main Web Site: http://www.kennylove.net
Web Site Sign-Up:
http://groups.yahoo.com/group/BSharpNews
Email Subscribe: BSharpNews-subscribe@yahoogroups.com
Email Unsubscribe: BSharpNews-unsubscribe@yahoogroups.com
List owner: BSharpNews-owner@yahoogroups.com
POWERFUL "B#" Testimonials: bsharptest@...
Last Month's Issue: bsharp0301@...
Discussion List: BSharpRoundTable@yahoogroups.com
List Members: 732

Copyright © 2001 Kenny Love All Rights Reserved

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"The B# Newsletter" is published for unsigned and
independent musicians and recording artists. Its
intent is to inform and enlighten through articles,
resources, products, and services that will
significantly benefit them in their careers.

We will never rent, sell, or release your private Email
address to any third party. Your discreet privacy in
becoming a subscriber is assured.

************************************************************

IN THIS ISSUE

1. Editor's Blurb

2. B# RoundTable Discussion List

3. Music Career Stuff (Necessary Evils)

4. All In Jest: "Wedding Band Client Requests"
[ The Nightmare Gig From (((((HELL!))))) ]


5. "So You Wanna Be More Than a Pop Star - -
Can Your Music Heal People?"

By Danielle Egnew


6. "Slouching Tiger - Hidden Problem"

By Mark Baxter


7. "Every Business A Music Business"

By Peter Spellman


8. "Which Way Do We Go, George?"

By Tim Sweeney

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1. Editor's Blurb:


Hi! Here we are already with the April, 2001 issue of
the "B# Newsletter!" I would like to welcome all new
subscribers, as well as hope that you have enjoyed
any issues you have read thus far.

I'd like to mention a couple of changes that are
occurring that are a welcomed pleasure for me...

For a couple of years now, I've had the desire to get
back into the actual "music" aspect of my career with
an ensemble, but not necessarily one with the typical
"band-type" makeup. But, otherwise, a type that
would be on the level of stage/concert size, and
consists of 30-50 members.

Well, the moment finally arrived several weeks ago,
as I had the good fortune of meeting and becoming
professionally aligned with Celeste Tanner, a very
well known, musically educated, and respected
musician. Celeste also holds the distinction of being
a former associate director of the Austin Performing
Arts Center. She now serves as a musical instructor
in one of our area intermediate schools and, ironically,
was desiring to form the same type of musical
ensemble.

We are forming what will shortly be known as the
"Houston County Stage Band," a formal 'black-tie
affair' ensemble consisting of area/community
musicians in the age range of 15 years and up. The
organization will perform at civic centers, performing
arts centers, etc. on both regional and national levels,
as well as produce and release recordings by the end
of this year. Celeste and I will share the duty of
musical director, and I will compose and arrange the
bulk of original selections that will be included within
the repertoire.

The organization will also perform diverse material
from multiple genres, as well as themes from current
popular television shows. And, I'm happy to say that
one of the first themes that I am scoring, is from my
favorite show, "Law & Order."

<<<<<>>>>>

As such, and due to time constraints, the upcoming
radio program that I have been promoting for several
months now, is being postponed until late summer or
early fall.

<<<<<>>>>>

Additionally, the new "B# Tunesletter," which I had
hoped to publish its first issue this month, will be
delayed until next month. However, its delay is,
primarily, due to the fact that "Spring Break" caught
the college professors who are slated to write for it, at
a bad time for publication. We promise, however, to
get it started up without any further delay in May. So,
go ahead and feel free to sign up at
http://www.yahoogroups.com/group/BSharpTunes or
sign up with a request to
BSharpTunes-subscribe@yahoogroups.com.

<<<<<>>>>>

Please join me in welcoming a new writer to the
"B#" fold, Ms. Danielle Egnew. If you are not familiar
with her name, you are certain to be familiar with
her independent band, "Pope Jane," that recently
made headlines after having sent several majors
down the road alone due to some, alleged, badly
structured deals from the onset. I'm glad to see her
come aboard the "B# Newsletter," and to offer a
unique perspective from an active (and leading)
artist' viewpoint. Welcome, Danielle!


