How to Do a Great Cover Song

Work with what you’ve got. Play to your strengths (literally). If you have a great range, showcase it with big sweeping melodies (Queen, Mariah Carey, and other non-cheesy artists as well!). If your tone is average but you have a great sense of groove, cover more rhythmic songs that highlight that. Choose a song that could have been written for you.

Find your key. Just because the original singer can hit that low G doesn’t mean that’s what is best for you. Find your best range and make sure you are hitting your sweet spots. There are plenty of apps that can transpose your favorite song to your perfect key if you don’t want to do it yourself (or, there are people like me that can help you).

Do it your way. Unless you are playing a wedding and it’s the couple’s special song, don’t feel married to the original version. Try different embellishments. Find your voice and treat the tune like you wrote it.

Experiment with arrangement. Try changing the time signature/feel. (Here is my rendition of Outkast’s “Hey Ya” as a waltz, for example.) Make a rock song into a ballad, or vice versa. Put jazz chords to a simple pop song. Turn a heavily produced number into a minimalist piece (this is also a good way to go if you are still struggling with self-accompaniment).

Get permission. If you’re playing an open mic, this isn’t such a big issue. But if you plan on recording a cover and sending it out into the world, check out the info on licensing at the Harry Fox Agency.

7 Social Media Mistakes Musicians Should Avoid

A guest post by Franz Vitulli

Building a significant list of fans and followers on our social media pages is a crucial part of our business as musicpreneurs, and sometimes it requires time, work and research.

The other side of this activity is that we have also to keep our fans from clicking the ‘unlike’ or ‘unfollow’ button. At this purpose there are some simple rules to follow and some mistakes to avoid.

Here are seven of the most common mistakes many musicians make.


1. Posting the same content on all networks at the same time.
Tools like HootSuite let us post the same content on multiple pages (Facebook, Twitter, etc.). You think “how cool is that!”... well, it’s not. For three reasons. First of all, every social network has its own way of show things and what works / looks good on Facebook may not on Twitter and viceversa. Twitter, for example, doesn’t show Instagram pic previews anymore and sharing Instagram pics on Twitter can be less powerful than before. The second reason is strictly connected to the first one: every social network has its own typical kind of population, for example LinkedIn is industry-oriented, Google+ is still a marketers’ heaven, Facebook and Twitter are more mainstream, etc. Sharing different links on the different platforms will make you be more integrated within the media of choice. Third reason, more practical than the first two: the tags. Facebook, Twitter, Google+, etc. have different way to tag people: usually, on external social media management tools, if you write a post intended to go on different social media, you can prepare the post to tag for a social media, but chances are that that tag won’t work on another social media.
And posting different content on different social media will work as an incentive for people to subscribe to all your pages. Otherwise, what’s the point in following you in more than a single social media site?


2. Being just a ‘salesman’.
I see all the time, in my social media news feeds, musicians who once per hour ask people to buy their albums, books, etc.
Internet marketers agree on the fact that social media are not the best tools for selling what you have. Newsletters are definitely better in that field. Social media will make you nurture your relationships with fans and turn them in proud ambassadors of your music, but their impact on sales remains low.
This is for a reason: people, on social media, want to relax. If you are there trying to sell all the time, you’ll become annoying in seconds. Use social media to provide value (share your songs, videos from Youtube, blog posts, music lessons etc.), sometimes driving fans where they can also buy your stuff.


3. Inviting people you never interact with to like, retweet, etc. your content.
We all have friends, fans and followers that we somehow exclude from our social daily routine. If you ask them to like, follow or retweet you, they will probably ignore your requests. Cultivate relationships as much as possible with nothing to ask in return, they will support you when needed.


4. Inviting all your friends to your events on Facebook.
Instead of inviting all your friends, target your invites towards people who can actually come to your event. I understand the urge to let people all over the world know that tonight you have a gig in a trendy club in London, but a status or a link on your timeline will be more than sufficient. There’s no need to invite people from Melbourne. Even because they will probably click on the ‘ignore all invites from this person’ button.


5. Posting links without writing anything.
It’s not engaging and will not stimulate your fans’ curiosity, whatever the shared content is.


