Music Is My Business

Excuses Musicians Use For Not Learning About the Music Business

2011-08-03T13:01:00.000-07:00

I have heard them all...the reasons so many solo artists and band members give for not learning about the business they are in...the Music Business:

The Top 3 Reasons are:

1.They can't afford any courses, classes, books, or workshops.(in truth no musician can afford NOT to educate themselves about this crazy, ever-changing business)

2.They believe that if they know the right people in the music business, they won't have to bother with learning how their industry operates, their contacts will take care of them.(and will they ever!!)

3. Leaning about the music business will take too much time away from creating their music.(yes, and more likely unscrupulous businessmen and women will exploit that very creativity they are so enamored with.)

Now, I may not have heard all the reasons for being ignorant of the inner workings of this business.

I'm sure you have your own reasons for avoiding this issue, but all I am asking you to do is examine those reasons. Ask questions about how things work!

That would at least be a start!

To paraphrase a well-known saying: "The career you save may be your own!"

Building a Successful Radio Airplay Campaign

2011-07-28T17:17:00.000-07:00

Designing A Realistic Radio Promotion Plan

The commercial radio industry, at this time in history, couldn’t be less friendly to the independent musician. However, that doesn’t mean there isn’t some significant radio airplay available to you if you know what you’re doing. Outlined below is a plan to consider if you have the three important ingredients necessary for working your record to radio.

* The money to fund the campaign

* The time to spend working all the stations consistently

* A product that is ready for national airplay

When it comes to commercial radio, the chances of getting significant national airplay for your independent record are next to none. We live in an era when a small group of powerful media conglomerates own and control the most important radio stations in the land. Unless you are connected to a major label, or are independently wealthy, the costs of promoting your songs nationally to commercial radio have spiraled out of sight.

There are, however, lots of mix shows and specialty shows on commercial stations that may offer limited airplay, and at least will get you some awareness in the markets across the country. There will be a lot of work involved in finding these stations yourself, city by city, and music format by music format. I suggest you subscribe to or get a copy of the annual CMJ Directory.

If you have money to invest in radio promotion it’s possible to hire an independent promoter who may be able to open some doors to these shows for you. Be prepared to spend several hundred dollars a week for their services.

A more realistic approach for airplay is to consider the options available on the noncommercial side of the FM dial. (88.1 FM to 91.9 FM) With the combination of college radio stations, community stations, and even some of the larger National Public Radio affiliated stations, your chances of getting your record played are much better.

Also, don't forget those thousands of Internet radio stations that stream millions of songs a day. Google the phrase "Internet radio stations list", and you will be amazed how many stations on the web play independent music of every imaginable type. If you own a Blackberry or an iPhone, there are several free apps that will give you access to these web broadcasters.

Here is an outline based on how professional record labels plan for their radio promotions:

You need to prepare:
• A database of commercial, non-commercial and Internet stations that you realistically think may play your music.
• A timeline you’ll use to put together your promo material together (basically setting your deadlines).
Remember that your plan may be distributed to any helpers or employees you may have for your own label, and any independent promotion people you may hire. This plan will be their introduction to your or your artist, and is the plan they will base their work on.

1. Design a detailed overview of your radio promotion plan.
Consider all marketing and promotional ideas listed below.
Propose what you think would work best in each of the areas to help market the record to radio.
Remember to keep cohesiveness between all areas: Give reasons why your music is appropriate to each station you approach. You will need several practical tools/materials to achieve your goals. (Computers, Smartphones, reliable Internet connection, hardware/software, office supplies, etc.).

Address the following specific topics in your plan:

Background/Goals: Give a brief history of the artist, and describe your goals

Image: Describe/ maintain the artist's image consistently in all promo materials.

Radio: What radio format(s) will be targeted? What markets? Which songs? Any station promotions? (On-air concerts?) Hiring any Independent promoters?

Publicity: Describe your plans to create a “buzz” in the print media. Any press releases to the music industry trades? Update any bios, fact sheets, and electronic press materials.

Sales: Describe Distribution and Retail plans. Any in-store play/ promotions?

Other specific sales opportunities? Mail order, live shows, Internet sales
Any store promotional tie-ins with radio stations?

Video: Is a video cost effective? What airplay opportunities are there for the video?

Touring: Describe the time frame for touring, and other promotional events to coordinate while on the road. Consider specific clubs, halls, fairs, festivals,
Any club/venue promotional tie-ins with radio stations

Social Networking: Mention any Facebook, Twitter or other SN plans

Misc.: Having a record release party? Novelty items? Any other clever ideas?
Explain each idea in-depth !

2. Design a 12 week plan for the product and promotional tools.

* Lay out what needs to be accomplished each week to get the record out.

* Consider the: artwork, mastering, credits, sequencing, printing, pressing, booklets,layout/design. And be sure to convert your songs for online downloading!

* Include in the timeline when to start working on your promotional tools

* Design the timeline with deadlines for each element of your project.

Remember that your radio promotion campaign is part of what I refer to as the 'Four-Fronts of Music Marketing', and your plan must connect to all the other Fronts in order to be successful.

Always have distribution and sales plans, as well as publicity, advertising and touring plans coordinated carefully with your airplay campaign. The worst thing that can happen to any song on the radio is that someone hears the song, but can’t find a way to buy it.

Professional record labels always have distribution and sales connections set up before they secure airplay. You should do the same.

Think Like a Music Publicist

2011-07-23T15:02:00.000-07:00

Think Like A Professional Music Publicist

(25 Tips borrowed from the mind of a publicity genius...Howard Bloom)

The following information is summarized and improvised from an interview with the legendary music publicist and father of modern music publicity...Howard Bloom in the ‘Billboard Guide to Music Publicity’ (out of print book)

Howard Bloom (now a retired music publicist and well known author of books such as the Lucifer Principle is responsible for the publicity for such legendary artists and bands as: ZZ Top, Prince, Talking Heads, Billy Joel, Billy Idol, REO Speedwagon, George Michael, and countless other artists.

The 25 Tips;

1. Learn to be a writer for magazines, newspapers, and any online publications.

2. When going in to work with an act for the first time, go in AS IF you were a journalist and interview them at GREAT LENGTH, spending as much as 2 or 3 days in the interview.

3. The purpose of this is to find out all the facts, but more than just bland facts—find those things that will make an interesting and compelling ANGLE.

4. Having found the ANGLE....BUILD YOUR PUBLICITY CAMPAIGN ON IT!!

5.THEN, write your Bio, that incorporates all the information you have discovered.

6. Writing your Bio is like a good encyclopedia article...it tells all the facts that would be useful to other writers you will send the Bio to, and to yourself as you approach media contacts who will be EAGER to take your phone calls and work with you.

7. Publicity by itself cannot sell records, but it will be a strong addition to your other marketing tactics if done right.

8. Don’t worry about generating tons of press. Concentrate on appropriate media contacts within your geographic and budgeting limits. Then WORK those contacts with constant, but polite communications that will provide your contacts with useful information to do THEIR job.

9. If done right and in cooperation with a professional record label that is dedicated to building slowly and consistently the careers of their acts, publicity can do wonders...to the point that as an act grows, and more and more articles and print media appear, people will ultimately say something like; “ Oh, that band (or artist)...I’ve been reading about them”.

10. Aim to get consistent press, month after month. No haphazard publicity planning!

11. Remember this truth: When it comes to the music publications, like Rolling Stone, Spin, Uncut, or Mojo....or even local and regional music outlets, there is a key group of critics that run through this country the way a nerve runs through a lobster. These critics are all friends and talk to each other. The have certain acts that are fashionable among them to like or dislike.”

I2. Is YOUR ACT one of those acts that these critics are likely to respond to? Research who these critics are and try to determine if your artist or band might be appealing to them. If not....

13. Keep your acts AWAY from any critic who you suspect doesn’t like your act’s kind of music.

14. Get involved with choosing the photographs that will be sent out with other publicity material. Keep photos 8x10, black and white, glossies!! Nothing else.

15, Music publicity is just one of many tools used to promote an act: get involved with the act’s management, record label, and publishing company. Communication is everything. If anyone drops the ball the whole campaign can collapse.

16. The first step in planning a music publicity campaign is doing research; the second step is creating one’s materials (bios, fact sheets, cover letters, quote sheets, business cards, websites, and other online materials); the third step is creating lists of those people you think are good contacts for your particular act. The next step is sending out or emailing the materials to those people you think can help your act, so that after a week to ten days, you can begin contacting these people and have people on the line who are willing to work with you.

17. Research and write down the ‘lead times’ for every publicity contact you make. Depending on whether a contact is a newspaper, a website, a blogger, a national or regional publication these lead times can vary from hours to days to weeks, or even months in advance of the publication date.

18. If you have done YOUR JOB with your contacts, you then have to wait and see if THEY have done THEIR JOB helping you get the word out, (the buzz) on your act.
If someone gives you bad press, don’t make a big deal about it, just remember who said what about your act, and DO NOT include them in any further publicity plans.

19. When working with a record label always remember that a record company will put out many obstacles to the development of the career of an artist. Being signed to a label is not the beginning of stardom, it is the beginning of your difficulties. A label will throw every obstacle it can in front of you, and it is up to you to find out how to get around, under, over, and through them.

20. You must be willing to work 12-18 hours a day 6 or 7 days a week until your act is successful, and be sure their label reps and management are going to be up working with you all the way toward success.

21. There is NO SUCH THING as a short term publicity campaign....it goes on eternally OR until the act breaks down and quits. But as a publicist YOU will never stop working, you will just move on to the next project that comes your way....VACATIONS? There are no vacations in this profession.

21. Today, more than any other era, acts are broken on the road, and your publicity work should encourage that, and be in there helping plan the tours and all that goes with working the publicity angle as you move along.

22. When you are planning a publicity project you have to work out your strategy from the get go, like you are building a building. If you don’t build the foundation right, it will tilt just like the Tower of Pisa, except this tower WILL fall without proper planning.

23.Be sure there is ONLY 1 contact to the press with your act. YOU are that contact. Do not let members of a band switch around talking to the press. ALL these types of interviews or press conferences must be PART of your plan, and going back, IF you did your initial interview with the act successfully you will know what bandmember to work with to get the right information out to the press, and that information should be what YOU said to your act as you train them for working with the music press.

24. Choose your media carefully. We live in an era of many press possibilities: From local papers and magazines to the bigger national and international music publications. In addition there is radio...AM/FM, the upcoming HD Radio stations, satellite radio, and thousands of Internet broadcasters. And don’t forget television and the hundreds of cable channels out there. If that isn’t enough, there are more music bloggers out there than there are websites these days for music exposure. The trick is ....WHICH OF THESE IS RIGHT FOR YOUR ACT?

25.LASTLY....well, there is no last thing to know. There is just more to know all the time. You must be possessed like a demon in this business, or you...or worse yet...YOUR ACT may suffer. Keep your eyes and ears open for new publicity opportunities...like the old saying: “better look behind you, you never know who is gaining on you.”

10 Tips For Lazy Musicians

2010-12-05T22:07:00.000-08:00

10 Tips Even The Most Lazy Musician Can Use

I got an email the other day from a young musician who was seeking advice about a 6 song demo tape he and his band had put together. He had plans to ‘shop it around’ to some labels to see if he could get a recording contract. He was a very polite guy, and wanted me to be very honest with him about what his band should do with their demo. The more we talked the more I realized how clueless he was. When the call was over, I couldn’t get it him out of my mind. How could he be so clueless in this day and age? What closet was this band living in, thinking that a demo tape of 6 songs was all he needed to get a ‘deal’.

I get upset when I encounter naiveté, or blissful ignorance…it ticks me off.

On the one hand we have a slew of entrepreneurial bands around these days that are very hip to using traditional and non-traditional marketing tactics to get their careers launched. Many bands are out their playing live as much as possible, using the web to get their music circulated and sold, These bands are working hard day and night to get their music into the marketplace, and they realize that the business of music is a ruthless business that demands as much from you as you are willing to give it, with no guarantees of any success coming your way.

And then there are the clueless, the naïve, and the blissfully ignorant. “Why won’t they just go away?” I ask myself. Because regretfully, “ignorance is bliss” is still a permanent state of mind for many aspiring musicians. These idiots will never go away regardless of the dozens of outstanding books, articles, regional and national music conferences, and webinars that are out there spreading the gospel of ‘do-it-yourself’.

It is one thing to be naïve, and another thing to voluntarily remain ignorant of music business realities. But wait, why should I complain?

I am a music business consultant. I should be happy that there are so many clueless musicians out there. They could become my next client. But they won’t because they have no desire to educate themselves. Even when I tell them they can get a lot of free information at my website:www.4frontmusic.com, they won’t even go there and read the free articles because…they are too lazy.

So, what’s a music business consultant to do?

Will I surrender to the clueless? Will I let the naïve get to me? Will I stop my crusade to help musicians with the business of music?

NEVER!

So, to prove it…here are a bunch of FREE TIPS for the taking:

1. Learn how to write a song!

We live in a time when everybody and their sister can and does make their own music.
That doesn’t mean however that your music has what it takes for record labels to invest their money and time developing, promoting, and marketing that music. A&R Reps are always saying, when asked what they are looking for, “We don’t know what we are looking for, but we’ll recognize it when we hear it.” What we can read into their comment is that your music must truly stand out in some significant, original, dynamic, and creative way. 95% of the original music out there contains regurgitated ideas that were ripped off from some other more gifted musicians. Challenge yourself! Talent scouts in this business hear hundreds of mediocre songs every week. What is it about your songs that make them stand out from all the rest?

2. Play live as often as you can.

You can always tell the difference between a musician who is in it for the money, and a musician who is in it for the music. The dedicated musician/band MUST play live every chance they get. Money-focused musicians whine about the fact that they can’t get club gigs that pay anything. If you really think that you can make your living solely as a musician in the first three to four years of your career, you are headed for a breakdown and disappointment. Think about it...almost every legendary musician who has made a mark on our culture has been a musician who struggled long and hard at their craft, and never stopped playing live.

Eat determination for breakfast! Go out there and play on the streets if you have to, play at schools, fairs, festivals, do benefits to help other people and organizations. Offer your services to non- profits, charities, church groups, and any other companies or organizations you can think of. Hang out at clubs, look for jamming possibilities, or start your own jam sessions. Look around where you live and you will see many places and venues where musicians can play. As you establish yourself and more and more people show up at your shows, the paid gigs will increase. Remember... play live, and then after you play live, play live again, that’s what musicians are supposed to do.

3. Never stop practicing your instrument.

One of the curious developments of the late 70’s was the huge increase in garage bands, punk bands, and ‘do-it yourselfers’, who just picked up an instrument, or started to sing with some friends, and 6 months later recorded a record and began to play live. Some great music, and new directions in music, came out of that situation. But now, 30 odd years later, the novelty of hearing amateurish thrashings has gotten a bit dull.
Prior to late 70’s, more often than not, the music that is our heritage was made by musicians who, from the time they took up their instrument, worshipped at the feet of some master bluesman, jazz player, folk legend, songwriter, or whatever. The habit of these inspired musicians was an appetite for perfection, the need to be not just ‘good enough’, but GREAT.

Why settle for less. Whatever developing stage you are at, go beyond it, re-commit yourself to your instrument or voice. Take lessons, or better yet, sit yourself down at your CD player and choose a favorite guitar player’s record, and listen closely to what they are playing. Then re-play it, and re-play it again. Challenge yourself to go beyond your limitations. Who knows, maybe you will discover some new territory, wherein you will find your ‘sound’, and increase your chance to stand out from all the mediocrity that is your competition. Believe it or not, record labels love to hear innovative, accessible new sounds. Actually in their heart of hearts, that is what they are really hoping to hear on every new demo music file or CD, and from every new act they go see at a live venue. Y

In the business of music, when we hear something new, original, and accessible to people, we can then invest in you with more security, believing that if we put our ‘label brand’ on you, with our talents of promotion and marketing coming to the front, then we ‘have something’, and your music becomes our music, and we work together to broaden you audience appeal. It’s kind of like a partnership between ‘Art and Commerce’. They can work together!

4. Cough up the bucks to register your songs with the Copyright Office.

I never cease to be amazed how few artists are willing to spend $35 to register their copyrighted songs online with the U.S. Copyright Office. www.copyright.gov

By the way, these folks are often the same folks who complain about not getting paid to perform their unknown music. All I know is that when an inventor comes up with some new product that they think will appeal to a certain type of customer, the first thing they do is file for a patent on their invention. The same reaction to protecting songs should be there for any serious songwriter. If you really intend to work hard and develop your career as a musician who writes your own songs, don’t wait too long to take care of this simple, but essential task. If you really believe in your unique and original music then take the time to learn the basics of copyright protection. With the Internet or your neighborhood library and/or bookstore there a number of easy ways to learn what it takes to file for copyright protection. Do it now!

5. Design some decent looking promotional materials.

The topic of designing and writing effective promotional materials; bios, fact sheets, cover letters, photos, and quote sheets is a lengthy one to say the least. My tip to help musicians promote their careers, and contribute to their getting any deal offers, is to make the promo materials as compelling, and informative as possible. Take an inventory of your accomplishments, positive reviews, past sales, and live appearance highlights, and organize them into professionally written bios etc. Having done that, time also needs to be taken to research who to send the materials to, and to ask each potential recipient what type of information they would like to have sent to them. No ‘generic’ kits should ever be sent out to any gatekeepers in the music business. Most gatekeepers in the industry today will want you to send any requested materials via email attachments. Be sure though to ask them what they prefer; email attachments or snail mail goodies.
I recommend these days you create an "electronic press kit"... Hell, everything is digital now anyway, so your press materaials should be digital AND the traditional...you may need both!

6. Get acquainted with any labels or publishing companies you may be interested in..

If you were applying for a job with a certain company of corporation, wouldn’t you take some time to ask questions about their stability as a business, their reputation in the industry, and their background and experience? The same is true when shopping for a record deal.

(If you insist on this approach, and if my emails are a good source of information, thousands of you still insist on shopping for deals instead of building your career to attract the businesses you want to work with)

Some musicians get so excited when a certain label approaches them with a recording contract, or a publishing company offers to sign them. Well, what can I say…go ahead and sign some damn deal…you will be writing me back after you experiences with that approach and asking me for help, but it will be too late by then…sorry suckers!

At least take the time to learn a few things about contracts before you go looking for one. Research the companies who may contact you. How have they done with your particular genre of music? What specific ‘points’ are they offering you? Who runs the label or publishing company? What is their reputation in the music business? How do you like them as people? These and other questions can be crucial in making an unemotional decision about an arrangement that could make or break your career.

7. Don’t use just any attorney for legal advice…find an entertainment law attorney..

The business of getting signed to any deal in the music business has always had, has now, and will always have, the involvement of entertainment law attorneys. No jokes will be inserted here, because any relationship between a musician, a record label, a publisher, a merchandiser etc. will come down to two attorneys hashing out the contract for the musician and the respective companies. It should be pointed out here that when all is said in done with the ‘courting’ process, the musician is never present during the actual negotiations. The musician’s attorney and the music company’s attorney meet, talk over the phone, and fax, email, even text message their offers and counter-offers amongst themselves. This fact serves to remind you that choosing a reputable, ethical, well respected attorney with lots of deal making experience within the music industry is an absolute necessity for any serious musician who wishes to fight the good fight in the legal arena.

8. Learn what managers do by doing management for yourself..

Self management is always a valid option in the developing stages of establishing your career as a musician. Much can be learned by taking on the jobs of securing gigs, getting some publicity, planning tours, dealing with personal issues that arise within the band, and schmoozing with A&R Reps and various other label and publishing personnel.
However, there comes a time, usually when the daily tasks of doing the business of being a band takes up too much time, and it is at this time that the services of a good manager can be very useful. I have always felt that if any musician or band has worked hard to establish their career, and achieved a modicum of success, they will have a better chance to ‘attract’ the services of a professional, well-connected and respected manager.

Today, finding a Manager is very difficult. Managers who do this job for a living can only take on clients that generate income. Making money as a personal manager is no easy task, and many upcoming artists forget that if any moneys are to be generated from their music, it can takes years for the flow of that income to be reliably there. So, as a band develops self-management, or gets help from intern/student managers, the road that heads toward professional management may open up.

Over the years I have heard several horror stories about ‘managers’ that approach upcoming acts and say that for X amount of dollars, they can do such and such for the artist. No, this is not the way legit personal manager’s work. Well-connected and respected personal managers get paid a negotiated fee for their services (get it in writing) for any and all business transactions they are responsible for (15%-25%) over a particular contract period. No musicians should ever pay a fee to a so-called ‘manager’ who will not do any work UNLESS they are paid up front. Flim Flam men and women still abound in this business... be forewarned.

One of the most important jobs of a manager is to secure recording and publishing contracts for their clients, this is why it is so essential to choose well connected and well respected managers. The music business is a ‘relationship’ business. Who knows whom, and who can get to the gatekeepers, and who did what successfully, is what this management game is all about. Choose carefully the people who will be representing you in any business dealings.

9. Take advice only from people who have talked the talk and walked the walk.

Everybody has their own list of Do’s and Don’ts and the only real value they have is that they present you with ‘opinions’ about what to do to get established as a musician.

To be quite candid, the best rules in the music business comes from the experience of building your own career; learning from your own interactions with the gatekeepers at labels, the media, management, and booking companies as to what is right or wrong for you. For every Do or Don’t there is an exception to a so-called ‘rule’. As I reflect on the advice I received and listened to over the years, the most valid tips came from people who walked the walk, and talked the talk. If you feel that the source you have contacted knows what they are talking about, and has had first hand experience doing what you want to learn about, that is the only feedback that might stand up over time. Choose carefully.

10. Educate Yourself! Learn something about the business of music.

Ignorant, ill-informed musicians are a menace to themselves. Over the decades there have been countless stories of musicians who were ripped off by their record labels and music publishing companies. Why? Exploitation was the name of the game, and still is when it comes to money issues. In the past, keeping musicians in the dark was standard business practice. However, the past has passed. Today, musicians who signs a record contract, and learns later about the bad news contained in it, have only themselves to blame.

There are dozens of outstanding books available on every conceivable topic related to the business of music. They can be found in bookstores, libraries, and through the Internet. In addition, there are many schools that now offer 2- 4 year programs on the business of music. Seminars and workshops are available on a year round basis in most major American cities. It is only myth, superstition, stubbornness, and immaturity that stand in the way of any musician making a commitment to educating themselves about the business of music.

And ya know...Google can find you everything you need to know on something called "The Internet"...yeah right, THAT thing!,

There ya go! Now please…get off your lazy butt and keep this information close at hand and commit to learning as much as you can about a business that thrives on exploiting naïve or the blissfully ignorant musicians.

NEW Intro to 4 Fronts of Music Marketing

2010-11-23T20:10:00.000-08:00

AN INTRODUCTION TO THE
“FOUR FRONT MUSIC MARKETING CONCEPT”
by Christopher Knab (copyright 2010)

There are many factors that must be considered by musicians and bands as they prepare to release an independent recording, or attempt to shop their music to A&R Reps at record labels.

I have been involved with independent music for over 40 years. In order to help you understand what must be done to plan your career, and/or implement a record release, I have conceived a Music Marketing Concept that will help you professionally develop your music for the marketplace. This easy to understand concept can be used by any dedicated and hard working musician or independent record label to build and/or further their careers as talented artists.

By learning the ‘Four Front’ Music Marketing Concept, which is based on the time tested and ever evolving marketing strategies and tactics of major labels and independent labels, you will know what it takes to compete in and work with all the businesses, services, and people that a recording artist encounters while pursuing their musical careers.

You will see how understanding the ‘Four Front Concept’ can help you develop your talent and image; along with helping you create effective promotion, advertising, and marketing materials, which are so vital to a successful and profitable music marketing campaign. In addition, The ‘Four Front’ concept provides you with information on how the businesses and services encountered in the marketing process rely on each other for information and support of any recorded product.

So, let’s get started.

The Music Industry is organized into "Four Fronts" or key ‘areas’. The First Front of Music Marketing is called Artist and Product Development. It is broken into two parts. Artist Development is Part 1

It deals with all the issues that any new artist or band must consider, such as; songwriting skills, and musicianship development, creating an honest and consistent image, copyright and publishing concerns, co-musician and band issues, recording and mastering arrangements, as well as management and legal needs. Product Development is Part 2 and it deals with all the issues that must be considered after a recording has been made including: cover artwork design and printing, manufacturing choices, market research data, as well as distribution and sales strategies.

After the music has been created and a recording has been manufactured, the remaining Three Fronts, which are called: Promotion (the radio, TV, and Internet airplay campaign), Publicity (the press and media campaign) and Performance (live shows and touring plans) come into play to support the First Front of Artist and Product Development.

The trick to understanding the ‘Four Front Marketing Concept’ is simply this. You must conceive, budget for, and carryout a consistent four-pronged marketing campaign for your independent music.

Every successful record in history has behind it elements of this basic formula, so there is no need to reinvent the wheel, all that is needed is to build upon the tactics and strategies that have been utilized by record labels past and present, and to find innovative new ways to expand on those proven methods.

The growing impact of an Internet presence for developing acts is such an example. If you look at what is available on the Internet for musicians as tools to expose and sell their music, beneath the Internet’s structure is the basis of four key areas of exposure, Online Product Sales, Promotion through Internet radio stations, Publicity through many online publications, and the opportunity to Perform your music live over the Internet.

But, let’s get back to basics now, in the beginning you must concern yourself only with the music itself. Remember, the first half of the First Front is called ‘Artist Development’. This simply means that everything starts with songs. If you intend to make money with your music, then your songs must have some commercial appeal to them. This does not mean that you must ‘sell out’ to some passing trend, but history has proven that the music that endures is music that stimulates the imagination of the listener in some way so that they are moved to purchase it. ‘Ownership" of your songs is the greatest proof that you have reached someone with your music. When people have to own their own copy of your songs, that is the highest tribute to their worth.

So, your songs must be of that caliber. When you feel confident that your songs do have a waiting audience who will appreciate them then it is your obligation to protect them by copywriting them. If there is a growing market (or demand) for your music, then starting your own publishing company, or searching for a music publisher will become necessary. But as ‘Artist Development’ moves along, and the business of music progresses, establishing and consistently presenting a clear image for the public to relate to becomes increasingly important, as will defining the business structure and policies of doing business with fellow musicians in your group.

Artist Development also means perfecting your live performance skills, and finding affordable and reliable recording arrangements to record demo or other music projects. Finding the right studio, the right equipment, the right producer and engineer, and the right studio are all factors related to developing your art...your music...preparing it for the Product Development stage.

Before leaving the subject of Artist Development, it must be mentioned that self management, or attracting the attention of professional management may enter the picture. Someone has to arrange for and be responsible for all the details of the aforementioned details. And of course, the advice of a professional entertainment attorney is strongly advised as you prepare to enter the world of .... the second half of the First Front...Product Development.

Product Development, is again all those issues related to the question...You have recorded your music, now what do you do with it?

Well hopefully you have thought about your customer a bit. Who is your fan? What do you know about them, and how do you intend to make them aware of your music? I suggest that you create a cover for your record that embodies all the image concerns you dealt with earlier so that when your fans, and the business gatekeepers who stand between your music and your fan ( the buyers at distributors and stores, the music directors at radios stations, the writers in the press, and the bookers of live shows)...can easily see what genre of music you play, and will be intrigued enough by your artwork to want to listen to it, and hopefully buy or support it

Next, shopping around for the best manufacturing deal you can find becomes essential. There are, for example, dozens of ‘Package Deals" out there through such manufacturers as Discmakers and Oasis, etc. But, do you really need a thousand CDs? Maybe that is too many or too few! Too many startup bands and artists manufacture x number of CDs solely because they got a good price from a ‘package deal’. Research your fanbase, how many promotional copies you will need to send out, and how much money you have budgeted for marketing, and you may be surprised how many CDs you actually need.

Product Development then becomes a matter of SELLING your music. You must devise specific methods by which your CD can be purchased by your fans. Live sales, Internet sales, consignment at local stores, and ultimately finding distributors and retail music chain stores who will carry your music. Formal distribution is the toughest to obtain these days, simply because of the huge amount of releases being unleashed before an unsuspecting public. Over 1000 new releases a week are littering the retail landscape, so finding and using the other methods of selling your music are highly suggested these days.

Every professional and legitimate record label has setup the arrangements for selling their records before moving on to the other activities they will be used to expose the music they have released.

You must do the same thing. At this point at a record label, a Marketing Plan is written up. It will contain much of the information discussed here, and in the paragraphs ahead. But Product Development at a label means putting down on paper the tactics and strategies to be used to sell the release. Be prepared to spend some money dealing with all these issues. Distributors rarely enjoy working with under-funded labels. It takes money to develop your product for the marketplace. You will need funds for coop advertising with retailers, you will probably need money to print up hundreds of Distributor One Sheets (sheets that describe in outline form your marketing commitments), and if you want to get into some listening stations at retail, get your wallet out because it can cost thousands of dollars to get involved with that in-store merchandising effort).

Digital distibution IS the future, but not the focus of this article...just be sure you do it and use www.tunecore.com as your guiding light!

Enter the three remaining Fronts... The Exposure Fronts.

Do you want to get some college and/or non-commercial radio airplay? Or perhaps prepare to enter the super competitive realm of soliciting commercial radio stations for airplay. Welcome to the Promotion Front! ‘Promotion’ in the purest sense of the word means ‘Airplay"! It is the thoughtfully researched and carefully planned out campaign for getting songs played on the radio, as well as on the dozens of new Internet radio stations, and it can ultimately mean getting videos aired on public access TV, commercial broadcast TV channels and networks, as well as the MTV’s and VH1’s of the cable world.

The only reason record labels fight the good fight of trying to secure airplay for their records is the simple fact that when secured, airplay is the single most effective means of exposing music to the public. Be prepared however for a frustrating and competitive fight. You must be armed with your Product Development marketing ideas and plans, and a significant financial investment to have any real success on a national level with your Promotion plan.

On the Internet side of things, one could look at the MP3 revolution as the greatest Promotion gift to developing acts that has ever happened. By posting your music on the hundreds of sites devoted to MP3, you can have fans listen to your music any old time they want to after they have downloaded your songs from those sites, or your own website ( You DO have a website, don’t you?). Hot on the heels of the MP3 compressed audio file revolution, are many other secure downloadable opportunities as well. ITunes has changed the world for starters, and Cdbaby.com have the best deal going to get your music on iTunes, and have many other worthwhile marketing plans for you to check out.

The next Exposure Front is the Publicity Front. Armed with professionally designed, image-reflected electronic AND traditional press kit materials ( Bios, Fact Sheets, Cover Letters, Photos, Press Clippings and/or Press Quote Sheets) you will be organizing again a well researched, and hopefully effective campaign to get the music press to review your release, and eventually write stories about you and your music, as well as interview you about your music. This Publicity Plan will act as a support mechanism for all your other ‘Front’ activities. Of course there are thousands of on and off line press opportunities, but again, armed with your marketing ideas from the Product Development stage, you will have many reasons why a magazine, newspaper, fanzine, or e-sine should feature your music, right?

And please remember...Social Networking ( Twitter, Facebook et al ) are a KEY element of the Publicity Front.

The only other Front left to discuss a bit is the Performance Front. This, in many ways, is the foundation of most genres of music. Playing live in front of your fans is the best way to develop a loyal and dedicated fanbase. So, if you want to play in the clubs and other big venues that showcase talent, give the gatekeepers in that arena reasons why they should book you. I am a big fan of doing non-club dates as a way of getting the attention of the commercial mainstream clubs out there. From house party gigs, to school concerts, to fairs and festivals and everything in between, just getting yourself in front of audiences, and of course using that opportunity to get mailing lists made up, and to SELL your music...The Performance Front is the bedrock of the Four Front Marketing Concept. Many artists are finding ways online to broadcast their tours, and/or to have an archive of club and concert appearances via their web plans.

