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![Questions and Answers [Number 12]](qanda.gif){kind=small}
"Dec with John Lodge, the 'Moody Blues' man....wrote 'Knights in White Satin' with Justin Heywood, joined here by Gordon Giltrap. Three great players."
You may hate Dec Cluskey or LOVE him but can he help you? DEC helps all those who ask! Now in 29 countries. 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) "The charts right now are VERY boring indeed?"
(2) "Can public so-called taste manipulated by clever marketing?"
(3)"Booking club gigs in London"
(4)"What would you say is a good sliding scale for increasing your charges as you get success in your live work?"
(5)"Does joining the PRS and the PPL, require additional costs to the setting up cost?"
(6)"Parent trouble"
(7)"Will the music business die?"
(8)"Should I get a portion of the singer's live fee when she uses my original back-track?"
(9)"What would be your thoughts on trying to be successful in country music while living in the UK?"
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(1) Hi Dec>>>>>>The successful core of our industry is surrounded by moaning 'groaners' who would want the record buying public to like what 'they' like...sadly the public will like what the 'public' like.<<<<<< Not true at all, Dec. If I had been born in 1922 instead of 1952 I would have 'liked' The Ink Spots or Ambrose, if I'd been born in 1972 I wouldn't have had the chance to 'like' Pink Floyd's original line-up tours - and so on. The public makes a choice from what's fed to them, nothing more or less. If they are fed a boring diet, they get accustomed to it... the same way my dogs love the stuff they get every day and won't touch the free samples from the vet! The charts right now are VERY boring indeed. David
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Hi
Hi David... As always...good input.....BUT! [may I use your comment...with name omitted?] As always I approach any argument from the 'showing people how to make the money in the music business'. So re-reading what I said with that in mind does alter the 'meaning'. I totally appreciate what you said. Driving up to London, yesterday, I heard a fascinating discussion about this very 'thought'. Only they were talking about book writing. They said that books devide straight down the middle. The writers [and readers] who write for 'quality' [and readers who read for quality]. They end up, in tiny numbers on the hard back shelves....if they can even get published...sell very few, get tremendous academic acclaim, mostly from the readers and opinionated reviewers who appreciate the perceived quality, construction, depth of feeling etc. Then there are the 'chiclet' and 'ladette' writers, that directly equate with the Pop writers, who write for the maistream twenty somethings and thirty somethings [record buyers are 12-18 today]. They sell in shed loads. Hit the top of the best sellers list. These writers are lambasted by the 'quality' writers and the quality readers plus the quality reviewers...and strangely, exactly like the songwriters, they are rediculed, denigrated and scorned by the thousands and thousands of wannabe's. Fascinating similarity between the redicule poured on great Pop writers, producers and performers? And even more fascinating is the fact that the publishers get all the hatred that Sony, Virgin, BMG, Vivendi/Universal get. It all gets back to the scorn directed at any 'artistic' person who gives the public 'what they want'. It doesn't happen in the world of cars, shaving equipment, vegetables, shoes, clothes...but only in areas where there is 'artistic input'. Does The Sun newspaper ever get any appreciation? >>>>>>>The charts right now are VERY boring indeed<<<<<< And I consider there has never been a more exciting time for music...The Brits? Wonderful!
regards
Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Click on www.makehits.co.uk/demo.htm .... even if you have only started, you can have the professional service for professionals.
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(2) Hi DecI don't wish to take sides with either yourself or the 'traditional musos' as I can see both have valid arguments, BUT a couple of observations: 1) public so-called taste can be - in fact often is - manipulated by clever marketing; as I'm sure you know, the 'sheep' factor (peer / group pressure, not wanting to be different) is very powerful. Take fashion as a good example! People, especially gullible teenagers, are persuaded that they 'want' something. As Paul Weller sang: "The public wants what the public gets". Even car manufacturers sell mostly on IMAGE rather than anything logical, specific features or benefits. 2) On a more serious note, you said that record companies are now more than ever interested in a band's popularity as shown by live gigs and fanbase, but there seems to be a dilemma for bands between writing / recording and live gigging - no doubt most singles are bought by, or for, 10 - 14 year olds, but these are not the people who go to your average gig, where the clientele is made up mainly of 18 - 30 types, who are definitely not into S Club 7 etc! - so does the band need to appeal to two different audiences? Regards Garry
Nick
>>>>>>>so does the band need to appeal to two different audiences?<<<<<<<
I think you may be a bit out of touch here [grin]
There is a huge market in 12-18 discos, roadshows, clubnights etc. Spearheaded by the massive 'SNAP' drug awareness nights all over the countryn organised by the Police and a major PA tour route..I did a mix for a new band a little while ago at one....frightening....3,000 fourteen year olds.
