So You Think You Want A Record Deal: The Final Step - Shopping The Deal By Chris Standring

Shopping The Deal: So Now Your Ready In this report I will be suggesting ideas and ways to attract industry attention, hopefully leading to the procurement of a record deal. I cannot stress more the need to be confident and sure in your own mind that you are indeed ready. There are a lot of extremely busy people in this business that simply do not have the time to waste auditioning second rate talent. Cold as it may seem this is the reality. However, if you have what it takes there is a place for you. Read on.

The Right Label For You Before we start discussing effective ways to hit on record companies this would be a good time to start doing some research. There is no point in approaching a heavy metal label if you are a country artist. I would certainly not advise approaching a rap label if you specialize in Bohemian Polkas. Of course this makes perfect sense to most people, but the point I am trying to make is that you really need to know way in advance which companies are exploiting the genre of music you are involved in, something that may not be so cut and dried. Some labels who have specialized in a certain genre up until this time may want to expand their potential by forming a new division, thus opening a new door to the deal shopper. This is often a good situation for the unsigned artist as any new subsidiary label actively seeks to sign new acts, unlike a company with a full roster who usually needs more incentive to add on.

It is worth drawing up a shortlist of companies that seem right for you. Most of the major labels will cover all the formats so reasons not to be with one should be other than stylistic. Independents however, tend to specialize a great deal more and this is where you can get a little picky. What you should be left with is a few major labels and a dozen or so Indies. All of the big major labels will be located in the cities. In America this will of course be Los Angeles or New York and in most cases a label will have an area office in both. Needless to say country artists should target Nashville as their prime location. There will be an abundance of independents situated in the cities and throughout the national region. Once you have pinpointed one or two labels you need to start picking up information about them. I strongly suggest you buy Billboard magazine and keep an eye out for information pertaining to these companies. Find out if they are in good shape financially with strong distribution. Has there been a major staff shake up recently? If so this could delay any chance of a new signing and be worth staying away from for a while. Has the label had recent hits? Are they actively looking to sign right now? Very often you can find out quite easily the type of acts labels are looking for. This might include you so look for any information that can help. Doing a little research on a company can only aid your decision as to whether a particular label is right for you. Contrary to popular belief the record business should not be a buyer's market where labels have all the power. Of course very often this is the case because bands are all too eager to sign.

Just remember this is your career at stake, one worth a little patience and attention to detail. Possibly the best way to find out which companies are exploiting music within your genre is to do extensive research online. You could even browse through the A&R Online Complete Record Label database to help. Then you should purchase a copy of the A&R Registry to shop your deal. This is the definitive book which lists all of the top A&R executives at the major record labels and top independent labels. Practically every A&R exec in the United States (including Los Angeles, New York and Nashville), Canada and England is listed here. The entire A&R staffs of each label are listed, from the President and Senior Vice President down to the junior A&R scout. Their phone and fax numbers, the names of their assistants, their office addresses, and their e-mail addresses are all included. Importantly, it also lists the style of music each executive focuses on. Producers, publishers, songwriters, managers and attorneys rely on this directory to know whom to pitch their artists and songs to. The A&R Registry is updated and published every two months, with the latest personnel changes meticulously documented.

Artist Versus Representation There is a certain myth and possible romantic inclination that creative artists lock themselves away in a room, maybe a cottage in the Scottish Highlands, scribbling song lyrics and composing melodies. Such is the all consuming artist at one with himself, his acoustic guitar and coffee percolator, not to mention the half filled bottle of Jack Daniels that more often than not saves the day when inspiration just won't flow! These creative oddballs are very often regarded as irresponsible geniuses who wouldn't recognize a tax return if it stared them in the face, much

less manage to process one. So, these nuts hire managers, business managers, agents and attorneys to take care of everything, and quite rightly. However I think the days of trusting others implicitly to take care of your business are over, unless of course you are so famous you simply do not have the time to manage your own affairs. The romantic myth has to end if you are to have a long successful career. If you are to hire independent contractors to take care of your finances these people need to be monitored regularly, something that will require a certain responsibility and assertiveness on your part. Most creative people believe that they have to have artist representation, a manager let's say. It is the right way because everybody says it is. Now if you, the artist, happen to be extremely organized, together, responsible, gregarious with good communication skills, tenacious, likable and have the ability to get things done, you may question the idea of representation at all right now. After all a manager will take up to 20% of your gross and sometimes more depending on his credibility, and may not have as much incentive to get things done as you might. What's more he may want to sign you to a binding contract for a minimum of three years. I'm not saying you don't need a manager at this stage, all I'm doing is asking you if you do! It is possible to shop a record deal without the aid of a manager taking a large proportion of your advance and we will discuss how shortly. There are four effective methods I would like to discuss regarding deal shopping.

(a) Using an attorney to shop on behalf of the artist, (b) Using a manager to shop on behalf of the artist, (c) Using a producer to shop on behalf of the artist, (d) The artist shopping himself.

There are other methods I could point out such as going through a music publisher; In this case a publisher might present their client to various record labels in order to behoove their own catalogue interest. This of course presents a whole new can of worms such as the subject of acquiring a publishing deal, one I don't wish to open! Anyway where were we, ah yes... Attention deal shoppers! There is no right or wrong way to secure a record deal where the fickle hand of fate will rear its smiling head from time to time. We have all heard of amazing stories about landing record deals, some of which are presented here. For instance... An artist who is sitting in a coffee house scribbling lyrics, sings to himself quietly. To the table next to him is the president of a major record company, intrigued by what he sees and hears. The man introduces himself and soon they are engaged in conversation, discussing the artist's music, upcoming gigs and insurmountable arguments with his cross dressing bass player. The writer hands him a tape and a week later receives a call regarding a development deal with the company. This later leads to a fully fledged contract and future stardom, all because he had a craving for hazelnut decaf one Tuesday morning!

