Following 5 decades of writing music reviews for your Muse’s Muse, I’ve lately noticed a decrease in the amount of artist associated admissions that I get.
The amount of submissions delivered by celebrity managers, publicists, advertising companies, and PR representatives has improved.
What does it mean?
To me it states many things: First, fewer artists understand the worth of owning a respectable source create an expert evaluation of the job, and second, a lot of people who do still understand the worth of audio reviews are utilizing third parties more often to get them.
Few could argue with the bulk influence of a favorable review in business respected trade publications like Billboard, Rolling Stone, Spin, or Music Connection. These are the tastemakers of this business and a positive review in almost any one of them can affect music revenue.
Nevertheless, the great majority of music artists will not (not that they can not ) get their songs reviewed in these books because they just don’t attempt to find this enviable exposure. That is unfortunate – particularly when the music artists in question are in fact worthy of it.
Increasingly, more performers are growing the pervading attitude which says…”Since I have a MySpace page or an iTunes account, what’s the point in having someone write about it when my fans can just listen to my music, draw their own conclusions, and buy the track(s) they want? Who cares about the opinion of some music critic?”
That thought process is clear, but it’s also shortsighted.
Landing an overview is much like getting a movie or restaurant recommendation; it provides you a lead to research and also alerts you to something which exists that you might enjoy. Just the mere act of advocating something is an endorsement. If enough reviewers emphasise your tune or job, their testimonials can – and will – break down the barriers to immunity which most of us have when it comes to trying something new.
If you are able to get your music reviewed in the above trade publications (books that appeal to people who are employed in the audio industry), lifestyle and consumer books (GQ, US Weekly, People), and Internet sites (such as the Muse’s Muse), you’ll also plant the seeds for future promotion campaigns such as interviews and feature stories.
While testimonials can fluctuate concerning quality, duration and thickness, the true potency for you is in amounts; the range of testimonials that talk favorably of your or job. Collect enough of those”opinions” and they eventually become consensus.
They do not need to be rave reviews; they simply have to be redundant in stressing your USPs (unique selling points).
Reviews must present your present and possible lovers the very incentive that they should go to MySpace or even iTunes and get 1 step closer to making a buying decision. . .which incidentally, is your end goal, right?
With respect to hiring third party professionals (publicists, advertising companies, and PR representatives ) to get reviews for you, I will testify that many of these professionals don’t place much forethought into who they deliver your songs to. They operate out of a networking contact list and deliver your songs to whomever’s name has placed in their database – no matter if they’re an proper reviewer for that your genre and type of music.
On the times when I receive admissions like a CD using a photograph of a hillbilly holding a banjo, I throw it in the trash. Ditto for the Weird Al Yankovic appearing fella wearing a polka dot suit and holding an accordion. It demonstrates that the PR company or individual does not understand who I am and my market for a reviewer is luxury, mainstream, commercial, chart-topping, radio-friendly songs which both the business and music fans will love.
If you’re the hillbilly or the Weird Al Yankovic appearing fella I simply used as an example, no offense for youpersonally; your songs is simply not the type of music I critique. Your PR representative (that you paid to get me throw off your CD) ought to know through conducting research on me that is easily and abundantly on more than a dozen Google pages.
Reviews may also change your promotional bundles to precious media kits that may be used to assist you get gigs. When booking agents begin to see media clippings from reviewers that they anticipate, they become more responsive to the artists.
As you may see, testimonials are more than simply words and remarks which are written on your own music. If these words are used favorably, and those remarks take clout, they may be powerful advertising tools which may open doors and create new opportunities that empower music artists to flourish in all their endeavors.