John Doe is the founder of the seminal Los Angeles punk group X, a solo artist and actor. John answers questions from our community members in the WWJDD? blog. Photo by Autumn de Wilde.

A question from Robert in Jacksonville, FL

Hello John,

I am in the process of putting a new band together with some really strong players and experienced songwriters. We all have a good work ethic and it feels like we have the real potential to create some meaningful material. I know it's tough out there to get noticed as a new band these days. Any suggestions you have for hitting the ground running and ultimately getting signed to a record label would be much appreciated.

Thanks,

Robert

WWJDD?

OK . . .  You want to be noticed? Just do EVERYTHING YOU CAN THINK OF!!! And try to think of those things all the time.  Believe it or not that's what every one big or small in the music biz does, everyday they're at work & sometimes all night long too.  Wait . . . unless you work at a major label, then like all offices, you fuck around all day & just make sure it LOOKS like your busy.
    Write the best songs, learn to play the best you can (don't forget original style helps but not totally necessary these days), find the best gigs or any gigs, tell as many people as you can think of, make demos & send them to record companies (a contact always helps), make friends in the music scene in yr town, if there is none, then move, make a My Space & Facebook page, a web site, get yr friends excited & throw a party. the list goes on forever but you get the idea.  In my experience when a record or artist "takes off" (and there are hundreds of definitions of that) it's because they did everything & three or four elements or people actually worked. I believe that if yr truly talented, have a little ambition & not a complete social wash-out, you will get noticed.  Many of my friends debate this w/ me but I still believe it because I've seen it happen too many times.  It's all pretty basic.  Just take a shot, cross yr fingers & work as hard as you can at EVERYTHING. I know that sounds like the Prodestant (sp?) work ethic but that's the way things seem to succeed.  Though it seems like it, this isn't just drudge work.  It needs creativity & inspiration too. 

I hope this helps, good luck
and as always, thanks for writing
JD

If you have questions for John Doe about music, the music business or life feel free to email them to wwjdd@knowthemusicbiz.com.

For more information on John Doe check out theejohndoe.com or YepRoc.com .

 

 

 

John Doe is the founder of the seminal Los Angeles punk group X, a solo artist and actor. John answers questions from our community members in the WWJDD? blog. Photo by Autumn de Wilde.

A Question from Pete in New York

What would you do if a drunk punk throws bottle rockets at you onstage during a solo acoustic show?

WWJDD?

It seems obvious that you have to keep yr cool and fire back some choice words to the dummy who wishes he had enough talent to be on stage rather than firing bottle rockets from the audience.  As Peter Case once told me, "Don't lose yr cool, man. If you lose yr cool, you lose yr power."  Occasionally this kind of disturbance can save an otherwise dull show, it's happened to me.  Where the show goes along, good but nothing special. Then some drunk start mouthing off & you've got immediate conflict & something memorable. Just go w/ it, be witty & don't get ugly.  If it comes to that, hopefully there is some security guy to "throw the bum out" or you might just have to put up yr dukes, this if course is a last, & ultimately never satisfying, resort.  And handling these things (stupid people or equipment failure) just gets easier the more time you have to deal w/ them.  Keep yr cool & no one will notice. If they do, they just think how cool you are.

good luck, I hope this helps
and as always, thanks for writing
JD

If you have questions for John Doe about music, the music business or life feel free to email them to wwjdd@knowthemusicbiz.com.

For more information on John Doe check out theejohndoe.com or YepRoc.com .

John Doe is the founder of the seminal Los Angeles punk group X, a solo artist and actor. John answers questions from our community members in the WWJDD? blog. Photo by Autumn de Wilde.

