Here's a
great article recently posted by
Apryl Peredo on
Music Think Tank that's worth reading. I don't agree with everything in the article because there are exceptions, but it's pretty much on the money for the most part.
Artist's and bands that have just recently formed sometimes get the feeling that they're the next best things to sliced bread, and maybe they are, but the "recently formed" can be a stop sign for many many labels. Apryl talked to a number of label execs and here's what she found.
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"So, what do label reps have to say when it comes to considering a band/musician? Here are some of their informational nuggets:
1. We don’t sign “newly formed” bands.
Labels do not want to sign a band that just formed last
week, last month, or even six months ago. Labels want to know that the
band has been together long enough to have developed a good working
relationship. The members can handle internal problems on their own.
They have learned each others’ quirks and know how to write music
together. Time together gives the label some intangible evidence that
the band isn’t going to break up right after signing and receiving a
possible advance.
Check a band’s bio: you will usually see that the band
was together for 5-7 years prior to being signed. The few times a band
is signed after only 1-2 years together, most
times the members were “together” longer than that as they were school or university class mates.
2. We don’t sign undeveloped bands.
Ah, the innocence of a newly formed band! “We just need
to get signed and then we can start making great music!” or “When we
get signed, then we can play some cool gigs/live shows.”
If you do not already have great (“greatness” evaluation
is subjective, of course) music written, you won’t get signed. Labels
no longer have a huge development budget, and cannot afford to sign the
garage band they heard practicing last Saturday, with the idea that
they can be developed after signing. To get signed, you need to have at
least 10 well-written original songs, already in your band’s catalog.
You need to have gotten your “live performance chops” from performing
at every bar, festival, event, and house party that will let you play.
The label hasn’t the time, desire, or money to sign you and then wait
for you to learn.
3. We don’t sign unknown bands.
What counts as “known” depends a bit on size of the
label. A major label may want to see that your band can draw at least
200 people to your shows, on a regular basis. They may want to see that
you have self-sold 10,000 units in the past 18 months. Perhaps they
want to see that you were able to get enough fan votes to get yourself
on a major “indie artist” stage at SXSW. Possibly they want to see that
your streaming music sites are getting 500 plays a week.
A sub-label or independent label may feel that you are
“known” if you can regularly draw 40 people to your shows, self-sell
500 units in a year, you got good write-ups the past 3 years running
for your excellent performances at the state fair, and you average 15
new fans each week on your reverbnation profile.
4. (a) We don’t sign people/bands we meet at parties.
One executive stated, “When I’m at a social function, I’m
at a social function. Don’t come up to me and tell me you’re in a band
and try to give me your demo. I might take it to be polite, but your
band’s name will be noted, and the demo will go in the trash can. Submit
your demo the right way.”
4. (b) We don’t sign based on oral “favors.”
Ah, it must have been great to live in the 1960s-1985!
Pretty girl with a certain skill – recording contract!! Sorry, no more –
there is no unlimited budget for signing and maintaining artists.
Labels have to sign based on music quality or the perceived saleability
of that music, not on “favors.”
Actually, I was rather surprised that this was even
mentioned, but girls still try to gain meetings, demo reviews, and
signings based on sexual favors. The two reps who brought this topic up
said that 85% of the “executives” who accept such a favor are not even
in a position to make a signing choice."
Remember that it takes time for any artist to get their act together, and in most circumstances, labels respect an artist that takes the time. Putting in your 10,000 hours really does make a difference.
Read the entire article here.
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