Hi!
I realize you guys have put the subject to bed,
but these notions of the way the industry is are a bit
antiquated. As you said, there were more majors than
there are today. The music "industry" is only a tiny
subsection of represented music that floats along the
top like slag. The better, more creative product is
something to hunt for on the net, in bars and
basements, anywhere it's being made. It is apparent
that the kids getting into the business today are
rejecting the old values in droves. They are saying
no, and the industry is suffering. Fine. A major
label deal is like a credit card. You don't need one,
but one becomes severely hampered without one.
Artists are changing what they need from their careers
as a result. The expectation of becoming a "star"
just isn't important any more. More and more artists
are doing it for the creative release and the simple
fulfillment of the artistic impulse.
As an example, I asked some of my clients about the
following statement:
> the label has many things to offer an artist that
> the artist would never
> have otherwise, that are part of what you DO get
> when you sign to a
> label:
The responses were as follows:
> an art department
The band usually can come up with better artwork that
is more appropriate to the product, isn't messed up as
often and isn't over-priced or "padded". There is a
difference between an artist, and a commercial artist.
Art departments try to sell, artists represent and
support.
> a pressing plant
There are so many more options on a private basis and
a small distribution deal will provide duplication
without taking publishing or other hunks of the
artists' souls. Many even press vinyl!
> a printing plant
Again, there are other options with more control, less
screw-ups and less expense. Some release via the web
and need no duplication or printing. Others do the
same and provide collector's copies made in limited
numbers for the hardcore fans. Radiohead just did
this.
> distribution
National distribution is available through many online
services at the rip-roaring cost of $20 yearly.
> the attention of radio programmers
Radio? Are you kidding? Who really listens to radio
anymore?
> the attention of retailers
Again, the web.
Now granted, all these things provide the artist
solutions on a much smaller scale, but isn't tossing
around tens or hundreds of thousands the problem here?
Why put so much capital into motion when you're
really only looking at getting all the intermediaries
paid and still making a pittance as an artist, not to
mention losing percentages and royalties?
> why are you signing a deal then?
Exactly.
> there must be SOMETHING in it for you, right?
> like...
> a hundred grand to go play around in a studio with?
> the chance to work with a world-class producer in a
> world-class facility?
Don't get me started. A hundred grand to play with?
If I had a hundred grand, ain't nobody playing with
it! These are inflated numbers that make people feel
important and like the label cares. A band making a
record does far better creatively when they earn it
and when their own blood and sweat is behind it. Not
to mention, the big label recording machine often
decides your sound for you. I've made records for
$2000 that sound far better and are more creatively
potent than records the same artists have made at a
"world-class" (what does that mean anyway?) studio on
a label dime of $50,000. And just as importantly,
faster. You have to keep up with the artist
creatively, otherwise they get the pleasure of playing
and recording the same stale material countless times
for a year or more. Good times.
> knowing that your record will be in all those
> stores?
> knowing that all those radio stations will have your
> record with a major
> label behind it?
Knowing people are making lots of dough off of your
creativity and you're getting squat, more like.
Sometimes it's better not knowing, or knowing that the
product is being bought by listeners who want it, not
sitting in the dustbin at some promo company.
Now, I don't mean to get back on the whole "evil
empire" mentality, but it's valid. The music industry
was founded on screwing the artist. Just look at
Motown or Atlantic and their history. But none of
that is realistic or necessary anymore. There are new
ways around these things, with far less at stake.
Artist don't want to pay a lawyer for every decision
they have to make. They are happiest when things are
simple. A happy artist means good, honest product.
Good product means happy listeners. That's what sells
records.
That's my hundred grand.
-Jack
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