Hello John,

I have been writing songs for some time now and it's been a dream of mine to record my own record. The local recording studio near my house gave me a handwritten price quote of $2000.00 to record, mix, master my recordings and cover the costs of a couple of session musicians. It seemed like a lot of money but the people there seemed to know what they are doing and I wanted a professional recording of my material. Now that the recording process is over a couple of things happened that have left me confused and upset. The person in charge at the studio helped me with melodies on two of my songs, now he says he wants 25% ownership of those songs! He never told me that his help would give him part ownership of MY songs. If I had known that I would have stuck with my original melodies. Additionally he is now asking that I sign a producer agreement that gives him 3% points on my sales. Shouldn't these "agreements" happen before I started recording, not after? I have already paid for the recording session in full but now he is won't give me the masters until I sign his agreements. Are artists always treated this way by people who offer "help" in the music industry? What would John Doe Do in this situation?

With much respect,

Amanda

 

WWJDD?

Hey Amanda,
   I'd love to kick this guy in the shins for you!
First of all, you have ALL my sympathy. This is totally unprofessional & YES these agreements should be negotiated before the session.  The first thing I thought of was how can you break-in or bring a couple of big, nasty goons & physically take back yr tapes.  Then of course I realized there are no tapes. I suppose you could do that to his computer but . . . doing 1 to 3 @ the State Pen for breaking & entering & robbery probably isn't that attractive. One way to avoid this is to use your own hard drive, possession is "9 tenths of the law".  BUT what's done is done.  You could get a lawyer but that means more money & too much time & effort.  You probably should make a complaint to the "Better Business Bureau" & tell anyone in yr town who cares, what a shitbag this guy is.
  Now, to solve yr dilemma. Even though what he's asking for should have be settled before recording, a producer's fee isn't uncommon.  Standard is 3% but that applies to established producers.  Offer him a 2%, producer's fee.  Regarding the melodies; go line by line & figure out what percentage yours to his melodies are used in the songs that he contributed to. That may be difficult but be generous & make yr best guess.  This way if he questions how you came up w/ the number, you will have a plan. Then offer him half of that percent of the writer’s credit, since I'm guessing he didn't write any of those words.  Also he would not be entitled to any publisher's royalty.  If none of this is acceptable to him, take him to small claims court, maybe you'll get Judge Judy.
  This is a lot of wrangling for, probably, not much reward ($$) but there is always a chance that the song could get licensed to some movie or TV show & that can be big dough.  Let me know if I should dust off my brass knuckles, be tough & best of luck.
I hope this helps and as always, thanks for writing.
yrs,
JD

 

If you have questions for John Doe about music, the music business or life feel free to email them to wwjdd@knowthemusicbiz.com.

For more information on John Doe check out theejohndoe.com or YepRoc.com .

 

 

 

John Doe is the founder of the seminal Los Angeles punk group X, a solo artist and actor. John answers questions from our community members in the WWJDD? blog. Photo by Autumn de Wilde.

A Question from Christina in Half Moon Bay, California

Hello John,

I have been writingabout music for a long time, which also means I read, hear and watch tons about music. As an observer, it seems to me that so many in the media miss good opportunities to learn more about the art of and the person they are interviewing; mostly because they just don't do their research. Like a great photograph, the right question and an honest answer can tell a lot about a person without compromising their privacy. You have been interviewed a lot and appear to give answers that are honest and not canned, even when the questions are just shallow or without thought - you have the ability to shift a bad question into something intelligent. So for those of us who write about music and get the chance to interview artists, what is it really that we should be asking in order to bring out the best, not put so much burden on the artist, and tell the interesting story?

Christina

WWJDD?

Hey Christina,

  What's increasingly common is that the artist has to come up w/ "a story" to tell.  "Why this record or tour is worth me writing about?"  When there weren't thousands of records every release date, the writers or publicists used to have time to come up w/ the story or at least a direction. Telling the story behind the songs can very easily compromise your private life, especially if you're somewhat confessional songwriter.  Intuition is always the best guide for the interviewee as to how much you want to reveal. Even so, sometimes you can get tricked into saying too much. That's why many musicians & actors can be guarded during the process.
  But to answer yr question more directly; research, experience & general knowledge is obvious w/in the first two minutes.  When there's little or none, it makes yr heart sink the way a bad beginning to a first date can make you look at yr watch w/in the first ten minutes (sigh). If a writer doesn't have the time or interest, my advice is to pass it on to someone who does.  If you need the money, do a little research & PLEASE avoid general questions.  Like any good writing, the more specific, the better.  Find a couple of elements that you can indentify w/ & ask about that.  Find a few lyrics that you like. Suggest some influences that you think you hear.  Pretty obvious stuff really.  But the best ones have all that & turn into a conversation.  Lastly, it's also precarious for the interviewer to talk too much about their experience w/ the band. "Back when I was 14 I saw you guys . . ."  OK I'll stop now.
hope this helps
and as always thanks for writing,
JD
 

