Comments for Monique Baines Blog http://blog.moniquebaines.com The Mo Show Wed, 21 Jul 2010 16:33:27 +0000 hourly 1 http://wordpress.org/?v=3.0-RC2 Comment on How to Get a Record Deal by admin http://blog.moniquebaines.com/2010/07/13/how-to-get-signed-to-a-major-or-minor-record-label/#comment-14 admin Wed, 21 Jul 2010 16:33:27 +0000 http://blog.moniquebaines.com/?p=141#comment-14 Hey Lanstar, thx for the feedback. You are right about #4, obviously each situation is different. An artist can come out and their sound is so unique that they are easily accepted into the market and can sell records. But not always the case, the industry is flooded with rock bands, hip hop artists, and pop/r&b singers, who claim they are different, but honestly everything sounds the same. Trust me I've heard the demos that came into the office I worked at. To get a DJ to play a record, the song has to be really hot, nobody cares about the artist when they are new. Its all about the record and how it blends into the Mix or playslist. So the only way to break an artist, in the cases I've seen, is to push a record that the majority will like, I mean this is only logical. The plan is to introduce that artist to the market, develop a buzz on that artist. Get fans to demand to hear more of the artist on the radio. What fans want, DJ's have to play (I recently learned its also about the advertisers for that radio station and what they want). Put out another single (follow up single) for that artist, the buzz going shoot videos. Have promo tours, meet greets, radio interviews. Now fans are beginning to learn that artist, fans are identifying with that artist. Its hard to keep a following, but once you established your buzz and fanbase, anything you give to the DJ's/radios, they are more likely to play. So its safer to put out music that is more unique to that artist later on in the career. Mostly because you need to develop your relationship with the station, and also with the market. I worked at Street Records Corporation. Our way of pushing an artist started in the street. We pushed records to mix show DJs, mix tapes, and we used street teams. Having a record that DJ's could fit into their playlist, was one of the ways that helped to get the artist on, and eventually after the artist became popular, it was easier to push the other singles we had lined up for them. Hey Lanstar, thx for the feedback. You are right about #4, obviously each situation is different. An artist can come out and their sound is so unique that they are easily accepted into the market and can sell records. But not always the case, the industry is flooded with rock bands, hip hop artists, and pop/r&b singers, who claim they are different, but honestly everything sounds the same. Trust me I’ve heard the demos that came into the office I worked at. To get a DJ to play a record, the song has to be really hot, nobody cares about the artist when they are new. Its all about the record and how it blends into the Mix or playslist. So the only way to break an artist, in the cases I’ve seen, is to push a record that the majority will like, I mean this is only logical. The plan is to introduce that artist to the market, develop a buzz on that artist. Get fans to demand to hear more of the artist on the radio. What fans want, DJ’s have to play (I recently learned its also about the advertisers for that radio station and what they want). Put out another single (follow up single) for that artist, the buzz going shoot videos. Have promo tours, meet greets, radio interviews. Now fans are beginning to learn that artist, fans are identifying with that artist. Its hard to keep a following, but once you established your buzz and fanbase, anything you give to the DJ’s/radios, they are more likely to play. So its safer to put out music that is more unique to that artist later on in the career. Mostly because you need to develop your relationship with the station, and also with the market. I worked at Street Records Corporation. Our way of pushing an artist started in the street. We pushed records to mix show DJs, mix tapes, and we used street teams. Having a record that DJ’s could fit into their playlist, was one of the ways that helped to get the artist on, and eventually after the artist became popular, it was easier to push the other singles we had lined up for them.

