Vol 3, Issue 20: Touring Riders & Paying Your Dues: But I Don’t Wanna Play Just for Beer

I’m sure all of you are familiar with the frequently expounded three word expression, “paying your dues”. Though the phrase found its origins in the Industrial Revolution, in reference to the fees one had to pay in order to remain a member of his/her trade union (and therefore receive protections from employer exploitation), in modern times, it is most commonly used to describe the situation in which rookies find themselves, upon entering the job market for the first time. In the industry of music, specifically, it is typically expressed as a piece of advice to aspiring amateurs, from vets and industry professionals alike, who are all too eager to see their names in lights without having done any of the leg-work to get there. As we learned just a few short weeks back, in our discussion with three label reps, although talent and marketability are essential qualities for any band to get noticed, so too is work ethic, and without it, you won’t get very far. It is with this notion, in mind, that I will be writing on this week’s topic; that being, touring riders.

Long before you are in the position to be making any demands from promoters and/or club owners, you have to, as you may have guessed from my intro, “pay your dues”. What exactly this constitutes will vary slightly from band to band dependent upon your territory and/or genre, however, all band start-up stories involve playing countless shows, at dives, to crowds of ten people (if you’re lucky) for which you do not get paid, and are not appreciated. If your home-base is located in a big city such as Toronto, or Los Angeles, because such places are already oversaturated with wannabes and has-beens, this poor treatment is taken to the extreme; something you’ll get a brief taste of, when you tour these metropolises.

For instance, many clubs, in booming cities, actually expect indie bands to rent tour buses, and fill them with their hometown fans in order to bring a crowd to their out-of-town gigs. Further, rather than providing newcomers with opening spots so that they can work on expanding their followings, several major venues expect said bands to rent out their spaces in order to put on their own shows.

It is of my personal opinion, that both of these practises are absolutely ludicrous, as, typically, indies don’t have that kind of money to spare, and neither method will help a band in improving their attendance rates for future shows. However, this just scratches the tip of the iceberg in terms of the kind of b.s. a band must endure in order to establish themselves, and gain respect among industry professionals – all of which must be done, need I remind you, while maintaining a smile on your face! Perhaps a personal story, at this point, will be illuminative.

Aside from having countless promoters rip us off by leaving mid-way through our sets to avoid fronting our bills, not to mention being electrocuted by our microphones each time we attempted to play and sing simultaneously due to improper grounding, when my band ANTI-HERO first emerged on the scene, our rise through the ranks was anything, but easy.

Upon the release of our album Unpretty, we were invited to play out in Northern Ontario (about a 10 hour drive) at what was supposed to be a massive sporting event. As we were promised to play to 10,000 people, we agreed to cover all of our own expenses (which included renting an additional vehicle) because we were under the impression that we’d be able to break even through merch sales. When we arrived however, we were led to the stage which we learned was completely separated from the sporting event, and charged an additional admission price. Not surprisingly, the crowd wasn’t very keen on this; thus our audience ended up consisting of the other bands who were given the same line, and our significant others.

So in telling you all of this, what is the point I’m trying to get at?

Well, as much as it will suck and cause you endless frustration, realistically speaking, it will be AT LEAST a year before you have established yourself and your following, to a point where you can play semi-regular gigs to decent sized crowds. Usually to get to this stage, you will have had to have released an album. For the sake of your own career, DO NOT even think (and I mean it) about creating a touring rider until you’re at this point as it will not be honoured, and may potentially prevent club owners from offering you future shows.

Okay, but once I get there, what should I include in my rider? Because it’s no surprise that most musicians have a penchant for booze, club owners often try to pawn off beer tickets, to bands, in lieu of payment. While this may satisfy the tastes of some, it fails to assist you in profiting from your gigging enterprises. You need to ensure, above and beyond your booze requirements (if any) that your gas expenses, parking costs, and accommodations (if required) first and foremost are covered. Anything extra on top of that is “just gravy”, as they say, and that way, all earnings you obtain from merch sales or cover charges will be straight profit that can assist you in making it to your next destination.

Should I make any other special requests along the lines of Ozzy Osbourne and his bowl of 2000 brown M&Ms? Clearly, this is something that is up to your personal discretion, but keep in mind, your demands will only be met if you’ve got the star power to back ‘em up. Beyond payment concerns, if you are touring to unfamiliar territory, I do strongly suggest that you include in your touring rider that popular local acts are to open your show. Your ability to do promotions in new areas will be limited as you will not be knowledgeable of the scenes, and quite simply, you cannot rely on the clubs, themselves, to make your special appearances known. With this in mind, you may also wish to include in your rider that venues, upon confirmation of booking, are to provide you with lists of their local media for your publicist.

As your career develops more and more and you prove yourself worthy of the rockstar designation, it will result in bigger stages, better sound, more rawkin’ audiences, and, of course, “celebrity treatment”.

With that being said however, I hazard you to remember two things:
1) never forget where you came from and
2) don’t convince yourself, for a second, that it’ll be an easy climb.

You’ll undoubtedly have to deal with a lot (and I mean A LOT) of shit, at first, but don’t let it turn you into a pushover, or cause you to bend your standards, once you’ve attained some bragging rights of your own. Most importantly, you must remember, in the music industry, there are certainly no second chances, and to protect your own career, you most definitely should never concede on territory you’ve already conquered.

Catch Rose Perry appearing as a special guest speaker at this year’s Jack Richardson Music Awards’ Seminar Series this Sat April 4^th! www.jrma.ca for more details. Youtube link available here: http://www.youtube.com/watch?v=KRwAH8Gx_Qg

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase. Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.

Vol 3, Issue 18: Entrepreneurial Artists: Three Canadian Rockers Who’ve Successfully Married Commerce with Craft

When it comes to art and the assignment of qualities such as “authentic”, “genuine”, “original”, and the like, Romantic ideologies are still largely responsible for informing the public’s sensibilities. There remains a wide-held belief, extending to all creative endeavours, that mainstream success necessitates corporate exploitation, and formulaic expression, while true art is obscure, and can only be produced by the marginalized and tormented. Put more simply, it is still chiefly the case that if one succeeds in this business, both in terms of achieving economic remuneration and popularity among the “unwashed" masses, they will be labelled a “sellout”, and almost invariably, as a result, their once loyal underground following will dissipate.

While this conviction maintains a certain degree of truth value, at least in regards to the increasingly limited realm of major labels, the same cannot be said of the independent sphere. As I hope to demonstrate through the following discussion, moreover dissection of today’s music industry, with three highly successful musician-cum-label owners, art and commerce do not have to be at odds. In fact, in the case of G7 Welcoming Committee Records, the independent label owned and operated by Manitoba-based politically charged punk rockers, Chris Hannah and Jord Samolesk, of Propagandi fame, promoting a subversive anti-capitalist agenda would actually work in one’s favour in terms of getting signed.

As the subject matter of the following discourse primarily revolves around the indie music scene, providing an overview of how each of my interview subjects got started, along with their definitions of what constitutes an indie label seems, to me, an appropriate point at which to begin.

Robert Calder, trumpet player for Vancouver pop band The Salteens, and co-founder of Boompa Records, which includes, Matt Sharp (Weezer), among other notable acts, on its roster, established his label in 2003. Driven by what he characterizes as both ambition and naivety, despite the fact that The Salteens had already successfully acquired label representation for their studio releases, Calder was interested in creating his own company that kept, at its forefront, practises that are sustainable from both a business and artistic point of view. In his own experiences as a professional touring musician, he remembers, all too often, moments, in the heat of business, in which it was forgotten what artists require to be generative.

