What Are The Essential Features Of A Hit Record

What Are The Essential Features Of a Hit Record?

We have all heard those hit songs that can be considered ‘timeless classics’.

Whether it’s a hip hop track, a rock classic or an 80’s power ballad, these songs share some essential features that ensure they will be on the airwaves for years to come. Obviously there is not one hard and fast rule for this as every song is different, but here is a list of features that many of these hit records share.

A ‘catchy’ song

Starting with the obvious, a hit record must be a great song. Above all the melody must be strong, as this is what a listener focuses on and this should be accompanied by some great lyrics and a good groove. You can apply the best production techniques possible, but if the song is weak then the record will sink without a trace!

A strong vocal

Having a great vocal is a real asset to any record. If you have a quality song and you have a strong vocalist to sing the melody, then this can be the golden ticket to creating a hit record. A great vocal does not necessarily need to be technically proficient, but more to do with how a singer can successfully interpret the emotion in the song i.e. how they can convey the message in the lyrics.

A creative arrangement

After the song and the vocal, you need to ensure you have a strong arrangement. This involves using the right structure and ensuring each section of the music is interesting for the listener. This can be achieved by adding extra instruments, adding a counter melody, changing the drum pattern, or changing the key etc. Have a listen to some hit songs, and pay attention to the subtle differences between each section. How is verse 2 different to verse 1? How is the last chorus different to the first?

An accomplished performance

You may have the heard the crude expression “You can’t goldplate a turd” and this definitely applies to creating a hit record. A track must sound like there is ‘life’ in the performance and no amount of editing in the studio, fiddling with EQ’s, compression or reverb can replicate this. It can be hard to put your finger on it at times, which is all the more frustrating, but sometimes one take just sounds better than another. If you have musicians who put there all into a performance and play with real emotion and intensity, then the production phase becomes far easier!

A well produced track

Although there are examples of hit songs which don’t technically sound very good, generally the really big and timeless records do sound excellent. A well engineered record does not guarantee it will be a smash, especially if the song, vocal, arrangement and performance are not up to scratch, but it can add an extra dimension to the overall sound, if the EQ’s are well balanced and the right amount of reverb and compression is applied.

The timeless factor

Despite having all the previous factors in place, if the track sounds like the last trend, and the musicians or band members look like it too, then the record might not take off as you would like. Having said that, a ‘retro’ look and sound to a band can work out really well if you go back two or more trends.

Are all the above factors essential for every hit song?

Well in short, no.

There will always be some songs which become hit records and cannot be explained. You will find some songs with weak vocals and melodies which take the charts by storm.

However, on most of the really big hits, you will find they contain the majority, if not all, of the factors in this article. Songs like “Merry Christmas Everybody” by Slade will be heard every December in shopping malls and on the radio. Other hits like “Billie Jean” by Michael Jackson and “Imagine” by John Lennon will be played all year round for many years to come.

Would you like some great tips on how to write a song and compose music in any style? Download a FREE 10-page guide on “5 Essential Elements On How To Improve Your Music Making In Any Style” at http://make-music.net

What's The Real Cost Of Signing A Record Deal

What’s The Real Cost of Signing A Major Record Deal?

If new artists are akin to California fires, the intensity is still the same as it was 20 years ago. It's just that more people now have matches. Sadly, they're all choosing to light up in the same spot. Everybody wants a major deal. It makes you wonder how many more crooked deals will be dealt before newcomers finally decide to promote their art independent of the strings of majors. Aligning with a major label offers few benefits beyond the spoils of fame and the facade of a panoramic lifestyle. Let's examine the merits and demerits of being on a major label, shall we?

Fame
Sure, having the long-reaching tentacles of majors will help deliver your product to the masses and bring you ample exposure. The problem is that new artists often get peanuts on their percentages in exchange for fame. Who wants to be a broke but famous star?

Advances
It's true that you're likely to get large advances from majors. That said, just remember that you have to pay back the advances and recordings costs from your royalty rate as applied to actual sales. When your records no longer shift those monstrous units, you'll find that you're stuck making money for a label even if the passion and financial benefits are long gone. It's like taking a loan that ties you to your creditor long enough to limit your long-term success.

Sales
Ah, the main objective of everyone who's ever picked up a mic. If you made an argument in favor of sales 12 years ago, I would've nodded in agreement and slapped you hi-five. A cursory glance at the record sales within the last 5 years, however, shows an industry that's on its knees. Every dime spent on promoting an artist's record, from video production costs to radio promo, is recoupable from his royalty points (with few exceptions, of course). When, say $300,000 of income goes to the label, only about 10% of that goes towards recoupment. This way, you'll have to shift a bazillion units to see substantial revenue from royalty points.