]]> Comment on How to Get a Record Deal by LANSTARR http://blog.moniquebaines.com/2010/07/13/how-to-get-signed-to-a-major-or-minor-record-label/#comment-13 LANSTARR Tue, 20 Jul 2010 16:19:10 +0000 http://blog.moniquebaines.com/?p=141#comment-13 Nice writeup. I like how you kept it real, saying that you yourself are trying to apply these tips you've learned to your self as an artists. And also noting potential flaws in yourself you've learned, such as being to reserved. I especially agree with this quote: "If you cant sell a certain amount as an independent artist, then don’t expect for a label to step in and want to help you. A label should only be there to ‘magnify’ you; Take what you’ve already done, and make it greater, better, bigger." I feel a ways about your point in #4 though. Does starting mainstream to get on and then switching to something unique really work? I mean I guess Andre 3000 did it. But dont labels typically want you create another hit like you did last time? Artist like T.I. put out the same single with every album they drop. What you know about that and Big Thangs Poppin is the same song lol. Nice writeup. I like how you kept it real, saying that you yourself are trying to apply these tips you’ve learned to your self as an artists. And also noting potential flaws in yourself you’ve learned, such as being to reserved. I especially agree with this quote: “If you cant sell a certain amount as an independent artist, then don’t expect for a label to step in and want to help you. A label should only be there to ‘magnify’ you; Take what you’ve already done, and make it greater, better, bigger.” I feel a ways about your point in #4 though. Does starting mainstream to get on and then switching to something unique really work? I mean I guess Andre 3000 did it. But dont labels typically want you create another hit like you did last time? Artist like T.I. put out the same single with every album they drop. What you know about that and Big Thangs Poppin is the same song lol.

]]> Comment on How to Get a Record Deal by Luizinho "b.i.g. Lou" Louis http://blog.moniquebaines.com/2010/07/13/how-to-get-signed-to-a-major-or-minor-record-label/#comment-11 Luizinho "b.i.g. Lou" Louis Wed, 14 Jul 2010 06:09:50 +0000 http://blog.moniquebaines.com/?p=141#comment-11 As part of an independent, buzzing and touring act, Physha P Fam (formerly Physha P), Monique couldn't be more correct about the 10 tips above. By working hard, hard and the hardest, touring the US (now up and down CA), attaining opening slots for major artist (ie New Boyz, Franke J, Eve, Neyo, Fonzeworth Bentley), national TV exposure (106 & Park, Blaze the Stage, Hype Magazine, CBS, etc. ), winning most major showcases in NYC, a large, international Internet following and viral buzz, we've put in THAT work. Still, that is not enough, because we are NOT known to the mass American public, which is our goal. As the article states, we will keep grinding building our story, and attracting the right people to add to our team. All I can add to the article are a few simple things targeted towards upcoming, independent act, even though you still have to grind for yourself when you are on a major to avoid being shelved (see article above): (a) keep going no matter how hard it gets and when you think you are stuck in a rut, especially if you've experienced major, noteworthy successes, as is our case; (b) if your plan is working, your getting shows and media coverage on your own, your music actually hits (dj's are playing it nation wide, internationally, etc., have the support of record pools and associations, some radio play, etc.) without pay-for-play, keep going and STICK to your plan. You'll have many people tell you this or that is not not a hit, but proof is in the pudding. Just look at how many major record label a&r's told Kanye West "Through the Wire," "Jesus Walks," and "All Falls Down," were not hits. He put money where his mouth is, produced his own video, and pushed. Not all of us have his money, nor team, but stick with your PROVEN success; (c) You NEED hits. Not records you and/or your team like. Records with potential to be liked by the rest of the country and world. If you want to be on the same label as Justin, Usher, 50, Kanye, Black Eyed Peas, etc. your music needs to compete with them and sound as if it belongs on the same play list. If you want to push something different and "change" music business, then, do it after you gain mass appeal. Otherwise, you'll be fighting the world and a music business that does NOT want to hear what you have to say let alone your music. Hits, hits, and nothing but hits. That is hit with an "s," unless you want to be a 1 hit wonder, that's hit WITHOUT an "s." And, last by not least (c) "pay-for play" never works. I hate when major labels, agents, etc. tell an independent artist (aka a broke artist or person on a very limited budget), to "get their (commercial) radio play up." Where is an independent artist going to get $75,000-150,000 dollars for a national radio campaign? Not only is "pay-for-play" illegal under US law, but these artists would have to sell keys of drugs, if they are not born rich. In addition, the commercial radio game is rigged for the big boys and with the big boys. I suggest, as do many people who do this music business as a living and WITH experience in trying to break into commercial radio, if you have the budget for "pay-for-play" do NOT use it for radio. Say you have $50k, hire a national and proven PR person/company and marketing person/company, specialization in music, specifically the type of music you make. Make sure both marketing and PR areas cover Internet and Viral marketing. Once you find the right team members, contract them to 3-6 month retainer, have them provide each goal for each month in writing as part of the the contract (for example, month 1, PR person will do these 10 things and son on), you pay them 50% upfront each month, and 50% at the end of the month once the job is done, and make sure to have ALL OF THIS on paper. If any one of these people do not go along with this game plan, they are NOT for you and about getting paid, whether they do their jobs or not. Assume you picked the right team members, in 4-6 months you'll have a media buzz, internet buzz, a bunch of fans and followers, able to use that story to get college, internet, satellite radio play, and some commercial radio play and would have cost 30-50% of the $50k budget. I can go on forever about these ideas from our experiences, contacts, and what worked, didn't and continues to work. NOTE (a BIG note): You have to have HITS first. You have to test these hits and make sure they are good to. Then, you have to set your marketing and pr goals and plan around who you are as an artist. If you choose "pay-for-play, " good luck. Make sure to have a team to support you while you are on the radio for the 4-6 weeks of your campaign. Hopefully, your song is hot, because you are paying for the record to be played, hot or not. Once your 4-6 weeks is over, it's off the air if it is NOT hot. All in all, great job, Monique. Those tips are true and good to go. Aside from my little comments, you just have to focus on being the best artist you can be, keep building your story with something new each month and focus less on getting a major deal. The deal will come with your fight to the top. Make sure your hits are tight and your business is tighter. No one is your friend in this business. Holler if you need more ideas for your music business dreams. b.i.g. Lou of Physha P Fam President of Da Fam Music &Ent., LLC music business consultant myspace.com/PhyshaP - facebook.com/Physhap, twitter.com/PhyshaP physhap@gmail.com PS F the A&R's. They don't know what they are talking about. If they do, ask them who's the last artist they signed and blew up. Meaning, they discovered the aritst without the artist already buzzing, a&r'd their project, and contributed to the successes of said project. Nowadays, they are just copyright and publishing desk boys, clearing rights so songs can be exploited. Keep going all you artists. As part of an independent, buzzing and touring act, Physha P Fam (formerly Physha P), Monique couldn’t be more correct about the 10 tips above. By working hard, hard and the hardest, touring the US (now up and down CA), attaining opening slots for major artist (ie New Boyz, Franke J, Eve, Neyo, Fonzeworth Bentley), national TV exposure (106 & Park, Blaze the Stage, Hype Magazine, CBS, etc. ), winning most major showcases in NYC, a large, international Internet following and viral buzz, we’ve put in THAT work. Still, that is not enough, because we are NOT known to the mass American public, which is our goal. As the article states, we will keep grinding building our story, and attracting the right people to add to our team.

