Marlo Moore

41 // Female // Fairburn, United States  |   Member since August 21, 2007
Network Profile

Looking To



My Songs

Written by myself, produced by Raynard Gibson

Contribution:
Tags:
gospel, rhythm and blues (r&b), electronic bass, synthesizer, drum machine, voice (female), piano, F, Minor, 98, 4/4, positive message, Lush, dreamy, vocal harmonies
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Written by myself, produced by Meshun Fuller

Contribution:
Tags:
spirituals, gospel, rhythm and blues (r&b), electronic bass, drum machine, voice (male), voice (female), rhodes piano, F#, Major, 68, 4/4, soulfull, syncopated, vocal harmonies
Tag this song

Written by myself, produced by Raynard Gibson

Contribution:
Tags:
soul rock, gospel, smooth jazz, rhythm and blues (r&b), synthesizer, hammond organ, drum machine, percussion, voice (female), rhodes piano, electric bass, E, Major, 128, 4/4, soulfull, vocal harmonies
Tag this song
Holy
average rating: 5.0
Thank you remix featuring John Sportin
average rating: N/A
He loved all my pain away
average rating: N/A

About Me

Craft:
musician
Genres:
gospel

Energizing, soul stirring, uplifting and convicting are a few words describing the soulful music of artist Marlo Moore. Awesome whether setting the smooth atmosphere at a Reception or bringing down the house at a church service. Marlo is known for raising the bar of excellence and expectation. The youngest of 10 children, at the age of 5 supported and encouraged by her loving parents, Marlo began to sing publicly in her home town of Kansas City, Missouri.
Coming full circle in her life, Marlo experienced success as an R&B artist, signed under Columbia Records in 1994 with the group named Tik/Tok, and in the same year launched her solo career with the release of her single under the name Angel Moore with Atlantic Records. Never losing sight of God’s purpose for her life most recently featured on “The Untold Story” and “Waiting On God” with Bishop Dreyfus C. Smith and the Wings Of Faith Mass Choir CD’s.
The Accomplishments:
Marlo Moore has been blessed to minister at the following events

Extended

Band or Group:
Marlo Moore the Gospel Diva!
Influences:
LaShun Pace, Dorinda Clark-Cole, Keke Wyatt, Keshia McFarland, Nikki Ross, Sha' Simpson, Beyonce, Faith Evans
Website:
www.myspace.com/mooretothestory

Working With Others

How I Work:

My fees are very minimal, I normally ask for a love offering or a small honorarium of $200 in town and up to $2,000 out of state.

Experience:

Performed at the CAJO Lounge/Owner Canton Jones

Performed on the stage with Vickie Winans, Shirley Caesar, John P. Kee and Beverly Crawford

Performed in the “Stop the Violence” Campaign for Salem Baptist church

Performed with Crystal Waters, Black Girl, 95 South, Dis and Dat, Sparky D

Sang background for Marvin Sapp, Dorothy Norwood, LaShun Pace, Dottie Peoples

Featured artist on the Chris Pijor show

Featured as an extra in the movie “The Gospel”

Performed in a talent set for the filming of the “The Gospel”

Former background vocalist for Kevin Lemons and Shalunda Harris

Recorded live with Bishop Dreyfus Smith and the Wings of Faith Mass choir

Performed on the Don Imus Morning show

Carlton Pearson and the AZUZA Crusade

Sang the National Anthem for Georgia Tech University

The Inauguration of the Mayor of Atlanta – Mayor Shirley Franklin

The Atlanta Hawks, Opening Game

Operation PUSH with Rev. Jesse Jackson

Mayor of East Point, Ga., Patsy Jo Hilliard’s Annual Prayer Breakfast

Former Heavyweight Champion of the World, Evander Holyfield

Woodruff Arts Center in Atlanta, Georgia

Gospel Recording Artist, Evangelist Shirley Caesar

WAGA-TV, Fox 5 – one of the featured guests on Good-Day Atlanta

“Black Family Reunion” in Cincinnati, Ohio

Bobby Hurd Television Show

“For Sister’s Only” at the World Congress Center

Church-Nik at Deerlick Park

Arts Festival, Birmingham, Alabama

Full Gospel Fellowship Revival, Decatur, Georgia

University of Georgia, Athens, Georgia

Performed with Crystal Waters, Black Girl, 95 South, Dis and Dat, Sparky D

Sang background for Marvin Sapp, Dorothy Norwood, LaShun Pace

Just Churchin Event at Greenbriar Mall hosted by Wanda Trent-Phillips

Management/Booking Agent: Big Deez Entertainment
for bookings e-mail info@bigdeezsent.com
Call: 770-241-6154
Email: mooretothestory@gmail.com
Website: www.myspace.com/mooretothestory
Website: www.bigdeezsent.com
EPK: WWW.SONICBIDS.COM/MOORETOTHESTORY
Website: http://www.shoutlife.com/Mooretothestory

Payments:
This user accepts PayPal for session payment

Comments

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Chris C. wrote on August 28, 2008:

beautiful voice. please stop by my page and listen to my music "loved u better" and the Mariah Carey Remix!!! I need your vote for that one! Thank you and hit my page so we can work on something together!! if you're not too busy! love.

