Music Morsels - January 2002
Music Morsels - January 2002
  • Feature Article - To Grow Your Band, Think Like A Small Business
  • Industry Profile - Dan Nolen of Nolen/Reeves Music
  • Unsigned Artist Spotlight - Songwriter Fred Moolten

This month's

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January, 2002
MUSIC MORSELS - The legal stuff
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Achievement comes when you decide to live your possibilities.




3. ALBUM CAPSULES - WJJO 94.1 Local Stage Compilation, Saxon, George Fryer Combo, Fran Gray, Cats In The Trash, and Robin Brock - by Mark E. Waterbury

4. SCOTT TURNER’S SONG PUBLISHER’S PERSPECTIVE - Where or where has my little song gone??

5. QUIPS & QUOTES - Stories & Sayings to keep you motivated in your music career

6. UNSIGNED BAND SPOTLIGHT - Songwriter FRED MOOLTEN 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



by Mark E. Waterbury & Sandy Serge

Let’s journey through a typical day in a baby band’s life. First you get your van which you had checked out by your mechanic. You have that special shirt that you wear on stage you don't trust to a washing machine so you pick it up at the dry cleaners. Then you stop at the local printers to pick up the flyers for the show. You gas up at a convenience store and head out of town. Once you get to the town your gig is in, you decide you are hungry so you go through the drive-thru at the nearest fast food chain outlet. Then your guitarist announces he needs extra strings so you find the local music store. Fast forwarding to after your gig, much too tired to drive home you all pile into a room at the local ma and pa restaurant.

So what is the point of this diatribe about life on the road that many are familiar with? In the course of your day, band members (and for that matter all of us) deal with a number of small businesses whose owners are trying to make a living doing what they have cultivated a passion for. Of course, many of us also deal with big corporate chains, but how do you think those businesses got started? McDonalds, the largest fast-food chain in the world started with just one restaurant in Des Plaines, Illinois. At any rate, as you patronize these businesses, you have to step back and realize that in order to take further strides toward success in your music career, you need to treat your band like a small business.

What is the reason, you may ask? It is unfortunate in the current music business climate that what you sound like does not really determine whether or not you are going to get signed anymore. Because while there are some people in this business that are still doing it for the love of music, the majority of professionals in the music industry people, especially at the major labels and the larger indies. The A&R rep may really like your music, but he is not the one who makes the decisions about who will get signed and who won’t. That will be passed on to someone who is only interested in finances; the number cruncher who wants to know how much money you are going to make for his company. How far you have toured, how large is your fan base, how many CDs have you sold, what kind of radio airplay you are getting are all important factors to the decision-makers at recording labels. And if you don’t have solid figures in those categories, it won't matter if you have a great-looking CD with killer production, and a sound like the second coming of the Stones, Zeppelin or Metallica; they are not going to touch you. So you really need to start thinking like a business person to get through to the business people making the decisions.

Your band’s business plan can be broken down into three basic phases: make money, budget your money, and reinvest your money. That’s pretty standard for any small business. Make money...we all want to do that. And the best way for a baby band to make money is to develop your fan base in your hometown and eventually take your act on the road. You won't make money immediately when you are on the road - just like with any business when they first start out. It takes most businesses at least five years to begin operating in the black. And when you are going on the road for the first time into areas you have never played before, you need to start that process of growing your fan base by checking your egos at the door. Everyone thinks their music is great, but let that translate into a confidence, rather than an egomaniac attitude by not demanding a guarantee from the club booker. Chances are if you are new to the area, you'll only get a small percentage of the door. Clubs that provide guarantees to new original acts are extremely rare these days and many clubs still pay door percentages even after you become popular, particularly in the largest markets like New York and L.A.. These clubs are small businesses, too, and they have been hit hard by recessions, drunk driving laws and high insurance/licensing rates, not to mention the current state of affairs after the 9/11 tragedies. They are trying to make a living as well, and if you are an unproven band in their market, they are simply not going to pay you money up front at the onset. So is it worth it to travel many hours not knowing if you are going to walk away with $500 or $10? If you really want to make it in this business, it is not only worth it, but it is a necessity. In order to actually make money at your shows, only you have the power to increase the money in that till, first of all, by promoting your shows. Do everything you can to get people who have never heard of you to attend your show. Second but most important, sell your CDs and merchandise! Even if you only make $25 at the door, if you sell just ten CDs that can be another $100 or more in your pocket. Learn to be a sales person - another necessity for the small business owner - to ensure that you make some money even if it is a slow night at the door. Also remember that CD sales are one of the most important factors that the 'bean counters' at a label are going to consider before you are signed.

