| |
Back in 1928, the standard, "I Can't Give You Anything But Love," was set
on what now appears to be an eternal path of 'cover' success. Originally
written by Jimmy McHugh (music) and Dorothy Fields (lyrics) this 'diehard'
has now been recorded by quite a number of recording artists, my favorite
being that of Brazilian Jazz recording artist Tania Maria.
The muse, basically, is an honest admission from one lover to the other,
of the only thing possible to be given to the relationship is love
aplenty. No money, bracelets, furs, lavish homes, fancy cars, or any of
the finer trappings of the diamond life. But, otherwise, a plain vanilla
unending supply of the most important element.
Except for maintaining my positions as General Partner and Director of
Marketing for 2 new Houston-based record labels, and providing occasional
music reviews and articles to select publications, after spending over 25
years in this industry as both an artist and business person, I basically
had enough of the merry-go-round and closed all contacts with the
independent aspect of the commercial music industry this past month.
And, since having done so, beginning with ceasing publication of my "B#
Newsletter," along with severing my record promotion, press publicity, and
consistent writing efforts, I have been repeatedly asked why I did so. So,
in response, I have decided to provide a few reasons, whether considered
by others as legitimate or illegitimate but, nevertheless, truthful.
1. Truth - Speaking of truth, I found that when asked by musicians,
particularly musicians of the independent nature, and they stated, "Kenny,
I want to know your opinion of my/our music," what they were really saying
was...
"Since I/We went to the time, expense and effort of sending you one of my
fantabulous CDs, which is certain to become Platinum and break all current
records (pardon the pun) [even without] promotion, regardless of what you
honestly believe, be nice and tell me/us that I'm/We're the greatest thing
to come along since sliced bread."
Well, I simply couldn't do that because, you see, even sliced bread was
upstaged by itself at one point (wheat).
2. Paying the Fare - If music was a road trip, most independent musicians
would be left at the 200-mile road mark on a 400-mile trip. Whether going
on a travel venture by auto, bus, train or plane, fare is paid for the
duration of the trip...not for a portion of it.
Furthermore, I know of no public transportation vehicle that allows for
any other alternative. Yet, independent musicians do themselves a grave
disservice daily by getting off the proverbial bus before reaching the
final destination, because they did not save enough fare for the entire
musical trip, all while being in denial that the trip would be much longer
than expected.
I watched this occur repeatedly, and must say that I believe it to have
occurred in well over 90% of the independent recordings that I ever
received...whether for review, promotion or publicity consideration. But,
all in all, frustrating, to say the least.
Here's my point: Why go to all the expense, time, and effort of creating
and manufacturing a musical product, only to not establish a proper
financial budget afterward for promoting and publicizing it, and bringing
it to the attention of people who could, at least, provide enough income
to earn back the costs of having produced it? I believe I have an answer
as to why musicians continue on this path of sadism...it's termed as an
'ever pulsating ego'.
3. The Multi-CD Artist - Now, this is a bag of confusion, to say the
least. I really can't understand why some independent musicians produce a
recording, then only 6 months later (or less) return to the studio to
create yet another. If the desire is to build a catalog, in my opinion,
this is going about it completely wrong.
I often wonder what the overall goal is, with not having given any of the
recordings appropriate publicity, not to mention that practically none of
the recordings ever return a profit on their investment. It is usually
because the artist are tired of playing the same songs, or hearing the
same songs and are looking for something "fresh." And, naturally, their
newest work is always their "best" work.
I know artists who have produced 5-10 recordings, and even more, but I
have wondered what would have been the outcome for only one recording that
had the production monies of the subsequent recordings allocated for
promotion. Sadly, few people have ever heard the first recording. Hmm...
4. The "Mature" Musician - Unfortunately, there are still "seasoned"
independent, unsigned, underground, or whatever the current applicable
term, still trying to "make it"...still trying to get that 'virgin' MAJOR
label record deal. I should not need to explain what the term "mature"
means, in terms of biology, nor specific to the commercial music business.
If you are "mature," no one is more readily aware of its meaning than you.
