Excellent Article!

[Jim Price]

Check this out. Below is an article by Bob Lefsetz, a music industry critic and observer. He posts several commentaries daily on his website, www.lefsetz.com. This article hits the nail on the head regarding the current music industry climate, and what realistic goals bands and artists should have regarding "making it."

Feel free to discuss and comment below.

MAKING RECORDS

Are you doing it to get rich, or because you have an innate desire to express yourself?

Hello, let me introduce you to 2007, wherein the powers-that-be tell us the music business has been wrecked by piracy but those with their ear to the ground know it’s much more complicated. The biggest problem facing artists isn’t piracy, but apathy. How do you get people to pay attention in a fast-paced world with so many entertainment options?

And, if you get SOME to pay attention, how easy will it be to get MORE people to pay attention?

Used to be there were amateurs and pros. Hobbyists and careerists. If you were a pro, your goal was to get a major label to sign you. You didn’t worry so much about how your music sounded as to whether the filter, the label, would invest in you. It was THEIR job to figure out how to get people interested. And, with few acts with the ability to get into the marketplace, they could give your project tender loving care, nurture it, develop it, if not to ubiquity, then at least journeyman status.

But then records started flying out of stores. And the major label’s job changed. It wasn’t about being a filter anymore, but a conduit from the customer’s bank account to theirs. What could they put in the value proposition that would get people to open their wallets and throw off enough cash to build cable systems? If you didn’t make mainstream music, suddenly, they didn’t want you.

But independent labels couldn’t get paid. The indie world was a complete backwater. Until about fifteen years ago, when the major label disaffected started growing indies. And by time indies truly got traction, the Net had taken hold, with P2P, and EVERYTHING was available ALL THE TIME!

With this newfound opportunity for exposition, amateurs flooded the gates. They wanted their chance. You no longer had to be a pro. You could make a record on your computer and sell it on CDBaby. Display your wares on MySpace. Suddenly, the pros were hard to find. And what was a pro anyway? Someone good? Someone unique? Someone who could move a lot of product?

MTV punted. It got out of the music game.

Radio admitted that it was in it for the commercials, that what came between them was filler, that if dead air generated the most listeners, they’d program that. They shirked their responsibility to the public, and asked whether they EVER had a responsibility to the public.

So where does that leave YOU?

Chances are, you don’t make music that the major label wants to pay for. Or, even if you do, you’re wary of the company’s input. And, it’s not so easy for the label to run the gauntlet anymore. There are fewer outlets of exposure, and they’re ever tighter. Sure, there are NEW ways to expose music, BUT IS ANYBODY PAYING ATTENTION?

Satellite radio play… How many subscribers and how many listeners? Each one might be happy as a clam, with this programmed choice, but if you want to make a living playing music getting a lot of spins on satellite won’t buy you a Bentley, probably not even a Kia.

Get to number one on MySpace and you can’t make a living, not playing music, just ask Tila Tequila. And she only got to number one because of SEX!

And if you’re selling your album on CDBaby your fans will buy it, but how many fans do you actually have? And, unfortunately, P2P isn’t benefiting you, because you don’t have enough fans to populate your product on the network. P2P isn’t hurting you at all, it could only HELP you, if only you could get someone to pay attention.

You’d argue for lower TicketMaster fees if only you could play a building WITH a TicketMaster contract. Instead, you’re lucky if you don’t have to guarantee the CLUB attendance by a certain number of YOUR fans. You’re doing it yourself, and you’re LOSING money, and you’re frustrated.

Don’t complain, give up.

That’s one of the dirty little secrets of this business. Talent is only fifty percent. Desire and perseverance make up the rest of your success. But NONE of the foregoing are a guarantee.

So, you’re up shit ocean with a paddle so small you’re overwhelmed.

Welcome to the club. You’d better be doing it for a love of the music, because chances are that’s ALL you’ll have, your music and your enjoyment in playing it.

Maybe you’ll gain some traction, you’ll become a pro. But the odds are against you. You need that desire and perseverance and LUCK! And it’s harder to get lucky every day. Even if the radio station DID play your record, what would it MEAN, is anybody LISTENING?

We’ll get some clarity in the future. The gulf between amateur and pro will reemerge. But chances are, only a thin sliver of pros will be like the stars of yore. There will be Kanye, and then the guy who can fill theatres.

That’s the game you’re getting into.

So don’t lay out a plan for world domination. If you’re lucky, you can dominate your DOMICILE! Maybe if a friend goes to college in another state you can make headway there. But there are too many people and too few slots and no pot at the end of a rainbow.

Cry all you want, but this is fact. You’d better be doing it for the love of the music. And this is the key that may grant you success. Those old paradigms, how you look, how you’re marketed…the majors only have a few slots per year, and most of THEM don’t make it. The old game is dead. The new game is daunting.

[stratobastard27]

Makes me happy I had all my rock glory days back in the seventies. Oh wait a minute, I wasn't even born until halfway through the last year of the seventies. Damn. Looks like I missed the boat.

