Major record labels are still focused on what we do best: finding great artists, helping them reach their creative potential, and connecting them to fans. So for example, in the context of music licensing it’s rare to just pick up the phone, ask a supervisor what kind of music they need, send it to them and then… voila… your music is instantly licensed and a check is on the way. You’d be surprised how different styles of music mesh together into something else.
It can also provide study abroad opportunities that many BM degree candidates just don’t have room for except during the summer. I have been known to lend a piece or two of my personal gear to friends or to bring along something that I think will make my job easier (usually something that is not already available from the house system), and I might even do so for no charge!
Since much of the music was already recorded, they could also circumvent many of the recording costs as well. The idea here is that we have to carefully look at reality for our music and not just live in the fantasy land we have in our heads about how the music business really works.
The one thing you have to remember is that if you are not happy doing what your doing then play music until you find a different perspective. All music, be it live performances or background music, CDs or music videos, karaoke or DJs, is the intellectual property of its creator/s, and is protected under Australian copyright laws.
My name is Michael Laskow and I’ve been very fortunate to work in the music business for more than thirty years. This approach evolved out of necessity around since the early 1980s, due to the major labels’ aversion to signing the punk rock bands that spawned after the initial wave in the mid-70s.