Shock Value Music Webzine, March 1998

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Volume 1 Issue 9 March, 1998

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Table of Contents

Nancy Falkow, Artist of the Month
FOCUS ARTICLE: Radio Airplay
Interview: Bryan LeFauve, Music Director
Around the World in March
Mainstream
Top Five Albums

IF YOU HAVE TROUBLE VIEWING, PLEASE TRY RELOADING THE PAGE

Nancy Falkow
Artist of the Month

I've always preferred the deep soulful voice of Bonnie Rait, and the popular, but non-saccharin sounds of Natalie Merchant, and Alannis Morrisette. A lot of mainstream female vocalists these days have that dull sweeter-than-sugar sappiness sound that irritates the hell out of me. That's why Nancy Falkow is a breath of fresh air. She has the uniqueness of Merchant, the soul of Rait, and the spunk of Alannis Morrisette. One of the most important things that a singer needs these days is a one-of-a-kind voice. When you hear Natalie Merchant on the radio, you know right away that it's her. Nancy Falkow has that same valuable quality in her voice and it's going to take her far.

Right off, the first cut on the CD spotlights her one-of-a-kind voice and soulful folk/rock style. "Killing Time" is also my favorite cut, it has that radio-ready quality that I'm always talking about. The melody is smooth, the lyrics are catchy, and I love the clean sound. Nancy's five song, self-titled CD also contains "Your Affair", which thrives along those same lines with a little bit more of a beat. That rich folk/rock sound has made a comeback in recent years, and it's not going anywhere anytime soon. "In An Afternoon" switches gears a bit to a softer ballad with just a guitar and a voice. "Invisible" speeds things up a bit, while "One Way Conversation" highlights Nancy's spunk and style.

This Philadelphia solo artist got a little help from her friends on her first effort. Record producer Michael Musmanno mixed her CD, and songwriters, Mark Getten and Scot Sax from the pop band Wanderlust, also helped out. Nancy gets around this great big world with guitar in tow. She has played everywhere from her local Phily scene to venues in New York and Europe. While on her home turf, she frequently performs at The Tin Angel and the Pontiac Grille. This singer/songwriter/guitarist has no problem wearing many hats until her musical foot is planted firmly in the business. Nancy is also a publicist for "Tongue In Groove" Studio, where her CD was recorded. But, with her sophisticated, powerful voice and flare for the guitar, I don't expect her to be hanging around Philadelphia much longer. Train Nancy is barreling full steam ahead.

Nancy Falkow's
5-song self titled CD is now available
To order, send e-mail to:
NanceNet@aol.com
or call 215-680-3255

Check out Nancy's Website

Nancy's tour dates are always being updated here:
www.tourdates.com/artist/109473.html

FOCUS ARTICLE--Radio Airplay

First, let me say that Gary Hustwit's book, "Getting Radio Airplay" is an excellent source for artists. A lot of the ideas expressed here are attributed to this book, and it has listings of radio stations across the country that air not-so-rich-and-famous singers and bands, making your job easier. That said, let's explore the vast experience of making a radio station play your music. One common misconception is that you should only bother with local radio stations. Why stop there? Go global. I suggest starting with the big cities like L.A., New York, and Nashville (especially if you're country). There are more industry types there then there are in your town. That's the best place to start. Having a following in your town is important too, but if your goal is to get a record deal, having an industry professional hear your song is more important than a following. Also, consider the big European cities, many times stations overseas invite a much wider variety of music, but you also have to consider the laws overseas, contact your performing rights organization for more information.

In the U.S., your best bet is going to be public and particularly college radio stations, although the number of local talent radio shows are increasing in commercial radio also. In Cincinnati, our alternative station, WOXY has Local Licks, the top 40 station, Q102 is currently developing one, and I believe all of the college and public stations have some sort of new talent showcase. It's a growing trend, so you'll see it more and more in commercial radio which will be a big boost for not-so-rich-and-famous music makers. Make sure the station has such a show before you send your package. Before you start, there is some radio lingo that you should be familiar with, check out our radio lingo dictionary.

To start, you, of course, need to have at least a one song demo. You really need to make this a high quality recording, and these days, it must be a CD. If you absolutely cannot afford CDs, send vinyl (yes vinyl) or cassette singles with one song on each side. For more information on recording, visit our August, 1997 Issue. Pretty packaging, believe it or not, is also important. Anything you can do to make your package stand out from everyone else's is a good thing. You'd be amazed at how a well designed sticker on the envelope can catch a music director's eye, causing him to pull your CD out of the stack. A radio package is going to be very similar to your regular submission package that you would send to record companies. For more information about record company submissions, visit our October, 1997 Issue.