The (overly romantic) stories go on and on. However the subject we are dealing with right now (so we can eventually tell our own story) is deciding whether or not to shop the deal on our own or with the aid of outside help. Let me further discuss our options.

Attorneys Sooner or later you are going to have to deal with a member of this species. First of all let me tell you a little bit about these guys. Once you are presented with a recording contract, or any type of contract for that matter, you must hire an attorney to review it and negotiate its terms. You must also make sure that they are qualified in the entertainment field. Always go on recommendation from other people you know or if you cannot do that ask to see some credentials and names of artists they have recently worked with. There are plenty of attorneys and just as many bad ones! An attorney's rates can range from $150 to $500 per hour so it is worth finding a good one that can justify every penny! It is commonly accepted that the attorney will not see his money until the deal is signed. However if he negotiates for you and you decide not to sign, his fee will still be payable in full. Bear in mind, and this is where ethically some of them fall short, an attorney can run up thousands of dollars fighting over legal points in your contract. It is in his interest to do so as he is being paid by the hour. Now I would suggest that every time the record company comes back with the latest draft that your attorney consults you and keeps you abreast of the situation.

If you have a business manager, make sure he is also consulted as he has an incentive to keep your expenses down. What I would recommend you do every time is tell the attorney how much you are willing to pay him. An independent deal will cost less than a major as their contracts are usually much smaller and quicker to negotiate. Do a little research regarding current prices, find a good one and lowball him! Attorneys are not all bad however. Ultimately they are working in your interest and I have no doubt you will be very glad you hired one when your first royalty check is due. Many entertainment attorneys are well connected in the business as they are constantly in touch with record labels. They pride themselves on knowing presidents, vice presidents and heads of A&R. Many of these people are happy to present a package to a label in order to secure a deal for an artist they believe in, obtaining their account if and when a deal is procured. In essence then an attorney can shop a record deal on your behalf. This can be more cost effective than using a manager as you are going to have to use an attorney in any event. If you do not have a manager at present and feel you are worthy of a deal I would say this route should be a serious consideration. Many of the really successful music biz attorneys will not shop deals as they feel that they don't need to. They work on the assumption that once a deal goes through the chances are they will get the account anyway. A confident attitude yet realistic situation. It should not be hard to locate an entertainment attorney. You could try Yellow pages, Musician's Union directories (they often advertise), The Recording Industry Sourcebook and recommendations from people you know in the business. Phone them cold and sound them out. They may be happy to have your business.

You can find music attorneys here

Managers A good manager can make or break an artist. Conversely a bad manager (but looking out for himself) can bankrupt one. It is not always possible to tell which you have until you go ahead, take the plunge and sign a manager's contract. A manager's job is somewhat ambiguous depending on the situation and nature of the artist. Essentially a manager's job is to take care of all the mundane day to day business affairs that the artist prefers not to deal with. Before a record is signed his job primarily is to seek a recording contract for his client. If the artist is doing gigs and showcases then the manager should make sure that performances run smoothly, musicians show up on time, and important industry people are invited and accordingly shmoozed! A manager can also solicit work for an artist, perhaps in the form of a sideman or producer, but in many cases (according to state law) cannot book engagements or negotiate contracts as this is taking work away from agents and attorneys. Once a record deal is signed sealed and delivered then a manager's job changes somewhat, and this is when he very often disappoints his client. Once a record is released promotion is all too important where every unit sold counts. A manager can keep on a record company's tail, making sure they are doing all they can, offering ideas and generally keeping them vibed up about his client.

A good manager has contacts all over the world and has the ability to assist the label in many areas. On the other hand many managers do not have the clout they once promised and cannot bring anything to the table that the record company hasn't already brought. Consequently a manager continues to take his 20% and frustrates his client. There was an interesting article in 'Musician' magazine a number of years ago. The theme for that month was "What if I knew then what I know now". About twenty famous artists very candidly talked about how they would do things differently if they had to go back and start over. I found this article absolutely fascinating. Practically 90% of all the stars said that they would have learned about the business side more thoroughly, would not have employed a manager (as practically all of them eventually became part of a law suit) and if they had, would have structured the deal based on net and not gross. This way the manager would be working with them and not just taking commissions. So here is food for thought. Ask yourself if you are together enough to do it alone. I think a really good time to have a manager is when things become so out of control that you simply have to have one. Before you sign a deal you will probably be doing a few gigs, recording new songs from time to time and taking care of promoting forthcoming events. You can just as likely do all of this on your own. Of course I certainly believe that it is always better to take 80% of something rather than 100% of nothing. Your manager may be very well connected, extremely likable, able to get things done efficiently and of course take a load off your mind. This is all for you to assess. You must weigh the pros and cons. If you decide to go with a manager then there are two schools of thought. Firstly you could find a young, hungry, persistent manager whose belief in you is unwavering and will stop at nothing to achieve success within the music business.

These are the type of people you meet in your own circles, at gigs, parties and events. This person might be presently managing one of your friend's bands and should not be too hard to contact. The second type of manager is the established successful one who has a great deal of credibility within the business. Of course being successful, this manager will have several other 'priority' artists and may have a team of staff working for him. The down side here might be that you, as the new young artist, will not get the attention you feel you deserve. The upside is that the industry pays attention to you as they assume you are special enough to be represented by this management company. Getting hitched with a big manager is no small feat however. Many will not sign an artist that does not have a record deal. I suggest you scope out a few management companies and try your luck. Try the Recording industry sourcebook for all the major names. Where possible I would suggest some serious name dropping to help get you through the first hurdle. One of the minions will no doubt ask you to send a package which of course you can do right away. Once you have a record deal and there is a major buzz about you, managers will start climbing out of the woodwork to get a piece of the action. Believe me the parasites will abound. This is when you can do one or two things on your own terms. Certainly make a point of auditioning them rather than the other way around!

Producers A respected record producer can very often take on the role of 'freelance A&R man'. That is to say he can find acts, develop them and take them to the right record label for signing.

