Record Companies

RECORD COMPANIES

Contrary to what purists would like to believe, the first priority of a record company is to make money, not music. While music industry executives are fond of saying "the music comes first," the reality is that, without profit, the commercial music business couldn't exist. In order to make a profit, record companies produce the mechanical products of the music business: records, cassettes, CDs and music videos. It sounds simple, but in reality, it's a complicated process: Artist signings and development, song selection, record production, video production, record and video promotion, manufacturing and distribution all fall under the umbrella of "producing mechanical products."

WHAT YOU SHOULD KNOW
Since record labels suffer substantial losses if their products don't sell, they've become extremely selective both with the recording artists they sign and the songs recorded and released. Every time an untested artist is added to their roster, they're gambling with production budgets of several thousands of dollars.
Much of the burden falls on A&R executives, who are responsible for finding, signing and developing new talent as well as finding outside material or helping an artist/writer polish his or her original material. Since the entire process has become so expensive, A&R tends to give more attention to a complete package - an artist who writes his own material and has onstage savvy, good looks (especially important in today's video world) and a distinctive voice -someone who is easily marketable. This perfection seldom exists in the real world, but labels continue to look for the best package for the least amount of investment.
The next thing you have to understand is the sheer number of creative, talented individuals who are pursuing the same thing you are. Thousands of singers and songwriters descend daily on the three major U.S. music centers - New York, Los Angeles and Nashville. And though most major record labels and publishers, for legal reasons, don't accept "unsolicited material," their A&R execs still have desks piled waist-high (no exaggeration!) with tapes and artist bios.

THE INDIES The positive side of the story is that you don't need to rely on the major record companies. Small, independent labels (indies) are always looking for new, undiscovered talent -and, because of the proliferation of the entire music industry; there are more outlets to pitch to.
The average record label signs between five and ten new artists each year. Because of the competitive nature of the biz, however, the reality is that if A&R hears an extraordinary talent, they'll sign it in a heartbeat (even if their roster is full and their budget is strained) just to prevent their competition from getting it.
While most singer/songwriters hope for a recording contract with a major label, you will find independent labels are more accessible and open to new talent. Songwriters, especially, should pitch their material to the Indies. Independent labels are seen by many as a stepping stone to a major recording contract. Very few artists are signed to a major label at the start of their careers; usually, they've had a few independent releases that helped build their reputation in the industry. Major labels watch the independent labels closely to locate up-and-coming bands and new trends

MAKING CONTACTS
How do you get the record label's attention? By networking, persisting and selling yourself professionally.
The easiest way to get around the "no unsolicited material" barrier is to get to know people in the music business. The industry tends to look at the world in terms of them and us. That's not to say you can't cross boundaries and become us - people do it every day. The key is whom you know. Simply put: Friends do business with friends.
If you're a songwriter, your first step should be to join a state or national songwriters' organization like Songwriters' Guild of America (1221 16th Avenue South, Suite 25, Nashville, TN 37203), Nashville Songwriters Association International (NSAI) (1065 16th Avenue South, Suite 25, Nashville, TN 37023) or National Academy of Songwriters (NAS) (6381 Hollywood Blvd. Suite 780, Hollywood, CA 90028). The organizations will educate you, teach you how to protect your interests and provide you with pertinent industry information. For example, most major music Mecca?as books listing contacts for every area of the music business -publicists, publishers, studios, etc. These books are all well worth their prices. One of the most comprehensive is the Recording Industry Sourcebook (3301 Barham Blvd., Suite 300, Los Angeles, CA 90068); it retails for about $75.
Attend all the regional and national conferences you can. Not only will you learn more about what's required professionally, but you'll also be able to rub elbows with industry executives. "Schmoozing" is what the music industry is built on. The more contacts you have, the easier it is to get your song or your promo package into the right hands.
This may sound obvious, but bring plenty of business cards with you to these events; it's so much classier than tearing off strips of paper or writing your number on a cocktail napkin they'll throw away. Use simple, straight- forward cards with your name, address and phone number. If you want to add a line with your occupation, opt for "artist/writer" or "writer." A word of caution: Don't be too eager. A&R execs are gun shy and prefer not to have tapes shoved at them over the hors d'oeuvres table. Timing is crucial, so learn the rhythm of the industry before you make any fast moves.