* Finally, the new *main* web site is back online, and
going full blast at http://www.kennylove.net. I like its
simplicity much better than the previously cluttered
one. Please stop by for a visit to see, not only the
music focus, but also the diversity of other areas that
also hold my interest, and some which might possibly
pique and hold your interest as well.

All in all, much thanks to you for being here each and
every month...your presence is sincerely appreciated.
As usual, our stellar writers have some highly useful
content for your musical digestive system. Enjoy...

<<<<<<<>>>>>>>

"B# NEWSLETTER" LINK ASSOCIATES

Want to paste an HTML-coded "B# Newsletter" link
on your site, in exchange for us doing so with your
link? Let us know...we'll show you ours, if you show
us yours. Check out who is linking with us already
at http://www.kennylove.net/musiclinks.html

<<<<<<<>>>>>>>

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2. B# ROUNDTABLE DISCUSSION LIST

Check out the "B# RoundTable," the companion
discussion list to this newsletter, for questions,
answers, issues, news, and a myriad of other
informative notices. To join the discussion list,
simply send a blank Email to:

BSharpRoundTable-subscribe@yahoogroups.com.

************************************************************

3. MUSIC CAREER STUFF (Necessary Evils)


* AMAZING WEBSITE PUTS YOUR MUSICAL TALENT
IN A DISCOVERY MODE!

Discover how Bands, Agents and Management
companies find musicians who are available, with the
talent they are searching for. MUSICIANS GIG LINK,
an International Musicians Referral Service, puts YOU
in that position. Visit http://www.musiciansgiglink.com


* NOMA MUSIC SPECIALIZES IN:

a. The licensing of songs from worldwide bands,
songwriters, and composers for use in TV and Film
projects.

b. The matching up and sending of artists' CDs
directly to the key A&R directors for over 200 major
and indie U.S.record labels. Interested?
http://www.noma1.com or nomamusic@...
877-980-7700 or 1-818-566-8817


* (((((MUSICIANS!))) LOOK AT THIS!

Don't just sell your CD, and let it be your *only* source
of "sales" income! Turn your CD artwork into BIG $
also by placing it on tee-shirts, mugs, mouse pads, and
more...and, absolutely FREE! That's right! No cost to
ya! Don't believe me? Well, click on the below link to
learn how you can immediately do just that!
http://www.cafepress.com/cp/home/storeref.jsp?refby=75835


* HORROR STORY 101 (Stephen King-style)

While taking a break from unloading/loading, your
gear (guitar, mics, monitors) were ripped off by
undesirables. Did you have it labeled with your ID?
So what? Thieves will just scratch that off, leaving
you with an ugly piece of equipment...that is, if the
cops can ever recover it. What? You didn't even
have it labeled? Tired of this really bad dream, and
want to wake up and keep it from happening for real?
Then, go to http://www.kennylove.net/unusuals.html
and check out "The Branding Pen." You just might
thank me later.


* $65 PER SALE??

Just for pasting a simple banner on my music web
site??? You bet I will !!!
http://www.kennylove.net/affiliates.html


* CD STREET.COM

- CDStreet.com collects ONLY 15% in service fees
- NO set-up fees
- NO waiting for 3 months to get paid from CD sales
- You are paid monthly for your CD sales
- You can accept credit cards for CD sales at Gigs

Check 'em out at http://www.cdstreet.com and be
sure to tell 'em you learned about 'em in Kenny Love's
"B# Newsletter."


* "B# NEWSLETTER" MERCHANDISE STUFF:
http://www.kennylove.net/75835.htm


* RECORD PROMOTION/PRESS PUBLICITY
kennylove@...


* THE BANDIT A&R NEWSLETTER

ARE YOU an unsigned act/songwriter/producer
seeking a Record, Publishing, Management or
Licensing deal worldwide? Each month the "BANDIT
A&R NEWSLETTER" publishes info on Labels,
Publishers, & Managers seeking to sign acts, songs
or masters. Get yourself a FREE SAMPLE COPY from:
bandit.B#@...


* Want to protect your musical finances? Then, how
about being able to check out club owners, or any
other "suspicious' gigs, beforehand?

http://affiliates.jeanharris.com/cgi-bin/clickthru.cgi?
sid=kennylove&pid=ND


* PAYPAL...A MUSIC FRIEND INDEED...