Labels tend to be somewhat incestuous when it comes to developing artists where they frequently hire the same producers, feeling comfortable knowing they will deliver a great record within budget constraints. A producer will therefore strike up a relationship with a certain label and consequently bring them potential signings, cementing the relationship further. This situation works very well until records stop selling. Production trends can change dramatically over a short period of time, sometimes affecting the producer known for a certain style. Unless a producer can keep up with the times he may find himself selling shoes a little sooner than he had planned! The trend conscious producer will be constantly looking out for potential stars to work with, thus keeping his career vibrant. A producer can do very well from having a hit record not only financially but can also reap the benefits of industry attention. If a record goes platinum (selling one million records) it will have garnered a great deal of airplay, record sales and media attention. Every record label wants a hit and will keep an eye out for the new hip producer who can send their own artist up the charts. It is a chain reaction. A successful producer can be swamped by companies if he has a current hit record. So perhaps you will be the next big thing to emerge in the pop music biz. Maybe you should consider approaching a producer to help you down the road to dealdom. First you must of course way the pros and cons and assess if this is an intelligent route for you to take. Do you need a producer? If the answer is yes then I would suggest doing a little research to find a list of producer's names that are known in your field of music.

You can do this simply by looking at record sleeves of your favorite artists. You can then go straight to the internet, Recording industry sourcebook or Musician's Union directory and look up their names. Their telephone numbers should be listed and you can just call them up, asking them if they would be interested to hear your tape as you are excited to work with them. The really big producers will have managers answering the phone on their behalf but this is not always the case. Again, a referral from someone you know works wonders every time and I would strongly advise this. However this is not always possible and I don't suggest that this put you off. The other tact might be to send a tape in the mail with a very nice letter explaining how much you admire his work, blah blah blah. Maybe follow up with a call a couple of weeks later (if he has not contacted you) and see what happens. If you are meeting a producer there are two important questions you should raise in your mind.

1. Is this person stylistically the right producer for you? 2. Is he well enough connected with labels to secure a record deal?

This may sound somewhat cold and conniving but don't forget this is your career at stake. You are effectively hiring a third party to represent you as an artist which ultimately has to have your stamp of approval. Don't forget there is every likelihood a major producer will sign you to a production or joint venture agreement, causing a certain income loss on your part, so spend a little time separating the wheat from the chaff. Make a point of telling the producer that you are looking to sign a record deal and would appreciate any connections he may have. Be very honest. If he digs your vibe he will be only too keen to help in any way. You can find music producers here

Thought For The Day Is it really necessary for women to buy perfume anymore? I should think three magazines a month would take care of most occasions.

The Artist At Work: So What Is This Word 'SHMOOZE'? Let's spend some time talking about how the artist can create some industry attention on his own. All record companies know that success starts from a grass roots level. The smart record company therefore gets involved when the act is young, exuding star potential. This usually means dealing personally with the artist. At this level quite often a company will prefer to befriend the artist rather than have to talk to managers, agents and attorneys because they may not be quite ready to do business yet. They are still assessing the talent, living with the idea of signing but not yet fully committing. This is a very important stage in your career, and worthy of serious attention. From this point on it would be wise to assume that anyone you meet within your circle of colleagues, and sometimes outside of them, may lead to an industry connection. It is critical at this level to widen your network of contacts as much as you can to create a buzz about the project, thus enticing company reps to stand to attention. This is when you have to start being charming and personable, not always a rock 'n roll trait I know, nevertheless one that will behoove your career. I think one aspect of a successful person, in any field, is their ability to communicate with another person on their wavelength, whether there is an intellectual match or not. In a business where ego is all too pervasive it seems that this concept is not met with a large degree of fervor. Musicians tend to build up their own egos, effectively lessening the credibility of others around them.

However, everybody wants to feel important, everybody wants to feel special. The ability to make someone feel important I think is a wonderful trait, one immediately recognized by complimented recipients. These selfless yet secure people are not easily forgotten, indeed they are usually sought after as friends and business acquaintances. Take the time to talk to all types of people, especially at your own events. Who knows who they could be.

Connecting With Companies: Unsolicited Calls There is a great deal you can do to widen your industry network as an artist without having to rely on 'MAA' (managers, attorneys & agents). However there is a time to contact company people and there is a time not to. The ideal way to get to know a label rep is through a mutual friend. Let's say you are working as a sideman in a friend's band who is signed to a company. Over the months you will get to know the company quite well, something you can put to good use at the appropriate time. On the other hand once you start shopping a deal you will want to talk to quite a few labels, some of whom you have not built a relationship with yet. This is effectively 'cold calling', what companies like to term 'unsolicited calls'. Many companies have a rigorous policy regarding this. They simply don't allow it, or rather they tell you they don't. Quite frankly Scarlett who gives a damn? If you're smart enough you can catch them off guard, cut right through the red tape and they won't even know you acted against their policy! There is an art to cold calling, not always a pleasant pastime, nevertheless a rewarding one should you get past the screen.

Should you decide to take on this noble task, and let's face you have nothing to lose, I suggest you have one or two things prepared. Assuming that there is no better way to contact the person in question (ie through MAA) I would strongly advise you have:

1. Interest from at least one other label, 2. An impressive tape to send, and… 3. A showcase planned in the near future you can invite them to.