All I can add to the article are a few simple things targeted towards upcoming, independent act, even though you still have to grind for yourself when you are on a major to avoid being shelved (see article above):

(a) keep going no matter how hard it gets and when you think you are stuck in a rut, especially if you’ve experienced major, noteworthy successes, as is our case;

(b) if your plan is working, your getting shows and media coverage on your own, your music actually hits (dj’s are playing it nation wide, internationally, etc., have the support of record pools and associations, some radio play, etc.) without pay-for-play, keep going and STICK to your plan. You’ll have many people tell you this or that is not not a hit, but proof is in the pudding. Just look at how many major record label a&r’s told Kanye West “Through the Wire,” “Jesus Walks,” and “All Falls Down,” were not hits. He put money where his mouth is, produced his own video, and pushed. Not all of us have his money, nor team, but stick with your PROVEN success;

(c) You NEED hits. Not records you and/or your team like. Records with potential to be liked by the rest of the country and world. If you want to be on the same label as Justin, Usher, 50, Kanye, Black Eyed Peas, etc. your music needs to compete with them and sound as if it belongs on the same play list. If you want to push something different and “change” music business, then, do it after you gain mass appeal. Otherwise, you’ll be fighting the world and a music business that does NOT want to hear what you have to say let alone your music. Hits, hits, and nothing but hits. That is hit with an “s,” unless you want to be a 1 hit wonder, that’s hit WITHOUT an “s.” And, last by not least