6. Posting too many automated posts / tweets
This is another of those features provided by tools like HootSuite, but also by some email maketing softwares that once per day automatically post on your profiles asking to join your mailing list. The only automated tweet service I use is Paper.li, a webapp that create an online newspaper with contents from sources and keywords of your choice. Every morning it makes your Twitter account tweet the new version of the newspaper along with three sources, that often retweet, reply or favorite that tweet.


7. Sending the same direct message / post / tweet to whoever follows or likes you
People don’t like impersonal messages, they sound like spam a lot. Instead of pasting every time the same message, adjust it according to whom the recipient is, and if you don’t have time, don’t send anything, it’s definitely better.

Follow him on Twitter:
@Dagrahyndmusic

New release April 27th TBOZ will be on the cover of Xs10magazine

Be on the look out for the interview with TBOZ on April 27th Issue of Xs10magazine. We will be dropping a free issue of Xs10magazine in honor of TBOZ birthday a few days before. With a free download

Six tips too get your music on TV & Film

Lately I've been fielding a lot of questions by songwriters and composers looking for ways to get their music licensed on TV, in film, and on commercials.

How do I even get my stuff considered for commercials?

The short answer to this question is “hit the pavement.” Luckily, I’m going to give you the long answer too!

There are several options when it comes to getting your music in front of people who consistently license music. Here are just a few ideas to help get you started:

1) Contact them directly – This is definitely the hardcore sales route. It is probably the most daunting and least appetizing approach, but it also allows you to play some solid odds. While there really aren’t that many people directly in charge of music specifically at agencies, there ARE a lot of people involved in the final decision. Use your current connections and see if you know someone who knows someone and reach out.

2) Non-Exclusive Companies – The last article I wrote was 2 parts and detailed some companies like Jingle Punks and Pump Audio who represent music for placement in film, TV, and advertising. This is probably the EASIEST thing you can do. However, you have zero control over price, exposure, there is a ton of competition, and so on. Read the full article for more. All that said, if you’re just cranking out music and your goal is side or passive income or hobby money, this can be a great option.

3) Synch Companies/Reps – These guys are basically are similar to non-exclusives; their goals are the same, but they work with “real” artists and take a fairly hefty percentage of fees. They can be individuals repping certain catalogs or artists, or companies looking to find the next big thing via synch opportunities. These people are really great at what they do and provide the same services as a major publisher or label might, but only to music supervisors and producers (generally speaking).

4) Majors/Major Indies – Everyone knows enough about these types of companies to know that some are definitely better than others. Do your research before picking which ones to shop your music to and be sure they have a pro-active approach to licensing music (most at least KNOW this is important at this point). The issue here is that you’re being VERY indirect about getting music placed since it takes lots of effort and time to land a deal. They also aren’t always the most organized entities and getting paid can be hairy and inaccurate. The benefit is that usually you get some sort of advance (which is recouped however) to float you for a bit. They also will go over more than just licensing opportunities for you and have a lot more resources and financial backing.

5) Music Libraries – Libraries are basically a combination of Majors + Non-Exclusive companies. These guys are great in the sense that they are hyper-active about getting their catalogs used. The bad news is the dollars are small and they keep most of them. You’ll want at least 5 albums of material to pitch to them as a “library” to make it worth your while, and then also be sure they know you’re available to write custom music for any projects that arise. Library music is great for the same people who can take advantage of non-exclusives. If you’re an artist, you could look at them as a way to exploit and side-project instrumentals you may want to work on, or as an outlet for custom scoring for ads, trailers, and TV promos. Usually you’re paid a flat fee for any track you write, plus you get your performance royalties. The other nice thing about libraries is they’re really aggressive about collecting/reporting their income.

6) Get Notorious – Obviously there are positive and negative ways to do this, but let’s keep it on the up-and-up! This essentially just busting your butt creating AMAZING music, playing live, and driving metrics that you can present. If you’ve got a million YouTube hits, someone should be taking notice of you. Thousands of Twitter followers? That’s a great start. Simply being a great music entrepreneur can drive you into some amazing opportunities all on it’s own. And while this may be obvious, it may NOT be what you’re currently focusing on. More on this in a later article. Suffice it to say, get great, and get great at touting your greatness.

Hopefully this gives you some ideas about where to start when it comes to getting your music licensed – keep the questions coming (the GOOD questions!) and don’t forget to follow me on twitter for more useful tips and ideas shamelessly pilfered from other great tweeters.

