Artisthead News

Famed Music Educator, Patty Carlson Joins The Artisthead New Music Academy

Sun, 13 May 2012 16:20:02 -0500

Patty Carlson's work in music education and brain development is making leaps and bounds with students that have had dismal school grades and learning problems. Her ‘Numeric Language of Music' has turned around student's grades as much as 90% in just one school semester. Patty will be bringing her expertise in piano and music training to students around the world via the Artisthead New Online Music Academy.

Students can study Patty Carlson's programs 24-hours a day, seven days a week from anywhere in the world with an internet connection. Lessons are for children and adults with prior or no previous piano training. Patty's accelerated and advanced method is a benefit to all students of the piano, music and learning.

For more information on Patty Carlson and her ‘Numeric Language of Music', read here.

Study with Ms. Carlson now.

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ARTISTHEAD TV Presents 'GROOVEMONSTER' Movie Exclusive

Sun, 06 May 2012 18:30:35 -0500

ARTISTHEAD TV proudly presents 'GROOVEMONSTER', the Tony Newton story. An original Motown Funk Brother and bassist on over 25 million selling hit recordings, Tony Newton takes us on his exciting, musical journey. A film for musicians and non-musicians alike, we are honored to offer this piece of music history on ARTISTHEAD TV Video-On-Demand!

Watch GROOVEMONSTER The Movie!

"Groovemonster Rocks" By Lisa Turnbull
Produced & Distributed by: Quantum Media Arts

Directed by: Rockmore Defrank

Written by: Hans Adamson & Tony Newton

Release Date: February, 2012

Length: 115 minutes.

Format: DVD, Digital Download and VOD

Groovemonster, a Quantum Media Arts film, propels viewers through a historical journey of the  electric bass, Motown's heyday and, (Antonio) Tony Newton's prolific musical career. With historical  accuracy and engaging pacing, this movie will both inform and entertain.

The artistic documentary based on Newton's autobiography Gold Thunder (and produced by  Newton along with Louis Nathan) combines a unique fusion of Newton's voice over historical narration  with first person accounts-from Tony, his family, friends, and fellow musicians-and live performance  footage. But it isn't simply the eclectic style that works; it's the artful execution of the style. Thanks to  Dennis Passaggio (Director of Photography) and Rockmore de Franke (Editor), Groovemonster's 115  minutes rarely drag. If an occasional interview segment runs long, viewers can expect to reengage with  one of the film's many engaging montage sequences.

One particularly memorable pastiche includes performance stills along with footage from the  1965 "European Tour" featuring Stevie Wonder, Diana Ross & the Supremes, Martha & the Vandellas,  and Smokey Robinson & the Miracles. Equally entertaining is concert footage of Newton jammin' to the  always-groovy "Everybody Get Funky" combined with a whirlwind of pop culture images and icons, past  and present. Retro album art, colorfully-wild computer-generated graphics, Motown footage-and much  more are vibrantly intertwined with "funky" performance video-all of which is seamlessly edited.

The success of such montages, however, cannot be entirely attributed to visual appeal; they also  serve as visions of history. This infuses Groovemonster with a palpable tone and mood of vibrant  nostalgia. The segment dedicated to time-honored venues such as The Apollo and The Fox (among  others), for instance, captivates viewers with majestic photographs.

However, Groovemonster's obvious attention to production value could not-would not-  enthrall viewers to the extent it does without one unifying and charismatic element: the Groovemonster,  himself. To be honest, few viewers these days have the attention span to handle two hours, documentary  or otherwise. That's where Tony comes in. A large percentage of the film is Newton, the musician and  philosopher, up close and personal. Does it keep most viewers (fans and otherwise) engaged? Amazingly,  yes.

Whether or not viewers go in knowing Newton's extensive contributions to the music industry,  they will likely leave with a sense of respect and awe. The film's homage at the start to the  underappreciated bass player could really serve as a microcosm of the underappreciated musician who  spends decade after decade perfecting his craft...the one who dedicates his heart, soul, and talent to his  God-given calling in life.

Through the chronology of Newton's life via candid and raw interview material, we follow Tony  as he navigates an abusive stepmother, crime-laden Detroit in the 60s (as a professional, teenage  musician), and the harsh (often unfair) politics of an industry full of egomaniacs. Somehow (and in stark  contrast to many talented musicians), Newton rises above the fray. Besides the obvious musical successes  (Gold and Platinum recordings), he masters piano (even writing entire symphonies), designs the three-  necked bass guitar, and continues to evolve as a musician and (just as admirably) a highly intelligent,  spiritual philosopher. Perhaps this last element is what, ironically, sets Groovemonster apart from the  typical "music history" documentary or "star" biography-Newton's gentle wisdom, intimate reflection,  and insightful analysis.

If the bass line (bass) is "the heartbeat" of a song (as Newton so eloquently describes it), it seems to this  viewer that the artist himself is the heartbeat of Groovemonster. Overall, Groovemonster appeals to  musicians, music fans and anyone who appreciates the heights one can soar with enough perseverance,  dedication, and purpose. The film tells Newton's passionate and inspirational saga through live concert footage, interviews,  narration, and historical photos. GROOVEMONSTER uses a dynamic new format "Music Cinema"  which features both live concert performances and recordings from the CD album.

The GROOVEMONSTER movie also comes in an innovative triple-pak, "Xtreme Entertainment Bundle",  including the DVD, the "Gold Thunder Book," and a "FREE" "Thunderfunkfusion" CD album from the iconic  Newton.

Watch GROOVEMONSTER The Movie!

Tony Newton Official Website

License Tony Newton's music for your film or project

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The ARTISTHEAD LICENSING LIBRARY Welcomes Rapper TA$K1

Wed, 02 May 2012 01:49:28 -0500

Only The Brave Recordings & Entertainment and Artisthead Music Licensing announce the release of, TA$K1 "Lemonade & Vodka, Vol.1".

TA$K1 is one of Indian Country's fastest rising stars. From the tundra of Wyoming, this crossover artist is breaking new ground with his unique brew of urban Hip-Hop. His melodic hooks and old-school sensibilities get the party started, and it don't stop. TA$K1 recently signed with Only The Brave Recordings & Entertainment and is licensed through Artisthead.com.

The ARTISTHEAD LICENSING LIBRARY Welcomes TA$K1. License his special brand of explicit Hip-Hop for your film or series. If you just want to put some hot new grooves in your personal listening library purchase any of TA$K1's tracks for .99 cents. They will blow your mind!

Official Website

For information and bookings:
Belinda Corcovelos
belinda@otbentertainment.com
(951) 566-7501, (928) 284-4736

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Artisthead Welcomes Mingo Lewis And Room Of Voices To Its Licensing Library

Mon, 23 Apr 2012 16:59:34 -0500

Mingo Lewis, is a percussionist, keyboardist and vocalist on some of the most influential recordings in American music and a unique performer with such notables as Santana, Al Di Meola, Return To Forever, Billy Joel, The Tubes, Todd Rundgren, XTC, James Brown, Aretha Franklin, David Bryne, Brian Eno, Jan Hammer, Joe Satriani, Miles Davis, Third World, Raquel Welch, Stanley Clarke, John McLaughlin, Eddie Palmieri, Tito Puente, Jeff Beck and others.

The discography of Mingo Lewis reads like a virtual who's-who of rock, jazz, pop, art and world music. A world-class percussionist, Lewis was recruited by and recorded classic albums with Santana as a young teen in the early 1970s and went on to perform and record with Chick Corea's groundbreaking Return to Forever. From there, Mingo was launched into superstardom as an in-demand studio and stage performer, working with the most distinguished names in music.

Mingo was signed to CBS records at the age 19 as a solo artist and produced "Mingo's Flight Never Ending", a classic fusion album that displays Lewis' strength as a composer. Lewis moved to Europe and started to study North African rhythms. This culminated in his newest musical pursuit, Room Of Voices.

Room Of Voices is the culmination of Mingo's understanding of groove and movement that comes from growing up in a New York house that was a late night jam center for Miles Davis, Thelonious Monk, Max Roach, and many others. As a child, Mingo became the "house" drummer and at the age of twelve became very interested in Afro-Cuban music.

Lewis has a real understanding of soul music and its component in music from around the world and this is what Room Of Voices communicates. Funk, Dance, Trance, Exotic, instrumentals and vocal tracks that are at home on dance floors in the U.S.A. and Internationally. The group also incorporates dance performance and sets an exciting and sensual mood in venues and at festivals.

The Artisthead Music Library is now offering the licensing of Room Of Voices material for film and television broadcast, radio and web. Mp3s may also be purchased for personal, non-commercial use for .99 cents at www.artisthead.com

Room Of Voices Official Website

Buy and License Music

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Dean Markley Interview: "I Try to Make Products that Touch People's Souls

Wed, 11 Jan 2012 01:51:14 -0600

Alison Richter, Aritsthead Contributing Writer

Quality, honesty, integrity — they’re the values with which Dean Markley was raised and the foundation on which he started Dean Markley Strings 40 years ago.

Markley was born and raised on a farm in Bennington, Kansas. He began playing guitar when he was 16 and joined a band called The Thundermen. He worked for Bowman Music Company in Missouri, and eventually relocated to Santa Clara, Calif., where he opened and later bought the store that became Dean Markley Music.

In 1972, he founded the Dean Markley company, establishing the name as a leader in musical instrument strings. Over the years, the company expanded its line to include amplifiers, pickups and accessories, and is now celebrating its fourth decade in the forefront of product innovation. In October 2007, Markley was honored by San Jose Rocks for his many contributions to the history and growth of the Silicon Valley music scene.

Ten years ago, Markley shifted gears, working from home with less of a hands-on role in the company. This year, as Dean Markley Strings celebrates its 40th anniversary, he has returned to his full-time position as founder and president.

While he has an innate talent for staying on the cutting edge of product development, Dean Markley still embraces old-fashioned business methods: the customer always comes first, a man’s handshake is his word. He is proud of his accomplishments, but humble when discussing them. In this candid interview, his first since resuming his role at the Santa Clara office, he discusses his professional goals for 2012, upcoming product launches, the state of the industry, and why it is critical for manufacturers to support independent retailers.

Let’s begin with a look at the past decade. Why did you leave and where have you been?

I didn’t totally leave. I just quit going to the office all the time. I have an office in my home where I have all my graphics computers and stuff like that. I do a lot of the package graphics and some of the advertising and a lot of the order forms and catalogs. I wasn’t ever totally out; I just wasn’t making the day-to-day decisions. There were other people doing that. I was doing a lot of designing and coming up with various ideas. In the last couple of years I worked with my friend Jeff Landtroop, who’s the manager of the string winding division, American Winding. Jeff is a fantastic guy and knows a lot about making strings and coming up with ideas and working out new techniques to do things better and different. In the last couple of years we came up with the new Helix string. Currently, there’s a line of electric and two lines of acoustic strings.

What is the story behind Helix?

Read More...

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ARTISTHEAD: Offering Business Resources to Empower Musicians

Wed, 04 Jan 2012 02:19:58 -0600

Alison Richter -
Music Industry Examiner

As a musician, songwriter, performer and recording artist, Robe Williams has seen the good, the bad and the ugly of the music industry. Never losing faith in the good, but frustrated by the bad, he decided to do something about it: he founded Artisthead, a musicians’ resource company that offers guidance and assistance in every area of the music business.

Williams assembled a team of professionals to advise, consult, report, write, and assist musicians. The company launched in September 2010, and has since expanded to major markets across the U.S., growing its services to meet the needs of all musicians, from novice to professional.

In this interview, Robe Williams discusses why it is critical for musicians to take control of their careers and protect themselves in the constantly shifting digital music paradigm.

Let’s begin by introducing readers to Artisthead: an overview of what your company does and what it offers.

Artisthead is a resource that connects the various components of the music business in one place for artists to manage and advance their careers. We offer career guidance, artist development, production and technical assistance, copyright, trademark, licensing, distribution, product creation, booking services, marketing and branding, PR, legal and accounting services, and ongoing label and business management.

As a musician, what did you feel was lacking in terms of industry resources, and how did you develop a business model to implement necessary structures in order to resolve some of these issues?

Read More...

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The Suddyn Road to Success

Tue, 03 Jan 2012 23:37:52 -0600

Alison Richter, Aritsthead Contributing Writer

Formed by brothers Alan and Jarrett Steil, Suddyn is a unique mix of piano-driven rock with a heavy dose of electronica woven into their sound. The band’s founders grew up in New York, where they both studied music and played in school bands. Suddyn is their first collaboration and has taken them across two continents, performing over 400 shows. They have recorded two discs, Dark Lights andBefore the City, produced by Grammy winner David Kahne (Paul McCartney, Sublime), and charted three Top 30 hits in the U.K., where they’ve toured and built a solid fan base. Upon their return to the U.S., Suddyn traveled to Los Angeles, where they now reside, for a series of dates that opened doors to radio airplay and television placements, laying the groundwork for a promising new year.

     In a recent interview, Alan Steil discussed the band’s unusual start and their steady, successful climb.

In an interesting twist, you “honed your music while touring through Ireland.” Obvious first question: Why Ireland?

