Sunday, April 19, 2020
Wednesday, February 5, 2020
Moon Bridge – Taipei, Taiwan
Låtefossen Waterfall, Norway
Rakotz Brücke, Germany
Ronda, Malaga, Spain
Gorge De L’areuse, Switzerland
Root Bridge in India
Ponte Gobbo, Italy
Gapstow Bridge, New York, USA
One of the most important, and often overlooked parts of any Twitter page is the bio section. Your band may have the coolest profile pics, but without a great bio no one will ever see it.
Whether you’re new to Twitter or a veteran Tweeter, chances are you give more thought to the contents of your Tweets than to the content of your bio. Optimizing your bio is fairly simple and there are a number of tips out there to help you make the most of your Twitter experience.
I have compiled a list of proven tips that musicians are using to get their presence out to a wider audience.
1. Take full advantage of the space provided - Twitter allows you 160 character to wow the world, use all of them. It is near impossible to convey what you’re about in one short sentence. You know you’re great, you’re mom knows you’re great, but the rest of the world might need a little more convincing. The more information you can give them, the better.
2. Use keyword - Think of Twitter as a giant people based search engine. Think of things that people would search for to find your band, and try to include those keywords in your bio. Some keywords that might be relevant to you might include, “musician,” “indie,” “folk music,” “gangsta rapper,” etc. The more niche and targeted you can be, the better.
3. Have fun with it - Make your bio an extension of your personality. Whatever your personality is and whoever you are as an artist, make sure your bio represents that. If you’re funny, be funny. Showing your personality is a great way to make a great first impression.
4. Include your location - Some people don’t like to put a location or will just put the country they are from. I would advise against this. If you don’t want to be as specific as putting the city or town that you live in, at least put the general area or state that you’re in. This will help if people are looking for musicians locally or within a certain area, especially when looking for live shows. Additionally, this will aid in networking with other musicians in your area.
5. Have a link to your website - Twitter allows you to enter a link to a website that will appear in your bio. The only link you should be using in your bio is a link to your own website. Don’t use a link to your Facebook page, ReverbNation profile, etc. They can always go to those pages after they’ve visited your website. Give yourself the traffic, not some social media site. By sending people to “your” website, you can entice them to join your mailing list, read your blog, watch your videos, and visit your online store to make purchases.
6. Update your bio regularly - Your Twitter bio should be updated regularly. If you’re putting out a new album, going on tour, or have won an award, be sure to add a quick sentence about that. Always be aware of your Twitter bio and whether it still reflects who you are as an artist.
A good Twitter bio can tell someone a lot about your band. It can make it easier for new fans to discover your music. I hope these tips were helpful, now go write the next great Twitter bio!!
Follow my blog here with your Google account and Twitter @patsavageband
Rickey Medlocke (born February 17, 1950) is an American musician best known as the frontman/guitarist for the southern rock band Blackfoot. During his career he's also played with Lynyrd Skynyrd as a drummer (1970-71) before rejoining as a guitarist in 1996 where he continues to tour and record.
Being of Blackfoot ancestry, Medlocke was inducted into the Native American Music Hall of Fame in 2008.
Rickey Medlocke was born on February 17, 1950, in Jacksonville, Florida. He was raised by his paternal grandparents. His grandfather, Shorty Medlocke, was a well-known Delta blues musician and taught his grandson to play a miniature banjo. Medlocke started performing onstage at age three, and his musical abilities increased over the years. He began teaching himself to play the guitar by age five and was playing drums in Shorty's band at age eight. Over the next several years Medlocke mastered the banjo, guitar, drums, mandolin, dobro and keyboards. He had a melodic singing voice and had taught himself to sing and play guitar at the same time. After graduating high school, Medlocke formed his first band, Blackfoot, where he was lead vocalist and lead guitarist.