If you have questions for John Doe about music, the music business or life feel free to email them to wwjdd@knowthemusicbiz.com.

For more information on John Doe check out theejohndoe.com or YepRoc.com .

John Doe is the founder of the seminal Los Angeles punk group X, a solo artist and actor. John answers questions from our community members in the WWJDD? blog. Photo by Autumn de Wilde.

A question from Bonny in Austin:

 

Hi John,

I have been relentlessly asking everyone I come in contact
with this question as I finish CD#2, recorded with the
magic of Pro Tools and a gaggle of big talent from here in
Austin. (at Jumping Dog Studio w/Ron Flynt)

The question I have: how important is it to spend $175
dollars an hour to master, compared to, say, $250? I
realize you can't actually answer that question but would
like your opinion on the merits of a well-known and
obviously talented master-er as opposed to a less-famous
and/or experienced one. It seems with the whole new "music
is free" and internet downloading vs. vinyl and discs, what
level of perfection is actually appreciated/necessary in
the end? I'm also wondering if as technology is making
mastering capability more available perhaps the price might
be coming down. I'm not a cheapskate or unwilling to spend
money on my art, but just trying to get the facts.

I am not exactly professional, I write and play locally
because I love to, and it keeps me (sort of) sane and
hopefully someday someone with a wonderful voice will cover
one of my songs. Or rip me off and get me some publicity.

Thanks for your response, and I loved the Austin show! I
feel very honored to have shaken your talented hand.

Bonny

myspace.com/bonnyholmes

WWJDD?

Dear Bonny,

First, don't let anyone rip you off! ! ! Hopefully someone will cover one of your songs & you'll be rich, famous & satisfied.

There's no doubt that mastering can make a good record, great & a mediocre record, really sing, so don't under estimate it's value. On the most basic level it puts your record through the best bass, treble, mid-range EQ you can imagine, and then saves that marriage. You can make a record better w/ good mastering, you can't save a badly recorded or conceived record. Regarding mastering choices, you simply should match the cost of mastering w/ the cost of the project. Most mastering labs have mastered more than a few records. Listen to them & make you choice based on the sound & how it relates to your record. You wouldn't master a hip-hop record @ a place that usually does country records, simple eh?

If you recorded on pro tools, I would recommend using the pro tools mastering program w/ the engineer who recorded it and save you self the significant cost of mastering. I've found the program is reliable & does a pretty decent job. If it's still doesn't make the record sound as you thought it could, then take it to a mastering lab that masters records similar to yours.

best of luck
and as always, thanks for writing,
JD

If you have questions for John Doe about music, the music business or life feel free to email them to wwjdd@knowthemusicbiz.com.

For more information on John Doe check out theejohndoe.com or YepRoc.com .

 

 

 

 

 

 

John Doe is the founder of the seminal Los Angeles punk group X, a solo artist and actor. John answers questions from our community members in the WWJDD? blog. Photo by Autumn de Wilde.

A Question from Liv in Milwaukee

John, John, John,

(big fan here)....I have seen you countless times,and spoken to you a couple as well, and although I quit 'the hooch' years ago, I still somehow manage to turn into a blathering rambling puddle most of the time when faced w/speaking directly to people I admire,,,So,uh, I'll do my best*

 I am 37 now, and this year marks 20 years of playing in bars/nightclubs/and venues for me. I am embracing the word 'seasoned' now more than ever. I've had two record deals, successful in their lessons to me, unsuccessful in terms of exposure regarding my music. I keep going, keep going, keep playing, practicing, writing, dreaming. I think positively, I think negatively, I've gone through love /hate and back again w/what this means to me, and why I still am willing to occasionally play to nearly no-one, only for gas money.

