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How to Start an Indie Record Label, By Laura Kish
All the hype in the indie music industry these days with indie music festivals, major labels buying up all or a percentage of indie labels, artists, making the big-time with well-known indie roots, might make you ask who, why, and how an indie record label is started.
Most people I know who have started a record label have already surrounded themselves with music and the industry: They're musicians, writers, college radio personnel, record store employees, a band's fan club, bookers, etc. As a musician, it's great to start with a self-release of your own music-you have full control of your work and learn the aspects involved with the publishing and business part of an indie label. And there's nothing like the smell and feeling of a fresh-pressed vinyl that ends up in someone else's hot little hands for a spin on a turntable.
Many people also choose to start an indie label to avoid the major, commercial, FM-programmed music that's pumped out. It feels good to release real, underground, alternative, unknown bands. Why do you think there's a trend of major label A&R (Artist and Repertory) representatives that won't chance signing bands off a mailed-in demo tape? Well, it's simple. There's a huge pool of indie labels that have already done their legwork; who have been on top of the "new sound" and have already promoted and created a fan-base for a band, and perhaps even recorded material that is waiting to be sold and re-licensed. In some cases this is the same reason why bands sign with an indie label.
There are many indie labels out there-some have failed and some are very successful. You have to start somewhere. In my case, I first started a label called Spent City Records with my then-partner, Mike Spent. With the band, we had connections getting cheap studio time for recording and workings with engineers and getting dats (digital audiotapes) mastered and ready to be sent to vinyl manufacturers or released on other labels. I focused on the business end, getting the resale and business licenses, running the checking account, post office box, registering copyrights. Through networking, both of us found out the best deal on vinyl pressing, plastic bags, printing, advertising, distributing, and we collaborated on all related artwork such as label stationary, 7" illustrations, press releases, and so on.
Besides networking, which is vital in order to get the low-down on certain companies, clubs, distributors that you may possibly be working with, there are a few publications I would recommend buying to help you start a label, promote your label and the bands you've signed. (Plus, it's a legit tax expense write-off. Save the receipts.)
First, check out "Releasing an Independent Record-How to Successfully Start and Run Your Own Record Label in the 1990's," by Gary Hustwit [yes, it's the 2000's, but still practical]. This book takes you from start to finish on how to release an album, cassette, or compact disc. It has a basic and easy approach on the number of steps you need to take in forming a record label business complete with directories and helpful sample contracts, a blank copyright form, necessary publishing information with listing and press info examples. When you get to the point of booking a band on your label for a regional or national tour, pick up "Book Your Own Tour, The Independent Musicians Guide to Cost-Effective Touring and Promotion," by Liz Garo. This book gives you the truthful low-down on what to expect and the work it takes before the tour and on the road with a great state-by-state directory (clubs, radio, record stores, etc.). Plus, it has tips and stories from other veteran touring bands, realistic band promotion examples, and sample booking contracts. Both are published by Rockpress. Call Mix Bookshelf (800) 233-9604 and ask for their free catalog featuring hundreds of other music-related books.
Other smaller publications that are very resourceful, but are strictly guides, include the semi-annual "Musicians Guide to Touring and Promotion," a Musician Magazine Special Edition, which includes thousands of music industry contacts. The magazine comes out twice a year, so information is current. For info call (800) 347-6969. If you label sways toward punk music, grab Maximum Rock 'n Roll's annual resource 'zine called "Book Your Own Fuckin' Life." Their 7th edition is due out in April and include D.I.Y. and related listings. Write to Bleeding Heart Collective, 4728 Spruce Street, Box 354, Philadelphia, PA, 19139.
A consistent element in these publications is the resourceful national directories and guides to CD manufacturers, record stores, and other labels. Their fingers have already done the walking, so all you have to do is the talking. However, one thing these publications don't stress is keeping track of the accounts. If you don't have a math sense or patience for the dreaded books, then it's time to look for a bookkeeper.
The success level depends on you and what you want. That's one cool thing about starting a record label-it's your business and you can take it at your own pace. Remember to be honest with the bands you work with as to what direction you're taking. You need to communicate and meet each other's needs. You're probably already working with a lot of varied personalities and dealing with heartaches, but your relationship with a band should be open and fun. One last tip, always recruit help from friends, Kinko employees, relative's fax machines, and be open to any outside word-of-mouth advice.
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