Medlocke wrote and recorded shortly with the 70's era Lynyrd Skynyrd band occasionally playing drums or singing lead on a few songs for them in 1970: "One More Time", "Preacher's Daughter", "Lend a Helpin' Hand", "Wino", "White Dove", "Comin' Home", "The Seasons", "Ain't Too Proud to Pray" and You Run Around. On occasion, Medlocke played alongside the band's original drummer Bob Burns but came to desire the energy of a guitarist at the front of the stage. This resulted in his 1971 decision to reform Blackfoot. The band began touring and producing hit songs that included "Train Train", which was written by his grandfather, and "Highway Song", written by Rickey Medlocke and Blackfoot drummer Jackson Spires, amongst songs written by others. He disbanded the group in the early 1990s.
For a while in the 1990s, Medlocke thought about pursuing other careers until he received a phone call in 1996 from Gary Rossington inviting him to rejoin Lynyrd Skynyrd as a lead guitarist and primary songwriter. Rossington asked Medlocke if he remembered how to play "Free Bird", "Tuesday's Gone", and "Workin' For MCA", among others. Medlocke rejoined Skynyrd and has been a member since. Occasionally, Medlocke will step away from Skynyrd briefly to join musicians like Shooter Jennings on stage. He joined American Idol finalist Bo Bice on stage for a rendition of "Sweet Home Alabama" when the top three finalists from season four returned home.
No Reservations (1975)
Flyin' High (1976)
Highway Song Live (1982)
Vertical Smiles (1984)
Rick Medlocke And Blackfoot (1987)
Medicine Man (1990)
After the Reign (1994)
Live On The King Biscuit Flower Hour (1999)
With Lynyrd Skynyrd
Street Survivors (1977) (drums & chorus on One More Time recorded during 1971-1972)
Skynyrd's First and... Last (1978) (contains early recordings from 1971 and 1972)
Skynyrd's First - The Complete Muscle Shoals Album (1996) (contains early recordings from 1971 and 1972)
Lyve from Steel Town (1998)
Edge of Forever (1999)
Christmas Time Again (2000)
Vicious Cycle (2003)
Lynyrd Skynyrd Lyve: The Vicious Cycle Tour (2003)
God & Guns (2010)
Last of a Dyin' Breed (2012)
Monday, February 3, 2020
Savage Biker Blogs
There really is nothing quite like the sound of a Harley Davidson motorcycle getting fired up and ready to hit the road. It’s a distinctive sound that once you hear, you are hooked. If you have ever gone hog wild yourself, you understand that riding a Harley is not just about a fine piece of machinery. My music is a reflection of my bikers lifestyle and for many years I've been lucky enough to get paid well for my music about our Harley bikers world.
It’s all about freedom and the opportunity to feel the wind in your face. It’s about riding in for rallies big & small and enjoying the comradeship of an exclusive group that recognize their fellow bikers from around the World. If you are a biker you can find brothers and sisters across the globe that share your love and passion for your Harley.
If you can’t hit the road as often as you would like but want to see what others are up to I put together a list of 37 hog wild Harley blogs just for you. These are just a sampling of the best I could find on the web if you have any others to recommend, please let me know.
You will soon be reading all about my new biker television series "Savage Roads" and my new Cd
"The Best Of Pat Savage" is available through some of these blogs, Spotify, ITunes, Amazon and most streaming networks in the world.
Kind regards and welcome to my new blog!
My dear friend Piero Marchelli an Italian biker and brother from another mother has a fantastic blog in both Italian and English that encompasses so much positive stuff. I highly recommend this blog for any bikers around the world.
My dear friend and long time brother Marc J. Beaulieu has a passion folks and it is biking. He truly lives to ride motorcycles but when he can't ride, he blogs about it! Truly one of the best online blogs!
This blog contains details, photos, and reviews of different Harley Davidson models. It’s an interesting selection of motorcycles and a quick read.
4. Glory Road
I normally wouldn’t include an older blog like this in the list but this is interesting because the articles come from the eyes of a dealer and just have a different spin. I like it quite a bit.