Jarrett and I are from a town called Montauk, at the very end of Long Island. Every year, hundreds of Irish students come over to work and drink for the summer, so we made some solid Irish friends over the years. Also, we love rain and we thought if the music did not work out that we would have a good chance of trapping a leprechaun and stealing his pot of gold! We definitely got the rain, but the leprechaun eluded us … for now, anyway.

Ireland has a great music scene and some great craic — that is actually the Irish word for fun — no joke! Musically, we learned a lot playing the streets of Ireland, and along the way we developed a solid appreciation for fireplaces, drinking and sing-alongs. What started as a two-month trip turned into a two-year residency.

You also charted three Top 30 hits there as an unsigned band. How did you accomplish this, and why is this easier to do in the U.K. than in the U.S.?

Read More...

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Guitar Man, Shane Dwight Rocks the Blues on "A Hundred White Lies"

Tue, 03 Jan 2012 01:21:45 -0600

Alison Richter, Aritsthead Contributing Writer

Describing Shane Dwight’s music is something of a challenge. He’s heralded by blues publications and websites, but at the same time injects a heavy dose of rock and roll into a very traditional genre. Over the decade that Dwight has been recording and touring, he’s been labeled blues, rock, roots and Americana, but mostly he’s referred to as an outstanding guitarist, songwriter, singer and performer. If you’re not familiar with Dwight, his new album, A Hundred White Lies, will tell you everything that you need to know.

A native Californian who moved to Nashville three years ago, Dwight records independently, which gives him the latitude to make music his way. To date, he has sold over 60,000 albums. He tracked A Hundred White Lies at Rock House Studio, which is owned and operated by his next-door neighbor, Grammy Award-winning producer Kevin McKendree. He is backed on the album by Delbert McClinton’s touring band: guitarist Rob McNelley, drummer Lynn Williams and bassist Stephen Mackey, with Bekka Bramlett and the McCrary Sisters on background vocals.

In this interview, Shane Dwight discusses the recording process, what he learned as a guitar student and teacher, and remembers the day he fell in love with a Stratocaster.

How much pre-production did you do on this album?

We did one day of pre-production in the sense that Kevin and I did the arrangements on acoustic guitars. Kevin charted them and brought them to the sessions, everyone wrote notes and away we went. We didn’t even finish all the songs. We recorded five songs a day for three days and some of them weren’t arranged, so the joke in the session became, “What are you going to play?” because no one knew. We just played. We didn’t isolate instruments or discuss form. We just jammed the blues and kept eye contact. It was really cool and really natural. They play together so much; they do their thing and it worked really well with what I do. Then the overdubbing began. Kevin redid a lot of his parts on real piano because he did it on his console for the feel when we played. On songs I didn’t record live, I redid my guitar parts. Usually I would burn through three or four passes through the song and move on to the next song. I improvised over the top and we went back and listened to the best of and edited what worked. Then the girls came in. Kevin was in Europe with Brian Setzer the whole times he was mixing and editing the record. He would send mixes to my iPhone, which I would burn and listen to and let him know what I liked and didn’t like. We did that for a month or so and then we were done. He did a fantastic job.

You keep your rig very simple and basic. Have you always been this way, or did you go through the ubiquitous gearhead/chasing tone period?

Read More...

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ARTISTHEAD Virtual Music Business Office Goes Live

Wed, 21 Dec 2011 16:52:51 -0600

ARTISTHEAD VIRTUAL MUSIC BUSINESS OFFICE

Finally, you have access to all of the components of the entertainment business in one place.

To be truly effective, artists need to function like a major Hollywood entertainment company, with the ability to access the various resources and departments that fulfill the needed roles and duties. Obviously, this would be extremely cost prohibitive for most artists.

ARTISTHEAD takes Hollywood and puts it in a box for all to access. The same services and the same expert advisors that the majors leverage, ARTISTHEAD now allows you the same resources to build your own music management dream-team online, without the massive budgets and huge overhead costs.

ARTISTHEAD creates a virtual patch-bay, connecting the various components of the business. We offer career enhancing guidance and education, artist development, production and technical assistance, legal and accounting services, marketing, PR, booking services, and ongoing business management. Artists will access these services via their personal online office utilizing our Virtual Music Business Office platform.

ARTISTHEAD offers artists the benefits of having their own expert team while the artists or labels retain complete creative control and ownership of their works. Artists can now access and leverage top industry resources and know-how in a fully scaleable way.

Members of the ARTISTHEAD Advisory Team have worked with Led Zeppelin, Michael Jackson, KISS, Rihanna, U2, Stevie Wonder, Eric Clapton, 50-Cent, Beyonce, Ice Cube, The Rolling Stones, Katy Perry, George Harrison, Jay Z, Oasis, George Michael, Snoop Dogg, Adam Lambert, Dr. Dre, Motley Crue, Bad Company, Jeff Beck, Barry White, Britney Spears, Elvis, Madonna, Frank Sinatra, Stone Temple Pilots, The Firm, Elton John, Ozzy, Hall and Oates, Duran Duran, Alanis Morissete, Diddy, Guns and Roses, Santana, American Idol, MTV and countless other industry icons and chart toppers.

With the ARTISTHEAD VIRTUAL MUSIC BUSINESS OFFICE™ artists, for the first time, can connect and do business with their team of industry advisors from anywhere around the globe, 24-hours a day, 7 days a week. This is the ability to totally control the management of your career that has, until now, been impossible. ARTISTHEAD is the only connection point that brings together all of the needed related services, allowing you to fulfill and manage all of your business needs on your own terms. Start your own music business office right here.

ARTISTHEAD - Your platform to success.

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ARTISTHEAD Press Team Goes To NAMM 2012

Fri, 16 Dec 2011 18:24:00 -0600

The ARTISTHEAD Press Team has been invited to attend NAMM 2012. We are very excited to be covering this major music business event as it brings the top manufacturers and musicians from around the world together for four days of non-stop music, technology and a whole lot of fun. The event will be held at Anaheim Convention Center and starts January 19th, 2012.

Here is some info from the NAMM website.

NAMM, the National Association of Music Merchants (NAMM), commonly called NAMM in reference to the organization's popular NAMM trade shows, is the not-for-profit association that unifies, leads and strengthens the $17 billion global music products industry. Our association-and our trade shows-serve as a hub for people wanting to seek out the newest innovations in musical products, recording technology, sound and lighting. NAMM's activities and programs are designed to promote music making to people of all ages.

The Model for Industry Growth-The History

Before there was an industry or an association, there was a belief...in music. That belief led to a mission: to unify, lead and strengthen the global music products industry and increase active participation in music making.More than a century later, that mission has attracted a growing, thriving worldwide community of thousands of deeply passionate, talented companies that make, buy and sell the instruments that allow millions of people to make music. That community is called NAMM, the trade association of the international music products industry.

NAMM is able to support the association's mission with a business model based on a circle of benefits that promotes industry growth. The circle begins with the revenue derived from NAMM's trade shows, which is channeled back into the industry through the NAMM Foundation's funding of industry charities and in the form of advocacy and market-building programs and initiatives, further increasing public awareness. This leads to increased demand of music products, growing the industry and, ultimately, promoting trade show growth, which completes the circle. To support individual Members, NAMM offers industry education through NAMM University, publishes valuable one-of-a-kind statistical reports, and brings the industry together at events and global meetings.

Founded in 1901, NAMM has been the engine driving the music products industry, enabling both large and small businesses to maximize productivity and reduce the costs of doing business. With more than 9,000 Members in the United States and 100+ other countries, NAMM is ultimately dedicated to expanding the market and giving people of all ages the opportunity to experience the proven benefits of making music.

Show Location & Hours

Anaheim Convention Center
800 West Katella Avenue
Anaheim, CA 92802
Thursday, Jan 19 10 a.m.-6 p.m.
Friday, Jan 20 10 a.m.-6 p.m.
Saturday, Jan 21 10 a.m.-6 p.m.
Sunday, Jan 22 10 a.m.-5 p.m.
*Levels 2 & 3 and Hall E
open at 9:30 a.m.

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Down Guitarist, Kirk Windstein: “Down is a Completely Different Beast”

Sun, 18 Dec 2011 00:41:00 -0600

Alison Richter, Aritsthead Contributing Writer

Like his bandmates — vocalist Philip Anselmo, drummer Jimmy Bower, bassist Pat Bruders and guitarist Pepper Keenan, guitarist Kirk Windstein has never been one to mince words. Whether it’s discussing the band’s musical partnership, his working relationship with Keenan as a guitar team, or his overview of the state of the music industry, Windstein pulls no punches. Shooting straight with uncensored honesty is part of Down’s credo: in their music, their band ethics and their interviews.

Windstein, also recognized for his work with Kingdom of Sorrow and Crowbar, is still taken aback — and humbled — by the impact Down’s music has on their fans. “The style of music we play gets a bad rap as far as the image of what we do,” he says. “The lyrics are dark subject matter, but the lyrics themselves are positive and about finding strength and getting through the tough times in life. It’s amazing; I’ve gotten handwritten letters from people all over the world that say, ‘Can you please sign this picture?’ and they write a deep letter about how the music affects them in a positive way. It’s a great feeling to be able to do that for somebody. I know what music did for me when I was growing up. I fell in love with KISS when I was 10 years old in 1975, and I can’t say that they have deep lyrics or anything, but it really pulled me through my adolescence and into the teen years, which are really tough. Then I discovered Van Halen in the late ’70s, and all heavy metal music, and I would literally run home from the school bus, put on music and practice guitar. So it’s very important to a lot of people.”

Why the longevity?

If it weren’t for taking breaks, sometimes long sabbaticals and doing other things … we toured ourselves silly in the past at times. We now know how long of a tour we can do without wanting to kill one another and how long we can go until we need a break. It’s difficult because we’ve got five very strong personalities, very talented guys that have all been successful in other bands, and it can get to be a bit much. I will say that we’ve mellowed with age. It’s helped a lot, not only as in partying and stuff like that, but our whole attitude. We realize that we’re blessed to be able to do what we’re doing, which is make a living playing the music we create, and we have a great diehard fan base and we’re grateful for that. As we get older, we realize how fortunate we really are to still be doing this and at some level of success. We all appreciate the band, and ourselves in general, more than we did ten years ago.

Read More...

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Hollywood Undead Guitarist, J-Dog Speaks On Turning "Tragedy" Into Success

Sun, 18 Dec 2011 00:03:41 -0600

Alison Richter, Aritsthead Contributing Writer

When Hollywood Undead made their entry into Myspace six years ago, they had no way to predict that (a) they would build and develop such a loyal fan base and (b) they would sign a deal, walk out on the deal, and end up with much more as a result.

     The band — guitarist J-Dog, vocalist Johnny 3 Tears, guitarist/vocalist Charlie Scene, drummer Da Kurlzz, vocalist Funny Man and vocalist/guitarist Danny — originally signed with Myspace Records but opted out when the label began implementing creative control. It took time before another offer was on the table, but as soon as they signed with A&M/Octone and released their debut album, Swan Songs, in 2008, the Hollywood Undead machine began rolling at breakneck speed. Swan Songs is closing in on Platinum status as sales approach 1 million units.

     The album spent over a year on the charts and made its way back with the release of the band’s sophomore project, American Tragedy, in April 2011. That disc debuted at No. 4 and sold 70,000 copies during its first week. Thanks to singles “Hear Me Now,” “Been To Hell,” “Coming Back Down” and “Bullet,” American Tragedy is past the quarter-million mark and going strong as Hollywood Undead continue touring.

     In a recent interview, J-Dog covered a number of topics, including how the band takes American Tragedy to the stage, the role of social media in the success of Hollywood Undead, and his longtime passion for Schecter guitars.

You have a young audience and adult lyrics. While there is a “non-explicit” version of the CD, is it still a bit perplexing at times that you appeal to a younger crowd perhaps more than to an older demographic?

I don’t know; maybe they think it’s too childish. Some people take themselves way too seriously, I feel, so when they listen to it, they think, Oh, I’m way beyond that; I listen to Kings of Leon, or something like that. Older people are real quick to judge because they think they’re too cool. If the person has a sense of humor … we like to joke around and some people are super serious. They’re journalists just for the paycheck and they don’t enjoy it anymore and that makes it difficult. Most of them who do it are an older crowd, but they’re usually good about it. We’ve met some real a--holes, though, and it’s like, Why are you doing this if you don’t want to be on the phone with me? You might as well change your profession.

Read More...

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Guitarist Earl Klugh: "It's Always a Challenge and That's the Good Thing"

Tue, 30 Aug 2011 16:12:07 -0500

Alison Richter, Aritsthead Contributing Writer

In his 30-year, 30-album career, Earl Klugh has received 12 Grammy nominations, including back-to-back nominations in the Best Pop Instrumental Album category for The Spice of Life and solo release Naked Guitar. He has charted 23 Top 10 records — five of them reaching No. 1 — on Billboard’s Jazz Album charts, selling multi-millions worldwide. He is in demand as a guest session player and songwriter, and has appeared on recordings by Aretha Franklin, Roberta Flack, Mary J. Blige, Al Jarreau and many others. Klugh has recorded collaborative albums with George Benson and Bob James, works extensively with symphony and youth orchestras, and is executive producer of the annual Weekend of Jazz, which takes place this year at Kiawah Island Golf Resort on Kiawah Island, S.C., on November 10-12.

