Love Is On A Fade - Joe Cocker - Cocker (Cassette, Album)

Know the names of the people who run the station. Know things about their existing on-air personalities. All this information is easily available if you take the time and effort to look for it. When you finally get the interview for the job of your dreams, be prepared for it!

Go over your notes and have someone quiz you on the information. Get plenty of rest the night before. Wake up early the day of your interview, and eat a good meal.

Ease up on the coffee—it may make you nervous. Wear a business suit for goodness sake; this is a real interview with a real business! Take your interview dead seriously and let the people who are interviewing you know you take it very seriously. Frankly, radio is one of the toughest businesses to break into. Keep your chin up and keep trying.

You may not make more than minimum wage your first year, so be ready to adjust your lifestyle if necessary. It will be worth it in the long run. Job Outlook Big communications conglomerates like Cumulus Radio and Clear Channel are buying most of the worthwhile radio stations in an effort to consolidate resources to maximize profits.

An entire four hour shift can be recorded in perfect CD quality, along with pre-recorded crossfades and sound effects, in less than an hour, and up to two weeks in advance. Radio DJs all over the country are scrambling to keep their jobs and new commercial radio DJ shifts are becoming much harder to come by.

However, new subscription-based national satellite radio technologies are now emerging that will compete against traditional broadcast radio. Satellite Album) services such as XM and Sirius are slowly but surely building their subscription bases, and most new car manufacturers are now including one or more of these satellite bands in their new vehicles either as a standard accessory or an option.

These cool new transmitters deliver compact-disc quality audio signals to radio receivers along with new wireless data services such as station, song and artist identification, stock and news information, local traffic and weather, and much more. This could open up a whole new world of frequencies and possibilities. Real-World Experiences Here are some valuable real-world experiences that may help inspire you, or possibly deflate your radio dreams! Keep an open mind, because this is an arena where there are no hard and fast rules.

Your mileage may vary. Real-World Experiences Mike Staff provides elegant entertainment with state of the art sound and lights, and an unsurpassable professionalism that is sometimes hard to find in the mobile DJ industry.

Hundreds of Detroit area brides and grooms rave about. This is a step by step, multi-media presentation that details exactly what it takes to break into the radio business. Lisa accompanied mom to a radio station and ended up writing and voicing her spot. Not too long after that, Lisa brought a tape of the spot in to the program director at the same station who hired her on the spot. Lisa advises radio newbies with hopes of becoming an on-air personality to try and get a non-broadcasting part time job at any radio station, even a tiny AM station, to be sure you have what it takes to have a presence on air.

You can spend four years in school and know how to run everything from the board to the transmitter but that does not make you a good on-air personality. Lisa also advises that radio is a cut-throat business.

You need to be able to think on your feet and juggle five things at once. Mann got into radio after his senior year in high school after completing courses in the morning of his senior year at a vocational tech school in Gary, Indiana. He just went in and asked to see the Program Director at the local radio station, and after a small audition, he was put on Saturday and Sunday mornings.

From there, he went on to several markets while also trying to build a professional baseball career. Radio eventually won the career battle, and Mann stayed in the radio game until he was In fact, at many stations if you decide to choose your own music… you will be fired immediately. Remember to use radio as only a stepping stone to someday having your own company or being in syndication for tracking.

If you think it is a stable lifetime job like General Motors… you are sadly mistaken. Anthony was in the 11th grade.

Anthony advises new DJs entering the radio field to keep your content clean, and to be patient. If you make a mistake, forget about it, but get it right the next time. Most importantly, Anthony stresses to always be nice to listeners on the request line. Request lines are basically used for research purposes. Her first job in radio was Market Research telemarketing. Kelly was in high school at the time and her sister worked at the station, and got her in the door.

They were looking for new on air talent, and he was hired on the spot, which is a pretty amazing feat considering Philadelphia is a top five market. Lowe got his first job while doing college radio at UCF in Orlando. But you get to pick all the music, you program the whole night, and you MC the entire show. And when it all goes right, it can make you feel pretty darn good. This is why I made the switch from radio to clubs early in my DJ career.

