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WELCOME TO THE FEBRUARY, 2002 ISSUE OF MUSIC MORSELS Please note: For those who do not receive Music Morsels in its entirety or prefer Music Morsels in the text format, please send us an email and we will send you Music Morsels as a text attachment. Thank you. Special offer for Music Morsels subscribers! AND NOW... ATTENTION LABEL PR DEPARTMENTS, MUSICIANS AND SONGWRITERS! If Music Morsels is not on your mailing list for your new releases, please add us to your database. If you wish to send presskits, please include a full presskit - not just a CD. We do not review submissions without a complete presskit. Also, please include your return address on the envelopes of all submissions. We no longer open packages without return addresses on them due to increase security risk! Our readership has reached 35,000+. ATTN: A&R REPS - Please read our UNSIGNED/INDIE BAND SPOTLIGHT for information on up-and-coming acts. Mailing Address: Sandy Serge - Editor, Music Morsels, P.O. Box 2760, Acworth, GA 30102 USA To unsubscribe, just ask....and you will be removed from our list. Music Morsels is the award-winning monthly music industry newsletter targeting musicians, songwriters and music industry professionals. We are distributed via e-mail to all the labels, many radio stations, and music editors around the world. So if you want the latest educational information on how to develop your music career - or if want to know more about how national recording acts or successful industry professionals hit the big time - or if you want to read interviews about the latest up-and-coming unsigned or indie label bands plus tons more, you can read it all here. ATTENTION MUSICIANS & LABELS: SEND YOUR PRESS KITS (must send COMPLETE presskit, not just a CD) TO US FOR POSSIBLE UPCOMING REVIEWS OR INTERVIEWS IN MUSIC MORSELS. We cover all genres! To subscribe, just send an email to MUSMORSELS@AOL.COM with the word "Subscribe" in the subject field. Affordable classified advertising reaching thousands of people in Music Morsels! 3 months for 15 bucks! Classifieds can be up to 10 lines long and we place your gif or jpeg on our web site with your ad along with publishing it in the ezine. Money orders and personal checks accepted payable to Music Morsels/Serge Ent. Must receive your ad with payment by the 25th of the month for inclusion in the upcoming issues. Mail to: P.O. Box 2760, Acworth, GA 30102 Special thanks to all of our Music Morsels' Sponsors. Junior Sponsors Senior Sponsors Executive Sponsors Would you like to become a Music Morsels sponsor? To learn how, visit http://www.serge.org/NetMarketOp.htm ``````````````````````````````````````````````````````````````````````````````````````````` February, 2002 ```````````````````````````````````````````````````````````````````````````````````````````` "You can get whatever you want by helping others get what they want." - Zig Ziglar
TABLE OF CONTENTS
1. CROSSROADS - MICHAEL SCHENKER by Mark E. Waterbury & Sandy Serge
2. INDUSTRY PROFILE - CODY BLAKE, Recording Engineer by Mark E. Waterbury
3. ALBUM CAPSULES - Michael Schenker Group, Tom Paul, Jager Compilation, Dave
Isaacs, Randy Moore & the Fabulous Deltones, Gravity Willing by Mark E.
Waterbury
4. SCOTT TURNER’S SONG PUBLISHER’S PERSPECTIVE - A Brand New Helping Hand
5. CONCERT REVIEW: CREED in ATLANTA - Learn from this multi-platinum selling
band
6. UNSIGNED ARTIST SPOTLIGHT - Singer/Songwriter TOM PAUL by Mark E. Waterbury
7. MUSIC BIZ NEWS AND OPPORTUNITIES - compiled by Sandy Serge
8. MUSIC INDUSTRY MARKETING SHOWCASE - the latest and greatest music industry
products and services
9. MUSIC MORSELS SUBSCRIPTION INFORMATION
```````````````````````````````````````````````````````````````````````````````````````````` 1. CROSSROADS.......... MICHAEL SCHENKER Sometimes when you meet crossroads either in your life or your
career, both directions can be a bit bumpy. For musicians, this can be
especially true as everyone should realize that the road to the top can often
be fraught with extreme difficulty. And even when the road seems smooth to
outsiders, it may not be as easy a ride as you may think. German guitarist
Michael Schenker has managed to survive a sometimes bumpy road to remain as
one of the world’s most respected ax slingers. Well-known for his earlier
work in the British rock band UFO, his occasional forays with brother
Rudolph’s band the Scorpions and his own band in various incarnations,
Michael’s passion for creating music has overcome some trials even extending
to the current time. And as he continues to grace the musical world with his
powerful music, his fans will no doubt be glad for his tenacity.
