Marlo Moore
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My Songs
- Craft:
- musician
- Genres:
- gospel
- Influences:
- LaShun Pace, Dorinda Clark-Cole, Keke Wyatt, Keshia McFarland, Nikki Ross, Sha' Simpson, Beyonce, Faith Evans
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
- Band or Group:
- Marlo Moore the Gospel Diva!
- Website:
- www.myspace.com/mooretothestory
- 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-PhillipsManagement/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
May the Candle of our Friendship burn For ever
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hey i love your voice, are you open do doing r&b and hip hop tracks?
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.
GET HOT INDUSTRY TYPE BEATS FO UR NEXT PLATINUM SMASH LINK http://www.mybeatshop.com/FYYAH
you have a quanitive quality sound. ps let me know if you need and web or graphic work.
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...
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
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
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
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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
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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".
The voice of an angel! Beautiful! My hair didn't just stand up, it did waves!!!
Thanks 4 the add. More info on our artists and services here: www.jamwave.com/caveboyz
Wow what a beautiful voice! A timbre that sends me shivers down my spine. Truly gifted !
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
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hey Marlo, All the way form Guatemala City Central America, I would like you to take a listen to my profile tracks from my 3 album that will be out soon, i would love you to sing on one of my tracks, I have a great example of the track i will send over to you, here is my email, me@djronxxx.com peace and blessings