Starting a record label

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Penetrating the music industry is like diving into a pool full of sharks. Succeeding in the industry is quite similar to safely swimming through the pool with a steak tied around your neck. I could continue to extend this metaphor and use it as a reference all throughout this essay, attempting to display my grammatical prowess but I won’t. For, in essence, that would classify this essay as an example of precisely what is wrong with today’s music industry; too much gibberish and not enough substance. By mentioning substance I am not taking yet another subliminal stab at the inundation of faceless pop stars dominating radio airwaves because I am in no position to judge someone and tell them how to perform and make their money. If the shoe fits, wear it. The seemingly endless dilemma seems to be finding the right shoe for the right artist. You’ve got record label executives attempting to market all of their artists, as diverse as they may be, under one corporate flag, even if that means shunning the artist’s personal opinion and image. All of my examples will stem from the hip-hop industry because it is essentially the only market I am knowledgeable and sincerely care about. Anyone even considering starting up a record label in any genre, including myself, would undoubtedly use Def Jam as their blueprint. Their success through aggressive and blood-thirsty marketing was and still is unparalleled. That competitive edge I would surely attempt to incorporate in my own label’s growth. However, their occasional disregard concerning each of their artists’ own true interests is their one Achilles heel. When it comes to managing my own artists, I would stress personal attention and loyalty for without the former the latter is never assured and without the latter long-term success is never guaranteed. In that aspect I look up to Snoop Dogg’s recent decisions through his Doggystyle imprint, and how he focuses on his artist’s needs and lets them keep their precious publishing rights. I’d look to smaller labels like Rawkus and emulate how they promote artistic freedom. 50 Cent is a prime example. When I was into him about two years ago, he was virtually unknown outside of the New York underground scene. He signed to Columbia but his album was shelved. He then markets himself through numerous singles and mixtape appearances, signs with Shady Records then goes out and sells 844,000 units in his first week of release. His lyrics and flow didn’t change, neither did his image. Shady simply knew how to market him and gave him the freedom he needed to explode.


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