Of course Michael’s early years in Hanover, Germany were music-intensive
as older brother Rudolph was a guitarist. The guitar also became Michael’s
instrument of choice, and he began to play in bands at an early age,
recording with a group at the age of eleven. When he was fourteen, he joined
another band with a friend named Klaus Meine on vocals, while at about the
same time Rudolph had formed a band called the Scorpions. Two years later,
Michael and Klaus both ended up joining that band and they recorded the debut
album “Lonesome Crow”. “At that point the rest of the world seemed to stayed
away from the music, because Germany was behind,” Michael recalls. “When the
album came out, there wasn’t any management available and it was very
difficult to get anywhere with this type of music, so I thought that if I got
a chance to go to England, I would do so to play to people who would
appreciate the music.” Michael got his chance when the British rock band UFO
was performing in Germany. The Scorpions were on the same bill with UFO and
for some reason their guitarist was not able to join them for the first
couple dates of the German tour, so they asked Michael to fill in. Michael
performed the double duty of playing for both bands, and even after the
original guitarist returned, the other UFO members asked Michael to join and
he accepted. UFO’s first album with Michael and third overall was
“Phenomenon,” which had some very solid music, but failed to really launch
the band to the next level so the band continued to tour as much as possible
in Europe. Two more albums “Force It” and “Heavy Petting” didn’t quite do
it either, but the band kept going and stayed on the road and when the title
track from the next album “Lights Out” turned peoples heads, a wider
audience began to discover the band. “For three years, it had been - put out
an album, tour, put out an album, tour. We just kept getting out there, but
it hadn’t really happened yet. When we did “Lights Out”, we were so far
away from success, but after that song became a hit, people really started
discovering our earlier music as well.” The 1977 album also afforded the band
their first extensive touring opportunity in the US, opening for bands like
Jethro Tull and Rush, increasing their popularity even further. But as it
happens with many successful bands, there can be friction, and when friction
went a bit too far between Michael and vocalist Phil Moog, Michael decided to
leave the band. “Phil used to fight people a lot and I told him that if he
ever hit me, I would leave the band. I guess he wanted to see if I would
follow through so he did end up hitting me and I did end up leaving.”
Rudolph Schenker found out that his brother was available and had him as
a guest player on the new Scorpions album “Lovedrive”. Michael began the
tour with the Scorps, but his musical heart was elsewhere. “I was mostly
playing someone else's songs and I really do my own thing. So I left the band
and got my own musicians and formed by own band.” This was the birth of the
Michael Schenker Group. It was obvious that Michael had made some fans of his
own over the years as the first MSG album in 1980 hit number 50 on the
Billboard charts. Over the next six years, MSG would put out several studio
and live albums, most to fairly good reception, and of course the band would
tour after each album’s release. In 1987 Michael wanted to make another
change. “I just got to the point where it was getting tough to be responsible
for a band all by myself. So I looked for a singer and found Robin McAuley.
He agreed to call it McAuley Schenker Group, which kept the MSG. I personally
liked him as a vocalist, and other people did, too. There were some that were
disappointed in his vocals and some people left us. But we carried on from
1987 until 1992.”
In 1993, Michael decided he wanted to do an album to show his
appreciation to all the fans that stayed with him over the years. The album
aptly titled “Thank You” also had another special meaning for Michael and it
involved a rather unique marketing campaign. “I wanted to be independent and
not part of the machine anymore - because with the machine, everyone takes
money and leaves the band nothing. The “Thank You” album was a new chapter
in my life. I wanted to do something that I didn’t need any other musicians
for. When I finished it, I had to decide how to get it out to the fans. I
decided to get on Greyhound buses and go throughout America and play the
songs for radio people and ask them to play it on the air. And I rode a
couple thousand miles with two guitars and a duffle bag with clothes in it. I
got a good response from a number of the radio stations. When I came home, I
had all these orders for the album, and for the first time in my life, I made
money with my music instead of other people making money with my music. I
finally started reaping the rewards of my work.”
Shortly thereafter, Michael was approached again by his old mates in UFO
to do a reunion, something they had been trying to get him to do for a while.
