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How to Win Friends and Influence People in the Music Business

by Bob Baker
People who say "It's better to give than to receive" are flat out lying. It's always better to be on the receiving end of any transaction (unless you're receiving insults or incoming fire). Keep that sentiment in mind as you build relationships in the music business.

Let me explain.

Several years ago, I took a phone call from a local artist named Mickie. She asked if I had a need for free display banners in exchange for some free ads in the music magazine I published at the time, to promote an upcoming exhibit of her artwork.

I told her I wasn't sure if I could do it, but I'd be happy to discuss it. Before we hung up, she set a time to stop by my office.

Mickie arrived on time for her appointment and immediately pulled out a sketch pad and started asking me questions about the type of banners I might need. I had never given it much thought, really. She talked about the different shapes, sizes and uses: banners that hang over a stage, banners that hang from the front of a stage, banners that hang in front of tables at trade shows, banners that hang from the wall during sponsored events.

We talked about banner lengths, colors, logos ... Mickie even helped me craft a short, catchy slogan to go under my logo. She sketched out possible designs. I began to visualize how these banners would look. After 10 or 15 minutes of this I was excited about the many ways I could use them to promote my business. Best of all, it wouldn't cost me a dime. I was psyched!

As Mickie was gathering her things, almost as if it were an afterthought, she pulled out a small envelope and handed it to me. "Oh, here's a camera-ready ad for my exhibit," she said. "It's sized for your paper and ready to go. If you could run this in the next couple of issues, I'd really appreciate it."

"Absolutely!" I said.

After she left, I felt good about the transaction. I soon realized that I'd been manipulated by a pro -- but I didn't t feel used or taken advantage of. Mickie had gone to great lengths to keep my needs in mind and make sure I felt I was getting value out of our relationship. She knew that, by doing this, she would ultimately get what she wanted: a free ad in my paper.

A more close-minded marketer would have approached me by focusing on the exhibit and why the artist deserved exposure ... and might have even asked, "What would I have to do to get a free ad in your paper?" That would have put me in the awkward position of having to figure out how to give this person what he/she wants while satisfying my own needs.

Which method would take you further in your music business relationships?

Think back to a situation in which someone made a great effort to give you something you wanted (keep it clean). How did it make you feel? What effect did it have on your opinion of that person?

Keep that happy state in mind, because it's your job to dole out a heapin' helpin' of that feeling to as many people as you can.

So now that you realize it's better to receive than give, from this day forward, make sure people receive a lot more from you. By doing so, you 'you'll end up getting a lot more in return.


Bob Baker is the author of "Guerrilla Music Marketing Handbook," "Unleash the Artist Within" and "Branding Yourself Online." He also publishes TheBuzzFactor.com, a web site and e-zine that have been delivering marketing tips and inspirational messages to music people of all kinds since 1995. Get your FREE subscription to Bob's e-zine by visiting http://TheBuzzFactor.com today.
 

How to Get the Music Career Results You Want

by Bob Baker
Human communication is a crazy thing. You tell somebody something with the intention of getting a certain response ... and the person reacts in a completely unpredictable manner, sometimes with disastrous results. Let's examine this topic and see how we can apply the lessons learned to promoting and selling your independent music.

You've had this happen to you at one time or another: You make a funny comment to someone (like telling your cousin how much she sounds like Britney Spears). Instead of laughter, you get an angry, hostile reaction. (And who could blame your cousin?)

"How could they react that way?" you ask. "My intention was to make them laugh (and poke fun at the pop teen idol at the same time). How dare she misinterpret what I meant to do!" A lot of folks place the blame on the individual who responds so radically.

Now switch to a musician who sits down to write a cover letter he'll use to drum up media exposure. He knows his band is awesome and the new CD kicks butt. So he gets to work writing about the band's accomplishments, the awards they've won, where they've played, etc.

The letters and press kits go out. Weeks pass by. No editors or writers respond.

"What's wrong with these people?" he cries. "I gave them all the reasons I have a good band, but none of these jerks is calling me!" He knew what his intention was. Why wasn't his vision becoming reality?

This musician had made the mistake of not separating INTENT from RESULTS.

Intent is what you WANT or HOPE will happen. Results are WHAT HAPPENS. When it comes to communicating, your intent doesn't matter. Results are the only thing you should be focusing on.