Now, with a basic understanding of the Four Key Areas of music marketing described, there is on only one other basic concept that must be understood, and it is this.

The ‘Four Fronts’ of Music Marketing are interrelated and interdependent upon each other!

In some ways there is a catch 22 about all this. By this I mean that in order to get your Product into mass distribution, the distributors want to know what your promotion, publicity, and performance plans are. In order to get significant airplay the radio stations want to know what your Product Development, Publicity, and Performance plans are. In order to get Publicity, the editors and writers at the magazines and newspapers want to know what your Promotion, Product Development and Performance commitment is, and in order to get the better live Performance gigs, the booking agents, and club owners need to know what successes you have had with selling your Product, getting Press support, and any Radio airplay.

So, where do you start? Well, I always recommend that you start where you are the strongest. Even though there are a lot of articles and books out there with titles like " Ten Steps To Musical Success", or " How To Be a Star in 30 Days", the truth of the matter is that every band or solo artist has to have the ability to ‘feel’ their way around this crazy business. There really is no systematic way that this ‘Four Front’ concept works the same for everyone. Many acts, as I said before, build their successes around touring and playing live in support of their independent music. Others get lucky with some radio airplay, or have become what are called ‘critics darlings’, and get a ton of favorable press, and that becomes there breakthrough Front. Others combine elements of different fronts, playing live regularly, and constantly selling their CDs and Tapes at their live shows. And of course, using the ‘Four Fronts’ online, a new generation of cyber musicians are getting their breaks online, using Artist and Product Development, Promotion, Publicity, and Performance tactics and strategies to launch and maintain their careers.

Lest you think that my discussion of this marketing concept is only the responsibility of developing acts, let me tell you this before I sign off...No matter how established or legendary any musician becomes, when they release another record, the ‘Four Fronts’ of music marketing stay with them forever. That is why they have stayed in your head all these years! You may just be getting started and think that all I have described is a one time deal until you are ‘discovered’. Sorry about that, the more successful you get, the more time you will spend dealing with the ‘Four Fronts’ of Music Marketing. Welcome to the business of music!

Christopher Knab
Chris@Knab.com

Copyright 2010 all rights reserved

_________________________

A Guest Blog

2010-10-18T20:00:00.001-07:00

Artist Revenue Opportunities Without Playing Live

This guest post is by Bobby Owsinski. Triangle Exception, a winner of the Hypebot Hit Song Contest got to pose two questions to him as their prize.*

In most cases, recorded music has always been somewhat of a promotion for the live show. It’s a little known fact that most musical artists have always made as much as 95% of their income from playing live, if we take publishing out of the equation. Even artists that were selling millions of albums during recorded music’s heyday from the 70’s through the 90’s weren’t making as much on record or CD sales as you might think.

It’s still true today that most income for an artist comes from touring, so what’s an artist to do if touring isn’t an option? That’s the main question that two of the artist’s who submitted songs to Hypebot’s Hit Song Contest had.

In their own words:

“Given that we are purely a studio act – are there any good models or strategies for turning the exposure generated from freely distributed music into profit that do not involve playing live?”

“Given the geographical separation between Steve and I, we don’t get to play in the same room much, let alone tour. What are the most effective strategies for bands who are strictly studio acts?”

The answer is the same for both of these questions. Assuming that you already have developed your own “tribe,” or core group of fans, you need some products to sell. Let’s take a look at a few additional income streams that an artist can cultivate:

1) Increase online sales. Let’s look at your music first. Because online music is mostly a commodity these days, it’s best to think of it as primarily a promotional tool, but not exclusively.

You give it away for free on your website, and you make it available for sale on all of the popular distribution platforms like iTunes and Amazon. Although it may seem counterintuitive, there’s a lot of empirical evidence that the more your music can be found for free, the more it sells. In reality, this is the same way that the music industry has always done business, since before the age of Music 3.0 came to pass in 2002 with the introduction of iTunes, you’d give away your music with radio airplay to order to generate sales of physical product. The more it was available free on the radio, the more it sold (usually).

It’s the same thing today, only you’re giving it away on the same medium that you’re actually selling it. That being said, even though you may get an increase in sales, don’t expect it to be a huge amount without a huge audience, and don’t expect it to happen overnight. For most artists, this takes some time to ramp up.

2) Physical Product. Although it may be against the popular wisdom of the day, it’s important to have some physical product like CDs available. People still buy them, especially if you’re active in certain musical genres like country, christian and even metal where CDs are still preferred to digital downloads. You can have them made and even drop-shipped at Kunaki.com for $1.75 each (1 to 100,000 copies have the same unit cost) so you won’t have any upfront costs or inventory to worry about. It’s worth having CD’s from another standpoint in that it’s easier to get reviewed when you have a physical product, even by bloggers. Reviewers still feel that you’re more legit if they receive a product that they can hold in their hands. Bottom line, you may not sell a lot of physical product, but it is another possible income stream.

3) Alternative packages . Once again coming back to the world of physical products, vinyl releases and even cassettes ( read more about this retro trend here) can become another income stream even when your fans aren’t interested in purchasing a CD. That being said, even a CD can be an alternative package. Sometimes calling it a “special edition” and numbering them (for example, “#35 of 500”) will entice a fan to buy a product in the hopes of having something scarce and collectible. Likewise, having a “limited edition” CD in a Digipack with lyrics, extra pictures, and lots of information can sometimes be attractive to the fan as well. The downside for any of these packages are that they’ll be a custom item so you’ll have to shell out money up front and carry inventory.

4) Merch . Another thing I’d look into would be branded merchandise like T-shirts, hats, hoodies, mugs and other popular merch items. This only works if you have a strong brand with a great logo, which is easier said than done. Sometimes a cool looking logo on a t-shirt will make people buy an item even they don’t like the music. Once again, thanks companies to Cafe Press and Zazzle, you no longer have to worry about inventory or fulfillment. Just upload your logo, select your product, and they do the rest.

5) Bundles . If neither physical product or merch is selling, then a bundle of both together might prove more attractive. You offer a package of a CD and merch item, or two different merch items, two different physical medium items (vinyl and a CD), or any other combination you can think of. Tip: Don’t use the “Buy this and get that free” technique because it sometimes feels less like a deal than a package of items.

6) Unique items. Once again, this only works if you already have a fan base, but unique items like CDs, DVDs or downloads of alternative mixes, rehearsals, demos, outtakes and in-studio videos can be cherished by superfans and can command premium prices.

7) Publishing and Music Licensing . The real money in recorded music has always been in publishing. For decades songwriters have made more money than most performers (unless they were the songwriters as well) because they were paid for a song’s performances on radio, television and the movies as well as the mechanical royalty on sales of physical product (where they didn’t have to worry about the record label recouping recording costs and advances). There are two areas of publishing that directly apply to an artist that wants to expand his revenue streams - have your songs covered by other artists, or have your existing recorded music licensed.

If you think that you write songs that others might want to cover, then start pitching your songs to publishers, managers, producers and the artists who might find your songs appropriate. For a list of publishers, start with the Music Publishers Registry. For managers, producers and artists, try one of the pitch sheets like Row Fax or The Pitch List to find out who’s looking for songs and how to get one to them.

If you think your music might work for commercials, television or movies, then send your stuff to a specialty publisher like ArtistsFirst Music. There are more cable channels than ever before, and while you may not make much up front, the royalty checks that appear quarterly in your mailbox from your favorite performance rights organization (BMI or ASCAP) can be really nice if you get a song that’s used a lot somewhere in the broadcast universe.

Bottom line, if you don’t already have a core of manic fans for your music, you’re better off spending your time developing publishing contacts and licensing deals until your audience increases. If you have a fan base already, you’re going to need as many of the above income streams as you can get since all may be small in themselves, but can add up to something significant in total. Keep in mind that any of the above opportunities takes additional time and effort that goes way beyond simply making the music in the first place. Being in the music “business” these days is not a passive activity and requires considerable elbow grease, especially if your situation eliminates a possible income source or two.

Deals Successful Artists May Be Offered

2010-10-16T19:01:00.000-07:00

THE DIFFERENT KINDS OF DEALS THAT AWAIT SUCCESSFUL INDEPENDENT LABELS

The most important thing an artist can do to get the attention of the recording industry is to start your own label, and build a reputation for your music by showing the industry how popular your music is, i.e. how many people bought your record both online and through traditional methods, attended your shows, network with you online, and follow your activities.

Now I want to give you some information about what can happen IF you do get the industry’s attention. Starting an indie label is really quite similar to starting your career as a musician. Your label needs to impress the music industry with its stories of success, just like you as a musician need to do the same with your creative talents. The reward for building a successful label is the possibility of doing business with a major label someday…on your terms. Major labels need to work with successful indie labels to maintain their viability in a ever-changing popular music environment, so they keep their eyes open for indie labels and artist who have had success with a certain musical genre or musical styles

Needless to say most of these deals, when appropriate wiill involve digital/Internet activities these days.

There are several deals that may come your way as you get more successful. The following short summaries of the most common kinds of indie/major deals are given to you as an introduction to them. They are discussed in far more detail in my book 'Music Is Your Business'. I would like to thank Bart Day, the co-author of this book, for dealing with this topic and his cooperation and help in preparing this information.

· Pressing and Distribution ("P&D") Deals: The name of this deal describes its basic premise. The indie label finances the recording process and delivers the final master recording to a major label distribution company, which then presses (i.e., manufactures) the records and distributes those records to sub-distributors, retailers, etc. In the case of P&D deals, as in the case of the next three distribution-oriented deals discussed below, the independent label will retain all ownership rights in the master recordings.

· "Distribution Only" Deals: Basically the same as the "P&D" deal described above, except that here it is the indie label, not the major label that presses the records. The major label's role is "distribution only."

· Fulfillment Deals: Again, basically the same as the "P&D" deal described above, except that here the records are not distributed through the major label's traditional distribution system, but instead through an ostensibly "independent distributor" that is owned by the major label. This "independent distributor," acting on behalf of the indie label, then ships such records as are ordered by indie sub-distributors and indie record stores, and it also handles all billing responsibilities. In short, the "independent distributor's" role here is to fulfill orders from third parties for the independent label's records.

· "Piggyback" Deals: Used when an indie label doesn't have the clout to get its own distribution deal. Instead, in order to find distribution, the indie label must instead "piggyback" onto another indie label's already-existing distribution deal with a record distributor.

· Production Deals: The "independent label" here is really just a production company financed by the major label, and is created solely for the purpose of producing records. The production company uses the major label's financing to sign artists and produce records, and then delivers the masters to the major label. The major label will manufacture and distribute the records and handle the marketing and promotion activities. The major label will own the masters.

· Joint Venture Deals: The word ‘joint’ implies a joining of forces by a major label and an indie label, whereby they agree to share responsibility for the making of records and for the marketing and promotion of those records. These responsibilities are divided in whatever way the two labels agree upon in their formal joint venture agreement. The major label finances the joint venture. Then, from records sales income, the major label will reimburse itself for the expenses that it has occurred, and the net profits are then divided between the two labels.

· Equity Deals: Think of ‘equity’ as having an investment in something. With this type of deal, the major label invests money in the independent label, and in exchange the major label acquires a part ownership or total ownership of the independent label and the independent label's assets and its contracts with artists.

· Licensing by Major Labels: Here the major label owns the masters, but "licenses" (i.e., leases) the masters to the independent label for a limited amount of time (usually a few years), during which time the independent label will have the rights to sell records made from those masters. In return, the independent label will pay a royalty to the major label for each record sold. All manufacturing, marketing and promotion costs are paid by the independent label. The major label continues to own the masters at all times.

· Licensing To Major Labels: The exact reverse of the above deal. Here it is the independent label which owns the masters, and which is licensing (leasing) the masters to the major label for a limited period of time. In exchange, the major label will pay royalties to the independent label.

· "Rights Buyouts": In a "rights buyout" situation, the independent label will have previously signed a recording contract with an artist. Then at some later time, a major label buys all of the rights of the independent label in the artist—in other words, all rights that the independent label has in the artist under the terms of its recording contract with the artist. In short, the major label steps into the shoes of the independent label. In return, the major label normally agrees to pay a cash advance to the independent label and a royalty on future sales by the major label of records featuring that artist.

Clueless Messages Once Again

2010-10-13T19:02:00.001-07:00

I GET SO MANY CLUELESS LETTERS!

I get a lot of email messages every day. Most of them are very polite ‘thank-you’ messages letting me know how much they appreciate all the free articles and columns I have written, and how much they have learned from my advice. All those messages are quite gratifying to say the least, but I have a problem with some of the messages I get, and the problem is getting worse every day.

More and more often people don’t have a clue as to how to write a polite and courteous message that doesn’t include major grammar, spelling, and/or punctuation errors. Many other people have no clue how to approach a complete stranger in the music business and introduce themselves properly. Others are blind to the imposition they are making by diving into very complicated issues, without so much as a “Hi, my name is_______” followed by a simple statement like; “If it isn’t too much to ask, I would like to ask you a question.”

It is so rare these days to get a polite message that doesn’t presume that I am sitting at my computer just waiting to write back and answer dozens of questions.

What’s up with all these rude and clueless people??!!

In an effort to educate you about a business etiquette that exists in this world, I have decided to print out a few recent messages that really drive me crazy. As you read these messages please note that I have deleted any reference to whom these clueless people are.

Please read these messages as if you received them, and ask yourself how you feel about dealing with these creatures from some lost lagoon. Ask yourself some of these questions:

Are you offended by their abrupt and presumptuous messages?
Can you decipher their cryptic writing?
Do the numerous spelling errors, grammar glitches, and punctuation catastrophes bother you?
Would you respond to these messages?, or would you just delete them and try to forget them?

Here’s a clue: If you do indeed want to reach someone you don’t know in the music industry, please approach carefully. Ask if you can ask a question or two before going into an epistle on your situation, and for god’s sake introduce yourself and ask them if they have the time for your questions). Just because you are using email doesn’t give you permission to barge into people’s lives and demand their attention.

A small amount of common courtesy will take you quite far in this business.

Here now are some amazing -but true-messages I have received. I simply ‘cut and pasted’ these messages from my email into this piece for you to decipher at your leisure.

,,,,,,,,,,,,,,,,,,,,,,,
I comment before each message below:

(Was I just sitting here waiting for your message, or what?)

“hey whats up im filthy clean 23 year old black male from louisville ky i
never thought about rapping until about two months ago one day i was
around a group of guys who where rapping so i gave it a try and the loved it
and told me to give it a try and i went against guys who been doing it for
about two or three years i've always been camera shy but i think i could
maybe do something i believe i can becomig an artist if i give it a
serious try. so if you can give me some tips on how to get started because i've
tried to find major labels over the internet but they just show the artist on
there label but im trying to get a labels e-mail address”

(Sounds like he is gagging in the middle of his first, so called “sentence’)

“ew are from philly we have 15 songs we are ready to tour we have a bio pack and
we are ready to travel we are like the draft pickz”

(Count the questions he asks me in this next message)

“Crazy questions..I am looking to produce and market a song I wrote
and am looking for help...first I need a singer..I plan on using the music from
the Beverly Hillbilly's theme song..do I need their permission? How do I get
it? The singer I need is someone that has a very low voice...maybe a little
countryish...exactly like the guy that sings the Beverly Hillbilly's theme
song..where do I find someone? What would they charge to cut four or
five versions of the song? Please help...Also..if I was to approach radio
stations with the song how does that work? What do I charge them? Do
I get a flat up front fee or do I get paid for each time it is played? Or both?
Who is the person at the radio station that I would talk to? How do I market
the single to the public? Do I need a Record Studio? It's a Funny song
kinda like a Weird Al thing...who would help? Please help”

(At least this next guy gave me his name, (which I have xx’d out)

“My name is XXXXXXX, I am currently C.E.O of XXXXX. I produce music that seems to be well liked in the Midwest or North, I am from Milwaukee, WI. Just giving some background. The problem that having is that over 50 artist that want to buy my music for there albums, but the goal for me is to achieve a good distribution and at that time I will be able to produce the artist to create residuales. I have songs that are mastered and ready for radio play. I have not done anything major as of yet, wan't to
make sure I do it right the first time. If you know any one who has the means majorly Please Pass it On. 4XX XXX XXXX
P.S. I gaurantee You will Like what you here! 50 Beats 10 complete songs”

(up next: Has he been having a conversation with me? Check out how the message starts)

“It doesn't mean that im doing right. We have been doing tons of shows and or first
effort sold 5,000 copies locally be we haven't broke out of the Chicago
area yet we also haven't generated enough buzz to get the radio play we need.
So I take it as we are doing something wrong.”

Had enough? Me too.

Chris Knab
Chris@Knab.com

7th Tip Never To Be Forgotten

2010-10-05T18:01:00.000-07:00

Have Your Own ‘Entertainment Law Attorney’ To Represent You.

The business of getting signed to any deal in the music business has always had, has now, and will always have, the involvement of entertainment law attorneys. No jokes will be inserted here, because any relationship between a musician, a record label, a publisher, a merchandiser etc. will come down to two attorneys hashing out the contract for the musician and the respective companies.

When all is said in done with the ‘courting’ process, the musician is never present during the actual negotiations. The musicians attorney and the music company’s attorney meet, talk over the phone, and fax their offers and counter-offers amongst themselves. This fact serves to remind you that choosing a reputable, ethical, well respected attorney with lots of deal-making experience within the music industry is an absolute necessity for any serious musician who wishes to fight the good fight in the legal arena. You may not need an attorney right now, but you should find out what lawyers are available to you in your area. The Yellow Pages of Rock, or the Recording Industry Sourcebook are a good place to start your research.

My 6th Tip Never To Be Forgotten

2010-10-02T15:00:00.000-07:00

6. Get acquainted with any labels or publishing companies you may be interested in..

If you were applying for a job with a certain company of corporation, wouldn’t you take some time to ask questions about their stability as a business, their reputation in the industry, and their background and experience? The same is true when shopping for a record deal.

(If you insist on this approach, and if my emails, tweets, etc. are a good source of information, thousands of you still insist on shopping for deals instead of building your career to attract the businesses you want to work with)

Some musicians get so excited when a certain label approaches them with a recording contract, or a publishing company offers to sign them. Well, what can I say…go ahead and sign some damn deal…you will be writing me back after you experiences with that approach and asking me for help, but it will be too late bpublic.

At least take the time to learn a few things about contracts before you go looking for one. Research the companies who may contact you. How have they done with your particular genre of music? What specific ‘points’ are they offering you? Who runs the label or publishing company? What is their reputation in the music business? How do you like them as people?

These and other questions can be crucial in making an unemotional decision about an arrangement that could make or break your career.

5th Tip Never To Be Forggotten

2010-09-30T13:17:00.000-07:00

5. Design some decent looking promotional materials.

The topic of designing and creating effective promotional materials; bios, fact sheets, cover letters, photos, websites or whatever is a lengthy one to say the least. My tip to help musicians promote their careers, and contribute to their getting any deal offers, is to make the promo materials as compelling, and informative as possible.

Take an inventory of your accomplishments, positive reviews, past sales, and live appearance highlights, and organize them into professionally written bios etc. Having done that, time also needs to be taken to research who to send the materials to, and to ask each potential recipient what type of information they would like to have sent to them.

No ‘generic’ kit's, electronic or otherwise, should ever be created or sent out to any gatekeepers in the music business. Most gatekeepers in the industry today will want you to send any requested materials via email attachments.

Be sure though to ask them what they prefer; email attachments or snail mail goodies.

4th Tip Never To Forget

2010-09-29T10:28:00.000-07:00

4. Cough up the bucks to register your songs with the Copyright Office.

I never cease to be amazed how few artists are willing to spend $40 to register their copyrighted songs online with the U.S. Copyright Office. www.copyright.gov

By the way, these folks are often the same folks who complain about not getting paid to perform their unknown music. All I know is that when an inventor comes up with some new product that they think will appeal to a certain type of customer, the first thing they do is file for a patent on their invention. The same reaction to protecting songs should be there for any serious songwriter.

If you really intend to work hard and develop your career as a musician who writes your own songs, don’t wait too long to take care of this simple, but essential task. If you really believe in your unique and original music then take the time to learn the basics of copyright protection. With the Internet or your neighborhood library and/or bookstore there a number of easy ways to learn what it takes to file for copyright protection. Do it now!

Part 3: Third Tip Never To Be Forgotten

2010-09-28T08:19:00.000-07:00

3. Never stop practicing your instrument.

One of the curious developments of the late 70’s was the huge increase in garage bands, punk bands, and ‘do-it yourselfers’, who just picked up an instrument, or started to sing with some friends, and 6 months later recorded a record and began to play live. Some great music, and new directions in music, came out of that situation. But now, 30 odd years later, the novelty of hearing amateurish thrashings has gotten a bit dull.

Prior to late 70’s, more often than not, the music that is our heritage was made by musicians who, from the time they took up their instrument, worshipped at the feet of some master bluesman, jazz player, folk legend, songwriter, or whatever. The habit of these inspired musicians was an appetite for perfection, the need to be not just ‘good enough’, but GREAT.

Why settle for less. Whatever developing stage you are at, go beyond it, re-commit yourself to your instrument or voice. Take lessons, or better yet, sit yourself down at your CD player and choose a favorite guitar player’s record, and listen closely to what they are playing. Then re-play it, and re-play it again. Challenge yourself to go beyond your limitations. Who knows, maybe you will discover some new territory, wherein you will find your ‘sound’, and increase your chance to stand out from all the mediocrity that is your competition. Believe it or not, the music industry loves to hear innovative, accessible new sounds. Actually in their heart of hearts, that is what they are really hoping to hear on every new demo music file or CD, and from every new act they go see at a live venue.

In the business of music, when we hear something new, original, and accessible to people, we can then invest in you with more security, believing that if we put our ‘label brand’ on you, with our talents of promotion and marketing coming to the front, then we ‘have something’, and your music becomes our music, and we work together to broaden you audience appeal. It’s kind of like a partnership between ‘Art and Commerce’. They do work together!

Part 2: Second Tip Never To Be Forgotten

2010-09-27T11:12:00.000-07:00

Play live as often as you can.

Now, more than ever...The dedicated musician/band MUST play live every chance they get. Money-focused musicians whine about the fact that they can’t get club gigs that pay anything. Well, find other places to play live!

If you really think that you can make your living solely as a musician in the first three to four years of your career, you are headed for a breakdown and disappointment. Think about it...almost every legendary musician who has made a mark on our culture has been a musician who struggled long and hard at their craft, and NEVER stopped playing live!

Eat determination for breakfast! Go out there and play on the streets if you have to, play at schools, fairs, festivals, do benefits to help other people and organizations. Offer your services to non- profits, charities, church groups, and any other companies or organizations you can think of. Hang out at clubs, look for jamming possibilities, or start your own jam sessions.

Look around where you live and you will see many places and venues where musicians can play. As you establish yourself and more and more people show up at your shows, the paid gigs will increase. Remember... play live, and then after you play live, play live again, that’s what musicians are supposed to do.

10 Tips Never To Be Forgotten-Part 1

2010-09-25T16:56:00.000-07:00

10 Tips Never To Be Forgotten
By Christopher Knab (@2010)

I got an email the other day from a young musician who was seeking advice about a 6 song demo he and his band had put together. He had plans to ‘shop it around’ to some labels to see if he could get a recording contract. He was a very polite guy, and wanted me to be very honest with him about what his band should do with their demo. The more we talked the more I realized how clueless he was. When the call was over, I couldn’t get it him out of my mind. How could he be so clueless in this day and age? What closet was this band living in, thinking that a demo of 6 songs was all he needed to get a ‘deal’.

I get upset when I encounter naiveté, or blissful ignorance…it ticks me off.

On the one hand we have a slew of entrepreneurial bands around these days that are very hip to using traditional and non-traditional marketing tactics to get their careers launched. Many bands are out their playing live as much as possible, using the web to get their music circulated and sold, These bands are working hard day and night to get their music into the marketplace, and they realize that the business of music is a ruthless business that demands as much from you as you are willing to give it, with no guarantees of any success coming your way.

And then there are the clueless, the naïve, and the blissfully ignorant. “Why won’t they just go away?” I ask myself. Because regretfully, “ignorance is bliss” is still a permanent state of mind for many aspiring musicians. These idiots will never go away regardless of the dozens of outstanding books, articles, regional and national music conferences, and webinars, blogs and social networking tools that are out there spreading the gospel of ‘do-it-yourself’.

It is one thing to be naïve, and another thing to voluntarily remain ignorant of music business realities. But wait, why should I complain?

I am a music business consultant. I should be happy that there are so many clueless musicians out there. They could become my next client.

But they won’t because they have no desire to educate themselves. Even when I tell them they can get a lot of free information at my website:www.4frontmusic.com, they won’t even go there and read the free articles because…they are too lazy.

So, what’s a music business consultant to do?

Will I surrender to the clueless? Will I let the naïve get to me? Will I stop my crusade to help musicians with the business of music?

NEVER!

So, to prove it…here are a bunch of FREE TIPS for the taking: one a day for the next 10 days!

Tip #1: 1. Learn how to write a song!

We live in a time when everybody and their sister can and does make their own music. That doesn’t mean however that your music has what it takes for record labels to invest their money and time developing, promoting, and marketing that music. A&R Reps are always saying, when asked what they are looking for, “We don’t know what we are looking for, but we’ll recognize it when we hear it.” What we can read into their comment is that your music must truly stand out in some significant, original, dynamic, and creative way.

95% of the original music out there contains regurgitated ideas that were ripped off from some other more gifted musicians. Challenge yourself! Talent scouts in this business hear hundreds of mediocre songs every week. What is it about your songs that make them stand out from all the rest?

Petethediehard offers up cool questions for bands

2010-09-19T18:43:00.000-07:00

My friend and fellow new-band advocate for getting bands educated about the music business wrote this awhile back:

Pete Salazar is his name, and he books bands and tries to help them with biz stuff in Fresno, Ca.
He also invited me back to Fresno on Sunday November 7th for a 1 day workshop there. Check this out:

"Times have changed, the Music Industry is changing, you have to do for yourself, but you don't have to do it alone, that's why I believe so strongly in what I am a part of, D4D MUSIC was created to become an Organization that helps build or add to a Musician's plan, whether your opinion is positive or negative about what I wrote, I'd like to hear it.

Musician's Blueprint (16 Point Plan)

1: What is your band/group’s business plan?
(You need goals and an outline of what you are doing)

2: What are you doing now to be heard?
(Over booking is not being effective, book effectively, smart)

3: What’s your marketing plan or campaign?
(Your promotions and are you recording anything yet)

4: Do you take advantage of local radio shows and local media?
(Have you tried to get on local radio shows & the news paper or various websites)

5: Is your band on the same page? Do you have meetings?
(Is there a complete understanding & communication & chemistry)

6: Does your band work equally?
(Are you all working together as one force or is someone lagging)

7: Are you working on new music, tightening current music & stage performance?
(Is your stage performance worth seeing & does your music sound good to others & are you allowing growth)

8: Do you have a band agreement or contract?
(Most bands do not have anything in writing, major problems ahead if you don’t have a agreement in writing)

9: Is your band name/music trademarked yet?
(Make sure your name/music is protected and covered)

10: Are you utilizing myspace, facebook or twitter or emails?
(What a waste of free advertisement if your not using these free services, your network is unlimited and many opportunities are there)

11: Is your band/group legit? Bank account and business license?
(Money creates problems so have it documented and organized, be a business that’s what this industry is)

12: Are you prepared, organized, professional and on time?
(Being unorganized & late is very unprofessional & a big turn off. Eventually no one wants to work with you)

13: Fund raising, merchandising
(Creative ideas & demos & merch will help you afford to be a musician, you have spend money to make money, invest in you)

14: Are you supportive of the local scene and working/networking with everyone possible?
(Do you attend other shows & support, are you networking with everyone you can)

15: Is your music on itunes, napster, amazon, etc.?
(Put your demo or full length cd to work on the web)

16: Are you constantly building your fan base period?
(Bottom line you need to earn & grab every fan, period)

A Realistic Music Radio Promotion Plan For Today

2010-09-18T21:58:00.000-07:00

A Realistic Radio Promotion Plan

The commercial radio industry, at this time in history, couldn’t be less friendly to the independent musician. However, that doesn’t mean there isn’t some significant radio airplay available to you if you know what you’re doing. Outlined below is a plan to consider if you have the three important ingredients necessary for working your record to radio.
The money to fund the campaign
The time to spend working all the stations consistently
A product that is ready for national airplay

When it comes to commercial radio, the chances of getting significant national airplay for your independent record are next to none. We live in an era when a small group of powerful media conglomerates own and control the most important radio stations in the land. Unless you are connected to a major label, or are independently wealthy, the costs of promoting your songs nationally to commercial radio have spiraled out of sight.

There are, however, lots of mix shows and specialty shows on commercial stations that may offer limited airplay, and at least will get you some awareness in the markets across the country. There will be a lot of work involved in finding these stations yourself, city by city, and music format by music format. I suggest you subscribe to or get a copy of the annual CMJ Directory.

If you have money to invest in radio promotion it’s possible to hire an independent promoter who may be able to open some doors to these shows for you. Be prepared to spend several hundred dollars a week for their services.

A more realistic approach for airplay is to consider the options available on the noncommercial side of the FM dial. (88.1 FM to 91.9 FM) With the combination of college radio stations, community stations, and even some of the larger National Public Radio affiliated stations, your chances of getting your record played are much better.

Also, don't forget the thousands of Internet radio stations that stream millions of songs a day. Google the phrase " Internet radio stations list", and you will be amazed how many stations on the web play independent music of every imaginable type. If you own a Blackberry or an iPhone, there are several free apps that will give you access to these web broadcasters.

Here is an outline based on how professional record labels plan for their radio promotions:

You need to prepare:
• A database of commercial, non-commercial and Internet stations that you realistically think may play your music.
• A timeline you'll use to put the promotional material together (basically setting your deadlines).
Remember that your plan may be distributed to any helpers or employees you may have for your own label, and any independent promotion people you may hire. This plan will be their introduction to your or your artist, and is the plan they will base their work on.

1. Design a detailed overview of your radio promotion plan.
Consider all marketing and promotional ideas listed below.
Propose what you think would work best in each of the areas to help market the record to radio.
Remember to keep cohesiveness between all areas: Give reasons why your music is appropriate to each station you approach.
Remember you will need several practical tools/materials to achieve your goals. (Computers, Smartphones, reliable Internet connection, hardware/software, office supplies, etc.).

Address the following specific topics in your plan:
Background/Goals: Give a brief history of the artist, and describe your goals
Image: Describe/ maintain the artist's image consistently in all promo materials.
Radio: What radio format(s) will be targeted? What markets? Which songs? Any station promotions? (On-air concerts?) Hiring any Independent promoters?
Publicity: Describe your plans to create a “buzz” in the print media. Any press releases to the music industry trades? Update any bios, fact sheets, and electronic press materials.
Sales: Describe Distribution and Retail plans. Any in-store play/ promotions?
Other specific sales opportunities? Mail order, live shows, Internet sales
Any store promotional tie-ins with radio stations?
Video: Is a video cost effective? What airplay opportunities are there for the video?
Touring: Describe the time frame for touring, and other promotional events to coordinate while on the road. Consider specific clubs, halls, fairs, festivals,
Any club/venue promotional tie-ins with radio stations

Misc.: Having a record release party? Novelty items? Any other clever ideas?
Explain each idea in-depth !

2. Design a 12 week plan for the product and promotional tools.
* Lay out what needs to be accomplished each week to get the record out.
* Consider the: artwork, mastering, credits, sequencing, printing, pressing, booklets,
layout/design. And be sure to convert your songs for online downloading!
* Include in the timeline when to start working on your promotional tools
* Design the timeline with deadlines for each element of your project.

Remember that your radio promotion campaign is part of what I refer to as the 'Four-Fronts of Music Marketing', and your plan must connect to all the other Fronts in order to be successful.

(Refer to my website, http://www.fourfrontmusic.com for more on these Four crucial music marketing principles.)

