Saturday, November 23, 2013

Helping the artist you A&R to release a new album takes more than just duplicating discs and throwing a party.


Badge Music Blog
You’ve got to get the word out if you want their music to sell. But with so many methods of promotion and so many outlets for music discovery, it can be difficult to know where to focus your efforts. Stay calm! This promotion timeline will guide you through, step by step, breaking it all down into bite-sized chunks so you can get out there and start generating press and buzz for your artist. Promotion is time-sensitive, so we’ve organized this guide as a timeline with which to organize the release of your next album.

Defining the Three Types of Media

Traditional Media - Newspapers, magazines, zines, radio, and television. Getting coverage from these outlets takes time and connections, usually 3-4 months ahead of your artist’s album’s release date.

New Media - Born out of the web, these media outlets include blogs, MP3 blogs, podcasts, video podcasts, and websites. These outlets crave immediacy. Getting on these outlets is usually about connecting with them right before and right after the artist album is out.

Social Media - Social media are promotional outlets built on word-of-mouth as documented over the web and mobile platforms including sites such as Facebook, MySpace, and Twitter. Social media is all about what’s happening now. Getting the word out about your artist album is a constant process that should happen all of the time.

12 months to 4 months Until Release: Album Production

You can start promoting your album even while your artist are still making it. Fans today like to be let behind the scenes. They want to feel a part of the creative process. Using social media, you can let them in on your artist private artistic world.

Share photos and videos
Share details about the production process, your studio, a new instrument, etc. on Twitter, Facebook, MySpace, and YouTube. Showing behind-the-scenes details will get the fans you already have interested in your artist next album before it’s even recorded.

Share demos and rough mixes
To give your artist fans a greater sense of investment and involvement in your artist project, give your fans a voice to pick their favorites between alternate versions of a song.

Assemble your street team
Getting your fans interested in what you’re working on as it’s happening will increase your chances of stirring up a real buzz upon the album’s release. As the old saying goes: you market through people, not to them.

4 months to 3 months Until Release: Album Preparation
Make sure you take care of these prep steps before diving into your artist promotional campaign.

Set An Official Release Date For Your Artist Album
Between now and then, investigate distribution options, as well as looking into any outside radio promotion or PR help you’ll be enlisting for your artist.

Decide on the Release Event
Most artists have a release party, but if your artist doesn’t play live, you can set up a listening party instead. Don’t let an internet fanbase stop you from having a party: you can perform live on webcam through a video service like Ustream or Livestream.
If you decide to have a release party, give yourself time to publicize the show. Invite the media to come and add them to the guest list.

Receive Your Artist CD
If you duplicated or replicated CDs, have them in hand before starting the publicity process — long before you make it available to your fans. There are two reasons for this. First, the goal is for you to organize your artist release so that media coverage hits around the same 1 or 2-month window of time. The traditional media takes months to cover a story. The new media takes just a week or so. The art is to time it so they both give you coverage at the same time your artist album comes out. You’ll need to give both kinds of media CDs to review in order to get them to cover the story. Second, you’ll want to make sure your album is available for purchase just ahead of the publicity. Otherwise, you’ll waste all of your hard work.

Enter the CD into Gracenote/Freedb
If you’ve ever wondered how your CD player knows the album name and track info when you pop it in, it’s because of Gracenote MusicID (gracenote.com) and FreeDB (freedb.org). These services scan the CD, and once they recognize it, pull down the track information. Of course, when it comes to your artist new album, there’s no way it knows this information yet. So, when you first get your disc, you need to make sure that it is in this system, and enter it if it isn’t.

Start the Digital Distribution process
Unfortunately, you can’t control when digital music stores like iTunes, Napster, Rhapsody, and the others actually make your artist album available. Even major bands have trouble with this timing. Make sure to put it in well in advance of your artist release date so that when your press hits, people can buy it. This may lead to it being available before your artist release party, but the only thing worse than having it available too early is to not have the disc available for sale at all when the press covers your artist. To sign up your album for digital distribution through Palace Music Group, LLC, click HERE.

