Looking at the iTunes store, most artists think, “I want my album to be featured there.” Here’s some good news: all TuneCore releases can be considered for this placement. Albums spotlighted on iTunes are there based on editorial decisions made by iTunes—these are not paid placements.
How do you increase your chance of getting featured on iTunes? Here are seven tips that should help. (Friendly reminder: it’s completely up to iTunes staff to decide what gets featured.)
1. Plan Ahead
Lead-time is a key element in feature consideration. The iTunes store is a planned out effort, not put together last minute. In general, featured releases are picked with at least three weeks lead-time. It’s a good idea, when possible, to select a release date three weeks from the time you hit ‘distribute’ in your TuneCore account, to give iTunes (and other stores) enough time to consider your music.
2. Albums good, Singles not as much
Singles are a great way to gain popularity and set up your album; they can also help you establish a sales history to include in feature submissions. The fact is, though, if you look through iTunes and other stores, you’ll notice that there are a lot more placement opportunities for albums than singles. iTunes has specific sections for singles only on their R&B, Hip Hop, Reggae, Dance and Electronic genre pages.
3. Spell-check, please!
Creative spelling is okay, BUT we often see releases with typos and misspellings. Editors will notice this, so make sure to proofread your release before distribution.
4. Who’s on first?
Unless you can get a bunch of really well known artists to guest on your songs, it doesn’t look professional when you have a looooooong list of featured artists.
5. Prepare to be asked
Beyond the music, there are some important facts and figures stores consider:
- How much have your other releases sold? Especially your most recent releases…
- How many potential fans can you reach and direct to purchase your new release on iTunes? In other words, how many people like you on Facebook, follow you on Twitter, are on your email list, etc.
- Do you have a press and/or marketing plan in place with commitments? For example: Do you have a major magazine feature commitment? Do you have ad dollars allotted to the release?
- Will there be TV or film sync placements of your music at the time of release?
- What are your realistic expectations of overall first week digital sales for your new release?
6. Expect Competition
All features are difficult to secure due to limited space. For example, the iTunes ‘Single of the Week’ is reserved for one song per week, so you can imagine how tight the competition is to land this slot.
7. How low will you go?
Although sale pricing is not required for features, it is one additional factor that can increase your chance of securing a store placement. You can contact TuneCore’s artist support team for price adjustments.
Though I’ve focused on iTunes, these tips apply across all stores. Again, editors make the decisions on what is featured, but if you can follow our recommendations you’ll have a better shot at getting some form of placement. Check out past digital store features of TuneCore Artists.
If you distribute your music through TuneCore you can submit your Release for Feature Consideration here
Via Music Clout
Hi, my name is Normandie Wilson, and I’ve toured so often that I want to grab all of you by the necks and scream, “Are you sure you really want to do this?!?!” But since this is just an online article, and I’d probably get arrested if I did that, I’m just going to be really sarcastic instead. I’m also going to ask the same kinds of questions of you that your mother would ask (You know she’s right.)
As someone who spent the better half of the past two years on tour, I’m personally very tired of reading articles about touring that:
- Are deliberately vague
- Make it seem easy
- Make it sound like the right choice for every band
- Are full of inaccurate or outdated details
- Are not specific for genres of music/solo performers/etc
When it comes to touring, I’ve been there and done that. I’ve made stupid mistakes that have cost me lots and lots of money. I’ve ended up in multiple unsafe situations. I’ve forgotten vital gear necessary for me to deliver a great performance. I’ve misplaced important information. I’ve toured in a beat-up car on its very last legs. I have been abandoned by a tour driver who threw all my band’s gear in the front yard, drove away, and left us in St. Louis without even so much as a text message. I’ve been dumped by my bandmate/boyfriend while on tour in the United Kingdom, with nowhere to go, nowhere to stay, no money to come back home, and over a dozen shows to continue playing. I have been harassed to the point of fearing for my life. I’ve planned poorly and ended up sleeping on a complete stranger’s porch in Tulsa. In November, when the temperature was about 35 degrees. And also, there will be more articles later than talk about how I’ve done most of this stuff alone as a barely five-foot-tall woman. “But, where’s the silver lining?” you may ask. Here it is: If I can do it, I’m pretty sure you can too.