(c) “pay-for play” never works. I hate when major labels, agents, etc. tell an independent artist (aka a broke artist or person on a very limited budget), to “get their (commercial) radio play up.” Where is an independent artist going to get $75,000-150,000 dollars for a national radio campaign? Not only is “pay-for-play” illegal under US law, but these artists would have to sell keys of drugs, if they are not born rich. In addition, the commercial radio game is rigged for the big boys and with the big boys. I suggest, as do many people who do this music business as a living and WITH experience in trying to break into commercial radio, if you have the budget for “pay-for-play” do NOT use it for radio. Say you have $50k, hire a national and proven PR person/company and marketing person/company, specialization in music, specifically the type of music you make. Make sure both marketing and PR areas cover Internet and Viral marketing. Once you find the right team members, contract them to 3-6 month retainer, have them provide each goal for each month in writing as part of the the contract (for example, month 1, PR person will do these 10 things and son on), you pay them 50% upfront each month, and 50% at the end of the month once the job is done, and make sure to have ALL OF THIS on paper. If any one of these people do not go along with this game plan, they are NOT for you and about getting paid, whether they do their jobs or not. Assume you picked the right team members, in 4-6 months you’ll have a media buzz, internet buzz, a bunch of fans and followers, able to use that story to get college, internet, satellite radio play, and some commercial radio play and would have cost 30-50% of the $50k budget. I can go on forever about these ideas from our experiences, contacts, and what worked, didn’t and continues to work. NOTE (a BIG note): You have to have HITS first. You have to test these hits and make sure they are good to. Then, you have to set your marketing and pr goals and plan around who you are as an artist. If you choose “pay-for-play, ” good luck. Make sure to have a team to support you while you are on the radio for the 4-6 weeks of your campaign. Hopefully, your song is hot, because you are paying for the record to be played, hot or not. Once your 4-6 weeks is over, it’s off the air if it is NOT hot.

All in all, great job, Monique. Those tips are true and good to go. Aside from my little comments, you just have to focus on being the best artist you can be, keep building your story with something new each month and focus less on getting a major deal. The deal will come with your fight to the top. Make sure your hits are tight and your business is tighter. No one is your friend in this business. Holler if you need more ideas for your music business dreams.

b.i.g. Lou of Physha P Fam
President of Da Fam Music &Ent., LLC
music business consultant
myspace.com/PhyshaP – facebook.com/Physhap, twitter.com/PhyshaP
physhap@gmail.com

PS F the A&R’s. They don’t know what they are talking about. If they do, ask them who’s the last artist they signed and blew up. Meaning, they discovered the aritst without the artist already buzzing, a&r’d their project, and contributed to the successes of said project. Nowadays, they are just copyright and publishing desk boys, clearing rights so songs can be exploited. Keep going all you artists.

]]> Comment on Drake Sells 447k by LANSTARR http://blog.moniquebaines.com/2010/06/24/103/#comment-6 LANSTARR Thu, 24 Jun 2010 13:17:37 +0000 http://blog.moniquebaines.com/?p=103#comment-6 What's the definition of a flop? Is that the actual sales numbers vs projected numbers, or the content of the album - whether its good or not? Illmatic is considered to be a classic by just about every hip hop head out there. The Drake album, in my opinion, is a pretty good R&B/Rap album. ALL of the singles are summer classics. And selling 400k in one week by todays' measures of digital music thievary is pretty frikken good! What’s the definition of a flop? Is that the actual sales numbers vs projected numbers, or the content of the album – whether its good or not? Illmatic is considered to be a classic by just about every hip hop head out there. The Drake album, in my opinion, is a pretty good R&B/Rap album. ALL of the singles are summer classics. And selling 400k in one week by todays’ measures of digital music thievary is pretty frikken good!

]]> Comment on The Mo Show: Webisode 1 by Rahim The Dream http://blog.moniquebaines.com/2010/06/03/the-mo-show-episode-1-2/#comment-4 Rahim The Dream Wed, 16 Jun 2010 16:17:20 +0000 http://www.moniquebaines.com/blog/?p=55#comment-4 I can't front i'm kinda now desperate for episode 2...lol hurry up! (not dripping sarcasm) I can’t front i’m kinda now desperate for episode 2…lol hurry up! (not dripping sarcasm)

]]> Comment on The Mo Show: Webisode 1 by R&B SINGER MONIQUE BAINES PRESENTS: “THE MO SHOW” VIDEO BLOG | Bellahoneysoul http://blog.moniquebaines.com/2010/06/03/the-mo-show-episode-1-2/#comment-3 R&B SINGER MONIQUE BAINES PRESENTS: “THE MO SHOW” VIDEO BLOG | Bellahoneysoul Wed, 16 Jun 2010 02:33:40 +0000 http://www.moniquebaines.com/blog/?p=55#comment-3 [...] http://blog.moniquebaines.com/2010/06/03/the-mo-show-episode-1-2/ [...] [...] http://blog.moniquebaines.com/2010/06/03/the-mo-show-episode-1-2/ [...]

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