In marketing or in any business, one needs to advertise to make the brand or company known. For people who want to make some money with the small enterprise one has, writing a solo ad will surely help out. Here are some basic rules one must follow;
1. A solo ad should have a good catchy line. It must have something that will make the customer interested to know more of what one has to offer. Whatever the person is advertising should be exactly what the individual can deliver.
If the person canít deliver, one might as well not to do because false advertising is a huge turn-off making the customer never to try anything from that individual in the future. The customer will also spread this to friends which will really make it difficult to make money.
2. Whenever putting a solo ad, it should never start with anything that looks like a forwarded message or regarding a certain topic from someone else. The threat of computer viruses these days especially from an unknown sender have made people more careful about reading emails. Users will rather play safe and decide not to open this ad and just delete it.
3. The subject one puts in the solo ad must be straight to the point. People donít like to be played around and by getting direct to the point; the odds of the person opening the email are much greater.
4. There are a lot of users online and getting the right message to the right market is important. This means that the person has to do some research to whom this ad might be best suited for rather than wasting time sending it to people who will not need it.
5. When writing the solo ad, the individual is not only selling the product but selling oneself. So, the words must have something the customers are interested in and can relate to. As for the product, if one can explain well the benefits and features, how it performs than other brands and what makes it unique itís almost sure that the customer will buy the product.
6. Television or radio ads last from 30 seconds to about 2 minutes per ad which is not boring and done very quickly. Solo ads should do the same by keeping it simple. With that, it is up to the customer what to do next.
7. Solo ads should have adjectives that will really get the readers attention.
8. Before submitting it or putting it online, one should proofread and check the spelling. If the person does not feel satisfied with it, the person should do it over again. Users will only get one chance to see the ad and the initial reaction will mean a lot since first impressions count. To get good feedback, it must be perfect.
Another way of checking it is having family or friends read it first and know what people think of it. If everyone is happy with it then one can already use the solo ad.
Solo ads can be placed in various websites such as job sites, e-zines or electronic magazines, and email sites. The person must use all the possible sites available to reach as many people as possible and to get the message across. Websites experience trends. If one is experiencing slower performance, the person can add new things to the site which would also mean making some improvements in ones solo ad.
Before launching the website to potential users, the person has to be sure everything is working. The products or services can be delivered on time and a helpdesk is in place in case anything goes wrong. It is very embarrassing for people to experience problems the first time which will surely discourage one from referring it to others and visiting it again.
Money can be made if the person is willing to give it a great amount of effort in this endeavor. By always offering something that people or the market wants, the individual will be able to amass a small fortune that can be used to enjoy some of lifeís pleasures.
This event is 21 and over
The Robin Trower story started in the mid Sixties when he began his recording career in the Southend rhythm and blues band the Paramounts. But the first time Trower truly surfaced on rock'n'roll's radar was in 1967, with Procol Harum – house band of the Summer of Love. Though not on their mega-hit 'A Whiter Shade Of Pale', he completed five albums and many tours with them before breaking away for a solo career in 1971.
He rates leaving 'the best career decision I ever made', but admits that 'the big break for me was Gary Brooker getting me to join Procol. That opened up the whole world. Without that I would never been able to go on and do what I've done.'
Trower modelled his band on the power-trio blueprint of Cream and Taste, as well as the Jimi Hendrix Experience. His atmospheric, effects-laden Stratocastering brought inevitable initial comparisons with Hendrix, but he quickly made his own mark. Robin along with the vocal talents of James Dewar, a hard-living Scot, whose voice will always be associated with the Robin Trower Band proved to be a musical powerhouse.
Robin soon found himself outselling Procol by a considerable factor as he tuned in to the heavier zeitgeist of a new decade, his second album, 'Bridge Of Sighs' reached the Top 10 in the States. 2014 is the 40th anniversary of the release of "Bridge of Sighs", and is being marked by several celebrations, including this tour. This collection of songs is in every budding guitarslinger's reference library, and has Influenced a generation of musicians.
The success of Bridge of Sighs gave Robin the freedom to explore musically such great collections as "In City Dreams" and "Caravan to Midnight" ( both produced by Don Davis) showing Robin's maturing song writing abilities.
As punk and new wave attempted to redefine the musical landscape Robin, like many 'classic rock' artists of the era, made changes musically to stay fresh and relevant. Robin's distinctive style of playing retained a sizeable live following in the United States. In the late eighties, Trower's recorded output became more sporadic. And in 1984 he split from long-time outlet Chrysalis Records.
