November 26, 2008
If you couldn’t tell, I am very interested in the state of the music/recording business these days. Mostly because I have gotten “in the game” myself as a manager (for Jonelle), and as a remixer and producer.
The mindset has always been that the goal of an independent recording artist was to “get signed” by a major label. With the current state of the music industry (less people buying physical CDs, labels signing fewer artists, singles deals instead of multi-album deals, etc) and the absence of the many indy labels that were instrumental in getting dance acts their exposure, it has become a double edged sword for the artist wishing to release his or her own music.
Yes, the tools are there. It is easier to record music these days. That is the part that most artists can do/handle. But what happens next? There’s alot of great music being made that isn’t seeing the light of day. Not because it is BAD music (we’ll talk about quality control/mixdowns in another article), but because in the current environment in the music industry, even the majors are scrambling to adjust to the same challenges that independant musicians are facing.
So … with that in mind … here is another article that I want to share. It gives good insight on the mindset needed in the current music market.
“1. Who Is The Leader Of The Tribe?
What got messed up in the nineties was that the label became the tribe leader,
the label made the decisions. The true leader of the tribe is the act. Everything
flows from the act. As Jim Guerinot told me, it’s the act’s name on the
marquee. If an act has a feeling in its gut, that feeling has to be obeyed.
Jim can always get a new client, whereas a misstep by a musician usually ends
The label doesn’t need your record to make it. It just needs a record to make
it. The label head’s priorities may be completely different from the act’s.
The label executive may be coming up on a contract renewal. He may be angling
for a bonus. What’s expedient for the label may be positively awful for the
act. If your deal doesn’t give you a modicum of control, you’re at the mercy of
the label’s whims. Sure, you could go on strike, but now you can’t even work on
the road, the label gets a piece of that too via the 360 deal.
Furthermore, a label doesn’t know how to work the road, never mind merch. A
label specializes in selling music. In an era where more people steal it than
pay for it, where it’s almost impossible to get exposed and there’s a thin line
between getting the word out and overexposure, which negatively impacts your
longevity. So, sign with a label at your peril. Or insist on a lot of control.
In any event, although the act is the true leader (“the Mafia Don”), the manager is
the consigliere. You must be able to trust your manager. You must be able to
get his attention. You must share mutual interests. But the act must have the
2. The Key
It’s the music, stupid.
Radio stations don’t buy music. Fans do. Don’t worry about appealing to
gatekeepers, worry about appealing to fans.
I once heard a Widespread Panic song on Sirius, but generally speaking the
band’s music is never played on the radio. It tends to be long, it stretches
out, the vocals are not Top Forty friendly. But the audience loves it. A core
audience that keeps the band working year after year, long after Top Forty
wonders are through scrounging around for TV guest appearances and are
contemplating entering the family business. Hell, the audience treasures live
Widespread Panic music more than the recorded stuff!
In other words, forget about the rules. Just focus on how you can turn someone
not on the payroll, not related to you, on to your music. Because if they’re
turned on, they’ll tell people. If nobody wants to tell anybody about your
music, give up or change it or be resigned to a marginal “career”. Doesn’t
matter if you like it, doesn’t matter if the label likes it, doesn’t matter if
MTV likes it, it only matters if independent sources like it. A turntable hit
generates no career. Your mother can’t buy enough albums to keep you in
business. Sure, catchy infects people, but to truly get people talking,
spreading the word, you must sound unique, unlike anybody else. People want
music to call their own. If you provide this, they’ll tell everybody about it,
you’ll have a career.
3. The Format
Deliver what the fan wants. Which is always more music. An album may be good,
but not if there’s only one every four years. Let people record you live, sell
live files. You’re giving people the tools to build your career. Don’t limit
them, enable them!
Fans will support you. Buy CDs even though they’ve already stolen the files.
If you get really big, you can sell CDs with books, special packages, but that’s
way down the road. First, just make tunes that people want to hear. A good
number of them. Don’t worry about defects, your imperfections make you lovable.