With this in mind, it’s no surprise, that Calder defines a true indie label as one that is not founded solely on the premise of achieving profits. In fact, he goes so far as to state that if a project is proposed to one of his artists that is highly lucrative, but has the potential to be draining for them, it is this latter factor that will be afforded more weight when it ultimately comes to making the decision. In his own words, “the plight of the struggling artist should be about growth and development, not unmet expectations.”

Though, Tim Potocic, drummer of 90s-inspired Hamilton rock band Tristan Psionic, like Calder, had established a recognizable degree of acclaim within the indie scene, the impetus fuelling the development of his independent label and distributor, Sonic Unyon, was rooted more in necessity than aspiration. Contesting that both he and his bandmates perceived the music biz as a larger entity than it is in actual fact, Potocic, put rather simply, “didn’t really think that [any labels] would be interested in helping [him take his band to the next level].” As a musical group whose mentality very much centred around the D.I.Y. mantra, coupled with the fact that all of Tristan Psionic’s members were schooled in either business, economics, or admin, even though he openly admits that initially they didn’t really know what they were doing, Potocic always had faith that they’d be able to handle whatever came their way; Sonic Unyon’s near-20 year (and counting) stint is certainly a testament that this was true.

Like our next guest, Chris Hannah, Potocic is hesitant to designate a single business model as being definitively “indie”. In his view, what makes Sonic Unyon artist-friendly fundamentally comes down to having a good team, working with like-minded people, and splitting everything (both expenses and profits) 50/50 between his artists and the label. While Potocic strongly believes in giving his performers free reign when it comes to the creative process, he also appreciates the perseverance and drudgery that goes into making a band successful. For that very reason, when it comes to scouting new talent, it’s the acts that demonstrate the strongest work ethics that really grab his attention.

Chris Hannah and Jord Samolesk’s go at the business side of things, frankly, can be chalked up to artistic impulse. While the urge to create, among artists, goes without saying, so too does the appetite for experimentation, and in some cases, the desire for world domination. Identifying with the mid-80s underground zine, metal tape-trading, and punk rock scenes, Chris and Jord were, “encouraged [by and looked up to] the bands who got their hands dirty.” Not only seeing the act of creating their own label as a means through which they could stay productive and engaged in the industry while wearing different hats, but as well as an alternative platform where they could register and promote their complaints about the system, shortly after its launch, G7 became home to a smorgasbord of politically radical bands and speakers. American linguist and political activist, Noam Chomsky, is but one of the controversial figures who releases his material via Hannah and Samolesk’s collective.

While, as mentioned, Hannah does not subscribe to using the term “indie” to denote any organizational scheme within the music industry because, in actuality, “everyone releasing music – in the form of a physical/digital product to the public – is [in some way] dependent upon the infrastructure of the music-industrial-complex,”, he does feel that, “within that framework, organizations can act more or less ‘independently’ if they are not beholden to shareholders and/or if profit is not their prime directive.”

As illustrated by the above responses from all three of my interview subjects, whereas the form the business itself may take remains considerably up for grabs, there seems to be consensus, among indie label founders, that the creation of one’s own label should be conceived of as a labour of love, not a money-making machine. Credence to this fact comes in the form of Potocic’s own struggle for success.

Although Sonic Unyon, today, is cited regularly as one of Canada’s most influential music makers, it wasn’t until Tim was in his seventh fiscal year that he was able to take home his very first paycheck. Calder, similarly, isn’t shy about Boompa’s humble beginnings. Long before he knew they got it right, he recalls numerous failures, poor decisions, hiatuses, and regroupings. But, rather than reflecting on these experiences unfavourably, Calder, like Potocic is able to recognize the wisdom he gained, as a result.

Naturally then, both founders concur that one of the biggest blunders any band can make is to set unrealistic expectations. Contrary to what the media would have you believe, nothing, in this business, happens overnight, and you certainly cannot expect to attain any sense of glory, without first being willing to display your guts. Accordingly, all three of my guests highly recommended that bands maintain other ventures, while pursuing their musical careers. For one thing, cash flow will likely become an issue if you are solely relying on your gigs to front your bills, and secondly, having other goals in life makes you well-rounded. Speaking from his own experiences, Potocic resolves that, “if you have many skills [in life], then you will always land on your feet.”

When it comes to illegal downloading, Calder, Potocic, and Hannah’s views are somewhat more lax than what one might assume of label owners. In Calder’s eyes, “a fan is a fan no matter how they get their music,” and Hannah is quick to point out that for every one person who illegally obtains your tunes, undoubtedly there are five others who get to hear something they would not have otherwise. Moreover, while Potocic accepts the fact that illegal downloading has affected everyone’s business on some level, he strongly contests that, it alone, cannot be blamed for the awful state of the music biz. Rather, he suggests, “people still love music and people still support artists. The traditional model [just] doesn't apply anymore. We are in the middle of more than just a format change – but a change in thinking of the consumer and a shift in consumer spending.” Taking it a step further, Hannah, like myself, cites the industry’s downfall in its foisting of terrible records, upon the public, for far too long: “if labels would stop trying to make money by pawning off garbage, maybe people wouldn’t be so quick to think that [music] didn’t hold any value.”

Despite his attribution of blame however, Hannah remains hopeful. While he agrees illegal downloading, “is not good for [big] businesses that have invested all of their money [into] shiny plastic discs,” he does believe, in all sincerity, that, “it could be good for music.” To this Calder adds that, “true fans support artists in many ways,” and he truly hopes that, “the whole concept of signing bands and throwing crap loads of money at them, to see if they [can] sell a ton of assets in the first week of release, goes the way of the dodo bird.” As made evident through the above discussion, whether or not the corporate structure fails is irrelevant – most indie artists, let alone indie labels, do not align themselves with the traditional music biz’s point of view.

As our three week long examination of what it takes to start your own label comes to a close, I’d like to share with you one final offering of advice. As I’ve attempted to impress on you in this piece, as in others, carving out a career for oneself in the music biz, whether as an artist or label owner, is not for the faint of heart, and it is for this reason that a love of art must supersede all other potential motivating rationales. To leave you with a quote that I feel aptly summarizes the indie label owner’s point of view, in the words of Hannah: “if you believe in the transformative potential of music, [I encourage you to] go for it, [but] if you're looking for anything else, just take the job at your dad's business that he's been offering you. Please.”

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase. Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.

Vol 2, Issue 3: A Possible Solution to Digital Thievery: Well...not quite.

Continuing on with last week’s assessment of our music market and digital piracy concerns, it’s important to note, that although still rudimentary and somewhat flawed, new technologies are currently being refined in order to battle the formidable foe of major record labels: the internet. Whether or not, they will serve to be a permanent solution to this problem is yet to be determined. (I still argue that we’d be better off creating a new medium that cannot be read by computers, but that’s an entire issue on its own.) However, if you are an aspiring artist working on material in hopes of releasing an album one day, I would suggest keeping yourself apprised of such developments as they may prove to strongly influence audio formatting policies in the future.