You are narrowing your viewpoint to Wembley, Brixton Academy, R&B club nights, Rhythm Nation gigs. Yes they are mainstream but the 'yoof' are well catered for [there's money in it!]
Sugababes are a typical cross over band...really appeal to 12-18 but Hey, I study their production techniques and consider them to be the most innovative of the British bands [plus Blue]
A band realistically should attempt to appeal to the widest audience possible without spreading itself too thin [Enrique?] Robbie does that nicely as do Destiny's Child. Of course, Tom Jones is the daddy of them all in that respect he re-invents himself [or his son re-invents him] every few years...and the little girls scream.....we know not why!
Regards "where the 'lil guy gets the
same chance as the big guy"
Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Click on www.makehits.co.uk/demo.htm .... even if you have only started, you can have the professional service for professionals.
(3)
Hi Dec,
Having been away from the UK since I signed up with you I have a couple of questions about booking gigs in clubs in London. I have spoken to a company called Mission Control who book artists into nightclubs and they said they only work with signed artists as it would be expensive for unsigned artists to be on their books. I wanted to know what you thought about this and the correct way to book acts into nightclubs. It seems a bit different down under where acts can receive approx $1000 at the top Melbourne clubs.
I have another question regarding radio promotions. Now i know you mainly advise doing deals with the majors but I want to be able to run a label (i have already set it up a few years ago) and wanted to have some thoughts on plugging tracks to radio or would you advise its best to go through pluggers ?
I find that most pluggers are just interested in your wallet. What's your thoughts on self plugging. Of course learning to do it properly. I have a feeling you would deal with
in the releases and I hope you can be kind enough to answer this one. Music is my full time job and I cannot afford to waste money un-necessarily.
Oh BTW you should have the next instalment come through any day now ;-)
Regards
Kenny
Hi Kenny
>>>>>>.correct way to book acts into nightclubs.<<<<<<
It breaks down into two separate parts. I speak from great personal experience and also watching my son, who is a consultant for precisely this sort of stuff.
1) The promotional PA sector.
Mission control, Pscho and dozens of other agencies place acts on 'the circuit'. This is seen as purely promotional, mostly using playback, sometimes [though not advisable] with live voices. Typically a 3 song set. Causing as little dissruption to the main evening dancing, drinking and sh*gging. On a heavy promotional tour, an act would do maybe three per night in a fast car. The act would be pre rehearsed with a tight 3 song routine. With great costumes and probably back up dancers. Musicians are a no-no....too much hassle. They cost a frotune, turn up late, get p*ssed and you can't get the drummer to pack his kit and get out of the club.
The record company usually will arrange this through the agency and pay the agency or, at best, get small expenses of possibly £60-£150 per venue....I know that will shock you, but that is the real world for an unknown act. Too many acts, too few venues that are worthwhile as promotional propositions.
A record company will pay big bucks to place an act on, say a Robbie Williams tour.
2) The genuine talent sector
Playing wine bars, small R&B type clubs for little money [start around £60-£100) with minimal equipment. If the act is good and the material good then the club MUST rebook...and probably want the act on a regular 'every Thursday' basis.
As the act gets better, sell merchandise, charge more to clubs, the fame spreads, queues down the street, better equipment, more band members, more new toons in the set.....collecting fanbase/database as they go [agressively]. Bigger show, bigger venues.
White labels, mega live show, rehearsed, properly staged and choreographed presentations, getting booked further and further from their local county...now country wide and usually week/two week tours in Europe. This rise to fame is almost automatic.
[this method usually requires a strong 'lead' member or a tough management/record company boss to control the band and hire/fire new and better band members - check out the 'Westlife' story]
>>>>>.can receive approx $1000 at the top Melbourne clubs.<<<<
Those clubs don't exist in the UK! RSL's are a major force in Aus. but don't exist here.
