killer press kits

Press Kit Samples

part of the special report

Killer Music Press Kits - Deluxe Edition

© 2006 by Bob Bakerwww.TheBuzzFactor.com

Over the next 21 pages you’ll find many real-life examples of news releases, artistbios and event listings, as well as a one sheet, cover letter and fact sheet.

Many of these items I wrote myself over the years for clients. Others were produced by solo artists and indie label publicists. Print them out, look them over,and learn from them.

Important: Please read the notes on pages 23-26. Why? Because not all is perfect with these sample press kit items. In the last four pages of notes I examine what works, what doesn’t, and what I would do to improve them now.

Note that some of the contact info spaces have generic email and phone refer-ences. That’s because some of these items were created years ago and the names,numbers and addresses are no longer the same.

Whatever you do, use these samples and my four pages of observations to createyour own press kit materials that sizzle!

I wish you success and prosperity ... and tons of media coverage!

-Bob

Independent music marketing tips => www.TheBuzzFactor.com

Music promotion blog => www.MusicPromotionBlog.com

Artist empowerment radio => www.bob-baker.com/podcast/

Audio tips at myspace => www.myspace.com/thebuzzfactor

FOR IMMEDIATE RELEASE

Contact: Lisa Lauren, [email protected]

What Do The Beatles and DavidSanborn Have in Common?

Chicago, IL – At first glance, there aren’t many similarities between John, Paul, George,Ringo and David. These Fabulous Five never recorded together. And no one has ever suggested that you could play a David Sanborn album backwards and hear a subliminalmessage (like “Kenny G is dead”).

However, for a few brief minutes, the Lads from Liverpool and the Saxophonist from NewYork City do “come together” on the debut CD from Chicago-based jazz-pop sensation LisaLauren. On her highly acclaimed 12-song independent disc, what comes around (just re-released by Miramar Records), the singer/pianist features contemporary interpretationsof a half-dozen classic Beatles songs.

“Don’t think for a minute that these are cheesy, Muzak-like cover tunes,” says Lauren,who tastefully breathes new life into “Dear Prudence,” “All My Loving” and four other hitspenned by Lennon and McCartney. Lauren’s skillful handling of these nostalgic melodiesearned the respect of the multiple Grammy Award-winning Sanborn, who adds a tasty altosax solo to “Can’t Buy Me Love.”

Also on board for what comes around is acclaimed guitarist Fareed Haque (who has performed with Sting and Arturo Sandoval). Multi-instrumentalist and Grammy winnerHoward Levy (best known for his work with Bela Fleck & the Flecktones) adds his harmonica playing talents, while a solid ensemble of Chicago’s finest players supplies theremaining ingredients.

Though Lauren is now signed to Miramar, her notoriety came about because of her tenacious efforts as an independent artist. “I recorded and put out the CD on my own, got a radio database, picked out the 50 biggest contemporary jazz stations and sent theCDs,” Lauren recalls. “All of a sudden, I started getting phone calls from radio stationsaround the country and beyond.”

By the time she was offered her current record deal, Lauren’s disc had already generatedairplay on over 100 jazz and pop stations in the U.S. and abroad (including 58 stations in

Australia alone). Last year, what comes around earned a spot on the “Most IncreasedPlays” list of Radio & Records’ NAC/Smooth Jazz Albums and landed on Gavin’s SmoothJazz & Vocals “Chart Bound” list.

Her treatment of these ‘60s and ‘70s gems has apparently struck a chord with the Boomercrowd. The disc also features Donovan’s “Sunshine Superman,” Gerry Goffin and CaroleKing’s “Some Kind of Wonderful,” and the Classic Four’s “Spooky.” Three of Lauren’s original songs, including the standout track “Midlife,” round out what comes around.

George Graham, of Pennsylvania’s WVIA radio, described her best when he said, “Laurenresembles the singer-songwriters of her generation, with hints of Carole King, Rickie LeeJones, and some of the sultry inflections of Bonnie Raitt, with just a hint of the world-weariness one might expect in a jazz singer.”

