So You Wanna Be a Rock and Roll Star

So You Wanna Be a Rocl and Roll Star

CREEM'S IRREVERENT GUIDE TO THE MUSIC BUSINESS

Richard Robinson

(Well, someone had to do it and we wanted to be the first. So here 'tis, CREEM's/irst installment of the who to know, what to know and how to know of the rock music biz. Be sure to stay tuned for more informative tips—the. record company, contracts, legalities, publicity — and a whole lot more!—Ed.)

Someone says, "I want to be a rock & roll star."

I tell them, "Kid, be a doctor or a lawyer. You'll do better."

They think I'm kidding. I'm not. Most rock stars end up pumping gas.

In the rock & roll biz tight pants count more than talent, musical ability doesn't much matter, and as for job security, you're better off putting on a rubber nose and going to work for Ringling Brothers.

Rock & roll is for outlaws, misfits, high school dropouts, and lunatics. Especially if they're cute.

In fact, rock & roll isn't one of the more high class forms of show biz. It's not as sleazy as tent-show burlesque or topless dancing; I'd say it's more on the level of diving off the end of the Steel Pier into the Atlantic Ocean on horseback four times a day.

ROCK & ROLL BATTLE PLAN

1. Don't compromise. Ever. About anything.

2. Form a band.

a. Write great songs.

b. Put on a great show.

3. Get a good manager or a gogd lawyer, or both.

4. Sign with a big, well-funded record company.

5. Get a great producer. 6. Promote the record so it will be a

big hit.

a. Get radio airplay.

b. Appear on TV often.

c. Perform every night for as many people as you can find.

d. Advertise.

e. Get as much publicity on yourself as possible.

f. Get famous enough to get out of the music biz into acting or being a TV game show host.

7. Retire to the South of France

with your bundle.

HOW TO GET DISCOVERED

Record companies and other music biz moguls discover new acts by hearing demo tapes or auditiong a band live. Actually, one usually follows the other. When they hear a tape they like, they want to see the band perform and when they see a band they like, then they want to hear a tape.

Demo Tape: The ideal demo tape is three to five songs professionally recorded. If you're a singer-songwriter, the demo only needs to be you singing your songs. But a band needs a more produced tape of some of their best numbers. Recording quality is important. It doesn't have to be overly produced, but it should be done in a recording studio so there are a minimum of technical problems.

Have a dozen copies of the demo tape made at 7.5 ips quarter track stereo on one side only of the tape. Be sure you use fresh tape to make the copies—Tve often gotten tape copies made at home using tape that had already been recorded on. The result was that if the tape heads of the record and playback machines didn't line up (and they usually don't), I'd hear two things at once.

Put the song titles, times, songwriting credits and your name, address, and phone number on the tape box. Also the line (C), (P) Copyright 1977 by (your name) Limited purpose. All rights reserved. Include a sheet of paper explaining something about the band and a good 8 x 10 black and white photo.

It isn't easy to get someone to listen to the demo tape once you've made it. The best way is to have your lawyer or manager present the tape as part of an overall presentation of you and your act to the president of the record company.

If you can't get that kind of access, you'll, have to approach the A&R (Artist and Repertoire) departments of the record companies. Most record companies claim they have an "open door" policy. That means they'll listen to any tapes that come in the door. This is more or less true.

WHERE TO SEND THE TAPE Go through the New York or Los Angeles Yellow Pages (available at your main public library) under "Record Companies" and drop copies of your tape off at the reception desk or mail them to the A&R Department. It is best to call the record company and find out the name of the person in the A&R Dept, who's in charge of your type of music. Try tq get an appointment with that person to get them to listen to the tape while you're there. (This is almost impossible to do, by the way, but you can try.) If you have to leave the tape off for them to listen to later, don't be afraid to call every day until they either listen to the tape or send it back. Waiting for these people to call you can be very unrewarding. If you just send the tape in blind, it may take up to six months to get it back. Many unsolicited tapes get lost or don't impress the A&R Dept, bozos, but every so often you'll find someone who may be intrigued enough by your tape to come to see you perform live.

Live Audition: The best and cheapest way to get discovered is through live'auditions. This can be a club performance or a special performance in a rehearsal hall.

