Everybody's Doing it... Get in the Car. Ok

Where things are today being an artist, they provide the music and the “content”… once they make it, like any business, they need ways to get it out to people to discover, listen, buy, grow with.

With this, it’s necessary to have a retailer to carry said album.  In 2025, we need an aggregator… a place/source to make it available to be competitive and available for discovery and consumption.

Sadly, as the creators, this is a business they have no say in.  We need the platforms regardless of how shitty they are to musicians… both in payment made and in the hierarchy of status based on who you are or work with. 

But if you don’t play the game, you can’t get on the field and compete.

In the old days, you had to work with a label to compete with the majors.  They had money, they had power, they had staff, they had radio, retail positioning and without them, you couldn’t compete. 

The business took a dive where consumers rebelled against the monopoly they had over consumers and Napster came to play. 

 

This was a true rebellion that was raging against the corporate music machine, but while harming the business itself, it also hurt many major label musicians in the process.  The company gets hurt, it trickles down to the artist.  Collateral damage..   

But indie artists and homegrown artists took this technology and embraced it to reach bigger audiences.  Between that and upcoming social platforms like Friendster and later MySpace, these young artists found a way to get to their audience without the labels and status quo of the distribution and stronghold on who could play.

The business lost big.  They fought what was going to be the future of distribution and consumption rather than embracing it.  

It was the first time David was beating Goliath. The nerds were beating the Jocks.  The bullies were getting outsmarted and taken down with no mercy.  

This created music scenes… this helped bands and artists get discovered in a true DIY way. Bands you never heard of were selling tickets, selling CD’s, selling merch and albums were being listened to and it was not a singles driven, radio needed environment.  

Major Labels lost.  

They had to drop staff, merge companies leaving the model and a lot of great employees out of work.  All because the bullies thought it was better to try and muscle the future from happening and lost.

The “business” was dead for several years.  360 deals came to life, ways to “beat” the new world failed over and over again.  Tech companies getting funding to bring a “new” technology came, failed, went away and no solutions…

Then Spotify comes to play.  A new technology that sounded ridiculous. But the industry couldn’t pass on any ideas at this point.  The technology and idea was crazy, but if it worked, they had to be a part of it… but like every idea, it needs something to make something. 

The technology needed music. So the business finally had leverage.  Spotify could have come out without cutting deals with majors, but nobody would use it.  Without the majors, it would have been the equivalent of MP3.com or eMusic. Good platforms alternatives, but no gravitas to take them to the next level of dominance.

The majors had nothing to lose and nothing but potential profit to come.  So learning from their lesson with Napster, they all joined the party and carved out percentages of ownership and won.

Spotify launched in Europe and grew and grew while the partnerships they made came to become financial success stories.  Profits via this new platform was not only success for doing nothing, but eliminated the cost of production and distribution.  That all became a click (literally) away.

Spotify needed the master rights and they got them.  The labels got ownership and priority. Each company providing music was able to negotiate their cut from music streamed, percentage of subscriptions purchased and percentage of ads sold.  All that profit is direct for the companies.  

The artists?  They signed deals that already established their percentage of music sold.  So, they were still getting their 12-18%, but that percentage is based on the income earned per stream at this point.  So when a song pays .0043 cents per stream, the artist collects 12-18% of that towards any recoupment or even payment.  Let’s say an artists streams 1 million streams and earns $4,300.00, the artist only makes (say 15%) $645… or that $645 goes towards their recoupment of any advance of expenses needed to pay back.

Side note… that $.0043 is based on the royalty paid on a subscriber to the platform.  So it doesn’t mean that’s the actual payment make per stream.  The percentage goes down if the song is streamed by a family account, a student account or a free account (you can even add in those 3 months free when buying a plan with Verizon or ATT)… so that’s a general estimate based on the best case scenario.

So the labels are winners and taking victory laps for the Billions they make per day… but are still cutting staff, paying horrible deals and taking advantage of artists and consumers.

When these deals were cut with Spotify and other Digital Service Providers, the other people who were an oversight were songwriters and publishers.  So there is another loss. 

 

My belief is that this wasn’t even a thought because based on publishing and releases, there has always been a statutory rate in place for songs on albums and releases, so all parties could ignore the grey area and move forward without ever considering that position.  Blanket licenses issued and no room for negigotiation over this time.   No harm, no foul and play stupid.  It worked.  Deal was cut, the train was out of the station and everyone would have to catch up to the car in motion.  Act first, apologize later.