Always have distribution and sales plans, as well as publicity, advertising and touring plans coordinated carefully with your airplay campaign. The worst thing that can happen to any song on the radio is that someone hears the song, but can’t find a way to buy it.

Professional record labels always have distribution and sales connections set up before they secure airplay. You should do the same.

More Weird Music Marketing Ideas: Part 2

2010-09-07T20:07:00.000-07:00

Use Your Business Card To Promote Your Favorite Lyrics

On the front cover of a folded card, place a catchy lyric from one of your songs. Inside, or some place other than where your traditional contact information is printed ,briefly list information about your CD and other merchandise you have for sale, and where people can buy your releases. (internet, live shows, mail order)
On the back get creative and list other interesting facts about yourself or your music than fans and industry people might appreciate knowing about.

_
Become a Music Marketing Matchmaker

Maintain a supply of local music related businesses business cards and distributes them to likely musician and music lovers you know. Using return address labels, create a sticker that says " referred by (your name or band name here)"
Placed on the back of other people's business cards, the stickers reminds the person who you are, and you get great word of mouth name recognition over time, and you’ve helped a local music related business get some customers, as well as helped your music fans learn about where to get the best local help for the their music needs.
The customer is reminded of a cool business, and your name is the first one the prospect hears. (“ So and so recommended that I talk to you”)
_
Turn Your Fans Onto Other Cool Music

On your website, (you DO have your own website don’t you?) create a section where you and your fellow musicians regularly recommend other local bands and great music that you think your fans would enjoy.
The benefit of this is that you are not seen as strictly a selfish musician obsessed with promoting your own music. Your fans will benefit and thank you over time for all the cool music you have turned them onto.
On a professional level, as you recommend other bands and acts, they will get the word from others that you have recommended their music. Can’t hurt when it comes to finding other artists to perform live with at various gigs.

Off The Wall Music Marketing Ideas:Part 1

2010-09-06T19:19:00.000-07:00

_
Make fans a birthday and Christmas card!

Remember your fan’s birthdays by creating a musical birthday card you create yourself. Email them the card that is imbedded with a mp3 file of a birthday song you wrote.
Use old school psychology, (if you can afford it) send a real birthday card to each fan that has a simple chip attached to it with a sound file that begins to play when you open the card.
You will obviously have to have your database setup to include a place for your fans to give you their birth dates, but after that, at the beginning of every month simply sort out who has a birthday coming up and mail them off. Be sure to do this at least a week before the beginning of each month.
Think of how appreciative your fans will be for having been thought of, and as your career and goes on and gets more established, your past musical birthday cards will become valuable collector items.
The Beatles used actual Christmas greetings recordings that their fan club members got! Ah-hah….now you’re getting it….how about an annual, original Christmas song, written in your unique sounding way, that you can also send out to your fans!
_
A Sticky Way To Be Remembered: an analog idea

Print up promotional “sticky notes” using the Post-It note method for upcoming gigs and send or pass them out to music fans attending live shows. Have your latest shows printed up on them, so fans can use them as reminders to attend your shows and can put them up on their home bulletin boards or refrigerators. You can also use this idea for reminders to buy your latest CD or merchandise you have for sale at your website, blog, or live shows.

_
Be The Musical Entertainment For Your Favorite Local Record Store
Work with a local record store that carries your genre of music and ask them about participating in a special “ after hours” party and special sale where you get to be the band or artist to supply the music for the event. Have them put your CD on sale at a special price during the party only. Take time to sign autographs, and get the customers to sign up on your mailing/database list. The store can add whatever added incentives they want to make the event a special sale and you get to go along for the ride.
_
Talking House ® Brings Your Music To Unique Places: Yes a Weird Idea!
A company called Talking House ® has invented a unique ‘broadcasting’ tool It was first used by real estate people to transmit descriptions of a house that is for sale. It works like this; a small radio transmitter sits inside a location (such as a local business in your area). Prospects just tune in on their ordinary car radio, while parked out front, and hear a customized broadcast, in this case…your music…while they are nearby.
Talking House ® can be used by restaurants, bars, taverns nightclubs, music and record stores, independent fast food restaurants...whatever. You name it, Talking House ® can broadcast it.
For more infgormation, visit the Web site at http://www.TalkingHouse.com

About Playing Live

2010-09-02T23:12:00.000-07:00

Local shows will most likely be your first "major" source of income. Expenses involved in local/regional shows will be limited to gas and maybe per diems. - In order to get booked at a local or regional club you will not need the services of a booking agent, instead you will be able to do it yourselves. All you need is a complete and updated press kit, lots of persistence, and the ability and confidence to play a 45 - 60 min. set.

Once you've selected local and regional clubs you want to perform at, send out the complete press kit and follow up with a phone call within 5 to 7 working days.. The club will then tell you whether they're interested in booking you for a show or not. If they are, it will be your turn to tell the venue how much money you want for your performance. Once you've negotiated a deal you will have to gather all the pertinent information and set up a contract. (Note that after you've played a club for a couple of times and established a working relationship, the venue might not insist on a written contract anymore.) Nevertheless, getting things is writing is a very good habit to get into.

Here's a list of issues you will have to address and particularize in a contract:
"Purchaser" or "Buyer" (Name of the Club Promoter)
"Artist"
“"Deal" - The deal you accepted and the amount of money you will get paid.
Here are the four most common deals you will encounter:
Flat or Guarantee Ex.: $ 300
Versus Ex.: $ 300 versus 30% door, whatever's higher.
Plus Ex.: $ 300 plus 30% door
Points/Split Ex.: 50/30/20 of Net
· Date of Event
· Set Length
· Deposit (if any)
· Who will pay to whom how much and when
· Admission Fee (Ticket Price)
· Capacity
· Act of Nature (Force Majeure)
The force majeure (literally "superior force") clause is applied when there is an unexpected event that causes performance of the contract to become impossible; it releases one or both parties from their rights and obligations.
· Cancellation Fees
· Recording by Permission Only
· Promotional Commitment
This, for instance, specifies the minimum amount of money you, the band, expect the club to invest in advertising the show.
· Merchandise: How much the club will take from the gross of merchandise sold (usually 10%)

2010-08-25T18:05:00.000-07:00

The way the music is going is the way the world is going.

Things that use to work, don’t work that way anymore. So, what is one to do in that situation?

Adapt.

If you can’t, you have two options:

1. Quit while you’re ahead
2. Keep on doing what doesn’t work
Sound too ominous?

Not really. Let me explain.

Change is what life is all about. Think about it. We may want things to remain the same in a relationship but they don’t, or a job we’ve had for years requires us to get re-trained or risk being laid off or fired.

Somehow life gets in the way of our plans, and we have two options…change things, or pretend everything is just fine and face the consequences.

Well, life in the music business is no different.

The changes that have been going on for the last decade or so, present a similar situation for any musician or band. Change, adapt, or not.

Technology changes have been the most common trend in our business. Think of it: a decade ago there was no Twitter or Facebook, or MySpace. Social networking was an email event, or at best a discussion group.

The economy has changed dramatically too. Unemployment and the housing market have brought challenges to everyone. And that means your fans have been affected by these and other social changes.

What are you going to do about it?

Face the fact that your fans are, like the rest of us, are trying to deal with technology and economic issues just like we are.

So, we have to adapt to these changes, as uncomfortable as that may be, orNOT.
What is your decision? Are you going to adapt to as many new technology tools as you can and learn how to communicate with your fans in newer and more efficient ways, or are you going to remain stubborn, set in your ways, refusing to adapt to these new technology tools?

And the same goes for our economic problems. If indeed the economy is affecting all of us, and that means your fans too, what can you do to get their business, their money, when times are tough and fans of music have SO many other musical choices to choose from?

Are you going to give them some ‘special deals’, or reward them with free songs,
or tickets to your live shows, or contests?

What can you think of to attract your fans to support you MORE?

Or

You still have that other choice…do nothing. Just deny reality and pretend that nothing is different today in artist/fan relationships, and that the old analog technology you relied on in the past is just fine.

Yeah, do that. That’s a real smart idea. Don’t change, just deny as best you can.

Christopher Knab

10th and LAST "Reality Sandwich": Ignorant Musicians Finish Last

2010-08-23T21:43:00.000-07:00

Ignorant, mis-informed musicians are a menace to themselves.

Enough already!

Over the decades there have been countless stories of musicians who were ripped off by their record labels and music publishing companies. Why? Exploitation was the name of the game for a long time. Keeping musicians in the dark was standard business practice. However, the past has passed, and today, any musician who signs a record contract, and learns later what he or she signed, has only themselves to blame.

The amount of free information on the web is astounding these days. Type any topic about the business of music into Google and you will be drowning in resources.

In addition, there are many schools that now offer 2- 4 year programs on the business of music. Also, there are many seminars and workshops available on a year round basis in most major American cities.

Consultants, Attorneys, and Business Organizations abound, and so it is only myth, superstition, stubbornness, and immaturity that stand in the way of any musician making a commitment to educating themselves about the business that exists to exploit their music.

When people said to you “ Spend money on quality instruments and equipment”... you did that.

When they said “Spend time and money on practicing and rehearsing”, you did that, for the most part .
When they told you “Spend time and money finding the best recording studio, producer and engineer you can”...you also did that.

Well, nobody until now has told you “Spend time and money learning all you can about the business of music”. But I just did!

So…do it!

It has been said (about education) that we don’t know anything until someone tells us. If that is true, the fault in ‘not telling’ musicians that they MUST spend some time and money on educating themselves on music business issues is the fault of the businessmen and women who kept their clients uninformed.
( Ignorance IS bliss as far as the old guard of music executives are concerned). But, KNOWLEDGE IS BLISS should be the byword for the musician of the new millennium. Please...spend some time and money educating yourselves about the music business. A few dollars and hours spent now can protect your future forever.

9th "Reality Sandwich: How Do You Know If People Know What They're Talking About?

2010-08-22T15:36:00.000-07:00

Don’t Take Advice From Anyone Unless You KNOW That They Know What They Are Talking About.

The best advice I've ever gotten in the music business came from people who talked the talk, and walked the walk.

The second best advice I received was from the experiences I gained from building my own career; learning from my interactions with the gatekeepers at labels, the media, management, booking, and digital companies as to what was right or wrong for me.

You can tell when you are talking with someone in the music industry whether or not they are full of it or not. Look them in the eye. Listen to how they talk.

Just buy yourself a high quality "bull" detector and make sure you keep the batteries charged.

Trust your intuition. If it ‘goes off’, listen to the inner voice that is detecting deceit or deception. Most of the time your instincts will be right about the advice you seek.

If you feel that the source you have contacted knows what they are talking about, and has had first hand experience doing what you want to learn about, that is the only advice that might stand up over time.

8th "Reality Sandwich": Finding A Manager Ain't As Easy As You Think

2010-08-21T20:28:00.000-07:00

Choosing A Manager Ain't So Easy

Self management is the way to go in establishing your career as a musician.

Much can be learned by taking on the jobs of securing gigs, getting varied licensing deals, getting some publicity, planning tours, dealing with personal issues that arise within the band, and whatever else is needed to stay on course.

These days doing your own management may be what you do for the rest of your career.

However there MAY come a time, when the daily tasks of doing the business of being a band takes up too much time, and it is then that the services of a good manager can be very useful.

I have always felt that if any musician or band has worked hard to establish their career, and achieved a modicum of success, they will have a better chance to ‘attract’ the services of a professional, well-connected and respected manager.

Managers who do this job for a living can only take on clients that generate income.

Making money as a personal manager is no easy task, and many upcoming artists forget that if any moneys are to be generated from their music, it can takes years for the flow of that income to be reliably there. So, as a band develops self-management, or gets help from intern/student manager-wannabees, this can help pave the road for professional management.

Personal managers get paid a negotiated fee (20%-25%) for their services (get it in writing) for any and all business transactions they are responsible for over a particular contract period.

No musicians should ever pay an "up-front" fee to a so-called ‘manager’ who will not do any work UNLESS they are paid upfront. Flim-Flam men and women still abound in this business... be forewarned.

One of the most important jobs of a manager is to secure recording and publishing contracts for their clients, this is why it is so essential to choose well connected and well respected managers.

The music business is a ‘relationship’ business. Who know who, and who can get to know who, and who did what successfully for who. This is what the management game is all about.

So, don't be in a hurry to 'get' management.

You could be better off just keeping your hands-on business the way it is.

7th "Reality Sandwich": Got An Entertainment Law Attorney?

2010-08-20T23:07:00.000-07:00

The business of getting signed to any deal in the music business has always had, has now, and will always have, the involvement of entertainment law attorneys.

No jokes will be inserted here, because any relationship between a musician, a record label, a publisher, a merchandiser etc. will come down to two attorneys hashing out the contract for the musician and the respective companies. When all is said in done with the ‘courting’ process, the musician is never present during the actual negotiations.

The musician's attorney and the music company’s attorney meet, talk over the phone, and fax/email their offers and counter-offers amongst themselves.

This fact serves to remind you that choosing a reputable, ethical, well respected attorney with lots of deal-making experience within the music industry is an absolute necessity for any serious musician who wishes to fight the good fight in the legal arena.

You may not need an attorney right now, but you should find out what lawyers are available to you in your area. A good place to start your research is talking to some local bands/musicians, and asking who they use and what their experience with them was like.

Trust only those lawyers that have a reputation of being trustworthy.

2010-08-19T23:00:00.000-07:00

Know The Labels and The Music Publishers You Want To Work With

If you were applying for a job with a certain company of corporation, wouldn’t you take some time to ask questions about their stability as a business, their reputation in the industry, and the executive’s background and experience?

The same is true when shopping for a record or publishing deal.

Some musicians get too excited when a certain label or publisher approaches them with a contract offer.

Being approached for a deal is a compliment and is a recognition that a musician’s music is appealing.

But, to rush ahead without taking the time to learn a few things about those companies is foolish indeed.

Ask some questions:

How have they done with your particular genre of music?
What specific kinds of deals are available?
Who runs the label or publishing company?
What is their reputation in the music business?
What are their ideas for promoting your music?
How do you like them as people?
These and other questions can be crucial in making an unemotional decision about an arrangement that could make or break your career.

5th "Reality Sandwich": Design Simple But Effective Promo Materials

2010-08-18T21:16:00.000-07:00

Simple, but effective promo materials can draw people to your music!

Designing and writing effective promotional materials;
blogs
websites
bios
fact sheets
cover letters
quote sheets
posters
flyers etc.is what I'm talking about.

Here are 3 tips to help you promote your careers, and enhance your chances of getting some deal offers.

Do the following:
1. Take the time to inventory any accomplishments, positive reviews, training and awards, past sales, and live appearances, and organize them into bios and fact sheets.

2. Make your promo materials as compelling, and informative as possible. If you can’t write, hire a professional publicist.

3.
Having done that, take more time to research who to send the materials to, and to ask each potential recipient what type of information they would like to have sent to them. No ‘generic’ kits should ever be sent out to any gatekeepers in the music business.

4th Reality Sandwich: Register Your Copyrighted Songs

2010-08-17T19:50:00.000-07:00

When you write a song and "fix" it "in a tangible form", i.e. write it down somewhere or record it even in a simple way, your song is at that moment-protected by U.S. copyright laws.

But...PROVING that the song is yours requires another step...REGISTERING the song with the U.S. Copyright Office.

Doing that offers you not just more protection but more proof that the song is yours if you ever have to go to court to sue someone you believe stole your song.

I never cease to be amazed how few artists are willing to spend $40 to register their songs. (even though they brag how 'great' that song may be!).

By the way, these folks are often the same folks who complain about not getting paid to perform their unknown music.

All I know is that when an inventor comes up with some new product that they think will appeal to a certain type of customer, the first thing they do is file for a patent on their invention. The same reaction to protecting songs by registering them should be there for any serious songwriter.

If you really intend to work hard and develop your career as a musician who writes your own songs, don’t wait too long to take care of this simple, but essential task.

Do it now!

Go to http://www.copyright.gov and get started!

3rd "Reality Sandwich" To Chomp On

2010-08-16T14:12:00.000-07:00

Be a master musician on your instrument.

One of the curious developments of the late 70’s was the huge increase in garage bands, punk bands, and ‘do-it yourselfers’, who just picked up an instrument, or started to sing with some friends, and 6 months later recorded a record and began to play live. Some great music, and new directions in music, came out of that situation. But now, 30 odd years later, the novelty of hearing amateurish thrashings has gotten a bit dull.

Prior to the late 70’s, more often than not, the music that is our heritage was made by musicians who, from the time they took up their instrument, worshipped at the feet of some master rock n’ roller, bluesman, jazz player, folk legend, songwriter, or whatever. The habit of these inspired musicians was an appetite for perfection. A need to be not just good enough but GREAT.

Why settle for less. Whatever developing stage you are at, go beyond it, re-commit yourself to your instrument or voice. Take more lessons, or better yet, sit yourself down with your iPod or CD player and choose a favorite musician's record, and listen closely to what they are playing. then re-play it, and re-play it again. Challenge yourself to go beyond your limitations. Who knows, maybe you will come across some new inspiration, wherein you will find yourself, your own 'sound’, and thereby Increase your chance to stand out from all the mediocrity that is your competition.

Believe it or not, most music lovers (and your fanbase) love to hear innovative, accessible new sounds. Actually in their heart of hearts, that is what they are really hoping to hear everytime they search-out so men new act, and from every act they go see at a live venue. You see...in the business of music when we hear something new, original, and accessible ...we can invest in you with some sense of security. We believe that if we put our ‘label brand’ on you, and add our talents of promotion and marketing to the mix, then we ‘have something’, and your music becomes our music, and we can work together to broaden you audience appeal.

It’s like a partnership ...something about ‘Art and Commerce’...they can work together, you know. Be a professional musician because only a professional lets the best come out of themselves.

2nd "Reality Sandwich": Play Often No Matter What

2010-08-15T16:52:00.000-07:00

Play Live Often and Don’t Worry About Getting Paid For Every Gig.

You can always tell the difference between a musician who is in it for the money, and a musician who is in it for the music.

The dedicated musician can’t NOT play music every chance they get.

Money-focused musicians whine about the fact that they can’t get club gigs that pay anything. Well, If you think that you can make your living solely as a musician in the first three to four years of your career, you're headed for a breakdown and disappointment.

Think about it...almost every legendary, gifted musician who has made a mark on our culture has been a musician who struggled long and hard at their craft, and never gave up. Playing live as often as possible was as natural to them as breathing in and out.

So, Eat determination for breakfast! Go out there and play on the streets if you have to, play at schools, fairs, festivals, do benefits to help other people and organizations.

Offer your services to non- profits, charities, church groups, and any other companies or organizations you can think of.

Hang out at clubs, look for jamming possibilities, or start your own jam sessions.

Look around your city or town, and you will see many places and venues where musicians can play.

As you establish yourself and more and more people show up at your shows, the paid gigs will increase.

Remember... play live, and then after you play live, play live again, that’s what musicians are supposed to do.

A "Reality Sandwich" For Lunch Today

2010-08-14T14:23:00.000-07:00

For my next 10 Blog Postings I will feed you a daily 'Reality Sandwich' to chew on.

The term ‘Reality Sandwiches’ appeared in a poem by the late Beat poet Allen Ginsberg. I adopted it years ago to explain that there are certain realities about the music business that must be chewed and digested in order to rid ourselves of any naïve concepts and beliefs about breaking into the industry. With this in mind, the following observations should be taken as wake-up-calls about establishing your career.

First Sandwich: Make Music That Doesn’t SUCK!

Since we do indeed live in a time when everybody and their sister can and does make their own music, that doesn’t mean that your music has what it takes to make it. A&R Reps are always saying, when asked what they are looking for, “We don’t know what we are looking for, but we’ll recognize it when we hear it.” What we can read into this comment is that your music must truly stand out in some significant, original, dynamic, and creative way.

95% of the independent music out there contains regurgitated ideas that were ripped off from some other more gifted musicians. Don’t copy! Borrow yes, but copy no.

Challenge yourself. What is it about your music that makes it stand out from all the rest?

From songwriting to musicianship, music intended for the marketplace must be performed and recorded capably. Music that sucks is music that does not grab your listener. Music that sucks is music that takes only 10 seconds to dismiss because the production quality, or the vocals, or the lyrics are pedestrian at best, or mediocre for the most part. Music that sucks is music that sounds like you’ve heard it all before.

If you don’t think a lot of the music coming out today sucks, drop by your local college radio station and ask them to let you listen to some of the hundreds of new CDs they get in the mail every week. You won’t even be able to listen for more than 20 seconds to most of the independent releases that flood the market today.

Make music that doesn’t suck and you will be making music that makes the listener’s hair stand on end, or gets their feet moving uncontrollably, or singing your songs in the shower because they can’t get it out of their heads. Music that doesn’t suck is music that packs people into clubs, and gets people so excited that they are willing to spend their hard earned money to buy it. So, what does non-sucking music sound like? It sounds like all the varied records that are selling around the country, and it sounds like what the people are talking about to their friends. It sounds like all the great music you bought for your collection.

There Are No 10 Steps To Stardom

2010-08-09T13:12:00.000-07:00

I have been watching, studying, and analyzing why some people ‘make it’ and others don’t for a long time, and I have given up trying to discover some magic formula that every musician can follow on the road to so-called ‘success’.

Today, more than ever, there are countless advisers like myself who offer tips to developing acts and ‘struggling musicians’, and all too often we try to inflict some step-by-step process on musicians that will help them become successful as musicians, but the truth is ‘There are no 10 steps to success’ or even 25 or 50 steps.

So, I have been asking myself some questions about why some acts make it and others don’t.

Is there a difference between the attitude of successful, well known acts and the attitude of upcoming acts? Why do some musicians make it big, while other equally talented people songwriters and musicians never get their music heard by the masses? What specific skills and/or inherent talents do the successful artists embody that so many ‘wannabees’ do not?

Is it charisma? That special something that many artists seem to exude the minute they walk into a room? I think that is part of it, but many successful acts have as much charisma as a pitcher of milk, and yet do quite well for themselves.

How about a lot of money? That seems to be the one thing behind so many successful names these days. There are always major labels owned by huge multinational conglomerates behind so many superstars. They can buy their way into the hearts and minds of the public, right?

Wrong. Money can only push something out to the public for their acceptance or rejection…that’s all it can do. Nobody reaches into the public’s wallet and forces them to spend their hard earned money on anything unless the public sees some real value in it.

Think about it. Today there is a lot of (what some observers) call ‘shallow
and immature’ music out there. But you know what? No one who bought any of that music would cop to that criticism.

No indeed, the people who buy the latest sounds on the pop charts buy that music because it gives them some kind of pleasure. It means something to them.

I think we should look at what sells and what is successful from this standpoint; music fulfills the needs, wants, and desires of any group of fans because they identify with it. Basically people like a song because they can hum it in the shower.

The one thing that all successful acts have in common when they cross over to mass appeal is great songs! This is true as well for the more edgy artists who eek out a living from smaller fan-bases… they still write compelling songs that touch the hearts and minds of their fans. I think that is the reason why some musicians succeed and others don’t.

Whether or not you personally ‘like’ current popular songs has nothing to do with it. Enough ‘somebodys’ coughed up $10 each to prove your tastes may not be in-tune with what the general public likes.

But there must be something else that separates successful artists from those who don’t connect with the public. What other thing is it that successful artists and bands have that separates them from struggling artists?

My answer is business savvy. Yup…that’s it. Somebody somewhere in every successful acts history had enough business savvy people behind them to make them the stars that they are or were.

NOW…listen up! It isn’t as simple as you think. In the past having some business savvy may have been the domain of a weasel-like manager, or record label executive. It may have been the unscrupulous business practices of shady lawyers and booking agents, as well as greedy club owners, or money hungry publishers.

My point is that no matter what the behavior of a particular music business gatekeeper may have been…they got a certain part of the job done…they broke on through to the other side of the competition, and got their act’s song into the ears of the thousands of music fans. And to do that, I can assure you they had a plan.

There are no short cuts to success, and there just isn’t enough room at the top for everyone who makes music to make a living from their music. But there is a balance that can be obtained in one’s life. With the tools available on the Internet, and the technology of downloadable music now an every day reality, no musician who writes great songs should have that much problem realizing modest successes with their music.

Be careful of the “10 Steps To Musical Success” and the “What Every A&R Rep Is Looking For” articles and books. I myself have written some articles with similar such titles, only because they are my means of getting the attention of an ever growing group of music star ‘wannabees’. Once I get their attention, I try to give them proven tactics and strategy tips that are time-tested ways that record labels and industry professionals work.

In reality, there are no 10 steps to anything! There is the conscious involvement, and commitment to your songwriting and musicianship, and to the business of music.

Remember that the world of commercial music is a world of dollars and cents, whether you like it or not. But that does not mean that Art and Commerce cannot walk hand in hand…they must do that. It never ceases to amaze me how often history repeats itself when it comes to the question of artistic achievement and music business savvy.

Most ‘artists’ in the truest sense of the world are narrowly focused people who never take no for an answer. No matter what challenge comes their way, they have no recourse but to turn to their creative side and get lost in their music as a way of staying alive. Then, along comes a businessman or woman who either is or is not ethical, but knows the music business inside out. They hear the magic in a client’s music, and they do what it takes to get that music into the marketplace.

Today, businessmen and women are the artists themselves. They have to be. That’s just the way things work in this era.

We live in a capitalist, consumer-driven society. The successful musicians of tomorrow will be those people who either attract dedicated, knowledgeable
People to do the marketing and promotion for them, or they take that responsibility on themselves and realize that no artist has to sell hundreds of thousands of copies of their music to make some money with their music. Just KNOW who your audience is and create a lasting ‘friendship’ with them.

However, you do have to be able to write and perform great songs, and then produce them with the ‘sound’ of your particular genre carefully understood and honored, AND you have to take the time to read trusted consultants and advisor’s articles and books and also find time to stay on top of this ever changing business by attending a few music business conferences or seminars.

But you also need to do some ‘grunt-work’… Keep up on your social networking presence at Twitter and at least Facebook, call club bookers (over and over), read good and bad reviews, put on a great show when you're exhausted or sick, and tirelessly promote your music. This is where the ‘entertainer’ steps in and handles things.

The ‘entertainer’ is someone who knows that the show must go on. They know that no matter what obstacle is put in front of them, they will persevere. Looking at the work habits of most successful musicians and bands, I think they all have an ‘entertainer’ inside them. That's what allows them to succeed in all areas of the business. That is what keeps them going during the fifth press interview of the day, and all the other crap that has nothing to do with music and everything to do with the business of music marketing.

When an upcoming artist finally ‘makes it’, the pressure to keep producing sellable music is huge. So the ‘artist’ has to be healthy and ready to create on demand. You may be asked to hit the road for nine straight months, then make a world class album immediately following the grueling tour.

What it all boils down to is that any professionals have to be on top of their game, both artistically and business-wise. It is essential to create a balance between music and business early on. First, make sure your psyche is in the right place. You know, screw your head on right! Be honest with yourself regarding what things you are and aren't willing to do to be successful with your music.

Then, make a plan. Map out how you will improve your skills in both business and art. Put it on paper. Try living the 50% business - 50% music lifestyle.

Make sure you honor your business commitments and always act professionally. Make sure you keep your artist side healthy and creative. Take days off, take walks in nature, take time to noodle around that new idea for a song that just popped into your head. Those types of habits will keep the artist inside you in good shape and feed the creative juices inside you too.

Being a famous musician is not a "normal" life. To survive and thrive requires a special set of skills. The good news is those skills can be learned and developed. Every little bit you learn now will benefit your career plan down the road.

Put your hands together. The one hand is the creative side of you, and the other hand is the business side of you.

Now clap your hands!

How Record Labels Are Setup

2010-08-05T21:08:00.000-07:00

There is a lot of work involved with running a record label: signing, recording, promoting, publicizing, and selling music. The following introduction to the way major labels and independent labels setup the business of music marketing is broken down by departments. As you will see, the larger record labels have the luxury of having many different departments and dozens of employees to carry out the many responsibilities involved in running a label. And, the smaller companies, that have the same work to do, have to be quite creative and energetic to get all that work done.

Major Label Departments:

What are the key departments at a record label, and what are those departments responsible for? Let’s take a look.

For starters, the CEO of a major label will generally oversee the business affairs of all the affiliated labels under their corporate umbrella. Each major label will have its own President who is responsible for all the label activities. For example, at Warner Brothers, there is a president for Warner Brothers Records, a president for Reprise Records, a president of Atlantic Records, etc.

Every department at a major label is usually run by a Senior Vice President, in charge of one of the following:
The Business Affairs Department takes care of label finances; bookkeeping, payroll, et al.
The Legal Department handles all contractual issues and other legal responsibilities.
The A&R (Artists and Repertoire) Department locates and signs new talent. They work with the artist in song selection, choice of producers, recording studio selection and they communicate with the label’s Business Affairs Department to make sure all the paperwork and accounting issues involved with the actual recording of an act’s record are setup properly. In short, The A&R Department can serve as a liaison between an artist and all the other departments at the label.
The Art Department supervises all product design jobs, (CD, Tape, Vinyl cover art etc), trade and consumer press advertising, retail sales posters and flats, and other needs of the print media.
The Marketing Department is responsible for creating the overall marketing plan for every record the label is releasing. They are also involved in coordinating all the promotion, publicity, and sales campaigns that the label is committed to.
The Publicity Department arranges for any feature stories, interviews, or record reviews in local and national newspapers, magazines, web-zines, as well as the broadcast opportunities for such coverage on radio stations and television. They may also co-ordinate any of these publicity opportunities with an artist’s own Publicist.
The New Media Department produces and promotes the music videos for the label’s artists that are shown on MTV, VHl, etc. This department also oversees some promotions and marketing opportunities on the Internet that use the audio and video technologies available from online hardware and software sites that support music..
The Artist Development Department usually oversees the career planning of artists signed to the label. This department coordinates a consistent marketing and promotion presence for an artist throughout their career with the record label. The Artist Development Department has changed over the last decade. Many labels no longer have such a department. Others have changed the name to Product Development and concentrate more on “breaking,” or promoting artists quickly in order to try to speed up the return on their financial investment. The pressure to return a profit to shareholders has changed the face of the music business dramatically in recent years, so the emphasis has been more on Product Development, and securing a hit as fast as possible.
The Sales Department oversees all the retail activities of the label, and concentrates on building relationships with the key record store chains and other mass-market retailers. The Sales staff coordinate their efforts with the major label’s distribution company, as well as communicating regularly with the Promotion and Publicity departments at the label.
The Label Liaison is the person who coordinates the business of the major label’s distribution company with the needs of their parent record labels. Street dates, (the date that a new release goes on sale at music retailers), must be approved by the label’s distribution company
The Promotion Department’s primary goal is secure radio airplay for their company’s new releases. Their ability to get songs played on the radio is central to the success of the whole company. The Promotion department is closely connected to and constantly communicating with other departments within the label to make sure that all strategies being used to market and sell an artist’s record are working together properly. Soliciting videos to MTV, VH1, BET and other music oriented television networks and programs may also be the responsibility of this department. At some labels this job is a separate department, or part of the New Media department.

Every department at a record label plays an essential role in the success or failure of the company. They are team members, working together toward the goal of selling their records, cassettes and CDs as one lean, mean machine.

Inside an Independent Record Label

Independent record labels come in all sizes and shapes. The large, well-funded indie labels are organized by departments much like the major label operations described above. The more money a label has the more they people they can hire to handle the various responsibilities of a label. Smaller, grass roots or garage labels organize the work of promoting, selling and publicizing their releases by wearing as many different hats as they can. These smaller labels have an awesome task marketing their records because there may be only two or three employees, including the label owner, doing the A&R scouting, calling radio stations about airplay, working with a distributor (if they even have one), checking with the music retailers, and coordinating the publicity efforts, as well as dealing directly with their artists and bands helping them find gigs and put tours together.

