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).

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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.

Industry Comments:

"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 One.

"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, LaMusica.com

"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.



Advice

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.

Contact
For a complete description of our airplay campaigns, including pricing, send an email with the subject of "Info" to airplay@radio-media.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)