Now.. this isn’t all bad for those artists without a label.  The platform opened to everyone. With places like Tunecore or CD Baby (and now Distrokid and all the actual distributors) an independent  artist now has the opportunity to get distributed on said platforms.  No need for a major label like the old days where if you weren’t on a label or worked with a distributor of some sort, you couldn’t get in a retail store nation (or world) wide.  

So now, all artists have that opportunity.  They also have the ability to earn all the income from streams and not take a percentage based on a bad record deal.  The problem now is the over saturation and competition on said platforms. 

You see, the majors are still the winners.  As “owners” they have priority over others.  From playlisting, to exposure, to automatic placement on homepages and use in ads.

Do you remember when retail stores like Tower records or Virgin still existed?  You’d go in and see a display of new titles or listening stations.  That was called Price and Positioning.  It meant the labels paid for those areas to promote their titles and get the best option for eyes to see.  Subliminal ways of making a person aware of its existence and influence curiosity or familiarity.  Like when you go to a store, stand in line and see something near the checkout and you pick it up because “why not”.. the impulse purchase (Starbucks were the Kings of this when they sold CD’s at the counter that was playing in the stores when you went) .  If it’s not there in front of you, you’ll never have the impulse to buy it.

Streaming is the same thing… New Music Friday, homepage, whatever… if you open your app and it displays something, you are more willing to check it out vs digging and looking for it.  If you never heard of an artist, you can’t see them right in front of your face, it’s not on a “suggested” playlist, you’ll never know it exists.  

So, the majors/owners still have the best price and positioning on DSP’s…but at least you have the chance to be in the game now.

Ok… so why this long ass summary?  

Well, because in 2025 and moving forward, this is what an artist needs to be on to get a chance.  If an artist doesn’t participate on these platforms, they cut their noses to spite their faces.

                                                    

It would be so great to fuck the system and go full punk rock and say fuck you… but the only real result would be patting yourself on the back and maybe a few fans leaving a comment congratulating you.  But, now you are out of the game.  And those who commented on your Declaration of Independence are still paying their subscriptions on said platforms.  As that idiot DJ Kahled said in a great meme… “Congratulations.  You played yourself”… you took yourself right out of the game and hurt your career.  

It sucks that this is even our reality.  But it is what it is. Pearl Jam at the height of their careers took on Ticketmaster and made a huge statement… took it as far as they did and are still out here playing shows 25 years later for Live Nation (who own.. yep... Ticketmaster).  A stance is an awakening, but when the toothpaste is out the tube, the only way to win is to create a new tube.  I don’t see that any time soon, so we have to play the game.  

But there are helpful alternatives to assist.  The obvious are going to shows.  Buying merch. Buying vinyl, Bandcamp and CD’s. Going to record stores. Follow the artists socials, comment on posts… just show encouragement. 

Buy direct from artists and their web stores and avoiding bootleg sites what steal intellectual property direct.  

While using the streaming platforms, using those to share music, make playlists, do things that can encourage new fans who hopefully then use the alternative ways I just listed to support the artist.

The whole point (of this whole diatribe) was to point out the most disturbing news we have encountered (with regard  to Spotify)  is that it was made public that Spotify owner Daniel Ek, (who is a billionaire at this point), is investing money in defense start up Helsing. A company that is creating AI defense software and military drones as well as Spotify running ads for ICE recruitment that just in an ethical level is something many musicians are vocal about and oppose.  And while the platrom has come out with a statement, it doesn't change the fact that here is a platform used by billions that oppose war and whats happening in the United States

These actions alone have made it a place where some artists have taken a stance to remove their music from the platform.  These removals and stances have made a 24 hour impact and temporary blurb on social media platforms, but the fall silent and the only impact it makes if by hurting the artists music available for discovery. 

We stand with those artists, but they are also musicians which this is the career they chose. 

Without being part of the game, they aren’t playing.  It’s easy to fall under the “you are the problem” banner from not removing music from the platform, but that’s easy to say when pointing the finger.  But, everyone in the problem by keeping subscriptions or using the platforms.  So it’s a 2 way street.  

What I can say is that there are alternatives… if people leave Spotify and move at a revolutionary rate to these other options, I promise you, artists will also leave.  But you can’t leave when everyone else is staying.

