Riffs That Shook The World #1: Metallica – Creeping Death

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Riffs That Shook The World #1: Metallica – Creeping Death
And the winner is...
28/08/2014 ~ by Metal Hammer
Topping our poll of Riffs That Shook The World – as voted for by you – is the legendary Creeping Death by Metallica.

What is it that hits you hardest about Creeping Death? Take a second to think about it, because this thrash metal journey has plenty going for it. Is it that thunderous, thudding introduction that shoots adrenaline through your veins, getting straight to the point and setting the riotous tone from the very first note of the song? Maybe it’s that middle section that slugs away like body blows from a heavyweight boxer and includes what could very well be the most definitive gang vocal ever recorded? The epic scale and tone of the guitar solos? The dual guitar moments that added a sophistication and element of class to the “hunt and kill” rhetoric thrash had made its forte by 1984?

Whatever it was, it was apparent upon the release of Ride The Lightning that Creeping Death was unchartered territory for both Metallica and metal as a whole.

“Creeping Death was one of the first songs responsible for the musical growth of the band, I think,” reflects Kirk Hammett. “It was one of the first songs written for Ride The Lightning and it was a clear step in the right direction. It was as heavy as anything on Kill ‘Em All but on a technical level, we had put that much more into the writing and arrangement and we made it more demanding for ourselves, and it set the stage for therest of the album.”

Though the song obviously goes down as a Metallica classic, dig a little deeper and you can find that Hammett’s former band Exodus had a tiny part to play in the creation of this metal masterpiece…

“James and Lars hammered that song out in a day and then called me down to the rehearsal space,” Kirk reveals of the song’s origin. “They got to the ‘Die by my hand’ riff and they started grinning at me and I laughed because I’d had that riff kicking around for so long and we’d used it in an Exodus demo, but it just worked in Creeping Death so well. I wrote it when I was 16 years old, definitely still in high school, and I remember thinking, ‘Wow, this is heavier than a lot of the bands that I listen to,’ and thought I’d touched upon something. It was the first riff I ever wrote that was in that sphere and I’ll always have tremendous affinity with it for that reason.”

It’s perhaps in the live setting that Creeping Death has solidified its reputation as owning one of the biggest riffs in the history of metal. From sweaty clubs in the mid-80s to the stadiums and festival headline slots they occupy today, Creeping Death is second only to Master Of Puppets in the Metallica canon for most live airings ever, and is regularly deployed to open the band’s live set. Indeed, after a weekend of Glastonbury coverage that involved insipid pig vomit like Ed Sheeran and Arcade Fire, Creeping Death opening Metallica’s setlist on the main stage felt like a bazooka being fired at a hippie commune.

“Mission accomplished, then!” laughs Kirk. “It’s a song that pulls you in from the very beginning and we open with it for that reason. You don’t have to build yourself up; from the first second it pulls you in and the set goes from there.”

Perhaps the most impressive thing about the track is that it still sounds so crushingly heavy a full 30 years after its release. When you consider how dated some things from as recent as the late 90s and early noughties sound (have you listened to Soulfly, Drowning Pool or Static-X lately?), that Creeping Death still sounds like a Michael Bay scene set in Hell tells its own story.

“I can only speculate, but I think one of the things that makes it so timeless is that it sounded like nothing else that was going on at that time,” summarises Kirk. “It didn’t have anything to do with any of the trends that were going on. It didn’t sound anything like what would become hair metal and it only had elements of what was going on in thrash and when you can’t tie a song or a sound to a particular point in time, it means you can’t date it and that’s probably why people would say it’s stood the test of time so well. I’m proud of that.”

Location:Hempland Rd,Mountville,United States

Lucky 13: World's Top Paid DJs Make List Of "Electronic Cash Kings 2014" Calvin-harrisZack O'Malley Greenburg unveils the "World's Highest-Paid DJs" of 2014 based on the last 12 months earnings. As expected it's an EDM party all day and all night in the land of Electronic Cash Kings. Here's not 10, not 12, but 13 of the luckiest men in the world. Which is not to say they didn't earn it! Here's another edition of World's Highest-Paid DJs also available in slide show form. Lucky 13: Top Paid DJs of 2014 No. 1: Calvin Harris $66 million No. 2: David Guetta $30 million No. 3 (TIE): Avicii $28 million No. 3 (TIE): Tiesto $28 million No. 5: Steve Aoki $23 million No. 6: Afrojack $22 million No. 7: Zedd $21 million No. 8: Kaskade $17 million No. 9: Skrillex $16.5 million No. 10: Deadmau5 $16 million No. 11: Hardwell $13 million No. 12 (TIE): Armin van Buuren No. 12 (TIE): Steve Angello $12 million How was this list created? "Our estimates for the Electronic Cash Kings list include earnings from live shows, merchandise sales, endorsements, recorded music sales and external business ventures. Earnings totals were calculated for the 12-month period from June 1, 2013 to June 1, 2014. Sources include Songkick, Pollstar, RIAA, managers, lawyers and some of the people at the heart of the EDM revolution." [Thumbnail pic of Calvin Harris via Wikipedia.]

