Bryan Farrish
(Bryan Farrish Promotion is an independent promotion company handling airplay, talk radio interviews, and gig promotion. www.radio-media.com)
One of the new tricks to confuse artists is “digital distribution” or “digital servicing”. This is a service where the following is supposed to happen: You pay a small fee to have your audio sent to radio stations, then the person at the station listens to your track, plays it, and the service then tells you who played it. Problem is, it’s very misleading.
First of all, you have to understand the difference between “servicing” radio, and “promoting” to radio. Promoting to radio means you have dialog/conversation with the person at the station, and this requires phones calls and emails. After all, you want to actively talk WITH the person about his/her activities, gripes and stories. That is promotion. Just getting the music to them is simply “servicing” (which is a subset of marketing).
I don’t have anything against digital delivery itself; we provide it to every client for free (it’s called email). But the real problem with those digital delivery services is what they allow you to believe. We hear a lot of artists who said, “I paid $200 and my song was sent to 2000 stations, and the report said that 600 of them played it on air!” If you are believing this kind of stuff, your career is going to be having a multitude of problems.
First off, no commercial PD is going to be playing anything from “just an email”. It must come from a person/group that he is talking to or has talked to in the past, be it you, a promoter or a label. From just this trusted group of people, the PD is already overwhelmed by thousands of releases. He could never play them all because his playlist is already packed. And how about the “reports” that tell you how many listened and/or played the track? Contact some of the people at those stations and ask them. Also, check the station’s website for their playlist, and for your track on it.
In 2003 you thought getting your music on myspace was a low-cost answer to promotion, but now there are millions on there. It’s kinda like having a phone number: Every radio station and label in the world can call you, but how many do?
So if you’re looking for airplay and want results, be sure to understand the difference between servicing and promotion.
CMA Awards Win Week In Ratings
/by Sarah SkatesThe CMA Awards were the No. 1 entertainment show on television last week.
During the week of November 8, 2010, ABC’s broadcast of “The 44th Annual CMA Awards” emerged as TV’s No. 1 entertainment program in the key Adult 18-49 sales demographic. In fact it represented the first-time ever for ABC’s CMA Awards to stand as the highest-rated entertainment show, during the week in which it aired.
Up against highly-competitive 2010 November Sweeps programming during the week, the CMA Awards outperformed top-rated shows on the other networks, including Fox’s “Glee,” CBS’ “Two and a Half Men” and NBC’s “The Office.
An estimated 33.8 million viewers watched at least some portion of the show during its broadcast. It was the CMA Awards’ second largest audience since 2005.
CMA Honors Lomax
/by adminSteve Moore and John Lomax III
John Lomax III was recently presented with the CMA’s 2010 Jo Walker-Meador International Award. The honor was presented by CMA Chief Executive Officer Steve Moore on Nov. 8 during the organization’s annual International Reception in Nashville.
“It’s a huge honor and a real thrill to be recognized after a lot of miles and a lot of nights away from home,” said Lomax. “I love taking Country Music all around the world. It’s a common language. I’ve been to countries where no one spoke English but they spoke Country Music.”
The Jo Walker-Meador International Award recognizes outstanding achievement by an individual or company in advocating and supporting Country Music’s marketing development in territories outside the United States. It was named in honor of former CMA Executive Director (1959-1991) and Country Music Hall of Fame inductee Jo Walker-Meador.
Lomax established Roots Music Exporters in 2001, selling indie artist, retail exclusive, and limited edition CDs, DVDs, and vinyl to importers in Australia, Europe, Japan, and New Zealand. He is also an internationally known music journalist whose work has been published on four continents. Currently, Lomax writes a regular column for Country Update in Australia and Country Music People in England. He has authored three books, including Nashville Music City USA, and penned numerous entries in the upcoming revised edition of the CMF/Oxford U Press Encyclopaedia of Country Music.
City Paper: CMA Awards Bring $3M Economic Impact
/by contributorIn money talk, the awards are worth only about one-eighth of the CMA Music Fest. Nashville’s biggest event draws an estimated $24 million in economic impact.
