With each demo that is sent out, artists wait in anticipation of what might become their next step in their artist career pathway. Most of the time, however, the group or singer is met with the, ?Thanks for your submission, but no thanks,? letter at the door. What can singers and bands do to increase their odds of developing a relationship with an artist manager? Good question ? Let?s look at some ideas and concepts that you can put to work as you try to move your career forward.

As a former talent booking agent with the William Morris Agency and as the owner of www.reelmusician.com, I can tell you that one of the biggest walls that is built between artist managers and acts is a singer or group that is not prepared. They want the representation, but not the responsibility and financial demands that are placed upon them in the initial phase of their careers. They want someone to hold their hand and make it happen for them before they have sunk initial investments whether time, money or emotional investments that being maturity and basic music business knowledge and understanding. With this wall up you can forget it. There?s too much competition out there for a manager to waste their time ? Would you? – Of course not and neither will they. Therefore, you make it your first priority to be prepared.

How do you prepare yourself or your band you ask? – Great question. Start with your music. Is your music the same run of the mill sound that?s already out there at countless levels? Does your music or style lend itself to marketing, or can if be differentiated from scores of others already signed to the majors? Be honest here. Quite honestly many individuals or acts have copied the sound of some other act and have not fully matured into developing their own sound. There?s nothing wrong with having musical influences, every act out there will tell you who has captured their musical hearts, but your sound has got to sound like you.

What does your press kit look like that you are sending out? Is it self-produced with fairly good looking pictures, bios, etc, or is it even a step below that? Your press kit has to shine and grab the attention of your music industry pros or you can forget it. Consider having your press kits reviewed and re-worked where necessary. You?re really missing the ball if you don?t have not only a professional looking press kit, but one that is specifically designed to get your act through the obscure doors of the music industry.

What are you doing now that is worthy of representation? Is it a dream or a real concrete musical idea that will grab the hearts of your listeners? Your listeners have to fall in love with your music. All it takes is one individual with a little clout at a record label to fall in love with your music for them to start talking you up in the halls. And with a little clout, nobody wants to be on the wrong side of the aisle on any given project, so therefore, the ball starts to roll. That?s how it usually works and good managers know this.

When you start out looking for a good manager you want to find out as best you can how authentic, honest and obviously go-getters they are. When you start to approach managers, understand that they only have so much time and resources. Da you say. Well put that information into practice. As you approach managers, what can you do to not only make their lives and jobs easier, but to let them know that you are not a ?taker.? Do you know how many individuals, on a regular basis, who approach us wanting to be stars, who want us to invest all of our time and resources without offering anything in return? ? Countless. Don?t do that. Offer something to your manager. Offer to help pay for the phones, press kits, postage, etc on behalf of your act. Now you?ve got the attention of the manager. He or she now knows that you are not a taker and are a serious contender in the music industry campaign. Never thought about that did you?

When you start to approach managers, your press kits, as previously detailed, need to exude professionalism. You will want to include a logo that has been specifically designed for you or your act. This logo should be remember able and characteristic of the emotional tone you want the act to initially portray and look like. Put this logo on all of your material including websites, pictures, bios, CD?s, etc. Don?t send out press kits without a logo. There is a lot of software out there to help you with logo creation, but if you need further help you may contact us tgauger@reelmusician.com or 615-300-5030 and we can help you with it.

In closing your approaching artist managers with the ?We?ve got a great attitude and would like to do our part,? mentality will go along ways. Make sure that the demos you are sending out, are worthy to roll down the halls of the record labels with artist press kits that shine and show detailed experience and marketing knowledge sure to grab the attention of A&R directors. Do your part and hopefully one day an artist manager will do theirs on your behalf.

Mr Gauger is a former talent booking agent with the William Morris Agency and jingle singer singing on many commercials including FOX TV, UPN TV Station ID?s, O?Charley?s and many other jingles and records. Mr Gauger is the owner of http://www.ReelMusician.com and can be contacted at tgauger@reelmusician.com or 615-300-5030.

Before you begin looking for a booking agent, let?s look at a few concepts that might help serve you in your quest to move your singing career forward. Booking agencies like booking agents, operate on different levels. There are the large well-established booking agencies that have been around for years. These agencies are typically ?order taking? agencies with large stars that bring on newer ?baby acts? being promoted by the record companies. The young acts being born and promoted from the record companies now push through radio and of course the booking agency who can put that ?baby act? in front of large crowds opening for some of the biggest stars in that genre. Sound familiar. That?s how the big boys operate.