But – and this is a very big caveat – you must be prepared for what touring is actually like. Not what you’ve heard. Not what you’ve read in Spin, Mojo, or Pitchfork. Most likely it will not be like that for you, and your first tour will definitely, definitely not go well. If you are extremely lucky, one of your tours someday will be like that. If you’re like most of us, you will (hopefully) eventually figure out a way to tour, break even, and continue to play music and expose your brand. You will only figure out how to do this if you’re willing to learn, if you’re willing to prepare, and if you’re willing to work harder than you’ve ever worked in your entire life.
To help you learn from my mistakes, and to try and save you the misery I have suffered, I have set out to write a series of articles that will actually be helpful to you. Like many things that are actually helpful, it’s going to be painful. These articles are meant to deter you from touring. Why would I want to do that? Because touring is rough, tough, and dirty work. It can also be the most fun you’ve ever had in your life, but it’s difficult, it’s expensive, and it will wear you out. It will put a strain on your professional life. It will strain your relationships and friendships and social life. If you are able to read these articles, if you’re willing to ask yourselves and your bands the questions that I’m asking, and still decide that you want to go on tour, you will be more prepared than 95% of the bands that I have ever toured with or met on tour. You will also probably be less of an asshole.
The first article in this series is about the minor details that almost no one talks about when they talk about touring. These are the boring and stupid questions that your parents will ask you, or your complete worrywart wet blanket friend will ask you. You know, that one friend who is always pissing on your parade. These are also the questions that someone who hates you and wants you to fail miserably will ask you in a sarcastic fashion, to mock you. Listen to these people. They may be buzzkills, or just complete jerks, but these are the most useful people in your life when it comes to touring. If you can have a logical answer to give these people so they either stop worrying or leave you alone, you are most likely somewhat prepared to embark on a journey that will cost you a lot of money, where you will most likely lose something expensive or personally valuable, and where there is a high likelihood of ‘failure,’ meaning lost money, lost time, fights with your bandmates, theft, hangovers, and terrible food.
Are you excited yet? Let’s begin:
Life Is In The Details (Travel Logistics)
A lot of bands go on tour without thinking about things that you’d think about if you were say, going on a road trip. How is your vehicle doing? When’s the last time it had a tune-up or oil change? Do you have an AAA membership? (A great investment at under $100 per year to cover you in case of flat tires, running out of gas, etc.) How are you planning your directions? Do you have a GPS? Who will drive? Is everyone in your band insured to drive? Do you even trust the members of your band to drive your car? Do you have a plan in case of emergencies, minor or major? If someone quits your band on tour, how will they get home? Will the band pay for it, or is this jerk on his own? If someone in your family becomes ill (or God forbid, dies) while you’re on tour, what will you do? Do you have a first-aid kit, an emergency car maintenance kit, a set of jumper cables, a tire jack, snow chains, an ice scraper? Have you researched the roads and the weather for where you will be going? (Ask me about the time I set off on a national tour in November and forgot to bring a coat with me because I was living in California.) Most bands tour during the summer, but I went on a tour recently in January that would have been a complete failure if the weather hadn’t held, as we were in a conversion van with no snow chains. You don’t need to pack everything but the kitchen sink, as that will make you even more miserable, but some of these things are very much worth having on tour.
I started keeping a small first-aid kit on me consisting of bandages, gauze, and antibiotic ointment (in a small pouch the size of my hand) after I slipped and fell while loading into a venue in Kansas City in the pouring rain. I bled so much that I had to use tape from the bar and wadded up toilet paper as a makeshift bandage to be able to play without staining my shoes. It was over three hours before I was able to properly clean the wounds and bandage them. I still have the scars. I know a lot of bassists and drummers who end up bleeding after an intense performance. Having some bandages to put on right after these things happen will make all of your lives easier, not to mention the life of the person who has been blessed with the task of cleaning up after you on stage. Are you a singer who is (like me) prone to overusing your voice and losing it on tour? Make sure you have some Singer’s Secret and some Throat Coat tea (manufactured by Traditional Medicinals). These things are easily obtainable at a Whole Foods or a natural food type co-op, but they may not be available everywhere on tour. Buy or order some extra stuff like this while you’re at home and just keep it with you. Take Emergen-C or other vitamin C supplements in case you all catch a cold on tour, bring some ibuprofen for headaches and hangovers, and some medicine like Pepto-Bismol or Imodium in case of stomach bugs. It will happen, maybe not to you, but most likely, it will happen to you and everyone in your band. Getting sick on tour really sucks. It sucks even more when you don’t have anything to make yourself feel better on hand. You can have a very well-stocked first aid/health kit that doesn’t take up a lot of room. It’s worth it.