THE PROMOTIONAL PACKAGE
Once you've made the contacts, your next step is putting together a promotional package. If you hope to become a recording artist, this involves a photograph, a biography and demo tape. If you're a songwriter, you'll need a good demo tape plus lyrics.
7he photograph first the photograph.
This is the first impression you'll make, so put some thought into what kind of image you want to project and make sure it's one you're comfortable with. Don't copy someone else's image. Record companies look for creativity, not clones.
Spend some time looking at press photos of recording artists. Notice most are "head shots" (shot from chest-level up) and are not overly dramatic. A front head shot is preferred (although a 45-degree angle is acceptable). Avoid silhouettes, heavily shaded or shadowed poses, and leave the hat at home. Steer clear of "artsy" finishes and beware of glamour shots-A&R execs want to see what you look like; they don't like surprises. It's very important to understand that there are rules for people who are seeking deals that don't apply to people who already have them (for example, it's all right for Hank Williams Jr. to wear a hat in his publicity shot, but it's not all right for you).
Hire a professional entertainment photographer who understands the kind of shot you're looking for. If you don't have one in your area, make arrangements to have a photo shoot when you're in a city that does have one or prepare to be very specific with your local photographer.
Don't put all your money on one or two shots, especially if you're dealing with an inexperienced photographer. Thirty-six shots should be the mini- mum-double that is better. Then have a contact strip made and pick your proofs (it's a good idea to ask excruciatingly honest friends and relatives for advice). Again, make sure the picture looks like you, not what you want to look like. Once you've selected a pose, have several 8'x 10' copies made. Black and white is standard, but color isn't banned as long as the quality is good.
Your name should be imprinted on the bottom margin (centered) of the print. There are businesses that specialize in inexpensive photo reproduction (including having your name imprinted), so don't pay exorbitant rates to have these prints made.

The Bio
The next step is your biography, a condensed version of your life and entertainment career. A&R execs know that if you're just starting out, you're not going to have much of a history, so don't try to "snow" them (i.e., if you once swept the stage after a Willie Nelson concert, don't put "shared the stage with Willie Nelson" in your bio.) A bio shouldn't lie; it's always better to understate than to overstate.
If you find it hard to write about yourself, hire someone experienced in writing artist bios. It is certainly not necessary to hire someone, but professional writers can help you present a professional image. The music industry source books previously mentioned will provide listings of entertainment journalists and publicists you can contact. Depending on what part of the country you live in, having your bios produced will range from $50 to $200 or more. A mid-range price will get you what you need. A professional writer will interview you to get your personal background information and professional history, and then incorporate the information succinctly into a one-page, single- spaced bio. Don't pay extra for rewrites if you are not satisfied-that's included in the price.
Whether you decide to write the bio yourself or to hire a professional, have your bio professionally printed. Don't just run it through the copy ma- chine. Pick out quality paper stock (white, buff or gray), and be sure to carefully proofread it before you give the final go-ahead. Misspelled words won't create a positive impression.

The Demo
The last and most important part of your package is your demonstration tape, or demo. Whether pitching to a record label executive, a producer or a music publisher, the rules for the demo are mostly the same.
Writer's Demos.
Contrary to what many people may tell you, you don't need to rent a twenty-four-track recording studio and hire a group of professional studio musicians to produce an acceptable product if you are just pitching a song. A well-made, two-track guitar/piano vocal will properly showcase most songs if it meets the minimum standards of the industry. Those standards are a clear sound with no background noise, distortion or tape hiss; a good, sincere vocal performance that gets the meaning of the song across with mini- mal improvisations and vocal gymnastics; and professional accompaniment that enhances the vocal rather than upstaging it or drowning it out. The exception to this last rule is in cases where the hook of the song you are pitching is based more on the music than the lyric. In this case, choose the instrument that you feel most accurately expresses the mood of your song. It is also a good rule not to style your demo for one particular artist. If he or she passes on your song, you will have to completely redo your demo to pitch it to another artist. The clone rule for photos also applies to demo vocals -don't use a sound-alike singer. Close is good, but an exact impersonation will usually doom your demo.
There are times when a fully produced demo is better than a two-track instrument/vocal; it's usually a judgment call that only experience can dictate. If you do decide your demo requires what is known in the industry as a "fall- blown" demo, here are some tips to help you out:

