Wednesday, May 27, 2009

Travis Linville

just wanted to drop a note to get back in touch with you through e-mail -- i have been staying busy at home and on the road in 09 and i'm currently in the studio working on a new album project!  i'm really excited about this new record and i look for it to be available in the fall--  also i'm starting to plan the 3rd annual ILLINOIS RIVER JAM-- this years event will be at a new location TBA sept 5 and 6th in tahlequah, ok so check back for ticket/camping details -- i'm also proud to be a part of SECADA FEST in st. cathrines ON canada this july 10-11-12 - road trip anyone?-- would love to hear back from you so please drop me a line and let me know what's going on with you --  

 

cheers,  travis

www.travislinvillemusic.com

www.myspace.com/travislinville

Thursday, May 21, 2009

Mama Sweet - What's up

What's up

Hello friends,
I heard some of you didn't know we were on facebook. Join us, won't you?
http://www.facebook.com/pages/Mama-Sweet/27478171221

You should also be following us on Twitter. Cuz apparently, it is now the cool thing to do.
http://twitter.com/Mama_Sweet

Now to biz, wanted to let you know what's up. First, our new live CD is available for purchase! We plan on having our CD release party at the Deli on May 30th! So, if you don't want to order online. We will definitely have them there. We are going to have what I will now dub a pre-release party at Woody's in Ft. Worth, Texas on May 29th. It will give our Texas fans a chance to get their hands on a CD and see a show too. So, come on out!

We haven't forgotten those farther south. We will be at Momo's in Austin, TX on May 26th at 8pm-9:30pm. We haven't been to Momo's in awhile, so it should be a fun gig.

For those, not in those areas, we'll try to get to you soon. But, until then, feel free to order online.

You may be looking at the dates above and saying, what about this weekend?

Well, we are leaving Sunday to go down to Austin for our first recording session on our new album! It is going to have all new
material and we are really excited about it. Come out to the Deli on May 30th for our CD release party and you may get to hear some of the new tunes before the CD is even done!

Well, that's all for now. Tons on the brain. Thanks for your support!

Continue on Team Sweet, Continue on.
AH

Links:
------
[1] http://cdbaby.com/cd/msweet

Monday, May 18, 2009

Do We Need a Band Contract?
By Heather McDonald, About.com

Question: Do We Need a Band Contract?
The following advice is general in nature - your own situation may be different. This advice is not intended to take the place of legal advice - if you need legal advice, consult an attorney.
Answer:
Bands generally don't like discussing contracts, period, and of all the contracts they like to avoid considering, artist contracts top the list. It can be uncomfortable considering band member contracts, because discussing contracts can feel like acknowledging a certain level of distrust (or at least a certain amount of realization that the band relationship could fall apart). Usually, your band members are also your close friends - in many cases, they're like family to you - and you would like to think that your personal relationship means that no one in the band would take advantage of anyone else. Beyond that, there is the fact that contracts just don't seem very cool. You're in a band for the music, right? The business thing is the last thing on your mind. YOUR band would never fight about money or songwriting credits or anything else. Right?
Famous last words. Consider these reasons a band member contract may be exactly what your band needs:
• Every band that has ever crashed and burned over money issue or songwriting credits swore at some point in their career that these things didn't matter at all to them. The fact is, when your band is earning money, everyone will want their share. If you're not sure what that fair share is (especially when it comes to songwriting royalties), then the fighting will start.
• A band contract can actually help keep the friendships between band members in tact. When everything is set out in black and white, there can be no fighting down the road over who was supposed to get what or who was supposed to do what. When you're doing business with friends (and a band is very much like doing business), then it is a good idea to make sure your cards are on the table up front.
Of course, many bands function without band member contracts. If your band is more like a hobby than a career goal - if you like to play shows and play music together for fun, but don't have any interest in making music your career, than a contract is really not essential. If your band is playing together with the hopes of making music your full time job, than a contract is definitely worth considering. Here are a few scenarios in which you should give an artist contract some serious consideration:
• If your band has one songwriter - or if you think all of your songs are group efforts. Songwriting royalties are a constant area of contention for bands. It is a good idea to make sure everyone is on the same page as to who gets credit for what.
• One or two band members are paying most of the expenses for the band. Bands costs money, and some band members may be in a better place financially to be able to cover the costs of the band. Get it in writing as to how this person will be paid back when the band starts making money.
• Your band works with session musicians. Whether you're bringing in extra help on tour or in the studio, a contract can help draw the line between who is actually in the band and who is being hired as a sort of "freelance" musician.
• You have contracts with other people as a band. If your band has signed contracts with managers, promoters, agents or labels, it makes sense to have at least an informal contract between band members to make sure you can deliver on your contractual obligations. For instance, if you have signed on to do a 20 date tour, having the guitar player bow out of the band the night before you leave puts you in a sticky situation.
So - should you have a contract? Many, many bands do not - but many bands who have broken up and lost opportunities, friends (and money) that they will never get back again wish they had taken the time to write things down. You can function as a band without one, but the best way to protect everyone involved is to get one.
Do We Need a Band Contract?
By Heather McDonald, About.com

