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Singer-Songwriter: 5 Ways To Improve Your Chances of Success

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by Larry Butler

Singer-Songwriter

Singer-Songwriter

We’re all familiar with the standard rules given to those who think they want the fame, glory and money that comes from being a successful singer-songwriter––work hard, practice, smile, be nice to people, etc. In the 40 years or so that music industry veteran Larry Butler has worked with some of the most successful artists in the business, he says he’s found a number of pieces of advice that you’re probably not going to find in those well-worn lists. Here are five taken from his new book The Singer-Songwriter Boot Camp Rule Book: 101 Ways To Improve Your Chances Of Success. None of them involve smiling.

 

1. Be a solo artist or a duo, at most. There’s way less overhead and you never have to attend any band meetings.

In addition to being less expensive to mount a career (vis-à-vis a band), at every step along your uphill career path you are going to have to know how to perform and entertain in some kind of solo, acoustic, stripped-down, bare bones situation and sometimes at the drop of a hat.

For instance, to get the attention of radio programmers, music supervisors and ad agencies you’re going to have to set up in a solo acoustic setting and perform in office break rooms and convention/seminar showcases. Your goal is to be better than the singer-songwriter who was performing in their conference room the day before. Is your show way more entertaining? It had better be or you lose out.  And you can’t be just good or even very good––you have to be GREAT!

 

2. Get your own vocal mic. God knows where the club’s mic has been. And stop hiding your mouth behind your mic. Stop it!

Most clubs and sound companies use Shure SM58’s for vocals––they’re the standard of the industry. The trouble is that to get the SM58 to sound good you have to sing directly into it and hold it as close as you can to your mouth. But then your mouth is hidden, isn’t it? And your mouth is one of the three ways of communicating with your audience (the other two being your eyes and your hands).

You can change that! Modern audio science has developed a microphone design that allows the singer to sing above and across the top of the mic by holding it at a 45-degree angle at the chin while preventing feedback and other noises from the stage. In fact, it doesn’t work that well when the singer attempts to eat the mic!

It’s called a hyper-cardioid dynamic mic and it comes in many styles, sizes and price ranges. I prefer the Telefunken M80 for high pitch voices or M81 for lower pitch. Try them both and see which one you prefer.  Sound techs don’t care if you want to use your own mic at a show; in fact, it’s usually a sign of a professional, and they welcome that any night.

 

3. Develop a stage personality with an attitude and a different way of looking at things. Show it off in your between-song patter.

Presenting your musical work in an entertaining manner is the presentation of personality. First, you need to have one––a personality, that is. And the best place to present that personality is in your essential between-song patter. Heretofore, you’ve probably not rehearsed anything to say from the stage and decided to “wing it.” If you’re going to do that, why even bother to rehearse your songs? Why not “wing” those too? Exactly.

I believe that the between-song patter is at least as important as your songs (and perhaps even more entertaining) and needs to be presented with the same amount of thought, preparation and rehearsal as your songs. Entertaining patter leads the audience to a better understanding and appreciation of your song and of you.

The idea here is to not only shed some light on the songs, but also how you FEEL about the songs, and the world, and relationships, and music, and whatever. You need to generate a reaction from the audience and not be afraid to step on a few toes. You need to present a relevant, consistent and personable attitude.

 

4. Lose any appearance of pride on stage, even to the point of looking foolish. Be vulnerable. People love that.

I don’t mean like the pride you take in your musical skills or professional standards. I’m talking about the pride that everyone hides deep in their ego that prevents them from making fools of themselves in front of other people. But there’s nothing wrong with looking foolish on stage––as long as it’s scripted and rehearsed and delivered with a wink. That’s entertaining!

The thing you have to get over is your reticence to doing something foolish on stage. Show your vulnerability by letting that foolish pride go––all successful entertainers have done so. Being vulnerable on stage is the best way to emotionally connect with an audience. If you can’t (or won’t) do that, then you are doomed to keep performing at the level you are now.

 

5. Studies show that creative artists have more emotional problems than the average person. Solution? Seek and accept help.

Creative artists’ lives are, more often than not, ruled by their emotions, which take undue precedence over rationale, reason and reality.

Drugs and alcohol are thought to be the shortcuts to creativity. But they’re also the express lanes to dysfunction. And don’t think you’re immune––you’re not. It’s not about will power or common sense, even if you had either one to begin with.

