By DaFunkDocta2004
Wed Sep 15, 2004 3:25 pm
Succeeding Without a Label
courtesy of Music Connection Magazine
By Bernard Baur
ROAD LESS TRAVELED
Award-winning artist Aimee Mann has had three major record deals, but became profoundly disenchanted. In response, Mann formed her own company, Super Ego Records, and became a poster girl for Do-It-Yourself success thanks to her Oscar-nominated song from the film, Magnolia, and the 200,000 units sold of her Bachelor No. 2 album. Today, Mann claims to be happier than she ever was at a major. “Now, I have the freedom to do what I want, when I want. And,” she adds, “if mistakes are made, I get to make them myself rather than have someone make them for me.”
One other thing Mann is absolutely certain about: She won’t miss the suits reviewing her work. “You know,” she laughs, “no one ever said, ‘We’re really excited about this! It’s obviously the single!’”
Other artists choose the independent way because their music doesn’t fit the usual formats or marketing schemes. When he started out, artist Bob Malone thought he was just a day away from a deal. “Everyone seemed to love my music, but they didn’t know how to market it. After a few years, I concluded that quality can be a liability. They actually told me, ‘You’re too good,’ and I thought they were nuts.”
These artists, and many others like them, decided they didn’t need a record deal to do what they wanted. Instead, they established their own companies and careers. They are not chasing the dream anymore –– they’re living it.
INDIE MINDSET
It seems simple. You don’t have to be signed to release a record. In fact, if you wait to be signed it could be a very long time, according to Tim Sweeney, a consultant who specializes in independent artists. He not only presents workshops on DIY, but has also written books about it. Sweeney maintains, “Less acts are being signed nowadays, and of those that do get a deal only one to three percent will make it beyond a record or two before they get dumped.”
DIY avoids that scenario, but artists need to be a special breed to do it right. According to Pat McKeon, former owner of Dr. Dream Records and general manager at Ranell Records, “When an artist first goes independent, they’ll probably be doing everything themselves, and not every artist can handle that.”
An additional prerequisite is a strong belief system. Gilli Moon, who left an indie label to start her own (Warrior Girl Music), wrote a book based on the lessons she learned titled, I Am a Professional Artist. She explains, “You need to be optimistic. Belief and dedication are the keys to making it work.”
Last but not least, you need to understand how much work DIY truly is. “If you do it right, it’s a real job,” relates K.K. Martin, an independent artist who survived several label deals. “You have to learn about the business and pay attention to it. If you can’t do that, find someone you trust, or you’ll never progress.”
KEEP IT REAL
If you want DIY success, you need realistic expectations. “Keeping your goals realistic is essential for all independents,” Moon points out. “If you don’t do that, you’re going to be disappointed.” Moon suggests keeping it real and at a level you can achieve. “Set up small goals on a monthly, quarterly and yearly basis. Then, evaluate the results. If you reached your goals, move on –– if not, figure out why.”
Patience is another key attribute. Angus Richardson, of the band BROTHER, has known impressive success, selling over 150,000 records and playing almost 250 dates a year. Nevertheless, even BROTHER had to suck it up. “When we didn’t get a quick record deal, it would have been easy to get discouraged,” Richardson contends. “But, we believed in our music, our fans and ourselves. … You have to realize that you can’t please everybody, and if you want to make it, you have to have patience and determination.”
TOURING IS KEY
Now that you’re in the right frame of mind, it’s time to form “The Master Plan” for world domination. Everyone agrees that the most important part of the plan is playing live. Everything, including radio, promotions, distribution and marketing, should revolve around that because it’s the way you sell records. Of course, you’re going to need a recording, but according to Moon, it need not be up to industry standards. “Even a live recording will do,” she says. “Your fans want to hear your songs, not the production.”
Most artists have booked themselves before, so this area should be familiar. The difference, however, is that you have to book gigs beyond your backyard. Sweeney suggests that artists start by looking two to three hours in each direction. “That will only cost $30-$40 in gas, and you should be able to make that in sales,” he says. “If an act is based in Los Angeles, they can look as far as San Diego and Santa Barbara. Eventually, they can increase the drive time and even look at neighboring states. But,” he warns, “don’t try to do it all at once.”
