How to Get on the Radio Part 3

Hi there,

The last coupla blogs have been concerned with getting music onto the all-important community radio networks in Australia. Don't worry, I know you want the low-down on commercial radio in Australia - that's coming in the next blog. But I thought I'd attack the more achievable stuff first.

Internet radio is everywhere on the, uh, internet nowadays. So how do you pinpoint which stations to target in the vastness that is cyberspace?

Two of the best directories for interent radio I've found are: http://www.internet-radio.com and

http://www.radiotower.com.

They have listings by genre and indie/unsigned sections as well as the typical music genres. It's a matter of filtering down to the ones that are right for your style of music and visiting the websites individually - it may be a long process but you've got a pretty good chance of airplay if your targetting is good. 


iTunes is also useful - there is a Radio link under the Library header in your iTunes navigation menu. Click on that for a catalogue of hundreds of internet radio stations, categorised by genre. While you're there, don't forget the podcasts. 

Here are a few of the net radio stations worth singling out:


Pandora. Apparently it has more than 50 million listeners worldwide. It uses the Music Genome Project to delivers customised radio to each one. Once the Pandora system learns someone's musical preferences, it serves up a continuous stream of music the listener should actually like. Check out Pandora’s not-exactly-straightforward artist submission guidelines here: http://submitmusic.pandora.com. It's free to join.


Jango customises radio for its users too. "Jango Airplay" is a promotion service that gives emerging artists guaranteed airplay on Jango's stations, as "similar artists" alongside the popular artists of their choice. Packages start from about $10 for 250 plays. www.jango.com

Last.fm also matches new music to users' tastes. It's free for artists and labels to register but Australian listeners have to pay a subscription fee. http://www.last.fm/

Radar Music is an Aussie music site that features interviews as well as streaming music. Upload your music for free. www.radarmusic.com.au

One of great things about a lot of internet radio is their ability to link your tracks directly to iTunes or Amazon - and that's pretty hard to do from a stereo!

See you next time - I'm going to be talking about getting onto Commercial radio in Australia...

Cheers,

Amanda

How to Get on the Radio Part 2

Hi there,


My last blog was all about the importance of community radio, particularly for indie artists. Check that out here for info on an Australian service that distributes your CDs to this national radio network.


We live in a web world now. Most artists and their record companies deliver new songs digitally to the commercial radio networks (more on commercial radio in a later blog). Some community stations still rely on physical CDs but most are moving in the digital direction - so you should too.


Get Your Songs on the Database
The good peeps at AMRAP are helping us out again with the government-sponsored AirIT service. Community radio programmers apply to get free customized CDs of music from the database, or download songs instantly. AirIT even have their own charts.


If you're independent and have some radio-ready releases, you can be part of this database for free. AirIT will take three of your new tracks but you need to apply well before their release date and prove you have other promo planned ie live performance, distribution and other marketing activites to support your new music. Visit here to register.


There's no doubt digital is important, but we still live in a tactile world so don't ignore the plastic! Get physical copies of your CD to radio broadcasters as well as via AirIT. And follow up the radio folk to see if they are interested in an on-air interview with you. The beauty of community radio is its accessibility - most radio hosts want to talk to you! But go down the digital path too and you'll have all angles covered.


Cheers,
Amanda
Next week: How to Get on Internet Radio.

How to Get on the Radio, Part 1

Hi there,
Having worked with 100s of indie artists through PopTarts, and the independent release of three singles and two albums of my own, I often get asked for advice on what to do with an album once it's recorded. This is the first of a series of blogs that will hopefully give you some ideas. And please add any of your own ideas to the comments - it's all about community!

OK, you've poured your sweat, tears and bank balance into the creation of an original recording. You feel drained yet proud. Now the hard work begins - you actually have to sell the thing!

Radio is an important slice of your promotional pie. If you are a self-funded independent artist, there are still plenty of avenues open to you. Commercial radio in Australia (don't pack up and  move, it's even harder in other countries!) is a very hard nut to crack for everyone, particularly indies. Nothing is impossible though and I will cover the options for commercial radio in another blog. But I wanted to start with something a little easier to achieve.

Community Radio Wants You

I've been a community broadcaster myself (2MCR, 2SER and TVS in Sydney) so I'll start there.

Community radio stations are largely run by volunteers, are not-for-profit and encourage community participation. Part of their charter is actually to promote the local arts - that means you! Community radio stations often have solid, dedicated listener bases and with enough of a groundswell, community radio airplay could even help lead to commercial radio play.

One of your best friends should become the CBAA or the Community Broadcasting Association of Australia - the national body looking after 270+ community radio and TV stations throughout the country.

