The ultimate prize a recording contract..II….


The last section covered how a recording deal is structured.  Please read it before reading this blog. If you don’t I guarantee that you’ll be confused.

As I mentioned in the last blog the deal is structured as a series of options. These lock the band into a consecutive series of time periods when they are bound to the label and are working on creating a set of recordings that meet their obligations laid out in their contract. I realize that sentence is pretty complex and may not make much sense without a great deal of head scratching. Let me put it another way.

A recording contract says that the band can only record for the label and no one else. This is absolute and final. There is no scenario where the label will allow the band to record tracks without the label being in absolute control of those masters. I have run into these kind of conflicts while managing bands. For example the band Miracle Legion was on tour with the Icelandic band The Sugarcubes. As is natural on a tour the bands became good friends. Soon they started to join each other on stage. The logical next step? I get a call saying that they would like to record together.

I immediately knew the problems that would come once the labels got wind of this plan. Miracle Legion was signed to Rough Trade at this time and that label, perhaps the only one in existence at the time that would allow it, I knew would work out a compromise. The Sugarcubes on the other hand, were signed to Electra. Electra, like all majors, had no capacity to compromise.

As soon as the bands brought it up I booked the time and rearranged the tour to free up a recording block. I then set about doing my best to cover up what we were doing. I started some false rumors. “Miracle Legion was leaving the tour” “There was tension based upon who was sleeping with whom” etc. All the rumors were untrue of course, but I tried to make them as plausible as possible knowing that any potentially harmful rumor would grab the label’s attention. If they were concerned about who Bjork was sleeping with they might not spend the time to notice exactly why a hole had appeared in the band’s schedule and it conveniently left both bands in New York for three days. I knew that the key was to get the bands into the studio and get the tracks cut before the label could stop them. That’s exactly what we did.

The end result was 4 wonderful songs and years of war with electra. We put the tracks out under Rough Trade and said “Sue us”. So they did. At least the fans got to hear it. The point to this little tale is that once you sign with a label they own you. What I did with the Sugarcubes was basically unheard of… no one signs with a major and then records without their approval.( well Hendrix did and Miles Davis, and a few others…) They never, ever, ever give their approval unless it is their idea.

So if you sign with a label you are their possession, their slave. If this doesn’t sit well with you then DON’T SIGN WITH A MAJOR LABEL! I am sure some of you are imagining that your stubborn son of a bitch personality will allow you to manipulate them into allowing whatever you want. This is extremely naive. They have enslaved bigger egos than yours, bet on it.

So now lets look at the second half of a recording contract the section that covers royalties and payments. This is the heart of the agreement and this is the section where the band gets screwed. Yes the first section that controls everything you do is bad but the second section where the deal outlines how the band is paid is the part that really guts the band and controls them.

The way that royalties are paid and accounted for is based upon the way records were sold long, long ago. As a result the language used and the system used can be confusing. The first thing to understand is that everything is based upon MSRP. Manufacture’s Suggested Retail Price. This is a price, agreed by the major labels and representatives of retail music chains. It is a fictional price that is somewhere near the real average price that CDs sell for on a daily basis. I have been in the business for twenty-five years and I am unsure exactly how they decide this number. I expect that I could find out more about the process but I just don’t care to. The only thing that matters is knowing what the number is. For the balance of this blog let’s just assume that the MSRP is currently $14.98. I have no idea if this is current but it doesn’t matter. The number is a basis for calculating what a band is paid.

A typical contract my say that the band will be paid 12% of MSRP. This works out to $1.80. So it appears that for each CD sold the band, the artist, you will be paid $1.80. Sounds great doesn’t it. So you sell a 100,000 CDs and get paid $180,000. Fantastic. Well it would be. It’s just that the balance of the of the language in the contract takes this simple formula and starts to alter it. So what is the real formula? Well it goes something like this……. The first thing they take off is called a “packaging deduction”. This is a fictional discount that the artist pays for to “package the CD”. ???? What the hell does that mean? Well, quite simply they are charging you for putting the CD in a jewel case and putting a booklet in the case. The standard seems to be 25% currently. So now we add this to the formula and it looks like this $14.98 x 75% =$11.24 $11.24 x 12% royalty = $1.35. So that little trick cost you $.50 of your royalty.

So now you sell those 100,000 CDs and you get paid $135,000 right? No, not so fast. It seems that the sales figures and not just a simple count of CDs sold. The first 50,000 CDs get half the normal royalty rate….What???!!! what the fuck???!! Oh yeah, don’t worry about that you’re gonna sell millions right?

So let’s look at the formula again….100,000 sales now pays $106,000. Ok still seems like you can get by on this kind of money. BUt that, of course, is not what the band is paid. The band paid the producer, 40,000 and the studio 90,000 so that money is still owed. Yes, that’s right, the fees for production and recording come out of the band’s share. Doesn’t sound fair does it? (Let’s not get all trapped in the whole “fair” thing…it’s just too complex) This little fact looks even more outrageous when you consider that the band pays for the recording sessions and producer, engineers etc but the label owns the recording. In fact even though the band is paying the producer the producer answers directly to the label. Any band that thinks otherwise will learn a quick lesson.  It might be workable if this is where the band’s debts ended but, of course, it doesn’t.  The band also pays for promotions costs. Yup, that’s the costs that the label incurs to promote the record. The band pays for radio bribes. The band pays for print advertising. The band pays for the generation of artwork. Let’s just cut to the chase—- the band pays FOR EVERYTHING THAT HAS TO DO WITH THE ALBUM!!!. Yes that’s correct. I didn’t just make it up. 

So the A & R guy flies out from LA to visit the studio while the band is cutting tracks. He stays a few days a goes back to tell the label how brilliant the band’s new tracks are….. and sure enough 18 months later the costs of the flight, the hotel he stayed out, the car he rented (and boy was it a nice one), the meals he ate and yes, that nice meal he treated the band to… they are all deducted from the band’s cut.

Here’s another possibility. The record starts to get some college airplay in the Northwest on a half-dozen college stations. The head of College promotions jumps right on this trend. He jets out to Seattle, rents a car, gets a pocketful of cash and starts to make the rounds of the radio stations. he hires as many of the music directors and program directors for these radio stations.  He pays them to put up flyers for the band on campus and more importantly on other campuses and to talk to other DJs and staff at other college stations about how they too could have this cool, lucrative job putting up flyers. As a result the band’s record climbs from 36 on the Northwest college charts to #11.  This whole little exercise costs $43,000 over the course of two months. two years later the band discovers they must pay back $43,000 before they earn any money.

