seekerofknowledge

After years in this business and success, I came to realise that having your material played on the radio, whatever radio be it local or bigger, is where its at....and if you get to be interviewed the better. Getting to the DJ's is tricky, but they have the power to play your stuff week in week out, so never understimate their influence on what is doing the rounds. Publicity is all, and gigs too, but promoters need to have confidence and want to know that there is a public that wants you....many of my label buddies tell me that they only sign bands or musicians that have fan clubs of 2,000 plus and twitter interest.....and you're really not going to have those fans unless you are gigging and being talked about somewhere. I myself have my own radio show, 'Pick 'n' Mix on Selsey Internet Radio....small right now, but still able to pick my guests, chat, and feature new unheard of material....and guest on shows myself Jeff Dorsett's 'Soft Rock Show' later this month.....having got involved in Radio I saw a clearer picture of the benefits to musicians that never get a look in.....so take my tip and make yourself known to the lesser known radio networks because the biggies are playlists of current stars rarely letting in unknowns.

I recently got replies to 'has rock music gone' as being started by me, but cannot remember that at all...and its ages since I logged onto Songstuff. If, and if I remotely started this or caused the present guy I just saw to continue this...well, since joining I have become a record label CEO....and as such, talk to the radio stations....and promoters......from what I hear and see, there is a big movement to play old rock favourites, and some companies are taking out licences with artists to re-sell old rock CD's and manufacture them on new labels dedicated to rock stuff gone by...and they do well. One doesn't hear much of new rock bands hitting the ' Internet itunes thing of a top 200' and rap has its own scene where successful artists like Professor Green and Eminem really have a stronghold with many others outside the money pot simply hoping to get a look in and do what's known as 'mixtapes' offered up free to gain 'respect' and the attention of a well known artist to mention them or feature them. Pop wise I find an awful situation of what can only be termed as the 'Contemporary thing' where wannabees want to sound like others! because they must be 'street cred' and don't want oldies to influence their music, because as one said ' it ain't my music it was good then, but I want the drum sound changed, and the piano because I can't relate to that sound, its not our sound'......yet they'd all like funding to be unconditional to allow them to do what they like....so long as the label picks up the tab for any losses.....which of course I don't do.

Hi Gregg, it is a great idea, and obviously could easily be obversubscribed....in essence you are coming in from the best of reasons highlighting your own observations. I've been a songwriter over many years with a hit or two...but I'm not here to shove or get attention to this.....Many years ago I whilst being signed to CBS I formed a small label 'Mirage' in Kings Cross. We had six artists we signed.....but we had some twenty demos coming in the post every morning. We only had to choose what we thought might be useful...and despatch other demos to the bin sadly..knowing that these artistes had tried....we of course couldn't use them or play them commercially so that was an end to it. I had a lawyer, Nick on entertainment and music law...and that was useful...so I'd go with John on keeping the Legal side on your side and keeping you out of trouble. I'd also have a meet up or chat with Performing Rights to clear all angles of work submitted in respect of public access to that work....Payment for and Free is always an issue....so I wish you well with this should you go ahead.

John is well informed and presumably been there? I had three publishing deals over fifteen years, and a songwriter is issued with a CAE number, forms covering songs and compositions handle PRS - the performing rights society and the MCPS - the mechanical-copyright protection society ltd...the first handles performances, radio, stage and all broadcasting angles...the other handles the device known as the record...disc, vinyl and tape....The Musicians Union try to keep a strict watch on where and how it is performed asking venues to fill out a form with titles played...this is more often than not a futile thing in regards to cover bands and pub bands..so in the main their efforts are more with the DJ's on radio frequencies, tours involving bands and exchange acts agreed on contract....other areas are recording studios where a band might be covering a version and have not applied for the licence..which they hope was settled with the other two organisations...so in theory, doing someone's song in a public place with rewards does make you liable to pay commission, even if you have not got the permission....but it is a massive undertaking relying on honesty and respect for someone's intellectual property.

I will give it the first revue because you deserve a listen....Three tracks, not entirely showing versatility in range, but the ambitious drive and power is good and effective. May I suggest you relax the vocal to some degree to fatten out the attack and connect up with the chorus on a more distinct level to give it polish...one additional thing would to have a vocal harmoniser peddle effects to broaden the chorus or indeed add change. The two first ones are pacey...and that is the only style on offer, so keep up the good work and build on the presentation and content.....mine is just a personal view...so I hope you didn't mind me being frank.

I met Chas Chandler many years ago at Polydor, and the mention of the song came up because Eric was doing a single 'War'...its origin is unknown and classified as 'An American Folk Song' Chas said it was to do with the early railroad track layers, most of them Asian, Japanese and Chinese. He recalls discussions on the lyrics being to do with the Chinese opium dens where addicts went to indulge, hence the house of the rising sun--so Nellington is almost on the mark as the ranchers copied this with saloons for booze and gambling along with prostitution...which would tie in with New Orleans vice district which had opium dens, gambling etc to entice weak men who would return every week.

I was one of those in the heights of rock music, and rock music in title faded to the pubs where local fanatics of guitar riffs still play rock in their sets, but on a local fan base level. Rock music is still there in a fundamental stage propping up dance tunes and boy band vocal multi-dubbing, rounded off in a polished and non aggressive posture. Music still has the strong hooklines being sought after along with the two verses, chorus, middle, last verse and chorus out. Just watching the Jules Holland show on BBC2 is testament to acts performing soul,blues and rock, some of which is disguised to allow new interpretation..Rap is fairly old in fact, began in the 90's and still here over twenty years later....what is significant now is that record companies are scared of relating to rock music in case it's a no-sales and low interest investment...so they hanker after whistful vocal stuff, boyband and rap in the hope it will generate the income they need by following the charts....the advances once handed out in the rock era of the 80's has gone..so have the three year and five year contracts..its as little as six months so I have been told...which isn't really long enough for any A & R team to promote and shape an artiste for longevity....rock might come back in a re-invented form when ideas have fallen away enough to allow its return to the charts and concerts one used to see in abundance.