Naturally, when it comes to touring, solo artists have it the easiest. Moon, Malone and Martin only occasionally bring a full band along. “It’s a matter of economics as well as personal dynamics,” Martin maintains. “Traveling in a van with five other guys can challenge your patience.” To cut costs, Malone, who toured eight times across the country in three years, established a network of musicians he hires in each city. “That way,” he says, “I only have to pay them for the gig.”
But, if you’re a real band, expenses become a concern. Tina Broad, BROTHER’s manager, relates that their merchandise table is a critical part of their financial success. “If we didn’t have product to sell, we couldn’t do it. Our merchandise sales (CDs and goods) have a dramatic impact on our ability to tour. Traditionally, we make two to three times more from our merchandise than we do from tour guarantees or ticket sales.”
Broad also advises bands to take a serious look at their hospitality riders. “Include things that you need (towels, water, food, backline, etc.) so that you have fewer things to deal with. And, when you can,” she recommends, “insist on a 50 percent deposit so that you’re not shouldering all the cash flow until the performance check clears.”
YOUR BANK
Touring, recordings, and merchandise obviously require money, and artists should be ready to dip into their own pockets. Sweeney contends that if artists aren’t willing to invest in themselves, he questions how serious they are about a career. “However, if resources are severely limited, you just have to start smaller and think smarter,” he says. “Find a sponsor to help with costs. Play free shows for them and put their name on your CD.” Moon suggests doing your own artwork or finding a friend who’s talented. In fact, every independent artist who is successful uses a network of resources to help them defray costs.
Some, such as Skywind, a Minneapolis band that tours over 100 days a year and plays before 1,000 or more fans, got their family and friends to loan them seed money. Bill Berry, their manager, indicates, “Everyone got paid back in just over a year. And since then,” he relates, “we’ve been able to pick up sponsorships and lines of credit.” Each band member contributes to pay off loans and, by doing this, Skywind has been able to buy a van and tour three states.
The bottom line is that you’re going to need a budget, so that you know what you can do. Indeed, BROTHER’s manager, Broad, advises artists to be realistic about costs. “If you don’t know what your real expenses are,” she informs, “you’re going to be operating in a vacuum.”
ART MEETS COMMERCE
If you want to be an indie who’s self-sufficient, do not deceive yourself: you are in business, and there are two parts to business –– the legal side and the practical side. Legally, you must protect your interests and follow the law. Consult with counsel when setting things up. You may need a band contract, a business license, and an assortment of other things that make you a legal entity.
On the practical side, you must keep accurate records of all your sales and income. Get a unique Bar Code and register it with SoundScan. Online sites, such as CDBaby, offer a discount on unique Bar Codes with savings of several hundred dollars. SoundScan offers several programs for independent artists, including a Venue Verification Form that allows club owners and promoters to vouch for your gig sales.
Sweeney says you can simply pay the tax on your sales to obtain a verifiable record. These figures are important if you hope to convince anyone –– including a label, a distributor or a lender –– to work with you. Indeed, Broad says it still makes her guts churn to think that BROTHER neglected to register the sales from their 2001 summer tour. “That was 15,000 unverifiable sales,” she sighs. “We’ve got manufacturing records, but it’s not the same.”
Finally, protect yourself when you’re on the road and prepare for the worst. Broad reports that BROTHER was involved in an accident while on tour. There were serious injuries and catastrophic damage. “It was every band’s worst nightmare,” she recalls. “It derailed us for months and ran up debts that we’re still paying off. It was almost the end of BROTHER.”
MARKETING & PROMOTIONS
Mann contends that marketing and promotion is always a challenge, whether you’re on a label or not. “It was my biggest cause for concern with every deal I had,” she reports. “At least, now, I have the freedom and control to do it the way I want.” But, when you’re independent, you have to think outside the box. You cannot compete with the majors, so you have to do things differently.
