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![Questions and Answers [Number 9]](qanda.gif){kind=small}
"BUNGEE GOT NUMBER ONE IN SOUTH AMERICA FOR 3 WEEKS! 
"It’s 2.30am, just got in from a gig, went down a storm. Eighteen months ago I used to re-read your 'Serious Writers Guild' monthly program releases at work, in a
labourers hut on a building site and I’ve just laughed as I had to squeeze
past a Mercedes E300 Turbodiesel on my drive with two guitars and a
suitbag. These are good times Dec. REGARDS, KELVIN"
Dec with the next R&B star David Eames.
Just as you thought they couldn't get better the Best Questions come along....songwriting? Producing? How many girls in an act when performing on stage? Real questions about music with real answers. The "check out my track on this web site" request...oh how we hate that!
You may hate Dec or LOVE him but can he help you? DEC helps all those who ask! Can he help you? you just have to ask, you know.
Quick Reference: check the numbers of the questions then
scroll to the answer.....why not ask your own question? This is only a tiny
indication of what you can get from:
(1) "Aside from the music/lyrics/vocals, is a hit really a hit if it doesn't make it to the top three?"
(2) "How do I approach the bank when I fully know I haven't sold one song ever in my life?"
(3) " I am currently aiming for a recording contract with a major record company, any advice you could give?
(4) "Do you think that SIX people is too many for an ethnic pop/r&b girl group?
(5)"I would be grateful if you would give one of our tracks a listen as it's a change in style
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(1) Hello, One last question and then I'll leave you alone. You mention hits that have the potential to pull you out of windows and so on, but aside from the music/lyrics/vocals, is a hit really a hit if it doesn't make it to the top three? Regards Alan
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Hi
No need to leave me alone...I keep my promises, I HELP! Interesting question that: "is a hit really a hit if it doesn't make it to the top three?" And I am probably the best qualified to answer it. I had a huge 'turntable' hit in the late sixties/seventies called 'The Unicorn', written by Shel Siverstein and played to death on every station, and on TV....Ed Stewart's favourite tune...and still is. Made me a tidy sum BUT NEVER CHARTED. Every concert I play I will be asked to sing it....strangely I hate the song....it's a nothing tune...but heck it must have something to be so popular! Secondly, Simon and Garfunkel NEVER charted in the UK with 'Sound of Silence'...but my band had a Number 3 with it...something Paul Simon is still miffed at! Check out his book. But ask anyone what position Paul Simon got to with that song and I will bet they will say Number One....so a great hit does not have to be in the Top Three. We had the longest time in the top twenty for the whole of 1963 with a tune that never got above Number 5..... So you can have a 'classic' hit that doesn't necessarily have to get into the Top Three. However, no one in the Pro world ever writes or records a song thinking that it won't be Number One.....and add to that the fact that no one in the Pro world writes Album Tracks (another common missapprehension by amateurs) Every song recorded is recorded with the intention of making shedloads of MONEY and the way to make the money is to get to Number One! That is why the Pros place such great emphasis on the 'pre demo'...in other words, why waste money on recording a tune that you're not 100% sure of in the first place. Does that help? regards "where the 'lil guy gets the same chance as the big guy"
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(2) Hi Dec Well I'm having quite a difficult time since the loss of my job trying to find another one (long story) I still want to do the Publishing business but I can't quite get my head round a lot of things: 1/ How do I approach the bank when I fully know I haven't sold one song ever in my life, my demo's are of bad qualities but I'm starting a course on Cubase end of this month and hope to sort this out quickly 2/ If I can't find any record deal by the end of the year for myself, I want to sell the songs for others. How? How can I start a business on the basis of no income coming at all but a lot of expenses? I know what you are saying about being ready when a deal is approaching but I don't know how will i convince the bank for example? PLease reply to me a.s.a.p if you can Dec, I will so Appreciate it. Fatima [non Member from France]
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I get the feeling you want a bank involvement just to give you 'living' money...life doesn't work that way! The best way to run any business is to 'bootstrap'...in other words run the business with ZERO money...that way, you will be forced to make the business make money. By getting a bank loan, all you will do is spend that money...then go back looking for more money.