The next level down on the booking agency chain is the middle guy. He or she typically books acts that are ?has beens? and no longer pull the front-line or large arena crowds. Artists like many products on the shelves of stores, have a shelf life ? some longer than others. But nonetheless, it?s true and the agents booking some of these acts, actually, do quite well financially. There?s still enough name recognition and smaller venue, crowd pulling ability, without undue advertising expenses. While these agencies do take on acts without a record deal, hoping to receive loyalty from the act once they have been signed, they can?t afford to take that much time promoting the act like the large agencies can.

Lowest on the totem pole is not always the least powerful. These are sometimes managers of large acts looking for their next big break-through act, but oftentimes, these are manager wannabes. They?re friends of the acts or individuals with just enough knowledge to sell an act that they can represent them, most likely looking for the management side and not the booking side. Booking is not easy work. You?re out there selling a product while spinning your wheels at the same time. There are obviously countless versions of this type of booking agent.

Now that we?ve looked at agency types and how they operate – What do you have to offer them? ? Or don?t you at this point in your career, but maybe one day you will. If you understand how difficult their job is, and how much time is spent spinning wheels, then you are really beginning to understand the whole booking phenomenon and how you may or may not fit into the picture. Your act is a product and the question remains, how difficult a sell is this going to be? But before we move into the ?I might as well forget it mode,? there?s one other option you might consider ? You become the booking agent.

Why not? There are many advantages to booking on your own. First off there are no fees to pay. Large acts typically pay 10% to the large order taking agencies, and the other booking agencies, with more difficult acts to book, usually charge 20%. Now before you say you can?t or don?t have the know how, let me show you how easy to set up a booking agency is, knowing that booking is not an easy job, yet at least someone is actively pursuing your career.

To set up a booking agency you will need a phone, computer, and press kit info on you or the other acts that you are representing. You will need to be a good record keeper of your phone conversations, contacts and mail out dates ? numerous and affordable computer software out there for this. You will need a listing of promoters. There are a number of sources out there to get promoter listings. You might start with Poll Star ? a very reputable industry standard, and purchase their promoter guide along with club and venue guides. Once these basic elements are in place, you are ready to begin.

You will make call after call, placing press kits in the mail to various promoters, managers, venues and clubs. Keep detailed records of your phone conversations and where and who what was mailed to. The front end of this start up will be challenging with little to no results and so you will have to stay focused. Booking dates takes time and energy and most promoters book their dates well in advance to make sure that the particular venue is available. It will be some time before any money comes in, so be patient and continue on in some form of work that pays that bills, but gives you the time and freedom to book dates.

As you get going you will notice that there is fairly expensive software out there with a lot of valuable features, but quite honestly, you can get going for virtually nothing, if you already own a computer, and you can operate just fine without all the bells and whistles. Your biggest ongoing expense will be your phone. Figure out a good way to keep your phone bill down. I don?t have it, but some of the online phone companies seem to offer a good value with free long distance phone calls included with their basic plans.

As you look at booking and booking agencies, don?t become discouraged. It?s easy to overlook the fact that (1) you have the talent, or you wouldn?t be here, (2) you have the drive and passion for music and want to move forward, (3) if you continue you on, you will educate yourself on what it takes, and be more knowledgeable the next time you talk with an agent, manager or other music industry professional!

The Booking Agent Inside – by Tom Gauger – copyright 2006

Mr. Gauger is a former talent booking agent with the William Morris Agency and has been heard on numerous TV and radio spots including Fox TV, UPN Station ID, O?Charley?s and many others. In addition, he co-wrote ?Who To Love? slotted for upcoming telecast on the soap The Guiding Light. Mr. Gauger is the founder of http://www.reelmusician.com and can be contacted through this organization at tgauger@reelmusician.com or 615-300-5030.