This is a good article, he makes a lot of good points. However, I think the point that's most missed is the POSITIVES of the new game. I think the fight for attention is a good thing, and that alone will separate the pro's from the clowns. So record sales are in the toilet, and only continue to be flushed. OK. Was there ever any serious money in record sales unless you were the Eagles or Fleetwood Mac? What do you think a band nowadays makes from cd sales? Let's take a band like Hinder, for example. Rookie band, decent songwriters, has the "bad boy" thing going to tantalize the jailbait. I wonder what each copy of "Extreme Behavior" nets them. And I do mean nets. I'd be willing to bet the four piece splits a dime, at best, for each album sold. 10 cents times 1 million albums divided by four? That's an astonishing 25 grand a man per year!!!!! WOO HOO! Oh, wait a minute... 25 grand.... uhhhh.....
How's about we make our money through touring? There's a idea. Let's play a series of concerts, that people pay to see. We can make money there! Oh, and while we're at it, we'll sell T-shirts for $25 apiece, stickers for $5, zippered hoodies for $40, etc... Now we're talking.
Bands have never been able to live off album sales alone. Income comes from 4 sources; Sales, Touring, Merch, and Writing. Sales have always been the weakest link in that chain.










None of the preceding applies to Paul McCartney of Don Henley.

[songsmith]

See, if I say stuff like Lefsetz does, the young guys think I'm bitter for "not making it," and the old guys think I think too much of myself. As I've said before, I eventually reached an age where I had to reflect, because I had certainly not achieved what I thought I wanted to do. So, was it all wasted time? It took me awhile, but I realized that in the seemingly pointless effort of getting somewhere, I'd been everywhere. As musicians, we always have the best seat in the house. I've seen, and heard, and done things many people never get to. I've stood shoulder to shoulder with a few of my best friends, and faced a crowd of thousands. At the end of your day job, nobody claps their hands and hoots for you, but I've heard a crowd cheer so loud it hurt my ears. I've met so many people playing music. My wife found me singing in a bar band. Many people keep their heroes high on a pedestal, but I've personally met Ted Nugent, Ralph Stanley, and an abnormally large number of my heroes. Best of all, sometimes the very people I see as my peers treat me like I'm something special. That's pretty cool when somebody you respect on a musical level says something nice about you.
I wouldn't trade my career for anyone's, and I suspect few of you all would, either. We do what we do, make a little bit of art, have a lot of fun... how can that be a waste of time? -------->JMS

[Banned]

See, if I say stuff like Lefsetz does, the young guys think I'm bitter for "not making it," and the old guys think I think too much of myself. As I've said before, I eventually reached an age where I had to reflect, because I had certainly not achieved what I thought I wanted to do. So, was it all wasted time? It took me awhile, but I realized that in the seemingly pointless effort of getting somewhere, I'd been everywhere. As musicians, we always have the best seat in the house. I've seen, and heard, and done things many people never get to. I've stood shoulder to shoulder with a few of my best friends, and faced a crowd of thousands. At the end of your day job, nobody claps their hands and hoots for you, but I've heard a crowd cheer so loud it hurt my ears. I've met so many people playing music. My wife found me singing in a bar band. Many people keep their heroes high on a pedestal, but I've personally met Ted Nugent, Ralph Stanley, and an abnormally large number of my heroes. Best of all, sometimes the very people I see as my peers treat me like I'm something special. That's pretty cool when somebody you respect on a musical level says something nice about you.
I wouldn't trade my career for anyone's, and I suspect few of you all would, either. We do what we do, make a little bit of art, have a lot of fun... how can that be a waste of time? -------->JMS

This should be written in stone somewhere, Very Well Put!

[bassist_25]

Very good article, and one that should be handed to every starry-eyed 19-something with a dream in their heart and a Les Paul in their bedroom. The new music industry doesn't scare me. Actually, I do lament the transfer of music from a physical format to a completely digital format. I've never been one to be steamrolled by new technology, but I am old school in that I like to buy an album and get the entire package. I have music burned onto CD-Rs, but I don't consider those to be part of my "music collection." I've collected a lot of things in my life, but the only thing I've stuck with was collecting CDs. Once I get some disposable income, I'd really like to start building a vinyl collection too.

When recording technology and studio time became affordable, it became very possible for musicians to make a high-quality, professional album. The thing that major labels still offered that made signing attractive was distribution. Now with venues like the Internet, it seems like major labels can't even offer that. I think that it's a good time for artists who want to take control of their own music. I was just talking about Ani Difranco on Monday. There's somebody who created her own label to release her own music. Best of all, she did it on her own terms.

As has been said, making a living off of your recorded music is a pipedream. Sure, people do it, but it's not something I would hold my breath over or quit my day gig or school over. On the other hand, it is possible to live comfortably by gigging. Does it happen over night? No. But anytime you're in business for yourself (and as a musician, you are self-employed), things don't happen over night. IME, building success with music is just like any other business or field; it takes persistence, quality, business smarts and intuition to make happen. Unfortunately, a lot of the cats I meet lack one or more of those things and then take a negative view on what rewards are possible from playing music.

