Category: Record Labels

Hard Work Alone Won't Prevent Costly Mistakes

Hard Work Alone Won’t Prevent Costly Mistakes

By Rocky Athas Estimated reading time: 9 minutes

written by: legendary guitarist Rocky Athas

When I started my career as a guitarist, I was focused on being able to play guitar all day, every day, at every possible opportunity. I was young and excited to live the life of a musician (truth be told, I’m still excited about playing, writing, and recording music). I thought that if I worked hard, I’d make it, and everything would turn out okay. While I’m proud that I lived by that standard and worked my ass off, time has shown me that the theory is flawed. Yes, it’s incredibly important to build a solid foundation on hard work… but real success requires something more.

My years of hard work would have gone much further sooner if I had known a few things up front. When I was young, I knew little of how the business side of music really worked. I did not know what my rights were, and I trusted the people I worked with. Surely they had my best interest at heart…

My lack of awareness and naivety resulted in a number of headaches and heartaches. I’m not too proud to admit that I learned these lessons the hard way. I’m a bit wiser now.

What surprises me today is how much things have remained the same. Even though new tools and technologies are available to musicians, we still face many of the same challenges I faced years ago. Now, I want my fellow musicians to be able to turn their passion into a sustainable business (which happens to be my personal goal). I also know how big a difference real wisdom gained through experience could have made in my early career. So, I’ve decided to share some of my experience with you.

To all musicians—young and old, novices and pros, local legends and road-weary warriors, solo artists and band members, rock stars and country crooners and rappers and everyone in between: please, let my mess be a message to you.

Early Times were Good Times… Mostly

In the 80s, I was hired to play guitar with Black Oak Arkansas. For those unfamiliar with the group, BOA was one of the top 5 touring rock acts in the 70s. They earned three gold albums and sold close to five million records from 1972 to 1976. BOA’s frontman, Jim Dandy, was a huge influence on later acts (like Van Halen frontman David Lee Roth). Bands that are legendary today—like KISS, Bruce Springsteen, and Aerosmith—all opened for BOA. Given the band’s status, I was more than happy to be a member.

When I joined BOA, the group had an attorney that also acted as their manager. They had also signed a record deal with a label and had received a sizeable front, to be used for recording an album. Not one penny of that front money was disbursed to the musicians; it all went to studios, engineers, lawyers, and other professionals that the label hired.

As happy as I was to be in the band and to be recording, I was thrilled when they asked to use five of my songs for one of their albums. Songwriting was not part of my compensation agreement with the band, so I was entitled to receive royalties for my songwriting. I was very excited about this new opportunity.

Getting Paid is Not So Easy

Of course, getting paid for the songs would’ve been nice. That’s right. Even though five of my songs were recorded, I didn’t get any money. Not for writing the songs, not when they were played, not when they were recorded, and not when the albums were sold. No royalties whatsoever.

Now, to the band and the record label’s credit, it wasn’t their fault that I wasn’t paid. As unbelievable as it may sound now, BOA had trusted everything to the manager/attorney that had been hired to handle the band’s business, and we focused on making and recording music. After all, it made perfect sense to think that a manager who was also an entertainment attorney would do a great job representing us as the musicians of BOA. The rub came because the manager was also our attorney, which created a conflict of interest. A good attorney is focused on the best outcome for the people they represent. When that same attorney represents himself as the manager of the band as well as the personal interests of the musicians in the band, it creates a problem.

At the time, none of us understood the conflict of interest that had been created by allowing our manager to also represent us as our attorney. After all, we were famous because of our music, not our business degrees.

Lesson learned: never allow your manager to also be your attorney.

One of the business aspects handled by this manager/attorney was the distribution of income from mechanical and royalties payments; these came from the record label and were to be distributed to the songwriters. And… well, he handled it, wholly and completely. If we asked about payments owed to us we were told “all the money was used to offset expenses”, that nothing was left for us. However, we were never told what or how much those expenses were, and we were never given statements to review and reconcile. In retrospect, I now realize that if our manager had not also been our attorney, we could have gotten to the bottom of this problem.