Since the introduction of the cassette tape, in 1963, and especially after the popularisation of the Sony Walkman brand in the late 1970?s, mixtapes began to appear as a way to share new or rare music with friends. The Nick Hornby publication High Fidelity and the film of the same name boosted their popularity further, and created a new wave of mixtape enthusiasts. However, the current trend tends to lean towards the medium of a mix CD, rather than a mixtape. There are the purists who would argue in favour of the mixtape. They would point out the extra time and effort it takes to make a mixtape and the look, feel and texture of a tape as opposed to a CD. These purists believe, and I?m inclined to agree with them, that a mixtape is about more than just music. Mixtapes make great gifts, and as I mentioned in the first paragraph, whilst they may not be a heart shaped box of chocolates, or a bunch of flowers, they are a gift that lingers in the heart and soul of it?s recipient. A gift you can create with enthusiasm, and devotion, a gift with meaning.

There have been and always will be countless discussions on what makes a perfect mixtape. Considering the comments I?ve just made, the perfect mixtape would be something as ineffable as love itself. It would be something personal to you, given by someone who loves you, as you do them. In music terms, there are too many rules to mention in such a short article. Of course, you need to find music that your recipient loves, and also try to fit this into your theme or message.

When creating a mixtape, your must have a strong opening, and the first song is the most important. It must set the scene and tone for the rest of the tape. The last song must also be strong and leave the listener with the full understanding of your message. This does not mean however that the tracks that make up the bulk of the tape can be any song that loosely fits the theme. They must be well thought out, with the receiver in mind. Weaker songs should be weeded out without a hint of mercy, and new songs brought in to replace them. The track listing, that is the order the songs go in, should also be crafted, so as to make the tape flow. With a traditional tape method, instead of a CD you will also have to consider side A and B and the differences between them. You might want to the tape to start mellow, and end with a rockier edge, you might want the opposite. The tracks should be placed in a way that makes them seem as if they have always belonged together.

Many people also go as far as to create cover art and inserts for their mixtape or CD, and this further wraps up the idea of creating a personal one of a kind special gift.

Leaving the idea of trying to send a message or express an emotion, there are also many other uses for the mixtape. I have already mentioned the sharing of new, upcoming music and this is a popular technique used in promoting hip hop, and DJ artists, where the mix refers to the blending of tracks into a continuous piece of music.

Mixtapes however, have the potential to be a promotional tool for any new band, with their fans creating the mixtapes of their favourite independent bands, and then passing these on to their friends. They might also include more well-known bands, with a similar style. Mixtape exchanges are a popular way to make new friends and enjoy new music at the same time.

Mixtapes provide an interesting debate about copyright theft, and this is a very real debate considering the illegal downloading of mp3 files through peer-to-peer and bit-torrent networks. This, obviously, doesn?t apply if you wrote the song yourself but even if it?s not your music, a mixtape, made for a friend or a few friends, is usually regarded as ?fair use? under the Copyright Act of 1976. This becomes a different matter, when the mix is sold or distributed to thousands of strangers. It seems, in the small scale sharing of music, and mixtapes, there is no harm.

Music after all is made so that it can be played and I think it is this idea of sharing the music that you love, with a friend or someone close to you, that will continue the current fixation of making mixtapes.

—
Ed Sumner owns two music websites..

http://www.mymixtapefor.com – is a forum where you can create unique playlists, mixtapes and mix cds and the other members will help you to complete them.

http://www.musicismymiddle.com – is an online music ezine published every Wednesday (or Tuesday if you sign up), it concentrates on post-punk-electro-indie-import-emo-rock, or combinations of those genres.

They are both great fun, and free to sign up to, so take a look today..

To start out with, the nineteen-eighties was the time to rock and roll. Many songs words said nothing besides this fact. Everyone wanted to rock and roll and they went ahead and did so. The songs would often be filled only with fun lyrics, as the American economy and culture prospered throughout the decade without any problems, none like we have today at least. In addition, a common theme attached to rock and roll was sex and drugs. Drugs were not as highly banned as they are today, and it would be quite common to see people smoking a bag of weed or other drugs while at a concert of a high profile rock band. It makes sense, therefore, that many rock hits focused on the good times of this era and what made it so great.

Upbeat is the keyword when it comes to the eighties. It would be a hard matter indeed to find musical lyrics as depressing as sad as one can find today. Whereas today it is easy to hear about child abuse, suicide, and massive terrorist attacks through the radio, those were topics unheard of in this golden era of rock and roll. Many songs would focus on dancing and having a good time, as mentioned before. But there would also be songs intending to lift the spirits of the listeners. The most popular of these was written and performed by Journey. ?Don?t Stop Believin?? is still a popular hit for people of all ages even to this day.

