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A record industry
veteran explains what it takes to get your music
professionally produced
and distributed.
Two of the newest
Sweetheart Records artist are (L-R)
Lisa Alexander and
Angelique Schoeman
Canada
South Africa
"Please do yourself a favor: Go in with
new material, a song that no one has ever heard,
because at that point there is no right way or wrong way to sing that
song...
"— Salvatore DeBenedetto
Sweetheart Records
105 Wood Ave.
Bridgeport , Ct. 06605
203-384-0076 Office
203-384-2011 fax
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BREAKING INTO SHOWBIZ
by Salvatore (Tootie) DeBenedetto
Salvatore (Tootie) DeBenedetto is the CEO and head of
Sweetheart
Records, an independent record label and White Glove recording
studio located in Bridgeport, Connecticut. Sweetheart Records each
year signs a handful of recording artists who are discovered at talent
conventions throughout the U.S. The label also promotes new acts
from Canada, South Africa, and Hong Kong. Sweetheart Records
offers the same service that major record companies do, including
recording, promotion and distribution, for a small stable of artists. At
the invitation of Pageantry magazine, Mr. DeBenedetto shares his
many years of experience in the recording business.
So
You Wanna Be
a Rock ’n’ Roll Star
Q. Most people think there
is some great mystery to the recording
business. Is it all about talent or luck, or are there other factors
that
determine success?
A. Well, yes and no. If you've ever had the good fortune to be given
a contract from a record company, consider yourself very lucky
because very few people are chosen. But, having said that, a lot of it
is just common sense and following some basic rules.
Q. What are some of the attributes you look for
in up-and-coming
musical acts?
A. For the new artist wanting to go into a recording studio for the
first time, you need to know some of the basic rules of this business.
I look for creativity, how much musicianship the artist can put into
his or her creation, which keeps the cost of recording down. I also
scrutinize the artist, weeding out all the non-ready people. We look
for good personality, attitude, sincerity and dependability, and good
looks if we can get it. In this business there is what you would call
"hip." Studios are looking for hip acts, because without hip,
there is
no marketing advantage. Here's a no-no: Remember, most
companies do not deal with any artists that are doing drugs or any
substance abuse. We are squeaky clean, no exceptions. Most
companies are. I'm not in this business to waste anyone's time.
Q.What else can give a pop group or singer an
advantage in getting
a recording contract?
A. Please do yourself a favor: Go in the studio with new material, a
song that no one has ever heard, because at that point there is no
right way or wrong way to sing that song because no one has ever
heard it before. Plus, you are not in competition with any major
artist. I judge talent conventions three to four times a year, and time
and time again I hear young people singing other people's material.
Do you realize how hard it is to compete with major artists such as
Celine Dion or Barbra Streisand? Also, by putting your own song
into a publishing company, if some major artist decides to use it, you
get the royalties and the benefits of your creations.
Q. How should an artist go about contacting a
record company?
A. Remember, you will never get a second chance to make a first
impression. Call record companies before sending them anything to
make sure they are accepting unsolicited demo packages and to
check for their correct address. Also, try to address your demo
package to a particular Artist & Repertoire (A&R)
representative.
This is the person who screens the demos and helps decide who the
company will put under contract. Usually, the companies that will
accept unsolicited material are the independent labels ("indies")
such as Sweetheart Records. Indies are ideal for younger singers
and bands because they are smaller and can provide artists with
undivided attention. Also, the indie labels often are willing to give an
act more time to develop.
Q. What should the act send to the label?
A. Include a cover letter, a demo CD, a photo of the artist(s), some
biographical material and copies of any news reports covering your
music. You don't have to be long-winded. A one-page cover letter is
enough. You should tell the company what you can do, not only show
them that you can sing — although that is important. Record
companies want to hear that you can do more —that you can play an
instrument, that you write songs or lyrics, that you can produce
music. Whatever you can do to better the product, make it cost less
to produce, are the things that will help you land a deal.
Q. What should the demo recording be like?
A. At one time you could send in a cassette tape of a song using just
a piano and a vocal. Today the record companies are looking for
finished products from the artist. Again, submit original songs that
you perform. Many acts invest in the making of a professional demo
recording. CDs are the way to go today with their higher sound
quality and the recent spread of inexpensive CD burners.
Q. Any tips on going into the recording studio
to record a demo?
A. Be well rehearsed. You don't want to spend your money
rehearsing in the studio. Know what you want, and don't let anyone
change your mind about your music or your lyrics. Another item to
watch for, if your charges include tapes or other recording media, be
sure when the session is over that you take all the recorded material
you used with you. If the studio is using a computerized recording
software, be sure to ask for the disk with all the takes, and have the
studio remove your session from their hard drive. Why all this
caution? Because studios have been known to keep all the tapes and
reuse or exploit an unsigned artist's voice without permission.
Q. What other precautions should artists take
before sending out
demo packages?
A. Before you send in a package to a major record company,
exposing your material to the world, all your material should be
copyright protected. Also you should be represented by a manager,
entertainment attorney or an indie record company. If you don't
have a manager or legal counsel, you should seek one out. Be sure
you check him or her out; you don't want to be stuck with someone
who can't help you. That's as bad as having no one in your corner.
Q. Should the artist contact the record company
after mailing the
demo package to an A&R rep there?
A. You should give the A&R rep or indie executive two to three
weeks to a month to review your package. If you still haven't heard
back by then, call and make sure they have received it and that they
have heard your demo. If you don't come up with a positive result,
move on to another company who could find favor with your work.
When talking to someone in a record company, take notes so you
can refer back.
Q. What happens if you impress a label and they
want to sign you?
A. Usually, we will want to hear an artist perform live before signing
them to a contract. We also try and get the band or singer's
recordings radio air time and wait for feedback, which helps us
decide if we want to take on that artist. Once signed, we will look for
a major distribution company to bring out the artist's work.
Q. So, if a band or singer gets a contract
offer, can they expect to
get rich overnight?
A. Not any more, but it's not impossible. When I started in this
business, major record companies were giving huge amounts money
for signing bonuses. That soon changed, not only because of the
economy but mainly because of abuse of the money by the artists,
management and producers. The bonuses have gotten smaller, and
for the unknown artist they are given a small budget. The music
business is great, but you must learn patience and how to accept
rejections.
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