If you aren't getting the results you want, do a little research and try a different approach. Even if you think your new bio and band photo are the hottest things since Ricky Martin's buns ... if they ain't gettin' the results you want and need ... figure out what's wrong and change it!

As a creative person, you are very focused on your art. You're dedicated. Your brain percolates with dozens of ways to approach your current musical project. You nurture and refine your talent. In other words, you are very focused on ... YOU.

That's great for music and art ... but not for marketing, promoting and selling your talents.

Our musician friend above, like many successful marketers, might eventually discover that sending letters that pitch specific story ideas get the most response from editors. If you have a good idea for a music article on a current event or topic, and if you do some the editor's work by digging up information sources, you'll most likely find a lot more media doors opening.

Of course, that would mean the cover letter would have to focus primarily on the editor and publication receiving it ... NOT on the band itself.

So don't get too attached to your intent, or get too angry when people don't react as much and as quickly as you want. The only thing that matters are RESULTS. Focus on them and you may end up getting a lot more of what you want.

Bob Baker is the author of "Guerrilla Music Marketing Handbook," "Unleash the Artist Within" and "Branding Yourself Online." He also publishes TheBuzzFactor.com, a web site and e-zine that have been delivering marketing tips and inspirational messages to music people of all kinds since 1995. Get your FREE subscription to Bob's e-zine by visiting http://TheBuzzFactor.com today.

Music Print Ads: The Good, the Bad & the Ugly

by Bob Baker
Whether you've spent thousands on four-color ads in national magazines or just $50 to place a small display ad in your local music rag, chances are you've advertised your music at one time or another. Maybe you advertise a lot. Either way, the more successful your band or record label becomes, the more likely it will be that you'll steer your promotional budget into ad dollars.

Some bands and record labels simply slap an ad together at the last minute and run with it -- all the while feeling good that they are "advertising" their music. Others go crazy with cutting-edge artwork or a quirky idea that amuses the band members. But do these ads serve the real purpose for advertising in the first place?

To be effective, your ad needs to implant your band name and identity into the minds of music consumers (or industry types, if you're advertising in a trade paper). If it's not, it's dead weight. Your ad needs to make a compelling offer and inspire people to take action to get or hear your music. If it's not, you're simply spending money to stroke your ego instead of get results.

Here are my thoughts on some display ads I randomly found while flipping through some national music magazines.


Tooth & Nail Records -- based in Seattle -- ran a full-page, four-color ad in Alternative Press to promote 11 of its releases. The page had the label name at the top, all 11 album covers with band names, titles and formats listed. Address, phone and web site were displayed at the bottom.
I guess if you're having your recordings distributed to retail outlets, you don't want to rub store owners the wrong way by being too blatant about asking for direct sales from consumers in ads -- even though they are more profitable for you. You can gain more clout with indie distributors by backing up your records, tapes and CDs with "national advertising." But if you encourage buyers to make purchases from you instead of them, why should the stores bother?

I'm certain that's the case with Tooth & Nail -- and if so, this ad performs its marketing function while also including enough contact info for serious fans to reach the label directly. However, if your label were not relying heavily on retail distribution for sales, this ad would provide only generic "image" promotion a bad move for a record company on a tight budget.


Here's a great one. A full-page ad from New York City's Grass Records. Apparently, the powers at this label took 10 of their bands and put together a 20-song sampler CD called Grass of '96. Then they put it on sale at Best Buy for only $1.99. (Great strategy: Get the music into people's ears cheap up front, then make your money on the back end through future sales.) The ad points out that each sampler CD contains a $3 mail-in rebate good towards the purchase of any full-length Grass Records CD. Of course, those titles are also available at Best Buy.
The ad then shows four of those full-length album covers with blurbs from the press under each describing the music. (You should know I'm a big fan of marketers who let consumers know what kind of music a band plays.) The ultra-hip labels might like to shroud their ads in mystery, but the bands and labels that clearly communicate and provide sales incentives are the ones that will come out on top. (This should go without saying, but here it is anyway: Of course, the music has to be good and meaningful for any band to truly succeed. Okay, I feel better now.)

The Grass page ends with a plea to contact the label and join its fan club. Web site, toll-free 800 number and address options are provided. All the ingredients are here for a very effective ad.