1. Pick experienced musicians.
They may cost you more money than your buddies, but they are faster and have a better sense of what producers and A&R types are looking for. Since most recording studios charge by the hour, you wind up spending about the same but end up with a better product.
2. Less is usually better.
Get a good solid rhythm section and one -never more than two -lead instruments.
3. A good sound engineer is a must.
Most studios provide one, but before you hire anyone, ask to hear some recent demos; make sure the quality is acceptable. If you don't have any experience in a recording studio, look for a studio that specializes in writers' demos. These studios usually provide musicians and have per-song packages that include excellent engineering for much less than it would cost you to produce a demo yourself. If there are no studios like this in your area, find someone experienced to assist you. The studio can usually help you with this; if not, your local musicians' union can.

Artist's Demos. If you're seeking a recording contract as an artist/writer, the above rules also apply, with some additions and exceptions. Usually, producers and A&R execs want modestly produced (full-blown) demos, but if your voice can be shown in its best light with just a piano/vocal or good guitar/ vocal, go for it.
The most important aspect of your demo as an artist is your voice. The photo and bio are nice, but record companies ultimately buy and sell your voice. It must be distinctive (i.e., easily recognizable when heard) and must have a pleasant quality about it that fits the format (e.g., country, rock, rap, classical) you're pursuing. It must also be natural -not affected or, as previously mentioned, a sound-alike. And finally, it must be expressive and sincere. Your voice must sell the listener on the song and the feelings contained therein this is what A&R execs look for and buy. The rest is just window dressing.
Pay careful attention to material you put on your demo. Your best song should be the first one on the tape. Never save the best for last because it might not be heard. Next, choose songs that showcase your voice and performance ability. If you're a ballad singer, choose your best ballads. If you're a rocker, sing your best up-tempo tunes. And if you don't know what you do best, don't bother pitching to a label until you do. All songs should be originals even if you didn't write them at all; use cover material only if you're pitching yourself as a stylist and have some dynamite arrangements.
The rule in the industry for number of songs (or sides) that you put on the demo is usually not more than four, never more than five; three is best. Let's face it -if you haven't sold them on your voice and singing ability after three songs, they will rarely listen to a fourth or fifth. Again, less is better -it's better to leave them wanting more than to wear their ears out. Put your songs on cassette tapes under thirty minutes long; twenty is ideal (ten minutes per side). Put all your songs on one side -no one bothers to turn a tape over.
Label your tape (custom printed tape labels are best) with your name, address and telephone number. Don't rely on putting the information on the lyric sheets since they regularly get separated from the tape. Then put the tape in a hard plastic case (the soft plastic cases are not as easy to see through).
Always include typed lyric sheets with both writer and artist demos. Check spelling, and don't use correction fluid. The lyric sheets should be folded and attached to the bottom of the box with a rubber band.

