Know the Industry Before You Walk Through Its Front Door
by David Wilkes
Whenever I am asked to offer information to prospective artists, writers or even young people hoping to get into the music business, I stress that all these individuals analyze what they are doing, what they hope to do, and how they expect to achieve this goal.
I use the term "point of entry." Simply put, this is the way you feel you can best get into the music business. When I first got into the music business, I didn't even know there was a business of music to get into. I was a big fan of all music. I was interested in the social aspects of the Civil Rights movement, the political aspects of the Vietnam War and the songs of protest singers such as Bob Dylan and Phil Ochs. So naturally I gravitated to Greenwich Village, but more as a social statement than any attempt to get into the music business.
During one of my afternoon forays into the Village I was walking by the Bitter End Cafe, then called the Cock And Bull Cafe, and heard wonderful voices coming from within the club. I walked in and saw Peter, Paul and Mary practicing for their set at the club that night. I was totally blown away and came back that night and every night they were playing there. By another element of chance I met the club secretary at a party. One night while walking on Bleeker Street I bumped into her again and was asked if I wanted to become the Master of Ceremonies. I was in the import/export business at the time, and when this job offer became the door man gig I took it anyway.
I found my point of entry by chance. This doesn't happen often and it's not something you want to plan on. Because of the specialization of the music business and the lack of any true geographical centers, with the exception of Nashville, Tenn., for country performers and writers, an artist/writer/potential business person has to really plan where they think they fit in and then execute that plan.
So look at yourself very critically. Study the industry deeply. There are many resources that you need and can acquire to help in your quest for that point of entry. Read all the music magazines you can to find out which record companies specialize in the type of music you do. Look at the charts to see which producers work with artists like yourself. Find out where these artists perform; go to these places as often as possible to meet artists that you can write, perform and trade information with.
Look at ASCAP, BMI and SESAC, and join and attend their workshops; they have associate memberships for new writers and writer affiliates on staff that can help you develop this side of your career. Read the books that lawyers such as Passman or Krasilovsky have written, so you can understand the business and establish relationships. These books can be found in public libraries.
Let's also look at the best way to approach a record company A&R person. I try to listen to everything that comes in to me, and if the artist hasn't the consideration for my time by knowing what I do and what I sign, that really is a mistake. Of course it is best to have someone I know and trust send me the tape, such as a music business lawyer or a manager that I have worked with in the past or know through their successes. However, this is not always financially possible for a new artist, so see if you can get a club owner who has seen you work send it in, or a producer or artist that I would know. This would be a prescreening for me and would speed up the process for you.
The same is true for any reviews that you have gotten. It doesn't have to be from the "New York Times". I don't expect you to get a review there, but the fact that you are a working/performing artist is almost as important as the review itself. Even if you can’t get a booking agent at this early stage of your career, the fact that you are gigging and have the ability to keep busy performing is, to me, more important. So I might not even read the review, but I will make note of it.
An A&R person wants to know that a particular artist has a musical direction. So when you approach this record company with a demo tape, make sure the songs are an expression of that. I want to know what makes you unique, but I also want to know that you have an idea about what is unique as well.