A few years back, upon the brink of Napster’s short-lived popularity and lifespan as a free file-sharing service, British innovators at Fortium Technologies (previously First4Internet) seized an opportunity. Unlike the major labels who believed the issue of digital piracy would find a quick resolution commencing the shutdown of Napster’s services, the technologists at Fortium prepared for what they predicted as the inevitable future: a music industry falling victim to Napster copycat programs in desperate need of an audio-content protection solution. What has come to be known in today’s industry as XCP (the extended copyright protection system) evolved from Fortium’s initial efforts which took form in the highly controversial “rootkit software” of 2005.

For those of you unfamiliar with rootkit, here’s a brief history: Sony-BMG, completely enthralled by the very thought of an attempt to kick this “illegal downloading thing” where it hurts, preemptively jumped on board releasing over 50 titles (from various artists) with this relatively untested technology included on each disc. When a customer purchased one of the rootkit enhanced discs, and placed it into their computer drive, a software component named “Media-Max 3D” would, unbeknownst to them, be automatically installed on their computer. The purpose of Media-Max 3D was to prohibit consumers from reading the disc with any other music player such as iTunes or Windows Media Player which in turn disallowed the possibility of cd ripping, and limited cd burning so that users could only create about two extra copies of a given disc for personal use.

Although, I’m fairly certain most of you would be familiar with how P2P content-sharing systems work, the importance of Media-Max 3D’s function is this: by disabling the ripping process of a cd, a user is unable to retrieve audio tracks from that disc, convert them into mp3 format, and upload them to a file-sharing server, thereby (in theory) eliminating the possibility of illegal file-sharing/downloading.

Now here’s where things got interesting. Consumers began to notice malfunctions with their Windows operating systems shortly after listening to one of these enhanced discs on their computers. It was later concluded that Media-Max 3D was responsible for installing spyware (a malicious computer virus portal) onto all desktops with which it had contact.

Although this scandal remained fairly “hush-hush” to the wider population, several lawsuits were filed against Sony-BMG for privacy invasion, all of the catalog releases (estimated over 500,000) that included this technology had to be recalled and exchanged for standard discs, not to mention Fortium Technology’s name change (which couldn’t have occurred at a more opportune moment) which resultingly, deflected a great deal of the blame off of their company.

Since this unfortunate series of events, Fortium has made alternations to their digital content-protection software re-launching it as XCP. Though Fortium has assured both consumers and labels interested in licensing this software that, “the control program provided as part of the disc management system only resides on the CDR media and does not install any programs on the PC, ” potential users and buyers remain skeptical at best.

Irrespective of Fortium’s claim to having the grandiose solution (for a whopping $10,000 per license, and that’s not including tax, or manufacturing costs, mind you), another major issue in the fight against music piracy is still going unaddressed: that is, preventing users from uploading purchased songs from legitimate online music stores onto illegal P2P free file-sharing servers. There is NO way to police this, and all it takes is a single user to purchase tracks from a legitimate online music store, and allow access to his/her music library free of charge via one of the many (and growing) population of P2P servers. Additionally, recent reports have revealed that computer “hackers” have discovered a way to steal music directly off of licensed programs such as iTunes, so it would seem to me that Fortium’s invention really only solves a small piece of this highly complex puzzle. What’s worse is that as a globally interacting planet, we cannot seem to establish some sort of agreed upon method for internet governance or regulation. I hate to say it, but the solution seems very far off indeed.

However, the internet is NOT all bad. In fact, it has served as an invaluable tool to the benefit of many artists, especially independent ones, including myself, and I can sincerely say that a great deal of my band’s accomplishments would not have been possible without its advent.

Now, I hope that this further reflection on the current music industry has not dampened your spirits too much because in fact, right now is a very exciting time period for indie artists. I welcome you to check back next week to get the scoop on why it’s a much more lucrative and rewarding business when you decide to go it alone.

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/

Vol 2, Issue 2: Who's Really at Fault for Declining Sales, Heightened Piracy & Lower Standards of Music as an Artform?

When The Police have to cancel tour dates due to poor ticket sales, and Bon Jovi holds the top position on the weekly Soundscan charts for the number one selling new release with a mere 7,000 discs, it’s safe to say that the music industry is in quite a pickle. While the record companies are quick to point the finger at the escalating rate of illegal downloads as the primary cause of their dismay, there’s truly more going on here than meets the eye. If I can offer you, my fellow aspiring artists, one piece of solid advice, it’s this: go indie, or go home. Before I begin providing you with steps on how to attain a successful status as an independent musician, I feel it is essential to evaluate the current climate of today’s music industry.

With the recent closings of both the Sam the Record Man & Music World retail store chains, and the now defunct (once mighty) Castle Records, obviously credence must be given to the fact that illegal downloading is affecting retail sales in a major way. For that matter, the music industry, as we once knew it, is scrambling to invent new technologies in order to battle piracy, when truly, it would be a much wiser idea to accept the fact that things have changed, and that they will never be as they once were. Instead of challenging the movement towards digital, I’d argue they’d be better off embracing it, because one thing is for certain: the youth generation, the force driving this movement, is only getting larger, and more powerful.

However…we all knew this day would come. Not to get politic, but this situation, to me, is reminiscent of when Bush completely ignored the signs indicating the imminent threat of Hurricane Katrina on New Orleans, acted mystified by the event, and then once it was too late, tried to pick up the pieces acting as though everything could quickly retain normalcy by affixing a band-aid. Well, I hate to break it to Bush, and the traditionalist label owners still clutching tightly to their memories of vinyl, big hair, and sold-out concerts, but change is unavoidable, and as Darwin put it, “only the strongest, and those able to adapt to their new environment(s) will survive”.

But… how did this all get so out of hand in the first place? Why is it that music lovers are no longer willing to pay for what was once a precious commodity? Simply put, because it’s NOT worth it.

As a musician, and a music consumer, I have the unique perspective of seeing both sides of the argument. While I don’t agree with stealing (that’s what piracy is folks, whether you want to admit it to yourselves, or not), I also am sympathetic to the needs of the music consumer, and I’ll be honest with you, I haven’t bought a new album in about 10 years. Why, you ask? Because the quality, talent, and songwriting of our modern-day so-called “artists” does not even register in the minor leagues compared to what the musicians of the past were required to deliver. But…don’t be so quick to blame the artists themselves. It’s not as though the potential for genuine talent simply disappeared from our generation. The sad fact of it all is that music is no longer about music (read that line again if it didn’t make sense the first time).

Music, a once well-respected art form in which songwriters created stories about their experiences and offered inspiration, hope, and comfort to their listeners is now a commodity – a slickly pre-packaged trinket oozing with marketability and emulating every current trend in society from black eye makeup to disgustingly pretentious bad-ass attitude. The problem with this of course is that it lacks originality and genuine substance (the very things that good music is made of).

It’s All About the Money
It’s become painful to listen to modern-rock radio because you can’t tell one band from the next, the general consensus in terms of acceptable lyrical subject matter is appalling, well moreso pathetic, and everything just seems so damn predictable as though each song selected to be a single had “insert catchy hook here” and “time for a guitar solo/breakdown” slated in the sheet music before the piece was even composed. The rationale behind all of this was, of course: to make money.

Record labels believed, that if they continued to hire copy-cat artists who simply acted as puppets in their greed-driven attempts at success, that we, as consumers, would be too ignorant to notice. While it is unfortunate that many independent, and truly talented bands are suffering in the crossfire, I feel no sympathy for the record labels as truly, they are getting their just desserts. If they feel there’s nothing wrong with exploiting young naïve artists, and then shortly thereafter, ending their careers to make a quick buck, then there’s nothing wrong with stealing from major companies who could care less about the negative effects their messages, and efforts have had on society.