Your package should include: a cover letter, CD, bio, and bounce back card. The first step is the cover letter. Introduce yourself, tell the music director what song you would like aired, and make sure you mention the genre of music that best describes you. You may want to elaborate on why you fit in with that station's format, but keep it short. Your cover letter should always be personalized, do not put "MD" or "Music Director". You can get a list of music directors across the country in any trade publication (also called trades or tipsheets) like "Billboard", "Radio and Records" or "CMJ New Music Report", which features college stations. If you send a full length CD, make sure your cover letter states the ONE song you'd like added to the play list. Your letter should be short and to the point: 'Dear Mr. So-and-so...My name is...I'd like my song, "Good Song" to be added to the playlist at WWWW radio...My style will add a lot of flair to your pop music format.' Make sure you mention the format of your music, i.e.: pop, rock, alternative, ska, metal, CHR, adult contemporary, etc. Be formal and polite. If you're submitting to a local station you may want to ask to meet the music director in person. ALWAYS make an appointment, and tell them you just want a few minutes to introduce yourself and hand deliver your CD. If you do this, you should still have a cover letter.

Secondly, your bio, which is also called a one-sheet because it should be just that, one page long, no matter how long you've been in the business. Check out a beginning singer's bio for tips. If you've been written up in anything, perhaps you had a stunning review in that wonderfully hip, Shock Value Music Webzine, don't include the entire article. Take great clips and make them part of your bio. Do not send pages and pages of press. Your bio is a brag sheet, not a book. Put the clips together in a paragraph, or other format, make sure you mention the name of the publication, especially if it's that immensely popular Shock Value Music Webzine. Take a look at the bio we provided above, that's a short and sweet bio for someone just starting out, if you have anything to brag about, yours will be longer. Make sure you do NOT use that old line "I opened for so and so superstar". It's frowned upon. You may want to have a picture included on your bio. You can paper clip one, but it would be best if it was incorporated on the page. A black and white picture will copy better, or you can shell out for color copies, I don't suggest making black and white copies of a color picture.

Bounce back cards are not required, but you may wish to use them to save money on long distance calls. A bounce back card is just a postcard addressed to you. On the back, you'll want to have yes or no questions, or statements with a blank space for a check mark: "_____ Yes, I am adding your song to our playlist", "_____ Yes, I like the CD", "_____ Yes, I'd like to hear more in the future". If it has a check mark by the "added" statement, you'll want to give it a little time, then call and see what kind of "rotation" your song is getting. Heavy is the best rotation, light is the least amount of airplay. If it's getting light or medium rotation, ask if it will be possible to get heavy rotation in the near future. Always be kind and courteous, these are not people you can afford to tick off. An enemy in this business will always come back to haunt you.

Your follow up call is perhaps the most important step in getting radio airplay. It may be difficult to get the music director on the phone, don't let this discourage you, they really are very busy. Again, always be polite and to the point. You will introduce yourself, let them know that you sent your package, and ask them if they received it. If they say yes, ask them if they listened to your CD yet. If the answer, again, is yes, ask them if they liked it. This is a touchy situation. If you catch them on a bad day at a bad time, you may not get the answer you want--don't take anything personally. Most of the time, they'll say they didn't listen to it yet, in that case, let them know you'll be contacting them later. If they did like it, ask them if it was added to their playlist. If so, thank them and ask what kind of rotation it's getting, if not, ask them if it will be added in the near future. This situation is really play by ear common sense stuff. If you're nervous, have notes ready.

Hopefully, this process will result in your songs being music to some record exec's ears, or at least round up some new fans for you. There are a few things you can do to increase your chances before you send your package. You may want to take out an ad in the trade publications for the week your CD will be received by the radio stations. You could also do one better, and send out your package to the trades asking to be reviewed. You could use the exact same package, or your regular submission package, either will work. Just change your cover letter to fit the situation, and skip the bounce back cards. Make sure you follow up with a call. If you're trying to get heard on a commercial station, getting airplay on that city's college or public station could help out. If you're getting play there, you could mention that in your cover letter, it could increase your odds. It's all about being in the right place at the right time, but a nudge here and there can't hurt.

If you do get airplay, don't expect checks to come flooding in, but you may be entitled to something, contact your performing rights organization for more information. And, if you really don't want to go into all this detail, there are independent promoters that get paid to do this for you, make sure you check references. We only covered radio stations here, but there are also television stations that will consider having local talent as guests. You would follow the same guidelines, but definitely have a visual whether it be photos, or preferably, a video included in your package. Go to your local community video or public access television station, most have a video course you can take for free, and they'll loan you their equipment free, AND you could have your own public access show or have your videos played on someone else's show. Exposure, exposure, exposure! If you have at least one song recorded, you have to get radio airplay, it's worth the time and effort and can only increase your chances of getting your music heard by the right person. Check out our interview with Bryan LeFauve, the music director at Energy FM 90 for more information.