Prepare MP3s of Your Album for Press and Social Media
The New Media typically will want MP3s of your artist music emailed to them for review, not necessarily the CD. Once you have your artist CD, you should rip the files into high-quality MP3 format (at least 128kps). The key step here is to enter the ID3 tags--all of them. Don’t just stop with the band name and song title.

Update Your Press Kit
You’ll want to update all of your artist press materials with the information about your artist newest album, including the artwork.

3 months to 2 months Until Release: Reaching out to the Traditional Media

Launching the Traditional Media Campaign
Now that you’re prepared, at three months, you are ready to target the traditional media. This includes music reviewers, editors, and reporters at newspapers, magazines, and radio. Assuming that you updated your artist press kit with the new album, you’re ready to write your artist press release and run a PR campaign.

Announcing the Release Party
Start the buzz. Announce it on all of your websites, blogs, and social media outlets. Have your artist fans re-post and re-tweet the news, too. Also, don’t forget to start including the date in all your newsletters. Lastly, you can start creating posters and postcards for your artist release party if you’ve arranged a venue for your artist show.

Social Media
Have the artist rehearsing for their release party, or have any related band activities happening during this time, be sure to take pictures, videos, and make recordings, so you can share it with your friends and your artist followers now.

2 months to 1 month Until Release: The Radio Campaign

Two months before the big release you should begin focusing on radio. You’ll already have ahead start on the traditional media and press wires and your street team should be active.

Radio Campaign
Radio likes to play albums ahead of their release dates. Give them a chance to hear it first by running this campaign two to three months out. Also, you should target radio stations near where you’re planning on playing so that you can grant  them interviews. The most effective way to do this is to call ahead of time before sending your artist album, then write “SOLICITED MATERIALS” on the envelope. Also, include the show dates that your artist are going to be playing in their area. Offer to have your artist stop by the studio for an interview or in-studio session. If your artists are independent musicians, you should probably target college radio since it’s the most receptive to new music. Especially college radio shows, which are usually run by students that love getting new releases before it hits the public.

1 Month Until Release: Reaching Out to The New Media
Now that you’re in the last weeks before the big release, it’s time to hit the new media.

Launching the New Media Campaign (Part I)
The New Media’s turnaround time for stories is quick, so waiting until the release is only a month away is a good rule of thumb. Running these campaigns is much more simple than traditional media. No need for press releases; just send a simple email to them with an offer of a pre-release MP3 so that they can check your artist music out before the public gets a hold of it. For podcasts, you’ll want to start reaching out to them about 4 weeks before the release date, since it takes podcasters some time to produce their shows. You can start with music podcasts, but you should also consider a general podcast campaign. 

For music blogs, you’ll want to wait about 2-3 weeks before the release date. Keep in mind that, while they do reviews, they often give away MP3s as well.

Target Your Local Media and Area
If you scheduled a release party, plug it again by contacting any local media and telling them you’ll add them to your artist guest list. Also, this is a good time to make sure that the local neighborhoods have posters, postcards, or anything else that you distribute.

Reach out to your Fans through your Mailing List and Blogs
In the last month, plug the release party and the album release to everyone on your mailing list and blog about it on your website. Ask your artist fans and street team to help you promote your artist release and event. Have them talk about it online.

Amp up your Social Media
Social media should be used all the time, but with only one month until your artist release date and party, it’s especially important to get the word out. Think about creating an event on Facebook, or have a contest and give away free copies of your artist album to those who promote the event. Ask fans to re-tweet and spread the word to their followers and friends.

The Day of the Release: The Big Event

Don’t just sit back
Use this day to communicate. Try to angle your newsletter, blog, and social media updates to be about the fans. Fans look for themselves on these sites afterwards, and when they do, they share those links with their friends. 

Take photos and video of the pre-event, the event, and post-event.
Be sure to focus the lens on your fans as well. When you post the content online, they’ll be excited to see themselves and will be more likely to share the links with their friends.

Post-Release: Building Word of Mouth

After you’ve released the album, your work isn’t finished. Post-release promotion efforts can be equally as vital as the lead-up.