Bands (myself included) often get so busy thinking about how to book the shows and promote the shows that you forget you’re embarking on a major journey where risks are involved. As they say, life is in the details. Don’t neglect the technical nuts and bolts of preparing yourself for a trip.Trust me, trust Murphy’s Law, and trust Forrest Gump: Shit happens, and it will happen. Be prepared.
The most important aspect of being prepared is money. You should have far more money than you think you will need. Most likely, you will spend it all. If you’re halfway smart, you’ll pay your next month’s rent before you leave and make sure you leave a couple hundred bucks in a box under your bed so you can eat when you get back. There will be nights where you can’t find a place to stay and you’ll have to pony up for a hotel room. There will be times when you’ll get lost and drive around in circles and run through your gas. Gas prices vary from state to state, and you will buy more gas than you think you will. There will be many, many nights where you won’t make as much money as you thought (unless you have a guarantee.) There will be many nights where you won’t sell any merch, or you won’t get much in donations. There will be shows where you will play to the sound guy, the bartender, and a couple of locals who go to that bar every single night. (They probably won’t have any money to give you.) And don’t forget, just because you’re on tour doesn’t mean you stop eating. You’ll also probably spend a fair amount of money on booze, perhaps even drugs, if you’re into that. Budget your gas prices using the highest national price. Then add 20%. (A great tip from Martin Atkins’ book ‘Tour:Smart And Break The Band.’) For hotels, $50-$75 is a decent estimate for a single room. Yes, there are many hotel rooms in the United States that are much less than that. But plan for the highest cost (for everything) and you’ll be prepared.
It’s much cheaper to cook your own food instead of eating all meals out, but it isn’t always possible on tour. I usually snack for two meals and spend $10 or so on one nice meal per day. If you want to eat decent food (which is a must for feeling your best and avoiding getting sick) you’re going to have to budget for it. Make sure you know which venues are feeding you (this is covered in the next section) so that you can plan your budget for those days differently. A $15-20 budget for decent snacks like carrots, pretzels, peanut butter, a loaf of bread, and some orange juice can sustain you for a couple good snacks for several days. It’s very tempting to eat disgusting crap when you’re on tour. Just remember that you will always pay for it later. This is what I ask myself: Where do I prefer to be violently ill? In the peace and quiet of my own home, or sitting in a filthy bar venue with no toilet paper? Speaking of which, toilet paper is always, always, always a good thing to have in the van with you. I hope I don’t need to tell you why.
I personally despise Kickstarter, Indie GoGo and other places where people can guilt-trip their friends into giving them money, but this could be a great way to make some extra money for your tour. If you’re organized enough in advance, you might be able to raise $500 or so for a little extra nest egg before you leave. Or you could save that amount of money beforehand. A CD release show or other great local tour kickoff show in your hometown is a great way to make sure your gas money pouch is nice and full before you leave. Before I toured the United Kingdom, my bandmate and I had a series of yard sales which netted us about $500, followed by a great local show where we made about $600. It really, really helped us.
The best advice I can give from many years of difficult and painful personal experience is: Plan for your tour financially as if you will not make a single dime, guarantees excepted. Make sure you have enough money to cover everything. It’s the only way to avoid being disappointed or worse – in the position of having to call a friend or family member for help, or being stranded and stuck because no one is able to help you.
Life Is In The Details, Part Two (Gear and Merch)
What gear do you have with you? Do you have a plan or extra money in case you lose a set of cables, or your drummer drops their kick pedal and breaks it (this happened to me on a tour recently), or your amp gets stolen from your car? Have you tried packing your vehicle up the week before you leave? If you take everything you want to take, will your drummer and guitarist have enough room to sit comfortably in the backseat? Do you have a setup that can double as a PA in case the venue you’re playing at doesn’t have a sound system? Do you have extra strings for your guitar/drumsticks/cables for your keyboard? Assume that you will either lose something or have something stolen on tour. I’m not a guitarist, but many of my guitar playing friends have told me about the wonders of a decent pedal board for helping them make sure they don’t forget their pedals after a show. If you have hundreds of dollars worth of pedals, it may be a good investment to spend another $200 on a solid pedal board to help you make sure you remember them all. I’ll just say that I’ve been in three bands where we’ve ended up with a free Boss tuner pedal (about a $225 pedal) after a show because some idiot left it behind. And I’ve definitely ended up with a large amount of cables this way too. For bands who have a lot of gear, developing a check list system to make sure you have it all packed up after a show is extremely important.