So I guess I'll end this with a sort of question...Do you believe that if what you do is good enough,(for lack of a better term) that it will be noticed one day?

Or, Is the music industry so different and fucked up now, that it's more of a privilege to in fact not be noticed?
Or...Does god, or the powers that be, hear us and our songs, thus paving the way to a pretty kick ass afterlife?? (half kidding)

It would be great to hear what you say

Liv

www.myspace.com/thedarkhorseproject 

 

WWJDD?

 

Hey Liv,
   Unless you are lucky enough to find just the right balance of the music/career/life combination, everyone has similar questions.  Let's say you're Debby Harry (I see she's on yr "friends" list) & had a great artistic run, part of a seminal scene, changed peoples' lives, had bonafide hit songs & now still loves music & wants to keep making it. Does she want to sing, write songs, record, play live OR does she just want to be famous & re-capture the "salad days"? Probably some combination of both.  At this point in her life, it's her attitude that will determine how rewarding making music is or is not.  DISCLAIMER ! ! ! I have no idea how or what Debby Harry does w/ her music, life or mind.  I'm just using her as an example.
  There are times in everyone's career, artistic or not, where the question "What The Fuck?" is all you can think.  Sssooo . . .  I guess that's the question you have to answer.  There's no doubt that a lot of bullshit happens in music on all kinds of different levels.  Do you love making music and that whole process or is how it's received, by whom & what you get paid more important?  I'm not judging which is better.  People do things for all kinds of reasons & it really doesn't matter why.  Personally, I'm not all that anxious to walk into another ammonia-stinking bar @ 6 PM to do sound check, but I have to look at it from the perspective that if I'm lucky I'll have the opportunity to do this for another 15 + years.
   In the old days (like up 'til the 50's) people just sat around each others' houses & played songs w/ their friends.  That is a great thing that I wish I did more of & can be even more rewarding than having to be validated by an audience.        
Hope that's of some help, best of luck solving an ancient dilemma & as always
thanks for writing,

JD

 

If you have questions for John Doe about music, the music business or life feel free to email them to wwjdd@knowthemusicbiz.com.

For more information on John Doe check out theejohndoe.com or YepRoc.com .

 

 

John Doe is the founder of the seminal Los Angeles punk group X, a solo artist and actor. John answers questions from our community members in the WWJDD? blog. Photo by Autumn de Wilde.

A Question from Scott in Maine

Hi John, First off I'm a huge fan of X, and your solo albums/CD's.
'Forever Hasn't Happened Yet' is a favorite.
Now, I'm a drummer and have only been included in songwriting
percentages on 2 or 3 occasions by generous and realistic, non
egocentric individuals. The rest of the time I'm told to forget it,
you're just the drummer. I feel the drums add a vital and even
essential part to most songs you hear on the radio, and beyond. Why
has the system been set up to not include drum parts ?
Realistically, the drums are almost always 'Written' by the drummer
with his past experiences that led him to a particular session/gig or
whatever. I have been playing most of my life, gigging and recording
for 25+ years. Now, again, I'm in a dilemma. I was verbally told I
would be cut in on publishing/songwriting for a debut CD, then after
recording is over, I'm out. We mutually parted but no mention of
previous verbal agreement. (with two members). They want to pay me a
small fee for the recording, and that's it. Any suggestions?

 

Sincerely,

Scott Mills

WWJDD?

