They offer a lot of services and relationships that can absolutely still develop newer acts.

@Chuck_you – I’m not sure there is an indie that would’ve had the budget to press 30k+ units on the front end (for Wale). He’s also sold 82k+ to date (28k first week). Although you’re right thinking you can sell a lot less and make MORE money on an indie, in terms of record sales… think about this…

The more units you sell, the more people are exposed to your music (radio, licensing opps, etc), the more money promoters are going to be willing to put up and get you in bigger venues. You don’t think a major can help an artist start touring larger venues, quicker?

At the end of the day, I’m not going to shun major labels for signing acts to 360-deals. Particularly if they can make an argument that they help in the development and marketing of the artist as a whole. At the end of the day, releasing music is the greatest marketing tool any artist can create. From there it’s on the label, management and the rest of the team involved to get that artist out there to the masses.

I’m asking because 1) I am curious and 2) because you are extremely knowledgeable about the industry. This entire thread has been about an artist’s album, what about the residuals? Take an artist like Ja Rule who has been out of the spotlight for awhile. His last commercial album was R.U.L.E, which came out in 2004. His last album (The Mirror) was leaked and he ended up giving it away.

From what I gathered, him and Gotti negotiated with Def Jam to retain his masters. How much of an impact does this make on an artist financially? Because these new artists lose their material to the labels, do they not?

In Ja’s case, he’s touring but he’s not making enough on his shows (or his movies) to not only sign new acts on his mPire imprint, but to keep his multi-million dollar NJ mansion, the recording studio, etc. If I may ask, how does he do it? Is it all ownership of his intellectual property or something else?

* Sorry to use the Ja Rule reference. I couldn’t think of another rapper that sold a shit ton of music that dropped off the radar but still is kinda hanging on by a thread. Thanks in advance.

Great advice… and others should take note. However, it is much more difficult than it seems to do what you have suggested [presently].

There is a way the labels do things… and unless they approach you, the door remains shut.

I was speaking with a producer of a very popular cable show last week and his take on including indie acts in his series is that he and his music supervisor are very much open to the idea… but unless you are represented by an agent or manager (and one with a reputable and credible name), your chances are just not there.

They are not going to even listen to your music.

(The same goes for publishers – they are not even going to give you a shot unless someone valid co-signs you)

People have valid ideas – and honestly, it would not hurt the industry one bit to be more open. But the industry is all about ego – they want you to have to go through them because it makes them feel that much more powerful. And that is the only thing it comes down to beyond it being the way things have always been done (the music industry is all about keeping things the same – ever notice that? lol).

Executives (associates) try and come at me sideways every once in a while and they quickly realize not to play with me. Try and blackball me. I could care less.

It will not happen unless I become expendable and no longer make people money.

While others submit and bow down to them… I have (and have forever) refused to do so.

(Especially if I am on the same level as you)

I saw this coming 10-15 years ago and attempted to get many acts (with major followings) to go the Prince route.

One of the rare instances in which you no longer need a major is when you have used them and built a solid (and loyal) fan base. But most acts sign with another major (after parting ways with another) because they are afraid of the work involved (which they would have to take on themselves… or hire others to do).

It is much easier to see six figures going out of the label’s pocket toward a video than your own bank account.

It is the same reason why those that I know whom are worth millions and living in million-dollar homes finance rather than paying the house off (same with cars – they would much rather say, “I am worth this much” than to come out of pocket, have less money, but own everything outright).

They would rather keep their money.

And to those artists I say the money is worth more than their careers. They know the labels are going to (and excuse me for using such an ugly term) rape them. Labels overcharge for everything. But it is the mindset of musicians.

@ Chuck

The game is changing. The ones behind the scenes want to see money – so it is difficult to get a reputable booking agent or publicist to represent you without that all important “buzz.”

So the artist is back at square one.

Sure, if you make outstanding music… it will happen. But how often do we hear great music being made (either on the independent or even major label level) these days?

And 150k? No disrespect (at all) but that just is not happening independently. 10% of that, yes. But not 150k sold – not even close without a major.

(And I would say with most acts, that 10% is going to come after a year of constant touring as well)

Now 10 – 15 years ago, 150k was easy. I know many acts and artists whom did that and more – on their own back then (and we are talking physical CD’s and cassettes – not even signed to an independent label but pressing them up and selling them on their own on consignment and to one-stops and distributors for cash upfront).

The Offspring sold 6 million in 1994 of their album “Smash,” and were all over radio and television – independently.

That will never happen again.