Advices on approaching record labels…

zorrow

zorrow

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I am doing the production of a demo for a fellow band. I am almost done with the mastering and the album artwork. I will print a small run of CD's and then I will sell some via eBay, CD Baby or whatever... I will also send a couple of copies to some sites for reviewing. Nevertheless, I need some advice on how to approach record labels with this demo. I mean, what would be the typical call you would receive when a record label gets interested on your band? Which are the steps from then on? An audition, and then signing? How should I negotiate a contract for the band? What would be a reasonably good offer? Which are the points I should be aware of? How band label contracts are done? -- on an individual basis (per band member) or with the band as a whole?

Sorry for my ignorance, but I've never played professionally, so I know nothing about all this. I don't even know if I should create a company to manage the band. Any help on this, please? I will appreciate the personal stories from those who have lived the experience. Or well, can you at least point me to some resources (books, web sites) to learn more about the subject?

Thanks zillion times in advance,

Zorrow

 
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I know of no record label above the most bare-bones indie that accepts unsolicited demos. Getting an A&R person to take a cold call from Joe Schmo is next to impossible, so don't waste your time doing that either.

Better (and easier) to get your stuff to a connected agent, entertainment lawyer or someone like that first. My old band did a showcase for some labels in NYC that was set up by our lawyer who knew people at each of those labels. An A&R chick from Universal took us out to lunch the next day; unfortunately it was to tell us they weren't interested, not even in a development deal.

 
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i've heard that nowadays you need to move tens of thousands of units on your own before major labels will even look at you. they want a fanbase to build upon, the days of signing unknowns to a major labels (& most big indys) is history. of course, if your selling that many cd's (plus t shirts) on your own, you'd make more money NOT signing with a major. last time i spoke w/ jason (cry of love), they were in big debt to columbia records, and they'd sold probably several hundred thousand cd's.

 
Brooks said:
i've heard that nowadays you need to move tens of thousands of units on your own before major labels will even look at you. they want a fanbase to build upon, the days of signing unknowns to a major labels (& most big indys) is history. of course, if your selling that many cd's (plus t shirts) on your own, you'd make more money NOT signing with a major. last time i spoke w/ jason (cry of love), they were in big debt to columbia records, and they'd sold probably several hundred thousand cd's.
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Not true. Some friends and bandmates got a deal with Universal last year and they definitely didn't move tens of thousands of units on their own or even through their indie label. They ended up with a top 20 hit, an MTV TV show theme song, a video that got a little bit of MTV airplay, their song on NOW that's what I call Music 2,097, a performance on Regis and Kathy Lee, their song covered by a country artist who played it on The Today Show (which sucked for my friends) etc....... Frankly, the folks from the indie label did all the work and I don't know that Universal did them a whole lot of good. They're working on their second album which will come out on the indie label. I hope that works out for them. Majors aren't necessarily better.

 
Doing it on my own is probably too hard. I would have to invest some big bucks to get the machine up and running, and I am not sure I want to eat the risky part of the story. The band members have no money at all, because they are based in Cuba, so I'll have to be the $-man in this case -- I guess you get the idea now. So, I would prefer contacting an indie label and negotiating with them a contract so we get a budget to record, some touring (as openers for now) and some little royalties for the sales. A contract for two or three albums in a period going from two to four years, I guess that's what we would be able to get at this point. During that time we'll build a bigger fanbase and will get ready to negotiate for something better -- or jumping to a bigger label.

BTW, thanks for the link. That book looks good.

 
zorrow said:
Doing it on my own is probably too hard. I would have to invest some big bucks to get the machine up and running, and I am not sure I want to eat the risky part of the story. The band members have no money at all, because they are based in Cuba, so I'll have to be the $-man in this case -- I guess you get the idea now. So, I would prefer contacting an indie label and negotiating with them a contract so we get a budget to record, some touring (as openers for now) and some little royalties for the sales. A contract for two or three albums in a period going from two to four years, I guess that's what we would be able to get at this point. During that time we'll build a bigger fanbase and will get ready to negotiate for something better -- or jumping to a bigger label.

BTW, thanks for the link. That book looks good.
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You kinda have your head in the clouds, man. If you can pull that off, you should write a book.

Hope your tolerance for rejection is higher than your tolerance for risk.

 
MCChris said:
zorrow said:
Doing it on my own is probably too hard. I would have to invest some big bucks to get the machine up and running, and I am not sure I want to eat the risky part of the story. The band members have no money at all, because they are based in Cuba, so I'll have to be the $-man in this case -- I guess you get the idea now. So, I would prefer contacting an indie label and negotiating with them a contract so we get a budget to record, some touring (as openers for now) and some little royalties for the sales. A contract for two or three albums in a period going from two to four years, I guess that's what we would be able to get at this point. During that time we'll build a bigger fanbase and will get ready to negotiate for something better -- or jumping to a bigger label.