In this interview, Earl Klugh offers some insight into the definition of jazz and being his own producer.

Thirty years and as many albums — do you ever feel you’re rediscovering the instrument when you record or perform live?
I think that’s pretty true every time I practice or play. It’s always a challenge, and that’s the good thing about music — if you’re open to it. I can only speak for myself, but I think there’s some truth to it for everybody who does this, especially over time: you sometimes get stuck in a rut. You’re not as creative as you would like to be; you’re not finding the direction you want to go. It’s natural to feel stuck. I try never to dwell on that, even as I write music or work in a musical situation. I try to work through it, look past that and find another idea or way of approaching the situation. I play guitar every day, and if I leave it alone for four or five days, the ideas come back better after some time. You can’t think about it. You may want to, but you can’t.

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ARTISTHEAD Set To Take Over The New Music Industry

Sat, 13 Aug 2011 07:20:15 -0500

ARTISTHEAD Set To Take Over The New Music Industry

Ian James - Business and Technology Writer for The New Music Business Journal.

Since opening for business one year ago in September of 2010, ARTISTHEAD MUSIC (www.artisthead.com) has come a long way. In that short amount of time the musician's resource company has brought together some of the most talented music business advisors for their team, created a journalism division that covers LA, New York, Nashville, San Francisco, and London, was a featured speaker at the NARM Conference and created a web TV channel with Reality Check TV that features interviews and event coverage of major and indie acts from music, movies, stage and television. ARTISTHEAD also took home the coveted 2011 Communicator Gold Award of Excellence for Interactive Media.

As the company moves into their second year, there is no sign of a slowdown. Next month, on it's birthday ARTISTHEAD will be unleashing a new variety of groundbreaking business and sales tools that will change the playing field for musicians and filmmakers of all levels.

In August ARTISTHEAD opened their music distribution division that services over 11,000 retail outlets for physical music goods and supplies to all of the digital sales platforms. this September they will be featuring the release of several tools to help everyone from the DIY musician and filmmaker to ‘Fortune 500' grade companies.

In September ARTISTHEAD will launch its Music Licensing Division, utilizing an unparalleled online platform that connects musicians, filmmakers, music supervisors easily and directly. Their other offering is both intriguing and unique. It takes all of the resources that the major entertainment companies have and now gives artists direct access to Marketing & PR, Booking, Artist Development, Legal & Accounting help, Product Manufacturing, Record Label Management and Distribution and Licensing, all using the new ARTISTHEAD Virtual Music Business Office platform.

Artists will access these services via a personalized online experience that reflects their current career needs and is scalable to mega-star level, and beyond. It's the only tool that allows artists to self-manage, with the assistance of sharpest minds in the music business. This kind of access was, and still is the Holy Grail for most musicians. Now with services like ARTISTHEAD, putting together your music business dream team is a serious reality.

Also on their September release menu is a free "social-commerce" sales tool that allows artists and fans to quickly and easily sell and distribute an artist's music and merchandise. The technology utilizes high-tech, embeddable "instant-buy" sales stores to sell products through unlimited social networks, blogs, official artist sites, and premium ad networks for commercial distribution.

The suite of artist branded sales and ad tools includes: instant-publishing social and viral mini-stores, product-embedded movie and music videos and mp3 players, and exciting fan sales engagement apps. Artists can actually offer their fans a payout reward to encourage them to share and sell the artist's music products by posting the store to their Facebook pages, blogs and virtually anywhere else on the web. Artists promote and sell their products as they are distributed across the web and mobile strata.

With stats now showing DIY and indie music comprising 30% of the total music sales, ARTISTHEAD is the company to watch in 2012. If you are a DIY artist trying to put together or maintain the various components of your career, ARTISTHEAD really serves you in all aspects of the business while giving you complete control and saving you a lot of time and money. From record label creation, publishing, copyrights and trademarks, booking, manufacturing of music products, distribution, licensing, marketing and PR, label and artist management, and now with the addition of their Virtual Music Business Office platform and the viral sales tools, ARTISTHEAD is the only site that you will need to visit, and visit frequently.

Get more new music business news from The New Music Business Journal.

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The Misfits announce first new album in nearly a decade and tour to follow

Thu, 18 Aug 2011 16:59:51 -0500

F. Daniel Kent, Artisthead Writing Contributor

Punk icons the Misfits return with their long-awaited, first full-length release of all-new, original material in nearly a decade. Rooted in the horror and sci-fi themes their audience craves, The Devil's Rain will be released October 4th on Misfits Records. It was produced by Ed Stasium, who's credits include the Ramones' Road to Ruin and Too Tough to Die, as well as the Misfits' 1999 release Famous Monsters.

The Devil's Rain showcases a jaw-dropping, two-panel front/back cover painting featuring the rebirth of the band's iconic "Fiend" mascot in an epic setting rendered by Arthur Suydam (known for his immensely popular work on the Marvel Zombies series, among others). The band's current lineup - consisting of founding member Jerry Only on vocals/bass, Black Flag alum Dez Cadena, and drummer Eric "Chupacabra" Arce - will kick off an extensive US tour in September.

In 1977, at the dawn of the punk movement the Misfits set out to make an impression, and created a legacy that has truly withstood the test of time. Immortalizing black and white B horror films in their music, the Misfits developed a ghoulish and totally unique persona of their own that's consistently evolved over the years, while remaining true to its roots. The band's iconic "Fiend Skull" logo has become a staple in pop culture, and an instantly recognizable symbol worldwide.

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Sixx:A.M. Guitarist DJ Ashba Talks About Teamwork, Individuality and the Art of Guitar

Thu, 18 Aug 2011 15:50:59 -0500

Alison Richter, Aritsthead Contributing Writer

Musician, songwriter, producer, graphic designer, self-professed gear fanatic and technology addict — Sixx:A.M. guitarist D.J. Ashba is a tireless workaholic, which makes him a perfect match for his equally driven bandmates, James Michael and Nikki Sixx. Ashba began playing guitar as a child, influenced by innovators like Randy Rhoads and Eddie Van Halen, and threw himself into his craft as a form of self-expression, therapy and a labor of love. His passion for the instrument, and most of all for music, led him to start his own bands, try his hand as a solo artist, and eventually find a musical home in Sixx:A.M., all while making a name for himself as a multi-faceted artist inside and beyond the realms of the recording studio.

The trio recently released their second album, This Is Gonna Hurt, the follow-up to their tremendously successful debut, The Heroin Diaries. In this interview, Ashba discusses the teamwork behind Sixx:A.M. and the ongoing projects in Ashbaland.

You were raised in a religious household. Does your faith play a great part in your life?

It does. I don’t go to church every Sunday, just on Christmas, but I still pray every night and thank God for everything I have, because it could all be gone tomorrow. I’m fortunate. I work very hard and I’m very lucky to have two arms, two legs, two hands, and I don’t take that for granted. I really could get hit by a car and it would all be over. I thank God every night and it makes me feel good. I’m not a Bible thumper, but at the same time, it was instilled in me at such a young age and it has helped me get through a lot.

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Pop Evil's Leigh Kakaty: Being a Frontman is Not Just Singing and Writing

Sat, 13 Aug 2011 20:44:00 -0500

Alison Richter, Aritsthead Contributing Writer

When War of Angels debuted as the top-selling hard rock album last month, and held that position for a week, it was a bittersweet victory for Pop Evil. The band members — vocalist Leigh Kakaty, guitarists Tony Greve and Davey Grahs, drummer Dylan Allison and bassist Matt DiRito — waited patiently to deliver an album held in limbo while the band severed ties with their record company.

Immediately following the CD's release on their new label, eOne Entertainment, Leigh Kakaty — frontman, songwriter and proud mama’s boy — discussed Pop Evil’s steady climb and a decade of making music.

War of Angels is finally out. What a relief this must be.

It’s like mixed emotions. We’re shocked that it’s actually out, and then having it do so well — it’s been an emotional week for the band members.

When you have delays, and fans think an album is coming out, how do you keep spirits up?

We gave away free songs on Facebook and let them know that “Hey, we’re here struggling with you and we’re disappointed.” When we played live, we let them know our frustration. Obviously, the big statement that we made as a band was when I ripped up the contract at Rock On The Range. It was a “turn the leaf” moment for the fans to let them know that “This is serious, this isn’t just a delay a delay a delay, this is messing with people’s lives.” I think once the fans understood that and got behind it, it led to the momentum of the release. It was kind of spur of the moment, but it was — back to the original question — thinking about the fans and what would be an effective way to let them know our frustration and how we felt

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Q&A Part 3 of 3: Americana pioneer David Olney covers classic Nancy Sinatra hit

Sat, 13 Aug 2011 18:30:15 -0500

F. Daniel Kent, Artisthead Writing Contributor

Read Part 1 here. Read Part 2 here.

Music pioneer David Olney proved everything old is new again with the single and music video release of "These Boots Are Made For Walkin'" (written by Lee Hazlewood) in July. Contemporary and artistic, the clip is a re-creation of the original song and video released by Nancy Sinatra 45 years ago this year. Both Olney and Sinatra versions share a focus on the performer and the song is supported by visual simplicity, mod colors and fun dance moves.

Director Brian Smith witnessed his first David Olney indelible live show in Los Angeles several years ago and made it his mission to expose him to a wider audience. Although the song is not part of Olney's repertoire, Smith envisioned David belting it out with new meaning and set out to assemble an all-star supporting cast to create a visually and technically stunning presentation. Meanwhile, ever the consummate performer, Olney has been on the road supporting his new CD, David Olney Presents: Film Noir. A five-song thematic mini-album, Film Noir is by turns ferocious and tender, dry-witted and dead serious, with a foot placed in Townes Van Zandt and another in Hoagy Carmichael, David Olney is a showman, a spoken-word artist, a walking songbook full of characters he inhabits with zeal, and the only man who has ever written a song about the Titanic from the perspective of the iceberg. David Olney recently took time from a beautiful summer day at his home in Nashville, TN to catch up with me.

There are people now writing about you now as a trailblazer. How does that feel?

There were so many years of laboring in obscurity that I see that as the normal state of affairs. I can’t really dwell too much on it. I want people to think nice things about me and to say nice things about me in public but you can’t really count on that. I wallow in my outsider status. Any artistic point of view, I don’t see how it can be anything but an outsider point of view. If it is an insider point of view I think it loses all credibility. You have to be an outsider to observe things.

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Castles in Spain is proud to announce the release of their fifth studio CD

Sat, 06 Aug 2011 09:55:49 -0500

Castles in Spain is proud to announce the release of their fifth studio CD, Reminiscing Chapter V. The ten track Reminiscing Chapter V, released on the Chameleon Music label, was recorded at Radiostar Studios and produced by Sylvia Massy, producer of such iconic acts as Prince, Tool, System of a Down, Tom Petty, Red Hot Chili Peppers, R.E.M, Johnny Cash, and countless others.

"Reminiscing Chapter V," states Sylvia, "flows from beginning to end, like a really good movie. You listen and get caught up in the characters and the stories. Castles In Spain has that San Francisco sound that we have not heard in a very long time. It's an album that has found the right time and place." Castles in Spain's unique sonic agenda melds tribal rhythms, cinematic and atmospheric vibes, Middle Eastern and Spanish influences into a soulful and melodically ethereal style.

Fronted by award-winning vocalist/guitarist Biachi Notaro, Biachi caught the bug for singing and performing when she first appeared on stage with her mother, a professional singer, percussionist and belly dancer from Bombay, India, at only four years old. Her love of Rock developed upon receiving her first drum set at age seven. Castles in Spain is rounded out by Joe Birtola on bass guitar, and Anthony Verdier on drums.

The music is at once tough, lush and hypnotic, often reminiscent of the epic sounding Jane's Addiction. The band has an amazing ability to speak to their audience.

Visit the Castles in Spain website at: www.castlesinspain.com

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Q&A Part 2 of 3: Americana pioneer David Olney covers classic Nancy Sinatra hit

Mon, 01 Aug 2011 19:51:48 -0500

F. Daniel Kent, Artisthead Writing Contributor

Read Part 1 here. Read Part 3 here.

Music pioneer David Olney proved everything old is new again with the single and music video release of "These Boots Are Made For Walkin'" (written by Lee Hazlewood) in July. Contemporary and artistic, the clip is a re-creation of the original song and video released by Nancy Sinatra 45 years ago this year. Both Olney and Sinatra versions share a focus on the performer and the song is supported by visual simplicity, mod colors and fun dance moves.

Director Brian Smith witnessed his first David Olney indelible live show in Los Angeles several years ago and made it his mission to expose him to a wider audience. Although the song is not part of Olney's repertoire, Smith envisioned David belting it out with new meaning and set out to assemble an all-star supporting cast to create a visually and technically stunning presentation. Meanwhile, ever the consummate performer, Olney has been on the road supporting his new CD, David Olney Presents: Film Noir. A five-song thematic mini-album, Film Noir is by turns ferocious and tender, dry-witted and dead serious, with a foot placed in Townes Van Zandt and another in Hoagy Carmichael, David Olney is a showman, a spoken-word artist, a walking songbook full of characters he inhabits with zeal, and the only man who has ever written a song about the Titanic from the perspective of the iceberg. David Olney recently took time from a beautiful summer day at his home in Nashville, TN to catch up with me.