Lisa Lauren just finished recording her second album, entitled my own twist which isanticipated to be released by the end of 2000. This CD will once again feature DavidSanborn and Fareed Haque. The new disc will be much lighter on cover songs, spotlightingmore of her own inimitable compositions.

# # #


Multi-Platinum Recording Artist JewelShares Spotlight With Nafeesa Monroe

Through ‘Soul City Cafe’

Spoken Word Poet Celebrates Her Good Fortuneby Giving Away Copies of ‘Super Women’ CD/Book Set

“I love new music,” says multi-platinum recording artist Jewel. “There are a lot of greatartists out there, but the music industry is really corporate right now. If Tom Waits camealong today, I don’t think he ever would have gotten discovered or been given room todevelop. Soul City Cafe ArtBeat is about supporting artists so they can evolve at their ownpace.”

Soul City Cafe ArtBeat is a collection of pre-show performances that are taking placebefore eight select shows on Jewel’s current “This Way” tour of North America. The eightfeatured artists cover a range of genres, from acoustic folk and pop to hard rock and slampoetry.

One standout artist performing at three of the shows is Nafeesa Monroe, a combinationpoet/performance artist who “bridges the gap between black and white consciousness witha dazzling delivery of finely honed wordplay – rhythmic revelations distilled from fearlessself-examination and a life of challenges,” as described on the Soul City Cafe web site.

Monroe will perform before Jewel’s concerts on the following dates:

• July 19 at NextStage in Grand Prairie, TX• July 26 at the Greek Theatre in Los Angeles, CA• July 28 at the SDSU Open Air Theatre in San Diego, CA

Most Soul City Cafe ArtBeat performances start about three hours before Jewel’s concert.

“Being recognized as an emerging artist by Soul City Cafe is a privilege,” says Monroe. “Iintend to share a piece of myself with an audience I never imagined would hear mywords. I hope to be equally touched by their presence, energy and support. I’m trulygrateful.”

To celebrate her newfound exposure, Nafeesa will give away three autographed copies ofher CD and poetry book, both titled Super Woman. To be eligible to win, poetry fans (andJewel fans) should listen to digital files of Nafeesa Monroe’s spoken word performancesonline and submit a short review or commentary by e-mail [email protected]. The three best reviews will each win an autographed SuperWoman CD/book set. Monroe’s online sound clips can be found atwww.nafeesamonroe.com.

So, what led to Monroe’s current good fortune? A trip to New York a couple of years agoincluded an impromptu visit to Da’ Poetry Lounge, where her transformation from occasional poem writer to spoken word artist took place. She has since slammed at theworld-famous Nuyorican Poet’s Cafe in New York City, where she took first place in itsopen slam. Among many other poetry performance achievements, Monroe also recentlycame in second place in the Long Beach National Poetry Slam Team finals.

One reviewer described her as “a commanding presence in any room. Her work is thepure product of a high-gear mind and a healing heart.”

Monroe’s performance abilities should come as no surprise, since she is also an accom-plished actress. In film, she has starred in the features A State of Mind and The Truth,The Pain, The Sacrifice: An Actor’s Reality. She most recently had a supporting role in theindependent film Naked Brown Men.

She has appeared on TV shows such as In the House, The Parkers, The Jamie Foxx Showand The Steve Harvey Show. In New York, Monroe appeared in the Off Off Broadway premiere of John Mailer’s Hello Herman. She is also a founding member of the WattsProphets’ Los Angeles Hip Hop Poetry Choir, a group that fuses spoken-word poetry withhip-hop music and theatre.

For more information on Nafeesa Monroe, visit www.nafeesamonroe.com.

# # #

Contact: NamePhone: 555-1234E-mail: [email protected]


Former Runaway Cherie CurrieProduces New CD by Katt Lowe

Los Angeles, CA – Katt Lowe may be a relative newcomer to the high-profile LA musicscene, but on her debut CD release, Katt Lowe and the Othersyde (Monkey MoonRecords), she’s surrounded herself with some veteran talent. Most notably, Cherie Currie,former lead singer of the 1970s all-girl rock outfit The Runaways, took on the role of producer.