>>>>>>>.would you advise its best to go through pluggers ?<<<<<<<
That is the accepted route as those guys [the good ones] are trusted by the producers and the presenters. Much the same as a record company will deal with a record production house but will not deal with punters' demos.
You may have it slightly wrong about pluggers. They like to be associated with success...because it gives them credibility for the next project. So yes, they will see the size of your cheque book, if you want them to work on a 'dog'...but with a track that takes their fancy [a great Potential hit with a great act behind it ...as above] then you will be surprised with the deal you can cut with them. They want to say: "I broke 'Angels' ...from nowhere!"
Self plugging is a tough game...tons of rejection, late nights, strict no-alcohol, no funny substances .... you have to be astonishingly disciplined and extremely patient and persistent. But the good pluggers are well respected...so it could be an avenue for gaining great respect and profit for a new record company. All the small labels started this way.
At the end of the day, it all gets back to the product. A great commercial, sought after toon, performed by a gob smacking, gorgeous band [preferably with talent, but not essential] is going to be wanted by everyone...clubs, pubs, venues, radio stations, TV...and most of all will be wanted by the public.
A little 'beware':
If you self plug, be careful not to be drawn into the 'credibility' trap. Trying to plug a track that you [and usually 'the brothers' believe in 'man']....you can work your socks off getting it played in iunderground clubs and maybe scrape a few plays on Trevor Nelson....but you make ZILCH. So there is no money in the pot for the next project. Then you either go belly up [broke] or start on the slippy road to knocking everyone, screwing business associates....and unless you are totally charming [in other words a con-man] you will either end up in prison or worse still DEAD!
"Don't Lie, Don't Cheat, You can't fool us anymore!" said Faith Popcorn.....live by that and you can't fail ...in ANY business!
Regards
Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Check out www.makehits.com/demo.htm .... now you can have the professional service for professionals.
(4)
Hi Dec,
For live performances without wanting to appear to be greedy what would you say is a good sliding scale for increasing your charges as you get success in your live work ?
Thanks,
Steve Jackson Australia
It is extremely easy to look at a venue and realise how much the owner is making in profit....then you can guage your fee from that. Empty venue...tiny fee....packed venue with queues down the street becaue YOU ARE ON ...then if the guy wants you back next week or every week he will have to pay! Easy! It's called 'bums on seats'. How can you demand a fee if you are unknown and the place is empty?
If the venue generally does business on it's own [Like The Ministry'] then it is hard to negotiate a fee....then if you are unknown it can be £90....if you are Norman Cook it can be £7,000.
>>>>>>>.
3. When you say 'white label' are you talking about vinyl or would you consider CDRs, mp3s or anything that means 'self financed recordings'.<<<<<<<<
Yes, today, 'White Label' means self made, self actioned music...usually manufactured in 2,000 lots.
MP3's don't enter into it....no one makes money from MP3's or Peoplesound, MP3.com....it's purely a 'vanity recording' excercise...unless it is an adjunct to a main marketing project for a release.
.
Regards
"where the 'lil guy gets the
same chance as the big guy"
(5)
Hi Dec,
I am a singer songwriter, seriously looking at my options where publishing
is concerned. I wonder if you could answer a few brief questions?
Does joining the PRS and the PPL, require additional costs to the setting up
cost? If so, how much is the subscription?
Also, what other costs will I have to incur to get myself fully into
business. I ask for an honest response as funds are low and I, like all the
others am a struggling musician!
Thank you for your time
Kellyann
Glad to hear from you...
How come every musician who gets in touch with me is broke? [huge grin!]
There is never any need [in fact I advise completely against it] to join PRS either as a writing member or a publishing member [two different things].
Just understand that there is no benefit in membership until you have a release date for an imminent record release or a concert date for the first major performance of a musical piece. In other words if there is no money to collect, what is the point of spending out to be a member?
PRS and the other organisations do their best to stop wannabe's joining as it clogs up their systems with members making NO MONEY.
So, write or make Hit music, get it placed, start up your own publishing company, get a release date and then, and only then join the collection organisations.
>>>>>>.what other costs will I have to incur to get myself fully into business.<<<<<<
If you want to operate from a twenty storey building it will probably cost £45Mill. If you operate from your kitchen table it will cost you £87.50.
