Contrary to what some people may think, few people are going to notice your abilities as an artist by listening to a rough demo. Either hire some studio time, enter into an agreement with an up-and-coming producer, or buy some studio gear. Gear is not expensive nowadays, and $800 should get you up and running.

Haven’t got the money? Save up for a while. There are thousands of artists doing the same thing – why not you? An A&R person wants to listen to a polished product. Represent yourself.

Step 2: Get some decent promo photographs made.

Myspace site got a picture of you taken with a web cam? Using your phone to shoot pictures? Not good enough, sorry guys. You’re going to need some great photos of yourself, airbrushed, the works.It’s the first thing an A&R person sees, I’ve found it has a huge bearing on whether your music get listened to or not.

Sounds harsh? I think so too, but that’s the way it is, so make your photos count.You can get great results with a digital camera, and some free photo software. It need not be expensive.

Step 3: Get a proper website.

This is a big one, and possibly one of the most important things you can do. Everyone has a myspace site, but to set yourself out from the crowd, I’ve found a proper website with domain (eg: www.youonline.com) is the way to go.

Web hosting is extremely cheap nowadays, and web development software is free, so there’s no cost barriers to getting this done.Your website must display three things clearly.

1) Your music. Try to have a track start playing when the site is opened.

2) Your photos.

3) Contact information. This is make or break. Make it clear and obvious.

So why the website? Why not stick to myspace? Well, I’ve found that A&R people usually have a million things going on at once. Their offices look like a war zone for the most part. They won’t be searching the web for sites – instead, they may have received a tip-off or recommendation about you.

Your website will be looked at in passing, so you don’t want to cloud the A&R persons attention with a glaring, comment ridden myspace page. Secondly, everyone has a myspace page. My brothers cat has a myspace page..

So set yourself apart from all the other players.But keep the myspace page as well. It’s good for everyone to see you have thousands of friends and fans too..

Step 4: Play out.

Now you’ve got your package together, start playing to audiences. Anywhere you think industry types may be. And it’s not just A&R people you’re after. Promoters, managers…all these people may see you perform. If you’re good, word will get passed around quickly enough, and opportunities will present themselves. Which leads me onto..

Step 5: Attract the attention of a music attorney.

Want to know who are the most under-rated, yet important people in the music industry? The music attorney. These people know everyone…A&R execs, managers, the works. If you manage to meet one (and it’s easier than you think..) doors will open for you, especially if the attorney becomes involved with you on a professional level.

Step 6: Go to industry days and events.

Here’s a story. Whilst I was promoting an artist, there was a music event on in town: A gathering of music equipment manufacturers, open to the general public. In the small print of the flyer, a “demo session” was advertised as part of the music event, giving folks the opportunity to take their demo CD’s along for the critique of music professionals.

So I went to the demo session, armed with a CD thinking they’d be a huge demand for this, and that there was only a small chance my CD would get listened to. I was wrong. There were about 6 people there, including me. So whilst downstairs, in the main hall, thousands of up-and-coming artists were playing with the new toys from instrument companies, I was upstairs with the attention of attorneys, managers and A&R men, all to myself. Can you believe this? It’s true.

The moral of this point? Keep your eyes and ears open for every chance you get.

Conclusion.

Hopefully, this has given you some ideas on how to get the attention of A&R folks. So what happened when the A&R guy from Sony came to my house? Well, he wasn’t impressed when he found out my artist didn’t write her own material..but that’s a tale for another day!

Al Fraser is the Producer and Manager of Smoothbeatsonly.com, a website supplying R&B Beats and Instrumentals to up-and-coming artists. He also publishes tips on music recording and promotion via his blog.

Article Source: http://www.articlesbase.com

For more education on careers in the music industry, check out: www.Music-Career-Guide.com

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A distribution deal is different. A major record label or record distributor distributes your music all over the world. In addition, they have no involvement in the recording process, production, and own little to no portion of the music song rights. Yes, this is every recording artists dream. Unfortunately today it rarely happens. Labels use their mass marketing power to lure and trap aspiring artists. Don’t get caught.

Record labels have one resource artists want desperately, multi-million dollar marketing campaigns. Notice I used the word want and not need. Indie artists don’t need million dollar marketing campaigns, they think they do. This is the sole reason I have devoted so much time trying to teach artists to market themselves independently. Labels use their marketing power as leverage in recording contracts. This is how they talk artists into giving up song rights. It is easier to sell as a major recording artists, but it is better to sell as an independent artist.