KING ". wrote on August 20, 2008:

GET HOT INDUSTRY TYPE BEATS FO UR NEXT PLATINUM SMASH LINK http://www.mybeatshop.com/FYYAH

michael worsham wrote on August 15, 2008:

you have a quanitive quality sound. ps let me know if you need and web or graphic work.

Christopher A. wrote on June 15, 2008:

Big Yard Music Group. Is seeking interns to gain experiance in the music biz. If you are interested and live or are staying in the NY aea contact us at info@bigardmusic.com... The Big yard Family...

Christopher A. wrote on June 15, 2008:

Radio Stations & Broadcasting Companies Albany, GA- WJIZ - (229) 432-0963 Valdosta, GA- WGOV- (229) 244-9590 Monroe, LA- KRVV - (318) 387-2328 Columbus-Starkville-West Point, MS- WMSU- 1-866-252-0092 ALABAMA Birmingham, WBHJ 95.7 FM (Urban) Request Line: (205) 741-0957 http://957jamz.com Greenville, WKXN 95.9 (Urban) Request Line: (334) 382-9596 Fax: (334) 382-7770 http://www.wkxn.com Huntsville, WEUP 103.1 FM (Urban) Phone Line: (256) 837-9387 http://www.103weup.com Montgomery, WZHT 105.7 FM (Urban) Office Line: (334) 262-2323 http://www.myhot105.com ALASKA Anchorage, KFAT 92.9 FM (Urban) http://www.kfatfm.com ARIZONA Phoenix, KKFR 92.3 FM (Urban) Request Line: (602) 260-6923 Fax: (602) 226-3858 http://www.power923.fm Tucson, KOHT 98.3 FM (Urban) Request Line: (520) 770-9836 Fax: (520) 618-2165 http://www.hot983.com ARKANSAS Little Rock, KIPR 92.3 (Urban) Phone Line: (501) 401-0200 Fax: (501) 401-0366 http://www.power923.com Little Rock, KHTE 96.5 FM (Urban) Request Line: (501) 433-0965 Fax: (501) 228-4610 http://www.hot965.com Little Rock, Power 105.7 Request Line: ( 479) 521-5566 http://www.northwestarkansasradio.com CALIFORNIA Bakersfield, KKXX 96.5 FM (Urban) Request Line (661) 842-0965 Fax: (661) 322-9239 http://www.965kissfm.com Fresno, Q97 FM (Urban) Request Line: (559) 255-9797 http://www.q97.com Fremont, KOHL 89.9FM Request Line: (510) 657-KOHL Fax: (510) 659-6001 http://www.kohlradio.com Los Angeles, KPWR 105.9 FM/Power 106 (Urban) Request Line: (818) 845-1059 http://www.power106.fm Los Angeles, KHHT 92.3 FM/Hot 92 Jamz (Urban) Request Line: (866) HOT-JAMZ Fax: (866) 9HO-TFAX http://www.hot92jamz.com Los Angeles, KKBT 100.3 FM/100.3 The Beat (Urban) Request Line: (888) 696-1003 Business Line: (323) 634-1800 http://www.thebeatla.com Sacramento, KBMB 103.5 FM/103.5 The Bomb (Urban) Toll Free Request Line: (888) 746-1035 Main Office: (916) 440-9500 http://www.1035thebomb.com Sacramento, KSFM 102.5 FM (Urban) Request Line: (916) 766-KSFM Business Line: (916) 920-1025 http://www.ksfm.com San Diego, XHTZ 90.3 FM/Jammin? Z-90 (Urban) Request Line: (858) 570-1903 Fax: (858) 715-3190 http://www.z90.com San Francisco, KMEL 106.1 FM (Urban) Phone Line: (415) 896-5635 http://www.106kmel.com San Francisco, KYLD 94.9 FM/Wild 94.9 (Urban) Phone Line: (415) 356-0949 http://www.wild949.com Santa Barbara, KIST 107.7 FM/107 Kiss FM (Urban) Request Line: (805) 879-5477 Fax: (805) 879-8430 http://www.107kissfm.com Santa Barbara, KCAQ 104.7 FM/Q104.7 (Urban) Studio Line: (805) 654-1526 Fax: (805) 289-1533 http://www.q1047.com Santa Cruz, KDON 102.5 (Urban) Phone Line: (888) 558-5366 http://www.kdon.com Santa Rosa, KSXY 98.7 FM/Hot 98 (Urban) Phone Line: (707) 585-9999 Business Line: (707) 588-0707 http://www.hot987.fm COLORADO Denver, KDJM 92.5 FM/Jammin? 