Artists will continue to voice opinions and make art with words and music to rebel against the things in life that should be put on display and called out… and you as consumers, will continue to use the platforms, while calling out artists for staying on them.

When everyone legitamatly divests from use of the things they hate but live daily with .. artists will too.  

Snopes published a great article, with a very detailed breakdown of all this that I recommend reading here! 

But at this point if artists were to lead the way would be like Frank the Tank streaking to the quad and nobody following.

Hello. Good Afternoon

I was never a fan of the term “the one that got away”.  It’s such a defeatist way to look at stuff.  Sounds like you gave up, didn’t try hard enough or just felt it wasn’t worth the time.  Even though none of that could be further from the truth, the acceptance  that it just “got away” is enough to feel like it was forever unfinished.

As someone who spent their professional career working with talented artists with the desire to make everyone in the world to see what you see and share the feeling you get from their songwriting and performance, I have had so many losses.  More than wins.  By no means does that mean the ones that didn’t have the same level of success that the ones who did were “lesser” than, it was just a matter of right time, right place.  I believe everyone I have worked with is as good as the other. 

I grew up loving music.  Absolutely no ability to play or sing a note, but a great appreciation for those who could.  I am really good at listening.  I’m really good at observing.  My entire career has been built on my gut instincts.  I have no idea why someone or something affects me emotionally or viscerally, but when it does, I feel this charge of needing to share it.  This started in high school making mix tapes.  Hearing bands or artists from older friends or family, to hearing what was being played in my favorite record stores, reading fanzines or just liking an album cover.  When I would find something, the first thing I’d do, would be to make a mixtape to share in the cafeteria in school, make tapes for girls or friends or just dub my tape to pass out. Seeing others get that same feeling I did was the most rewarding thing for me.  Which makes perfect sense why I went into the business I did.

Discovering artists could come from anywhere… it could be a guitar player or drummer from a band I liked, but didn’t love, giving me a cd or tape of their new band to showing up early to see a band and catching the opener.  Befriending an up and coming producer who is working with a band of kids they went to high school with… I liked to turn over the stones others were avoiding or missing.  If there was someone else from the business at the show, I was too late.  Plucking someone out of nowhere and watching it get discovered by many is an incredible experience.  

The most frustrating thing is when you know you have someone that you believe in and know (if heard) others would love it.  Well before social media, streaming and blogs, the way of discovery was smaller, but it was also very hard to break.  To get on radio, you needed a label and money, to get in stores, you needed distribution, to get in press, you needed a publicist.  Not much has changed there, but the ability to get your music out has been easier, but even with these new methods of distribution, the new issues are over saturation, but the gatekeeping of top shelf play listing and discovery are still owned by the labels.  The magazines have disappeared, the record stores are lesser and the real way to get it out is DIY and direct to fan, but with the over saturation, there is so much competition for your attention, its almost harder today.

I have a great roster of artists.  With many on the roster, I have a story to work with behind them.  Some are legendary iconic and some are reunited artists from years past who got bigger by going away and coming back for brief returns, but the music was able to be revived, built on both nostalgia and new discovery.  I can assure you, artists like Fishbone and LIZ all walked so others could run.  But, I also have newer artists that in the pre-streaming days, I would know exactly how to market, but now live in a fog of personal disappointment.

One artist I have spent the last few weeks trying to find a way is a young artist named Matt Keller, who goes by the artist name K.Williams.  I met Matt in 2020, when I was teaching some classes at Los Angeles College of Music (LACM) in Pasadena.  Matt was in the music business program and from day one I knew I loved.  He was a wise ass, with a whip smart sarcasm and sinister smile.  First day we met, at the end of the class, he asked me for $20 and I actually reached in my pocket before stopping and thinking “what the fuck am I doing?”… Matt was in my class for months before finally sending me some music he had recorded.  The tracks he sent me were more rap than pop punk, the production was decent, but what I heard was a gift for lyrics and melody.  I didn’t know what I could do and wasn’t sure of the where it was going, but I did (as I do) bank it in my memory that when I get a chance to revisit, when (and if) the time was right, i'd return to it. 