The CBAA have wonderful government-subsidised programs for indie artists. One is called:

'AMRAP' - CD Mailout


Amrap charges a small fee to distribute ‘radio ready’ CDs by Australian artists to community radio stations around the country. The good folk at Amrap actually listen to your CD and work out which stations are likely to play your style and distribute it accordingly. If you have a hip-hop record you want to promote with a tour through the East Coast, they will send out your CD to only those radio stations in the Eastern states who play hip-hop. Even though you pay a certain amount for this service, it is still cheaper and hugely more efficient than buying the padded bags and sending out CDs yourself. And their contact databases are comprehensive and up-to-date.


I've used this service quite a few times and managed to cultivate some fabulous community radio airplay and contacts as a result. Like anything in this indie game, the more work and time you are willing to put in, the more benefit you get. Amrap give you an invaluable report which includes contact info of all the radio stations to which they've distributed your CD. Use this to follow up!


When hosting and producing my own radio and TV shows I always appreciated artists getting in touch with me personally, keeping me in the loop with their upcoming gigs and releases, being available for phoner or in-person interviews and generally helping me provide interesting content for my shows. Never pester, but definitely get in touch. Community broadcasters are waaaay more accessible than their commercial counterparts. They will probably love hearing from you.

Amrap do mailouts every month but they are no longer a well-kept secret, so get in touch with them in plenty of time before you are ready to promote - they are popular! Their website is here.

Next week: How to get your music on the Digital Catalogue used by Community Radio.

Songwriting - Therapeutic or Tedious?

Hi there,


I've decided this is the year I finish the first draft of my novel. As a result, I've been reading a lot of how-to books on the subject to help nudge me along. Every single one so far has said that most writers don't actually enjoy writing. They enjoy having written, the satisfaction of finishing a piece of creative work. But the laborious process of getting the words in the right order is often plain frustrating.


I am hoping that learning more about writing fiction will also help me improve my songwriting. I've got to admit, those days when I'm wrangling rhymes and slaving over syllables can be more about exasperation than inspiration...but oh how I love having written!  So can you compare lyric writing and writing a book? Let's see, I'm going for 85,000 words for my novel - a song for me will be more like 150. But of course you have to consider rhyme and singability for song words too. And then there's that pesky music to go with the words.


A piece of advice that seems to be consistent in these 'Dummies Guide to Writing your Novel' type tomes is to allow yourself to write freely. It really helps to silence your internal judge at least for the first draft. So this week one of my goals will be to write a quick pop song. Get it out in one go without agonising over adjectives and getting vexed over verses. No editing. No refining. No censoring. Muzzle that inner critic and let the fun begin!

Singer Tribes of Sydney

Hello there,


I'm writing a novel. There, I've said it so now I really have to do it! It's 'chick lit' - a year in the rollercoaster life of 4 best friends who are all singers living in Sydney. Hmm, sound at all familiar?


Anyway, here is a small excerpt from the current draft where the protagonist Clare is describing the different types of singers she's discovered since leaving the corporate world and becoming a professional performer. I'd love to get comments on this from Sydney singers - or people familiar with Sydney singers! Obviously I am trying to poke fun here. I think I'm allowed to, since I have had at least one foot on each of these tribal grounds at some time and you always have permission to tease your own family.


"The SKINNY INDIES
Skinny Indie singers are cool in a geeky way. But don't call them 'indie' because they don't like labels. The female members of this tribe often scorn make-up and wear masculine jeans with t-shirts that belong to their boyfriends. Or they go to the other extreme and wear really girly 'Op Shop' which of course has now been rebranded 'vintage'. They wear obnoxiously loud lipstick against pale skin. It is hip to wear glasses in this tribe, the thicker the rims the better. Long hair and facial hair, along with ironic cowboy shirts and skinny jeans are pretty much mandatory for the male scenesters. A lot of time and effort goes into looking ungroomed. Skinny Indies disdain anything played on commercial radio and only like bands that you haven't heard of, until you start hearing of them, at which point they are dropped by the Indie kids for selling out. Even if they aren't students, they live like them to satisfy their artistic integrity. They don't earn much money as singers because they refuse to sing covers of other people's songs - except for covers of songs from very obscure Indie bands. Playing their own 'original' songs only earns them a small percentage of the 'door' - the fee paid by the similarly cash-strapped hipsters who come to see these bands play at indie hangouts. But they are happy to suffer for their art, indeed, that's where the songs come from man. It is more about 'vibe' than the accuracy of the notes and sounding lo-fi is a good thing. They joke about blowing up Talent Schools but may well have been kicked out of one as a kid. On stage they'd rather gaze at their Converse Chucks than make eye contact with the audience. The Cabaret Crew think they're wankers. The Pop Tarts say they can't sing to save themselves.


