Jul 22 2006, 11:30 PM, updated 20y ago
a little something i put together from different sources for bands who wanna live their dream in the music industry
Recording labelling guide
Q. What does A&R stand for?
A. The dictionary definition is "artists and repertoire." The A&R guys say it stands for "airplanes and restaurants." But we know musicians who say it's "attitude and rejection."
These are the people at record companies who are responsible for finding new talent and then for overseeing the making of the records.
Although you spend countless hours in smoky bars and nightclubs looking for the Next Big Thing, you actually spend far less time listening to tapes than most people might think.
Still, you receive tapes from every manager, attorney, publisher, artist on the label, field rep, co-worker, friend, friend-of-a-friend and...well, you get tapes from everyone you've ever met and everyone those people have ever met.
You put tapes on in the office, but the phone always rings (people calling to ask if you have listened to their tape yet), so the best place to listen is in the car and on airplanes. It's almost impossible to find enough time just to listen to everything, let alone get back to everyone with a reaction. Good thing most people understand that if you're interested you'll call, and if you're not, you won't. They may resent you for it, but they understand--sort of.
You will hear lots of garbage and lots of things that are really close, but really close isn't good enough. You have to be in love with it. You have to be willing to fight for it--to stake your career on it.
Once or twice a year, you'll find something exciting enough and, assuming you fought hard enough to get the band signed (we could do an entire column on that process alone), then it's time to start convincing the people in your own company.
Getting the rest of the company excited about an artist is crucial to the success of the project. It doesn't matter if you're convinced you've just signed the next Beatles--if the promotion department doesn't think it's a hit, they aren't going to give it the big push at radio. No radio, no hit record.
Therefore, as a good A&R guy (or girl) you will spend lots of time shmoozing your own co-workers so that those co-workers will in turn go out and shmooze their contacts at radio, retail, and press.
It pays well and the expense account is great, but it's a high turnover gig in a very volatile industry. Every time you sign an artist, you've stuck your neck out and chances are the band you sign is gonna stiff.
Something like 92% of all records released don't make any money. A couple of stiff records and you're looking for another gig.
My point: It's still a business. It takes a good business head to make enough noise for a major label to find you instead of you getting frustrated trying to get to them. Hey, if it was easy, everybody would be a rock star.
Record Label 101 -- What's The Deal?
What's the deal with record companies, anyway? Aren't they supposed to be on the lookout for new talent? Why is it so hard to get them to listen to my demo? Geez, you'd think they weren't interested in hearing music at all!
Almost everyone who has tried to break through the walls of the music industry without some kind of "inside" help has found themselves muttering these questions. Sometimes it seems impossible to get anyone to listen at all.
It may seem like they're going out of their way to avoid you, but there are actually pretty good reasons why record companies no longer throw their doors open to the general public.
One, they were sick of getting sued. About twenty years ago, labels and publishers began to get hit with nuisance "copyright infringement" lawsuits by songwriters claiming their songs had been stolen by the big, bad companies. In order to even begin filing such a suit, the plaintiff has to prove "access" -- that is, they must show that the company had had an opportunity to hear, and then steal, the song. Simply mailing an unsolicited demo to a record company was enough to show that the company had "access" to steal the song, even if they never actually listened to it.
Two, 98% of all unsolicited material is garbage. It's true, believe me. Sure, there are some diamonds in there, but when the cost of going through it all is combined with the risk of getting sued for doing so, the companies decided they would risk missing out on a few "diamonds" to save a few clams.
Three, musicians are nuts. OK, not all musicians, but enough to terrorize, threaten, and/or generally harass and make life miserable for receptionists, secretaries and A&R people throughout the industry that in order to get some real work done, they had to stop taking calls from just anybody that decided it was time to quit their job and be a star.
And four, they still get tons of new material to listen to from people that they already work with. In fact, most A&R people don't have enough time in their schedules to listen to all the new music that is sent to them by friends, managers, attorneys, and other trusted sources. But at least they know that this material will be worth listening to, because someone is staking their professional reputation on it.
And besides, these people aren't going to be telling them they know where their kids go to school if the company doesn't sign the band.
So where does this leave you? Fortunately, there are ways to get through the doors, it just requires persistence, dedication and commitment.
You can still try calling the labels. Be very nice to whoever answers the phone and politely request permission to send in a demo. Most will tell you to get lost, but some will say yes. Remember though, that even though they may let you send it in, your demo will be sitting next to a pile of stuff that is being personally recommended by someone they know. Which one would you listen to, if you were in their shoes?