Major vs Indie
It's a surprise that newcomers, who clearly have respectable artistic goals, aren't deciding to pass up opportunities to sign to majors. Drake, for instance, had an opportunity to buck tradition and stick it to the majors. He had already gathered reams of buzz. His mixtapes were moving like hot cakes. He had an opportunity to debut in the Top 10 as an independent artist. In the end, he chose to play ball with the same people that passed on an opportunity to sign him when he was just Wheelchair Jimmy. The world is waiting to see how his deal with Universal will impact his craft. On the flip side, Chicago outfit the Cool Kids and New Orleans MC Jay Electronica have shown that it's possible to attain reasonable success sans the backing of a major. Did you hear the one about Cool Kids co-headlining a North American tour with the Clipse in 2009? That's an indie act with no full-length album co-headlining a tour with a major act. Lucrative deals with the likes of Nike and EA Sports stand as a testament to the Chicago duo's ability to leverage their music for indie success. Similarly, Jay Electronica, who's affiliated with New York-based indie Decon Records, has managed to build a cult-like street following while churning quality music. Indies like Rhymesayers Entertainment, Duck Down and Stone's Throw Records have all managed to stay relevant for decades while consistently dropping quality albums. Everyone seems to be jostling for the top spot these days, but the smart ones have figured out that the middle is where the gold lies.

Quality vs Quantity
One area that illuminates the disparity between majors and indies is album packaging. Sometimes it takes an album that offers a combination of quality music and unique packaging to get a consumer's attention. Brent Rollins, the mastermind behind many classic hip-hop album covers (including Freeway & Jake One's Stimulus Package) laments that big labels are more reluctant to invest in superior packaging. "When I work with large labels," says Rollins, "it’s like pulling teeth just getting them to use something like a metallic ink on an album cover. Sometimes they talk about something like 5 cents out of a dollar extra to do something. I know that adds up when you’re printing a lot of them, but we’re talking about giving something back to people." While large record companies are typically less enthusiastic about embracing new ideas, independent labels have always been synonymous with creative liberty. Others might continue to seek the rat race that is wooing a major label, but diligent artists will seize every available opportunity to steward their future and change the game. Take it from Courtney Love, who's seen both the good and the ugly side of major deals. "If a record company has a reason to exist, it has to bring an artist's music to more fans and it has to deliver more and better music to the audience. You bring me a bigger audience or a better relationship with my audience or get the f--k out of my way.

Summing It Up
This is not to suggest that major record cartels are irrelevant. Previously undiscovered artists benefit from the huge promotional break a major has to offer. It takes a ton of funds to break a new artist -- funds most artists don't have on their own. But it's important to weigh the pros and cons of signing to a major before making the plunge. What's the real cost of signing a freaking 5-album major deal in the long run? What does it mean when an artist has to recoup, say $250,000 of her promo budget while the label earns 10 times that amount? Keep in mind that most artists makes $0 from royalty points until recoupment is clear. That's sad. The music industry is a burning house and people are running into the building with more gasoline instead of trying to douse the fire. Will this be the generation that finally capsizes a broken system or will it be the one that settles for the okey-dokey? Will this be the generation that revolutionizes music business or will it be the one that settles for a stint in the belly of the beast? That question lies in the hands of the Drakes and the Jay Electronica's of this world.

How To Get Your Music Published

Getting your music published is usually one of the first goals an artist looks to accomplish in a developing music career. However, lots of up and coming musicians are lost in the dark when it comes to understanding how to get their music, instrumentals and beats published. What we decided to do for those who are in need of this information, is layout the basics of getting your music published in today’s music industry.

First and foremost, you will need actual recorded music to make this whole thing possible, so if you’re not at that stage in your career, that’s going to be the first thing you need to complete. Once you have recorded music the next logical step is making sure those recordings are protected from copyright infringements by registering them with the library of congress. This step protects your recordings for basically your entire life plus 70 years, so make sure you don’t miss this step.

Once you have your music, instrumentals and beats protected by the library of congress, you’ll want to then create a spreadsheet where you can add in all of the music publishers that you’re going to be researching. Once you have the spreadsheet created, the next step is going to be researching music publishers who work with your style of music, instrumentals and beats. When researching publishers for your music it’s important to note things like non exclusive or exclusive deals that they offer to their artist. This is a very important step that you don’t want to miss because it can possibly have a major effect on what you would like to do with your music in the future. Ideally, finding more non-exclusive deals is the best possible option for most new independent artists.