“The way I looked at it was this would be the time for UFO to put everything
behind them and actually none of them saw any money from their days with the
band either. So I suggested putting out the record and selling it
independently; if it worked for “Thank You”, it should work for this as
well.” So Michael reunited with original members Phil Moog, Pete Way and Paul
Reymond for a very well-received reunion tour, as well as a subsequent new
album “Walk On Water”. After that tour was complete, Michael once again
reformed MSG and since then, three more albums, including the most recent “Be
Aware of Scorpions”, have been released. Michael had also built a sta
te-of-the-art recording studio hoping to help other musicians who
wished to break from the music industry’s corporate “machine”, but
unfortunately he realized that the overhead to run the studio would be too
great and he is closing it down. Despite this setback, with MSG still putting
out great rock albums and a new UFO recording due out soon, Michael is
looking forward to the future. “I’ve been doing this professionally since I
was about fifteen years old and it took me over twenty years to get to where
I really began to actually reap the fruits of my labor. Who knows what the
future will bring? With more independent people and great indie labels
interested in heavy rock music, maybe we can keep this going for a long
time.” :->
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_* 2. INDUSTRY PROFILE - CODY BLAKE, Recording Engineer by Mark E. Waterbury
Cody Blake had originally tried a couple of other avenues in the music
business before he found his calling. After attending the Elkins Radio
Institute in Nashville, he worked some radio jobs as a disc jockey and also
producing ads and promo, but that pursuit wound up not holding much interest
for Cody. He then started playing guitar in adult contemporary and country
bands, but it did not take long for Cody to realize that his true passion lay
with a different facet of music. “I performed for several years and I did
live PA work as well as recording some of the bands. I always found myself
more fascinated with the equipment side than the performing side. That’s
where I became interested in wanting to become a recording engineer.” Cody
found out their weren't really any proficient schools at the time for
learning recording so he networked with several engineers to learn more about
this craft. This networking circle included a group of AAA engineers in up
state New York who worked with several major country acts. He learned
more about mixing sound and the recording process and in 1994, Cody opened
his own studio called Trinity Studios. “I’ve always been interested in being
the boss. I wanted to do it completely the right way and the only way to do
that is do it by yourself, although I did have one person working the
business side of the studio. We did everything from scratch, designed the
studio and built it from ground up. And there were a number of acts that were
in the area who needed recordings so we started working with them.” Some of
the original acts who came to Trinity Studios were Christian acts, including
a group called the Seers Family who did fairly well with the project they
recorded. The studio worked diligently, marketing their services through the
internet and via word of mouth. Once the recording end of the studios was up
and running, Cody became interested in the mastering process. “As you learn
to become a recording engineer, you learn what mastering is. I eventually
took all the things I learned with mastering and developed a new mastering
technique.” Cody explains that standard mastering is based on the levels of
major label productions, and a lot of indie artists’ mastering is not up to
that level because they try to do it themselves. Cody’s system lets them get
a mastered product that is comparable to major label efforts in respect to
volume, quality, clarity and stereo image. “It works in radio very well. We
took one group out to radio that did very well with this process, and they
had requests from California to Illinois asking for their CD. When they did
another CD without our mastering process, they did not get the same
response.” Cody has continued to see his recording business increase and he
continues to perfect his recording/mastering equipment and processes,
including the Goliath mastering process he developed over the last couple of
years. His company has recorded or mastered well over a hundred projects
since 1994 including the recent CD Baby compilation “The World Will
Remember,” honoring the victims of the September 11th attacks, with the
proceeds going to the disaster relief fund. Cody also works with the radio
promotion side of Sheheshe with his partner Angel Davis, spending a lot of
time every week on the phone calling radio music directors. “You learn how to
say the right things to the music directors. When you get to the radio
promotion side you can’t push a music director. Your music should be good
enough to stand on its own. Too many people make the mistake of getting hyper
with the music director.” Cody is very happy with his work in both facets of
the business, and wants to continue to keep the business growing while
constantly improving all aspects of it. “There’s a definite need for good
radio promotion firms and mastering studios out there right now. I really
enjoy the end result of our work. When a product comes out of the mastering
process and the sound is so much bigger than when we started, that is always
a joy. We have found how to make that sound bigger and wider and deeper, and
people at radio can hear the difference as well.” To contact Cody or Sheheshe
Music services, please send an email to sheheshe@townsqr.com or visit their
web site at www.sheheshe.com. :->
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_* 3. ALBUM CAPSULES by Mark E. Waterbury
Michael Schenker Group - Be Aware of Scorpions Tom Paul - I Was King Jager 56 - Jager Music Compilation CD Dave Isaacs Randy Moore & the Fabulous Deltones - Self Titled Gravity Willing - Requia _*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_* 4. SCOTT TURNER’S SONG PUBLISHER’S PERSPECTIVE On a daily basis, I receive material from somewhat frustrated writers who ask
me "Where can I send my songs where (at least) somebody will listen?" And
sadly, I have to answer them by saying "Jump in the boat with the other
umpteen writers". It's really difficult to present a song in person these
days unless, of course, you're a proven entity with a substantial track
record. Then, it's simple because the artist and/or producer is glad to give
you an audience.