Pro Tools and Auto-Tune have removed the soul from music. Stop trying for
perfection, no one can relate to that. No one’s that good-looking, no one hits
every note perfectly. One false note may be enough to endear you to fans.
4. Tools For Spreading The Word
You don’t solicit, you make tools available.
You deliver widgets, you utilize Eventful. If you’re beating your fans over the
head to spread the word you’re doing it wrong. Sure, it’s okay to manage your
fans’ efforts, in the beginning anyway. Even better is when a fan takes up the
reins himself. This fan will listen to you, won’t cross you, he wants access.
But by coming up with his own ideas, he gains credibility. You can’t control
everybody. Give up on that. Inspire people. With your music. With your
accessibility. Let them take you to places unknown. You’re nothing without
them. You don’t have to accede to their every wish. Give up some control.
You’ve got none in today’s online world anyway.
5. Establish Community
You’ve got to have a forum online. And a place for fans to meet live. Maybe a
sign where all your diehard fans can meet before the show. You want that party
in the parking lot, but in the Internet era, you can own it, utilize it to your
own advantage. Maybe inspire people to bring instruments and cover your songs,
play their own in the parking lot. You’ve got to make people feel like they
belong. We all want to belong, it’s human nature. We can’t connect to the
overhyped priorities, but we can relate to what’s just starting out, that we
6. Play Live
Anywhere and everywhere at first.
Do not play with anybody else unless you share an audience.
You may open for a superstar, but no one’s going to care about you, you’re
wasting your time, your agent just doesn’t know what else to do, your label is
forcing you. Better off to drive around in a van and play clubs. If you’re
good, people will talk about you and your career will grow. If your career
isn’t growing, and you’re working 24/7, face it, people don’t want you.
It’s best to open for no one. To own the show yourself, if possible.
Better to create your own gig than open for someone with incompatible music.
You’re just going to piss off your fans if they want to see you and not the
headliner. As for the reverse… You’ll be lucky if people even show up to
hear you, and many will probably talk while you’re playing or boo.
7. Make It Affordable
Value. Not only is it the mantra of 2008/9, it’s the key to all success.
Toyota knows value. As does Lexus. You want people to believe they got a
bargain, more than they paid for.
If you’re going after every last dollar, you aren’t going to have a career when
the radio hits dry up.
Look at the Dave Matthews Band. Phenomenal road business, tickets closer to
fifty dollars than a hundred. You can take a friend, expose someone to your
favorite act’s music.
A gig should not be a show, it should be an experience, a celebration of your
music. If people don’t feel involved, you messed up.
Unless your gig is about production, don’t focus on it. No one ever said I
liked the concert because the production was great, even though the music
sucked. But I’ve heard the reverse zillions of times. We are not in the TV
business. Our product enters the ears. Focus on what is heard. Have a great
sound system. Practice really hard. Have great tunes. You don’t need a
backdrop, you don’t need a light show, all of that is superfluous.
I’m categorically against them. But if you must do them, make sure it’s clear
that your fans own you, not the corporation/sponsor. You can’t do anything your
fan wouldn’t. You can never kiss butt. You can say sponsorship kept tickets
cheap. But not if you’re hawking the product from the stage, not if you’ve got
banners on stage. Not if you’re flying around in a private jet.
Corporations don’t give a shit about you. They only care about your audience.
They want to reach your audience. They’re going to use you, emphasis on “use”,
to extract attention and money from your fans. How do you feel about being used
as a customer? How do you feel about being manipulated? Keep this in mind when
you tie in with any third party entity.
The cherry on top.
Examples are the Phish festivals. 100,000 people show up even though most of
the country has no idea who you are. Special events are rewards for your fans.
They work best when you’re on the way up, when rich fat cats can’t game the
Lollapalooza was a great idea, the original Perry Farrell traveling one. Killed
by having Metallica headline. You’ve got to stay true to your roots. If you
don’t have an appropriate headliner this year, don’t do the festival!