The best way to create interest is to play a club in a major city that is frequented by music biz types. Word will get around if you're good, although you won't be snapped up instantly. If you can't get booked into a music busi• ness hangout, book yourself into a club and invite A&R people, potential managers, booking agents, and so forth to see you perform. A phone call is best for this: find someone as high up in the company as possible and, if they won't come to see you perform, ask them why they're in the musicbiz.

Auditions in rehearsal halls also work, although they don't have the advantage of a paying audience screaming for more at the end of your third encore. But you can usually find one in the immediate neighborhood of the record company, and you can perform in the mid-afternoon when these people are looking for an excuse to get out of the office. Very few music business people, especially those at record companies, know that the music business happens at night. Most go home to Connecticut at 6 o'clock. So an afternoon audition in a rehearsal hall can be an effective way of showing yourself to the top brass who've never been to a rock concert except to stop backstage to glad-hand the supergroups.

By the way, music business people think they're special. Make sure you leave their name at the door, have a table ready for them and pay for theft drinks.

If you go the live audition route and you're good, you'll get some interest. At this point, if you have a decent demo tape, you'll be in good shape. "I loved your set; have you guys got a tape I can listen to?" is the classic line. Be ready for it.

The Right Equipment: Except for getting the sound right in the recording studio, the technical side of live performances is the biggest headache. It costs a fortune to have the right equipment for live shows, but if you're serious about attracting interest and getting the fans off, you must make the investment. The thing most groups don't spend enough money on is their sound system. Your PA should be the biggest and best you can buy. You must have a PA system that not only punches the vocals over the instruments, but does so in an audible manner. Don't spend $800 on some package vocal system; to get a good sound * system, you'll have to spend $3,000 to $4,000, and there's no way around it. WHO YOU NEED

Your Band: Rock & roll is a serious business and everyone in the band must understand that. If anyone in the band lacks total commitment, isn't to be trusted, is a drug addict, or is otherwise hateful, unload them before you start. The best bands are like big families, filled with people who like to hang out together.

Your Lawyer: A good music business lawyer is most important. A trustworthy, talented lawyer who's on your side can save your life. Your lawyer deals with your tnanager, record company, agent and anyone else to whqm you have contractual obligations. Your lawyer makes sure you get your money. It is best to find a lawyer even before you find a manager. It is especial^ important that you have your own lawyer working for you jwhen you negotiate your management, recording and publishing contracts.

Most lawyers don't understand the music business. Don't let a lawyer who's unfamiliar with music contracts do any work for you; you'll wind up in hot water.

Your Manager: Good Luck. It's nearly impossible to find a good manager. They're either already busy with their own superstars or they're bandits. Find someone outside the music industry who believes in your talent and you know is honest. Honesty is the most important quality in a manager, since he collects your money in many instances. \

Your Business Manager: You won't have much use for a business manager until you've got some business going, j But keep in mind that your manager (or personal manager, as they're sometimes called) isn't necessarily the one fo organize and maintain your finances. A business manager is a professional available on either a fee or percentage basis, and when you have a real cash flow, he's worth the expense.

SEND THOSE TAPES!

The following list of record companies includes the major labels that sign new talent in the U.S. Send your tape, photo, and brief biography to the A&R Department of these companies. It is recommended that you call beforehand to find out who is currently in charge of the A&R functions for your type of music.

A&M RECORDS, 595 Madison Ave., N.Y., N.Y. 10019; A&M RECORDS, 1416 N. LaBrea, Hollywood, CA 90028; ABC RECORDS, 1330 6th Ave., N.Y., N.Y. 10019; • ABC RECORDS, 8255 Beverly Blvd., Los -, Angeles, CA 90048; ARISTA RECORDS, 1776 Broadway, N.Y., N.Y. 10019; ATLANTIC RECORDS, 75 Rockefeller Plz., N.Y., N.Y. 10019; BEARSVILLE RECORDS,

