YOU THINK IT'S ALL OVER ...

Over the past three issues of hotpresss we have taken you through the entire music making process, from getting your first musical instrument, writing that song and finding a gig, to making the demo and beyond. Unfortunately, like getting a record deal, making the record is really when the hard work starts, with the exciting, if daunting, objective ahead in trying to convince Joe and Josephine Bloggs that what you produce in the way of art or entertainment is worth handing over their shekels for.

For now you have merely reached the real beginning, not the end. Facing you are a whole catalogue of considerations, mixing the record, finding a record deal, getting a marketing

campaign going, generating positive publicity, checking the copyright implications, meeting the accountant, finding a manager and a whole

shopping list of crucial jobs to be done.

In order to take it to a long-term serious level you will almost certainly need the help of

seasoned professionals who can help cut a corner here, save a tenner there and marry their

expertise to your talent to make a successful team on both artistic and commercial levels.

Graham Molloy left the womb-like safety of a

promotions post with Sony Music to set up his own company Evolution which offers a range of services to artists at various stages of their career development.

He describes Evolution as a 'full-service'

operation, taking care of all elements in getting a record onto the market: recording, publishing, pr and marketing, distribution etc. They also offer a Label Administration service, a facility whereby an artist/band who wants to release a record can do it on their own terms rather than relying on a record company. Evolution will take the finished master and organise the design of artwork,

barcodes, duplication and all other associated

elements needed by the artist.

As Molloy explained to hotpress, "The

advantage of dealing with a company like Evolution is that the artists retain ownership of their own recordings. We simply act as their record company on all other levels, so in reality they are employing us rather than us signing them."

Evolution also have a fully resourced record label on the look-out for artists and own the

long-established Westland Studios. Molloy has recently started a publishing venture, Briar Music, and the Evolution operation includes a PR and Marketing service through which he can re-cycle the experience earned through his stint with Sony Music.

Molloy hits the nail on the head. "I believe it is imperative for an artist or band to have some sort of PR presence behind them. These days of an ever-fragmenting media demand that you have people working for you who know how to target your release to the right people and who can build an effective communication campaign for you."

Having had experience of both sides of the major label fence, Molloy does not believe that being signed to a major record company is the be all and end all. He elaborates, "As many Irish and UK acts have shown, you can become successful without going down that route. David Gray and Kieran Goss, for example, release records through their own labels. Gray had already failed with a major label. It was only after he became

successful that a major became involved again and then to his benefit. So I'm not saying that the majors should be avoided. They have the

marketing budgets and a vast range of experience and skills at their disposal, but I feel that there are alternatives. Starting your own label, releasing your own records, doing business on your terms, learning about the business through doing it yourself - all these things will stand to an artist in the long run."

Of course, retaining the ownership of their own product can also enable an artist to make more money from sales. As the Evolution man puts it, "Instead of maybe getting £1 per record from a major record deal bands can make £5 or upwards per album by selling it and marketing it

themselves. They don't have to recoup to a record company, just cover whatever investment they have put into it. They have more control over their own destinies and can reap greater rewards, provided they're prepared not just to work hard but to work smart as well", he added.

For further details check out the Evolution website <www.evolutionie.com>

It's also possible to have the best of both worlds if the local label has positive connections with one or more of the majors. RGB Music have years of experience licensing tracks to major labels world-wide and who have recently concluded a deal with Edel Records to distribute RGB's dance releases in the UK & Germany on their new music imprint Religion Music.

The move follows the global success of RGB's impressive roster of dance artists, most notably with renowned DJs/Producers/Remixers Agnelli and Nelson who, licensed to Xtravaganza, had a top 20 and three top 30 hits in the past year.

According to Glenn Herlihy, RGB's Managing Director, "We're an old-style record company in the sense that we are very keen to find potential talent and then develop it, irrespective of the style of music. The launch of Religion Music will see RGB release a diverse range of cutting edge dance tracks from the country's finest up and coming artists and underlines RGB's commitment to further developing it's roster of dance-artists while also releasing acts across other genres."

The Edel deal, brokered by Herlihy and Edel's Daniel Lycett, follows a reportedly frantic bidding war by UK majors eager to snap up RGB's dance roster. After serious discussions RGB decided to bring Edel on board for UK distribution and

promotion following an initial 1997 collaboration on the hugely successful chart topping Ibizan anthem 'El Nino' by Agnelli and Nelson.