Here’s another angle.  The band hears about the scheme to promote the record in the Northwest and says “hey we got a better idea. Why don’t we play in Seattle and Tacoma and Portland and Vancouver!!”  So you rent a bus and gear and travel around and play all these towns and your record goes from #36 on the college charts to #1 on the college charts. The label, orgasmic over this cosmic stroke of luck decides to celebrate. They fly a third of the staff out to Seattle for a rocking celebratory show. Here it comes… you guessed it kiddies…two years later the band discovers that their tour support, the chartered plane, the hotels, the bribes they still insisted on handing out to DJs etc. are all being paid back out of the bands cut of the royalties. It all comes to a whopping $211,000. Are you starting to see the picture here?

Let me be extremely clear about this blog and this particular topic. IF A BAND SIGNS A MAJOR LABEL CONTRACT EVERY SINGLE DIME SPENT TOWARDS MAKING THE RECORD OR PROMOTING THE RECORD OR PAYING ANYONE COMES OUT OF THE BAND’S CUT!!! As a result, unless you become Bruce Springsteen you will make nothing from recording for a major label. There is only one exception to this rule. Whoever writes the songs and controls the publishing of the songs on the record may very well make some money. Since the law demands that labels pay for the use of the songs the songwriter is the only one that gets paid consistently when a record sells.

Well that’s enough for the moment. I realize that I haven’t been posting lately so I am now back in the swing of it……….

©Brad Morrison/ Billiken Media 2010

Advertisements

Jonathan Coulton and Creative Commons copyright….


Tonight’s blog is a complete change of pace. I have started to collect opinions and comments from established artists to add to this blog.  For the moment I am creating the questions and topics and deciding which artists to ask to comment. In the future I hope that some of the questions and topics will come from you, the reader…

Tonight’s blog which is just an interlude between longer postings about the inner workings of a recording contract, introduces the changing face of copyrights in the age of the web. Anyone with some sense of vision sees that the universal distribution of knowledge, music, art, writing, all of the various elements of the web, will bring about a complete redefinition of the artist’s relationship to the commercial exploitation of his art.

Certainly the question isn’t if change is coming, rather it is where will these changes take us?

I asked Jonathan Coulton to discuss his progressive attitude towards controlling his recordings on the web. For those of you who haven’t heard of Jonathon yet he is one of the more interesting Post Guided by Voices , Lo Fi musicians breaking through the inertia  of Nirvana and programmed pop.  His songwriting combined with a generous and healthy attitude about giving everyone access to his music helped him break out and create some purely web driven hits like “Code Monkey”  and “Still Alive” (A song released as the final dirge on the underground hit video game Portal).  In short Jonathan is a talented songwriter that is comfortable with the changes that the web has offered and has altered his approach to line up his personal musical strengths with the power of the web.

I asked Jonathan a question via email while a little bit altered and completely exhausted. As a result his reply is much better than my question. Thank god for catching a break some days……….

Jonathan – your music has spread through the web, first through association with gaming programs and then through peer to peer trading. You have been a vocal advocate of “Fair Use” copyrights, rather then the “I own it and you gotta buy it model” – how has this helped you succeed and how might it help others to build connections with fans? (I intended to ask about Creative Commons copyright. Like I said I was under the influence of stupidity that night)

————————

“I’d actually say that it went the other direction, first my music spread across the web through word of mouth, and that led to my association with Valve and the song for Portal. And I think that’s a really important point – for a musician who is just starting out there is nothing more important than exposure. That’s why I released my music with a Creative Commons license that allowed people to share the music freely, and to create new works using the music, as long as those things happened in the non-commercial realm. My plan was to let the music speak for itself, to let it find my fans for me, and then figure out how to monetize whatever success I had in that effort.

 
Of course, to my surprise I started making money directly from the music before I had to figure out how to monetize it. As I went through the year-long Thing a Week project releasing a new song every week, I would post each song for free to my blog but I would also put it in my online store. I made it clear that while it was fine if you wanted to get the song for free, I was trying to make a living as a musician, so I’d prefer if you bought it. Many people chose to buy it even though they didn’t have to. Many people chose to buy it later after they had downloaded it for free and listened for a while and decided they really liked it. And later when I started touring and selling tshirts and CDs, many people came to those shows and bought the merchandise. None of that would have happened if I had kept the songs locked up tight for fear of them being “stolen.” I figured, worst case scenario a million people hear my music without paying for it – that’s actually not a terrible situation at all, in fact it’s kind of awesome.
 
So I really think that whether you agree with the details of the Creative Commons license or not, it’s important to let your music get around out there. It’s important to make the process of people discovering your music as fluid and friction-free as possible. Once you are willing to leave a little money on the table and not worry about squeezing every bit of profit out of every interaction a fan has with you and your work, you are free to do interesting and fun things. Can I use your song in a YouTube video I’m making? Sure. Can I send a copy of my favorite songs of yours to all my friends? Absolutely. A great deal of energy comes out of transactions like these, and I believe that energy can’t help but translate into actual cash somewhere down the road.”
—————————–
I’ll take a moment to expand on one comment that he makes ” to create new works using the music, as long as those things happened in the non-commercial realm”. This concept, an idea that is the core idea of a good portion of hip hop recording is the future of pop. How long before musician start to play hot potato with musical ideas and pass them around, with each contributor adding a piece and passing it on until the music itself feels undeniably finished. How compelling can a collective piece of art be?  Certainly the power of a song is amplified once you free it from the bonds of being a commercially exploited CD in the mold of music from the 1990’s.  This is one of many ideas that are coming to the surface as the web reworks how musicians succeed at rock……………………………
©Creative Commons license Brad Morrison/ Billiken Media 2010. Portions of this blog may be used in part or whole to create another work of art on the condition that any and all subsequent exploitations and copies of this work are non commercial in character and bring no monetary gain or remuneration to the third-party involved………Let art rule and rise above……………

The ultimate prize, a record deal!


Well I’ve been dancing around this topic since I started the blog 5 months ago. I haven’t written this blog for some unknown reason. It is certainly not due to lack of interest from you all. The emails and votes for a blog on a record deal have been relentless.  So now I will give in and outline the inner details of doing a deal with the devil.