Van Halen was another popular eighties band that was good for many great lyrical music pieces. While their hits about being hot for a teacher, smoking in school, or running with the devil certainly aren?t as deep as some of the hits today, that doesn?t change the fact that they reflected the time period they played in perfectly. Eighties lyrics, above anything else, showcased the prosperity and good times of the decade we left behind twenty years ago.

Overall, the eighties was a great time for the country and nation as a whole and it shows in the musical lyrics still played on radio stations today. While the clothing and hair styles have long since been out of fashion, the music remains to inspire and cheer up people all over the world and sends the message that good times do exist and can happen.

Joe Kenny is the webmaster at the free music lyrics website, http://www.lyricspost.net

Visit today: http://www.cardguide.co.uk/

A common usage of lyrics in this day and age is to critique the current state, or even form, of government in a country. It is quite common for folk of any nationality to be unhappy with their governing powers for one reason or another. In the United States there is much concern over the way President Bush has handled the issues of terrorism, oil, and even immigration in recent days. Rather than coming out publicly with speeches, many artists hide messages of their disgust into their lyrics. Often times people will hear their message more often and more clearly through music than in a boring speech in which people can simply change the channel. A musical group who created these type of lyrics often was Rage Against the Machine, although they have been broken up for quite some time now.

Lyrics can also be used to reminisce about good times or bad times had as a child or teenager. Often times these years are the ones that shape a person and who he or she is going to be when they grow up. So it makes sense that as an adult, many artists feel the need to pay homage to this crucial part of their life. Many of these song?s lyrics focus in on past relationships long forgotten, good times had with best friends, and even sometimes traumatic experiences with abusive or uncaring parents or relatives. Whatever the topic is, being able to sing about their past memories allows artists to release whatever emotion they are feeling.

Of course it would be a mistake to claim all lyrics are meaningful and are made with some ulterior message underneath. Often times artists are simply looking for songs to make them more money and just garble together some nonsense about dancing and making money into a song. While these lyrics certainly do not have any real positive message, most of the time, they are still among the most popular of the youth today. There is no real problem with this, however, as kids shouldn?t be worried about deep meanings at every point of their life. They should be able to feel good about themselves and have fun for no reason when they are young!

Song lyrics are something that almost every genre of music has, and it is important to realize that some songs are made with interior meanings. Without recognizing that a song may mean more than simply the words it displays from the exterior, it is easy to overlook an artist?s true creation and art and to give them less credit than they deserve.

Joe Kenny is the webmaster at the free music lyrics website, http://www.lyricspost.net. Visit today: http://www.cardguide.co.uk/

You might think having a CD and sending it out to the stations is the best way, but it really isn’t. First off your wasting waaay to much money for postage, the CD, and any other costs involved in that process. If you have your music on your computer, you have many advantages. Not only can you send your music faster, but you also keep it in great condition. Meaning a computer file will not get damaged or scratched, however your CD you can lose, scratch, or damage.

Now having CDs is a good thing to sell to people, or give them as promotional material, but you should also have them in digital format. The way to do this is to RIP the CD onto your computer. There are many different programs to use to do this, the easiest one for everyone to use is Windows Media Player.

This will probably be already installed onto your computer if you have Windows, which I figure 85%-90% of you do. If you don’t have it download it. Its free so don’t worry about it.

Once you have installed it, you want to insert your CD, and then go to the RIP tab, which will show your CDs information. Now it won’t have your information, so change it right there before you RIP the CD. All you need to do is click once and it should go into EDIT Mode. The text will be highlighted and you just change the information.

TIP: Go to Tools, Options, and Rip Music tab. You should rip your music to at least 128kps bitrate (lower quality) or what I recommend is 320kps bitrate. The higher the bitrate the better the quality, so you might as well go to 320kps and use MP3 format, however burning WMA files wouldn’t hurt as well.

After putting the correct information in you will click RIP MUSIC button, at the upper right hand corner, below the Music Tab. It will take about 10-20 minutes depending on how many tracks and what quality you want to RIP at.

TIP: Go to Tools, Options, and Rip Music tab. Above the bitrate and audio file format, you’ll see RIP Music Folder. This is where once the CD Ripping is complete will go, so make note so you can find your music.

That is pretty much it! Just rename your music files to Artists Name – Song title.(mp3, wma, or wav), doing so will result in a better and more professional looking song file!

Hope this helps many unsigned musicians, if you need more information or help please reply in this thread. And I will try to help you.