And addiction goes beyond the poster children of alcohol and drugs. There’s nicotine, caffeine, antibiotics and Afrin, for instance. They’re all good in moderation, but moderation is not a common attribute of singer-songwriters and artists.

There are solutions and there is help. Search out someone who has suffered through many of the same problems as yours and could offer some suggestions. And when help is offered, accept it. It’s the only way out.

[Permission Reprint by Music Connection Magazine]

For more information on the 14th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

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Help! I’m Losing My Voice!

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Help! I’m Losing My Voice!

by Roger Burnley

Help! I’m Losing My Voice!

  Help! I’m Losing My Voice…

Respected vocal coach Roger Burnley has plenty of first-hand experience with voice maladies and he’s got essential advice for you on how to meet these challenges.

How can I save my voice?…

Many years ago, that was a question I had, because I suffered with severe vocal problems. When this was occurring, it was when I was only doing a few sets per month of about 45 minutes in length. I didn’t think that was very much time, so I should not have been losing my voice, getting hoarse, or having pain in my throat after a show. I knew in my heart that if this continued, I could never expect to tour or even do more than one show in a week! You see, after each show I would not even be able to speak the next day, let alone sing.

I was so frustrated that I began looking for help in any place I could. I went to many different vocal coaches, but none seemed able to even identify the problems I was experiencing. They couldn’t give me anything to correct it. As fate would have it, I happened to stumble upon a seminar on vocal health that was offered by an ear, nose and throat doctor in Beverly Hills, CA. It was a free seminar, and since I was desperate, I thought it might be a good idea to attend. The expert was Dr. David Alessi. He told us that he was doing this because he had worked with so many stars in music, acting and public speaking and saw first-hand the devastation that poor vocal habits could inflict on the voice––and these can end careers if they are not corrected.

At this point, I had begun to discover many things about the physiology of the voice, or how the voice is supposed to work. I struck up a conversation with Dr. Alessi, who was impressed enough with my knowledge to offer to take me even further. He began to refer some of his patients to me who had experienced vocal damage and were in need of rehabilitation. Most times, the vocal problems could be corrected with surgery or drugs, but those solutions might only be temporary if the patient does not change the vocal habits that caused the problem in the first place.

When a new client came from Dr. Alessi, they would come with a letter that described their condition. The letters were written in medical terminology, which I did not understand at all. Now this was well before the resources we have now on the Internet, so I had to go to the library to research these terms so that I could understand them and come up with an individual plan for each client.

One day, I received a client from the doctor who had been diagnosed with spasmodic dysphonia. I had someone in front of me who had completely lost their voice and could not speak. Now the real work began. I wanted to know how to rejuvenate the voice and keep it healthy.

I learned some critical things. There are muscles that cause the vocal cords to open and close for singing or speaking, and if they are not operating correctly, it can lead to major vocal problems. The great news is these habits can also be changed.

The above diagram gives you a visual idea of the workings of the voice. It not necessary to understand all of this, but it is helpful to see where the vocal cords are located. Imagine, beneath them, the muscles that cause the cords to open and close. It is possible for those muscles to lose their memory or simply forget how they are supposed to operate. This was the cause of the spasmodic dysphonia mentioned earlier.

These are extreme cases, but it is the same cause of other vocal problems I have seen, including fatigue after singing, loss of vocal range, hoarseness and sore throats. I have also seen that many allergies, as well as acid reflux conditions, can be related to poor vocal technique.

An important thing to consider is that every voice is different and unique, so any adjustments needed to maintain a healthy voice must take into consideration the specific techniques and vocal production of the individual. Some people have thinner vocal cords. Some people have thicker vocal cords, which will cause their voices to be lower in pitch but can also present other problems because. There is always a solution.

In the diagram above, you can see that the sizes, shapes, thickness or thinness of any of these structures are all individual and therefore must be adjusted to the individual’s body for proper vocal production and maintenance.

One of the biggest obstacles to maintaining vocal health is the use of the swallowing muscles while singing or speaking. Most people who are having vocal difficulties will discover that they are engaging these muscles.

To see if you are doing this, first locate your swallowing muscles by putting your thumb under your jaw and swallow. Now try to speak or sing with your thumb in place and notice if they are coming down or engaging. If they are, you might have just located a major problem for you.