For starters, McKeon points out, “All indie promotions must revolve around live shows. That has to be your focus, because it’s your moneymaker. After booking gigs, you can contact press, radio and retail.” Radio is usually the most difficult, but persistence pays off.
courtesy of Music Connection Magazine
By Bernard Baur
ROAD LESS TRAVELED
Award-winning artist Aimee Mann has had three major record deals, but became profoundly disenchanted. In response, Mann formed her own company, Super Ego Records, and became a poster girl for Do-It-Yourself success thanks to her Oscar-nominated song from the film, Magnolia, and the 200,000 units sold of her Bachelor No. 2 album. Today, Mann claims to be happier than she ever was at a major. “Now, I have the freedom to do what I want, when I want. And,” she adds, “if mistakes are made, I get to make them myself rather than have someone make them for me.”
One other thing Mann is absolutely certain about: She won’t miss the suits reviewing her work. “You know,” she laughs, “no one ever said, ‘We’re really excited about this! It’s obviously the single!’”
Other artists choose the independent way because their music doesn’t fit the usual formats or marketing schemes. When he started out, artist Bob Malone thought he was just a day away from a deal. “Everyone seemed to love my music, but they didn’t know how to market it. After a few years, I concluded that quality can be a liability. They actually told me, ‘You’re too good,’ and I thought they were nuts.”
These artists, and many others like them, decided they didn’t need a record deal to do what they wanted. Instead, they established their own companies and careers. They are not chasing the dream anymore –– they’re living it.
INDIE MINDSET
It seems simple. You don’t have to be signed to release a record. In fact, if you wait to be signed it could be a very long time, according to Tim Sweeney, a consultant who specializes in independent artists. He not only presents workshops on DIY, but has also written books about it. Sweeney maintains, “Less acts are being signed nowadays, and of those that do get a deal only one to three percent will make it beyond a record or two before they get dumped.”
DIY avoids that scenario, but artists need to be a special breed to do it right. According to Pat McKeon, former owner of Dr. Dream Records and general manager at Ranell Records, “When an artist first goes independent, they’ll probably be doing everything themselves, and not every artist can handle that.”
An additional prerequisite is a strong belief system. Gilli Moon, who left an indie label to start her own (Warrior Girl Music), wrote a book based on the lessons she learned titled, I Am a Professional Artist. She explains, “You need to be optimistic. Belief and dedication are the keys to making it work.”
Last but not least, you need to understand how much work DIY truly is. “If you do it right, it’s a real job,” relates K.K. Martin, an independent artist who survived several label deals. “You have to learn about the business and pay attention to it. If you can’t do that, find someone you trust, or you’ll never progress.”
KEEP IT REAL
If you want DIY success, you need realistic expectations. “Keeping your goals realistic is essential for all independents,” Moon points out. “If you don’t do that, you’re going to be disappointed.” Moon suggests keeping it real and at a level you can achieve. “Set up small goals on a monthly, quarterly and yearly basis. Then, evaluate the results. If you reached your goals, move on –– if not, figure out why.”
Patience is another key attribute. Angus Richardson, of the band BROTHER, has known impressive success, selling over 150,000 records and playing almost 250 dates a year. Nevertheless, even BROTHER had to suck it up. “When we didn’t get a quick record deal, it would have been easy to get discouraged,” Richardson contends. “But, we believed in our music, our fans and ourselves. … You have to realize that you can’t please everybody, and if you want to make it, you have to have patience and determination.”
TOURING IS KEY
Now that you’re in the right frame of mind, it’s time to form “The Master Plan” for world domination. Everyone agrees that the most important part of the plan is playing live. Everything, including radio, promotions, distribution and marketing, should revolve around that because it’s the way you sell records. Of course, you’re going to need a recording, but according to Moon, it need not be up to industry standards. “Even a live recording will do,” she says. “Your fans want to hear your songs, not the production.”
Most artists have booked themselves before, so this area should be familiar. The difference, however, is that you have to book gigs beyond your backyard. Sweeney suggests that artists start by looking two to three hours in each direction. “That will only cost $30-$40 in gas, and you should be able to make that in sales,” he says. “If an act is based in Los Angeles, they can look as far as San Diego and Santa Barbara. Eventually, they can increase the drive time and even look at neighboring states. But,” he warns, “don’t try to do it all at once.”