When you start touring, even if you are selling your CDs, you are not going to make much money until you become better known in the areas you are attempting to infiltrate. So it is imperative you budget carefully so you can survive until things start getting better. This is something that every band who has made it goes through and it always means sacrifice. You may want to take that trip to Mexico or buy that new home theater system you have been eyeing, but are materialistic items like this that important when your are trying to make a living doing what you love most? First of all, if you don’t have the passion to tighten your belt and make financial sacrifices for your career, then you probably should move on to something else and make room for those who are willing to make those sacrifices. But if you do want to make these sacrifices, you just need to be careful how you spend the money you earn. You need a band fund for expenses like motel rooms (since clubs do not provide them), promotion, instrument repairs, upkeep of your touring vehicle, advertising, promotion and a variety of other expenses. If you can't get a club booker to give you free food and/or drinks, buy your own at grocery and liquor stores since it will be much more affordable then going to restaurants and bars all the time. I've worked with bands who spent their entire performance fee on liquor at their shows. What a waste! Scrimp and save as much as you can because you need to be able to stay on tour until you can build a following. And then when you start to make some money, you can indulge a bit more....

You are not going to like this, but I am now going to tell you to spend the money you have been working so hard to get. Well, maybe “spend” is too generic a term - the better term would be to reinvest it in your band. This is following the simple old adage: you have to spend money to make money. Some of this reinvesting can go to better recording processes for your next CD, or to make sure that you have enough CDs printed to make money selling them. You should get additional merchandise such as T-shirts or stickers because this is an additional way you can make money at your shows. How about doing some repetitive advertising? When you start to make money, you also need to consider hiring music business professionals to help advance your career. Before hiring any professionals, you should investigate and comparison shop to make sure you are getting the most bang for your buck for their services. You may want to look at public relations firms to help promote your band, and radio promoters to get your music to radio stations. Remember when you hire a PR firm or radio promoter that does not mean you can stop promoting your band yourself. Industry professionals are meant to augment your efforts, becoming part of your team. Concerning radio, you will need to find independent promoters to get your music to the few indie commercial stations that are left as well as college and NPR stations depending on your genre. Unless you are independently wealthy, it's probably best to refrain from approaching the huge radio promoters that deal with the major commercial stations. Also remember that if you decide to hire a manager, the primary responsibility for that manager is to provide guidance for your career. They are not your investor, booking agent, radio promoter or publicist. It is slightly possible to find investors for your band as well, and the best place to start looking for them is among your own fan base. This is another reason it is imperative to keep in close touch with your fan base through e-mails, e-letters, web sites, phone calls, and snail mailers, as you never know which one of them may have the money to back a recording project or radio promotion for you.

So here you have some basic ideas about how to run your band like a small business. Investment, patience, hard work, sacrifice...they are all elements to make your small business a success. There is no free ride in the music industry. Many musicians expect business people to invest in them for a percentage of their CD sales. Wake up, kids! Business people are in BUSINESS to make an honest profit. If they take a percentage of your CD sales and you are not doing your part to promote your CD as well, how can they make any money to cover their overhead? Your success is not up to them. It is up to you and you alone. This is YOUR career - no theirs. Music industry businesses hire other businesses to help them promote, market and manage their businesses, just like you will eventually need to hire these entities to help you with your careers. Please note - I wrote, "Hire". Managers usually work for a commission of 10-25%. PR/publicity firms charge you by project or on an upfront monthly retainer fee. Radio promoters charge you an upfront fee and some charge an additional fee for radio adds. Web designers charge you by project. Attorneys are hired by monthly retainer. Business managers usually bill you by project or a retainer. Be prepared to pay for these services if you want to be successful.

Chances are you will need to use investment money for your career from a day job to get the ball rolling or from outside investors, friends, fans or relatives who believe in you, and it may be an ongoing process for perhaps many years until you can derive substantial income from your music career alone - enough to make a decent living. There are very few overnight successes in this business. Be realistic and give yourself at least a five year plan, just like any other business. Don't expect miracles in a year or you will only disappoint yourself unless you have a sizable bankroll and can devote 100% of your time to promoting your music to the masses in every way possible. Learn to appreciate the small successes along the way, be persistent without pestering, and live in the moment. Your attitude is everything. Those are some keys to winning in this very cutthroat, competitive industry. :->



Dan Nolen was born in Jacksonville, Florida, and spent his childhood as a “Navy Brat,” moving numerous times throughout the U.S. and overseas. In spite of his travels, Dan, whose parents are from Alabama, considers himself a southerner and decided to return there for college. He developed a great love for all types of music, and while attending the University of Alabama, he began writing poetry, which translated into some early songwriting forays. “I still write songs, and initially I wanted to become a professional songwriter and move to Nashville or L.A., but I really wrote songs more for an emotional release for me. I’d always been more of a lyricist and not a musician.”

Dan also bartended and managed a bar in Tuscaloosa and he began to really enjoy the interaction with the patrons, as well as certain tasks like picking the music to go on the jukeboxes. After two years at Alabama, he finished his college at nearby Jacksonville State University in 1976. At that time the state of Alabama had just passed a law that you could now open up a bar within a mile of a college campus. Feeling that Jacksonville needed a good bar, Dan and his brother decided to open one. Originally, it was supposed to be more of a college bar with pool tables and such, but their focus began to change almost from the onset when they had a couple of acoustic guitar players perform for thier grand opening. “We built a stage and were just mainly going to do acoustic music and have the stage available in case anyone wanted to just hop up and play. And as time went along, more and more bands that knew about the room wanted to play it, so we began scheduling bands on weekends, and then it turned into almost a nightly affair.”

A college friend of Dan’s named Robert Stuart was working with a promotion and management company in Nashville called Sound 70, that worked with Charlie Daniels, among others. Robert called Dan to tell him he just started working with the reunited Wet Willie and wondered if he could set them up for shows at the club. “They wanted to come down and try out some new songs and he wanted to do three nights with them. So we did that in the middle of the summer and sold out all three nights. And that is really what did it for me. Once I did my first couple of big shows, I just really fell in love with that end of the business - where you bring in a great band, sell tickets, and have people come to the show and have a great time.” So in less than a year, the club called Brothers Bar had become the primary music venue in Jacksonville, gaining a solid reputation with touring bands and also being in a strategic location, about halfway between Birmingham and Atlanta. Dan learned everything he could about booking and promoting on the job and admittedly learned such elements as contract riders, concert lighting and sound and doing outdoor shows the “hard way.” He also learned while working with a promoter in Birmingham named Tony Ruffino, whose company would eventually merge into Clear Channel - Birmingham. Birmingham was also the city that Dan eyed for opening his second club Brothers Music Hall in 1978. The place was too large and ahead of its time, and the 1981 recession forced them to close the doors. They opened a smaller venue a short time later called The Nick, and since that time, that club has grown to be one of the most respectable music clubs in Birmingham. Several years later, Dan partnered with Mike Reeves to form Nolen/Reeves Music, mainly to enter into music publishing, eventually progressing into management. They worked with various independent artists, pitching songs and executive producing records. They moved the company to Atlanta in 1990, and a couple years later, felt Atlanta was lacking a solid, smaller club with great sound. “We found a location that was an old dinner theater, and we opened it up and called it Smith's Olde Bar. It took a while to catch on, but we kept at it, and it’s now a room that I’m very proud of and has been voted “Best Of Atlanta” by Creative Loafing year after year. Everybody plays the room. It’s been a wonderful experience for me.” Smith's and The Nick are also two of the very few places in the area willing to give new bands and musicians a chance with their Monday New Faces Night that brings in unknown bands basically for an unpaid audition.

Nolen/Reeves is continuing with its creative ventures including an indie label as the clubs help them keep in touch with the current music climate. But Dan still enjoys putting on great shows the most, particularly with up and coming bands. “I enjoy the music. I love the idea of putting on shows that are sold out in advance, or having my club available for someone who may be the next biggest act or someone who is supremely talented to reinforce that. I do my best to promote both cities, and sometime you get lucky. We had Pat Greene perform recently, who just blew up out of nowhere. Years ago, I had the Black Crowes come in as a support act, and Train come in on a Sunday for a hundred dollars because I believed in what they were doing. I just keep doing my best to help to move real talent along to get to where it ought to be.” :->


3. ALBUM CAPSULES by Mark E. Waterbury

WJJO 94.1 Local Stage - Rockin’ The Midwest 2001
The fourth CD produced by this indie commercial rock station in Madison, Wisconsin is another collection of killer tunes by solid area bands. Some of the standouts include the potent crunch and fiery guitar of Neptune’s “Mankind”, the ambient power groove of “River” by Muzzy Luctin, the in-your-face metal drive and searing vocals from Cobzweb on “Loud Pipes”, the triphammer groove of Rebels Without Applause’s “Weak”, and the blist ering electronic funk metal of “Invisible” by Agent Zero. All the music is worth a listen and some of these acts sound like they have the serious potential to break beyond this corner of America’s heartland. E-mail: URL:

Saxon - Killing Ground
SPV - SPV 085-72562 CD
One of England’s early metalsmiths is still kicking serious ass two decades later. Saxon devoutly avoids the current metal trends with healthy doses of mid-80's bombast and melody, but they do it very well with positively blistering guitar riffs and solos, tornadic rhythms and the throaty power of vocalist Biff Byford, as stoic a singer as ever. And there are some nice songwriting twists and turns from these veterans as well. E-mail: URL:

George Fryer Combo - Melodica
Salih - Salih CD 43
“Melodica” is a perfect title for this project by former Sugar Ray sideman George Fryer. The dreamy but poignant melodic vocals are a strong suit here, with a sound reminding one of Big Country and the Talking Heads. The pop-ish edgy music backing the vocals brings to mind Brit rockers like the Stones and the Kinks as well as a splash of B-52’s sly punk roots, with the snarling guitar work and crunchy rhythms providing extra flavor. Radio friendly with a slightly bizarre slant. E-mail: URL:

Fran Gray - Singular Intent
Heart Spring Music - HSM 1005
Portland, Oregon's’ Fran Gray has a great voice as well as the ability to avoid the all too stereotypical realm of woman rockers these days. With a voice that is a bit Joan Baez and a touch Natalie Merchant, the extra jolt is given with the guitar work that seems to embody Keith Richards at times and Mick Jones at others. The result is rockers that have guts, but are unpretentious; ballads that are emotive without being wimpy; and inspired folk that keeps your attention with its strong blues and country roots. Watch out for this lady! E-mail: URL:

Cats In the Trash - Self-titled
The lead track “Get Out of Town” by this L.A. songwriting tandem of Chris Milner and Mike Curry makes you think of Bono’s voice over Dickey Bett’s styled guitars. As you delve further, you hear more stripped-down Allman-esque influences along with bands like the Eagles and a bit of Mick Jagger vocal inflections, but there is a definite personality all their own with the knack to make catchy tunes with solid blues, rock and county roots, and spice them up with solid musicianship and foot-stompin' song structures. E-mail: URL:

Robin Brock - Hidden Power
A2 Records - A2CD10
This second CD by Canada’s Robin Brock is bound to gain attention with its ballsy vocals and gritty rock punch. Robin has a bit of Debbie Harry in her voice, but uses her own power and styles to spice up the music. The classic rock feel to the music is fueled by solid session musicians including Dokken bassist Jeff Pilson and Guess Who/BTO guitarist Randy Bachman, who also co-wrote some of the songs. The music has pop hooks, but are jolted with power chords and pounding rhythms. Another lady who is unafraid to rock out in your face. E-mail: URL: :->


Where, oh where has my little song gone??

This column really relates to those of you who have songs published by (let's say) "Campfire Music" only to discover that Campfire sold their firm to another company and that company sold their entire catalogue to a major firm like Warner/Chappell, etc.. Now, what do you do as a writer when you call Campfire only to discover the operator says, 'This number is no longer in service"? Firstly, check your contract to see if the copyright expired. Then, if it has, you re-copyright the song. If not, then possibly BMI or ASCAP or SESAC may know where your song is.

The next step might be to call that publisher and talk (courteously) to the general manager and see if they might let you have the song back. Depending on the mood of the person you're talking to and if the song has never had any major action, they may well give it back to you, but on the other hand, you might be telling them about a GREAT song that they didn't know they owned, especially if it's a firm that owns over 100,000 songs. Naturally, the general manager will listen to the song and because of your call, it may spur him or her on to show the song to a major artist; hence, you should leave the song in that firm as they are staffed properly to see it through.

Personally, I have 40 to 50 some odd songs that I signed to various small publishing companies in Los Angeles back in the late 50's that I have no idea where they are today. In fact, I can't even remember the titles yet alone the songs themselves.

One song though that I wrote with Audie Murphy has seen quite an excursion. It started out in "Camp & Canyon" music. Then it was sold to Lawrence Welk's "Vogue" music and finally (I think) ended up in the Polygram Music Group, and there it shall remain because they are ultra-prompt with royalty payments.

Recently, I saw my old mentor Herb Alpert whom I hadn't seen in 20 years. Herb was in Nashville showing the art and sculptures he has created (and they were excellent). Herb informed me that all of my songs that were with Irving/Almo Publishing now belong to the Atlantic Music Group as he and Jerry Moss (The "M" in A&M) have sold all of their music firms including A&M Records (to Polygram).

Perhaps I'll give whoever a call a year or so from now and tell them about some songs that might be re-cut...that's if Atlantic hasn't been resold to another firm. :->


Stories & Sayings to keep you motivated in your career

You can dream, create, design, and build the most wonderful place in the world, but it requires people to make the dream a reality. - Walt Disney

Have you ever wondered how some people seem to easily rise to fame and fortune while other people who have equal or even more talent, intelligence and presence never seem to hit the big time? Some of the characteristics behind success are good self-image, relentless drive to be successful and continuous self-promotion. "The most famous people in the world do not sit back and wait for the media to notice them. They run out in front of them and yell, "Look at me! I've got talent to share with the world", says Debbie Allen, author of Confessions of Shameless Self-Promoters. Here are three ways that you can ensure success through self-promotion:

1. Position yourself in front of the people who will make a difference in your business. Create strategic alliances. The real movers and shakers get heavily involved in networking groups and community organizations.

2. Develop a unique selling proposition and become the expert who is invaluable to others.

3. Find out what works and then keep doing it over and over. Use testimonials everywhere you can. The goal is to never let your audience forget you. Shameless self-promoters develop a strong belief in themselves, keep a positive attitude, have contagious enthusiasm, and develop gutsy goals to make themselves stretch. If you don't ask, you don't get and if you don't take a chance, you will never reap the rewards. :->



ARTIST NAME: Fred Moolten
MUSICAL GENRE: Blues, Folk, Big Band, Cabaret
BIRTH PLACE: New York City, New York
CURRENT RESIDENCE: West Newton, Massachusetts

MM: Was there any particular factor that originally motivated you to take up writing songs?

FM: I started songwriting about four years ago and took it up as sort of a casual hobby. It was actually triggered by two things: over many years I absorbed music and I think certain elements became part of my way of feeling and thinking about music, but I never thought of doing anything about it until a few years ago. A friend of mine had taken music up as a hobby and played me some songs he had recorded and I liked it. And the second and most important thing was I started to develop computer skills. I am not a performer. I sing poorly and can sort of scrape by on the piano. With the computer, I found out that it made it easier for me to get started writing whereas previously I was unable to do that. But the music and content was in me for a long time. So then I started to take it more seriously than I had originally intended. I had written a number of songs and I decided I wanted to do a CD. I picked those songs that I thought would span a spectrum of genres and would still fit together.

MM: You do a number of different styles of music on the CD. Does this reflect your personal musical tastes as far as what you like to listen to?

FM: Absolutely. It’s the kind of music that only appeals to a niche audience, but that is the kind of music that I like and that would be the only reason I would write a style of music is if it was something that I feel I would know how to express.

MM: Did you write lyrics first and then build the song around them, or did you write melodies and add the lyrics, or was it a combination?

FM: I’ve done it both ways. It varies from one song to another. Sometimes the music and the rhythm end up as the framework of the melody, and it will suggest certain verbal phrases to me and I will turn it into a lyric that matches the mood of the melody. Other times, I have something that I wanted to say lyrically and I searched for the appropriate music to accompany it.

MM: Were the songs where you wrote the lyrics first inspired by actual events or life experiences?

FM: Of the various songs I have written, I would say that all of the serious ones reflect my life experience but none are strictly autobiographical. The closest one that comes to being autobiographical is the one that I wrote about putting a cat to sleep, called “Cat Lullaby”. That was, in fact, right after one of our cats had to be put asleep. All the others were select experiences I’ve had transformed into a different story so that they were fictional in their details, but real in the nature of their emotions. Even a few of the lighthearted songs to some extent reflect experiences.

MM: Tell me about the computer program you used.

FM: The sounds of the instruments are not really authentic, but they are good enough so that I can have some sense of how it is going to sound. I have a keyboard that I also use, and I’m not very good with it, but I’m good enough that I can play melodies and chords on the keyboards and also get the gist of what the other instruments should sound like. Then, of course, I can back edit it and so forth, and that way I can get beyond my own skill limitations as a performer.

MM: At what point during the project did you start looking for the musicians you would use in the recording?

FM: It was after I had written the songs. Once I had the songs, my task at that point was to get them produced, and I contacted professionals to do that. I got Mike Lewis in Miami and Don Vappie in New Orleans, and they were the ones who actually chose the performers. And I did not know either Mike or Don. I asked around and looked around on internet sites. And when I found people whose credentials looked promising, I looked further and ended up talking to Mike and Don, and thought they were the ones for the job.

MM: But you were of course involved in the recording process?

FM: Absolutely, that was a critical part of the whole thing. When I was in the studio, sometimes the musicians would do some things that I didn’t intend or desire and I could suggest changes, but they also had ideas for how to do things that I didn’t imagine, but really added greatly to the music. There were several times when I heard things on the recordings that I hadn't dreamed of which I loved. So it was a very worthwhile experience with interaction in both directions.

MM: What was your reaction the first time you heard the entire finished project?

FM: My reaction was very positive. In my nature, nothing is ever finished in my mind. There is always something I would have gone back and done differently. But that was a small point. On the larger picture, I was very pleased and truly gratified. I thought the production came out very well.

MM: Since you are not a performing musician, tell us a little about your marketing plan for the CD.

FM: I’ve gotten people I know to listen to it and work the word of mouth angle, which is obviously very limited, but to the extent that I’ve been able to do that, it has been successful. The people who have actually listened to the CD have liked it. The wider marketing campaign is through the internet. I set up a web-site and was hoping that would attract an audience with sound samples, but that has not been as successful even though the web site is reasonably well indexed by search engines. I’ve been disappointed, but in retrospect I should not be surprised at how hard it is to promote music through the internet if you are not known.

MM: Are you changing some of your marketing strategies?

FM: Well, I really suffer from the fact that I don't perform. What I’d like to do is get some of the songs to the attention of people who have a name, singers in particular. Not that it would increase sales of the CD that much, but it could create more awareness to my music. Then I could try to get another CD going with other songs that I have in mind. I think if I start with the premise that a number of people like my songs, I know that one reason it hasn’t sold is my not doing live performances and the other reason is no one knows about me. And I also write for a niche audience. But I’m looking towards the long term, and I think that the songs and production on this CD over that long term will begin to gather some audience, and if more people become aware of me, I think it will help me with this project as well as future ones. :->


News and Opportunities Compiled for Musicians, Songwriters and Music Professionals by Sandy Serge

Music Morsels encourages all of you with opportunities for musicians to email your press releases to 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??
With all the responsibilities musicians have between writing, recording, performing and promoting their music, it can be a tough job juggling them all. Let us help you put your career on the fast track to success! Serge Entertainment PR is seeking additional rock (all styles), new age/instrumental and country music clients (musicians and labels) to add to its roster. For more information, please visit our web site at

If you are interested in products by ZETA Music Systems who specializes in analog and digital violins, violas, cellos, basses, guitars, amplifiers and MIDI processors you can subscribe to their newsletter by sending an email to with "Subscribe" in the subject field.
Stefanie Troup
ZETA Music Systems

Independent musicians and recording artists now have a two-fold reason for getting their music into Kenny Love's hands as quickly as possible. In addition to recently starting an 'Indie-only' radio music program that begins worldwide syndication efforts next month, Love has now inked a deal as 'head-hunter' for a prominent music licensing agent. In this area, Kenny will serve as the first point of contact for music that lends itself to film scores, and that will be reviewed and considered for upcoming prime television dramas as well as major theater releases.
For more information, contact Kenny at

My band is needing a bass player and it has been more than tough getting the right one here in atlanta. Here is our site link if you have time
Thanks, Ryan Almond, 770.469.4478

Wampus Multimedia is seeking submissions for a new CD tribute to Lou Reed.
Following the success of Wampus' first tribute CD, 'IF I WERE A RICHMAN: a Tribute to the Music of Jonathan Richman,' this compilation will feature selections from Reed's solo career as well as from his Velvet Underground catalog.
Whether you see Reed as the Godfather of Punk, a Dylan refractor, a cross-dressing provocateur, or an earnest missionary for the cause of literate rock music, you might have something to say on record about it. Reed's career as one of the most influential songwriters in rock spans more than 35 years, from his seminal role in the Velvet Underground through his reinventions as glam jester, hardcore pre-punk, lovestruck Romeo, and, finally, acerbic rock 'n' roll survivor. Through it all, Reed has towered over most of his contemporaries, redefining the boundaries and potential of rock composition.
Deadline for submissions is February 28, 2002.
Intrigued? Visit...

