I like your plan so far. Sounds like you have most of the bases covered. I've only this to add.
1. Trying to make a living off music, and having it is a goal is awesome. However, it's incredibly difficult to do but not impossible. Even if you do luck out and get some fat label bucks behind you, you still have to recoup on all your expenses. Label dollars, especially for new artists, are treated as loans to said artist, that the Mr. Record Label eventually wants back in record sales. This is why so many major label bands' second albums are shitty trend following pap shit. I'm a strong believer in the indy diy thing, and it sounds like you are too. Very cool.
The biggest mistake I've made over the last few years, was focusing on the wrong things. I had to be able to make a living off music, no matter what. Focusing on this, subconciously takes it's toll and ultimately warps your artistic perspective. Anyways it did for me. Now I focus more on the process than the end result, and am more satisfied with where life is going. Just as long as I put out one DAMN GOOD ALBUM, and put on DAMN GOOD SHOWS, then I'm happy. Shitty job or no shitty job.
2. Gig. I totally agree with you on this. Play like hell. Was it Miles Davis that said "You're only as good as your last performance,"? Anyways it's true. If you can build a solid local following, you're already half way there. Especially, if Mr. Record label comes sniffing around. I've heard A&R guys say that they love when they have to pursue an artist, because they know and love said artist's work already even without receiving a demo tape. Which leads to:
3. Demos. Someone mentioned about the importance of having a slick package to hand in to labels. This is the biggest myth of the music industry. The opposite is true. Generally the rule of thumb between A&R people is the better the demo package(I'm talking visual not sound here) the shittier the band is. What you need is a professional package consisting of a demo, a bio/press, a black and white 8 x 10 glossy. This is industry standard. Not including any of these doesn't win punk points with anyone.
4. Recording. If you have the bucks, inclination and time, do what Sand says and record yourself. However, if this isn't the case, finding a studio and engineer/producer is going to be one of the most important things you can do. Check out a lot of different places. The last thing you need is some hot shit, expensive, jargon talking, primadonna asshole who knows everything there is to know about recording and sound. Unfortunately, the music industry is full of these guys. Beware. What you do want is someone who understands what you and your music is about, and hopefully is cheap. My suggestion is to go to recording colleges and try find students who are into what you do, have access to some gear and can record you for pretty cheap. Alot of times, you can get some pretty damn good sounding stuff. Dollars does not necessarily = great sound. I've heard millions of horror stories about bands dropping down tens of thousands of dollars for recording only, only to have their stuff sound like crap. The motto of the last studio we demoed in was "Good recordings for good people." It was run by two fucking hillarious guys recently out of school.
5. Read a page out of Fugazi's book or Ani Difranco's. Regardless, if you like their music or not, they are text book examples of making their own way in the industry. It sounds like you're road is similar to Difranco's. Her first few records were financed on a shoe string budget. And the sales of her record weren't huge by major label standards (but who gives a shit about that anyways...) The point is that because she was a solo artist, she kept all the profits, so she was able to viably live off her music practically from the start. And not to mention have complete control of her career to boot.
Ok I'm sure there's more but I gotta rip.
Good Luck and see at the Grammies with P. Diddy. |