Please take a moment to help us out with future focus articles. We need your help for some upcoming technical articles. We're looking for YOUR list of the BEST equipment for home recording and studio recording. And, don't forget, we always welcome your articles, or ideas for focus articles, so please send them via e-mail: SVwebzine@aol.com

INTERVIEW--Bryan LeFauve, Music Director

Bryan LeFauve is the Music Director at Energy FM 90 "Erie's New Music Leader". Energy's format is Alternative during the week, and Urban on weekends. If you are in the Erie, Pennsylvania area, you can tune to 89.9 FM, or call 814.871.5841. Bryan has been with Energy FM 90 for two years. He has always been a big supporter of local music, and hosts a show on Tuesday nights called 'The New Music Bakery' that features lesser known bands that can't be fit into rotation. He also talks to labels on a regular basis about bands that aren't signed that have good potential. Bryan encourages new bands to give him a call, stating "you never know what a simple phone call can do." Our interview is printed in it's entirety, please take notice of Bryan's advice to bands and singers trying to get radio airplay:

Q: How many submissions do you receive each week?

BL: I receive about ten to twenty submissions a week and usually five to six of them are major label albums.

Q: From those, what percentage would you say get added to your playlist?

BL: Usually about three to five, depending on the artists for the week and how the artists that are in rotation at the moment are doing. The more slots that open in rotation, the more I can add.

Q: If you have a big stack of submissions on your desk, how do you choose which one to listen to first?

BL: Bands that I am familiar with, either through past albums, press coverage, or popularity are usually the ones I will listen to first. After that its a matter of image and someone bugging me about it. I know that our station is an alternative driven format, so alternative looking bands or one's that sounds like that from a bio are more likely to be listened to first.

Q: What do you suggest an unsigned artist include in their submission package?

BL: I think the best thing they can include is a high quality CD or DAT. If a band sounds great, you can't really do much with a tape. After that a bio that tells of the artists sound as compared somewhat to other well known artists. It's not that they necessarily are copying that artist, but it gives the MD someone to compare to and decide if its one of those CDs to stick in the player.

Q: Do you have any pet peeves about submissions?

BL: Bands that send a twenty page bio with loads of information. Its nice to get information on bands, but most MDs don't have time to read an article. Just include a page or two and cover the things that you see as being most important to the band. An MD can usually see through the crap (I know I usually can). Also, try not to send it in those mail envelopes with the shredded stuff in it that looks like asbestos. Every time I open one up I wind up looking like a desert rat. (I know this seems petty, but you never know how one of those stupid packages can really ruin your attitude)

Q: On the other hand, is there anything you like to see in submissions that not many artists include?

BL: Probably a truthful and sincere bio. But also something that's flashy. I once received a note in a submission that was a note to me that someone had set up like a ransom note, with all the letters cut out of some article. It was short and it said "Play this CD or the band will die!" I thought it was pretty cool and popped in the CD and liked it. Its stupid little things like that, that grab attention and sometimes that's all you need.

Q: Do you have any other advice for unsigned artist trying to get radio airplay?

BL: Persistence and Patience. Most MDs want to help break artists, but that's not what they get paid for. They are paid to get ratings and good shares. Persistence can pay off for some, but don't take it too far. Nobody wants a pest. Just stick with it and keep reminding the MD that you sent them something. Also, try to get the MD to one of your shows. Sometimes a great show can mean the difference between loving and hating a band. But most of all, be professional. A half-assed job will get you exactly that, a half-assed look. If you put some time into your press kit, the MD might give you some time.

Shock Value would like to thank Bryan for taking time out of his busy schedule to help us out. If you would like to submit your CD to Bryan, you can send your package to the following address:

WERG Radio
109 University Square
Erie, PA 16541

AROUND THE WORLD IN MARCH
Not-So-Rich-And-Famous Music Makers

This section of previous concert dates has been deleted. For current concert dates for unsigned/independent music makers, please visit the latest issue of Shock Value Music Webzine. If you'd like to know about mainstream tour dates, visit POLLSTAR. Please send us your concert dates: SVwebzine@aol.com

MAINSTREAM
Tidbits on Mainstream Performers

Terrible Tommy

When Shock Value went to press, March 1, Tommy Lee was still behind bars and it looks like he'd better get used to his new environment because he could be there a very long time. The Motley Crue drummer was arrested February 25th for allegedly beating his wife, Pamela Lee (soon to be Anderson again). Lee's bond was set at a whopping $1 million because he was already on probation at the time of his arrest for striking a photographer outside an L.A. nightclub. Lee is facing felony charges for spousal assault, child abuse, and weapons possession. Both of the Lee's children witnessed the assault, and Pamela was reportedly holding their seven-week-old son Dylan at the time. Pam has an emergency order of protection against Lee and has stated that she is filing for divorce.