E. 55th St., N.Y., N.Y. 10019; BERSERKLEY RECORDS, 1199 Spruce St., Berkeley, CA. 94707; BLUE SKY RECORDS, 745 Fifth Ave., N.Y., N.Y. 10022; BUDDAH RECORDS, 810 W. 7th Ave., N.Y., N.Y. 10019; CAPITOL RECORDS, 1370 6th Ave., N.Y., N.Y. 10019; CAPITOL RECORDS, 1750 N. Vine St.. Los Anqeles, CA 90028; CAPRICORN RECORDS, 535 Cotton Ave., Macon, GA 31208; CASABLANCA RECORDS, 8255 Sunset Blvd.T Los Angeles, CA 90046; COLUMBIA RECORDS, 51 W. 52nd St., N.Y., N.Y. 10019; DARK HORSE RECORDS, c/o Warner Bros. Records* 3300 Warner Blvd., Burbank, CA 90028; ELEKTRA/ASYLUM RECORDS, 665 5th Ave., N.Y*, N.Y. 10022; ELEKTRA/ ASYLUM RECORDS, 962 N. LaCienega, Los Angeles, CA 90069; EPIC RECORDS, 51 W. 52nd St.* N.Y., N.Y. 10019; EPIC RECORDS, 6430 Subset Blvd., Hollywood, CA 90028; ISLAND RECORDS, 154 W. 57th St., N.Y., N.Y. 10019; ISLAND RECORDS, 7720 Sunset Blvd., Los Angeles, CA 90046; JEM RECORDS, P.O. Box 362, South Plainsfield, N.J. 07080; KIRSHNER RECORDS, 1370 Sixth Ave., N.Y., N.Y. 10019;' MCA RECORDS, 445 Park Ave., N.Y., N.Y. 10022; MC/( RECORDS, 110 Universal City Plz., Universal City, CA 91068; MOTOWN RECORDS, 6255 Sunset Blvd., Los Angeles, CA 90028; NEMPEROR RECORDS, 75 Rockefeller Plz., N.Y., N.Y. 10019; PHONOGRAM RECORDS, 110 W. 57th St., N.Y., N.Y. 10019; PLAYBOY RECORDS, 8560 Sunset Blvd., Los Angeles, CA 90069; POLYDOR RECORDS, 810 Seventh Ave., N.Y., N.Y. 10019'; PRIVATE STOCK RECORDS, 40 W. 57th St., N.Y., N.Y. 10019; RCA RECORDS, 1133 Sixth Ave., #445, N.Y., N.Y. 10036; ROCKET RECORDS, 211 S. Beverly Dr., #205, Beverly Hills, CA 90212; RSO RECORDS, 135 Central Park W„ N.Y., N.Y. 10023; SIRE RECORDS, 165 W. 74th St., N.Y., N.Y. 10023; SWAN SONG RECORDS, 444 Madison Ave., N.Y., N.Y. 10022; T.K. RECORDS, 495 S.E. 10th Ct., Hialeah, FL 33010; U.A. RECORDS, 1345 Sixth Ave., N.Y., N.Y. 10019; WARNER BROS. RECORDS,44 E.50thSt.,N.Y., N.Y. 10022; WARNER BROS. RECORDS, 3300 Warner Blvd., Burbank, CA 90028.

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Your Accountant: Next to a good lawyer, a good accountant is crucial. Your income is a gross income without taxes paid, so you have to pay your own taxes. A good accountant keeps you out of trouble with the IRS, advises you how to set up your business (whether or not you should be a corporation), and lets you know when you're nearly broke.

Your Agent: Jobs on the professional concert circuits are hard to get. It takes a major booking agent to get you on tours. In fact, until you become a superstar, you'll have trouble getting tours without a good booking agent and record company tour support. There are only a few top rock booking agents, and you have to be really good before you can hope to be art opening act on a major tour.

Also, no matter how powerful the agent, you won't get any tours unless you have a record coming ouL These days, even established acts can't get tours except in conjunction with their album releases.

Your Producer: The guy who helps make your records is your producer. He's very important to your future as a successful recording artist A Don't let the record company stick you with some staff producer to whom they don't have to pay advances or royalties. Pick a producer who genuinely understands you and your music. ,, Don't fall in love with your producer until you have a hit record; it'll save a lot of traumas when you dump,him.

Your Publicist: Many successful acts hire independent publicity firms to keep their names in the paper. While every record company has a PR department, they're sometimes swamped with too many acts to work on at the same time. The actual PR people inside and outside of the record companies are of the same general breed, so if the PR person at your record company does a good job, stick with him. When you get really famous, hire the best independent PR person you can find (there are maybe three of them in the country who handle rock acts) and remember that you're a rock star, so don't be disappointed when they can't get you on the cover of TV Guide.

Be sure to stay tuned for more on how to be a rock star in future issues of CREEM, coming up soon!