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.



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During Michael Laskow's 20-year tenure as an engineer/producer, he worked with Crosby, Stills, Nash and Young, Eric Clapton, Cheap Trick and countless others. He continues to write articles for magazines like Recording and Electronic Musician.

The 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!




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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.


Sincerely,

Kenny Kerner
BIGFOOT Manager





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Kenny Kerner is the author of the music business book, "Going Pro," is the head of the Music Business Program at Musicians Institute, is the personal manager of Los Angeles band Cartoon Boyfriend.

This Panel can be for your Content or Code. Example, Twiitter Feed, Aim Chat, etc.

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.



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Don Grierson is a 25-year veteran of the music industry, having headed up the A&R departments of Epic, Capitol and EMI-America Records. Add to that his expertise in marketing, international music affairs and promotion, and you understand why he is every bit as cutting-edge today

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