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Haulix Advice: Making The Most Of Cover Songs

Hello and welcome to a brand new edition of Haulix Advice. This column exists to offer guidance to independent artists and those hoping to better their careers through the use of insight given by people currently working in the music industry. If you have a suggestion for a future installment of this series, or if you would like to add your advice to an upcoming column, please do not hesitate to email james@haulix.com and share your thoughts.

Moving away from the festival-related pieces we offered throughout September, today’s Haulix Advice column is on an area of music people often write-off as a mindless gimmick: Cover songs.

Having spent the better part of the last decade working in music, I don’t think a single week has gone by without a reputable artist releasing, or at least performing a cover that made national headlines. It may seem like a cheap ploy to ride someone else’s coattails, but as proof by the continued success of Fearless Records’ Punk Goes… cover series it has become alarmingly clear in recent years that the market for good covers is far more serious than previously believed. Almost every solo artist and band has performed and/or recorded covers in the past, but from what we’ve seen it seems far less understand the proper way to use this marketing tactic to their advantage. So, without further ado, we’d like to present you with 4 tips for making the most of your future cover songs.

1. Timeliness is next to godliness, but nobody like a rush job (aka Nobody cares how well you cover Rebecca Black). When choosing a cover to record or perform, it’s important that the song you choose has not already worn out its welcome with mainstream pop culture. Your goal with this recording is to attract people already addicted to the original by offering them a variation of something they know they enjoy, but if you wait too long to cash in on any particular hit you’ll find yourself with a great reinterpretation that no one has any interest in hearing.

On the flipside, you have to be careful that any cover of a recent hit isn’t pushed to the public before its ready for consumption. One of the biggest mistakes bands tackling covers can make is not putting enough of themselves into the material, and when you rush to complete a cover you run a high risk of glossing over the aspect of originality all covers need to succeed. This actually works perfectly with our next point, which is…

2. It’s better to pick the song you can perform well than the one currently topping the charts. It does not take a rocket scientist to conclude that those hoping to piggyback off the success of other with a cover would be wise to pick the most popular songs, but the truth is that could very easily be a recipe for disaster. Covers should lean on the popularity of other’s work, but if you’re unable to make their music work for the sound you create then your efforts will not get you very far. Think about what you (or your band) could bring to a song before choosing to cover it, then make it a point to work at refining that cover until your vision for a new version is fully realized. Covers delivered without an original twist, just like those boasting a sound that is unusual for the band delivering the cover, drives away far more listeners than it attracts.

3. People like videos. The availability of digital recording technology has made it amazingly simple for anyone who thinks they can carry a tune to churn out a cover of their favorite track. If you want to stand out from the sea of voices hoping to gain exposure from cover efforts, you will need to do everything in your power to get the word out about your work, and one of the best ways to do that in 2013 is through videos. You don’t have to recreate the clip released for the song you’ve chosen to cover, but you should release some type of stream through video networks such as YouTube and Vimeo. This can be a full-on music video, or something more akin to an intimate acoustic clip. Either way, make it happen. The easier it is for people to find your music is always better.

4. You’re not Elton John, Freddie Mercury, or a member of Led Zeppelin. Get over it. There are those who believe there are ‘untouchable songs’ that should never even be considered as candidates for covers. I’m not going to say whether or not this is true, but as an artist hoping to make the most of a cover you would be wise to steer clear of songs considered classic or ‘known to all.’ It’s not that these songs are incapable of being redone, but like songs who have run their course at radio these tracks have worn down listeners to a point where they no longer desire to hear another person’s reinterpretation (unless, of course, it’s being half-screamed at them from a dingy karaoke bar).