Question: Do We Need a Band Contract?
The following advice is general in nature - your own situation may be different. This advice is not intended to take the place of legal advice - if you need legal advice, consult an attorney.
Answer:
Bands generally don't like discussing contracts, period, and of all the contracts they like to avoid considering, artist contracts top the list. It can be uncomfortable considering band member contracts, because discussing contracts can feel like acknowledging a certain level of distrust (or at least a certain amount of realization that the band relationship could fall apart). Usually, your band members are also your close friends - in many cases, they're like family to you - and you would like to think that your personal relationship means that no one in the band would take advantage of anyone else. Beyond that, there is the fact that contracts just don't seem very cool. You're in a band for the music, right? The business thing is the last thing on your mind. YOUR band would never fight about money or songwriting credits or anything else. Right?
Famous last words. Consider these reasons a band member contract may be exactly what your band needs:
• Every band that has ever crashed and burned over money issue or songwriting credits swore at some point in their career that these things didn't matter at all to them. The fact is, when your band is earning money, everyone will want their share. If you're not sure what that fair share is (especially when it comes to songwriting royalties), then the fighting will start.
• A band contract can actually help keep the friendships between band members in tact. When everything is set out in black and white, there can be no fighting down the road over who was supposed to get what or who was supposed to do what. When you're doing business with friends (and a band is very much like doing business), then it is a good idea to make sure your cards are on the table up front.
Of course, many bands function without band member contracts. If your band is more like a hobby than a career goal - if you like to play shows and play music together for fun, but don't have any interest in making music your career, than a contract is really not essential. If your band is playing together with the hopes of making music your full time job, than a contract is definitely worth considering. Here are a few scenarios in which you should give an artist contract some serious consideration:
• If your band has one songwriter - or if you think all of your songs are group efforts. Songwriting royalties are a constant area of contention for bands. It is a good idea to make sure everyone is on the same page as to who gets credit for what.
• One or two band members are paying most of the expenses for the band. Bands costs money, and some band members may be in a better place financially to be able to cover the costs of the band. Get it in writing as to how this person will be paid back when the band starts making money.
• Your band works with session musicians. Whether you're bringing in extra help on tour or in the studio, a contract can help draw the line between who is actually in the band and who is being hired as a sort of "freelance" musician.
• You have contracts with other people as a band. If your band has signed contracts with managers, promoters, agents or labels, it makes sense to have at least an informal contract between band members to make sure you can deliver on your contractual obligations. For instance, if you have signed on to do a 20 date tour, having the guitar player bow out of the band the night before you leave puts you in a sticky situation.
So - should you have a contract? Many, many bands do not - but many bands who have broken up and lost opportunities, friends (and money) that they will never get back again wish they had taken the time to write things down. You can function as a band without one, but the best way to protect everyone involved is to get one.
Do We Need a Band Contract?
By Heather McDonald, About.com

