Home » The PARIS Forums » PARIS: Main » TAXI - Independant A&R - Anybody have any comments?
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85383 is a reply to message #85381] |
Sat, 26 May 2007 16:02   |
JeffH
Messages: 307
Registered: October 2007
Location: Wamic, OR
|
Senior Member |
|
|
Kim,
My opinion is a little different, being a TAXI member. Here's some
observations after being involved a little over a year. First off, let
it be understood I haven't gotten a deal off Taxi at present. I have
only submitted for listings that include a critique as sending money off
with no feedback doesn't seem prudent to me. The feedback I've received
on a couple of submissions was helpful but elad me to a couple of
conclusions:
1. Quality of the initial recording will matter
Even if you are trying to sell a song, the feedback I recieved made it
obvious these were not "producers" on the other end, they were buyers
(at least in mentality). They want fairly finished product.
2. Quality of feedback will vary greatly.
A couple of critiques were well thoguht through, Ac ouple of them
obviously quick dismissals...on the sam song for different submissions.
3. Stick to EXACTLY what they are asking for.
If they say ALA Toby Keith, it means just that, lack of pitch control
and all.
4. Don't submit if you don't have time to rework.
This has been my issue. I have not had time to hit the studio and apply
the ideas the critiques have had for improving the song.
Hope this helps,
Jeff
skey" <excelsm@hotmail.com> wrote:
>
>>It's a wast of money and a bit of a scam.
>
>
> Thanks James.
>
> Do you mind if I ask what that is based on? Is it "the talk" you've heard
> around, or just people who have submitted tunes and gotten nowhere?
>
> Cheers,
> Kim.
>
>
>
>>"Kim" <hiddensounds@hotmail.com> wrote:
>>
>>>
>>>Fandangled technology. I meant to make a post... ;o)
>>>
>>>www.taxi.com
>>>
>>>This mob claim to submit your material for you to, err, people who want
>>
>>music.
>>
>>>;o) They say that 6% of people per year get a deal of some sort. The question
>>>is I guess, am I in the top 6% of unsigned artists?
>>>
>>>It costs $299US pa to be a member, plus $5 per song you submit.
>>>
>>>I figure I'm sitting here writing and recording anyhow...?
>>>
>>>Cheers,
>>>Kim.
>>
>
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85384 is a reply to message #85380] |
Sat, 26 May 2007 16:10 |
Kim
Messages: 1246
Registered: October 2005
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Senior Member |
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....look at it this way.
They do say on their site that only 6% of their artists get any kind of deal
in a given year. (They don't include the word "only" ;o). Hence there's a
94% "failure" rate...
....but I figure music has cost me probably $50,000 at least to date to buy
gear, pay interest on loans for gear, etc. The $299 plus $5 to submit songs
seems relatively irrelevant. If I spend $299 plus say $1200 pa submitting
songs, well, I dunno...
....it just seems more likely to get me some returns than spending that same
money on more gear I guess...
Cheers,
Kim.
"James McCloskey" <excelsm@hotmail.com> wrote:
>
>It's a wast of money and a bit of a scam.
>
>"Kim" <hiddensounds@hotmail.com> wrote:
>>
>>
>>Fandangled technology. I meant to make a post... ;o)
>>
>>www.taxi.com
>>
>>This mob claim to submit your material for you to, err, people who want
>music.
>>;o) They say that 6% of people per year get a deal of some sort. The question
>>is I guess, am I in the top 6% of unsigned artists?
>>
>>It costs $299US pa to be a member, plus $5 per song you submit.
>>
>>I figure I'm sitting here writing and recording anyhow...?
>>
>>Cheers,
>>Kim.
>
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85385 is a reply to message #85383] |
Sat, 26 May 2007 16:15 |
Kim
Messages: 1246
Registered: October 2005
|
Senior Member |
|
|
Jeff,
Thanks for that. The value of the critiques was one thing on my list of queries
in my head.
Generally I believe I'm quite a good emulator of styles, and by the sound
of it they say a bit of "...in the style of..." so if the job is to write
a song like somebody else's, I might be in luck. ;o)
It would also be good to get some feedback from people who listen all day
to which songs "make it" and which songs don't, even if I don't get anything
other than that from it.
Cheers,
Kim.
Jeff Hoover <jkhoover@excite.com> wrote:
>Kim,
>
>My opinion is a little different, being a TAXI member. Here's some
>observations after being involved a little over a year. First off, let
>it be understood I haven't gotten a deal off Taxi at present. I have
>only submitted for listings that include a critique as sending money off
>with no feedback doesn't seem prudent to me. The feedback I've received
>on a couple of submissions was helpful but elad me to a couple of
>conclusions:
>
>1. Quality of the initial recording will matter
>Even if you are trying to sell a song, the feedback I recieved made it
>obvious these were not "producers" on the other end, they were buyers
>(at least in mentality). They want fairly finished product.
>
>2. Quality of feedback will vary greatly.
>A couple of critiques were well thoguht through, Ac ouple of them
>obviously quick dismissals...on the sam song for different submissions.
>
>3. Stick to EXACTLY what they are asking for.
>If they say ALA Toby Keith, it means just that, lack of pitch control
>and all.
>
>4. Don't submit if you don't have time to rework.
>This has been my issue. I have not had time to hit the studio and apply
>the ideas the critiques have had for improving the song.
>
>Hope this helps,
>
>Jeff
>
>
>
>
>skey" <excelsm@hotmail.com> wrote:
>>
>>>It's a wast of money and a bit of a scam.
>>
>>
>> Thanks James.
>>
>> Do you mind if I ask what that is based on? Is it "the talk" you've heard
>> around, or just people who have submitted tunes and gotten nowhere?
>>
>> Cheers,
>> Kim.
>>
>>
>>
>>>"Kim" <hiddensounds@hotmail.com> wrote:
>>>
>>>>
>>>>Fandangled technology. I meant to make a post... ;o)
>>>>
>>>>www.taxi.com
>>>>
>>>>This mob claim to submit your material for you to, err, people who want
>>>
>>>music.
>>>
>>>>;o) They say that 6% of people per year get a deal of some sort. The
question
>>>>is I guess, am I in the top 6% of unsigned artists?
>>>>
>>>>It costs $299US pa to be a member, plus $5 per song you submit.
>>>>
>>>>I figure I'm sitting here writing and recording anyhow...?
>>>>
>>>>Cheers,
>>>>Kim.
>>>
>>
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85386 is a reply to message #85385] |
Sat, 26 May 2007 16:12 |
JeffH
Messages: 307
Registered: October 2007
Location: Wamic, OR
|
Senior Member |
|
|
Kim,
For what you want, I'd go for it. I believe the initiation fee is still
refundable, you get the Rcording Mag, and the monthly writeups from
Michael (the TAXI dude) area a great read. My guess is the best chance
for a deal is if they refer you to one of the houses trying to increase
their book for TV, etc.
Jeff
wrote:
> Jeff,
>
> Thanks for that. The value of the critiques was one thing on my list of queries
> in my head.
>
> Generally I believe I'm quite a good emulator of styles, and by the sound
> of it they say a bit of "...in the style of..." so if the job is to write
> a song like somebody else's, I might be in luck. ;o)
>
> It would also be good to get some feedback from people who listen all day
> to which songs "make it" and which songs don't, even if I don't get anything
> other than that from it.
>
> Cheers,
> Kim.
>
> Jeff Hoover <jkhoover@excite.com> wrote:
>
>>Kim,
>>
>>My opinion is a little different, being a TAXI member. Here's some
>>observations after being involved a little over a year. First off, let
>
>
>>it be understood I haven't gotten a deal off Taxi at present. I have
>>only submitted for listings that include a critique as sending money off
>
>
>>with no feedback doesn't seem prudent to me. The feedback I've received
>
>
>>on a couple of submissions was helpful but elad me to a couple of
>>conclusions:
>>
>>1. Quality of the initial recording will matter
>>Even if you are trying to sell a song, the feedback I recieved made it
>>obvious these were not "producers" on the other end, they were buyers
>>(at least in mentality). They want fairly finished product.
>>
>>2. Quality of feedback will vary greatly.
>>A couple of critiques were well thoguht through, Ac ouple of them
>>obviously quick dismissals...on the sam song for different submissions.
>>
>>3. Stick to EXACTLY what they are asking for.
>>If they say ALA Toby Keith, it means just that, lack of pitch control
>>and all.
>>
>>4. Don't submit if you don't have time to rework.
>>This has been my issue. I have not had time to hit the studio and apply
>
>
>>the ideas the critiques have had for improving the song.
>>
>>Hope this helps,
>>
>>Jeff
>>
>>
>>
>>
>>skey" <excelsm@hotmail.com> wrote:
>>
>>>>It's a wast of money and a bit of a scam.
>>>
>>>
>>>Thanks James.
>>>
>>>Do you mind if I ask what that is based on? Is it "the talk" you've heard
>>>around, or just people who have submitted tunes and gotten nowhere?
>>>
>>>Cheers,
>>>Kim.
>>>
>>>
>>>
>>>
>>>>"Kim" <hiddensounds@hotmail.com> wrote:
>>>>
>>>>
>>>>>Fandangled technology. I meant to make a post... ;o)
>>>>>
>>>>>www.taxi.com
>>>>>
>>>>>This mob claim to submit your material for you to, err, people who want
>>>>
>>>>music.
>>>>
>>>>
>>>>>;o) They say that 6% of people per year get a deal of some sort. The
>
> question
>
>>>>>is I guess, am I in the top 6% of unsigned artists?
>>>>>
>>>>>It costs $299US pa to be a member, plus $5 per song you submit.
>>>>>
>>>>>I figure I'm sitting here writing and recording anyhow...?
>>>>>
>>>>>Cheers,
>>>>>Kim.
>>>>
>
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85388 is a reply to message #85386] |
Sat, 26 May 2007 17:33 |
Kim
Messages: 1246
Registered: October 2005
|
Senior Member |
|
|
Jeff,
Yes they do say there is a money back guarantee. I haven't seen what the
conditions are, but they do say you can't have your money back just because
"I'm out of cash at the moment" type of thing, so obviously your reason would
have to be related to their service, and fair and valid.
In that respect I guess it is worth a try in any case. Pay up, submit a few
tracks and see what happens. Worst case it will only cost the song submission
amount and (I assume) the portion of the year that you were a member, so
maybe $100 all up.
So I assume they tell you when they submit something, and also tell you why
they have or have not submitted a particular tune?
Cheers,
Kim.
Jeff Hoover <jkhoover@excite.com> wrote:
>Kim,
>For what you want, I'd go for it. I believe the initiation fee is still
>refundable, you get the Rcording Mag, and the monthly writeups from
>Michael (the TAXI dude) area a great read. My guess is the best chance
>for a deal is if they refer you to one of the houses trying to increase
>their book for TV, etc.