HOW To SUBMIT
Once your package is together, the long process of submissions begins. This is when the contacts you've made through organizations and conferences come in handy. Call your contact at the record label to ask for permission to submit your demo. If your contact isn't in or is unavailable, call back rather than leave a message. That way you don't have to waste your time waiting for a call.
If you want to submit to the label but haven't made a personal contact, perhaps you've worked with a producer who has an "in" with a label and would be willing to submit the package for you. If not, call the label and ask who the A&R director is, then wait a week and call him or her. Don't, under any circumstances, write for permission, since hundreds of letters like this are received and most are returned with a negative reply. When you call, be sure to get the name of the person who reviews the material.
If you're trying for an artist/writer deal, put the head shot, bio and demo tape in a glossy folder (usually available at office supply stores). Don't use the ones schoolchildren use. Paper clip your cover letter to the front and mail it to your contact. Again, make sure the lyrics are folded and securely attached to the bottom of the box with a rubber band.
Either way, put the promotional package in a brightly colored envelope. Plain manila gets lost in the crowd. Address the package to the A&R exec, with "requested material" (although almost everyone now uses this phrase, whether it's requested or not) or "permission given by phone" written on the package. If you're submitting your songs for a specific group or artist, note that on the package as well. Make sure you've got a professional looking package. Custom mailing labels are a nice, inexpensive touch that shows you're serious about the business. Type the label -handwriting screams amateur.
Never send a tape or package addressed generically to "A&R Department" and expect it to be taken seriously. There's a good reason record companies only accept requested material it's because they actually listen to every tape that comes in (which is why it sometimes takes weeks for them to get to yours). If they had no restrictions, they'd be overwhelmed by tapes and wouldn't be able to give each one the time and attention it deserves.
The letter (see sample, page 52) that accompanies your tape should be attention-grabbing and should remind the addressee where and when you met (and should be written as soon as possible after the initial meeting). Keep it short and to the point. If you want your tape returned, enclose a self-ad- dressed, stamped envelope; otherwise, it will end up in the recycle bin.

FOLLOWING UP ON SUBMISSIONS once you have sent your package, wait a few days (never more than a week), and then follow up with a phone call to make sure it arrived at its destination. If it hasn't, ask them to look for it while you wait on the line. If no one can find it, ask for permission to resubmit it. Don't take it personally if no one remembers it or it disappears -it happens with great regularity. If you get a negative response (usually a deadly silence), take heart.

If you're pitching a song, remember that what doesn't work for one artist may work for another or for an album with a different theme. Since the A&R staff and producers listen with tunnel vision for each project, you may have luck resubmitting the song at a different time. Garth Brooks, for example, originally wanted to cut "The River" for his first album, but didn't include it until his third album because that's when "it felt right." Don Schlitz's "The Gambler" was turned down by every major publisher in Nashville several times before Kenny Rogers recorded it and took it to the top of the charts.

IF THEYRE INTERESTED
If a record label is interested in you as an artist, they'll contact you and either set up a meeting or ask to see you perform live -there really isn't a pattern to signings. Your meeting is just as crucial as your performance. Again, be- cause the marketplace is so competitive, record companies look at the total package. The label decision-makers might as well have "What's in it for me?" tattooed across their foreheads because that's what they're thinking. Be focused and be able to state in a couple of sentences what kind of artist you are. If you don't know, how will you be able to convince anyone else?
In addition to your vocal talent, they'll be checking out your attitude. Are you passionate about your music? How committed are you? Are you available twenty-four hours a day? Willing to put your family life second and dedicate your life to your career? Willing to diet, work out, take voice lessons? If you're not, stop the train and get off now.
A recording contract is much, much more than singing -it's interviewing and doing television and radio appearances, charity benefits and personal appearances on what could be the only two days of the month you're home. It's eating at fine truck stops, sleeping on the bus, listening to hundreds of tapes, then spending days holed up in a recording studio to make your next album so you can begin the interview-and-touring process again. Early in his career, country singer Randy Travis once remarked that all he really wanted was "two days off in a row." There's more day-to-day grind to a recording career than there is glamour, so make sure this is what you really want to do with your life.
If getting a record company deal sounds tough, it's because it is tough, and it doesn't necessarily get easier once you've "made it." Even gospel/pop diva Amy Grant once threatened to quit because "it just wasn't fun anymore." That's when her manager, Dan Harrell, told her, "If it's a hobby, then you stop doing it when it's not fun; if it's something you want to do with your life, then you learn to work hard at it and enjoy it." Or as the old maxim says, "A professional writer (or singer) is simply an amateur who didn't quit."