Assuming you worked for a major label with endless resources, would you really go browsing millions of aspiring artist's websites? Would you really give a damn who was playing at the local community picnic, nightclub, etc.
Would you really shy away from the trends that are currently hot and selling and risk your job (and reputation) in the process?

What would you do?

Adisa said:

Get another job! Major labels are the last place to find anything new or interesting. So I would hate my job for the reasons you cited - fear of losing my job whenever I brought something different or new to the table, and constantly worry about the bands I'd rounded up - wondering which one might actually make it past their first record before this current trend fades.

beauhall said:

LMAO, but I kinda agree. If I was an A&R rep I would go crazy with sooooo many up and coming artists. However, a lot of indie labels have the resources to put out quality music with quality artists, and it seems like all the majors do now is wait for something hot to distribute, not actually find and develop.

beauhall said:

Co-siggity

theirs a fine line from being an artist and looking for talent...
if i wouldn't be able to handle scouting talent...,
those reps im sure go through alot of music swill...
probably cry themselves to sleep everynight...

I would look for another job.

Adisa said:

I would shy away from the trends and the supossed "correct way" of doing things, yes!

missmad said:

So, what would you do? Browse people's websites all day, hit up local events, host your own talent shows, etc?

Adisa said:

yea i would do most of that but i wouldn't go far as 2 host my own show. I would find other ways what? I have no idea.

No no. You read indie music mags. You read about who is getting a buzz. You read about who is pushing their music and getting it out there. Because if you're working for a major label, you do not CARE what they sound like. Period. The masses dictate success. If a band is gigging a lot, getting writeups for live shows, getting CD reviews -- if they've learned to promote themselves PERIOD, then they will be a self-sustaining employee of your company, versus some whiny baby who needs to have their hand held all the way through the process - especially when they sue you because you somehow screwed them when you signed them to a record deal.

Look at it this way. Cream will rise, crap will sink.

No matter how hard they promote, if a band is lame, if their music isn't interesting, good, captivating, they won't go far. Additionally, if a band is awesome but they've spent the past 5 years practicing and recording demoes, but never booked a show, promoted a show, received airplay, pushed for publicity, then it doesn't matter how awesome they are, they will self-destruct within 5 months. Jamming in the basement will never make you a star, no matter how awesome you are.

So then. I would want a band with BOTH qualities - talent and drive. I don't care if they're farting into a mic while blowing a whistle - if it's interesting and the room is SRO, somebody get me a contract quick for that guy.

I would sign the following underground bands:(great topic by the way)

http://www.myspace.com/madhappy
http://www.myspace.com/ohmygod
http://www.myspace.com/thedetholz
http://www.myspace.com/ghostymusic
http://www.myspace.com/pomeroy
http://www.myspace.com/fredgreen
http://www.myspace.com/gr...ertakeover
http://www.myspace.com/anchondo
http://www.myspace.com/bobbyconn

and just to add, I would definately sign the artists that are prolific as opposed to radio-friendly. Although all in one package is the best way to go. That's what I believe Prince was able to capture.
[Edited 6/1/06 22:07pm]

beauhall said:

Very intersting and I agree with much of what you say. However, my experience has taught me that the artists who are doing it (promotion, air-play, indie-write-ups, etc) are the ones who are the most reluctant to sign with a major. They've worked hard to nurture their "baby" and have become over-protective of her. A lot of times they get too comfortable and settle for what they've been doing.

Also, there's a significant differnece between a local fan base of 1000 (friends and families of friends and families) and a national fan base of +1million (total stangers saying, "Who the f@ck is the new act?"). So the successful indie artists do still have a lot to learn if they get and want to keep their job at a major.

Instead of creating new bands or singers, i'd try to give a chance to people who are really original and have something new to show.

Adisa said:

True, but a band that already has the drive in place will have a much better grasp of where the money goes, and if they've pulled in a following of 1,000 people on a local level, are you kidding me? There's no way I WOULDN'T sign them!

beauhall said:

Which is why they're often reluctant to sign with a big company.



If you mean 1,000 sales then I probably would, too. A "following" doesn't always mean people are paying, just that they're interested.