You're So Excited (Single Guitar Remixed Version)

Link to podomatic and hear it!!

This version of "You're So Excited" you'll find only here and will not be released with the "Labor Of Love" Remastered CD.


The rhythm or second guitar is not present on this version. So it's a simple three piece sounding track of guitar, drums and bass. This was a one pass recording, meaning I just plugged and played without separating rhythm and leads on different tracks. The original version has a dubbed rhythm track against this track to have that full sounding mix. I did screw up a couple of times and instead of re-recording the whole thing. I just punch in and erased the mistakes with the correct notes and that was the remedy. I could not recreate what I just recorded and plus I liked the feel and the way it came out.

There's a certain beauty in simplicity and to avoid the dark side of overproduction it can be hard to resist sometimes... Recorded at Rhapsody studios on April of 2003 and remixed by me today. "You're So Excited (SGRV)." Enjoy! ~JCM


...And The Vampires Made Love II (re-visited) & Podcast

Check out "...And The Vampires Made Love II" only on podomatic. Other future recordings of The Killing Floor on podcast link below.


I've receive lots of great feedback on the 5th track on the Labor Of Love CD: "...And The Vampires Made Love". People have express that it's very erotic, full of darkness, moody and it takes them to other places. I never intended to release this track but now looking back I'm glad that I did.

The birth date:
I needed background Halloween music for passing out candy the year of 2003. It was too late for me to go to the store and look for a Halloween theme songs, sounds and effects CD. Time did ran out and to hell with it... I just have to create my own Halloween music. So around 4:00pm on Halloween day I got into this mood and envision a theme and came up with three minor chord progression E-G and A. I didn't have the time but it did cross my mind adding a drum machine with a slow tempo stead beat. Well that didn't happened and the continuous three chords played like a movie in my head and when the tape ran out I had an idea and a visual of vampires. Vampires played and painted the whole vision and picture and when it was all recorded and done I titled it right there and then to remind me of the Vampire recording track experience which I titled "...And The Vampires Made Love".

The Recording:
This instrumental was written on Halloween of 2003 and done in two takes. One shot take on the left channel track using a Takamine nylon classical acoustic guitar. One shot take on the right channel track using an electric Fernandes strat style guitar. What I mean by one shot takes is that I didn't go back and re-record my parts due to mistakes or anything...It was done in one pass for both parts and the only over-dubs here was me playing the single lead guitar lines against my acoustic recorded guitar chords.

Recorded on a Tascam 484 four track cassette recorder with no effects. I recorded the acoustic guitar first until the cassette tape ran out for about 11 minutes and change. Then I just improvised on all over the place with the electric guitar using the same method of time. There's no editing, cleaning up or cut an paste anywhere so you'll hear some mistakes. But that's ok because it gives the track character and honesty. I've rarely ever use my Fernandes strat that is why you'll hear some crackling output jack noise and further into the song you'll also hear a missed note. Yeah I lost my place trying to look over how much time I had to play...Booo and big deal!! This hardest part of this song was to keep up and play those three chords non-stop and keep time for 11 minutes. Man... My left hand was killing me...lol

The Feel:
I made it a point not to over play too much with flash because I felt it would take away the love making mood... Instead I was searching for a feel, an emotion with a coldness without any heat. But a darkness filled with love, passion with evil.

This was the cheapest and fastest recorded project I've ever done and it goes to show sometimes you don't really need a million dollar studio to capture something special. It was just a magical night on Halloween 2003 and I'm glad it's was captured on tape...

The Story and Vision:
Candles, stained blood stain sheets, moon light shining in through the banging noise of French doors opening, closing and as curtains dance like fairies with the howling, blowing winds. Blood is scattered and lifeless bodies laying everywhere are tattered and torn. What once filled the hall with laughter and music is now taken over by the sounds of falling drops of liquid blood dripping and pouring into wine glasses. The lover vampires would feast and drink as they looked into each other eyes. Bounded and ever so madly in love for eternity... And The Vampires Made Love through the night in a ever so foggy and cold Octobere night.
One can say that love is only a God given gift and evil takes no part of it... or maybe this evil here is a survival state that still needs to be loved, held and cherish. Enjoy! ~JCM


How to get a BETTER Major Label Deal

Les Paul and Django Reinhardt

How to get a BETTER Major Label Deal Category: Music

Since I negotiate contracts, it often comes up how lousy [putting it nicely] the contracts are that are offered to 1st time Artists...