I have found that over the years, retraining the voice with exercises to eliminate the use of those muscles has resulted in my clients no longer getting hoarse or needing to cancel shows. They also have less frequent colds, and in many cases their instances of acid reflux decrease. Additionally, they regain much of the range they thought had been lost. The biggest thing is they begin to feel much more confident in their performances, and know they will be able to sing for the rest of their lives.

 

[Permission reprint by Music Connection]

ROGER BURNLEY is a vocal, performance and life coach. He believes that everyone has talent and ability needing to be discovered and developed. He guides his clients to gain vocal control, freedom, and confidence. Many of Burnley’s clients have gone on to achieve major success in the entertainment industry. Visit his website at http://rogerburnley.com/

For more information on the 14th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

 

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Getting Out of Your Comfort Zone to Achieve Success

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Getting Out of Your Comfort Zone to Achieve Success

by Wallace Collins

Wallace Collins

Wallace Collins, Entertainment Lawyer.

Wallace Collins has experienced the music industry in many forms, breaking in as a music artist himself, and now represents numerous music artists as well as visual artists, designers, and media properties as an entertainment lawyer and intellectual property attorney.

 

In the most high profile court case Wallace was involved with, his client received the largest monetary judgment ever awarded for the use of a single “sample” in the rap song “Whoomp! There It Is”. He has written numerous articles for legal and trade publications, Billboard magazine, Entertainment Law and Finance and The New York Law Journal, and has appeared on many national television and radio broadcasts including Court TV and Hard Copy.

While it seems like Wallace had an easy road,  as the cliché goes, “looks can be deceiving”.  What first seemed like a monumental failure turned into a greater passion for life and ultimately, greater success.

Here’s Michael Nova’s inspiring interview with Wallace Collins…

 

Wallace, before becoming an entertainment lawyer, you were an artist yourself. Can you please share with us how you got your start and how you were able to get discovered by your first record label, Epic Records?

As a young teenager I was an avid songwriter inspired by The Beatles like so many others at the time. I formed bands to be able to perform my songs for an audience and to be able to record my songs.

It was a different era then where you recorded on a small cassette player at home then rehearsed in order to book time and record in a formal recording studio. We would save up what we could for months to afford to book a studio session and make the best demos we could.

For years we would send around our demos to record companies only to be rejected – until one day that changed. Long story short, one time we moved from a 4-track studio where we had started some basic tracks to an 8-track studio. There it turned out that our reel-to-reel master tape now had a lot more tracks, so we filled them up with overdubbed vocals.

We shopped that demo around and got interest from CAM, Jimmy Ienner’s production company that had worked with the Raspberries and he was impressed with what we had done vocally (even though we barely even understood what we were doing). That production company financed us making real masters in a real studio with a real producer, and when I was just 18, I was signed to a record deal with Epic Records.

 

And what happened after you were signed? This led to a second record deal with EMI?

Without getting into the nitty gritty of the record label shenanigans that went on in that world, our Epic single “Rock & Roll President” was not properly set-up and promoted so was not a hit.

Although it was released by Epic on the same days as Boston’s “More Than a Feeling” and Wild Cherry’s “Play That Funky Music White Boy” – so we were in good company – when our single failed to get the traction that those other artists got, we were dropped.

We were heartbroken, but CAM believed in us as a band, and me as a songwriter, and so they financed some more recordings. They pitched us to United Artists records and we were signed again.

We were in the studio working on our album when we got the word that EMI had bought out United Artists. We soon realized that this was not good news since EMI stripped most of the artists off the UA roster, including us. So again we were without a record deal (in an era when you had to have one to be viable as an artist).

 

That’s unfortunate, but it seems like many bands were caught in similar situations around that time. Can you talk about dealing with the adversity you faced as a recording artist that led you in another direction?

After the Epic deal and the EMI/UA deal I was still just 20 years old, so I kept on working at my craft: writing songs, recording, and performing live at every club and venue we could play. The band line-up would evolve with other players over the years always in an effort to make it better and better.

We played New York clubs during the week and pretended to be a cover band on the weekends to make a go of it. In the early 80s we were playing double bills with The Smithereens at The Bitter End and Kenny’s Castaways in New York city – but when they got signed and we did not, that was the straw that broke the camel’s back.