“Sandy West (former drummer for The Runaways) came to my home a couple of yearsago with Katt’s demo tape,” Currie says. “There was a song on there called ‘Still in Lovewith You,’ and I absolutely loved it. I submitted the song along with others to the producer of a pilot I was doing called The Street Singers. Her song was the one chosen forme to perform live on the program.”

That personal connection led to Lowe, Currie and West performing together at clubsaround the Los Angeles area. Lowe’s impressive songwriting abilities soon inspired Currieto not only produce the Katt Lowe and the Othersyde CD, but to also co-write two songs,play keyboards and lend her familiar voice to the duet “Get Together Soon,” as well asmany background vocal tracks.

Also contributing to the 13 rock/pop/alternative songs on Lowe’s CD was bassist ChuckWright (Quiet Riot, Guiferra, House of Lords), who also did the CD’s artwork. Renowneddrummer Russ Mckinnion (Tower of Power, Joe Cocker) and keyboardist Joey Malotti(Michael Bolton) lent a musical hand, as did guitarist Alex Garofalides, drummers DanRadel and Dave Webb, and vocalist Mark Williamson.

“I’ve always wanted to produce a record, especially for an artist like Katt,” Currie says.“Her raw talent, voice and songwriting ability intrigued me so much that I told her if sheever needed a producer for her project, I would love to do it. Before I knew it, we were inthe studio.”

# # #

For more information on Katt Lowe and her new CD, contact Name at [email protected] 555-555-1234.


Contact: Adam Thick, Email, Phonewww.adamthick.com

Eminem Meets Weird Al?If You Like Kid Rock, Esham, Eminem, ICPor Uncle Kracker, You’ll Love Mr. Scrillion!

“Eminem Meets Weird Al.” That’s how a critique from MusicEditor.com described Mr.Scrillion (aka Adam Thick) and his new CD, Lifestyles of the Shady n Neurotic. And what else would you expect from a hard rock rapper who wears an octopus on his head?But don’t think for a moment that this is joke rap. Mr. Skrillion (pronounced “Scrill-yon”)lays down some serious tracks.

“Lifestyles of the Shady n Neurotic is gonna blow up,” says Thick. “The CD is basicallyabout the life of my alter-ego, Mr. Scrillion. On the CD, I talk with raw honesty about theexperiences I’ve had and the things I’ve seen.”

Just because this white rapper grew up in the suburbs of Detroit, that doesn’t mean he’s agangsta wannabe. “I dig the gangsta lifestyle, but I was never one myself,” Thick admits.“That wasn’t my trip. I was a Goldfinger, which is someone who gets paid like a gangstawithout resorting to violence.”

But that doesn’t mean he was free from being on the receiving end of violence. Some ofthe tracks on Shady n Neurotic recount one real-life incident that had Thick staring intothe trunk of a Lincoln Towncar with threats that it would be his final resting place.

“I don’t have to fabricate shit, because I’ve had truly unique experiences that I drawfrom,” the rapper says. “Sometimes the truth is stranger than fiction.”

Thick got his first taste of rap music more than a decade ago. “Back then, hardcore gang-ster rap was the most blatant form of self-expression available, and no one did it betterthan Ice-T and NWA. I was hooked,” he says. “About a year later, I discovered Esham andKid Rock, who at the time were pioneering the Detroit rap scene.”

Thick started writing and rapping his own grooves in 1993, but it wasn’t until the summerof 2000 that he released his first EP, called Goldfinger Connection. “I put it in a handful ofstores around metro Detroit just to get something out,” Thick says. “After that, I beganworking on my opus to dopeness: Lifestyles of the Shady n Neurotic.

“This is what I love doing,” he adds, “so blaze one up, put some Scrill in your deck, saywhattup to Adam Thick and pass the doobie around.”

For more information on Mr. Scrillion and Lifestyles of the Shady n Neurotic, visitwww.adamthick.com or send e-mail to [address].

# # #

Note to media folks: Adam would like to send you a special demo CD of his work forreview. To request your complimentary copy, send an e-mail to [address]. Be sure toinclude your address and media affiliation.

Please note: My old

contact info on here

is very outdated.