Launching the New Media Campaign (Part II)
While the traditional media rarely covers albums after they’ve been released, the new media likes talking about new music all of the time. Continue to send your artist music out to blogs, podcasts, and websites to generate more buzz and accumulate positive reviews for your press kit.

Echo Good Reviews and Press Through Your Social Media, Blog, and Newsletter
Post and link to good reviews of your album, your songs, your release party, and any interviews you’ve gotten. Echoing this through the social media will help keep attention on you as an A&R. Your artist fans will be more excited to spread the word-of-mouth love as you support your artist album with a tour or series of shows. Or, until your artist starts working on the next album and starts the process all over again.



Would you attend a training course run by someone with no experience of his subject? Would you buy from a sales professional who had previously let you down? Or, would you go "above and beyond" for a leader who didn't routinely keep her word?
Chances are, you'd answer "no" to all of these questions. If you're going to invest your time, energy, and enthusiasm with someone, you want that person to be credible and worthy of your trust.
But what is credibility? Why is it important? And, how can you build it?
In this article, we'll answer these questions, and we'll look at why being credible is so important for a successful career.

What is Credibility?

The root of the word "credibility" is "credo," which means "I believe" in Latin. Put simply, credibility is the feeling of trust and respect that you inspire in others.
No single thing creates credibility. Rather, a combination of things must be in place for you to establish it.

Why is Credibility Important?

Think about a time when you worked under a leader who had credibility. Chances are that she energized and excited her entire team. You knew that she would do the right things for the right reasons, and you trusted her judgment.
Credible leaders attract enthusiastic and committed followers, and people want to work for them. But credibility is important in many areas, not just in leadership roles.
For instance, sales professionals need credibility to be successful – people don't want to buy from someone they don't trust, or from a person who doesn't know about his product.
You also need credibility when you give presentations, deliver training, and sell your ideas.

How to Build Credibility

No matter what your role or position, credibility is something that you have to earn. It takes time, patience, and consistency to build it. Follow the tips below to establish credibility.

Build Character

If credibility were a pyramid, then your character and integrity would make up the foundation.
To build character  , first identify the core values   that you won't violate – people with strong character stand up for what they believe in, even when it goes against popular opinion. Spend time getting to know yourself and what you care about most, and be willing to defend your values and choices.
Integrity   is also essential for credibility. You need to be known as someone who does the right things for the right reasons.
To preserve your integrity, think carefully about the choices and promises that you make, and never make a promise or commitment that you can't keep. When you make a mistake, own up to it immediately, and do whatever it takes to correct it  .
You also need to be authentic  . People who are authentic do what they say; there's no mystery about their intentions, or about how those intentions might translate to their actions. This is why it's important to know yourself inside and out, and to demonstrate authenticity in everything that you do.

Develop Expertise

The more expertise you have and can demonstrate, the greater your credibility.
To build expertise  , choose a single area that is fundamentally important to your role, organization, or industry. This will help you focus your efforts and ensure that you don't become overwhelmed. For example, if you're in engineering, you could develop an expert knowledge of the materials that your products use, and you could then build out from this.
Also, make sure that you stay up-to-date on your industry  . When you're informed about industry trends and developments, people will trust your judgment.
While your reputation for expertise is important, it's just as important to protect it   and acknowledge what you don't know. When you guess, or operate in areas outside of your expertise without informing others, you run the risk of giving out false information, making bad decisions, and being shown to be wrong. This can undermine your reputation for expertise  , and damage your credibility.
- See more at: http://www.mindtools.com/pages/article/establishing-credibility.htm#sthash.QXhftYNL.dpuf

The voice of trustworthiness—modeling character and competence

Badge Music Blog

A leader’s character can make or break an organization. A person with integrity and one who is trusted by his peers and employees will be seen as a good leader.


Trustworthiness is an important factor in any relationship—personal and professional. It is the glue that holds together a family and an organization.