Even in such genres as Folk, possibly, the last great hope for unsigned
artists outside the 17-25-year age range that the music industry has
always primarily courted, the music business aspect is calling it by any
other name, and seeking fresh young new artists to put another twist on
it, so it can be sold as a completely "new" product, in all senses of the
phrase.
I'm not saying "mature" unsigned artists don't have a chance, but let's
honestly face it...it's significantly less possible that these artists
will ever attract the attention of a major record label. Their only
practical alternative is to now self-release.
And, if you will be honest and truthful with yourself, you will admit as
such as well. Above all, don't get angry with anyone for pointing such out
to you, for you have already been in the music business long enough to be
aware of it, and how labels work. And, whether I say it, whether you admit
it, or otherwise, 1 element of it remains...truth. And, truthfully, I'm
43-1/2 years old.
5. It's A Money Thang - Overall, one of the things that independent and
unsigned recording artists are in denial of, and refuse to accept, is that
the music industry increasingly costs money for someone, anyone and
everyone to operate consistently within it.
And, it costs even more money to operate "successfully" within it. Sooner
or later, your degree of success will be equated by the amount of money is
put into your career for supporting promotional and publicity efforts.
Sooner or later, you too will vehemently realize this as well. In fact, I
venture to say that you already do.
As such, as I review the tremendous amount of capital required to operate
daily in our own labels, just in the preparation of our artists' releases,
not to mention the amount of capital to sustain, I'll go out on a limb and
say that most independent artists expecting success comparable to the
levels of Billboard chart toppers don't even have a fighting chance, and
will *never* "make it."
If you know you don't have the promotional capital, or can't get it, do
yourself one helluva favor...stay out of the industry until you can get
it, however that may be, because to not do so, and to continue to pursue
at the true "commercial" level, will do you far more emotional harm than
good. But, I suppose admitting so, would be a lot like knowing the date
and time of your own death.
Back a couple of years ago, everyone thought their careers would be made
via the Internet...no more begging radio stations for airplay, no more
courting the press, no more distribution problems and, best of all, no
more "damn major record labels!" What a fantasy it was, eh?
Now, let's fast forward to reality a bit...a Twilight Zone- type of
reality where all the elements are still here. Sure, as we look back, we
can say that the Internet eased a few pains...not a lot, but a few and,
primarily, in the communication aspect.
But, when all the dust finally settled, people still wanted the actual CD
because of the higher quality over MP3s, they still preferred to read
actual print papers for reviews, and they still mostly listened to
brick-and-mortar radio stations, while also buying most of their CDs from
their local trusted music retail stores, which also meant we still needed
physical distribution, and not just downloads and online mail-order music
stores. And, upon this realization, "bedroom" musicians were saddened.
I can assure you that, unless you are promoting and selling your music
offline, in addition to online, you are in for one rude awakening. Sure,
if you're happy simply gigging at local clubs, selling your CDs during and
after the gig, and could not care less about even charting Billboard,
racking up Gold or Platinum sales awards, or winning Grammies and making
millions of dollars for your work, then great for you, and I
wholeheartedly applaud you.
But, being an artist myself, and being prominently aware that I'm yet to
meet an artist sans any degree of ego, I would venture to say that all
artists dream of, and hope to acquire, the financial brass ring one day as
a result of their musical training and efforts, second only to mass
recognition of their art. And, if for no other reason than Indie artists
work just as hard in recording and producing their projects as major label
artists, but generally end up little more than penniless.
So, why continue to shortchange yourself by not going the complete 100
yards for a musical touchdown by including a promotional budget, even if
it means starting a budget for your promotion a year early, or delaying
your release for a year?
One of the best gifts most artists can give themselves, is to get away
from a "make me feel good," "tell me how great I am," touchy-feely
approach to their careers, otherwise, opting to learn the "truth" at all
levels in order to realize success.
And, if this article makes you angry, and you use that anger to make some
changes that you now realize need to be made for your career, I've done my
job, accomplished my goal, and hope it gets you off your duff to complete
the mission. After all...
"I Can't (And Won't) Give You Anything (But Truth)"
|
|