Did you read a lot of pulp novels or watch film noir movies to research the album?

I read pulp fiction and detective novels every now and then; Raymond Chandler and so on just to keep in touch with the language. It’s a very American category and by the time you are 20 years old you’ve seen any number of detective or film noir type pictures like China Town. As soon as they hook into one of those songs people know who the speaker is. They recognize that tone of voice as being that sort of detective on the prowl feel. You are already on the same page so there is no reason to explain first.

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10 Years Guitarist Ryan Johnson At His Uncensored Best

Mon, 01 Aug 2011 19:43:13 -0500

Alison Richter, Aritsthead Contributing Writer

It’s 4:30 p.m. in Atlanta and 10 Years guitarist Ryan “Tater” Johnson just woke up. It’s another stop on a tour that’s taken its share of twists and turns, beginning last fall with Hard Drive Live and continuing ad infinitum as the band — Johnson, bassist Lewis Cosby, vocalist Jesse Hasek, guitarist/drummer Brian Vodinh and touring drummer Matt Brown graduated to headline status as promotion continues for their third album, Feeding The Wolves.

Johnson is an accomplished musician, producer, lover of blues music and of Jimi Hendrix. He jokes that he’s the silent member of 10 Years by majority vote; given the opportunity to express his opinions, he holds little back.

You started this tour with Hard Drive Live in October 2010 and haven’t stopped since. The band was already very well established. Did that tour push it to the next level?

I think the nonstop touring, and touring with different kinds of bands than we normally toured with in the past, really helped us branch out to younger audiences. Especially the Hollywood Undead tour — they’re a bunch of babies, so they’re like, “10 Years? What? Huh?” So it’s been really good for us to do that. Touring is all we know. You make a record and you tour until you can’t stand each other anymore, then you go home for a little bit, and then you go back out and tour again. It’s just what it is. Especially now, with everybody stealing music and nobody really making any money in the recording industry, you’ve got to work for every penny you get. That’s why a lot of bands stay on tour forever.

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Q&A Part 1 of 3: Americana pioneer David Olney covers classic Nancy Sinatra hit

Mon, 01 Aug 2011 17:26:43 -0500

F. Daniel Kent, Artisthead Writing Contributor

Read Part 2 here. Read Part 3 here.

Music pioneer David Olney proved everything old is new again with the single and music video release of "These Boots Are Made For Walkin'" (written by Lee Hazlewood) in July. Contemporary and artistic, the clip is a re-creation of the original song and video released by Nancy Sinatra 45 years ago this year. Both Olney and Sinatra versions share a focus on the performer and the song is supported by visual simplicity, mod colors and fun dance moves.

Director Brian Smith witnessed his first David Olney indelible live show in Los Angeles several years ago and made it his mission to expose him to a wider audience. Although the song is not part of Olney's repertoire, Smith envisioned David belting it out with new meaning and set out to assemble an all-star supporting cast to create a visually and technically stunning presentation.

Read More...

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Q&A Part 4 of 4: Superstar producer Linda Perry talks about new project

Sun, 31 Jul 2011 18:47:44 -0500

F. Daniel Kent, Artisthead Writing Contributor

Read Part 1 here. Read part 2 here, Read part 3 here.

Singer/songwriter/producer Linda Perry defies those who would categorize her with the creation of Deep Dark Robot, the latest musical venture from Perry and Fatso Jetson drummer Tony Tornay. Linda and Tony met through a mutual friend who dragged Tony along to hang out at the show of an all-girl Journey tribute band. At their first meeting, Tony and Linda didn't exactly hit it off, but after a few months, they started hanging out. The two of them spent more and more time talking about music, eating popcorn, doing cool shit, eating more popcorn and talking about the future. Linda mentioned she might want to start another band. It had been 15 years since her previous band, and it seemed like the right time to throw her proverbial hat back into the ring. Perry took some time to chat with me from her home in Los Angeles about Deep Dark Robot’s new album “8 Songs About a Girl” and working with Tony Tornay on the new project.

As an out lesbian who has never really hidden anything from your public why do you think it is important for gay people to be out and why do you think more people don’t come out considering the more open environment in our nation today?

Honestly, I can’t answer for anybody else. I don’t know why people choose to come out of the closet or why they choose to stay in it. I’m not that person. I believe 100% in who I am. I don’t even consider it being out because I have never been “in”. I’m gay, I love women and that’s my scoop. There’s nothing to hide because that’s the end. That’s who I am. I believe that it’s not an “out” thing or a “gay” thing. It’s about people being who they are. It goes across race, color, creed, you know? It’s a lot of things. A lot of people choose to hide things about themselves all the time. What I feel is very important for people to understand is that no matter who you are you have to stand by it because if you are not don’t you think that is somehow affecting your life in a negative way if you can’t be who you want to be? If you are gay and you are hiding it and it is causing you torment or causing you to live an unhappy life then you should change it and come out. Now, there are people who just don’t want to put their business out in the world and that should be okay too if it’s not hurting anybody or it’s not hurting them. If they are living their lives perfectly fine and it’s not affecting them in any way if they want to be quiet, let them be quiet. But if your silence is affecting you negatively that is the time to step up and do something about it.

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Jeri Goldstein - Getting Accurate Audience Counts From Club Owners

Sun, 31 Jul 2011 17:46:28 -0500

By Jeri Goldstein © 2006 The New Music Times, Inc.

Playing clubs usually involves door sales. Depending on the deal you negotiate, it is very likely that your income will be partially or wholly dependent upon a percentage of the tickets sold. Many clubs have official box offices and sell pre-printed tickets, but many simply tear a ticket from a roll of non-specific tickets or simply take the customer's money at the door and stamp their hand. When you play clubs that don't offer advance ticket sales nor have a real box office selling pre-printed tickets, your income is at the mercy of whomever is collecting the money at the door. Do you know that person? Are your interests their utmost concern? Are they working for the club? The answers to these questions must be of paramount interest to you since it may make a huge difference in how much money you take home on any given performance night.

I'd like to respond to these questions and make some suggestions for you to maintain a certain amount of control over this all-important aspect effecting the financial success of your club gigs.

When you negotiate your date, one of the items up for discussion must be about ticket sales. You need to know in advance whether there is an official box office and whether tickets will be available for advance sales? Are the tickets pre-printed specifically for each concert? If you have this information as you negotiate the date, you will be better prepared to take action if you discover that none of the above will be in effect at this venue. You will know what to expect when you arrive the day of the gig and make arrangements to manage the door in a way that assures you of an accurate sales count.

Once you are aware of how money will be collected for your gig, it is appropriate to ask, "Who will be handling the door?" Depending on the club, they may have a paid employee whose specific job is to collect money and get an accurate count. This will be a good situation but keep in mind, they work for the club and not for you. Some clubs are not that well staffed and might have a waitperson handle the door that night. This is a less advantageous situation for you since they ar e even further removed from being concerned with your income. This is a prime opportunity for their friends to slip in unpaid. Your income dwindles.

In every instance where an official box office is not used, plan to have someone from your group stand with the club's money collector and keep count with your own clicker. Unless you have someone counting paid people, you can't be certain that the numbers given to the manager or owner are the same numbers you receive when you settle the gig later that night. Having your own counter may take some arranging, especially if you tour solo. Here is where your mailing list can be very helpful. You might offer two tickets to a loyal mailing list fan prior to the gig in exchange for them being your official representative at the door, clicking and counting the paid customers. If you have friends or family in the town, entice them to help count tickets or even collect money. I guarantee it is worth it. Your count will be that much more accurate in your favor when you take this very seriously.

When the door person is working for the club, they are getting paid by the club to do a job for the club. Most are very diligent and good at their job. Their goal is to make money for the club. If they do a good job on the club's behalf, it is more likely that you will benefit, but their primary focus is the club and not you. I urge you to meet the door person as soon as they come in and give them a copy of your CD, a tee shirt or buy them a drink to win them over to be more concerned for your success in the upcoming hours as they collect your money. If you have made arrangements to have your own counter stand with club's door person, introduce them and make them aware of your arrangement to keep the situation friendly and not adversarial. You don't want make them feel mistrusted.

The most advantageous solution is to negotiate your deal with you providing the door person to actually collecting the money. You might pay your collector something, offer them tickets, but you will make more money. When you do this, many times the club will ask to have one of their people co-counting with your person, but that's fine, the money is in your control.

The guest list is another aspect of door management that requires some attentiveness. Your contract should clarify the exact number of comps or maximum percentage of the room that may be allocated for complimentary tickets. If you are inviting any media to the gig, that needs to go on the list. Make sure you know the number of media comps normally used by the club for their promotion. Go over your guest and comp list with the door person well in advance of the doors opening. Ask them to cross off the names as those individuals arrive and return the list to you at the end of the night so you'll have an indication of how your guests responded to your invitations. This will also provide you with the list of "Thank You" and follow-up calls to make.

Before you start your show, take a head count of those already in the room to give yourself a base of comparison. Some rooms fill up as the night goes on and others are mostly full when the show starts. If you play rooms that continually fill, you might make another head count before you start a second set.

Managing the door sales is an important aspect of your success. Don't leave it up to the club to watch out for your interests. Take charge of each club gig and insist on your own people assisting the club in order to get accurate counts. Good luck!

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Q&A Part 3 of 4: Superstar producer Linda Perry talks about new project

Thu, 28 Jul 2011 19:42:15 -0500

F. Daniel Kent, Artisthead Writing Contributor

Read Part 1 here. Read part 2 here

Singer/songwriter/producer Linda Perry defies those who would categorize her with the creation of Deep Dark Robot, the latest musical venture from Perry and Fatso Jetson drummer Tony Tornay. Linda and Tony met through a mutual friend who dragged Tony along to hang out at the show of an all-girl Journey tribute band. At their first meeting, Tony and Linda didn't exactly hit it off, but after a few months, they started hanging out. The two of them spent more and more time talking about music, eating popcorn, doing cool shit, eating more popcorn and talking about the future. Linda mentioned she might want to start another band. It had been 15 years since her previous band, and it seemed like the right time to throw her proverbial hat back into the ring. Perry took some time to chat with me from her home in Los Angeles about Deep Dark Robot’s new album “8 Songs About a Girl” and working with Tony Tornay on the new project.

As a producer who has become well known for some of the biggest acts of the last decade how do you approach producing yourself as opposed to producing other acts?

It is way easier and just fun producing myself because everybody else: forget about it. They wouldn’t know a good idea if it hit them in the face. They are so overthinking everything and trying to be hip, trying to be on the radio, MTV, VH1 or whatever and it’s not fun. Nobody wants to make music any more. They want to make hits and make money so it’s just not fun for me half the time. There are the occasional artists that now I only work with because that is their routine. They just want to make music. The people who don’t want to have fun I don’t work with any more. I’m not a radio programmer so I don’t know what a hit is and really neither do they. I am just someone who loves music and I am not a producer or a songwriter. These are elements of me but these things don’t control me.

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Musicians and Bands: Don’t think locally, think globally!

Thu, 28 Jul 2011 19:42:03 -0500

Musicians and Bands: Don’t think locally, think globally!

by IWMayer

Now and then I get asked what does it take to make it in music anymore, or how can one have a career in music. We read and hear so much about how the music industry is near death, people don’t buy as many albums, radio does not play many bands, and record companies may be a thing of the past. It is easy to get bogged down in the negativity.

In my observation, the answer is to stop thinking in terms of the old business model and start thinking on a global scale.

Back in the 90′s, pre-everything on the internet, my band did what every band since rock was invented did. We played all around Los Angeles, building a local following as we went, and hoped that a record company would see our hard work and take us to the next level. Every record company in the country was sniffing at us, we showcased, we were told “the record contract is in the mail.” We were always on the verge something, but like so many bands, not quite getting over that hump. One day, someone who was not in the music business, very randomly said “You guys should go to Germany, you would be huge over there”. And a week later, someone else mentioned the same thing. At the time, it was like, “yeah, right, and how do we do that?”. Well, flash forward to now, and I see via mysapce, youtube, and such what is going on in Germany, and what was going in Germany in the 90′s, and I think, yes, well, that was good advice. But how were we to know?

The new technology, however, makes it easy to step outside your local market and target fans of your style all over the world. People say, well, here in the USA, the music scene is all American Idol, or 101 bands on the radio that all sound the same. However, looking overseas, there are hundreds of music festivals that are huge events where very diverse bands come together and play to massive audiences.

When I formed the band The Myriad Form, we were not even trying to make money. I had a good job, and music had become just a hobby. We made a record strictly for fun, and had no illusions of making it. And while we didn’t sell at a lot of CDs, the CD orders we did get ranged from Japan to the Netherlands, and an order to Brazil. With the net, you no longer have to target your local market, or appeal to what’s going on around you. If you have a niche, you can find the people who dig that niche all over the world. And that is what we did.

