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10 'Reality Sandwiches'
For The Independent Musician.
by Christopher Knab - Fourfront
Media & Music - February
2002
Back to Music
Business 101
The term ‘Reality Sandwiches’ appeared in a poem by the late
Beat poet Allen Ginsberg. I adopted it years ago to explain that there are certain realities about the music business
that must be chewed and digested in order to rid ourselves of any naïve concepts and beliefs about breaking
into the industry. With this in mind, the following observations should be taken as wake-up-calls about establishing
your career.
#1: Make Music That Doesn't SUCK!
We live in a time when everybody and their sister can and does make their own music. That doesn’t mean however
that your music has what it takes for record labels to invest their money and time developing, promoting, and marketing
that music. A&R Reps are always saying, when asked what they are looking for, “We don’t know what we are looking
for, but we’ll recognize it when we hear it.” What we can read into this comment is that your music must truly
stand out in some significant, original, dynamic, and creative way.
95% of the independent music out there contains regurgitated ideas that were ripped off from some other more gifted
musicians. Don’t copy! Borrow yes, but copy no. Challenge yourself. What is it about your music that makes it stand
out from all the rest? From songwriting to musicianship, music intended for the marketplace must be performed and
recorded capably. Music that sucks is music that does not grab your listener. Music that sucks is music that takes
only 10 seconds to dismiss because the production quality, or the vocals, or the lyrics are pedestrian at best,
or mediocre for the most part. Music that sucks is music that sounds like you’ve heard it all before.
If you don’t think a lot of the music coming out today sucks, drop by your local college radio station and ask
them to let you listen to some of the hundreds of new CDs they get in the mail every week. You won’t even be able
to listen for more than 20 minutes to most of the independent releases that flood the market today.
Make music that doesn’t suck and you will be making music that makes the listener’s hair stand on end, or gets
their feet moving uncontrollably, or singing your songs in the shower because they can’t get it out of their heads.
Music that doesn’t suck is music that packs people into clubs, and gets people so excited that they are willing
to spend their hard earned money to buy it. So, what does non-sucking music sound like? It sounds like all the
varied records that are selling at live shows around the country, and it sounds like what the people are talking
about to their friends. It sounds like all the great music you bought for your collection.
#2: Play Live Often and Don’t Worry About Getting Paid For
Every Gig.
You can always tell the difference between a musician who is in it for the money, and a musician who is in it for
the music. The dedicated musician can’t not play music every chance they get. Money-focused musicians whine about
the fact that they can’t get club gigs that pay anything. If you really think that you can make your living solely
as a musician in the first three to four years of your career, you are headed for a breakdown and disappointment.
Think about it...almost every legendary, gifted musician who has made a mark on our culture has been a musician
who struggled long and hard at their craft, and never gave up.
Eat determination for breakfast! Go out there and play on the streets if you have to, play at schools, fairs, festivals,
do benefits to help other people and organizations. Offer your services to non- profits, charities, church groups,
and any other companies or organizations you can think of. Hang out at clubs, look for jamming possibilities, or
start your own jam sessions. Look around your city or town, and you will see many places and venues where musicians
can play. As you establish yourself and more and more people show up at your shows, the paid gigs will increase.
Remember... play live, and then after you play live, play live again, that’s what musicians are supposed to do.
#3: Be A Master Musician on Your Instrument.
One of the curious developments of the late 70’s was the huge
increase in garage bands, punk bands, and ‘do-it yourselfers’, who just picked up an instrument, or started to
sing with some friends, and 6 months later recorded a record and began to play live. Some great music, and new
directions in music, came out of that situation. But now, 20 odd years later, the novelty of hearing amateurish
thrashings has gotten a bit dull. Prior to the late 70’s, more often than not, the music that is our heritage was
made by musicians who, from the time they took up their instrument, worshipped at the feet of some master rock
n’ roller, bluesman, jazz player, folk legend, songwriter, or whatever. The habit of these inspired musicians was
an appetite for perfection. A need to be not just good enough but GREAT.
Why settle for less. Whatever developing stage you are at, go beyond it, re-commit yourself to your instrument
or voice. Take lessons, or better yet, sit yourself down at your CD player and choose a favorite guitar player’s
record, and listen closely to what they are playing. then re-play it, and re-play it again. Challenge yourself
to go beyond your limitations. Who knows, maybe you will fall into some new territory, wherein you will find yourself,
your ‘sound’, and increase your chance to stand out from all the mediocrity that is your competition.