Lucky 13: World's Top Paid DJs Make List Of "Electronic Cash Kings 2014"

Zack O'Malley Greenburg unveils the "World's Highest-Paid DJs" of 2014 based on the last 12 months earnings. As expected it's an EDM party all day and all night in the land of Electronic Cash Kings. Here's not 10, not 12, but 13 of the luckiest men in the world. Which is not to say they didn't earn it!

Here's another edition of World's Highest-Paid DJs also available in slide show form.

Lucky 13: Top Paid DJs of 2014

No. 1: Calvin Harris $66 million

No. 2: David Guetta $30 million

No. 3 (TIE): Avicii $28 million

No. 3 (TIE): Tiesto $28 million

No. 5: Steve Aoki $23 million

No. 6: Afrojack $22 million

No. 7: Zedd $21 million

No. 8: Kaskade $17 million

No. 9: Skrillex $16.5 million

No. 10: Deadmau5 $16 million

No. 11: Hardwell $13 million

No. 12 (TIE): Armin van Buuren

No. 12 (TIE): Steve Angello $12 million

How was this list created?

"Our estimates for the Electronic Cash Kings list include earnings from live shows, merchandise sales, endorsements, recorded music sales and external business ventures. Earnings totals were calculated for the 12-month period from June 1, 2013 to June 1, 2014. Sources include Songkick, Pollstar, RIAA, managers, lawyers and some of the people at the heart of the EDM revolution."

[Thumbnail pic of Calvin Harris via Wikipedia.]

Start Building Your Music Career By Focusing On Regional And Niche Music Publications

Start Building Your Music Career By Focusing On Regional And Niche Music Publications


By Jamie Ludwig from the Sonicbids Blog.

Many independent musicians dream of playing their favorite late night TV shows, landing interviews in iconic magazines, and receiving top-score record reviews on the most notorious music websites. Sure, these are great press aspirations, but obsessing over and chasing after big-name media rather than adopting a comprehensive plan across various types of outlets can actually undermine your career goals. For the majority of early-stage music artists, regional and niche publications are equally, if not more, essential than the majors when it comes to positioning oneself for long term sustainability in an increasingly competitive market.

Here are three examples of how balancing expectations for coverage early in an artist’s career can help lead to the next levels of success. And in the name of balance – and to show this isn’t just a journalist glorifying the full spectrum of the publishing sphere – I’ve asked some music publicists (who face this subject every day) to share their perspective as well.


1. Grow an audience of dedicated fans

What’s one thing every emerging musician needs? Die-hard fans. Outside of your immediate circle (well, hopefully your friends and family dig and support your art), a fanbase takes considerable time to build – even longer if you’re not constantly touring. Coverage on small blogs and niche sites can help you tap into a worldwide community of potential listeners who live and breathe your style of music.

“Niche listeners who read niche-focused websites are the ones who are most likely to actually buy your niche records,” says Dave Halstead of Canvas Media PR, a longtime publicist who currently works with independent artists including Speedy Ortiz, Ava Luna, and A Sunny Day in Glasgow, among others. “I see a lot of bands these days who try to skip the ‘building a fanbase’ portion of their career and want to go straight for ‘internet famous.’ That only lasts so long without real fans.”

2. Be a big fish in a small pond

In mainstream media, your band is one of nearly countless artists in huge pool of talent, and it’s all too easy to get overlooked. In your local papers or on niche websites the situation could be quite different – your band may grow a cult following, become a local-circuit darling, or at least a familiar name with regular coverage. These disparate framings may start with the press, but the results play out elsewhere – for example, the live music community. There are plenty of bands who get coverage in genre-focused outlets and draw large crowds in other countries but can’t command a sizable audience at home. On the flipside, a favorite local band who regularly pops up in regional alt-weeklies and podcasts may be hard-pressed to book shows far beyond city limits. And then there are new bands who do get a nod from mainstream media, but without the support from regional press, they have a hard time attracting concertgoers while on the road (this may go double for weeknight gigs!). See where I’m going with this?

It’s also worth noting that sometimes the actual “size” of a media outlet isn’t what it seems. “The big impressive glossy music magazines have dwindling circulation numbers,” says Halstead. “I know plenty of regional weekly publications that actually reach more readers than the magazines you might buy at Barnes & Noble.”