Question: Do We Need a Band Contract?
The following advice is general in nature - your own situation may be different. This advice is not intended to take the place of legal advice - if you need legal advice, consult an attorney.
Answer:
Bands generally don't like discussing contracts, period, and of all the contracts they like to avoid considering, artist contracts top the list. It can be uncomfortable considering band member contracts, because discussing contracts can feel like acknowledging a certain level of distrust (or at least a certain amount of realization that the band relationship could fall apart). Usually, your band members are also your close friends - in many cases, they're like family to you - and you would like to think that your personal relationship means that no one in the band would take advantage of anyone else. Beyond that, there is the fact that contracts just don't seem very cool. You're in a band for the music, right? The business thing is the last thing on your mind. YOUR band would never fight about money or songwriting credits or anything else. Right?
Famous last words. Consider these reasons a band member contract may be exactly what your band needs:
• Every band that has ever crashed and burned over money issue or songwriting credits swore at some point in their career that these things didn't matter at all to them. The fact is, when your band is earning money, everyone will want their share. If you're not sure what that fair share is (especially when it comes to songwriting royalties), then the fighting will start.
• A band contract can actually help keep the friendships between band members in tact. When everything is set out in black and white, there can be no fighting down the road over who was supposed to get what or who was supposed to do what. When you're doing business with friends (and a band is very much like doing business), then it is a good idea to make sure your cards are on the table up front.
Of course, many bands function without band member contracts. If your band is more like a hobby than a career goal - if you like to play shows and play music together for fun, but don't have any interest in making music your career, than a contract is really not essential. If your band is playing together with the hopes of making music your full time job, than a contract is definitely worth considering. Here are a few scenarios in which you should give an artist contract some serious consideration:
• If your band has one songwriter - or if you think all of your songs are group efforts. Songwriting royalties are a constant area of contention for bands. It is a good idea to make sure everyone is on the same page as to who gets credit for what.
• One or two band members are paying most of the expenses for the band. Bands costs money, and some band members may be in a better place financially to be able to cover the costs of the band. Get it in writing as to how this person will be paid back when the band starts making money.
• Your band works with session musicians. Whether you're bringing in extra help on tour or in the studio, a contract can help draw the line between who is actually in the band and who is being hired as a sort of "freelance" musician.
• You have contracts with other people as a band. If your band has signed contracts with managers, promoters, agents or labels, it makes sense to have at least an informal contract between band members to make sure you can deliver on your contractual obligations. For instance, if you have signed on to do a 20 date tour, having the guitar player bow out of the band the night before you leave puts you in a sticky situation.
So - should you have a contract? Many, many bands do not - but many bands who have broken up and lost opportunities, friends (and money) that they will never get back again wish they had taken the time to write things down. You can function as a band without one, but the best way to protect everyone involved is to get one.

Do We Need a Band Contract?

By Heather McDonald, About.com

See More About:

Question: Do We Need a Band Contract?

The following advice is general in nature - your own situation may be different. This advice is not intended to take the place of legal advice - if you need legal advice, consult an attorney.

Answer:

Bands generally don't like discussing contracts, period, and of all the contracts they like to avoid considering, artist contracts top the list. It can be uncomfortable considering band member contracts, because discussing contracts can feel like acknowledging a certain level of distrust (or at least a certain amount of realization that the band relationship could fall apart). Usually, your band members are also your close friends - in many cases, they're like family to you - and you would like to think that your personal relationship means that no one in the band would take advantage of anyone else. Beyond that, there is the fact that contracts just don't seem very cool. You're in a band for the music, right? The business thing is the last thing on your mind. YOUR band would never fight about money or songwriting credits or anything else. Right?