92.5 (Urban) Request Line: (303) 631-2925 Fax: (303) 832-5955 http://www.jammin925.com Denver, KQKS 107.5 FM/KS 107.5 (Urban) Studio Line: (303) 631-2448 Office Line: (303) 321-0950 http://www.ks1075.com CONNECTICUT Hartford, WZMX 93.7 FM/Hot 93.7 (Urban) Phone Line: (860) 677-6700, (800) 488-9307 http://www.hot937.com Hartford, WPHH 104.1 FM/Power 104.1 (Urban) Request Line: (860) 247-1041 Toll Free Request Line: (877) 247-1041 http://www.power1041.com Ledyard, CT WWRX Jammin 107.7 Request Line: 860 - 464 -1077 http://www.jammin1077.com New London, WQGN 105 FM Request Line: (860)443-1055 http://www.q105.fm DELAWARE Wilmington, WJKS 101.7 FM/Kiss 101.7 FM (Urban) Request Line: (302) 622-WJKS http://www.wjks1017.com DISTRICT OF COLUMBIA Washington, WKYS 93.9 FM (Urban) Request Line: (202) 432-WKYS http://www.939wkys.com Washington, WPGC 95.5 FM/95.5 Jamz (Urban) Request Line: (202) 432-9595 http://www.wpgc955.com FLORIDA Fort Myers, WBTT 105.5 FM/105.5 The Beat Jamz (Urban) http://www.wflm.cc Jacksonville, WHJX 105.7 FM/Hot 105.7 (Urban) Office Line: (904) 680-1050 Fax: (904) 680-1051 http://www.whjx.biz Jacksonville, WJBT 92.7 FM/92.7 The Beat Jamz (Urban) Request Line: (904) 696-BEAT http://www.wjbt.com Miami, WEDR 99.1 FM/99 Jamz (Urban) Request Line: (866) 991-JAMZ http://wedr.com Miami, WHQT 105.1 FM/Hot 105FM (Urban) Request Line: (888) 550-9105 http://hot105fm.com Miami, WMIB 103.5 FM/103.5 The Beat (Urban) Request Line: (866) 964-BEAT http://www.thebeatmiami.com Miami, WPOW 96.5 FM/Power 96 (Urban) Phone Line: (305) 550-9696 http://www.power96.com Orlando, WJHM 101.9 FM/102 Jamz (Urban) Request Line: (407) 919-0102 Toll Free Request Line: (877) 919-0102 http://www.102jamzorlando.com Palm Beach, WLDI 95.5 FM/WILD 95.5 (Urban) Request Line: (866) 550-9550 Fax Line: (561) 881-8880 http://www.wild955.com Panama City, WEBZ 93.5 FM/93.5 The Beat (Urban) Phone Line: (850) 914-2328 http://www.935thebeat.com Tallahassee, WBWT 100.7 FM/100.7 The Beat (Urban) Studio Line: (850) 201-BEAT Fax: (850) 383-0747 http://www.1007thebeat.com Tallahassee, WHBX 96.1 FM/96.1 Jamz (Urban) http://www.961jamz.com Tampa, WLLD 98.7 FM/WiLD 98.7 FM (Urban) Request Line: (727) 568-0987 Toll Free Request Line: (800) 758-9870 http://www.wild987.fm Tampa, WTMP 96.1 FM/Hot 96.1 FM (Urban) Business Line: (813) 620-1300 http://www.hot961.com GEORGIA Atlanta, WFOX 97.1 FM/97.1 Jamz (Urban) Request Line: (770) 953-9369 http://www.q100atlanta.com Atlanta, WVEE 103.3 FM/V-103 FM (Urban) Request Line: (404) 741-9833 http://www.wvee.com Macon, WIBB 97.9 FM (Urban) Office Line: (478) 781-1063 http://www.wibb.com Savannah, WEAS 93.1 FM/E93 (Urban) Request Line: (866) 399-0093 http://www.e93.com HAWAII Honolulu, KDDB 102.7 FM/Da Bomb 102.7 (Urban) Phone Line: (808) 591-9369 http://www.dabombhawaii.com Honolulu, KIKI 93.9 FM/Hot 93.9 (Urban) Request Line: (808) 296-9494 http://www.hot939.com Kaneohe, KXME 104.3 FM (Urban) Request Line: (808) 296-1043 http://1043xme.com ILLINOIS Chicago, WGCI 107.5 FM (Urban) Request Line: (312) 591-1075 http://www.wgci.com Chicago, WPWX 92.3 FM/Power 92 (Urban) Office Line: (219) 933-4455 Fax Line: (219) 933-0323 http://www.power92chicago.com Peoria, WZPW 92.3 FM/Power 92 (Urban) Phone Line: (309) 686-0101/(866) 686-9292 http://www.power92.net INDIANA Fort Wayne, WJFX 107.9 FM/Hot 107.9 (Urban) Phone Line: (260) 493-9539 http://www.hot1079online.com Indianapolis, WHHH 96.3 FM/Hot 96 (Urban) Request Line: (317) 239-9696 http://www.hot963.com/ South Bend, WSMK 99.1 FM (Urban) Phone Line: (269) 683-4343 http://www.wsmkradio.com IOWA Des Moines, KDRB 106.3 FM/106.3 The Beat (Urban) http://www.1063thebeat.com KANSAS Witchita, KDGS 93.9 FM/Power 93.9 (Urban) Phone Line: (316) 436-1093 http://www.power939.com KENTUCKY Lexington, WBTF 