The first time I glanced at the full-page ad from San Diego's Re-Construction/Cargo Music, I had serious doubts. Graphically, it was far too busy even for an ad that promoted industrial and sythcore acts. Lots of various, disjointed artwork and type mushed together in an uninviting visual stew. But upon closer examination, it fared far better.
What I liked most about this ad were the descriptions of each band. Not only did they describe the music, but most weren't squeamish about making comparisons to other bands (example: "...should appeal to fans of Cop Shoot Cop and Filter"). When introducing yourself to the public through ads, don't be afraid to give people a point of reference. The small type at the bottom of this ad did ask fans to write for a free catalog. Address and web site info were included.


Epitaph Records' half-page, black and white ad in the Illinois Entertainer scored some points. First, the headline for the ad reads "You scratch my back and I'll STAB YOURS." That's clever and attention-getting. Second, the ad promoted the Epitaph Hotline, which you could call to hear song samples of any of the five bands shown in the ad. Now there's a fresh way of getting people to hear new music by only risking a long-distance phone charge. When you call to hear the music samples, let's assume that complete ordering info is provided (since no other contact info is in the ad). By the way, the number is (213) I-Offend.
Now here are some problems with the ad: There are no descriptions whatsoever of the bands' music. Sure, the hotline is there so you can find out for yourself, but I'd be a lot more inclined to call if I knew some of this music was anywhere near the ballpark of what I already like. Sorry, but the back-stabbing reference in the headline doesn't quite narrow it down. Also, the hotline is mentioned in relatively small type at the bottom of the ad -- almost as an afterthought. It should be the primary focus of the ad, especially since few other labels are doing it.

I hope this critique inspires you to start getting a lot more bang for your advertising buck.

Bob Baker is the author of "Guerrilla Music Marketing Handbook," "Unleash the Artist Within" and "Branding Yourself Online." He also publishes TheBuzzFactor.com, a web site and e-zine that have been delivering marketing tips and inspirational messages to music people of all kinds since 1995. Get your FREE subscription to Bob's e-zine by visiting http://TheBuzzFactor.com today.

The First Question You Must Answer When Promoting Your Music

by Bob Baker
I'm going to use up this entire article dealing with one subject, because I think it's vital to the success of your music promotion efforts. Every day I see the same mistakes being made in this area and feel I owe it to you to drive this crucial point home.

Suppose you walked into your local record store and one of the employees (a complete stranger to you) came up and handed you a box filled with CDs and said, "Here, these are extra promo copies. You can have any CD you want out of the box."

Now let's pretend that you were not familiar with any of these artists. As you picked up each CD to consider whether or not you wanted it, what would be the first question to pop into your head? In other words, what basic question would you need to answer first before you could make an intelligent (and quick) decision on which one you'd take?

Would it be "Who produced this CD?"

No.

Would it be "What record label put this out?"

No.

How about "What are the names of the musicians and what instruments do they play?"

No.

Would it be "I wonder how great these folks think their own music is?"

No.

Hopefully, you've come to the same conclusion that I have. The first question that anyone asks when encountering new music is: "What kind of music is this?"

I've used this box of free CDs example to make a point: This is exactly the same position that music editors, radio program directors, A&R people and music publishers are in when they receive your unsolicited recordings along with dozens of others. Even though it's great to think that everyone already knows who you are and what you do, the sad truth is that most of your contacts will be clueless. That's why giving them the first (and most important) clue up front is essential.

Human beings need some way to process information and file it away in the proper place in their heads before proceeding to any follow-up questions, such as "Where is this band from?" or "What unique spin do they put on this genre?" Without creating a mental category or comparison to something fans are already familiar with, it's nearly impossible to get to these important follow-up questions. And if you can't move this sorting-out process along in a swift manner, your music marketing efforts end up dead in the water.

Why, then, do so many people who promote music either ignore answering this fundamental question -- "What kind of music is this?" -- or bury the answer so deep in their press materials that the reader gives up out of frustration before ever uncovering it?

Unless you are (or are working with) a well-known artist, the people receiving your promo kits will be in the dark as to who you are and what you play. Your job, therefore, is to answer that first all-important question right off the bat: "What kind of music is this?" It should be one of the first things people see when viewing your press package.