Want your money for your own web site sales instantly...
without waiting 30 days on other sites to pay you?
Then, check out PayPal.

https://secure.paypal.com/refer/pal=kenlove%40txucom.net


* Check out all the raving testimonials by long-term, as
well as new, subscribers and readers of the "B#
Newsletter" at bsharptest@....


* MUSICIAN LIFE-SAVING PROTECTION!

Learn how to protect yourself *AND* your loved ones
while on the road gigging, with advice from real cops
in "The Shield." Get the latest issue at
freeshield@.... Sign up at
http://www.yahoogroups.com/group/TheShield or at
TheShield-subscribe@yahoogroups.com.


* * *ADVERTISING SPACE HERE * * *

Promote your own Music-Related Product, Service,
or Information here for only $10 for a whole month!
Deadline is the 25th of each month. We also reserve
the right to reject ads we deem inappropriate for this
publication.


* PASS IT FORWARD

Do a fellow musician an incredibly wonderful favor
today...tell 'em about the "B# Newsletter," or simply
forward this copy to them.

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4. All In Jest? (You Be The Judge On *This* One!)


" ~~Wedding Band Client Requests~~"

[ The Nightmare Gig From (((((HELL!))))) ]

Ukraine Translation: People who really should have
been afforded an immediate phlebotomy upon our
discovery that their mouths could emit sound.

Russian Translation: 6 Reasons Why I No Longer
Take Requests, Nor Play Live...

==========================================

"Dear Kenny:

Thank you for your letter. I really do think you have
an attitude problem, but we can, hopefully, work
around that little idiosyncrasy of yours in the interest
of bringing off a good celebration.

We do, however, have a few requests and, hereby,
demand your honoring them, whether you wish to do
so, or not. After all, we are considering paying you
and your ensemble a whopping $100 for the gig, for
a mere 4 hours work, and with a $10.27 bonus thrown
in if everything is to our liking and satisfaction. Now,
what me and my wife were thinking was...

- "Any Keith Jarrett composition from his solo series.
Please arrange for full ensemble, and nothing in 4/4
please."

KL: Okay, how about waltzing to my patented 6/8
lullaby all night long? Just be advised that on
tomorrow, hip replacement surgery is imminent.

- "Mahavishnu Orchestra, 'Dance of the Maya', and
please have the guitar player play John Mcglaughlin's
solo from the live performance done on Nov. 16, 1972
at Chrysler Arena. My wife and I were at that show
and particularly liked his use of polyrhythmics. If you
find it too difficult, you can leave out the feedback...
your choice."

KL: Sorry, but our guitar player forgot the way to the
gig, so we can't possibly grace you with that
particular selection, or solo. And, there's not enough
"Mahavishnu" left in that orchestra to warrant such an
attempt. Also, John particularly prefers his name
spelled, "M-c-L-a-u-g-h-l-i-n."

- "John Coltrane's duets with Pharaoh Sanders. I
understand that their use of atonality is not everyone's
cup of tea, but my guests are usually fond of high
register tenor saxes."

KL: Both Mr. Coltrane and Mr. Sanders have
specifically requested that our ensemble refrain from
performing any of their duets, but that it is
permissible to perform their mesmerizing etude titled,
"Black Coffee." However, please be forewarned that
"Black Coffee" is wrought with numerous key changes
and, at last count, covering the entire chromatic scale...
TWICE! Could make for a long and tiring tune...

- "We thought a little Stravinsky would be nice. We
particularly like the 'Rite of Spring." If you want to
use the sheet music, it's OK. My husband likes it
about 1/4 note = 93 beats per minute."

KL: You did, did you? While we are unfamiliar with
the "Rite of Spring," would you be willing to accept
our rendition of the "Irish Spring" television soap
commercial instead, and in the interest of continuity?
By the way, I'm not a doctor, but you might want to
get your husband in to see a doctor as quickly as
possible, judging from how slow his ticker seems to
be tocking.