Now, it's a known fact that, if you are a new Artist, unless you have a really, really high "buzz factor" going on regarding you, your initial contract is going to SUCK! So, the trick is for the Artist to make their 1st contract last as short a time as possible, while the record company tries to make the 1st contract last as long as possible. Because, as soon as an Artist become's popular, the Artist is going to want to make more money and have more creative control than the initial contract would offer. And if it's over quickly, the Company is going to get stuck offering them a lot more money and power if they want them to re-up.

But, there is always that sucky 1st contract. You normally can't get around it. The key word is: "Normally". Here are some instances where a Major or Mini Major Record Company [doesn't matter what style of music you do] will give you a better offer, in no particular order:

1. Recording with, or being represented by a Successful Producer and/or Production Company

2. Being represented by a known and respected Manager. Preferably, one who has friends in the business, especially one who has Artists already with the Company you want to approach.

3. Out and out Hit Songs - and preferably in Master form, ready to put out there.

4. You've written hits for other Hit Artists.

5. You're already known in the entertainment industry, such as you've been an actor or model on TV, film, or what not.

6. The enthusiasm of the Company re: the Artist's potential.

7. The financial shape of the Company.

8. The "chemistry" between the negotiators (how they get along).

9. Record Companies previous bad experiences

10. Whether Publishing is involved [and how much].

11. Astrological signs, and such [I'm not kidding]!

12 But the best way??? Where the Record Company comes to YOU! And, all of a sudden you have a bidding war between companies for the right to sign you!

Now, what would make them come to you? Because you've created a gigantic "BUZZ" around you! People [your paying audience] loves you, and you're already selling a lot of records on your own - or with a small label. Everyone is writing about you. You have a large following in person and through your web site. It still doesn't hurt to have a powerful Manager or Producer representing you. And a few of the other's listed above. Just MAKE them want to come to you.
The fact is, most Major labels are extremely paranoid about signing anyone nowadays. Their preference is to have you sell 50,000 with an Indie, so they figure they're not taking a big chance. At that point, most Indie's distributors don't have that international reach that Majors have, so they kind of join hands, or the major makes a settlement with the Indie to take over your contract. Note: You'll find words to that effect - they'll usually use the term "Third Parties" -in an Artist's recording contract with an Indie.

Something to always keep in mind is, no matter WHO you sign with, make the contract as short as possible and make sure you can make money from side things, such as songwriting, merchandising and performing to make up for what you don't get from the Record Company.
Btw, when you run into these situations, I can help you. I know a lot of "tricks" that will help your negotiations, and I can deal with them for you. One key is to have certain OTHER things together before you deal with a label - large or small - for creative and financial benefit.

Professor PoochMusic Biz GuidanceEducation & DirectionComplete Contract Services

So called "Standard Contracts"...

So called "Standard Contracts"... Category: Music

I've run into so many people who say they've been given a "Standard" Songwriting or Management or Record Company Agreement [contract], with the person saying to them, "this is what everybody signs"...

If you ever see the word "Standard" at the top of a contract - ignore it!!! Have someone in the music business check it over carefully! There's no such animal as a "Standard Contract". I've seen way too many different Agreements of each type with the word Standard at the top.
There may be some standard parts [called "boilerplate"] in a contract, or it could be that person's or company's standard agreement. But, there's no such thing as a contract that's "standard" - that everyone gets from everywhere.

Believe me, besides stuff that should be changed or taken out, I bet there's important stuff LEFT OUT of the contract that should be PUT IN the contract to protect you!!!Allow me, or an established Entertainment Attorney to check your contracts to make sure you are properly protected!!!

Professor PoochMusic Biz GuidanceEducation & DirectionComplete Contract Services

Before You put Out Your CDs...

Before You put Out Your CDs...

I found this re-post necessary for those putting out CDs - I'm still seeing labeling problems that could cost you...