I always kept my eye on his social media and kept him on my mind and when I ended up in an opportunity with a small independent label, I felt this was the time to revisit and reach out to Matt.  By this time I had a plan.  Sometimes when you discover artists, they are already 100% together and it’s best to not touch what isn't broken.  Find them a person to either record them the best possible and just let it be.  But sometimes its about pairing them with someone to elevate and help them get that little push and take them to discover things they didn’t know they had or discover how to elevate by learning how to unlock a process they weren’t aware of.  In the case of Matt, I felt he needed a push in direction and production.  A wordsmith and a melody guy, he needed to get more structure and musical direction.  I felt he was unaware that what he was writing, the melodies he was coming up with, fit more into the pop punk, emo world where lyrics, emotion and feel were barrier breakers.  

I connected Matt with my friend and producer Mike Green, who I had first met when he was out of high school and had just produced part of the debut album by (future management clients) The Matches.  Mike has the ability to write with and elevate every artist I have ever seen him work with.  A multi instrumentalist, programmer and arranger, I knew he would be the guy that would see what I see, hear what I hear and take it to the place I knew it could go, and would take it there.

I drove Matt to Mike’s studio in the Valley, introduced them and left them to work.  From heir 1st meeting and session, they recorded the song Delete Me.  It was everything I had visioned and sounded exactly how I knew would come out.  They recored 5 more songs that I would eventually release.  Not only did we get these great songs, but Matt got an education.  Was able to observe and learn to help his future writing and production process.

We made a cheap video and released Delete Me to DSP’s and YouTube and worked to get the music to be heard.  We did what you do, from paying influencers to talk about it, review it and put it on influential playlists and cross your fingers it would take.  It did.  The discovery and people adding Delete Me to their personal playlists was everything I had hoped for.  Adding to their personal playlists or sharing the song was the Mix Tape of the 21st Century. But this was a lot because of the song, but also the money invested in the right places.  

We followed up with another Mike Green production and video for the song Good Afternoon (I tink this one is my favorite).  

With great lyrics like: “Say you a diamond in the rough, I think it’s really rhinestone.  Roll the credits, cut the scene.  My life directed by me.”

Plus the melody, the use of the keyboards and guitar riffs, with a mix of live and programmed drums, “Good Afternoon” was the song I heard that was where I knew Matt could get to but wasn’t achieving when I first heard his first song and why this collaboration with Mike Green was so important to his development as an artist, producer and songwriter.  Plus I loved the video we did that had a White Stripes vibe to it...

From this point, his writing was on its way.  Only thing is the label I was at, that was helping cover the cost of record and marketing, which included these influencers and ways of getting the songs in front of people was gone.  Much like most small businesses, they fail. I don’t know if this was a fail, but more of a loss of interest from the person funding it.  We were on a very good trajectory for success, not only with Matt, but with other artists like Lauren Martinez (who I still manage and she deserves her own write up) and rap artist Tate228 and Recess Radio (talk about gift for melody and songs…holy shit.  (Follow the link, trust me)…when the label folded, so did the money we had to spend.  Wasn’t million, it wasn’t even thousands…more like hundreds… low hundreds, but when you don't have that luxury, it just proved to make it hard again.

We had built so much momentum and then with the loss of capital, we slowed down.  But Matt didn’t.  This is why I love this guy and why I need him to win.  

Matt took the lessons he learned working with Mike Green and rather than slowing down, doubled down to write and record more.  We needed up releasing an EP with singles we had released called Enjoy the Stay, a full length LP called Bite My Tongue and then an acoustic album of songs like Delete Me, (that just breaks down the brilliance of Matt’s songwriting) called Joyride.  And we continue releasing more songs that Matt is now writing and producing out of his house in Seattle, WA.  His musical influences continue to evolve and I’m here for it.  From a guy that noodled with a guitar and production, he's become a proficient player and producer and just continues to impress me and make me so proud.

I have new distribution with an amazing company called TooLost.  I put these out under my “label” name, Consigliere. Consigliere, like this blog title has been a title I’ve always preferred.  A fan of The Godfather, the role of Consigliere was to be the advisor.  Not the boss, just the role that raises flags, that makes suggestions, but I the end executes the decisions jointly made between the parties.  

I have spent the last few weeks listening to Matt’s catalog and am not happy with the fact that it hasn’t gotten anywhere near the attention it deserves.  I spoke to him this week and I'm on a mission to figure out how to relaunch this from the beginning.  Not getting the proper flowers these songs deserve, I’m on a mission.  Hence this blog post.  I have no idea how to make this happen.  I have no idea how to make it happen with less money (or none), I have no idea how to get my mixtape called K.Williams out to everyone to discover, dub, share, put on their own mix tapes, but I’m going to do everything I can.  He not only serves the shot, but people will hear this and connect.  I just know it.  My gut tells me so. 