LATIN AMERICA Lauper’s ‘Kinky Boots’ Brings Sweet Film to Stage: Review

In “Kinky Boots,” Billy Porter flaunts a pair of thigh-high, shiv-heeled cherry red sparkling dazzlers like sex weapons.
With this infectiously amiable show, Cyndi Lauper makes her Broadway debut as composer and lyricist. The indomitable Harvey Fierstein returns as book writer with his latest dispatch from the wacky but world-weary drag-queen demimonde.
Don’t run for the exit just because I tell you the show has a great heart and charm, which sounds like what the road to hell is paved with.
“Kinky Boots” has flash and sparkle, some great dancing from director-choreographer Jerry Mitchell and a, well, fabulous star-turn by Porter as a female impersonator who discovers a more mainstream, not to mention profitable, calling.
Not unlike Harvey Fierstein himself, I might add. After all, he started out on Broadway as the bunny-slippered hero of “Torch Song Trilogy” before going on to write the book for “La Cage aux Folles” and other shows, including the current smash, “Newsies.”
Porter plays Lola, whom we first meet on a dark London street, in costume and pursued by thugs. When the very straight Charlie Price (Stark Sands) intervenes, he is unintentionally rewarded with a left hook thrown by the boot-wielding Lola.
Charlie soon learns that Lola is a he with no particular need for a knight in shining armor. Indeed, it’s Charlie who needs help, having just inherited his family’s shoe factory. Turning out boring brogues and wingtips no one wants to buy, Price & Son is on the verge of bankruptcy.
Performing in boots made for women is Lola’s curse. Inspired, Charlie, with Lola’s help and artistic eye, turns the staid company into purveyor of footwear to a niche market. Along the way, Charlie loses his striver fiancee and finds true love with a woman he tried to fire.
David Rockwell’s setting, a stage-filling factory cathedral shadowed in grime, is lit with almost comical pallor by Kenneth Posner. When Lola’s “angels” arrive, the factory workers are scandalized until, of course, they’re won over. Gregg Barnes clearly had a great time creating eye-popping, Technicolor costumes for the busty, brawny dancers and drab mufti for the factory workers.
Based on the genial 2005 film of the same name, “Kinky Boots” is feel-good theater, a cut above similar recent shows like “Priscilla, Queen of the Desert” and “Sister Act.” Lauper’s songs are smart and funny, if not always memorable, though Porter kills in “Sex is in the Heel,” a number that pretty much sums up the show.
The other standouts are Annaleigh Ashford as the woman who wins Charlie’s heart, and Daniel Stewart Sherman as the necessary redneck. As Charlie, Sands is charmless; I never felt the depth of connection to Lola that would have lifted the enterprise to a higher level.
And I wish the 10 minutes of platitudes that conclude the show had been dropped. But for better and worse, high sentiment is Fierstein’s stock in trade and the very likable “Kinky Boots” struck me as his most personal show.
At the Al Hirschfeld Theatre, 302 W. 45th St. Information: +1-212-239-6200; http://www.telecharge.com. Rating: ***1/2
(Jeremy Gerard is the chief U.S. drama critic for Muse, the arts and leisure section of Bloomberg News. The opinions expressed are his own.)