My patience began to wear thin. I was all about creating music and performing, but I found it difficult to focus on the music I loved. Was I getting screwed by the very people I trusted? All I needed was a little cooperation and clarity, but after a number of failed attempts to resolve the problem, I became even more frustrated. It appeared that our manager/attorney was not able to provide the information that I needed to see. Details showing how the money was spent and what royalties were paid were not available to me.

Very frustrated, I decided to leave the band.

It Just Gets Better

Sadly, the story doesn’t end there. A few years later, I was out shopping with my wife, killing time while she did her thing. I was perusing the many CDs offered in this huge retail chain store when I saw a brand new release—a greatest hits album for BOA. Curious, I turned it over and looked at the track list and credits. Sure enough, two of the songs that I had written were on this new album… and I had NO idea! Again, my songs had been used without compensation, and this time they didn’t even bother to tell me about the release!

As you can imagine, this discovery really ticked me off. Instead of walking away like I had before, I hired my own lawyer to find out where my royalty payments were and who was holding them up.

It turns out that the record label had paid my royalties all along… straight to the BOA manager/attorney, just as I had suspected. These were the royalties that were supposed to be disbursed to the songwriters. That was, after all, how our contract had been written. So my new lawyer went after the band’s old manager/lawyer, trying to get my royalties back for me. Sounds easy enough… except the old lawyer had died a year or two earlier, and everything was tied up in probate.

After spending a good chunk of money to find and recover my royalties, my new lawyer told me this: it would likely cost more money in legal fees to sort through the probate mess than I was actually owed. Of course, we had no way of knowing how much I was owed unless we pursued the matter further. So, did I spend more money to recover an unknown amount… or did I let it go?

I let it go.

This means that the only people making money on those five songs were the manager/lawyer (and whoever inherits any fortune he might have left behind)… not the band and not the songwriters (including myself).

Lessons Learned

There are several morals to this sad and embarrassing story.

First and foremost:  Be careful who you trust, and only trust what you can verify, and never use your attorney as anything but your attorney.

Second: You’re never too big to be swindled, misled, or mismanaged.

Third: Take responsibility. I am ultimately responsible for the situation I was in. I signed a contract I couldn’t verify and I was forced to trust those I was working with—this led to lost opportunities and an unknown amount of lost income.

To this day, I do not know how much money I lost to the pocket of that lawyer, and I’ll probably never know. It was an expensive mistake, but it hasn’t been a complete loss. I’ve learned that my music career is really MY business, and that no one but myself is responsible for it.

In light of that, I’ve worked hard to educate myself on aspects of the business that I have ignored in the past. Going forward, I won’t make the same mistakes. And I never sign anything that I don’t fully understand. You cannot expect others to do the difficult stuff for you if I you are unwilling to do it for yourself.

My hope in writing this article is that you don’t have to learn these painful lessons firsthand. So, listen up. Be smarter than I was. Don’t blindly let someone else handle things—royalties, sales, anything—for you. Pay as much attention to the business side of your career as you do to making and playing music. Don’t let your hard work—your writing, playing, and recording—be for nothing. Hard work is very important, but being involved and caring about the mundane details of your own career in crucial.

Want to know more about me? Check out my new album or biography or find me at a show near you. I’d love to meet you!

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Making It Without a Record Label

Making It Without a Record Label

By Rocky Athas Estimated reading time: 11 minutes

written by: legendary guitarist Rocky Athas

I’ve been playing my guitar professionally for over thirty years. In that time, I’ve played or toured with a number of notable artists and bands, including: Al Green, Van Morrison, Foreigner, Peter Frampton, The Kinks, Creedence Clearwater Revival, Buddy Miles, Stevie Ray Vaughan, Mick Taylor of The Rolling Stones, Mick Fleetwood of Fleetwood Mac, Kansas, Black Oak Arkansas, Joe Bonamassa, Three Dog Night, Cheaptrick, The Cars, Joe Walsh, .38 Special, Bo Diddley, Steppenwolf, Steve Miller, Gregg Allman, John Mayall, and B.B. King.