Insight from around the music industry:

“I think the key in picking a solid cover song for your band to record or crank out live lies in the emotion that you can add to the song. You have to be able to make it yours. So, it is important to pick something that you really love. Pick something that moves you. No one has ever said, "Man, I really wish there were more cover bands and lounge singers.” So, if you’re going to take someone’s art and put it out there you have to be able to put your thumbprint on it. It has to floor your audience. Make sure that it not only connects withy our listener, but it also connects with you.“ – Josh Hammond, Publicist (Another Reybee Production)

"If you plan on releasing your covers on YouTube, there are two really important factors to consider, timing and consistency. If you want any chance at viral success, make sire you put out a high quality cover, within a fees days of the song’s release. If you’re looking to gain a substantial following, give the viewers a predictable experience by releasing videos on a strict schedule. That way, people know when to expect a new video to enjoy.” – Joshua Weilding, Digital Tour Bus

“When covering a song it should ideally sound like something you wrote, in your style and with your own spin.” – Jen Appel, The Catalyst Publicity Group

“If you decide to cover the hottest song on the radio, you have to assume that several other bands are going to have the same exact idea. If you’re going to follow through with it, you better make sure that your cover brings something fresh to the table that the slew of other bands may not be delivering otherwise it’ll be lost and forgotten just as quickly as the original topped the charts.” – Brian Lion, Under The Gun Review

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Haulix Advice: 4 Aspects Of Artist Branding

In an attempt to split the information shared into easily digestible pieces, this discussion on branding is being spread across the next few weeks. This is part one, and next Friday part two will go live.

Branding may very well be the buzz word to end all buzz words, but when you get past its overuse in the business world you find it is a very real topic that many artists struggle to grasp. We want to help with that, and today we’re looking at 4 aspects of branding that effect all artists. There will be plenty more to come on this topic in the weeks ahead (3-4 at a time), but for now this should at the very least point those completely lost in the right direction. As always, if you have any questions or comments, please don’t hesitate to add them at the end of this post.

1. Music – This one is a given, but it bares repeating. Your music is your brand, and every element of it that finds its way to your fans will leave an impression on them. With that in mind, make sure what you’re putting out is the best representation of who you are (or want to be seen as) possible. This needs to be at the forefront of your mind from the first time your pen touches paper, to the moment you’re sitting in the studio mixing your completed tracks. Does the recording sound the way you hear the music in your mind? Am I being honest with myself and fans through these lyrics? Shallow, cash-grabbing efforts will almost always yield short-term returns, but those last make a career out of this business do so by being themselves. Always.

2. Image (Photos) – There is nothing worse than discovering a great talent who has no idea what they’re doing with their image. Fashion may not be your thing, and it certainly doesn’t need to be in order to take control of this of your brand, but you do need to recognize there is more to being an artist than simply creating great art. For all intents and purposes, you are a business, and as such you need to present your product (the music) in a way that is appetizing to as many of the senses as possible. There may not be a rule book for how any one sound needs to look, but I am sure we can all think of artists who have gotten it wrong from time to time. Remember when Garth Brooks thought he could have emo bangs and release an album as Chris Gaines? Yea, I tried to forget too.

3. Social media presence – I feel like we are getting close to beating a dead horse with this topic, but not a week goes by that I do not see a talented band or artist who fails to grasp the purpose of social media. It is not a soapbox for product promotion, though it can help your sales. Sites like Twitter, Tumblr, and Facebook exist for the purpose of creating new communities based on interests, and artists need to learn to see their presence on these sites as the hub of their online community. Don’t just talk at fans, engage with them. Listen to what they have to say, reply to their questions, and in between that get the word out about your latest promotions. If your fans feel like they are in fact a part of the community, they are far more likely to help with  promotion than someone who feels as if they are receiving a steady stream of advertising. No one wants a wall of ads on the browser, and even if they like what you do they probably won’t stick around that long if sales are all that’s on your mind.

4. Stage presence – There is no better environment to get the word out about your brand than the concert setting. Even if the audience did not specifically come to see you, they are in the venue to hear great music, and if you can provide that they may very well become fans before heading home. In addition to following the golden rule to “practice, practice practice,” make sure you and your bandmates have an idea what the audience will see while you’re on stage. It may be all about the music, but in this setting the visual element can play a large factor in how the audio is received. Don’t be someone you’re not just for a few extra claps, but do make an effort to engage the audience with what is happening on stage so they feel compelled to see it again the next time you’re in town.

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19 Buzzwords and Phrases To Avoid When Pitching Your Music

We talk a lot about ensuring your first interaction with a potential listener is the best it can possibly be, and in doing so have discovered an area that frustrates more people than it ever aides: Buzzwords. 