BTW, thanks for the link. That book looks good.
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You kinda have your head in the clouds, man. If you can pull that off, you should write a book.

Hope your tolerance for rejection is higher than your tolerance for risk.
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+1

I hope it all works out for you, but don't hold your breath waiting for those things to happen.

 
You'll probably need to get the band out there playing gigs on your own. Develop a fanbase, sell some CD's. Then start approaching Independant labels. It's not easy. If it was, everyone would be a rockstar.

Good luck!

 
DavidE said:
Brooks said:
i've heard that nowadays you need to move tens of thousands of units on your own before major labels will even look at you.
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Not true. Some friends and bandmates got a deal with Universal last year and they definitely didn't move tens of thousands of units on their own or even through their indie label.
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that's great! but, they really are an exception to the norm.

 
zorrow said:
Doing it on my own is probably too hard. I would have to invest some big bucks to get the machine up and running, and I am not sure I want to eat the risky part of the story. The band members have no money at all, because they are based in Cuba, so I'll have to be the $-man in this case -- I guess you get the idea now. So, I would prefer contacting an indie label and negotiating with them a contract so we get a budget to record, some touring (as openers for now) and some little royalties for the sales. A contract for two or three albums in a period going from two to four years, I guess that's what we would be able to get at this point. During that time we'll build a bigger fanbase and will get ready to negotiate for something better -- or jumping to a bigger label.
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Your story looks a lot like this movie :

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http://us.imdb.com/title/tt0441297/

If you can't find it in Canada, I have spare copy somewhere.

 
This is the best free resource I know of when it comes to information on marketing your music. There are a lot of good articles on CD Baby, too.

As far as labels go, most of the responses above are spot on: they don't accept unsolicited material and they won't have any interest anyway if you haven't demonstrated the ability to draw crowds on your own either with your live shows or through independent CD sales.

This article by Steve Albini explains why signing a contract with a major label is almost always a losing game for the artist.

Unfortunately, indie labels aren't much better. Many will also try to sign bands to unfavorable contracts and they won't have the staff or the dollars to push your music very hard. And although majors have the resources to market and promote your music, as often as not, they'll release a record from a new act and do next to nothing to promote it. One indie label that is a notable exception is Touch & Go. By all accounts, they are the most noble of the indies in that they do their deals with handshakes and split profits 50/50 with acts on their roster.

In my opinion, the best thing you can do is to get a decent website happening, focus on getting some good reviews (as you mentioned) and follow the marketing tips from the Indie Band Survival Guide to expose people to your music in non-traditional ways. With companies like CD Baby and the advantages of the internet, distribution is no longer a hurdle for indie bands. Being successful is all about effective marketing of your music and how you stand out from the crowd to get noticed.

Good luck!

 
->MC Chris: I am prepared to rejection, no problem. In fact, rejection costs me less than risk -- at least for now! /emoticons/default_wink.png

->matt: Yeah, I know it is not easy. But look at what Ry Cooder did with Buena Vista Social Club. In any case, these guys I am working with are really stars -- though just potentially. I sincerely believe they will be an exception to the norm.

->Belgian: I have a copy of that one too! Great movie! And yes, my story does look like it! /emoticons/default_ph34r.png

To everyone: Thanks a lot for your valuable input. I guess having one's head in the clouds is what makes some things to happen. To continue on the same mood, I promise writing a book if there's a happy end to this! /emoticons/default_biggrin.png

 
I have worked for two of the major music business dragons.

If you want advice feel free to send me a mail.

 
I dunno how it is in other parts of the country/world but the bigger labels around here want an act to already have a consistently huge regional fanbase in place before they'll even research 'em.

A local guy sold around 5,000 copies of the CD he did on his own, all his shows were packed/sold out at big music venues. Universal went to two or three of his shows..all of 'em were packed, the peeps were diggin' his vibe, so Universal signed him to a one record deal..and he actually lost money going that route..plus he lost the master of that recording he did w/ 'em. He's doing the right thing being on his own again.

Good music is good music. I personally don't buy music based on the label it's on.

Edited to add: If yer sellin' tens of thousands of CDs on yer own, why would you want to sign a record deal?? I can understand contracting a distribution deal if that were the case.

 
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If the band is in Cuba, look for business contacts, labels, support, etc. in Miami. There's a huge pro Cuba/anti Castro community there and a band of hermanos looking to break out might generate a lot of support.

 
love that albini article. ouch.

Bruiser Brody said:
Edited to add: If yer sellin' tens of thousands of CDs on yer own, why would you want to sign a record deal?? I can understand contracting a distribution deal if that were the case.
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yep. in fact, i remember reading that big head todd & the monsters released several successful DYI cd's before signing w/ a major. they did 1 or 2 cd's w/ the major, realized they were losing money, and went back to releasing their own stuff.

 
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