I've found that most people don't understand the differences & uses of (c) with (P) in regards to their use on products, word sheets, etc.

(c) stands for the SONG Copyright Ownership - Unpublished OR Published
Songs are Registered in Washington with FORM PA - Published or Unpublished

(P) does NOT stand for Published!

(P) stands for the RECORDING ownership - Production. That is, whomever Owns the Recording/Production.

Most often on CDs, etc., you will see, for example:

(P)2005 WMG [Note: WMG = Warner Music Group]

Now, you DON'T have to be a Record Company to own the Recording. If you PAID for the recording or you recorded it in your own studio, unless otherwise stipulated by a Contract - you Own it.

Sound Recordings are Registered with FORM SR.

An SR form can protect an individual(s) or company for...

Vocal Performances, and/or Instrumental Performances/Musical Arrangements, and/or "Beats", and/or Producer/Production... and the like.

What is important, either in PA or SR is the: "Copyright Claimant", [Number 4 on the forms]. That person or company is the Owner of what the form covers.

For complete step-by-step instructions on filling out Copyright Registration Forms, go to: www.professorpooch.com/Copyrighting.htm

Professor Pooch
Music Biz Guidance
Education & Direction
Complete Contract Services

Your Music Business
Resource Center

Songwriting & Publishing Royalties

Songwriting & Publishing Royalties Category: Music

When you think of the word "Publishing", most people think of "Books", and that a Publisher, sells books. Well, at one time there were no records or tapes, let alone CDs, Videocassettes and DVDs. Originally, people received all their music in the form of Sheet Music, that is, printed documents that contained words and notes of songs that allowed people to stand around a piano and sing with their friends and relatives.

Sheet Music still sells, [as well as Books of Sheet Music, known as "folios"] but this is a very small part of one of the most profitable parts of the Music Business. Songwriters and Music Publishers also can make sizable amounts of money worldwide from

1. Sale of Records, Tapes, CDs, DVDs, Videocassettes, etc. - anything containing Songs played on a mechanical device, and therefore called "Mechanicals".

2. Radio & TV [including Cable] Performances also known as "Airplay". This also includes "Jukeboxes", live and taped performances at restaurants, clubs, bars, hotels, casinos, health spas, etc., etc.

3. "Synchronization Rights" [when Songs are synchronized with Film and TV Movies, etc.]

4. Commercials [I bet you've noticed that advertisers are going more to Songs than Jingles, lately]

5. "Elevator Music" [when U hear Songs played in an elevator, supermarket, when "on hold" with a telephone, etc.]

6. Computer Chips, Computer Programs, Cell Phones [RING TONES - 600 million dollars last year!], Video Games

7. Etc., [including any new forms of technology and formats that seem to be appearing monthly!]

Simply put, whenever a Song is performed, no matter who performs it, the Songwriter and Publisher could [should] benefit! It is also the Music Business's best-kept secret- how it is possible to sometimes make quite a lot of money, with very little time and effort - IF you know how to play the game. Therefore, there's a lot of competition for publishing rights- and the money that goes with it.

Today, many Songwriters and Producers, as well as many others in the Music Business have their own Publishing Companies, something unheard of 30 years ago, because they want the publishing rights and the money that goes with them.

[You may Re-Post This! It was "Stolen" from my Music Publishing Course available on my Web Site...]

(c) 1984-2006 David J. Spangenberg

Do You Have A "Good" Product?

It's an Epiphone but does anyone know what model this is??

Do You Have A "Good" Product? Category: Music

I'm now going to ask you to think about yourself, your band or group, as well as your projects, as: "the Product"! Please put your ego away for a moment, and try to be completely objective:

1. Is the product packaged right?
2. Does it "perform satisfactorily", pleasing the public?
3. Does it achieve "repeat sales" in the market?
4. Is the product profitable?

Regardless of what you do, whether it's songwriting, singing, playing an instrument, arranging, producing, whatever it may be, you shouldn't merely want to deliver just a "Good" product. Sure, a good, reliable product will meet all the points above, maybe even including profitability. However, there are literally thousands of good products in the Music world, most of them satisfied to be merely that.