>
>Jeff
>
> wrote:
>> Jeff,
>>
>> Thanks for that. The value of the critiques was one thing on my list of
queries
>> in my head.
>>
>> Generally I believe I'm quite a good emulator of styles, and by the sound
>> of it they say a bit of "...in the style of..." so if the job is to write
>> a song like somebody else's, I might be in luck. ;o)
>>
>> It would also be good to get some feedback from people who listen all
day
>> to which songs "make it" and which songs don't, even if I don't get anything
>> other than that from it.
>>
>> Cheers,
>> Kim.
>>
>> Jeff Hoover <jkhoover@excite.com> wrote:
>>
>>>Kim,
>>>
>>>My opinion is a little different, being a TAXI member. Here's some
>>>observations after being involved a little over a year. First off, let
>>
>>
>>>it be understood I haven't gotten a deal off Taxi at present. I have
>>>only submitted for listings that include a critique as sending money off
>>
>>
>>>with no feedback doesn't seem prudent to me. The feedback I've received
>>
>>
>>>on a couple of submissions was helpful but elad me to a couple of
>>>conclusions:
>>>
>>>1. Quality of the initial recording will matter
>>>Even if you are trying to sell a song, the feedback I recieved made it
>>>obvious these were not "producers" on the other end, they were buyers
>>>(at least in mentality). They want fairly finished product.
>>>
>>>2. Quality of feedback will vary greatly.
>>>A couple of critiques were well thoguht through, Ac ouple of them
>>>obviously quick dismissals...on the sam song for different submissions.
>>>
>>>3. Stick to EXACTLY what they are asking for.
>>>If they say ALA Toby Keith, it means just that, lack of pitch control
>>>and all.
>>>
>>>4. Don't submit if you don't have time to rework.
>>>This has been my issue. I have not had time to hit the studio and apply
>>
>>
>>>the ideas the critiques have had for improving the song.
>>>
>>>Hope this helps,
>>>
>>>Jeff
>>>
>>>
>>>
>>>
>>>skey" <excelsm@hotmail.com> wrote:
>>>
>>>>>It's a wast of money and a bit of a scam.
>>>>
>>>>
>>>>Thanks James.
>>>>
>>>>Do you mind if I ask what that is based on? Is it "the talk" you've heard
>>>>around, or just people who have submitted tunes and gotten nowhere?
>>>>
>>>>Cheers,
>>>>Kim.
>>>>
>>>>
>>>>
>>>>
>>>>>"Kim" <hiddensounds@hotmail.com> wrote:
>>>>>
>>>>>
>>>>>>Fandangled technology. I meant to make a post... ;o)
>>>>>>
>>>>>>www.taxi.com
>>>>>>
>>>>>>This mob claim to submit your material for you to, err, people who
want
>>>>>
>>>>>music.
>>>>>
>>>>>
>>>>>>;o) They say that 6% of people per year get a deal of some sort. The
>>
>> question
>>
>>>>>>is I guess, am I in the top 6% of unsigned artists?
>>>>>>
>>>>>>It costs $299US pa to be a member, plus $5 per song you submit.
>>>>>>
>>>>>>I figure I'm sitting here writing and recording anyhow...?
>>>>>>
>>>>>>Cheers,
>>>>>>Kim.
>>>>>
>>
|
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85389 is a reply to message #85388] |
Sat, 26 May 2007 17:33 |
JeffH
Messages: 307
Registered: October 2007
Location: Wamic, OR
|
Senior Member |
|
|
Kim,
I've only heard they haven't so far :-)
I would assume they let you know the other way.
Theydon't give feedback iunless the listing says it includes critiques.
JH
>
> Yes they do say there is a money back guarantee. I haven't seen what the
> conditions are, but they do say you can't have your money back just because
> "I'm out of cash at the moment" type of thing, so obviously your reason would
> have to be related to their service, and fair and valid.
>
> In that respect I guess it is worth a try in any case. Pay up, submit a few
> tracks and see what happens. Worst case it will only cost the song submission
> amount and (I assume) the portion of the year that you were a member, so
> maybe $100 all up.
>
> So I assume they tell you when they submit something, and also tell you why
> they have or have not submitted a particular tune?
>
> Cheers,
> Kim.
>
> Jeff Hoover <jkhoover@excite.com> wrote:
>
>>Kim,
>>For what you want, I'd go for it. I believe the initiation fee is still
>
>
>>refundable, you get the Rcording Mag, and the monthly writeups from
>>Michael (the TAXI dude) area a great read. My guess is the best chance
>
>
>>for a deal is if they refer you to one of the houses trying to increase
>
>
>>their book for TV, etc.
>>
>>Jeff
>>
>> wrote:
>>
>>>Jeff,
>>>
>>>Thanks for that. The value of the critiques was one thing on my list of
>
> queries
>
>>>in my head.
>>>
>>>Generally I believe I'm quite a good emulator of styles, and by the sound
>>>of it they say a bit of "...in the style of..." so if the job is to write
>>>a song like somebody else's, I might be in luck. ;o)
>>>
>>>It would also be good to get some feedback from people who listen all
>
> day
>
>>>to which songs "make it" and which songs don't, even if I don't get anything
>>>other than that from it.
>>>
>>>Cheers,
>>>Kim.
>>>
>>>Jeff Hoover <jkhoover@excite.com> wrote:
>>>
>>>
>>>>Kim,
>>>>
>>>>My opinion is a little different, being a TAXI member. Here's some
>>>>observations after being involved a little over a year. First off, let
>>>
>>>
>>>>it be understood I haven't gotten a deal off Taxi at present. I have
>
>
>>>>only submitted for listings that include a critique as sending money off
>>>
>>>
>>>>with no feedback doesn't seem prudent to me. The feedback I've received
>>>
>>>
>>>>on a couple of submissions was helpful but elad me to a couple of
>>>>conclusions:
>>>>
>>>>1. Quality of the initial recording will matter
>>>>Even if you are trying to sell a song, the feedback I recieved made it
>
>
>>>>obvious these were not "producers" on the other end, they were buyers
>
>
>>>>(at least in mentality). They want fairly finished product.
>>>>
>>>>2. Quality of feedback will vary greatly.
>>>>A couple of critiques were well thoguht through, Ac ouple of them
>>>>obviously quick dismissals...on the sam song for different submissions.
>>>>
>>>>3. Stick to EXACTLY what they are asking for.
>>>>If they say ALA Toby Keith, it means just that, lack of pitch control
>
>
>>>>and all.
>>>>
>>>>4. Don't submit if you don't have time to rework.
>>>>This has been my issue. I have not had time to hit the studio and apply
>>>
>>>
>>>>the ideas the critiques have had for improving the song.
>>>>
>>>>Hope this helps,
>>>>
>>>>Jeff
>>>>
>>>>
>>>>
>>>>
>>>>skey" <excelsm@hotmail.com> wrote:
>>>>
>>>>
>>>>>>It's a wast of money and a bit of a scam.
>>>>>
>>>>>
>>>>>Thanks James.
>>>>>
>>>>>Do you mind if I ask what that is based on? Is it "the talk" you've heard
>>>>>around, or just people who have submitted tunes and gotten nowhere?
>>>>>
>>>>>Cheers,
>>>>>Kim.
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>>"Kim" <hiddensounds@hotmail.com> wrote:
>>>>>>
>>>>>>
>>>>>>
>>>>>>>Fandangled technology. I meant to make a post... ;o)
>>>>>>>
>>>>>>>www.taxi.com
>>>>>>>
>>>>>>>This mob claim to submit your material for you to, err, people who
>
> want
>
>>>>>>music.
>>>>>>
>>>>>>
>>>>>>
>>>>>>>;o) They say that 6% of people per year get a deal of some sort. The
>>>
>>>question
>>>
>>>
>>>>>>>is I guess, am I in the top 6% of unsigned artists?
>>>>>>>
>>>>>>>It costs $299US pa to be a member, plus $5 per song you submit.
>>>>>>>
>>>>>>>I figure I'm sitting here writing and recording anyhow...?
>>>>>>>
>>>>>>>Cheers,
>>>>>>>Kim.
>>>>>>
>
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85390 is a reply to message #85389] |
Sat, 26 May 2007 18:25 |
excelav
Messages: 2130
Registered: July 2005
Location: Metro Detroit
|
Senior Member |
|
|
Hey Kim! A few people I know tried it and they got no where with it. They
thought the critiques were not vary good. They seemed to think it was a
bit of a rip off.
When I lived in L.A. I was part of the A&R community. I was a scout. That
is basically an unpaid internship. I was actually on a different level than
a scout in that I hung out with managers, and executives. I could put the
stuff right in to their hands personally. The top A&R people didn't think
much of TAXI. They kind of thought it was kind of a money making scam, and
a bit of a joke.
I personally never heard of anybody getting a major deal that was worth a
shit out of it. It's not that hard to get a (bad) record deal, it's vary
hard to get a good record deal. That was some years ago, so things may have
changed. If your just using it to try to sell your songs it might be worth
it but I think you can do it on your own.
If you go with it, let us know what you think.
Good luck!
James
Jeff Hoover <jkhoover@excite.com> wrote:
>Kim,
>
>I've only heard they haven't so far :-)
>
>I would assume they let you know the other way.
>
>Theydon't give feedback iunless the listing says it includes critiques.
>
>JH
>>
>> Yes they do say there is a money back guarantee. I haven't seen what the
>> conditions are, but they do say you can't have your money back just because
>> "I'm out of cash at the moment" type of thing, so obviously your reason
would
>> have to be related to their service, and fair and valid.
>>
>> In that respect I guess it is worth a try in any case. Pay up, submit
a few
>> tracks and see what happens. Worst case it will only cost the song submission
>> amount and (I assume) the portion of the year that you were a member,
so
>> maybe $100 all up.
>>
>> So I assume they tell you when they submit something, and also tell you
why
>> they have or have not submitted a particular tune?
>>
>> Cheers,
>> Kim.
>>
>> Jeff Hoover <jkhoover@excite.com> wrote:
>>
>>>Kim,
>>>For what you want, I'd go for it. I believe the initiation fee is still
>>
>>
>>>refundable, you get the Rcording Mag, and the monthly writeups from
>>>Michael (the TAXI dude) area a great read. My guess is the best chance
>>
>>
>>>for a deal is if they refer you to one of the houses trying to increase
>>
>>
>>>their book for TV, etc.
>>>
>>>Jeff
>>>
>>> wrote:
>>>
>>>>Jeff,
>>>>
>>>>Thanks for that. The value of the critiques was one thing on my list
of
>>
>> queries
>>
>>>>in my head.