Anything you can dream up that rewards the fans is worth investigating. Don’t
worry about monetization. It’s okay to charge, but know that you’re investing
in your future.
Railing against P2P, complaining that your music is being stolen, putting FBI
stickers on your CDs, none of this enhances your bond with your fans, none of it
adds members to your tribe. Think about the tribe first! The label’s tribe is
the stockholders, not the music listeners. Do not associate your interests with
If it doesn’t bring people closer, if it doesn’t satiate and inspire your fans,
forget about it.
Example. Playing the “American Music Awards”. You think you’re reaching a
whole new audience. But maybe your fans think you’re selling out. Don’t worry
about the untold masses. If they’re interested in you, it will only be briefly.
If you’re good, your fans will spread the word and convert those who might watch
the AMAs who are interested.
Just because there’s a paycheck involved, that doesn’t excuse you. You must
think how your fans will react.
You must lead the fans. You do this by constantly creating great music, and
playing it live. These are the core precepts. Everything else is gravy. If
people can’t get it by hearing your music, via a recording or live, then you’ve
got to go back into development.
Start with a little. Blow on the flame to ignite the kindling. Then put
progressively bigger logs on the fire. Once you’ve got a bonfire going, it
won’t go out overnight.”
November 25, 2008
I read this article yesterday, and alot of what it says is true. It was a longer article, but I am only posting what struck a chord with me.
To those artists/musicians/producers who are out there doing their thing, please read this:
Let’s start at 1968.
“One might think that singles mattered in 1968.
But that was the year that underground FM radio truly took hold. It wasn’t
about evanescent hits, but album-long statements. Music wasn’t a ditty, it was
a contemplated effort that evidenced the head space of the people who made it.
You no longer went to the show to see a multitude of bands perform their hits,
you wanted to go to the Fillmore to see a band most people had never heard of
Underground music became so powerful, so successful, that Lee Abrams ultimately created a format around it, known as “Superstars”, and AOR took hold and ran the land. You were nothing if you didn’t have a hit on the FM band.
But then came corporate rock, bloating, labels and acts were trying to
second-guess the radio playlists and disco snuck in and defeated the rock
And then came MTV.
MTV fueled Top Forty radio stations on the FM dial. A format given up for dead was suddenly resurgent. And it’s been that way for nigh on two decades. But those days are through. We’re back to 1968.
If it’s on Top Forty … if it’s exploited in the media … the music junkies don’t
care. And it’s the music junkies who support this industry. Which is comprised
of not only music sales, but concert receipts and merchandise sales.
True, you can overhype a few Top Forty acts, like Beyonce, but today’s hit Top Forty acts are the sideshow. The real acts are the ones filling buildings, oftentimes at a
low ticket price, selling merchandise along the way.
The old game just isn’t working anymore. You might be able to sell a million
singles on iTunes, but you can’t sell out an arena. In other
words, the game the major labels have played for the last two decades just isn’t working anymore.
It doesn’t pay to spend a fortune to reach an ever-shrinking audience of singles
buyers. What you need is a higher price point. You need fans to generate
revenue from multiple streams. And even though a major might have a 360 deal,
that doesn’t mean there’s going to be significant revenue from areas other than
recorded music. Furthermore, at what cost? You might make a commercial deal, but we all know television burns out acts, never mind their credibility. Who wants to see Vanilla Ice today?
It’s time to recalibrate. Don’t even worry about hits. Uniqueness plays to
your advantage. It’s about growing your niche to the point it can support you.
The major labels are completely marginalized. The labels of yore wanted to be
in the blue sky business. Signing something different and nurturing it.
Today’s major wants insurance, a multi-format smash. So, the landscape is left
completely open to entrepreneurs.
Focus on how you can keep your core satiated, how you can grow that core, not how you can leapfrog into major media exposure. Because major media exposure doesn’t generate significant profits.
In other words, would you rather have the revenue of touring behemoth Dave
Matthews or the recording revenue of Lil Wayne?