Personal trustworthiness

Trustworthiness comes from character and competence. There are three aspects of character that build trustworthiness:
  • Integrity: you incorporate principles and natural laws when dealing with people. You are honest and you keep promises made to yourself and to others.
  • Maturity: you can deal with difficult issues with compassion.
  •  Abundance mentality: you see life as full of opportunities. You don’t compare yourself with others and you are sincerely happy for other people’s success.
Each individual is born with the potential to be great. What you do with this potential is up to you. You must remember that the more you use and expand your present talents, the more capacity you are given, and the greater your ability becomes.

All great achievers have expanded their four innate human intelligences and capacities into:
  1.  Vision (mental)Seeing with your mind what is possible in yourself, in people, projects, causes, endeavors, and enterprises.
  2.  Discipline (physical)Commitment—bringing vision into reality.
  3.  Passion (emotional)It is the fire or the drive that sustains the discipline to achieve the vision.
Effectiveness is the tool for survival in today’s fast-paced environment. However, in order to truly become excellent and succeed in the new Knowledge Worker Age, you must build on and move beyond effectiveness and into greatness. You must find your own voice and inspire others to find their own voices as well. Finding your voice requires a shift in thinking. To succeed in your journey towards greatness, you need a new mindset, a new skill-set and a new habit.

Thursday, October 10, 2013

How Are You Managing Your Time?

Procrastination is NOT a time management problem. However, if you're procrastinating, chances are you're managing your time very poorly. Why? It's because you haven't established what's important in your life - your purpose and meaning.

The figure below is Stephen Covey's now quite famous "Time Management Matrix." His "7 habits" book has sold over 15 million copies. I'll bet this is familiar to you.


Of course, academics are typically suspicious of anyone who can simplify things and make a lot of money with their ideas. ☺ It's the academic criticism of the "self-help" genre. That said, Stephen Covey says a lot of important things. He gained me as a fan by revealing his existentialist roots with his reference back to Victor Frankl at the outset of his book. I think his overall focus is clear and right on the mark.

Given how popular his work is, I won't summarize it at length. I'll just begin by noting that his focus on the time-management matrix is part of Habit #3 - Put first things first. In sum, he argues that we need to spend our time and effort with the type of tasks listed in the second quadrant (Important and Not Urgent), as these are truly important to us and are not done, ineffectively, at the last minute.

Most importantly, this habit, as with many "step-like" programs, will only be successful if you first achieve the earlier habits. In this case, both Habit #1 - Be Proactive, and Habit #2 - Begin with the end in mind, must be established.

Habit 1 and Habit 2 build a base of agency and purpose, respectively. First, by acknowledging our responsibility in life to make and own our choices, Habit #1 establishes us as responsible, active agents in the world. With this established, Habit #2 provides the focus for this agentic action. With Habit 2, we answer the question, "What is my purpose?" We establish a mission statement, a vision for our lives.

Habits 1 and 2 establish our active agency in the world and the vision that will guide our goal setting. Once this is done, the Time-Management Matrix is a "no brainer" as they say. With my purpose clearly in mind and my deep commitment to self as an active agent in the world, I know that I must choose to be proactive with the type of activities listed in Quadrant #2.

That is, if you have done the hard work of the first two habits that Covey presents. In essence, Covey operates from an existentialist perspective by acknowledging the primacy of our existence. This entails our conscious awareness of our agency and our need to create purpose in our lives through our choices. To the extent that we do this, we will authentically engage in life in a way that simplifies.

It's easy to know when we haven't established Habits 1 & 2. If you look at the matrix and lament the fact that you're always caught up in the activities in the other Quadrants, particularly 3 and 4, you haven't developed your own vision of what's important. And, you're probably not taking responsibility for your choices. You're blaming others when you continue to say yes to "urgent" issues which, often as not, are not even that important.

Everyone in the time-management consulting business will tell you the same thing - "learn to say no." It is very difficult to say no until you have established your own sense of agency and purpose.

Badge Music Blog

 Procrastination is NOT about time management. Procrastinating less is not about schedules or time-management matrices. At its heart, it's about conscious awareness of existence as expressed in our agency, choice and purpose.