We’ve all been there: You want to know more about an artist or product, but every description and review you read seems to sounds exactly the same. No part of Non-descriptive words and phrases like “awesome” or “game-changing” inform the consumer about what it is you are trying to sell them and after all, that is what you’re trying to accomplish at the end of the day. You want them to want your product and you want to stand out from every other competitor vying for their attention, so why limit yourself to the same tired terminology your grandfather used when presenting against Don Draper back in 60s? 

Once our list of ‘Social Media No-nos’ went live, a number of clients and media friends began reaching out to express their recommendations for future columns. One of the most requested was, by far, a list of buzz word and phrases that should never be used when attempting to pitch your band or release. Some of them are probably painfully familiar, while others may simply be too vague to offer much, if any, insight. Either way, make a note today to erase the following words and phrases from your press kits moving forward.

  • Game-changing
  • Genre-defying
  • A breath of fresh air
  • ______ put on a killer/awesome live show
  • Reinventing the wheel/genre
  • world-class musicianship
  • Taking _____ to the next level
  • Modern icon(s)
  • Punk rock pioneers
  • Unleash pure/raw ______ fury
  • Groundbreaking
  • Innovative
  • On the cutting edge
  • Unprecedented
  • Jaw-dropping
  • Viral hit/sensation
  • Pushing the limits
  • A change of pace
  • Stepping/stepped it up

We’re certain there are many more words and phrases that could be added to this list. If you think of any we missed comment below and we’ll update the post! Be sure to follow Haulix on Twitter to ensure you never miss another update, announcement, or blog.

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5 Social Media No-nos Every Artist Should Avoid

Social media has developed countless ways for artists to promote themselves, but along the way a number of bad habits have developed that drives journalists, fans, and labels alike absolutely insane. Using improper marketing techniques over these channels can not only drive away fans, but prevent you from reaching potential new listeners as well. We polled over a dozen bloggers from various genres about the social media no-nos every artist should avoid and put together a list to help all you aspiring stars get a bit closer to your dreams.

1. Stop requiring a “Like” before allowing users to access your music. Even though we asked bloggers from a number of musical backgrounds when working on this article, every single person polled mentioned Facebook “Like” walls within the first few lines of their response. The whole point of promoting your music is so people will visit your page and hear what it is you have been working on, so why make it any more difficult to hold their attention than it already is? The few seconds it takes someone to notice your “Like” wall and read it may be all the time they need to decide you aren’t worth their time.

2. Avoid unsolicited direct/private messaging (AKA Spammer No spamming). Everyone knows you’re excited about your music, and for the most part people will give you a bit of their time to share your excitement with them. However, sending direct/private messages through social networks is not the way to begin the conversation. Your band may be a group of people, but online you’re a single entity that is essentially a complete stranger to anyone unfamiliar with your music. You have to break the ice to start the conversation, of course, but to do so requires more tact that blindly messaging a link to your latest release. Social networks are like mixers, they exist to create a sense of community among strangers through dialogue, but that is not the same as pitching yourself. Leave the pitching to emails and press kits unless someone asks for more information. Until then, join the conversation wherever you are able and keep an eye out for opportunities more fitting for self-promotion (ie people requesting/asking for new music recommendations).

3. Your band does not belong on LinkedIn. This one is relatively simple, but it can be apply to a number of emerging social networking sites. While there are a limitless amount of opportunities to meet people who could help your career through various groups and discussion boards, LinkedIn works best as a tool when used by an individual (or an individual representing a group). Professionals using LinkedIn are not looking to add your band, The River Run Blood Red, to their networks, but they may be interested in engaging with you as an individual. If you can create a dialogue with them through the site by leveraging the various messaging tools, then it may be possible to open a door to promote your band. If you rush it, or try to force your music on those unfamiliar with your work, no one will want to listen.