Cano Dumping Agent Boras for Jay-Z Gives MLB’s Yankees Advantage

Robinson Cano fired agent Scott Boras and signed with entertainer Shawn “Jay Z” Carter, who is starting an athlete representation firm with the New York Yankees’ All-Star second baseman as its first client.
Roc Nation Sports and Creative Artists Agency will co- represent Cano, a free agent after this Major League Baseball season.
The switch to Carter, a Yankees fan and friend to some of the team’s players including third baseman Alex Rodriguez, makes it more probable that Cano will remain in pinstripes, said former Yankees coach Larry Bowa, an analyst for MLB Network.
“Knowing Robby, he wants to be a Yankee,” Bowa, who was with the Yankees as a coach in 2006-2007, said yesterday in a telephone interview. “I don’t think he wants this to play out the whole year.
‘‘No knock on Scott -- most of his clients have gotten very nice contracts -- but Robby is not the kind of guy to let it linger,’’ Bowa said.
Cano, a four-time All-Star, hit .313 with 33 home runs and 94 runs batted in last season, and was fourth in balloting for the American League’s Most Valuable Player award. He’s in the final year of a six-year contract that baseball-reference.com said is worth $57 million.
Boras didn’t immediately return a message seeking comment on Cano’s move.
Carter, an investor in basketball’s Brooklyn Nets, has won 17 Grammy Awards and sold more than 33 million albums, according to answers.com. His song, ‘‘Empire State of Mind,” includes the lyrics, “I made the Yankee hat more famous than a Yankee can.”
“There is no prohibition on NBA owners having an interest in businesses that represent non-NBA athletes,” National Basketball Association spokesman Mike Bass said in an e-mailed message.
The 30-year-old Cano said in the statement that he wants to take a more active role in on- and off-field endeavors. He wasn’t specific.
“Seems like guys are establishing themselves as corporations,” Bowa said. “The really good players, their broad scope is beyond baseball and Robby fits that mode.”
Shawn Bryant, a former NBA executive who specialized in player marketing, says athletes would look to piggyback on Jay- Z’s cache and cool factor, which advertisers covet to reach a younger demographic.
“This goes to the intersection of sports and entertainment,” Bryant said in a telephone interview. “Jay is at the forefront of building his brand and dealing with advertisers. It’s a world he’s already operating in, just leveraging relationships he has already.”
Cano’s baseball matters will be handled by agent Brodie Van Wagenen, according to the statement. Since the start of the 2011 season, CAA’s baseball group has negotiated more than $1.1 billion in major league contracts, including four $100 million deals, according to the statement.
It’s the latest defection from Boras, one of the game’s most influential agents. Boras used to represent Rodriguez, who is halfway through a 10-year, $275 million contract, the richest in U.S. sports.
“Because of my love of sports, it was a natural progression to form a company where we can help top athletes in various sports the same way we have been helping artists in the music industry,” Carter said in a statement.
Carter has received limited certification from the baseball players’ union to act as a marketing representative. The union created the limited designation in 2010 to combat the proliferation of people acting as marketing agents on behalf of players.
To contact the reporter on this story: Scott Soshnick in New York at ssoshnick@bloomberg.net

Robert Ebert dies at age 61

Roger Ebert: The Essential Man
It has been nearly four years since Roger Ebert lost his lower jaw and his ability to speak. Now television's most famous movie critic is rarely seen and never heard, but his words have never stopped.
ETHAN HILL

For the 281st time in the last ten months Roger Ebert is sitting down to watch a movie in the Lake Street Screening Room, on the sixteenth floor of what used to pass for a skyscraper in the Loop. Ebert's been coming to it for nearly thirty years, along with the rest of Chicago's increasingly venerable collection of movie critics. More than a dozen of them are here this afternoon, sitting together in the dark. Some of them look as though they plan on camping out, with their coats, blankets, lunches, and laptops spread out on the seats around them.

The critics might watch three or four movies in a single day, and they have rules and rituals along with their lunches to make it through. The small, fabric-walled room has forty-nine purple seats in it; Ebert always occupies the aisle seat in the last row, closest to the door. His wife, Chaz, in her capacity as vice-president of the Ebert Company, sits two seats over, closer to the middle, next to a little table. She's sitting there now, drinking from a tall paper cup. Michael Phillips, Ebert's bearded, bespectacled replacement on At the Movies, is on the other side of the room, one row down. Steve Prokopy, the guy who writes under the name Capone for Ain't It Cool News, leans against the far wall. Jonathan Rosenbaum and Peter Sobczynski, dressed in black, are down front.

"Too close for me," Ebert writes in his small spiral notebook.

Today, Ebert's decided he has the time and energy to watch only one film, Pedro Almodóvar's new Spanish-language movie, Broken Embraces. It stars Penélope Cruz. Steve Kraus, the house projectionist, is busy pulling seven reels out of a cardboard box and threading them through twin Simplex projectors.

Unlike the others, Ebert, sixty-seven, hasn't brought much survival gear with him: a small bottle of Evian moisturizing spray with a pink cap; some Kleenex; his spiral notebook and a blue fine-tip pen. He's wearing jeans that are falling off him at the waist, a pair of New Balance sneakers, and a blue cardigan zipped up over the bandages around his neck. His seat is worn soft and reclines a little, which he likes. He likes, too, for the seat in front of him to remain empty, so that he can prop his left foot onto its armrest; otherwise his back and shoulders can't take the strain of a feature-length sitting anymore.

The lights go down...