These are all the ingredients needed to make a hearty meal! Here are one or two examples of the right and wrong way to make a cold call.... Scenario #1: "Good morning, Polygamy Records, how can I direct your call?" "Umm, yes er could I, I mean is it possible to speak to someone about my band as we are trying to get signed?" "That would be A&R, hold on just one moment sir". "A&R, John speaking" "Hello yes, umm my name is Benjamen Sockworth". "Yes Mr Sockworth how can I help you?" "Umm well I've got this, I mean actually we've got this kind of band thing and..." "Have you sent a package to us?" "Well no not yet but..." "Send us something for us to review and if we like it we'll call you"

"Oh really, well ok I mean where do I send it?" "240 Chanceinamillion ave, suite 4097685, City of hope, CA 90064" "Thank you very much I'll do it right away". Later that afternoon... "Hey guys I talked to the big guy at Polygamy today, he says he really wants to hear the band, told me to send a tape right away" "Wow Ben that's great maybe they'll sign us, how did they sound?" "Real interested, I think we might be onto something here, let's get some beers and record our rehearsal on this walkman. I'll send it off to him first thing in the morning. Hey, wow, Polygamy, yeah right on!" Here is a no win situation for the band. Firstly the caller has no strategy and is operating on a wing and a prayer. I guarantee that this act will never hear from the company again and if they do it will be in the form of a standard rejection notice. The caller has done no research, has no idea who he should be talking to, speaks with no authority and consequently is fobbed off with the standard 'Send a package' jargon. What is more his 'rehearsal' demo tape is yet to be recorded. I would say Hilary Clinton has more chance of getting signed than these guys. Well now there's a thought, yeah, hmm... already widely known, accessible image, strong role model, I wonder if she can sing..... Scenario #2: "Hello, Polygamy records how can I direct your call?" " A&R please"

"One moment sir" "A&R Dorothy speaking" "Yes hi Dorothy, is Bob there it's Ben Sockworth here from Micron Music" "Will he know what it is regarding?" "Sure" "Just one moment sir" The secretary comes back one more time to try to screen. "Is this regarding a new band sir?" "Yes, I was referred to Bob by Steven Spills, I really need to talk quickly with him before I take this further" "Usually the procedure is for new bands to send us a submission" "Sure, and I may go ahead and do that, however we do have a deal on the table from another company and I need this to be a priority, Steve Spills will have recommended us by now" "Just one second sir" Finally the call goes through. "Hi Bob Thackett here" "Hi Bob my name is Ben Sockworth from Micron Music, did Steve Spills talk to you recently about a band called 'The Tectonics'?" "No I don't believe he did"

"Well that's very strange. In that case I'll be very brief, I know you're busy. I'm part of a group that is causing a stir on the alternative scene right now and we are presently talking to three companies, one of which is drafting a contract as we speak. At this point however I would very much like to talk to you guys as Steve tells me only good things and I think this is the sort of project that Polygamy could get behind" "Are you guys playing anytime soon?" "Actually yes we're at the Roxy a week this Thursday, would you like to come by I would be happy to add your name to the guest list?" "That might be a possibility, could you send a package to me?" "Yes I can do that, how soon can you get to it?" "Mark it to my attention and I should be able to get to it in just a few days" "Thanks Bob I really appreciate it, I'll talk to you soon". This is what I consider to be a very successful cold call. In a way it cannot be considered totally 'unsolicited' because the caller did have a contact through Steven Spills. However, that does not mean that Ben Sockworth and Steven Spills are best friends. They could have met once, briefly discussed the project, never to have spoken since. Who is Steven Spills anyway? The answer is irrelevant, the name is a game playing device only. Firstly the caller's demeanor remains authoritative throughout, critical to cracking red tape. A secretary's job is to block people like Ben Sockworth and the only way to get past the screen is to plough right through it.

This you have to do with authority, courtesy and tenacity. He sounds very professional too; "Hi is Bob there it's Ben Sockworth from Micron Music"? Straight to the point, no messing. Cleverly he refers to Bob Thackett as simply 'Bob' inferring they have already met. 'Micron Music' is good too, makes Ben sound together and businesslike. Even if Micron Music is fictitious so what? Ben's insistence on speaking with Bob is quite manipulative as the secretary assumes that there is a sense of urgency which Bob should know about. Once the call goes through to Bob then Ben is on home ground. All he has to do is talk a little about the group, strike up some sort of positive chemistry and hang up. Scenario #3 "Polygamy records, how can I direct your call?" "Bob Thackett, A&R please" "Just one moment sir" "Hello Bob Thackett's office, this is Gladys speaking" "Hi Gladys, Ben Sockworth here from Micron Music, is Bob around I need to talk to him very briefly?" "Actually Bob's out to lunch at the moment can I leave a message?" "Hmm let's see, can I leave a message on his voice mail?" "Sure I'll just put you through" "....Click, click, "Hi this is Bob Thackett, A&R please leave a message"...beeeeep.

"Bob Hi, my name is Ben Sockworth, you may have heard recently about a group I am with called 'The Tectonics'. We are causing a major commotion here in the southland and I would be very interested to talk to you regarding the band for Polygamy. My friend Steven Spills who I believe you know quite well has told me only good things about the company. We have a series of what will be sell out gigs coming up and I would love for you to come and see the band. We are presently talking with one or two very interested companies and with this in mind perhaps you and I could talk as soon as you get a free moment. Please give me a call on (818) 555 1234 and I can disclose further band secrets and inside leg measurements". The chances of Ben receiving a call from Bob Thackett look very much in his favor after leaving a message like this. Once again the caller is most authoritative, confident and secure that the project he is pitching is worthy of attention. The reference to Steven Spills once again only puts an inquisitive Mr Thackett at ease. The urgency to talk is again quite manipulative, however the final humorous words relieving.

Following Up It is worth following up on a call about two weeks later to keep on the record label's toes. If you have managed to talk to them once they should have an idea of who you are and may have listened to your tape. Or they may not. Try not to hound them as they will cotton on to your scent and screen your call every time! Labels will never be in a hurry to sign an artist if they can get away with it, good business practice points to the contrary, so what ever hurry you are in expect the label to do things in their own time.

Such is the frustrating world of record business. I suggest following up a call with added information such as a new gig you would like the label to come to. If you cannot get through personally leave a message with Gladys, she will happily pass on the message. The next step is for the A&R man to love your music. Make sure there are regular flyers regarding upcoming gigs on his desk along with a personal note inviting him along. Keep the name of the act in the forefront of his mind and provided he digs the group he'll show up at one of your gigs. If he doesn't dig it, to hell with him!