The CABARET CREW.  This tribe inhabits the RSL, Bowling and Leagues Clubs that most suburbs of Sydney boast. Their audience remembers the Second World War and so the tribe members feel obliged to rely heavily on slapstick, wigs and mother-in-law jokes to entertain them. Some of the members have absconded from other tribes and there's no upper age limit for membership of this clan. This is where Pop Tarts go after they die. The Crew think of themselves as real singers and can usually dance in any style, as long as it was a style developed before 1983. They probably went to Talent School. They have stage names and carry around promotional photos that have been highly airbrushed. There are strict rules surrounding stagecraft and it is obligatory to own a wardrobe full of sequinned costumes and theatrical make-up. When they aren't singing, they are calling the Bingo or Meat Raffle within their local habitat. The Cabaret Crowd pride themselves on being true entertainers. The Pop Tarts think they are naff. The Indies think the Cabaret Crew are even more naff than the Pop Tarts.


The POP TARTS. Pride comes from being able to make enough money for rent from singing, if you're a Pop Tart. Whether it be at a funeral or bah mitsvah, doing the chicken dance or belting out the latest top 10 international chart hit, you can always count on a Pop Tart to perform in exchange for cash. They are the tribe most likely to change their names, get plastic surgery and fake tans or straighten their teeth but also consider themselves 'spiritual'. They have probably been on a diet since Talent School. Everything a Pop Tart does, at work or play, is simply a step along the path to pop stardom. Collecting famous names you have worked with for your resume is vital if you're a Pop Tart. Until of course you become a famous name yourself. Sometimes Pop Tarts write their own songs, but they are just as happy to pair up with a producer and songwriter as long as they get to show off how high they can sing and how long they can hold a perfectly pitched note.
A sub genus of Pop Tarts, who fraternise readily with the 'Tarts themselves, is the Weekend Warrior. The Weekenders are accountants and public servants during the week and rock gods in party bands after hours. They take their weekend rocking very seriously but are not willing to give up their middle class income to do it full time. They are less talented but more organised than the Pop Tarts. Skinny Indies sneer at the Pop Tarts. The Cabaret Crew don't think they are true professionals but secretly aspire to be a Pop Tart themselves."




Phew, glad I got that off my chest. See you next time,
xAmanda

Size isn't Everything!

Christmas tree has come down, time to make plans! I've been talking a bit about making Album No 3 up until now, but I've changed my mind.

Remember, back in the day, when you used to buy singles? As in the plastic variety, not the downloadable doodads. For an artist, it was a big deal to release a single and get the physical product manufactured, distributed etc. You'd usually have at least two singles from the album and then release the album (LP) itself.

Some people opted to release EPs instead but I always found them annoyingly short. As a listener it meant I had to get off my bottom after only 15 or 25 minutes to press the repeat button or change the disk, compared to the at least 40 minutes playing time you'd get out of an album.

Well a lot of this is irrelevant now isn't it? I know one of my greatest enjoyments is making playlists for my plethora of music-playing gadgets, from a selection of my favourite digitised songs. I can make that playlist as long as I like. And so you could say that whether the artist chooses to release a single, an album or EP is really irrelevant - as a fan I can choose to cherry pick my favourite tracks from my nearest download etailer anyway.

I got to thinking, I don't HAVE to release an album. In fact, if I opt to go for something closer to an EP, I can actually do releases more often. So... from now on I'm going to be talking about my upcoming EP 1 in a series of 3, although let's hope I can come up with a more interesting title than that. And I will probably make the plastic version as well as the digital doodad.

I know there are the purists out there who still like to hold those shiny disks in their hands...but just think of all that exercise, getting off your bottoms and (hopefully) pressing the repeat button on my new EP!

Best Way to get to the Entertainment Centre?

A. Practise! Practise! Practise!

Hi there,

When I released my first single, titled ironically 'Celebrity' I managed to pick myself up a little, ah, stalker. A harmless one of the variety, I believe, but who nevertheless managed to find my phone number and call me quite regularly for chats. He was a teenage boy who wanted to be a pop star and was really looking for advice on how to get there (I guess he couldn't get hold of Kylie's number!). We had a conversation about 'popstar'dom. I encouraged him to take singing lessons, learn a musical instrument or at least find someone who could play one so he could start writing songs etc. He got quite exasperated at this, saying, 'No, no, I just want to be an image-based popstar, not do all that musical stuff!'. So I gave him Kylie's number - just kidding!!

Anyway, my point is that a lot of people want to get somewhere - particularly in music - without putting the work in. I've always felt that I was a hard worker, but what if I practised, say, 20% harder - would I be able to legitimately hand out popstar advice from the lofty heights of my personal experience?

I've just finished reading a book called 'The Brain That Changes Itself' by Norman Doige. Apparently, we can repeat processes - even ones we find virtually impossible - so many times that the brain eventually rewires itself. 'Practice makes perfect', in other words? You think you weren't born with musical talent? Work hard enough and maybe it doesn't matter.

Here is the conclusion I've come to:  Talent + Hard Work = Success; Little Talent + Hard Work = Moderate Success; Talent + No Hard Work = Little Success.
Since the new resolution-forming season is upon us, I've decided I'm going to stop accepting that I'm as good as I'll ever be...and just practise! Practise! Practise!

My latest songwriting practice follows: