Music Morsels - February 2002
Music Morsels - February 2002
  • Crossroads - Michael Schenker
  • Industry Profile - Cody Blake - Recording Engineer at Sheheshe
  • Unsigned Artist Spotlight - Singer/Songwriter Tom Paul

This month's
Singer/Songwriter TOM PAUL
CODY BLAKE - Recording Engineer at Sheheshe

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February, 2002
MUSIC MORSELS - The legal stuff
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"You can get whatever you want by helping others get what they want." - Zig Ziglar


1. CROSSROADS - MICHAEL SCHENKER by Mark E. Waterbury & Sandy Serge

2. INDUSTRY PROFILE - CODY BLAKE, Recording Engineer by Mark E. Waterbury

3. ALBUM CAPSULES - Michael Schenker Group, Tom Paul, Jager Compilation, Dave Isaacs, Randy Moore & the Fabulous Deltones, Gravity Willing by Mark E. Waterbury


5. CONCERT REVIEW: CREED in ATLANTA - Learn from this multi-platinum selling band

6. UNSIGNED ARTIST SPOTLIGHT - Singer/Songwriter TOM PAUL by Mark E. Waterbury

7. MUSIC BIZ NEWS AND OPPORTUNITIES - compiled by Sandy Serge

8. MUSIC INDUSTRY MARKETING SHOWCASE - the latest and greatest music industry products and services



by Mark E. Waterbury

Sometimes when you meet crossroads either in your life or your career, both directions can be a bit bumpy. For musicians, this can be especially true as everyone should realize that the road to the top can often be fraught with extreme difficulty. And even when the road seems smooth to outsiders, it may not be as easy a ride as you may think. German guitarist Michael Schenker has managed to survive a sometimes bumpy road to remain as one of the world’s most respected ax slingers. Well-known for his earlier work in the British rock band UFO, his occasional forays with brother Rudolph’s band the Scorpions and his own band in various incarnations, Michael’s passion for creating music has overcome some trials even extending to the current time. And as he continues to grace the musical world with his powerful music, his fans will no doubt be glad for his tenacity.

Of course Michael’s early years in Hanover, Germany were music-intensive as older brother Rudolph was a guitarist. The guitar also became Michael’s instrument of choice, and he began to play in bands at an early age, recording with a group at the age of eleven. When he was fourteen, he joined another band with a friend named Klaus Meine on vocals, while at about the same time Rudolph had formed a band called the Scorpions. Two years later, Michael and Klaus both ended up joining that band and they recorded the debut album “Lonesome Crow”. “At that point the rest of the world seemed to stayed away from the music, because Germany was behind,” Michael recalls. “When the album came out, there wasn’t any management available and it was very difficult to get anywhere with this type of music, so I thought that if I got a chance to go to England, I would do so to play to people who would appreciate the music.” Michael got his chance when the British rock band UFO was performing in Germany. The Scorpions were on the same bill with UFO and for some reason their guitarist was not able to join them for the first couple dates of the German tour, so they asked Michael to fill in. Michael performed the double duty of playing for both bands, and even after the original guitarist returned, the other UFO members asked Michael to join and he accepted. UFO’s first album with Michael and third overall was “Phenomenon,” which had some very solid music, but failed to really launch the band to the next level so the band continued to tour as much as possible in Europe. Two more albums “Force It” and “Heavy Petting” didn’t quite do it either, but the band kept going and stayed on the road and when the title track from the next album “Lights Out” turned peoples heads, a wider audience began to discover the band. “For three years, it had been - put out an album, tour, put out an album, tour. We just kept getting out there, but it hadn’t really happened yet. When we did “Lights Out”, we were so far away from success, but after that song became a hit, people really started discovering our earlier music as well.” The 1977 album also afforded the band their first extensive touring opportunity in the US, opening for bands like Jethro Tull and Rush, increasing their popularity even further. But as it happens with many successful bands, there can be friction, and when friction went a bit too far between Michael and vocalist Phil Moog, Michael decided to leave the band. “Phil used to fight people a lot and I told him that if he ever hit me, I would leave the band. I guess he wanted to see if I would follow through so he did end up hitting me and I did end up leaving.”

Rudolph Schenker found out that his brother was available and had him as a guest player on the new Scorpions album “Lovedrive”. Michael began the tour with the Scorps, but his musical heart was elsewhere. “I was mostly playing someone else's songs and I really do my own thing. So I left the band and got my own musicians and formed by own band.” This was the birth of the Michael Schenker Group. It was obvious that Michael had made some fans of his own over the years as the first MSG album in 1980 hit number 50 on the Billboard charts. Over the next six years, MSG would put out several studio and live albums, most to fairly good reception, and of course the band would tour after each album’s release. In 1987 Michael wanted to make another change. “I just got to the point where it was getting tough to be responsible for a band all by myself. So I looked for a singer and found Robin McAuley. He agreed to call it McAuley Schenker Group, which kept the MSG. I personally liked him as a vocalist, and other people did, too. There were some that were disappointed in his vocals and some people left us. But we carried on from 1987 until 1992.”

In 1993, Michael decided he wanted to do an album to show his appreciation to all the fans that stayed with him over the years. The album aptly titled “Thank You” also had another special meaning for Michael and it involved a rather unique marketing campaign. “I wanted to be independent and not part of the machine anymore - because with the machine, everyone takes money and leaves the band nothing. The “Thank You” album was a new chapter in my life. I wanted to do something that I didn’t need any other musicians for. When I finished it, I had to decide how to get it out to the fans. I decided to get on Greyhound buses and go throughout America and play the songs for radio people and ask them to play it on the air. And I rode a couple thousand miles with two guitars and a duffle bag with clothes in it. I got a good response from a number of the radio stations. When I came home, I had all these orders for the album, and for the first time in my life, I made money with my music instead of other people making money with my music. I finally started reaping the rewards of my work.”

Shortly thereafter, Michael was approached again by his old mates in UFO to do a reunion, something they had been trying to get him to do for a while. “The way I looked at it was this would be the time for UFO to put everything behind them and actually none of them saw any money from their days with the band either. So I suggested putting out the record and selling it independently; if it worked for “Thank You”, it should work for this as well.” So Michael reunited with original members Phil Moog, Pete Way and Paul Reymond for a very well-received reunion tour, as well as a subsequent new album “Walk On Water”. After that tour was complete, Michael once again reformed MSG and since then, three more albums, including the most recent “Be Aware of Scorpions”, have been released. Michael had also built a sta te-of-the-art recording studio hoping to help other musicians who wished to break from the music industry’s corporate “machine”, but unfortunately he realized that the overhead to run the studio would be too great and he is closing it down. Despite this setback, with MSG still putting out great rock albums and a new UFO recording due out soon, Michael is looking forward to the future. “I’ve been doing this professionally since I was about fifteen years old and it took me over twenty years to get to where I really began to actually reap the fruits of my labor. Who knows what the future will bring? With more independent people and great indie labels interested in heavy rock music, maybe we can keep this going for a long time.” :->


2. INDUSTRY PROFILE - CODY BLAKE, Recording Engineer by Mark E. Waterbury

Cody Blake had originally tried a couple of other avenues in the music business before he found his calling. After attending the Elkins Radio Institute in Nashville, he worked some radio jobs as a disc jockey and also producing ads and promo, but that pursuit wound up not holding much interest for Cody. He then started playing guitar in adult contemporary and country bands, but it did not take long for Cody to realize that his true passion lay with a different facet of music. “I performed for several years and I did live PA work as well as recording some of the bands. I always found myself more fascinated with the equipment side than the performing side. That’s where I became interested in wanting to become a recording engineer.” Cody found out their weren't really any proficient schools at the time for learning recording so he networked with several engineers to learn more about this craft. This networking circle included a group of AAA engineers in up state New York who worked with several major country acts. He learned more about mixing sound and the recording process and in 1994, Cody opened his own studio called Trinity Studios. “I’ve always been interested in being the boss. I wanted to do it completely the right way and the only way to do that is do it by yourself, although I did have one person working the business side of the studio. We did everything from scratch, designed the studio and built it from ground up. And there were a number of acts that were in the area who needed recordings so we started working with them.” Some of the original acts who came to Trinity Studios were Christian acts, including a group called the Seers Family who did fairly well with the project they recorded. The studio worked diligently, marketing their services through the internet and via word of mouth. Once the recording end of the studios was up and running, Cody became interested in the mastering process. “As you learn to become a recording engineer, you learn what mastering is. I eventually took all the things I learned with mastering and developed a new mastering technique.” Cody explains that standard mastering is based on the levels of major label productions, and a lot of indie artists’ mastering is not up to that level because they try to do it themselves. Cody’s system lets them get a mastered product that is comparable to major label efforts in respect to volume, quality, clarity and stereo image. “It works in radio very well. We took one group out to radio that did very well with this process, and they had requests from California to Illinois asking for their CD. When they did another CD without our mastering process, they did not get the same response.” Cody has continued to see his recording business increase and he continues to perfect his recording/mastering equipment and processes, including the Goliath mastering process he developed over the last couple of years. His company has recorded or mastered well over a hundred projects since 1994 including the recent CD Baby compilation “The World Will Remember,” honoring the victims of the September 11th attacks, with the proceeds going to the disaster relief fund. Cody also works with the radio promotion side of Sheheshe with his partner Angel Davis, spending a lot of time every week on the phone calling radio music directors. “You learn how to say the right things to the music directors. When you get to the radio promotion side you can’t push a music director. Your music should be good enough to stand on its own. Too many people make the mistake of getting hyper with the music director.” Cody is very happy with his work in both facets of the business, and wants to continue to keep the business growing while constantly improving all aspects of it. “There’s a definite need for good radio promotion firms and mastering studios out there right now. I really enjoy the end result of our work. When a product comes out of the mastering process and the sound is so much bigger than when we started, that is always a joy. We have found how to make that sound bigger and wider and deeper, and people at radio can hear the difference as well.” To contact Cody or Sheheshe Music services, please send an email to or visit their web site at :->


3. ALBUM CAPSULES by Mark E. Waterbury

Michael Schenker Group - Be Aware of Scorpions
SPV - SPV 085-72552 CD
Legendary German guitarist Michael Schenker is at it again, playing explosive rock and roll with his latest incarnation of MSG. The lead track “No Turning Back” has a Deep Purple flavor to it, with plenty of intense riffing from Michael and stellar vocals by Chris Logan. You can feel the flavor of 80’s melodic metal throughout, especially on a hooky track like “Because I Am,” but Michael also shows he is unafraid to take his songwriting in different directions, particularly evident in the excellent “Blinded By Technology” with its more progressive slant. Playing 80’s style rock is not at all a bad thing, because it is now considered the “roots” of metal, and Michael once again proves he is one of its masters even two decades later. E-mail: URL:

Tom Paul - I Was King
Even though this is the first official CD by Pittsburgh area singer/songwriter Tom Paul, the music shows solid maturity augmented by a healthy dose of an obvious passion for music. Tom's voice that seems a cross of Tom Petty and a little Peter Garrett gives an emotive jolt to the straight from the heart lyrics. The music can range from snappy toe-tappers such as the title track and “Before You Know It” to fervent ballads like “Hartman Street" and “Didn’t Catch What You Said". Tom’s obvious versatility in both songwriting and guitar playing is heard throughout the CD with stylings of rock, Americana, blues, soul and even island music which have been woven into the overall acoustic mosaic. The finishing touches are added with the tasteful production and keyboard work of John Marsden, the gutsy sax blowing from Hall & Oates member Charlie DeChant, and the steady drive of former Paul McCartney drummer Charlie Morgan. With music that is solid and also very enjoyable, Tom Paul proves to be a welcome new face in the burgeoning singer/songwriter genre. Email: URL:

Jager 56 - Jager Music Compilation CD
The music division of Jagermeister continues to provide glimpses of great indie music with their latest Jager Music release. Among the standouts are: the snarling rap metal groove of Method 51’s “Throw Your Hands Up,” the Replacements-sounding drive on “By Design” by Big Sky, the full throttle groove metal of Five Foot Thick’s “All In My Head,” the ambient alt twist and strong vocaled “Chris’ Room” by Swerve, the gutsy power rock hooks of Breakingform’s “Let Me In”, and the wild old school punk romp “She’s So Beautiful” by Lazy American Workers. All of the music is quite well done so kudos to Jagermeister and the music program head Rick Zeiler for once again providing a great avenue to get some excellent indie music to the masses. If you'd like a copy of the Jagermusic compilation, please email the Sidney Frank Importing Company through their URL at

Dave Isaacs
There seems to be an explosion of singer/songwriters these days, and to get noticed you have to have something special going. Long Island’s Dave Isaacs may just have that something special if this CD is any indication. The lead track “Four Wheels” shows right off the bat his wonderful voice which is soulful but lively, slightly reminiscent of some of Lyle Lovett’s snappier tunes. The next four tracks tend to be a bit more mellow, but still keep you enthralled by the passion in their performance and the stories that they tell. His guitar picking fits well with the songs, feeling sometimes a bit West Virginia mountains and other times a touch Arkansas delta. His words seem to come right from his heart and soul, and he jolts them with emotion, evident in “I Surrender” and “Every Little Thing”. This CD shows Dave’s obvious talents and fans of singer-songwriters should take note of this face in the crowd. E-mail:

Randy Moore & the Fabulous Deltones - Self Titled
Norca Records
Randy Moore is a veteran of a number of different bands over the years, and his latest effort shows what he has learned over that time how to perform some killer music. The songs have a classic country feel with interesting twists, like the hooky guitar solo in “Rope Me With Fire” and the snarling intro to the ballsy “Back When the Odds Were Even”. “Beg, Borrow, Steal” starts with a sly alt rock boogie and then kicks into a rocking country chorus. You can feel slight influences as diverse as Hank Jr., Stray Cats, Skynyrd and Bo Diddley, but the great thing about this music along with the both vocal and instrumental talents of Randy and his players is his knack for letting loose of the songwriting constraints that seem to have gripped most modern country stars and create music that should gain attention in this era that shows more signs of breaking away from that homogenous country mold. E-mail: URL:

Gravity Willing - Requia
Vagabond - VAG00001
Santa Barbara’s Gravity Willing provides a debut of moodily intense alt rock with solid hooks and sly embellishments to stamp out its own particular sound. The breathless harmonic vocals sounding a bit like a subdued Stuart Adamson at times are nicely augmented with the music, from the crunchy rock jolt on “Fallen Away” to “Somewhere Further South” which has an acoustic drive spiced with power guitar solos. Further forays into nine tracks find influences of jazz, prog rock and new wave, weaved into the songwriting that takes simplistic passages, and adds key and mood changes producing songs that have great feel and emotion while keeping the listener’s attention with their, at times, stunningly creative beauty. E-mail: URL: :->


A Brand New Helping Hand

On a daily basis, I receive material from somewhat frustrated writers who ask me "Where can I send my songs where (at least) somebody will listen?" And sadly, I have to answer them by saying "Jump in the boat with the other umpteen writers". It's really difficult to present a song in person these days unless, of course, you're a proven entity with a substantial track record. Then, it's simple because the artist and/or producer is glad to give you an audience.

One old friend, though, namely Jack Kavanagh has provided a new outlet through his "Song Domain" publication. Jack used to send me excellent material when I headed up United Artists Records, but he, too, discovered that times have changed so he put together a very informative tip sheet (plus other informative pieces) in his "Song Domain" offering.

Firstly, I want you to know that his publication doesn't compete with any other music business journal and is strictly a "where to send your songs to" offering. Also, I'm in no way a participant in Jack's company, but rather I was very impressed with the 3-4 pages of listings. He specifies who is looking for what; where to send the song(s); and who to send them to. It applies to all forms of music.

Now here's the good part. Subscription rates are usually $49.00 a year for 12 issues, but Jack recently told me that any of our people (Sandy Serge's Music Morsels subscribers and myself) can get it for $39.00 per year (or $4.00 per month which when you think about it is the cost of mailing one tape with an SASE to a firm you'll never hear back from).

Certainly, there are some independent artists listed along with many heavies, but don't ever overlook the indy act because if you write that great song that launches them, guess who they're coming back to for ensuing material? That's!

Jack is a very honest person and, in fact, who is going to get rich at $4/month with the costs involved i.e. phone calls to get leads, printing costs, mailing, etc.? I get come-ons every week regarding sending in up to $550.00 for listings of movie producers, etc. so $39.00 per year isn't a large amount for the tip sheet "Song Domain".

You can contact Jack Kavanagh at P.O. Box 40098, Mesa, AZ 85274 and you might mention my name (which, by the way, with $1.07 will get you a Big Mac!!) in order to qualify for the $39.00/year deal, but it's well worth it because of the contacts for song submissions that he lists each month. All he wants to do is help songwriters find an outlet for their material. Good luck! :->


by Mark E. Waterbury

“Hey dude, how was the concert last night?”
“It was killer! They put on a great show!”

How many times have you heard that line providing a rather broad description of the event in question? It seems to be a pretty common response but when you require elaboration, the definition of a “great show” can have a wide variance. The response was probably heard around Atlanta after the performance by multi-platinum rockers Creed who kicked off the tour supporting their latest release “Weathered” at the city’s Philips Arena on January 16th. Creed has built a large part of their reputation on having a great show, but there is a need to break it down a bit and find their definition. One of Webster’s definitions of “show” is “a demonstrative display”. Creed has demonstrated that they are at that success level so they can have a monster stage show complete with state-of-the-art lighting and sound, and enough pyrotechnics to shame a Jerry Bruckheimer movie. It was very well orchestrated right from the start, as the blazing white lights and fiery explosions that launched the show mirrored "Weathered's" high octane lead track “Bullets”. The Romanesque stage set revealed itself during the following tune, “Freedom Fighter,” and video screens provided moody backdrops for songs like “Who’s Got My Back” and “Higher”. The pyro popped up again at strategic phases of the concert, but never really attempted to overwhelm what was truly happening on stage. Most of the attention of the audience was on the members of the band, whose intense stage presence would make a great show even if the stage was barren and the lighting consisted of a few gel-cans and a follow spot. That is how Creed was able to make their meteoric rise in the rock world; remember that they started out as road warriors, playing bars first in their native Florida and then beyond. They had strong songs, but built their reputation on giving their all onstage, long before they could afford the bells and whistles of an arena rock production. And that is a truer definition of putting on a good show, with the lights and effects augmenting the performance, not detracting from it or actually becoming the main focus. Frontman Scott Stapp received a large percentage of the attention that evening as he prowled all corners of the stage and the three wings that jutted into the crowd. It is easy to see why he is such a dominant stage presence. Beyond his body contortions and outstanding vocals, he physically shows genuine emotion as he sings. You can feel his pain in “What’s This Life For,” grasp his anger in “What If” or experience his joy in uplifting songs like “One” and the lighter arena ballad “With Arms Wide Open”. In that vein, he effectively brings the crowd on stage with him, even those seated in the rafters of the arena. The other members of the band also have great stage presence and received their due from the throng. Guitarist Mark Tremonti stays in his own area of the stage, but still plays with unbridled fervor, and while most of the songs progressed the same way they did on the albums, some of the solo work was improvised, adding further evidence to the man’s talent on the six string. Drummer Scott Phillips is not flashy, but he drives Creed’s powerful rhythm core with intense passion, providing tasty fills at just the right points without overplaying or loosing the basic beat like some fill-happy drummers tend to do. The bassist for this tour Brett Hestla who is also the lead singer for opening act Virgos, fits in well with the overall presence of the band. His playing was masterful and he frequently moved around the stage, exhorting the crowd almost as often as Stapp did. After a hundred intense minutes as the final notes of the recent hit “My Sacrifice” were augmented with another fiery burst, the throng roared approval, but primarily for the four members of the band, who had...well, put on a great show. Not to take anything away from the people who designed the stage and ran the lights and pyro (as well as the sound which was excellent throughout), but the main reasons behind the immense popularity of Creed is due to the music and the way the band members portray it with their on-stage passion. So when you boil it down, it’s just four guys entertaining their fans by pouring their hearts into playing rock and roll - some pretty damn good rock and roll. :->



MUSICAL GENRE: Ameriana/Folk-Rock Singer/Songwriter
BIRTHPLACE: Pittsburgh, Pennsylvania
CURRENT RESIDENCE: McMurray, Pennsylvania

MM: Give me a little background about your time in the music business.

TP: I’ve been in it on and off for about twenty years mostly doing acoustic guitar performances. As a songwriter, I had some songs published in the mid-90’s, but they never were covered by other artists. I never really made a living at it, but this new CD is a fresh start. I am approaching the world as a performer this time, not just a writer.

MM: Did you previously perform more cover songs or did you perform some of your own music as well?

TP: It was more cover music working in some of my solo material, playing at bars and I did some “First Nights” in the local area.

MM: Why did you become a songwriter?

TP: When I was around 20 I really wasn't a great guitar player. I didn't have the ear to hear something on the radio and then be able to play it. So I just started making up songs to play. I went from the melodies and started finding words to sing with them. It was about ten years ago that I really started writing songs seriously. I joined the Pittsburgh Songwriter’s Association and tried to get my songs out, but my music isn’t really country or pop enough to be successful writing for other performers. It’s music that you have to perform yourself, like Tom Petty or Bob Dylan's songs.

MM: What inspired you to record your current CD “I Was King”?

TP: This is in a way my second CD. I started making demos at home with an eight-track recorder, eventually moving up to a Roland digital recorder. From there, I learned to record on a PC-based system called Cubase. That was in 1999 and I was doing all the instruments myself, midi-drums included. I had around a dozen songs I burned onto a CD-R myself and gave copies to all my friends. It started sounding pretty promising. So from that point on, I started writing new songs for my next project. I added more and better gear to achieve better recordings. And I’m also getting very computer literate and I’m networking with a lot of newsgroups that I am learning a lot from. With my recording, I made a lot of progress with the vocal and guitar parts, but the drum parts utilizing the midi-drums were just not cutting it. A couple of local drummers tried to drum over the tracks I laid down and they had trouble keeping time. And they were pretty good drummers so I was surprised. I asked a newsgroup called if professional drummers could keep time with this existing music. Then John Marsden e-mailed me back and said that yes, professional drummers can do that, they do that everyday. John then referred me to drummer Charlie Morgan because he likes to do that kind of work. Charlie also drummed for Elton John, Paul McCartney and Thin Lizzy among others. I sent Charlie stereo mixes of what I thought were my five best songs. He added the drums and mailed me back the .wav files of his drum tracks. He just kept rock-solid time! Then Charlie called John Marsden saying that this songwriter from Pittsburgh had some pretty good material. John listened and wanted to be involved. He asked me what I was doing with it. He said, “You’re doing a CD, right?” And I said, “Well, I guess I am.” That’s how it began. John produced it and played keys as well as singing background vocals and he brought in Charlie DeChant who is Hall and Oates sax player as well.

MM: So with this recording process you never actually recorded in the studio together, you just sent files back and forth?

TP: We honestly never played together. A lot of the songs’ structure and basic elements were already determined because I had the songs close to being completed when I sent them to John. Then John made a lot of decisions about what parts to keep and what parts to get rid of or redo. He sort of took over as producer in that respect. I was really pleased with the way the CD came out considering the convoluted trail to record it.

MM: In respect to the lyric writing, did you write the lyrics first and build the song around it or visa-versa?

TP: With me, it always starts with the musical melody. I usually start sitting on the couch with my guitar banging away on something. If it starts to sound good, I have to ask myself if it was something I had heard before or if it was something new and original. Usually the words to the chorus come first. That's where the central theme of the song generally is. I then add the verses to lead to the chorus. Lyrics are a LOT of work for me. Once I get a clear picture of that theme, they come easier. Coming up with that "what's this really about" can take a few seconds or a year!

MM: Are the songs mostly about life experiences?

TP: Absolutely, very much so. Sometimes I will write about the conflicts I may be going through at a particular time. And then there’s “Hartman Street” that really describes the new direction I have to head off to in my life. It’s not really because I dislike anything about where I was, but I feel that it’s time to move on, achieve other goals and chase my dreams. And that’s the melancholy but positive vibe of that song.

MM: What is your plan to take this CD out to the masses?

TP: I’m going to perform solo in the area for a while. These songs lend themselves quite well to solo performances because that’s the essence of how they started out. And I’m working with a public relations firm and asking for a lot of help there, doing shows locally and getting some publicity out of that and trying to get radio play. We are also going to put together a plan for internet marketing, and I do need the PR firm for that because I am an outsider on the business side of music, coming in with no preconceptions about what works and what doesn’t work. That’s what I got the PR firm for. But I believe the music is good and I believe that I have the energy and desire to promote it, and even with a company helping me, it will take a lot of work, but I’m ready for it.

For more information about Tom Paul, please visit his web site at


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

Serge Entertainment Group is seeking bookings agents. We prefer someone who already has a music business and would like to supplement their income. We would like to form alliances with other companies all around the nation. If interested, please send an inquiry to Sandy Serge at

Recoil Entertainment is currently accepting submissions for its talent agency. Their agents have worked with many artists on some of the country's largest independent labels. Recoil does their best work with alternative, active rock and hip-hop artists. Email Karl Groves at or visit them online at for more information. Mailing address: P.O. Box 2346, Glen Burnie, MD 21061.

Bloodhound Gang is trying to locate fans and passersby before releasing their home video. Please visit and check out the still photos. Cash and/or prizes are being offered to bother finders and findees - those who made cameo appearances.

Composer, Songwriter, Band, Music Library, Music Supervisor and Music Editor Listings Now Available for:
THE 2002 FILM MUSIC HANDBOOK - A GUIDE TO FILM MUSIC FOR FILMMAKERS Film Music Media Group is pleased to announce the upcoming March 15 release of the 2002 edition of The Film Music Handbook, a free educational publication for filmmakers which will be released in print and downloadable versions. The Film Music Handbook will contain educational information for filmmakers about music for film.
*** FEATURED LISTINGS FOR FILM COMPOSERS AND OTHERS NOW AVAILABLE * In December, we tested the final draft of the Handbook with a select group of filmmakers, and the results were uniformly positive. In their comments, one question kept coming up: "Where do we find a composer" or "Where do we find a band that sounds like ..." or "Where do we find a Music Editor," etc ... To address this need, we've expanded the Handbook to include a "Featured Listings" section where composers, songwriters, bands, music editors, music libraries and music supervisors can purchase listings for reference by the filmmakers who receive the downloadable or print version of the Handbook.
LISTING INFORMATION: All listings must be submitted no later than February 28, 2002. To expedite the listing purchase process, listings are available exclusively from The Film Music Store at The cost for a listing is $19.95, and Online and Full Members of The Film Music Network will have their listings printed in bold type. Upon purchase, you can download the listing submission form as a PDF file, complete, and fax back for publication. Each listing can contain:
* Name
* Contact Name (manager/agent/etc.)
* Address
* Phone
* Fax
* Email
* Website URL
* Either 3 credits (titles), or up to 25 words for additional information for the listing
Listings are available for the categories of:
* Composer
* Songwriter
* Band / Performing Artist
* Music Editor
* Music Supervisor
* Music Library
* Musician
* Other (can be any service related to music for film/television)



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:
DOME RECORDS are distributed by 3MV/TEN and specialize in R&B.
Acts you will find on the DOME imprint include Beverlei Brown, who hit the charts a few years back with the club floorfiller `On and On', New Jersey based Dennis Taylor, Beverley Knight, Darwin Hobbs and Cooly's Hot Box.
DOME has recently been voted Best Independent Label in the first Urban Music Awards voted for by readers of Blues & Soul magazine. In addition, Dome's Beverlei Brown has been voted Best Independent Label Artist and Darwin Hobbs has been voted Best Gospel Artist. MD, Peter Robinson, is ONLY interested in R&B acts and material.
If you can offer top class R&B material try a couple of tracks out on:
Peter Robinson, DOME RECORDS, 56 Glenthorne Rd, LONDON, W6 0LJ, UK Tel 0207 748 4499, Fax 0207 748 6699,


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.



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