I was proud to be a club or bar jock. My setup sounded like crap, but it got the job done. The ice cream parlor had a second level that was well lit and visible to the street through a huge glass window.

For some strange reason, I felt the need to jump on top of the counter and start lip-syncing Elvis. Everyone on the street stopped and watched, then applauded when I was done acting like a moron. Fortunately, I was never inspired to do that again. But that was the beginning of my nightclub and bar experience.

Coming Up in Philly I got a job working for a retired radio DJ named Shawn Michael, who ran a small DJ company and had a couple of medium sized backwoods suburban bars. I was in heaven—I could play and say whatever I wanted, and I got paid for it! I had to play oldies music again on really bad turntables with records that were scratched beyond belief. Shawn provided all the records, some of which appeared to be original issues of oldies hits that would probably be worth some big bucks in better condition.

He would get a glass of seltzer and a napkin, and actually wet down the record with the napkin before playing it. And for some strange reason that I still cannot comprehend, it made the records sound less scratchy! The bar was always crowded, and it was a great place to learn the basics of DJing in a bar situation. After complaining about playing oldies, Shawn promoted me to a larger account, Casa Maria, a Mexican cantina-restaurant with a small bar and an even smaller dance floor located in King of Prussia, Pennsylvania, a well-known and busy Philadelphia suburb.

I finally got to try my beatmatching skills in front of a live crowd! This was much more fun for me than oldies nights. The entire night was pre-programmed in a set rotation. The music was provided for all the DJs, with every record clearly labeled with the A through F moniker. There was no mixing needed, because the format usually precluded DJs from choosing records that were mixable. Man, I was the king. My first real club! Nothing is properly labeled, there are no instructions, and the first time you see it, this equipment looks like it was forcefully removed from an alien spacecraft and dropped haphazardly into the DJ booth.

Nightclub and bar systems grow almost organically, with more and more components being added to the original plan so nothing appears to make sense. Eventually, I found the power switches for the amplifiers, and fired them up. The turntables were easy enough to turn on. The music boomed through the club, and I thought it sounded great. All the sudden, the manager comes flying over the bar in a panic and jumped in the booth, correcting all the volumes. Eventually, I figured the system out over my first few shifts, and got pretty good at it.

After my first month, I was responsible for training some new DJs. The two-hour commute was brutal, especially after working a day job. I did that bar for a summer, and got pretty tight with Julie Grove, my manager. I got to pick my shifts first, and was responsible for hiring all the other DJs. I was also responsible for purchasing and programming the entire music library, which was a pretty heavy responsibility. Due to certain corporate politics, I was practically forced to hire a certain connected DJ I had bad feelings about, who avoided the format and.

This problem is typical in this business. Overall, my M-Street experience was fantastic. I got to run various promotions and write and record my own radio commercials, which was the basis for my subsequent career in radio production. I created a massively successful Tuesday night, which is virtually impossible in this business, which ultimately created enough buzz and profits to allow the club to be sold for a healthy profit, leaving me out of a job.

The guys who bought it had their own DJs. The club eventually changed its name, then went out of business a year or so later, as most nightclubs typically become stale and die in a short time. He had an account called Club Atlantis, which was a huge multilevel nightclub attached to a banquet hall in Bensalem, Pennsylvania.

This place had an insane sound and intelligent light system installed and maintained by one of the smartest people in the industry. In addition to its normal client base, weddings would always dump into this club, which kept it very busy. Its biggest night was Sunday night, which was one of the premiere nights in the Philadelphia area. Everyone who was anyone went to Club Atlantis on Sunday nights. It was considered an honor to work at Atlantis on Sundays, and I had my eye set on getting that night.

Eventually, after about six months of helping to build their Thursday and Friday nights, the existing Sunday night DJ said something stupid to the owner of the club and was fired immediately. They offered the coveted Sunday night shift to me. I was already working six nights a week at four different clubs, and my girlfriend was about to kill me. But this was way too cool to pass up. This was it—the highlight of my DJ career! I had finally made it, and it felt like I had just recorded a hit single and become famous overnight.