The gift of melody is the gift of life.  It takes a cloudy day and opens enough for a ray of sunshine to hit your soul and brighten your life.

I was really happy when DSP’s added lyrics to songs.  Sing along and read along to K.Williams.  

His music is Timeless

Not a Waste of Time

Break A Leg

Don't be a JERK

If you don't like it Delete Me

Don't be left Somewhere in the Middle

If I steer you wrong Knock Me Out

Nice Guy doesn’t need to finish last

Best Case you love him

Worst case, you get Stuck in the Deep End

But its My Turn to turn you onto new music

Don't end up M.I.A or Dead to Me

Thank you for your time…. Good Afternoon.

Hello Francis

 

I saw someone (very successful and a nice person actually) make a snarky post about former music business people working for tech start ups and being a waste of time and please to not bother them.

I’m lucky enough to say that I haven’t gotten to the point where I’ve had to pivot to where the work was and using my experience and contacts from the years I worked in the major league world to try and make a living.

The music industry changed over the years.  From 5 majors with great JV’s and great indie labels having a chance to discover and break artists, writers, producers and all other creatives.  

When I started, the people that took me under their wing were the ones I admired and the ones whose names I read on albums I bought growing up.  They weren’t kids, they were 3 decade long A&R people, promotion people, marketing, radio, engineers and producers.. they had lifelong careers with respect and experience.

When I started that option of being a lifer seemed to actually exist… over the next decade, the signs started showing that to be taking a bad turn.  Record stores closing, technology making the business change, mergers, closing of labels and artist development disappearing.  

As a result, huge job loss, no more job security, mergers and redundancies… people lost jobs (some because they had no business being there) but the majority because their home of employment was gone… because of the industry shrinking, overpopulation of talented professionals left them with nowhere to go.  This lead to trying to make a living.  What was seen as a potential to be a life long job or industry disappeared.  Many people tried to make something on their own, as most businesses fail.  Not because of not being good, but because sometimes that’s just the way the ball bounces.

So now all those people are left to try and find work.  Find ways of keeping a roof over their heads, feed their families, make a living.  What does one walk with when this happens other than their skills and their contacts.

Start ups, many who aim at the entertainment business look for people with contacts… they hire these people and these people who try to make a living from this opportunity… so they call on the people they know, worked with or can connect with as their first outreach.  I know it’s humbling and they feel like Willy Loman hitting the pavement and doing their best to get back on the good foot… 

It’s hard man… so reading stuff like that, while (as I said, luckily) doesn’t effect me currently makes me feel bad for any  person out there just trying to catch a break… empathy man… have some.  We all go up, we all come down… life is short and all we can do is try.  Try to make it and try to live… don’t need people pushing others down because of where they ended up no fault of their own.

When You Kill Time, You Murder Success

I still remember the first time I saw someone wearing a Stiff Records shirt.  If it ain't Stiff it ain't worth a fuck.  The logo and catch line immediately burned into my brain. It was a long time before I even knew what it was or what it meant.

I have always loved music.  As a kid, I listened to the radio, listened to albums my parents owned, even started working just to make money to buy my own records.

My brother and older friends influenced me on new stuff, from Bob Marley to Devo to The Ramones. This journey with music,  just as a fan at first,  started before MTV and music videos.  Back when radio influenced an artist’s success, the playlist dictating what we listened to - and it wasn't all bad. Freeform DJ’s played what they wanted in between the songs on the weekly playlists, Carol Miller or Meg Griffin popping in a random new artist that wasn't a label priority. 

Back when magazines were out weekly, and you could go and read everything from Village Voice to Melody Maker or NME.  If you went to a good record store, you could find the DIY fanzines. 

When part of the beauty of music was the discovery.  The articles, the photos, the descriptions. Music was coming out that was so original, there was nothing to compare it to.  Dancehall, ska, punk, rap, new wave...it was all new.  

Record stores became the place to spend weekend days. Venus Records, Bleeker Bob's, Barry's Stereo and Sound, and my personal favorite, Sounds. (St. Marks was the Mecca of cool: record stores, clothing shops, pizza places, St. Marks Theatre, and the stoops where you could just sit with your friends and hang out and talk).  These spots were how I discovered new music:  hours spent flipping through the vinyl bins, listening to the carefully curated music played in the store by the record store clerks.  You would be browsing, hear something and ask what it was. And then right there, you would buy that record, having discovered it just because they played it.