Needless to say, I’ve got some incredible stories; I’ve also gained a good bit of insight. I’d like to share a little of that here, especially since I hear about talented musicians struggling to “make it” in the new world of music we live in today.

Making It—The Long and Bumpy Road

When I first started my music career, I spent all of my time developing my craft, developing my technique, and writing songs. I also played every gig imaginable—thanks to a club owner who “wanted to try something new” and my well-intentioned manager, this included a week-long surprise stint competing with exotic dancers for the audience’s attention. Like I said, every gig imaginable.


There were definitely bumps in the road, and there were days when the struggle to convert my passion into a financially viable career seemed impossible to overcome. Despite the bumps, I persevered. Giving up wasn’t an option for me. Music was my passion, and I knew I’d never be happy with another career. All I wanted was to be able to pay my bills by doing what I loved: playing my guitar.

In the dark days, hope and passion kept me afloat, and perseverance moved me along. Fortunately, my hard work and perseverance began to pay off. I was playing my guitar and paying my bills; as a bonus, I was having fun doing it! I loved the music, loved the people I played with, and loved performing. Looking back, life was good. At this point, I should have felt like a success, but I didn’t. In my mind, something was still lacking.

At the time, the musicians I considered successful were those who had been signed to labels. They were releasing records and touring on a label’s dime, not their own. Talented musicians and bands were offered recording contracts. If you weren’t with a label, it was because you weren’t good enough.

Needless to say, that’s how I defined success. That’s how every musician I knew defined success. That’s what I needed to feel like I had “made it”.

After years of hard work, a day came where a label whispered in my ear the sweet nothings musicians dream of hearing: “We’ll put out your brilliant albums.” “You’ll be in stores everywhere.” “We’ll send you on tour!” The promises kept coming, and I was sold. I quickly signed their paperwork. I finally felt like I’d made it!

Almost Paradise

For a while, things were great. The label footed the bill for just about everything up front. They handled all the scheduling, ordering, distribution, and marketing. I was playing great gigs, releasing new albums, and going on tours. Again, I loved the music, loved the people I played with, and loved performing. I felt like a success.

But… life with a label wasn’t quite what I dreamed.

Over the course of my career, I’ve been in various bands as well as on my own, and I’ve worked with a few different labels. To be fair, each of them had their strengths and their shortcomings. The fact that I had to deal with the shortcomings surprised me, even though I knew other musicians who were in the same boat.

While with a label, I was so far removed from manufacturing, distribution, and marketing decisions that I barely knew what decisions were being made, let alone had any input on those decisions. I’ve had labels tell me what music I could release and when I could release it. I had to work the way they wanted me to work or not at all. And, to top it all off, I almost lost all of my rights to the music I had created.

I’ve been with labels that had absolute control over my bookings, which sounds nice until they stop booking shows and don’t respond to phone calls. Scheduling shows or releasing music on my own would have caused a breach of contract and even more of a mess. If getting the label to respond about releases or bookings was hard, getting accurate sales records from them was even harder… which made verifying or fighting their claims that I owed them money nearly impossible.

As worrisome as these issues were, I dismissed the nagging thoughts and kept playing. I told myself that, since I was signed with a label, I’d made it. I’d be okay. After all, I wasn’t the only one going through it; my fellow musicians were in the same boat. That’s just how it was; there wasn’t another way… Right?

Redefining Success

One day while on tour, I met a musician whose spectacular guitar playing blew me away. Thoroughly impressed by his talent, I asked him which label he was with. His response was not what I expected.

He wasn’t with a label, and he did not want to be signed.

It turned that he had rejected every label offer that came his way since starting his solo career. He wanted to be independent. His philosophy was simple: you don’t need a record label to have people to enjoy your music.


This was different than anything I’d heard musicians say before. I’d always associated talented, successful musicians with labels. Yet, this guy, with all the talent in the world, was happy to be independent, and he was doing well. Really, really well. The guy had millions of fans across the world (currently millions on one social network alone). He spent his time writing the music he wanted, recording and releasing it when and where he wanted, and touring the world to play it for his fans. He was personally involved in all aspects of his career, from writing the music to selling his merchandise directly on his website. Yes, he had help, but he was involved and in charge.