107.9 FM/107.9 The Beat (Urban) Request Line: (859) 280-2328 http://www.1079thebeat.com Louisville, WGZB 96.5 FM/B96 Jams (Urban) Phone Line: (502) 625-1220 http://www.b96jams.com LOUISIANA Baton Rouge, WEMX 94.1 FM/Max 94.1 (Urban) Request Line: 499-9410 Toll Free Request Line: (888) 499-9410 http://www.max94one.com Lafayette, KRRQ 95.5 FM/Q-95.5 (Urban) Request Line: (337) 920-1955 Fax Line: (337) 988-0443 http://www.krrq.com New Orleans, WQUE 93.3 FM/Q93 (Urban) Request Line: (504) 260-9393 http://www.q93.com Shreveport, KDKS 102.1 FM/Hot 102 (Urban) Phone Line: (318) 320-1021 http://www.kdks1021.com MAINE Portland, WRED 95.9 FM/Red Hot 95 (Urban) Phone Line: (207) 773-9695 http://www.redhot959.com MARYLAND Baltimore, WERQ 92.3 FM/92Q Jams (Urban) Request Line: (410) 481-9292 Fax Line: (410) 244-1923 http://www.92qjams.com Lanham, WPGC 95.5 FM Request Line: (202) 432-9595 http://www.wpgc955.com/ Ocean City, WOCQ 103.9 FM/OC 104 (Urban) Phone Line: (302) 856-2567 http://www.oc104.com MASSACHUSETTS Boston, WJMN 94.5 FM/Jam'N 94.5 (Urban) Phone Line: (617) 931-1945 http://www.jamn945.com MICHIGAN Detroit, WJLB 97.9 FM (Urban) Request Line: (313) 298-7098 http://www.fm98wjlb.com Detroit - CHANNEL 955 http://www.q955.com/main.html Request lines: 313-298-9595 Studio Fax: 1-800-FAX-95FM Main Office: 248-324-5800 Detroit - WHTD HOT 102.7 http://www.1059jamz.com/ Main Line: 313.259.2000 Request Line: 313.298.1027 Faxing: 313.259.7011 Flint, WRCL 93.7 FM/Club 93.7 (Urban) Toll Free Request Line: (866) CLUB-937 http://www.club937.com Saginaw, WTLZ 107.1 FM/Hot 107 (Urban) http://www.hotwtlz.com MINNESOTA Minneapolis, KTTB 96.3 FM/B96 (Urban) Request Line: (651) 989-4296 http://www.b96online.com St. Cloud, KISS 96.7 FM (Urban) Request Line: (320) 257-KISS http://www.kiss96.com MISSISSIPPI Columbus, WMSU 92.1 FM/Power 92 (Urban) Toll Free Request Line: (800) 252-0092 http://www.power92fm.net Gulfport, WJZD 94.5 FM/JZ-94.5 (Urban) Request Line: (228) 896-9455 Toll Free Request Line: (866) 945-9455 http://www.wjzd.com Jackson, WJMI 99.7 FM/99 Jamz (Urban) http://www.99jams.cc Jackson, WRJH 97.7 FM/Hot 97.7 (Urban) Request Line: (601) 981-5977 http://www.hot977radio.com MISSOURI Kansas City, KPRS 103.3 FM/Hot 103 Jamz (Urban) Request Line: (816) 576-7103 http://www.kprs.com St. Louis, KATZ 100.3 FM/100.3 The Beat (Urban) Studio Line: (314) 969-1000 Toll Free Studio Line: (800) 54-100-FM http://www.katzfm.com NEBRASKA Omaha, KBLR 107.7 FM/Hot 107.7 (Urban) Request Line: (402) 827-1077 http://www.hot1077.com Omaha, KQCH 94.1 FM/Channel 94.1 (Urban) Request Line: (402) 592-5300 http://www.channel941.com NEVADA Las Vegas, KCEP 88.1 FM/Power 88 (Urban) Request Line: (702) 647-3688 http://www.power88lv.com Las Vegas, KVEG 97.5 FM/Hot 97.5 (Urban) Request Line: (702) 320-5834 http://www.kvegas.com Reno, KWNZ 97.3 FM (Urban) Request Line: (775) 793-1234 http://www.kwnz.com Reno, KYWD 102.9 FM/Wild 102.9 (Urban) Phone Line: (775) 325-6358 http://www.wild1029.com NEW JERSEY Atlantic City, WZBZ 99.3 FM The Buzz (Urban) Request Line: (609) 569-9938 http://www.993thebuzz.com NEW MEXICO Albuquerque, KKSS 97.3 FM/Kiss 97.3 (Urban) Request Line: (505) 262-KISS http://www.kiss973.com Albuquerque, KYLZ 106.3 FM/Wild 106 (Urban) Phone Line: (505) 878-0980 http://www.wild106.net NEW YORK Albany, WAJZ 96.3 FM/Jamz 96.3 (Urban) Phone Line: (518) 786-6600 http://www.jamz963.com Buffalo, WBLK 93.7 FM (Urban) Request Line: (716) 852-9393 http://www.wblk.com Buffalo, CKEY 101.1 FM/Wild 101 (Urban) Toll Free Request Line: (866) 461-WILD