Nick Willever Currently Runs An Entire Unsigned Music Network Main Site – http://www.supportingunsignedmusic.com Community Site – http://www.unsignedmusicforum.com

Thankfully the internet offers many opportunities to do just that and much of it is free! But before you can take advantage of these opportunities, you will first need to record some of your original music. This can be done in any number of different ways. The choice you make will likely depend on your budget, preferences, time, and technical ability. Here are some recording options you might consider:

1. using a professional recording studio
2. using computer recording software such as CakeWalk
3. using a multi-track recorder, or other type of recording device

After you’ve recorded your songs you will have the ability to copy them from your CD onto your computer. The next step will be to convert each of the song files into an mp3 format.

Once your songs are available as mp3′s you will be able to upload them onto any music site that offers free hosting for your songs. One of the sites that I am currently using to do this is Soundclick, but their are many other sites as well.

The nice thing about Soundclick is that it’s absolutely free. Once signed up, you are given a place where you can tell others about yourself and your music. Your visitors can listen to, or download, any mp3 song file you decide to make available to them. It’s completely up to you. You can even have your songs added to their free online radio station so you can see how well they do in the charts. Besides the great free services that are offered, the serious artist may also choose to purchase a more aggressive advertising campaign if they want to.

Soundclick recently added a new feature that allows the indie artist to sell mp3 song files either one at a time, or as a complete album. Though Soundclick receives a certain percentage of the profit from each song sold for this service, you can establish your own price and it’s free to set up. This is a cost effective way for the indie artist to promote their music because it saves on the expense of creating, packaging, and marketing CD’s while gaining the potential to reach a far greater audience with your music via the internet.

Anyway, if you want to see how it all works just click the link at the end of this article. Then scroll down the page until you see the blue banner link that says: Soundclick . Clicking that link will take you to my own indie artist page where you can check out all the various features they have to offer. Then, go ahead and take the plunge yourself. Just click here and get started today. You’ll be glad you did.

Kathy Unruh is a singer/songwriter and webmaster of ABC Learn Guitar. She has been writing songs and providing guitar lessons to students of all ages for over 20 years. For free guitar lessons, plus tips and resources on songwriting, recording and creating a music career, please visit:http://www.abclearnguitar.com

On the way there, my friends and I always play the music of the band we are going to see. It gets us pumped up for the gig, and also if its the kind of band, where you can learn some of the lyrics, then its always good to sing-along with the band at the gig.

When we get there, we find the venue first, and if weve got time, we go for something to eat or drink. Inside the venue, I like to get as close to the front as possible and most people also want the same, but I usually manage to get within the first eight rows of people.

Its important to throw yourself into the performance of the main band as much as possible, and you can only have a break from the one footed, swaying, moshing experience, if you literally going to be sick, or faint, within the next five seconds. Until that point, you must carry on, regardless.

Remember what clothes your friends are wearing, and then between songs, you can find your friends again, if you have been separated (and if you want to find them again). Failing that, take a flag with you and wave that about.

When the gig is over, wait around incase there is an encore, and if so, go even crazier than the last song you just heard. If not, be happy with your ringing ears, and aching limbs, and feel sorry for whoever has to drive home like that. Drink your water, if you took some, or find a twenty-four hour supermarket, and stack up on bottles of water and sugary snacks. Another great idea, is to phone all your friends and tell what an awesome gig they missed. They might be asleep, but it doesnt matter, they need to hear about it now.

On the journey back, I do not listen to the band Ive just seen as the music on CD always seems a bit flat, after hearing it live. I avoid that CD for a few days, but instead listen to similar music, or if I have another gig coming up, I listen to that CD on the way home.

To read the full version of this gig guide, you will need to sign up at www.musicismymiddle.com

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So, we know that every town can have a stab at a claim to fame on the generating genre list. Its not difficult for the Liverpudlians to shout Cilla Black or Gerry and the Pacemakers in front of a passing tourist. They dont even have to mention the B word too much these days. Even Leeds can boast the more recent Sisters Of Mercy; probably one of the most innovative bands from the Goth movement, but, hold fast, there are more obscure places to go and find the birth of great names. What about Cobham in Surrey who gave us Peter Gabriel and who can forget Stanmore in Middlesex who gave us Billy Idol? So who have we been able to identify as more than just a blotch on the British music industry from this historic city?