Do you want to procrastinate less? Spend time working on the first two habits. The rest will flow from this very authentic base of being in the world.

10 Essential Selling Principles Most Salespeople Get Wrong

1.       Assuming the problem that the prospect communicates is the real problem. It’s normal and natural to assume this; however, it’s important to look deeper into each scenario. Like a physician, we must ask ourselves “is this the prospect’s real problem or is it just a symptom?” Before diagnosing and offering how we can address their challenges, we have to ask more questions to make sure we’ll be getting at the root of their problem, and bringing value to the prospect by supporting their true goals. (Sandler Rule #38)

 2.    Thinking that your sales “presentation” will seal the deal. You should always be helping the prospect discover the best reasons to buy from you – not telling them why they should. The prospect should know that they’ll be buying from you long before you present your final pitch or proposal.  (Sandler Rule #15)

 3.    Talking too much. One of the oldest Sandler philosophies is the 70/30 rule. So often and especially in the beginning of a relationship, salespeople think they need to be doing all the talking, when they should be listening and asking questions. Keep in mind, if a prospect wanted a rundown of your products or services, he or she could just visit your website. The sales process is a conversation, and an honest and open one at that. (Sandler Rule #14)

 4.    Believing that you can sell anybody anything.  People don’t buy simply on your say-so. A prospect must go through a period of self-discovery before making the decision that your product or service is the right solution. Resistance is pre-programmed and people don’t like to be told what to do (or buy). A better approach than “selling by telling” is to ask key questions or relate third-party stories that allow the prospect to discover the benefits and advantages of your product or services.  When you ask questions that lead to a discovery, the prospect then “owns” the discovery and the resistance disappears. After all, people don’t tend to argue with their own data. (Sandler Rule #27)

 5.    Over-educating the prospect when you should be selling. The initial goal in selling is to find out why, and under what circumstances, the prospect will buy from you. Asking questions is first, and sharing your materials and specifics comes next. Sell today, educate tomorrow. (Sandler Rule #21)

 6.    Failing to remember that salespeople are decision makers, too. Every step of the way through the sales cycle, a salesperson must make critical decision as to whether to continue investing time in the relationship with the prospect. If you as the salesperson are a poor decision-maker, your lack of clarity and decisive action will be mirrored in your prospect’s behavior. Remember, the shorter your selling cycle, the more leads you close over time. (Sandler Rule #36)

 7.    Reading minds. Always get the facts from your prospect about what they need and why. When your prospect is vague, politely ask for clarity. Veteran sales people are often the culprits of “reading minds” because they think they’ve seen it all. But when they jump to conclusions, they make erroneous assumptions that lead to wasted time at best, lost opportunities at worst.  As the old adage goes, “to assume is to make an ass out of you and me.”  (Sandler Rule #13)

 8.    Working as an “unpaid consultant” in an attempt to close a deal. Sandler advises salespeople to play “Let’s Pretend” when a prospect asks for additional work and information before making a buying decision. Ask your prospect to picture a scenario where you complete the additional groundwork and provide a solution that fits everything the prospect needs – then what happens, will they buy from you? If they can’t envision pulling the trigger even after you’ve done the additional work, or if they’d still need another step in the process, it may be time to walk away or you may ask to move directly to this second step.  When you want to know the future, bring it back to the present. (Sandler Rule #25)

 9.    Being your own worst enemy. Never blame the prospect for stalling the process. Instead, look inward. It’s the job of the salespeople to assure the prospect and address detours. The only way to streamline the process is to continue to refine your own sales approach and technique. (Sandler Rule #44)

 10.  Keeping your fingers crossed that a prospect doesn’t notice a problem. Sandler teaches that the only way to avoid a potential disaster is to address it before it erupts.  Always come clean and be open and transparent if something problematic comes up along the selling cycle. The prospect will respect that you “came clean” and shared it, and together you can problem-solve, building a solidifying team approach to the issue.
Badge Music Blog

Monday, October 7, 2013

Songwriter Contracts

Badge Music Blog
When a person speaks of a “songwriter agreement” or “songwriter contract” they are referring to a contract entered into between a songwriter and a music publisher. Music publishers, as many of you know, act on behalf of songwriters to get their written songs “cut” (i.e., recorded on an album). This is known as “plugging.” Publishers also take care of all the administrative work related to plugging. This can include registering songs with the U.S. Copyright Office, issuing licenses, and accounting for royalties.