http://www.wild101.com New York City, WBLS 107.5 (Urban) Request Line: (212) 545-1075 http://wbls.com New York City, WQHT 97.1 FM/Hot 97 (Urban) Toll Free Request Line: (800) 223-9797 http://www.hot97.com New York City, WWPR 105.1 FM/Power 105.1 (Urban) Toll Free Request Line: (800) 585-1051 http://www.power1051fm.com Rochester, WDKX 103.9 FM (Urban) Phone Line: (585) 262-2050 http://www.wdkx.com NORTH CAROLINA Charlotte, WPEG 97.9 FM/Power 98 (Urban) Phone Line: (704) 570-9734 http://www.power98fm.com Durham, WQOK 97.5 FM/K97.5 (Urban) Toll Free Request Line: (800) 321-5975 http://www.k975.com Fayetteville, WCCG 104.5 FM/Hot 104.5 (Urban) Phone Line: (910) 484-4932 http://www.hot1045fm.com Fayetteville, WZFX 99.1 FM/Foxy 99 (Urban) Phone Line: (910) 486-4114 http://www.foxy99.com Greensboro, WGBT 94.5 FM/94.5 The Beat (Urban) Request Line: (336) 883-2328 http://www.945thebeat.com Greensboro, WJMH 102.1 FM/102 Jamz (Urban) Phone Line: (336) 605-5200 http://www.102jamz.com New Bern, WIKS 101.9 FM/102 Kiss FM (Urban) Phone Line: (252) 633-1500 On Air Phone Line: (252) 633-6102 http://www.kiss102.com Wilmington, WMNX 97.3 FM/Coast 97.3 (Urban) Studio Line: (910) 763-0973 http://www.coast973.com OHIO Cincinnati, WIZF 100.9 FM/The Wiz (Urban) Phone Line: (513) 749-1009 http://www.wizfm.com Columbus, WCKX 107.5 FM/Power 107 (Urban) Phone Line: (614) 487-1444 http://www.power1075.com Dayton, WDHT 102.9 FM/Hot 102.9 (Urban) Request Line: (937) 457-1029 http://www.hot1029.com Toledo, WJUC 107.3 FM/The Juice (Urban) Phone Line: (419) 861-9582 http://www.thejuice1073.com OKLAHOMA Tulsa, KTBT 101.5 FM/101.5 The Beat (Urban) Phone Line: (918) 460-1015 http://www.1015thebeat.com OREGON Portland, KXJM 95.5 FM/Jammin 95.5 (Urban) Request Line: (503) 417-9595 Toll Free Request Line: (800) 378-2795 http://www.jamminfm.com PENNSYLVANIA Harrisburg, WWKL 92.1 FM/Hot 92 (Urban) Office Line: (717) 238-1041 http://www.hot92.com Philadelphia, WUSL 98.9 FM/Power 99 (Urban) Request Line: (215) 483-8900 or (800) 669-99FM http://www.power99.com Philadelphia, WLDW 96.5 FM (Urban) Studio Line: (215) 263-9650 or (856) 541-9650 Comment Line: (610) 664-0275 or (877) 965-7547 http://www.965online.com Philadelphia, 103.9 The Beat FM (Urban) Request Line: (610) 276-1100 Pittsburgh, WAMO 106.7 FM/106 Jamz (Urban) Phone Line: (412) 471-2181 or (412) 488-8257 http://www.wamo.com RHODE ISLAND Providence, WWKX 106.3 FM/Hot 106 (Urban) Request Line: (401) 224-1063 Toll Free Request Line: (888) 224-1063 http://www.hot1063.com Providence, WBRU 95.5 FM (Urban) Phone Line: (401) 272-9550 http://www.wbru.com SOUTH CAROLINA Charleston WSSP 94.3/Power 94.3 (Urban) Request Line: (843) 721-0094 http://www.power943.com Charleston, WWWZ 93.3 FM/Z-93 Jamz (Urban) Phone Line: (843) 308-9300 http://www.z93jamz.com Columbia, WHXT 103.9 FM/Hot 103.9 (Urban) Request Line: (803) 647-1039 Toll Free Request Line: (877) 874-1039 http://www.hot1039fm.com Columbia, WXBT 100.1 FM/100.1 Beat (Urban) Request Line: (803) 742-1100 http://www.wxbt.com Greenville, WHZT Hot 98.1 (Urban) Request Line: (864) 421-9810 http://hot981.com Greenville, WJMZ 107.3 FM/107.3 Jamz (Urban) Toll Free Request Line: (800) 767-1073 http://1073jamz.com SOUTH CAROLINA Charleston WSSP 94.3/Power 94.3 (Urban) Request Line: (843) 721-0094 http://www.power943.com Request Line: (803) 742-1100 Charleston, WWWZ 93.3 FM/Z-93 Jamz (Urban) Phone Line: (843) 308-9300 http://www.z93jamz.com Columbia, WHXT 103.9 FM/Hot 103.9 (Urban) Request Line: (803) 647-1039 Toll Free Request Line: (877) 874-1039