All of his involvement and work paid off. Without a label controlling what he did, he was free to take his career any direction he wanted, and he had the knowledge and network to make it happen. And, without a label to take its cut of his profits, he actually made a good living doing what he loved; there was no scraping by or making ends meet. In short, he’d really made it.

And how was I doing after signing with my label? Not so well.

So, shortly after meeting a musician who was thriving out on his own, I decided to walk away from my label.


Walking away from my label has been a bit of a struggle. I’ve had to step up and do things myself that, for years, were done for me, often without me even considering what was going on. When I start to feel overwhelmed by all there is to do, I remind myself of my talented friend’s example—he had achieved success without a label, and so could I.

Since leaving my label, I’ve started recording new music. This means finding the studio and producer, scheduling the time, making travel arrangements, and footing the bill myself. I’ve built up a nice network of contacts over the years, and I enjoy getting to choose exactly who will be involved on my projects.

In terms of booking shows, I’ve been blessed with some incredible opportunities, and my show schedule is pretty full… but not so full that I have no time to write and record. That full schedule has led to some wonderful publicity and interviews, which is great as long as you do something with it; so, I’ve had to learn a bit about PR. I’ve also had to find and hire photographers, graphic designers, and videographers to create product packaging, promotional materials, and music videos.

I’ve had to find manufacturers, order my merchandise, and figure out where to sell it. Very few retail stores still sell music on site, and even then they tend to promote only the biggest names and the hottest new acts. Many online retailers either won’t take you without a label or distributor (who happily takes a large cut), or expect to get a large cut of the proceeds themselves, or both. After years of only getting a tiny cut of the profits from my work, those options weren’t very appealing. So I focused on selling music in person at shows, and that’s gone very well so far.

Speaking of “online”, the internet wasn’t even an option when I first started playing music. There weren’t websites, online retailers, social networks, or streaming services. It’s an entirely new way of thinking for this seasoned musician… but it’s something I’ve had to tackle.

I had to create, manage, and update a website; fortunately, this also gave me the option of selling my music on my own website (in addition to live shows) and retaining all of the profits. No longer was I giving up large chunks of the income that my music produced. Another big plus for me is making a real connection with my fans; when they purchase my music online, I actually know who they are. When I have sold music in the past, I was often not told who purchased it; the retailer kept that information from me. It is very difficult to create a lasting relationship with a fan if you do not know who they are or how to contact them!

I have also created various social media profiles to connect with my fans, and I regularly update them with new content (often linking back to my site for the full post or video). And I’m working to convert those fans from likes and followers on social networks to full fledged relationships with complete contact information on my own site. I can think of many artists that struggle to communicate effectively with fans on social media sites; their posts are just another blurb scrolling past the fan’s homepage, often going unnoticed. Since these fans represent my best opportunity to sell new releases and attend my shows, I am very interested in connecting with them.


I’ve definitely had some help along the way—friends and family, kind fans that want me to succeed, and hired pros who can do what I can’t—but I haven’t sat back and let others do for me, without me. I’ve been in the trenches right along with them, watching and learning and then doing it for myself as much as possible. It’s been overwhelming at times, but I persevered, just like I did when I first started playing.

The good news? It’s starting to pay off. I’m writing and recording the music I want, playing with phenomenal musicians, and performing to wonderful crowds of fans. I’m connecting with those fans online and at shows. I’m selling my merchandise. I’m able to pay my bills by doing what I love: playing my guitar.

I’m starting to feel like a success.

Why Am I Telling You This?

I know how I defined success years ago. Having traveled that path and now traveling the one I’m on, I humbly admit that I was wrong. I wish I knew then what I know now, but I can’t change my past.

I can, however, help others avoid the mistakes I made.

Every day I hear talented musicians pining for a record deal—from up-and-coming young artists to old pros who have been burned by labels before. I see their hunger for that definition of success; I hear it in conversations with them, in their posts online, even on those reality TV shows. Yes, record labels can do a lot, and you might be able to sign better contracts than I did. You might be savvier than I was.

But, you might not need a record label, and you might be better off without one.