One old friend, though, namely Jack Kavanagh has provided a new outlet
through his "Song Domain" publication. Jack used to send me excellent
material when I headed up United Artists Records, but he, too, discovered
that times have changed so he put together a very informative tip sheet (plus
other informative pieces) in his "Song Domain" offering.
Firstly, I want you to know that his publication doesn't compete with any
other music business journal and is strictly a "where to send your songs to"
offering. Also, I'm in no way a participant in Jack's company, but rather I
was very impressed with the 3-4 pages of listings. He specifies who is
looking for what; where to send the song(s); and who to send them to. It
applies to all forms of music.
Now here's the good part. Subscription rates are usually $49.00 a year for 12
issues, but Jack recently told me that any of our people (Sandy Serge's Music
Morsels subscribers and myself) can get it for $39.00 per year (or $4.00 per
month which when you think about it is the cost of mailing one tape with an
SASE to a firm you'll never hear back from).
Certainly, there are some independent artists listed along with many heavies,
but don't ever overlook the indy act because if you write that great song
that launches them, guess who they're coming back to for ensuing material?
That's right...you!
Jack is a very honest person and, in fact, who is going to get rich at
$4/month with the costs involved i.e. phone calls to get leads, printing
costs, mailing, etc.? I get come-ons every week regarding sending in up to
$550.00 for listings of movie producers, etc. so $39.00 per year isn't a
large amount for the tip sheet "Song Domain".
You can contact Jack Kavanagh at P.O. Box 40098, Mesa, AZ 85274 and you might
mention my name (which, by the way, with $1.07 will get you a Big Mac!!) in
order to qualify for the $39.00/year deal, but it's well worth it because of
the contacts for song submissions that he lists each month. All he wants to
do is help songwriters find an outlet for their material. Good luck! :->
_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_* 5. CONCERT REVIEW: CREED in ATLANTA - Philips Arena LESSONS ON HOW TO PUT ON A “GREAT SHOW” How many times have you heard that line providing a rather broad
description of the event in question? It seems to be a pretty common response
but when you require elaboration, the definition of a “great show” can have
a wide variance. The response was probably heard around Atlanta after the
performance by multi-platinum rockers Creed who kicked off the tour
supporting their latest release “Weathered” at the city’s Philips Arena on
January 16th. Creed has built a large part of their reputation on having a
great show, but there is a need to break it down a bit and find their
definition. One of Webster’s definitions of “show” is “a demonstrative
display”. Creed has demonstrated that they are at that success level so they
can have a monster stage show complete with state-of-the-art lighting and
sound, and enough pyrotechnics to shame a Jerry Bruckheimer movie. It was
very well orchestrated right from the start, as the blazing white lights and
fiery explosions that launched the show mirrored "Weathered's" high octane
lead track “Bullets”. The Romanesque stage set revealed itself during the
following tune, “Freedom Fighter,” and video screens provided moody
backdrops for songs like “Who’s Got My Back” and “Higher”. The pyro popped
up again at strategic phases of the concert, but never really attempted to
overwhelm what was truly happening on stage. Most of the attention of the
audience was on the members of the band, whose intense stage presence would
make a great show even if the stage was barren and the lighting consisted
of a few gel-cans and a follow spot. That is how Creed was able to make their
meteoric rise in the rock world; remember that they started out as road
warriors, playing bars first in their native Florida and then beyond. They
had strong songs, but built their reputation on giving their all onstage,
long before they could afford the bells and whistles of an arena rock
production. And that is a truer definition of putting on a good show, with
the lights and effects augmenting the performance, not detracting from it or
actually becoming the main focus. Frontman Scott Stapp received a large
percentage of the attention that evening as he prowled all corners of the
stage and the three wings that jutted into the crowd. It is easy to see why
he is such a dominant stage presence. Beyond his body contortions and
outstanding vocals, he physically shows genuine emotion as he sings. You can
feel his pain in “What’s This Life For,” grasp his anger in “What If” or
experience his joy in uplifting songs like “One” and the lighter arena
ballad “With Arms Wide Open”. In that vein, he effectively brings the crowd
on stage with him, even those seated in the rafters of the arena. The other