From a consumer perspective, I can appreciate the fact that shelling out the cash to buy an album doesn’t seem worthwhile when there are only three decent tracks on the entire thing. However, what consumers don’t realize is that the cycle of releasing sub-par music is being perpetuated by their very actions.

Underdeveloped Talent
Because record labels are losing so much money at such an intense rate, artists, are being forced to release new material more often, and consequently, the songwriting quality continues to diminish because musicians are no longer being granted time to develop their skills, and their art. It wasn’t uncommon five-ten years ago, for artists to wait anywhere from three to sometimes even seven years before issuing a follow-up record (which of course gave allowance for artistic development and experimentation). But, because of the industry’s threatening financial situation, record labels do not have the time, nor the patience to care about such things, and thus, will settle for what they can get.

Market Oversaturation
Further, there’s another force influencing this situation which I like to refer to as “the convenience factor”. Society, for whatever reason, (blame it on the media, generational differences, or a combination) continues each year to become more and more obsessed with the, “bigger, better, faster, now” mentality. Advertisers have noted that our attention spans are shortening, causing us to become bored and/or distracted at a quicker rate, thus propelling the need to consistently obtain new material items. Keeping this in mind, it’s no wonder that record labels expect new albums out of their artists every year, sometimes even every six months because what’s “new” doesn’t stay “new” for very long in such an oversaturated and overplayed market.

So how can artists contend with all of this when the labels, the ones with the money and manpower, are losing their stability? Well, no one said it would be easy, but there is a light at the end of the tunnel.

If major labels continue to plummet, no longer will our airwaves be flooded by the same ten bands that all sound like Nickleback. Musicians, again will have to pay their dues, win their own fans, independently promote their concerts, and earn every bit of their status by themselves.

Look at it like this: it’s a purification process, and a much needed one at that. Though “rockstardom” will likely never be as it once was, our current climate demands change, which I believe could be the beginnings to a major overhaul which will re-introduce art to music. Here’s hoping I’m right. I know there are more purists, like me, out there.

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/

Vol 1, Conclusion: Breaking Down the Most Influential in the Music Biz

I’d like to start out by thanking all of you for taking the time to read my column weekly. I hope that amidst my many rantings about the music industry that you’ve managed to gather a tidbit of wisdom here or there.

Below I’ve compiled a list of artists who have made the industry what it is today by becoming leaders in revolutions of sounds, imagery and artistic movements. You’ll notice that very few contemporary artists have made the cut, and that is for one reason, and one reason only…Since the death of the grunge period in the late 90s, there remains a void in music history.

Everything you currently hear on the radio has been stolen from someone else - someone great from the past - and next to no artists, in the last ten years, have risen to the challenge to create something that can be considered “true art.”

So I leave you with this - if you truly aspire to become a musician - to offer this world music with meaning - art that makes a difference in people’s lives -- look up to these greats, gather inspiration from them, and start a revolution. Every serious songwriter should own at least one album from every artist on this list.

I would like to note that although many may consider my choice to exclude artists such as Elvis or Frank Sinatra, a crime, I do have good reason – neither of them ever wrote a song throughout their entire careers. This list is made to honour musicians who actually deserve the title, “artist.”

In no particular order…

1) Madonna: Her longstanding title as the most famous woman in music isn’t mere coincidence. She is the queen of reinvention and an icon in leading social trends.

2) Sex Pistols: The world’s first and only true punk band. It wasn’t about the talent, it was about the attitude.

3) AC/DC: Very rarely can a guitarist outshine his own lead singer, or for that matter, create nothing, but catchy songs.

4) Kiss: A band that has truly discovered the secret to branding and merchandising. Take a lesson from their savvy businessman Mr. Simmons.

5) Jimi Hendrix: A whole lotta blues, a whole lotta rock’n’roll and imagine most of his material was written on an acid trip.

6) Aerosmith: Steven Tyler is the iconoclast of what every lead singer should strive to be.

7) Bob Dylan: Amazing songwriter. His tracks will continue to be covered by other artists ‘til the end of time.

8) The Beatles: Talk about universal appeal. A band that not only possessed two uber-talented songwriters, but as well, was able to grow and redefine themselves with every album.

9) The Beach Boys: Sugary harmonies that any band would envy. Leaders in the ‘Surf Rock’ movement.

10) Buddy Holly: Who thought that ‘Nerd Rock’ would ever catch on?

11) The Smashing Pumpkins: Truly original melding of discordance with melody.

12) Nirvana: The voice of an angst-filled generation.

13) John Lennon: Was never afraid to speak his mind.

14) Chuck Berry: The true ‘King of Rock’n’Roll’.

15) James Brown: He isn’t called the ‘Godfather of Soul’ for nothing.

16) Michael Jackson: The first black artist to ever receive airplay on MTV. He had the moves, the style, the talent – the whole package.

17) David Bowie: A gender bending leader in ‘Glam Rock’. Again, a great example of an artist who possesses the ability to reinvent himself.

18) Black Sabbath: Like demons caught on vinyl. This band surely scared the shit out of your parents.

19) Marvin Gaye: Spoke out for what he believed in the most.

20) Neil Young: Couldn’t sing a note, but his songwriting is untouchable.

21) Ray Charles: Helped to break down racial barriers in music.

22) Little Richard: Way before his time.

23) Alanis Morissette: Gave women a whole new confidence in telling off their ex-boyfriends.

24) Queen: When Broadway met rock, and with a set of pipes like Freddie Mercury, it couldn’t have been a better combination.

25) Red Hot Chili Peppers: Their unique style of mixing funk, rap and rock has been imitated by many imposters.

26) System of a Down: Inventors of music for people with ADHD.

27) Bob Marley: Brought reggae to the mainstream.

28) Deep Purple: Wrote one of the simplest and most repetitive three chord riffs in history, but somehow managed to make it a hit single. That deserves props big time.

29) The Jackson Five: The world’s first boy band.

30) Janis Joplin: The ultra blues mama who wasn’t afraid to bare it all and I mean that in every sense.

31) Henry Rollins: Not just a musician, but an inspirational speaker. One of the smartest people in existence, hands down.

32) Joan Jett: The Queen of PunkRock.

33) The Pixies: Failing to achieve major mainstream success, this band still remains one of the most credited bands in history in terms of influencing other artists.

34) Alice Cooper: The precursor to our Marilyn Manson.

35) The BeeGees: Any men that can sing that high deserve to be on this list.

36) Steppenwolf: Creators of ‘Biker Rock’.

37) Rolling Stones: Great songwriting, but we much prefer when their material is covered by other artists. Sorry Mick.

38) Van Halen: Inventor of the guitar technique, “tapping.”

39) Eric Clapton: How many major bands was this guy seriously a part of?

40) Metallica: When metal went mainstream for all of us to enjoy.

41) Guns’N’Roses: Axel Rose and Slash? Enough said.

42) Led Zeppelin: Hold the record for the longest breakthrough single, “Stairway to Heaven.”

43) Bjork: Too damn weird to ignore.

44) Pantera: As evident by the recent demise of Dimebag, this band has had a major impact on underground music listeners everywhere without meriting any mainstream radio play what-so-ever.

45) Johnny Cash: The man in black who made country music cool.