Go to: secure.mistral.co.uk/makehits/swgappsecure.htm for the secure payment page...just go to 'choose prouct required' and scroll to 'How To Start your Own Publishing Business For Less Than £100'
For full information on the best selling 'How To Start your Own Publishing Business For Less Than £100' go to PUBLISHING
Regards "where the 'lil guy gets the
same chance as the big guy"
(6)
Hey Dec,
This is graeme, i'm currently on my 5th issue of "How to make a
million". My problem Dec you see is that ever since i was 6 i've been on the way to stardom. I want to concentrate all my efforts on music.
My parents are upset because i didn't think it was a good idea going to university to do music
after consulting you about it.
Regards Graeme
There
Graeme...
>>>>>>.because i didn't think it was a good idea going to university to do music
after consulting you about it. <<<<<<<<
I would never advise against University. It is by far the best place for finding like minded music people.
Also, it is of the utmost importance to get yourself as educated as you can. I got 9 'A' levels, read Engineering at Dublin...and then went into music full time. I was involved in music from age 12.
I do hope you didn't take my advice in the wrong way....the three most important things in music are education, education and education! If you are educated, you can choose to act uneducated, but if you are uneducated you cannot choose to act educated.
95% of the successful people in music today are educated....don't be fooled by the NME stories and such. I quite understand your parent's anxiety and I hope you show them this Email.
To understand all the business of show Business you have to be educated...you will be dealing weith lawyers, accountants, barristers...and you have to be able to, not only converse with them, but WIN against them!
Regards "where the 'lil guy gets the
same chance as the big guy"
(7)
hi Dec,
more and more people are downloading free music off napster type file sharing sites and broadband internet are making the download of free music so much faster, i find this very worrying for the future health of the music business and i wonder if this situation will destroy any chance of new musicians being successful in the business...do u think its worth persuing a career in music.
best regards....... Richie
reginald bosenquet
The music industry has always evolved. Since the time of 'wire recorders' people have predicted the end of the music industry as we know it.
The smart cookies roll with it and learn everything that comes along.
MP3 and such are evolving as an adjunct to main marketing schemes of the major record companies...and also as an amateur 'vanity recording' facility for amateur songwriters and music makers...the Industry just hasn't got the time to listen to that stuff.
Regards
Dec dec@makehits.com
Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Check out www.makehits.co.uk/demo.htm .... now you can have the professional service for professionals.
(7)
Hi Dec,
Please have a look at the message below and give me your opinion
Hello there! We have read your profile. We like what we see and we would like for you to be apart of our up coming International Music Festival. We have an up coming showcasing in New York City at Madison Square Garden on April 2, 2003, packed with industry personal, record labels, producers, managers & agents that you may want to be want meet to help you with your career. It will be the largest International Music Festival ever in the history of New York. Please see our website at www.newyorkmusicfest.com and fill out the registration form. Its a ten day event, some of the worlds top talent that we heard and saw will be performing in front of the worlds top industry personal, not to mention heavy press. For additional information, you may e-mail us at msgshowcasing@aol.com .
When you delve into this you find that they want a $300 regestration fee, you can only perform for 3mins and there are 300 acts on the show. How much money will they be making? If you add airfare and accomodation to this it becomes a very expensive 3mins. I know the saying speculate to accumulate but this to me is taking it too far!
Please correct me if I am wrong but I always thought that promoters interested in you would ask you to perform for free but not pay a large fee, whilst I am happy to do charity gigs for free I think this is a very shrewd way of making money. I wonder if I could do the same here in the UK?
I look forward to your comments.
Regards,
Paul King.
Paul....
I think, possibly, you will find that The Serious Writers Guild is the only organisation that is not 'on the make'.
All these 'showcases' and song competitions, song compilation promotion CD's, are all designed to make money for the promotors...that is the business they are in, and you cannot blame them...everyone has to make a buck.
Sadly, when they make claims of Industry Biggies being there and all that stuff...it is generally wildly innacurate. Any showcases I attend in the UK [when asked as a guest] I am usually the most important person there, if not the ONLY important person there.
Always remember that a Showcase is just another FREE show.
At the end of the day though, a pal of mine, Ian Herron, entered a music contest in Europe, had success, and is now the highest earning library music maker in the UK....makes a fortune.