Allan L. wrote on June 14, 2008:

Didn't know I was holy but holy moly I know it now. 5 stars.

Big Daddy Cee wrote on April 30, 2008:

Sweet ....sultry....yet powerful voice......

Christopher A. wrote on April 9, 2008:

The Problem With Music by Steve Albini Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end holding a fountain pen and a contract waiting to be signed. Nobody can see what's printed on the contract. It's too far away, and besides, the shit stench is making everybody's eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end. Two people arrive simultaneously and begin wrestling furiously, clawing each other and dunking each other under the shit. Eventually, one of them capitulates, and there's only one contestant left. He reaches for the pen, but the Lackey says "Actually, I think you need a little more development. Swim again, please. Backstroke". And he does of course. Every major label involved in the hunt for new bands now has on staff a high-profile point man, an "A & R" rep who can present a comfortable face to any prospective band. The initials stand for "Artist and Repertoire." because historically, the A & R staff would select artists to record music that they had also selected, out of an available pool of each. This is still the case, though not openly. These guys are universally young [about the same age as the bands being wooed], and nowadays they always have some obvious underground rock credibility flag they can wave. Lyle Preslar, former guitarist for Minor Threat, is one of them. Terry Tolkin, former NY independent booking agent and assistant manager at Touch and Go is one of them. Al Smith, former soundman at CBGB is one of them. Mike Gitter, former editor of XXX fanzine and contributor to Rip, Kerrang and other lowbrow rags is one of them. Many of the annoying turds who used to staff college radio stations are in their ranks as well. There are several reasons A & R scouts are always young. The explanation usually copped-to is that the scout will be "hip to the current musical "scene." A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences. The A & R person is the first person to make contact with the band, and as such is the first person to promise them the moon. Who better to promise them the moon than an idealistic young turk who expects to be calling the shots in a few years, and who has had no previous experience with a big record company. Hell, he's as naive as the band he's duping. When he tells them no one will interfere in their creative process, he probably even believes it. When he sits down with the band for the first time, over a plate of angel hair pasta, he can tell them with all sincerity that when they sign with company X, they're really signing with him and he's on their side. Remember that great gig I saw you at in '85? Didn't we have a blast. By now all rock bands are wise enough to be suspicious of music industry scum. There is a pervasive caricature in popular culture of a portly, middle aged ex-hipster talking a mile-a-minute, using outdated jargon and calling everybody "baby." After meeting "their" A & R guy, the band will say to themselves and everyone else, "He's not like a record company guy at all! He's like one of us." And they will be right. That's one of the reasons he was hired. These A & R guys are not allowed to write contracts. What they do is present the band with a letter of intent, or "deal memo," which loosely states some terms, and affirms that the band will sign with the label once a contract has been agreed on. The spookiest thing about this harmless sounding little memo, is that it is, for all legal purposes, a binding document. That is, once the band signs it, they are under obligation to conclude a deal with the label. If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength. These letters never have any terms of expiration, so the band remain bound by the deal memo until a contract is signed, no matter how long that takes. The band cannot sign to another laborer or even put out its own material unless they are released from their agreement, which never happens. Make no mistake about it: once a band has signed a letter of intent, they will either eventually sign a contract that suits the label or they will be destroyed. One of my favorite bands was held hostage for the better part of two years by a slick young "He's not like a label guy at all," A & R rep, on the basis of such a deal memo. He had failed to come through on any of his promises [something he did with similar effect to another well-known band], and so the band wanted out. Another label expressed interest, but when the A & R man was asked to release the band, he said he would need money or points, or possibly both, before he would consider it. The new label was afraid the price would be too dear, and they said no thanks. On the cusp of making their signature album, an excellent