Running a record label is a very expensive and time-consuming job. One of reasons so few independent labels succeed is related to the issues I have just outlined. It takes a lot of money, and a lot of time to operate a legitimate record label. The more research and planning a young label does before jumping into the world of music marketing, the higher the likelihood that they will survive, and perhaps even prosper in a very competitive business.

Some Things To Remember About Distribution

2010-08-02T16:31:00.000-07:00

Things To Remember About Record Distribution

By Christopher Knab (copyright 2010)

Distributors will usually only work with labels that have been in business for at least 3 years or have at least 3 previous releases that have sold several thousand copies each.
Distributors get records into retail stores and online stores, and record labels get customers
into retail stores and to visit online music retailers through promotion and marketing tactics.
Make sure there is a market for your style of music. Prove it to distributors by showing them how many records you have sold through live sales, internet sales, and any other alternative methods.
Be prepared to sign a written contract with your distributor because there are no ‘handshake deals’ anymore.
Distributors want ‘exclusive’ agreements with the labels they choose to work with. They usually want to represent you exclusively. Exception is online distributors such as tunecore.com, iTunes, CDBaby etc.
You will sell your product to a distributor for close to 50% of the retail list price. Online price for a song is set by each online store.
When searching for a distributor find out what labels they represent, and talk to some of those labels to find out how well the distributor did getting records into the various types of retailers, both on and off-line.
Investigate the distributor’s financial status. Many label have closed down in recent years, and you cannot afford to get attached to a distributor that may not be able to pay its invoices.
For traditional distribution find out if the distributor has a sales staff , and how large it is. Then get to know the sales reps.
What commitment will the distributor make to help get your records into stores. Ask them.
Is the distributor truly a national distributor, or only a regional distributor with ambitions to be an national distributor. Many large chain stores will only work with national distributors.
Expect the distributor to request that you remove any product you have on consignment in stores so that they can be the one to service retailers.
Make sure that your distributor has the ability to help you setup various retail promotions such as: coop advertising (where you must be prepared to pay the costs of media ads for select retailers), in-store artist appearances, in-store listening station programs, and furnishing POP’s (point of purchase posters and other graphics).
Be aware that as a new label you will have to offer a traditional distributor 100% on returns of your product.
You must bear all the costs of any distribution and retail promotions.
Be able to furnish the distributor with hundreds of ‘Distributor One Sheets’ (Attractively designed summary sheets describing your promotion and marketing commitments. Include barcodes, list price, picture of the album cover, and catalog numbers of your product too).
Traditional distributors may ask for hundreds of free promotional copies of your release to give to the buyers at the retail stores.
Make sure all promotional copies have a hole punched in the barcode, and that they are not shrink-wrapped. This will prevent any unnecessary returns of your product.
Don’t expect a distributor to pay your invoices in full or on time. You will always be owed something by the distributor because of the delay between orders sent, invoices received, time payment schedules (50-120 days per invoice) and whether or not your product has sold through, or returns are pending.
Create a relationship that is a true partnership between your label and the distributor.
Keep the distributor updated on any and all promotion and marketing plans and results, as they develop.
Be well financed. Trying to work with distributors without a realistic budget to participate in promotional opportunities would be a big mistake.
Your distributor will only be as good as your marketing plans to sell the
record. Don’t expect them to do your work for you, remember all they do is get records into the stores.
Read the trades, especially Billboard for weekly news on the health of the industry, and/or the status of your distributor.
Work your product relentlessly on as many of the Four Fronts as possible…commercial and non commercial airplay, internet airplay and sales campaigns, on and offline publicity ideas, and touring…eternally touring!

A 100 Question Test For You: Do You Know How To Get A Record Deal?

2010-07-21T20:12:00.000-07:00

What Do You Know About Getting A Record Deal Today? A Test
(all questions based on material found in the book ‘Music Is Your Business’) copyright 2010 by Christopher Knab and Bartley F. Day

If you want the answers to these questions...Email: Chris@Knab.com

1. If you INSIST on sending demo packages to A&R Reps, then those packages should contain exactly the same information that you would send to a club owner.
2. Many musicians and bands STILL try to shop their music to record labels in an era when that is no longer the best way to go. But, if you still believe that is the best way to establish your career, then know that A&R Reps will listen to a demo only as long as it keeps their attention.
3. Record Label A&R Reps participate in developing the marketing plans for their acts.
4. Good A&R Reps must study the current marketplace for musical trends on a regular basis.
5. Cover letters that you include in any kind of demo package are generic letters. So, you should send the same exact letter with the same content in it to all recipients.
6. The first paragraph of a Bio (whether it is part of an electronic press kit or a traditional press kit) should contain background information on the artist.
7. At most record labels A&R Rep help arrange the recording for an act they have signed to their label.
8. A&R Reps get paid by the artist from a percentage of their royalty rate.
9. An A&R Rep can assist in finding the right songs for an act to record.
10. When you register your copyrighted songs you are giving any potential licensees the rights to use your material for free.
11. The 4 key areas or ‘Fronts’ used to develop an artist’s career are: Product Development, Promotion, Publicity, and Performance.
12. When designing packaging materials for demo recordings, CD releases, or online website downloads it is important to remember that your cover art can help emphasize the music style you have.
13. The best way to establish a lasting career in the music industry is to send unsolicited email music attachments to everybody you can think of in the music business
14. According to Soundscan sales data, most new releases by aspiring artists fail to sell even 100 copies of those releases.
15. If an artist/band insists on recording and shopping for a record deal they should include at least 7 or 8 songs on the demo recording.
16. The best way to get a contract with a major label is to party with the stars of the music scene.
17. Designing stationary and/or any graphics with an act’s name and Logo design on it is an effective tool for presenting a professional impression to any gatekeeper in the music industry.
18. It is always a positive thing for an act to be involved in a "bidding war".
19. Because more and more artists and bands are building their own careers by running their music careers as a business, more acts are getting better deals whenever they occur.
20. ‘8x10 Black and White glossies’ are standard practice for traditional press kit photographs.
21. When a photograph is sent with a traditional Demo package, it is important to include contact information either on the front or back of the photo.
22. Facebook.com and other social networking sites are a waste of time for bands/artists these days.
23. It doesn’t matter who takes the photographs for your demo kits. Any person with a digital camera can do the job professionally these days.
24. The first sentence of a cover letter should introduce yourself, and the reason for the cover letter.
25. “Just because you CAN record, doesn’t mean you should”.
26. A controlled composition clause is a clause in a recording contract that deals with the fact that only 75% of mechanical royalties due to a songwriter and publisher of the songs contained on a recording will be paid by a record label.
27. A bio differs from a fact sheet in that the bio can elaborate on a certain fact or anecdotes about the artist, but a fact sheet must simply list those facts or anecdotes.
28. In writing a fact sheet, all the key information from the Bio should be in it.
29. EPKs are Electronic Photograph Kilobytes used by photographers.
30. Creating your own music business company or record label is now the most efficient and realistic way to get attention for your music.
31. These days it doesn't matter if a person can spell or write a coherent sentence, because in the music business all that matters is the music.
32. In a bidding war, it often happens that the labels bidding for the services of a certain act want the act solely because other labels are interested in them.
33. Sending unsolicited demos to the major labels is an effective method of shopping for a record deal.
34. Using quotes from music industry professionals in a bio can be less powerful than describing the music on your own.
35. A good Bio, like a good song, should always have a hook, or a specific angle to it.
36. The best way to get attention to your music in the beginning of your career is to give-a-way a few songs on your website so that people can hear your music as mp3 files.
37. Today there are fewer new releases coming out each week than anytime in history.
38. ‘Deal Memos’ from record labels are not legally binding as a recording contract.
39. The advances given to an artist in a recording contract are exactly like the loans given by a bank, and must be paid back, with interest, by the artist.
40. Getting your music on TV shows, into video games, and arranging other licensing deals can be much more effective these days than shopping around for a traditional record contract.
41. The subject matter of each paragraph in a bio is written in the following order:
1. History and band formation info
2. Comments from fans
3. Current summary of activity-what you are doing now
4. Additional Data and Elaboration, and
5. Summary/Closing.
42. It is easier today than any time in music history to get a distributor for your music.
43. An A&R rep’s responsibilities at an indie label are exactly the same as an A&R job at a major label.
44. For new and/or aspiring acts, getting airplay on commercial radio is the better way to go, compared to getting airplay on Internet stations, or non-commercial college and public radio stations.
45. If an artist has not filed for registration of their copyrighted songs, it is the job of the A&R Rep to take care of that job.
46. Most Major Labels know what they are looking for when they audition new talent.
47. Leaving out contact information on demo recordings and CD labels is a leading reason why many demos get thrown away in the trash.
48. When a recording contract is being negotiated, the only people directly involved with the legal negotiations are the label’s attorney and the act’s attorney.
49. Putting a short video of one of your songs on www.youtube.com is a waste of times these days.
50. Which of the following is not the duty of an A&R Rep at a major label?
a. discover talent
b. book tours for the act
c. participate in marketing
d. be a liaison at the label for the act
51. Which of the following is not a reason why demos get rejected?
a. the music sucks
b. lack of musicianship
c. poorly recorded songs
d. lack of originality
e. none of the above
52. 54. Which of the following are not ‘gatekeepers’ in the music business?
a. fans
b. PDs and MDs at radio stations
c. Buyers at Distributors
d. Writers for blogs, magazines and newspapers
53. In a bio, concentrating on how good the music is, is the most effective thing to say.
54. When designing a fact sheet, one of the most important sections to include is ‘Musical Genre or Style’.

55. What type of information should not be included in a bio?
a. too much hype
b. marketing plan info
c. background info
d. music description
e. city/area if original
56. The 3rd and 4th paragraph of a bio should concentrate on the current activities of the artist.
57. The ‘purpose’ of a cover letter is most effectively stated in the first sentence.
58. Which of the following is not a good tip for writing a cover letter?
a. Tell the reader what you want
b. addressing an unknown contact by first name
c. keep the writing style natural, positive, and personal
d. reminding person of previous contact or reference
59. In a quote sheet, either in a traditional paper form, or as part of an electronic press kit…which of the following sources for quotes should be kept to a minimum?
a. music writers
b. radio station contacts
c. producers
d. fans
e. none of the above
60. Small press or internet Blog reviews should never be included in press clippings.
61. It is more effective to select ________ of the best press clippings:
a. 2 or 3
b. 4 or 5
c. 6 or 7
d. it doesn’t matter how many
62. The best way to assemble a traditional demo kit materials is:
a. in a 3 ring binder
b. stapled together
c. loose in a folder that has ‘pockets’ inside
d. bound
63. When in doubt what to send in a demo kit:
a. put everything in
b. presume what their profession needs
c. ask the intended recipient what they want
d. none of the above

64. When trying to phone an industry professional always check what time-zone they live in before calling them.
65. Today, when giving contact info, providing the media with email info is essential.
66. A quote sheet is the same thing as a press clipping.
67. A song is considered published when copies of the song have been distributed to the public by sale or by other transfer of ownership, and/or by rental, lease, or lending.
68. Legal proof of copyright ownership is accomplished by registering songs with the copyright office in Washington DC.
69. Mechanical rights and Performance rights are different names for the same source of income for songwriters and publishers.
70. A song that is used on a soundtrack for a film or TV show is called synchronization.
71. Artist and bands who establish their own careers, and demonstrate a strong fan following are more likely to be attractive to record labels in this day and age.
72. You ‘trademark’ songs and you file for copyright registration for your performance name.
73. A ‘hook’ is that part of a song that is most memorable.
74. If you have ‘investors’ willing to give you money to record and market your music, you do not need to have a written contract with them.
75. The business department at a record label monitors the funds allocated for the recording budget of an artist or band.
76. A&R departments at major labels do not contact any other departments at the label because doing so could cause a lot of problems for the rep and the artist.
77. One of the main reasons why so many artists/bands fail is they believe their music is so good that someone will come along and discover them and make them a star.
78. Which of the following is not important to remember when taking band photographs?
a. background objects that distract attention from the people in the band
b. clarity and brightness issues
c. using a professional photographer
d. artist or band’s image
e. none of the above is not important
79. Photographers do not have the rights to the photos they take.
80. The best way to find a competent photographer is to look in the yellow pages.

81. Which of the following is not one of the ‘myths’ that new artists believe:
a. people in position of power are never wrong
b. putting out your own record and building your own career is a good idea
c. a record deal means success
d. the best way to make contacts is to party with the stars
e. record labels know what they are looking for
82. The world of the A&R rep is very structured, and every rep is trained and disciplined to evaluate, search, and discover talent in the same exact way.
83. Booking agents and Artist Managers are easy to get for new bands or artists.
84. It costs more money to promote and market a recording than it does to record it.
85. Most attorneys charge their fees on an hourly basis.
86. As an artist career develops, a business manager is brought on board to handle the money.
87. For new acts, which of the following are rarely negotiated when a recording contract is offered:
a. ownership of the masters
b. recoupment issues
c. term of contract
d. exclusivity issues
e. recording budgets
88. Traditional record stores are doing better than ever in this era of downloadable music.
89. There are no governmental regulations or statutes that affect music industry contracts.
90. ‘Band Agreements’ of ‘Partnership Agreements’ are essential for any band to have if they are serious about making it in the music industry.
91. Barcodes are not necessary when releasing your own CD.
92. A music publishing company is another name for a record company.
93. ASCAP and BMI are known as Performance Rights Organizations.
94. If you have a Facebook or Twitter page, you don’t need to bother having your own website.
95. “Artist Development” is a term that means the same as ‘Product Development’.
96. Independent Labels are more likely to offer some kind of “profit split” deals these days.
97. SoundExchange is the first organization to represent labels and artists in negotiating fair licensing deals in the new digital age.
98. Program Directors at radio stations do the same job as a Music Director at a station might do.
99. Today, music oriented radio stations receive between 700-800 new recordings a week that they have to listen to and decide whether to play any of them or not
Last Question:
100. Today, most artists believe that that the art of recording music can be separated from the business of doing music.

The book ‘Music Is Your Business’ is available as a printed book or a PDF book at
the website of Christopher Knab and FourFront Media and Music’s bookstore:
http://www.musicbizacademy.com/bookstore/musiciyb.htm
or if you prefer at. www.amazon.com

If you didn’t get at least 90% of these questions right...you need this book!

IF YOU WANT THE ANSWERS TO THESE QUESTIONS...EMAIL Chris@Knab.com

5 Tips on Writing a '4 Front' Promotion (Radio Airplay) Plan

2010-07-19T16:41:00.000-07:00

(copyright 2010 Christopher Knab: all rights reserved)

1. Remember that your focus is on ALL types of broadcast AIRPLAY, not just commercial and non-commercial public radio, but Internet broadcasters and XM/Sirius satellite radio too. Remember that the details you must include are: selecting, convincing, and working with your selected stations with the goal being to secure as much airplay for your artist as possible. That IS the reason for funding and implementing a realistic Promotion Plan.

2. State clearly what your GOAL is for the Promotion Plan; write a clear and concise summary paragraph that describes the music format/genre of your artist, and gives a brief biographical statement on who they are, and what they have achieved, and what they hope to achieve with Radio’s help.

3. Remember the “Four Fronts” and focus on how RADIO AIRPLAY, with the assistance of ‘Product Development’, ‘Publicity’, and ‘Performance’ methods should all be SUMMARIZED to show support in each of the 4 Front areas, because the “Four Fronts” are interrelated and inter-dependent on each other.

4. Create an Airplay ‘TIMELINE’ carefully, considering any and all promotional activities that must be planned for, and give enough time for each activity to be prepared in time for the Release date of your recording being given to traditional radio and all other broadcasters.

5. Remember that if you do a thorough and complete job on this ‘Promotion Plan’, that you will be in good shape for creating your Distribution and Sales Plan (Product Development), as well as your separate ‘Publicity Plan’, and your plans for performing live and touring, (the Performance Plan).

Would You Ask Your Dentist To Fix Your Teeth For Free?

2010-07-14T15:31:00.000-07:00

Why do I ask? Well, I can't even count the number of phone calls, emails, and Facebook messages I get asking me to help a new artist or band "be a star".

I have complained about this time and time again. Since my first website went up in '95 that type of question keeps coming up. I never have been able to understand the mindset behind that question.

Why should I, or ANY music business professional work for you for free just because you think you are so special, but have no track record of success.

So, would you really ask your dentist to work on your teeth for free?
Would you ask your lawyer to work for free?
Would you ask any physician to work with you for free?
Would you ask a publicist to do your media work for free?

My point is this: What makes me or ANY OTHER music business professional different from any other professionals?

I think part of the reason I get this question is because newer acts are so caught up in their own 'self', that when they write a song, or perform in front of a small crowd and get a polite response...at that exact moment they give birth to a premature EGO! They fantasize that "if this small group of people like me then all I need is some connection to the music business who will recognize my unrealized dream", and will be willing to stop whatever they're doing to make them a star.

Well...NO THEY WON'T!!

Why? Because we are actually busy trying to make a living ourselves. We,like you, actually have bills to pay, like a mortgage or rent, utilities, car payments and car upkeep costs, doctor and dentist bills, credit card debt (maybe) and probably have kids in school and tuition to add to all our other commitments.

so, in that way...we are really not unlike yourself!

Please think about this. Never ask ANY music business professional to help you with your career for free. It is an insult and down-right RUDE to do so.

Pass this tip around!

Music Today-It Is What It Isn't

2010-07-11T13:04:00.000-07:00

I was watching Austin City Limits last night on PBS. They had M.Ward and Okkervil River performing....god it was awful!! but, I stayed with it! It didn't get any better.

Both these acts wouldn't have gotten on the show without a strong following, and music industry connections to help them get to this level. M. Ward has been around 10 years, and I can't understand why or how he is such a popular attraction.

His interaction with the audience was non-existent. In a short interview he is so introverted that he couldn't even keep up eye contact with the interviewer!
As for his music, apparently it grows on you. It won't grow on me that's for sure. I know introverts are 'in' right now, but will people put up with that immature attitude for 10 or more year to come? I hope not. I wanted to slap the guy around and tell him to get a grip on himself. When it came for him to talk for a few moments about his music and how he perceives it...he stumbled around like a lost baby duck trying to find his mommy. BORING guy, BORING music.

What do his fans see in him?

I have heard many people say that we are living in "the most creative musical time ever". Well if we are the tastes of the public are in dire straits.

No way are we living in such an era. The mid 60's- yes. Most of the 70's-yes. The 80's-had its moments. The 90's- only the early years. This last decade-give me a break!

Yes, my age has a lot to do with my opinions....it better! We are supposed to have the ability to distinguish between good and bad better as we age. Anyone who is a teenager today, or in their 20's and 30's...I feel sorry for them when it comes to music.

Why?

Well for one thing the media has de-evolved over the last 3 decades and it's harder and harder to find great new talent out there to play on TV, commercial radio, and now on the more popular music sites...Accessible music, music that is 'safe' has been the name of the game for a long time now.

so, I don't get it...the fact is that there is today more music than ever to choose from....tons of it. But most of it really is crap. So what do the bookers of Austin City Limits, or the late night TV shows book...artists and bands that are on the so-called 'cutting edge'... NOT!

I haven't even reviewed Okkervil River. I was looking forward to them because of the work they have done recently with Texas legend Roky Erickson. But their own music?
Yikes, a horrible lead singer who thinks he is a rock-god and insists on singing off-key as if that was a real cutting-edge thing to do.

Ohh, and the band itself. Well, a drummer, bass player, guitars, piano and on this show another singer who did not compliment the other off-key lead singer. AND, they had a small string section, a guy on horn, and a woman guitarist who had to get on her knees to create the unoriginal feedback sounds she used to 'compliment' the previously mentioned off-key lead singer.

Music is in good shape as we end this first decade of the new millennium?

If that's true, no wonder there are so many movies and novels about the end of the world, zombies, and vampires...with what I viewed last night on Austin City Limits is any indication about the state of music today, I wonder if those creatures of the night that are coming out to eat and kill us all, might just land up getting an upset stomach and spitting out what they had hoped would nourish their brain-dead appetites.

Enough already!

Chris Knab's 16 Timeless Music Business Self Promotion Tips

2010-06-30T16:27:00.000-07:00

The following tips are essential, life-long suggestions, for any and all musicians to remember as they establish and/or maintain their music careers.

1. Stop sending unsolicited demo recordings to any record labels, and instead concentrate on building your own music name and reputation by creating long-term relationships with your growing fanbase. They are your ticket to success.

2. Take the time to learn what the professionals in the music business do for a living. What are their job titles, who do they report to, and what do they do when they go to work? The contacts you make in the music industry can make or break your career because your potential success is directly linked to any possible growing success of the industry people who are climbing their own ladders to success. The music business is built on the 'buddy system'. Everyone is attached to everyone else in this industry. As you go, so go your business contacts.

3.Before contacting any music business professional have 1(one) prepared question for them that will not make you look or sound like an ignorant person. i.e. Do not ask them how to become a atar, or how to get a recording contract. No one has the time to answer such sweeping and naive questions.

4. Create two contact lists: One for professional people you actually have as a business contact. Another contact list made up of all your fans. Keep both lists updated and using common sense, reach out to both contract groups only when you have something very important to ask of them and/or to share with them.

5. Prepare a short 30 second description of your music. Memorize it and use it every time you are asked "what kind of music do you make?". Don't go on and on describing your music...your statement should clearly describe your genre or style of music quickly and in compelling language that will perk up the person's ears and find yourself with an interested and potentially valuable new contact ready to support you.

6. If you have trouble defining your music style, try this exercise...define the word 'originality' and note that within that word is another word...'origin'. Perhaps this will help you focus on what makes your music unique. Never say your music is "unique" explain HOW it is unique. This exercise will help you write your 30 second statement.

7. Remember this always: People in the music industry who's job it is to find and support new acts don't know what they are looking for...BUT...they will recognize it when they hear it.

8. Find a concise 'Image' and follow it everywhere. This is important because the first impression to someone unfamiliar with your sound is a VISUAL experience most of the time. i.e. Your Logo design used to spell your name, the title of your CD, or the design of your website, merchandise etc. is crucial to attracting industry and music fans. Image IS everything in show business, and in case you didn't realize it, music is part of good 'ol show business. Research your favorite acts and study their image.

9. People only respond to music they can personally relate to. What is it in your songs and compositions that has inspired your current fanbase and will grow to attract more fans and industry support? Think hard on this point. It is a true key to any possible success. Music contains emotions, so what emotions do your songs deliver to a listener?

10. Does your music sound too much like another artist or band's music? This is the biggest complaint from music business professionals...too much music today sounds like retreads of already successful artists. And, your fans are sensitive to this issue too. There is way too mucn 'redundant-sounding' music out there today.

11. When you perform live does your stage presence reflect the image conveyed in your songs? Are you well prepared, well rehearsed, and do the songs in your live set flow into each other in an exciting and well balanced way?

12. It can never be said enough. Great songs, Great compositions are the basis of all potential success, but 'grunt work', everyday down-in-the-trenches boring work, like updating your blog and website, keeping your website and social networking pages updated and staying in touch with your fans regularly are tough jobs. Only you can tackle these jobs and other jobs like putting up flyers for shows (on and offline), updating your press materials, looking for gigs, rehearsing...all these tasks require your commitment to carry them out without complaining. Remember, only YOU can care the most...it's YOUR music, YOUR career that we are dealing with here.

13. There is no such thing as an 'overnight sensation'. Behind every act referred to in this way are countless hours of hard work and dedication that got that person or act to be able to take advantage of the breaks they got, and remember too that the breaks you are looking for should be more than 'a record deal' or a 'production deal'. Look out for the ever increasing demand for uses of your songs online, in films, TV shows and ads...the list goes on. But you have to work consistently for these breaks to happen.

14. Home recording is as common today as home cooking use to be, but don't get trapped in the rut of staying at home and working on your computer or home recording setup. GET OUT regularly and show up at clubs and other concert venues on a regular basis. There is that old saying " They only come out at night"...well that's very true when it comes to music business personnel as well as music fans. So, get out there and socialize IN -PERSON wherever you might live.

15. As your fanbase grows create more and more merchandise to sell online and at your live shows. Be sure your LOGO is on every piece of merchandise you sell. (back to that statement-"Image is everything".)

16. This last tip may be the most important of all. Conduct your business from your heart. Yes, the music industry rarely operates from that place, but don't worry about the industry, concern yourself with your SELF...be righteous. Be upstanding. Be a professional in everything you do. If you do that, believe me you will stand out from the crowd.

The Recording Studio From A Business Standpoint

2010-06-24T20:56:00.000-07:00

A brief look at a Recording Studio's Priorities:

Minimum session bookings are usually 2 hours in length.

A professional recording studio is considered successful by the industry if it is billing about 2000 hours a year. (Roughly 40 hours a week BUT that was before this recession and the onslought of do-it-your selfers)

A fee charged by a studio for session time that was scheduled but not cancelled within 24-48 hours by the client is called a “kill fee”.

If a client consistently goes over their booked time slots, it is appropriate to talk with the client and charge a negotiated fee for the excess time.

Studio owners have three ways to pay their employees: Hourly wages, salaries, or project fees.

The term “beta testing” is used to describe a situation when a equipment company rep offers a studio a piece of equipment for a trial period.

When shopping for any new gear seek the help and advice of people who are experienced and knowledgeable in the field, and also ask clients, associates, and peers what kind of experience they may have had with the equipment you are interested in purchasing.

Recordings left over 30 days on the premises of a studio, and that represent unpaid bills, are done so at the risk of the client. Your business policy must clearly state your own time limit. After the stated time the recordings can become the property of the studio.

In standard policies, clients should pay for services rendered at the conclusion of the project.

An engineer who works occasionally for a studio is referred to as an “on-call” or “freelancer.”

At professional recording facilities the job that centers around invoicing clients, check or bill writing, form generation, and disc labeling belongs to the office of the Controller. In smaller studios these tasks will be done by a studio manager, or the owner.

The studio manager usually concentrates on scheduling sessions, as well as studio personnel schedules, creates the work orders, and makes sure the studio is prepared for each session. In many cases the receptionist may take on the job of being the studio manager in addition to their other duties dealing with appointments, etc.

The Problem With Constant Content Updates

2010-06-18T13:13:00.000-07:00

I have been on my back, more or less, for the last week after taking a nasty spill in the shower while staying at a hotel in Portland, Oregon. I injured my right ribcage and all the muscles and soft tissue surrounding them, so this is my first new blog posting since that fall.

And I have had a lot of time to think...lots of time!

At first I went through feeling guilty about not being able to write my Blog of the Day, not to mention no Twittering, or posting on Facebook. I started to think that with all I have been told, not constantly being present on all of the above sites was going to rapidly make what I have to say about music marketing irrelevant solely because "I was not contributing".

Well, that thought thankfully lasted only a few minutes. Then other thoughts came to mind:

"SO WHAT!" was the next thought, and I began to relax a bit.

"So what" indeed.

I read in the paper today (by coincidence) an article about the importance of constant communication if you are a business person, an artist, or anyone who wants to capture the internet browser's eye with your message of what you are up to. The article went on to say that if you want to compete your MUST communicate via a blog, Twitter, Facebook, etc on a regular-actually-daily basis.

Well, this ticked me off.

I was injured for god's sake. I was down for the count for 6 days...ooohh, I have been forgotten by my so-called fans and/or followers. I have committed the ultimate sin..."Bless me father for I have sinned. I have not posted today."

Well, if constant communication is the name of the game, and if we are now all going to be judged by what we haven't done, making all that we have done in the past irrelevant, then so be it.

Perhaps my slip in the shower was a gift of sorts.

I had to stop for a short while. I had to let my body heal up a bit, and damn if that didn't turn out to be just what I needed to do.

But the bigger question for the day is this:

"Are we beginning to judge the information we come across on the web, in blogs and Twitters et al as being valid information only because its here NOW?"

What of a person's whole body of work? If it isn't updated almost daily is that work old and in the way? Outdated? Irrelevant?

I for one certainly hope not. That would indeed be a new kind of sin...the sin of non-communication with thy brethren.

Well, consider me a digital-non-communicating sinner for my 6 day absence from the 'scene'.

So, as I continue to recover I will test any of you who may come across this posting, and ask you if my 6 day 'sick-leave' has made me irrelevant by absence, I encourage you to visit my website
and take a look around. Go visit the many links I have to dozens of articles in my library of music business information.

Do that, and maybe you will see that just because a person doesn't regularly contribute constantly via the internet, that their information can actually be quite relevant.

I have to rest again now...I will see you when I feel up to it.

The Musician's Favorite Topic: Banking and Loans

2010-06-08T16:48:00.000-07:00

Banking and Loan Issues for Musicians

1. Choose a reputable bank. Check out their background and reputation in your area.

2. Types of banks and their customer base:
a. The large national bank (B of A etc)
b. The regional bank (are there any anymore?)
c. The local bank...too small for your needs?

3. Are there advantages/disadvantages of dealing with each of the above?
Think it out.

4. Do any of these banks give loans to musicians and/or bands?

5. Entities that loan money and their pros and cons:
a. Loan Companies: No pros-stay away from them!
b. Investors-out of reach for most new artists and music is high risk business
c. Rich uncles or ‘sugar-daddies’-don’t take their money…they don’t know the biz.

6. Interest. How it is calculated. What to watch out for. Hidden or Late charges?

7. Types of credit:
a. Consumer credit (cards)
b. Secured long term (secured loans vs. unsecured and also guarantors)
c. Secured short term loans( might work-what can you put up?)
d. Un-secured loans (forget about it)
e. Secured lines of credit: (good way to go)
f. Unsecured lines of credit: (not unless you have had success galore)

8. How do you get money to "start" your music business if you can’t do any of the above?
a. Sell personal items of value
b. Do benefit concerts
c. Save money from live show revenues and/or merchandise sales

9. Still want a Loan? Learn your way around loan application procedures:
create a balance sheet and Profit and Loss Statement

10. What happens when you can't pay? You better look into this!

11. Establish good credit. Pay bills on time-over time-be professional in all
your money dealings.

12. How do you "fix" bad credit: Don’t get into that position to begin with-
work with creditors.

13. Maintain a good banking/investor relationship. Keep them posted on how you are
doing.

14. Don't be afraid of dealing with bankers or any financial institutions.
They can be a musicians best friend.

15. There are no shortcuts to running your business, and your music IS your
business, so approach your business and run it with heart and a good cash flow.

An Inside Look at a Live Venue Merchandise Deal

2010-06-07T18:46:00.000-07:00

My blog today isn't by me. It is taken from the http://www.Lefsetz.com newsletter.

Everybody should subscribe to Bob Lefsetz's free newsletter. He has been doing it since analog days and is regarded as one of the most upstanding industry analysts around.

So, today there was a posting about a complaint from Jeff Beck's Manager about the merchandise deal at a certain venue, and the following is the response from the person in charge of the venue and who initiated the contract signed by Mr. Beck's manager.

It gives you an inside look on how live performance venues deal with selling merchandise. READ IT!!
----------------------------------------------

"We were having a beautiful day at Wolf Trap today, June 7. The weather was mid-70s with little to no humidity, a rarity for the Washington, DC area. We had pre-sold over 5,500 tickets to our Jeff Beck performance with our fingers still crossed for a sellout. The road crew was charming. It was a beautiful day.

And then Harvey Goldsmith walked off the bus.

The back-story: Our offer for the Jeff Beck performance was accepted on December 18, 2009. The first deal point was our merch rate. It's 35% and we sell. We received the contract on February 25; the fully executed arrived on May 14. Clearly outlined was our merch rate.

It's mentioned as a deal point in every offer sheet, on every contract, and in every advance. It is not a surprise. It is also a favored nations, non-negotiable rate. If you don't like it, you may choose not to sell. I've been here 13 years and this was the merch rate long before I started in 1998. Wolf Trap has been operating for 40 years and hosted thousands of concerts and productions. As a non-profit, any penny we make on a rock show, or on merchandise, is turned into education programs for all ages.

In those 13 years, I have never encountered a bigger ass than Harvey Goldsmith.