Keep reading…
Video: Loretta Lynn Discusses Tribute Album
/by Sarah SkatesLoretta Lynn at last week's CMA Awards.
Loretta Lynn talks about the Coal Miner’s Daughter tribute album honoring her 50-year career.
Also featured in the video are the artists from the project, including Sheryl Crow, Alan Jackson, Miranda Lambert, Kid Rock, Carrie Underwood, and Jack White.
Rucker Sings For PGA Tour Charity
/by admin“It’s truly an honor to partner with the PGA Tour to bring music and golf together to raise funds for charity,” said Rucker. “There’s no greater privilege to me than to have an opportunity to be the voice of this organization through my music.”
PGA Tour Entertainment is gathering content to produce a custom music video, “making of” video, “get involved” messages from Darius, and more. The PGA Tour plans to integrate Rucker, the song, and related video content within its public service advertising efforts across PGA Tour telecasts and other national media outlets. A special page on the PGA Tour Charities, Inc.’s web site, PGATour.com/together, and robust social media efforts are also in development.
Rucker, a participant throughout the years in many pro-am tournaments on the PGA Tour, plans to attend and perform at select PGA Tour tournaments throughout 2011 to promote the song’s charity message and fundraising platform.
“We are thrilled to partner with an artist of Darius Rucker’s status, as well as Capitol Records Nashville on this exciting and unique venture,” said PGA Tour Commissioner Tim Finchem. “Darius’ love of golf is well documented, as are his charitable efforts. We couldn’t think of a more appropriate person to collaborate with to bring attention to ‘Together, Anything’s possible.’ We thank Darius for his willingness and generosity to write and produce this song for the benefit of charity.”
Hit Writers Pen Holiday Parody Album, Merry Ex-Mas
/by MichelleRobinson, who co-wrote all of the songs with Reid and Pfrimmer, offers an explanation: “sometimes you have to laugh to keep from crying.” Robinson noted the concept for this CD began back in 2002, when he was going through a divorce around Christmas time, and Reid and Pfrimmer were trying to keep his sprits up.
For more information on the CD, visit www.facebook.com/merryexmas; http://www.youtube.com/user/MerryExmas; and http://twitter.com/#!/merryexmas
The Merry Ex-Mas song list:
1. SEE YA SANTA
2. CHRISTMAS, EVERY SINGLE DAY OF THE YEAR
3. SANTA CLAUS IS FOOLIN’ AROUND
4. FROSTY MY EX-WIFE
5. I’M TAKING BACK MY NAME DEAR
6. LET HER GO
7. SINGLE GALS
8. A LOT LIKE EX-MAS
9. 12 DAYS OF CHRISTMAS (MY TRUE LOVE TOOK FROM ME)
10. HARK THE HELL HAS JUST BEGUN
Reba Is People Country’s December Cover
/by Freeman“My family didn’t take vacations except to go to the Grand Ole Opry at the Ryman,” says Reba. “It represents tradition and heritage – things I’m very proud of in country music.” She also explains what one of the format’s young superstars has taught her. “I love to look for great songs to record, and I watch and learn from everybody,” she says. “I’ve definitely learned from Taylor Swift. She really is good at communicating with her fans.”
Other artists photographed for the feature include Lady Antebellum, Taylor Swift, Brad Paisley, Dierks Bentley, Miranda Lambert and Keith Urban.
McBride Joins Train in CMT Crossroads Premiere
/by contributor(L-R): Laurissa Ryan, Sr. Director Talent Relations, CMT; Bill Flanagan, EVP Editorial Director, MTVN; Scott Underwood, Train; Pat Monahan, Train; Martina McBride; John Hamlin, SVP Music Events and Talent, CMT; Margaret Comeaux, Sr. Director Music & Event Production, CMT; Jimmy Stafford, Train. Photo: WireImage.com/Rick Diamond
Next Saturday, November 20th, marks the premiere of CMT Crossroads: Train and Martina McBride. This highly-anticipated performance will air at 8:00 pm ET/PT.