Famous last words. Consider these reasons a band member contract may be exactly what your band needs:

  • Every band that has ever crashed and burned over money issue or songwriting credits swore at some point in their career that these things didn't matter at all to them. The fact is, when your band is earning money, everyone will want their share. If you're not sure what that fair share is (especially when it comes to songwriting royalties), then the fighting will start.
  • A band contract can actually help keep the friendships between band members in tact. When everything is set out in black and white, there can be no fighting down the road over who was supposed to get what or who was supposed to do what. When you're doing business with friends (and a band is very much like doing business), then it is a good idea to make sure your cards are on the table up front.

Of course, many bands function without band member contracts. If your band is more like a hobby than a career goal - if you like to play shows and play music together for fun, but don't have any interest in making music your career, than a contract is really not essential. If your band is playing together with the hopes of making music your full time job, than a contract is definitely worth considering. Here are a few scenarios in which you should give an artist contract some serious consideration:

  • If your band has one songwriter - or if you think all of your songs are group efforts. Songwriting royalties are a constant area of contention for bands. It is a good idea to make sure everyone is on the same page as to who gets credit for what.
  • One or two band members are paying most of the expenses for the band. Bands costs money, and some band members may be in a better place financially to be able to cover the costs of the band. Get it in writing as to how this person will be paid back when the band starts making money.
  • Your band works with session musicians. Whether you're bringing in extra help on tour or in the studio, a contract can help draw the line between who is actually in the band and who is being hired as a sort of "freelance" musician.
  • You have contracts with other people as a band. If your band has signed contracts with managers, promoters, agents or labels, it makes sense to have at least an informal contract between band members to make sure you can deliver on your contractual obligations. For instance, if you have signed on to do a 20 date tour, having the guitar player bow out of the band the night before you leave puts you in a sticky situation.

So - should you have a contract? Many, many bands do not - but many bands who have broken up and lost opportunities, friends (and money) that they will never get back again wish they had taken the time to write things down. You can function as a band without one, but the best way to protect everyone involved is to get one.

More Music Careers Q&A

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Before You Sign a Music Producer Contract

By Heather McDonald, About.com


A contract with your producer is an important part of the recording process. Music producer contracts protect everyone involved in the recording by explicitly detailing duties and compensation. Many times, up and coming musicians are tempted to sign a production contract that they don't understand just to get a big name producer on board. Bad move. Production contracts are famous for being one of those little things that sneak up and bite you when your career takes off. Before you sign a contract with a producer, make sure you understand it. This guide will help both musicians AND producers figure out a fair deal.
Learn the Lingo

Before you jump into the world of record producer contracts, there's some vocab you'll need to know. Check out these glossary definitions before going any further.

* All In Deal
* Record One Royalties
* Points

Know the Job Description

Some producers are VERY hands on, and others, well, aren't. What kind of producer do you want on the job? The production contract should specify exactly what is expected of the producer. Will they be arranging songs? Creating beats? Or, do you want a producer to basically make sure the songs are being properly recorded and stay out of the creative stuff? The nature of your relationship with the producer should be decided up front, and it should be spelled out in the contract.
Pick Your Points - Part One

Points are a producer's bread and butter. Each point represents a percentage of income from record sales that a producer will receive. The number of points a producer gets is commensurate with their experience and track record. Some big name producers get 5+ points on an album while a producer trying to get started in the biz may work for no points at all.

When it comes to points, not only do you have to decide how many the producer will get, but you need to decide if these will be record one royalties and if the points will increase if the album passes pre-established sales goals.
Pick Your Points - Part Two

When you settle in on the points to be awarded to a producer, you also need to figure out if the points will be payable on retail price or dealer price and if the producer will be subject to the same manufacturing "charge" by the label that you as the artist pays.
Producer Advance

Your contract should state whether or not the producer will be paid an advance for their work. A producer advance is common, but if you are working with an up and coming producer rather than an established one, you may be able to work out a deal that does not include an advance.
Mixing Rights

Some production contracts include a clause that gives a producer first refusal on remixes of a project. If this clause is in place, it means that if you are unhappy with the final product and want to take it to someone else to mix it, you may have to allow this producer to try and make some changes first. This clause is not ideal for you as a musician - try to negotiate it away.
Who is Paying for All This Anyway?