Record Company Q & A
Q. I write my music from the heart. I don't know what style it is, and I don't try to fit a formula. Why does everything have to be categorized?!
A. Because you don't hear Country radio stations playing Metallica. Radio is strictly formatted and the record companies must deal with radio when promoting their artists. Music that is not primarily radio-oriented (i.e., Jazz, New Age, Reggae, Folk, etc.) is even more strictly categorized. Become familiar with radio formats by listening to the different stations in your area and noting the artists and types of music that they play. Pay attention to which artists and stations sound closest to your style of music. Read the airplay charts in Billboard, Radio & Records, HITS, and other industry trade magazines. If you were writing books, you wouldn't send your manuscript to a publisher with a note saying "I'm not sure if this book is science fiction or a romance novel. Please figure it out for me." The industry isn't going to figure it out for you. You will need to do your homework. Your challenge is to stay true to your art while working within industry standards. It can be done.
Q. Why is there so much garbage on the radio? My songs are better than lots of that crap and my band can actually play their instruments! What do those bands have that we don't have?
A. Connections, probably. It could be that artist has the same manager or attorney or producer as the label's biggest act, and they got signed as a way to keep that powerful manager/attorney/producer happy. Maybe there was a bidding war between several labels for that artist, and believe me, some really stupid things can happen when a bidding war is in full swing. There are a hundred diferent reasons why so much "garbage" ends up on the radio. None of those reasons should concern you. It's never a good idea to compare yourself to the worst of what is out there. You should instead measure yourself against the best--that's what the A&R people are going to do. Don't forget--for a song to actually make it to the radio, a whole lot of people, including A&R people, radio programmers, and record buyers, have decided that it isn't "garbage." So maybe it is and maybe it isn't, but why waste your time and energy focusing on the negatives? Instead, concentrate on mastering your own craft and vision.
Getting Noticed by A&R
Without a doubt, the most frequently asked question to the A&R community is: "How can I get noticed by the people making the decisions?".
I believe your efforts start on a local level with knowing the correct protocol and tactics for maximizing your profile. The age old saying of "Build It And They Will Come" is really the best motto to live by when you are trying to get noticed.
Following are some very helpful hints and suggestions that should be implemented in your plan of attack for building a following and getting noticed.
#1. The Golden Rule: Never ever send your package to a label that doesn't accept unsolicited material. This applies mostly to major labels and managers.
#2. Your Press Pack: This is your connection to the music community which will be buying your independent piece of product, booking your band, writing or reviewing your material or perhaps just forwarding it to a friend. It should include the following: Your product (CD, cassette, video), properly labeled with all the necessary information--band name, song titles, contact person (crucial). And make it legible.
#3. Your Photo: This is a big one. Make sure you have an up to date picture of you or your band (the spandex and chains from 1986 won't do any good in today's market place). The community wants to know what you look like now! This is show biz and image is everything. It doesn't have to be anything elaborate, just current. This quite possibly may end up in a local trade paper or magazine or it may be used to promote your image at a local club or on the internet. So please make sure you present yourself in the best light.
#4. Live Shows: Make sure your live show is intact. If you're not ready to perform live, DON'T!. The millions of people who haven't seen you yet won't mind waiting just a little longer for you to get it together. In many cases you only get one shot with people so make it count.
#5. Fanbase: Growing your fan base and keeping them informed of your developments is paramount. This is sometimes the most prominent element that labels and managers look for. How many people are you drawing to your shows? How many people are on your mailing list? How many units have you sold independently? How many T-shirts have you sold? Make sure at every show you have a place where new fans can sign up for your mailing list.
#6. Local Press: Include the local press in your plans. Find out who writes tape, CD and gig reviews and send them your stuff. Invite them to a show and get them excited. They can become great allies for publicity and hype.
#7. Local Resources: Exploit all your local resources , like music stores, high schools, colleges, festivals, holiday events. Build locally, first.
#8. Network!: Seek out those people in your neighborhood who are connected, or who know someone--possibly an attorney, manager, or even your local record store. You'd be surprised just how close you are to a direct contact in the industry.
If you are an artist seeking to grow and spread your music, these suggestions can help you. A career-minded artist never rests on his laurels and must keep reinventing himself. It's a much better bet to start out small and grow step by step. Your foundation is the key, not the amount of your first advance.