Mud At The Wall Many bands think that if they send out a hundred tapes to all the record companies they can get addresses for, someone might eventually sit up and pay attention. Big mistake! Don't even think about it. Companies get thousands of these weekly through their mailbox and unless an A&R man has more incentive to listen to it, yours will no doubt be left alone, possibly trashed. Labels like to keep in the 'know' where gossip and recommendation work far more effectively than sporadic tape dispersion. Save your CD's and tapes, not to mention stamps, and make sure you do your groundwork first. Chasing a record deal is nothing more than a game where industry people pay attention when there is cause to do so. It is therefore your job to convince them that your cause is worth all the attention. They have to believe that you are special, so a good amount of 'foreplay' can only do you the power of good.

The Showcase An A&R man may fall in love with the music he has heard on your tape but this is usually not enough for him to sign you. Remember that it is very rare for one person in a company to have total signing power. The usual procedure starts with one excited person, let's say an A&R man but it could be anyone within the company, who introduces the act to the rest of the label at one of their weekly artist & repertoire meetings. One or two tracks will be played and the company may react in some way, usually with various grunting noises, much frothing at the mouth and sporadic head contortions. Once there is some semblance of decorum discussion follows as to whether the act will fit into the company's marketing strategy. Again this could involve any number of factors. They might love it but feel that it is out on a limb stylistically, thus presenting a big question in their mind. They might not particularly feel passionate about the act at all but have no doubt in their mind that it will fall perfectly into a radio format, become a big hit and make some serious dosh! Of course this is when they start smiling and raise the question "Are they playing anytime soon?" At this time you need to have at least one gig booked so you can invite the blood hounds along. This is commonly known as 'The showcase'. There are two ideas you might bring to attention when organizing such an event. Firstly you might decide to book your act into a trendy club to impress your audience.

This is often easier said than done as many clubs are hard to get into unless you are prepared to pay to play. In Los Angeles this is mostly any club on the Sunset Strip. I have always had a personal policy regarding 'pay to play' and that is one of refusal! Clubs get away with it because all other clubs do, knowing that hungry bands will always accept their terms ostensibly because they all want to be stars and will do what it takes to be noticed. Personally I don't think it does anybody any favors. Clubs are provided free entertainment, something I completely abhor. Bands find themselves getting more and more in debt, many disbanding sooner or later. Groups tend to think that certain clubs are the 'in' places to play because talent scouts and industry people hang out there. Firstly, few industry people hang out at any club without knowing who is appearing there and secondly there are plenty of cool little clubs that do not have a pay to play policy many music biz guys will happily show up to. The second idea is to book your band into a rehearsal room and invite a select group of friends, all the industry people you can, have a barrel of beers, a small cold buffet and make it a nice intimate little setting. For the more singer-songwriter type of artist I think this is a nice way to go as it gives the record company the sense that the artist is yet to be discovered and sure enough the company that signs them will indeed take credit for that discovery. I would personally want to play on that assumption and make them feel as good as they want to. For the more aggressive live group I would say that booking a club might be the better way to go as it is nice to show a company that the band has a fan base and can put on a real show.

Whichever you decide to do spend a good amount of time assessing the right room for your act. There are many very 'cold' clubs that have little or no atmosphere and I would tend to stay away from these. The self contained singer-songwriter might want to try a small intimate room unlike a theatrical rock act who might be better accepted in a larger sleazier venue. Should you decide to go the club route I don't need to tell you the importance of 'rent a crowd'. Two hundred shouting and screaming friends never hurt a band's credibility, and can only add to the atmosphere of the club, keeping the interest of the all important record company guy. Unlike musicians, keep in mind that industry people are nine to fivers. During the week it is part of their job to check out new artists where interested companies will be happy to show up to your venue, schedule permitting. However, many clubs offer the late slot to bands, especially those with large followings and record label people will usually not come to these shows. Many have families and have to be up at the crack of dawn. Try to book an early show, nothing past 9.00pm and you need accept no excuses. Once you find the right room for your act you will no doubt have problems getting through to the booker. Once you do get a hold of him, actually pinning him down to a date will be another thing all together. This is when the rehearsal room works out that much better because you can book it with no effort at all. However, the tenacious artist will always win in the end. Patience is a virtue, just a hard one to possess. The showcase is always a little nerve racking because it's not like doing a normal gig.

Ostensibly the act is being judged and after so many years of nurturing your own work not always an easy thing to deal with. Here's the deal though. At the end of the day it does not matter how a company perceives or judges you. A company is always going to have things to say, opinions to share, criticism to impart. If the artist knows his own vision he should take it all in good stride. If a label does not want to sign you then quite simply they are not the company for you! Remember your music will not be for everyone. It will definitely not be for every record label you speak to. For every Cindy Crawford or Christy Brinkly there's some poor guy out there that despises them, so look at it like this; Your music is for one and one label only. You cannot sign more than one contract so think of it as a treasure hunt, a road to the right deal that is meant for you. All the other flaky bark-but-don't-biters can be discarded as mere obstacles on the way. Do your show, do it the best you can, assume there is no one at the gig other than those who are already fans and knock 'em dead!

Performance Notes I have always thought that 'Star Search', 'American Idol' or any talent show for that matter, was the most un-credible way you could ever get noticed! There is a certain type of act that always seems to get to the finals of these tacky contests, you know those just wreaking of 'day gig'! There is a clear distinction between semi-pro, somewhat talented wannabees and the true spirited artist living and breathing his/her music. The former always makes for proud grandmothers while the latter go on to have successful careers, achieving credibility along the way.

