First of all, I just want to quickly say how great I think artistweekly has been and I know will continue to be. I like the ideas of community response and criticism to songwriting, both positive and negative, as well as the forums where we all can communicate on a platform which might not have been otherwise possible without artistweekly.com.
That being said, I have a few questions specifically for our judges.
I know that you all represent a wide variety of niches in the music industry, so it would be really interesing for me, and I'm sure others, to hear varied feedback.
We've all been told that, typically, to get your songs heard by the people we all want our songs to be heard by, we must gain a rapport with a music lawyer or manager or publicist or whatnot to get a foot in the door. Nashville, New York, L.A. and many other places are all packed full of aspiring musicians and songwriters dreaming of getting that chance. A kid like me stuck in northwest Ohio probably has no chance compared with those who are there in the belly, gutting it out. (It's not that I would rather be here than there, but life happens.)
But some songwriters, singers, musicians have trouble making those connections. Maybe it's location. Maybe it's fate. Maybe it's finances. For whatever reason, some have to seek alternative routes - some productive, some not. The greatest motivator though is the hope that someone, somewhere will embrace the work(s) of art that they have created.
So, judges, I guess one of my questions is this - how can someone truly stand out? I know that a great song can do more than any amount of trying. If a song is amazing, it will take off. I'm sure an industrious work ethic, combined with a polished image and top-notch material is the ticket - but would you prefer someone truly unique, or someone whose style might be somewhat familiar and could be almost immediately accepted by the masses? Or should it be a good mix of the two?
I have always had this great fascination with artist discovery. The AW community has really helped me to discover new talent, if for nothing other than my own enjoyment.
Thanks for taking the time to read through this. I truly appreciate it. - Brad
After I read your post, I thought of a young man named Jason Raize that I worked with when I was doing artist management. He came to mind because I was thinking about the one artist I knew of that I would hold up as the epitome of the perfect blend of talent, drive, enthusiasm, and sincerety. He was the first performer to play Simba in the Lion King on Broadway and he could do it all. When I met him, we were working with Desmond Child, putting together Jason's debut album for Universal. The album never got released -- a shame, but not uncommon. Fortunately, Jason was undaunted, and since he was only 20-something he'd have plenty more chances. This was a kid that oozed star-quality. Everyone who met him knew it. It is almost impossible to define, but very easy to see.
I hadn't thought of Jason in a while. I used to search his name on the web all the time, just knowing that someday he would be doing something big. He'd keep getting knocked down and keep getting back up. Well, even the best don't always get back up. Today I googled his name and found out that he commited suicide two years ago.
I guess this doesn't really answer your question, or maybe it does. Either way, I can't think of much else today.
I hadn't thought about Jason Raize since The Lion King first opened on Broadway. Back then my family and I (through the good fortune of my mother being a travel agent/tour guide) used to go to New York every year for Thanksgiving, and we'd get to see one show each time. When we saw TLK it was a matinee, so I didn't get to see him perform; but I'd seen all the TV appearances and owned the soundtrack. "Endless Night" still gives me goosebumps.
When you mentioned his name, I realized how long it had been since I'd thought about any of that, and I was thinking about how cool it was that you'd worked with him and was all set to ask you questions. I wasn't prepared to read the next part.
It really casts a shadow on the day to find out that someone so young, handsome, and immensely talented threw in the towel when he had so much going for him.
Brad, you asked an interesting question about style: "would you prefer someone truly unique, or someone whose style might be somewhat familiar and could be almost immediately accepted by the masses?"
This is a really tough one to answer, and it depends on who you ask. An A&R guy looking to move some units is not going to take on a banjo/electronic drums/saxaphone ensemble to sell to MTV's audience. But, if you have a banjo/electronic drums/saxaphone ensemble that is undeniably talented, has a grass-roots following, enthusiasm, and drive, well maybe an A&R guy at Sony will sign you to a deal, like the one that Bela Fleck and his banjo/electronic drums/saxaphone ensemble signed.
I guess the style question was not really a good one BC. My apologies. I mean commercial success is based on appeal, right? If a band or artist is truly good at what they do - it'll get noticed. It's like that with anything I guess. There's no real control group here with which we can compare.
There are so many niches out there - I guess my advice to anyone asking it (although not many people do that...) would be to really find what it is that sets you apart in your niche and focus on that. Make that your driving factor.
I know that if I were looking for an artist or group, the one thing that would have to stand out to me, other than superb musicianship, is how good of a job they do at being who they are. That sounds simple enough in a way, but it can be difficult I guess.
I suppose it's that X-factor that you can't learn or copy or even produce. I think it just has to be there. Like magic almost.
Brad, I just read your post and had to respond, I hope you're still checking it out! I am not a record producer or a judge for AW. I am just a poor sideman (keyboard player) that works with writers during their live performances. I have played pro most of my life, making a living, (if one can call it that), only from playing. I occassionally work for a successful Ohioan, from Portsmouth, named Rick Ferrell who has written two #1 hits and has cuts with many others. As most writers do, he came into the belly of the beast just as your gut is probably telling you to. I think, there is no replacing proximity, You've got to go where you will be heard by those that matter and those that need you, such as singers, (artists, if you will). Your question should be which "belly" best gives you the position to be in for your style and niche. Once you get there, treat it like a job, because it is a job! Work hard, build a resume or catalog, (if you're a writer), knock on doors, take names, don't take no, keep on and find a way to be helpful for someone who needs what you can do. Just try! If and when you hit on something big, you'll be financially free to live where you want. But I think, once you find out how artistic communities really work, you'll either be totally turned off or totally turned on! In either case, therein shall you find the answer to your question, probably sometime in your 40's! LOL...just kidding about that last part!
P.S. and by the way, ignore people who give you inspiring stories about suicides simply because that's the best they could think of!
P.S.S. If you want to know more about Rick, he's at WWW.myspace.com/Bluefieldband