Well, delving through the deepest depths of the back of my mind, I came up with two bands who have graced us with their enigmatic presence. The first of these bands are almost certainly going to be figures of the Sixties generation. Back in the midst of the psychedelic decade, long haired, introverted students were busily working away on their own stunning slants of already secure music themes. It wasnt just The Beatles that we got all unnecessary about by any stretch of the imagination. The youth of the day were shifting into a pattern of generating their own angles of music that their parents had been brought up on. The British Blues scene took its turn at peaking around the late Sixties with such sounds from John Mayall, Eric Clapton and Peter Green. Born out of the inspiration of the ever changing social acceptance of free thinking, a certain band flung themselves onto the general public from Nottingham and they eventually called themselves, Ten Years After. Appearing as though they had all failed the audition for Easy Rider, and with Leo Lyons, their bass guitarist looking more like Frank Zappa, these three individuals came together an created some of the greatest British born Blues around.

Although they may not light up any seasonal fire crackers in your minds, they will have made their presences felt throughout the revolutionary British Blues scene. Solidifying true Southern U.S blues with a predominately white guitar feel, they embarked on a historic career that has never really ended. Even though British Blues artists had been smouldering away in the privacy of their own bedrooms since the late Fifties, it was, strangely and literally, ten years after that this sound from the now, heavenly regarded, artists of that time, really came to the fore. It was great musicians like Alvin Lee, of Ten Years After, that gave us the backbone of a lot of the rock music we still listen to today.

Thankfully, they are still going strong and sounding just as exciting and revolutionary as they did forty years before, they just look like our dads now; bearded, friendly and trusting like a well behaved Spinal Tap, they undoubtedly, can still rock. For future gigs and contact, please go to www.ten-years-after.com.

The next influential band to come out of the Robin Hood city was a band that need no formal introduction. Tindersticks plunged head first into our ears initially as the strangely titled, Asphalt Ribbons. Quite where this name originated, I dont know, and even so, it was not under this name that they found any great success. Yet, it was the three musicians plus three more that gave us the name that stayed fast. Although, they never appeared to conger up any real critical acclaim, they did have a fairly memorable album, The Second Tindersticks Album, that landed the position of number 13 in April 1995. Describing them to a complete stranger is rather a difficult task as they did seem to create a genre all of their own. Not quite fitting into a known category, other than chamber pop, they may have been brushed casually with the title of Goth Gods, although this would have been better felt to be at the most extreme end of the scale where Goth may have met Country on a unique and totally accidental night

One thing was for certain, they somehow found the same frequency as a few other darkly spirited romantics floating around at the time. As the colourful craziness of the Eighties came to an abrupt halt and the more monochromed moroseness of the Nineties began, Tindersticks found themselves an audience that was surprisingly and completely at their mercy. Their depressingly precise lyrics and heart aching melodic music was quite the tonic for the faint hearted. Even though they were fundamentally a band who produced meaningful prose and wistful string arrangements, they were not unlike the pensive side of Lou Reeds Velvet Underground. The brooding vocals of Stuart Staples in Tindersticks was enough to melt the most coldest of souls. His emotion altering lyrics shifted darkly and absorbingly through the aching tunes and mournful chords, that the listener felt quite dragged in to his doom and gloom world. Perhaps making what we knew as mainstream Goth more along the lines of Stock, Aitken and Waterman..

Despite their bleak outlook, their beauty came from their traditionally perfected arrangements. Their music, although noose-needing, spelt out a theme that probably applies to us all at some stage in our lives. What Tindersticks gave us was an alleyway; destitute and deathly as it was, but a path when, on such down trodden moments, we might just find a guiding light. These glamorously laced themes dripping with personal failure were beautifully crafted with such musical skill that the songs seem practically timeless. It could well be argued that there never was, nor will there ever be, a band with such a gentle, inoffensive sound quite like Tindersticks. Find out more about this uniquely accomplished band at www.tindersticks.co.uk.

Since the two above mentioned bands slot into the filing cabinet of our minds of bands from Nottingham, they couldnt really be any further apart in the genre sense. Yet they are just as important to mention as any other, more famous name from anywhere esle. Both just as inspirational now to up and coming bands as others were to them in past decades. With this in mind, and with these two enchantingly professional groups, perhaps it is about time that we were graced with another band or artist from this city

michelle duffy 2006

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