So, to repeat what I said earlier -
BUILD IT AND THEY WILL COME!
Steps For Success
How does one best put together and present a musical package whereby a record company (in the traditional sense), is stimulated to react and show interest, and eventually sign an artist to a recording contract? Though this procedure is a difficult one, there are a number of basic do's and don'ts that will make the challenge easier.
. I have always believed that the key to getting a record deal should be that the artist has a "star quality"--that special something that can stand the test of time and be the basis to a career. In recent years, the industry has lowered those standards considerably, caring more about the short term hits and not so much the long term career artist. I also believe that the public craves "stars" and when they are found, the public buys in very large numbers.
. Be that as it may, artists, first and foremost, must believe in their music with great passion before they can expect an A&R executive to do so. Therefore, the most important first step is to create exciting, quality music and a classy presentation.
. As basic as it may seem, the tape/CD that is put together for evaluation must sound good. It is amazing how many sessions are badly recorded, have bad tape hiss, etc. Considering the quality of equipment readily available for both home and studio recording, there should be no excuse for these mistakes. So don't present your music until the tape/CD has been double-checked for sound and proper contact information.
. Some people believe that sending flashy or elaborate packages will get their tapes listened to before others. For example, sending along a baseball with a new version of "Take Me Out to the Ballgame" probably won't influence the decision making process.
. Be professional. A tightly worded bio centering on your performance history, independent record sales, TV appearances and airplay, is valuable. Writing about growing up in Iowa and dreaming of becoming a star, is not.
. A good photo is important, but not one taken in your living room or one that's too grainy to view. These types of presentations are all too common.
. Most important is what's on the tape. I would suggest three (maximun of four) of your strongest, best-performed, best-recorded songs. If you've created a full-length CD, mark these three or four tracks clearly. It's crucial to capture the listener's attention very quickly. If this doesn't happen, it's on to the next tape.
. In your short cover letter, point out the strengths you have. If there is a killer guitarist in the band, a unique structure change or a monster chorus after the second verse, tell the listener so he can key into it.
. If you are presenting the music in person, make sure your time is well-managed. Don't expect long periods of small talk or hype. State the facts and take the "less is more" approach. Go with the meat! Once you make it to first base and there is some interest, then more information and music will be appropriate.
To put this all in perspective, picture yourself in the shoes or behind the desk of an A&R staffer who is generally very busy and constantly being hounded by too many people. Remember-everyone thinks he has the next hit! Ask yourself these questions:
How would I want to be approached?
One mistake I definitely don't recommend making is to press up a thousand CDs without having a marketing plan firmly in place which outlines how and to whom you will sell them.
What would capture my interest and attention?
There are many, many others who have the same objectives as you do, and only a great sounding tape coupled with a classy, professional presentation can get you noticed.
he Press Kit
The following was excerpted from Kenny Kerner's book, "Going Pro," published by Hal Leonard.
In the music business, the folder that contains your photo, bio, press clippings and demo tape/CD, is called your press kit or press package. The same package goes to record companies, agents, attorneys and the media. So it better look good and contain everything you need others to know--without giving them a week's worth of reading materials.
When putting together this important package, less is more. Too much to read will make someone impatient. And realistically, what can you say about a brand new act that has no real career? Your press kit should contain the following materials only:
. A clear, crisp 8x10 photo with artist/band name and contact info.
. One or two short, positive reviews or press clips.
. Lyrics to the songs on your tape/CD (stapled together in sequence).
. A band/artist ID sheet identifying each member, writer and instrument played by each. No need to mention where the band is from or how long they've been floundering around together doing nothing--unless there's a unique angle or story.
. If you have three or four direct quotes from some very reputable people in the business--managers, producers, artists--include them on a separate quote sheet, but be sure to attribute them correctly.
. Include a professional looking business card from your manager or representative.
. Don't forget to include your demo tape/CD, Einstein!
. Always include a cover letter with every package explaining why you're sending it.
ARTIST PHOTOS
We need to spend a few minutes talking about the photos you're putting in your press packages. Do they really represent you? Do they somehow depict the kind of music you play? Do they look pro?
I have yet to find a single artist who was incapable of somehow finding a photographer to take a few pictures. Everyone has a relative or friend with a camera. It's up to the artist to be creative. You don't need a thousand-dollar photo session--merely one that looks like it cost a thousand dollars. In other words, make it look good for a few bucks.