I spent a fortune on new records, and rocked that house every Sunday night for about three years. I was featured in a three page spread in Nightclub and Bar Magazine. I was exactly where I wanted to be in my career. Atlantis had an amazing DJ booth. It was raised way up in the air at the end of a long catwalk with sliding Plexiglas windows across the entire front of the booth, which spanned the entire width of their huge dance floor.

To the far right of the booth, there was a monster lighting panel that controlled every set of lights in the bar. They had Intellibeams, Emulators, Dataflash strobes, fog machines, bubble machines, Watt spotlights—everything that was dope, def, and funky at the time, they had it. The Atlantis lighting system was no less than awesome.

What really freaked me out was that the sound and light guy hooked everything up through X10 modules that he could actually control from his cell phone! I saw him do it. Near the light panel, there was a sliding Plexiglas window that was accessible to customers, and a secret hidden door that led to a passage behind the main bar. The owner actually lived at the club, so you could sometimes see him running around in the back hallway in his undies late at night.

Towards the center of this DJ booth, they had two Technics turntables, a Denon dual CD deck, and a modified Urei mixer that somehow removed the microphone input from the tape out feed so you could make mixtapes without talking on them. To the far left of the booth, there was a huge rack of amplifiers, crossovers, equalizers, compressors and limiters that looked like an LED lightshow in itself.

Behind this rack, there was a 10 foot by 10 foot secret room, where all kinds of legendary unmentionable things happened during my tenure at this club. Believe it or not, I became bored with that situation. They seemed to want to hear the same exact songs week after week for two years! It was time to get while the getting was good, so I left Atlantis and created my own DJ service with a guy named Joe Montalvo.

Not only did clients get a multitalented DJ, we offered additional services that allowed us to charge higher rates. We added promotions planning, club calendars, flyer design services, video services, Club TV slide shows, radio commercials, routine maintenance, and even sound and light installations. All this stuff made my company an invaluable asset to my clubs.

The truth is that relatively few clubs will support this type of DJ. Most mainstream bars and clubs are looking for an entertaining DJ rather than some mixmaster who refuses to speak on a microphone. Most small to mid-sized bars and clubs not in New York, Los Angeles, Chicago, or Miami seem to prefer more of a well-rounded, mobile DJ type entertainer. It can look really cool to scratch records in front of a crowd of screaming fans.

I even won a scratching contest back in the day. Record scratching is nearly impossible to dance to unless the DJ is really, really good at doing it live so that it sounds like an extension or remix of the original song. You can count on your fingers the number of scratchers actually making a living being a DJ, compared to the thousands of other non-scratching DJs earning a comfortable living.

You have to remind people where they are, who you are, and why they need to keep coming back for more. Q You have to be one of the primary customer service contacts. A DJ is usually a focal point in a club or bar. People look to you to tell them where the restrooms are, or what kind of music or entertainment your bar features. Q You have to figure out a music program. This can become quite a balancing act.

Q You have to effectively mix that music. A liquor license allows the bar to legally sell liquor and beer according to state regulations, which is how most clubs make most of their revenue. If you pick up three or four five-hour shifts every week, you can live fairly comfortably with a lot of spare time.

Anything you can do to help them sell more booze will help you keep your job, and increase your earning potential in the long run. Once your local club owners and managers start hearing about you, more job openings will appear. Your following will grow, making you even more marketable. And the path this book suggests will also prepare you for life after DJing.

You can prepare for a career in nightclub promotions, record promotions, sales, radio, public speaking, TV or a whole lot more.

We are getting paid to entertain. This is not an easy thing to do, since it borrows from several completely unrelated disciplines.

The physical act of mixing the music—creating seamless transitions and combining songs—is an artform. It is a very difficult skill to master. It took me several years to figure that one out. Even the highest paid trance and techno DJs say a few things into the microphone to get the crowd hyped!

With a little practice and some basic research, you can make crowds behave almost any way you want to. You can make them happy. You could make them sad. You might incite a riot! Believe it or not, many emotions can be controlled largely with nothing more than your choice in music. To be really successful in this business you must comprehend the underlying nature of people. Remember this simple concept, and you will be guaranteed success and longevity: the bar and club business comprises the entire social lives of thousands of people all over the world.