Better yet, do you want to be in the Conor Oberst business or the Jessica
Simpson business? Conor Oberst has been building his career for years, without a hit. But he can sell out shows everywhere.
I don’t even like Mr. Oberst’s music. But I appreciate that it’s honest and not
made to formula. And that he’s got an audience.
It’s not about impressing the gatekeepers, but making sure your audience has
enough music to listen to, to pass along.
Don’t swing for the fences. Don’t focus on that one big hit single. Grow the
audience you do have, don’t try to beat people over the head to get them to
listen. They won’t. They’ll only be alienated. And if everybody was listening
to radio, Clear Channel wouldn’t be on the verge of bankruptcy.”
- Bob Lefsetz
November 24, 2008
I hate to say it, but somebody has to: Satellite radio will come crashing down to Earth within the next two years. The newly merged Sirius XM Radio is already living on borrowed time — and borrowed money — and simply will not and cannot survive.
First of all, I’m not an anti-satellite guy. I don’t want satellite radio to end (partly because I have a lifetime subscription). My family has two subscriptions in all, and I listen to satellite all the time. But reality is working against both the Sirius XM Radio company, and the idea of radio delivered by satellite.
As a competitor to radio, satellite rules. It has most of the advantages as radio, namely that it’s easy to use, it’s in the car and it has content you can’t get elsewhere (Howard Stern, for example). Plus, it has qualities regular radio doesn’t have: better sound quality, far more content and focused channels, like the Elvis Channel. Satellite radio isn’t remaining static, either. It’s evolving into something better than what it used to be. The devices are becoming better and smaller, and gaining great features, such as the ability to “TiVo” programs.
Unfortunately, however, the rest of the world is evolving, too. Six trends will kill satellite radio:
1.) The rise of MP3 phones. Cell phones in general, and the iPhone in particular, are mainstreaming the idea of listening to music on a cell phone. Because people carry cell phones everywhere, including in the car and other places where current subscribers listen to satellite radio, every phone is now a direct competitor to satellite radio.
2.) The rise of MP3-compatible cars. When satellite radio first hit, it was very difficult to listen to an iPod in a car. Now, it’s becoming very easy, with dashboards either containing MP3 players or supporting them with jacks.
3.) The coming wave of mobile broadband dashboards. Cars are increasingly getting cell phone wireless connectivity built in to the dash, starting with the same high-end automobile categories that are most likely to offer satellite radios — and targeting the same kinds of car buyers: audiophiles with money. Once your car is on the Internet all the time, iTunes (or something like it) becomes the Mother of All replacements for satellite radio.
4.) The rise of podcasting. This “talk radio” delivery system has been very slow to take off, but it has been growing and will continue to grow unabated. The difference between the growth of satellite radio and the growth of podcasting is that podcasting doesn’t depend on the marketing of one company, or an expensive delivery system. It’s free.
5.) The rise of live podcasting. Most podcasts are better served asynchronously. But for news and games, live is superior. And that was a huge advantage of radio — satellite or otherwise — over podcasts. But sites like BlogTalkRadio are changing all that, and podcasting is quickly turning into a medium where shows are broadcast live, then made available as a download forever.
6.) The economy is “cratering.” The stake in the heart of satellite radio, the looming recession, will finish off the Sirius XM Radio company — and the concept of satellite radio — forever. How bad is the economy for Sirius XM? Let me count the ways.
First, understand that Sirius XM has $3.4 billion in long-term debt, $1 billion of which is due next year — $300 million of that due by February. The company racked up this debt during an economic boom. We are now entering a bust. How will Sirius XM get out of this fix? The current plan appears to be little more than creative debt refinancing — this in the most hostile credit market ever — to buy time for some unspecified future miracle.