- "Then, for the candle lighting ceremony, please learn
Frank Zappa's, "The Great Wazoo." If you want to
play it in the original B flat, that would be OK. And
yes, cousin Jeannie does want to sing the baritone
sax solo. Please don't say no, it would hurt her
feelings so."

KL: Now this request, we might be able to honor, but
the only issue we foresee, is that we must absolutely,
without a shadow of a doubt, perform this particular
number in the key of "B#." To consider otherwise, is
sheer folly. And, no problem with Cousin Jeannie...
her baritone shouldn't be much of a stretch, as s/he
is a registered transvestite anyway.

- "Finally, we have built our own musical instruments
(It's kind of a hobby with us, you know) and we would
appreciate your using them. None are based upon a
12 tone scale, or on common harmonics, but our 5
year old son tells us it's not really that hard to
transpose, that is, once you understand the physics."

KL: Now, this is going just a bit far, even for you.
First of all, we have, and are accustomed to, our
own instruments. Secondly, we know for a fact that
your purported "musical instruments" are actually
items recently purchased from the "Lewd and Rude"
shop in the downtown Montrose area (anyone in
Houston will recognize it, so I don't feel the need to
expound on it further). Therefore, we must, dis-
respectfully, decline your filthy offer.

- "We would be happy to pay each member an extra
$25 for any inconvenience. Thank you and don't be
late!"

Sincerely,

Mr. and Mrs. Snovly

KL: No, please! Let us pay *YOU* to blow this gig!

************************************************************

5. "So You Wanna Be More Than a Pop Star...Can
Your Music Heal People?"

By Danielle Egnew


Sounds like something out of a new-age video, I know...
10but did you know that your music has incredible
potential to heal people? Of course, it depends on the
type of music that you produce...but music is one of the
highest ranked sources for non-medicinal healing
available.

You may be viewing this whole "healing with music"
thing as rather cryptic, and thinking:

"What, does the music run up and slap a band-aid on
a scraped arm? Gimme a break!"

But in fact, it does. Certain tonal frequencies inspire
a reaction in our bodies to produce hormones and
chemicals that are conducive to healing and relaxing.

Without going into the hard-core anatomical
breakdown and, without even touching the tip of the
iceberg for the spiritual ramifications of music as
a healing tool, I'll give you the cliff notes:

Lulling, gentle, warm upper-mids stimulate the sleep
center of the brain, sparking a chemical reaction in
the body that simulates sleep. So, if you've ever
wondered why you go into a "daze" while listening to
certain music while driving, now you know.

Your body has the greatest chance of healing itself
while you are in a sleep state, due to the different
combination of naturally released sleep-induced
chemicals/antibodies and natural stasis. So, these
chemicals get triggered and go galloping around your
body while you are listening to this lulling upper mid
register song, dropping off their healing properties as
they go. And, you just feel relaxed and a little sleepy,
and blame it on the sun coming in through your car
window.

Soft high register tones can cause the heart rate to
accelerate, which flushes these newly released
chemicals/antibodies through your system faster.

Bass tones are actually either a do-gooder or a
do-badder, depending on their application. If the
tone is low and lulling, the bass tone triggers deeper
breathing which, of course, aids your system in
flushing out toxins. If the bass tone is erratic and
stabbing, the adrenaline gland is stimulated, and the
body is actually in a state of low-grade, on-edge
shock, waiting to see what happens next.

While your body is in this state, all other systems are
on hold, which prohibits any further release of helpful
chemicals and antibodies. This may explain to you
why you may get such a rush off of being in a
pounding, thumping dance club for hours on end...
your body is literally being asked to trigger adrenaline
based upon the sonic input. That's one of the reasons
that you can dance forever in places that have HUGE
subwoofers.

I mentioned that I'd stay away from the spiritual
ramifications of tonal qualities, seeing as that
everyone has a different opinion on that subject -- but
to illustrate the point, look at the ancient tribes who
used drumming to focus themselves. Those tones,
and their attack on the drum, had very substantial
physical effects, which led to very substantial spiritual
effects. So, this music-as-a-healer concept has been
around for a very long time.

Now, You may be thinking that a music healing album
would have to be some new-age sounding drone
without any vocals, but that's not the case. Vocals sit
in that upper-mid-register zone. The way in which you
intermingle your frequencies and melody lines in a
pop/rock song will trigger the same effects as an
instrumental.