Contact: Bob BakerPhone: (314) 963-5296Email: bob&thebuzzfactor.com

What’s Wrong with American Idol?Four Music Business Experts Say the Popular Talent Show

Is Misleading Tens of Thousands of Aspiring Musicians... and the Public at Large

American Idol is no doubt one of the most popular TV shows of recent years, drawing millions of viewers every week. But, according to four music business experts, the program is doing a disservice to aspiring musicians and distorting perceptions of how themusic industry really works.

“The show may be fun to watch, but it’s the last place I’d recommend anyone go to learnhow to succeed with a music career,” says Bob Baker, author of Guerrilla Music MarketingHandbook and Unleash the Artist Within. Baker compared notes with three other musicbusiness pros: Derek Sivers, Peter Spellman and Danica Mathes. All four agreed the showhas created widespread misconceptions about what it takes to succeed as a musical artistin the modern world. They have identified five myths perpetuated by American Idol andare on a mission to set the record straight.

Myth #1Industry talent scouts actively look for singers and musicians to develop

“Shows like American Idol lead viewers to believe that there are hundreds of people likeSimon, Paula and Randy out there searching for talent they can mold into the next bigpop star. That’s an Old World view that simply doesn’t reflect reality these days,” Bakersays.

Danica Mathes, a St. Louis, MO-based entertainment attorney, who has worked withartists such as Nelly and Anthony Cosmo (of the band Boston), admits that record companies employ A&R people whose job it is to sign and nurture new artists. “But asmajor labels consolidate, cut staffs and get nervous about the bottom line, they no longerhave the time or money to develop new acts,” she says. “Instead, they look for artistswho are already developing themselves, attracting fans and selling CDs on their own.

“It’s easy to forget that in the music business, like any other business, a record company’sinvestment and risk on a newly signed act can mean the end of several careers – not justthe artist’s – if it doesn’t work. So a label is much more likely to invest in someone whohas a proven track record.”

Myth #2Most aspiring musicians lack talent and are delusional, struggling and starving

The American Idol auditions, in particular, create this illusion. “That’s a huge misconcep-tion,” says Derek Sivers, founder and president of Portland, OR-based CD Baby, a web sitethat in 2003 sold $4.6 million worth of CDs (more than 400,000 units) by unsigned acts.“I’m blown away by the tremendous amount of quality music being produced outside themainstream. Many amazing musicians have decided they’re happier selling 10,000 CDs ontheir own and making a hundred thousand dollars, than selling a million CDs and beingbroke on a major label. That’s the reality of today’s music business.”

Myth #3You need the approval of industry insiders to make it in music

Another misguided notion is that getting an industry big shot’s approval will make orbreak your career. “Sorry, you don’t need Simon’s or anyone else’s permission to be worthy of a career in music,” Baker says. “If you wait for someone to give you the greenlight to create and perform music, you may wait a long time. Artists should use their innerconviction and the response they get from fans to fuel their progress.”

“Every major label in the U.K. passed on both the Beatles and the Rolling Stones in theirday,” says Peter Spellman, director of career development at Berklee College of Music inBoston, and author of Indie Power and The Self-Promoting Musician. “That gives you asense of what label gatekeepers know about an artist’s potential. Who knows what talentthey’re passing on today?”

Myth #4Landing a major recording contract is the ultimate sign of success

“While major label deals have a purpose in the industry for some musicians, I definitelypreach the independent gospel,” Mathes says. “I’ve heard countless stories of bands thatgot signed and never went anywhere, or bands that had record deals and ended up fallingfar short of their expectations. Unfortunately, Kelly Clarkson, Clay Aiken and RubenStuddard are the exceptions, not the rule”

According to Mathes, only about one in 30 signed acts reach significant enough sales levels to warrant a second CD release, which means nearly 97% of artists with recording

contracts fail. “Getting signed often means the kiss of death,” she says. “Yet, I talk toaspiring artists every day who still believe they need a major label deal. The smartestmusicians understand that there are other options that give them much more control overtheir careers, and they aren’t afraid to put their all into making it happen. Artists whorealize that success does not happen when you get signed to a major label are the oneswho will make it in this industry.”