If you can successfully sell your music as an independent artist, you can definitely get a distribution deal.

Written By Jamille Luney

Article Source: http://jamilleluney.wordpress.com

For more education on careers in the music industry, check out: www.Music-Career-Guide.com

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Location, location, location. Walton looked at demographics and numbers to pick the location of his stores. He built his first store around 1950, before the Internet existed. Sam Walton’s first customers HAD TO BE within a five to ten mile radius so they could get to the store. A lot of people could not afford cars, there were no cell phones, and there was no Internet.

Today independent recording artists have the Internet. Just open your OWN STORE online and have customers ALL OVER THE WORLD. Sam Walton would have loved to have that technology back in 1950. If Walton was alive he would ask the record labels “Why Do I Need You? What Is It That You Do For Me?”

The better question is why aren’t more independent recording artists asking this question? Consumerism is a mindset that thrives off of dependency. Companies try to get you hooked on their product and make you think you cannot live without it (dependency). Record labels do the same. Sam Walton would not take this or believe it and neither should you.

Walton was a visionary as well as realist. As a realist he would acknowledge the weakness of the independent recording artist and FIX IT. Marketing is the weakness. He would fix this problem by using Strategic Marketing as opposed to Mass Marketing used by major recording labels.

Strategic Marketing is as it sounds. You look at demographics, numbers, and other data to predict where, when, how, and IF you should advertise.

Mass Marketing is the opposite. Just throw a whole bunch out there and see who buys the most. Whoever buys the most is your market. If nobody is buying simply make people buy it by getting the idea stuck in their head (play it over and over again on the radio).

Major record labels have used mass marketing for years. However, mass marketing is less effective in the new digital era. For example, more people listen to their CD players and Mp3 players as opposed to the radio. True, many people enjoy the morning talk shows, but now they can download the podcast and avoid the commercials. Creators of online communities like FaceBook are opting not to sell their companies the way Tom sold MySpace to Google. Refusing to sell the companies means less advertisements and mass marketing.

Customers Must Come To You

We’re all sick of advertisements. Everywhere we turn something is being pushed on us. Ironically, Wal-Mart does not put much money in advertising. Here is another reason I use Sam Walton as an example. He made his name brand name so big, customers look for his stores. Wal-Mart does not have to go looking for customers. This is what independent artists must do.

Independent artists, you’ve got to get people looking for you. When you go on vacation what is one of the first things you look for? A Wal-Mart! You want people looking for you. My dad played football at Hamilton College and used to listen to one record before every game. Indie artists when athletes are about to take the field or somebody is just having a bad day you want those people looking for music.

Make Your Music Easy To Find

For independent recording artists, it’s not about mass marketing. It’s about two things. Strategic marketing and accessibility. We already went over strategic marketing. Accessibility means your music is easy to find. I should not have to go through thousands of MySpace pages to find your music!

Accessibility is one of the biggest problems that plagues Indie artists. They often follow the hottest trend, like MySpace, and get buried under millions of other artists. GET YOUR OWN WEB PAGE. You can have the MySpace, but you need your own web page i.e yourbandname.com.

Search Engine Optimization

This is extremely important to independent recording artists. You can find a Wal-Mart on every corner. I should be able to find your music on most Google and Yahoo searches. Sounds extreme and impossible. It’s not. Search Engines like Yahoo and Google are evolving, meaning they are becoming better. If you did a Google search three years back you’d get lot more unnecessary information than if you searched today.

As the search engines become more efficient, so do the search categories. Categories are becoming more specific. People no longer Google ‘Buy Car’ instead they Google ‘Buy Hybrid Car’. People are becoming very specific with their wants and demands and the search engines are as well.

Pretty soon we will see Google searches designed specifically for independent music. Currently Google has the following types of searches: Web, Images, Maps, News, Shopping, Video, YouTube, Groups, Books, Blogs and a few others.

So if You’re looking for a specific video, do a Google video search. If you know that video is a Youtube video. Don’t do a video search, do a YouTube video search. See how the search engines are getting more specific. Pretty soon people will not just search music, they will search music from independent artists in North Carolina or music from independent Neo Soul artists in Raleigh, North Carolina. Search engines get more specific everyday.