Paul Malone is an Arizona Harley dude. He writes about his adventures and various rides that he has been on along with general information about driving and maintaining a Harley.
This blog began in 2007 and has over 200 well written articles about Harleys and other current events related to Harley riders like California motorcycle laws and much more. It’s really a well written blog that you will enjoy reading on a regular basis.
This blog is from a self proclaimed Harley biker chick. She actually works for an annuities company in Des Moines, IA by day and is an avid biker chick in her spare time. You won’t find a more interesting read. This is actually my favorite blog on the list.
Harley Bound, Heaven Bound is about a born again Christian who found support in a group of Christian bikers. This blog chronicles their adventures together as they grow in faith and put miles on their bikes.
This blog captures the ride history of one man as he attends rallies and enjoys time on the road with his Harley. It’s a fun read with a lot of humor.
Here we add a little international flavor with a great Malaysian Harley blog which announces new motorcycle releases over there as well as some great articles from someone passionate about Harleys.
11. House of Harley
House of Harley comes to us from Milwaukee, WI. They have a lot of great pictures on the site and a bike of the week feature that is always interesting.
12. My Rocker FXCW
This blog features comprehensive articles regarding various Harley Davidson’s parts and functions. It also has tons of photos.
This blog has feature articles covering topics like why harleys are more popular than ever and other interesting subjects. It is not just about accessories, it is much more than that (not that it wouldn’t be enough).
This blog has several great bike shots and videos obviously revolving around Sportsters. The owner is sidelined by a surgery right now but is looking forward to getting his sporty back on the road.
15. Custom Harley
There are various stories and pictures from 2007 to 2009 on this blog including a near selling experience for the author and his road king (still safely in his garage as far as we know).
The HawgBlog features several great stories about people and their bikes including a true story of a man and his bike with over 350,000 miles on it. Wow, now THAT is impressive!
This blog is written by a female biker living and riding in the Rockies (Colorado). She writes about safety and other really good tips for other bikers. Oh, she has a Fatboy and the “Y” word we won’t mention.
18. The Ride
A Canadian biker/blogger, eh? Yeah great pics and a good read await you at this blog. You can read about his rides and the machines he is currently infatuated with.
This blog is an essential source of information for HD motorcycle enthusiasts. It contains numerous photos and articles that will educate you on the subject of Harleys even if you thought you knew it all.
20. Planet Harley
This is a mile high Harley blog that is really current and full of interesting feature articles about things like properly storing your bike in the Winter, etc. Tons of articles and pics for your blogging pleasure.
This blog shares exciting adventures of different riders with their Harley motorcycles and other off-road vehicles (I just said Harley and off-road I guess you will have to go to the site to see what I mean). Readers will have fun reading the narrations and viewing the photos and videos as well.
This blog features photos of a wide range of motorcycle brands, but dedicates a great deal of space to Harley Davidson.
This is a newly redesigned blog coming to us from a dealer located in Savannah, GA. It is current with lots of useful ride info and more.
24. Bike Talk
Since 1997 this has been a place for motorcycles lovers and Harley Davidson aficionados to share their insights, inquiries and comments regarding bike specifications and riding adventures.
This is a great article on a cool biking blog that adds some more international flavor to the list. Check out what else this site has to offer us Harley fans.
This blog is all about the sound of a great Harley getting fired up and the chills it sends up your spine. The blog was started in 2006 but hasn’t been active in a bout a year. The articles though are really interesting on this no frills, but cool blog.
Here is a different international twist looking at Asian HD fans and events. It’s interesting to see that HD is a true international phenomenon.
Lets quietly ignore the fact that they mention other bikes on this blog and just look at the HD section of the site. It’s a current and interesting place for bikers to congregate.
Harleys, ham radio, and other interesting topics are covered in this blog. Because of the collection of topics it is a really interesting place to visit regularly.
This blog contains various news, events and useful information regarding Harley Davidson motorcycles along with some solid Harley links/resources.