46) Prince: The male equivalent to Madonna.

47) Heart: Our first glance at what dual female fronted action can deliver. Barracuda anyone?

48) Kraftwerk: Synth-pop artist extra-ordinaire: the precursor to industrial.

49) Tom Petty: Who doesn’t know the lyrics to “Free Falling?”

50) The White Stripes: Simplistic, but in just the right way.

51) Pink Floyd: Until you’ve watched Wizard of Oz while listening to “The Dark Side of the Moon”, you will not be able to understand their significance.

52) Abba: A great example of gender equality and cross-over success.

53) The Who: Creators of the first rock opera, “Tommy.”

54) Muddy Waters: Haunting, soulful, and real.

And finally…
55) Cher: For having the most farewell tours the world has ever seen. We appreciate her persistence, but she should really learn to give credence to Neil Young’s words, “It’s better to burn out, than fade away.”

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/

Vol 1, Issue 17: Getting Signed: More than Putting Pen to Paper

A good friend of mine once told me a story about how his arrogant youth led to the moment in which he permanently jeopardized his music career. Believing that his act had reached its pinnacle and could not improve upon “perfection,” he haphazardly organized a showcase event where his band was to demonstrate its abilities to all of the leading Canadian record labels. Fast forward about ten years from this showcase, his band remains unsigned by a major label, and additionally, has undergone several lineup and image changes in an attempt to re-emerge in the industry. The moral behind this story is to explain to all of you “overly anxious to-get-signed musicians” out there that you will only get one chance. So, in the words of Jack Sparrow I suggest that you, “wait for the opportune moment.”

Despite all of this, my friend has still managed to do well for himself on an independent level, but when he sat me down to tell me this story, his voice took a stern tone and I knew that he did not want to see me making the same mistake that he did.

From this story, along with the many horrific tales that I’ve been told about young eager bands getting royally screwed from their first record deals, I’ve learned that taking your time to educate yourself about the various options is essential for survival. I highly suggest NOT signing the first proposal that comes your way. If a record label really wants you on their roster, they’ll be willing to negotiate to suit your needs. However, if you appear too anxious to close the deal, you will likely find yourself in a situation in which they’ve taken advantage of you. Get a lawyer, get everything on paper, and only commit to a contract that you feel is mutually fair. I don’t suggest signing a 10-album deal right off the bat, as it is difficult to predict a band’s longevity and you don’t want to find yourself paying off your record label for the rest of your life because your bandmates weren’t in it for the long run.

Aside from all of the precautionary advice, in terms of approaching labels for roster consideration, there are some things you need to know. As previously mentioned, record labels receive countless artist submissions on a weekly basis. Therefore, if you decide to take the standard route of mailing out press kits to your desired labels, you need to make your band stick out from the rest, and I’m not talking just music here. Professionalism, and stylish packaging will go a long way. A growing cutting-edge European trend is to construct interactive DVD press kits; instead of inserting paper copies of your band’s bio, touring engagements, press write-ups and notable accomplishments into a standard folder and mailing it off.

An interactive press kit will include all of the aforementioned typical contents, but will also give bands a major advantage. By including live footage, personal interviews and band member biographies, an interactive press kit allows record labels to truly get a sense of a band’s personality and marketability.

If you do chose to undertake the standard snail-mail route, you better have a lot of patience. It can take anywhere from two months to a year for your material to get reviewed, and remember that labels will only contact you if they are interested in learning more about your act. Be sure to direct your package to a specific person or at the least, the A&R department to ensure that it does not get lost in the mail. I recommend following up with the specified label representative a few months after issuing the press kit to ensure that it was received and to inquire as to whether or not they’ve had the opportunity to review your material.

Along the same lines, another increasing trend is the solicitation of online electronic press kits (EPKs) through popular sites such as http://www.sonicbids.com/. Although these press kits are a great way to organize your band’s accomplishments and are accessible worldwide (which cuts down significantly on mailing costs), I have found their use to be more successful among bookers and festival coordinators, as opposed to record labels.

The last and (in my opinion) most effective way to appeal to record labels is to either take part in a showcase event such as Canadian Music Week (CMW) or South by Southeast (SXSE) or to host a showcase event of your own in a industry-directed city like Toronto, New York or LA.

With events such as CMW or SXSE, it is easy to get lost amongst the other 500 competing for the attention of the industry bigwigs. I recommend sending out personalized invites to your labels of choice at least a month in advance, trying to generate pre and post media coverage for your appearance and promoting your show as much as possible to ensure a strong turnout. There would be nothing more devastating than playing one of these events with record execs on-site and no crowd to play to.

In terms of hosting your own label showcase, again an act needs to promote, promote, promote. On any given night in Toronto, NYC, or LA, there are hundreds of events vying for the public’s attention, and you will need to make yours intriguing and something to remember. Ensure that you have provided a guest-list outlining all of the record label representatives you have invited, as you do NOT want to make them pay to see your performance.

Record execs often do not reveal their identity at these sorts of events, but rather contact you afterwards to inform you of their attendance, so your band must be on its best behaviour treating everyone in a professional manner. After your event, send out thank-you notes to all of your invited representatives (even those who did not make an appearance) for the opportunity to showcase your act for their roster consideration. If you are unsuccessful in your attempt to get scouts to come to your event, my only suggestion is to keep trying. Persistence does get recognized in this industry.

Take Joan Jett, for example. The record labels all agreed that she had talent, but no one would sign her because of her hard image and pushing the envelope style. She established her own label, BlackHeart Records, and sold her first albums out of the trunk of her car. She currently remains signed to her own label, and just this past year headlined Warped Tour. If they didn’t want her as she was, she didn’t want them either. Take a lesson from Ms. Jett, she’s not called the “Queen of Punk Rock” for nothing.

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/

Vol 1, Issue 16: Making Merchandise

Have you ever noticed that it’s the 14-year-old high school bands who are totting around the best gear at shows and are stocked up with a full selection of merchandise? Perhaps these purchases were graciously donated through the generosity of their parents, or maybe a collection of the profits they’ve earned from babysitting gigs fronted the bill. It’s one thing to have top of the line gear, what musician doesn’t want to rock out like the professionals do? But, to travel with a mini retail store of your band’s paraphernalia before your band has even developed a reasonably sized fan-base or released an album, well, that’s just foolish.

From my fun and not-so-fun manufacturing experiences, I’ve learned a couple of things about developing merchandise that I’d like to share with you.

#1) Do not, I repeat, do not order any merchandise without proof that you are getting exactly what you requested.
A few years back, I decided to order some t-shirts for my band for the first time: a relatively simple design with two colours. I ordered both male sports tees, and female baby tees, which ended up costing me a few hundred dollars (which would not have been a problem seeing as I priced it out so that profits could be made). However, upon the much-anticipated delivery of my t-shirts, I noticed a critical issue when opening the package. Despite several attempts for clarification on sizing on the women’s style, I somehow ended up with 50 child-sized tees that were UNSELLABLE! Considering that I, myself, am a petite woman, and I was not even able to get my head through the neck hole of any of these shirts, I’m sure you’re getting the picture. I pleaded with the manufacturer explaining that he had made a huge mistake with my order, but guess what? He had already been paid, and therefore, could care less about my complaint. Luckily, I was able to salvage some of the funds through creative innovation. However, we still lost a substantial amount of money on that purchase, and suffice it to say that I will never work with that manufacturer again.