As a promoter, Harvey of all people should know that when the deal is done, its done. He doesn't get to walk into the venue and start renegotiating the contract. He certainly shouldn't do it at the top of his lungs as he chose to do. He shouldn't scream for 20 minutes and then come back for another 10 minute round later.

I'm the promoter rep. I'm here to make sure your Artist and my patrons are taken care of. I didn't make your deal- the deal that YOU accepted 6 months ago- I'm here to fulfill our contractual end of the deal. I do a hell of a job of it, too.

Screaming at me? What's the point?

Harvey isn't likely to have this problem ever again. And it's not that our merch rate is going to change, it's that he will not be welcome in our building again due to his extraordinarily unprofessional conduct and communication.

There are major issues ailing the music industry. Attacking one another and whining and complaining- not going to solve these issues. Bitching about it via blog- not going to fix the problem.

Communicating with professionalism and common courtesy is a good start.

Attached please find his own Artist's CD cover that he ripped up and threw at me during our "discussion."

I've got close to 6,000 patrons outside. I'm going to go enjoy the show."

Barbara Parker
Director, Operations & Artistic Initiatives
Program and Production
Wolf Trap Foundation for the Performing Arts
1645 Trap Road
Vienna, VA 22182

Songwriting and the Music Marketplace: A Study Guide

2010-06-02T18:01:00.000-07:00

If you write your own songs or compositions and want more from them because you think they have value, then you need to approach the business of songs as if you were researching how to build your house. You need to take it THAT seriously. So, below is a list of topics you should know about, and after you have studied what the music marketplace is like, then you should be able to DO some things with the information you are armed with. So, here is a challenge: read through the two sections below and take up the challenge I am giving you to learn all you can about songwriting and the music marketplace.

Topics To Be Studied On Your Own

1. The components of a song: Verse, chorus, bridges.+ elements of melody and
rhythm
2. What makes one song commercial, and another not?
3. Copyright registration basics: The ‘rights’ inherent in a song, and how to
protect your songs
4. Types of income available from songs: Performance, Sales of Product,
Sheet Music, Synchronization, Downloading, Streaming, and Song Licensing
5. Study the 2 most common sources of income from songs
a. Performance Royalties: The function of ASCAP, BMI, and SESAC
b. Mechanical Royalties: The Harry Fox Agency
6. Music Publishers: Definition of their job, and how to setup your own
Publishing company
7. Shopping for deals: The right and wrong way to find uses for songs
8. Songwriting partnerships: How to find the perfect songwriting partner
9. Lawyers and songwriting contracts: Learning how to read a publishing and
record label contract
10. Putting it all together: Writing a plan of action to sell your songs

When you have studied the above issues, you should then be able to do the following:

You should be able to:
• define the parts of a song
• describe what makes a song commercial
• register your songs for copyright protection, and describe the ‘rights’
inherent in a song
• Describe the many potential sources of income from a song
• Define what a performance right is, and what a mechanical right is, as well
as know who pays them to whom
• Describe what a music publisher does, an/or how to start your own music
publishing company

My Favorite Tom Silverman Quote

2010-05-27T17:41:00.000-07:00

Tom Silverman of Tommy Boy Records and the New Music Seminar fame said the following at a workshop he held one time. I took down his words because what he said really affected me and has stayed with me over the years...and it is really quite prophetic in it's own way.

I hope you enjoy it...I suggest you read it slowly, and more than once, until it sinks in.

"For the first 10 years I was in this business I thought I was in the record business, but then a few years later I realized I wasn’t in the record business, I was in the ‘lifestyle’ business.

I had to provide my consumer base with what they needed that they weren’t getting anywhere else. So I had to identify not what they had, but what they didn’t have.

This is much more difficult to identify than what people have. Everything is created from nothing. So really the art is to be able to look at nothing, and create something out of it.

The reason why independent labels are growing is that Independent labels are down in the low places, so they can see nothing.

it’s easy to see something, but it’s very difficult to see nothing, and all the good stuff is found in nothing.

The independent labels are going to whip the majors because the majors can only see something, and once they see it they buy it.

They can’t create it, because the majors can’t see nothing.

Nothing is a great thing to aspire to. I aspire to nothing, and it’s really great...I recommend it.”

Tom Silverman

What is a Band Agreement and Why You Need One

2010-05-26T17:15:00.000-07:00

A band agreement (sometimes called a partnership agreement) is proof-on-paper that there’s a commitment within your group to deal with the everyday realities of being a professional musical act.

How many times have you heard the phrase “money changes everything”? Well, it’s true, and it’s one of the main reasons that you want to sit down with your fellow band members and work out on paper how you’re going to deal with the successes or failures that come your way BEFORE you start making money as a band or musical group. When money enters the picture, I can assure you that does indeed change everything.

No one wants to admit that they're ever going to be problems within a group of musicians. But, believe me personality problems, or business differences, or career goal conflicts within a group happen.

Why rock the boat by bringing up band agreements? Some bands go on for years without a written band agreement and live to regret it.

But hey, if you feel you don’t need a band agreement, OK, forget about it. Leave everything to an unspoken agreement, to a sense of fairness, to chance. As you read the summary of typical band agreement issues below, say to yourself after reading each point, “Well, that won’t be a problem in my group.” Perhaps if you chant this enough, you can conjure up a musical genie who will protect you from the jealousies, egos, and money problems that cause band breakups and lawsuits.

Should you decide you’re not immune from these problems, save yourself some attorney fees by discussing these issues beforehand. Write notes on how you’ll handle these issues—before you sit down to have a legal agreement drawn up by an entertainment law attorney (at a cost of approximately $150 an hour). These are the typical issues that should be discussed and resolved in a band agreement.

What form of business will the band take?
You can be a sole proprietorship, a partnership, or a limited liability corporation. It’s beyond our discussion here to get into the specifics of each, but do some research and make an appropriate choice. If you start making money with your music, you better realize you are a business. The IRS and other state and local agencies might just be interested in having you pay some taxes like any other responsible citizen. Besides, choosing the right business form is just the right thing to do. You did say you wanted to make money with your music, right? Well, act like a business and choose a suitable business form.

Who owns the copyrights to your songs? Who is/are the songwriter(s)?
Suffice it to say, there are as many possible answers to this question as there are members in a group. You have to take heed and resolve this issue. The real money in this business will come from the successful exploitation of the copyrights to your songs. Music publishing is a huge issue and there are many good books on the topic. If you want harmony within in your group, then agree on who writes all the songs and come up with a fair system to divide up the songwriting royalties. If you do not do this, when any kind of success comes along you’ll be in deep doo-doo about the split of those songwriting royalties with your fellow band-mates.

Share of profit and loss considerations
You will have to define how the money (profit or loss) is divided. All band members could be equal partners and divide the profit or loss equally. You could also distribute the profit or debit the loss based upon the percentage owned (i.e. in case you’re doing business as a corporation, with each person owning a certain percentage).

How do you make group decisions? How will you vote on band issues?
You have a couple choices; unanimous or majority rules. If you’re “All for one and one for all,” then choose the Three Musketeers way of voting. All decisions must be made unanimously, with no dissenting votes. If the democratic system is more attractive to you, then agree to a majority vote; the dissenting members of your group will get to hold a grudge and pout for the next month. (Guess which voting mechanism I’m inclined toward? Well, the subject today is commitment isn’t it? What kind of commitment is there when contention exists within a group?)

Who owns the name of your group? Or, what about leaving members?
Never thought of that one, huh? Well, you’d better. There have been hundreds, if not thousands of lawsuits by members of groups who split up and then fought over which members could continue to use the band’s name. This could be resolved in a band meeting, after a regular rehearsal is over, rather than in a court of law. Consider the following options:
• No one can use the name if the group breaks up, regardless of how many in the band are still performing together.
• A majority of the group members performing together can use the name. For example, if there are seven people in a group that breaks up, then four of them together can use the name.
• Only the lead singer, (name), can use the name, regardless of who he/she is performing with.
• Only (name), the songwriter who founded the group and thought of the name, can use the name, regardless of who he/she is performing with.
• (Name of songwriter who founded the group and thought of the name) and (name of lead singer) can use the name as long as they perform together, but if they don’t, no one else can use it.
• If the band doesn’t do anything, most likely the band name will be treated the same way as any other business partnership asset—meaning that any of the partners has the nonexclusive right to use it.

How will you fire someone who isn’t carrying their load?
What is meant by “carrying your load” in your band? If a band member is showing up late for rehearsals, missing rehearsals with lame excuses, missing or showing up late for sound checks and live gigs, how will you and the other band members deal with that? I suggest you agree to rules for acting like professional musicians. When a rule is broken, your band will have a policy to deal with it. What kind of vote do you use to fire somebody? Choose between majority rules and unanimous.

Ex-members and money—who gets what?
What happens after members are fired or quit? One option: they keep their percentage of money that comes in for past work done with the group. Or, they don’t keep their percentage for past work.

Money issues: band member investments and/or loans to the band.
Let’s say that someone in your band has more money than the other members. They’re the generous type, you know, they say things like “Don’t worry about the $200, we’re in this together. Some day you’ll have money when I don’t—it will all work out.” Right. Until there are some hard feelings, or the generous donor has some expenses and could really use that dough now. Many unpleasant scenarios can happen when money is spent without a clear understanding of how, or if, it is to be repaid. If you have a sugar daddy in your group, discuss in your written band agreement how your business form will deal with that issue.

Spending money and hiring other business professionals
What kind of vote does it take to approve spending money for the group? What kind of vote do you use to hire a lawyer, agent, or manager, to bring in a new musician? Again, the two basic options are majority or unanimous.

Who does what?
If it’s true that musicians often fail in their careers because of a lack of commitment from their fellow musicians, then I find it particularly important for each band member to be responsible for a specific business task. If, for example, someone takes on booking the shows, other members can split the work of getting posters designed, printed, and put up. There are plenty of tasks: getting bills paid, finding rehearsal spaces, sending out press releases. If you’re making a recording, someone will be setting up recording sessions and planning for manufacturing, promoting, marketing and selling the CDs. Until a band has established itself as a viable money-making entity—one that is attractive to labels, management companies, booking agencies, publishers, and merchandise companies—somebody has to take on all the jobs of being a real band. And that somebody is everybody in your group.

Amendment of the Band Agreement
What kind of vote does it take to change the terms of the band agreement?
There are more issues that should be included in a band agreement. I recommend a book called Music Law: How To Run Your Band’s Business by Richard Stim. He gives you a template for an actual agreement plus an in-depth discussion of band agreements, legal issues and reasons why a band agreement is so important.

There you have it. Deal with these issues or they’ll come back and bite you.

Feedback on Unpaid Royalties and the Saturated Music Marketplace

2010-05-20T11:31:00.000-07:00

If you have been in the music business as long as I have then hearing the news last week that the history of the music business is one of NOT paying artists their royalties is not anything new to you. I heard from some old friends in the business, and they put an interesting spin on the state of things today, as opposed to the 'old days'.

"A great subject for you to teach I would assume....I've always been interested in the business side of rock & roll...and to hear this story again for the 100th time, it seems that it is no secret that musicians make money from just about everything EXCEPT record sales...touring...merchandise (only since 1980 )...publishing & endorsements, and most important of all...airplay!

if I was a hot new band looking for a record contract, I would sign up with the biggest record company in the world as long as everything else outside of the sales/distribution is MINE !....Prince is doing very well with his business plan...Pink Floyd & Zeppelin are cash cows because of airplay royalties....the record companies rip every band off & bands have to hire expensive lawyers to look thru their crooked books....which costs big $$$....sort of takes the fun out of being a musician if you have to worry about being ripped off to death...don't you think ?...

I remember Springsteen just confused as hell when he heard that U2 GAVE their new song 'Vertigo' to Apple for FREE...the hottest single from the biggest band in the world from the forthcoming release...for FREE....what U2 got in exchange was what?....6 months of TV advertising for the new Apple product using 'Vertigo' as the music bed !....bloody brilliant !....I'm not telling you anything you don't know, but I find it interesting to see how smart bands can get what they want."

From Peter Stupar: Photograper extraordinaire and former A&M Promo Rep

And this feedback on the "saturated music marketplace" due to too many new releases:

"Honestly, Chris, I think the crux of the problem is that there is SO MUCH music out there because anyone can record and put their album on iTunes these days, but most of what's being released will never create True Fans. The music isn't good enough.

True Fans are always True Fans and will always buy your music.

But 90% of what's being put out there is mediocre at best or just doesn't stir the soul.

I hear so much music, all day long in my job. How much do I really care about? Not much. It's just pretty noise. If you want me to buy your music, you need to create something better than pretty noise.

I really need to write that article, "Why Should I Buy Your Music?" One of these days when I have time. A lot of Indie's won't like it, because I'm basically going to tell them that most of them just aren't good enough to merit my money. But it's the truth."

from Musician extraordinaire and founder of MusicBizAcademy.com - David Nevue

What Is Going On With Soundscan's New Release Data?

2010-05-17T15:19:00.000-07:00

Perhaps I am overreacting to the following news, but something doesn't make sense to me.

Today, a report from the current NARM convention stated that there were 98,000 new releases that came out in 2009. I have Twittered and Facebooked my reactions to this today as well.

"What?" I said to myself..."What happened to Soundscan's earlier figure of 134,000 new releases coming out in 2009?"

I have been keeping track of the number of new releases coming out each year for a decade now...always relying on the Soundscan reports for the data I share with you in my website articles and on this blog.

I have startling figures that show in 2000 their were approximately 28,000 new releases put out in that calendar year (major label releases and Independent label releases combine. As the decade has unfolded we can see a rise in new releases year by year, culminating in 2009 with Soundcan's report that new releases in 2009 were approximately 134,000!

This is important data to know about!

Here is a direct quote for you from the recent SXSW conference:

"Rich Bengloff, who leads the American Assn. of Independent Music, dropped some updated industry stats that he said were courtesy of Nielsen SoundScan. Ten years ago, 28,000 full-length albums were released. That number swelled to 134,000 in 2009. More stark, of the 103,000 albums released in 2008, only about 6,000 sold more than 1,000 copies."

Well, Rich knows of what he speaks. He is in charge of the Association of Independent Music, for crying out loud. And he thinks having the correct data is important for his members to know, so what is going on?

Indie labels, artist, and bands,(as I often have stated) need to know what the competition out there is like. So what happened to the approximately 36,000 missing releases from Soundscan's initial reports earlier this year?

You may say "Chris, get a life...being so specific about how many new releases come out each year is not that big a deal" Well, your wrong! It is a big deal!

What if your record was not counted in the true number of releases? What if you did better than others? Wouldn't you like to be included accurately in the stats of new releases and how many copies your record sold?

I won't go on much more, but somebody is lying to us or misleading us.
So,if you have access to the correct Soundscan data on new releases for 2009 I sure would appreciate hearing from you.

You can email anytime at Chris@Knab.com.

By the way, IF the true figure IS 98,000 and not 134,000 new releases in 2009 than we have some REAL NEWS here, because in 2008 Soundscan reported that 103,000 new releases came out. So, if the number of new releases is going DOWN after a DECADE of new releases going up every year for the last 10 years....THAT is BIG news!

I will do what I can to research further any facts about these figures!

Stay tuned!

2010-05-17T15:18:00.001-07:00

Mick Jagger's Royalty Quote + Comment

2010-05-15T21:34:00.000-07:00

I found this Mick Jagger quote about getting paid royalties worth sharing with you all.
The link to the original Blog site is this:

http://blogs.telegraph.co.uk/technology/shanerichmond/100005149/mick-jagger-sixties-record-labels-didnt-pay-anyone/

Mick Jagger has an interesting take on whether the internet has meant that artists no longer get paid for their music:

“… it is a massive change and it does alter the fact that people don’t make as much money out of records. But I have a take on that – people only made money out of records for a very, very small time. When The Rolling Stones started out, we didn’t make any money out of records because record companies wouldn’t pay you! They didn’t pay anyone! Then, there was a small period from 1970 to 1997, where people did get paid, and they got paid very handsomely and everyone made money. But now that period has gone. So if you look at the history of recorded music from 1900 to now, there was a 25 year period where artists did very well, but the rest of the time they didn’t.”

Jagger still doesn’t control the music he made in the 60s because of a dispute with former manager Allen Klein. The Stones have previously gone to court to try to get Universal, which owns their former label Decca, to open its books so that they could establish whether they were paid all the royalties owing to them. It seems Jagger still believes that he was short-changed.

Comment on Jagger quote by Anonymous

The Supremes, the Marvelettes, the entire Motown lineup, the early rock and rollers, and so many of the jazz greats, didn’t make squat until the AF of M and the music publishers were compelled to sort matters out under the oversight of the National Labour Relations Board. Many of them died in abject poverty, and/or were gigging until the the day before they died. The only thing they stood a chance on getting paid for was live performance, and their managers pocketed most of that. Popular music has gone to be an alternative traveling carnival and amusement park sideshow venue to a genuine paid trade only since the 1960’s.

It’s important to note, too, that so much of the enforced underpayment and hypercontrol of musicians as a sort of mutant pet dancing bear at the zoo was a function in the USA of political terrorism by the regimes that prevailed at the time (I cannot think of another word to substitute for terrorism, sorry; I knew lots of Detroit rock musicians who lived in terror their whole performing careers up until the blacklist was abolished by Presidential decree by President Ford in 1976. It was physically dangerous to be a musician in rock music then).

I think Sir Mick could hold forth extensively on that, too. There are lots of good reasons why music then had such a political edge to it. It was in response to the high level of political harassment by the authorities. Had the state had its way, we would still be listening exclusively to Bobby Vinton and Fabian and Pat Boone. Few born after 1975 can even imagine what it was like, in terms of political and social pressures, to be 18 in 1968 in either the USA or the UK. To reimpose that sort of pressure would quadruple the teen suicide rate overnight. It’s why I am very leery and oppose much of this “Common Purpose” and social engineering stuff: it’s McCarthyism and micromanagement of people’s lives all over again, but this time coming from the Bolshie side of the same coin.

Come to that, it took an outright unrelenting 75 year war in the courts and the picket line so that film and stage actors could succeed in being paid anything better than working for a fast food franchise. “Bob’s your uncle” for centuries for performers was room and board and a place to sleep. For centuries up until the end of the 1940’s, they lived like and were treated like caged zoo animals and paid not much better unless they developed “side enterprises” which put them under the protection of a political bigwig.

National Record Store Day is Over, But The Stores Still Need Your Business.

2010-05-14T13:41:00.000-07:00

Every time I talked to someone I know who loves music, and I spoke to a LOT of them recently, I mentioned the recent National Record Store Day that happened for the 3rd time last month. Almost all those people said that they went to an indie record store that day to buy something. That was great to hear...

But when I was in San Francisco recently I went in to say Hi to the good guys who now own Aquarius Records, the store I owned from 1972-1980. They too said that they had a great National Record Store Day, but...that the next day, and the weeks since-business was immediately back to a normal day's business.

As Americans we love to help out when we feel there is a need, or when a special occasion arises to support a good cause. Supporting indie record stores has come down to this? You support them ONLY when there is a day set aside every year to raise awareness of how important they are?

I don't get it.

I heard that the National Record Store Day was very successful, and that business that day contributed to a week of great sales for indie stores, up 466% from the previous week. Sounds good huh? Well, go back to your favorite indie store now, and ask them if the momentum from that day celebrating indie stores has lasted.

I asked that question. The answer was that after that big splash of a day, business returned to so-called 'normal' real quick.

Because of that one day 'burst' of retail excitement you may have gone to an indie store to take advantage of the one-day specials, limited edition CDs or vinyl releases or whatever.

But think of it this way:

YOU WOULDN'T HAVE GOTTEN THAT SPECIAL LIMITED EDITION WHATEVER IF THE STORE HAD CLOSED AND DISAPPEARED DUE TO LACK OF COMMUNITY SUPPORT!

Maybe you have to have worked in a record store to know how important they are EVERYDAY, especially to local and/or independent labels and artists.

Music retail stores need your business more that once a year!

In case you missed this news: In 2000 there were over 20,000 independent record stores around the country selling independent music of all kinds and doing their best to support new music and champion the little guy....today there only around 1400 independent music stores around.

As indie labels and indie artists and bands, YOU NEED A HEALTHY INDEPENDENT RECORD STORE IN YOUR CITY or locale.

Look what they can do for you:

1. Take your indie releases on consignment (CDs are not dead yet, ok?)

2. Perhaps they will play your music in their stores. Indie stores are like small
radio stations in a way. If they are good at what they do, they check-out their
shoppers and play music that is appropriate for those particular shoppers.

3. Most of the good indie stores have spaces available for local and touring acts to
put on a live show the afternoon of their regular gig that night.

4. Indie stores can offer space for your posters and flyers, or do displays for you.
This can happen through the many 'indie store coalitions' around the country that
offer at a reasonable price a 'package' of promotional services within each
coalition store's membership: like sale pricing, listening post positioning, a
display option for putting your release in a easy-to-spot place in their store.
Ask you local store if they belong to a coalition.

5. Most employees and most owners of indie stores are 'early adopters' of music,
meaning they are really on top of what's hot and what's not in new releases.

6. Good indie stores, space providing, carry a healthy selection of older music
releases from era's past. Your music came from somewhere, ya know. Do you know
the cool artists that broke the ground for your music style? Good indie stores
can turn you on to the best music you've missed out on.

7. The people who work at indie stores can help spread the word about your music if
they really like it. I have always said the least appreciated person in the music
business is the indie record store owner or clerk. So. get to know them.

I could go on and on about supporting indie record stores EVERY DAY, NOT JUST ONCE
A YEAR!

The last thing I will say for now is this: If you think it's hard to establish yourself as a new act, then imagine the world without stores like Aquarius Records, Easy Street, Amoeba Records, Music Millennium, and so many others across the country. Imagine they are gone...no more National Record Store Day, no nothing.

You imagine it, I can't. It makes me too depressed to think a day like that could happen.

Support your local indie record store!

25 Things You Need To Know About Traditional Distributors

2010-05-13T13:12:00.000-07:00

1) Distributors will usually only work with labels that have been in business for
at least 3 years and/or have at least 3 previous releases that have sold several
thousand copies each.

2) Distributors get records into retail stores, and record labels try to get
customers into retail stores through their promotion and marketing tactics. And
remember: these days there are fewer and fewer indie records stores around, so
be sure to find out what specific stores your chosen distributor works with.

3) Make sure there is a market for your style of music. Prove it to distributors by
showing them how many records you have sold through live sales, internet sales,
and any other alternative methods.

4) Be prepared to sign a written contract with your distributor because there are
no ‘handshake deals’ anymore.

5) Distributors want ‘exclusive’ agreements with the labels they choose to work
with. They usually want to represent you exclusively.

6) You will sell your product to a label for close to 50% of the retail list price.

7) When searching for a distributor find out what labels they represent, and talk
to some of those labels to find out how well the distributor did getting records
into retailers.

8) Investigate the distributor’s financial status. Thousands of Indie labels have
closed down in recent years, and you cannot afford to get attached to a
distributor that may not be able to pay its invoices.

9) Find out if the distributor has a sales staff and how large it is. Then get to
know the sales reps.

10) What commitment will the distributor make to help you get your records into
stores.

11) Is the distributor truly a national distributor? Most large 'big box' stores
only work with national distributors.

12) Expect the distributor to request that you remove any product you have on
consignment in stores so that they can be the one to service retailers.

13) Make sure that your distributor has the ability to help you setup various
retail promotions such as: coop advertising (where you must be prepared to pay
the costs of media ads for select retailers), in-store artist appearances,
in-store listening station programs, and furnishing POP’s (point of purchase
posters and other graphics).

14) Be aware that as a new label you will have to offer a distributor 100% on
returns of your product.

15) You must bear all the costs of any distribution and retail promotions.

16) Be able to furnish the distributor with hundreds of ‘Distributor One Sheets’
(Attractively designed summary sheets describing your promotion and marketing
commitments. Include barcodes, list price, picture of the album cover, and
catalog numbers of your product too).

17) Distributors may ask for hundreds of free promotional copies of your release to
give to the buyers at the retail stores.

18) Make sure all promotional copies have a hole punched in the barcode, and that
they are not shrink-wrapped. This will prevent any unnecessary returns of your
product.

19) Don’t expect a distributor to pay your invoices in full or on time. You will
always be owed something by the distributor because of the delay between orders
sent, invoices received, time payment schedules (50-120 days per invoice) and
whether or not your product has sold through, or returns are pending.

20) Create a relationship that is a true partnership between your label and the
distributor.

21) Keep the distributor updated on any and all promotion and marketing plans and
results, as they develop.

22) Be well financed. Trying to work with distributors without a realistic budget
to participate in promotional opportunities would be a big mistake.

23) Your distributor will only be as good as your marketing plans to sell the
record. Don’t expect them to do your work for you, remember all they do is get
records into the stores.

24) Read the trades, especially Billboard for weekly news on the health of the
industry, and/or the status of your distributor.

25) Work your product relentlessly on as many of the Four-Fronts as
possible…commercial and non commercial airplay, internet airplay and sales
campaigns, on and offline publicity ideas, and touring…eternally touring! .

What Kind of Luck Do You Have?

2010-05-12T10:34:00.000-07:00

There are Four kinds of luck;

1. Dumb luck

2. Blind luck

3. Good luck

4. Bad luck

So, as a band-member or indie artist what kind of luck do you have?

Let's look at the First kind of luck:

Dumb luck.
This is the kind of luck that you stumble on, but having stumbled on it, you can't figure out what happened. It could have been either good luck or bad luck, but the point is you were not aware of it, so you either missed a great opportunity or encountered some bad luck and escaped without knowing how you could have dealt with it. Dumb luck happens when you are not conscious of what is going on around you.

Example: You have a listening party and are introduced to someone in attendance who is well respected in the live performance booking business. You are not aware of this person's reputation but they say they love your music and could help you get more gigs. Well, you either say something to sound cool, like " Oh, yeah...thanks", but the next day the person contacts you and offers you a gig supporting a bigger act. You say to yourself " Now, how did that happen" - having no memory of meeting the person at your party,or interest in knowing how it came about. So, you had some good dumb luck.

Conversely, you meet someone at your listening party and but you are so wrapped up in your own ego you don't pay attention to the introduction and land up actually insulting the person who could have gotten you better gigs. They just walk away shaking their head thinking " what's up with that character?" You don't make a connection and what's worse you are not even aware you lost an opportunity.
That is bad Dumb luck.

Blind Luck:
This is the kind of luck that presents an opportunity to you...you are aware of it, but you have no idea how it came about or how to deal with it.

Example: you have always wanted to meet an A&R Rep from some label and you are introduced to that person, but can't remember what to say to them, or it dawns on you that you really are clueless, but remain speechless, not knowing what you next move should be. But the person helps you out and reminds you that they are an A&R Rep from the label you were interested in. That is good Blind luck.

If you meet this A&R Rep and don't notice the hints the person gives you about sending in your music to them, well you have just experienced bad Bling luck.

Good Luck:

This kind of luck you do recognize when it comes along. AND you know what to do about it and how to react to it. You are also very happy and pleased that 'luck has come your way" and you are prepared on all levels to deal with the situation.

Example: At that first party where the booker is introduced to you. You recognize the person's name AND you address him/her by their name saying something like
" Thanks so much for coming to my release party. I have heard about you for so long, and I really appreciate your taking the time to come to our party. I would love to talk more with you about how we might work together." And the booker says "Lets have lunch tomorrow." That is good luck, really good luck. You have done your homework, you knew how to react to the meeting, and you were fully aware of your opportunity.

Bad Luck:

Remember the lyrics to that old blues song "If it wasn't for bad luck, I wouldn't have no luck at all." That, in a nutshell is what bad luck is all about. This kind of luck can come about when either dumb luck or blind luck have become a habit for you...you now just attract bad things, like some kind of magnet.

Example: Music business people are always looking for some really killer new artist or band, but you have created a reputation over the years that when your name comes up, those people you have dealt with stupidly or unconsciously want nothing to do with you, and so you lose opportunities, and eventually you are 'damaged goods'
God help the talented but clueless artist or band because you now have nothing but Bad luck coming your way.

Learning about how that evasive thing called 'Luck' works can really open your eyes to the situations you create and/or the situations that come your way.

Stay awake! The career you save may be your own.

What Happens WhenYou Really Connect

2010-05-07T00:44:00.003-07:00

I am in San Francisco tonight. I had a reunion dinner with 3 of my best friends/employees and a partner from when I owned my record store, Aquarius Records, in the 70's. Tonight was great. It was like a certain time stood still for a few hours, or maybe just came back for awhile to make this reunion evening a reminder of how important we all were, and are, to each other. But also it was a reminder of what we did at that store...turning-on our customers (and each other) to the best music we could find out there. And believe me we all had our own musical tastes, but those different tastes are what cemented our friendships.

I felt tonight like I have another family of sorts with them. And tonight we reminded each other of those shared musical memories and the customers we knew, and other friends we worked with and we really just picked up where we left off so many years ago.

So that is what YOU can get when you find like-minded people who you trust in this wonderful music business world, a sense of not just friendship and bonding but a sense of a special kind of family feeling that can last your lifetime.

We all live our lives apart from each other; but even though years may pass between contacts (and in some cases years DID pass before tonight's reunion and when we worked together) we will be forever connected.

Another cool thing tonight was that the music scene we worked in back so many years ago were defining times for all us. With almost 30-odd years gone by, now as older people we can reflect on how we went out into our own worlds; some making homes or breaking up homes, having kids-or not, but caring enough about each other that we wanted to get back together to see each other as we are now, and reflect on who we were and what memories we shared.

This was a good night, the best of nights. a rare chance to be reminded of how important music was to us all then, and how it continues to be a big part of our lives now.

"When can we do this again?" one of us asked as we said goodbye.

Soon was the answer. We will make sure we do it again, and we won't wait 30 more years for it to happen.

This is what can happen to you when you really connect with the music friends you have today. Your musical comrades-in-arms.

At least I hope this happens to you someday, you deserve friends like this.

\What Happens

2010-05-07T00:44:00.001-07:00

Why I Do What I Do

2010-05-03T23:49:00.001-07:00

I started my career in the music business back in the late 60’s in San Francisco working at one of the first ever Used Record Stores in the country-The Magic Flute. That was really a ‘school’ of sorts for me in the sense that my love for a wide variety of music was born there. I hung out every day for over 6 months just diving into all the cool records the owner had and customers brought in. I remember so many great conversations with other music hounds and ‘vinyl junkies’ that inspired and motivated me to want to learn more about any kind of music.

The SF music scene of that era was just unfolding, as was the 2nd British Invasion of bands like The Original Fleetwood Mac with Peter Green, early Clapton and John Mayall’s Bluesbreakers, The Yardbirds going through Clapton to Jeff Beck to Jimmy Page and morphing into Led Zeppelin, not mention all the American groundbreaking bands like Captain Beefheart and The Mothers of Invention, and the Velvet Underground. in Jazz there was the prime time of Miles Davis and his adventures in music, along with John Coltrane, and all the way to the avant garde space music of Sun Ra’s Arkestra …and on and on it went. Then to be able to go see these bands at the Fillmore and the Avalon ballroom…I was lucky enough to be right in the middle of a true renaissance in music.

As the 70’s arrived I got an offer to manage a new record store that had sprung up around 1971- Aquarius Records, eventually buying it in ’72 and watching first hand a major shift in music and the music business…the birth of punk rock and the ‘new wave’ bands of the later 70’s.

It was at this time that my love for music gave birth to another love that would be my main source of interest to this day…learning HOW the business of music worked. I was a curious guy. I wanted to know how record labels and distributors worked together, what role did radio airplay contribute to the selling of records, and how important was it to learn what publicity contributed to this ‘game’, as well as observing the live performance industry first as a concert goer, and then as a behind the scenes guy who just soaked up the work that went into putting on a concert and the business of that part of things.

I asked questions all the time during that period, probably driving a lot of my comrades in the music business crazy with all of my questions.