Today is the best time in the history for making music as an independent artist. There are so many tools available that simply didn’t exist before. Moreover, it’s truly fun to be an independent musician, evolving without any strings to tie you down and hold you back. Yes, there’s a lot of work involved. But for me, the hard work is so much more enjoyable knowing who and what I am working for!

Want to know more about me? Check out my new album or biography or find me at a show near you. I’d love to meet you!

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Is A Record Label In Your Future? What You Need To Know Before Signing

Is a Record Label in Your Future? What You Need To Know Before Signing

By NationWide Source Estimated reading time: 9 minutes

An artist friend of mine likes to say, “If you choose to self promote your music, it’s probably because you aren’t good enough to get signed by a label.” This same artist has been signed by several labels over an extended music career… but he has nothing good to say about record labels. After two decades as a professional musician he has very little money to show for his career in music, doesn’t own the rights to a large portion of his own music (so, no royalties are coming in), and he still has to tour to make ends meet. He blames record labels and their practices for his situation. Such is the dilemma that musicians face.

Record Labels Poor Reputation – It’s Not All Deserved

Let’s face it. Record labels seem to have a bad reputation, and much of it is deserved. But you should not be too quick to lump them all into the same category. A large number of indie labels have emerged over the last several years and they have filled a real need for the indie artist. These smaller labels have successfully guided countless artists through the maze of the music business with great rewards.

On the other hand, countless artists have sounded off about their failed relationship with a record label, and, for the most part, these labels do not defend themselves. Why? Because they are behaving exactly as the artist describes; they really are doing all of the things that artists complain about. So, what is there to talk about? How can a record label defend themselves if all the negative comments are true?

Record labels tend to do exactly what their contract allows them to do. The rub comes because an artist doesn’t really understand the relationship before signing on the dotted line. The artist is agreeing to a contract that allows the record label to do what they do—and possibly own everything an artist creates—without really knowing what it all means. Specifically, the artist needs to know how the relationship will work, how much money the label is putting up, how that money will be spent, who is financially responsible for what, who approves marketing and production expenses, and which party owns the rights to what is produced.

Most of the time, record labels are not the devil. They’re simply businesses that are designed to make as much profit as possible. Artists, on the other hand, are usually the furthest thing from a profit-driven business. They are creative souls, not accountants. An artist who is also a great business person is a rarity… just like my doctor friends who are great physicians but, for the most part, terrible business people.

Why Sign with a Record Label?

So, why in the world would an artist sign with a record label? That’s easy: the artist wants the business experience the label has to help launch or grow their career. Artists need partners with vast experience, impressive connections, and lots of money to promote their music. A good label will help with everything from song selection to recording, booking, marketing, and distribution of their signed artist. When I say help, I really mean that the label may have complete control over these things.

After all, an artist is asking for help from the label, and no label is going to invest time and money into an artist without securing some control. The label wants to get paid back and make money. Big money, if possible. Most performers signed by a label do not pay off; they just lose money. Someone has to pay for the flops, and the only way to do that is get the highest possible rate of return on the performers that do succeed.

It may not seem fair, but a successful artist has to pay for other artists’ failures.

Think of it this way: Suppose you receive a mail order catalog. You didn’t request the catalog, but there it is, in your mail box. The company that sent out the catalog knows that 98 of 100 of those catalogs will be thrown in the trash—no purchase will be made. The two people out of 100 that do make a purchase have to pay for all of those catalogs that were thrown in the trash. It is called marketing expense. When the company prices its products, it adds enough profit to cover the expense of creating and mailing those catalogs that go in the trash. Otherwise the company would lose money and fail. Record labels are no different.

A good record label is selective about who they sign; the ratio of successful signings to failed signings is crucial to their success as a label. A label should know which artists it can help and which do not fit.

A smart artist is also selective about who they sign with. Why would an artist sign with a label that has a bad track record of signing successful artists? Make sure the label has prior success promoting artists who have a similar style to your own. Don’t be afraid to ask tough questions, and don’t accept general statements. After you become convinced that the label is a good fit, do your homework and read the contract carefully. Have a professional look at it on your behalf. Make sure you know what you are signing up for.