So, what I learned from that experience is this: Prior to finalizing any merchandise order, ask your manufacturer to send you a sample of your desired item to ensure that it is properly sized and has your desired appearance. Photos are not accurate representations of products. If your manufacturer refuses to comply with this simple request, I suggest you take your business elsewhere.

#2) Try to stick with companies in your region.
At first glance, many of the per-item rates that U.S. manufacturers charge for merch products seem substantially cheaper than that of the Canadian companies, and in some instances, they are. However, one must realize that customs, shipping and taxes are being left out of the equation. From my experiences working with both sides of the border, I’ve learned that there are hefty tariffs placed on imported resale goods. Thus, sticking with local companies will guarantee that your band will be able to profit with its sales, instead of just breaking even.

#3) Do a test run first.
It’s hard to predict what your fans may or may not be into in terms of merchandise. Asking their opinion is one thing, but the proof, as they say, is in the pudding: what are they actually willing to spend their hard earned money on? Because it’s difficult to judge this in even the best of situations, I recommend that bands never place bulk orders on new items. Even if all of your band mates agree that your new idea to get customized wristbands is fantastic, it doesn’t necessarily mean that your fans will buy them. As a good starting point, I recommend getting no more than 25 - 50 copies of a new item (generally the minimum amount that can be placed in a merch order for a reasonable price). This will allow you to gauge an item’s popularity without taking a huge financial loss if it doesn’t sell.

#4) Be as specific as possible.
When placing orders with manufacturers, it’s important to provide as many details as possible to avoid errors and potential delays. For example, the difference between vinyl, litho, latex and thermal stickers may seem trivial from your point of view, but it can substantially affect how a design will look once it’s printed, as well as the longevity of a product. Being knowledgeable about different stocks (the materials on which items are printed) is therefore extremely important to ensure that your order precisely matches your idea.

#5) For all of you black fans.
This is a tricky one. Although black is a very popular colour used amongst band designs, trying to find manufacturers that will print colour on black backgrounds is more difficult than one would anticipate. As an added bonus (note the sarcasm here), all products with black backgrounds are always more expensive to print than products with white/transparent backgrounds. No one likes sacrificing their design scheme because of cost issues, therefore being aware of this fact while developing a logo/concept for your band is essential. To help minimize what I refer to lovingly as the “black factor,” sticking to companies that regularly deal with band merchandise as opposed to generic screen printers is recommended, as they will be more sympathetic to your situation.

Manufacturing merchandise is a big step for any band, and something I do not recommend until you are in both a financial and professional situation to do so. Also, remember to always provide manufacturers with two weeks to a month's leeway time in the event that there are complications with your order. Bands tend to overwhelm manufacturers in the springtime to prepare for summer touring, so getting in before the crowd will ensure you don’t find yourself on the road with nothing to sell.

Some great (and reasonably priced) merch manufacturers that I regularly work with and strongly recommend are:

CDS
Indiepool
http://www.indiepool.com/

T-SHIRTS
Last Man Standing Clothing Supply
http://www.myspace.com/lastmanstandingclothing

STICKERS
JDBuilt Signs
http://www.jdbuilt.com

PROMO PHOTOS
Forest City Image Centre
http://www.imagespin.com

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/

Vol 1, Issue 15: The Rules of Rock

Your albums are your livelihood, your art, your creation. Inspired by your feelings and decorated with your thoughts. They are you in a musical form: a reflection of what you stand for, what makes you tick, what breaks your heart and what will repair it. A simple compact disc can embody one’s full range of emotions: the good, the bad and most certainly the ugly. Because of its power, due time and consideration must be taken when getting ready to record your masterpiece. Whether it’s selecting the right producer, or deciding which songs should make the cut, taking your time will be time well-spent. If you want to release an “all killer, and no filler” album, then I recommend taking the following rules into consideration.

Rule #1: Don’t be in a rush to record.
There’s nothing worse than an album that grabs your attention immediately with its screeching distortion, but come track five has lost you somewhere in the translation. To avoid finding yourself in this scenario, I would advise you not to be too anxious to get into the studio. The best art, like a fine wine, grows in taste and refinement as it ages. So, take your time and make sure that every single one of your tunes is sickeningly addictive, gets stuck in your head on repeat, and makes you want to partake in a full-body gyration before you book your studio time. There’s nothing wrong with having a token soft acoustic track in the mix to demonstrate another side to your act, but for the most part, I’d recommend sticking to what you do best. Additionally, there’s no faster way to piss-off a producer than to go into a studio unprepared, but hey it’s your money, so if you want to waste it, that’s your prerogative.

Rule #2: The first 30 seconds will make or break you.
Because of the overabundance of artists vying for the attention of few labels, your act is left with very little time to make an impression. When labels receive artist submissions, they hold listening sessions in which they listen to hundreds of bands back-to-back in order to make their roster decisions. Due to the design of this process, it’s extremely easy for bands to get lost amongst one another. After listening to music consistently for hours, one’s ears start to get tired (especially if the music is poor in quality), and thus, one’s attention span is shortened. I cannot state enough how important it is to be able to grab your listener’s attention the moment the disc begins to spin. Every song needs to have a strong catchy intro, and it is recommended by musicologists that the vocal melody of a track kicks in no later than the 30-second mark.

Rule #3: Always put your best song as track two.
Rarely do labels listen past the second track on your disc unless you’ve truly peaked their interest, and even still, time constraints may prevent them from doing so. Therefore, the first track on your album is designed to act as an introduction to your band. Ideally, it should be a strong song that demonstrates a synopsis of what is to come. It shouldn’t be too heavy, or too soft, but rather right in between. This opens the door for your act to be able to expand in either direction, without having the listener form too many preconceived ideas of how the rest of your album will sound. Your strongest and/or title track should follow closely in line as the second track in rotation. This allows listeners to get a sense of your act's full potential from the very start. As record execs don’t have the time or patience to go through a half hour of your music in order to find your band’s high points, I recommend using this formula if your intention is to solicit your material to labels.

Rule #4: Come prepared.
If you are recording with a professional producer, it will undoubtedly be expected of you to arrive with new strings for your guitars, new skins for your drums, and your vocalist well-rested. Your gear and your band members need to be in tip-top shape to be fully productive and to work to their full potential. Make sure you get plenty of rest, eat well, and don’t overexert your energy. As for your gear, revive what you can. It is not expected of you to purchase brand new studio equipment, but considering that gear undergoes wear and tear from practicing and touring, a band needs to ensure that their equipment is as fully restored to new as possible. If that means spending a couple extra bucks bringing it back up to par, I assure you its worth it. Don’t just trust me, trust your ears: you’ll be able to hear the difference.

Rule #5: Bring your producer a CD by a familiar artist that illustrates how you want your album to sound.
This is especially important if this will be your first recorded album, and if you are working with a producer who is new to your material. By bringing along an example of a disc that demonstrates the production quality you wish to obtain, you are creating a framework for your producer, and also likely setting your budget. When it comes to selecting an appropriate example CD, it’s clearly important to consider the production/technical side of things, but as well, finding an artist that is similar to your act in sound will assist in this process greatly.

