Note: Some of the articles are being re-written; the main changes are the the charts (such as R&R, which is gone), and college radio (which is no longer recommended if you need listens).
to receive a new article
each month by email.
The Overall Picture of Music Marketing
1. The Number of New-Music Stations in the U.S.
2. Which Stations to Choose
3. Non-Commercial Stations
4. Commercial Stations, Part 1
5. Commercial Stations, Part 2
6. CMJ Magazine
7. Specialty / Mixshow Radio
8. Music, CD, and Case Requirements
9. Commercial Formats
10. Commercial Morning Shows
11. Creating a Story for Commercial Radio
12. Independent Promoter Checklist, Part 1
13. Independent Promoter Checklist, Part 2
14. Traditional Radio vs. The Web
15. Why You Have to Promote to Radio
16. Airplay vs. Sales
17. The Add Date
18. Investors; The Questions They Ask About Radio
19. Investors; How to Find One Who Will Invest in Your Radio
20. Investors; How Much to Ask Them For Radio
21. Best Time of the Year to Promote
22. Getting Your Own In-House Promoter Staff
23. What Make For A "Successful" Radio Campaign
24. Detailed Radio Campaign Cost Sheet
25. Reporting vs. Charting
26. BDS / MediaBase / Soundscan
27. Commercial Ratings
28. Commercial Airplay Myths
29. How to Use Videos for Airplay
30. How to Use Merchandise for Airplay
31. Billboard Magazine
32. Radio and Records Magazine (R&R)
33. Small Market Commercial Regular Rotation
34. Medium Market Commercial Regular Rotation
35. Large Market Commercial Regular Rotation
36. Hiring Your Own Record Deal
37. Radio Referrals to Press, Gigs, and Retail
38. Where To Expect CD Sales (From Radio)
39. Why Stations Have To Be Called
40. Comparing Stations to Touring
41. Tour Distribution Using Radio
42. Sacrificing Older Releases For Radio
43. Setting Up Radio Interviews
44. Radio, Distro, Tour, Press... What First?
45. Maximizing Your Billboard Airplay Charting, part 1 of 2
46. Maximizing Your Billboard Airplay Charting, part 2 of 2
47. Regional Vs. National
48. How to Use Vinyl for Airplay
49. Being Overshadowed by Major Acts
50. Publishing Royalties from Radio
51. Why Clear Channel is Irrelevant to Indies
52. Trade Support
53. How Touring and Radio Work Together
54. How Press and Radio Work Together
55. Payola, part 1 of 5
56. Payola, part 2 of 5
57. Payola, part 3 of 5
58. Payola, part 4 of 5
59. Payola, part 5 of 5
60. How Retail and Radio Work Together
61. Station Visits
62. Moving from Unrated to Rated Regular-Rotation Stations
63. Digital Servicing Myths
64. Personalized Online Radio
65. How To Use College Radio
66. How Many Listeners Do Radio Stations Have?
67. Radio Compared To YouTube and Facebook, part 1
68. Radio Compared To YouTube and Facebook, part 2
69. Radio Compared To YouTube and Facebook, part 3
70. What Are Your Goals?
71. Radio Referrals to Gigs: Techniques part 1 of 2
Market List:Click here
for a list of markets sorted alphabetically and by size.
"I just signed up for the Top Listens list and I love it" -- Leslie Whittle, Program Director of KRBE-FM Houston.
"I get tons of records from independent radio promotion firms and Bryan Farrish Radio Promotion is the only one that follows through and stays on top of their records. Their artists might not always fit my programming perfectly, but it's always quality product that is handled professionally." -- Josh Boor, Program Director, 107.9 FM Great Bend, Kansas
"Bryan Farrish Radio Promotion has great clients; Everybody they refer to me is always top notch." -- Mark Crowley, On Air Host, KNUS Denver, Colorado
"This article is great; I have forwarded this important text
to our sales, media relations and international departments.
As new record labels' staff do not necessarily come from either
the record or radio community, this information that us old-timers
have known for years is truly invaluable for newcomers on the
scene. Many thanks!" -- Mark Matlock, Walt Disney Records
"These articles are great information for smaller labels" --
Bill Scull, Tri-State Promotions
"I enjoy your thoughts." -- Tommy Couch Jr, Malaco Records
"I find the information very helpful." -- Frank Falkow, Northeast
Regional Director, RED Distribution
"Thank you very much for sending this 'primer' to me, it's quite
informative" -- Heidi Ellen Robinson, Senior VP, Media Relations
and Publicity, ARTISTDirect
"This is really hot! Great roadmap of exactly what 'add dates'
and 'working a record' is all about. What you wrote about us
is exactly what we (record reps) do each and every day and week.
" -- Andre Monie, Def Jam/Def Soul
"Great Blurb!" -- Joel Diamond, Artist Manager
"Great article, it's a keeper." -- Derek Sivers, CD Baby
"Good stuff...thanks for sharing it" -- Jay Albright, Albright
& O'Malley Country Consulting
"I love these emails!" -- Rachel Mintz, V2 Records
"Your articles on radio promotion are the only ones I would
trust to use in the classes I teach." -- Christopher Knab
"I thoroughly enjoy your articles" -- Ana Bonilla, Westwood
"Your articles kick ass!" -- Jimmy Pargas, A.D.D. Marketing
"Really enjoy the articles. And I have almost 12 years of experience
in radio at the grassroots level, major label (Epic) and medium
sized indie (Artemis)." -- Tom "Smitty" Smith, Spitfire Records
"I appreciate your willingness to continue to educate those
frustrated and angry artists that are just aching to remain
ignorant" -- Joe Tassi
"I truly appreciate your eloquence in encapsulating radio strategy
issues" -- Tom Briggs, Koch Entertainment
"I appreciated your Payola article, and understood it perfectly."
-- Chris Arnstein
"Man, you rock, this Payola article is dead on!" -- Little Judy,
"It is refreshing to hear such practical advice which is so
accurate." -- Michael McCready, Music Lawyer
"I'm always impressed with the scope of your knowledge." --
Bernard Baur, Music Connection Magazine.
Bryan Farrish Radio Promotion focuses solely on radio, but
we provide clients with direct advice in other areas because
of the following:
1. The stations we work with are in contact with the clubs,
stores, and press that you need to get in each market.
2. We are in constant contact with certain labels, lawyers,
publishers, bookers, PR people, and retail promoters (especially
in Los Angeles.)
3. We have the complete list of almost everyone in the music
business in Los Angeles (over 6,000).
4. We do heavy advertising in the music trades, along with frequent
faxes and emails, in order to keep the Bryan Farrish name awareness
as high as possible with the people you need to work with. When
you contact them, we want them to know who you have been doing
your radio with.
5. We have access to the contact information of almost anyone
in the business, anywhere in the country, even if they don't
know who we are.
For a complete description of our airplay campaigns, including
pricing, send an email with the subject of "Info" to email@example.com. Make sure to put "Info" in the subject, or you may not get a reply. As you might guess, this email address is on the list of all the spammers, so for your email to be seen by our system, it must say "Info" in the subject.
Phones: 310-998-8305 (Santa Monica)