Do not, for example, stand in front of a forest so we can't distinguish you from the trees. Do not wear a watch or be photographed in front of a calendar so the photo is dated a week later. Do not stand in front of a black curtain or backdrop wearing all black; you'll come out with a head and no body. Keep it simple.
Try to look like the music you're playing. Don't wear rainbow-colored clothes if you're in a metal band--look dark and dirty, like the music. Ozzy Osbourne always looks like his music! The Rolling Stones always look like trouble-making rock & rollers! The Grateful Dead always looked and dressed like hippies on pot! And so did their enormous audience. Remember that you want to help the consumers in identifying you and your music, not confuse them.
COVER LETTERS
As I mentioned earlier, every single press package that goes out must be accompanied by a cover letter explaining why it was sent. Usually, this letter is written by the artist's manager, attorney, or, in some cases, by the leader of the band himself.
Like everything else in your press package, this letter should also be short, to the point, and very pro. It should explain, in a few paragraphs, who you are, why you sent the package and what you expect. To the right you'll see a sample letter.
Six short sentences say it all. Again, you want this person playing the tape and not making paper airplanes out of your press materials.
FOLLOWING UP
Sometimes it will take months to hear from these people--even with follow-up calls. Don't give up. Don't get frustrated. Remember that they're getting the same kinds of packages from hundreds of other people around the world, and you're probably not at the top of their list.
Try to make connections at as many labels as possible so you can submit enough packages and get a fair appraisal of your material. At the very least, you'll be able to reach and speak with an assistant or secretary who'll be able to tell you if your package was received. Almost all labels now log in packages on their computers with a date and the name of the artist.
These press packages are your calling cards for your career in the music business. They can be used to solicit a personal manager, agent, publisher, club gig, record label or just about anyone in the industry. So as long as you're taking the time to put one together, do yourself a favor and do it pro!
________________________________________
Kerner Entertainment
1111 East 11th Street, Suite 111
Los Angeles, CA. 91111
Phone/Fax: 310-111-1111
John Doe
Dover Records
3452 Dover Place
Dover, Colorado 33300
July 3, 1999
Dear John:
As the personal manager of the Los Angeles-based rock band, BIGFOOT, I have enclosed a complete press package and demo for your perusal.
The band is currently drawing about 200 people per show locally and is being played on WXBT and KKLV in Denver.
I feel their songs are well-constructed and radio ready and value your professional input.
I'll give you a call in a few days to be sure this package arrived. Please don't hesitate to contact me should you need further information. Thanks in advance for your time and consideration.
How To Present Your Demo
I think it's always enlightening to get a scenario of what happens behind the scenes in the office of a person who listens to demos. Here's a sample from my own experience and that of friends who torture their brains and eardrums in the all-too-often futile search for that killer song or sound.
You should know that if 5% of the songs are in the ball park, we're doing very well. We engage in this masochism because we know that when we find that one-in-a-thousand song that brings tears to our eyes and makes the hair stand up on the back of our necks, we'll forget about all the bad ones we just listened to. The rejects aren't even all bad. Some have lots of imagination and no craft and some have lots of craft but little to say. The right combination of ingredients is rare but we know it's there somewhere. We're anxious to find it as soon as possible. Some listen in the order they receive the tapes. Most others don't. What they do is look for the most likely candidates.
First, they look for the names of writers they already know are good. That's where the odds are best. Next, they listen to tapes referred to them by other industry people whose tastes (or power) they respect. Next, when faced with a stack of anonymous tapes, they look for a package that is professional, neat and imaginative. They hope the songs will show those same qualities. The odds still aren't great but they're several points above the lowest. The least-likely candidates are the ones that look like the sender doesn't care. The lyric sheets, if any, are scribbled illegibly on the back of a menu and the cover letter with no return address says, "I no thees songs wood bee grate for Little Stevie Wonder. Pleez sen them to him." What do you think the odds are that you're going to find a really "great" lyric here? It's not about bad spelling, but about not caring enough to find someone who can check your spelling and not caring enough to notice that Stevie Wonder cuts someone else's song about once every 10 years. It's easy to get the impression that this person doesn't care enough to find out how to write a good song.
Here is a checklist that will maximize your chances of getting heard and respect the listener's time.
