The Label Phenomenon Epiphany

As a new guy here I hope not over stepping my bounds but I had an interesting discussion with a musician friend and thought I’d share it because honestly maybe I’m the only one who thinks this way…

I put out my new record today (Dec. 20th) and while talking with a friend about it he said “when are you going to start shopping it to labels?”  I thought about it very briefly and said “there are a couple small labels I’d like to get it out to but that’s actually not the first move on my list…” after I said that he looked at me like I had just kicked his baby or something and said “first of all, why would that not be a top priority and secondly why only small “independent” labels?  You should be banging down the door to get in with the big guys, that’s where the success is.”  I graciously disagreed and he asked why.  (he asked in kind of a prick type, puffed up minor might I add) 

Here’s my reasoning for not going after the big guys and feel free to add your two cents:  

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Attend Major A&R Listening Session at Sony Music NYC

Artists, Song Writers, and Producers of all genres of music, this is your exclusive and rare opportunity to showcase the SINGLE BEST song or video clip of your live performance to get heard and discovered by executive A&R’s of JIVE/ RCA/ SONY MUSIC and BMI. These A&Rs have the power to immediately sign a Recording Contract with you.

Submission Timeline: Submissions start on September 21st and end on December 21st.

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What Are The Vegas Odds Of Success On Today’s Major Label Record Deal?

It is a known fact that getting signed to a major record label doesn’t guarantee success for an artist, but the odds greater or lower vs. staying indie? Moses Avalon explores the “Vegas Odds” of the record deal.

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75% Want a Record Deal

On the back of the Reverbnation survey of over 1,800 artists, 75% of whom would like to sign a record deal, it has to be asked: what’s happened to the DIY digital pop revolution?

What amazed me, in particular, about the survey was the record companies listed as Most Wanted: the majors…  Sony, Universal, Warner etc

Is it the innate stupidity of hundreds of music artists?  Or are they recognising the basic flaw in the DIY argument: to promote a group successfully you need money and resources beyond those possessed by most bands and soloists?

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The Music Biz Weekly Podcast Episode 3 – ReverbNation Survey, Do You Want to be Signed

Welcome to the third episode of The Music Biz Weekly, a weekly podcast co-hosted by Michael Brandvold and Brian Thompson.

Each week Michael and Brian will discuss the latest events in the music business and music marketing events and techniques.

This week’s episode, April 1, 2011 – ReverbNation Survey, Do You Want to be Signed

Listen using SoundCloud.

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Think For Yourself & Question Authority

I have found myself commenting (ranting?) on various posts on Music Think Tank a lot recently, normally versions of one theme, which can be summed up by a phrase borrowed from Timothy Leary, the psychedelic guru/grass, who nevertheless had a way with a catchphrase: ‘think for yourself and question authority’.

What bugs me are the posts that state or imply that there are routes to success available to any artist who follows certain rules.

Hardly any provide proof of any kind.

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A Common Music Business Contract Mistake – Not Thinking Long Term

2 Common Examples:

1. You’re offered 10% as an Artist
[Side Note: Make sure it says of the Retail Price! If it says “Wholesale”, make sure you get 20%!!!]

Why not ask for your rate to rise each album you release by 1/2%?

Why not ask that your rate goes up 1/2% for “Gold” and anothet 1/2% for “Platinum”?

Believe it or not, the Record Company will probably say “Yes” to both! Why? Because if you’re doing well, they won’t mind it, and if you’re Not selling, they can always rease you from the contract anytime they want!

2. Thinking you can stop paying a Manager [for example] when the contract is over

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Is Physical Distribution Worth It for Indies?

Updated on October 7, 2009 by Scott Olson

The slow death of record stores and the increased opportunity afforded to emerging artists are two stories that we have all become familiar with. Distributors of CD’s have no doubt fallen on hard times as well. Given the cost of distribution, and the fact that record stores are disappearing from the map, does it make sense for Indie artists and labels to consider getting a traditional distribution deal as a major goal? 

Existing retailers are getting more exclusive. Rising “music retailers” Wal-Mart and Best Buy only stock that which they know will sell millions.  And in place of an increasingly bland music retail scene, artists are making it easier to get their music from them directly (or at least by buying their CD of amazon).

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Make Music, Make Money: Upcoming Artist Development Series

The Rights Workshop Presents Artist Development Seminar Series: Make Music, Make Money

Series runs September 29-October 1, 2009

San Francisco — In response to the growing interest in music placement and promotion, The Rights Workshop is hosting Make Music, Make Money, a series of career development seminars for artists, musicians, composers and other content creators beginning Tuesday, September 29 through Thursday, October 1, 2009. Each Make Music, Make Money seminar will be held from 7:00pm to 9:00pm. Seminar attendees will learn about the mechanics of the music business and develop strategies to earn more money from their creative work. In each Make Music, Make Money session, panelists will address commonly asked questions about the rapidly changing music industry in a comfortable, artist-friendly environment.

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