The Chris Isaak song, "Don't Want To Fall In Love,"
is a great example. I have a very good friend who
listened to that tune, repeatedly and, eventually, got
rid of her migraines. Chris' lilting vocals and
swooping guitar parts, all contributed to releasing
positive antibodies within her. This stuff does work!

Conversely, the way in which you intermingle stabbing
bass tones and erratic, screeching highs can also
really put people into a state of physical discomfort.

So, there really is quite a bit more going on beneath
people's skins when they say, "I don't like that song."
Before you decide it's the lyrics they don't like, listen
to the sonic canvass, and then you may have a better
idea of what's going on.

Was your song mastered with too many highs? Too
much bass? Not to say that there is anything wrong
with these qualities, but understand that, anatomically,
you are already challenging people out of the gate if
your album is heavy on either end. And, perhaps that
challenge is what you want.

Sound is the play-dough of the inner being -- so have
fun with it! But, be a responsible party, and know
what it is you are sonically saying to your public on a
physical -- and spiritual -- level. If you are not getting
the response from your albums you would like, try
adding more warm mids and high-mids to your mixes,
while softening your highs and lows. Not deadening
the high and lows, mind you, but working them in with
smoother edges.

I guarantee you'll see a difference. And you'll, most
likely, feel one, too.
________________________________________

Editor's Note: Danielle Egnew is, undeniably, a major
music "hitter," with having had her material recorded by
one of my own favorite Country artists, Alan Jackson,
but her talent hardly stops there. She is also a fella
Music Dish writer, a cross genre producer, and
underscores for films, plays, and television. But, you
probably recognize her for her association as the
lead vocalist/guitarist of the band, "Pope Jane," that
recently sent several major record labels down the
yellow brick road...but, sadly, without "Dorothy." Check
out the site at http://www.popejanemusic.com/.

************************************************************

6. "Slouching Tiger - Hidden Problem"

By Mark Baxter


Never mind cavorting about on the tops of trees, most
of us would be challenged to walk along the broad
side of a 2x4 lying on the ground. Is it difficult for you
to step in a straight line by placing one foot in front of
the other? The problem may be hidden in your stance.

When you're young, posture is something your parents
nag you about. When you're older, the shape of your
body seems forged by nature...unchangeable. The
reality, though, is that posture directly influences the
way we sing. Never mind how many times your
mother told you to stand up straight, poor posture
makes for poor singing.

Pitch problems, lack of projection, and longevity can
easily be linked to posture. Tension around the pelvis
causes us to overblow, making notes ride sharp while
tension in the neck and jaw, restricts the ability of the
vocal folds to stretch, making pitches flat.

Tension around the larynx also reduces the diameter
of the throat, meaning less resonance to project the
voice. Slouching restricts breathing and saps muscle
strength. You may look casual, but your body is
working harder than it should to sing. The result is
*not* cool.

The key to posture is balance. Contrary to what you
might think, muscles hold our bones in place. Without
muscles constantly adjusting to the pull of gravity, our
bones would fall in a heap on the floor. To relieve the
stress, bones should be stacked, one on top of
another, like the wooden pieces of a Genji game.

Imagine your legs as tall, slender cylinders bridged
by a square block representing your pelvis. Rising
from the pelvis are shorter cylinders, like the spools
which hold thread, a piece of foam placed between
each one to absorb shock. Balanced atop the
column of spools is a flat board lying horizontally,
forming the widest section of the pile...your shoulders.

Your arms are cylinders hanging from each end of
this board. and your neck, a continuation of spools
crowned by a much larger skull piece. Keep this pile
of odd shapes from tumbling down with a minimum
of muscle activity, and you win.

Muscle fatigue is brought on by seemly harmless,
unconscious behaviors. Sit at a desk, a computer,
or even a piano for a number of hours, and the body
starts curving forward, placing stress on the back.
Sitting for long periods also causes rear leg muscles
to tighten while front muscles weaken, tilting the pelvis.

The shoulder, which bears the weight of a guitar strap,
especially a bass, rises higher than its counterpart
once the guitar is removed. Singing into a
microphone, with your head extended like a turtle,
tightens the neck.