Myth #5Without widespread nationwide exposure, you’re doomed to failure

Most musicians would love to get the high-impact TV exposure that American Idol finalistsreceive. But nationwide media coverage is not a requirement for ultimate success inmusic. “When most people think of successful artists, they mainly think of who they’veheard on the radio or seen on MTV,” Baker explains. “However, there are thousands oflesser-known artists who actively write, record and perform great music under the radar.And, contrary to popular belief, many of them make decent money, have large armies ofdevoted fans and are quietly, but steadily, building careers.”

Baker adds, “It’s misguided for artists to think they need the massive exposure andapproval of music industry honchos a la American Idol in order to succeed. The musicianswith the best odds of success take their careers into their own hands, promote themselvesrelentlessly and create their own lucky breaks.”

# # #

For more information on:Bob Baker, visit www.TheBuzzFactor.comDerek Sivers, visit www.cdbaby.comPeter Spellman, visit www.mbsolutions.comDanica Mathes, visit www.EntertainerLaw.com

Notes on the sample press kit material in this report

Lisa Lauren news release – page 2• She hired David Sanborn to play on her CD, which makes for a nice media hook.• The fact that he played on a Beatles cover on Lauren’s CD allowed me to work bothnames (Sanborn and The Beatles) into the headline, since she was a relatively unknownartist.• Drawbacks: While this bio is nicely written (if I don’t say so myself), it probably readsmore like an artist bio than a traditional news release.• It also tries to accomplish a bit too much, which breaks my rule of limiting the scope ofa news release to one topic.• This might be strengthened by adding a subhead that makes direct reference to Lauren.• It also would have been stronger if it included a quote from Sanborn himself.

Nafeesa Monroe news release – page 4• Like Lisa Lauren, Monroe has a nice tie-in with a well-known artist: Jewel. So I onceagain used that to attract attention and lend credibility in the headline.• Only this news release does a better job of using Jewel while keeping the attention onMonroe – the true focus of the news story.• Having a CD/book giveaway adds a nice news benefit to the release.• Drawbacks: This one also tries to accomplish too much. It’s part news release, part bioand part event listing. But, sometimes, breaking the rules isn’t such a bad thing.• This did include a quote from Jewel, but it was taken from the Soul City Cafe web siteand was about the entire event, not directly about Monroe.

Katt Lowe news release – page 6• Once again, this artist has a connection with someone better known then herself. So weused it as the hook and headline of the news release.• As opposed to the previous two releases, this one does include direct quotes fromCherie Currie, the producer – which adds more strength to the story.• I was able to keep this to a single page – always good for time-starved media people.• Note that traditionally PR people put the contact info at the top of the release. But someprefer to add it to the bottom, right after the “# # #,” which indicates that it’s the end ofthe release.

Mr. Scrillion news release – page 7• This news release is a good example of how to use references to well-known artistswithout ever working with them. So feel free to compare your sound to other, better-known artists. It will help the media (and the general public) know what to expect fromyou.• Another benefit of making comparisons in your headline is that whenever you post yournews releases online, they may come up in search results when fans of the other artistsdo online searches.

• Note the gansta trunk reference. Lesson: Use your personal experiences to your advantage, especially when they tie into and reinforce your musical identity.

Musical Success Resource Guide news release – page 9• I ran this years ago when promoting an early version of my e-mail music tips newsletterand a mail order catalog of my books and tapes.• This is a great example of a standard press release on a single topic. It’s short and tothe point, and it offers something of value to the readers of the publications it was sentto: namely, free information that could help them succeed.• Note how the headline spells out the news hook and benefit in just 14 words.

Regional Music Showcase news release – page 10• I used the same format and template as the previous release. Once you have one thatworks, just replace the headline and body text.• This one promotes an event – a music conference I used to organize in St. Louis. I notonly referenced the showcases and workshops in the headline, but also worked in BeatleBob – a colorful local nightclub icon who has gained national exposure. Perhaps you’veheard of him.• Find a unique angle like this to publicize your own events.• Please note that the contact info listed on these last two news releases is ancient history. I cannot be reached at the address, phone or email these days.