When you have your spreadsheet filled up with at least 100 music publishers, you’ll need to create an email template that you can send to all the companies listed on your sheet. Make sure the first email you send is somewhat short and to the point. All you should try to accomplish on your first email is permission to send another email with an MP3 attached or a link to your music for them to consider for their roster addition. As you start getting responses back, make sure you’re noting them on your spreadsheet and also responding back with all of the information that they are asking you for. In some cases, they’re going to request you send them a physical CD. If you have one, send it. If you don’t, just be honest and let them know that you only have digital recordings of the songs that they’re requesting, however you have no problem getting them on a physical CD if needed.

One thing to keep in mind is that as long as the music publishing deals you’re signing are non-exclusive, you can always look for and work with more publishers for those same songs. However, if the deal is exclusive, it’s going to be a guarantee that the publisher you signed the contract with is going to be the only one who can work with the songs that you signed with them.

Once you get this down, the only thing left is to repeat this process over and over as often as possible. Like most things, with more people out there that are working your songs the more likely you’re going to start getting placements on a consistent basis.

Kendrick Lamar Reveals Meaning Of "good kid, m.A.A.d city" & Collabo With T.I.

Kendrick Lamar reveals the meaning behind the title of his album "good kid, m.A.A.d City" and discusses working with T.I., J. Cole, and Scoop DeVille.

West Coast hip hop is being revolutionized and Kendrick Lamaris at the forefront. With his first major studio album dropping next week, K.Dot has been making the media rounds to promote good kid, m.A.A.d city and finally comes clean as to the meaning behind the decoded title. He also discusses collaborating with T.I. and his project with J. Cole, and recording with producer Scoop DeVille.

The title of his album is an obvious ode to the city he’s from, Compton, but Kendrick had not actually divulged he meaning of “good kid, m.A.A.d ity”, but now says it is double meaning, “Two meanings, the first one is...My Angry Adolescence Divided,” and adds the second meaning is, “My Angel’s on Angel Dust.” Apparently the Cali rapper smoked a bad batch of weed once that was laced with angel dust, “that’s the reason I don’t smoke...that was me, that the guy laced...It was just me getting my hands on the wrong thing at the wrong time.” As for the capitalized “As” he says it is just a style choice, “I just wanted that to stand out – on the capitalized As.”
Recently he called T.I. onto stage during a performance, and Lamar admits that the two had recorded something together, “We got something, on his album – with Tip...It’s a crazy joint.” As far as the anticipated collabo project with J. Cole, Kendrick remained tight lipped, “Ya, we gonna drop that out the sky, I ain’t givin no dates, no nuthin.”
His single “Poetic Justice” which is a smooth track featuringDrake and production by Scoop DeVille. K.Dot talks about working with the producer, “me and scoop go back, all the way back to like ’08. He always just had crazy beats...I finally got a chance this time around to just lock in with him...he’s thinking out the box, man.”
Kendrick Lamar’s good kid, m.A.A.d city drops October 22^nd.

Missy Elliott Talks "Supa Dupa Fly" And Titles For New Album

Fifteen years later, Missy Elliott talks about "Supa Dupa Fly" and discusses her recording process and possibly titles for her upcoming LP.

Partially responsible for revolutionizing the role of female rappers, Missy Elliott recently spoke about the fifteen year anniversary of her seminal album Supa Dupa Fly. Miss talks about how she feels that album was far ahead of its time, and then discusses possible album titles for her new project and her recording process.

When Supa Dupa Fly dropped in 1997, people did not know how to digest it, as it was a unique flow, and the visuals that accompanied were completely different from anything else people were seeing on TV. In her interview withFuse, via Rap-Up, Misdemeanor talks about how she feels it was ten or so years ahead of its time, “Everything about it, you hadn’t heard it before...even the rap flows was different. I think it was 10 years ahead, 15 years ahead.”
Discussing possible titles for her comeback album Missy mentions a Ustream session she had with fans, and how now she’s stumped on what to call the project, “Somebody said Class Dismissed sounds like class is over. Class In Session sounds like you’re taking people to school. I gotta figure it out.”
It may be fifteen years later, but when creating music goes, Missy believes in sticking to the formula that has worked for her over the years, “My approach to writing and producing, compared to when I did it in 1997. I don’t think it’s any different.” Missy adds that she’s always trying to stay ahead of the trends in music, “ I think I go in the same way, I try to write what is relatable to the people, not necessarily just what I think is hot... As far as producing, even back then, I try to do the opposite of everything I’m hearing.”
She was tight-lipped about features, but did hint that “Not Tonight (Ladies Night)” part two, which originally featured Eve and Lil Kim was a “great possibility”.

Exclusive: MMG's Omarion Announces "The Care Package" EP

During an exclusive interview with HNHH, Omarion announces he will be dropping an EP entitled "The Care Package" on November 12th.