I look at how much work we put into the band in the 90′s, and think, if we had this technology at the time, like home digital-audio workstations, digital cameras, youtube, facebook, etc, there is no telling how much we could have done. We still might have never become big locally, but we could have tapped into that German market without needing a plane ticket.

I know of several bands here that are just local clubs bands, but tour Europe regularly. And not just the usual UK, Germany, Sweden, but with the fall of the Soviet block, Eastern Europe is a whole new market.

As for bands in Europe, back in the 60′s 70′s and 80′s, many of these bands thought they had to conquer America to make it. Now, modern European bands don’t have to.
They can tour Western Europe, then tour Eastern Europe, Russia and slide over into Asia and be rockstars without every being more than an obscure reference in the US or even the UK.

I have friend who was living in LA, and made a bit of name for himself as a drummer in the US. His band fell apart. He moved to Sweden, joined a German band, they made money touring all over every bit the Euro-Asian Continent, and he got on the cover of the Chinese equivalent of Modern Drummer magazine. Not a bad career move.

If you see recent interviews with bands on VH-1 Classic, they’ll bring out bands from the 70′s and 80′s that are clearly in the “where are they now” file as far many of us would be concerned. The common theme is that they tour more now than they used to, because they can go to Russian, and South America, and places that weren’t possible, or considered viable, back in the day. Many older artists do better now than they did back when they were “famous” because they have expanded their market to a global scale.

Dream Theater is an example of a band that does not sell verywell in any particular country. They only have one gold album in the USA, and it was back in 91. Now they sell just enough in every part of the world, that when added together, they can each afford a nice house. Many bands are doing similar things. It is simple math: poor sales in the USA + poor sales in Europe + poor sales in South America can add up to “not bad” sales overall.

Students today can still form a band, and can still get their studio chops together. But rather than being focused on trying to get onto MTV, they might find their band is the biggest thing since sliced bread in a country on the other side of the world. Maybe their band only sells 500 CDs in any one country, but multiply that by one-hundred countries and that ends up being the equivalent to a gold album.

I do not listen much to my local radio anymore. However, I buy CD’s from bands from Sweden, Finland, Germany, the Netherlands and such because they are still making good music to me. Those bands are looking at who their niche is, and finding them regardless of location. Including people like me who, despite being all the way over here in the USA, is willing to buy their products from where ever they are.

For myself, most of my best stuff was never documented. There were no M-boxes or home protools kits to record our best songs. 2″ tape was too expensive to do more than a few things on. We had no good video camera, and I only have some random fuzzy stuff from back in the day. No Zoom recorders to document our best gigs. Most of what went on was lost to time. Bands now can make a quality recording at home, and sell it around the world, as long as they willing to take the time and effort to do so.

I do not see today’s music business climate as a problem, rather, I see a solution that can get results.

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Q&A Part 2 of 4: Superstar producer Linda Perry talks about new project

Tue, 26 Jul 2011 05:18:37 -0500

F. Daniel Kent, Artisthead Writing Contributor

Read part 1 here.

Singer/songwriter/producer Linda Perry defies those who would categorize her with the creation of Deep Dark Robot, the latest musical venture from Perry and Fatso Jetson drummer Tony Tornay. Linda and Tony met through a mutual friend who dragged Tony along to hang out at the show of an all-girl Journey tribute band. At their first meeting, Tony and Linda didn't exactly hit it off, but after a few months, they started hanging out. The two of them spent more and more time talking about music, eating popcorn, doing cool shit, eating more popcorn and talking about the future. Linda mentioned she might want to start another band. It had been 15 years since her previous band, and it seemed like the right time to throw her proverbial hat back into the ring. Perry took some time to chat with me from her home in Los Angeles about Deep Dark Robot’s new album “8 Songs About a Girl” and working with Tony Tornay on the new project.

I know you are a prolific songwriter, so were there tracks that didn’t make the cut for this album that we may see later on?

Yeah, we did some covers that I thought were really fun. I want to eventually release an EP of those. There were also a lot that I was weeding through later and decided they were really great songs. They didn’t get left out because they were bad songs. They just didn’t make it because they didn’t fit the concept after we realized there was one. We really wanted to pick the songs wisely. We’re still going and we’re still gonna make more records. You know, sometimes songs are written and they are never heard from again. Sometimes they are written and ten years later they pop up. Everything that is usable is just a matter of what you consider valid at the time.

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Digital Summer's Ian Winterstein: "We Push Just As Hard As Day One".

Mon, 25 Jul 2011 19:59:53 -0500

Alison Richter, Aritsthead Contributing Writer

Given all that Digital Summer has accomplished, it’s easy to forget that they’re an unsigned band. Vocalist Kyle Winterstein, guitarist/keyboardist Ian Winterstein, bassist/vocalist Anthony Hernandez, guitarist/vocalist Johnmark Cenfield and drummer Ben Anderson have recorded two albums — Cause and Effect [2007] and Counting The Hours [2010] — and one EP — the acoustic Hollow, charted several radio singles, and toured with major name bands, including Sevendust and 10 Years, without a record deal or buy-ons. Their success is solely based on the quality of their music, loyalty of their fan base and a super-human amount of hard work.

In this interview, Ian Winterstein discusses the band’s work ethic, what has and hasn’t changed in terms of long-range goals, and offers some insight into Digital Summer’s heavy two-guitar attack.

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Q&A Part 1 of 4: Superstar producer Linda Perry talks about new project

Sat, 23 Jul 2011 16:46:14 -0500

F. Daniel Kent, Artisthead Writing Contributor

Singer/songwriter/producer Linda Perry defies those who would categorize her with the creation of Deep Dark Robot, the latest musical venture from Perry and Fatso Jetson drummer Tony Tornay. Linda and Tony met through a mutual friend who dragged Tony along to hang out at the show of an all-girl Journey tribute band. At their first meeting, Tony and Linda didn't exactly hit it off, but after a few months, they started hanging out. The two of them spent more and more time talking about music, eating popcorn, doing cool shit, eating more popcorn and talking about the future. Linda mentioned she might want to start another band. It had been 15 years since her previous band, and it seemed like the right time to throw her proverbial hat back into the ring. Perry took some time to chat with me from her home in Los Angeles about Deep Dark Robot’s new album “8 Songs About a Girl” and working with Tony Tornay on the new project.

Read More...

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Lansdowne Vocalist Jon Ricci Talks About Touring, Networking and Building a Fan Base

Sat, 23 Jul 2011 14:49:46 -0500

Alison Richter

, Artisthead Contributing Writer

“A lot of the bands we are compared to and packaged with are in the Active Rock genre,” says Lansdowne vocalist Jon Ricci, referencing categorization of the band’s music. “We want to put on the best live performance possible, so all of our music is written and focused on the live show. There are so many genres and they all progress and change over the years. Alternative radio, for example, is a lot different than it was six years ago. An alternative band might be the Strokes or Muse now, whereas before it might have been 3 Doors Down.”

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KISS Rewind: Ace Frehley Interview

Thu, 21 Jul 2011 00:51:27 -0500

Alison Richter

, Artisthead Contributing Writer

A couple of days ago we took a look back as Paul Stanley discussed the making of Psycho Circus. Today, the archives open again with Ace Frehley talking reunion, recording and lessons learned.

So … you’re on the West Coast. Rumor has it you hate it out there.

Let’s just say I’m not particularly fond of it! Hate is a strong word, and I don't want to offend any of our West Coast fans. Although I am looking at property in Malibu because I do like the ocean.

Do you remember the precise moment you got “the call”?

It wasn’t like one call. We were negotiating. When Peter and I were co-headlining a sold-out tour of Canada, during the course of that tour Gene spoke to my manager, who at the time was also managing Peter, about a reunion tour. It was after MTV Unplugged, and on the success of that, wheels started turning. Paul and Gene still thought Peter and I were alcoholic drug addicts, but we came in on time, were professional, and they looked at us in a different light. They started negotiating, we made a couple of trips to L.A. and talked in Gene’s office, the lawyers ironed out the legalities of contracts, and next thing we were on the road.

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Artist Booking Expert Jeri Goldstein Joins The ARTISTHEAD Advisory Team

Wed, 20 Jul 2011 17:30:03 -0500

Co-Operative Audience Swaps to Break Into New Markets

By Jeri Goldstein

© 2006 The New Music Times, Inc.

Acts looking to expand their audience beyond their known markets need to be open to new options. One such idea is swapping audiences with another musician or band. The idea is perfectly suited to acts that have a strong following in their own market. Here's how it works.

Acts looking to expand their audience beyond their known markets need to be open to new options. One such idea is swapping audiences with another musician or band. The idea is perfectly suited to acts that have a strong following in their own market. Here's how it works.

First, find an artist in a new market where you would like to expand, whose work you like and with whom you think you would be compatible. Second, make sure the artist selected has a strong following in the desired market. You are attempting to break a new market and it only makes sense to do this with an artist who can sell tickets in that market. In order for this to work, it would be optimal if the selected artist is interested in expanding into your market. Suggest to the artist that you will book and promote at least one gig or perhaps even a number of gigs in your market where you have a strong fan base. You (or your team) will negotiate the dates, do all the press and generally do whatever it takes or whatever you normally do to promote your gigs to their fullest. The other group will provide you with their press materials and will co-bill the show. All the publicity will include the visiting group and you will even try to arrange print and radio interviews for the group.

Negotiate a percentage or minimal guarantee plus some percentage for the act. Make sure they understand that you will take a larger fee and greater percentage since this is your audience and you are doing all the work to introduce the group in your market. In return you expect the group to do the same for you in their own market introducing you to their audience.

There are so many benefits to expanding your audience in this manner. When entering a new market where you have no following, you have little leverage to negotiate decent fees. This alone can be a major budget drain when opening new markets. By swapping audiences you enter a new market with some momentum provided by the other group. There is a likelihood of making more money; selling more merchandise and gaining a larger number of mailing list names to contact for return dates. Since the hometown group is doing all the legwork, you will have the advantage of hitting all the possible media outlets in the area as well as performing in the appropriate venue(s). All of this spells success rather than chance. How often have tours to untested markets resulted in a huge investment expense and small turnouts? Audience swapping can reduce the risks while creating a favorable collaborative effort where everyone gains.

You have a chance to learn a new market and build a reputation within it while expending little of your own energy. Save your hard work for the exchange tour when you host the other group.

When considering this method of audience expansion, it is very important to select a group with similar work ethics as your own. You want to be sure they will extend you every professional courtesy in their market, as you would do for them in yours. It is certainly no benefit to you if they are lax in their efforts to promote you in their market. Therefore I suggest asking the following questions to be sure the group you are considering is the right one for your audience expansion project.

How often do they perform in their home area?

You want to be sure they play often enough to have built a loyal following.

When was their last performance?

You don't want to schedule a performance on the heels of one just played. Make sure there is enough time between their last gig so the demand is there to see the group again.

How many paying people do they draw to a concert?

Obviously, you want to have a group whose income can support a co-bill.

Do they ever perform at events that are free to the public where a large crowd may gather? For example, some cities produce free concerts in the parks or downtown malls.

This let's you know the expanse of their popularity in the market.

What size venues do they normally play?

This will give you some idea of whether the tour to their area is financially feasible. Splitting fees at 50 seat venues may hardly be worth the trip whereas co-billing in a 300 or larger seat venue may accomplish your audience expansion goals nicely.

What is the size of their mailing list in their area and the nearby surrounding areas?

If they have a small mailing list, then again the tour may not be worth the effort. Select an artist whose fan base is substantial.

Who does the booking?

This is just good to know so you have a point person. If the group has an agent, there may be some commission to pay.

Who does the publicity?

You will want to connect with the publicity person to get your materials to them as well as arrange any interviews. You may also offer suggestions on how best to promote your group.

Do they get coverage from local press and radio? Have they ever had a feature article written about them in local papers?

This relates to question #1 as well. If the group has recently been covered for gigs, the media may be reluctant to offer more space for this act. However, with you co-billing, your act may receive the lion's share of the publicity in order to breathe new life to the hometown band. Be careful about this one, it could work for you or against you. Make sure they hadn't recently had a feature article in the main paper.

The above questions all relate to you as the host band as well. Choose dates for your concerts after considering all of the above. You want to gain the most from all of your efforts in both markets.

I've seen many acts use this method to gain new audiences. When all of the factors are well suited, audience swapping can boost your career in a new market more smoothly than trying to open the market on your own. The real key to holding the newly-won audience is to follow up with return tour dates.

Good luck.

To consult with Jeri about your booking and tour strategies, just call or email us at the link below.

ARTISTHEAD

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KISS Rewind: Paul Stanley Interview

Tue, 19 Jul 2011 18:24:18 -0500

Alison Richter

, Artisthead Contributing Writer

I decided it was time to finally reach into the KISS interview archives. Today, a look back as Paul Stanley discussed the making of Psycho Circus.

When we did the interviews for the Revenge tour book, we discussed the importance of a hit single and you said, “I don’t want to get caught up in recreating who we’ve been.” Were you concerned that there was a chance of doing just that by reuniting?