Here's an example I randomly pulled out of the overflowing box of review CDs in my office not long ago when I was a music editor. When opening the package, the first thing I see is a cover letter. Here's how it reads (I've changed the name of the person, label and band to protect the misguided):

"My name is John Jones, vice-president of Widget Records, here in New York. I'm writing to announce that one of our bands, the Losers, will be playing in St. Louis on July 24."

It's important to Jones that he announces who he is and what he does right off the bat. I'm sure this makes him feel good about himself. But how does this introduction move him closer to his goal of getting media coverage for the poor Losers? At least I know about the St. Louis date, something that should matter to me. But since I don't know what kind of music this is, I'm not impressed. On to the next paragraph.

"The Losers' music is already on national college and commercial radio."

Excellent. His mother must be very proud of him. But is this jazz radio? Alternative radio? Polka radio? Ten stations? Eight hundred stations? Huh? I'm still being kept in the dark.

"The Losers are a new band founded in 1994 in New York City. These shows are part of the year-long tour to promote their debut album."

More senseless background details before I even know what kind of music this band plays. But one thing I do know is that Jones sure likes talking about his band and its accomplishments. Now I'm starting to doze off from reading this.

"The Losers' music combines Celtic violin with punk-influenced distorted guitars and melodic rock vocals ...

What? A description of the music? Say it isn't so! And I only had to wait till the fourth paragraph to get it. And it ends up being a pretty cool description: Celtic violin with punk guitars. Now that's different. That's something I'd like to pop in the CD player and check out. What a great media hook for the band.

Unfortunately, the label's vice-president has done the group a disservice by burying this vital piece of information in a dreary cover letter. Most media people would have given up on it long before they got to the intriguing description.

But this never occurred to Jones. It was much more important for him to pound his chest and proclaim his name, title, city and the fact that his as-yet-undefined band was getting radio airplay. What a missed opportunity! Don't make this same error.

How much better it would have been if his letter went something like this:

"Dear Bob,
When we first told people we had signed a band that combined Celtic violins with distorted punk guitars and melodic rock vocals, they told us we were crazy. But we proved them all wrong with the Losers, a band that is now on a major roll. Last month alone, over 325 college stations around the country were playing cuts off the band's new self-titled CD. And now you can experience the Losers for yourself when they come to St. Louis on July 24. I think your readers would get a kick out of hearing about this unusual Celtic/violin/ punk/melodic mixture ..."

This version (though it could probably be reshaped and made even stronger) pulls you in and lets you know what you're dealing with quickly and interestingly -- as opposed to Jones's dry resume listings.

Now take a look at some of the promotional tools you're using right now. What's the first thing you see? Your address? The band members' names? The record label name? Some vague reference to how impressive your music is without a specific definition of it?

Stop beating around the bush and start getting to the heart of the matter. Media and industry people are partly overworked and partly lazy. Don't shroud your message in mystery, hoping it will tease people and make them read further. Remember this important rule: No one will ever be as interested in reading your press materials as you will. So give them what they need up front, fast and simple.

And answer the most important question first: "What kind of music is this?"

Bob Baker is the author of "Guerrilla Music Marketing Handbook," "Unleash the Artist Within" and "Branding Yourself Online." He also publishes TheBuzzFactor.com, a web site and e-zine that have been delivering marketing tips and inspirational messages to music people of all kinds since 1995. Get your FREE subscription to Bob's e-zine by visiting http://TheBuzzFactor.com today.
 

How to Beat the Major Labels at Their Own Game

by Bob Baker
In an issue of the trade magazine Billboard, columnist Chris Moore once expressed his bewilderment over the avalanche of new releases from independent labels during the months of October, November and December. Obviously, these record companies want to take advantage of the holiday buying frenzy. The only problem, argued Moore, is that the major labels choose these same months to release most of their heavy-hitting new albums.

And who do you think is going to get most of the attention at retail stores and on the radio during the fourth quarter every year? You can bet it won't be the indie labels.

Moore's suggestion: Independent labels should save their biggest moves for times when the majors are putting forth their smallest efforts. He cited January, a month when major labels are catching their breath after the big holiday push, as being the perfect month for smaller companies to act.

And he added this gem: "In guerrilla warfare, the insurgents always stand the best chance of making a successful strike when the other side is asleep."