Satellite radio depends almost entirely on subscription revenue. The biggest source of new subscribers has been new-car buyers. Unfortunately, the downturn has not only radically cut car sales, but is reducing the percentage of new cars that have the fancy satellite radio upgrade (compared with pre-recession projections). The biggest channel for satellite radio is — or was — GM, which has recently suffered a 45% reduction in new-car sales. Other car companies are looking at reductions of between 20% and 30%. And that’s now, before the recession has really even begun. Sirius XM Radio hasn’t released recent sales figures, but it’s likely that lucrative new-car subscriptions have decreased by at least 40% in the past couple of months.
One advantage Sirius has is Howard Stern. But Stern is also a disadvantage because he gets paid $100 million per year. As the Sirius ship starts to sink, and the board starts looking for cargo to throw overboard, Stern and his giant salary will be the first to go. As the King of All Media, and with a fiercely loyal following, Stern will probably go on to mainstream the concept of subscription-based podcasting. Why? Because Stern is tired of being jerked around first by the FCC, then by the old-and-busted radio industry, and now by the financial unsustainability of satellite radio. A subscription podcast would finally put Stern in complete control of his show.
The ugly truth is that satellite is simply an obsolete way to deliver sound. It’s nothing more than an insanely expensive, limited, proprietary content delivery system that increasingly competes head-to-head against the Internet itself. The monopoly that provides satellite radio is billions in debt, with no way to pay off that debt and a looming recession characterized by dramatic slowdowns in consumer spending.
It’s over. Satellite radio is dead.
November 19, 2008
By Mike Elgan
November 19, 2008
This is an article that I read today that I found very interesting, and wanted to share with you. It forecasts great things for Internet Radio (iRadio)
3G or Not 3G? That Is the Question
||It’s now no longer a question of if, but rather when, the wireless Internet will have measurable impact on radio listening. The proliferation of broadband wireless devices (both handhelds and automotive) and 3G/4G services (using EV-DO, HSDPA and WiMAX technologies) is well underway, and popular units like the iPhone already offer branded applications that make it easy to listen to certain Internet radio streams. Some Internet radio services also present iPhone-optimized pages to which iPhone users are automatically directed when seeking those URLs from that platform.The effect of this trend on broadcast radio can be either positive or negative, depending on which streams users choose to listen to.
If they are broadcasters’ streams, those stations thereby extend their brand and influence to a new platform. This is particularly important because many of those handheld devices do not include broadcast radio receivers, so the path for broadcasters’ content to flow to the users of these devices is via wireless broadband, not AM or FM transmission. If listeners choose non-broadcast Internet radio streams on these devices, however, this is yet another nail in broadcast radio’s coffin.
Thus it is critical for broadcasters to acknowledge this movement and to compete in this fast-moving marketplace. This implies that broadcast engineers should now become familiar with the process and platforms involved, if they are not already.
Some large broadcasters may want to address these new platforms (such as the iPhone) on their own, while it may make sense for other broadcasters to work with a third party — such as Radiolicious, iheartradio or others — for such efforts.
Alas, poor Radio…
It seems a bit silly to broadcasters to have to go through the Internet to get to these devices when they exist within stations’ local broadcast coverage zones, but such is the control that wireless network operators obtain through their subsidy of these devices.
There is still a battle afoot over whether at least FM receivers will be included (via mandate or voluntarily) in wireless devices, but odds appear to be against this happening to any large measure. It is therefore to broadcasters’ advantage to play along rather than fight; discretion is the better part of valor.
Consider that getting to these handsets costs the broadcasters no more than it does to get to any other unicast Internet terminal, so if the 3G path is the only way in, why not take it?
Another advantage to broadcasters is the continuing improvement of the quality and penetration of Internet audio delivery. The cost of these rapid and massive infrastructure improvements are borne by the network operators, and are essentially free to broadcasters or other streaming providers.
Think of it as a third-party transmitter company that carries your content to a secondary set of users at minimal cost, and which continues to expand the coverage and quality of its delivery service for you at no extra charge. (If anything, bandwidth costs to large users like streaming audio services are decreasing in many cases.)