Hey Scott,

Hmmmm . . . this is somewhat of a moral dilemma.
First, I would suggest that you write words, music & melodies; that way you would be assured your writing & publishing percentage. That's sort of the legal bottom line.
Many bands, early on, split writing & publishing money to keep all the band members afloat. When they're more established, the non-writing members forego their cut because the gig money, recording fund, whatever, is paying their bills. IF, you were told your contribution was important enough that you deserved a credit, then they should keep their word & you have every right to speak up & demand your share.
I'm quite certain that, legally, even if an instrument has the "hook" to a song; they are not considered a writer and do not share that credit or publishing. Unless the writer gives them a share. We all play our instruments & develop the song the best we can. That's why people get paid for recording sessions and if they're great players, the pay reflects that ability or creativity. But if there was no structure (melody, words & music) then there would be no song to contribute your part to. For instance, would Greg Leisz be considered a writer for playing his amazing pedal steel parts on kd lang records? There were X songs that I wrote entirely but included Exene as writer because she either edited or inspired the song. On the other hand if it's a "jam" that turns into a song, I would say that everyone playing that jam deserves a writers' credit & therefore publishing.

Hope this helps. thanks for writing & as always,

best of luck,
JD

 

If you have questions for John Doe about music, the music business or life feel free to email them to wwjdd@knowthemusicbiz.com.

For more information on John Doe check out theejohndoe.com or YepRoc.com .

 
 

 

 

John Doe is the founder of the seminal Los Angeles punk group X, a solo artist and actor. John answers questions from our community members in the WWJDD? blog. Photo by Autumn de Wilde

Question from Kathy in South Carolina

Hi JD,

I am a songwriter in an emerging band and we are about to complete and release our debut cd. What is your take on sharing songwriter royalties with others in the band? Also, how does one decide which performing rights organization to join these days? Do you have any practical tips and insights on choosing between ASCAP, BMI, SESAC, etc? I have read that you can contact each of them and decide based on options and relationships you develop, but I have not approached a particular one yet.

Thanks for your guidance!

Kathy Osborne

From the band South85

www.south85.com

www.myspace.com/south85band

WWJDD?

Hey Kathy,

You share the songwriting credit any way you see fit. Either work done, like melody, chords or lyrics contributed or situation inspired, being there & essential to the process. It doesn't have to be 50/50. Always do what your intuition tells you is right. You will probably do the right thing & won't have regrets. You could say all your songs were written by Jesus or your mommy if you wanted but then they would collect the royalties.

I used to be w/BMI, mostly run by broadcasters i.e. radio & the like. They were competent but sort of hands off, didn't really hear from them personally. I switched to ASCAP because it's run by songwriters & composers. Also someone I've known for a long time works @ ASCAP & I get a bit more attention that way. That only applies to an established writer but anyone can have a champion in any company. By which I mean if you meet someone at either society who really gets what you write then work w/ them. It appears that ASCAP collects a bit more money than BMI but I'm sure someone else might say the opposite. Both are non-profit & do a good job. I don't know any writers who use SESAC so I can't really comment on them but they definitely are the lesser of the three.

best of luck,
Jd

If you have questions for John Doe about music, the music business or life feel free to email them to wwjdd@knowthemusicbiz.com.

For more information on John Doe check out theejohndoe.com or YepRoc.com

John Doe is the founder of the seminal Los Angeles punk group X, a solo artist and actor. John answers questions from our community members in the WWJDD? blog. Photo by Autumn de Wilde

Question from Chris in Austin, TX

Hello Mr. Doe,

My name is Chris, and I am a struggling hack in Austin, Tx. Recently I have been involved in extensive songwriting with my chums, and the notion of publishing has come up repeatedly.

Here are my questions:
Is it worth the effort to wrestle through the stacks of paperwork required to maintain complete control over your works, or is it viable to give a publishing house 50% of your money to have them do the legwork?

If you were in my shoes... with a really strong band, really strong material, financial wherewithal and a vehicle, with no exposure outside of Austin, how would you start your assault on the masses?

Thanks for any advice.

Sincerely,

Chris B. Ware, Owner
Branham Amplifiers
Austin, Tx

our band: www.myspace.com/jeremynailmusic

 

WWJDD?

Chris,

Yes it is worth it to control the publishing. If you read any material on the subject (something every musician should do but most don't), they will all say the same thing. You don't have to worry about it until you release something & the publishing royalty actually matters. Some record companies don't even pay "mechanical" royalties any more, but they all are supposed to. If you are completely inept at working through the paper work you can register your song through a publisher as an administrator who normally takes only 10%.