To get right to the point: "Good" is not "Good Enough"! Aim for an OUTSTANDING product! Dont get lost in the crowd of "Good" people and products!

The life of a "good product" doesn't have much in the way of excitement, and the returns are limited. After a while, a good product may simply slip out of the market and disappear because it doesn't improve, and therefore isn't competitive. In the Music Business, like any other, not moving ahead really means falling back - being replaced.

To prevent it - as well as a way of keeping your interest up and keeping the excitement flowing - you must constantly seek ways to improve. Take a look around, watch what's happening, listen, and look for opportunities to move up.

Know what you want, and know how to do it - and then Just Do It! Preparation and attitude make the decisions easier to make, and make you look, and be, professional.

stolen from my book on the Music Biz available on my web site - link below...(c) 1984-2006 David J. Spangenberg

What Causes Fear of Success?

What Causes Fear of Success? Category: Music
"Geeze, I Thought He'd Be a Big Star by Now!"

I've met so many talented people in my career, who should've "made it", but didn't, or who should become stars, but never will. They have all the talent in the world, but something always seems to get in the way of their success - and it's usually themselves. They don't always consciously realize it, but they continuously set up roadblocks that block their own path. They're loaded with excuses.

Now why would they ever want to block their own success? Well, they really don't want to, but somewhere deep inside of them they feel they "don't deserve" to be happy or successful. That they're "no good"! That "something's wrong with them"!

Well where did these thoughts come from? It often came from many years before, when they were little kids. Though they don't always remember hearing things like: "You're a bad kid!" "Can't you do anything right?" or "You're no good!," "I'm gonna tell your mother what you did!", etc., etc., these words were often spoken to them. The words could've been spoken to them by a parent or grandparent who had no patience, or often "had a bad day", or were too tired to deal with a lively young boy or girl. Maybe it was even another relative or neighbor, or a nursery school teacher that they saw often. These people surrounded their daily lives and therefore affected them mentally in one way or another very deeply.

You see, between the ages of 1 & 5 everything we hear from people that are close to us affects us deeply. A child that age can't reason out that a person may just have had a bad day, or was drunk or stoned, or had a mental problem, or was not really into being a parent, or just liked tearing down at an innocent little kid, wanting them "to feel as bad as they felt!" Could You picture a three year old thinking, let alone saying: "Who does that damn, drunken slob think she's talking to?" Or, "Awww, he's just had a bad day at the office. I'm sure he doesn't really mean what he said."

Now why/how could something that happened so many years ago affect their lives today! Simple. Unless you've sniffed too much glue, every experience, every word we've heard is somewhere in that amazing computer we have called a brain. Proof: Remember that song You just heard for the first time in years, but You magically remembered all the words. Or You walk into someplace and the smell instantly reminds You of something from another time, another place. Or a face You hadn't seen in years You recognize instantly - along with remembering their names. Or a person's voice reminds You of another voice You've heard.

The examples are endless. It's all there - including all that negative stuff that they've heard over and over again from people that were important to them; that they thought loved them; who were their friends. [Hey, if they were their friends, who needs enemies!] And, somewhere deep inside they think something's wrong with themselves; that they don't deserve to be successful, that they haven't earned the right to be successful, that they are being punished for all the bad things they'd "done" when they were really just little kids being er, kids!

Simply put, unless these people have committed some horrible crime like murder they probably deserve to be just as successful as anyone one else - as long as, obviously, the talent is there. I bet, if they asked themselves if there was some logical reason why they haven't made it, they'd have no logical answer- maybe just some excuses.

Well, the past is the past, and today is the start of the rest of their life. Successful people don't come up with excuses! They don't let anything get in their way! They use their imagination to come up with answers, ways to make it. They don't ask "Why?" they say "Why not!" They don't ask "How?" they come up with a way. They find a way to make it- instead of a reason not to!

Take just a few minutes and think about it. Could this be something that could've affected someone's career you know. Could this also be something that could be affecting you and your career. Yes think about it...

... but not for too long. There comes a time to stop thinking about things and start doing something about it! That time is now!

(c) 2004-06 David J. Spangenberg