How to Turn Off Writers From Reviewing Your CD

[Ken Dryden]

Recently I received a CD through a long time jazz publicist, yet I found the overall package to be rather amateurish.

After reading the press release, I discovered there were several sentences missing words, plus an obvious

grammatical error. While I learned that the artist wrote the songs, I wasn't informed as to what instrument or

instruments he played. To top it off, his name was misspelled on the CD cover.

I emailed the publicist about these issues and he confirmed that he only provided the mailing addresses, he had

nothing to do with the press release. When I told him I wouldn't even be playing the CD, he responded, "You've

already given it more thought than most writers, everyone else likely discarded it."

[Chuck Nessa]

I thought you were asking how to stop the reviewers.

[Bill Nelson]

For starters, I'd begin with the publicist.

By passing along such a shoddy imprint, this publicist hardly repped the client.

[marcello]

So, the publicist took a fee for only providing a list, with no follow up? He didn't even write the material?

There's some value for ya!

[AllenLowe]

that's a typical kind of thing they do; I can't afford one these days. anyway, but I think that, with a little work, you can put together your own mailing list, especially with everybody on Facebook. Though apparently you get less respect if you do it on your own. That's why I've created a "shell organizations" page on my web site.

Edited September 12, 2011 by AllenLowe

[Ken Dryden]

Evidently this artist wanted to do everything himself for a lower price and he did the mailing and just added the publicist information to the press release. I'll admit that's a bit odd way to work, since some people will assume that the publicist did all the work.

Another publicist had the habit of misspelling names of famous artists with whom her clients had played in press bios. After receiving several such mailings, I asked her about that and she replied, "Well, that's the way my clients spelled them." I told her part of her job was to double check their work. If you say that you played with "Lou Tabakin" [sic], no writer will take you seriously.

If my name is on something, like when I write liner notes, I check it over with a fine tooth comb. Among the things I've found on various CDs when I got the advance copy and credits have been: wrong musicians, dates, song titles, composers, incorrectly spelled names, plus missing instruments and lyricist credits. I usually have a person or two read my final draft and revised credits before submitting it, just to make sure I didn't add any errors of my own. Unlike on line postings, printed mistakes live forever.

Allen, I don't think any less of an artist who writes his or her own press release and does the mailing. But the number of young artists who don't give any thought to marketing and their CD's appearance is considerable. The typical new jazz program grad recruits fellow young artists, plays ten originals and does nothing to stand out from the stack of new releases writers receive. Why not record at least one familiar song, or even an unfamiliar song by a well known composer? How about getting a well known jazz educator to write a blurb?

They also could benefit from avoiding microscopic fonts and colors for type that blend into the background of the CD booklet and tray card, but that's another matter.

[Big Beat Steve]

Ken, I'd venture to say your diligent approach still won't prevent you from falling victim to publishers or printers (or whoever is involved in the final stages of the written product) who seem to be 200% sure they still "know better" and gloriously manage to "dis-improve" your product after you have handed it over (proofread 'n all).

I've experienced this a couple of times, and as I only relatively rarely am busy in this field (or related ones) I'd guess those who are into it full time must experience this kind of "Mister/Ms. Knows It All" even more frequently.

Edited September 12, 2011 by Big Beat Steve

[Ken Dryden]

Steve, you may be right. Early in my career I was the victim of poor editing, as the paper never bothered

to run changes by me prior to publication. I had a book review turned into pure gibberish due to an

awkward cut and paste on their part.

I've been very happy with the artists and labels I worked with so far on liner note projects. Hal Galper's

Trip the Light Fantastic is due out on Origin later this month. I got the assignment because Hal was

pleased with my interview with him for the New York City Jazz Record, plus he ran out of time to write

them himself.

I think every label owes their artists an opportunity to review proofs of the booklet and tray card prior

to manufacturing the finished product.

[medjuck]

I go to a subscription series at the local university and the program notes are often just reprints of press releases. They are often very badly written if not shoddy.

[AllenLowe]

I've always done everything DIY - good reviews, no sales. I agree that liner notes are important (and too much fun to let somebody else do).