3. Leverage early coverage into new opportunities

Along with reading press materials and listening to sample tracks (or with any luck, catching a show), one of the first things music journalists do when considering an unknown band for coverage is run their name through an internet search engine. In this case, the tables can turn when it comes to common perceptions of the value of “big vs. small” media outlets. Niche and local publications are often the earliest adherents of new music, and many cover independent artists in the types of lengthy features and extended reviews that are oft-coveted, but harder to wrangle in larger outlets. These, in turn, help journalists place bands in a context and find story hooks for future articles.

Heather West, founder of Western Publicity and handles PR for Riot Fest, boutique vinyl label Cricket Cemetery, and independent bands including Dead Fingers and Archie Powell and the Exports, agrees that coverage in smaller publications is crucial to building momentum for future media opportunities. “Bands have to start somewhere,” she says. “Podcasts and smaller publications are a great way to start building a press kit so when you reach out to larger or more significant publications, they can see that there is a body of work in praise of the band.”

Bands can also make use of those clips on their own, by including snippets of those accolades in their press kit. “It is simplistic, but the general idea that someone paid attention to your music sort of reinforces the notion that it is worth paying attention to,” says West. These clips can be leveraged into opportunities beyond the press as well, by boosting your perceived viability to music retailers and concert promoters.

So, when it comes to press strategy, early stage bands should continue to shoot for the stars – so long as they think “universe,” not “solar system.” Balanced press expectations enable artists to take more power over their careers and have more appreciation in the results of their efforts.

Jamie Ludwig is a veteran music writer and editor who has worked in various facets of the music industry. She is currently the editorial director of ChicagoMusic.org, a not-for-profit website focused on regional and touring music of all genres; a contributor to Noisey (Vice) and Wondering Sound, among other titles; and has spoken on a number of industry panels.

Location:N Reservoir St,Lancaster,United States

ReverbNation Closes Reverb Store, Turns To MerchOutfitters For Artist Merch

ReverbNation Closes Reverb Store, Turns To MerchOutfitters For Artist Merch

(UPDATE 3) ReverbNation has closed its Reverb Store offering merch-on-demand. Apparently use by musicians was limited and ReverbNation will now be offering musicians a discount on merch in bulk orders through MerchOutfitters.com. Though this can't clearly be described as a trend, the ability to sell merch through a variety of outlets, from Spotify to live shows enhanced with mobile apps, may be supporting a shift away from the limits of print-on-demand to custom short runs even for artists with relatively limited merch needs.

ReverbNation's issued this statement:

"As of September 30, 2014, ReverbNation will no longer offer the ReverbStore to Artists. We know that merchandise sales are an important part of being a musicians so we've reached an agreement with MerchOutfitters.com. They're offering ReverbNation customers a 10% discount on all merchandise."

MusicOutfitters is owned and operated by Mixonic, a leader in online custom media and products since 2001.

As an alternative, DizzyJam is encouraging artists to meet their on-demand merch needs with them:

"To continue to support the scene we love, Dizzyjam is helping those who’ve lost access to a print-on-demand store, by offering an extra 5% commission to anyone who signs up for a free account with us between now and September 20th."

Print-on-demand services seem most useful for bands who sell merch in very limited quantities or who want to test demand for new items.

But as merch becomes a more important piece of the music revenue pie, a wider range of options for selling merch are emerging, from Spotify partnerships to mobile apps to better serve fans, and they almost all rely on musicians having bulk merch available and usually require musicians to fulfill orders themselves. So I'm guessing merch manufacturers offering custom short runs are currently benefiting.

 Check me out on Reverbnation Page: Hayzeemusic Reverbnation page.

Location:Sycamore Dr,Lancaster,United States

McDonald's Big Digital Push Includes Music As A Customer Reward

McDonald's Big Digital Push Includes Music As A Customer Reward

A series of new hires and job listings for McDonald's Global Digital Team are catching attention as business writers and competitors consider their plans to create an ecommerce platform and offer music as a reward to loyal customers. While most positions are based at McDonald's Oak Brook, Illinois headquarters, the opening for a Product Director, Music and Entertainment may be based in the new San Francisco office McDonald's opened to build stronger ties with the tech community.

CNBC reported on McDonald's recent appointment of Julia Vander Ploeg as their first U.S. VP of Digital. Vander Ploeg was previously at Ticketmaster.

CNBC also describes a series of job postings that Mashable manages to link to that reveal more about what McDonald's is planning.

A listing for a Project Lead, Release Manager: eCommerce Platform describes their ecommerce platform plans:

"As digital consumer engagement models and retail business opportunities evolve, McDonald’s will continue to create an eCommerce Platform that will enable us to reach even more customers and support McDonald's global digital business and technology growth. Our eCommerce Platform will revolutionize how McDonald’s interfaces with our customers by removing physical boundaries to allow our customers to connect to and order McDonald’s any time or place, globally."