Courtney Doesn't Love This

Courtney Love was seen living it up with Edward Norton after the Grammy's, but her lawyers have been entrenched in an ongoing battle. Courtney successfully fought to ban the documentary "Kurt and Courtney" from being shown at the Sundance Film Festival, but The Roxie in San Francisco may be another story. Nick Broomfiled, the documentary's director, had planned a three week run, but Love's lawyers are working overtime to prevent it from ever airing. Love is reportedly upset because the documentary might suggest that she had something to do with the Nirvana frontman's suicide. Love also has other legal troubles to deal with. Almost a year after the case, Love is still seeking restitution from an Orange County, Florida court after she was acquitted of assault charges stemming from charges filed by two Hole fans that were struck at a concert in 1995. Love is seeking $27,543 to reimburse her legal fees.

Tuesday Knight's Alright

Sir Elton John, fresh from several sold out shows, including the opening of the new Studio 54 Club in Las Vegas, traveled to his home land last month for his knighting ceremony. England's Queen Elizabeth II bestowed the great honor on the classic pop icon at a ceremony that was attended by his parents and his long time companion, David Furnish. Much to the Queen's delight, John dressed down for the occasion, wearing a simple gray suit.

Carl Wilson

One year after announcing that he had brain and lung cancer, Carl Wilson, co-founder of the Beach Boys, lost his struggle with the disease. He died Friday, February 6, in a Los Angeles Hospital. The sixties surf band was formed by Wilson and his two brothers in 1961 and created hits like "Wouldn't It Be Nice" and "Good Vibrations", both sung by Carl. Brian, dad to Wendy and Carnie Wilson of Wilson Phillips, is the only surviving brother. The third brother, Dennis, drown in 1983. Carl is survived by his wife Gina, and his two sons, Jonah and Justyn. Carl Wilson was 51. Donations can be made to the American Cancer Society: L.A. Unit, 3255 Wilshire Blvd. Suite 701, Los Angeles, CA 90010.

Check Out Grammy Winners

For more mainstream music news, check out these sites:
MTV Online
VH1 Online
AOL members: Entertainment News
AOL members: MTV On AOL

TOP FIVE ALBUMS
(Last week of February)

Titanic, Movie Soundtrack
Let's Talk About Love, Celine Dion
Charge It 2 Da Game, Silkk The Shocker
Savage Garden, Savage Garden
Yield, Pearl Jam

For more chart information, follow this link: Billboard
AOL members can visit Top of the Charts

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Radio Lingo Dictionary

MD: Music Director, decides what music will be played on a particular radio station.

Add: Adding a song to a station's playlist.

Cue: Cueing up a song means finding the beginning of a song and pausing it there so that when you hit play, the song (or commercial, PSA, whatever...) starts right at the beginning. This goes back to the days of vinyl, you would move the needle to the first note, then move the record back a quarter turn--it's a fine art.

Cart: It looks like an 8-track tape (if you're old enough to remember those!), and it is a continuous loop of tape, just like an 8-track also. Commercials are recorded on them--when I first started in radio, all songs were recorded on them also, like cassette singles in a loop. The commercial, PSA, station I.D. or whatever plays and then cues right back up. It's a great system, but will soon be outdated when CDRs become more affordable.

Segue: pronounced Seg-way is simply the bridge from one thing to another. It could be blending the end of one song with the beginning of the next song. It can also refer the transition from talking about one topic to the next.

stop set: Commercial break

spot or mersh: a commercial.

Format: What genre of music a radio station plays. It can also refer to the medium a song, commercial, etc. is on, i.e. CD, cassette, vinyl, reel to reel.

Log: A station's log is a list of every single song and commercial aired on that station each day.

Play list: A list of the songs currently being aired on a station.

Rotation: How often a song appears on the log in a given day. Heavy rotation is very often, light rotation is the least amount of airplay, medium rotation is middle of the road.

Promo: Promotion--in radio, it refers to a department or the products of that department which are commercials for different station events, contests, etc., anything that promotes the station. It also works for the record industry, they also have promos, and the material sent out to radio stations encouraging them to air a song is called promotional material.

PSA: Public Service Announcement--Free commercial benefiting a non-profit organization, or public service association (hence the name).

Trade Publications: Also called Trades or Tipsheets. Radio industry magazines that gather playlists from stations, compile charts, review new releases, and contain tons and tons of record company ads hyping their releases.

PD: Program Director, decides what type of format a station has, in charge of different programs on the station, is music director's superior, but usually works with them to decide on the music aired.

CHR: Contemporary Hit Radio

AOR: Album Oriented Rock

AC: Adult Contemporary

NAC: New Adult Contemporary

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Radio Airplay

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