1. Never send more than four songs unless specifically requested otherwise. Demo listeners like watching the "in" pile diminish and the "out" pile grow as quickly as possible. If the listener has a limited time to listen, which is usually the case, the tendency is to listen to a tape they know they can complete. So if you send a tape with ten songs on it and someone else's tape has one song, you can bet that the "out" pile will grow quickly with one-song tapes. There's also the psychology that implies, "I've sent you the song you need!" This is particularly true in pitching songs to producers for a specific artist. Along those same lines, most people resent getting tapes with 20 songs and a letter that says, "I know you'll like at least one of these , so just pick out what you want." They want you to do that and send them four songs or less that you totally believe in. If you're not far enough along to be able to decide, you're not ready.
2. Place your best and most commercial song first on the tape. If you have a strong uptempo song it's a good bet to start with that. If they don't like the first one it may be the only shot you get.
3. Never send your original master tape. You may never see it again and it's not fair to saddle its recipient with responsibility for it.
4. Always cue your tape to the beginning of the first song. You don't want the person to start listening in a bad mood because you just wasted his time making him rewind your tape. When you make your copies, leave six seconds between songs. Most new tape machines have an automatic search feature which finds the silence between songs, stops the fast-forward and automatically starts playing the next song.
5. Send a lyric sheet, neatly typed or printed. Letterhead is im- pressive. It says "This is my business and I take it seriously." Some don't like to look at lyrics while they listen, but most do. It's a time saver to be able to see it all at once and to see the structure of the song graphically laid out on the page. Lead sheets (with melody and lyric together) are not usually sent out with demo tapes. They're good to have at the point where a producer says he wants to record your song and you want to be sure he has the correct melody, but since the current copyright law permits tapes to be sent for copyright registration, their importance has diminished.Lead sheets are bulky to mail, it's difficult to follow the lyric and visualize the song's form, and many industry pros don't read music anyway.
When you type out your lyric sheet, separate the sections of the songs with a space and label each one (verse, chorus, bridge etc.) at the upper left side of the section. Do not type your lyrics in prose fashion. Lay them out with the rhymes at the ends of the lines.
6. Make sure there's a copyright notice ( 1992 I.B. Cool. All Rights Reserved) on the first page of the lyric or lead sheet and on the tape label.
7. Cover letters should be short and to the point. Let the music speak for itself and avoid hype. A professional presentation will do more to impress someone than, "I know these are hit songs because they're better than anything I've ever heard on the radio," or "I just know that we can both make a lot of money if you'll publish these songs." Avoid the temptation to tell your life story, and don't explain how you have a terminal disease, you're the sole support of your 10 children and if these songs don't get recorded they'll all be homeless or worse. In fact, don't plead, apologize or show any hint of desperation. It only gives the message that you have no confidence in the ability of the songs to stand on their own.
Here's what should be in your cover letter:
a. It should be addressed to a specific person in the company.
b. It should state your purpose in sending the tape. Are you looking for a publisher, a producer, a record deal for you as an artist? Do you want the listener to pay special attention to your production, your singing, your band, or just the song? Is it for a specific artist?
c. List any significant professional credits that apply to the purpose of your submission. If you want your song published, list other published or recorded songs, contests won, etc.
d. Include any casting ideas you might have. For which artists would the songs be appropriate?
e. Ask for feedback if you want it.
f. List the songs enclosed and writers' names in the order they appear on the tape. (Lyric sheets should also be enclosed in the same order the songs appear on the tape.)
g. Thank them for their time and attention.
h. Include your address and phone number.
8. Send a self-addressed stamped envelope (SASE) if you want your tape back. There are two schools of thought about this. On the "pro" SASE side, if you don't want to lose all those tapes, you can't expect to get them back without it. There's another school of thought, though, that if you say you want it back, you're assuming they won't like it. Also, there is no guarantee that you'll get them back even if you do send a SASE, in which case you're gambling even more money, and worse could happen than that your tape is sitting around a producer's office. Your decision may depend on how many tapes you can afford to lose.
9. Your name, address and phone number should be on the tape, box, and on every lyric sheet. It seems like such a common sense request. In fact, it would be embarassing to even suggest that you might forget to do it if I didn't see it happen constantly. The problem on this end is that, between listening sessions at the office, the car, and home, it's so easy to separate the tape from the box or lyric sheet. Once we've gone to the trouble to find your hit song, not finding you is a fate we don't deserve.