New York City, March 2-3 2002.
This will be the most exciting music industry event of the year!
Meet and hear music industry executives, filmmakers, directors, producers, and artists - no hype, no egos, just people committed to helping artists develop and get their music to the masses. Keynotes include Miles Copeland (manager of Sting and founder of IRS Records), Les Paul (legendary guitarist and inventor of multi-track recording), and filmmaker John Waters.
This year's summit is being held at the New Yorker Hotel Grand Ballrooms and Conference Centers and tickets are quite inexpensive, only $50 per person for the ENTIRE weekend event!
To register for the Summit by credit card, go to
For checks and money orders, please send your payment (with a copy of this e-mail invitation from the Indie Contact Newsletter) to:
Global Entertainment & Media Summit
519 Bloomfield Ave, 6G
Caldwell, NJ 07006
Everyone who purchases a ticket can submit music for performance consideration when registering.
For those who are paying by credit card, please print out your ticket order receipt when mailing your CD or tape to the Summit's offices.
The first 400 ticket orders will also receive a complimentary pass to the Summit's special VIP party and Awards show being held on Saturday night, March 2nd.



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 . All ads are also posted on our web site at
Labels, musicians, songwriters - send your press kits with CDs for a possible upcoming review/interview to Sandy Serge - Editor, Music Morsels, P.O. Box 2760, Acworth, GA 30102 USA .


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 __________________________________


Email __________________________________________

Please make checks payable to Serge Entertainment Group. Please allow 2-3 weeks for delivery. Thank you for your order!


Hey Mr. Tambourine Man,
Play a song for me…
Is now reviewing Artists/Bands


Multimedia, Interactive, Electronic Presskits. Totally updateable. Bands, managers, promoters, put your presskits, rosters, etc. on cd-rom with music, bios, photos, video clips. Very reasonably priced for our indie clients.
Please call or email us for a quote.
2AM Design


Rock Candy Music Video Show is looking for videos from unsigned bands to air on their show. They are based in Vacaville, California and are currently cablecast in several Northern California cities. The show debuted on June 27, 1996 and has received great response from unsigned bands from all around the world. The response from unsigned bands has been so good that they have been able to do all unsigned bands "Rising Stars" episodes about every 10-12 months. Rock Candy is a non-profit show produced for the entertainment of its viewers. The show is one hour and airs one new episode per month. They feature top name bands that perform Rock, Hard Rock, Heavy Metal, and Glam. On each episode, they feature one unsigned band on their "Rising Stars" segment of the show. If you would like to get your video on Rock Candy, check out the Rock Candy Unsigned Bands Page at
You will find all of the information you need to submit a video there.
You can contact Rock Candy with questions at:
Rock Candy
142 S. Orchard Ave
Vacaville, CA 95688
E-Mail us at:
Producer: Troy Correia
Rock Candy is a non-profit show produced at TCI Cablevision in Vacaville, Ca. for Public Access Television.
Rock Candy Music Videos is a Trademark.

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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:


CD Baby - the best indie online store in the world -


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: 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 or visit


Labels, songwriters and musicians!
Check out the Bandit A&R Newsletter at
For a free sample copy and info, send a blank email to
Here is just ONE example of numerous listings that appear in Bandit A&R Newsletter:
TASTE MEDIA is a label only interested in Guitar bands.
William Bown, says they are involved with chart band Muse who are produced by house producers John Leckie, and John Cornfield. Also on the label are Vega 4 and Serafin.
The label has been running now for around five years and is distributed by 3MV/Pinnacle.
To make William sit up and take notice, your band will need some great songs and a strong vocal talent.
Guitar band demo's only to:
William Bown, TASTE MEDIA, 263 Putney Bridge Rd, LONDON, SW15 2PU, UK
Tel 0208 780 3311, Fax 0208 785 9892. [Return with SAE]


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 Also available in hypertext format on the world wide web at


Fall into a place beyond earth listening to music by new age/classical pianist Mark Birmingham. Visit his web site at 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


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.



To SUBSCRIBE to our FREE e-mail version of Music Morsels, send an email message to and put the word "Subscribe" in the subject field. That's it. Expect to receive your email issue the first week of every 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. Happy New Year! Thank you for your subscription. E-ya next month!


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