I knew right away that I had read these sentiments expressed before. So I picked up my copy of Marketing Warfare (McGraw-Hill), one of many fine books by Al Ries and Jack Trout.

Within its pages I found more ammunition for this viewpoint: "Launch your attack on as narrow a front as possible," the authors write. "This is an area where marketing people have a lot to learn from the military. Where superiority is not attainable, you must produce a relative one at a decisive point by making skillful use of what you have. The marketing army that tries to gain as much territory as fast as possible by attacking all at once with a broad line of products will surely lose in the long run."

The philosophy here is simple: When you are not the leader in your field, you can't possibly win by playing on the same turf and using the same tactics as the leader. Instead, you use the leader's strength to your advantage by focusing your efforts on areas too insignificant for them to bother with.

Plus, you won't succeed by trying to be all things to all people. That broad-appeal, shotgun approach doesn't work for indie bands and labels 99 percent of the time. Your music won't connect with any one group of consumers strongly enough to matter. That's why pinpointing areas where the big players are weak is the best strategy.

Now that you're beginning to absorb this their-weakness-is-your-strength attitude, I encourage you to start coming up with ways you can use your small size to your advantage.

Where else could you be playing live? Through what alternate routes might you get media exposure? What types of new retail outlets could you approach to sell your CDs? How might you package your next release to make it different?

Stop complaining about your lack of resources, and start reframing your current situation into a position of strength!
 

Bob Baker is the author of "Guerrilla Music Marketing Handbook," "Unleash the Artist Within" and "Branding Yourself Online." He also publishes TheBuzzFactor.com, a web site and e-zine that have been delivering marketing tips and inspirational messages to music people of all kinds since 1995. Get your FREE subscription to Bob's e-zine by visiting http://TheBuzzFactor.com today.

by Bob Baker
There are nearly as many ways for musicians to sell self-released CDs as there are CDs. The following stories show how two artists colored outside the lines.

Taking Your Music to the People

Tony, an acoustic folk singer/guitarist in New Zealand, says one method he uses to drum up sales is day-long appearances at record stores.

"The best deal I got was through a local retail chain that liked the sound of what I was doing and allowed me to promote through their store on three different occasions," Tony says. "I spent all day in the store, played my CD through a stereo system, handed out leaflets, gave a special discount, talked to people, signed CDs -- all in all, I sold about 60 copies -- and these to people who normally wouldn't have glanced twice at the album cover anywhere else."

Tony also does a lot of busking (playing live for tips in randomly chosen locations) at country fairs.

"I always have a table beside me with CDs," he explains. "The trick here is that I busk acoustically, but take regular breaks during which I play the CD through a Peavey Solo amp and a Sony Discman, both running on rechargeable batteries. I'll sell a dozen albums this way, plus earn busking money and make contact with people who want to hire me or my band.

"As an independent, you've got to do it all yourself -- and there's absolutely no substitute for personal appearances and live performances," Tony adds. "It's all geared to self-promotion, and it just snowballs. If you sit at home like other really good (much better than me) musicians and say, 'You can't make a living from your music in New Zealand,' then it's true, you won't. However, playing music is my full-time job now."

Using Your Unique Qualities to Your Advantage

Josh of Josh Max's Outfit says his band has sold more than 550 copies of its "Make It Snappy" CD. Not impressed? You may be when you find out how.

Josh explains: "We sold 150 to fans at our shows so far, but the way we moved 400 CDs was to hook up with a fashion magazine for plus-size women and promote our singer, Julie James, who is plus-sized and an amazing, sweet yet powerful singer. Julie has loads of personality -- and the media love juicy people like her.

"The magazine bought 400 copies of our CD," Josh continues, "and distributed them in goodie bags at trade shows around the Northeast. It's a great deal because it's free publicity and the bulk sale made us back a lot of the money we laid out for the disc."

It's also a good example of a band taking what some in the business would perceive as a weakness and exploiting it to the band's advantage. Therein lies the lesson: Any characteristic of your band can be repositioned to be perceived in a fresh light.

(Have a success story like this you want to share? Send your tale of triumph to bob@thebuzzfactor.com.)
 