First I question your phrase "assault on the masses". How about trying to create a small buzz in your own town? Continue to build your fan base in Austin, using all the usual means to do that. Play as many shows as possible. Stay away from small town politics. Try to get opening slots on shows w/ touring/national acts. And above all, make friends w/ other bands/singers etc. As you may already know this biz is built on relationships w/ others. Having strong attendance is the only way you'll have a chance at getting a booking agent, which is the best way to get out of town. Obviously you can start by playing in cities nearby. If you have some sort of buzz in more than one area, so much the better.

good luck always. life is struggle.

Yrs,

JD

If you have questions for John Doe about music, the music business or life feel free to email them to wwjdd@knowthemusicbiz.com.

For more information on John Doe check out theejohndoe.com or YepRoc.com

John Doe is the founder of the seminal Los Angeles punk group X, a solo artist and actor. Photo by Autumn de Wilde

OK, admitting that I’m a bit of a luddite - I accept that computers are my friend and fully embrace their benefit. However, when it comes to music there is a vast difference between marketing & creativity. When you see a band that has designed their logo-website-tshirt-wardrobe-marketing plan, before they’ve written four or five great songs, and I use that term loosely, you know something is rotten in Denmark.

First, let’s talk about songs. That can be pretty much anything as long as it has a beginning and an end. For lots of good songs the middle is not so important but for great songs, I think it is. I have my own preferences but won’t engage in the debate on what’s better, or more valid, as a song. If you communicate to an audience in person or in some alternate-virtual reality & don’t even have a chance of pulling that off on stage, it doesn’t matter. DJs, et al are included in this communication. Again, I have my own preferences but I recognize there being many ways to skin or get that cat outta the tree. BUT, it’s hard to make an argument for something succeeding if it doesn’t“speak” to some group of people. For my money that is where a musician or anyone in music, must start. Being truthful in some fashion or speaking some truth to others. Whether you’re out to change the world, baring your soul, reflecting your culture or telling a tale, there has to be some truth, even if it’s a lie.

You can make a case for, & give countless examples of, people becoming popular in the indie world on the basis of their talent, determination and ability to communicate to an audience. Anyone from Elliott Smith, Feist, Guided By Voices, Sufjan Stevens, Neko Case, Yo La Tengo, The Sadies to countless underground punk rock & jam bands. Even though I’m less familiar with & interested in the last two groups, there’s no denying their success in carving out a niche and career for themselves. I’m convinced that one of the main reasons for this is quality and making something that means something to others. This applies whether you’re a DJ, a jam band or the next Willie Nelson, wait a minute Willie Nelson is sort of a jam band now-a-days . . . you get my point.

So, I suppose this brings us to marketing. I won’t deny that a great photo or ingenious advert can go a long way in grabbing attention and even establish someone. But what really works in marketing is after the fact and the fact is quality of whatever it is that you create. You still have to look good or weird or the same as someone else or just project what ever it is that made you who you are. People who have longevity come to marketing ideas relative to whatever project they’ve just completed. My experience has been that you, as an artist, can and should have as much of an idea as to how to promote & market your records as anyone else, assuming that you don’t just get in other people’s way. Ask yourself the question, “What’s important about what we just made?” Maybe in the old days all an artist had to do was sing good, look pretty & leave the business up to the company. Not any more and if you have been living under a rock and don’t use DIY methods this is how people become dissatisfied with their record companies. They leave too many of those decisions to someone else & then don’t like the result. This is something to establish at the beginning of the business relationship, which brings us back to the beginning of the discussion...

Write a few great songs & figure out what your MySpace page will look like later.

John Doe – Oildale, CA 9/29/07

John Doe will have a regular blog on KnowTheMusicBiz.com entitled What Would John Doe Do? (WWJDD?) where John will answers questions from community members about music, the music business or life. If you have a question you would like John to answer in his blog please email it to: wwjdd@knowthemusicbiz.com

For more information on John Doe check out theejohndoe.com or yeproc.com