Only if it wasn’t done with a full commitment and a genuine desire to do it. If it was for the sake of, as I said, recreating or mimicking what we’d done before, without any deeper sense of commitment or integrity, yeah, sure. If it was just the four of us getting together, a month later slapping on makeup and outfits with no regard for the past, it would be not only risky, but obvious and transparent. If that was the idea, I would not have gone through with the reunion. Six months of rehearsing and rigorous physical training to pick up where we left off was a whole different thing than a half-hearted attempt at being who we were.

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RED Guitarist Anthony Armstrong: “Our mission was to change people's lives"

Sat, 16 Jul 2011 17:19:25 -0500

Alison Richter

, Artisthead Contributing Writer

RED's Anthony Armstrong has seen the movie This Is Spinal Tap “a billion times!” While his band can relate to some moments, like “being lost in a big arena, trying to find the stage,” fortunately, that’s where the similarities end. RED — guitarist Armstrong, vocalist Michael Barnes, bassist Randy Armstrong and drummer Joe Rickard — have been through their share of challenges, and even a few drummers, but according to Armstrong, “it hasn’t been a creative struggle. We all leaned on each other’s input, and definitely there are shadows cast on who made the sound of RED, but we’re a group of guys who feed off of each other’s creativity and everything is relevant. It’s a creative stream.” That stream entered the charts at No. 2 when the band released Until We Have Faces earlier this year.

In this interview, Armstrong digs into the heart and soul of RED, their place in the hard rock world, longtime relationship with producer Robert Graves, and the personal responsibility they feel toward their fans.

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The Veer Union’s Crispin Earl: “We Just Have to Move Forward”.

Wed, 13 Jul 2011 16:32:10 -0500

Alison Richter

, Artisthead Contributing Writer

Canadian rock group The Veer Union spent close to two years touring their debut album, Against The Grain. The tireless work paid off, as the band charted several singles, including the Top Ten “Seasons,” and built a loyal fan base. Upon returning to Vancouver, they took little time off before returning to the studio to track their sophomore record, Divide The Blackened Sky. The disc initially looked like a first-quarter 2011 release, but unforeseen circumstances have necessitated its postponement until end of year.

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Digital Summer Vocalist Kyle Winterstein: “We Have Five Guys With One Goal”

Tue, 12 Jul 2011 20:54:05 -0500

Alison Richter

, Artisthead Contributing Writer

Digital Summer vocalist Kyle Winterstein pulls no punches when it comes to his disdain toward the music industry. As one of the most successful unsigned bands presently on radio and on the road, Digital Summer have been offered, and have politely declined, every possible configuration of record deal. Rather than turn over their rights or compromise their vision, the band, which includes Ian Winterstein – guitar and keyboards, Anthony Hernandez – bass and vocals, Johnmark Cenfield – guitar and vocals, and Ben Anderson – drums, have recorded independently, toured without paying to play, and to date have charted four singles on radio: “Whatever It Takes,” “Disconnect,” “Just Run” and “Hostage.”

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Buena Vista Social Club's Manuel Galbán succumbs to cardiac arrest at Age 80,

Tue, 12 Jul 2011 16:22:30 -0500

F. Daniel Kent, Artisthead Writing Contributor

The Latin and World Music worlds suffered a major loss on Thursday, July 7 as Manuel Galbán suffered cardiac arrest and passed away at an all-too-young 80 years old in Havana, Cuba. Galbán was best known in Cuba for the grooving electric guitar stylings that backed the Cuban vocal quartet Los Zafiros in the ‘60’s.

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ARTISTHEAD Brings Home The Gold!

Mon, 13 Jun 2011 03:23:54 -0500

ARTISTHEAD MUSIC Wins The Communicator 2011 Gold Award of Excellence

Artisthead Music

Award: 2011 Gold Award of Excellence

Category: Interactive - IW21: Websites

The Communicator Awards is the leading international awards program honoring creative excellence for Communications Professionals. Founded by communication professionals for almost two decades. The Communicator Awards receives over 9,000 entries from companies and agencies of all sizes, making it one of the largest awards of its kind in the world.

The Communicator Awards has honored the best creative work in the communications fields. The Communicator Awards provides winners the recognition they deserve and gives communications and creative professionals proof and validation that their work is outstanding and highly regarded by their peers. The Award of Excellence, the highest honor, is given to those whose ability to communicate puts them among the best in the field. The Award of Distinction is presented for projects that exceed industry standards in quality and achievement.

The Communicator Awards is sanctioned and judged by the International Academy of the Visual Arts, an invitation-only body consisting of top-tier professionals from a "Who's Who" of acclaimed media, communications, advertising, creative and marketing firms. IAVA members include executives from organizations such as Alloy, Brandweek, Coach, Disney, The Ellen Degeneres Show, Estee Lauder, Fry Hammond Barr, HBO, Monster.com, MTV, Polo Ralph Lauren, Sotheby's Institute of Art, Victoria's Secret, Wired, and Yahoo!

Other winners in this years "Interactive" category include: Audi, Pfizer, NASA, Columbia University, GM, Motorola, Adobe, Burger King, Ford Motors, The Rockefeller Foundation, General Mills, Nissan, Rolex, Gucci, Microsoft IE9, Pepsi, LG Electronics, Nokia, Gillette, Verizon, Lockheed Martin, Ramada, US Department of State, NBC Universal, Wells Fargo, Chicago Public Media, Coca Cola, BMW, Public Broadcasting - PBS, AOL, U.S. House Representatives, Lexus, Red Bull, Kimberly Clark, Lionsgate, Kenmore, Walmart, Walt Disney Parks/Resorts, Fannie Mae, U.S. Army, and the Sundance Channel.

ARTISTHEAD would like to thank our web team at Media Contour for their excellent work. We are honored to be listed among such industry heavyweights and we will continue to improve our efforts and bring clients the very best in musician's resources. As 2011 moves forward ARTISTHEAD will be providing groundbreaking services and technology to assist our clients in boosting their music careers and helping them to monetize their products and efforts.

We here at ARTISTHEAD thank each and every one of you for the opportunity to serve your music business needs.

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The O'Riain Report - Independent Music Isn't Just About Having Artistic Vision

Fri, 15 Apr 2011 18:21:02 -0500

ARTISTHEAD NEWS Contributor, Mairtin O'Riain

From the soon to be unveiled 'Big Ape's Blog' in the new 'Bits For Bands' section of the soon to be published new version of TheRyanORiain22.com

The concept of a highly successful independent band or artist has for many (and especially for those in the mainstream of the major label recording industries) only been considered to be a fairly recent phenomenon, but the reality is that successful ‘independents' have been around in all fields of music since the very birth of the modern recording industry. Just because they may not have all become famous household names it did not mean that they weren't highly successful (...or even ‘loaded!), but it did mean that to succeed they'd have had to have been very shrewd when it came to any of their business dealings within every sector of the music industry - whether that involved session work for major or independent labels, chasing royalties for performing or licensing, dealing with venue owners, agents or performance agencies or being able to sort out their own tax forms.

Independence isn't just about having artistic vision and full creative control - and remember, there are plenty of independent artists who will still license an album via major labels as a stepping stone to finding new footholds in a territory abroad, which is perhaps the one saving grace that the major labels still have left to fall back on in the ever changing digital age of music (...but just make sure you read ALL of the small print before you ever sign anything away). Being a successful independent is also about having to be aware of where every cent needs to go and where it's supposed to be coming from. It's about knowing, not just your audience, but also your own personal strengths and weaknesses and having the courage to get someone in to help you in those areas where those weaknesses and unconfident areas could end up endangering your career options.

A glaringly obvious, yet thankfully rare example might be the weird and wacky pop idol audition by someone with all the performance skills of a salted slug. Yet, once the shock of an utterly horrendous audition has been overcome and the material is glanced at again with a more discerning musical eye some of those whack-jobs can actually prove to be quite gifted in their ability to write an original song and as many label executives will know, some of the best songwriters of the past forty years have actually been some of the most apparently tone deaf and disastrous singers in the entire western world (but I won't name any name's here just in case they sue ) there are plenty of gifted choreographers who can't dance and plenty of conductors who'd be left clueless if you asked them to play an instrument.

The balance between talents, gifts and abilities can sway wildly from one person to another and there are even astounding songwriters (such as Jamariquai front man Jay Kay) who despite being famed for complex musical arrangements and song structures wouldn't even be able to write down or tell you the note sequence for ‘twinkle twinkle little star' if their life depended on it, let alone tell a crotchet from a semi crotchet (and communicating those kinds of musical ideas really does require a flawless voice!)

Good management skills are vital too. If you have a manager or booking agent who has you on a tight string of dates where every show is at the opposite side of the country from the last (-or even on a different continent!) you can pretty much guarantee that after just a few dates that you'll not only be performing like a salted slug yourself but that every cent you're hoping to make will be sucked out of your pocket in traveling, hotels and quite possibly in psychiatric fees by the end of the tour.

Plenty of artists have sunk their hopes into ‘world tours' only to find that, after traveling to the other side of the globe, they've not only been booked to play to an empty house but their also being billed for the value of every unsold ticket (and its amazing how some venue's previously billed as a 500 person capacity venue can suddenly jump to being a five thousand capacity venue on those sorts of bills.... it's also amazing how many artists suddenly find they've had to skip town or even leave a country in the middle of the night once a venue owner reveals that their brother is either the town judge, police chief or prison governor! ...and, as LA's Fitz and The Tantrums have been finding out for themselves only this weekend, the truth and reality for many touring artists can often be so very much stranger than fiction.

If you've been writing songs in your room for years only to face that ‘Buzz Lightyear' falling without style' moment of truth when the world tells you suck then that doesn't mean it's the end of your dream... it may simply be a case of acknowledging that the awesome sounds that play through your head were not ever meant to emerge from your mouth but from another's. When an artist comes to terms with their own weaknesses and hand them over to another to whom that weakness is a strength then both are strengthened greatly ...artistic success is only a matter of time once you know your failings and challenge them head on and the dream is often realized in the most unexpected of musical partnerships. If you have a true creative talent then there will always be something you can do that no one else will be able to - and there'll always be someone else who can do everything that you can't.

The digital age simply means that nowadays, acquiring all those skilled and necessary music professionals needed to make a dream into a living reality has become more accessible and possible than it ever was before in musical history. So, once you've taken the hard knocks that the industry is destined to throw at you and you've overcome that Mrs. Nesbitt stage of having your ‘being able to fly' dream utterly dashed then stand up and stick your arm back in and step back out into the limelight, because once you're career path is grounded in reality you'll not only fly but you'll always be able to fall with style.

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Legendary LED ZEPPELIN Engineer - Producer STUART EPPS Joins ARTISTHEAD, adding even more value to the new music business.

Sat, 02 Apr 2011 19:43:37 -0500

The legendary LED ZEPPELIN engineer, producer STUART EPPS Joins ARTISTHEAD, adding even more value to the new music business.

STUART EPPS, AKA - The Man With The Golden Ears, Has joined the ARTISTHEAD team, proving that artists at any level of their career can now compete with the majors in terms of quality and in many cases, making money.

Producer Epps' partial client list includes - Led Zeppelin, George Harrison, Eric Clapton, Elton John, Barry White, Oasis, Jeff Beck, Bill Wyman, Bad Company, The Firm, Twisted Sister, Mick Fleetwood, George Michael, and Robbie Williams, just to name a few.

Stuart has been in the music business virtually all of his life. His musical career began in 1967 as a 15-year old office junior at Dick James Music. He quickly moved up the industry ladder to become Chief Engineer at DJM Studios. He later toured the USA with Elton John as personal assistant. Epps was involved from the start when Elton's producer, Gus Dudgeon, built The Mill Studios on the banks of the Thames, near Maidenhead, England. It was not long before Epps became Chief Engineer, Studio Manager and Producer.

Stuart then became Jimmy Page's house engineer when he purchased the studio. Many classic Page albums came out of that five-year period including, Led Zeppelin's CODA, the Death Wish 2 soundtrack, and the Firm albums. In recent years he has continued to work with big name artists to great acclaim and is helping a host of promising new and up-and-coming artists to sound their best, both on demos and full studio productions.

Experienced from working with the very best at the top of the industry and with a real love for music, Stuart has an intuitive sense for knowing what will make a track sound most authentic and he has a deep understanding of musician's needs, with clearheaded approach to getting the job done.

[NEWS FLASH]

Stuart Epps has announced that he'll be returning to LA to run lectures and produce artists in Los Angeles through ARTISTHEAD for a limited time. If you are interested in experiencing the genius at work on your tracks, please email us in advance and we will review your request.

Look For Stuart's Audio Interview on ARTISTHEAD coming next week!

Related Article by Mairtin O'Riain

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Thin Lizzy Guitarist Gary Moore Dies

Sun, 06 Feb 2011 22:33:47 -0600

Former Thin Lizzy Guitarist Gary Moore Found Dead At A Costa Del Sol Hotel.