[Brian of the Clan Plush]

I've been in it for the tits...since day one.

Overall, I'd say its been a resounding success.

(.)(.)

[DirtySanchez]

This says it all:

You’d better be doing it for a love of the music, because chances are that’s ALL you’ll have, your music and your enjoyment in playing it.


Why I get pissed with people who say "I wouldn't set up my gear for less than x amount of dollars." What artistic motherfuckers they are.

I wonder how many masterpieces would not exist had true artists felt that way?

[Heartless_Mockery_Records]

I enjoyed this article very much. I somewhat reminds me of this Steve Albini article (here) that I posted awhile ago, which explained how even if you got a 'major label contract' how f'cked you would be...

I especially liked the part that said....

Talent is only fifty percent. Desire and perseverance make up the rest of your success.

How many times has everyone seen that PROVEN true?

[nightcrawler_steve]

Thanks Jim.

I think the author pretty much hit it right on the head. Can't really say I disagree with any of it. For the members of this board, relating to and understanding the article to be an accurate analysis is more than likely a function of age. Why? Because we older players have been playing and working in this business for enough years to see this "state of the industry" evolve to what it's become.

But Sanchez's opinion is worthy of it's own thread. I don't want to hijack this awesome thread. It is so rare to have any worthy discussion of actual music topics here on RP, rather than *yawn* 9/11 or the no-win-bs-political arguments that occur here . Sorry ~ I needed to get my jab in while I could

Why I get pissed with people who say "I wouldn't set up my gear for less than x amount of dollars." What artistic motherfuckers they are.

I wonder how many masterpieces would not exist had true artists felt that way?

Off to create the "What makes it worth your while?" thread......

[waydowneast]

great article

[CHICKSINGA]

I see this article in 2 ways. Cold, but yet Gospel truth. And I know from experience. Fortunately I had a couple good mentors to help. When I was 21 (1983) I dated Rusty Burns, the lead guitar player from the Texas band Point Blank. Because he had true success in the biz he was able to guide me into the best way to look into dealing with managers and what to look for when trying to find a legitimate Road situation. I did end up finding a reputable management company and traveling across the US for a year. but for all his sage advice he couldn't have forwarned about travails like the soundman and roadie taking off in the middle of the night with our money, the easy lure of drinking & all the other festivies that can get ahold of your sanity or how much expense you'd have to pay out of your pocket, like U-Haul, gas, etc. And a $800/night gig (great pay in '83) might seem like a lot til your paying those expenses. BUT, I also wasn't prepared for cool stuff like playing South Padre Island for 2 solid amazing weeks, being treated like gold by fans from all over, having pretty much my pick of lots of hotties and the best one, meeting and partying with Heart in Albuquerque, NM.
An article like that might have made me think twice about moving to LA sight unseen in 1988 when the hair bands ruled the Sunset Strip with a vision of writing funky rock blues songs that were sure to be a hit. And yes it would've have saved me the pain of dirty management, paying to play at The Whiskey and heartache of seeing talentless bands made up of local rich kids who parents paid for glossy press kits and hair extensions, while we worked our asses off rehearsing, posting flyers and being a damn good band. (Remember, 1988, no internet, myspace or easily home manufactured CD's) BUT, the same article would have made me miss the absolute thrill of that show at the Whiskey when the announcer screamed, Ladies & Gentleman, "Kings & Queens"! Or how cool it was to hear our original, "Outlaws" on KLOS Local Licks Show (LA's version of the Backyard rocker) or meeting John Anderson at the NAMM show.
My advice? Go for your heart's dream with the purity of the true love of playing. Take Risks, nothing happens unless you do. And, honey, if you can, don't quit your day job!! I never did and at 30 when I said enuff is enuff and moved home to PA I had a great career path that I cultivated along with my music. It was hard, but I did it. Now I play with BluesMoon for the sheer love of it. I'm tired a lot but I never regret being a musician!!

[bassist_25]

And, honey, if you can, don't quit your day job!! I never did and at 30 when I said enuff is enuff and moved home to PA I had a great career path that I cultivated along with my music. It was hard, but I did it.

And that's something really important that I learned from just watching other musicians. I've always wanted to try the road - and I haven't ruled it out for a little while in my future - but along the way, I'm keeping my education and career intact. Some musicians spend ten years in top-drawing touring bands. I've seen a lot of them make smooth transitions into other music-related careers, such as management or operating sound companies. On the other hand, I've seen some go from sucessful bands to washing dishes at the diner (no offense to dish washers. I respect a hard day's work, but you understand my point). They may wait two years to find that next band that can provide all of the luxuries of their previously successful band.

I guess one thing I've learned is that just because you're hot one day, doesn't mean that you're going to be hot the next. And, none of us are musically immortal, as we'd like to think we are.