It certainly focuses your brain on making money...I slept on Railway Station benches when I started my Recording career...that focuses your brain on getting somewhere to sleep and more importantly, getting money for food....and I never borrowed a penny. Fatima, Study your business, study your craft, practice your craft...just like a footballer or a cricket player or a brain surgeon/barrister/accountant. Everything is in my 'How To Make A £Million From your Music' program releases...BUT YOU HAVE TO DO IT! It's not just pleasant bedtime reading. Finally...any bank will react to a well presented business plan. If you study my program releases, look and behave and talk like a 'going places' person then they will react favourably...but they will see right through you if you just want bank money to live on. It is always worth a shot applying to The Princes Trust for assistance...they specialise in helping young people set up new businesses. Regards "where the 'lil guy gets the same chance as the big guy"
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(3) dear dec I have currently received a management contract, and need a good reasonable solicitor to check it for me, and I am currently aiming for a recording contract with a major record company, any advice you could give many thanks rebecca (Middlesbrough) | |||
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Hi Rebecca.... The only advice I ever give is that there is never a need for a management contract until there is something to manage. Similarly, there is never a need for an agency deal until there is something to sell.... Never a need for a Publishing deal until you have written a potential Hit........ And at the end of the day you only get a money making recording contract when you have a POTENTIAL TOP THREE HIT. So you see, you may be putting the cart before the horse, as most writers/performers on the edge of big time Show Biz do. If you have actively sought a management deal then you definitely have the cart before the horse. When you have the 'goods' to market then you will be approached by management people, who you should 'interview' and then carefully give them a limited contract. You will find it exceptionally hard to find a proper 'show biz' lawyer to look at a contract in a sensible way, they are based in London and should only be used for mega deals....any solicitor will look at it....won't understand it, look at the size of your cheque book and cost you a fortune....at the end of the day you have to ask yourself; "Do I need this contract at this moment in time?" "where the 'lil guy gets the same chance as the big guy"
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(4) Hi Dec, hope you are well. I have a slight dilemma here, just a small one: do you think that SIX people is too many for an ethnic pop/r&b girl group? regards Esther.D
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The number is of no consequence, '21 Seconds To Go' has about 8 on the record.... The only problem that numbers will cause is if you get to a performance situation and all of them want to be miked up. the oprganizors always rtry to get away with the smallest fornt of house mix desk possible, So, two things to drum into their brains: 1) Most of the time, most of the band will be miming 2) You are the boss...it's your band. You [and only you] call the shots...if they don't like it, leave now...you have to be tough. It is part of the hip hop, R & B performance culture...lots of people on stage...but make sure everyone on stage is 'working' and adding to the performance...anyone just there for the fun, not performing and adding, will actually detract from the show. The audinece are watching EVERYONE on stage 100% of the time...and strangely, they are always noticing the one who is not 'giving everything'. Regards "where the 'lil guy gets the same chance as the big guy"
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(4) Hi Dec, Just a quick email to say thanks for your "One Minute with Dec series", they have been informative in more ways than one, and I your Publishing guide, which, If we ever get offered that lucrative deal somehow, will come in Handy. We had our first gig a fortnight ago and although it wasn't that busy, we went down a storm, the pub even phoned us two days later to see when we would play there again which was rather cool. I found your tips on recording and the like very useful and rest assured If I become employed again sometime in the future I shall be investing in your Serious Writers Guild program. I would be grateful if you would give one of our tracks a listen as it's a change in style, (some may say selling out - but would be interested in your opinion) Error! Reference source not found.wiB89cxBQhzjmFi46g$$ Best regards Martin McCormack
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Glad to hear it's going well... Little tip: when a venue expresses amazement at how well you went down, always pull out your diary and say: "if you book us now for, say a months time, we can give 10% discount...it's a special offer we do for venues we like, and we just love playing your venue..." It's much better to be working for 10% less than to be sitting at home waiting for the phone to ring. Also, a BBC producer willl never see you while you are sitting at home, but he just might be knocking off the bar maid, on the quiet, walks in early and you are on...get it? You see, you have to be 'proactive' at the start of your career...you have to ask for work, rather than wait for them to ask you. This is why the idea of an 'agent' at the start of a career is flawed. And the strange thing is, venues will love it, for some unknown reason it takes the strain off them. The principles are precisely the same as MLM selling. Works every time. Even at our stage of the game. Happened at the two concerts last week. Guys (obviously powerful and influential) approached us as we merchandised [and that is where you make serious dosh] they said the immortal: "have you got a contact number we'd love to book you for...." I automatically say: "better still let me have your number, the best time to call, and I'll have someone call....much better, then we can sort a deal" That is because...it's an 'impulse buy"...they are so excited, they are fired up with the idea of presenting us at their annual convention, fund raiser, whatever...tomorrow morning they will have sobered up and the excitement of the moment is gone. The phone call from our agent is proactive...it takes all the strain away, and our agent never misses! As regards the demo, I have found that 99.99999% of demos by non members and even by 'new' members miss the boat by a mile. It genuinely take 2/3 years with a mentor like me or ten/twelve years without to even come close to what is required in today's market.... Of course I will listen - but I could almost tell you right now what it is like! I never listen to Website demos...and no one in the Record Industry does...despite what the music media says...for instance I have purposely left the copied web site address for you to see...looks good? Doesn't it? Copied by a secretary who doesn't understand this stuff. Error...Error! Reference source not found.wiB89cxBQhzjmFi46g$$ Now, I know how to get that address back in proper form...but it all takes time...which I have not got...the quality will be crap, it will take 20 minutes to download...if it does download....yuck! What a waste of good, productive, money making, music time! Send it....I'll grab a few minutes to listen...but I can tell you now what it's like! The Serious Writers Guild [attent, Dec] Stanton Prior Darley Road Meads Eastbourne BN20 7UH Regards "where the 'lil guy gets the same chance as the big guy"
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http://www.makehits.co.uk/qanda9.htm -- Revised: 23 January 2004 |