What’s Wrong with American Idol? news release – page 11• Using this press release, I got media coverage on:

- A 10-minute TV segment on “Extra Edition,” KMOV, the CBS affiliate in St. Louis- KMOX (1120 AM) in St. Louis, MO- KFTK (97.1 FM) in St. Louis, MO- WJJG (1530 AM) in Chicago, IL- KORN FM in Mitchell, SD

• I took my message of indie music success and personal empowerment and tied it intothe immense popularity of American Idol. Lesson: Find a way to ride the coattails ofsomething that’s already creating a buzz or riding high in the public’s (and therefore themedia’s) awareness.• I purposely used controversy: “What’s Wrong with American Idol?” is a lot stronger andmore alluring than something mundane like “American Idol: An Alternate View.”• I added credibility by identifying “five myths” and using three other “experts” to supportmy points.• Drawbacks: This news release is very long and reads more like an article. What I didwas post the entire thing on a page on my web site. Then I sent short teaser emails tomy media contacts with a link to the full release.

Little Charlie & the Nightcats news release (Alligator Records) – page 14• This one-page announcement from Alligator Records is a news release, event listing andmini bio all rolled into one.• It’s effective because it promotes a specific show in a particular city with enough back-ground material to help a writer craft a blurb about the show.• Note how all of the following are clearly set apart: concert date and time; venue name,address and phone number; ticket price.• Most traditional news releases don’t include photos, but I like the way this pageincorporates the visual image. Lesson: Don’t be afraid to break the rules when you findsomething that works.

Koko Taylor news release (Alligator Records) – page 15• Here’s another news release from the Alligator blues label with the same format as the previous one.• Note that the name of the artist and the city are included in both Alligator headlines.• Quotes from prominent publication reviews are listed under each headline.• It’s obvious that Alligator Records used the same layout for news releases sent to eachcity. All they did was change the name of the city in the headline and concert time andvenue details. Everything else remained the same.• Lesson: Find a cool format that works, then customize each news release sent for thespecific city and media source.

Nathaniel Street West bio – page 16• This is the first page of a multi-page artist bio. Note the vivid writing style.• It’s positively and tastefully written without being overbearing.

3X Krazy press kit item – page 17• A novel addition to this press kit. Each member of 3X Krazy has a one-page sheet thatmimics a form filled out on a patient in a psych ward.• It reinforces the hardcore-gansta “crazy” identity of this act in an attention-getting way.

Mark Biehl mini bio – page 18• Here’s a short bio I helped write for this electronic musician. He took my words and hada graphic designer display them on one attractive page.• Again, note the descriptive language and use of quotes from Biehl.

Mark Biehl one sheet – page 19• I didn’t mention one-sheets as part of my 29 press kit elements, but here’s a niceexample of one from Biehl.• Note the inclusion of a press quote, brief description, music category, track listings, UPCbar code, contact info, etc.

Mark Biehl cover letter – page 20• Another item from Biehl’s press kit is this media cover letter.• Please know that the words “Important Media Person” were to be replaced by the nameof the specific media person he was contacting.• This letter makes the case that Biehl’s new CD is worthy of coverage.• Note the P.S., which uses a little mystery and intrigue to motivate the writer to lookcarefully over the CD package to find the hidden message. A nice touch.

Corey Christiansen quotes page – page 21• Here’s a simple example of what a basic media coverage quotes page looks like.• Two ways it could have been improved: I suggest a more prominent headline that readssomething like “What People Are Saying About Corey Christiansen.”• And contact info should be included somewhere on the page, even if in small print alongthe bottom. (Remember: Contact info should be included on every item in your press kit!)

Joe Curry fact sheet – page 22• Here’a another helpful item I didn’t include among my list of 29: a simple fact sheetthat clearly lists interesting and pertinent facts about the artist.• Curry was smart in using this, but I’d suggest using more amusing or insightful “facts” if you choose to craft a fact sheet for your own press kit.• This one also lacks contact info. You should know my philosophy on this by now.

For more tips and tools, please visit Bob Baker’s web sites:

Independent music marketing tips => www.TheBuzzFactor.com

Music promotion blog => www.MusicPromotionBlog.com

Artist empowerment radio => www.bob-baker.com/podcast/

Audio tips at myspace => www.myspace.com/thebuzzfactor

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