Rule #6: Just because it’s free doesn’t necessarily mean it’s a bargain.
In my opinion, there are certain jobs that should be left to the professionals, and recording/producing a band’s album is definitely one of them. No matter how many recording programs you’ve managed to illegally download onto your computer, you need to face the facts, basement and at-home recordings simply cannot render the same quality as a professional in-studio recording. Aside from the disc’s sound quality, a trained sound engineer will be able to pick up on things that you may not even notice. They are educated to be sticklers for perfection, so if you want your band’s album to be able to compete with the big leagues, hire a professional. However, not just any professional producer will do. Do your research, know which bands your producer has worked with in the past and be sure you are selecting the man/woman you feel is best suited to the job.

Rule #7: Your producer should NOT be the same person as your mixing engineer. The more the merrier is definitely an expression that is fully embraced when it comes to recording. Because it is such a tedious endeavour that requires listening to the same sections of songs over and over again, it is strongly suggested that several engineers are hired to work on your full-length as opposed to just one. Producers are only human after all, and the more that they hear something on repeat, the less likely they will be able to pick up on imperfections. Therefore, hiring at least three different people to cover the jobs of producer, editor, and mixer/masterer will ensure that your album is as close to perfection as possible. As a bonus, producers often have their own staff with which they work or at the least will offer you a referral to a sister-company that handles the aspects of the production that they cannot.

Rule #8: Be in the studio at all times.
Even if you’ve already recorded your instrument, it really makes no sense to abandon the studio. Not only it is disrespectful to your fellow bandmates that waited patiently for you to lay down your tracks, but as well, this is your art. If you take off in the middle of recording, you might as well sacrifice your say in terms of how you want the album to sound because if you were not there, then you’ve got no business complaining about the results. Some of the best ideas for albums have spawned purely from being “in the moment” or on account of a minor suggestion from a producer. So, if you want to see the magic as it unfolds, I recommend sticking around. I wouldn’t want to leave my art into the hands of others, so why would you?

And finally...

Rule #9: Have fun.
Recording can be a stressful experience if you let it, but truly, it’s meant to be satisfying. Let your creative juices get flowing, and experiment with different settings and effects. Ask your producer questions, get involved, take pictures and make it something to remember. If you’re getting worked up over a note you just can’t hit, relax, take a break, and let someone else take over for a bit. Don’t rush yourself, you can take all the time you need. It’s your album, you set the deadlines. Never record for more than twelve hours straight, and if you aren’t happy with something, speak up. Remember, your producer is there to work for you, not against you and your vision.

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/

Vol 1, Issue 14: Ready to Record?

With the surge of indie artists, and the decline in label wealth due to illegal downloading, the competition for getting signed has reached an all-time plateau. No longer can record execs wage a band’s talent and marketability based upon a mere three to five track demo. Instead, the demand for strong full-length albums (ranging from 10 - 15 tracks on average) and/or E.P.s (extra-play) has been resurrected forcing artists to spend more time polishing their material and defining their sound prior to getting into a studio.

In my humble opinion, this movement is for the better as the one-hit wonder groups of the 80s and 90s continue to leave a bad aftertaste in my mouth. Although the idea of shelling out extra cash is definitely not “music to the ears” of any artist, there are several benefits that go along with releasing a full-length.

For starters, there’s the much-hyped CD release party. These are not only a great way to garner press and develop a fan-base, but if planned and executed successfully, a CD release party can generate huge bragging rights. Additionally, label reps generally prefer to attend special events over just any given gig. So, if you, as an act, feel ready to play to the movers and shakers in the industry, you’ll be more likely to receive a response from a special event invite as opposed to the generic “hey come see my band play at our local club” type message.

Along the same lines, tours (which can last anywhere from a few weeks to a few years) are generally booked in support of the release of an album. You’ll find you will have a significantly higher success rate of clubs willing to book your band when your appearances at their venues are affiliated with a tour. To state it blatantly, it just sounds more professional: like you’ve got your shit together and you know what you are doing. If you can continue to ride the success of an album’s release for two or more years all the power to you. Touring will only help you establish a reputation and a long list of contacts.

On a similar note, just as venues will be more likely to book your act, the press will be more likely to provide you with coverage when in conjunction with an album’s release and tour to support it. Again, it comes back to professionalism. The media does not have the time nor energy to waste on acts that do not know how to solicit their material properly.

If that didn’t convince you investing into a full-length album is an investment in your band’s future, perhaps this will: by having full-length discs available at shows for purchase, a band can start to regenerate an income thereby minimizing the time-frame of their debts.

Even with retail and online distribution, my band continues to earn the majority of its funds through selling merchandise directly after our live performances, which is quite a common phenomenon for indie artists. Fans are able to relive their concert experiences by listening to a band’s album whereas a demo cannot reproduce the full effect because it’s incomplete and therefore, leaves you feeling unsatisfied. Having cds available for purchase at shows is a fantastic way to be able to spread the word about your act (all it takes is one person to buy it and share it with all of their friends), and if you can make a little extra money to keep your act on the road (god knows the venues won’t pay well), I say go for it. You never know when your van is going to break down in the middle of nowhere at 3am, and that money is going to come in handy for a tow-truck or hotel room.

In order to survive in this cutthroat industry, one of the most important things a band must do is stay with the times. Though popular in the past (primarily because of their cost effectiveness), demo CDs have become passé. Giving record execs demos when they want full-lengths will get you nowhere fast. Even if your primary motivation is not to get signed right away, I’d still say that going with a full length is a safer bet as you never know who you might meet or what opportunities may come your way. Being prepared for everything (and I mean everything) is what being a musician is all about. On top of the countless benefits that I mentioned, full-length albums also make bands eligible for government grants and awards. Full-lengths act as great sales tools for bands, and above all, they prove that you can rock a record from start to finish, which these days seems to be a rare thing indeed.

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/

Vol 1, Issue 13: Selective Sponsorship

When it comes to gaining support from others, and I don’t just mean fans, but people who are willing to either a) provide you with their merchandise for free and/or b) front you money, a band really needs to prove themselves worthy, as next to no one will invest into something that isn’t a sure deal.

Sponsorship agreements need to be mutually beneficial between their parties. Therefore, if you, as an aspiring band, want to place yourself in a position to make demands, you need to have good bargaining chips of your own to back up what you say. It’s all well and good to make promises that you will do this, or that for each company that supports you, but without any tangible proof of your hard work, you’ll find yourself barking up a lot of trees to no avail.

For starters, I recommend getting some bragging rights to your name before approaching anyone. Once, you’ve got a decent amount of accomplishments on your resume, by all I means I encourage you to find as many sponsors as possible. Not only will this assist you with cutting down expenses, but it looks great on promotional materials, can help you reach a greater fan base and, most importantly, give your band that extra bit of “buzz.” If a band has a great deal of people behind it that are willing to invest into that band’s future, it speaks volumes to the media and labels indicating to them that they should be keeping their tabs on your act and its endeavours.

First things first, which companies should you go after? Remember that when you sign into a sponsorship deal, you are aligning yourself with that company. Not only does that make you a supporter of their products, but indirectly you are now a spokesperson for them (just as they are for you). Therefore, you must be apprised of the nature of their business. It will obviously look bad on your part if you accept free merchandise from a company that’s manufacturing plants are child labour sweatshops. So, rule number one is: know the company with whom you are getting involved to ensure that it is the kind of business with which you want to be associated.