Herlihy has also tied in deals around the world for their up and coming two singles 'Home' and 'The Discovery', with different major labels

including Universal and BMG to handle their product. Edel remain on board for Germany.

According to Glenn, "The purpose of Religion Music is to release the most diverse, innovative, challenging and outstanding dance music around. The move reflects our strong commitment to artist development. RBG have licensed premier dance tracks to record labels through-out the world but now feel it is imperative that we are able to distribute globally ourselves."

Religion's first release, 'Home' by Northern Ireland's Coast 2 Coast, will be in May.

The label is also planning releases from several artists including Liquid, Discovery, Afterburn and Lima and it is also RGB and Edel's intention to produce a series of Religion mix albums.

RGB Music is one of the main labels at the

forefront of the Irish music explosion, but, as Herlihy is keen to stress, RGB's remit goes way beyond dance. The label is also home to an impressive roster of new main stream acts with releases due this year, including Danny Kearns who has been tipped as the face of 2001 and Lima, the dance/indie outfit in the same vein as Garbage and Moloko.

Already, the awards cabinet at RGB is starting to fill up, including Best Dance Single (Heineken - hotpress 1999), Best Single (Smirnoff Dance Awards 1999), Best Record Label (BBM 1999 & 2000 and Best Producers & Best DJ's (1999 & 2000).

For further information contact Margaret Murray at VF1 Publicity on 01902 837 007.

Artists approaching a recording studio for the first time need to understand that not all makes and models of equipment are of the same standard, and there can be marked differences to the results to you will achieve from different brands. So a call to Studio Solutions Limited, a new Irish Pro Audio dealership might be a smart move. Run by Darren Phelan, Studio Solutions specialise in all forms of equipment for the recording industry, from a tiny connector to a total studio fit out. Some of the many products available from this company come from the world's top manufacturers, including Mackie, SQN, Tascam, Fostex, Genelec, Quantegy, AKG, EMU, Beyerdynamic and Sennheiser to name but a few.

Darren Phelan himself is no stranger to the audio industry, having worked in CTI for the past six years. As he emphasised to hotpress, "Customer service is our number one priority. We offer unbiased pre sales advice and after sales service and support."

He argues that "Young musicians have to learn that you often get what you pay for and that specific makes may suit certain situations yet may not be appropriate in other situations. You might, for example, get a releasable single from a piece of equipment costing £500 to £1,000, but it then has to measure up against something Madonna might have spent tens of thousands of dollars on."

Studio Solutions keep their finger on the pulse so they can advise you on the best system to meet your requirements.

This is where MCPS (Mechanical Copyright Protection Society) come in. Contrary to the assumptions often made, this is not a watchdog body to oversee the workings of the music

industry. Instead it helps protect the commercial copyrights owned by its members and collects royalties on their behalf. The Irish arm, run by Victor Finn, links to sister agencies abroad, so that publishing earnings from records sold abroad filter back to Irish publishers, songwriters and composers.

So in effect, MCPS represents those who own the copyright on works which appear on records. Whenever a record label issues material whose copyright is owned by a member of MCPS, that record company must pay a fee for its use by law. After deducting a commission of 10% MCPS pay the publishers of that copyright work and the publishers then pay the songwriter(s) on the basis of their publishing contract.

Songwriters and composers, apart from being de facto members of MCPS through their publishers, can join MCPS directly and receive royalties from MCPS minus the usual commission.

The royalty in Ireland, as in Europe generally, is a percentage of the price record companies charge for their records to dealers and record retailers. In Ireland it's currently at 8.2%. That percentage is divided equally between the copyright owners of the material used.

Victor Finn has observed the increasing number of Irish artists putting their own music on the Internet, but feels that this is generally done with little effort made by the writer to protect their copyright, thereby risking loss of income from their own works. As he told hotpress, "It's great to see bands having the initiative to market themselves through the net, but if they offer their own recordings for downloading they have to accept that they will probably receive no remuneration and that others may even exploit it commercially in a way beyond their control."

But Finn also believes that Irish artists are now far more knowledgeable about the workings of copyright, adding, "There are no excuses any more. The information is there for anyone who wants it. There are seminars which cover it, as well as books and newspaper and magazine

articles. Organisations like MCPS and IMRO have information available which anybody can pick up."