>>>>
>>>>Generally I believe I'm quite a good emulator of styles, and by the sound
>>>>of it they say a bit of "...in the style of..." so if the job is to write
>>>>a song like somebody else's, I might be in luck. ;o)
>>>>
>>>>It would also be good to get some feedback from people who listen all
>>
>> day
>>
>>>>to which songs "make it" and which songs don't, even if I don't get anything
>>>>other than that from it.
>>>>
>>>>Cheers,
>>>>Kim.
>>>>
>>>>Jeff Hoover <jkhoover@excite.com> wrote:
>>>>
>>>>
>>>>>Kim,
>>>>>
>>>>>My opinion is a little different, being a TAXI member. Here's some
>>>>>observations after being involved a little over a year. First off,
let
>>>>
>>>>
>>>>>it be understood I haven't gotten a deal off Taxi at present. I have
>>
>>
>>>>>only submitted for listings that include a critique as sending money
off
>>>>
>>>>
>>>>>with no feedback doesn't seem prudent to me. The feedback I've received
>>>>
>>>>
>>>>>on a couple of submissions was helpful but elad me to a couple of
>>>>>conclusions:
>>>>>
>>>>>1. Quality of the initial recording will matter
>>>>>Even if you are trying to sell a song, the feedback I recieved made
it
>>
>>
>>>>>obvious these were not "producers" on the other end, they were buyers
>>
>>
>>>>>(at least in mentality). They want fairly finished product.
>>>>>
>>>>>2. Quality of feedback will vary greatly.
>>>>>A couple of critiques were well thoguht through, Ac ouple of them
>>>>>obviously quick dismissals...on the sam song for different submissions.
>>>>>
>>>>>3. Stick to EXACTLY what they are asking for.
>>>>>If they say ALA Toby Keith, it means just that, lack of pitch control
>>
>>
>>>>>and all.
>>>>>
>>>>>4. Don't submit if you don't have time to rework.
>>>>>This has been my issue. I have not had time to hit the studio and apply
>>>>
>>>>
>>>>>the ideas the critiques have had for improving the song.
>>>>>
>>>>>Hope this helps,
>>>>>
>>>>>Jeff
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>skey" <excelsm@hotmail.com> wrote:
>>>>>
>>>>>
>>>>>>>It's a wast of money and a bit of a scam.
>>>>>>
>>>>>>
>>>>>>Thanks James.
>>>>>>
>>>>>>Do you mind if I ask what that is based on? Is it "the talk" you've
heard
>>>>>>around, or just people who have submitted tunes and gotten nowhere?
>>>>>>
>>>>>>Cheers,
>>>>>>Kim.
>>>>>>
>>>>>>
>>>>>>
>>>>>>
>>>>>>
>>>>>>>"Kim" <hiddensounds@hotmail.com> wrote:
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>>Fandangled technology. I meant to make a post... ;o)
>>>>>>>>
>>>>>>>>www.taxi.com
>>>>>>>>
>>>>>>>>This mob claim to submit your material for you to, err, people who
>>
>> want
>>
>>>>>>>music.
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>>;o) They say that 6% of people per year get a deal of some sort.
The
>>>>
>>>>question
>>>>
>>>>
>>>>>>>>is I guess, am I in the top 6% of unsigned artists?
>>>>>>>>
>>>>>>>>It costs $299US pa to be a member, plus $5 per song you submit.
>>>>>>>>
>>>>>>>>I figure I'm sitting here writing and recording anyhow...?
>>>>>>>>
>>>>>>>>Cheers,
>>>>>>>>Kim.
>>>>>>>
>>
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85394 is a reply to message #85390] |
Sat, 26 May 2007 19:28 |
Kim
Messages: 1246
Registered: October 2005
|
Senior Member |
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"James McCloskey" <excelsm@hotmail.com> wrote:
>If your just using it to try to sell your songs it might be worth
>it but I think you can do it on your own.
Well this is the thing, I don't appear to be able to do it on my own. With
the exception of people here, I don't really know anybody who's actually
"in the industry" as a professional. I know a fair number of people in bands,
some struggling, and every now and again one of my friends gets some moderate
success and does national tours for a while, but, well, quite honestly, on
the occasions where people actually go "Yeah, damned, that's a good tune!"
they then go "Tell you what, I'll take 70% and make it a hit for you" and
I'm like "Err, no you won't" and the discussion ends. Maybe not 70% all the
time, but people seem to want a stupidly high percentage simply for the fact
that they are the gatekeeper. I've been pushed into song writing partnerships
I didn't want to be in simply so that someone else could get their hands
on the cash. It all sucks, and I've had enough. I have, however (I think
/ hope) maintained the rights to pretty much all my stuff, and hence I have
a fairly large library of songs I've written and recorded. Much of it would
need to be rerecorded for submission, but the tunes exist, and are mine still.
I know this has all been said before, but the percentages which go to a songwriter
are low enough to begin with. I think in the states the figures are slightly
different, but here 6.25% of the disk price goes to the songwriter. Now out
of that I find that often they want to cut it in half before they start "just
because we're giving you a chance" and then they want to take another 20%
or so for "production" (why does that come out of my share? I ask them...
Oh, no answer. Thought as much...) and then of course the publisher will
take another 20% of whatever amount I may have left.
6.25% x 50% - 20% - 20% = 2%
So I'd end up with 2% of disk sales. Now I know that on a big hit 2% of disk
sales can be 2% of a lot of money, but it seems beyond stupidity and way
beyond fairness that the songwriter only gets under 1/3 of the money which
in itself is the actual songwriting money. I can understand a publisher taking
an administrative cut and I'm fine with that. Beyond that I would have thought
that most of the money should belong to the writer.
OK, now I'm just ranting. ;o)
My point however is that I can't do it on my own. I don't know the right
people it seems. And I'm also not a pushy person, and hence don't force myself
upon people. If people ask about me then I'll play them something. If they
don't then I don't tend to go "Hey such and such, would you mind listening
to..." which appears to be what you have to do.
What I cannot work out is why everybody puts up with it, because MOST people
complain about it.
Don't get me wrong, I know there are a lot of shit artists out there who
are doing a lot of complaining because they think they deserve something
when really they don't. I'd be willing to accept that I'm one of them if
not for the fact that I do seem to get, shall we say, the occasional "offer
to be ripped off" which makes me think that I obviously have something worth
ripping off.
Sometimes I wonder if I'm the last human being on Earth who thinks people
should be fair and reasonable to each other. Don't get me wrong, if I earned
$5,000,000 from a song I'd give a lot away, but not to these greedy people...
....I'd quite possibly start my own label. No wonder the Beatles had to do
it. One wonders however "How long must we sing this song?". Why don't the
actual MAJOR artists, the big guys, actually make a stand and go "Nup, it's
unfair". I know they get decent deals, but don't they have hearts? There
are bands out there that claim to care about the world and issues, yet they
don't seem to care about their own industry.
OK, rant mode OFF!
The point is that at least with these guys I'm paying a set amount and they
don't take a percentage. I find that reassuring. They're not asking to own
my catalogue or take 50% or anything in order to do their job. Quite honestly,
$5 a song sounds pretty cheap if they're going to write any kind of even
half decent critique. The song itself is probably 3-4 minutes long, add the
time to put it in the player and muck about, and then writing the critique,
and it must take at least 10 probably 15 minutes to do. That means they're
making $20 an hour assuming they are at it all day, and it means that $5
is only buying you about 5-10 minutes of their time to write the critique.
I wouldn't expect every critique to be a novel...
I dunno, the more I think about it the more reasonable it sounds.
I hear what you're saying about the record execs not liking TAXI, though
I assume you're talking fairly much about one particular label. Even if only
5% of A&R people really pay attention to them, that's about 6% more people
than are paying attention to me now...
Cheers,
Kim.
>
>If you go with it, let us know what you think.
>
>Good luck!
>
>James
>
>Jeff Hoover <jkhoover@excite.com> wrote:
>>Kim,
>>
>>I've only heard they haven't so far :-)
>>
>>I would assume they let you know the other way.
>>
>>Theydon't give feedback iunless the listing says it includes critiques.
>>
>>JH
>>>
>>> Yes they do say there is a money back guarantee. I haven't seen what
the
>>> conditions are, but they do say you can't have your money back just because
>>> "I'm out of cash at the moment" type of thing, so obviously your reason
>would
>>> have to be related to their service, and fair and valid.
>>>
>>> In that respect I guess it is worth a try in any case. Pay up, submit
>a few
>>> tracks and see what happens. Worst case it will only cost the song submission
>>> amount and (I assume) the portion of the year that you were a member,
>so
>>> maybe $100 all up.
>>>
>>> So I assume they tell you when they submit something, and also tell you
>why
>>> they have or have not submitted a particular tune?
>>>
>>> Cheers,
>>> Kim.
>>>
>>> Jeff Hoover <jkhoover@excite.com> wrote:
>>>
>>>>Kim,
>>>>For what you want, I'd go for it. I believe the initiation fee is still
>>>
>>>
>>>>refundable, you get the Rcording Mag, and the monthly writeups from
>>>>Michael (the TAXI dude) area a great read. My guess is the best chance
>>>
>>>
>>>>for a deal is if they refer you to one of the houses trying to increase
>>>
>>>
>>>>their book for TV, etc.
>>>>
>>>>Jeff
>>>>
>>>> wrote:
>>>>
>>>>>Jeff,
>>>>>
>>>>>Thanks for that. The value of the critiques was one thing on my list
>of
>>>
>>> queries
>>>
>>>>>in my head.
>>>>>
>>>>>Generally I believe I'm quite a good emulator of styles, and by the
sound
>>>>>of it they say a bit of "...in the style of..." so if the job is to
write
>>>>>a song like somebody else's, I might be in luck. ;o)
>>>>>
>>>>>It would also be good to get some feedback from people who listen all
>>>
>>> day
>>>
>>>>>to which songs "make it" and which songs don't, even if I don't get
anything
>>>>>other than that from it.
>>>>>
>>>>>Cheers,
>>>>>Kim.
>>>>>
>>>>>Jeff Hoover <jkhoover@excite.com> wrote:
>>>>>
>>>>>
>>>>>>Kim,
>>>>>>
>>>>>>My opinion is a little different, being a TAXI member. Here's some
>
>>>>>>observations after being involved a little over a year. First off,
>let
>>>>>
>>>>>
>>>>>>it be understood I haven't gotten a deal off Taxi at present. I have
>>>
>>>
>>>>>>only submitted for listings that include a critique as sending money
>off
>>>>>
>>>>>
>>>>>>with no feedback doesn't seem prudent to me. The feedback I've received
>>>>>
>>>>>
>>>>>>on a couple of submissions was helpful but elad me to a couple of
>>>>>>conclusions:
>>>>>>
>>>>>>1. Quality of the initial recording will matter
>>>>>>Even if you are trying to sell a song, the feedback I recieved made
>it
>>>
>>>
>>>>>>obvious these were not "producers" on the other end, they were buyers
>>>
>>>
>>>>>>(at least in mentality). They want fairly finished product.