members of the band also have great stage presence and received their due
from the throng. Guitarist Mark Tremonti stays in his own area of the stage,
but still plays with unbridled fervor, and while most of the songs progressed
the same way they did on the albums, some of the solo work was improvised,
adding further evidence to the man’s talent on the six string. Drummer Scott
Phillips is not flashy, but he drives Creed’s powerful rhythm core with
intense passion, providing tasty fills at just the right points without
overplaying or loosing the basic beat like some fill-happy drummers tend to
do. The bassist for this tour Brett Hestla who is also the lead singer for
opening act Virgos, fits in well with the overall presence of the band. His
playing was masterful and he frequently moved around the stage, exhorting the
crowd almost as often as Stapp did. After a hundred intense minutes as the
final notes of the recent hit “My Sacrifice” were augmented with another
fiery burst, the throng roared approval, but primarily for the four members
of the band, who had...well, put on a great show. Not to take anything away
from the people who designed the stage and ran the lights and pyro (as well
as the sound which was excellent throughout), but the main reasons behind the
immense popularity of Creed is due to the music and the way the band members
portray it with their on-stage passion. So when you boil it down, it’s just
four guys entertaining their fans by pouring their hearts into playing rock
and roll - some pretty damn good rock and roll. :->
_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_* 6. UNSIGNED ARTIST SPOTLIGHT by Mark E. Waterbury
ARTIST NAME: Tom Paul MM: Give me a little background about your time in the music business.
TP: I’ve been in it on and off for about twenty years mostly doing acoustic
guitar performances. As a songwriter, I had some songs published in the
mid-90’s, but they never were covered by other artists. I never really made a
living at it, but this new CD is a fresh start. I am approaching the world as
a performer this time, not just a writer.
MM: Did you previously perform more cover songs or did you perform some of
your own music as well?
TP: It was more cover music working in some of my solo material, playing at
bars and I did some “First Nights” in the local area.
MM: Why did you become a songwriter?
TP: When I was around 20 I really wasn't a great guitar player. I didn't
have the ear to hear something on the radio and then be able to play it. So I
just started making up songs to play. I went from the melodies and started
finding words to sing with them. It was about ten years ago that I really
started writing songs seriously. I joined the Pittsburgh Songwriter’s
Association and tried to get my songs out, but my music isn’t really country
or pop enough to be successful writing for other performers. It’s music that
you have to perform yourself, like Tom Petty or Bob Dylan's songs.
MM: What inspired you to record your current CD “I Was King”?
TP: This is in a way my second CD. I started making demos at home with an
eight-track recorder, eventually moving up to a Roland digital recorder. From
there, I learned to record on a PC-based system called Cubase. That was in
1999 and I was doing all the instruments myself, midi-drums included. I had
around a dozen songs I burned onto a CD-R myself and gave copies to all my
friends. It started sounding pretty promising. So from that point on, I
started writing new songs for my next project. I added more and better gear
to achieve better recordings. And I’m also getting very computer literate and
I’m networking with a lot of newsgroups that I am learning a lot from. With
my recording, I made a lot of progress with the vocal and guitar parts, but
the drum parts utilizing the midi-drums were just not cutting it. A couple of
local drummers tried to drum over the tracks I laid down and they had trouble
keeping time. And they were pretty good drummers so I was surprised. I asked
a newsgroup called rec.audio.pro if professional drummers could keep time
with this existing music. Then John Marsden e-mailed me back and said that
yes, professional drummers can do that, they do that everyday. John then
referred me to drummer Charlie Morgan because he likes to do that kind of
work. Charlie also drummed for Elton John, Paul McCartney and Thin Lizzy
among others. I sent Charlie stereo mixes of what I thought were my five best
songs. He added the drums and mailed me back the .wav files of his drum
tracks. He just kept rock-solid time! Then Charlie called John Marsden saying
that this songwriter from Pittsburgh had some pretty good material. John
listened and wanted to be involved. He asked me what I was doing with it. He
said, “You’re doing a CD, right?” And I said, “Well, I guess I am.” That’s
how it began. John produced it and played keys as well as singing background
vocals and he brought in Charlie DeChant who is Hall and Oates sax player as
well.