Some artists really need a label to help them make crucial decisions about their career, not to mention the money to ensure a successful launch. Without that help, a talented artist may end up failing and giving up on a career in music. Most of the decisions the label makes will be focused on creating a long-term money-making success of the artist. Yes, a label is in it for the money, but there is nothing wrong with that. Let’s just make sure that the artist understands what that means.

My Friend Lionel

Lionel had a band back in the 70s, and they were a regional success. Great music with lots of exposure in good venues and a loyal fan base that was growing weekly. A local radio station approached Lionel and asked if he would like to hear his music played on the air; of course, Lionel was excited at the prospect and jumped at the chance to meet with the radio station executives. An agreement was reached quickly, and Lionel was on the air that same day.


It was not until years later, when Lionel went to record his hit song and self release a CD, that he discovered that he no longer owned the rights to his own music. The radio station owned his music. Finding this hard to believe, Lionel contacted the station to follow up. He was told that the station did in fact own the rights. The people he originally spoke to no longer worked for the station, but when he authorized the station to play his music on the air, Lionel had signed a document that gave away his rights. He hadn’t read the entire document. He didn’t realize he was giving up his rights. He thought it just granted the station the rights to play the music over the air. After all, that’s what the station execs he’d met with had told him.

Four Things You Must Do

1. Find a Good Fit. Check out the record label and make sure they can demonstrate past success with artists similar to you. Ask for documentation.

2. Get details. Labels have engaged in signing bands countless times, so I can promise you that record labels are much better at the signing process than artists are. Have the label outline a detailed plan for your launch and continued growth. Get them to explain why they think this partnership will work. What are they bringing to the table? What are you bringing? You should also understand how much control you will be giving up.

Ask who has control over expenditures, where are the funds for expenditures coming from, who owns the rights to the songs and recordings, how are marketing decisions made, and how much input you have on the decisions that are made. When does the contract expire and who has an option to renew? What rights does the label have after the contract expires? Most of all, require transparency and detailed reporting on all financial expenditures.

Do not be afraid to take your time, and don’t allow anyone to rush you. Don’t become infatuated with the idea of getting signed and quickly agree to whatever is offered.

3. Negotiate. Interview with at least two labels and compare what they have to say. If you’ve asked the right questions, you’ll be able to tell a good deal from a bad one. You’ll also be able to pick out bad terms and negotiate for better ones. A small indie label may be a better fit than a traditional industry giant, quite often smaller is more flexible with the terms of the contract and quicker to move on your project.

4. Get advice from an industry professional. Hire an entertainment attorney who has experience with labels and contracts. It would also be a good idea to talk directly to other artists that this label has signed in the past and get their feedback. Who better to tell you how the label has performed?

Remember Lionel. He signed a contract with the radio station much like artists sign today with record labels. If he had slowed down and taken the contract to an entertainment attorney to get an explanation of what he was signing, he would not have agreed to the deal. He trusted his gut and that was a big mistake. One additional day of negotiation and a little advice would have made all the difference for Lionel.

My friend no longer thinks that self promoted artists are going it alone only because they are not good enough to get signed by a label. For the first time in his career, he is doing his own promotions without the help of a label. Times have changed. A label is no longer necessary to succeed as a performer, but there are many pitfalls. Self promotion has it’s advantages, and it’s easier to accomplish today than it has ever been in the past, but don’t assume that going it alone is easy. On the other hand, record labels can create tremendous value… just make sure you know what you are agreeing to.

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Five Great Indie Labels You Should Know

Five Great Indie Labels You Should Know

By NationWide Source Estimated reading time: 3 minutes

In the music world, there are as many opinions on record labels, their importance, and their benefits as there are artists. Some people see them as money-sucking heartless money-takers, but that opinion can be a little biased. Just a bit.

Regardless of your opinion on labels, the truth is that changes in the music industry have not left record labels unaffected. Factors like media distribution and artist recruitment and payment have resulted in major labels merging or closing. The same factors have also made room for the emergence of a multitude of independent, or indie, labels.