>>>>>>
>>>>>>2. Quality of feedback will vary greatly.
>>>>>>A couple of critiques were well thoguht through, Ac ouple of them
>>>>>>obviously quick dismissals...on the sam song for different submissions.
>>>>>>
>>>>>>3. Stick to EXACTLY what they are asking for.
>>>>>>If they say ALA Toby Keith, it means just that, lack of pitch control
>>>
>>>
>>>>>>and all.
>>>>>>
>>>>>>4. Don't submit if you don't have time to rework.
>>>>>>This has been my issue. I have not had time to hit the studio and
apply
>>>>>
>>>>>
>>>>>>the ideas the critiques have had for improving the song.
>>>>>>
>>>>>>Hope this helps,
>>>>>>
>>>>>>Jeff
>>>>>>
>>>>>>
>>>>>>
>>>>>>
>>>>>>skey" <excelsm@hotmail.com> wrote:
>>>>>>
>>>>>>
>>>>>>>>It's a wast of money and a bit of a scam.
>>>>>>>
>>>>>>>
>>>>>>>Thanks James.
>>>>>>>
>>>>>>>Do you mind if I ask what that is based on? Is it "the talk" you've
>heard
>>>>>>>around, or just people who have submitted tunes and gotten nowhere?
>>>>>>>
>>>>>>>Cheers,
>>>>>>>Kim.
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>>"Kim" <hiddensounds@hotmail.com> wrote:
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>>Fandangled technology. I meant to make a post... ;o)
>>>>>>>>>
>>>>>>>>>www.taxi.com
>>>>>>>>>
>>>>>>>>>This mob claim to submit your material for you to, err, people who
>>>
>>> want
>>>
>>>>>>>>music.
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>>;o) They say that 6% of people per year get a deal of some sort.
>The
>>>>>
>>>>>question
>>>>>
>>>>>
>>>>>>>>>is I guess, am I in the top 6% of unsigned artists?
>>>>>>>>>
>>>>>>>>>It costs $299US pa to be a member, plus $5 per song you submit.
>>>>>>>>>
>>>>>>>>>I figure I'm sitting here writing and recording anyhow...?
>>>>>>>>>
>>>>>>>>>Cheers,
>>>>>>>>>Kim.
>>>>>>>>
>>>
>
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85401 is a reply to message #85377] |
Sat, 26 May 2007 22:28 |
Deej [4]
Messages: 1292
Registered: January 2007
|
Senior Member |
|
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"Kim" <hiddensounds@hotmail.com> wrote in message news:4658ad6b$1@linux...
>
>
Hey Kim,
We did Taxi for a while. I have met and talked to Michael Laskow on numerous
occasions when he was holding seminars at the durango songwriters expo here
(I have been on the volunteer staff of this for a number of years). Taxi
psovided some decent feedback, but unless you're willing/able to *write for
the artist* when they say they are looking for material, I'd say its not
going to be of much good to you. You never know. I think success would
depend on how prolific you are and how familiar you are with the previous
material of various artists. They (meaning the record companies) all seem to
be wanting to recreate the wheel when it comes to looking for new
material....always trying to replicate earlier successes.
My suggestion would be to hook up with a songwriters group in your area that
sponsors events that can help you meet publishers. the schmooze factor is
huge in the industry. There are thousands of songwriters. Unless it's an
exceptional song, it won't get the nod over another song that is written by
someone with connections/a proven track record (as long as they can right
great songs, of course). Everyone will tell you it's all about the
song......it's not.....it's partially about the song but also about who you
know if you got "the song".
We used to be involved pretty heavily with the Austin Songwriters Group (Amy
was on the board of directors back in the 90's). At one of the seminars, a
really wonderful individual named Dianne Petty who was
Vice-President/Creative of SESAC heard one of Amy's songs and really liked
it. She called up us, took us to dinner and it was the beginning of a very
interesting relationship that involved getting a few of Amy's songs pitched
to some heavy hitters in Nashville. We wound up with a number of songs being
picked up by various publishers due to this fortunate encounter. Of course,
without the song that seemed to fit something that someone was looking for,
nothing would have happened. This story isn't over yet, but it has been put
on hold for a while. It hasn't been made any easier by us moving to the
middle of nowhere, but luckily, this particular area is becoming more and
more inhabited by folks that know folks that we know in places where music
gets published so we've sitll got a line in the water, so to speak. You have
to get out there and schmooze. Face time is a must.
Deej
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85403 is a reply to message #85394] |
Sun, 27 May 2007 00:17 |
excelav
Messages: 2130
Registered: July 2005
Location: Metro Detroit
|
Senior Member |
|
|
I hear you Kim. You can always submit your material to record companies
and publishing companies. I think you should try that first, just to see
what happens. It takes a combination of things to get a record deal, but
some people get lucky just by sending in a CD with a good bio.
I guess it depends on what you want to do with your music. Do you want to
be a performing artist, or do you just want to sell or license your songs?
I think you should talk to Martin H. about this, he has had some success
down in Oz in the past. I bet he might be able to give you some good ideas
about how to go about it and who to contact down there. I have a feeling
he knows some people. I'd get your best stuff together. Start with a two
to three song demo CD.
Have you red all the books on how to promote and sell your music? The ones
I've read are so damed dated that I couldn't recommend them, but maybe somebody
here can. As far as TAXI, if you can afford to spend the money, why not.
It can't hurt.
Unfortunately, it's all about air play and promotion. Here in the US a special
group of privilege people have firm control, and my government protects their
interests with the FCC. Only songs from major labels get played on a regular
basis, and you can't open your own radio station either. Even if you had
a million dollars you would have a vary hard time opening a radio station
in a major market. Radio is how music sells, and they keep the average joe
out. The only way to get some kind of air play is internet radio, and It's
a bit of a shot in the dark.
If you have away to get radio air play, it's key.
"Kim" <hiddensounds@hotmail.com> wrote:
>
>"James McCloskey" <excelsm@hotmail.com> wrote:
>>If your just using it to try to sell your songs it might be worth
>>it but I think you can do it on your own.
>
>Well this is the thing, I don't appear to be able to do it on my own. With
>the exception of people here, I don't really know anybody who's actually
>"in the industry" as a professional. I know a fair number of people in bands,
>some struggling, and every now and again one of my friends gets some moderate
>success and does national tours for a while, but, well, quite honestly,
on
>the occasions where people actually go "Yeah, damned, that's a good tune!"
>they then go "Tell you what, I'll take 70% and make it a hit for you" and
>I'm like "Err, no you won't" and the discussion ends. Maybe not 70% all
the
>time, but people seem to want a stupidly high percentage simply for the
fact
>that they are the gatekeeper. I've been pushed into song writing partnerships
>I didn't want to be in simply so that someone else could get their hands
>on the cash. It all sucks, and I've had enough. I have, however (I think
>/ hope) maintained the rights to pretty much all my stuff, and hence I have
>a fairly large library of songs I've written and recorded. Much of it would
>need to be rerecorded for submission, but the tunes exist, and are mine
still.
>
>I know this has all been said before, but the percentages which go to a
songwriter
>are low enough to begin with. I think in the states the figures are slightly
>different, but here 6.25% of the disk price goes to the songwriter. Now
out
>of that I find that often they want to cut it in half before they start
"just
>because we're giving you a chance" and then they want to take another 20%
>or so for "production" (why does that come out of my share? I ask them...
>Oh, no answer. Thought as much...) and then of course the publisher will
>take another 20% of whatever amount I may have left.
>
>6.25% x 50% - 20% - 20% = 2%
>
>So I'd end up with 2% of disk sales. Now I know that on a big hit 2% of
disk
>sales can be 2% of a lot of money, but it seems beyond stupidity and way
>beyond fairness that the songwriter only gets under 1/3 of the money which
>in itself is the actual songwriting money. I can understand a publisher
taking
>an administrative cut and I'm fine with that. Beyond that I would have thought
>that most of the money should belong to the writer.
>
>OK, now I'm just ranting. ;o)
>
>My point however is that I can't do it on my own. I don't know the right
>people it seems. And I'm also not a pushy person, and hence don't force
myself
>upon people. If people ask about me then I'll play them something. If they
>don't then I don't tend to go "Hey such and such, would you mind listening
>to..." which appears to be what you have to do.
>
>What I cannot work out is why everybody puts up with it, because MOST people
>complain about it.
>
>Don't get me wrong, I know there are a lot of shit artists out there who
>are doing a lot of complaining because they think they deserve something
>when really they don't. I'd be willing to accept that I'm one of them if
>not for the fact that I do seem to get, shall we say, the occasional "offer
>to be ripped off" which makes me think that I obviously have something worth
>ripping off.
>
>Sometimes I wonder if I'm the last human being on Earth who thinks people
>should be fair and reasonable to each other. Don't get me wrong, if I earned
>$5,000,000 from a song I'd give a lot away, but not to these greedy people...
>
>...I'd quite possibly start my own label. No wonder the Beatles had to do
>it. One wonders however "How long must we sing this song?". Why don't the
>actual MAJOR artists, the big guys, actually make a stand and go "Nup, it's
>unfair". I know they get decent deals, but don't they have hearts? There
>are bands out there that claim to care about the world and issues, yet they
>don't seem to care about their own industry.
>
>OK, rant mode OFF!
>
>The point is that at least with these guys I'm paying a set amount and they
>don't take a percentage. I find that reassuring. They're not asking to own
>my catalogue or take 50% or anything in order to do their job. Quite honestly,
>$5 a song sounds pretty cheap if they're going to write any kind of even
>half decent critique. The song itself is probably 3-4 minutes long, add
the
>time to put it in the player and muck about, and then writing the critique,
>and it must take at least 10 probably 15 minutes to do. That means they're
>making $20 an hour assuming they are at it all day, and it means that $5
>is only buying you about 5-10 minutes of their time to write the critique.
>I wouldn't expect every critique to be a novel...
>
>I dunno, the more I think about it the more reasonable it sounds.
>
>I hear what you're saying about the record execs not liking TAXI, though
>I assume you're talking fairly much about one particular label. Even if
only
>5% of A&R people really pay attention to them, that's about 6% more people
>than are paying attention to me now...
>
>Cheers,
>Kim.
>
>
>>
>>If you go with it, let us know what you think.
>>
>>Good luck!
>>
>>James
>>
>>Jeff Hoover <jkhoover@excite.com> wrote:
>>>Kim,
>>>
>>>I've only heard they haven't so far :-)
>>>
>>>I would assume they let you know the other way.
>>>
>>>Theydon't give feedback iunless the listing says it includes critiques.