It seemed we were relegated to playing smoky clubs until the wee hours for meager pay as a cover band, and I grew to resent it. I had hit a sort of glass ceiling that allowed me to play music, but not the way that I wanted to.

As I explained to a friend by analogy, I wanted to be a painter, but instead of painting the ceiling of the Sistine Chapel like Leonardo I was relegated to painting houses – not the level of painter sufficient to satisfy my ambitions at the time.

I did a lot of soul searching while I continued to play music in the club scene.  I was not sure what to do at the time, but I knew I needed to change course. Gradually, I gravitated toward the idea of law school, something that would take me completely out of the scene I was in and let me reinvent myself and then come back to the music business reincarnated.

 

So is it fair to say that you would never have found your passion in life as an entertainment lawyer if you had never experienced the disappointment you felt as a music artist? In other words did the setback in your journey eventually lead you paradoxically in the right direction?

Absolutely, although I felt that I had failed at my life’s goal of being a successful songwriter and recording artist, and I was devastated at the time, having the courage and fortitude to make the extreme change necessary to change course at the time proved to be a lifesaver.

I was stuck on a path that was not leading me where I had wanted to go, and there were certain enjoyable elements of the musician’s lifestyle that acted as a powerful inertia for me.  However, as hard as it was to leave the laid back life of a musician living day to day, and engage in the rigors of law school, the change functioned like a rocket launch in moving me to another path in life.

Had I not been brave enough to push myself to make the radical life change, (although there was still a bit of a rocky road ahead), I would never have found the passion I now enjoy as an entertainment lawyer.

 

So then your journey took you back to law school, but upon graduation, you couldn’t find work in the entertainment industry, so you had to take work in corporate law while looking for the right opportunity to get back into the entertainment industry. Was that a difficult process for you and how did you overcome that challenge?

Although many of my fellow students did not enjoy the rigors of law school, for me it was invigorating. It was hard work, but I was motivated and I enjoyed the challenges.

After graduating there were hefty student loans to pay off and no options for me to get a job with a record company or entertainment law firm since they all wanted lawyers with experience.

I had no choice but to take jobs with corporate firms to get that experience (and pay off some of those hefty student loans). For a few years the big paychecks at the corporate law firms were somewhat satisfying (and practical), but after a while the work seemed soul-killing for me.

I had no passion for the daily work. I was heading in the right direction toward my goal, but I realized that I still was not there yet. However, since some of my old musician friends and others I had known in the record business knew I was now a lawyer, they contacted me, and I started doing some work for them on their contracts on weekends. I found my moonlighting legal work and the music business contracts (and interacting with the music people) was more satisfying than what I faced at my day job at the corporate law firm.

 

And how did you eventually work your way into the entertainment industry again?

It took some time, but the music business work I did weekends and evenings eventually led to more and more.  Friends told friends, and eventually I was getting more and more inquiries – even though I still had my big law firm “day job.”

I kept hustling as best I could to make more and more contacts in the music business, both through musicians and through other people I met that worked at record companies. I attended music business conferences and started writing articles for Billboard and other trade papers.

Eventually, I was invited to speak at some conferences.  I came to realize that if I was willing to take another risk, leave the comfort of the big law firm life and strike out on my own, the risk might bring a reward – and it did!

 

So how were you able to build up your reputation in the entertainment industry to where you were able to reach a level where you felt you were achieving the kind of success that you dreamed of?

Lucky for me, when I struck out on my own as an entertainment lawyer it was the early 1990’s – still a boom time for the record industry. CDs caused many people to re-purchase the same music they already owned on vinyl or cassette along with new music, so money was rolling into the record business.

Rap music was burgeoning, and since some of the bigger entertainment law firms were overloaded with their rock star music clients (and did not necessarily see the future of urban music), solo practitioners like me could pick up business.

Again, luck and timing played a part once I moved myself into the right place. One day an unknown artist called me for a consultation, and we ended up doing a deal with Puff Daddy’s BadBoy Records (and then more and more artists that were going to get signed to BadBoy came to me).  A year or so later the same thing happened with Jay Z’s Roc-a-Fella Records: one artist came to me to do his deal, and once I did that deal, the word spread, and then many more artists and producers working with that label came to me.

To be honest, it just kind of kept going and growing like that, and I built it up one brick at a time, until I had built up an entertainment law practice of my own. All the time I kept writing articles and speaking at conferences to it all worked to reinforce what I was doing day to day.