Through the decades I have managed quite a few bands. Every one of them has lusted after a recording contract. After the first few contracts I developed the habit of telling all of these starry-eyed children that getting signed to a recording contract was the worst possible fate. All of them laughed. All of them ignored me. Did this bother me? No, it was just me covering my moral ass. If I hadn’t warnedthem, with what I know about recording contracts, then I would have been guilty indeed. All of the musicians I represented got what they wished for. All of them regretted it in one way or another.  In some cases it destroyed them and ruined the band. Oh well, I warned them. Now I will warn you.. [Bad Brains -Pay to cum]

Listen carefully -You do not need a record deal. You do not want a recording contract. You will be making a big mistake if you sign a recording contract. Are there exceptions to this? Yes, of course. If by some strange twist of the time space continuum you, the reader are a guy named Elvis and the guy giving you advice goes by the name of Col. Parker then ignore me. If your name is Jimi, you play a lefty strat, and the most important fact it is June 1966 in your world then go right ahead and sign anything anyone offers as long as it comes with a cash advance that is available now.  For all of the rest of you….DO NOT SIGN A MAJOR LABEL RECORDING CONTRACT!!! Is that clear?  [The Who -Dr. Jimmy]

Now I know you will all ignore me. So be it.  If you are being offered a major label deal then it is extremely important to keep in mind that any major label deal is ridiculously complex. YOU MUST HAVE A REAL LAWYER INVOLVED! That means that your uncle Taco is out of the deal. Further you should have a professional manager involved and you should be taking his advice. If you do not have a manger then contact me and I will pass along some contacts or tell you what my consulting fee would be. (I can hear the wheels turning in the minds of many of my readers. Do not attempt to fake a deal in order to get an email full of names from me. It won’t work. The first thing I will do is contact the label and confirm the basic situation. Sorry, I applaud your creative thinking though) The advice I just offered is deadly serious. If you sign a contract without the advice of a real, experienced lawyer then you will get fucked. If you don’t believe me then think about it this way. If you are offered a deal and it is negotiated by a real lawyer and a real manager you will get fucked. With this is mind what will happen to you without their advice? You will get screwed so bad that someone else will end up owning everything including the band dog, the band groupies and that beat up piece of shit guitar that you keep around because you learned to play on it.  Enough said.

Now I am not going to explain how to negotiate a recording contract, that will take a few blogs and I hope to get to that soon. Before we approach that topic I must explain how a recording contract works. For those of you taking prescription antidepressants now would be a good time to check that you have dosed yourself.

OK let’s go.  Let’s assume that a major label wants to sign you. How does something like this happen, in real terms, how does it go down?         [Bowie TVC15]

To reach this stage you will have done all the preliminaries, showcases, meetings, presspacks sent and read, managers and label dudes (and dudettes) making endless calls, rumors, fistfights, depression, elation…so now what happens?

Generally the label starts by issuing a “deal memo”. This is a letter that they send to your lawyer and manager. It is one page and it is a summary of the deal that they are about to offer. IT IS NOT A CONTRACT. It outlines the basics of the deal. That is to say it outlines the basics of the deal they would love you to sign since you haven’t negotiated with them yet. It will tell you how big the advance they will give you for the first few records. It will tell you the total length of the contract and it will outline their offer for your publishing. If they are not attempting to buy your songs then it will address how they plan to pay for the use of your songs on the records.

Your lawyer will turn this offer down and  begin to negotiate with the label.  Every young band will panic at this point and attempt to override their lawyer management team and sign the deal as first offered.  They don’t want the label to change its mind. The band has been hoping and fighting for a deal for so long they talk themselves into believing that negotiating the deal is risky and may drive off the label. Actually the opposite is true. The label expects to negotiate. It is their favorite part of the process. If the band doesn’t try to sell itself high then the label can become doubtful. If the band doesn’t know in its heart that it is the greatest band on earth then how will the fans believe it? Taking a label’s first offer is a sure-fire way to speed up the process of the label losing faith in the band.

So you negotiate with the label and finally come to an agreement. At this point the label sends multiple copies of the 60 page contract. The band sits down and signs them all in multiple places. NOW YOU ARE SIGNED. What does a deal like this say? [Velvet Underground “White Light, White Heat”]

Every record company contract is different. Every deal is different but there are many things that are common to all the deals. These are the things that count. So I will explain them in as basic a fashion as I can.  If you understand the basics of how deals like this work then you will be prepared to open your mouth in a meeting and maybe get what you want or need in a deal. This applies to both big label deals and small label deals.

Every recording contract is designed to lock the band into only recording for the label.  As a result the deal will be split into two halves, the first covering what the band must do, can do and cannot do when it comes to recording. The second half will cover how the band gets paid for its services as recording artists. In addition there may be a third section covering specific commitments to promote the records and to provide tour support.  Finally the contract may cover song publishing and include a complete publishing contract. I will not cover the details of publishing in tonight’s blog. You can check out some of what is involved in my two blogs about publishing royalties. [Yes -Close to the Edge]

Part one the section that covers how long the band is bound to the contract is always structured as a series of options.  What the hell does that mean? Well it isn’t like choosing one item from column A and two from Column B at the chinese take out. (if you have no experience with chinese take out then you are either  an underage hippie kid living at a remote commune, playing a hemp guitar, or not a musician)

The options in a recording contract work like this – the band must make the first record for the label. The label can take a god awful long time putting it out. You must wait. Once they release the recordings the clock starts to tick on the band’s option. Let’s say that it’s a one year option. This means that within one year of the album’s release the label must tell you if they would like another record from you. It is the label’s option not the band’s. It is NEVER the band’s option. [Jackson Five -I want you back] If they say that they would like to “excercise the next option” then the band makes another album.  Most major label record deals have TEN options. In practical terms this means the band is committed to the record label for up to 15 years. (California has restrictions on deals that are this burdensome so most labels use NY law to get around this anti-slavery law. Think carefully about this sentence….yes….a recording contract is a form of slavery…remember I warned you….)

Often bands will talk about getting “three records guaranteed”. This means that the label commits to exercising the first two options after the first release. In practical terms this is never true. The label can usually get out of the options by paying off a penalty. [Iggy Pop- The Passenger] If the label decides it doesn’t want to release any more records from a band, any band, they will stubbornly stick to their guns.  Even though the band may have language in their deal that states that the label must do it in practical terms this will not make them release the record. They will pay the penalties, no matter how large, and move on. Even a sizable non-release penalty payment is cheaper than releasing a full-scale release. When you add in the fact that an unwanted release would require lots of staff time, time that could be spent on a record the label is excited about, then you can start to see why they do this.

So a contract that guarantees three albums will be released doesn’t mean three albums will be released. What does it mean? Well it shows that the label was enthusiastic enough when they signed the deal to commit serious money to the project of developing the band.  So deals like this primarily measure how committed and excited the label was about the band during the negotiation process and little more. All bands and all labels rise and fall in their enthusiasm and this affects the way albums are promoted.

Now we’ve established that the contract revolves around options and that options are set to certain time periods and all of this is nailed down to the concept of  a “record”. This concept is certainly being tested in the modern market. Bands no longer go into the studio and put together a 10 song, 34 minute vinyl LP (the standard from 1967 ’til 1987) nor do bands go into the studio and put together a 12-14 song , 45 minute Compact disc (the standard from 1987 ’til 2003). I think we can also rule out the old school idea that bands go into a studio and cut two tracks which are turned into a single.

 [Mission of Burma “Academy Fight Song”]

The current environment is one of changing standards where bands are releasing individual tracks as downloads, collections of varying lengths in every format they can concoct and in the near future streaming the live creation of recorded music through peer to peer networks. [Bad Brains “Banned in DC”]

Despite the state of chaos and the coming changes labels seem to be sticking to locking a band’s output into the concept of albums and collections of songs. [Deep Purple “Pictures of Home”]. No matter how a contract is structured all of the band’s recorded output will be controlled by the label for the duration of the contract. If a contract did not accomplish this there would be no reason for the label to enter into the deal.  In short the band will only record for the label and every single note put to tape during the contract will be owned by the label.

In this section of the deal the contract will also cover who controls the different aspects of creativity. Here’s a short list of things that will be covered.

1. Who’s songs are going to be recorded?  Are there going to be any Bob Dylan songs? Is a ghost songwriter going to be employed? Can the label force songs on the band? Often the label will require the band to submit demos and then the label will pick out the tracks to be recorded. Sometimes the selection will be by mutual agreement. When the deal is structured in this manner the band will discover that it is very hard to win an argument on song selection with the label.

[Bob Marley “Crisis”]

2. Who will produce the recordings? Here is another case where the label will demand complete control. For all bands without a hit the label will use the producer to control the band and micromanage the band’s recordings. Once again if the band gets the label to agree to a situation where the producer is agreed by both sides then the band will have a great deal of trouble over ruling the label. [Love “Live and Let Live”] In many cases a band will attempt to be self producing. That is to say they want to make their own records and do their own tracking, mixing and editing with the help of a buddy who is an engineer. This kind of provision is very hard to get from a label for the simple reason that all major labels know that this is an extremely bad idea for any new band. The label knows that the band has no experience creating a record that will compete sonically on the radio. If the band makes this point a do or die point of negotiation the label will act as if they are giving in and just demand more flexibility to remix. Then under the cover of darkness they will “remix” the record by tearing it to pieces and producing the product they wanted all along. [Rolliing Stones “Sympathy for the Devil”]

3. The budgets for recording of each optional record. The language that covers the recording budgets will name maximums that the label is willing to put up for recording. They will often include language that allows the label to exceed these numbers but only with the written permission of the label.

4. The budget for the total amount of money to be advanced to the band. This will be a large sum which will include many smaller sums like recording budget, tour support, personal advances to band members, allowances for gear purchases etc. [Santana “Black Magic Woman”]

5 Budgets and maximum allowances of money to pay producers. Once again these sums will be controlled solely by the label. In general the producer will be paid an advance payment which will be part of the money that he will earn when the record sells. THIS MONEY AND THE ROYALTY POINTS COMES OUT OF THE BAND’S SHARE!

6. Allowances and advances set aside for the band’s manager. This amount is usually negotiated by the manager as he works out the deal. This is a blatant conflict of interest on the part of the manager and is, as a result, standard practice in the music business.

There are other items that are often included in the first section of a recording contract. I’m certain I am forgetting a few but it doesn’t really matter. What is extremely important to understand is that the number of options, the guarantee of options, the total contract length will all determine how long you may be locked into a label.

When a label is courting a band they will be the most charming, supportive, understanding, coolest people who you have ever met. This view will change once you begin to work with the label to create your first album. I promise that any label will be much less attractive once the deal is over. Always keep this in mind.

 Without exception the area of the contract that covers options and budgets is the part that gets a band licking their greasy chops. It is very easy for these numbers to add up to over a million dollars for the first option.  This is what lures the band in and gets them to sign.[Beatles- 8 days a week]

Now here is the fact that puts all of this in the proper perspective. Everything that is done to create, manufacture and promote the record, everything that is done to pay off the business, all of the advertising, all of the advances , all of the tour support, all of the gear allowances, all of the catered food and press events, all of the plane tickets given to writers, all of the cash put up to print up t shirts, everything in every possible way that is paid for by the label ultimately comes out of the band’s cut of money. Go back and read that again. What does this mean? EVERYTHING DONE TO MAKE THE RECORD AND PROMOTE IT IS PAID FOR BY THE BAND OUT OF THEIR ROYALTIES!!!

Think about this fact. It the fundamental truth about record deals. The band pays for everything out of the royalties that the band MIGHT receive.  As a result of this the way a recording contract is structured the average musician in a successful band will not only make no money from making records they will spend years OWING THE LABEL MONEY!!!

[Grand Funk “I’m your captain”]

I will explain how this works in the next installment when I cover royalty payments.  Let me close by saying that it often works out like this :

Producer $50,000

Recording Studio $200,000

Engineers $75,000

Manager  $140,000

Each crew member $12,000

remix engineer $40,000

Mastering studio $20,000

Band member $7500 and a new guitar, amp and a few pedals

Ask yourself do you want to give the best you’ve got to give, perhaps the best you will ever give since you are in your prime, in return for $7500, a new guitar and amp and a year’s worth of crappy catered food as you make an album?

[Gang of Four “Anthrax]

©Brad Morrison/Billiken Media 2010

It’s all about being famous again…..


For those of you that are following along rather than just reading random postings tonight’s blog strays from the promised path. I will get to beating up Reader Oliver in the next blog. For the moment I will take a moment out to revisit the original post, “it’s all about being famous”. This is the most popular posting on my blog. Night after night it gets the most hits. I suspect that this is the result of being the first “lesson”. It may be that another factor is that it is the most important point I make in this blog.

There is no question that this concept has been debated heavily through the years. Once again I am going to come down on the rock star side of things and say it really is all about being famous.  If you would like to putter around in obscurity then please don’t read my blog. This isn’t a value judgement, well, maybe it is a bit of a value judgement but it isn’t a monumental denunciation from moral high ground. There is music made at all levels of fame and success and it is all valid. That’s not what this blog is about. instead this blog is designed to be a lecture series for those of you that want to make it big with your band.

Making it big, becoming famous, getting a hit, breaking through whatever you choose to call it is not just luck. There is certainly luck involved in making it but luck doesn’t rule the game. Instead the proper attitude, actions and philosophies allow some people to weight the luck in their favor.

My five-year old son loves the song “Hey Jude”. He lives in a home without TV. He lives in a home that is saturated with music. He has never questioned this he just accepts it. He is, after all, five. Out of the constant pastiche that flows around him he has picked “Hey Jude”. What can I say, the kid knows a hit.

This morning as I dropped him off at his preschool he suddenly decided to explain some of the details of his school life.

“Mr. Ben sometimes plays us songs on his ipod. He has the song Hey Jude but its the song without the singing and only the piano. I told him that no one could love the kind of Hey Jude without the singing!”

What is my son seeing here? He recognizes that an instrumental cover version of the massively famous song “Hey Jude” is a pale shadow, a retarded Doppelganger, a fading echo of something that is rightly  famous for its beauty and magic. Do you want to spend time with the freakishly robotic cover version of the music that defines your favorite bands? Of course not. You want the real thing. So does my son.

There are many ways to define fame and influence in music. I certainly have spent many hours listening to obscure yet influential music. This is one level of fame. It is the level of notoriety that resides on the side of hipness and art. Many of the questions and emails I have received revolve around musicians wrestling with the worry about becoming some kind of robotic boy band nightmare in exchange for fame.  This is a false concern. For most of my readers the possibility that this is your route to the top is slim. Instead the majority of sacrifices and conflicts lie in the realm of understanding that the path to the top involves mastering the craft of showmanship.  PT Barnum, Andy Warhol, David Bowie, The Sex Pistols, David Blaine, KeithRichard, The Grateful Dead are all the same from the viewpoint I am trying to teach. When you look at the list did you recognize every name? Why’s that? Simple they are all master showman.

When I signed the Figgs to Imago I set about creating an aura around them. I signed them to a big booking agency and I told the agent that I wanted to the band to do a tour that would go on, and on and on and hit every little town and every mom and pop venue.  The label, of course, loved this idea. The agent thought it was overkill.  I wanted to do it for a reason that none of the people involved except for the band and I understood.

When the tour was booked it ended up being 147 dates in a row with just a few breaks. The band were young enough and dumb enough to do it. When they finished they looked, acted and played like they were five years older.  This was a bonus. As they got ready for the next journey onto the road I printed up a shirt – on the front was a drawing of a van gripping the world in its arms and the words The Figgs, on the back was a list of 147 dates in small type and the words “The Giggs”. Towards the end of the list on the texas date for the club Goats Head Soup the date was listed as “Burnt Down!”. It just happened that the band pulled up to sound check to find the club on fire.

Why did I do this? I , of course, was after fame for the band. That was my job. I decided that I wanted them to be known as the hardest working band in rock. As the band prepped to go out on the Van’s Warped Tour I had the record company calling every human on their list and dropping the words “the hardest working band in America” in every conversation. I would answer their incoming calls with “The hardest working band in rock!”. Three months of this stupidity and everyone else was saying it too.

Remember that with your music no one has decided what to say about it. Often you have the opportunity to put some of the words in their mouth. Ask yourself “What would be the ideal thing to be famous for?”. You certainly could pick “the band with the biggest cocks!’ (as long as Zeppelin isn’t touring). You can pick to skip it. In that case you better be happy with whatever the press wants to tag you with. My two decades of experience with this kind of thing tells me that if you aren’t  crafting your band’s image then you will likely end up with nothing.

I recently read a review of the Figgs from a live gig. The writer was about twenty. He used the phrase the hardest working band in rock twice. The band hasn’t  used that in their press pack in years but it follows them nonetheless. I can think of worse tag lines……

©Brad Morrison/Billiken Media 2010

Let’s all beat up a demo!!!


The title of this blog takes a small liberty. I am going to commit all of the beatdown. You, the reader just get to play along and, perhaps, add a pithy comment after you have absorbed my mystical wisdom.  I have been threatening for over a month now to take one or two of the submitted demos and critique them publically. Now I will make good on that threat. Tonight’s blog will be about a demo from the band Spiral Jetty Club. The next blog will cover a demo from Oliver of Melbourne Australia. I belive that is on the other side of the earth from New york. Since I haven’t visited Melbourne there is a good chance, as far as I am concerned, that it is mythical, like nirvana. Oliver may be some kind of Unicorn/hobbit creature for all I know.  Well, in the world of how to succeed at rock even hobbit/troll/fairy bands need to make great demos so OLiver is gonna get his nosebleed next week. This week, as I have just said, the honors go to Spiral Jetty Club.

Queen of Coincidence

Here’s their submission “Queen of Coincidence”. Give it a listen, not once but twice.

Here’s a link to a page with the song’s lyrics.  Are lyrics important? Hell yes, they are important.  Can you have a hit without lyrical talent? Yes, Huey Lewis and the News proved that point in the most mundane fashion possible. Led Zeppelin also wrote some monumentally crappy lyrics as well. At least they, unlike Huey Lewis, dressed cool. 

So here is my first take. I’ll throw in all the good stuff. Decent tune. The woman singing lead (perhaps it’s a ladyboy but I’ll go with woman for simplicity) can sing. She has a classic post nirvana cute girl persona. It works well with the material. The demo is simple acoustic and keyboards. It has a simple, straightforward arrangement Verse — 1/2 Chorus,Verse !/2Chorus, Full Chorus x 2, Bridge, 1/2 chorus, Full Chorus…..Cute ending. The keyboard textures fit and fill out the song. The lyrics based on the romantic notion of chance and meeting the right guy are cleverly built and conclude, as expected, with a note of hope.  As a song it is pop, has a decent hook and an interesting sound……….

If I was listening to this recording from the standpoint of production I would say that it works well as a production demo, something to build on and a good starting point. As a demo to send to a label I doubt if it will seriously interest an A & R person much less land the band a deal.  First it has a catchy hook but doesn’t sound like a hands down hit. Labels want every song to be a hit. This, of course, is impossible but they want it anyway.  The performance and writing fails to set the band out from the background of thousands of competent writers with decent singing voices. It takes no chances. It sounds like many other things that every label has heard. Labels want unique, compelling, hits.

To start with the song could modulate up a whole tone half way through the song to build tension. Her vocal performance could go from calm and studied to frantic and desperate or weird and disturbed.  At no point does the song offer any surprises or hooks that shake your soul.  Hard to do in a simple demo? Sorry but that is just not true. Listen to Beatles rough demos. Listen to Pete Townsend demos. Listen to the demos of almost any hit and you can hear some magic. It’s in there from the beginning. This song has a long way to go but a serious rewrite, taking the basic ideas and developing them to throw in some surprises and a few hints of great performance and the song will be closer to a real, pro demo.  The singer, Caylin Sanders has talent. She obviously knows how to write. Does she know how to rewrite? Does she know how to arrange a song in a way that isn’t tied to the first arrangement that the band stumbles onto? Can she recut the vocal so that it really comes across as  person looking for something and wondering if they found it? Music must have emotional content to communicate with the listener. This track ends up being pleasant.  Do you think pleasant lands a band a deal?

The song tries to pull you in in the beginning. It comes close but the arrangement offers up no tricks to ensure that the listener stays tuned. This is key to hooking an A & R person. By the time you reach the chorus the A & R person should be praying that the chorus is as great or greater than the verse was. Does this song reach that goal. No.

I encourage all of you to post comments with additional criticism. If all you can come up with is that it does rock like your favorite headbangers then skip adding your voice to the blog. I’ll just delete you anyway. Instead your comments should be designed to help the band make the track better. The best way to learn is to teach others…when you can do that then you will be on your way to succeeding at rock.

©Brad Morrison/Billiken Media 2010

Queen of Coincidence © Spiral Jetty Club

Demos and the fine art of getting it down on tape………


About a month ago I ran a posting asking people to send in their demos. As I mentioned in that posting the idea was for me to criticize the demos in an effort to teach you, the reader, something about songwriting and recording. I got quite few submissions and, in general, there was some good stuff. Nonetheless I intend to kick the stuffing out of the songs I have picked. I am not doin’ this to discourage the musicians that were brave enough to go through this process. Instead I am going to give you an idea of how tapes are torn up by label people and producers.

As I mentioned in one of my earlier blogs almost everyone in the music business can come up with one solid criticism of anything they hear and that is that whatever it is, no matter how good or bad, it would have benefited greatly if the person doing the talking had been involved in its creation.  The music business is full of people who are firmly convinced that they know everything there is to know about writing songs, recording music and turning that music into a mega popular world-wide hit.  In the few cases were I have seen this actually happen it usually results in something like “The Witch Doctor Song” as sung by Alvin and the Chipmunks or the Macarena. It is useful to remember that very few of these people actually have any talent. If they did they would be musicians. During the Golden Age of record companies there were A & R people who really knew their stuff. There are even a few of them alive now. ( I’ll mention Joe McEwan and leave it at that…Hi Joe..How’s the wife?)( I should also admit that this whole blog is based on the premise that I know something about writing songs, recording songs and creating hits. At least I have succeeded in all three activities so there is a chance I am qualified)

Sadly, if you are determined to be involved with a large label then you will end up dealing with dullards, power mad gay hobbits, Human version of Jabba the Hut and slimey limey Simon Cowell types. You may even get lucky and find yourself attached to one of the people in the business that understand that it is a business but at its heart it’s about music. Good luck.

Tonight’s blog is not going to actually get around to presenting some music and then pulling it apart. In order to reach that point I must talk about what demos do and don’t do for a band. I must also address some of the stupid misconceptions about demos.

The first grand misconception..”In order for a demo to be effective you’ve gotta break the bank and spend as much as you can on recording and producing it”. This is completely untrue. I suspect that this fallacy is kept alive by studio owners and indy producers that make serious coin when they run into a band with a rich daddy that will pay the bills. The truth is that the value of a demo is determined by the quality of the songwriting and the fire in the belly of the band that cuts the track. It’s that simple. Good recording, bad recording, 24 track digital, two-track kids cassette deck it doesn’t matter.  If you can’t hear the song, if you can’t really hear the band then that’s a lousy demo. If the band spends lots of money and time recording a demo they will get nothing other than a lesson. The lesson will end up being that it was a waste of time and money.

Second misconception “The formula for a demo is ____________. ” I’ve heard many things used to fill in the blank. “It’s gotta be just three songs” “It should be two upbeat songs and a ballad” “It needs to have a hundred-dollar bill and a gram of coke tucked into the CD sleeve” . This last one might actually get you the attention of the kind of record executive that will spend your whole recording budget on coke.  Truth is there is no formula. Demos shouldn’t be really long since it will never get listened to all the way through.  Demos should consist of a few great songs with enough material to show exactly what a band sounds like.

Third Misconception – ” A great demo will start a bidding war and land a deal overnight” I’ve heard this one ever since I entered the music business in 1978. That’s …hmm let me think…32 years ago. In all of that time I have never met a band signed as a result of a demo. I think that ends that rumor.  The way that a band gets signed is a result of many factors adding up. This has to be matched by having contacts and interested people working for you. When you put great shows, great songs, great demos, popularity (the most important factor), buzz, press attention together with a network of people who know about you , you end up with a recording contract.

In short your demo can have things about it that sucks but if the band is great that should shine through. If, as is usually the case, the band is just OK, perhaps good in some ways and not so good in others, then you will not get a deal due to those factors and the demo will just show other people the band’s weaknesses.

So now we reach the question “What do record companies do with demos? Who listens to them? How do I get them listened to?” These are all part of the same subject.

All of the major record labels do not accept unsolicited demos. Why do they do this? Why are they so mean? It’s simple really. They believe that any band that is worth listening to will have people promoting them. They will have a manager or a lawyer or they will have devoted fan that IS IN THE MUSIC BUSINESS. They believe this because it is true.  Promoters, agents, managers, producers, lawyers, road managers, film makers, DJs, studio engineers etc. all have their ears open for a great band. These people insulate the major labels from the mountain of demos that are not worth listening to. All of these characters have their ears open in an effort to find the band first and get onboard to make some money as the band succeeds.  Many musicians have a problem with this concept. They view all of these people as parasites. This is a stupid, self-destructive attitude. These people are not parasites they are symbiotes. What does that mean? It means that they do not feed off of the band and bleed the band and weaken the band, no, instead they work alongside the band and help them succeed. They teach the band the craft of being rock stars and the tricks of the trade. They produce and promote records. In general the further a person is from the major labels the greater the native talent they need to survive. An independent producer must search out and discover band after band and then convince them to let him produce a record. Then promote this recording. These are all valuable services for the band.

Now I can hear a certain number of you out there saying “Not me, I’m the next demigod of rock and no one knows it. All I need to do is walk on stage and the world will crawl to my feet.” Gee I hope that is true, for your sake. Even if you are Loki, the god of the underworld, you need to learn how to put on a great show and how to arrange your songs. You need to learn how to record. You need to learn how to talk to a writer and how to do a radio interview without sounding like Bozo the Clown.

So now that you know that you can’t just send in your demo – why should you make a demo? Well, you need the demo to get the other characters interested. You need to make a cheap, dirty beginners demo to turn on a producer or engineer. This allows you to make a better demo that ends up getting you a lawyer and catches the ear of a booking agent that will pick you up as your audience starts to grow.  This gets you to a label that finances some development demos that lands you a publishing deal….Are you starting to see the sequence?

So let’s go back to demos and the major labels. I will take the time to answer a few basic questions just to get them out of the way.

“How do I get them listened to?” Demos that make it to an A & R department of a major label get there by being passed on by an established manager, lawyer, producer or booking agent.  They are the gatekeepers. The status of the person that submits the demo determines who will listen to it.  For example I managed three different acts on Columbia records at one time. The PResident of Columbia was (and I think still is) Don Ienner. Don and I have met professionally many times. We’ve met to discuss promoting my acts, releasing various items from these acts, coordinating tours of these acts etc. If I were to call him he would pick up the phone. He would do this for two reasons. First he knows me professionally and respects the fact that I manage bands that have enough clout and status to be signed to Columbia. Second he knows from his experience with me that I only call people when I have something concrete to talk to them about. He also knows that whatever I want to talk to him about WILL LIKELY BE ADVANTAGEOUS TO HIM AND COLUMBIA. This is an important point. Always call people with something that might help them. This will make your phone calls wanted rather than an annoyance.

If I were to call Don Ienner and ask him to listen to a tape he would tell the VP of A & R to listen to the tape and give him his opinion. Then, if that opinion was favorable he would listen to it and call me up with a reaction.  If the music seemed like something Columbia might want he would suggest a showcase and ask questions like “Are you planning on managing or producing?” You might be surprised to know that, although I have known Don Ienner since 1988 I have only called him about a tape twice.  Why? Because I have only found two occasions where I was in the position to pitch him a tape that fit with Columbia’s interests and I had the job of pitching the band. In both cases Columbia did not offer the band a deal. Since one of the bands was the band Phish and they went on to be one of the biggest bands of the 1990’s I expect that the next time I call him he will listen to whatever I send him.

Let us compare that scenario with a different, fictional one to help explain how the system works. Let’s say that a junior lawyer at an Entertainment Law Firm in Minneapolis,MN calls Columbia to pitch a tape.  Columbia will take him seriously since he is a professional and is in the business. They will probably tell him that someone will call him back. This call will get routed to an A & R co-ordinator. This is a person in the A & R department that works out all kinds of things like flights for A & R staff, showcase arrangements and, as in this case, calls from unknown law firms and managers. They won’t ignore the call. What if this band turns out to be the next Phish? Every major label is haunted by stories of how they turned down an artist that went on to fame. As a result they try to at least chalk up a rejection for everything that someone in the business shops to them.

In this case the A & R co-ordinator will pass on the contact to a junior A & R guy. He will call the lawyer, listen to the pitch and tell the lawyer to send in the tape. He then lists the tape in the incoming demo log. He is supposed to listen to the tape shortly after it arrives. Unfortunately he may make ten calls like this every day. The stack of unlistened to tapes grows and grows. As it does he pushes his boss to let him hire a “listener”. This is a person, usually an intern that gets cheap wages to listen to mountains of tapes. For each tape he writes a little blurb and rates it. He may get to pick out three or four as his favorites which the Junior A & R guy will then listen to.

So, it’s obvious that your chances of getting a deal through the junior lawyer in Minneapolis are slim. Even if the tape does get someone interested this is just the beginning of a long process with showcases, various demos and finally the word that they are gonna pass.  During that time you can grow old and die. NEVER WAIT TO GET SIGNED!!! It’s fine to pursue getting a deal but  never put of making records and playing live while waiting to get signed. This is a common and deadly mistake.

Next blog I will post two demos, one from the band Spiral Jetty Club and the other from the ever-present reader Oliver from Australia. I will then pull them apart and tell you how a label would view them, how a manager might view them and how a producer would hear them so stay tuned…………………………………………….

What’s so great about a recording contract?


[If you like this post please “Digg it”]

We live in the age of the death of record companies. They may not know it. You may not know it but retailers do and many, many artist mangers are fully aware that the end has already come for the mega star record companies that ruled the music world from the 1920’s until 2001.

In 1999 I was retired from managing and owning a label and was living on my royalties. It wasn’t a huge income, I have never been rich but twenty-five years of managing and producing had set me up to retire. I had invested in musical copyrights. That means I owned lots of recordings, or parts of recordings.  Like most people I had worked hard and earned some time off. By 2002 my income from royalties had evaporated. The age of the file trader had come.  I am not relating this story to get sympathy. I am telling you this so that you can understand the magnitude of the changes that we are living through. People are  no longer willing to pay for recorded music. Let me rephrase that, people are no longer willing to pay Major label prices for music. Instead they will pay for music when convenance and connection with the band’s aura can be balanced against money. Let me rephrase that,  price your full length record at 5.99 with artwork or as a download, make the music amazing and you may just redefine the concept of the gold record.

This brings me to the general subject of recording contracts.  I have quite a bit of experience with these kinds of contracts and relationships. In 1993 I was managing The Figgs, an upstate New York band amongst other acts. They were extremely young and, of course, extremely ambitious. They wanted to be rock stars nothing less. In point of fact, they were rock stars, they had everything you wanted in a rock star and enough left over to produce other rock star’s records. Great band, nice guys, at least in the beginning.  They wanted to get signed to a major label. They wanted it bad. I warned them repeatedly that they didn’t have a clue what getting signed would do to them and it might very well destroy their music and destroy the band. Being young, wanna be rock stars they listened and didn’t hear a word.

I produced and released a single for them . We produced some indy sounding tracks and released them on lo fi cassettes. I booked them into places they only dreamed of playing. They learned faster than I could teach them. I filled out their musical knowledge, taught them a ton of studio tricks and got them lots of stage time so they could work up a show. (always remember you are putting on a show…if you’re not then stay home and play guitar hero on your couch..) In the late summer of ’93 (I think, it’s all a little hazy now) they moved into my house for a couple of months to record a real record. They spent their days smoking bongs, watching planet of the apes movies, playing under the covers with various female fans and eating my cooking.  Every night when the sun went down we went into my studio, Morrison Hotel, and cut tracks.  They were fuckin’ smokin’! I’ve recorded lots or sessions. thousands of hours of sessions and I gotta tell you these kids were burning it up.

We had a few rented pieces of nice gear, a couple of mics, a mic pre and a few compressors. I was recording everything to 16trk 1″ tape at 15ips. This may mean nothing to you but I’ll translate–we were laying down big, fat, rocking tracks. Whenever I hit playback the speakers almost melted. After we recorded about 25 tracks they cornered me and demanded to know when I was going to get them a record deal.  I repeated my warning about record labels. They basically told me to go fuck myself. Then I knew they were ready. If I hadn’t done it to them they would have dumped me and found some sleaze ball that didn’t give a damn about their music to do it. There was no doubt they would get a deal.

We were mixing the record down. It was tentatively called “Waiting for the Bugasaurus”. We had pared the tracks down to 15 and come up with a sequence. It was going to be a fantastic indy record. It would make them. I had tons of contacts in the indy record world and we could find a home with a cool, well-connected label. Maybe start with an English release then get the record played on every college station. Everything was in place.

I talked to the band about labels and tried, in vain, to warn them for the last time. They demanded a major label deal ignoring all of my warnings and logic. I made two calls and set up a showcase at SIR studios in Manhattan. The band played a set for a major label A & R guy. Halfway through the set he phoned the label owner and told him he found the label’s next big signing. For the story of how they met the label owner and got offered a deal see my first blog “It’s all about being famous”. This evenings blog is about what went wrong.

The Figgs signed with Imago Records. Now let’s pause for a moment and remember that the band has a great album done, it just needs to be mixed. Now the band has to deal with an imbecile A & R guy that knows nothing about music. He listens to the unmixed record and hears one major problem. Even though he listens very carefully, through an extremely expensive stereo at ear shattering volume he just can’t hear enough of HIS OPINION in the record. As a result it just sounds flat to him. So he immediately demands that the band rerecord the record. Then he demands that we use his sequence. When one of the band members points out that he sequenced the record with the first 5 songs in the key of D, one after the other, he looks at them like a dog watching a Fellini movie and says ” Tell the engineer to change the key of the songs in the mixes so that it’s not a problem anymore” . Now the band wants him dead.  

Of course the album is rerecorded and remixed. It does well but the label does not. The label folds in the middle of their second guaranteed album. So The Figgs move to Capitol Records, following the same A & R troglodyte. At the new, bigger label they are much smaller fish compared to the bands the label is making money off of.  Whole departments of Capitol Records listen to demos and rough tapes of the album that is in the works and come to the conclusion that the band is utterly lacking these departments opinions and should start over. The art department wants to change the name of the record. The radio promotions department wants to change the band’s idea for artwork. The distribution department wants the band to reschedule the release for 16 months from now when they are certain they will not be busy since they operate on a 15 month in the future calendar. The band gets stoned one night and decides that the most important thing to argue about with the label is what color the paper label of the band’s vinyl release will be even though vinyl is only 1% of the sales at this point in history. 9 Months later they release an album with the original title “Bando Macho” (an inside joke so it means nothing to the fans), Artwork that they never approved and makes no sense, a really cool rear cover photo which was the only thing the band did. They get their special colored label on the vinyl release and the label immediately drops them. The fact that they battled to a standstill with the label president over the color of the vinyl record’s label certainly contributed to his decision to drop them despite their guarantee of three records.

This illustrates many of the problems that come with every recording contract with a large label.  I can’t even claim that it only happens to smaller bands that have no clout with the labels. Phish signed with Electra when they were well on their way to being a stadium act. Electra treated them like crap.  For example, the band wanted to get some play for its videos. So their manager put pressure on the label to get them some attention at MTV.  Did the band get medium rotation? No. Did they get a few plays on the alternative video show? No. Instead they got an offer to be the house band for a pilot for a children’s show! The label even argued that they should be thankful since the show would pay each member a regular salary of $800 a week for the 13 week run if the show got picked up. Phish turned down the offer and were angry. The label was mystified. Perhaps the fact that the band was routinely selling out theaters and earning $100,000 a night had something to do with it.

Now let me touch on another point about recording contracts. It is a point that I will expand into a complete blog at a later date. Recording contracts are set up in a way that all the benefits go to the label while all the risk is the band’s. The band pays for everything but the label ends up owning it. The band pays for everything but the label decides everything that is important. Even with the advice of a talented knowledgable lawyer the band ends up signing a deal that largely is a massive con job. Why would any band do this? The labels control the gateway to fame. Once an artist becomes famous the relationship becomes a battle with the band winning sometimes and the label winning sometimes.  Fortunately for everyone reading this blog, the earth has opened up and swallowed the record labels. It couldn’t have happened to a nicer bunch of guys.

In the post web world the labels no longer hold all the cards nor do they control the keys to fame. The only traditional system that the labels still control is commercial radio. There is even light at the end of that tunnel since radio is in a confused desperate period. They have no idea what to program and the cracks have appeared under their feet – satellite radio, web radio, podcasts and many more trends have begun to destabilize commercial radio.  So the last of the Major label strangleholds is on the way out.  Where does this leave the record labels?

It leaves them stripped down to what they have always been, marketing companies. For decades the labels have argued that they were powerhouse artist development machines, starmakers (not to be confused with star fuckers!), distribution geniuses and creators of musical trends. Little of this bragging has been true. Certainly a label like Blue Note helped popularize certain jazz trends and Rough Trade/4Ad rewrote the rise of post punk. Dischord defined hardcore and rap, hell the rap labels have tattooed numerous street trends on multiple generations of kids but in the end they are just marketing companies. They don’t make great records they promote great records.

Now, with the web you too can promote great records. This blog proves it. In the nineties, your access to the advice of an experienced manager/label owner would depend solely on your connections. Now it depends on your broadband connection. So in the 21st century learning to be a rock star on a web blog is one of the magical ways to succeed at rock………….

©Brad Morrison/Billiken Media 2010     Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited.                     ZMVTCS8QHAVF