A showcase appearance has got to be part of a strategy, a plan. Just as my 'How To Make A $Million From Your Music' says, you have to have the product right, the presentation right and most of all YOU have to be right....if the looks, the attittude, the method, the music, the presentation are not absolutely what is required by 12-18 year olds...and if all of that does not fit between the Number One and the Number Three in the charts this week...any showcase or competion is a total waste of time...and MONEY.
If you have all those points above right, then the Industry will form a nice orderly queue at your front door...and I will be first in the line! This business is easy...it's only the music makers make it hard!
Regards
Dec dec@makehits.com
Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Check out www.makehits.co.uk/demo.htm .... now you can have the professional service for professionals.
(8)
Hi Dec,
I have a question about performing live with an original backing track. As producer and co-writer of a track if an artist performs the track using the backing track what am i entitled to receive if the artist performs the track and gets paid by the venue.I would think a pro rata share of the income. We are currently on a 50/50 deal as regards the track. Normally the artist would only perform at gigs I have organised. What's the best way one should go about this.
Kenny Azeez [Australia]
This is a 'first'. Never had that question before.
My gut feeling is that you are being a bit greedy wanting a slice of the cake for her performance of your song using your back track. In normal circumstances she would buy the back track [usually about £8 in the UK] and that would end her financial outlay. The venue would pay PRS and PPL royalties, which in theory, trickles back to the writers of the toon and the players on the back track.
It almost equates to the old days when Publishers would pay for an arranger to arrange an artist's scurrent release when the artist would appear on a TV show or Radio show with a full live orchestra. the publishers did that with a view to publicsing the toon. your situation is almost the same....I would think?
I can't see the logic of making a back track, giving it to a singer to perform live [with a view to publicising it] and then wanting a part of the singer's salary. Nope....the more I think of it the more it doesn't sound right.
That is my view.....not a legal view or a PRS view....just a gut feeling. I would think there is no PRS ruling on this.
In theory your income should come from the PRS and PPL generated by the plays and also the future earnings of the toon in a commercial release. I hope you have the Publishing rights and you have notified PRS and PPL of the plays [it would generate pennies from live performance to small audiences].
Regards
Dec dec@makehits.com
Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Check out www.makehits.co.uk/demo.htm .... now you can have the professional service for professionals.
(9)
Hi Dec,
I am learning a lot from your courses- and I'm only at lesson number Two!
I particularly appreciated the point about paying more attention to vocal arrangements. Point taken!
One question: I like a lot of different types of music. My folks were born in Nashville, so I'm particularly keen on country music (esp. alt.country Ie.g., Wilco, Ryan Adams) / "classics" by George Jones, Hank Williams, etc. / and different types country-rock (Lucinda Williams, Steve Earle, etc.)
What would be your thoughts on trying to be successful in country music while living in the UK?
Thanks for your thoughts
Mike Bryant
Mike
Country Music is a no-go area in the UK...always has been, although there have been notable hits through the years...but there has never been a consistent Country market.
My own band were touted as a 'Country' band when we launched first but, although we used a lot of Country techniques, we, very quickly, settled into being a 'Country tinged' Pop band...with our own distinctive style.
Music guys never seem to notice that almost 70% of chart music has Country undertones....in fact anything with guitar has either a rock flavour or a country flavour....because that is what a guitar will do....push it in one direction or the other. In the Fifties/Sixties, a guitar could also push in a third direction ....'folk', with Joan Baez, Dylan, Peter, Paul and Mary etc.
The major Boy Bands will always look at the successful Country catalogues for 'cover' material. Just slow the tempo, add great production, great samples, strings and a 'today' vocal arrangement plus a touch of R&B styling...and there is a Number One Hit [check out Ronan Keating at the moment].
So.....
Country does not sell in the UK, but country tinged Pop is rarely out of the top Three.
By the way, the main reason that Country does not sell is exactly the same reason that Country enthusiasts will not pay more than £3 to go into a Country venue!
Regards
Dec dec@makehits.com
Where do the Pro's go to check the Hit Potential of their material? Answer: The 'MAKEHITS' Demo Consultation Service. Check out www.makehits.co.uk/demo.htm .... now you can have the professional service for professionals.
If you ever pay DEC for anything, if you are not happy at anytime in your life with the product then return it for a complete, no-quibble, courteous refund! DEC means it!
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Become a Member of the 'The Serious Writers Guild' PROGRAM http://www.makehits.co.uk/qanda12.htm -- Revised: 27 May 2003 Copyright
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