Nice article, but it seems to make "who you don't know" equal to "goals you don't have". In my experience, it's ALL about who you know and who you stay in contact with. If you don't know many people, THAT should be your goal...
Ever wonder why some talented local musicians never get that elusive record deal?
Or why the careers of some signed artists or American Idols stall out just past the starting gate?
I was watching the Clutch documentary "Live at the 9:30" last night, and it occurred to me that these guys have achieved what I would consider, the best form of success any musician could hope for.
They're all close friends and their all very down-to-earth personalities.
They play unique, accessible, fun, catchy classic American rock music...and they do it WELL.
They call their own shots, write and record all of their own music.
They tour relentlessly and have earned a massive "underground" following, worldwide.
They practice and refine their sound, on every new album.
They no longer have major label backing but they do well while making music for a living. I think they've done all the right things, in terms of a successful music career.
I love Clutch and agree that they get better with every album give or take the occasional song. I think that Jean-Paul Gaster would be the ultimate candidate for drums if Led Zeppelin ever reunited. As far as Clutch not having major label backing, is that really necessary anymore? Do groups that just make recordings and not tour even make money these days? With today's technology I could see a band marketing themselves on the web while touring independently and making a fine living.
The writer might mention that getting signed is no guarantee of anything. The company doesn't even have to release your record. They can shelve it indefinitely while they decide what they're going to do with it- maybe spend millions publicizing it/maybe dump the run in a landfill and write it off- leaving you dead in the water for months, years, or forever. This happened to a close friend of a close friend- he drank himself nearly into liver failure over that one. Someone else very close to me was in the early 90's the pet project of the president of a major label, but two weeks after the release of her record the company was bought by a larger Japanese company, and they fired the US management and unceremoniously dumped her and all of the other developing artists. Bloodbaths like that are frequent. I know a handful of other people who had major label deals end badly, but I never got the full story on them.
Anyway, the advice is fine, if contemptous ("why artists suck and don't get signed" might've been a better title- I'm half-surprised he didn't include poor hygiene on the list). Most musicians should take more responsibility for their careers. But I wish the guy would be honest about some of things that can happen to you that are outside of your control, so artists can make informed decisions about whether they even want to get involved with major labels in the first place.
I had a buddy who's band got signed to a huge deal with Warner Brothers. WB spent something like 80 to 100 grand to make their record (most of the money going to a name producer), plus the cost of two music videos. Right as the album came out, the head of WB record got fired, and that was it. The videos never got aired, and the CD went to the 99 cent bin.
No, I don't think it's necessary at all, which was kind of the point I was making in saying that it's the best possible scenario, IMO. I would prefer this type of arrangement (a touring band as a business), as opposed to having a major label involved.
JP Gaster is undoubtedly my favorite rock drummer of all time. I like his playing much better than anything I've heard from Bonham, on the old Zep albums. He's definitely standing on those shoulders but I think he's taken that big rock sound to a whole new level.
Have you checked out this "9:30" documentary yet? It's excellent! JP talks quite a bit about his sound, gear, influences, etc.