There are several types of songwriter agreements. Generally they are
1. Single Song Agreements
2. Exclusive Songwriting Agreements
3. Co-Publishing Agreements and
4. Administration Agreements

Single Song Agreements
Under a Single-Song Agreement, the songwriter transfers copyright ownership of specifically identified song(s) to the publisher. These are “non-exclusive” agreements because there is no term. In other words, these agreements are simply a one-time “sale” where the copyright is transferred from the Songwriter to the Publisher. The songs must already be in existence and are specifically identified in the contract.

Exclusive Songwriter Agreements
The main difference between exclusive songwriter agreements and single song agreements is that in an exclusive songwriter agreement the songwriter is transferring to the publisher copyright ownership of all songs written during the duration of the contract. Further distinguishing these types of agreements from single song agreements is that under an exclusive songwriter agreement the songwriter usually receives an advance that is recoupable from future royalties.

Co-Publishing Agreements
Under a co-publishing agreement, two or more parties (usually the songwriter and their publisher) share ownership of songs. In the typical co-publishing agreement, the songwriter transfers partial copyright ownership to the publisher and retain part ownership either in themselves or in their own publishing company. The songwriter’s independent publisher will have administration duties under this type of contract. The provisions of co-publishing agreements are usually very similar to those of exclusive songwriting agreements.
The main difference is that the songwriter will receive both the songwriter’s share of royalties (usually 50% of net royalties) and a cut of the publisher’s share the royalties (usually 25% of the net royalties).

Administration Agreements
Administration agreements are service contracts between the songwriter (or writer’s publishing company) and a publisher or administrator. These type of agreements are usually, although not always, reserved for established songwriters. In an administrative agreement a songwriter will pay up to 25% of net royalties for the administrative services of a music publisher. The important distinction between this type of agreement and the other types above is that the songwriter does not transfer any copyright ownership to the publisher.

Saturday, September 21, 2013

Sales Process


Badge Music Blog

Sales people walk through a process each and every time they present their product to a potential client. However why are some sales people successful and some unsuccessful? The unsuccessful ones typically  don’t follow theSales Cycle. They do not follow the path to sales. They skip a step and try to make up for it on other steps.

Sales Trainers frequently talk about the Sales Cycle, however depending on the product sold or market discussed, they may name the steps something different, but  the steps are basically the same.  The path to the successful out come you are looking for is mere steps away.

So what are the steps of the sales cycle and how do they work?

1. Get Acquainted : get comfortable with each other.
2. Brief: Look for  favorable circumstances. Is everybody who needs to be there present? Ect.
3. Find the emotional need
4. Fill the emotional need
5. Close

What is the point of making sure all these steps are completed?

Well for example, let’s say you decide on trying to skip the brief step. You go though the process and the potential client tells you. Sounds great but I need to talk to my wife about this.  Because you skipped that step, you theoretically shot yourself in the foot. How can you effectively close the sale when everybody necessary to close the sale are not there? The answer is you can’t.
Moving systematically from one step to the next insures you increase your odds of making the sale. In most sales processes, most sales people spend the majority of time finding prospects to sit down with to sell. Doesn’t it make sense to spend the appropriate amount of time necessary to moving you methodically from one step to the next in the Sales Cycle making sure you cover your bases and growing closer to the sale you worked so hard to set up?