ARTISTHEAD sadly announces that the extremely talent guitarist Gary Moore has died. The musician was found dead in his room at the luxury Kempinski Resort Hotel in Estepona in the early hours of this morning. A postmortem is due to carried out later today in the nearby city of Malaga. Moore (58) from Belfast is understood to have been on holiday at the time of his death. A spokesman for the British Foreign Office said: “We are aware of the death of a British national in Estepona. We stand ready to offer consular assistance.” Moore played with Thin Lizzy for several periods as well working separately with the band's lead singer Phil Lynott, who died in 1986 after falling into a heroin-induced coma.

Moore worked with a number of leading artists, including Bob Dylan. He had a string of top 40 hits in the 1970s and 1980s including Parisienne Walkways in 1979 and Out in the Fields in 1985. Bandmates of Moore this evening paid tribute to a “great player and great guy” following his death. Thin Lizzy founding member Brian Downey said he was stunned by the news. “I am in total shock,” he said. “He will always be in my thoughts and prayers and I just can’t believe he is gone.” After his time with the Irish rock band, Moore went on to forge a successful solo career and was still actively touring.

His death was confirmed with a poignant message on the star’s official website. “It is with deep sorrow and regret, that we have to announce that Gary Moore passed away while on holiday in Spain last night,” it stated. “Our thoughts are with his children, family and friends at this sad time.” Despite his solo ventures and numerous collaborations with other bands and artists, it is Moore’s time with Thin Lizzy that he will be best remembered. He joined the band in 1973 after the sudden departure of guitarist Eric Bell but only played with them for four months. Four years later he returned and went on to play on the band’s Black Rose album. Thin Lizzy guitarist Scott Gorham said it been a pleasure to share a stage with him. “Playing with Gary during the Black Rose era was a great experience, he was a great player and a great guy,” he said.

“I will miss him.” Thin Lizzy’s legendary frontman Phil Lynott died in 1986 after battling drink and drug problems. The band reformed at various times since then and continues to tour. Moore played with some of his former bandmates five years ago. Downey, who is currently on tour with Thin Lizzy, added: “I have known Gary since 1967 when he was in (the band) Platform Three and he’s been an amazing friend ever since. “It was a pleasure to play with Gary again in 2006 after his days with Lizzy.”

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A Lesson In "Publicity 101" By Christopher Buttner

Fri, 04 Feb 2011 21:13:47 -0600

A Lesson In "Publicity 101"

I get approached by a lot of bands - sometimes I will get about 10 to 20 or more calls per month from bands inquiring about their need to hire a publicist. Unfortunately, they never really know why they need a publicist, what a publicist does, where does publicity fit in their ‘marketing mix', and most of all, what's a publicist cost?

What is a publicist?

First off, a publicist is a person whose job it is to generate and manage publicity for a person, product or service.

A publicist produces a well-written press release, distributes it to the media, and pitches your story to journalists with leading media outlets, be they magazines, news websites, radio stations, and television programs, in an effort to get them to write about you and your work. But a bigger picture of what a publicist does is they also seek interview opportunities, product, event and show reviews, client speaking engagements, make introductions to other important ‘industry-types' of influence, etc.

Publicists are connectors.

But, let's keep it simple for your "PR 101" band needs.

The press release is your band's crafted message in a concise, one-page, 400-word ‘pitch' or proposal, that will, hopefully, pique the journalists interest so they will review your CD, attend your show, and write a much deeper article about your art.

Which leads to... What is publicity?

According to Wikipedia: Publicity is the deliberate attempt to manage the public's perception of a subject.

Publicity, along with Social Networking, is one component of a marketing communications effort that also includes advertising, promotions (appearances, concerts, etc), and direct selling. Each component of the "marketing communications mix" lends credibility to the next component in order to create "The Marketing Effort."

Publicity is a third-party endorsement, which is the most credible form of marketing. It's what the media and your peers say about you - it leads to effective communication. This builds trust and strong relationships with the media, magazines, bloggers, journalists, influences, customers and fans, it creates presence, enhances brand loyalty and recognition, and publicity elicits response and action.

Whoever said ‘talk is cheap', never hired a publicist. A publicist is, essentially, someone who pitches (aka: sells), your story to the journalists in order for them to write about you.

Retaining a publicist can be inexpensive, from a few hundred dollars for a competent freelancer to write and distribute a press release and band press photo to 50 regional media outlets where you're performing, to the more expensive firm that reaches out to hundreds or thousands of national media contacts. These firms also use expensive services, such as subscription media databases, and newswires, they have an extensive staff, and they will personally wine-and-dine journalists, so they have a higher overhead. Therefore their fees can become quite staggering.

But hiring a publicist that knows what they are doing makes all the difference in the world. What if you hire a $500 publicist because they're inexpensive, you hope to save some money, and they wreck your reputation and image because they're arrogant, can't spell, screw up your message, or simply don't do the job, etc?

What's it going to cost to try and recover from this train wreck?

Well, all of a sudden everything is now substantially more expensive as you try and do damage control. Compare this to the $2000 publicist, you should have hired, that could have made you look like a class act by selling the place out, by ‘advancing' your show/concert by getting the right message professionally placed in six leading media outlets, plus a few journalists into the room who wrote post show review that sold out the next few concerts... okay... that's a run-on sentence, but I'm on a roll here...

Your brand is a promise you make to your customers, so when you retain someone to represent your brand and perpetuate that good name and that promise, be sure they know what they're doing.

But, how does one start doing their own PR in the beginning?

Well, as mentioned, the strongest and most credible marketing component is publicity; so all bands usually start their marketing here... right? Why?

First off, it's really awesome to read about yourself in the local paper... but publicity is (out of the gate), the least expensive, most cost-effective and easiest effort that you can undertake yourself.

Call or email the music journalist at the local newspapers, ask permission to send your brand-spanking new CD (they like that, it's respectful), because you have a show coming up at a major club/venue in three weeks. Your "hooks" (stories and pitches need ‘hooks'), are anything from a sexy female lead singer that can really belt out a tune, to other interesting aspects about the band, including influences, and especially what other media outlets might have wrote about you in the past. Make sure your press photo(s) is fantastic... don't skimp on photography. This can make or break a press release.

Why? Ever hear of the cliché, "A picture says a thousand words?"

Make sure many of those thousand words say, "We didn't skimp on the photographer."
Include a well-crafted press release... the journalist is either going to say ‘yes' or ‘no.'

How hard is that? See? Easy.

Face it, you're going to have to start somewhere, so here's the coveted: PRThatRocks.com's Ten Tips For Do-It-Yourself PR. (Now, get to work).

1. Learn how to sell yourself. Want media coverage? Ask. Don't be afraid to pick up the phone and ask to speak to the person in editorial who handles music or entertainment.
2. Be Creative. News doesn't happen. News is created... and develop a sense of humor, especially about yourself. If they're laughing, they're listening. Let's be real... you're playing music, not curing cancer. Try not to be so serious, but don't be a buffoon either.
3. Learn how to spell and know the fundamentals of grammar. (Use the spellchecker).
4. Proofread your work. Then have someone else proofread your work... and then have someone else proofread your work. Then let it ‘marinate' for a few hours or overnight. You'll be amazed at how many spelling and/or grammatical errors will appear, as well as glaringly required edits, when you come back to it with fresh eyes. Sloppy, incoherent press releases or introductory pitch letters will result in their instant deletion. You only get one chance to make a first impression.
5. Consistency of press output - if you're out of sight, you're out of mind. Also, instead of blasting out a press release, why not send a personalized "pitch" or "inquiry" letter to a few editorial contacts with media outlets that you really respect, that cater to your specific audience? When you get to know a reporter one-on-one, and build a relationship, that's when you're going to start to see things happen for you, possibly with a little write up first, and then a feature article a few months down the road when you play the biggest club in the county.
6. Know your media outlets and build and maintain a database of editorial contacts, reporters, staff and freelance writers with:
• Enthusiast & Trade Magazines
• Newspapers - Arts, Entertainment, Lifestyle & Business Sections
• Web Sites
• Bloggers
• Influencers on Social Networks
• Facebook
• Twitter
(Do you have 20,000 fans combined between Facebook and Twitter? No... here's the big question of the day: Why the f--- not?)
7. Pay it forward. Contribute business tips or articles to your trade media outlets for free. In the beginning, the most important thing is to get your name out there. Become an authority - offer commentary and/or opinions that benefit your contemporaries about recording, instruments maintenance, playing techniques, performing, reviews of other bands in the community, etc. Make sure your writing credit includes your full name, a headshot, short bio (as simple as ‘Fritz is the lead guitarist of Lemongello and the Pudding Pops"), band name (if applicable), contact info and website address.
8. Networking Opportunities - Know your industry associations, networking opportunities, and trade shows (The following are examples of music industry associations), and get out there and meet people face-to-face. When someone refers to someone else as ‘connected', how do you think he became connected? He got himself out of the house and met people over the years and developed relationships:
• NAMM - National Association of Music Merchants
• NARIP - National Association of Recording Industry Professionals
• NARAS - National Academy of Recording Arts and Sciences - find your regional Chapter
• SF Entertainment Commission
• MUSEXPO
• A2IM - American Association of Independent Music
• NARM - National Academy of Recording Merchandisers
• SF MusicTech Summit
• SXSW - South by Southwest
9. Respect Feedback - your story is not the most important story in the world - don't take rejection and criticism personally... rejection and criticism are at the heart of education and learning from rejection and criticism will help you better craft and skills.
10. Be realistic: There is one guarantee in publicity and that is: There are no guarantees. Publicity takes a long time to develop. One of the nicest compliments I ever received was from drum great Rod Morgenstein the first time I met him in 2002 at the Berklee College of Music when I was handling the press for the university's publishing division, Berklee Press. I introduced myself as Jordan Rudess' publicist (Dream Theater's keyboardist), and Rod who performed with Jordan in the Dixie Dregs and is one half of the Rudess Morgensten Project, commented that you couldn't open a music magazine (we had magazines back then), and not read about Jordan. I had been doing Jordan's relentless publicity in association with a leading recording equipment manufacturer, as well as several of solo projects, for two years when he made that comment. So, when it comes to being realistic, just remember, every overnight sensation can be years in the making.

On the web: http://www.prthatrocks.com

Founded in 1994 by Christopher Buttner, PRThatRocks.com is an award-winning publicity agency specializing in the representation of Indie to internationally-recognized and award-winning entertainers, composers and recording artists, national and regional concert tours and events, legendary recording studios, and some of the best-known entertainment technology and musical instrument brands in the world. Christopher is part of the ARTISTHEAD Industry Advisory Team. If you would like to enlist Christopher to provide PR help and solutions for you, contact him at: prthatrocks@artisthead.com

Related Post: Listen to an ARTISTHEAD Audio Interview with Christopher Buttner

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Influential Bassist Mick Karn Dies

Wed, 05 Jan 2011 02:01:38 -0600

Japan Bassist Mick Karn Dies

By WENN.COM

Last Updated: January 4, 2011 11:00pm

Members of Japan: (from left) Steve Jansen, Richard Barbieri, David Sylvian and Mick Karn.

Japan bassist Mick Karn has lost his battle with cancer at his home in London. He was 52.

Karn, real name Andonis Michaelides, announced he had been diagnosed with the disease at the beginning of June, telling fans on his website that the security and well-being of his wife and young son are now his top priority.

A statement posted on his website on Tuesday confirmed Karn "was surrounded by his family and friends" at the time of his death.

Born in Cyprus, Karn was a big part of the U.K.'s new wave movement in the early 1980s. As well as becoming a member of Japan, he also worked with Gary Numan and Kate Bush and founded Dalis Car in the mid-1980s with Bauhaus frontman Peter Murphy.

He moved back to London from his native Cyprus last year following the diagnosis he was terminally ill and fans launched several appeals via his website www.mickkarn.net to help cover medical costs and offer financial support to his family.

Live Aid hero and Ultravox frontman Midge Ure was in the throes of hosting a charity concert in support of Karn when the bassist died.

Ure told the BBC last year, "When it comes to a situation like Mick's - who is in dire straits - he needs help, financial help and emotional help. I have had a lot of contact from people I haven't spoken to in a long time; we are looking at availabilities for various venues. It's a long, slow process, so we need to nail the venue and date.

"You are going to have most of Japan there doing stuff, certainly Steve (Jansen) and Richard (Barbieri) will be there, and people that Mick has worked with over the years. He has huge respect. He is one of the good guys; that's what's shocking to everybody. I think the interest in this will be huge.

"I think Mick's influenced everybody. Until I heard Japan, I had never heard a bass guitar played like that; it was almost like playing a lead instrument, incredibly percussive and melodic, something that inspired me."

In a statement released on Tuesday, Duran Duran bassist John Taylor called Karn, "one of the great visual and sound stylists of the late 70s/early 80s".

On the web:

www.mickkarn.net

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Reality Check TV - Episode #470

Sun, 28 Nov 2010 20:23:07 -0600

Episode #470

We welcome back Raven as they headline the Tidal Wave fest, the legendary Dave Mustaine of Megadeth talks about his new biography, the Big 4 concert, Metallica and reuniting with original bassist Dave Ellefson and Dave Lombardo of Slayer talking about Slayer's history in the San Francisco Bay Area!

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Actress/Singer Irene Bedard In A Battle For Her Family And Honor

Wed, 24 Nov 2010 18:15:52 -0600

Support Irene Bedard

After 17-years of being a victim of unimaginable physical and mental abuse at the hands of her husband, Native American actress Irene Bedard is now being victimized by her abuser in the courts.