>>>
>>>JH
>>>>
>>>> Yes they do say there is a money back guarantee. I haven't seen what
>the
>>>> conditions are, but they do say you can't have your money back just
because
>>>> "I'm out of cash at the moment" type of thing, so obviously your reason
>>would
>>>> have to be related to their service, and fair and valid.
>>>>
>>>> In that respect I guess it is worth a try in any case. Pay up, submit
>>a few
>>>> tracks and see what happens. Worst case it will only cost the song submission
>>>> amount and (I assume) the portion of the year that you were a member,
>>so
>>>> maybe $100 all up.
>>>>
>>>> So I assume they tell you when they submit something, and also tell
you
>>why
>>>> they have or have not submitted a particular tune?
>>>>
>>>> Cheers,
>>>> Kim.
>>>>
>>>> Jeff Hoover <jkhoover@excite.com> wrote:
>>>>
>>>>>Kim,
>>>>>For what you want, I'd go for it. I believe the initiation fee is still
>>>>
>>>>
>>>>>refundable, you get the Rcording Mag, and the monthly writeups from
>
>>>>>Michael (the TAXI dude) area a great read. My guess is the best chance
>>>>
>>>>
>>>>>for a deal is if they refer you to one of the houses trying to increase
>>>>
>>>>
>>>>>their book for TV, etc.
>>>>>
>>>>>Jeff
>>>>>
>>>>> wrote:
>>>>>
>>>>>>Jeff,
>>>>>>
>>>>>>Thanks for that. The value of the critiques was one thing on my list
>>of
>>>>
>>>> queries
>>>>
>>>>>>in my head.
>>>>>>
>>>>>>Generally I believe I'm quite a good emulator of styles, and by the
>sound
>>>>>>of it they say a bit of "...in the style of..." so if the job is to
>write
>>>>>>a song like somebody else's, I might be in luck. ;o)
>>>>>>
>>>>>>It would also be good to get some feedback from people who listen all
>>>>
>>>> day
>>>>
>>>>>>to which songs "make it" and which songs don't, even if I don't get
>anything
>>>>>>other than that from it.
>>>>>>
>>>>>>Cheers,
>>>>>>Kim.
>>>>>>
>>>>>>Jeff Hoover <jkhoover@excite.com> wrote:
>>>>>>
>>>>>>
>>>>>>>Kim,
>>>>>>>
>>>>>>>My opinion is a little different, being a TAXI member. Here's some
>>
>>>>>>>observations after being involved a little over a year. First off,
>>let
>>>>>>
>>>>>>
>>>>>>>it be understood I haven't gotten a deal off Taxi at present. I have
>>>>
>>>>
>>>>>>>only submitted for listings that include a critique as sending money
>>off
>>>>>>
>>>>>>
>>>>>>>with no feedback doesn't seem prudent to me. The feedback I've received
>>>>>>
>>>>>>
>>>>>>>on a couple of submissions was helpful but elad me to a couple of
>>>>>>>conclusions:
>>>>>>>
>>>>>>>1. Quality of the initial recording will matter
>>>>>>>Even if you are trying to sell a song, the feedback I recieved made
>>it
>>>>
>>>>
>>>>>>>obvious these were not "producers" on the other end, they were buyers
>>>>
>>>>
>>>>>>>(at least in mentality). They want fairly finished product.
>>>>>>>
>>>>>>>2. Quality of feedback will vary greatly.
>>>>>>>A couple of critiques were well thoguht through, Ac ouple of them
>>>>>>>obviously quick dismissals...on the sam song for different submissions.
>>>>>>>
>>>>>>>3. Stick to EXACTLY what they are asking for.
>>>>>>>If they say ALA Toby Keith, it means just that, lack of pitch control
>>>>
>>>>
>>>>>>>and all.
>>>>>>>
>>>>>>>4. Don't submit if you don't have time to rework.
>>>>>>>This has been my issue. I have not had time to hit the studio and
>apply
>>>>>>
>>>>>>
>>>>>>>the ideas the critiques have had for improving the song.
>>>>>>>
>>>>>>>Hope this helps,
>>>>>>>
>>>>>>>Jeff
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>skey" <excelsm@hotmail.com> wrote:
>>>>>>>
>>>>>>>
>>>>>>>>>It's a wast of money and a bit of a scam.
>>>>>>>>
>>>>>>>>
>>>>>>>>Thanks James.
>>>>>>>>
>>>>>>>>Do you mind if I ask what that is based on? Is it "the talk" you've
>>heard
>>>>>>>>around, or just people who have submitted tunes and gotten nowhere?
>>>>>>>>
>>>>>>>>Cheers,
>>>>>>>>Kim.
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>>"Kim" <hiddensounds@hotmail.com> wrote:
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>>Fandangled technology. I meant to make a post... ;o)
>>>>>>>>>>
>>>>>>>>>>www.taxi.com
>>>>>>>>>>
>>>>>>>>>>This mob claim to submit your material for you to, err, people
who
>>>>
>>>> want
>>>>
>>>>>>>>>music.
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>>;o) They say that 6% of people per year get a deal of some sort.
>>The
>>>>>>
>>>>>>question
>>>>>>
>>>>>>
>>>>>>>>>>is I guess, am I in the top 6% of unsigned artists?
>>>>>>>>>>
>>>>>>>>>>It costs $299US pa to be a member, plus $5 per song you submit.
>>>>>>>>>>
>>>>>>>>>>I figure I'm sitting here writing and recording anyhow...?
>>>>>>>>>>
>>>>>>>>>>Cheers,
>>>>>>>>>>Kim.
>>>>>>>>>
>>>>
>>
>
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85404 is a reply to message #85401] |
Sun, 27 May 2007 00:41 |
Kim
Messages: 1246
Registered: October 2005
|
Senior Member |
|
|
"DJ" <www.aarrrrggghhh!!!.com> wrote:
>You have
>to get out there and schmooze. Face time is a must.
You really have no idea how bad I am with "face time". I'm a strange kind
of bloke. ;o) Well, perhaps I'm not THE worst socialiser in the world generally
speaking (though I'm not great at it) but I really am no good with meeting
people generally, and completely and utterly hopeless at remembering names.
Perhaps I'm delving too deep into other issues here, but it really takes
me months (or years) of getting to know somebody before I feel half comfortable
with them. By the time I get to know somebody, some other person has the
contract...
....indeed I have the same problem with women, though that's another story.
;o)
Seriously, I can't even remember somebody's name. In some sense I feel I'm
like "socially autistic" or some such thing. I happen to be very good with
listening to a style of music and emulating it however, often spookily so.
There have been times when I've attempted to write songs in the style of
somebody else (twice that comes to mind) where I've actually ended up with
the same lyrics almost, but off some B side or some album which I've been
absolutely certain I haven't heard previously. I don't really need to be
intimately familiar with the work to copy somebody. I can buy a disk and
fairly much listen for a day and go "OK, so they use these patterns, these
rhythms, these subjects, these scales, these beats. Go!" and write a song
to match.
....but unless some psychologist somewhere is able to fix my head, then if
"face time" is the requirement, I'm simply not going to get my foot in the
door I don't think.
I'm not up to date with new artists particularly either, but I don't feel
I have to be to write songs, as I can "get up to date" in a day or so with
a given sound sufficiently to copy the sound. I'll have forgotten it two
weeks later, but does that matter if the song gets written? ...but a publisher
is going to lose confidence if they speak with me and say "So I was thinking
a song like this one..." and I'm like "Never heard of it. Which band? Who's
that?". "That's the band we were talking about yesterday. It's their current
number one smash hit". "Oh, them". I'll end up looking like a goose, and
even if I write the best song in the world they'll go "Oh, here's that song
written by that goose"... ;o)
Perhaps I'm insane to even think it's worth the effort for me. Maybe I'm
just venting the frustration of years of song writing and recording while
listening to such garbage on the airwaves so often.
I had another idea to sell some songs, which may suit me better. I probably
won't get as much money, but if I could make a living I'd be a happy man...
....well, happier...
Thanks for the info though. Appreciated.
Cheers,
Kim.
|
|
|
|
| Re: TAXI - Independant A&R - Anybody have any comments? [message #85405 is a reply to message #85403] |
Sun, 27 May 2007 00:48 |
Kim
Messages: 1246
Registered: October 2005
|
Senior Member |
|
|
"James McCloskey" <excelsm@hotmail.com> wrote:
>
>I hear you Kim. You can always submit your material to record companies
>and publishing companies.
I don't know how it works in the states, but down here they all say "No unsolicited
material" on a large neon sign hanging from a blimp which hovers over the
company HQ. How they find artists I am unsure, but given I rarely play anywhere
I guess I'd be hard to find.
>If you have away to get radio air play, it's key.
Well I happen to work at the highest rating commercial music station in the
country, but we're in a small dungeon underneath a pile of rubble (well,
my previous lunch wrappers actually) in the back right corner where nobody
can see or hear us... and the station in question plays music almost, but
not quite, completely unlike the styles I like. ;o)
Mind you there are possible avenues there I guess if I can hold out long
enough...
Thanks heaps for the advice though. I hope I don't sound ungrateful in my
pessimism. ;o)
Cheers,
Kim.
>
>
>
>"Kim" <hiddensounds@hotmail.com> wrote:
>>
>>"James McCloskey" <excelsm@hotmail.com> wrote:
>>>If your just using it to try to sell your songs it might be worth
>>>it but I think you can do it on your own.
>>
>>Well this is the thing, I don't appear to be able to do it on my own. With
>>the exception of people here, I don't really know anybody who's actually
>>"in the industry" as a professional. I know a fair number of people in
bands,
>>some struggling, and every now and again one of my friends gets some moderate
>>success and does national tours for a while, but, well, quite honestly,
>on
>>the occasions where people actually go "Yeah, damned, that's a good tune!"
>>they then go "Tell you what, I'll take 70% and make it a hit for you" and
>>I'm like "Err, no you won't" and the discussion ends. Maybe not 70% all
>the
>>time, but people seem to want a stupidly high percentage simply for the
>fact
>>that they are the gatekeeper. I've been pushed into song writing partnerships
>>I didn't want to be in simply so that someone else could get their hands
>>on the cash. It all sucks, and I've had enough. I have, however (I think
>>/ hope) maintained the rights to pretty much all my stuff, and hence I
have
>>a fairly large library of songs I've written and recorded. Much of it would
>>need to be rerecorded for submission, but the tunes exist, and are mine
>still.
>>
>>I know this has all been said before, but the percentages which go to a
>songwriter
>>are low enough to begin with. I think in the states the figures are slightly
>>different, but here 6.25% of the disk price goes to the songwriter. Now
>out
>>of that I find that often they want to cut it in half before they start
>"just
>>because we're giving you a chance" and then they want to take another 20%
>>or so for "production" (why does that come out of my share? I ask them...
>>Oh, no answer. Thought as much...) and then of course the publisher will
>>take another 20% of whatever amount I may have left.