This is s forum/blog most advantageous to people who are passionate about Harley Davidson motorcycles and the adventure it brings to their lives.
This is a new blog (up-and-coming) that features current events, videos, and pictures of HD bikes and owners.
33. HD Talking
There are many examples of the benefits of working in harmony with nature. When first venturing out beyond home a child is taught to walk with traffic. A carpenter achieves a cleaner result by going with the grain rather than against it. In sports a team succeeds by taking advantage of what the defense gives them, and there are countless other examples that express why it is better to work with the flow rather than push against it. For the past ten years the recorded music industry has ignored this strategy, and stubbornly clung to a business model that is no longer in harmony with they way people consume music by predominantly releasing albums in a single song economy.
According to Nielsen Sound scan, in 2019 there were 1.374 billion digital transactions last year. Of those only 103 million or 7.5 % were for albums. This means that approximately 1 out of 14 times a consumer went to buy music online last year they were purchased an album. First with Napster and MP3s, then iTunes and the iPod, and now with streaming services like Spotify and Turntable.FM–the music consumer has repeatedly demonstrated that they prefer single songs to albums. Despite this fact, nearly 77,000 albums were released last year.
Rather than change strategy to work with this reality, most people in the industry just complained that it wasn't fair, and continued the status quo. I believe there are several reasons for this. The first reason is that labels believe they can make more money selling albums. The second, is that marketing and sales processes were built for the album system and that makes it difficult to change. The last reason is because artists believe they are supposed to make albums either as a musical statement or as validation of their professional status.
This essay will attempt to prove that all three of those reasons are not necessarily true, and that selling single songs can be better promotion ally, artistically and financially for artists and labels.
Layout of the Song Based Release Strategy
There are three key rules to the successful execution of the song based release strategy.
- Every song is given a reasonable amount of time to stand on its own.
- Every song receives its own unique marketing plan.
- No song is available before it is promoted.
After that there are limitless ways to release the music. An artist can release a song every week, every month, every day, or every third Monday. It doesn't even have to be uniform. It really doesn't matter how the music is released, as long as the philosophy that every song is important in its own way is embraced.
Why this strategy works promotion ally
Not only do consumers prefer music in a single format, but the outlets for music promotion are all focused on single songs as well. Some of these formats are:
Radio: The bread and butter of radio is singles. Album Oriented Radio died when radio started hiring consultants in the 1970’s.
Blogs: Blog posts are usually about one or two songs. The biggest aggregator of blogs, The Hype Machine, focuses on songs instead of albums.
Club Promotion: By definition the DJ at a club or bar will provide a steady mix of songs. It is quite the rarity to hear a whole album played in a club with the exception of a listening party.
Syncs for Commercials and TV: For reasons of time, cost, and artistic expression, individual songs are usually featured as syncs rather than albums.
Music Videos: Music videos are primarily made for one song. There are exceptions to this rule, but they are few and far between.
The two promotional avenues that focus on the whole album are preview streams, which have the drawback of lasting for only one or two weeks, and album reviews. Album reviews have come to mean less and less each year as newspapers and magazines cut space and syndicated their copy. They have also lost their main purpose of previewing an album when consumers can decide for themselves whether they like an artists on streaming sites. The editor in chief of Spin Magazine recently cited that exact sentiment as justification for why Spin would be relegating the majority of their album reviews to 140-character tweets.
In addition to working in harmony with the promotion outlets currently available for music, there are several other benefits of the song-based release strategy in terms of marketing.
The first is always having new assets to promote to the media. One thing that occurred because of the digital age is content has a much shorter shelf life. The Internet is a voracious beast and is always hungry for more content. Importance is placed on newness and exclusivity. In a song-based system there is always something new to engage the media. If an album of songs is released you lose that newness factor when pitching for placement.
The second is that it creates a platform to consistently engage fans. In the current media landscape, attention is the most valuable commodity. By consistently releasing new material, an artist has an opportunity to engage their fans much more often than the year or more that commonly occurs between album releases.