All of their current friends go there routinely. The local bar or club is the most important part of their existence. They represent a long-term fixed income for bar owners, and subsequently, for their DJs. Moreover, they are all people. They are all customers. And dammit, this place is their social life. This seemingly insignificant fact gives you all kinds of power.

To reach the level of a master DJ, you must become more than a human jukebox—you need to become a true entertainer. It comes naturally to some lucky peeps, and unfortunately takes years of practice and research for the rest of us. I was so befuddled by this invisible riff that Love Is On A Fade - Joe Cocker - Cocker (Cassette actually joined a band to see what the big deal was all about. I got the first-hand scoop on why bands hate DJs. Bands have been around for thousands and thousands of years, since our ancestors were cavemen.

Their main argument is that they work a hundred times harder than DJs, because they must spend years first learning how to play an instrument or sing, and even more time learning every word, note, chord, and chorus in upwards of hundreds of songs throughout their careers.

Most DJs sit around like a lump and simply press buttons, providing as much entertainment as a barstool. But you can beat this argument with an interactive show, some well-timed clever announcements, games and contests, and an entertaining presence. Bands by nature have at least three people and sometimes up to twenty if they have a complex horn section, so there are many more people who must get paid.

This is where we DJs really have it over the bands. Bands do get more chicks. As a DJ, I managed to do pretty well with the ladies. But band guys beat DJs exponentially. Most professional bands are pretty cool and are a pleasure to work with. Working as a Club DJ Your DJ Name Obviously, working in a young, hip, fast-paced industry like the nightclub and bar business requires nice trendy clothes, usually of a popular designer flavor. Remember, this is the entertainment business, so some acting is a requirement.

Many old schoolers initially thought I ripped off Doug E. I was fumbling through the name decision process when I was trying to figure out who I was going to be. It was perfect. I was always being fresh, both in a nasty and nouveau way. I wrote it down to see how it looked in print, and the rest is history. Does your DJ name really matter?

In the full scope of things, not really. The power of repetition can be frightening. Do yourself a favor—get together with your friends and coworkers, and think long and hard and try to come up with something cool.

Your DJ name tells a story about your personality, not to mention it might stick with you forever. There are several ways to create your own, killer DJ name. Most of us already have nicknames given to us as children. If your nickname happens to rhyme with something cool, you could come up with a clever rhyming twist. You could borrow a popular current phrase, but remember that most current phrases quickly become old and overused.

Some pretty cool names come from obscure things, such as feelings, emotions, intangible items, medical conditions, science, technical terms, religion, and even literary mistakes. If anything, it was because he was trying too hard, as 's Cocker proves. He works with a variety of producers on the album, yet they all arrive at the same slick, mildly synthesized, vaguely soulful adult contemporary sound.

Furthermore, neither the producers nor Cocker have found consistently interesting material. There are some good moments on Cocker that do justice to his still robust voice -- "Shelter Me" is a reasonably entertaining new effort, and Marvin Gaye's "Inner City Blues" was a good cover choice, as was Randy Newman's "You Can Leave Your Hat On," even Album) Richie Zito's production on the latter is a little too slick. Still, isolated moments of life can't quite make up for the preponderence of bland material and the turgid production, and Cocker winds up being another frustratingly uneven effort from a talented singer.

AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International. The album also featured, for the first time since 's StingrayCocker's touring band, who played on five tracks.

The release of Cocker was preceded by a single "Shelter Me", a powerful opener from the album, Love Is On A Fade - Joe Cocker - Cocker (Cassette rousing performances from guitarist Cliff Goodwin and saxophonist Mel Collins. The album is dedicated to Joe Cocker's mother, Marjorie Madge Cocker, who died during the time period of the recording sessions. From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources.

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Related Tags rock classic rock vinyl Add tags View all tags. Featured On Play album. Cocker Joe Cocker 29, listeners. The Album Recordings: Joe Cocker 12, listeners. Play track. Artist images more. He was known for his gritty voice, spasmodic body movement in performance, and distinctive versions of popular songs of varying genres.

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