After a summer of dominance, MMG continues to release stellar mixtapes and albums. In an exclusive interview with HotNewHipHop, Omarion announced that he will be dropping a free EP as a prelude to his upcoming album.
Always one to cater to the ladies, MMG’s R&B singer says he will be dropping the project entitled The Care Package, on November 12^th, which happens to be his birthday. Omarion said, “I just decided maybe a couple of days ago, I’m gonna be dropping a hot new...what i’m calling it, The Care Package.”
He adds that although it’s his birthday, he wants to give a gift to his fans, “On the day of my birth, November 12^th, we just gonna give ya’ll four or five records, hot and heavy for the women, to keep ya’ll warm, we gonna be giving away some free music. It’s my gift to you.”
HNHH will be dropping the full interview this Tuesday where we joined Omarion on the set of his latest video shoot.

Music Managers

Music managers
A music manager (or band manager) may handle career areas for bands, singers, and DJs.
A music manager may be hired by a musician or band, or the manager may discover the band, and the relationship is usually contractually bound with mutual assurances, warranties, performances guarantees, and so forth. The manager's main job is to help with determining decisions related to career moves, bookings, promotion, business deals, recording contracts, etc. The role of music managers can be extensive and may include similar duties to that of a press agent, promoter, booking agent, business manager (who are usually certified public accountants), tour managers, and sometimes even a personal assistant. Manager's contracts, however, cannot license those responsibilities unto the manager in the same way a state license would empower the agent to do so. Therefore, conflicting areas of interest may arise unless those are clarified in the contract. That said, a manager should be able to read and understand and explain a contract and study up on the long-term implications of contractual agreements that they, the bands, and the people they do business with, enter into.
Before the manager enters into an agreement with the band, their relationship may be regarded as competing for interest; after a good contract is signed, their interests, obligations and incentives are aligned, and the interest in success is shared.
Responsibilities of a music manager are often divided among many who manage various aspects of a musical career. With an unsigned act, music managers may assume multiple roles: graphic designer, publicist, promoter, and handling money and finances.^[3] As an artist's career develops, responsibilities may grow, and because of their percentage agreement with the band, the manager's income may grow as well.

A music manager becomes important to managing the many different pieces that make up a career in music. The manager can assist singers, songwriters, and instrumentalists in molding a career, finding music producers, and developing relationships with record companies, publishers, agents, and the music-loving public. They should carefully consider when certain contributions have been made which would also entitle them to cowriting credits, Executive Producer credit, or Producer credit should they become involved in songwriting, financing works, or actually producing demos and recordings, and should carefully know these jobs and these fees should be considered either as separate from the contract, in addition to the contract, or as free to the musician as clarified in emails and the contract. The duties of an active music manager may include supporting the band's development of a reputation for the musician(s) and building a fan base, which may include mastering and launching a demo CD, developing and releasing press kits, planning promotional activities, creating social network identities for bands, and booking shows. A music manager may be present during recording sessions and should support the artist during the creative process while not interfering between the artist and the producer, but also musicians may also find valuable feedback in 3rd pair of ears and this should be carefully considered as well. They may gain access to a recording studio, photographers, and promotions. He or she will see that CD labels, posters, and promotional materials appropriately represent the band or artist, and that press kits are released in a timely manner to appropriate media. Launching a CD with complementary venues and dates is also a music manager's responsibility.
Early on in an artist's career, the different facets of management and marketing fall upon either the band itself or, if they have one, their manager. Because the band or artist is relatively unknown initially, promotion, booking, and touring are minimal. A new music manager begins by establishing a clear understanding of what the artist(s) want. This can be accomplished through either a written or verbal contract. A music manager's first task is to solidify all artist development aspects and then concentrate on product development.

[edit] Compensation

Striking a tentative compensation agreement that can be renegotiated after three or four months is recommended, and the rate of pay is generally based on commissions of 15 percent or more of performance and commercial incomes [4]. This amount depends on the level of development the band or artist is at and the experience, networks and resources of the manager. (The less developed the artist and more experienced the manager, the higher the commission.) The artist or band should never agree to circumstances that cannot be terminated or negotiated within a short period of time.^[4]

[edit] Photography

Managers usually secure the services of a professional photographer while the artist is recording. Different 8x10 pictures of the artist can be used for websites, CD labels/jackets, posters, and the press kit. Cost for high quality shoots vary from $500 for a basic shoot to thousands for several looks. Photographers are not expected to cover material cost. It is important that the manager obtains an agreement upfront confirming license to use the images which will cover the uses necessary, in addition to high resolution digital images on CD. Managers are also advised to have photographs taken before CD designs or artwork goes into production. Managers are also responsible for hiring additional staff when necessary.