>>
>>6.25% x 50% - 20% - 20% = 2%
>>
>>So I'd end up with 2% of disk sales. Now I know that on a big hit 2% of
>disk
>>sales can be 2% of a lot of money, but it seems beyond stupidity and way
>>beyond fairness that the songwriter only gets under 1/3 of the money which
>>in itself is the actual songwriting money. I can understand a publisher
>taking
>>an administrative cut and I'm fine with that. Beyond that I would have
thought
>>that most of the money should belong to the writer.
>>
>>OK, now I'm just ranting. ;o)
>>
>>My point however is that I can't do it on my own. I don't know the right
>>people it seems. And I'm also not a pushy person, and hence don't force
>myself
>>upon people. If people ask about me then I'll play them something. If they
>>don't then I don't tend to go "Hey such and such, would you mind listening
>>to..." which appears to be what you have to do.
>>
>>What I cannot work out is why everybody puts up with it, because MOST people
>>complain about it.
>>
>>Don't get me wrong, I know there are a lot of shit artists out there who
>>are doing a lot of complaining because they think they deserve something
>>when really they don't. I'd be willing to accept that I'm one of them if
>>not for the fact that I do seem to get, shall we say, the occasional "offer
>>to be ripped off" which makes me think that I obviously have something
worth
>>ripping off.
>>
>>Sometimes I wonder if I'm the last human being on Earth who thinks people
>>should be fair and reasonable to each other. Don't get me wrong, if I earned
>>$5,000,000 from a song I'd give a lot away, but not to these greedy people...
>>
>>...I'd quite possibly start my own label. No wonder the Beatles had to
do
>>it. One wonders however "How long must we sing this song?". Why don't the
>>actual MAJOR artists, the big guys, actually make a stand and go "Nup,
it's
>>unfair". I know they get decent deals, but don't they have hearts? There
>>are bands out there that claim to care about the world and issues, yet
they
>>don't seem to care about their own industry.
>>
>>OK, rant mode OFF!
>>
>>The point is that at least with these guys I'm paying a set amount and
they
>>don't take a percentage. I find that reassuring. They're not asking to
own
>>my catalogue or take 50% or anything in order to do their job. Quite honestly,
>>$5 a song sounds pretty cheap if they're going to write any kind of even
>>half decent critique. The song itself is probably 3-4 minutes long, add
>the
>>time to put it in the player and muck about, and then writing the critique,
>>and it must take at least 10 probably 15 minutes to do. That means they're
>>making $20 an hour assuming they are at it all day, and it means that $5
>>is only buying you about 5-10 minutes of their time to write the critique.
>>I wouldn't expect every critique to be a novel...
>>
>>I dunno, the more I think about it the more reasonable it sounds.
>>
>>I hear what you're saying about the record execs not liking TAXI, though
>>I assume you're talking fairly much about one particular label. Even if
>only
>>5% of A&R people really pay attention to them, that's about 6% more people
>>than are paying attention to me now...
>>
>>Cheers,
>>Kim.
>>
>>
>>>
>>>If you go with it, let us know what you think.
>>>
>>>Good luck!
>>>
>>>James
>>>
>>>Jeff Hoover <jkhoover@excite.com> wrote:
>>>>Kim,
>>>>
>>>>I've only heard they haven't so far :-)
>>>>
>>>>I would assume they let you know the other way.
>>>>
>>>>Theydon't give feedback iunless the listing says it includes critiques.
>>>>
>>>>JH
>>>>>
>>>>> Yes they do say there is a money back guarantee. I haven't seen what
>>the
>>>>> conditions are, but they do say you can't have your money back just
>because
>>>>> "I'm out of cash at the moment" type of thing, so obviously your reason
>>>would
>>>>> have to be related to their service, and fair and valid.
>>>>>
>>>>> In that respect I guess it is worth a try in any case. Pay up, submit
>>>a few
>>>>> tracks and see what happens. Worst case it will only cost the song
submission
>>>>> amount and (I assume) the portion of the year that you were a member,
>>>so
>>>>> maybe $100 all up.
>>>>>
>>>>> So I assume they tell you when they submit something, and also tell
>you
>>>why
>>>>> they have or have not submitted a particular tune?
>>>>>
>>>>> Cheers,
>>>>> Kim.
>>>>>
>>>>> Jeff Hoover <jkhoover@excite.com> wrote:
>>>>>
>>>>>>Kim,
>>>>>>For what you want, I'd go for it. I believe the initiation fee is
still
>>>>>
>>>>>
>>>>>>refundable, you get the Rcording Mag, and the monthly writeups from
>>
>>>>>>Michael (the TAXI dude) area a great read. My guess is the best chance
>>>>>
>>>>>
>>>>>>for a deal is if they refer you to one of the houses trying to increase
>>>>>
>>>>>
>>>>>>their book for TV, etc.
>>>>>>
>>>>>>Jeff
>>>>>>
>>>>>> wrote:
>>>>>>
>>>>>>>Jeff,
>>>>>>>
>>>>>>>Thanks for that. The value of the critiques was one thing on my list
>>>of
>>>>>
>>>>> queries
>>>>>
>>>>>>>in my head.
>>>>>>>
>>>>>>>Generally I believe I'm quite a good emulator of styles, and by the
>>sound
>>>>>>>of it they say a bit of "...in the style of..." so if the job is to
>>write
>>>>>>>a song like somebody else's, I might be in luck. ;o)
>>>>>>>
>>>>>>>It would also be good to get some feedback from people who listen
all
>>>>>
>>>>> day
>>>>>
>>>>>>>to which songs "make it" and which songs don't, even if I don't get
>>anything
>>>>>>>other than that from it.
>>>>>>>
>>>>>>>Cheers,
>>>>>>>Kim.
>>>>>>>
>>>>>>>Jeff Hoover <jkhoover@excite.com> wrote:
>>>>>>>
>>>>>>>
>>>>>>>>Kim,
>>>>>>>>
>>>>>>>>My opinion is a little different, being a TAXI member. Here's some
>>>
>>>>>>>>observations after being involved a little over a year. First off,
>>>let
>>>>>>>
>>>>>>>
>>>>>>>>it be understood I haven't gotten a deal off Taxi at present. I
have
>>>>>
>>>>>
>>>>>>>>only submitted for listings that include a critique as sending money
>>>off
>>>>>>>
>>>>>>>
>>>>>>>>with no feedback doesn't seem prudent to me. The feedback I've received
>>>>>>>
>>>>>>>
>>>>>>>>on a couple of submissions was helpful but elad me to a couple of
>
>>>>>>>>conclusions:
>>>>>>>>
>>>>>>>>1. Quality of the initial recording will matter
>>>>>>>>Even if you are trying to sell a song, the feedback I recieved made
>>>it
>>>>>
>>>>>
>>>>>>>>obvious these were not "producers" on the other end, they were buyers
>>>>>
>>>>>
>>>>>>>>(at least in mentality). They want fairly finished product.
>>>>>>>>
>>>>>>>>2. Quality of feedback will vary greatly.
>>>>>>>>A couple of critiques were well thoguht through, Ac ouple of them
>
>>>>>>>>obviously quick dismissals...on the sam song for different submissions.
>>>>>>>>
>>>>>>>>3. Stick to EXACTLY what they are asking for.
>>>>>>>>If they say ALA Toby Keith, it means just that, lack of pitch control
>>>>>
>>>>>
>>>>>>>>and all.
>>>>>>>>
>>>>>>>>4. Don't submit if you don't have time to rework.
>>>>>>>>This has been my issue. I have not had time to hit the studio and
>>apply
>>>>>>>
>>>>>>>
>>>>>>>>the ideas the critiques have had for improving the song.
>>>>>>>>
>>>>>>>>Hope this helps,
>>>>>>>>
>>>>>>>>Jeff
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>skey" <excelsm@hotmail.com> wrote:
>>>>>>>>
>>>>>>>>
>>>>>>>>>>It's a wast of money and a bit of a scam.
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>Thanks James.
>>>>>>>>>
>>>>>>>>>Do you mind if I ask what that is based on? Is it "the talk" you've
>>>heard
>>>>>>>>>around, or just people who have submitted tunes and gotten nowhere?
>>>>>>>>>
>>>>>>>>>Cheers,
>>>>>>>>>Kim.
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>
>>>>>>>>>>"Kim" <hiddensounds@hotmail.com> wrote:
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>>Fandangled technology. I meant to make a post... ;o)
>>>>>>>>>>>
>>>>>>>>>>>www.taxi.com
>>>>>>>>>>>
>>>>>>>>>>>This mob claim to submit your material for you to, err, people
>who
>>>>>
>>>>> want
>>>>>
>>>>>>>>>>music.
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>>>;o) They say that 6% of people per year get a deal of some sort.
>>>The
>>>>>>>
>>>>>>>question
>>>>>>>
>>>>>>>
>>>>>>>>>>>is I guess, am I in the top 6% of unsigned artists?
>>>>>>>>>>>
>>>>>>>>>>>It costs $299US pa to be a member, plus $5 per song you submit.
>>>>>>>>>>>
>>>>>>>>>>>I figure I'm sitting here writing and recording anyhow...?
>>>>>>>>>>>
>>>>>>>>>>>Cheers,
>>>>>>>>>>>Kim.
>>>>>>>>>>
>>>>>
>>>
>>
>
|
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85407 is a reply to message #85395] |
Sun, 27 May 2007 01:25 |
excelav
Messages: 2130
Registered: July 2005
Location: Metro Detroit
|
Senior Member |
|
|
"Brandon" <a@a.com> wrote:
>
>Hope you got deep pockets.
>I guess it really depends on how well your music
>fits.
>Mine never did.
>I spent a lot of money for nothing more than a lot of spent
>time and I got a couple good critiques.
>I learned the best way to shop music is in person.
>You really need to go to nashville or one of the other
>type music cities where the songwriting business gathers.
>I never had any luck and eventually quit shopping my tunes cause postage
>and envelopes and CDs and labels and business cards and promo packets and
>submission fees etc.. broke me.
>Dont mean to put a damper on the subject..
>my luck hasn been so good...I hope you find success!!
>b
I did all the same things in the past. That doesn't work. The truth is
you have to live there, you can't just be a visiter/ tourist and make it
happen if your an artist.
Many people get signed different ways, and under different circumstances.
Here it is guys, I'm giving it away right here, right now. Here is a formula
to getting signed:
You have to live in a music city you have to become part of the seen. You
need to have quite a bit of money and friends to help you! You need to promote
the crap out of your music. You have to create a huge buzz about your band/music.
You have to have good songs, that fit in to a radio format. You will need
some radio air play. If your an artist you have to have STAR QUALITY!!!
You need to be able to draw a lot of people on a regular basis. You need
to set up A&R show cases. ( IE. show case parties at the Hilton completely
catered.) You need to know the A&R people and they better know about you.