Bob Baker is the author of "Guerrilla Music Marketing Handbook," "Unleash the Artist Within" and "Branding Yourself Online." He also publishes TheBuzzFactor.com, a web site and e-zine that have been delivering marketing tips and inspirational messages to music people of all kinds since 1995. Get your FREE subscription to Bob's e-zine by visiting http://TheBuzzFactor.com today.

Why the Media Needs You as Much as You Need Them

by Bob Baker
Are you ready to transform yourself into a music media darling? Are you interested in generating feature stories on your band and reviews of your CD through online music magazines, newsletters and music news sites? With this article, I hope to deliver a primer on music PR -- an overview of how the media works and how you fit into it. My goal is for you to look at the media in a fresh light -- not as an adversary that needs to be conquered, but as an ally that can help connect you with new fans, as long as you help the media connect with their audiences as well.

Music publicity is something you should use in combination with other marketing avenues. Even if you already publish your own promotional e-zine, distribute free MP3 files, exchange links with relevant sites, network through discussion forums and generate considerable word of mouth, you should still allow time for online publicity. Getting covered by the media stokes the fire created by your other promotional efforts and draws even more people to your music.

Online publicity can be obtained any number of ways, including the following:

Many people think of the media as being an impenetrable fortress. Folks who feel this way have the impression that to get covered in a newspaper, magazine or trade publication -- online or off -- you have to be part of a secret club or have some inside connection. Nothing could be further from the truth. Most people who have a negative attitude toward the music press either have never dealt with the media, expected too much too soon when they did publicize themselves or simply took the wrong approach when communicating with editors and writers.

Before the Internet became all the rage, there were already many thousands of music publications in existence -- everything from major magazines to mimeographed fanzines. The rapid expansion of cyberspace only served to quadruple the number of media sources in existence. Most established print publications now have an online presence and often feature distinct news stories that appear only on the Internet. Also, the low cost of entry has allowed a multitude of would-be music editors and writers to create their own online news outlets.

Why the Media Needs You

These countless publications each have audiences that are hungry for information related to the musical subject of the publication. Editors, writers, illustrators, photographers and designers -- many of whom are overworked and underpaid -- decide what information their audiences are most interested in and do their best to deliver it. In other words, media people have space to fill. They need quality content to keep readers happy. To write new reviews, articles and recommendations on a regular basis, they need a steady stream of ideas. The easier those ideas are to implement, the better their chances of being used.

It's been estimated that more than 80 percent of what we read in print and online publications is "planted." No, that doesn't necessarily mean that stories are covered because of government conspiracies or because bigwigs slip money under the table (although you can certainly argue that major-label ad revenues have an effect on what's covered in the press). News stories are frequently suggested by public relations firms, freelance publicists and everyday people who simply contact the media with interesting article ideas.

No Media Outlet Is an Island

For 10 years, I published and served as managing editor of my own music magazine in St. Louis, MO. As much as I tried to get out and see bands perform live and stay up to date on developments in the music industry, I couldn't possible be everywhere and know everything at all times. I often relied on the recommendations of others when making decisions on what bands and topics to cover.

Sometimes one of my writers would come to me with a story concept or a press kit from a new band would catch my eye; at other times, speaking with someone at a concert or on the phone would spark an idea. I didn't manage my magazine from within an enclosed fortress and neither do most of the editors, writers, columnists and reviewers you'll be contacting. They need people just like you to give them ideas and information they can use to serve their audiences.

Become a Music PR Resource

Take a look through several music articles and news stories online right now. Rarely are these stories only about things, such as products, services, events, companies and so on. Most good articles have a human element. Especially when it comes to covering musical acts. The personality and image of the artist and what he or she stands for play a key role in determining how newsworthy an act is.

Shouldn't you be someone who journalists turn to when they need a quote or example of someone involved in your area of music-making?

Bottom line: Think about your attitude toward the press, and how you can position yourself as a helpful resource instead of a just another musician looking for a publicity handout.
 

Bob Baker is the author of "Guerrilla Music Marketing Handbook," "Unleash the Artist Within" and "Branding Yourself Online." He also publishes TheBuzzFactor.com, a web site and e-zine that have been delivering marketing tips and inspirational messages to music people of all kinds since 1995. Get your FREE subscription to Bob's e-zine by visiting http://TheBuzzFactor.com today.