Some guy, claiming his dad works for Geffen records, approached me last week before a show. He explained that his dad sends him text messages from L.A. to scout out bands in Seattle. Next, he launched into a series of questions that were supposed to impress me (or intimidate me): "How soon could you guys be on the road? Do you have day jobs? Do you have a music attorney? Can I get his card? Do you have a vehicle to travel in? Can you take two weeks or more off of work? You are the lead guy, right? How soon can you talk to your band about this? You're the main guy--the singer--right? How about a demo? You guys have a demo?"
When I could get a word in edgewise, I asked if I could get this "sending us on the road" business in writing. Frankly, the guy was being an ass, taking shots at our "homemade" CDs and apparent lack of qualifications (before he'd even heard us play!) in what may have been a way to scam some free music. Even if he was telling the truth, I can't think of a poorer time in history to get involved with a major label.
With music sales tanking--and in the interest of earning quick bucks--the labels have all but given up on artist development. Bands used to be allowed to grow over time, to develop an audience and mature. Nowadays, if the powers-that-be can't squeeze a profit out of your band in one album (or less), they will either a) be fired or b) drop you like a sack of hot sh*t, leaving your band to foot the bill (the total of which will likely be a dollar sign followed by 5-6 digits).
I'll leave the recording industry rants up to those who do it better, but the truth of the matter is this: the clowns running the business are so far removed from what's going on in the world of music that they've dropped half their bands and fired the expendable riff-raff working for them (i.e., the young people who truly love music and are familiar with that high-fangled, technology stuff), all in a desperate bid to impress their [insert media conglomerate] bosses, trying to look like they're still making money while protecting their multi-million dollar salaries.
But I digress...
To my ears, there's a total lack of modern commercial potential in the music I write (The Dark Pioneers ain't no Nickleback, folks!), so I'm not sure why this band, of all bands, would even make a tiny blip on Geffen's* radar. As for our unlikely talent scout: he was never seen nor heard from again, likely long gone before he saw us play a note. I can't say that I'm heartbroken, but hopefully he's enjoying that free CD, wherever he may be.
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*NOTE: Geffen is the home of such artists as Counting Crows, Mary J. Blige, Lifehouse, Ashlee Simpson, and Snoop Dog. All of which rate as my top 5 artists of all time. (Right after Michael Bolton and Yanni.)
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