You must have the songs, be a great performer, be able to sing well, have
the right look, you must have STAR QUALITY!!! Get some air Play. You must
create a huge buzz about your self in the A&R community and you will have
an A&R feeding frenzy on your hands. This will take a lot of belief, tenacity,
lots of money and about 3 to 4 years of hard work. I just told you what
it takes to get signed. You might think this stuff is obvious, but many
try to get signed without all of these things in place, and you can't. If
you have all of the above then you have a good chance of getting signed to
a major label.
When there is a buzz about an artist, A&R guys are easy to spot sometimes,
there the guys with the folded up contract in their back pockets. You have
to watch them, A&R guys will pull some stuff. If an A&R guy ever pulls a
contract out and tells you, you have five minutes to sign the contract or
it will be rescinded, DON'T SIGN IT!!!Ask him for his business card if you
don't have it, then politely say, not with out my attorney. Take the contract
to an attorney to have it reviewed, you'll learn a lot.
There is so much I could say about this subject, but I'm going to put the
breaks on here.
|
|
|
|
| Re: TAXI - Independant A&R - Anybody have any comments? [message #85409 is a reply to message #85407] |
Sun, 27 May 2007 01:40 |
Kim
Messages: 1246
Registered: October 2005
|
Senior Member |
|
|
James,
I think you're right. I've seen friends of mine come close to pulling this
off. A recent band I know did all of the above. They had one member who did
a year or two basically as a session muso in a reasonably well known act,
and then started his own thing with some other guys. They worked exceptionally
hard doing whatever they could think of. They got every gig they could find.
They put posters all over the city and I still see posters for them up everywhere.
They rehearsed hard and played a lot. They got close. They still may make
it, though they're going through some rough times currently, but they did
all of the above...
This old fella on the other hand ain't interested in all that. I don't want
to be a "rock star". If I got signed as a writer I'd probably use some kind
of pen name or some such thing. I don't want to be rich or famous.
I just would like to earn a basic living off making music that I half like
for, err, whatever it is that people want it for, other than advertising
or other things with which I have moral issues. Films? Docos? Australian
Idol or the plethora of other singers who don't write, which seem so commonplace
these days. I hear so many songs on the radio where I think "That's barely
even a song. It's all just production" and what have you.
I had a complain about percentages earlier, but really I don't care about
the money. I care about the principle. I care about some other sap getting
the money when all they have contributed is keeping their fists clenched
around the throat of the market so that nobody can get in without their say
so. I refuse to let these people rip me off on principle, and the principle
is that if EVERYBODY refused to let them do it, they couldn't do it. The
human race shoots themselves in the foot with their own greed sometimes.
I don't even care if it's song writing really, but that just seems the most
likely avenue, though my production quality should improve with the new gear
arriving soon so maybe I could actually do music for some visual medium or
something.
Or maybe, as I said, I'm really no good and just having a big sook. ;o)
Cheers,
Kim.
"James McCloskey" <excelsm@hotmail.com> wrote:
>
>"Brandon" <a@a.com> wrote:
>>
>>Hope you got deep pockets.
>>I guess it really depends on how well your music
>>fits.
>>Mine never did.
>>I spent a lot of money for nothing more than a lot of spent
>>time and I got a couple good critiques.
>>I learned the best way to shop music is in person.
>>You really need to go to nashville or one of the other
>>type music cities where the songwriting business gathers.
>>I never had any luck and eventually quit shopping my tunes cause postage
>>and envelopes and CDs and labels and business cards and promo packets and
>>submission fees etc.. broke me.
>>Dont mean to put a damper on the subject..
>>my luck hasn been so good...I hope you find success!!
>>b
>
>
>I did all the same things in the past. That doesn't work. The truth is
>you have to live there, you can't just be a visiter/ tourist and make it
>happen if your an artist.
>
>Many people get signed different ways, and under different circumstances.
> Here it is guys, I'm giving it away right here, right now. Here is a formula
>to getting signed:
>
>You have to live in a music city you have to become part of the seen. You
>need to have quite a bit of money and friends to help you! You need to
promote
>the crap out of your music. You have to create a huge buzz about your band/music.
> You have to have good songs, that fit in to a radio format. You will need
>some radio air play. If your an artist you have to have STAR QUALITY!!!
> You need to be able to draw a lot of people on a regular basis. You need
>to set up A&R show cases. ( IE. show case parties at the Hilton completely
>catered.) You need to know the A&R people and they better know about you.
>
>You must have the songs, be a great performer, be able to sing well, have
>the right look, you must have STAR QUALITY!!! Get some air Play. You must
>create a huge buzz about your self in the A&R community and you will have
>an A&R feeding frenzy on your hands. This will take a lot of belief, tenacity,
>lots of money and about 3 to 4 years of hard work. I just told you what
>it takes to get signed. You might think this stuff is obvious, but many
>try to get signed without all of these things in place, and you can't.
If
>you have all of the above then you have a good chance of getting signed
to
>a major label.
>
>
>When there is a buzz about an artist, A&R guys are easy to spot sometimes,
>there the guys with the folded up contract in their back pockets. You have
>to watch them, A&R guys will pull some stuff. If an A&R guy ever pulls
a
>contract out and tells you, you have five minutes to sign the contract or
>it will be rescinded, DON'T SIGN IT!!!Ask him for his business card if you
>don't have it, then politely say, not with out my attorney. Take the contract
>to an attorney to have it reviewed, you'll learn a lot.
>
>
>There is so much I could say about this subject, but I'm going to put the
>breaks on here.
|
|
|
|
|
|
|
|
| Re: TAXI - Independant A&R - Anybody have any comments? [message #85434 is a reply to message #85409] |
Sun, 27 May 2007 13:27 |
Chris Lang
Messages: 91
Registered: March 2007
|
Member |
|
|
Hi Kim-
I'm getting in on this fairly late, so forgive me if I'm off
the mark- but you're looking for advice on TAXI? if so-
I have had a very positive experience with them, and with the
producers and publishing houses that I have gotten to know
through my music submissions. I submitted about 30 songs over a
year, and always received constructive feedback, about 99% of
which I agreed with. I had about half of them forwarded on,
and I have contracts with 10 songs so far- all jazz and blues
tunes.
I just made my first 25 bucks in royalties last week, and I feel
like I've hit the big time!
TAXI has some great info on the industry, production advice, and
web hosting- all kinds of stuff. They've recently started
posting some interviews with industry folks on youtube.
I recommend TAXI highly.
Hope this helps,
Chris
"Kim" <hiddensounds@hotmail.com> wrote:
>
>
>James,
>
>I think you're right. I've seen friends of mine come close to pulling this
>off. A recent band I know did all of the above. They had one member who
did
>a year or two basically as a session muso in a reasonably well known act,
>and then started his own thing with some other guys. They worked exceptionally
>hard doing whatever they could think of. They got every gig they could find.
>They put posters all over the city and I still see posters for them up everywhere.
>They rehearsed hard and played a lot. They got close. They still may make
>it, though they're going through some rough times currently, but they did
>all of the above...
>
>This old fella on the other hand ain't interested in all that. I don't want
>to be a "rock star". If I got signed as a writer I'd probably use some kind
>of pen name or some such thing. I don't want to be rich or famous.
>
>I just would like to earn a basic living off making music that I half like
>for, err, whatever it is that people want it for, other than advertising
>or other things with which I have moral issues. Films? Docos? Australian
>Idol or the plethora of other singers who don't write, which seem so commonplace
>these days. I hear so many songs on the radio where I think "That's barely
>even a song. It's all just production" and what have you.
>
>I had a complain about percentages earlier, but really I don't care about
>the money. I care about the principle. I care about some other sap getting
>the money when all they have contributed is keeping their fists clenched
>around the throat of the market so that nobody can get in without their
say
>so. I refuse to let these people rip me off on principle, and the principle
>is that if EVERYBODY refused to let them do it, they couldn't do it. The
>human race shoots themselves in the foot with their own greed sometimes.
>
>I don't even care if it's song writing really, but that just seems the most
>likely avenue, though my production quality should improve with the new
gear
>arriving soon so maybe I could actually do music for some visual medium
or
>something.
>
>Or maybe, as I said, I'm really no good and just having a big sook. ;o)
>
>Cheers,
>Kim.
>
>
>"James McCloskey" <excelsm@hotmail.com> wrote:
>>
>>"Brandon" <a@a.com> wrote:
>>>
>>>Hope you got deep pockets.
>>>I guess it really depends on how well your music
>>>fits.
>>>Mine never did.
>>>I spent a lot of money for nothing more than a lot of spent
>>>time and I got a couple good critiques.
>>>I learned the best way to shop music is in person.
>>>You really need to go to nashville or one of the other
>>>type music cities where the songwriting business gathers.
>>>I never had any luck and eventually quit shopping my tunes cause postage
>>>and envelopes and CDs and labels and business cards and promo packets
and
>>>submission fees etc.. broke me.
>>>Dont mean to put a damper on the subject..
>>>my luck hasn been so good...I hope you find success!!
>>>b
>>
>>
>>I did all the same things in the past. That doesn't work. The truth is
>>you have to live there, you can't just be a visiter/ tourist and make it
>>happen if your an artist.
>>
>>Many people get signed different ways, and under different circumstances.
>> Here it is guys, I'm giving it away right here, right now. Here is a
formula
>>to getting signed:
>>
>>You have to live in a music city you have to become part of the seen.
You
>>need to have quite a bit of money and friends to help you! You need to
>promote
>>the crap out of your music. You have to create a huge buzz about your
band/music.
>> You have to have good songs, that fit in to a radio format. You will need
>>some radio air play. If your an artist you have to have STAR QUALITY!!!
>> You need to be able to draw a lot of people on a regular basis. You need
>>to set up A&R show cases. ( IE. show case parties at the Hilton completely
>>catered.) You need to know the A&R people and they better know about you.
>>
>>You must have the songs, be a great performer, be able to sing well, have
>>the right look, you must have STAR QUALITY!!! Get some air Play. You must
>>create a huge buzz about your self in the A&R community and you will have
>>an A&R feeding frenzy on your hands. This will take a lot of belief, tenacity,
>>lots of money and about 3 to 4 years of hard work. I just told you what
>>it takes to get signed. You might think this stuff is obvious, but many
>>try to get signed without all of these things in place, and you can't.
>If
>>you have all of the above then you have a good chance of getting signed
>to
>>a major label.
>>
>>
>>When there is a buzz about an artist, A&R guys are easy to spot sometimes,
>>there the guys with the folded up contract in their back pockets. You
have
>>to watch them, A&R guys will pull some stuff. If an A&R guy ever pulls
>a
>>contract out and tells you, you have five minutes to sign the contract
or
>>it will be rescinded, DON'T SIGN IT!!!Ask him for his business card if
you
>>don't have it, then politely say, not with out my attorney. Take the
contract
>>to an attorney to have it reviewed, you'll learn a lot.