Believe it or not, record labels love to hear innovative, accessible new sounds. Actually in their heart of hearts,
that is what they are really hoping to hear on every new demo tape, and from every new act they go see at a live
venue. You see...in the business of music when we hear something new, original, and accessible, we can invest in
you with some sense of security. We believe that if we put our ‘label brand’ on you, and add our talents of promotion
and marketing to the mix, then we ‘have something’, and your music becomes our music, and we can work together
to broaden you audience appeal. It’s like a partnership ...something about ‘Art and Commerce’...they can work together,
you know. Be a professional, because a professional only lets the best come out of themselves.
#4: Protect Your Investment...Copyright Your Songs.
I never cease to be amazed how few artists are willing to spend $30 to copyright their songs. By the way, these
folks are often the same folks who complain about not getting paid to perform their unknown music. All I know is
that when an inventor comes up with some new product that they think will appeal to a certain type of customer,
the first thing they do is file for a patent on their invention. The same reaction to protecting songs should be
there for any serious songwriter.
If you really intend to work hard and develop your career as a musician who writes your own songs, don’t wait too
long to take care of this simple, but essential task. If you really believe in your unique and original music then
take the time to learn the basics of copyright protection. From the Internet to the library, there a number of
easy ways to learn what it takes to file for copyright protection. Do it now!
#5: Design Simple, But Effective Promo Materials.
The topic of designing and writing effective promotional materials; bios, fact sheets, cover letters, quote sheets
etc. is a lengthy one to say the least. Here are 3 tips to help you promote your careers, and enhance your chances
of getting some deal offers. Do the following:
- Take the time to inventory any accomplishments, positive reviews, training
and awards, past sales, and live appearances, and organize them into bios and fact sheets.
- Make your promo materials as compelling, and informative as possible.
If you can’t write, hire a professional publicist.
- Having done that, take more time to research who to send the materials
to, and to ask each potential recipient what type of information they would like to have sent to them. No ‘generic’
kits should ever be sent out to any gatekeepers in the music business.
#6: Know The Labels and Publishers You Hope To Be Signed To.
If you were applying for a job with a certain company of corporation, wouldn’t you take some time to ask questions
about their stability as a business, their reputation in the industry, and the executive’s background and experience?
The same is true when shopping for a record or publishing deal. Some musicians get so excited when a certain label
or publisher approaches them with a contract offer. Being approached for a deal is a compliment and is a recognition
that a musician’s music is attractive to them.
But, to rush ahead without taking the time to learn a few things about those companies is foolish indeed. Ask some
questions:
- How have they done with your particular genre of music?
- What specific kinds of deals are available?
- Who runs the label or publishing company?
- What is their reputation in the music business?
- What are their ideas for promoting your music?
- How do you like them as people?
These and other questions can be crucial in making an unemotional decision
about an arrangement that could make or break your career.
#7: Have Your Own ‘Entertainment Law Attorney’ To Represent
You.
The business of getting signed to any deal in the music business has always had, has now, and will always have,
the involvement of entertainment law attorneys. No jokes will be inserted here, because any relationship between
a musician, a record label, a publisher, a merchandiser etc. will come down to two attorneys hashing out the contract
for the musician and the respective companies.
When all is said in done with the ‘courting’ process, the musician is never present during the actual negotiations.
The musicians attorney and the music company’s attorney meet, talk over the phone, and fax their offers and counter-offers
amongst themselves. This fact serves to remind you that choosing a reputable, ethical, well respected attorney
with lots of deal-making experience within the music industry is an absolute necessity for any serious musician
who wishes to fight the good fight in the legal arena. You may not need an attorney right now, but you should find
out what lawyers are available to you in your area. The Yellow Pages of Rock, or the Recording Industry Sourcebook
are a good place to start your research.
#8: Choose A Well Connected and Respected Personal Manager.
Self management is always a valid option in the developing stages
of establishing your career as a musician. Much can be learned by taking on the jobs of securing gigs, getting
some publicity, planning tours, dealing with personal issues that arise within the band, and schmoozing with A&R
Reps and various other label and publishing personnel. However there comes a time, usually when the daily tasks
of doing the business of being a band takes up too much time, and it is then that the services of a good manager
can be very useful. I have always felt that if any musician or band has worked hard to establish their career,
and achieved a modicum of success, they will have a better chance to ‘attract’ the services of a professional,
well-connected and respected manager.