Around 1977 I was even asked to become a DJ on one of the greatest radio stations ever, KSAN the ‘Jive 95” underground and ground-breaking station led by visionary rock radio guru Tom Donahue. Being a DJ was like being on the other side of a fence. I saw the business, as I said, first from a music retailers point of view, and simultaneously as a DJ playing cool music that would then send flocks of customers to my store to buy what I played. “How cool is that” I said to myself.
Then within a year I help start and became a co-owner of my own record label, 415 Records, along with a good friend at that time, and fellow music addict, Howie Klein. Wow, now I was really in the thick of things. Learning everyday on-the-job how and what a record label did…signing bands like The Nuns, Romeo Void, Translator, Wire Train, Roky Erickson and many others.

We did well enough to attract the interest of Columbia Records in 1982 and then the curtain that was slowly being lifted with the inner-workings of the music business really started to rise up in importance and interest to me. I thought to myself “This is an amazing job I have” and the first ripples of a desire to explain what I had been learning throughout those ‘apprentice-ship’years to others came to mind.

I would however have more to learn before I could really commit to teaching others what made the wheels of this business turn. Next up was to quit working with my label and moving from SF to Seattle to take on the position of being the station manager of a non-commercial public radio atation- 90.3 fm. To say the least that was an unexpected learning curve, but one that led strangely enough to my first job of teaching a real class about one part of the music business…Radio Promotion.
Little did I know at the time that I taught my first class at the Art Institute of Seattle, that I would finally find my real purpose in life, my vocation if you will. I was offered more and more classes on topics that related directly to my life experience that I have described here.

I had become a teacher. That long ago faint whisper-in-my-ear thought about how cool it would be to share my knowledge of the mysteries of the music business with others was now a reality.

For 18 years I taught classes on every aspect of the music business, except music law….(I would leave that for real entertainment law attorneys to deal with)
So , here I am some 40 years later (and for the last 15 years as well) not only a teacher, but an author, a consultant, and supporter of any and all people who love music and want to learn more about the business side of it.

That is why I write my books, why I write this blog, why I offer my workshops and seminars on the business of music, why I offer consultations, and why I have committed to interacting with social networking tools like Facebook and Twitter etc. I have this insatiable appetite to not only keep educating artists and bands and any other people who love music the way I do, but I continue to have the same zeal and enthusiasm to check out any and all new developments in this fascinating business of music . We live in a remarkable world of new and evolving digital tools and skills that we can apply to the basic old ‘analog’ ways of promoting, marketing, and selling music.

What a ride it has been. So, I promised to write a bit about why I do what I do, and now I have put it into words for the first time.

I'll drink to that.

It Ain't About the Money Or Is It? Its Your Decision

2010-04-28T23:12:00.001-07:00

I have been watching, studying, and analyzing why some musicians ‘make it’ and others don’t for a long time, and I have given up trying to come up with some magic formula that every up and coming musician can follow on some imaginary road to whatever 'success' is.

In fact, I think as Americans, we are too addicted to self-help books and formulas for success. What is lacking in our day-to-day lives that makes us run out to buy the latest personal improvement manual? Could it be that there is a difference we detect in the attitude of successful, well-known people, and the attitude of the average working Joe?

Is There Some Magic Formula?

When it comes to music, why do some musicians make it big, while other equally talented songwriters and musicians never get their music heard by the masses? What specific skills and/or inherent talents do the successful artists embody that so many ‘wannabees’ do not? Is it charisma? That special something that many artists seem to exude the minute they walk into a room? I think that is part of it, but many successful acts have as much charisma as a pitcher of milk, and yet do quite well for themselves. So if you are looking for some magic formula that will transform you into a star...well, cut it out, there is no such formula.

Deep Pockets?

Maybe its all about money. Yeah, that seems to be the one sure thing behind every star. There are always record labels with deep pockets that know how to spend the money to push their acts into the hearts and minds of the public. Well lets talk about that for a moment. Money can only push something out to the public for their acceptance or rejection…that’s all it can do. Nobody reaches into their wallets and purses and spends their hard earned money on anything….unless there is some real value in what they see is being offered to them.

Today there is a lot of what some observers call ‘shallow and immature’ lyrics and disposable pop music out there on the charts… yet, no one who bought that music would cop to that criticism. The people who buy the latest sounds on the pop charts bought that music because it gave them some kind of pleasure. It meant something to them.

I think it all comes down to two essential things…creating and performing great music, plus having a savvy business mind that can figure out clever ways for people to hear your great songs. Lets look more closely at these two observations.

Music That Fulfills

First, we should look at what sells and what is successful from this standpoint; music fulfills the needs, wants, and desires of any group of fans because they identify with it. and they like a tune because they can hum it in the shower. The one thing that all successful acts have in common when they cross over to mass appeal is great songs! This is true as well for the more edgy artists who seem to eek out a living from smaller fanbases. They still write compelling songs that touch the hearts and minds of their fans. (Whether or not you personally ‘like’ hit songs or not has nothing to do with it.)

Lets look a bit closer at that second ingredient I mentioned business savvy. Yup…that’s it. Somebody, somewhere, in every successful act’s history there was someone that had enough business savvy to make that act the stars that they are or were. Somebody somewhere and somehow got a band or artist decent exposure in what I have always called "the 4 Fronts" of music marketing...great artist and product development, promotion, publicity, and performance opportunities.

That Certain Something

NOW….listen up! It isn’t as simple as you think. Historically that business savvy may have been solely the talents and skills of a weasel-like manager, or record label executive. It may have been the unscrupulous business practices of shady lawyers and booking agents, as well as greedy club owners, or money hungry publishers.

My point is that no matter what the behavior of a particular music business gatekeeper may have been…they got a certain part of the job done…they broke on through to the other side of the competition, and got their act’s song into the ears of the thousands of music fans. And to do that, I can assure you they had a business plan.

There are no short cuts to success, and there just isn’t enough room at the top for everyone who makes music to a living from their music. But there is a balance that can be obtained in ones life. With a combination of old school ‘analog’ marketing, and the today's ‘digital’ marketing tools available on the Internet and through the technology of downloadable and/or streaming music, no musician who writes great songs should have that much problem realizing (at least) modest successes with their music.

10 Step Programs

Be careful of the "10 Steps To Musical Success" and the " What every A&R Rep Is Looking For" articles and books. I must admit that I have written some articles with such titles, only because they are my way of getting the attention of an ever-growing group of celebrity ‘wannabees’. Once I get their attention, I show them proven strategies and tactics that record labels and industry professionals use to promote and market popular music.

Remember, in reality, there are no 10 steps to anything! There is however, your conscious involvement with, and your personal commitment to making the greatest sounding music you can, and committing to learning as much about the business of music as possible. The world of commercial music is a world of dollars and cents, whether you like it or not. But that does not mean that art and commerce cannot walk hand in hand…they must do that.

The Driven Artist

Most ‘artists’ in the truest sense of the word are narrowly focused people who never take no for an answer. No matter what challenges come along, they find a way of staying alive. More and more as the decades roll by, these artists are entrepreneurial musicians who grab a hold of the business reigns and find away to get the job done.

We live in a capitalist, consumer driven society. The successful musicians of tomorrow will be those people who either attract dedicated, knowledgeable business men and women to do the marketing and promotion for them, or take that responsibility on themselves. Give it a try. You may learn, as many are learning, that success can be defined in several different ways. You don’t have to sell millions of records to be considered a successful musician. You just have to sell enough records, concert tickets, and merchandise to pay the bills…do that, and I think you are a very successful musician.

Being an entrepreneurial musicians means you have to be able to write and perform great songs, and produce them with a contemporary sound, AND you have to take the time to read about the music business and stay on top of the evolving marketing and promotional opportunities popping up all around you. Read the music business trades and tip sheets, (Billboard, CMJ, etc.) Cruise the internet for the tons of free information at sites like www.musicbizacademy.com, www.musicdish.com,
www.4frontmusic.com and many others. Also, find time to call club bookers (over and over), read bad and good music reviews of contemporary releases, stay in touch with your fans on a regular basis, AND still put on a great show when you're exhausted or sick. (The show must always go on, you know.)

Entertain Always

When it comes down to it, being a professional musician is really all about entertaining people. Entertaining the public as a life commitment involves getting yourself into a deep sense of personal commitment to your art, and the business of your art. It seems to me that artists who are able to do that have come to grips with the notion that success is more an internal experience, and not necessarily one that will be satisfied by a money-hungry music industry that defines success only in dollars and cents calculations.

Looking at the work habits of most big stars, I think they all have an entrepreneurial entertainer inside them. That's what allows them to succeed in all areas of the business. That is what keeps them going during the fifth press interview of the day, and all the other crap that has nothing to do with music and everything to do with the business of music marketing.

Should the day come when you sense you have made it, know that the pressure to keep producing sellable music is huge. So you need to find a balance inside yourself. A sense of timing that lets you know when you have to take a break, or eat and sleep right. Successful musicians have to be healthy and ready to create/perform on demand. For example, you may have to hit the road for nine straight months, then make a world-class album immediately following the grueling tour, followed by endless media encounters along the way.

On Top of Your Game

What it all boils down to is that stars have to be on top of their game, both artistically and business-wise. It is essential to create a balance between music and business early on. Make sure your psyche is in the right place. You know, screw your head on right! Be honest with yourself regarding what things you are and aren't willing to do to be successful with your music.

Map out how you will improve your skills in both business and art. Put it on paper. Try living the 50% business - 50% music rule. Make sure you honor your business commitments and always act professionally. Again, make sure you keep your artist side healthy and creative. Take days off, take nature walks, and take time to noodle around that new song idea that just popped into your head. Such activities will help keep the artist inside you healthy and able to nourish your creative juices.

Should you ever become a successful musician (by your own definition) making money strictly from your music, remember that being a famous musician is not a "normal" life. To survive and thrive in the public eye requires a special set of skills. The good news is those skills can be learned and developed. Every little bit you learn now will benefit your career plans down the road. Believe in yourself, and never stop improving.

Your hard work will pay off, if not always at the cash register, at least with a sense of personal satisfaction for having done the best work creatively and business-wise, that you could.

A Get Even MORE Clueless Emails -2010 Version

2010-04-24T16:19:00.000-07:00

In 2008 I wrote an article for my website, www.4frontmusic.com, and in it I shared some examples of emails I had gotten over the course of that year.

Well, it's time for an update!

The hits keep right on coming; BAD hits that is. So, I will not giveaway the names of these hapless souls who wrote these messages (even though I am tempted to do so) because these folks have enough grief to deal with trying to just stay alive let alone prosper in this business.

I do get a LOT of emails, and I should. I have been writing about the music business since 1995, so my name is out there and so is my email address. Most of the email messages I get are polite ‘thank-you’ messages letting me know how much they appreciate all the free articles, blog postings, Tweets and Facebook posts I have done, and how much they have learned from my advice.

All those messages are quite gratifying to say the least, but I have a growing problem with some of the messages I get, and the problem is getting worse every day.

Too many wannabee-stars are out there. Too many artists and musicians that don’t have a clue as to how to write a polite and courteous message, let alone send a message that isn't riddled with grammar, spelling, and/or punctuation errors.

So many people have no clue how to approach a professional in the music business and/or introduce themselves properly. Others are blind to the imposition they are making by diving into very complicated issues without so much as a “Hi, my name is_______” followed by a simple statement like; “If it isn’t too much to ask, I would like to ask you a question.”

It is getting harder and harder to read these messages, let alone answer them. People just barge in and start asking me questions without a clue how to introduce themselves.

Why do so many people presume that I am sitting at my computer just waiting to write them back and answer their stupid questions?

For example, I get a lot of emails that ask this question? "Hey, what's a copywrite anyway, I don't understand what a copy-write is" (He means 'copyright')

Here is a typical question: " I have 5 songs, what should I do with them?"
(Do you really want me to tell you what you should do with them? I think not.)

I wonder what ever happened to researching questions you may have. Do people really not know of a search engine called Google? I guess not. Maybe they are just lazy so they send me a message wanting me to answer these and other questions that could easily be answered if the person(s) took the time to do some online research!

I ask the same question I asked back in 2008: "What’s up with all these rude and clueless people?!"

So, in my never-ending effort to educate you about the business etiquette that exists in this world, I have decided to print out a few recent messages that really drove me crazy. As you read these messages please note that I have deleted any reference to who these people are.

Please read these messages as if you received them, and ask yourself how you would feel about dealing with these creatures from some lost lagoon.

Ask yourself these questions as you read through some of the messages I've received:

* Are you offended by these abrupt and presumptuous messages that presume I have
the time to answer their questions as if I had nothing better to do?
* Can you decipher their cryptic writing?
* Do the numerous spelling errors, grammar glitches, and punctuation
catastrophes bother you?
* Would you respond to these messages? or would you just delete them and try to
forget them?

If you do indeed want to email someone you don’t know in the music industry, please approach them carefully. Ask if you can ask a question or two before going into an epistle on your situation, and for god’s sake introduce yourself and ask the person you are addressing if they have the time for your questions.
Just because you are using email doesn’t give you permission to barge into people’s lives and demand their attention. A small amount of common courtesy will take you quite far in this business.

Here now are some amazing-but true-messages I have received over the last year. I simply ‘cut and pasted’ these messages from my email into this blog for you to decipher at your leisure.

,,,,,,,,,,,,,,,,,,,,,,,

Here we go! (Remember the spelling, punctuation, grammar, and sentence structure errors are real. I am NOT making them up!)
"My question is about selling just one song. Not really intersted in complaying a whole CD at this time. Can it be done without a lot of hassle? I am thinking of trying to get someone like Bette Midler to sing and record it in one of her albums and get a piece of her the action. Of course, this is extremely hard to do. Will you do it?"
(Well no, I won't...would you?)

Next up: This one - exactly as I received it:

" Hi hey yo wuts up? I visited a site and got your contact info. I'm interest in writing and performing and also I have a media major (rba-almost). If you could help me with distributing and/or signing my own label PLEASE reply. Just a quick overview- I've recorded a few full recorded- music includes: hip hop rap, and "movement" types. Also, I write some timely rock shtuff. I would like you to visit my site on www.myspace.com and hear some at a later date if your interested."
(Say what???)

And now for something completely different:

"Greetings Honrable Christopher Knab, I recently conversed with you about radio promoters within the last 20 minutes...thank you kindly, as well as me, I wish you the best. I may update you relative to future business relations."\
(I have no idea what he is talking about, but sorta like the attempt at being addressed as "Honrable".)

Next up we have this one:

"Hi Chris,I am a passionate singer, pianist, saxophonist that would love to be involved in music for the rest of my life. I have sung professionally and have even moved from Idaho to Tennessee to travel in a group there. I really missed the west and have recently moved back and happy to be home, but greatly missing singing. Currently, I cannot afford to pay an agent or promoter and I stumbled upon your site on the internet and it looks like you would definitely have some knowledge you could pass on to me? How can I get more involved in music and get some gigs?"
(Now this one was polite enough, but goes on too long, and the last sentence is an example of HOW IN THE @#(*&% can I possibly answer that type of question? I mean that is why I wrote my book, and other music biz professionals wrote theirs. It's just too general a question to ask and impossible to answer quickly, which is what your email questions should be concerned about...asking simple questions.)

Moving right along:

"Hello, I'm in a music Business course and I look like to futher my studies and practice yours with my peers. What are the answers?"
(What is the question?!)

Another one:

"Hello, I have gone through your website 4front.powweb.com and have been trying to get an out of state indie artist here to St. Louis for at least 7 months now. St. Louis is a hard market to break as they support local artists and those that are in constant rotation on the radio. I have hit many lives music venues that just do not return my calls. This guy is very talented and has many followers around North America except St.Louis."
(powweb? … that isn’t even close to my web URL. Also, sometimes people ALMOST make sense, but then they don't)

One more for the road:

"hi Christopher i love your book. unfortunately i don't have it with me as i am in japan right now.basically, my friend wants to do a japanese release of the cd lp that i am currently recording.also, he wants to distribute it. i don't know the exact details of the distribution but i think that he can possibly get it into the records store here in tokyo.i told him that i wanted a contract and he said something about 50/50. i don't know whether this will be a lifelong contract or not.i don't know the main details of the contract yet yeah but was wondering if you could possibly direct me to any examples of such contracts or offer advice regarding the topic. i want to personally assess all the details before signing anything.sorry for the confusion. i don't know what the contract would entail just yet."
(ball of confusion, say what?)

The last one, for now:
"I'm interested in expanding my business to manage talent( singers, rappers)."
(and?)

OK, one bonus message:
"and wht i meen is this...gotta get a deal man,got too! what would life belike if i
didnt sing nad you know what im thinkin.thanxs"

(Enough said...)

How to Write a Music-Related Press Release

2010-04-21T12:48:00.000-07:00

Everywhere we turn in the music business, the impact on digital marketing, promotion, sales, performances and publicity is changing the way artists and bands, as well as record labels are carrying out there business.

What is strange to me is that with all the website work one has to update, and blogs to keep up on and text messaging and emails etc. etc. one thing remains true.

The elements of what must be turned into digital items have their roots in the 'analog' world, especially when it comes to writing up a press release.

Today the traditional press kit still has its place. So, knowing how to write (and/or post) a professional press release can help you get the word out about what's going on with your music career.

Here is a guideline for writing a professional Press Release.

When to Write a Press Release:

* Concert/Shows and or Tour information
* Record, Publishing, Merchandising Deal Announcements
* Band Personnel Changes/Additions
* CD, Music File and/or Video Release Information
* any social networking or Internet activities
* announcements about anything you (the artist) or your label are doing

What The Print and Broadcast Media Need:

* News or announcements related to their target audience
* Deadlines met for calendars and event listings
* Event or information in proximity to their coverage area

Layout and Essential Information:

* Double space all content
* The phrase "For Immediate Release" centered near top 1/3 or page
* Date press release is sent out
* Contact information: Person media can call for more information with phone
number and fax number
* Printed on company or artist/band stationary with full address info
(or if it is digital and for an Electronic Press Kit -EPK- ready to upload)
* 1 to 1 1/2 pages long (unless for major event or project)
* End with the marks ### centered at end of the body

The Press Release Structure:

The Slug Line (Headline)

* Short, but attention-getting headline phrase
* A hint of the purpose or topic to be presented

The Lead Paragraph

* Should include the 5 W's and the H (if needed):
Who, What, Where, When, Why, and How
* Summation of the basic topic/information
* Begin with the most important part of the information
* Who is in the beginning sentence, followed by Where and When
* Why, What, and How follow in the next few sentences
* No unnecessary details should be included in the lead paragraph

The Body

* Elaboration on the theme or purpose of the press release
* One thought, one paragraph.
Cohesive, single ideas in each paragraph
* Write information in descending order of importance
* Keep information factual. Opinions only in quotes with proper credit
* Use simple sentences (Subject - Object -Verb) and avoid too much hype
* Ending option: Recap essential information from first paragraph
* Proofread several times for spelling, and/or grammatical errors

It will take you some practice to get all this down, but once you do-create a 'template' for future Press Releases!

Getting Gigs and Marketing Your Music

2010-04-19T13:42:00.000-07:00

Live performance is arguably the most important part of an artist or band's career.

Playing live in front of your audience/fans can be a very exciting experience too.
So, it is not uncommon for performers to forget that for any venue they perform at the owners/managers of the venue look at your performance in a very different way: they see it as a business venture!

For them it is a business. A business that is risky and very competitive.

So, remembering the following information on live performance issues should be a major priority for you. It should be studied carefully before you begin dealing with the club bookers, managers, promoters, and assorted other characters who make up the live performance industry.

Keep this information in mind as you prepare to play live and tour:

* Whenever approaching a booker of a live venue consider "Why do clubs book certain acts, and not others?"

In other words, are there certain things that clubs look for in the acts they book, and if so, what is the criteria to get a gig at a live venue? For starters, the bottom line for a venue owner is that they need to make a living at their profession, and the only way they can do that is to book acts that fill the club. So any artist wishing to get booked should do an inventory of their talents and accomplishments and make a list of impressive data to present to the bookers.

* Your Promotional Kit is the tool that contains the data on an act that a booker of live shows needs to see. The Promo Kit or EPK should include a cover letter, a Bio, a Photo, a selection of press clips, possibly a 'Fact Sheet', and of course a CD or music file of your music.

Don't send music files without getting permission to do so before you sent it!

* If you don't have a full CD, send 3 or 4 of your best songs on a CDR. Unlike radio promotion, live venues will accept a live recording of your music instead of a studio recording IF the live recording sounds really good. If a full CD is sent, mark 3 or 4 songs that best relate to the music that the venue presents.

* What kind of live venues are there? Many. Besides clubs, there are taverns, bars. coffee houses, festivals, fairs, concert halls, schools, churches, and even book and record stores, as well as shopping malls. Keep in mind that when dealing with venues other than traditional club type gigs, there are still many business considerations to take into account, that may affect whether or not an artist is qualified to perform at the venue.

* Artists who are just beginning to perform live have a tough time getting those first shows. A certain 'Catch 22' type situation does exist. You can't get a gig unless you have gotten other gigs, and you can't get other gigs until you get that first gig. So be it. Everyone has to start somewhere, and many artists frustrated by this situation have simply rented a space, gotten a permit, and rented a sound system...and put on their own show. (At least then, they can say they have performed live before.

* It is the job of the live venue bookers to be up on what new acts are up and coming, and causing a stir in their own community. It is also their job to listen to the demos included in the Promo Kits that come in the mail by the dozens every week.

* This brings up the issue of protocol. Yes, there is an etiquette to be followed in all areas of music marketing, and when it comes to dealing with bookers, that protocol calls for mailing the Promo Kit, waiting a week to ten days, and then calling the booker to follow-up on the kit. Believe it or not, politeness, and respect are fairly uncommon virtues in the music business. It is strongly recommended that courtesies be extended when calling a venue. Make sure not to interrupt meetings. Ask the person if now is a good time for them to talk. If they request a call back, do so at the time requested.

* Artists and bands who think they are ready for prime time may not be. It is a good idea to have at least 3 or 4 hours of prepared material that can be performed live. If an artist has only a half hour or an hour of songs, the clubs will most likely not be interested in booking your act. Different clubs have different needs, and some offer special nights of the week for open mikes, or showcases for unproved acts. Be sure to check the booking policy of every venue.

Never forget: any live venue can only afford to book acts that draw crowds!

* Live venues make most of their money from sales of alcoholic beverages and food. They like artists and bands that get people up and cheering or dancing...getting thirsty or hungry and buying more drinks and/or food.

* As long as you are out on the scene, getting good radio airplay and press,and can report decent sales of you music plus getting listed in concert calendars, and print media calendars, the more resistant venues may become more friendly toward you. If you are out there playing gigs and expanding your touring base, bookers should eventually take notice of you. That is part of their job.

* Once a venue books an band or artist, they add them to their schedule and include them in their press releases, calendars, posters and flyers. This does not mean that an artist should leave the promotion of the concert to the venues. On the contrary, acts should notify their fans consistently about all their marketing efforts, and print up their own posters and flyers, and promote their shows in any creative way they can think of, especially utilizing all the tools that the Internet has available these days.

Performance Contracts

* The music business is very fond of contracts. The record, publishing, merchandising, and management sides of the industry are contract crazy. In the performance arena, there are indeed contracts, but in the beginning they are more of the handshake or verbal variety, then signed contracts. When an act gets more established, they can rest assured that the written contract will be around. This does not mean that a beginning act should not try to get something in writing.

* The verbal contract between a club and an artist may simply be an agreement that the artist will perform on a certain date, at a certain time, for an agreed upon length of time, with what specific other act, and how much will be paid. Many venues require some kind of written confirmation of a verbal agreement made over the phone. This is to the advantage of the artist anyway, so it is strongly recommended that you invite this kind of thing to happen.

* As your act gets more established, you will probably stop booking your own shows, and a manager, and/or booking agent will take over the task. At this time the artist's attorney may write up a Performance Contract with the following points to be negotiated:

1. The name of the venue hiring the act
2. The name of the artist
3. The date, place, and time of the performance
4. The price of the tickets
5. The fee paid to the artist
6. How the artist is to be paid (fee system)
7. The length of the performance
8. The type of billing the artist gets for the show on the marquee
9. The order of appearance (if other artists are on the bill)
10. Food and other refreshment considerations

* Without a doubt the single most contested area on the above list is how the artist will be paid. The act may receive a flat fee, a straight percentage of the door or ticket sales, or a flat fee plus a percentage, where the artist receives a guaranteed fee plus a percentage of the door after the venue (or promoter) reaches a break even point. Remember...the venue is concerned with making and not losing money, so the break even point for a show is based on the costs of putting on the performance, which includes promotion costs and any 'guarantees' that may have been made to the artist for their performance.

* A good habit for young acts to get into is to have a member of the band's team count the ticket stubs collected at the door. This is a fairly common task, that assures the artist of getting a correct count of the number of patrons who came to the show. More established artists who are dealing with Booking Agents, can demand as much as 50% of their performance fee up front, before they perform. Even more established acts can demand their whole fee before they perform.

* One of the most important financial advantages to playing live is the opportunity for an artist to sell their CD's and other merchandise at all their shows. Most clubs and venues, outside of big festivals and fairs, allow acts to sell their wares in the lobby, or from the stage. Only a few venues take a percentage of the sales. Whatever the case, it cannot be stressed strongly enough how essential it is for an artist to take advantage of this lucrative sales opportunity.

One last thought..don't forget to bring a mailing list sign-up sheet to all gigs.

Planning and Implementing Your Radio Promotion Campaign

2010-04-17T13:09:00.000-07:00

The commercial radio industry, at this time in history, couldn’t be less friendly to the independent musician.

However, that doesn’t mean there isn’t some significant radio airplay available to you if you know what you’re doing. Outlined below is a plan to consider if you have the three important ingredients necessary for working your record to radio.

1) The money to fund the campaign
2) The time to spend working all the stations you submit your music to
3) A recording that meets the standards of radio broadcast/streaming quality

Forget About Commercial Radio Airplay

When it comes to commercial radio, the chances of getting significant national airplay for your independent record are next to none. We live in an era when a small group of powerful media conglomerates own and control the most important radio stations in the land. Unless you are connected to a major label, or are independently wealthy, the costs of promoting your songs nationally to commercial radio have spiraled out of sight.

There are, however, lots of local music shows, mix shows and specialty shows on commercial stations that may offer limited airplay for you. These shows air in low-listening off hours, such as late at night on weekends or early morning programs on weekends. There will be a lot of work involved in finding these stations yourself, city by city, and music format by music format.

If you have money to invest in radio promotion it’s possible to hire an independent promoter who may be able to open some doors to these shows for you. Be prepared to spend several hundred dollars a week for their services. Also, in some smaller market cities and towns across the country there MAY be some stations these indie radio promoters can get you some airplay.

Please note this important rule about securing ANY airplay: If you have NOT setup a way to have your music available in stores (through traditional distributors or online stores, FORGET about trying to get any airplay. The reason is IF a station of any kind plays your recording and people like your music...the fans/customers will not have a way to BUY your record...so why bother to try and secure airplay?)

A more realistic approach for radio airplay is to consider the options available on the noncommercial side of the FM dial. (88.1 FM to 91.9 FM) With the combination of college radio stations, community stations, and even some of the larger National Public Radio affiliated stations, your chances of getting your record played are much better.

Also, today we have tens-of-thousands of Internet radio stations that you may have more luck securing airplay on, especially if you are a new act. The problem is that finding shows on these Internet stations will be a full-time, and ongoing job for you. In addition to these Internet stations there is Satellite radio (XM/Serius) and they do play new music by alternative acts. So check them out first for their rules and policies for submitting your music.

Below you will find an outline based on how Major and the better Independent record labels plan for their radio promotions.

You need to prepare:

* A database of commercial and non-commercial and Internet stations that
realistically may play your music.
* The timeline you'll use to put the promotional material together
(basically setting your deadlines).

Be sure to remember that your plan may be distributed to any other assistants or employees, and any independent promotion people you may hire. This plan will be their introduction to your or your artist, and is the plan they will base their work on.

1) Design a detailed overview of your radio promotion plan.

* Consider all marketing and promotional ideas listed below.
* Propose what you think would work best in each of the areas to help market your
music to radio.
* Remember to keep cohesiveness between all areas: Give reasons why your music
is appropriate to each station you approach.
* Remember you will need several practical tools/materials to achieve your
goals. (Computers, hardware/software, office supplies,cell and/or land-line
phones etc.).

Address the following specific topics in your plan:

* Background/Goals: Give a brief history of the artist, and describe the goals
of your plan.
* Image: Describe and maintain the artist's image consistently in all promo
materials.
* What radio format(s) will be targeted? What markets? Which songs? Any station
promotions? (On-air concerts?) Hiring any Independent promoters?
* Describe your plans to create a “buzz” in the print media. Any press releases
(EPKs) to the music industry trades or music press?
Update your website,Blogs,MySpace and Facebook pages,bios, fact sheets, and
other press materials.
* Describe traditional and Internet distribution and music retail plans. Any
in-store play/ promotions? What other specific sales opportunities? Mail
order, live shows. Any store promotional tie-ins with radio stations?
* Video: Is a video cost effective? What airplay opportunities are there for the
video? Consider using sites like YouTube especially.
* Touring: Describe the time frame for touring, and other promotional events to
coordinate while on the road. Consider specific clubs, halls, fairs,
festivals, music showcases at music conferences like SXSW etc.
* Any club/venue promotional tie-ins with radio stations
* Advertising: Design ads to be placed in the music trades/consumer music press,
and other media? What funds are available for purchasing ads? Describe the
costs/benefits?
* Misc.: Record release party? Novelty item? Any other clever ideas? Explain
clearly and and all unique promotional ideas you can think of.

2. Design a 12 week plan for the product and promotional tools.

* Lay out what needs to be accomplished each week to get the CD/Music File out.
* Consider the: artwork, mastering, credits, sequencing, printing, pressing,
booklets, layout/design, converting of master recordings to digital files.
* Include in the time-line when to start working on the promotional tools that
you will need for your plan (photos, press releases, novelty items, display
material, ads).
* Design the time-line with deadlines for each element of your project.
* Remember too: We are in a digital age now, but that doesn't mean you no longer
need any older traditional promotion tools. YOU NEED BOTH!

As you can see, a radio promotion campaign is something that is done as part of a wider marketing plan. Always have distribution and sales plans, as well as publicity, advertising and touring and any and all Internet plans coordinated carefully with your airplay campaign.

I will say this again: The worst thing that can happen to any song on the radio is that someone hears the song, but can’t find a way to buy it. Professional record labels always have distribution and sales connections set up before they secure airplay. You should do the same.

The last word: The reason for coordinating all the "Four Fronts" in a RADIO promotion campaign is this. Nobody is alone in the music marketing world. When you talk to radio decision makers, they want to know WHY they should play your music. After you have given them solid 'business' facts about why they should air your songs, THEN you move on and tell them what OTHER marketing plans you have up your sleeve. That is where the other topics come in to play. Radio wants to know what your plans are to sell your release. What your Publicity plans are and what your touring plans are.

ALL THESE ISSUES ARE CRUCIAL TO CREATING A PROFESSIONAL IMPRESSION TO THE BROADCASTERS.

-----

10 Reasons Why Most Demos are Rejected

2010-04-15T22:55:00.000-07:00

"Getting a deal" has long been the goal of many would-be artists and bands. For mostly naive reasons most new artists and bands feel that by securing a recording contract with a significant major or independent label, success will be guaranteed. (talk about naivete).

Even in this new era of "do-it-yourself" career building, many musicians figure all they have to do is send off their demo to a label, and a recording contract will come their way.

The following list of '10 Reasons Why Most Demos Are Rejected' was gathered together after years of listening to comments made by Record Label A&R reps at music industry conferences and workshops; as well as from personal interviews with reps, and from many interviews A&R reps have given to the press. In addition, I can verify that these observations are true from having personally listened to thousands of demos over the years.