While there are many agencies that help victims of domestic violence leave the dangerous situation, the judicial system then allows the abuser to continue to batter the victim in the courts. This "assault by lawyer" must stop. It is a travesty that Ohio courts would return her son to a person who has perpetrated domestic violence.

When Irene was forced to return to Ohio she wanted to keep this matter private, just as she had hidden the bruises, scars and broken bones from friends and family for so many years. Family members, who love her dearly, went public with her story to help draw attention to her ordeal. While Irene did not initially want this information out in the public, now that it is, she realizes that she can no longer hide the secret she has kept for so long and will be speaking out publicly when she is ready. Right now, she is focused on the courts and gaining back custody of her son.

Irene does need your help. First, please write a letter to the politicians listed below asking them to intervene on Irene's behalf. Irene only wants two things from the lawmakers: to have the legal venue moved back to Alaska from Ohio, and to get her son back. A sample letter is provided below. Feel free to use your own words if you prefer.

Second, Irene's legal bills to fight this complicated case are mounting, and she needs the best representation possible to counter the many legal motions that are being filed against her. Irene would be very appreciative if you would donate on the Red Crystal Gala website, via the PayPal link, to help with her legal and living expenses as she fights this uphill battle to regain her son and her freedom.

Also, her abusive husband has not only taken her money and her son, he also has control of her image. Please be aware that the websites, Facebook and MySpace accounts under Irene's name are not being run by her at this time. She has no access to these accounts, only her husband does.

When Irene is ready, she will be launching new sites that are controlled by her. In the meantime, Irene will be using the Native Spirit PR & Entertainment Website as way to provide accurate information and to thank her many fans for the tremendous outpouring of support that she is receiving. She wants you to know that the information on this site will indeed be from Irene.

Irene also would like to publicly thank all the family members and friends who have done so much for her these past few months.

We thank you for your help,

Jody Roberts - Native Spirit PR & Entertainment

Blog Talk Radio Program About Irene's Current Situation

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Twelfth Annual Nammy Award Winners Announced!

Sat, 13 Nov 2010 12:32:12 -0600

TWELFTH ANNUAL

NATIVE AMERICAN MUSIC AWARDS Winners

FRIDAY, NOVEMBER 12, 2010 SENECA NIAGARA HOTEL & CASINO, NIAGARA FALLS, NY

WINNERS ANNOUNCED LIVE

ARTIST OF THE YEAR

Face The Music

Joseph FireCrow

BEST BLUES RECORDING

If That’s All Right With You

Twice As Good

BEST COMPILATION RECORDING

Walking With the Spirits

Randy McGinnis

BEST COUNTRY RECORDING

It’s About Time

Shane Yellowbird

DEBUT ARTIST OF THE YEAR

Wanted Man

Victoria Blackie

DEBUT DUO OR GROUP OF THE YEAR

Dark Water Rising

BEST FEMALE ARTIST

Horses Are Our Journey

Tinesha Begaye

BEST FOLK RECORDING

Believe

Michael Bucher

FLUTIST OF THE YEAR

Face The Music

Joseph FireCrow

BEST GOSPEL/INSPIRATIONAL RECORDING

Sacred Fire

Sayani

GROUP OF THE YEAR

Get Up & Get Out

Bluedog

BEST INSTRUMENTAL RECORDING

Hitchin’ A Ride

Nokie Edwards

BEST MALE ARTIST

Jay Begaye

Horses Are Our Journey

BEST NATIVE AMERICAN CHURCH RECORDING

Dakota Lakota Traditional Church Songs

Sacred Harmonies

BEST NEW AGE RECORDING

Enchanted Garden

Sheila Applegate & Joanne Shenandoah

BEST POP RECORDING

We Are

Digging Roots

BEST POW WOW RECORDING

Boys Will Be Boyz

The Boyz

BEST PRODUCER

Always Ready

Frank Waln

BEST RAP / HIP HOP RECORDING

Tribal Tribulations

Chase Monchamp/Chase Manhattan

RECORD OF THE YEAR

Breakin’ Free

Jan Michael Looking Wolf Band

BEST ROCK RECORDING

Segweh

SONG/SINGLE OF THE YEA

Grandfather

Windwalker/Wind Spirit Drum

SONGWRITER OF THE YEAR

Fight For Survival

Brad Clonch & Jeff Carpenter

BEST SPOKEN WORD RECORDING

Stories From The Social Fire

The Story Tellers

BEST TRADITIONAL RECORDING

Rebuilding The Fire

Bo Taylor

BEST MUSIC VIDEO

Sacred Warrior

Tom Bee

BEST WAILA RECORDING

Get’n Down

Native Thunder

BEST WORLD MUSIC RECORDING

Remembrance

Gabriel Ayala

NATIVE HEART

Tribal Vision

Big City Indians

Congratulations To all of the participants in this years NAMA Awards. You are all winners!!!! See you next year!!!

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Grammy Award-winning Eartha, Announces Two Hollywood Performances in November

Mon, 14 Dec 2009 08:48:18 -0600

Grammy Award-winning Eartha, Announces Two West Hollywood Performances in November
in Support of Her Third CD, Ink Dry Blue

Grammy Award-winning singer/songwriter, Eartha, proudly announces two West Hollywood performances in support of her the release of her third studio CD, "Ink Dry Blue."

Eartha’s sophomore 2002 release,"Sidebars" (above), earned her two Grammy Award nominations and a win for “Best Contemporary Soul Gospel Album”, at the 45th Annual Grammy Awards hosted in New York City in 2003.

The illustrious Grammy recognition came on the heels of the success of her well-received first single, "Love Jones", from her 2000 debut CD "This I Know," above.

November 3, 2010 – West Hollywood, CA – Grammy Award-winning singer/songwriter, Eartha, proudly announces two West Hollywood performances in support of the release of her third studio CD, Ink Dry Blue, at the Whisky-a-Go-Go on Saturday, November 13, 2010 and at the House of Blues VIP Foundation Room on Friday, November 26, 2010.

After a seven year hiatus to write, record and produce a multitude of other artists, musicians, and producers throughout Los Angeles in underground club, urban, and indie circles, the 5’11” sultry raspy-voice contralto, who sports a honey-blonde buzz cut, is making her presence known again. Eartha’s third studio release, Ink Dry Blue, in where she wrote all songs and plays all instruments, is being heralded as a re-invention of her award-winning sound and a musical style that is a hybrid of many and evades categorization.

Eartha’s sophomore 2002 release, Sidebars, earned her two Grammy Award nominations and a win for “Best Contemporary Soul Gospel Album”, at the 45th Annual Grammy Awards hosted in New York City in 2003. The illustrious Grammy recognition came on the heels of the success of her well-received first single, Love Jones, from her 2000 debut CD This I Know. This I Know, when remixed and released as a five mix Maxi-Single in 2001, pumped dance floors from coast-to-coast and shot to the #2 on the Billboard Hot Dance Breakouts Maxi Singles chart. All Music Guide’sJonathan Widran said of This I Know, "If this impressive recording is any indication, Eartha Moore stands poised to become a powerful presence…”

Rolling Out Magazine said of Eartha’s 2001 release, Love Jones, “Many artists have begun infusing all types of sounds into their music, making it diverse and often unpredictable. Eartha is leading the way.” And again, Eartha continues to trail-blaze. A radical departure from the soulful Gospel sound of her previous two CDs, Ink Dry Blue promises to be more “indie friendly”, falling into a very accessible and commercial female-fronted Alt-Pop/Rock, Singer/Songwriter category while not losing sight of her distinctive and innovative appeal that has established her as an original and evocative recording artist with her AAA fans.

When: November 13, 2010 at 8 p.m.
Where: Whisky-a-Go-Go, Sunset Strip, West Hollywood, CA
Cost: $12.00
For more info: http://www.whiskyagogo.com

When: November 26, 2010 at 10:50 p.m.
House of Blues VIP Foundation Room, Sunset Strip, West Hollywood, CA – (The Foundation Room is an exclusive club located at the House of Blues with its own south side entrance).
Cost: $10.00
For more info: http://www.houseofblues.com

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The Nammys - 12th Annual Native American Music Awards nominees announced.

Mon, 14 Dec 2009 08:48:13 -0600

Artisthead reporter, Lindsay Rowes

This fall, the Native American Music Awards (cleverly termed and known by many as the Nammys) will be setting the stage for talented, up-and-coming and established Native artists. In its twelfth anniversary, NAMA will present live performances and award individual excellence in over 30 categories, featuring the top contemporary and traditional performances and musical recordings. NAMA is a critically acclaimed Music Awards show that has been featured in, Billboard Magazine, USA Today, Wall Street Journal, Associated Press, NY Times, Boston Globe, and CNN.

What started as a vision by music industry professionals, has now became a well-developed organization and program that has also gained the interest of international audiences. Since 1998, NAMA has been providing music artists of Native background reverence and international recognition of their musical talents. NAMA is an all volunteer organization devoted to preserving Native American cultures through this formal musical outlet. Additionally, they aim at inspiring native youth living on reservations that need more opportunities to develop music careers and gain public exposure.

How it works: First of all, the nominees are selected by individuals in the NAMA advisory membership - comprised of those who are directly involved in the making, distributing, and promoting of Native American music. Each year, hundreds of recordings are submitted for nomination consideration. Awards given are not only limited to North America, as indigenous people in parts of Canada, Central and South America are given the opportunity to submit their music as well. Furthermore, NAMA does also honor non-Native artists in their category called "Native Heart". Other categories include Lifetime Achievement and Hall of Fame awards.

Unlike the Grammys, the NAMA voting process involves the general public. Near the end, winners are determined not only by those in the national membership, but by anyone one of us who wants to listen and vote on the tracks of the selected nominees. This year's nominations were recently finalized (September 20). Now begins the final voting process, The announcement of the winners will be at the live 12th Annual Nammy Awards Ceremony to be held at the Seneca Niagara Hotel & Casino in Niagara Falls, NY on Friday, November 12, 2010.

For NAMA to have worked as it has, it has required the approval and support of those in both the music industry and in Native communities. Fortunately, NAMA has earned respect and blessings from both worlds. According to their website, without NAMA supporters very little attention would have been paid to Indian music projects on a mainstream and professional level, such as it was in the past. With substantial growth, NAMA has promoted the careers of many artists over the years and emphasizes high musical and artistic values, while proving to be a success with an increasingly eager and supportive audience.

To listen to this year's nominees and vote and purchase tickets to the 12th Annual Nammy Awards - visit the official Nammys website at: http://www.nativeamericanmusicawards.com

View a full list of previous Nammy award winners.

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Lady GaGa's 'Born This Way' is not so original. The title is already taken by this NYC singer.

Thu, 23 Sep 2010 14:03:47 -0500

Scott Katsura's Official Website: www.scottkatsura.com

Lady GaGa's Offical Website: www.ladygaga.com

Music:

CD Baby

Check out this exclusive ARTISTHEAD audio interview with Scott Katsura

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ARTISTHEAD announces free daily chat help on Facebook

Mon, 14 Dec 2009 08:48:08 -0600

ARTISTHEAD has announced that it will provide 1-hour of free time per day to Facebook chat users. Facebook users can discuss their independent music careers and projects with an ARTISTHEAD rep. The hour will allow for up to 10 Facebook users to participate on a first come first served basis. Each participant will get their five minutes in the order in which they arrive with their chat post. Users must be a Facebook friend with ARTISTHEAD.

ARTISTHEAD free chat schedule on Facebook:
Monday through Friday, 10:30AM - 11:30AM PST.

Enter the password "AH" in the chat window.

For More information visit:
www.artisthead.com

Artist Head

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ARTISTHEAD MUSIC finally launches!

Mon, 14 Dec 2009 08:23:54 -0600

ARTISTHEAD finally launches!

ARTISTHEAD MUSIC launches in September 2010. With the indie musician becoming the fastest growing segment of the new music business, ARTISTHEAD fits the needs of the artist with form and function. "The founders of Artisthead are all musicians that taught themselves how to put together everything they had in order to make their music legitimate - from both an artistic and business standpoint.", says founder Toby Hannah.

"We have all been on indie and major labels, some of us on both, so we learned what not to do in terms of money management and artistic management. We saw all of the pitfalls that the labels and artists were falling into, so we came together with our gripes and figured out how to avoid making the bad choices that we continued to see happen in the major label scene."

"Artisthead gives the independent artist access to the same services and advantages that the major labels and top artists have. Now artists can focus on their careers instead of struggling to get all of the music business work together, or worse yet, not doing the business work at all. There will be many lectures from a diverse cross-section of music people. The site learning center is free to everyone and an excellent resource for anyone that is serious about a career in music."

Artisthead puts into one place all of the tools and services that the independent musician and record label needs to function. From label creation and incorporation, copyright and trademark services to manufacturing and sales of your music and products, Artisthead virtually does it all for you. They will even manage your label for you and provide high-quality tax, accounting, marketing and legal help.

ARTISTHEAD - The Future of Music is You

Visit www.artisthead.com to learn more.

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