There is a tendency for the star search contestant to really prove himself, you know, make all his ex-school teachers finally pay some attention. The effect is to overact, over sing, oversell, milk as much applause as possible and consequently embarrass anybody listening who happens to know better. Such is the performing monkey. Little Jimmy's Mom and Dad however are just blushing with pride! The showcasing act can fall into this trap without really knowing it. They are aware of industry people in the audience and quite rightly want to impress them. The immediate reaction nevertheless is often comparable to little Jimmy on Star Search, where a performance of overkill can be the kiss of death. We have all seen top forty and lounge bands perform in nightclubs and events such as weddings and corporate parties. These are the groups never to model yourself on if you ever want to be signed. These are the working 'Little Jimmys'. Some of these bands are made up of first rate singers and musicians, an aspect I am not commenting on. The execution or performance however is what I am pinpointing. Many fine singers never go on to become recording artists because they become too 'professional'. They spend so much time trying to make a living, taking casuals, top 40 work and sessions, that they lose any sense of who they really are as artists and consequently lose the hunger to become one. These singers know all too well how to please an audience, they just have no idea how to intrigue them. It is this mystical quality that one has to portray in order to seriously convince a record company. Unfortunately this will never exude from little Jimmy! In conclusion: Just be real.

Creating A Buzz: The Big Secret Now is the culmination of many years hard work either as a musician, songwriter or group. Finally you feel worthy of recognition and are determined to get it, but after so many hours spent writing, rehearsing, nurturing and directing your music you feel somewhat precious about it, it's your baby after all. It's like you just don't want the whole world to know. Your music might be all too personal, your lyrics too honest and sincere, and you feel vulnerable to the world. This is good, very very good. A true artist has something to say and honesty is the only way to communicate. Nevertheless the road to fame is a hard one and a good deal of groundwork needs to be done to bring the right people to your aid. I also think there are right ways and wrong ways to go about it. As you are trying to get ahead many friends will be offering suggestions to you. Things like; "Hey George why don't you give a tape to my pal Stewart Greyweather, he's got this little record shop down the east end, he can play it in the store and well, who knows who might walk in". Or maybe; "Brian you know you really should let Stephanie Granger have a package, she's got a friend who works in the media department at 'Good Housekeeping', perhaps they might want to do a feature on you". Your friends of course only have the best of intentions for you but there comes a time when you have to consider whether 'mud at the wall' ideas are really worth the effort. Are these efforts ever going to benefit your

career even if you do exercise them? I don't believe in churning out demos by the hundreds and literally passing them out to everyone who thinks they can help you. It just doesn't work like that and is really a big waste of time and money. I believe there are right ways, and cool ways, to get noticed and land a deal. You need to focus on the source and the source only. Obviously if a friend says to you "John, I have a friend who works in accounting at 'Strap Me Records', he's real friendly with the head of A&R, I'd be happy to pass on a tape" this is a usable and sensible offer, one that should be considered seriously. You don't want every Tom, Dick and Harry hearing your music. It is your baby, keep it to yourself unless an idea is presented to you that will behoove your career. You may upset one or two friends along the way, but they'll understand. Just tell them your out of tapes, well hey that's easy!

Gigs There is a right time to create a buzz, something you as an artist or group can do very much on your own. When you are ready to shop a deal you no doubt will have booked yourself into one or two clubs in order to entice various industry vermin to check you out. Whether you are showcasing or simply playing live to develop the band and your fan base, this is a golden opportunity for you to promote the name of your act and create some interest. If you can convince a club booker that you have a large following they will be more than happy to book you. Tell them right off the bat. Be authoritative and convincing and often they won't even need to hear your tape. Make them need you, not the other way around.

This works like a charm every time believe me. Most bands are not sure whether they can fill the club which makes the venue nervous and consequently they string you along for months.

Press Firstly, get your name in all the papers. If you are playing some of the more elite clubs, much advertising will be done by the venue itself, something you can be very thankful for as this is very costly. This is one of the main perks of playing at such a venue. Some clubs spend a good deal of money on large strip advertisements where your name can be excitingly bold. If you are playing at a venue that does not promote themselves make sure you do it. If you are in a group try to get everyone to pitch in a little cash so you can get your name in the paper. If this is not possible at least consider a line ad. Something. Short of broadcasting word of mouth this is the most cost effective way at this time for you to get your name out there. Some local magazines review unsigned bands and they will come to one of your shows to do so. This can be good for the group as they get a nice photo and of course favorable press can only be a good thing. The same magazines usually have an 'audition' page where they invite unsigned bands to send in their tapes for a mock up A&R review. I'm never sure whether this is a good thing to do. One person's opinion, especially if it is not in favor of the artist, is all too public and detrimental in effect. If you are going to do this then grit your teeth, I very rarely see a good review!

Mailing List And Flyers Start an e-mailing list for your group. Everytime you play you can send out a newsletter with all the necessary information. It's fun to watch the fan base grow each time you play live. When you sound check at your venue you could leave cards on the table inviting people to subscribe to the list. Entice people to sign up too. Tell them that if they subscribe they get a 25% discount at the door at future gigs. Make sure you send flyers to all the appropriate people too. This includes certain record label people. However, you must make sure that you only send info about gigs to record biz folks you have personally met and have some kind of relationship with. When you send a flyer include an accompanying note just to say that their names are on the guest list. Record companies will not come if they are not. (Of course you must follow up with them - don't expect an A&R guy to show up to your gig simply by sending a flyer through his office door). Ironically label reps are the small percentage of people who never have a problem coming up with the money to pay to see a group. However, be that as it may we are all prepared to play the game aren't we? Leave a whole slew of flyers at the club for people to pick up also. Hand as many out to friends and friends of friends as you can about a week before your show. Make sure the flyer outlines the kind of music you play for anybody interested to come should they not know who you are.

Newsletter You might consider sending out a bi annual newsletter to everyone on your mailing list. This is always nice for fans to read regarding the band's progress. You could make it light and fun, discussing any upcoming events of interest.