The third is that it gives consumers a chance to know what they are buying. This eliminates the feeling of betrayal or trickery when buying an album based on a single song and finding out the rest of the songs are either poor quality or just not their cup of tea. The best analogy I can use to explain this is the DVD compilation release of a TV show. Fans buy a DVD of a show after having seen the complete season. If DVDs of television series were marketed the way music albums were, a 12-episode season would have one show picked to be played on television repeatedly in the hopes that it would drive people to retail stores to purchase the whole series DVD. It is not an exact comparison, because of the variety of differences in how the two are monetized, but I still think it illustrates how bizarre the current album-marketing paradigm is.
Why this strategy works artistically
First, I want to be clear that this method doesn't mean that an artist can’t create a full album of songs, or even a concept album. It only changes the order and format in which it is released. This results in the album not being fully experienced until all the songs are released and collected by a fan. The baseline question that needs to be confronted when evaluating this method is “Is it absolutely necessary that the first time a fan hears my album is in its entirety?” If the answer is no, then a song based strategy can work artistically.
After that hurdle is cleared — and there should be very few bands that should answer the above question with a yes — there are several reasons why this method can lead to better artistic expression. First it forces artists to step up their game. This method puts every song on a pedestal or under a microscope. The temptation to phone it in on an “album track” is eliminated. It might be a little hyperbolic but I hope that it could usher in a new golden age of songwriting.
The next advantage is release flexibility and the opportunity to be timely. Presently, there are a number of obstacles to releasing a song about current events in the middle of an album cycle. No matter how relevant or great the song is, there is a tendency to not put full promotion behind it, because the song will not drive album sales. With the song based method there is greater flexibility to interrupt the release schedule with a timely or important song, because there is less financial disincentive.
The last advantage is counter-intuitive in that it allows great albums to stand out. The true concept albums become something worth noting. If song based release strategy becomes the dominant model, and some group has another Sgt. Pepper or The Wall in them, then it will stand out. If they don’t, and have just another average album, then they will have given up their shot at sustained revenue.
Why this strategy works financially
This leads to the most important questions for whoever has invested in the music. Is the sustained revenue of singles equal to or greater than the lump sum of album shipments and sales? In terms of pure revenue from recorded music there is a relatively simple equation to determine how many singles an artist would need to sell to equal the money generated from the current combination of album shipments and individual track sales. This is:
(Album $ + Track $ ) / # Tracks ) /Single Wholesale = Average Sales Per Track)
Using hypothetical sales figures it would look like this:
Traditional album release A
50,000 albums x $6.50 wholesale = $325,000
200,000 tracks x $.70 wholesale = $140,000
($325,000 + $140,000 ) /10 ) /$.70 = 66,428 average sales per track
Traditional album release B
1000 albums x $6.50 wholesale cost = $6,500
13,000 tracks x. $70 wholesale cost = $9,100
($6,500 + $9,100) / 12) /$.70 = 1,857 average sales per track
After doing this initial equation for either previous or projected album sales the next step is to look at how the track sales were divided on previous releases to determine the possibility of meeting or exceeding the target average sales per track. As this is a subjective process there is no exact mathematical formula that will work every time, but I have two formulas that will give a rough idea of how a release will fare with this strategy.
(Sales of the promoted singles + average of all other singles) / promoted singles + 1
If that number is greater than the average sales per track needed, then a singles based release strategy is probably a safe bet.
Formula 2 (which is really not a formula and only for veteran artists)
Average first two week albums sales = core audience.
If the average of first two weeks of all an artist’s album sales is greater than the average sales per track needed then a singles based release strategy is likely worth pursuing. This method does not work for artists with one album that experienced great success after a slow build Ala Mumford and Sons.
If, after running the numbers, it is still not clear what release strategy is best, there are two other financial incentives to the song based release strategy to consider. First it eliminates the phenomenon of putting all your eggs in one basket and in turn spreads out risk when developing an artist. In this case the basket is the single.