Get your own domain name and web page. Make it easy for people to find you. Take me for example. My name is Jamille Luney and my webpage is jamilleluney.com. I have a MySpace page the address is myspace.com/jamilleluney and I linked it to my web page jamilleluney.com. This makes it easier for people to find me and it helps the search engines find me as well. I also have a blog. Jamilleluney.wordpress.com and I combined the blog address with the website. Again this makes it easier for search engines to find me. Search Engine optimization baby.

Search Engine Optimization is the best Strategic Marketing for independent recording artists.

By Jamille Luney
Music Analyst

Article Source: http://jamilleluney.wordpress.com

For more education on careers in the music industry, check out: www.Music-Career-Guide.com

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At first glance, hip-hop circa 2008 seems a jaded and forlorn soul. Sure, its marquee names–Kanye West, 50 Cent, The Neptunes – still all eat well, but rap music as a whole has seen its mainstream profile eclipsed by a new crop of indie rock bands, a shift reflected in the much-quoted 20-plus per cent slump in sales of the genre between 2005 and 2006. Hip hop’s major record labels – once guaranteed sizeable returns at the cash registers from their star rosters – are feeling the pinch and have promptly slashed promotional budgets, cut staff and dropped artists.

The music’s current public face meanwhile is that of a bloated, stifled scene, crammed with materialistic MCs decked out in oversized sportswear whose lethargic lyrics have become as flat as last night’s Cristal. In short, things aren’t too sweet.

But dig down deep enough, beyond the tales of pistols, pu**y and the police, and you’ll see there’s a faint pulse still detectable within the recent output of many smaller, independent labels that don’t usually land on mainstream radars. In March, hotly-tipped Detroit rhymeslinger Guilty Simpson, a protégé of late producer Jay Dee, released his debut album, Ode To The Ghetto – which was one of the most anticipated rap albums in years – on cult California label Stones Throw.

The buzz generated by Brooklyn-based imprint Nature Sounds in the last year reached fever pitch with must-have releases from Wu-Tang Clan rapper Masta Killa and more recently the legendary producer, DJ and one-time Nas and Public Enemy collaborator, Pete Rock.

And then there’s UK-based Lex Records, which brought New York producer Danger Mouse – the brains behind the Jay-Z/Beatles mash-up The Grey Album and the gazillion-selling Gnarls Barkley –to mainstream attention. Later this year, the label will launch the latest project from US underground sensation MF Doom, whose mysterious metal mask and obscure pop culture-layered rhymes have brought him critical acclaim from far beyond the confines of the backpack-and-baggy-pants set.

I think that it’s a good time for hip-hop in the sense that there’s great music being made by artists allover the world,” says Tom Brown, head of Lex, which is also known for its more eccentric, leftfield output such as Kid Acne and Boom Bip. “But it’s a bad time commercially. Hip-hop is on the dark side of the moon as far as the media is concerned. Sooner or later things will change and all this terrible haircut indie rock will vanish – but until then we’ve just got to hang in there.”

Sure, Brown’s notion of a flourishing, creative underground music scene ignored and marginalized by the commercial sector is not confined to hip-hop, and yes, the idea of railing against corporatism in music is certainly nothing new. Hip-hop itself has been here before.

Around a decade ago, as Puff Daddy, Lil’ Kim and others of their boastful, self-congratulating shiny-suited ilk were espousing their boozy, bling-bling agendas in clunky raps over chart-friendly re-heated disco hits – and clocking up sizeable amounts of record sales in the process – a small cluster of independent labels in New York sought to serve rap fans with a genuine alternative to the sugar-coated product peddled by the majors.

An independent-spirited and resolutely anti-commercial underground hip hop movement of-sorts was born, led by the famed Rawkus Records imprint. Rawkus would go on to foster future stars such as Mos Def and Talib Kweli, who won critical acclaim with politically charged work which spoke of self-empowerment and individualism. Inevitably, though, Rawkus – and other like-minded labels such as Fondle ’ Em Records and Hydra Entertainment – would be gobbled up by the industry as hip-hop’s march was steered in the direction of the dollar and it stormed the pop charts, making wealthy global superstars out of Jay-Z, Eminem and 50 Cent.