Radio It may be too early in the game for radio stations to want to grant an interview with you but it is worth trying to get them to promote your upcoming gig. Many college stations will do this and this can be quite beneficial, spreading the word just that little bit farther. Some radio stations have a 'gig hotline' where people can phone in to see what bands are playing where.

Internet This is presently a booming trend for bands, signed and unsigned, wanting to display their wares on the World Wide Web. Computer software is changing monthly in this rapidly progressive marketplace and this new fascinating way to present oneself to the world has to be worth checking into. I think this is becoming the future of A&R also. I don't need to tell you the importance of starting a band website, an e-mail list, an e-newsletter, MP3 files blah blah blah. The subject is presently enormous with resources up the ying yang. Just do it!

Recording Your Own CD Investing your hard earned money into the production of your own CD is never a bad thing to do.

The logistics need to be studied and carefully considered and this is where a good business manager can come in handy. Printing up two or three thousand cd's can be a vital promotional tool where the product can be sold at gigs and used for demo purposes to procure a fully fledged recording deal. Companies will love the fact that a group is determined and committed enough to take the bull by the horns and make things happen on their own. It shows strength of character and self motivation, vital ingredients to the successful artist, and therefore attractive to labels. A fully recorded CD may be interesting to a company for the simple reason that they might not need to do a great deal in order to release the record. The artwork will have been done, the mastering complete and discussions regarding licensing and distribution may be the next step. The A&R job regarding focus and direction is already done should they like what they hear. The production of a CD is however no small feat. This is essentially why we have record labels to do it for us. Provided you are primarily interested in the idea for your own promotional needs, and do not have visions of setting up overseas distribution, sub-publishing and so on, CD production nightmares can certainly be kept to a minimum. Look in the yellow pages under 'Records, tapes & Compact Discs - wholesale and manufacturers' call a few companies and get one or two competitive prices. They will walk you through correct procedure.

Thought For The Day Why do hairdressers all have such lousy haircuts?

When The Company Bites: Meetings If you have managed to blag your way into a meeting with an A&R man you can give yourself a pat on the back. This is never a very easy thing to achieve and it always feels good when a date and time is set. This is something a manager can usually do far more effectively than an artist, unless the artist has the gift of the gab. At the end of the day it does not matter who gets the meeting however. You just have to get it. Sometimes this can happen as a result of a rep hearing your tape, loving it, and consequently calling you in to see him. Often the smart unsolicited caller can set up a meeting himself, somehow convincing a company that 'now would be a good time to look into something hot!' If you have a manager, bring him to the meeting. If you do not, and at this stage it is of no real significance, bring along the main members of the group, perhaps your partner. A meeting at this stage will be nothing more than one or two members of the company expressing interest. If they have not heard your tape at this point I would suggest that you do not set up a meeting until they have. Either send it to them ahead of time or drop it off personally. I'm never a big fan of sitting and listening to one's own music in front of a company. It is uncomfortable for the artist as he wants the label to love it and few of us are psychic, unable to know what they are thinking at the time. It is also uneasy for the A&R person as he is forced to make judgment after just one listen. A company rep will want to live with your music for a while so by the time you are called into a meeting they can offer some more intelligent thoughts.

This initial meeting will be called in order for the artist or group to strike up some sort of relationship. At this stage it is highly unlikely that the company will have made any firm decisions as to commitment. However after this meeting it is possible that they will. It is necessary therefore to keep the meeting light and casual. This is not a time to discuss business. They are still dating so to speak, still yet to decide whether they want to jump into bed! There will be discussions regarding integral band members, what clubs the group has been playing at, a little artist history, nothing more nothing less. It will be important to impress them visually to an extent. I certainly would not suggest that you turn up in full costume and make up if your act is a gothic heavy metal theatrical stage show, of course you could if you felt so inclined. Look like you are an artist. They will be signing you because you are special, somewhat different from the norm, and I think you need to play on that. Your uniqueness needs to be presented in a certain light, and with this in mind I think it is important to turn up to the meeting appropriately. Once the meeting is over, this is the time to be cool. If they really are interested they will act accordingly. Let them do things in their own time, but don't stop the buzz. This is still a crucial stage for your group where gossip and hype are very significant factors, so keep the gigs flowing, the invites to forthcoming gigs on their table, and the energy and momentum constant.

A Bird In The Hand Always remember that if one or two companies are biting, other record companies will always be intrigued to know what the fuss is all about. There is a great deal of talk in the business, much of it pure bull! That is to say, people get excited, and for no reason at all go cold, almost overnight.

This is why it is so important to keep the energy level of the project way up consistently. For a label to put their money where their mouth is, takes a good deal of convincing, a somewhat stressful and frustrating experience for the artist. It can be extremely advantageous, therefore, to let a company know that you are presently talking with another label with view to a deal, whilst nothing is agreed or signed at this point. By all means tell them who you are currently having discussions with, information which will stand you in good stead as you are being honest and open. This will also convince them that you are not bluffing! A little pressure will get a label into gear that much faster, producing tangible results should they be genuinely serious about you.

Put Your Money Where Your Mouth Is! There will come a time when you may get a little fed up with a company telling you "We love it", and of course doing absolutely nothing to move things along. There is a time when enough is enough. Providing you have interest from at least one other label I think it is always appropriate to send a letter or fax explaining your requirements. This shows a company you mean business. Ideally this should come from your manager or attorney. Something like this; Dear Derek, After several meetings with you regarding my client 'Strapper John and the Vestal Virgins' there seems to have been a recent lull regarding contract proceedings. After several fruitless attempts at communication we can only assume that your company is no longer serious about the act.

With this in mind, should we hear nothing from you by close of business friday 13th, any further discussion is closed. Yours faithfully, Frank Lee Miffed, Attorney At Law. You are always in a strong position if you are prepared to walk away from a deal. If you are hanging by a thread, prepared to jump any time a label asks you, this is an insecure, needy image you are personifying, one that will do you no favors in the long run. Therefore, don't be afraid to push the envelope a little, after all there's no point in getting excited over a deal that wasn't meant to happen.