Even the most cursory glance through the roster of artists and events handled by NB Publicity including: David Gray, Elvis Costello, Paul Brady, Guinness' Groove Weekender and the hotpres Homefront Nights and many more, prove that here is a company used to handling just about every PR eventuality.

NB Publicity is an Irish-based public relations and production company run by Niamh Burkeneff and Paul Power, and proudly claiming to be the only Irish-based music publicity agency offering its services cross-channel.

Power worked on radio for twenty years having presented the Homegrown programme with Today FM. In that role he spotlit many emerging Irish talents, such as Divine Comedy and Ash, before they achieved commercial success. He is a key event compere, has received a hotpres Radio Award, and been nominated for others.

Burkeneff has a wealth of experience in all aspects of the music media, with qualifications in Radio Journalism and Media Production. She worked in radio as presenter, producer and programme manager and trained in TV Directing, Producing and Presentation under RTE's renowned directors Bil Keating.

Having played the whistle and concertina from the age of four, Niamh can identify with musicians' needs and requirements. She grew up in West Cork surrounded by musicians, and members of De Danann and The Boys of the Lough took part in sessions in the family home. This, plus her understanding of the media, gives her a firm handle on marketing and public relations within the music industry.

The PR services offered by NB Publicity include launches, media distribution, record distribution, retail support, print and radio advertising, festival entertainment, PR, broadcast and print media plugging, artist development and management, bookings, tour support and so on. Contacts in the American music PR industry and links to booking agents and promoters specialising in Northern Europe, Scandinavia, Spain, Italy and France are added plusses.

NB Publicity targets all relevant personnel in national and local media with the objective of achieving the maximum media exposure, including interviews and sessions on such shows as The Late Late Show, Kelly and Later with Jools Holland.

Clients also have the option of retail support, ensuring that buyers in the chart track retail

outlets are aware of the product prior to release. Retail buyers receive media packs including advance copies of the recording, press releases, biographical notes, photographs, transparencies, posters etc. They are later contacted by phone to arrange product placement, in-store performances, listening posts etc.

For further details contact either Niamh Burkeneff or Paul Power at 01-4546563.

When we were putting this survey together, Grainne O'Brien of Trip The Light Publicity was in overdrive handling the PR for the latest regional final of Bacardi Plugged but she managed to take time out to offer some basic advice to artists thinking of embarking on a publicity campaign.

"It's important to give yourself as much time as possible to put a plan in place to begin with, whether you're an artist or a publicist. Too many artists only come to publicists after they themselves have sent out the record in a haphazard way and when nothing happens only then do they decide to call in the professionals. By that time it's may be too late to rescue the situation and a lot of money may have gone down the drain," she insists.

Apart from Bacardi Plugged, Trip The Light has also handled the publicity duties for a wide array of artists, projects and companies, from Eleanor McEvoy to Leo Kelly, Juliet Turner, IMRO, Leann Rimes, Hal Ketchum and the Hit label.

She is contactable at Trip The Light Publicity at <[email protected]>

Impulsive PR specialise in club and dance music promotion, covering all genres and styles with targeted marketing. As their Dean Sherry explained to hotpress, "Our PR machine is handled discreetly via the collective here at Impulsive and we mail out weekly and monthly. The monthly listing is sent out usually one month or at least two to three weeks in advance, detailing relevant events or venues we are appearing at, plus other related news such as release or radio exposure."

Impulsive also handle specific PR for third party clubs and promoters and they review occasional singles for other labels. Their weekly reminder listing, they believe, pays off in a big way by keeping events fresh in peoples' minds.

"Our main weapon is our e-mail-based listing mailouts with over 2,500 e-mail addresses all over the globe and about 500 here in Ireland that we regularly hit. We also do specific fax PR and relevant press and journalist targeting", explains Sherry.

Their methods are simple, effective, stylish and to the point. If people want further information it's always posted on their website at

<www.impulsivemusic.com>.

PR companies need good material to work with, not just in relation to the music but in the imagery build around any act. In this regard, decent

photographs are essential.

Roger Woolman is one of the most respected photographers in the music business and he

readily confesses that musicians are often so focused on their music that they forget that an image has to built around it if it's going to work successfully in the marketplace.

As he told hotpress, "The image that comes across in a photograph ideally should

complement the music but it should never

over-power it or distract from it. Getting the

balance right requires a little planning which all artists could benefit from and which would

probably save themselves some money and heartache as well."

