Starting as a singer, then saxophonist and later becoming a published songwriter, I performed in various bands and performed around the UK, Europe and even behind the Iron Curtain.
After many years gigging, recording, learning the ropes and paying my dues, I eventually tired of being on the road and decided to give up performing. While trading as Plus Music, I now concentrate on writing catchy songs, while my management interest is to mentor, write for and guide someone I think is really worthy through the recording and gigging maze, taking him/her to the top the National Charts…internationally and then keep them there for as long as possible.
Having come from a musical background (rather than just a businessman wanting to cash in on someone else’s talents), I am uniquely placed to advise and push my chosen singer up the ladder to international success. Nothing else will do! Apart from my gigging, recording experience and some vital contacts, I also have a catalogue of completed original, catchy, chartable songs – many of which are already recorded and are just waiting for the appropriate individual who has all the right attributes for stardom from my perspective.
My earliest gigs included playing sax with Tito Simon, Erma Franklin, supporting the legend, Jimi Hendrix and Al Green.
To that end, Plus Music is seeking a truly talented solo Male/Female *singer* 16 – 22 years old, really good looking, articulate and with a sensible attitude who needs catchy songs and management and who is also into Soul, Pop, Funky, R & B for an attack on
For much more information, including an extensive biography and an extensive Links/Tips page is also on my web site; www.plusmusic.co.uk
1. Top three (or more) tips for new and emerging talent to stay afloat and last long term.
1. Be honest in your dealings and don’t be a time waster. Having a talent is just the start of your journey. Nobody wants aggravation, disrespect and a bad attitude.
2. Do not sign any document without legal advice before hand. The business is full of sharks and people who will claim they didn’t know that blah blah was illegal, or not the usual ‘best practice’. I’ve had to rescue and advice too many who
get any and all paperwork sorted *before* you do any work with anyone. Bad experiences have taught me that, even when working with a so – called ‘friend’. There are a load of handy tips on my web site’s “Links / Tips” page (web address below).
3. Never record your own lyric/melody unto somebody else’s backing track without prior agreement in writing. It is their equipment/studio that your creativity would be recorded on and you’re in a most vulnerable position and anyone can ‘claim’ to have forgotten what was agreed. You cannot force them to delete it if you don’t like it or become suspicious of them later. Even if the claim they erased it before your eyes, there are back-ups and undelete programmes.
You can only sue them after they’ve abused your trust. That’s the law! I learned the hard way many, many years ago with friend that I trusted and even had to get the then PRS (Performing Right Society – now PRS For Music) to get one ‘big name’ scoundrel to revert my copyright that should have reverted months previously.
4. As a songwriter, holding on to your copyright is one thing but you can’t know all the best contacts worldwide who are in the best position to exploit your work *for YOU* in each territory. For example, publishing companies in separate territories know the local advertising agencies and singers looking for just *that* type of song – you won’t! Publishers in say, Japan, Canada, Australia or Germany will each have a load of local contacts that could benefit you that you’ll never discover otherwise.
5. Don’t write a song with someone without a points/royalty split agreement. (I can send you a free one which requires no negotiation or lawyer’s bill.) Simple logic: 6 months down the line your partner suddenly ‘claims’ that he/she should get the biggest share of the copyright/ royalty split. Where’s the proof? Remember, where there’s a hit – there’s often a writ!
6. Make sure that you join PRS for Music as a writer and PPL (Public performance Ltd) if you perform on any record. PPL will pay you every time your performance is broadcast as a backing musician or backing singer.
7. Don’t just look for a manager that’s rich to spend money on you because your talent, his/her managerial skills, contracts and mutual trust should be the most important things. The more a manager spends on you – the more you’ll owe in the long run and the higher the percentage he/she will want from your earnings. There are people with money with no contacts or know-how who’ve fallen by the wayside after messing up an artist’s career.
8. You’ll want to implicitly trust your manager to do the best for you in any situation.
9. The person offering you a contract is in the best person to *lie* to you. Get a music business lawyer before the problem starts, or pay more later on to sort out the problem.
10. Family and friends may not want to be honest with you and some may not have the musical ears to know if you’re in tune, so get opinions on your talent from others too, even if you pretend that it’s someone you ‘know’ that’s singing on that demo that you did.