We all know gear is expensive; how do you plan to take care of it on the road? Touring is rough on everything you own, including your body and your gear. I once played a show with a drummer who didn’t pack his kick drum properly and ended up putting a huge tear through the head of the drum. Oh, and the other problem? He was borrowing the kick drum from another local drummer, who proceeded to tell everyone he knew, “Don’t let this guy borrow any of your gear!” Sometimes other bands are really nice about letting you borrow their gear on tour. For me, as a pianist/keyboardist, this is a real blessing. If another band is so kind as to let you borrow something, thusly saving you a lot of time, and sometimes allowing you to use a better instrument than the one you have: use common manners, which I hope you have. If someone lets you borrow their gear (for instance, the drum set of a drummer beforehand, etc.) be good to the gear, make sure you help the person arrange it the way they want to once you’re done or at least offer to help, and most importantly, thank them profusely. You’d be surprised how many musicians seem to have little to no social skills or common decency. (Or maybe you wouldn’t) Don’t be careless with your gear, and more importantly, don’t ever be careless with someone else’s gear on tour unless you want to a) owe them money or b) garner a bad reputation or c) get in a fight or d) all of the above. Remember when you were a kid, and you let someone play with your favorite Barbie/Hot Wheels/dinosaur and your friend ripped the wheels or the head off of it and broke it? You probably remember not inviting that kid over to your house ever again or letting them touch anything of yours ever again. When it comes to people’s expensive grown-up toys, we haven’t changed that much since we were all kids. It should be common sense, but in case it’s not: Damaging someone else’s possession(s) is one of the quickest ways to royally piss someone off. Be good to other musicians, and be extremely good to other musicians’ gear.
How much merch will you bring with you? Most likely you won’t have enough room in your vehicle to bring 1000 CDs and 1000 LPs, nor will you need to bring them because you probably won’t sell them all. How you’re traveling with merch also depends on… how you are traveling. If you’re flying to a gig, you’ll need to pack differently than if you’re driving. Something I recommend: before you leave, pack up a separate merch box and leave it with a trustworthy friend. You know, your friend who actually has a day job and takes you out to drinks a lot because they’re responsible and they have more money than you do. (Your friend who says they want to be in a band but likes having money too much to actually do it. These people are great friends to have because they will often put up with your ridiculous behavior and help you out when you need it most. Be nice to these people…) Pack the same amount of merchandise in the box that you’re bringing with you and leave some money with this friend of yours. If you run out of merch on the road, ask your friend very nicely to mail it to you. Find the address of either a friend or a venue, or find one of those postal service places, like a private FedEx/UPS/USPS franchise. Often times they will have services where you can mail something to an address. If you’re mailing something to a venue, I would contact the venue in advance. Keep in mind that if you’re mailing an overnight package to a venue and it arrives anytime before 4pm, there is a high likelihood that no one will be there to receive it. In this case, it’s absolutely best to mail the merch to a trusted friend in the city you’re playing in. Before you go on tour, you should make sure you have friends in the cities you’re playing in. It makes life on the road much less of a living hell.
The best idea that I’ve read anywhere about merch setup comes from the amazing book “Tour:Smart And Break The Band” by Martin Atkins. If you don’t have this book GO BUY IT NOW. You will not regret it. Most bars and venues are dark. Make sure you have a light of some sort with you for your merch table. If you bring a lamp, make sure you’ve got an extra light bulb or two and a very long extension cord. There are also LED lights that you can get from Home Depot, places like that, that you can put inside of a merch box or trunk. Experiment with your merch setup until you find something that you feel really works for your band. A professional display will make people more likely to buy your CDs. Think about it: when’s the last time you went into a store and immediately reached for something on a messy table featuring a pile full of unfolded clothing? Not likely. Organize your merch, have clear signs with prices, and make sure someone is manning the booth from the minute you start playing. You know that friend of yours who doesn’t have a lot going on and is always asking to help you out? Offer to take them on tour with you as your merch person. They will most likely have the time of their lives and you will gain extra sales because of it. A true win-win situation. Have your e-mail list ready, with a pen that works and a piece of paper that has lots of room on it. Be sure to mention the fact that you have merch for sale from the stage, and mention that you would like to e-mail people. They don’t always know that you have CDs unless you tell them. Also, this is a mistake I’ve made far too many times: Make sure you are tracking your sales. This is a powerful tool that will help you analyze many aspects of your live show, from the quality of the performance that particular night, to the set list, to the audience. Touring is a great way to gain traction for your band. Every time I’m on tour, I get new Facebook likes, more Twitter followers, more e-mails, more sales, and more press. If you’re not tracking why these things are happening, you’re losing half the information. Only when you track something and discover why it’s succeeding can you learn how to recreate it on a regular basis. This is part of the refinement process that all artists have to go through in order to be successful.