Your contract needs to state who is responsible for paying the producer. Is it you, or do you have a record label footing the bill? If a third party is paying the bill, a producer will want some kind of written clarification of who will be responsible for settling up if the project goes over budget. If you have an all in deal, that could be you, the musician. The ideal set up is for you to take the hit for budget overages that you cause and the producer to take on the overages that they cause.
You Don't Own Me

A few misplaced words could give your producer a piece of the ownership of the finished product. Avoid this conflict by stating clearly that any finished recordings and masters are owned exclusively by you.

Roy Clark Inducted into Country Hall of Fame

Roy Clark

Long-time Tulsa resident Roy Clark was inducted into the Country Music Hall of Fame last night. Clark joined Barbara Mandrell and Charlie McCoy in this year’s class.

Clark becomes the seventh Oklahoman act (born or adopted) to be inducted into the Country Music Hall of Fame, joining Bob Wills (1968), Gene Autry (1969), Floyd Tillman (1984), Roger Miller (1995), Johnny Bond (1999) and Vince Gill (2007).

Clark won a Grammy Award in 1982 for Best Country Instrumental Performance for “Alabama Jubilee”, has a star on the Hollywood Walk of Fame and is a member of The Grand Ole Opry. His hits include “I Never Picked Cotton,” “Tips of My Fingers” and “Yesterday When I Was Young.” In his early years, Clark was a guitarist in Wanda Jackson’s backing band. Jackson will be inducted to the Rock and Roll Hall of Fame in April 2009.

Clark was a co-host of Hee Haw and a frequent performer on The Tonight Show, Hollywood Squares, The Jackie Gleason Show, Town and Country Time, Beverly Hillbillies and other shows. Clark was also the first country music artist to open a theater in Branson, Missouri, in 1983.

Enjoy some old videos of Roy Clark.


VIDEO: Dorian Small - “Ultimatum”

May 17th, 2009

Here’s Dorian Small’s music video for “Ultimatum”, from his upcoming album, Dorian Small Gives You an Ultimatum, due later this summer.

For those followers of Mama Sweet.. if you're not one, you should be....

Click here for preview of a great video....

Chad Sullins live in Garber America Thursdays!

ChadSullin

So it looks like I'm gonna be playing On Thursdays at the garber bar... This should be fun:)

Brandon Jackson Live in Stillwater tonight

bjackson12

Acoustic at Dirtys in Stillwater tonight

Saturday, May 16, 2009

FW:

Heather's Music Careers Blog

By Heather McDonald, About.com Guide to Music Careers

Performance Rights Act Redux

Friday May 15, 2009

Since writing about the Performance Rights Act a few days ago, I seem to be tripping over more news about it every time I turn around. I've been nothing short of dismayed at the way some wealthy, powerful figures in radio have commandeered this issue and cynically (and erroneously) made it about everything from racial equality to protecting indie music. This bill is about one thing and one thing ONLY - paying musicians a (less than) fair rate for the work they do. It is about giving them an incredibly small piece of the earnings generated by the content they create for radio stations. You are entitled to your opinion on the issue, but you really owe it to yourself to make up your mind based on the facts rather than the scaremongering of a bunch of rich guys who are already raking in tons of cash for their radio work and their appearance fees and so on. In other words - Michael Baisden doesn't want you to be paid for the content you create for the radio, musicians. Do you want him to be paid for the content he creates for the radio? Because he is. Handsomely. And he's using his platform to make sure you don't get your cut. But enough of me picking on Michael Baisden. He's far from the only offender. Instead, I give you my bullet point rant about the Performance Rights Act, and I look forward to hearing what you think about the issue:

  • Under the bill, most radio stations would pay a maximum of $5,000 annually. Sure, if you're Clear Channel, that adds up. But if you're Clear Channel, you're making billions. And delivering a user experience that is turning many people away from radio, but that's another story. The point is, that licensing fee is extremely modest when you consider that radio stations play music around the clock, 365.

