R/E/P > Budget? Budget? We Don't Got No Steekin' Budjet
It Ain't About Being Good - It's Who You Know, Right?
hargerst:
I hear this a lot from new bands that wanna be "discovered" and signed to a big record contract. Well, it ain't that simple. Look at the sound of your band. Is it really different or is it a rehash? There's already a korn, and a matchbox 20, and a Pantera - the world doesn't need another one. But korn doesn't sound like matchbox 20 doesn't sound like Pantera doesn't sound like (insert your favorite band here). So having a unique sound is very important, but what else do you need?
In previous columns, you've heard me talk about getting a big following as quickly as possible, but why is that so important? For many different, but equally important, reasons:
1. It proves to a record company that your music has popular appeal, even if it's just in one market.
2. It shows a company that you have good local sales of your album, even if it's just to your local following.
3. It shows them you are building stage experience for the time you might go national.
4. It shows a record company that they might have less financial risk if you have a large following.
5. It shows the group is stable and has been around long enough to build a big following.
Here's a dirty little secret: Most records don't sell enough copies to even pay for the cost of making them!! Lemme say that again, slightly differently: Most label releases bomb - they actually lose money. It's the one or two successes that pay for all the losers. Think I'm kidding? Go to any label's site on the Internet and look up your favorite band on that label. Now look at all the other groups they have, that you've never heard of. Also see how many of those artists actually have a second album out.
Yes, sometimes brand new groups get a record contract because an A & R guy spots them, or a producer recomends them, or their demo is accepted, but the major way to get a contract hasn't changed much since Bill Haley and The Comets - get a buzz going, and your chances skyrocket.
MorningStar:
But the question remains... How to get the buzz going.
All of the advice you have been handing out is great, but the question still remains. If you're not supposed to give out Cd's, how do you get people to buy them. If you're not supposed to play to often in one area, how are you supposed to get the word out. If you shouldn't play to rooms you cant fill, how can you expand the fan base.
You are going to start playing to friends and family, but that will only take you so far. How to take the next step?
natpub:
stonedgrace wrote on Fri, 23 April 2004 03:04
But the question remains... How to get the buzz going.
All of the advice you have been handing out is great, but the question still remains. If you're not supposed to give out Cd's, how do you get people to buy them. If you're not supposed to play to often in one area, how are you supposed to get the word out. If you shouldn't play to rooms you cant fill, how can you expand the fan base.
You are going to start playing to friends and family, but that will only take you so far. How to take the next step?
I believe the answer to all of the above is that to solve those problems one has to be good. If the stuff rocks, the first 10 people will bring 10 more the next time, and so forth. I don't believe one should every "try" to get people to buy CD's, they either do or they don't, again, depends on if it is good. That does not mean don't advertize or market or promo the disc--but other people should be doing that, not the band. As far as playing rooms you can't fill, I believe Bob may have been referring to how some bands would try to play larger houses than they could fill "after" they already had a little thing goin. How to "get a buzz going"...well, there are tons of PR stunts folks have done over the years. Look at Bowie's career, and how his first manager spent all their money on crap like limo's and such. BUT, Bowie also happened to be good. PR can make a buzz, and make people show up, but if you then proceed to suck, that's the end of the ballgame I speak from firsthand experience on that score, hehe.
Kurt T.
Austin
Fletcher:
Players play. Play anywhere and everywhere as often as possible. Book shows at the local VFW hall with half a dozen other bands that have "a draw"... put your band on the bill. As mentioned, if you don't suck, someone will like it... and they'll tell 2 friends who will tell 2 friends who will tell 2 friends... and the next thing you know, you're a popular local group getting booked by some other up and coming local pop combo to their show at the local VFW...
I've never met an "overnight sucess" that didn't take years to build and craft. Find someone in your area that has some talent at arranging and have them look at your material [I'm working on a song at the moment that needs to be cut down from 5:21 as it's boring as fuck... I have it down to 3:47 and it's interesting... wish I had been there for pre-production then I wouldn't have to be cutting the fucking thing up after the fact]... find a local "producer" that is willing to work with your band... however, you should look at their body of work to make sure you're of "like mind".
There are a whole lot of rather popular idiots out there making a living that shouldn't be... don't necessarily go for the flavor of the month, create the flavor of the month. Keep things within the bounds of reality. With the possible exception of Boston in 1976, ain't nobody going from the basement to arenas in 6 months... hint, it's no longer 1976 [and Tom spent several years working on that "demo"].
You win friends and a following one person at a time... you win friends and a following by working your balls off... all the time. Do as much "press" stuff as you can... make friends with all the local writers, publishers, editors of all the local trade rags... make friends with the local bookers, club owners, bar managers, event planners, etc.
Look at playing "all ages" shows at community centers, high schools, Jr. high schools... learn some covers and play frat and sorority houses... in other words... players play.
I know one band that used to book themselves under 3 different names... same band, same material... released the same album under all 3 names... each of the band's different names built it's own following. After about 2 years of this, they merged the 3 names into one and still played all the venues where they used to play under the different names. When they finally merged the name, they had their own publishing company, their own "in house" booking agency [they also booked other acts!!], publicity machine, had a very modest recording studio and were incorporated. That's called "working your balls off".
Now get your ass off the computer get a worthwhile band together, create something new and different that brings the personailities of the individuals in the band out in the band's music... and play it everywhere.
They call it "playing" but it's really just enjoying your work. Funny part is, the harder you work, the luckier you get. Remember that a band is a small company. Your bandmates are your partners. You're in the manufacturing business... you manufacture entertainment product. The better the product [the more your music entertains people], the more people will want the product... they also have to know the product exists.
It's not a whole lot different than building a ____ and bringing it to market... the difference being that you're going to have to find the capital to start your own business from within, and the backbone to build the business over time.
Best of luck
Dave Martin:
I have to go with Fletcher on this - players play. Bob and Harvey's advice may well be better from a career viewpoint, but for professional musicians, if you don't play, you don't eat.
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