Life Is In The Details, Part Three (Venue Logistics)
Oh boy. If I had a dime for every time I’d forgotten to do full research on the venues I’ve played in and it came back to bite me on the ass, I’d be on a month-long tropical vacation in Fiji right now. This is another essential part of touring, and it’s especially, especially important if someone else is booking your shows for you. I thought I’d really ‘made it’ when I got a booking agent. He would do the heavy lifting and book my shows for me, and then I would have all the e-mails and put the details in my calendar: I have a $200 guarantee at this venue on this night, the venue is located here, the doors are at 9pm and I need to be there at 6pm. Great! Now I can go do other work I need to do, like mail posters and e-mail press contacts. WRONG. WRONG WRONG WRONG. This feeds into a separate, slightly more bitter story about how I fired my booking agent in February. Not doing my own research was a huge mistake I made and paid dearly for. There were times I showed up at venues to discover they were house shows, or to find out that they didn’t have a PA, or to find out that I (a pop/jazz artist) happened to be headlining on a Tuesday night at a reggae club in one of the biggest stoner cities in California. True stories, all of them. There are also a lot of times I didn’t call in advance to discover the venue was double-booked, or the headlining band had decided not to play the show and didn’t bother to tell anyone.
About 2 weeks before you leave, it’s a brilliant idea to contact all the venues you’re booked at. I usually say something like, “Hey, this is Normandie Wilson, I’m booked to play at [club] on [date] and I just wanted to make sure everything was in order. Thanks!” If this seems completely anal retentive and neurotic, that’s because it is. And it’s the only way to keep all your details in order. You may be able to avert disaster in advance instead of showing up at a venue with all your gear and having to fight a band full of douchebags to get the stage time, or worse, the guarantee, you were promised. Make sure you check up on your guarantees. If your set time gets changed or shortened on tour, it may piss you off, but your guarantee is what’s making it possible for you to get to the next city. If something has changed, you may or may not be able to fix it, but at least you’ll be prepared.
Once you’re on the road, have a folder with the phone numbers of all the venues/venue contacts easily available. Doesn’t have to be printed or anything fancy, just make sure you have them with you. Once you’re in town, you can easily call and verify the details. Maybe the load-in time has changed. Maybe the opening band got food poisoning two days ago and isn’t showing up. Maybe the house or venue has free wifi and is offering you dinner. You will want to know these things on tour.
There’s really only so much you can do when you’re playing at a venue you’ve never played at before. You won’t be able to check out the stage until you get there, you won’t know the sound guy until you get there, you won’t know a lot of things until you get there. But calling in advance and making sure you have your information straight will really help you in the long run. Another great tip for learning more about venues is to get in touch with the local bands on the bill. Most likely, they’ve played the venue before and will be able to tell you, for example, if it’s in a neighborhood known for craft beer or crack dealers. With the death of MySpace it is a bit more difficult to get in touch with bands, but most of us musicians have an e-mail address or some other contact information somewhere. Even a direct message sent via Twitter is likely to you some information.
That’s all for this installment. As you can see, touring is a very big undertaking, not to be done without serious thought and deliberation. Touring may not even be the best decision for you or your band. You may want to use that $1000 (or more) to record a new album, hire a publicist, or get better prepared for when you eventually do tour.
