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.
Friday, August 20, 2010
Thursday, August 19, 2010
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.
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.
Wednesday, August 18, 2010
5th "Reality Sandwich": Design Simple But Effective Promo Materials
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.
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.
Tuesday, August 17, 2010
4th Reality Sandwich: Register Your Copyrighted Songs
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!
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!
Monday, August 16, 2010
3rd "Reality Sandwich" To Chomp On
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.
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.
Sunday, August 15, 2010
2nd "Reality Sandwich": Play Often No Matter What
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.
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.
Saturday, August 14, 2010
A "Reality Sandwich" For Lunch Today
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.
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.
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