"Given McDonald’s scale – 70 million customers served daily across 119 countries – this platform will compete in transaction volumes, performance, and reliability needs with industry-leading eCommerce retailers such as Amazon and eBay. This platform is part of a broader set of applications that will significantly modernize McDonald’s, and is the foundational core, responsible for ensuring each customer’s order reaches the restaurant."

And a listing for Product Director, Music and Entertainment reveals more of their plans for music.

Responsibilities include:

"Create the customer strategy and product roadmap for a variety of digital music and entertainment experiences that McDonald’s will provide to customers"

"Establish multi-channel music and emerging entertainment programs to reward our most enthusiastic customers and drive frequency"

"Leverage music and product management experience with direct-to-consumer companies"

"Evaluate and select vendors and negotiate contracts within the music and entertainment industries"

Minimum Requirements include:

"Minimum 7+ years experience in product management for consumer technology, Internet, digital media or e-commerce"

"Deep knowledge of music licensing practices and digital rights management"

"Significant experience developing and building music and entertainment products"

It should be interesting to see what results unless, of course, this is all just to say you will soon be able to get music and other digital items when you earn loyalty points at McDonald's for buying food-related items.

But it sounds bigger than that and one day we'll know the full details

Location:Sycamore Dr,Lancaster,United States

5 Ways To Promote Your Music Teaching Business

5 Ways To Promote Your Music Teaching Business
BY: MARTYN CROSTON | POST A COMMENT | PRINT ARTICLE
A successful private music teacher possesses two essential features.

1) The ability to communicate and teach effectively

2) The ability to understand marketing and business.

You can be a good teacher, and pick up referrals over time, but if you want to earn a full-time income and find students more quickly, you need to understand the business aspects of music teaching.

This article contains five offline methods for promoting your music teaching business

1) Word of mouth

This is the best place to start. Tell everyone you know that you’re a private music teacher and hopefully they’ll spread the word. Tell family members, friends and acquaintances. You can offer a “finder’s fee” and pay the person who refers you 100% of the first lesson fee.

2) Business Cards

Get hold of some business cards with your name, address, phone number, e-mail address and website address. You can contact your local print shop or do it online. It doesn’t need to be too fancy, but shop around as you get some great deals, especially online. Keep the design fairly simple, but you might want to consider a music theme background linked to your instrument.

Leave a few business cards in your local music shops, libraries, sports centres and start giving them to musicians, guys working in rehearsal rooms and people you meet at events. Don’t be pushy, but when people ask what you do, tell them and offer them your card.

3) Posters and Flyers.

Create some flyers, posters and put them here, there and everywhere – local shops, libraries, sports centres, rehearsal rooms (this is a good one), schools, music colleges and universities.

You should always know your exact demographic in business, and while many private music teachers target younger people, college kids, school pupils etc, they often overlook one important age group.

The retired.

If you can find an area in your town or city with a predominantly older demographic, pop a few flyers through their letter boxes.

Many retired people have time on their hands and would love to learn a musical instrument. I meet so many who wish they’d learnt the piano when they were younger and I simply tell them it’s never too late.

Also, you might meet some who had lessons years ago and just didn’t like their teacher.

Don’t forget some ‘old school’ teaching methods would make you wince if you used them in the 21st century!

4) Phone/E-mail

I’m not saying go and cold call 1000’s of residents in your town, but it might be worth contacting local music teachers in schools, band directors and ask if their students would like lessons. These people are well connected and once they pass you one student, you can quickly gain some referrals.

You could also contact your local college or university and see if they’re hiring for an adjunct position.

While I was building my teaching business, I remember sending about 100 e-mails to local independent schools, offering my services as a piano teacher, with a link to my website, and I got 2 job offers with two full days of teaching.

5) Contact the competition

If there is an established private music teacher in your town, give them a call. If they have a full teaching timetable, they might be turning away students, when they could be passing them on to you.

This strategy can work well, and as long as you show it is in their interest, most will go for it. For example, you could offer them gigs or concerts in exchange when you’re unavailable.

I often perform at weddings and if I’m busy I have 2-3 pianists who I recommend people to contact. And these guys do the same for me.

These are just some strategies which can help you start and expand your business

Although it might seem tough to get started, it will pay off in the long term, and eventually you should pick up some referrals which will make things easier.

Try to set aside some time each day and ask yourself, “What can I do today to grow my business?”

Hopefully, your private teaching studio will grow to the point that you’ll have a waiting list of students!

This article highlights a few offline methods for finding students, but you should also consider online strategies as well.

Martyn Croston helps musicians build successful teaching businesses. He shares more advice on his website and in his FREE guide, “How To Find Students Using Google and Facebook” => http://www.musicteacherinfo.com

5 Ways To Promote Your Music Teaching Business




Location:Sycamore Dr,Lancaster,United States