There is nothing worse than the process of picking a single. In my experience it is usually a bunch of music executives sitting in a conference room listening to two or three tracks with their most intense faces, maybe with a couple of head bobs to let you know that they really feel the music. It is very funny to watch people try to indicate that their sense of hearing is working.
Then comes the debate. There is a discussion of what is currently on the radio and how the potential songs fits in with rest of the music landscape. There is sometimes research brought in to show what test audiences have thought of the songs. After that it is gut feel and a bit of magic to reach consensus and a single is picked. That is it. A half hour in a conference room determines the trajectory of an entire album campaign in both focus and budget allocation.
If that single doesn’t work it doesn’t matter how many people would have liked the other songs the artist created: they will never get exposure, because of a lack of marketing funds. The majority of the budget was devoted to creating awareness for that one single, and this does not seem like a very efficient use of resources.
The second benefit is for business arrangements where there are income streams that are not directly related to recorded music, namely touring. One of the big issues that bands have is making sure there is something new to promote around a tour. Song-based release strategy makes it possible to always have something new for fans and to either be considered for tour packages or have a story for promoters. By spreading out the release of new material, the artist will increase the demand for their other revenue streams.
The last benefit is better management of manufacturing expenditures. For labels, one of the toughest costs to predict is the amount of physical albums to manufacture and ship. For developing artists, manufacturing their first run of CDs will usually cost several thousand dollars. The song-based release strategy helps determine what the demand is for the project and consequently physical product.
This article shows that a song based release strategy has promotional and artistic benefits, and that it is feasible financially. There are many factors for why certain artists or albums succeed and others fail. The release strategy is just one of those factors and will never be fully responsible for either the success or failure of an artist. There will be times when it won’t work out, but the album release system doesn’t always work either. Nothing works all the time, and nothing is the perfect solution for every situation. The premise was that it can work, and I believe this shows how it can. Of course, this can never truly be proven until artists and labels take the plunge and start releasing their music as individual songs. I hope they take that chance.
Common arguments against this theory and my responses
When writing this essay I floated the concept out to many people both in and out of the music industry. I received several common responses:
1. This will never make enough money if music moves to streaming as a dominant listening habit: If streaming makes no money, then whether music is released as an album or as individual songs will be irrelevant. At that point other revenue streams become more important, and I would argue that the ancillary benefits of always having something new to promote and to engage an artists fans still makes the song based release strategy the more attractive option.
2. It is easier to record as an album: Agreed, but his strategy does not preclude an artist from recording a whole album at once, which I know is a much more efficient and cost effective way of creating music. It is focused on how that music is released after it is recorded.
2a. But what if all the tracks leak?: This is definitely the weak point of the strategy. A leak is much more detrimental to song based released system as it effectively destroys the advantages of letting each song stand on its own, and the newness quality when promoting. The only counter I have is that music most commonly leaks when it is submitted for manufacturing. As manufacturing is delayed or eliminated in this model, perhaps it would curtail the practice of music leaks. I am not certain of that though, and it is a risk.
3. This would kill record stores: There are many factors at work in the decline of physical music retail. Song based release strategy is meant to work in harmony with the existing trends, it did not initiate them. The one positive is that after a little while record stores would have a lot more data available to gauge demand. There are many instances of something that was available online first finding a successful second life in music retail for latecomers to the band. Radiohead’s album, In Rainbows, is the best example. After the pay what you want experiment the band released it in stores and still had a #1 album. This method could ensure that only the albums with the most demand are in stores eliminating the phenomenon of shipping platinum and returning gold.
4. This won’t work if you want to go to radio: The question that needs to be answered here is whether the network effects of radio play of one or two songs will result in enough artist affinity to drive sales of the non-radio singles. When coupled with the other promotional methods for those songs, I think they will. The other possible benefit of this method would be that radio might go back to playing a diverse group of songs, as singles will no longer be dictated to them. Every song is promoted, and radio can once act as a filter instead of a megaphone.