 

So now as you look back on your journey, what have you learned about overcoming adversity in life, as in our phrase, “fall down seven times, rise up eight”?

The secret to success has certainly been “fall down seven times, rise up eight” for me. There are moments in life where you can stay on the path you are on, even if you are not satisfied with your life just because it feels comfortable and is easier than pushing yourself to make a change.

You need to trust your instincts, and use your mind to overcome the resistance around you. Pushing against the inertia of habit and lifestyle was not easy, but the reward has been great for me: from bedroom songwriter to Epic recording artist, from singer in smoky clubs to Fordham law school, from stuffy corporate law firm to entrepreneurial entertainment lawyer in control of my own destiny.

Each move required me to push myself out of my comfort zone to reach further for something more – but each time the new life turned out to be much more satisfying.  I believe that loving what you do and doing what you love for a living is worth a million dollars (no matter how much or how little you actually make doing it). The secret to having a good life is to be happy doing what you do.

 

For more information on the 14th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

 

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The Importance of Creating An Internal Band Contract

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The Importance of Creating An Internal Band Contract

by Wallace Collins

 

 

Andy Hill & Renee SafierOver the years there have been many lawsuits between and among the members of various musical bands. These lawsuits have concerned everything from disputes over the distribution of money to the right of departing members to use (or not to use) the band name in connection with ongoing endeavors. In most cases, it would have been better to be safe than sorry, and get the understandings of the band members in writing when everyone was in agreement just so all the parties remember what they agreed to at the start.

The internal group member contract between the members of a band is fundamentally important, but many musical groups ignore this crucial early step. When two or more people associate for the purpose doing business they create a partnership in the eyes of the law. General partnership law applies to the association unless a written agreement states otherwise. General partnership law provides, among other things, that all partners equally own partnership property and share in profits and losses, that any partner can contractually bind the partnership and that each partner is fully liable for the debts of the partnership. In the case of most musical groups, a written agreement setting forth the arrangement between and among the group members as partners is preferable to general partnership law.

A band agreement can address issues such as who owns the group name (and whether and in what capacity a leaving member can use the group name), who owns what property (including not only sound equipment but intangible property such as recording agreements and intellectual property such as the songs and the recordings created by the group), and how profits and losses are divided. Since it almost goes without saying that members of a band inevitably leave and groups inevitably disband, it is important to structure an inter-band agreement in the early stages of a career. It will function in a sense like a prenuptial agreement when matters start to disintegrate, and it can make the break-up process less painful.

Some bands may deal with this agreement among themselves and some bands may have a lawyer prepare a basic inter-band agreement. If it is a fairly equal partnership where all members are writing and performing and sharing equally, it is a fairly simple process. However, where some members are songwriters and others are not and/or where one member claims ownership in the name or another makes significantly larger financial contributions than the others, it can become a complicated process. If the band cannot work it out among themselves, they can either sign a conflict waiver permitting the one attorney to act solely as scribe (and not as advisor) on behalf of the group, or each member of the group may need to get his or her own lawyer to protect each respective member’s interests. Like it or not, as artistic and creative as forming a band can be, this is a business and it is wise to recognize that and deal with it. These inter-band issues are better dealt with at the beginning when everyone is optimistic and excited rather than later when tempers flare and bitterness pervades as egos clash.

A typical band contract will address certain fundamental group issues. One important issue is who owns the group name if one member leaves or if a group dissolves which group of members are entitled to use the name. Under partnership law the partners would be the joint owners of the name and any member would probably be permitted to use the name (or maybe no members would be allowed to use the name once the partnership is deemed dissolved). Trademark rights are determined based on the “use” of a mark (not on who thought of the name) so each of the members of the group would be an equal co-owner of the group name under trademark law. The end result under either partnership law or trademark law might be impractical.

In most cases, the band agreement will state that if a particular founding member was the creator of the group name then only a group comprised of that member and at least one other member can use the name. This will apply whether one other member leaves or if the group disbands and only the founding member and one other reform the group. There are as many different ways this provision can be drafted as there are different group names.  When a group member leaves, the remaining members are going to want to keep the group name and are not going to want the leaving member to dilute its value or confuse the public by using it in any way. The band agreement provision may say that a leaving member cannot use the name at all or that the leaving member can only mention that he was “formerly” a member of the group (provided that such credit is printed smaller than the member’s name or his new group’s name, etc.).