4. Stop promoting yourself 24/7. Bands are a brand in their own way, and just like many brands on social networks bands often forget the key to maximizing the effectiveness of your network: Engagement. People follow you because they support what you’re doing and want to know more, but that does not mean they want a constant stream of advertising for whatever you have to promote. You may be a group, but you’re also individuals with personalities, and that should be conveyed through social media as well as your latest activities. Fans know about your latest album, and they certainly follow because they want to know when you have new tours or releases, but they’re also trying to learn more about you as people. They want to connect with you more than they have been able to through albums and live shows, and that is the exact opportunity provided by social networks. By engaging them you’re able to create a dialogue that can eventually evolve into a digital community of fans who not only communicate with you, but others as well. If you can accomplish that, those same users you engaged in the beginning will aide you in sharing your music with others. That will lead them to start conversations with new people who could potentially fall in love with your music and the cycle begins all over again.

5. Save the drama for your blog. Everyone is entitled to an opinion, and without a doubt there will be days when you feel stressed as a band, but ranting on social networks and/or attacking others is not going to help further your career (especially if those attacks are directed at fans or members of the industry). Just like how LinkedIn is no place for a band profile, band accounts on social networking sites are no place for unnecessary drama. Fans want to know what’s going on with you, and you should keep them informed, but too much drama can take the focus away from music. Also, you must always be aware of how your accounts appear to those not familiar with your work. If your feed looks more like an individual’s thoughts than the efforts of a cohesive band focused on getting ahead, people may pass by without even giving the music a chance. Appearing driven and welcoming will get you much further than anger and negativity. Always.

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5 Tips For Crafting The Perfect Pitch Letter

It’s no great secret that the competition for the attention of bloggers and label reps is tougher than ever these days. The digital age has made connecting with these individuals easier for everyone, and in doing so made it more difficult than ever to get noticed. We asked a panel of journalists from a variety of musical backgrounds what tips they would offer artists/bands hoping to email them pitch letters, and below you will find the top 5 responses we received. Be on the lookout in the coming weeks for additional tips on getting noticed and be sure to follow us on Twitter to ensure you never miss an update.

 

1. Grammar. Grammar. Grammar.  This may seem like an obvious response, but it’s probably the most important tip we can offer. Every single journalist we approached for this article admitted to deleting and, in some cases, never reading pitch letters with grammatical errors. The pitch is an introduction of yourself and your art, but it’s also the first example of your business acumen and attention to detail that others will encounter. You only get one chance, so be sure it’s delivered void of any avoidable errors.

2. Keep it simple. Journalists know you’re excited about your music and want to share every detail about your efforts up front, but they’re also aware of the thousands of similarly anxious and excited musicians hoping for their break that have or will contact them as well. Avoid being lumped in with those that over-embellish by refining your letter to be simple and to the point. Phrases like “here’s a much needed breath of fresh air” and “I’m sure you get this all the time…” should be cut immediately, along with any band history stretching more than 3 sentences. This letter is a handshake and a hello, not an in-depth discussion about your history as an artist. You want to intrigue writers, not bore them.

3. CDs are dead. Long live high quality digital servicing. Though some may argue their place in retail, most music journalists prefer music be submitted for consideration through digital means rather than physical. Packaging is nice, but digital is faster, easier, and requires less postage. That said, journalists are also not fans of music sharing services that come coupled with walls of advertisements. You don’t want journalists thinking about whatever pop up ads appear while trying to hear your music, you want them thinking about you and the brand you are trying to market. Haulix allows artists to create personalized pages for their music that offer high quality streaming and watermarked downloads, as well as in depth analytics to help track overall engagement. 

4. Avoid impossible/unknown comparisons. One trick many artists you to quicken the introduction process with journalists is to compare their work to musicians that may be more recognizable. While many of the writers we spoke with agreed that this is a helpful tactic, it can lead to disinterest if the artists name are too famous, vague, or (on the opposite end) unknown to the journalist. If you’re going to use comparisons, we suggest researching the artists each writer covers and reworking your name drops to coincide more closely with their tastes. 

5. Be specific. When writing a pitch letter, make sure you have  something to promote and that your letter only promotes that thing. Journalists want new music that is actually new, not just unknown to the masses. If more than a few months have passed since your last EP or album, don’t send a pitch letter unless you have a tour, video, or additional major media item to promote. Bloggers are not interested in six month old albums unless it’s attached to whatever new thing it is you’re trying to promote. Sell them on what is new first. If response is strong, then you can approach about cover more/older material.

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