One photo which Woolman believes really works is the shot on the cover of the first Clash album. "it's very atmospheric. It's hard to know if it was posed or was it just spontaneous, but it gets the whole mood perfectly. It just works."

He advises that artists should give adequate consideration to whether they want a studio session or would prefer to use a location. "It can work either way, but it can go wrong either way too! A studio can look too obviously like a studio shot, while a great location can often distract totally from the artist."

Before an artist selects a photographer Woolman suggests they should ask to see a

portfolio of their previous work and explain what they are hoping to achieve with the session.

He also reckons that bands may be better off these days getting a CD of their shots from the photographer. This can often work out cheaper as they can have as many shots as they want run off when they want them without going back to the photographer. The format also enables them to transmit shots to newspapers and magazines without having to get prints at all.

Woolman has a very impressive website at <www.original-photography.com> so any prospective client can check out the standard of his work before giving him a call on 087-6678261.

Although it is customary for self-styled true artists to pretend that they would prefer not to soil their hands by dealing with such an objectionable

substance as money, the eventual dawning of reality tends to encourage artists to undergo a serious rethinking on the subject and sooner or later they seek out a sympathetic accountancy company. In fact, sooner is usually better than later.

OJ Kilkenny and Co was founded in 1985 by Ossie Kilkenny, who in a previous incarnation had flirted with bands as a guitarist and worked in banking, with an office in Dublin. Key operatives included Brian Murphy, Ian Jones and Frances Brennan. Shortly afterwards the company opened a London office and in due course the company became a leading light in the music industry, both at home and abroad, with some of the industry's top acts numbered among its clients.

The firm offers the full range of accounts preparation, audit and tax advice. New acts signing record deals and receiving advances need adequate planning to provide living/touring expenses with a minimum tax liability. OJ Kilkenny and Co advise on the implications of setting up a limited company, a partnership or as a sole trader. Artists need to understand some basics, such as that income tax exemption applies to individuals and not to companies. Thus it is often advised that income from publishing is often kept separate from income from records and touring.

The services offers artists by OJ Kilkenny and Co include the following:

- preparing and auditing accounts of limited companies

- preparing accounts for partnerships and sole traders

- exploring income tax exemptions on publishing royalties

- advising on withholding tax issues in foreign territories

- looking into tax deductions available to those touring abroad while residing in Ireland

- advising on the VAT implications of foreign artists performing in Ireland

- emphasising the importance of a planning structure to effect a simple mechanism tailor-made for a particular artist's circumstances.

The company also believes that artists should also receive advice at the outset in relation to:

- joining royalty collection agencies such as IMRO, PRS, MCPS etc.

The increased opportunities presented by the new technologies and the willingness of

musicians to plough a more independent

furrow than ever before, are manifestations not confined to the world of pop and rock music. There is arguably a healthier classical music scene in Ireland than we have ever

experienced. Part of the expanded interest in classical and related genres springs from the growing tendency for jazz and rock artists (e.g. Elvis Costello with his collaborations with Anne Sofie von Otter and the Kronos Quartet) to explore outside their normal beat.

So it's no surprise to note the welcome given to the opening of the Contemporary Music Centre at 19 Fishamble St in Dublin's Temple Bar recently by President McAleese. The CMC is Ireland's national archive, resource centre and promotional body for contemporary Irish music, including classical, jazz and

electro-acoustic.

Their library, open to the public from Monday to Friday, contains the only comprehensive

collection of music by Irish composers from all over Ireland, north and south, and offers access to the Centre's extensive databases.

According to Promotion Manager Karen Hennessy, "We have 3,000 scores and 5,000 recordings in our library. In addition to the

documenting and collecting of work by

composers we have an ongoing programme of activities to promote new Irish music nationally and internationally."

The Centre is in the process of producing its third CD representing the best of new Irish composition which they distribute free of charge. They encouraging international festivals and radios around the world to use the work of Irish composers.

Other activities include a touring exhibition, "Meet the Composer" talks, information

dissemination and consultation. The reception area on the ground floor includes a sales area for CDs and publications as well as listening facilities.

The Centre is used by performers, composers, concert promoter, teachers, students and

members of the public. It is appropriately housed in Fishamble Street, perhaps best known as the site of the first performance of Handel's Messiah in April 1742.

Check out the comprehensive Contemporary Music Centre website at <www.cmc.ie> or

contact Karen Hennessy Tel: (01) 6731922 Fax: (01) 6489100. <[email protected]>