As the years add up, these posture-related tensions
become so reinforced that the body forgets how to
turn them off. More force is needed to over-ride the
restrictions. Breathing and flexibility...key components
for vocal control...are compromised.

Hanging from a bar is a great way to flush out
accumulated tension. You should try and hang out
every day. Since gravity is the force which pulls us out
of whack, it makes sense to use it to re-align things.

When suspended, your bones will naturally form a
straight line, just like wooden blocks dangling by a
string threaded through their center. The longer you
hang, the more your muscles relax. If it's too hard on
your hands and arms, address your body in sections.

Drape your head over the end of your bed to release
your neck, fan your ribs, and stretch your upper back.
Pushing yourself up on a ledge (the way you'd get out
of a swimming pool) will take the weight off your legs
and allow them to hang free. When you return your
weight back to your feet, look to maintain that free-
floating sensation.

Like walking on tip-toes, you won't weigh any less,
but the point is to feel that way. Look for simple ways
to suspend your weight throughout the day to keep
your posture stress-free. Never mind performing
gravity defying flips...returning your body into
alignment, will allow your voice to soar to new heights.
________________________________________

Editor's Note: Mark Baxter is one of the music
industry's leading voice coaches to Grammy
recording artists in America . See his highly
informative web site at http://www.voicelesson.com.

************************************************************

7. "Every Business A Music Business"

By Peter Spellman


In his President's Message in the Fall issue of MEIEA's
Newsletter, Tim Hayes shared some suggestive
thoughts about nurturing other sectors of the
entertainment economy within the MEIEA organization.
He reminded us that the word, "entertainment," is in
MEIEA's title.

Related to this valuable reminder, is an important
commercial trend I've noticed that holds vast
implications for music business programs and the
students we teach: every business is becoming a
music business.

Converging industries, a digital lingua franca, and a
relaxed regulatory climate, are enabling traditionally
separate enterprises to ally with one another in
completely new ways. In the process, unprecedented
career opportunities for those trained in the musical
and entertainment arts are evolving.

Examples abound: AT&T now has a music division;
so does IBM. Home entertainment retailer, Best Buy,
has an artist development program and a record
label in the works. Everyone from Pottery Barn to
Victoria's Secret, issues compilation records.

And, this past fall, Sting made a deal with Compaq
for the computer giant to essentially serve as the
marketing department for his latest recording (in
loco A&M Records).

Each of these "non-music" companies are staffing
up in the music and entertainment areas. They are
seeking to know how music works in the marketplace
and how value is added through music and
entertainment affinities.

Delving into the arts is a trend also reflected in the
current crop of business books. Companies which
used to draw their metaphors from the military and
machines, are now encouraged to see themselves
as jazz bands and theater productions.

Titles such as John Kao's "Jamming," Peter Senge's
"The Dance of Change," and Max Dupree's
"Leadership Jazz," argue that successful
contemporary businesses must be guided by these
more musical and artistic models, or be left in the
dust.

So, how can we begin applying these developments
in our music business programs?

These trends require a new way of thinking about the
"music business" and "industry careers." We must
encourage our students to "think outside the box" of
traditional music business models and explore fresh
possibilities; to reflect on where musical skills are
used, rather than on where music has traditionally
been sold; and to not limit themselves by standard job
titles but to, instead, find ways to creatively engage
their skills with the evolutionary dynamics of emerging
business paradigms.

Music business faculty can encourage the exploration
by their students of other arts and entertainment areas
in their schools in order to synergize creative alliances;
they can create bridges to other university departments
in order to constellate true interdisciplinary success;
and they can scope out new business partners eager
to "dance" with the music industry (read: provide jobs).

The traditional music industry is transforming. With the
right mix of creativity and boldness, we can help our
programs grow in value to our students, our institutions,
and newly emerging workplaces.
________________________________________

Editor's Note: Peter Spellman is Director of Career
Development at Berklee College of Music
(http://www.berklee.edu) located in Boston, Ma, and
also author of "The Self-Promoting Musician: Do-it-
Yourself Strategies for Independent Music Success"
(Berklee Press). Additionally, he is President of
Music Business Solutions at:
http://www.mbsolutions.com/

************************************************************

8. "Which Way Do We Go, George?"