Of course, most of the cost for this delivery service is actually paid by the end users, who are willing to do so to get Internet access in general. The fact that Internet radio becomes available in the process seems like a bonus feature to these customers, and thus it appears “free” — which fits nicely into the broadcast service tradition.
Broadcasters are not the direct beneficiary of any of this service revenue collected by wireless networks, but they can benefit indirectly via advertising, as they always have. Bandwidth costs to broadcasters can be considered as paid in lieu of transmitter amortization and maintenance. On a per-listener basis, these fees may be at relative parity to the ongoing cost of supporting over-the-air delivery (depending on the relative sizes of on-air vs. online audiences).
Meanwhile, the 3G network providers obtain a great value-add to the appeal of their service from Internet radio offerings, giving them further incentive to not include AM/FM receivers on their devices.
Note also that the general trend of telecom providers toward “triple play,” in which the same service provider offers multichannel TV, telephone and Internet access, or even “quad play,” in which wireless voice/data service is bundled as well, notably leaves out radio — at least the broadcast variety (i.e., some TV services include their own music channels, which are either the remains of the old “cable radio” services, or provided as alternate delivery services by Sirius XM).
All’s well that ends well?
So if radio broadcasters in the U.S. are to take their place among the digital service trinity of Voice, Video and Data, it will necessarily be by their own doing, via the Data component.
This implies that they will also have to promote their presence there, since they will be bundled among a nearly infinite number of other services, and in a “pull” environment, which is quite a different service model than what broadcasters are used to.
That could be the greatest challenge of all, but a synergistic balance of cross-promotion and counter-programming between on-air and online services could provide an extremely powerful combination in the new media world, and is something only broadcasters can offer.
Also bear in mind that while wireless Internet service may seem a far cry from broadcast radio in terms of availability and coverage today, this too is changing rapidly.
Consider that today there are already resourceful listeners who choose to listen to local AM stations via the (wired) Internet, preferring the quality and building penetration of the streaming service over the RF delivery — no surprise, if the Internet is available and free at the listener’s location.
Beyond such early shifts, the eventual goal of wireless service providers is seamless 3G/4G coverage in most markets, with some devices perhaps even switching transparently between transmission technologies. This could truly make radio delivery via Internet streams a viable equivalent (or in some cases, superior, as in the AM example above), even within broadcasters’ local markets.
As an interesting and relevant aside, consider that T-Mobile already offers a phone that switches between the cellular network and VoIP-over-WiFi during a call.
(For example, a user can start a voice call in the car via the cellular network, and upon reaching home, office or anywhere else where a WiFi hotspot open to the device exists, continue the call via WiFi without even knowing the switch had occurred — unless the user happened to look at the handset’s screen, where an icon displays the current connection mode.
Notably, T-Mobile bills for the call from where it started, so although WiFi calls are free, if the call was started on the cellular network, the time spent in WiFi mode still counts against the caller’s cellular minutes. On the other hand, the opposite is also true; a call started in a WiFi hotspot remains free even after it switches onto the cellular network, at least under the current billing scheme.)
Some anecdotal reports have also circulated recently regarding Internet radio listening via 3G in a moving vehicle, which found remarkable continuity over long distances. (Other informal tests have found the opposite, however, so this capability is not yet broadly assured.)
Finally, remember that Internet radio listening is measurable, more so than over-the-air service, in fact, since it can be accomplished either via streaming service reports from host servers, or via audience research (diary or PPM). Any out-of-market listening via the Web is a bonus, but it will be difficult to monetize.
Thus broadcasters’ focus should be on building audience for their streaming services in their local markets, and adding this component to their traditional sales processes.
So it’s once more unto the breach for radio broadcasters. Exploring this area sooner rather than later is the prudent course, since it may soon become an important venue by which your countrymen lend you their ears.
November 13, 2008
Since I am just starting the blog here, I would like to post a list of all of the songs that we have been featuring in our NEW MUSIC rotation. It’s only fair to all of the artists that have been submitting music to us, right?