>>
>>
>>There is so much I could say about this subject, but I'm going to put the
>>breaks on here.
>
|
|
|
|
| Re: TAXI - Independant A&R - Anybody have any comments? [message #85441 is a reply to message #85434] |
Sun, 27 May 2007 14:19 |
Kim
Messages: 1246
Registered: October 2005
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Senior Member |
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Chris,
Thanks for that. I think I will probably do the TAXI thing. Worst case I'll
blow some cash. I've blown plenty of cash though already. Another $299 +
$5 a song seems fairly irrelevant...
And I'm VERY interested to know that you've had quite a number of songs submitted,
and gotten contracts yada yada. That goes into my theory that whether I was
to succeed would depend upon whether I was actually good enough and making
the right material for the people in question. In any case I could just use
some honest unbiased appraisals.
I guess in a sense I've spent lots of time up until now trying to do everything
myself, and I feel it's time to become part of some sort of team, and recognise
my strengths and weaknesses. The first step is probably ironing out what
I am actually best at, and finding appropriate people who have strengths
in my weak spots. I know many of them already, but I'd like some other voices
to tell me I'm right.
Cheers,
Kim.
"Chris Lang" <yo@yo.yo> wrote:
>
>Hi Kim-
>
>I'm getting in on this fairly late, so forgive me if I'm off
>the mark- but you're looking for advice on TAXI? if so-
>
>I have had a very positive experience with them, and with the
>producers and publishing houses that I have gotten to know
>through my music submissions. I submitted about 30 songs over a
>year, and always received constructive feedback, about 99% of
>which I agreed with. I had about half of them forwarded on,
>and I have contracts with 10 songs so far- all jazz and blues
>tunes.
>
>I just made my first 25 bucks in royalties last week, and I feel
>like I've hit the big time!
>
>TAXI has some great info on the industry, production advice, and
>web hosting- all kinds of stuff. They've recently started
>posting some interviews with industry folks on youtube.
>
>I recommend TAXI highly.
>
>Hope this helps,
>
>Chris
>
>
>"Kim" <hiddensounds@hotmail.com> wrote:
>>
>>
>>James,
>>
>>I think you're right. I've seen friends of mine come close to pulling this
>>off. A recent band I know did all of the above. They had one member who
>did
>>a year or two basically as a session muso in a reasonably well known act,
>>and then started his own thing with some other guys. They worked exceptionally
>>hard doing whatever they could think of. They got every gig they could
find.
>>They put posters all over the city and I still see posters for them up
everywhere.
>>They rehearsed hard and played a lot. They got close. They still may make
>>it, though they're going through some rough times currently, but they did
>>all of the above...
>>
>>This old fella on the other hand ain't interested in all that. I don't
want
>>to be a "rock star". If I got signed as a writer I'd probably use some
kind
>>of pen name or some such thing. I don't want to be rich or famous.
>>
>>I just would like to earn a basic living off making music that I half like
>>for, err, whatever it is that people want it for, other than advertising
>>or other things with which I have moral issues. Films? Docos? Australian
>>Idol or the plethora of other singers who don't write, which seem so commonplace
>>these days. I hear so many songs on the radio where I think "That's barely
>>even a song. It's all just production" and what have you.
>>
>>I had a complain about percentages earlier, but really I don't care about
>>the money. I care about the principle. I care about some other sap getting
>>the money when all they have contributed is keeping their fists clenched
>>around the throat of the market so that nobody can get in without their
>say
>>so. I refuse to let these people rip me off on principle, and the principle
>>is that if EVERYBODY refused to let them do it, they couldn't do it. The
>>human race shoots themselves in the foot with their own greed sometimes.
>>
>>I don't even care if it's song writing really, but that just seems the
most
>>likely avenue, though my production quality should improve with the new
>gear
>>arriving soon so maybe I could actually do music for some visual medium
>or
>>something.
>>
>>Or maybe, as I said, I'm really no good and just having a big sook. ;o)
>>
>>Cheers,
>>Kim.
>>
>>
>>"James McCloskey" <excelsm@hotmail.com> wrote:
>>>
>>>"Brandon" <a@a.com> wrote:
>>>>
>>>>Hope you got deep pockets.
>>>>I guess it really depends on how well your music
>>>>fits.
>>>>Mine never did.
>>>>I spent a lot of money for nothing more than a lot of spent
>>>>time and I got a couple good critiques.
>>>>I learned the best way to shop music is in person.
>>>>You really need to go to nashville or one of the other
>>>>type music cities where the songwriting business gathers.
>>>>I never had any luck and eventually quit shopping my tunes cause postage
>>>>and envelopes and CDs and labels and business cards and promo packets
>and
>>>>submission fees etc.. broke me.
>>>>Dont mean to put a damper on the subject..
>>>>my luck hasn been so good...I hope you find success!!
>>>>b
>>>
>>>
>>>I did all the same things in the past. That doesn't work. The truth
is
>>>you have to live there, you can't just be a visiter/ tourist and make
it
>>>happen if your an artist.
>>>
>>>Many people get signed different ways, and under different circumstances.
>>> Here it is guys, I'm giving it away right here, right now. Here is a
>formula
>>>to getting signed:
>>>
>>>You have to live in a music city you have to become part of the seen.
>You
>>>need to have quite a bit of money and friends to help you! You need to
>>promote
>>>the crap out of your music. You have to create a huge buzz about your
>band/music.
>>> You have to have good songs, that fit in to a radio format. You will
need
>>>some radio air play. If your an artist you have to have STAR QUALITY!!!
>>> You need to be able to draw a lot of people on a regular basis. You
need
>>>to set up A&R show cases. ( IE. show case parties at the Hilton completely
>>>catered.) You need to know the A&R people and they better know about
you.
>>>
>>>You must have the songs, be a great performer, be able to sing well,
have
>>>the right look, you must have STAR QUALITY!!! Get some air Play. You
must
>>>create a huge buzz about your self in the A&R community and you will have
>>>an A&R feeding frenzy on your hands. This will take a lot of belief,
tenacity,
>>>lots of money and about 3 to 4 years of hard work. I just told you what
>>>it takes to get signed. You might think this stuff is obvious, but many
>>>try to get signed without all of these things in place, and you can't.
>
>>If
>>>you have all of the above then you have a good chance of getting signed
>>to
>>>a major label.
>>>
>>>
>>>When there is a buzz about an artist, A&R guys are easy to spot sometimes,
>>>there the guys with the folded up contract in their back pockets. You
>have
>>>to watch them, A&R guys will pull some stuff. If an A&R guy ever pulls
>>a
>>>contract out and tells you, you have five minutes to sign the contract
>or
>>>it will be rescinded, DON'T SIGN IT!!!Ask him for his business card if
>you
>>>don't have it, then politely say, not with out my attorney. Take the
>contract
>>>to an attorney to have it reviewed, you'll learn a lot.
>>>
>>>
>>>There is so much I could say about this subject, but I'm going to put
the
>>>breaks on here.
>>
>
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85447 is a reply to message #85434] |
Sun, 27 May 2007 17:57 |
jp jpjjpjonesmet
Messages: 1
Registered: May 2007
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Junior Member |
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i'm an old vet on these matters.
i am VERY impressed with the integrity underlying this string.
i worked with taxi for a few years, investing a LOT of time and
more money than i had. i received about 75%(!) very positive responses, forwarded
by taxi. also a number of respones that read as if they came from high school
girls. (sorry about the non-pc language, but you know the sort of language
and handwriting.)
i made one deal with a "stock" house, if you know what that means, but never
heard from them again. there were also some lawyers who got excited and
were interested in jumping on the train if "things got hot."
at a certain point, right before i dropped taxi from my life, i called michael
and suggested that taxi run a specialized service, "limousine," if you will.
if they REALLY believe that
your work is of high quality, why not stand behind it
and promote it directly and honestly to their clients on the
market end? He declined for reaons you can guess at.
this was a few years ago, and perhaps taxi has matured and is
now offering a better service.
as i say, i'm an old dude today and it's up to someone else to convince me
before i return to taxi or any other "service" that appears, at least on
the surface, as just one more song shark in sheep's clothing.
in the meantime, anyone who is experiencing success ANYWHERE on the boards--
you have my heart-felt congratulations and encouragement.
keep the faith.
jp
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| Re: TAXI - Independant A&R - Anybody have any comments? [message #85462 is a reply to message #85452] |
Mon, 28 May 2007 00:21 |
jp
Messages: 65
Registered: June 2005
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Member |
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i'm an old vet on these matters.
i am VERY impressed with the integrity underlying this string.
i worked with taxi for a few years, investing a LOT of time and
more money than i had. i received about 75%(!) very positive responses, forwarded
by taxi. also a number of respones that read as if they came from high school
girls. (sorry about the non-pc language, but you know the sort of language
and handwriting.)
i made one deal with a "stock" house, if you know what that means, but never
heard from them again. there were also some lawyers who got excited and
were interested in jumping on the train if "things got hot."
at a certain point, right before i dropped taxi from my life, i called michael
and suggested that taxi run a specialized service, "limousine," if you will.
if they REALLY believe that
your work is of high quality, why not stand behind it
and promote it directly and honestly to their clients on the
market end? He declined for reaons you can guess at.
this was a few years ago, and perhaps taxi has matured and is
now offering a better service.
as i say, i'm an old dude today and it's up to someone else to convince me
before i return to taxi or any other "service" that appears, at least on
the surface, as just one more song shark in sheep's clothing.
in the meantime, anyone who is experiencing success ANYWHERE on the boards--
you have my heart-felt congratulations and encouragement.
keep the faith.
jp
"Sarah" <sarahjane@sarahtonin.com> wrote:
>I don't know . . . can't remember a thing since I lost my head back there
.
>. .
>
>
>s
>
>
>"chuck duffy" <c@c.com> wrote in message news:4659ad08$1@linux...
>>
>> Hey, how's it working out with the new band anyway? "Headless Corpse"
>> kicked
>> major ass in their previous incarnation.
>>
>> Chuck
>> "Sarah" <sarahjane@sarahtonin.com> wrote:
>>>On the one hand, Chick Corea's manager once advised me never to give money
>>
>>>in advance to someone to promote your music. An ethical promoter with
>>>good
>>
>>>current connections should be willing to work for you for a "piece of
the
>>
>>>action."
>>>
>>>On the other hand, $300 isn't that much money. Might be worth a shot.
>> I
>>>don't know if I could deal with any negative feedback, though. :)
>>>
>>>S
>>>
>>>
>>>"Kim" <hiddensounds@hotmail.com> wrote in message news:4658ad6b$1@linux...
>>>>
>>>>
>>>
>>>
>>
>
>
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