If you’re curious about this newer breed of record label, here are five indie labels that you should know about:

Rhymesayers Entertainment

A hip-hop based indie label, Rhymesayers Entertainment began in Minneapolis, Minnesota in 1995. It was founded by four members with background and experience in the music industry, including the two members of Atmosphere (which is, of course, one of the acts signed to the label). Other artists on this label include Brother Ali and Aesop Rock. Since 2008, the label has put on a huge annual music festival in Minnesota.

Glassnote Records

Established in 2007, Glassnote focuses on Indie, Folk, Alt-Rock, and Hip Hop artists. They released the debut album for Phoenix, as well as albums for Mumford & Sons, Childish Gambino, and Two Door Cinema Club. The company has offices in New York, Los Angeles, Toronto, and London.

Rough Trade Records

Rough Trade Records was founded all the way back in 1978 by Geoff Travis. You may be surprised by some of the artists this indie label has worked with:  The Smiths, The Strokes, Belle and Sebastian, Alabama Shakes, Arcade Fire, Edward Sharpe and the Magnetic Zeros, and My Morning Jacket, to name a few. Rough Trade Records is based in London.


In 1999, Syd Butler (bassist of Les Savy Fav) began Frenchkiss to release his band’s second record. Besides working with his own band, the label has discovered several other great New York bands. These include indie giants Local Natives, The Hold Steady, The Antlers, and Passion Pit. The label keeps a small roster to ensure quality records. It has also expanded to offer distribution (for other indie labels) and publishing options.

Neon Gold

Neon Gold has a solid understanding of what good music is as well as foresight into which acts will take off. The indie label, based in both New York and London, signs acts that get major attention. This includes Gotye, Ellie Goulding, and Marina and the Diamonds; they also released Passion Pit’s “Sleepyhead” single. Oh, and one of the label heads fronts MS MR. Definitely keep an eye on these guys!

The music industry is still changing, and the future of record labels is unclear. For now, it looks as though indie labels will continue to gain power and influence, opening the industry up even more. This might mean that independent bands have a better chance now than ever before.

Have you worked with these labels before? How did it go? What other indie labels should musicians know more about?

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Record Labels

Do You Need A Record Label?

By NationWide Source Estimated reading time: 2 minutes

If you are in the middle of recording an album or are dreaming of doing so one day, you might have asked yourself whether or not you need a record label, and what they even do. Here is some information to help you decide.

Why Labels Exist

Record labels exist to fund music recording projects, which can cost thousands of dollars. Labels sign artists they believe will be profitable then oversee the production process, from song selection to recording to marketing to distribution. Established labels can offer artists several benefits including their vast experience, important connections, and deep pockets.

Major Labels: Drawbacks

The music industry has undergone numerous changes over the last fifty years. Notably, a series of mergers has resulted in only a handful of major recording companies. Because of the ratio of talent to labels, it can be difficult to sign with these labels or receive focused attention after signing. A management company that invests in artist promotion could make signing on easier. Big record labels are notorious for contracts that do not benefit the artist. The contracts can require that artists repay various percentages of recording, touring, and/or merchandising expenses. Artists who don’t, or whose albums don’t make enough of a profit, might be dropped. Lastly, major labels often own master recordings or the rights to the music.

Alternatives to Major Labels

While some artists still dream of being signed by a major label, there are two viable alternatives to major record labels. The first is to use independent labels, which have varying degrees of industry clout and available financing. These labels generally allow artists more control over the project and may provide more-focused attention than larger labels can. However, artists might have to invest more money in the process up front.

Another option is to release your music yourself. It can be difficult to make money with a self-released album (unless you perform in public a lot or get media exposure), but it’s not impossible. The upside is that you absolutely own and control your music. The internet is a fantastic tool that has made the process easier. You can research the stages of the process, hand-pick your studio, promote your music and events the way you want, and distribute your music. There are numerous websites for streaming or selling your music online, and social media outlets are vital tools for promoting your music.

Have or do you use a record label? Why or why not?

See also: Performing vs. Recording: A Musician’s Focus, 5 Questions to Ask Before Recording Music, The Right Recording Studio For Your Music

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