band, humiliated, broke up from the stress and the many months of inactivity. There's this band. They're pretty ordinary, but they're also pretty good, so they've attracted some attention. They're signed to a moderate-sized "independent" label owned by a distribution company, and they have another two albums owed to the label. They're a little ambitious. They'd like to get signed by a major label so they can have some security you know, get some good equipment, tour in a proper tour bus -- nothing fancy, just a little reward for all the hard work. To that end, they got a manager. He knows some of the label guys, and he can shop their next project to all the right people. He takes his cut, sure, but it's only 15%, and if he can get them signed then it's money well spent. Anyways, it doesn't cost them anything if it doesn't work. 15% of nothing isn't much! One day an A & R scout calls them, says he's 'been following them for a while now, and when their manager mentioned them to him, it just "clicked." Would they like to meet with him about the possibility of working out a deal with his label? Wow. Big Break time. They meet the guy, and y'know what -- he's not what they expected from a label guy. He's young and dresses pretty much like the band does. He knows all their favorite bands. He's like one of them. He tells them he wants to go to bat for them, to try to get them everything they want. He says anything is possible with the right attitude. They conclude the evening by taking home a copy of a deal memo they wrote out and signed on the spot. The A & R guy was full of great ideas, even talked about using a name producer. Butch Vig is out of the question-he wants 100 g's and three points, but they can get Don Fleming for $30,000 plus three points. Even that's a little steep, so maybe they'll go with that guy who used to be in David Letterman's band. He only wants three points. Or they can have just anybody record it (like Warton Tiers, maybe-- cost you 5 or 7 grand] and have Andy Wallace remix it for 4 grand a track plus 2 points. It was a lot to think about. Well, they like this guy and they trust him. Besides, they already signed the deal memo. He must have been serious about wanting them to sign. They break the news to their current label, and the label manager says he wants them to succeed, so they have his blessing. He will need to be compensated, of course, for the remaining albums left on their contract, but he'll work it out with the label himself. Sub Pop made millions from selling off Nirvana, and Twin Tone hasn't done bad either: 50 grand for the Babes and 60 grand for the Poster Children-- without having to sell a single additional record. It'll be something modest. The new label doesn't mind, so long as it's recoupable out of royalties. Well, they get the final contract, and it's not quite what they expected. They figure it's better to be safe than sorry and they turn it over to a lawyer--one who says he's experienced in entertainment law and he hammers out a few bugs. They're still not sure about it, but the lawyer says he's seen a lot of contracts, and theirs is pretty good. They'll be great royalty: 13% [less a 1O% packaging deduction]. Wasn't it Buffalo Tom that were only getting 12% less 10? Whatever. The old label only wants 50 grand, an no points. Hell, Sub Pop got 3 points when they let Nirvana go. They're signed for four years, with options on each year, for a total of over a million dollars! That's a lot of money in any man's English. The first year's advance alone is $250,000. Just think about it, a quarter million, just for being in a rock band! Their manager thinks it's a great deal, especially the large advance. Besides, he knows a publishing company that will take the band on if they get signed, and even give them an advance of 20 grand, so they'll be making that money too. The manager says publishing is pretty mysterious, and nobody really knows where all the money comes from, but the lawyer can look that contract over too. Hell, it's free money. Their booking agent is excited about the band signing to a major. He says they can maybe average $1,000 or $2,000 a night from now on. That's enough to justify a five week tour, and with tour support, they can use a proper crew, buy some good equipment and even get a tour bus! Buses are pretty expensive, but if you figure in the price of a hotel room for everybody In the band and crew, they're actually about the same cost. Some bands like Therapy? and Sloan and Stereolab use buses on their tours even when they're getting paid only a couple hundred bucks a night, and this tour should earn at least a grand or two every night. It'll be worth it. The band will be more comfortable and will play better. The agent says a band on a major label can get a merchandising company to pay them an advance on T-shirt sales! ridiculous! There's a gold mine here! The lawyer Should look over