Managers who do this job for a living can only take on clients that generate income. Making money as a personal
manager is no easy task, and many upcoming artists forget that if any moneys are to be generated from their music,
it can takes years for the flow of that income to be reliably there. So, as a band develops self-management, or
gets help from intern/student manager-wannabees, can help pave the road for professional management.
Over the years I have heard several horror stories about ‘managers’ that approach upcoming acts and say that for
X amount of dollars, they can do such and such for the artist. No! This is not the way legit personal managers
work. Personal managers get paid a negotiated fee (20%-25%) for their services (get it in writing) for any and
all business transactions they are responsible for over a particular contract period. No musicians should ever
pay a fee to a so-called ‘manager’ who will not do any work UNLESS they are paid upfront. Flim-Flam men and women
still abound in this business... be forewarned.
One of the most important jobs of a manager is to secure recording and publishing contracts for their clients,
this is why it is so essential to choose well connected and well respected managers. The music business is a ‘relationship’
business. Who know who, and who can get to know who, and who did what successfully for who, is what this management
game is all about. Choose carefully those people who will be representing you in any business dealings.
#9: Choose A Well Connected and Respected Personal Manager.
The best advice I have gotten in the music business came from people who talked the talk, and walked the walk.
The second best advice I received was from the experiences I gained from building my own career; learning from
my interactions with the gatekeepers at labels, the media, management, and booking companies as to what was right
or wrong for me.
You can tell when you are talking with someone in the music industry whether or not they are full of shit. Look
them in the eye. Listen to how they talk. Just buy yourself a high quality bullshit detector and make sure you
keep the batteries charged. Trust your intuition. If it ‘goes off’, listen to the inner voice that is detecting
deceit or deception. Most of the time your instincts will be right about the advice you seek.
If you feel that the source you have contacted knows what they are talking about, and has had first hand experience
doing what you want to learn about, that is the only advice that might stand up over time.
#10: Musician...Educate Thyself! If You Want a Record Deal,
Learn What a Record Deal is, and Learn Something About the Business of Music.
The ignorant, mis-informed musician is a menace to themselves. Enough already! Over the decades there have been
countless stories of musicians who were ripped off by their record labels and music publishing companies. Why?
Exploitation was the name of the game for a long time. Keeping musicians in the dark was standard business practice.
However, the past has passed, and today, any musician who signs a record contract, and learns later what he or
she signed, has only themselves to blame.
There are dozens of outstanding books available on every conceivable topic related to the business of music. They
can be found in bookstores, libraries, and through the Internet. In addition, there are many schools that now offer
2- 4 year programs on the business of music. Seminars, and workshops are available on a year round basis in most
major American cities. Consultants, Attorneys, and Business Organizations are all around and so it is only myth,
superstition, stubbornness, and immaturity that stand in the way of any musician making a commitment to educating
themselves about the business that exists to exploit their music.
When people said to you “ Spend money on quality instruments and equipment”... you did that. When they said “Spend
time and money on practicing and rehearsing”, you did that, for the most part . (see comment #1). When they told
you “Spend time and money finding the best recording studio, producer and engineer you can”...you also did that.
Well, nobody until now has told you “Spend time and money learning all you can about the business of music”. But
I just did! So…do it!
It has been said (about education) that we don’t know anything until someone tells us. If that is true, the fault
in ‘not telling’ musicians that they MUST spend some time and money on educating themselves on music business issues
is the fault of the businessmen and women who kept their clients uninformed.
( Ignorance IS bliss as far as the old guard of music executives are concerned). But, KNOWLEDGE IS BLISS should
be the byword for the musician of the new millennium. Please...spend some time and money educating yourselves about
the music business. A few dollars and hours spent now can protect your future forever.
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Christopher Knab is an independent music business consultant based in Seattle, Washington. He
is available for private consultations on promoting and marketing independent music, and can be reached by email at: chris@chrisknab.net
Chris Knab's new book, 'Music Is Your Business'
is available NOW from the Music Biz Academy bookstore.
Visit the FourFront Media and
Music website for more information on the business of music from
Christopher Knab.
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