Rights in the group name may also concern revenues generated in addition to rights, specifically as they concern the sale of merchandise (e.g., hats, t-shirts, calendars and other products and paraphernalia). The band agreement should have a “Buy-Out/Pay Out” provision which would deal with this financial aspect of the group name.

The band agreement will need to contain provisions regarding the sharing of profits and losses. One provision may pertain to revenues earned during the term while each member is in the group and another may pertain after the departure of a member or the demise of the group. In most cases, a group just starting out will have a provision that all profits from the group are shared equally between all members with an exclusion for songwriting monies (which each of the respective songwriter members would keep for themselves). Where an established group adds new members the provision may provide that a new member gets a smaller percentage than the founding members.

However, in most cases, during the term there is not a problem determining appropriate revenue shares. The more complicated problem of revenue division arises after a member departs. The agreement may provide that the leaving member is entitled to his full partnership share of profits earned during his tenure but a reduced percentage (or no percentage) of profits derived from activities after his departure – or the agreement may provide for a reduced percentage for a short period of time after departure (e.g., 90 days) and then nothing thereafter. This is an easier issue to remedy as it relates to live performances and sales of merchandise during those performances than it is as it relates to record royalties. The group needs to determine what happens, for example, when a group member performs on 3 albums but leaves before the fourth album is recorded. Although it might be acceptable to refuse to pay the leaving member any royalties on the fourth and future albums recorded by the group under the record contract the leaving member signed as part of the group, it might not be fair to refuse to pay that leaving member his share of royalties from the 3 albums that he did record with the band. Of course, this might vary in the agreement depending on whether the leaving member quit or was fired.

Another important financial issue is the question of the leaving member’s share of partnership property such as band recording equipment or a group sound system. Again, the agreement might specify a monetary payout to the leaving member if he is terminated but forfeiture if the leaving member quits. If merchandise with the leaving members name and likeness still in inventory is sold after the member leaves, a decision will have to be made about whether and how much the departed member might receive for the use of his name and likeness.

The issue of control is also very important to deal with in inter-band contract. In most cases, each member will have an equal vote and a majority will rule. However, there are as many variations as there are bands. For example, some acts might require unanimous agreement or an important member may have two (2) votes and/or the band’s manager may have a tie-breaking vote. The agreement may also provide that certain matters such as requiring financial contributions from group members or incurring debts on behalf of the band require a unanimous vote. Again, there are endless variations including situations where a particular member makes all of the decisions or where new members do not have a vote on band business. One interesting inter-band arrangement was that of The Beatles.  In answer to that age-old question, “no”, Ringo did not get less. In fact, my understanding of their arrangement was that it was what might be called a reverse democracy: each member had one vote but if any member voted against doing something then the band would not do it. In other words, their arrangement required unanimous consent to proceed with an activity.

Another issue of control that must be decided for the band agreement concerns the hiring and firing of band members: how votes are calculated (e.g., will each member get one vote or will a particular member’s vote count double) and how many votes are needed (e.g., a majority or a unanimous vote) to fire a group member and/or hire a new member. In most cases, a new member voted into the group will then be required to sign on to the internal group contract. It must also be decided how to vote on any amendments to the band agreement since this may materially effect the relationship between the members after the group has started. In most cases, a majority vote will be deemed determinative but some members may prefer a unanimous vote on such things as amending the agreement (as well as hiring or firing). This will have to be decided between and among the members of the group.

Finally, the group’s internal agreement should contain a comprehensive Buy-out/Pay-out provision that deals with departing members. In most cases, whether the leaving member quits or is fired the agreement will provide that the leaving member waives all rights in the intangible assets of the partnership (e.g., the group name, the group contracts, etc.). If the member quits, he might waive any right to and benefit derived from the hard assets such as band sound equipment. If the leaving member is fired, the agreement might provide that he or she is entitled to the pro rata percentage of the current value of the hard assets. With respect to this payout, the band agreement may provide that if the valuation exceeds a certain amount (e.g., $25,000.00) or would put the band partnership in financial distress, the payout would be in a certain number of equal monthly installments (e.g., over 12 months).

Again, this Buy-out/Pay-out provision can be as simple or as complicated as the band members deem necessary. There are as many variations in this as there are differences in personalities between the members of a group. Each member and each group must find its own balance.