the merchandising contract, just to be safe. They get drunk at the signing party. Polaroids are taken and everybody looks thrilled. The label picked them up in a limo. They decided to go with the producer who used to be in Letterman's band. He had these technicians come in and tune the drums for them and tweak their amps and guitars. He had a guy bring in a slew of expensive old "vintage" microphones. Boy, were they "warm." He even had a guy come in and check the phase of all the equipment in the control room! Boy, was he professional. He used a bunch of equipment on them and by the end of it, they all agreed that it sounded very "punchy," yet "warm." All that hard work paid off. With the help of a video, the album went like hotcakes! They sold a quarter million copies! Here is the math that will explain just how fucked they are: These figures are representative of amounts that appear in record contracts daily. There's no need to skew the figures to make the scenario look bad, since real-life examples more than abound. income is bold and underlined, expenses are not. Advance: $ 250,000 Manager's cut: $ 37,500 Legal fees: $ 10,000 Recording Budget: $ 150,000 Producer's advance: $ 50,000 Studio fee: $ 52,500 Drum Amp, Mic and Phase "Doctors": $ 3,000 Recording tape: $ 8,000 Equipment rental: $ 5,000 Cartage and Transportation: $ 5,000 Lodgings while in studio: $ 10,000 Catering: $ 3,000 Mastering: $ 10,000 Tape copies, reference CDs, shipping tapes, misc. expenses: $ 2,000 Video budget: $ 30,000 Cameras: $ 8,000 Crew: $ 5,000 Processing and transfers: $ 3,000 Off-line: $ 2,000 On-line editing: $ 3,000 Catering: $ 1,000 Stage and construction: $ 3,000 Copies, couriers, transportation: $ 2,000 Director's fee: $ 3,000 Album Artwork: $ 5,000 Promotional photo shoot and duplication: $ 2,000 Band fund: $ 15,000 New fancy professional drum kit: $ 5,000 New fancy professional guitars [2]: $ 3,000 New fancy professional guitar amp rigs [2]: $ 4,000 New fancy potato-shaped bass guitar: $ 1,000 New fancy rack of lights bass amp: $ 1,000 Rehearsal space rental: $ 500 Big blowout party for their friends: $ 500 Tour expense [5 weeks]: $ 50,875 Bus: $ 25,000 Crew [3]: $ 7,500 Food and per diems: $ 7,875 Fuel: $ 3,000 Consumable supplies: $ 3,500 Wardrobe: $ 1,000 Promotion: $ 3,000 Tour gross income: $ 50,000 Agent's cut: $ 7,500 Manager's cut: $ 7,500 Merchandising advance: $ 20,000 Manager's cut: $ 3,000 Lawyer's fee: $ 1,000 Publishing advance: $ 20,000 Manager's cut: $ 3,000 Lawyer's fee: $ 1,000 Record sales: 250,000 @ $12 = $3,000,000 Gross retail revenue Royalty: [13% of 90% of retail]: $ 351,000 Less advance: $ 250,000 Producer's points: [3% less $50,000 advance]: $ 40,000 Promotional budget: $ 25,000 Recoupable buyout from previous label: $ 50,000  Net royalty: $ -14,000 -------------------------------------------------------------------------------- Record company income: Record wholesale price: $6.50 x 250,000 = $1,625,000 gross income Artist Royalties: $ 351,000 Deficit from royalties: $ 14,000 Manufacturing, packaging and distribution: @ $2.20 per record: $ 550,000 Gross profit: $ 7l0,000 -------------------------------------------------------------------------------- The Balance Sheet: This is how much each player got paid at the end of the game. Record company: $ 710,000 Producer: $ 90,000 Manager: $ 51,000 Studio: $ 52,500 Previous label: $ 50,000 Agent: $ 7,500 Lawyer: $ 12,000 Band member net income each: $ 4,031.25 The band is now 1/4 of the way through its contract, has made the music industry more than 3 million dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour bus for a month. The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never "recouped," the band will have no leverage, and will oblige. The next tour will be about the same, except the merchandising advance will have already been paid, and the band, strangely enough, won't have earned any royalties from their T-shirts yet. Maybe the T-shirt guys have figured out how to count money like record company guys. Some of your friends are probably already this fucked. Steve Albini is an independent and corporate rock record producer most widely known for having produced Nirvana's "In Utero".

Jose' Diaz wrote on September 6, 2007:

The voice of an angel! Beautiful! My hair didn't just stand up, it did waves!!!

Neanderthol Entertainment, LLC wrote on August 29, 2007:

Thanks 4 the add. More info on our artists and services here: www.jamwave.com/caveboyz

Matthias Kern wrote on August 27, 2007:

Wow what a beautiful voice! A timbre that sends me shivers down my spine. Truly gifted !

Duane Abner wrote on August 25, 2007:

Thanks for the comment, and adding me as a contact. You are truly an anointed vocalist. Great performances on all three tracks here. Well done Marlo. Peace&Creativity/ -duane

Matthew Siegel wrote on August 21, 2007:

I love it Marlo! Keep it coming...