10. Be sure you have adequate postage. Also, don't send your tape in an ordinary stationary envelope. It's risky because rough postal handling could force the edge of the tape box through the envelope. Use a special envelope with an insulated lining. Some people also prefer the soft "bubble" tape box because it doesn't have sharp edges and it's lighter to mail.
The main thing to remember is to make your tape as easy as possible to deal with.
How To Get A Record Deal
Getting a record deal gets harder every year. The days of record impresarios like Phil Spector discovering a group, taking them into the studio and making them famous overnight are long gone.
These days, the music business is sometimes more about the business than it is about the music. While record companies and music publishers still rely on hit songs falling from the lips of superstars to make their profits, the way they find their talent has changed a lot from the past.
There actually was a time that an artist, band or songwriter could send their demo tape in to a record company as "unsolicited" material - meaning that nobody from the record company had requested the material. It was somebody's job to open the tapes and give them a spin with the hope they would find a winner.
As more and more people began making demos, the task of listening to unsolicited tapes became too formidable for the average label. The labels also became aware of the legal ramifications involved in listening to tapes that came in from the general public because of copyright infringement suits that often landed them in court.
Eventually, labels and publishers would only accept tapes from music attorneys who were well-connected or managers who had a reputation in the business for aligning themselves with "hit makers."
While it may seem like a daunting task for someone in middle America to find themselves an "Angel" who can get them through the pearly gates, it's not impossible.
One sure way to get your band noticed is to become more businesslike yourself. Everybody loves a winner - especially a record company. Take Hootie and The Blowfish for example. Hootie couldn't get arrested by any of the major labels. They had all heard the demo, and passed on the group. It took a 22 year-old researcher at Atlantic Records in New York to get the band a deal. How? Simple. His weapon of choice was a telephone.
The researcher made it his business to call small town record stores to see if any local groups were selling any product in their own "backyard." When the diligent young man found out that Hootie had sold a whopping number of CDs in Columbia, SC, he immediately went to Atlantic's vice-president of A&R. The V.P. told the kid to take a hike.
That didn't stop him. He went to the chairman of the board of Atlantic, who, as the story is told, went to the V.P. of A&R and mandated that Hootie and the Blowfish be signed immediately. The moral of the story is that if you can't find a heavy-weight lawyer or manager to stand in your corner, you can still get the big guns to come to you by doing the right kind of self-promotion.
But don't let me mislead you. It takes serious planning and execution to sell enough CDs to get the labels crawling to you. Rumor has it that our finned friends from Columbia, S.C. sold between 50,000 and 100,000 units. That's a lot of CDs for a group to sell on their own.
To perform such a feat, you need a few tools. The first of course is an incredibly good record. "As good as" isn't really good enough. You need to sound unique and have incredibly catchy tunes. Great timing doesn't hurt either, and letting the public know who you are on a regular basis is crucial. By that I mean touring.
Touring can start out small and grow. I recommend playing gigs within your general area and once you begin to reach saturation in those clubs, start widening your circle. Play clubs within a hundred mile radius. Then 200 miles, then 300 and so on. If you get press in those towns, send an advance person to hang posters in every conceivable place and work with local radio stations to promote your shows, you might get lucky enough to draw some serious crowds which will in turn allow you to sell a lot of CDs.
One mistake I definitely don't recommend making is to press up a thousand CDs without having a marketing plan firmly in place which outlines how and to whom you will sell them.
When planning your tour, remember to start out small and grow. Keep your day job and just do as many gigs as you can find that are within a three hour drive of your home base. Once you hit the saturation point with those weekend gigs, start thinking of creative ways to take Fridays off of work so you can plan longer trips.
When you start making enough money from your gigs (which is pretty hard considering most clubs pay peanuts for original music), you can start to think about quitting your day job. But don't act too hastily. First do the math. Total up the cost of gas, van maintenance, road food and flea bag motels before you take the leap. You may even want to think about sleeping in your van. Ahhh, the glamour of rock and roll. Oh yeah, don't forget, you'll need to pay the rent back home. And the phone bill. And the cable bill. And your Mastercard monthly payment . . . you get the idea.
My point: It's still a business. It takes a good business head to make enough noise for a major label to find you instead of you getting frustrated trying to get to them. Hey, if it was easy, everybody would be a rock star.
This post has been edited by The Aiyum Crew: Jul 31 2006, 08:11 PM
For Un-Signed Bands, a guide to getting noticed.
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