This special was taped before an invitation-only audience in Nashville and features Martina joining Train on her hits “A Broken Wing,” “Wrong Baby Wrong,” and Train’s “Drops of Jupiter,” “Marry Me” and “Hey, Soul Sister.”
This is McBride’s second appearance on the hit CMT series, as she joined forces with icon Pat Benatar in 2003.
Four-time CMA Female Vocalist of the Year and Grammy winning artist McBride has racked up six No. 1 hits, 24 Top 10 singles and more than 18 million in album sales. The recording artist, producer, songwriter and entertainer is known worldwide for hits “Independence Day,” “This One’s for the Girls,” and “Ride.” Her latest album is the chart-topping Shine.
Trailer Choir Hosts & Chesney Celebrates No. 1
/by adminCMT’s 40 Greatest Songs Of The Decade, premiers Sat., Nov. 13. Trailer Choir helps the show count down country’s most popular videos in this all new two-hour music special that celebrates the most successful and influential songs of the past ten years.
(L-R): CMT's Lorrie Bradshaw; show producer Shane Caldwell; Trailer Choir's Crystal Hoyt; CMT's Jimmy Corn; Trailer Choir's Butter; show producer Jason Belcher; CMT's Anthony Mann and Trailer Choir's Big Vinny.
The BNA Records staff was presented with plaques for Kenny Chesney’s two-week Number One Single, “The Boys of Fall,” from his new album “Hemingway’s Whiskey.” (Photo: Randi Radcliff. This photo was so big we cut it in two pieces.)
(L-R): Maurice Miner, Sony Music Nashville; Bryan Frasher, BNA Records; RJ Meacham, BNA; Mary Allison, BNA; Joe Wills, Sony Music Nashville; and Mark Janese, BNA.
(L-R): Dave Dame, BNA; Gary Overton, Chairman & CEO Sony Music Nashville; David "Bubba" Berry, BNA; Buffy Cooper, BNA; Chesney; Clint Higham, Dale Morris Management; Dale Morris; Chris Waters, BNA and Skip Bishop, VP Promotions, Sony Music Nashville.
Promotion vs. Servicing Myths
/by contributorBryan Farrish
(Bryan Farrish Promotion is an independent promotion company handling airplay, talk radio interviews, and gig promotion. www.radio-media.com)
One of the new tricks to confuse artists is “digital distribution” or “digital servicing”. This is a service where the following is supposed to happen: You pay a small fee to have your audio sent to radio stations, then the person at the station listens to your track, plays it, and the service then tells you who played it. Problem is, it’s very misleading.
First of all, you have to understand the difference between “servicing” radio, and “promoting” to radio. Promoting to radio means you have dialog/conversation with the person at the station, and this requires phones calls and emails. After all, you want to actively talk WITH the person about his/her activities, gripes and stories. That is promotion. Just getting the music to them is simply “servicing” (which is a subset of marketing).
I don’t have anything against digital delivery itself; we provide it to every client for free (it’s called email). But the real problem with those digital delivery services is what they allow you to believe. We hear a lot of artists who said, “I paid $200 and my song was sent to 2000 stations, and the report said that 600 of them played it on air!” If you are believing this kind of stuff, your career is going to be having a multitude of problems.
First off, no commercial PD is going to be playing anything from “just an email”. It must come from a person/group that he is talking to or has talked to in the past, be it you, a promoter or a label. From just this trusted group of people, the PD is already overwhelmed by thousands of releases. He could never play them all because his playlist is already packed. And how about the “reports” that tell you how many listened and/or played the track? Contact some of the people at those stations and ask them. Also, check the station’s website for their playlist, and for your track on it.
In 2003 you thought getting your music on myspace was a low-cost answer to promotion, but now there are millions on there. It’s kinda like having a phone number: Every radio station and label in the world can call you, but how many do?
So if you’re looking for airplay and want results, be sure to understand the difference between servicing and promotion.