MM: So with this recording process you never actually recorded in the studio
together, you just sent files back and forth?
TP: We honestly never played together. A lot of the songs’ structure and
basic elements were already determined because I had the songs close to being
completed when I sent them to John. Then John made a lot of decisions about
what parts to keep and what parts to get rid of or redo. He sort of took over
as producer in that respect. I was really pleased with the way the CD came
out considering the convoluted trail to record it.
MM: In respect to the lyric writing, did you write the lyrics first and build
the song around it or visa-versa?
TP: With me, it always starts with the musical melody. I usually start
sitting on the couch with my guitar banging away on something. If it starts
to sound good, I have to ask myself if it was something I had heard before or
if it was something new and original. Usually the words to the chorus come
first. That's where the central theme of the song generally is. I then add
the verses to lead to the chorus. Lyrics are a LOT of work for me. Once I
get a clear picture of that theme, they come easier. Coming up with that
"what's this really about" can take a few seconds or a year!
MM: Are the songs mostly about life experiences?
TP: Absolutely, very much so. Sometimes I will write about the conflicts I
may be going through at a particular time. And then there’s “Hartman Street”
that really describes the new direction I have to head off to in my life.
It’s not really because I dislike anything about where I was, but I feel that
it’s time to move on, achieve other goals and chase my dreams. And that’s
the melancholy but positive vibe of that song.
MM: What is your plan to take this CD out to the masses?
TP: I’m going to perform solo in the area for a while. These songs lend
themselves quite well to solo performances because that’s the essence of how
they started out. And I’m working with a public relations firm and asking for
a lot of help there, doing shows locally and getting some publicity out of
that and trying to get radio play. We are also going to put together a plan
for internet marketing, and I do need the PR firm for that because I am an
outsider on the business side of music, coming in with no preconceptions
about what works and what doesn’t work. That’s what I got the PR firm for.
But I believe the music is good and I believe that I have the energy and
desire to promote it, and even with a company helping me, it will take a lot
of work, but I’m ready for it.
For more information about Tom Paul, please visit his web site at
http://www.tompaul.org. _*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_* 7. MUSIC BIZ NEWS & OPPORTUNITIES Music Morsels encourages all of you with opportunities for musicians to email
your press releases to MusMorsels@aol.com for possible inclusion in this
column. This column will be featured monthly. Deadline for inclusion is the
25th of the month for the upcoming issue.
Attn: Musicians: Got Good PR?? Serge Entertainment Group is seeking bookings agents. We prefer someone who
already has a music business and would like to supplement their income. We
would like to form alliances with other companies all around the nation. If
interested, please send an inquiry to Sandy Serge at SergeEnt@aol.com.
Recoil Entertainment is currently accepting submissions for its talent
agency. Their agents have worked with many artists on some of the country's
largest independent labels. Recoil does their best work with alternative,
active rock and hip-hop artists. Email Karl Groves at
karlcore@recoilentertainment.com or visit them online at
www.recoilentertainment.com for more information. Mailing address: P.O. Box
2346, Glen Burnie, MD 21061.
Bloodhound Gang is trying to locate fans and passersby before releasing their
home video. Please visit www.bloodhoundgang.com and check out the still
photos. Cash and/or prizes are being offered to bother finders and findees -
those who made cameo appearances.
Composer, Songwriter, Band, Music Library, Music Supervisor and Music Editor
Listings Now Available for: _*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_ 8. MUSIC INDUSTRY MARKETING SHOWCASE
Looking for products or services to assist you on your path to success?? Then
look here! Ad rates are only $15. Your ad runs for 3 months and has visibility all over
the world. For complete ad rates, contact ====================================== Music Morsels’ Own Scott Turner Chronicles His Life In Audio Cassette Series
Scott Turner Audio Cassette Series Tape #1, 2, 3, 4, 5, 6, 7, 8. 9, 10 & 11
Are Now Available!