  • Noncommercial stations and college stations would pay a maximum of $1,000. Religious broadcasters and talk radio stations would pay nothing.

  • I work in indie music. I know how prohibitive even the smallest of costs can be. I know what it is like to have to walk several miles to the business meeting because there isn't enough money for the bus, and so on. I would NEVER underestimate the burden even a $1,000 per year fee could be for some radio stations. However, paying for your content is not an unreasonable request to me. Of course, independent radio stations and college radio stations are not really the ones stomping their feet about this bill. It's the Clear Channels of the world that are upset, and the toll these huge radio monsters take on community radio is far greater than this proposed fee. Let's address THAT.

  • Erm, again, how does it work that you shouldn't have to pay for your content? That's like Pizza Hut saying they should get free cheese and pepperoni because they would go out of business if they had to pay for it.

  • While we're talking about the burden this bill could place on some radio stations, could we talk about the hundreds of thousands (millions?) of musicians who have lost millions in earnings because they haven't been adequately compensated for their work? Ever wonder why someone who plays on a platinum album goes broke? Is it starting to make more sense?

  • The idea that radio pays these musicians in exposure is silly. Not all radio plays are created equal. Very few artists get the kind of radio play that really moves a significant amount of records. All artists are ripped off equally, though. Besides, radio stations make hoards of cash selling advertising because of the music they're playing. The radio stations are being more than adequately compensated for their "exposure". Pay up.

  • Save Iran and North Korea, radio stations in nearly every other country in the world manages to pay these very kind of royalities - though often at a higher rate - and they manage to survive and thrive. It can be done.

  • Seriously, are you really going to let radio conglomerates and highly paid talk radio hosts (and highly paid radio guests) convince you that they are campaigning for the good of community and local radio? Are you going to let them convince you that musicians shouldn't be paid for their work? I know you're not.

  • Musicians deserve to be paid for their work. End of story. If you have managed to build a successful business on the basis of not paying people for their services, that doesn't make it right. It is certainly not a justification for continued exploitation.

And don't even get me started on this whole thing with US musicians not recouping their royalties on overseas radio plays because of all of this and the money they are losing on that.

So, that's how I see it. And you?


photo of Heather McDonald

Heather's Music Careers Blog

By Heather McDonald, About.com Guide to Music Careers

Reader Response: Do You Press Vinyl?

Thursday May 14, 2009

Here's what we know: CD sales are falling. MP3 sales are rising, but not at a high enough rate to offset the loss in CD sales. Everyone spends a lot of time talking about those two facts, but one thing that often gets overlooked in discussions about the future of the music biz is the fact that vinyl sales are skyrocketing. In fact, vinyl is taking off so much that Best Buy has recently decided to start selling records in all of their stores. (Not that I am advocating buying music at Best Buy, for crying out loud. Please don't.)

What does the increased public appetite for vinyl mean to labels and musicians? It's not as easy as, "well, let's press up some records". Vinyl is expensive. Muy expensive. Even if you know that more records are moving these days, that doesn't mean that pressing them up is always a good investment. Depending on how fancy schmancy you get with your sleeve and the quality of vinyl you pick, you could sell your entire pressing and end up in the hole. (Like New Order's Blue Monday 12". Every copy sold cost Factory Records money). So, my question to you, dear readers, is - have you reconsidered your vinyl strategy? Have you decided that pressing up some records is worth the investment? If so, has it worked?