Through these selected purchases, patterns emerged.  What is this label?  Who is this producer?  What is this scene? 

I got into The Specials and Two Tone. My brother and I were gifted it by my dad's associate, Faith, who was British.  In this pre-MTV world, we would sit and pore through the photos, read the credits, learn the lyrics.  Know each record and song from the beginning of side A to the end of side B.  Playing those records repeatedly, playing them for friends, playing them before and after school, during dinner and before going to bed.  Buying an album was an investment, so if you bought it, you were committed.  Hard earned cash needed to be spent wisely. Through the need to be economic with my purchases I began to build trust with specific labels, people, writers, and DJ's.  

I started listening to a station on Long Island called WLIR, whose slogan was "Dare to be different". They had great DJ's, no rules, specialty shows like Across the Pond or Punky Reggae Party and Screamers of the Week showcasing hand picks songs that I would listen to and then make my Saturday and Sunday trek to St. Marks to search the bins for the songs I’d recently heard.  Paying extra for the imports that didn't have domestic distribution yet, buying 12' remix extended singles just to get that B Side that wasn't available anywhere else.  It was a true treasure hunt and if something was on a particular label I liked, I bought it.  

Def Jam.  The beginning of hip hop for me.  The 12" releases of the singles by their artists didn't even usually have art.  It was black or maroon-ish with “Def Jam Recordings“ on the back in their iconic logo,  and the front was blank with the label displayed only with the name of the artist and the name of the song. I’d have no idea what it sounded like, but would always snatch it up without question.  

Same went for 2 Tone, Go Feet (the English Beat's label), Moon Records, Sire, IRS, Twin Tone, Island, Trojan and of course Stiff.

I finally understood why If it ain't Stiff, It ain't worth a fuck. Why people wore shirts with the label art as much as they wore the shirts of the bands on those labels.  It was a silent wink from one fan to the other.  It was this club that anyone could join just based on your openness to discovery.  It was a trust made between the label, their bands, and the fans.  In a world where I could probably afford 2-3 albums a week from the money made by delivering newspapers, I learned to trust certain labels enough that if an artist was on one of them, I was pretty sure I would love it. Even in the old days of retail, there was an overwhelming number of music to choose from. So having this narrowed-down process of where to put your hard-earned money made decisions easier to make. 

Fan devotion to the labels and the artists meant artists had several albums, singles, and time to build their audience.  By signing to a particular label, working with specific producers and being cosigned by other artists gave one an edge, an audience to work from when starting. When I started going to shows regularly I saw that these artists could play CBGB's on their first tour, support a headliner on the next at The Ritz, and then headline the Ritz - all on one album cycle; only to return on their next tour to do multiple nights at The Ritz and eventually move around the corner on to The Palladium.  These were all career setting achievements.  Three to four albums in they were creating great music without the need to sell millions, having dedicated fans, selling merch. While would break through to the next level (most with the help of MTV), but it wasn't a necessity.  Artists were able to tour worldwide, building careers.  I remember in the 80's, promoters and artists realized that because of the over 21 clubs (like the Ritz), there was a huge number of fans not seeing them.  Thus began “all ages“ and matinee shows.  

 

I worked as an.A&R person from the 1990's to the 2000s.  Even in the 90's Columbia Records, we had the ability and the talent at the labels to develop acts.  The motto at the time was “As Long as It Takes”, and for a lot of acts, this was true.  For others, not so much.  No fault of the label and people there, it is the music business.  (A sad truth in business: there are winners and losers.)

But in the early/mid 90's, independent labels were emerging.  Not like the 80's where indies were owned by majors (like Sire or IRS), but actual stand-alone indie labels signing and releasing artists and breaking into the mainstream.  Of course, this only would attract majors to go and make offers to take those artists from their labels.