Naturally, when it comes to touring, solo artists have it the easiest. Moon, Malone and Martin only occasionally bring a full band along. “It’s a matter of economics as well as personal dynamics,” Martin maintains. “Traveling in a van with five other guys can challenge your patience.” To cut costs, Malone, who toured eight times across the country in three years, established a network of musicians he hires in each city. “That way,” he says, “I only have to pay them for the gig.”
But, if you’re a real band, expenses become a concern. Tina Broad, BROTHER’s manager, relates that their merchandise table is a critical part of their financial success. “If we didn’t have product to sell, we couldn’t do it. Our merchandise sales (CDs and goods) have a dramatic impact on our ability to tour. Traditionally, we make two to three times more from our merchandise than we do from tour guarantees or ticket sales.”
Broad also advises bands to take a serious look at their hospitality riders. “Include things that you need (towels, water, food, backline, etc.) so that you have fewer things to deal with. And, when you can,” she recommends, “insist on a 50 percent deposit so that you’re not shouldering all the cash flow until the performance check clears.”
YOUR BANK
Touring, recordings, and merchandise obviously require money, and artists should be ready to dip into their own pockets. Sweeney contends that if artists aren’t willing to invest in themselves, he questions how serious they are about a career. “However, if resources are severely limited, you just have to start smaller and think smarter,” he says. “Find a sponsor to help with costs. Play free shows for them and put their name on your CD.” Moon suggests doing your own artwork or finding a friend who’s talented. In fact, every independent artist who is successful uses a network of resources to help them defray costs.
Some, such as Skywind, a Minneapolis band that tours over 100 days a year and plays before 1,000 or more fans, got their family and friends to loan them seed money. Bill Berry, their manager, indicates, “Everyone got paid back in just over a year. And since then,” he relates, “we’ve been able to pick up sponsorships and lines of credit.” Each band member contributes to pay off loans and, by doing this, Skywind has been able to buy a van and tour three states.
The bottom line is that you’re going to need a budget, so that you know what you can do. Indeed, BROTHER’s manager, Broad, advises artists to be realistic about costs. “If you don’t know what your real expenses are,” she informs, “you’re going to be operating in a vacuum.”
ART MEETS COMMERCE
If you want to be an indie who’s self-sufficient, do not deceive yourself: you are in business, and there are two parts to business –– the legal side and the practical side. Legally, you must protect your interests and follow the law. Consult with counsel when setting things up. You may need a band contract, a business license, and an assortment of other things that make you a legal entity.
On the practical side, you must keep accurate records of all your sales and income. Get a unique Bar Code and register it with SoundScan. Online sites, such as CDBaby, offer a discount on unique Bar Codes with savings of several hundred dollars. SoundScan offers several programs for independent artists, including a Venue Verification Form that allows club owners and promoters to vouch for your gig sales.
Sweeney says you can simply pay the tax on your sales to obtain a verifiable record. These figures are important if you hope to convince anyone –– including a label, a distributor or a lender –– to work with you. Indeed, Broad says it still makes her guts churn to think that BROTHER neglected to register the sales from their 2001 summer tour. “That was 15,000 unverifiable sales,” she sighs. “We’ve got manufacturing records, but it’s not the same.”
Finally, protect yourself when you’re on the road and prepare for the worst. Broad reports that BROTHER was involved in an accident while on tour. There were serious injuries and catastrophic damage. “It was every band’s worst nightmare,” she recalls. “It derailed us for months and ran up debts that we’re still paying off. It was almost the end of BROTHER.”
MARKETING & PROMOTIONS
Mann contends that marketing and promotion is always a challenge, whether you’re on a label or not. “It was my biggest cause for concern with every deal I had,” she reports. “At least, now, I have the freedom and control to do it the way I want.” But, when you’re independent, you have to think outside the box. You cannot compete with the majors, so you have to do things differently.
For starters, McKeon points out, “All indie promotions must revolve around live shows. That has to be your focus, because it’s your moneymaker. After booking gigs, you can contact press, radio and retail.” Radio is usually the most difficult, but persistence pays off.
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