Scott Turner, renowned publisher/producer/songwriter and columnist for Music
Morsels has begun his audio cassette series chronicling his 47 years in the
music industry. Each 90 minute tape will highlight the important events in
his music career from his first recording session and how he landed a
recording deal to his days with Buddy Holly, Tommy Sands, Guy Mitchell, Eddie
Fisher, Herb Alpert, Audie Murphy, Harry Nilsson, Phil Spector as well as his
career at recording labels such as Central Songs and the country division at
Liberty which eventually became United Artists. Each tape sells for $12 and
will periodically include songs that have never been heard along with rare
photos. The first tape chronicles Scott Turner's "Early Years" beginning in
the mid-50's spoken by Scott Turner himself. Several publishers have
approached him to write a book, but guess what? Scott Turner has graced us
with the honor of presenting the treasured moments in his musical career on
tape to you!
To order Tapes #1 - 11, please complete this form (copy and paste is easiest)
and mail with your check or money order for $12 plus $1 shipping and handling
per tape ($13 total) to: Scott Turner Cassette Series, c/o Serge
Entertainment Group, P.O. Box 2760, Acworth, GA 30102 USA
. You will receive
ordering information for additional tapes when you receive your first tape.
Name __________________________________________
Address ________________________________________
City, State, Zip __________________________________
Phone__________________________________________
Email __________________________________________
Please make checks payable to Serge Entertainment Group. Please allow 2-3
weeks for delivery. Thank you for your order!
====================================== ====================================== ====================================== ATTENTION UNSIGNED BANDS! ====================================== Indie-Music.com ~ Save Time & Promote Your Music Free! ====================================== SONGWRITER'S MONTHLY - the stories behind today's songs. For a free sample, call
1-800-574-2986.
====================================== Musicians Tip Sheet - The Tip Sheet is a free newsletter for musicians which includes many
industry contacts and informative information about the music industry. To subscribe, please
send an email to: mailto: musicians-tipsheet-subscribe@egroups.com
====================================== CD Baby - the best indie online store in the world - www.cdbaby.com
====================================== JOIN INTERMIXX, the nation's first true indie music internetwork. Indie
musicians need to market themselves in every way they can, to reach the
maximum number of consumers. The internet has helped make this more possible
now than ever before. Maximize your internet marketing capability by joining
InterMixx. Find out more by entering the InterMixx IndieGate:
http://www.IndieGate.com or call 1 800 MIXX MAG. Because Sandy Serge, editor
of Music Morsels, is a valued InterMixx member, please mention Music Morsels
and receive a special $50 discount off the annual membership fee of $150.00!
====================================== Get a FREE subscription to The Buzz Factor, Bob Baker's music marketing tip
sheet. Every issue features inspiration and low-cost marketing ideas for your
independent band or record label. To subscribe, just send a blank email to
00-BuzzFactor-subscribe@egroups.com or visit http://www.thebuzzfactor.com.
====================================== Attention: ====================================== GAJOOB Magazine's DiY Report is a listing of DiY recording information,
distributed freely over the Internet 2-3 times monthly for musicians. To
subscribe, send an e-mail to gajoob@utw.com. Also available in hypertext
format on the world wide web at http://www.utw.com/~gajoob/pages/diyreports/52.html.
====================================== Fall into a place beyond earth listening to music by new age/classical
pianist Mark Birmingham. Visit his web site at http://www.rosemeadrecordings.com for a taste of his "Garden Life" CD that offers some true soothing and relaxing music as well as several uplifting, emotive tunes for your listening pleasure. Media members: For more info or a presskit, contact SergeEnt@aol.com.
====================================== ATTN: MUSICIANS! HAVE WE GOT THE 411 FOR YOU! Get the only directory you will
ever need - A&R Registry (Regional A&R contacts not listed in any other
directory with all major & independent labels in LA, NY, Nashville & London).
All this for only $325.00 1 year (6 issues) or get a trial issue for only
$65.00. Call The Music Business Registry at 800-377-7411 for ordering
information.
_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_ 9. MUSIC MORSELS SUBSCRIPTION INFORMATION To SUBSCRIBE to our FREE e-mail version of Music Morsels, send an email
message to MusMorsels@aol.com and put the word "Subscribe" in the subject
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month. Please note: We do not share or sell our mailing list with anyone so
your privacy is protected.
+++++++++++++++++++++++++++++++++++++++++++++++++ That’s it for this month. Thank you for your subscription. E-ya next month!
-ed. |
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