I learned about this firsthand when I heard an album called Let’s Go by Rancid and then saw them perform at the Epitaph Summer Nationals. The thing was, I understood what the situation was.  They were a punk band on my favorite punk label.  They made their second release for $5,000 with the owner of the label.  While they blew my socks off, I knew this band was a band I wanted to work with - but someday and not yet.  They were growing at the perfect pace where they were.  I really wanted to meet them though, to let them know I was a huge fan and if/when they ever were interested in talking to a major, I was their guy.  But there was nobody better to do what Epitaph did and what they were going to do here to develop this band. Rancid was under the radar that the time,  but Green Day had just released Dookie, and everyone was all about "find me one of those".  In an A&R meeting I played Rancid and received the "Get that" marching order.  So, while I knew this was not the time, I understood my orders and if there was anyone I needed to "chase" I couldn't think of a band more worthy of chasing.  I told many people about them, who told other people, who then also began to pursue.  The band went to the 11th hour of signing with a major before changing their minds to remain where they should have always been.  They became legendary and continue to be successful with Epitaph. Staying with Epitaph is what felt right to the band both business-wise and ethically. 

Many of my colleagues at Columbia and I would discuss how bands were getting picked up too fast or before they were ready and coming to a label that didn’t have the patience to develop these artists.  We discussed creating a label like a AAA baseball team;  where if we saw/found someone we thought had potential, we could sign them and would through the RED distribution system building these artists to give them the time and resources to get to a place where we had something to work with and upstream to Columbia.  The old 80's model of an indie idea in a major system.  If they weren’t commercial, they could keep making records until and if they got there.  Smaller budgets, more focus on development ideas.  A way we could be an indie and not have to poach artists or buy an existing label to get their acts.  We even went as far as meeting with Sal Licata - the head of RED at the time - who was all in.  Sadly, that was cut short by my dismissal from Columbia.

The major label upstream from indie labels became the norm from the mid 90's.  It became more prevalent in the 2000s and on, because the previous slow-cooker artist development was less and less frequent among the major labels.  Not because they weren’t interested, but because it took too long, and we sadly live in a world now where time waits for no one.

I was recently hired to head a label called Motherwolf. I was fortunate to be introduced by a friend to a great guy who was actively looking for someone to run an indie label.  The label’s vision is based on quality of artists, fairness, shared artistic vision, artist development,  and being artist- friendly.  

The idea is to be called a "singles" label.  But I know you can't develop on a single.  If I believe in an artist, the idea of single is great.  Even though I may believe in them, working together is a commitment and a chemistry.  So, starting off with a single is like a good first date.  See how the chemistry works.  How you fit together in the process.  Does the artist show dedication and are they hungry?  Do I want this more than they do?  If I do, the chemistry is not right.  For the artist: do they feel know what I’m doing? Do I have the right vision and resources to move them into the right direction?  If not, then each of us have the option of moving forward on different paths, no extended contract disabling them to move on.  Of course, when I decide to work with the artist, I want the relationship to continue and move forward together.

The development idea with artist-friendly deals is to help build these artists so that they find an audience, take small steps in the process to really lock in and build. 

Whether I sign an artist is not dependent on data or algorithms.  It's about talent.  It's about hearing something/someone and seeing the audience.  If we can build trust and elevate that artist, the hopes are to keep going and building more.  If a major label or a major indie discovers them and wants to take them somewhere I can't, then Carpe Diem.  If the band or artist build where they want to just take it solo, same.  

As mentioned earlier,  artist development is difficult to achieve at a major label.  Again, not because they don't want to do it, but because there isn't enough time.  I have spoken to artists courted by majors who admitted that they are scared to make the jump out of fear that they aren't ready to perform to the expected levels of a major label yet.  They know they will when the time is right, but feel they still need a little more time prior to going under that microscope.  So, the dilemma they encounter is, if they don't take the offer, they’ll miss the opportunity; but if they do sign to a major, they risk losing everything that got them here if it their release underperforms.  Remember, 4 million streams by a DIY/Indie artist are huge.  4 million streams on a major are an underperformance.   A DIY/Indie artist works at their own schedule, a major label artist (sadly many times, not all) works in an hourglass.  I’m looking to work with an artist or a major label who want that time and efforts to not rush into a situation too soon in this potentially critical time.

2022 has started off well.  With more releases out there, we are pushing the boulder up the hill; me, my trusted and awesome coworkers, and the artists.  We are all in it together, and want to “win” one step at a time.

My goal is to make Motherwolf like the best of the labels that “raised“ me.  A place where when we put out a release, someone will give it a shot, because it's on Motherwolf.  Maybe they'll discover a new genre, maybe they'll want to be part of it, maybe I’ll see someone walk down the street in a shirt with the label’s logo.