Behind the music: Turning a studio performance into recorded magic

Badge Music BlogLast week, Trevor Horn and Steve Lipson explained how to get the best from a singer. This week, they turn their attention to conjuring the perfect cut from the instrumentalists

Holly Johnson from Frankie Goes to Hollywood
Holly Johnson performing with Frankie Goes to Hollywood in 1980. Photograph: David Redfern/Redferns
When the legendary producer Trevor Horn first saw Frankie Goes to Hollywood on the 80s TV show The Tube he was intrigued, though, he says, he did think their performance was very sexist. After hearing them again, doing a live session of Relax on the radio, he was convinced they had something special. "It was quite a different version of the track, but Holly [Johnson] was a good singer. And then we discovered nobody wanted to sign them – mainly because they were pretty hardcore gay. Their pictures were … their bums came through their trousers and there was a guy with a knife instead of a penis."

"Even the guys who weren't gay were pretty hardcore," adds Horn's longtime collaborator Steve Lipson.
Horn, however, wasn't put off by the bands risqué image, and signed them to his new label, ZTT, in 1983. What no one had told him was that the band he signed wasn't the same band that played on the demos he'd heard. The guitar player had left just two weeks before. No problem – Horn put together a session band of his usual collaborators, including Lipson, to record the backing tracks.

"The Frankies were very affable about it," shrugs Horn. "We played them a mix where we'd put an audience track on it, telling them: 'This is you playing at Madison Square Garden.' They laughed and declared: 'We're fucking great!'

"As time went by they started to play. They started to get better, but just as they got to a place where they could play their own music they fell out. They fell out in a way that they've never been able to fix up ever since. I remember backstage at Wembley, when Holly [Johnson, the singer] had a bodyguard in case Mark [O'Toole, the bassist] tried to kick him."

By the time they recorded their second album, Johnson was largely absent from the studio, Lipson says. He even said he'd need two days' notice if they wanted him there. Soon after, the band members went their separate ways, but one of the tracks they'd recorded but not released became a worldwide hit – albeit with a different artist, who herself was not adverse to controversy.

Grace Jones's million-selling record Slave to the Rhythm created a whole new sound for her – a sound many others tried, and failed, to emulate. Creating it was an arduous task, however (though not for Jones, who, according to Lipson, showed up for as many hours as the number of months he and Horn worked on the record: nine).

Though the track eventually spawned a concept album, featuring different interpretations of the track, it was only brought to the attention of Chris Blackwell, the owner of Jones's record label, Island, when he was looking for a single for her greatest hits album. Horn dug up a track Bruce Woolley had written for Frankie Goes to Hollywood.

"The original recording had a very Germanic beat, and it was pretty obvious it wasn't going to work for them," says Horn. "I thought that if it was called Slave to the Rhythm it should be a better rhythm – and the only rhythm I could think of that was good enough was Go-go music, which was really happening at the time.
"It was such a daft idea when I look back on it. We had a band of really great Go-go musicians: some people from Experience Unlimited, some from Trouble Funk … and they could all really play – but nobody could remember an arrangement. In fact, they were baffled by the idea of an arrangement. They just started, kept going and then they stopped."

And they'd all play together all the way through, with all instruments leaking into the drum microphones. "At one point the guitar player went to the toilet for about two or three minutes, and that ended up being the only time we had the groove without the guitar all over the drums," says Lipson. "That was our window of opportunity to make a loop out of that little bit and make a rhythm track out of it."
"Story of our lives," sighs Horn.

Horn had recorded the bits he liked on his cassette player and played it for Woolley, who swiftly rewrote the song over it. "I loved it when he played those chords at the start," Horn reminisces. "We left the studio went back to the Parker Meridian hotel with a load of equipment, went upstairs and finished the song. Literally, the first day we got everything out of that Go-go band we were ever going to get."

Whether it's waiting for an artist to come into the studio with a new "girlfriend" at 2am, after a night out, to be able to record their vocals or playing all the instruments on the record because the band can't play, Horn and Lipson have spent far, far more time in studio than any of the artists they worked with, perfecting their records.

"I was having a conversation with an old rock star, who shall remain nameless, a couple of weeks ago in the kitchen at Sarm [Horn's studio]," Horn says. "He was talking about how they spent a year making a record and how they all got completely wasted. He said: 'But you know all about that – you got wasted and took ages over things.' I shook my head, and said: 'I took ages over things but they were generally successful – and I was working, not getting drunk.'"