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Major Record Label Fever – Run For Your Life
Regardless of where we work as a guitarist, there comes a time when most of us dream of donning a touring coat (perhaps a cute rainbow one). Yes, most of us dream of making millions, driving fast cars, having adoring fans clamoring to see us, and traveling the world. For most people, these dreams come with the territory. It’s just natural. Furthermore, for some of us, these dreams sometimes become reality.
The music industry has undergone several changes over the past few years. This shift is the result of several factors. In short, major labels are no longer the only game in town.
Years ago, artists became frustrated with the politics of major labels. After all, the profession (back then; the 70s and 80s and most of the 90s) was considered powerful by most people. They were generally considered by many artists to be the answer to everything, so the major labels dictated how things were going to be in the music industry. From publishing, recording, promoting, distributing, licensing (and much more), the major record companies controlled nearly every aspect of the music industry. It was their way, or the highway. Unfortunately, many artists have bought into this philosophy. Especially newcomers to the music scene. Some artists have achieved success while others have been on the back burner waiting for a major label to promote them. Superstars have always received huge budgets for recording, promotion and distribution. Newcomers are forced to play in small clubs to survive.
Indie labels (independent record labels) started popping up (80s and 90s) simply because artists were tired of constantly trying to jump through the political and contractual hoops required by major labels (and yes, many other reasons). The general music population once again stood up and did something about their situation. Frankly, we should be happy for them. Thanks to this revolution, emerging artists in the music scene can now have their music heard. That is, if they are fast enough, good enough, educated enough.
We all remember the old congressional scandal involving the $35,000.00 hammer sold to the military, right? Who can forget the million dollar budget that Congress gave a company to figure out how fast ketchup came out of the bottle? We’re approaching how major labels work.
Just think, for five hundred thousand dollars, almost anyone can make an album on a major label (assuming one actually jumps through the hoops), and even get a nice coat for their tour. However, remember that all this money must be returned to the label! Their staff does not work for free. And then let’s not forget the CPAs on staff who sit on the third floor of the label company’s office in advertising, promotion, and keeping track of every dime the label spends (inflates).
Realistically, for around $50,000.00 (or less) with the right talent, producers, arrangers, engineers, promotion and other key personnel, anyone (with talent) can create a music project that rivals anything a major label can produce. Now the major (or minor, depending on your point of view) labels don’t want us to know that. Why? Because every time a talented artist stays independent and succeeds, they lose money.
Perhaps some readers think that this proposal is impossible. However, it is not impossible. In fact, it is done every day all over the world. Smart people find a way. Independent is a great word. It means self-management.
If something needs to be done, in most cases it is better to do it yourself. Waiting for someone to come along and do it for us (especially in the music industry) is a long overdue policy. This will not happen if we wait. There’s absolutely nothing a major label can do for us that we can’t do for ourselves. Yes, money is an issue. However, musical independence is very much possible, assuming sufficient knowledge, finances, and personnel are available.
Everyone’s starting point is to LEARN in the field. Learn about publishing, licensing, copyright, production, radio play, sales, promotion, and more. How can one hope to progress and succeed in the music industry if reality and legitimacy are unknown? In short, a seamless defense is the best offense!
Master everything! Copyrights, patents, songwriting and publishing rights, artwork, own production corporations, record labels, etc. Master everything lock, stock, and barrel. In the end, you’ll be so glad you did. Although it is not for everyone. Only people with great business knowledge can play at this level.
Someone sees that it’s not enough to be a great guitarist, musician, writer, etc. It needs more. More.
The next time one of us decides to drop $50,000.00 on a fancy car, remember this article. Like $50,000.00 can put us on the charts. If not, we should all be willing to do it again and again. This is how it works. Quitting is not an option! Besides, quitting smoking is the surest and fastest way to fail.
Here’s one thing to think about. If a person doesn’t have the belief, conviction, or belief in themselves as a guitarist, composer, or artist, why should anyone else? including major record labels?
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