Recording Contracts - Suggestions?

Subject: Recording Contracts - Suggestions?
From: Maryrrf
Date: 23 May 01 - 10:04 AM

We had some good advice and discussion on booking folk gigs. What about recording contracts for singers. Way back in the eighties I sent out some demo tapes to various labels but never got any response - probably the tapes went directly into the waste basket. Now things are so different, I think most people seem to be self promoting/producing their CD's and selling at their gigs or over the net, without the backing of a major label. What are your feelings on this? Is it still worthwhile or possible to pursue a recording contract with a label, or is it better to go solo? Green Linnet, Shanachie, etc. still offer contracts and promote artists, I guess. I've heard some not so good stories about people being not treated very well by the labels they had signed with, but there must be some success stories too. Has anybody investigated this or had any experience?

Subject: RE: Recording Contracts - Suggestions?
From: Rick Fielding
Date: 23 May 01 - 11:53 AM

Experiences will vary of course, but here's my two cents worth. I've been with five Record companies and also released three independant albums, so if nothing else, I've got opinions.

I was with RCA briefly in the early seventies, just long enough to do a demo album and realize that if you want to have control over ANY aspect of your work, you'd better have a lot of clout before signing with a "mainstream" company. "Boot" records heavily promoted their "moneymakers", Stompin' Tom, and Liona Boyd, and although they'd return phone calls, they seemed most interested in getting the publishing rights for all their artists' songs. "Cainfield" was a nice small company who allowed me a lot of artistic freedom, but was not established enough to get much distribution. Folk-Legacy Records (owner Sandy Paton is a Mudcatter) was a dream come true for me. Lots of artistic freedom and helpful suggestions to boot. Borealis Records (who I'm with now) are quite similar to F-L in that they're owned and operated by folkies. To me it really helps to know that your record company UNDERSTANDS the music that you play. That may actually be the MOST important factor to me.

The key thing is that when looking for a label (today) have a finished product. It shows the company that you are serious and have been willing to invest your own time and money in your music. So many bands break up and reform that it shows you have some stability. It also means that a company has to accept your music AS IS, 'cause it's already done.

Most folks today go the independant route and I can assure you that radio programmers or bookers don't see that as a reflection of lower quality. They might have twenty years ago, but today it's more likely a sign of musical integrity and business skills.

I'd really reccommend you check up on how Ani DiFranco has run her carreer. Her experience has been a "How to" manual for a lot of artists.

Good luck

Subject: RE: Recording Contracts - Suggestions?
From: InOBU
Date: 23 May 01 - 12:26 PM

And when all else fails, come to the Hearthside Cultureal Cooperative, send us a tape and record with us... Whoops! Another shameless self promoting plug (heretofore ASSPP), sorry guest... well, anyway, a couple of us are trying to give the mainstream a run for its money... there is a post about it somewhere on Mudcat, or email me through my web page, http://sorchadorcha.com (ASSPP) and I will send you details. Are you near to New York City?
Cheers,
Larry
PS in point of fact, plugging a co-op is not self promoting, I suppose but community promoting, but I guess the Guest will be offended...

Subject: RE: Recording Contracts - Suggestions?
From: GUEST,Phil Cooper
Date: 23 May 01 - 04:15 PM

The best thing the late Bruce Kaplan from Flying Fish records ever did was turn us down for releasing a recording. He was upfront about why. Though I think he would have changed his mind had he realized how much travelling we did (figure in the folk world your money is going to come from concert sales, you probably won't get royalties from the record company because of sloppy bookkeeping practices). We've put our own recordings out. You get hurt by not having some distribtion possibilities not there, but you're still going to probably sell most recordings at gigs. You put more money up front, but you keep the money on the other end too. We have the luxury of being able to keep recording money separate from gig money. Recordings pay for more recordings, promo printing costs, etc. I do know some artists who rely on recording sales to make the rent, it's an important source of income. As long as we're out playing, we sell recordings. We sell a few through catalogues as well, but mostly we sell to people we know. So, I vote on the side of self-produced.

Subject: RE: Recording Contracts - Suggestions?
From: CRANKY YANKEE
Date: 23 May 01 - 04:27 PM

Do it with an English Recording Co if you want to try a Major Label. My experience with the Parlophone Company was straightforward Extremely Honest and honorable and no hidden or devious stuff. Just the opposite was my exdperience with an American Label and, following my pleasant association with Parlophone, I contacted Capitol (Parlophone's American outlet) as advised by George Martin who was Parlophone's A&R guy at the time, and was told in no uncertain terms that they never deal directly with artists because they are unreliable. They only dealt through Professional representatives. Mind you, at the time I started my American recording career, I was Chief Air Traffic Controller at Suffolk County Air Force Base, one of the USAF's Fighter Bases responsible for the defense of New York City. Mind you, this was in the early 60's, things might have changed, but I doubt it. Be very very careful with American recording Companys. This is only my experience, but, I understand it's typical. Parlophone was so scrupulous in their accounting that my last royalty check was for 2S6p (about 35 cents) and they must have spent a lot more than that tracking me down through bank accounts. Also, Parlophone paid the entire cost of the recording sessions. In the USA, the cost of the session comes right off the top of the artist's royalties.

My TETRA recording of "Good Morning Captain" released in 1957, Just before I was transferred to England, was only released in New England, New York, New Jersey and Pennsylvania. It sold 400,000, was on all the Jukeboxes and was being played on the Rock and Popular stations as well.
I NEVER SAW ONE CENT IN ROYALTIES. Sheb Wooley copied my arrangement and style word for word and note for note and now everyone sings it the way I recorded it. Before that Jimmie Rogers' version was the only one anyone sang and it was entirely different. (Oh by the way, "Good Morning Captain was my version of Muleskinner Blues, which I learned from Jay Stump) .

TAKE WARNING

Jody Gibson

Subject: RE: Recording Contracts - Suggestions?
From: Jim Krause
Date: 24 May 01 - 02:18 PM

I went the soloist route because I didn't know how to play the game. It doesn't take much to start your own record lable, and only a little more to start your own publishing company. And since I'm still a regional performer, I thought that would pave the way for me later on.
Jim