By Tim Sweeney


Reader: "I have read a number of your articles
regarding pre-show promotion. In most of them, you
talk about handing out sample tapes, or sample CDs,
to potential fans. While I have tried this, and it works
for me, there are times when I get a greater response
than others. Even though, I am handing out the same
2 songs each time.

My questions are:

Which is better...sample tapes, or sample CDs?

Should I hire a "street marketing company" to do it
for me, since they can hand out more than I can?"

TS: "First of all, I am happy to see that you have taken
the steps you needed to start to effectively promote
your live shows. Too often, I will get emails that say,
'I've handed out hundreds of flyers before a show and
I get little or no response. What did I do wrong?'

Obviously, handing out flyers to people who are not
familiar with you or your music, is counter-productive.
As I have always said (and will continue to say), 'No
one can hear your music on a piece of paper'. It
doesn't matter how great you say it is on your flyer,
people simply can't listen to a piece of paper. So, I
am glad to see you are serious about giving them a
sample of your music to listen to instead.

I am also glad to see that, by handing out tapes and
CDs, you have moved passed the "dead end
philosophy" that, just inviting the people on your
mailing list to every show, will be the answer to your
ongoing success. Obviously, once fans have bought
a CD, it doesn't make sense to invite them to more
shows for the sole purpose of trying to sell them
another one.

While the questions you asked are very easy to
answer, I am sure that they have been a source of
frustration for you. Remember you have to 'break the
pattern' of not thinking creatively. Regardless of what
others say or think, challenge yourself and believe in
yourself...just as you did in writing your songs and
producing your CD.

With that said, the answer to whether sample tapes,
or sample CDs, is better to give out, depends upon
the demographic of your fans. While most artists
and bands can easily tell me whether they get more
women or men at their shows, and what age bracket
they are in, most can't tell me the kind of jobs their
fans have, or their income level.

* * * This is critical information for you to know! Why?

Depending upon the type of jobs your fans have, and
what they earn, usually dictates what kind of cars they
drive. This is important because you may be handing
out sample tapes to people who only have CD
players in their car! While they are polite in accepting
them, they won't listen to them in their cars where we
want them to.

While they may have cassette players at home, that
defeats the purpose of what we are trying to do. We
want them to listen to it in their cars, where most
people listen to music. We want to frustrate them on
the limited amount of music there is on the tape or CD.
If they like it, they will want to come to your show to
hear more, or want to buy the full length CD.

So you need to determine which is better...sample
tapes, or sample CDs, based upon your fans'
particular jobs, incomes, and types of cars they drive.
However, keep in mind that, within the next few years,
all American cars will only have CD players.

Regarding your last question...'Should you hire a
street marketing team or company versus your
handing out sample tapes or sample CDs. Don't be
fooled! While a street marketing team can hand out
ten times the amount of copies you can, its
effectiveness is only one tenth of what yours is when
you distribute them. Even if it's to a smaller number
of people.

The purpose of your giving out sample tapes and CDs,
is for YOU to "bond" with potential fans. While
someone else can easily give them the sales pitch,
it's not the same for music fans as talking to the
actual artists themselves.

Street teams are often viewed by music fans, much
like the girls in department stores who try to give you
the free perfume samples, or try to spray you as you
pass by. Your music deserves more than having a
street team simply blindly handing it out, and so do
your potential fans.

P. S. Don't forget to include your web site address,
date, and place of your upcoming show on your
sample tapes and CDs, along with where people
can buy the full length CD (Amazon, CD Baby, or any
local store where you have your music consigned or
available for sale)."
________________________________________

Editor's Note: Tim Sweeney is the best-selling author
of "The Guide to Succeeding at Music Conventions,"
as well as "The Guide to Releasing Independent
Records." He also conducts national music workshops.
Contact him directly at 909-303-9506, as well as
paying a visit to his web site at http://www.tsamusic.com.

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Vol. 2: Iss. 3| B# Newsletter | April, 2001| ISSN 1533-6522
Publisher/Editor: Kenny Love
P. O. Box 1404
Crockett, Texas 75835-1404
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