Since there is little I can do to stop anyone from 'demo shopping', (which I truly believe is a waste of time these days) the least I can do is try to improve the odds that your music will get listened to if you do send out your demos. This list will look at the most common mistakes musicians make when either shopping for a record deal, or trying to get the attention of A&R Reps with their demo recordings.

10 Reasons Demos are Rejected:

1. No Contact Information on CD,CDR and/or CDR container
(put your name, address, phone number, email, website URL, MySpace/Facebook address, on all submissions)

2. Lack of Originality
(just because you can record, doesn't mean your music is worth recording)

3. The Music Is Good, But The Artist Doesn't Play Live
(this applies to all genres of music except electronic and experimental music)

4. Poorly Recorded Material
(so you bought ProTools....so what...most submitted recordings sound horrible)

5. Best songs are not identified or highlighted on the CD or the CDR
(send only 3 or 4 songs and highlight the best ones)

6. Sending Videos In Place Of CDs or CDRs
(keep it simple. In the demo world all anyone wants is to check out your songwriting and musicianship. If you want to send a link to a video you have put-up on YouTube, that would be a better idea then sending a video disc or tape.)

7. Sending Unsolicited Recordings
(you sent them, but they never asked for them...which means they will probably mail them back to you.)

8. Sending The Wrong Music To The Wrong Label
(you didn't do your research to find out what labels put out what kind of music, did you?)

9. Musicians Can't Play Their Instruments Competently
(this is so basic, but you would be astounded at how incompetent most start-up musicians are)

10. The Music Sucks
(this criticism is as old as music itself. You may think your music is the greatest thing since frappacinos, but most demo recordings the industry receives are as bad as the first round contestants on American Idol)

10 Essential Tips for Making a Living with Your Music

2010-04-13T09:39:00.000-07:00

Everybody loves Top 10 Lists, from David Letterman's countdowns, to the Huffington Post's top 10 this and that. It’s a fun way to maintain the illusion that in a complex world, things can be simpified, or dumbed-down.

So...Let's play along. Why not a Top Ten List on the subject of Making A Living From Your Music?

The following list highlights 10 habits you should develop if you want to make a consistent living from your music. I can honestly say that these habits are the habits of successful musicians I have known and admired:

1. Find ways to get ordinary people who love music, to love your music.
We live in a time when everybody and their sister can and does make their own music. That doesn’t mean however that your music has what it takes for record labels to invest their money and time developing, promoting, and marketing that music.

Try your music out on music fans like you solicit opinions from A&R Rep. These talent scouts in the music industry are always following tips they hear from their street connections. But remember, your music must truly stand out in some significant, original, dynamic, and creative way.

95% of the independently produced CDs out there contain regurgitated ideas that were ripped off from some other more gifted musicians.
So prove to the industry that ordinary music fans in your city love your music.

You can do this by giving away samples of your music by putting some of your songs
on the many internet websites that allow people to download or sample new music. If people love something they let other people know about it. So, you can find out quickly if your music has what it takes to please the public by giving away your music, for awhile, until there is a real demand for your music. Then continue to give away your music, but in a more controlled or limited way.(Perhaps giveaway a song or two for a limited time on you website, or through MySpace and/or Facebook. You will sense when the time has come to control this habit and charge a reasonable fee for access to your music.

2. Play live often and don’t worry (at first) about getting paid for every gig.
You can always tell the difference between a musician who is in it for the money, and a musician who is in it for the music. The dedicated musician can’t not play music every chance they get. Money-focused musicians whine about the fact that they can’t get club gigs that pay anything. If you really think that you can make your living solely as a musician in the first three to four years of your career, you are headed for a breakdown and disappointment. Think about it...almost every legendary, gifted musician who has made a mark on our culture has been a musician who struggled long and hard at their craft, and...never gave up. Eat determination for breakfast! Go out there and play on the streets if you have to, play at schools, fairs, festivals, do benefits to help other people and organizations. Offer your services to non- profits, charities, church groups, and any other companies or organizations you can think of. Hang out at clubs, look for jamming possibilities, or start your own jam sessions. Look around your city or town, and you will see many places and venues where musicians can play. As you establish yourself and more and more people show up at your shows, the paid gigs will increase. Remember... play live, and then after you play live, play live again, that’s what musicians are supposed to do.

3. Know your instrument inside-out.
One of the curious developments of the late 1970’s was the huge increase in garage bands, punk bands, rappers, and ‘do-it-your-self-ers’, who just picked up an instrument, or started to sing with some friends, and 6 months later recorded a record and began to play live. Some great music, and new directions in music, came out of that situation. But now, 30 odd years later, the novelty of hearing amateurish thrashings has gotten a bit dull.

Prior to late 70’s, more often than not, the music that is our heritage was made by musicians who, from the time they took up their instrument, worshiped at the feet of some master bluesman, jazz player, folk legend, songwriter, or whatever. The habit of these inspired musicians was an appetite for perfection. A need to be not just ‘good enough’, but GREAT. Why settle for less. Whatever developing stage you are at, go beyond it, re-commit yourself to your instrument or voice. Take lessons, or better yet, sit yourself down at your CD player and choose a favorite musicians record, and listen closely to what they are playing. then re-play it, and re-play it again. Challenge yourself to go beyond your limitations. Who knows, maybe you will fall into some new territory, wherein you will find yourself, your ‘sound’, and increase your chance to stand out from all the mediocrity that is your competition.

Believe it or not, record labels love to hear innovative, accessible new sounds. Actually in their heart of hearts, that is what they are really hoping to hear on every new demo, and from every new act they go see at a live venue. You see...in the business of music, when we hear something new, original, and accessible to people, we can then invest in you with more security, believing that if we put our ‘label brand’ on you, with our talents of promotion and marketing coming to the front, then we ‘have something’, and your music becomes our music, and we work together to broaden you audience appeal. It’s kinda like a partnership ...something about ‘Art and Commerce’...they can work together you know?!

4. Protect your investment...register your songs for proper copyright protection. I never cease to be amazed how few artists are willing to spend $40 to register their songs with the Copyright office. By the way, these folks are often the same folks who complain about not getting paid to perform their unknown music. All I know is that when an inventor comes up with some new product that they think will appeal to a certain type of customer, the first thing they do is file for a patent on their invention. The same reaction to protecting songs should be there for any serious songwriter. If you really intend to work hard and develop your career as a musician who writes your own songs, don’t wait too long to take care of this simple, but essential task. If you really believe in your unique and original music then take the time to learn the basics of copyright protection. From the Internet to the library, there's an easy way to learn what it takes to file for copyright protection. Do it now! Go to www.copyright.gov

5. Design and write your promotional materials so they stand out.
The topic of designing and writing effective promotional materials; bios, fact sheets, cover letters, quote sheets, website and blog pages etc. is a lengthy one to say the least. As far as some tips that can help musicians promote their careers, and contribute to their getting any deal offers, is to make the promo materials as compelling, and informative as possible. Take the time to inventory any accomplishments, positive reviews, training and awards, past sales, and live appearance highlights; and organize them into professional written documents that you have saved for you website, MySpace and/or Facebook accounts. Having done that, time also needs to be taken to research who to send the materials to, and to ask each potential recipient what type of information they would like to have sent to them. No ‘generic’ kits should ever be created. let alone sent to any gatekeepers in the music business.

6. Know the labels and music publishers you hope to be signed to.
If you were applying for a job with a certain company of corporation, wouldn’t you take some time to ask questions about their stability as a business, their reputation in the industry, and the executives background and experience? The same is true when you are approached by any reliable music industry company. Some musicians get so excited when a certain label approaches them with a recording contract offer, or a publishing company offers to sign them. Being approached for a deal is a compliment and recognition by a label or publisher that a musician’s music is attractive to them. But, to rush ahead without taking the time to learn a few things about them is foolish indeed.

Ask...how have they done with your particular genre of music? What specific ‘points’ are they offering you? Who runs the label or publishing company? What is their reputation in the music business? How do you like them as people? These and other questions can be crucial in making an unemotional decision about an arrangement that could make or break your career.

7. Have your own ‘Entertainment Law Attorney’ to represent you.
The business of getting signed to any deal in the music business has always had, has now, and will always have, the involvement of entertainment law attorneys. No jokes will be inserted here, because any relationship between a musician, a record label, a publisher, a merchandiser etc. will come down to two attorneys hashing out the contract for the musician and the respective companies involved. It should be pointed out here that when all is said in done with the ‘courting’ process, the musician is never present during the actual negotiations. The musicians attorney and the music company’s attorney meet, talk over the phone, and fax/email or snail mail their offers and counter-offers amongst themselves. This fact serves to remind you that choosing a reputable, ethical, well respected attorney with lots of deal-making experience within the music industry is an absolute necessity for any serious musician who wishes to fight the good fight in the legal arena.

8. Choose a well-connected and respected personal manager.
Great artist managers are becoming a thing of the past. Self-management is always a valid option in the developing stages of establishing your career as a musician. Much can be learned by taking on the jobs of securing gigs, getting some publicity, planning tours, dealing with personal issues that arise within the band, and schmoozing with A&R Reps and various other label and publishing personnel. However, there comes a time, usually when the daily tasks of doing the business of being a band takes up too much time, and it is at this time that the services of a good manager can be very useful. I have always felt that if any musician or band has worked hard to establish their career, and achieved a modicum of success, they will have a better chance to ‘attract’ the services of a professional, well-connected and respected manager.

Managers who do this job for a living can only take on clients that generate income. Making money as a personal manager is no easy task, and many upcoming artists forget that if any monenies are to be generated from their music, it can takes years for the flow of that income to be reliably there. So, as a band develops self-management, or gets help from intern/student manager-wannabees, this can help pave the road for professional management.

Over the years I have heard several horror stories about ‘managers’ that approach upcoming acts and say that for X amount of dollars, they can do such and such for the artist. No... this is not the way legit personal managers work. Well-connected and respected personal managers get paid a negotiated fee for their services (get it in writing) for any and all business transactions they are responsible for (15%-25%) over a particular contract period. No musicians should ever pay a fee to a so-called ‘manager’ who will not do any work UNLESS they are paid up front. Flim-Flam men and women still abound in this business... be forewarned.

One of the most important jobs of a manager is to secure recording and publishing contracts for their clients, this is why it is so essential to choose well connected and well respected managers. The music business is a ‘relationship’ business. Who know who, and who can get to know who, and who did what successfully for who... is what this management game is all about. Choose carefully those people who will be representing you in any business dealings.

9. Don’t take advice from anyone unless you know that they know what they are talking about.
At the beginning of this article I stated that these 10 tips were just my comments from years of dealing with the business itself and many musicians. Everybody has their own list of Do’s and Don’ts and the only real value they have is that they present you with ‘opinions’ about what to do to get established as a musician.

To be quite candid, the best rules in the music business comes from the experience of building your own career; learning from your own interactions with the gatekeepers at labels, the media, management, and booking companies as to what is right or wrong for you. For every Do or Don’t there is an exception to a so-called ‘rule’. As I reflect on the advice I sought out and listened-to over the years, the most valid tips came from people who walked the walk, and talked the talk. If you feel that the source you have contacted knows what they are talking about, and has had first hand experience doing what you want to learn about, that is the only feedback that might stand up over time. Choose carefully.

10. Musician...Educate Thyself! If you want a record deal, learn what a record deal is, and learn something about the business of music.
Naive or mis-informed musicians are a menace to themselves. Enough already!

Over the decades there have been countless stories of musicians who were ripped off by their record labels and music publishing companies. Why? Exploitation was the name of the game for a long time. Keeping musicians in the dark was standard business practice. However, the past has passed, and today any musicians who sign a record contract (and learns later what he or she signed) have only themselves to blame. Even 20 years ago, it wasn’t that easy to gain access to the inner workings of the music business. (There are more letters in the word business than in the word music.)

Today there are dozens of outstanding books available on every conceivable topic related to the business of music. They can be found in bookstores, libraries, and through the Internet. In addition, there are many schools that now offer 2- 4 year programs on the business of music. Seminars, and workshops are available on a year round basis in most major American cities. Consultants, Attorneys, and Business Organizations are all around and so it is only myth, superstition, stubbornness, and immaturity that stand in the way of any musician making a commitment to educating themselves about the business that exists to exploit their music.

I cannot stress how important I feel this issue is. I am here to tell you, one and all, that you have been told many things about music that you did believe. “Spend money on quality instruments and equipment”... you have done that. “Spend time and money on practicing and rehearsing”, you have done that, for the most part.“Spend time and money finding the best recording studio, producer and engineer you can”...you have done that. “Spend time and money learning all you can about the business of music”...well, no one told you to do that did they?!

It has been said about education that we don’t know anything until someone tells us. If that is true, the fault in ‘not telling’ musicians that they MUST spend some time and money on educating themselves on music business issues is the fault of the businessmen and women who kept their clients uninformed. (Ignorance IS bliss as far as the old guard of music executives are concerned). But, KNOWLEDGE IS BLISS should be the byword for the musician of the new millennium. Please...spend some time and money educating yourselves about the music business, a few hours now, can protect your future forever!

Artist/Band Interview Form

2010-04-12T08:52:00.000-07:00

The following questions are helpful for any artist or band if they are serious about conducting their music careers as a business.

Thoughtful, honest, and detailed answers to these questions will help prepare any artist or band in writing bios, press releases (and EPKS), and fact sheets, as well as marketing plans that are necessary for getting the word out about your new release.

Answering these questions NOW will also help prepare you for any interviews that may come up as you work your music releases.

So, don't cut corners on some of the more detailed questions. THINK about your answers before you write any answers.

* Name of Artist/Band? (Include all band members names and instruments played.)
* Is your stage name trademarked?
* Have you registered your songs for copyright protection with the U.S.
Copyright Office (www.copyright.gov)?
* Have any of your songs been published? (If so, by whom?)
* Have you affiliated with a performance rights organization? (which one? ASCAP,
BMI, SESAC?)
* Have you signed up with SoundExchange.com? (Check out what they do!)
* What is your music background? 9Tell your story in a short and concise manner.)
* Do any band members belong to the Musician’s Union?
* Do you have a written ‘band agreement’?
* Why do you want to record and release your own music? (Be very honest.)
* Who is your fan/customer? (Analyze this question thoroughly.)
* What are your songs about? (What specific themes do they cover?)
* Do you write your own songs? (Discuss the songwriting process in detail.)
* Who are your musical influences? (Site specific examples.)
* How do you describe your music to people? (This is not a short answer.
* What image do you think your music conveys? ( Do not avoid the image issue!)
* What are your immediate music career goals? (Next 1 to 3 years.)
* What are your long-term career goals?
* How would you define the word “success”?
* Do you have any personal contacts in the music business?
* Do you have an entertainment law attorney to consult with?
* Are you looking for an independent label deal or a major label deal? (Why?)
* What live performance experience have you had? (Any industry showcases?)
* How do you rate your live performance ability? (Be very critical. No cliches)
* Have you recorded any previous CDs or posted any audio files on the Internet?
(What type of recording process did you use? Who produced your recording?)
* How did you sell your CD’s/Audio Files? (Consignment? Live sales? iTunes? CD
Baby? Amazon.com? Tunecore? Through traditional distributors/stores?)
* Have you had any previous print or broadcast media exposure or reviews?
* Are you financially able to fund the costs of establishing your career?
(Are you in debt?)
* Do you have a business license? (City, state, federal?)
* What is your current “business form”? (Sole proprietor? Corporation?
Partnership?)
* Have you set up a system for tracking your financial activities?
(Software system?)
* Are you aware of the tax deductions available for musicians?
* Do you have insurance on your band equipment and vehicles?
* Who handles your daily business activities? (Bookings, promotions etc.)
* Have you created a career, marketing, or business plan? (Is it in writing?)

Note: These creative and business-related questions are the questions I ask my clients to answer before I can help them through my consultation services. So, you should deal with all these questions for no other reason than to help yourself!

An Interview With Myself About Music Distribution and Small Minded People

2010-04-09T01:05:00.001-07:00

So Chris, in the past, only labels with brick and mortar distribution were considered legitimate. Do you think that presumption holds up today?

Me:

No, there are online only labels now, as well as the traditional type of labels. It depends very much on the style or genre of music an act has. It is possible, for example, with any type of alternative music to rely more these days on Internet marketing, selling, and streaming of music and NOT have to rely on traditional distributors as much. There are a lot of small indie labels that specialize in one niche genre of music or another and they can do things these days that were harder to do in the past, like licensing deals with each other in different countries for example. For me it is a question these days of “balance’. By that I mean different genres of music require more OR less of traditional brick and mortar distribution depending on the buying habits of those music fans. If you study your fans, and find out HOW they get or buy their music, that will lead you to the answer.

With so many independents (labels and artists) flooding the market – has your approach to distribution changed?

Me:

Well for starters every year that goes by in this new millennium you find fewer and fewer distributors, because there are fewer and fewer brick and mortar stores staying open anymore. That is just a sign of the times. We are really in a ‘wild west’ kind of world where the rules of distributing, and buying music is in constant change. The problem is that we cannot abandon the older brick and mortar world of distribution...it is slowly fading away as digital distribution gets more and more popular, BUT, remember that the bulk of sales from music is still CDs, even though the number of sales of CDs is going down rapidly each year.

So, if I had a label these days I would seek out non-traditional music distribution methods and retail sales techniques. I would not stop what I have been doing, but simply monitor the results carefully of those older techniques, and use as many of the newer on-line distributors as I can handle, from CDBaby into iTunes. or even better check out Tunecore.com and see all the great stuff they have available for Indie labels and bands. It is like this: On the one hand you try to get your music into brick and mortar stores, as we always have, but with the other hand we check out and use the new and developing digital distribution companies that are sprouting up like weeds on a lawn.

Has the playing field realistically leveled regarding majors vs. indies, as so many people claim?

Me:

NO! I have never held to that belief. It is nonsense to think that a true independent label is on the same level playing field as any of the remaining Big Majors.

If an artist wants to have a real shot at the big time with what we call call ‘pop music’ in particular...they have always, do now, and will always need the muscle, money and contacts that the major labels have. Now remember, I am talking a success that any so-called Superstar has. A real independent label is not really interested in that kind of success for their artists anyway. They are more concerned with finding their niche, and mining it for all it is worth, but usually, with far less financial muscle.

Industry insiders have said, “We have to find a way to get music to people who will pay for it.” What are your thoughts on that?

Me:

This is the one question I get in most trouble with. To me that question is the wrong question. We shouldn’t even be discussing “having to find a way to get music to people who will PAY for it”. The rules have changed no matter how much we wish they hadn’t changed. A decade ago the original Napster changed the way people got music to each other forever. The genie was let out of the bottle. Music IS free..illegally free, but billions of downloads a week say it is so, whether you like it or not,it is not going to change...WE have to change the way we perceive the value of music in this brave new world.

The fact is this: Some people will always insist on getting the music they want for free, legally or illegally. It is just a fact!

So I think the question to ask is: How can we get to know OUR fans and develop a real relationship with them? So that fans will want to be proud of supporting their favorite acts and WANT to contribute to artists and bands financial well being buy music in unique packaging or digital downloads, or buy acts merchandise, or sheet music, or subscribe to some special members-only club that offers stuff they cannot get anywhere else...the list goes on.

This means a deep commitment to studying and develop a database of fan information....and not just learn the hard facts and demographics of who the fans are, but what are their lives like? What other hobbies or interests do they have?, and how can we tap into their consciousness and really motivate them to support musicians.

If I am going to work with any kind of distributor, going back to that issue, I will ask them how are they going to help me get my records out to my fans. And if I don’t like the answers they give me I will not work with them. I will move on and either find someone who ‘gets it’ or do it myself.

What else do you think could help artists and bands understand how change can be a positive thing, and not something to fear?

Me:

Learn from history...remember what a big hit it was when prohibition was the law? That really stopped people from finding a way to get drunk, didn’t it?

Life IS change, you know? The RIAA can sue the world because they don’t want the world to be round, but you know what..it’s round! So, lets get beyond what I call
“desperation thinking” that says that we MUST find a way to get people to PAY for music. a music fan's perceived value of music is what this is all about. These days its all about VALUE. If you have something someone values and the only way to get it is to pay something for it, they will pay for it. Ask Apple.

If you just concentrate on your music and make it sound the best you can, and get it out there in well thought-out marketing ways, with customer service as your byword, everything will work out just fine. I really believe that.

The sky is not falling. The stuff you feel landing on your head are drops of inspiration waiting to be acknowledged. (Please don’t be a late-adapter marketer that has to have those drops of inspiration be as big as baseballs pounding on your skulls before you start thinking in new ways.)

All most music fans are asking the record labels and artist is; pay attention to what is going on ....and dare I say it....THINK of new and exciting ways you can please your fans.

Do that and they will love and support your forever.

Is there anything else you would like to say?

Me:

No. I have spoken! Well, wait...I do want to thank you Chris for taking your time to interview me, that was very thoughtful of you>

I Know, I am a great guy.

What's A Record Deal All About?

2010-04-07T17:05:00.000-07:00

It is my experience that most musicians think they want a record deal, but know nothing about these ominous 80 –100 page, single-spaced recording contracts.

Recording contracts are legally binding agreements between artists and/or bands and a record label. These contracts, when signed, commit the act and the label to certain obligations.

So, in this digital age when fewer and fewer Major Labels are signing new talent, and what they sign and release is selling poorly, labels these days are more demanding than they were in past decades, when it comes to signing anyone.

Record labels today are attracted to acts that have built a strong following and have proved to the industry that they are a solid investment. When a record label signs an act to a recording contract, they expect to make a substantial return on the financial investment they have made in that act.

The following information is provided to you as a basic outline to the key parts of a recording contract. Please be advised that should any such contract ever come your way, never sign anything without consulting your entertainment law attorney.

INDIE LABEL VS. MAJOR LABEL

Indie Label

By the purest industry definition, an independent label is a record label that is not affiliated in any way with a Major Label, and uses independent distributors and/or digital distribution methods to get their releases into stores, both online and into the traditional brick and mortar music retailers.

Note: For an in depth article on the types of relationships that exist between independent labels and major labels see the chapter I co-wrote with entertainment law attorney Bartley F. Day in the excellent resource book The Musicians Business and Legal Guide, 4th Edition, published by Prentice Hall.

When you think about pursuing an independent record label deal, think about the following issues:

DISTRIBUTION

Make sure the label has a solid distribution deal on a national level. Be sure to check on the relationship between the label and their distributor(s). Ask some questions like:

* How many records has the distributor sold of the label’s product?
* Did the label have any problems getting paid by their distributor?
* What kind of working relationship do they have with their distributors on
their new releases?
* Does the label have a budget to pay for some co-op ads, and in-store
promotions through their distributor?
* What kind of Internet distribution and online sales methods does the label use?

ROSTER

Make sure the label’s roster isn’t too big, or else you won’t be given the attention you deserve. Also, make sure the acts on the roster match the type of music you play.

PUBLISHING

If the label has an affiliated Music Publishing division, and wants part of your publishing, don’t be surprised, but be sure your attorney protects as much of your publishing royalties as possible. Never allow a label to recoup any monies advanced to you for the recording of your record from your mechanical royalties. (This is the money owed to the songwriter and music publisher of the songs you wrote on your record, for the sales of your record.)

MERCHANDISE

Merchandise deals are deals made by your attorney outside of your recording contract, for your likeness to appear on t-shirts and other clothing and objects. If the label wants a percentage of the income from such a deal, you may have to negotiate how much they get.

OPTIONS

Find out how many options the label wants. Since “options = number of records,” you don’t want to agree on too many options.

INDIE PROMOTERS and/or IN-HOUSE STAFF

Find out if the label works with independent radio and/or retail promoters. It’s a good sign when they do; this raises the chances that your record will be seriously and effectively promoted.

ADVERTISING

Find out if the band has an advertising budget for releases.

TOUR SUPPORT

Find out if and how they support you on your tour (financially, morally, etc.) and how much of any advances for touring are recoup-able.

POINT / PERCENTAGE of the LIST PRICE You Receive

Find out how much you get paid for each record sold. A new act usually gets somewhere between 10-15% of the suggested list price of a recording. (Remember too that out of your percentage, you must pay your producer their percentage, for producing your record.)

Major Label

By industry definition, a major label is a label that commands a high percentage of the annual sales of records, and has their own distribution system. (The Big 4 distribution companies currently are: WEA, SONY/BMG, UNIVERSAL, and EMI. Please note that at the time of this writing - April 2010- EMI is probably going to be merged or bought out by either Sony or Universal, so keep your ears to ground for any updates on this important issue. We soon may be down to The Big 3 Labels!)

When pursuing a major label deal be absolutely sure that this is what you really want. Here are some points that might help you determine if this is the right thing for you to do:

OPTIONS

A major label often signs artists for six to eight records (not years).

A&R

Research the A&R person. Know whom they’ve signed, who they’ve worked with, who they’ve worked for, and how long they have been employed.

NUMBER OF RELEASES

Find out how many records the label releases per year. You don’t want to sign with a label that releases too many records. Remember, they only have so much time and enthusiasm to put into the promotion of each record. Many major labels have between 12-25 releases coming out each month.

Here are some clauses that you will encounter (and sometimes have to watch out for) in a contract with a record label:

EXCLUSIVITY

Every record contract includes a provision stating that the deal is “exclusive.” In other words, during the term of the agreement, you can’t make records for anybody else. Therefore, an exclusivity clause in a contract refers to the fact that you may only contract with this record company (you are “unilaterally married” to that company.) I strongly recommend that your attorney define the extent of exclusivity.

TERM

The duration of the contract. (How many records? Any time constraints?)

PRODUCT/CREATIVITY

Who will control the amount of product and the quality of the product? You always want as much creative freedom as possible; the record company often maintains a veto power when letting a band choose the producer, engineer, studio, etc.

RECORDING COSTS

How much (recoupable) recording money will you get? Don’t overdo it! Remember, you will have to pay it back from your royalty rate as applied to actual sales.

ADVANCES

How much (living) money will you get that is recoupable? What about other advances, such as videos, and touring? Remember, you will have to pay back that amount to the label.

ROYALTIES

The money paid for your service as recording artists. Outside of U.S. is calculated differently. (Canada: 75–90 % / UK, Japan, Australia: 60–70 % / Rest of the world: 50 %–of U.S. rate).

VIDEO

Who controls the music video and how the costs are apportioned. Try to have only 50% of the cost recoupable.

PUBLICITY

The label will need your permission for name, likeness and voice in order to publicize your record. Also, ownership of your website URLs may also be a point of negotiation.

MERCHANDISING

Same as with Independent labels

UNION

Your promise to join a union (AFTRA, AFM).

AUDITING

Your right to audit the books. Make sure this clause is included in the contract.

ACCOUNTING

The label’s responsibility is to report financially to you (reports to artists usually occur every six months; i.e., if an accounting period lasts from January till June, the label will report to the artists approximately in September).

ASSIGNMENT

The record company’s right to sell the contract. Majors sometime shuffle acts around from one affiliated label to another within their family of labels.

CONTROLLED COMPOSITION CLAUSE

How the label will pay mechanical royalties. Standard practice is that the label will only pay on 10 songs on your record, and at 75% of the current statutory mechanical license fee. (As of 2010, 9 cents per song, per unit sold.) This rate changes every two years.

TERMINATION

This clause specifies the songs you may not be allowed to record for a set time after the ending of the contract.

SIDEMAN'S CLAUSE

You might want to consider including a sideman’s clause. A sideman’s clause allows an artist to do studio work. The artist still needs permission from the record company; they however, can’t say no unless they have a very good reason. Under normal circumstances -- without such a sideman’s clause -- you would be prohibited from performing for any other band/label under the terms of an exclusive contract. If you have a sideman’s clause in your contract, make sure all members of your band sign the document.

KEY MAN CLAUSE

If a significant label executive resigns, or leaves the company, you may terminate the deal. The label may also put such a clause in concerning a band member.

I hope this information was useful for you. Knowing some basics about the realities of recording contracts before you get involved with them can save you a lot of grief down the road. Remember, record company lawyers have a reason for every clause in their contracts—so should you.

How To Write An Effective Bio

2010-04-06T12:31:00.000-07:00

When you write your bio, you are NOT writing your autobiography. You are writing a music business document. Your bio then is written FOR the music business contacts you want to impress, deal with, and create lasting relationships with. (because you are into this for the long haul, aren't you?)

Before you begin to write your bio, be sure you have taken an inventory of your background, accomplishments, goals, and objectives as a musician, and, once again, remember who you are writing the Bio for: A&R Reps at Record Labels, Media Contacts, Booking Agents, and Management Contacts, Booking Agents, Promoters, etc.

These professionals in the music business are busy individuals, who may deal with dozens of "wanna-be's" every week, so make your bio informative, upbeat, and filled with useful comments, descriptions, quotes, and motivational language that can make them want to listen to your music, and help you on your musical way.

When you are ready to write your Bio using this outline can keep you focused and organized.

Note: The instructions and suggestions below are for traditional music business oriented needs. Since we are in the midst of the digital music revolution, I would ask you to do one other thing besides write a traditional artist or band bio. Please visit this important site.www.sonicbids.com They can help you with what are called EPKs (Electronic Press Kits. However, the information I am providing you with will go along way to helping you with your EPKs, but you WILL need both at this time.

So, let's get going. Follow these directions and you will have the tools to write your own bio, and essential part of any Press Kit, analog or digital.

1st Paragraph:

Start with an introductory sentence that clearly defines the essential band/artist name, your specific genre of music, where you are from, and perhaps a positive quote about your music from a contact you have made in the music business.

2nd Paragraph:

This section should address the immediate purpose of the Bio. What are you doing at this time? Mention a current activity you are involved with. If a new CD or digital release is coming out, that should be the main topic of the first sentence of the second paragraph. In other word, a reason why the Bio has been written should be clearly stated early on. Hints about any promotional activities that will be occurring to support the CD or digital release is also useful in this paragraph.

3rd and 4th Paragraph:

At this point, information on any other band members can be introduced, and background information on the forming of the group, past experience, accomplishments, and recognition issues can be addressed. If you have developed a plan for your career path, additional paragraphs elaborating on this type of can be written, that demonstrate how your current project is part of a larger career development plan. Quotes from a couple of your songs can be useful to highlight your new release.

Ending:

Remember, the bio should not waste words. For a new artist 1 page is sufficient to get the job done. For more experienced artists, a page and a half to two pages should be the maximum length. So, ending the Bio in a efficient way should be the aim; use another quote from a gatekeeper who supports the artist, or summarize the 2nd paragraph information, reminding the reader of current activities.

Will Your Record Be a' Priority' When Your Label Accepts It?

2010-04-04T12:06:00.000-07:00

Since so many of you are still obsessed with the idea that signing a recording contract with a Major Label is the be-all and end-all, I am going to let you in on some facts about what can make a record a priority at a Label or NOT.

Ready, set, go....

Major labels often find that they over-extend themselves by signing too many acts within a short period of time, and scheduling too many releases to come out at the same time.

So, when the label honchos discuss which scheduled records have the best chance of success in the marketplace, they may simply push a release back six months to a year.

Unfortunately, depending on an act’s actual contract, there may be no guarantees that a label has to ever release a record they recorded by one of their acts.

Another situation is this. If a label signs an act because they play a genre of music that is currently hot on the charts, but the negotiations for signing the deal or the recording process took too much time, they may have missed their opportunity to cash in on a current popular music trend. Realizing that, they may decide not to make the record a priority release but to sit on it and wait to see if another time of year would be more opportune for releasing the record.

To complicate matters even more, a label executive may sign an act only to stop a competing record label executive from signing them. When the record is released, any interest in promoting it takes second place to the executive’s personal satisfaction of having one-upped a competitor—and the act is left out in the cold.

But the ego issue can also work positively for a recording artist. An artist may have a manager who also manages another act that is currently hot. The label executive may sign the lesser known artist with hopes of getting the manager to sign the other band to their label some day.