Inter-band issues and disputes are many and varied. Recently, a member of the Eagles sued the remaining members saying he was forced out of the Eagles’ corporation by the other shareholders (and invoked provisions of the California corporate law pertaining to minority shareholders in close corporations). Years ago an ex-member of The Black Crowes sued his former band mates claiming that he was entitled to an equal share of all the money they made after they threw him out of the band. His contract claim was based on nothing more than a pie chart drawn on a napkin. Legend has it that, years before while eating at a dinner after a band rehearsal, each member had signed his name on his slice of the “pie” drawn on the napkin allegedly agreeing that they would stay together and share all of the money equally come what may. Of course, when circumstances changed the fired member used that napkin to assert his rights.

It is difficult to form a good band and to achieve a successful career in the music business. Any group of two or more musicians working together would be well-advised to create and sign a good Internal Band Contract so that the band does not later self-destruct over money and ego issues and forfeit its hard-earned career success. In a perfect world, each member could afford its own lawyer to quickly and inexpensively prepare and sign such an agreement. In the real world, that may not be the case. In any event, some kind of basic band agreement is a good starting point for any new band.

 

Wallace Collins is a New York lawyer specializing in entertainment, copyright, trademark and internet law. He was a recording artist for Epic Records before attending Fordham Law School. Tel:(212) 661-3656 / www.wallacecollins.com

 

For more information on entering IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

 

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IAMA Finalists Nominated for Grammy Awards

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IAMA is extremely proud to announce that our winner Meghan Trainor and finalist Ron Korb have just been nominated at the prestigious Grammy Awards.

Meghan Trainor, singer-songwriter

Meghan Trainor, singer-songwriter

Meghan Trainor is nominated for Best New Artist. With her debut single “All About That Bass” staying #1 for 9 weeks, it is also the second biggest debut single of all time by a debut artist. She has a total of 6 Hits on the Billboard Hot 100 Charts: All About That Bass (#1 for 9 weeks), Lips Are Movin (#4 on Hot 100), Like I’m Gonna Lose You (#8, a duet with R&b/Pop star John Legend), Dear Future Husband (#16), Marvin Gaye (#21, duet with Charlie Puth), Title (#100, even though it is not released as a single).

Most music industry people laughed when Meghan entered and won Best Female Artist in 2010. But, when she hit #1 on the Billboard Hot 100 charts, heard her Multi-Platinum selling song on the radio, they were left completely stunned and speechless. The entrants of IAMA (International Acoustic Music Awards) were surprised and even angry when a 16 year old girl won 5 years ago, completely unaware of the incredible success she was going to achieve. Her song “All About The Bass” has sold over 5 million copies and reached #1 in 58 different countries. The video has garnered over 1 Billion views on YouTube (at press time).

Meghan Trainor has continued to shock the entrants, winners, judges of IAMA (International Acoustic Music Awards) and now the music world.

Ron Krob, Canadian flutist and composer, IAMA finalist, nominated for a Grammy for "Best New Age Album"

Ron Krob, Canadian flutist and composer, IAMA finalist, nominated for a Grammy for “Best New Age Album”

Ron Korb is nominated for Best New Age Album in the Grammy awards. He was a finalist in the 2010 and 2012 IAMA (International Acoustic Music Awards). He is a unique flute player and plays both the chinese and western flute styles. His music is an electrifying blend of Eastern and Western music.

Ron Korb is a Canadian flutist(flautist), composer, songwriter, and record producer, from Toronto, Ontario, Canada.

Ron Korb started on the recorder in grade school and later joined an Irish fife and drum band in his teens. While attending the Royal Conservatory of Music in Toronto, he won several local music competitions.

ABOUT IAMA (International Acoustic Music Awards)

IAMA (International Acoustic Music Awards) promotes the art and artistry of acoustic music performance and artistry. In it’s 11 year, IAMA has a proven track record of winners going on to hit the Billboard Charts. 2nd Annual IAMA winner Zane Williams’s winning song was recorded by country music star Jason Michael Carroll, that song hit #14 on Billboard Country Charts and #99 on Billboard Hot 100 Charts. Jeff Gutt, finalist at the 9th Annual IAMA was a runner-up on X-Factor USA. For more information on 11th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

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