The difference now, of course, is that even the most glossy, glitzy commercial rap isn’t shifting the kind of numbers it did in P Diddy’s late-Nineties heyday. Stacks of column inches have focused on the spiraling trend of illegal downloads and their impact on the music industry, but within hip-hop circles many see the major labels’ often ham-fisted approach to the music as another significant contributing factor to the current critical and commercial malaise.

Consider Jay-Z’s tenure in charge of US giant Def Jam, arguably the biggest and most important label in rap history. When it appointed the New York rapper as president in late 2004, the move was widely hailed in the industry as a masterstroke. But very quickly, rumours were spreading about how Jay-Z’s colossal ego was leading to other Def Jam artists’ projects being sidelined and delayed. While rap fans were clamouring for new music from Def Jam stars Nas and Ghostface Killah, their release dates were constantly changed or inexplicably put back by execs behind the scenes.

“Being independent allows the label to be dynamic,” says Tom Brown of the contrast between the major and indie strategies. “Indies can make quick decisions, and do much better deals with artists.” He adds that despite the majors’ larger budgets and a wider focus, they still lack the nous of the indies when it comes to understanding maverick artists. “If you have a good person fighting your corner at a major label then you can have a long career. The problem is that staff changes over fairly rapidly at majors and if the guy in your corner gets fired in a cost-cutting exercise that might well mean that your album gets shelved or doesn’t get the attention it needs.

On-the-way-up artists such as Danger Mouse are huge creative talents and need the attention that an indie can give them. Later in an artist’s career indies provide a creative environment,” Brown continues, adding: “MF Doom’s next solo project, under his DOOM moniker, will be on Lex. A major label would probably never sign DOOM directly because he’s unlikely to deliver the pop success they need – but he is probably the most important creative force in hip-hop.”

A quick scan of the hip-hop rosters on both indies and majors seems to reinforce the idea that up-and-coming rappers who sit outside the comfort zone of mainstream hip-hop – as well as legends of yesteryear considered past their sell-by-date by most majors – are finding creative nourishment on independent labels.

Indies are picking up a lot of acts that aren’t going to fit on a major label in 2008, and releasing records from a lot of acts who, even five years ago, would have been on a major,” says Phillip Mlynar, deputy editor of Hip-Hop Connection magazine, about the current environment.

However, despite their taking a more grassroots approach and, some would argue, a greater risk on maverick artists, Mlynar reckons the cachet and air of authenticity that once surrounded independent rap labels like Rawkus has long since ebbed away.

There’s no championing of independent status by artists like there was during the mid-to-late Nineties,” he says. “No one’s coming out boasting about being independent – people just seem to accept that most rappers aren’t going to be given a chance on a major label, so being on an indie is a natural fit, and possibly their only real option.”

Yet for Brown, the current vitality within the indie hip-hop scene isn’t simply by default in a climate where majors struggle to effectively market and promote their hip-hop acts. “I think indie labels work with artists who genuinely push the envelope,” he adds. “Most indies will give an artist total creative freedom. So when indies ‘push the envelope’ it’s really by giving the artists room to make amazing records.”

Guilty Simpson’s ‘Ode To The Ghetto’ is out now on Stones Throw; Pete Rock’s ‘NY’s Finest’ is out on Nature Sounds; DOOM will release a new album later this year on Lex.

Article Source: http://www.independent.co.uk

For more education on careers in the music industry, check out: www.Music-Career-Guide.com

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Why Independent Artists Fail at Music Promotion

It gets increasingly harder and consequently more expensive to promote music as an independent artist each year, by the year, regardless of whether those efforts are online or not. Until you cross the chasm to reach a success level where your popularity, music and finances catch up to each other, you are more likely to rely on a limited amount of information to determine the value of your music career. For example if you are a music artist with a fan base of 100, it is easy to believe that 80 people out of 100 think you are destined for worldwide success. This is a limited window of honesty that can cripple your efforts to reach a wider audience that spans beyond the local market to reach worldwide audiences.

Without a more concrete and easy-proof system in place, you can continue to create music that no one cares about and no one buys except the people in that window of 100. In order to broaden the listening audience it is important to understand their world view in three phases:

• How they viewed music in the past
• How they view music in the present
• How they “think” they will view music in the future

You should know that to reach mass audiences “nowadays” that they probably prefer to download your music easily, because it’s faster and they are not restricted to listen to your music where a CD player is present. This mis-understanding is an ignored flaw that results in a sharp line to failure. You can better judge almost everything you do to promote and further your career if you consider these two world views:

People with money don’t care what’s real to you… unless its presented in a way that is appealing and sensible to them.