I will also be adding links to their websites (when available), so that you can go purchse the songs, or contact the artist.
New Music Rotation, as of 11/13/08 (aplhabetical order):
Arlene – I Lost The Sparkle In My Eyes
Artie & Legit – How Can You
Benny Velez – I Know You Don’t Want Me
Carlos Berrios/Sammy Zone - Without You
Carlos Berrios/K7 – The Jump Off
Carlos Berrios/Lisette Melendez – Never Say Goodbye
Company B – Soldier Boy
Diddle feat. Jayquan – Take Me Back
Emma Colado – Walking Away
Fred Nice - I Wanna Ask You
GT Garza - Don’t Stop Now 2009
Julie Carrozzi – Rescue Me
KC feat Sito – Sin Tu Amor
Joey Kid – See You In My Heart
Johnny O – Now That We Found Love
Jonelle – Fantasy
Judy Torres – Hell No
Lisy – I Remember (edit mix)
Obed Martinez – No More Holding On
Pain – Against All Odds
Pure Pleazure – Memories
Rebekka – It Was You (Berrios remix)
Reign feat Andrea – I’m Moving On
Ricky Vaz – Start Anew
Sequal – My Love For You
Sito – The Color Of Pain
Speakerbox feat Freedom Williams – Mindbounce
Stefanie Bennett – Don’t Let Me Go 2008
Stefanie Bennett – Can U Stop The Rain
Stevie B/Gabriel Antonio – I Wanna Be The One
Unbroken – Can’t Go On
RECURRING list (still gets spins, new music that is a little older):
Angel Moreno – Whenever
Benny Velez – Come Back To Me
Bethany – You Better Stop
Chico Moreno – Only One Regret
Dennis Cialella feat Eva – You’re All I Need
George Lamond – Don’t Stop Believing
George Lamond – What Is Love
Jayquan/Manny – Fire
Johnny O – Scream
Joe Zangie – This Is The Last Time
Jonelle – Unforgivable
Judy Torres – I Don’t
Latin Nation – Here and Now
KC – All Night Long
Manny – Diary
Mario Venezia – All I Want
Miguel Reyes – When You Were Born
Nas T Boyz – Secret
Pain – Tell Me Why
Palermo – So In Love
Pure Pleazure – Hands to Heaven
Rebekka – Why Oh Why (Phlexican 2007 remix)
Ray Guell – In Your Eyes
Ricky Vaz/Andrea Martin – How Could You Lie
Rockell – You Keep Me Hangin On
Sharyn Macern – Sweet Nothings
Synthia Figueroa – Torn
Thiago Derucio – If You Listen
Unbroken – Secret Renezvous
Willie Valentin – I’ve Been Waiting
If you are an artist with a new freestyle/dance song and would like to submit it to LaRadio for airplay, please send me an e-mail to firstname.lastname@example.org
November 12, 2008
Here is a list of the songs that we have added to the NEW MUSIC rotation on LaRadioLive.com this week:
Fred Nice – I Wanna Ask You
Judy Torres – Hell No
Reign feat. Andrea – I’m Moving On
Speakerbox feat Freedom Williams – Mindbounce
Stefanie Bennett – Can U Stop The Rain
Wow, I finally made it here to Freestyleblogs.com!!!
I will be using this space to blog about:
- New freestyle and dance music/artists
- LaRadioLive.com (spin reports, listener ratings, etc)
- Technology, yes I will be dropping some technology news in here to keep eveyone “in the loop” about the current developments in internet broadcasting.
There are some very big changes happening in the telecom/wireless industries right now, and it will be ushering in new devices and ways to enjoy/buy music, video, etc. It’s very cool stuff.
Also, I will be doing a VIDEO version of my new music report, which I will post in here as well as on the FreestyleFriends YouTube page (here is the link to that page if you haven’t been to it yet)
And of course, I will be blogging about events, parties, etc that I go to/perform at.
Before I go, I just want to thank Latif for giving me the space here to share my thoughts, ideas, etc with everyone.