So, when the record of the lesser-known artist comes out, the label executive may pull out all the stops, to show the manager what a great job the label can do. If the label shows it can do a good job with a newer artist on that manager’s roster, perhaps the manager will send one of his established stars over to the label when the existing recording contract with the established artist runs out.

Here’s another reason why a record might become a priority at a label. We’re constantly hearing about labels reducing their staff with every new merger or corporate buyout. Many major labels are merging with other large labels and increasing the workload for the remaining staff.

A decade ago there were six major labels, and today we’re down to four. Recently it looks like EMI is in big financial trouble (again) and that may mean that sometime in 2010 we will be down to only 3 Major Labels.

Another issue is this: it can be important for a label executive to demonstrate to the shareholders of their corporation and the staff at the label that the downsizing issue isn’t a concern. A particular act’s new release is given a stronger push to impress all concerned parties. There’s a flip side, however. When downsizing occurs, an artist’s record may be shifted to a different priority level.

Key personnel who were excited about and instrumental in “breaking” a new label act may be fired or asked to take early retirement. When it comes time to release the new record, a different person may be assigned to work the act; someone who may not care much about or even like the music of the artist they supposedly should be working hard for. Will that record remain a priority? There are no guarantees that the new employee will be excited about the act’s music. They may have their own pet projects to put ahead of any previous arrangements.

“Bidding wars” also affect priority status. Bidding wars occur when a new band is the hot topic of the industry grapevine. One label makes an offer to sign the artist or band, another label hears about it and ups the bid, a third label offers even more money. The winner of this bidding war will probably be forced to make that act’s initial release a priority. The label will need a sizable return in sales-dollars from the new band’s recording to recoup their large investment.

Interestingly, as of this writing, no band or act signed from any bidding war has ever gone on to major stardom.

Music trends come and go. In the early and mid ’90s grunge came and went. What followed in the late ’90s were young boy vocal-groups, and blond ingenue solo-artists. Today R&B, hip-hop, and rap acts have become more mainstream than ever, as have some high-end solo acts.

When a hot new music style comes on the scene, any act that’s signed to take advantage of a new popular music trend will usually become a priority at the record label that signed them.

By the way, new releases by superstar acts are usually automatic priority records because of their star status, and the simple fact that they potentially sell a lot of product consistently. But this issue has changed considerably in the last decade, where we see FAR FEWER major hit records than anytime within my memory.

So, take heed.

Many people think signing a recording contract with a record label means automatic stardom. That’s not the case.

You’d do well to research a label’s track record and reputation for making their releases priorities before signing a recording contract with any label.

These issues I have gone through have come up often enough to contribute to a change in the attitude many musicians have toward working with record labels.

This is why you hear me harping over and over that in the last three decades more and more musicians have taken charge of their own business careers. The list of artists and bands releasing their own records and marketing them themselves grows longer every day.

Yes, Independent Record Stores Still Exist, But You Need To Work With Them

2010-04-02T16:21:00.000-07:00

When record store buyers choose records to buy, it’s a business decision, not an emotional decision.

I know this from first-hand experience. I owned a record store for ten years in San Francisco. In fact,Aquarius Records is still there, still supporting new alternative sounds, and as I learned recently...now the oldest-still operating record store in SF,(very cool! Keep it up Aquarius!)

Anyway the first lesson I had to learn when I owned the store was that I couldn’t carry every record I wanted to carry. I had to choose the ones I felt I could sell, out of all the thousands of new releases coming out each week.

Today that decision is harder than ever to make.

It’s estimated that over 2500 new CD titles are released each week! Yow!

Just a couple of years ago, there were about 1000 new CD titles released each week.

No store on the planet can carry even close to that many new titles. So, music retailers can only select those titles that they feel they must have and are fairly certain will SELL!

This gets us back to the marketing plans you must create to get your music on the web, on the air, reviewed in the press, and heard from concert stages.

Do those things well, and the report cards you’ll get from the record stores will look pretty good.

If the buzz you create about your music reaches store employees, and you can create excitement about your release, then that can make it a necessity for the store to stock your record.

If you want record stores to carry your record, it’s your job to convince the store buyers that they have to have it.

• Keep the stores up to date on your other marketing efforts (radio airplay, press reviews, concert attendance figures website visits and blog subscribers).

Contact the music retailers you work with regularly.

• Think up some value-added promotions to offer the retailer. Value-added promotions are things like giving a free live-CD to all the customers who buy your record, or discounts off your older, back catalog releases, or discount coupons for your upcoming live shows.

• Give things to the retailer to make their job of selling your record easier. For example, a packaging option that can make CDs more appealing as holiday and birthday gift ideas like slip covers that come in shapes, (heart shapes, etc.). You must create these slip covers, but they go a long way toward showing a retailer that you want to help them sell your CD. Think...what cool item could be a future collectible?

• Work with your distributor to offer a special price on your new release. Even though you want to price your CDs competitively, do what many labels do when they introduce a new artist: make the list price cheaper.

So, instead of making your releae $16.98, make it $9.98! That is the new price the music industry is advocating now anyway.

This way the store’s price is cheaper for them to buy from you and/or your distributor and of course it’s cheaper for the customer too.

• One of the most common tricks the labels use to create demand for a record is to release a song to radio three or four weeks ahead of the street date (the day the customer can buy the record).

This will only work for indie music and the indie radio stations you have playing your release.If you decide to do this, work with the retailer to encourage them to take advance orders, or set up a special late night purchase party if the demand for your record merits it.

• Give them point-of-purchase items to put up in the store (posters, postcards, bin cards).

• Check with your local retailers to see which independent distributors they buy their product from. Perhaps you can get in on some seasonal promotion campaign or new artist program one of these outlets are offering.

• If you use a distributor, get to know the Sales Reps and find out which stores they call on to solicit new releases. Much of this business centers around personal relationships and a Rep who knows and respects you, your label, and your artists, can do a lot for you at the retail level.

• Many independent record stores have comprehensive listening station programs that record labels can buy in to, but be sure to research this carefully. This may be too expensive for you to participate in.

• The best indie stores leave room for staff favorites or CDs from local bands and solo artists. Also, since many of these independent stores belong to a coalition these days, find out which coalition your independent stores belong to.

• Give free copies of your CD to the store owner or buyer, and be sure the record store clerks who might like your music get their own copies. I can’t tell you how many records I’ve sold simply by playing them in the store. Actually a good record store is much like a good radio station. In this case the customer is a captive audience and to this day you’ll spot hip store clerks scanning the shoppers and finding the perfect record to pique their interest.
• Ask permission to post your live show posters or flyers at the store and give some free passes for your shows to the staff.

• Check for any in-store artist promotions, like store concert series or autograph parties, and be sure to bring your mailing list sign-up sheets to these events.
• Put your records on consignment (at a competitive price with other artists of your style) and call the stores regularly to check up on how they are selling.

• Consider pressing up some cheap limited edition sampler CDs that can be given away to store shoppers. Put your contact information on these.

• Many independent and chain stores have their own music publications, so be sure to submit your records for reviews. Also research the cost of buying ads in relevant store magazines.

• Ask about the store’s website and/or Blog. Do they have any online promotional opportunities for you to take part in? How about links connecting your site to their store’s homepage?

• Think about any combination of online and offline experiences your fans will use while shopping for music. The future of music retailing will be one that finds creative ways for a music fan to go from a store’s actual brick-and-mortar site, to the store’s website, to a favorite band’s homepage, to radio stations that are playing the band’s music, to content at cool Internet magazines and e-zines—with links allowing the fan to hear the music all the way down the digital line.

And, don’t forget to include some clubs and other live venues in your linking strategies.

To sum things up, every record store is in business to do one thing; sell music. Granted, the music retailer’s world isn’t what it once was. Gone are the days when they could make a buck selling music and nothing else. But this change can work in your favor as well. If they sell entertainment lifestyle products like t-shirts and other stuff, give them a reason to sell your products.

It will be a long time—like never—before the record store disappears from our cities and towns. So, take some time to study the stores available in your area and in the regions of the country that your marketing strategies expand into. Internet or no Internet, you’ll always need to work with record stores. Bank on it.

The creative record label and entrepreneurial musician will make sure to leave no stone unturned when working with a retail music store. It may not always be a music fan’s final destination, but it will be an essential player, especially for your 'Early Adopter' fans!

Want To Start Your Own Record Label? Then You Better Be Able To Answer These Questions

2010-03-30T20:20:00.000-07:00

Deciding to release your own record is not only a good idea these days, it’s something you MUST do. As you read through the following questions, mark the ones that you can’t answer, and make an effort to find the answers. Answers to any of these label start-up issues are widely available on the Internet and in many books and blogs-in case you didn’t know that. So, get to work and find out what is involved with starting your own record label.

1. Why are you starting your own label? (What is your motivation?)
2. Why would anyone want to buy your music?
3. Is there currently a market for your kind of music? Prove it!
4. If you’re not releasing your own music, have you ever read a recording
contract?
5. Are you aware of all the traditional clauses that are in such 75–100 page
contracts?
6. Do you know anything about copyright law?
7. What is a mechanical royalty? What is a performance royalty?
8. Have you heard of the Harry Fox Agency, ASCAP, BMI, SESAC? What do they do?
9. What do you want to achieve by starting your own label?
10. What do you know about the day-to-day business of selling music?
11. Will your new company be a sole proprietorship, a partnership, or a Limited
Liability Corporation? (Do you know the pros and cons of each?)
12. Have you trademarked the name of your company to be sure you can use that
name?
13. Will you need recording equipment, office equipment, and supplies to run
your label?
14. Do you have a recording studio you can work with?
15. Do you know any record producers and/or engineers?
16. How much money will it cost you to start your label, record your records,
and market the recordings for the first year? Second year? Third year?
17. How will you raise the money you need to start and run your record label?
18. What local, state, and federal tax responsibilities will your label have?
19. How will you sell your records? (Live shows, Internet sales,streaming,mail
order, catalog sales, distributors, stores?)
20. What specific distribution and retail sales plans have you arranged so that
people can easily find your releases at retail stores?
21. Do you have the money, time, and determination to compete in an industry
that releases over 1,000 new records a week?
22 How much will it cost to manufacture your CDs?
23. What configurations-CD,CD singles,MP3-will you need to make/sell your
music?
24. How many copies of your releases do you realistically think you can sell?
25. What deals are offered by manufacturers? Will you use their barcode or buy
your own?
26. Will you need to make posters, bin cards, or other materials for retailers?
If so, how many and how much will that cost?
27. Will you be making special novelty items like t-shirts, baseball caps, etc.
and how much will that cost?
28. How did you estimate the number of copies you needed to manufacture?
29. Did you count into your estimation the number of free CDs you’ll have to
give away for promotions of various kinds?
30. How will you go about finding other acts to sign to your label? Are you the
sole artist? Then how many new releases will you have every year or so?
31. How important do you think graphic design is in making your label’s logo and
cover art work for your releases?
32. Do you know any graphic artists with record design experience?
33. What information should go on the CD cover, back-cover, spine, booklet, and
label?
34. What will your website look like? What online marketing and social
networking opportunities will there be for your fans to interact with you?
35. Do you know how to write a marketing plan, a distributor one-sheet, and
other promo materials?

Plus an extra question:

36. Who are your customers? If you think you know them, then describe them in
very specific terms!

Youu Have To Know Your Fans The Way You Know The Back Of Your Hand

2010-03-28T19:04:00.000-07:00

If you’re more concerned about getting “a deal” than you are about getting to know your fans, you’re on the wrong track.

If you understand the lifestyles of your fans, you’ll have a passport to making money with your music.

Why?

Because when you know who your fans are, their habits and lifestyles will show you ways of reaching them that you never imagined.

Study the people who come to your live shows, buy your records and t-shirts, and visit your websites, and subscribe to your Blogs or Newsletters.

Your fans are your most valuable asset.

When you know who your fans are AND how they live their lives, this information can be used to come up with targeted music marketing methods.

Fan or customer research is behind the ideas of creating unique special promotions...just for your fans.

For example, haven’t you seen toys for sale at places other than toy stores? You know—toy action figures from some mega movie promotion, free with a hamburger. Or, how about those special deals where you subscribe to a magazine and get a free book or movie discount coupons? To help you get into the mindset of a professional marketer, here are some questions you should ask about your fans:

• How old are they? (Determine the widest range of their ages.)
• What gender are they? (If both, what percentage is dominant, or is it even?)
• Are they one specific ethnic background or a mix of backgrounds?
• Do they drive cars to work, carpool, take public transportation, ride bikes,
or walk?
• If they’re students, what kind of schools do they go to? Grade school, high
school, college, business school, university?
• Are they religious, atheists, or free thinkers?
• What political parties do they belong to, and what, if any, causes do they
champion?
• What kind of restaurants do they go to—fancy and expensive, ethnic, or fast
food?
• Where do they shop for clothes? Thrift stores, Target, Nordstrom?
• What hobbies and interests do they have? Computers, art, hiking,
skateboarding, sports etc?
• What other music do they like? Particularly, what other bands and artists do
they spend their money on?
• What movies do they see in theaters, rent or stream online or at video
stores?
• Do they get to your gigs by bicycle, motorcycle, car, bus, train?
• What books do they enjoy reading, and how and where do they buy them?
• What kind of volunteer work might they do? environmental or political causes,
fairs and festivals, church or social groups?
• What TV shows do they watch, and what radio stations do they listen to
online or through cable and/or traditional broadcasters?
• What Internet websites do they visit and download music from?
• Do they subscribe to any blogs or podcasts? Which ones?

A Quick Refresher Comment About The Types of Music Buyers You Have To Deal With

2010-03-27T18:31:00.000-07:00

Sometimes I hear musicians say this about their music: "EVERYBODY will love my music. It appeals to everyone"

Wrong!

Your music does not appeal to everyone. Not even the Beatles are/were loved by EVERYONE...there is no EVERYONE.

But there are TYPES of people who may love your music.

I have written at length about what are called 'Adopters of Music' before, but its been awhile, so I want to give you a brief summary of what this issue is all about.

In music marketing terms, there are basically 3 types of music buyers:

1. Early Adopters

2. Middle Adopters

3. Late Adopters

Early Adopters are the type of people who really love one or more genres of music passionately. They live for their music and their favorite artists and bands, buy and/or steal as much music by their favorite performers as they can, and are always aware of what act is coming out with a new release, or touring in their area. Music is their passion, and very little will come in their way of fulfilling that passion.

Middle Adopters are more casual music fans. They like a certain genre of music and have a few favorite artists and bands that they keep their eye on, but not to the degree of the Early Adopters. Middle Adopters actually have a life outside of their love of music, but they are casual fans of music at best, but still an important market to try and reach out to.

Late Adopters of music I describe this way...they are everybody else in the general public. When music is a part of their lives it is usually not new music or the latest trend in some music genre. They are not 'leaders' like Early Adopters, they are more 'followers' of mostly mainstream music of some kind. They are hard to market to when you are a new act trying to get your music heard and appreciated.
BUT, you should not discount them in your long-term plans. After-all,any really big hit records are bought mainly by Late Adopters (after they have heard some music they like about a million times over and over again).

If you find yourself feeling smug and judgmental about these Late Adopters, if you smile knowingly when you realize they need to hear a song many times before the song makes an impression on their minds, YOU are probably an Early or Middle Adopter yourself.

I’ve spent all of my forty + years in this business as an Early Adopter and did my part in slamming Late Adopters in my more naive days in this business. I accused them of having no taste, or at least no curiosity about all the great music that has been created. But over the last few years I’ve realized that I was a Late Adopter myself when it came to non-music interests. If everybody else was like me, we wouldn’t have films to see, gourmet foods to eat, cars to drive, doctors to heal us, athletes to admire, etc.

In the game of music marketing, late adopters have an important role to play.

The gatekeepers of the music business, (those people who stand between the artist and the artist’s audience), every one of them is either an Early, Middle, or Late Adopter themselves.The more you know about how they value music, the more you can prepare your presentations to them, because you’ll talk to an Early Adopter of music in an entirely different way than you would a Late Adopter.

When you speak with an Early Adopter of music, always stress the music itself. You should be able to describe your music to them in ways they would describe it to another of your kind. Talk about the influences in the music. Compare it to other past or current acts. Speak knowledgeably and honestly about the music with a genuine excitement about it.

When you speak to a Middle Adopter of music, talk about how some Early Adopters have embraced it and what the results were. Talk about the merits of the music itself from your view.

Should you ever have the money and muscle to try and reach the masses, remember this: the Late Adopter exposure outlets (the media in particular) care less about the artistic merits of the music and more about its accessibility to a wide demographic of listeners, viewers, or readers whom they must cater to.

So, tell Late Adopters business success stories and give them financial and survey data that prove to them that a wider audience would like your music.

Now, ask yourself what type of music adopter you are.

I hope you’re an Early Adopter because making it in this business is a lot more fun if you’re deeply involved in some particular kind of music. If you’re a Middle Adopter, you’d better have some Early Adopter friends in influential places, because playing this game requires a real passion for music.

Music is an emotional product. It moves people in many wonderful and mysterious ways.

Knowing about the different types of music consumers can help you monitor the acceptance of your music by fans and industry people alike and help you find ways to reach them.

A Questionnaire To Help You With Your Artist Development Issues

2010-03-26T11:04:00.000-07:00

Please take time to answer the following important questions. Thoughtful, honest, and detailed answers to these questions will help you when you write your bios, fact sheets, and the press releases that are necessary for marketing and promoting your music. This questionnaire will help you evaluate your current career status, and help you define and refine what you HAVE done and what you HAVE NOT done.

• Name of artist or band? (Include all band members names and instruments
played.)
• Is your stage name trademarked?
• Have you registered your songs for copyright protection?
• Have any of your songs been published? (If so, by whom?)
• Have you affiliated with a performance rights organization?
(Which one—ASCAP, BMI?)
• What is your background? (Who are you and your band members? Tell your
story.)
• Do any band members belong to the Musician’s Union?
• Do you have a written band/partnership agreement?
• Why do you want to record and release your own music? (Be very honest.)
• Who is your fan or customer? (Analyze this question thoroughly.)
• Do you write your own songs? (Discuss the songwriting process in detail.)
• Who are your musical influences? (Cite specific examples.)
• How do you describe your music to people? (This isn’t a short answer.
Discuss it.)
• What image do you think your music conveys? (Do not avoid the image issue!)
• What are your immediate music career goals? (Next one to three years.)
• What are your long-term career goals?
• How would you define the word “success”? (This isn’t a short answer.
Discuss it.)
• Do you have any personal contacts in the music business?
• Do you have an entertainment law attorney to consult with?
• Are you looking for an independent label deal or a major label deal? (Why?)
• Do you have a demo or press kit, or any promotional materials?
• What live performance experience have you had? (Any industry showcases?)
• How do you rate your live performance ability? (Be very critical.
No clichés.)
• Have you recorded any previous CDs or demos? (Which studios?
Who was the producer?)
• How did you sell your CDs? (Consignment? Over the Internet? Live sales?
Distributor?)
• Have you had any previous print or broadcast media exposure or reviews?
• Are you financially able to fund the costs of establishing your career?
In debt?)
• Do you have a business license? (City, state, federal?)
• What is your current business form? (Sole proprietor? Corporation? Partners?)
• Have you set up a system for tracking your financial activities?
(software system?)
• Are you aware of the tax deductions available for musicians?
• Do you have insurance on your band equipment and vehicles?
• Have you created an exciting, well-designed website?
(aware of new design software?)
• Do you have a presence on the Internet that is active and aggressive
(Looking for new opportunities?)
• Who handles your daily business activities? (bookings, promotions, etc.)
• Have you created an actual career, marketing, and business plan?
(Is it in writing?)
• Are you actively involved with updating daily your social networking sites?
i.e. Twitter,My Space and Facebook, or any other such networking tools?

If You Don't Know The Rules, How Can You Play The Game?

2010-03-25T11:12:00.000-07:00

I want you to do a simple exercise.

After you finish reading this, go over to your record collection and look at all the CDs and records you’ve collected over the years, and that includes looking at your digital library of music you downloaded to your hard drive. Go through your collection.

As you look at the music that means so much to you, say the following words to yourself: “I would never have known about or heard all this music I love, if there hadn’t been a carefully planned and successfully implemented promotion and marketing campaign for all my favorite bands and artists.”

That’s the plain and simple truth of it. In a capitalist, consumer society like ours, every popular music star is either backed by a record label, manager, publishing company, booking agency, attorney and countless others who worked with that artist to help them achieve their hard earned success. Or, in a growing numberr of cases, an artist or band has acted as a label and accomplished some success on their own.

This is true for the mega superstars as well as the local and regional artists who found a way through their own efforts to marry the business of music with the art of music making.

When you go into a record store or search for music online, remember this exercise. Say to yourself while searching: “If these artists or their record labels had not dealt with the business side of music, these musicians would not have their CDs for sale here.”

The articles you read in music publications, the songs you hear on the radio, the videos you watch on television and places like YouTube, plus the concerts you attend, could not have happened for those artists unless someone had successfully dealt with the business of artist and product development

See what I am driving at? Catch my meaning? Get my drift? Music and the marketplace go hand in hand. There’s no other path to success. Someone—you, in the beginning—has to take responsibility for making peace with the eternal struggle between art and commerce.

Musicians struggle with this dilemma as much as authors, painters, sculptors, or poets do. It’s like a virus that infects many musicians with the notion that money making and music making are enemies. Contracts, marketing plans, budgets and image development issues can be alien to the creative process, but are necessary for the business side of the music world in order to get your music heard, desired, and purchased.

So, it’s necessary to make peace with that side of yourself.

There's a funny thing about creativity. On one hand, it wants to be left alone to create. Yet it demands recognition, and rages when society refuses to acknowledge the art that has been created. The creative side feels robbed when it isn’t rewarded with enough money to make a living.

This conflict tortures many musicians, beginners as well as experienced players. I’ve observed many frustrated musicians over the last twenty-five years, and I’ve seen a pattern of ignorance and naivete concerning the rules of the music marketplace.

I’m not saying there aren’t examples of exploitation throughout the history of popular music; that there haven't been outrageous tales of gross mismanagement and outright thievery in recorded music’s legacy that fowled-up the success of artists, but the following observation is also quite true.

Along with a musician’s wish for stardom and recognition comes a feeling of 'deserving' success because you have struggled so much to become successful.

But what if you never really studied the business and marketing side of the business you are in? What if you are ignorant of the rules of the game? Who's fault is that?

Only you can be the master of your ship. So, ask any sailor...if you don't know how to use a compass out at sea, what are your chances of reaching the shore safely?

Its the same in the music business. I have written repeatedly about how stubborn so many musicians are about learning something about the business they are in...the music BUSINESS!

I’ve never bought into the common belief that a recording contract(for example)is indentured servitude or slavery. Nonsense.

These days, musicians who have been exploited left an opening in their defenses by refusing to take responsibility to educate themselves.

That’s the cold fact of it. You cannot be exploited unless you’ve leave yourself open to be exploited.

The age of enlightenment has not just recently arrived. The secrets behind the business of music started being revealed almost twenty years ago. In the late 1970s, pioneering music business educator Diane Rapaport came out with her landmark book, How To Make and Sell Your Own Recording.
That book single-handedly led the way for musicians to learn about the business of music.

Today there are countless books and articles available on the many different aspects of the music business. I suggest you go to amazon.com some time and type in “music business books” to search what’s out there. And don't forget that today there hundreds of colleges and universities that offer degrees in music business.

Also, there are dozens of music business conferences, organizations, clubs, and Internet sites devoted to helping musicians understand the business of music.

The future belongs to enterprising musicians who control their own destiny.

The downloadable music frontier is here, and never in the history of recorded music has so much potential rested in your hands.

Let’s hear the rallying cry by musicians, loud and clear—Educate Thyself! Promote and Market Thyself!

Your music IS your business.

So Many Bands- Even More Bands That Fail!

2010-03-24T01:31:00.000-07:00

This year I read in an issue of Billboard Magazine that over 134,000 New Releases came out in 2009. Do you know how many of those releases failed to sell even 100 copies of their CD? (either online or as a CD?) ...over 50,000!!!

Why is this!

It drives me crazy when I think about the wasted money and time so many acts have flushed down the toilet by not DOING ENOUGH with their music, you know...getting out there and playing tons of gigs, climbing all around the Internet and screaming "listen to my music, damn it!" You'd think that pride alone would be a strong enough incentive to motivate even the laziest of lazy.

I have a saying I occasionally recite to a class I am teaching or give out in an interview...
it goes like this..."Just because you can record, doesn't mean you should.".

Yeah, that's a big part of the problem of why so many indie artists and bands fail. They WANT to record their music, but they don't give a damn about trying to get it out there.

In the music business that activity is known as 'working your record'. They don't do it because of two main reasons. #1.They don't have any money saved up to promote and market the damned thing, and #2 They don't want to do anything remotely related to actual work!.

It's truly amazing, scary, and most of all maddening. Bands will send their music out to a few college radio stations perhaps, or maybe even a couple of Internet stations, but then they sit back and just do nothing...waiting for someone to discover them, or what? I really don't know.

What I do know is that all the professionals who work in radio, or write for the press, or buy music for the online and offline stores, and the bookers who are approached for gigs are up to their friggin' ears in CDs. One local non-commercial radio station I know of (KEXP 90.3 FM in Seattle), told me they get over 900 CDs a WEEK, and only around 1% of those new releases have someone involved with the project ever 'follow-up' to see if the station is playing their music.

But that's just the way it is, right? Well, think of it this way...With over 900 CDs coming out each week, that creates a lot of what I call 'clutter' out there in the world of independent music, and clutter means (to the people who have to go through all these CDs), a lot of unpleasant work...ask any of these folks and they will say things like, "Oh I will put on a CD to check it out, but I can tell in 10 seconds whether it's crap or not" or " I just look at the cover of their CD, or sometimes go online to their website,or Facebook page, and one look at their crappy graphics tells me all I need to know about the artist." Having said that, these good people are flabergasted that, even though most music they get sent to them sucks, they are shocked that so few artists and bands contact them to see if the station is going to play their music.

I plan to bitch and moan about the crappy habits and attitudes of so many indie acts. But at the same time I am going to try and enlighten any of you who may come across this posting and want to learn a thing or two about a thing or two regarding the bad habits I have encountered over the decades when it comes to working with independent artists and bands.

That's right, I said DECADES. I can proudly say that I have been in this business since the mid 60's.and I have learned a lot about how the industry works, (or doesn't work for that matter) and how I think things can change for the better for Indie musicians.

Visit my website if you haven't already.

My website has been around since 1995 and has lots of cool articles to read for free, and maybe buy my book "Music Is Your Business, the 3rd Edition" while you're at it.

I mean really, don't you think as a group of Indie music lovers we can do better than selling only an average of 100 copies of our releases as Indie folks...stay tuned, I hope my criticisms and observations will help wake up some of you out there who think that anything regarding knowledge of the business you are in is a waste of time.

Believe me or not, I don't really care, I'm just going to keep on sharing with you what the facts of being in this business are...that's all I can do.

Remember, recording something is easy compared to the work that needs to be done to let fans know about it. There's a lot of competiton out there folks, so get to work!

How Original is Your Music?...Really?

2010-03-22T14:30:00.000-07:00

If you’ve ever attended a music business conference like the SXSW event in Austin, Texas every year, or the New Music Seminar and walked into a Demo Listening Session, you may have encountered this: a panel of A&R Reps from major and independent labels evaluate a demo recording that’s been submitted to them. The first song is played, and after about ten seconds the Reps are holding their hands over their ears, or waving for the sound technician to “Turn it off!” Another song is cued up, and after twenty seconds the music is stopped and the Reps are muttering. “That really sucks,” “I’ve heard that before,” “That sounds like an ’90's band,” or “Please, Nine Inch Nails already did over twenty years ago!”

Rude but honest comments like these are made by industry reps all the time at such conferences, as well as in the privacy of their own offices, homes, and cars.

Remember this. Just because you can record your own music, doesn’t mean you should!

It may sound good to your ears, but may be just crap to the gatekeepers who are paid to evaluate, critique, and sign new talent to their record labels and publishing companies.

When any label puts up the money to record and market any artist, guess what? They want to get that money back and make a profit. It’s really that simple. Record labels and music publishers are looking for music that will make money for them.

Your music must inspire their business creativity. They must be able to hear your music in the context of the marketplace they’re familiar with. Any good promotion or marketing minded person will tell you that when they hear music that turns them on, they begin to think of marketing strategies and tactics to help get that music noticed.

When I’m inspired by a demo CD or CDR that has been sent to me, I find myself thinking, “Oh, this would be perfect for such and such radio station,” or “I have to play this for the music reviewer at my local music magazine,” or “What a cool song; why don’t we do a contest around the title of it?”

Music that inspires that kind of response is truly music that is compelling music.

Your music must excite the gatekeepers. When that happens, the wheels of the music business begin to turn.

When A&R Reps are asked what they’re looking for, they often say, “We don’t know what we’re looking for, but we’ll recognize it when we hear it.” Your music must truly stand out in some significant, original, dynamic, and creative way.

Ninety-five percent of the demos out there contain regurgitated ideas that were ripped-off from more gifted musicians.

So,challenge yourself! Talent scouts hear hundreds of wannabees every week and complain about “indistinguishable groups who all sound alike.”

How does your music stand out from the rest?

Since the late 1970s, the cost of making a recording has gone down each year. Each year, more wannabes have inflicted their unoriginal music on an industry that has grown cynical and jaded about finding new music. Let’s face it, there will always be entry-level bands and artists who try to get their music to the ears of an industry they know little about, but expect so much from.

A&R Reps, for example, are looking for, but rarely find what one Rep at a music conference called “What the f**k was that music!” There’s a real clue to what your job is. Your job is to create great music, not just good music, but great music.

Great music is a lot easier to get people excited about and to market.

Who decides if your music is great? For mass market commercial music, it’s the employees of record labels and music publishers who must try to find truly original and outstanding music. And you know what? It’s very hard to find. So hard, in fact, that you won’t believe this... a Rep who finds as few as three truly great artists (in a lifetime of listening to new music), signs them to his or her company, and jumps over all the bureaucratic hurdles to get the company to commit to developing the artist—that Rep will probably be recognized as one of the great A&R people of all time. (Assuming those artists actually become commercially successful!)

So, you may be thinking, if such a high standard is required for getting signed, why is so much crap released these days?

Good question. Reps have had to lower their standards because there isn’t that much great talent out there. There’s huge competition to find the next big thing. I can assure you that there’s a sense of desperation among highly pressured Reps to keep their jobs and discover something that might make millions of dollars for their company.

But even though lower standards of originality are accepted these days, many qualities still take precedence when music is being evaluated for its commercial potential.

Songwriting skills: Writing a song that many people like isn’t an easy task. Do you really know the basic components of songwriting? If not, challenge yourself to learn the craft of songwriting.

Vocal Abilities: A dynamic, charismatic, individual singing style that is uniquely your own is as close as a musician can get to having a brand. Are the vocal stylings of your singer up to that definition?

Musicianship:
Any music business professional can tell instantly if the musicianship in your group is ready for prime time. Amateurism is not acceptable.

Originality:
Back to this again. It’s a delicate subject, but basically what the labels and publishers are looking for is just one thing about your music that makes it stand out.

Remember that the word “origin” is in the word originality. It’s OK for your influences to show, but no one is looking for a carbon copy of what’s already out there. They look for a sound that is different, but not so dramatically different that it alienates the listener. It could be a band’s sound, a vocalist’s style, a mix of instrumentation, or simply an attitude your music has that is truly unique.

One last tip about making great music: study the history of popular music.

That’s it. If you were brought up listening mostly to commercial radio, or watching MTV, you missed out on most of the great music that is our national heritage. Dive in to it. Get immersed in the history of rock, rap, R&B, soul, jazz, folk, blues, country—anything and everything. If that incredible adventure doesn’t inspire you, nothing will. There’s a world of great music out there. Absorb it. Make it your own.