No one in the hospital is going to suddenly panic and die if they don’t hear your music.

People with money are, have been, and will be used to buying music that sounds MAJOR… because 9/10 it invariably sounds better.

Why?

People who buy music, aren’t exposed to indie music as much as major music. Major music is like the GOD of music because its EVERYWHERE all at the same time… in someone else’s car down the street, at a store, in the mall, in a bathroom, on someone else’s iPod, on the radio, you see it on someone’s shirt, you hear people singing in walking down the street… and this is what creates an environment where… if you don’t sound major you don’t follow trends; its likely that it will be harder to get those music consumers to buy your music.

You can’t sell someone something they don’t want, or something they’re not familiar with. Period. I don’t care what you sell.

From strippers to music to houses and cars. People only buy things that solve their problems (permanent or not) AND they buy what they truly want.

Just look at the fact that we live in a world where NOBODY gives a damn about how healthy it is to eat organic food, people want what they’re used to. McDonald’s doesn’t get 23 million dollars in the bank because it tries to give people what’s healthy… it gives them what they want, fat and heart clogs included.

Why doesn’t originality sell? And why shouldn’t an artist make music that’s real to them?

ORIGINALITY is extremely important and yes you have to balance originality with trends… but there is a line between doing whats original to the point where its unenjoyable and doing what is most likely to sell. That’s another hard part of this particular business.

Because again, the people who worked their ass off this week in the office dealing with Bob and Sally have to deal with the fact that they got $200 taken out in taxes. So they’re not going to buy music just for the hell of it. Especially not when they can download it using Bit Torrent for free. The people, who ACTUALLY buy it and not DOWNLOAD it, will buy it if its music they are used to hearing AND what they WANT.

I love Herbie Hancock… he just got a super huge Grammy award but the majority of America isn’t blogging about him. They blog about Britney and her nipples or her panties (or not).

The majority of people don’t wake up in the morning looking for NEW JOBS… they go where they know they’re going to get a check. The majority of people don’t wake up searching for new MUSIC. They trust radio (declining) and friends to provide them with music that’s familiar and hot. The majority of people don’t wake up in the morning trying out different toothpastes everyday… they use what they know.

Human psychology suggests that people LIKE what they know. We hang around people who are like us, we buy things that are popular, we eat things that are the norm. They don’t really care about originality if its unfamiliar with them and they can’t relate to it.

So yes! You can be successful in a major way, still be original, but only if you can create something that people want.

THAT is where trends are extremely useful. Song keys, tempos, vocal styles, recording techniques, phrases, melodic motifs, chord progressions, reverb styles, compressor uses, 808 drums, synth sounds, etc. are trends that will never go away… and most chart topping songs have similar characteristics.

Besides… most everything we are familiar with uses a trend. Oh in the gum department… its teeth whitening. In fashion, its big 70s and 80s styled frames. In computers its dual processors. In cars its USB and voice activation. In TV its Hi-Def. In movies its shock factor & humor. On TV its 1 hour episodes instead of 30 minutes. In music… its the 80s sound, its the urban sound, its multi-genres. If you’re rock, you’re pop. If you’re pop, you’re urban. If you’re R&B, you’re hip-hop.

This is simple and its centered around the fact that you’re dealing with people who probably don’t want to PAY for the music in the first place and secondly, you had better create something that they can believe in, experience, and relate to.

Perhaps originality comes second to familiarity… for most music consumers.

Why won’t Record Labels put out an artist just because they’re on the roster?

Commerce. You can look at the billboard charts and tell that releasing a certain artist right now is probably not going to work. Especially when you have artists who dominate the entire scene with an album or song that everybody’s going crazy for. Every record label tries to do whats right for their survival and bank account at the same time. Record Labels are entities, but they operate much like humans do. There are bills that need to be paid and there is little time for experimentation with artists who have already proven they won’t sell that much, or based on statistics, prove that they will not sell that much.

So who CARES if you get signed. Doesn’t mean you’ll get released. Most record labels have more artists than they can manage… but to them each artist represents a specific financial forecast. You can BET that they have a net worth assigned to each artist, and if they think that it makes more sense to release artist A than artist B… then that’s what they do. That’s what they will continue to do… until about 6 years from now when everyone gets screwed and it all crashes all over again like it did in 2004.