In the Nineties, a brief reunion with Procol Harum gave Trower breathing space to reassess the direction of his solo career. He was now, he concluded, aiming to fulfil himself musically rather than shift units. 'For the past ten years I've just been making albums for my own heart,' he recalled to this author in 2001. 'The great joy of having my own label (V12, owned jointly with manager Derek Sutton) is that you haven't got to make music to please some guy behind a desk. You can please yourself and make the music you want'…
The first V12 album '20th Century Blues' appeared in 1994 and saw him backed by drummer Mayuyu and bass player/vocalist Livingston Brown. As the decade progressed, Robin decided to take on a share of the lead vocals. 'I thought to myself there aren't any blues artists that aren't singers…I thought I'd give it a go. When you write songs, you're always gonna get a twist put onto them by whoever sings them. When you sing it yourself it tends to come out how you heard it in your head when you wrote it.'
With his stock still high among his fellow performers thanks to albums like 1997's 'Someday Blues',, the late Nineties saw him hooking up with Roxy Music's Bryan Ferry for two albums, 'Taxi' and 'Mamouna', plus a European tour. It was a rare chance for home-based fans to see him live as, at this point, he was still concentrating on playing in the States.
2000's 'Go My Way' saw Trower sharing the spotlight with bassist/vocalist Richard Watts. As Robin later explained, 'Go My Way' was an album he rated highly. 'It's really where I live, that kind of blues; slightly spacey…I just like it. I like some of the other areas as well, but that's my hometown.'
In 2002 Robin ran into Davey Pattison at Jimmy Dewar's funeral. The chance meeting led to 'Living Out Of Time', released in 2003. It also featured Dave Bronze on bass and Pete Thompson on drums, a rhythm section he'd worked with many years earlier. So this was 'back to the future'…but with a difference. Young blues guitarist Eric Gales had supported Robin on a previous American tour and so impressed Trower that he wrote some songs for him. Robin and Eric never did have the chance to collaborate on recording them, but those songs formed the basis for "Living out of Time".
2005 brought 'Another Day's Blues', After this, Robin and legendary Scots rocker Jack Bruce got together to discuss remixing two of their Eighties collaborations for future reissue, but soon realised it would be more interesting to make it a hat-trick by recording a new album. The first meeting took place in February 2006. Robin and Jack's joint venture, 'Seven Moons' was revealed to the public almost two years later.
Recorded in trio format with drummer Gary Husband, the result combined their talents more satisfactorily than its predecessors. 'The main thing that changed,' Trower confirmed, 'is that we co-wrote all the music on this record. Before, we each brought our own songs, but now I write the lyrics and Jack and I do the music together; I think it's a much better gel.' He still regards Bruce as 'one of my heroes from the Sixties.' 'By adding what he does, he makes the song into something much, much larger. All those dimensions are added compositionally just by him playing bass and putting the vocal melody to it.'
The next two albums were 2009's 'What Lies Beneath', and 2010's 'The Playful Heart'. Both proof that Robin Trower still has the wherewithal to rock the world. Livingston Brown had heavy input into both records, and the latter disc – recorded with the road band of ex-Gamma bassist Glenn Letsch, Pete Thompson and Davey Pattison – is particularly satisfying. The vibe, more contemplative than the power-rock of his early years, and still the quality and passion is present in every single note.
The 2012 set "Roots and Branches" is a revelation. This may be Robin's finest indie release, with a mix of covers – the roots – and new material – the branches. The entire set is tribute to an artist still growing in power and dexterity, but most of all in emotional expressiveness. The CD garnered praise from both sides of the Atlantic as the many rave reviews attest.
The first decade of the current century has seen him wowing fans old and new on both sides of the Atlantic. The stadiums he filled in the Seventies may be a fond memory, but the upside is that audiences in clubs and theatres can witness the magic at closer quarters.
After a long absence, Robin will return to the stage in the US for a six week tour in October and November 2014. It will feature a trio, Robin's favourite line-up, with Richard Watts on Bass and vocals, and Chris Taggart on drums. This will be the first tour to spotlight songs from "Roots and Branches" together with many of the audience favourites.
Make no bones about it, Robin Trower is an axeman's axeman. He's been a Fender Stratocaster endorsee ever since Jethro Tull's Martin Barre let him try one before a gig in the early Seventies, and now has his own signature model – an honour accorded to few. Robin Trower live is an experience not to be missed. Whether you play guitar, or just enjoy a brilliant soulful player, come out and see the show. You will walk away smiling.