It's Not Final Till It's Vinyl! I suppose the more up to date expression should be something like 'It's still cheesy until it's CD'. But one thing is for sure, and you must remember this: There is no deal until the check has cleared! Don't forget that anything can happen along the way. Your attorneys can hold up a deal to the point of breaking it, clocking up thousands of dollars. A record company A&R guy can suddenly go missing, forcing your deal to fall apart. Suddenly the label could go cold as they hear that the genre of music you fit into has suddenly taken a nosedive. All this can happen at the last minute, right up to contract signing. Nothing is written in stone until your check has cleared and a CD sits on your kitchen table! With this in mind it is very wise to keep your options open right up until the last minute, no matter what wonderful things are being promised to you.

Ethically of course it is unacceptable to negotiate two contracts at one time. Discussions on the other hand are most permissible.

Thought For The Day I've always made a conscious effort to avoid being a sheep. There's nothing remotely interesting about them and you can rarely tell one from another. Eventually they all go to the slaughterhouse anyway.

The Starving Artist: Dealing With Rejection Shopping a deal is a really tough time. After what seems a lifetime of dedication, practice, candlelit nights spent scribbling lyrics 'til the wee hours, now is the test, the time of reckoning. Suddenly you are vulnerable to the world, and scared that nobody wants you! Such are the thoughts racing around the artist's head as he prepares to delve into un-chartered territory, ready to run the gauntlet. Already you are hearing the words, "A very interesting project, unfortunately not one we can sign at present", or perhaps, "Thank you for submitting your package which we reviewed very carefully. After much consideration we feel unable to commit to a project of this nature". Look at it like this. Rejection is all part of the music business. Actually that's unfair. Rejection is all part of the entertainment business. Think what a tough time actors in Hollywood have, auditioning day after day after day with what seems like not a glimmer of hope in sight. What a cattle market. Actors need an audience otherwise they are simply waiting tables. Music is not quite like that, thankfully. We have our music whether we have listeners or not. Nobody can take that away from us. However, we are all human and susceptible to emotional beatings, many of us of course more so than others.

Our business by nature causes us to have fragile egos as we are selling 'ourselves' after all. Our art is 'us'. The nine to five businessman does not relate to this as he sells a more tangible product, let's say insurance. At the end of a day he can leave his work at the office, come home and put his feet up assured that he has put in a good day's work for his firm. The artist cannot operate on this basis as his firm is quite literally 'him'. An artist's work is the artist. They are one and the same, inextricably linked. Any criticism or judgment against the art is effectively pointed at the artist. In short, the artist cannot leave his work at the office, it is with him at all times. The only way to survive in this business is to develop a thick skin. That does not mean you should become an evil monster, with no regard for your fellow man. It just means that you need to get to a place where you can be happy and content without having to feel like the whole world needs you. Yet at the same time we are expected to be the "sensitive artist". Amazingly these two juxtapositions can, and indeed do, co-exist in the music business. Remember your music is not for everyone. This includes record labels. There is only one label you will eventually be signing with so to really look at the bright side, every time you receive a rejection letter you are one step closer to the right label as you have just extirpated another that is not! Timing is everything. A company might love what you do but may have just signed an artist that is stylistically too similar to yours, presenting a conflict of interest. A label might not be in any situation to sign anything at the time you present yourselves; Perhaps a larger label has recently bought them and fired 20% of the staff, creating a major shake up within the company, a

situation where, despite all, label reps are probably more concerned about their jobs rather than the idea of creating one for you. So the point I am trying to make here is that you cannot and must not take anything personally. A friend of mine in London once said to me (when I was jobless), "You must never equate being out of work with being untalented", something that has always stuck in my mind. I think this also goes for deal seeking artists. There are only so many artists that can ever get signed at any given time. Think of the amount of unsigned bands there are, then think of the amount of new artists you see in the record store bins that you have never heard of, and will probably never hear of again. It's tough enough for signed artists to get ahead let alone unsigned ones. So it is not always about you, it is more usually to do with the logistics of a given situation, economics, market forces, conflicting schedules, and so on. And with this in mind I suggest you battle on regardless. Get used to dealing with those negative sheets of paper, save them all up and when you finally get signed and hit the big time you can frame them all and decorate your bathroom!

The Pay Off For Persistence The music business lends an ear to any exceptionally talented, determined artist prepared to stick it out. The apprenticeship unfortunately is relative to the individual entering into the game. For one person this might be five years, to another, thirty. There is no rhyme or reason for it, it happens when it is meant to, if indeed it is meant to. The bottom line is, 'How much do you really want it?' If the answer is 'more than anything in the world' there is every good reason for you to eventually get it.

The problem is that the business is a very easy one to get disheartened in and eventually give up on. Some people cannot live with the insecurity, the transient trends, and a career based on hope. It's just not solid enough for most and let's face it who can blame them? The true artist however will wade through the storm and eventually find his home knowing that there is no alternate route for him. There simply is no other choice. This assurance and sheer dedication will steer the artist in the right direction, finally bringing him to the place he was always destined to be. Persistence is the key. Tenacity is a must. Patience is a virtue. Grendon Underwood is a small village outside Aylesbury in England.

Thought For The Day In Hollywood it's very important to be important. Very important to have money, Very important to be good looking with great teeth, Very important to have an equally attractive partner who's 'really going places' Very important to have a nice car, Very important to work out, Very important to know other important Hollywood types, Very important to be busy, Very important to do lunch, Very important to know where to do lunch, Very important to have portable phones, pagers and fax machines but be far too busy to speak to anyone or return their calls, Very important to have a nice house with nice things in it, Very important to have good friends you can always count on but always be too busy to see them. In essence, it is no wonder at all to me why Hollywood is populated with desperately lonely, mentally unstable, painfully neurotic, ruthlessly ambitious church-goers. (Important though they are!)