Why do you have to cater to 10-18 year olds?

You don’t. You just have to decide who you are and what you want to do. What you want to start out doing and what you want to end up doing. Popular music is played everywhere… in clubs, in restaurants, in stores, you can’t deny it. People who listen and/or create country music are more exposed to pop/rock than they are exposed to country. You don’t walk into the mall and hear a lot of country… unless its mixed with… pop.

You have to decide if you want to:

a) make music that’s unfamiliar and work hard enough to get people to become familiar with it and then sell records or
b) make music thats familiar, increase popularity, and sell records faster/easier/better.

You can chose to side with the labels, be with the indies who achieve major label success, or be an indie whose totally organic and is more concerned with the art form than commercial appeal.

So if you want to sell something, at the same rate that major labels sell it, then you have to find a way to get consumers to LIKE you. Whether its unoriginal or not… the people who swipe their card aren’t critics, they don’t care whether you’re major or indie so much… that’s something that only us “music insiders” care about…

Why don’t record labels invest in artists who surpass the trends?

Record Labels do the best they can. They aren’t TRYING to fail, they’re just stupid when it comes to many things. But as the years go by, the pressure increases as does the competition to put out music that will sell and that can be marketed. It doesn’t make sense for record labels to run a development farm like they used to. They’re not going to spend 5 years babysitting artists trying to see which artist will turn out to be a golden egg. The likelihood of another pop icon like Beyonce’ coming along is slim, and she did most of her artist development by herself. Her dad quit his job to make that happen… that whole family went through turmoil just to get where they are today; and that was oh about a decade ago.

So what’s the bottom line?

The superstar formula HAS always revolved around hard work and creativity… Who cares what genre of music you make, the pool of listeners is relative to the genre. The Beatles? They have one of the most popular songs in history called “Yesterday” it’s been performed over seven million times… took them a year to even write that song, and it didn’t even GO mainstream at first. But that song has the record for being one of the most recorded COVER songs in history. The Jacksons? Everybody knows that they for damn sure worked their asses off. Beyonce? None of Beyonce’s success just landed in her lap. Britney Spears? Yeah this woman has been in the public spotlight since she was a kid, she’s been trained to BE the attention, GET attention, and KEEP attention.

Again, you’re not competing against people who haphazardly became successful. You’re competing against people like Miley Cyrus, people who are born into super stardom… or people who are willing to move clear across the country just to work with a producer who will give them the perfect sound. IF you aren’t willing to make those kind of sacrifices… then you’re handicapping yourself, I don’t care how you look at it.

You’re competing against people who don’t have ANY connections at all, but will spend a solid year to whip themselves into shape and go through hell JUST to put together a 7 song package that can be shopped to majors. You’re competing against people who DON’T CARE how long it takes until they get it right. And those are the most dangerous types.

I can type sentences all day and all night long. I could give history lessons all day long. But the bottom line is that yes connections are great… yes you should be original. Yes you should use trends… but the only thing that matters FIRST is if you have DAMN good music. And can you REPEAT it enough times to satisfy the appetite of people who are used to hearing DAMN Good music. Does your Myspace page have 3 songs that sound as good as the top 100 songs on Billboard?

If you want music industry contacts buy the A&R registry – it will cost you maybe $60 bucks. Its worth it. But even if you had Clive Davis’ #… what would you do with it? Which song are you SO confident in, that’d you’d be willing to bet your entire DREAM on it?!
It takes an ungodly amount of work to produce and create damn good music… on this kind of level.

Unless your music sounds MAJOR, no matter how original you are, then you’re already fighting an uphill battle. If it isn’t crisp, easy to listen to, flawless, and perfect… I say START OVER.
Music Superstar Formula is something I have fought with, I’ve cried over it, I’ve kicked, I’ve screamed, I’ve been just a few fries short of a happy meal sometimes… but you won’t see it until its right… because in the BIG LEAGUE… there is no 2nd chance. By the time you screw up and try again, something new and better has already come along.

If you ever get ONE chance, treat it like it IS your last simply because it COSTS too much to get people to give a damn about YOU or YOUR music. If they don’t pay attention to you, they’re not going to pay a penny for you.

Written by Howard Britt

Article Source: http://www.musicindustryschool.com

For more education on careers in the music industry, check out: www.Music-Career-Guide.com

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