The last thing I’ll leave you with is something I always say: Detailed planning gives you the freedom to be spontaneous. I just went on a major road trip of France with my boyfriend, and his approach to planning is a lot different from mine. I won’t say anything else about it because I would prefer to avoid a fight! There were a couple nights where we hadn’t booked a hotel room in advance. One night in particular, we spent at least two hours looking for a decently priced room. We barely made it to dinner before the hotel restaurant closed, and we were both frustrated and grumpy. A solid hour of planning before we left could have saved us at least five hours of grouchiness and bickering. If we had booked our arrangements in advance, instead of arriving in the town and trying to figure out where to stay, we could have spent that time wandering around in charming towns in the south of France. Just remember: as boring and time-consuming as planning in advance can be, there is always a reason why you plan. If you’ve ever grocery shopped hungry and ended up with a tub of cookie dough, a frozen dinner, and a bag of chips instead of the ingredients needed to make a healthy dinner for the next two days, if you’ve ever set off on a bike ride without checking your tires, and ended up walking home with a flat tire, if you’ve ever put off doing something and spent twice as much money to rush it or overnight ship it, you get it. Planning always saves you money and sanity. Remember that when you’re doing it. Write it on a sticky note and place it where you can see it while you’re planning your tour.
I sincerely hope you learn from my mistakes, and are freaked out enough to check on all these things before you leave for tour. For more sarcastic tour tips, [[watch Music Clout.com]] for my articles or visit my website: http://www.normandiewilson.com
Normandie Wilson is a vintage pop/jazz performer who has toured extensively in the United States, the United Kingdom, Mexico and France. Her interests include long walks on the beach, Arrested Development, fine wines, and birds. She is currently based in Paris, France.
Via Music Clout
What Are The Essential Features Of a Hit Record?
We have all heard those hit songs that can be considered ‘timeless classics’.
Whether it’s a hip hop track, a rock classic or an 80’s power ballad, these songs share some essential features that ensure they will be on the airwaves for years to come. Obviously there is not one hard and fast rule for this as every song is different, but here is a list of features that many of these hit records share.
A ‘catchy’ song
Starting with the obvious, a hit record must be a great song. Above all the melody must be strong, as this is what a listener focuses on and this should be accompanied by some great lyrics and a good groove. You can apply the best production techniques possible, but if the song is weak then the record will sink without a trace!
A strong vocal
Having a great vocal is a real asset to any record. If you have a quality song and you have a strong vocalist to sing the melody, then this can be the golden ticket to creating a hit record. A great vocal does not necessarily need to be technically proficient, but more to do with how a singer can successfully interpret the emotion in the song i.e. how they can convey the message in the lyrics.
A creative arrangement
After the song and the vocal, you need to ensure you have a strong arrangement. This involves using the right structure and ensuring each section of the music is interesting for the listener. This can be achieved by adding extra instruments, adding a counter melody, changing the drum pattern, or changing the key etc. Have a listen to some hit songs, and pay attention to the subtle differences between each section. How is verse 2 different to verse 1? How is the last chorus different to the first?
An accomplished performance
You may have the heard the crude expression “You can’t goldplate a turd” and this definitely applies to creating a hit record. A track must sound like there is ‘life’ in the performance and no amount of editing in the studio, fiddling with EQ’s, compression or reverb can replicate this. It can be hard to put your finger on it at times, which is all the more frustrating, but sometimes one take just sounds better than another. If you have musicians who put there all into a performance and play with real emotion and intensity, then the production phase becomes far easier!
A well produced track
Although there are examples of hit songs which don’t technically sound very good, generally the really big and timeless records do sound excellent. A well engineered record does not guarantee it will be a smash, especially if the song, vocal, arrangement and performance are not up to scratch, but it can add an extra dimension to the overall sound, if the EQ’s are well balanced and the right amount of reverb and compression is applied.
The timeless factor
Despite having all the previous factors in place, if the track sounds like the last trend, and the musicians or band members look like it too, then the record might not take off as you would like. Having said that, a ‘retro’ look and sound to a band can work out really well if you go back two or more trends.
Are all the above factors essential for every hit song?
Well in short, no.
There will always be some songs which become hit records and cannot be explained. You will find some songs with weak vocals and melodies which take the charts by storm.
However, on most of the really big hits, you will find they contain the majority, if not all, of the factors in this article. Songs like “Merry Christmas Everybody” by Slade will be heard every December in shopping malls and on the radio. Other hits like “Billie Jean” by Michael Jackson and “Imagine” by John Lennon will be played all year round for many years to come.
Would you like some great tips on how to write a song and compose music in any style? Download a FREE 10-page guide on “5 Essential Elements On How To Improve Your Music Making In Any Style” at http://make-music.net