Along the same lines, when choosing sponsors to approach, I recommend trying to find companies with which you share a common vision, or outlook. For example, as a female rock musician who promotes empowering messages through her lyrics, the first sponsorship deal I secured was with DaisyRock Guitars. DaisyRock is a company that specifically creates guitars that are tailored to the smaller physical stature of women. Their mission is very much to promote strong women icons in rock music, and to assist is absolving the inequities that female musicians face. I feel that DaisyRock’s and my message are one in the same, and therefore an alignment with each other was strategic. I fully support their mission and their products, while they offer my band a great deal of support.

The point I’m trying to make here is that if there is a cause or a movement in which you truly believe, there is likely a company that creates its associated products. Affiliating yourself with that company will ultimately affiliate you with that cause, and if you can find a means to profit from a cause that you truly support, it only makes the pie sweeter. But don’t mix up my words, I’m not suggesting that you jump on the bandwagon of every cause in town just to get free swag. Not only is that morally wrong, but your fans and sponsors will see right through it. There is nothing wrong with seizing mutually beneficial business transactions, but don’t let your greed misguide you.

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/

Vol 1, Issue 12: Making Headlines

If I can tell you anything about gaining media exposure, it’s this: persistence and loyalty pay off big time. Though results likely won’t emerge as a consequence of your initial trial efforts, this should not discourage you. The more a media outlet hears from you, the more likely you are to receive coverage. On the same note, don’t forget to acknowledge the exposure with which you are provided.

Building and maintaining strong relationships with various media outlets will only be to your advantage, and therefore is of the utmost importance. A step in the right direction begins with showing your appreciation for all media coverage, regardless of whether an outlet prints a full-page feature on your act or only mentions your band’s name in reference. Every little bit counts, and therefore should not go unnoticed.

If you still need more convincing, consider this: Canadian Musician (CM), a prestigious industry publication elected my opinions as the viewpoint for Canadian indie acts in regards to signing record deals for a ongoing three month feature. My perspective was represented alongside those of several industry bigwigs including Greg Nori (Treble Charger/Manager of Sum41), Steve Blair (Warner Music Canada), Barb Sedun (EMI Publishing) and Grant Dexter (MapleMusic/Last Gang Records). So I’m sure you can imagine just how much of an honour this was to me.

What most people aren’t aware of is that in order to be provided with such an opportunity, I had to continually hound the editor of Canadian Musician for over six months before I was even granted a response. When provided with this amazing experience, I ask him why he elected me as a spokeperson for Canadian indie acts. He responded with this simple answer, “Because you were extremely persistent, and professional with me on all accounts.” So, trust me on this one, persistence does pay-off, you just need to re-program yourself into appreciating prolonged, instead of immediate, gratification.

Timing and locality are everything
Timeliness is a key factor in terms of getting featured and if you can correspond your media efforts with an upcoming event, tour, or record release, you will likely have better results. Never leave the solicitation of your press release up to the last minute as the media has deadlines to which you need to demonstrate consideration.

Sending out emails or making the necessary phone calls at least two to three weeks in advance works well. However, for larger cities such as New York or Toronto where there is steeper competition, contacting the media a month in advance is recommended.

As well, focusing on the local market to which your event pertains would be in your best interest, as the media produce stories that are not only current, but oriented towards their community. Of course, the internet is able to break some boundaries here with sites that, for example, cover cross-Canada events, but generally speaking targeting your media efforts specifically for each city to which your band tours is a good idea.

Which medium to target
The choice as to whether you solicit media attention towards print, radio, or television will largely depend on a) your event’s target market (all ages, 19+, charity orientation etc.) and b) the size of the city to which you are touring.

I personally think that there is no harm in contacting as many media outlets as possible per city as a multitude of coverage will only help with promotions. The more often that people hear about an event, the more likely it’ll peak their interest, and resultantly, they will be driven to seek out more information, if not attend to see what it’s all about. So, when it comes to soliciting media attention, I adopt the popular adage, “go big, or go home.” There is no such thing as too much coverage, but there certainly is such a thing as too little.

The other thing to keep in mind is that if you are touring to foreign territory, it is doubtful that you will be apprised of the media habits of your target market. Therefore, if you contact all outlets, it’s a safer approach as opposed to attempting to guess which ones appeal to your audience.

However, by saying this, I’m not recommending that you bombard every media outlet in each city. You need to ensure that you are only contacting media outlets that provide coverage to artists to whom you are similar in genre, otherwise, you will be wasting your time, and irritating potential contacts.

Have a direct contact
When contacting a media outlet, make sure you do your research and know who it is to whom you should be speaking. Magazine, radio and television outlets have large staffs, and if you send out a generic email through a contact form, your message will either be ignored, or fittingly, you will be provided with an automated response. If you don’t take the time to personalize, why should they? Although writing personalized messages to direct contacts is more time-consuming, it is well worth the effort.

In terms of who you should be contacting for coverage, for magazines, your approach should be directed towards the music editor. Similarly for TV and radio, you should be contacting the station’s music director. Coming across a music editor/director’s email and/or phone number is typically easy given that most media outlets have official websites with staff directories. In this event, this sort of information is not provided online, hey what are phonebooks for? All it takes is one simple call to inquire as to who is in charge of music promotions for your desired media outlet. You’ll find that little bit of research will go a long way.

Please remember that these editors/directors have worked hard to earn their placements in such high profile careers. Thus, a direct approach in which you know their first and last name, and can demonstrate a bit of knowledge in regards to their outlet and the coverage it provides will speak volumes in terms of your level of professionalism and they will be more likely to consider your request for exposure seriously.

Know what you want
Keeping in mind the importance of media research, one should be aware of the different kinds of exposure an outlet offers and what your desired coverage is prior to solicitation. Be clear in your message. If you want to do an interview, say exactly that. Your message should be short and to the point, but detailed enough to grab their interest. Tell them who you are (including a brief list of notable accomplishments), what you want (interview, feature, or review and how it relates to their outlet), how they can contact you, and where they can find out more information on your act if required (links to your official site, Myspace, and/or EPK).

Press Kits
Sending out press kits need to be done in a highly strategic fashion. In order to create an impressive, and attractive press kit, it requires a lot of time and effort. Furthermore, mailing them out certainly does not come cheap. So, I advise you to NEVER send out a press kit without previous contact and a direct request from the outlet to do so. It’ll either end up in the trash, or worse, your band could become the victim of a vicious attack.

You will find (if you don’t want to take my word for it) that music editors/directors will often feature unsolicited material in their cd review segments which often proves to be a less than desirable experience. Reviewers are more apt to tear apart bands with whom they have had no prior contact because let’s face it, to them, your act is merely just another band to which they will feel no guilt for slamming as a relationship has not been established. Even if a reviewer is not totally keen on your band’s music, you will find their reviews of your cds will be much more positive if, for example, you’ve conducted an interview with this individual.

Another thing to keep in mind is that reviewers are human and thus temperamental. Another reason as to why you could become a victim of a heartless review is because well simply put, they were having a bad day, and you’re music didn’t appeal to their current state of mind. Again, a way to prevent this unfortunate experience from happening is to ensure that any CD review you solicit is accompanied by an interview/feature in which the reviewer is able to put a face and personality to your band.

Remember, media relationship building is important, as citizens turn to the media as a truthful unbiased source of information. It’s called “reputation management,” and not only is press solicitation a great way to garner the attention of new fans, and promote appearances, but it certainly looks good on the resume and attracts industry execs. Just make sure that when you seek out promotional opportunities, you maintain control of the coverage because once you send out unsolicited material, it’s like feeding yourself to the sharks.

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/