Why I’m Starting A Record Label in the Midst of COVID-19 aka THE CASH GRAB RECORDS MANIFESTO.
THE SITUATION
When I packed up my entire existence and moved from Los Angeles in late 2019, the plan was to only spend “the holidays” in Florida. After-which I’d spend several months traveling throughout Asia to curate a new production music catalogue called DRAGON GATE MUSIC. I was planning to bungee jump off of Macau Tower (the tallest in the world) to premiere the catalogue. However, 2020 taught us that even the best laid plans can go to waste.
I expected to spend 2020 in Asia and Los Angeles, while the reality of 2020 dictated that I wouldn’t leave Florida all year. Exercise became a staple, sometimes I’d train five days a week - lately I’ve been taking it easy at 1.5–2 hours of weight lifting three times a week.
Being away from Hollywood (both figuratively and literally) allowed me to see the forest through the trees. I was no longer concerned with how many albums I could release in a month (my highest was 20) and more focused on building a legacy, not only in the music business, but in my life as a whole.
Throughout the year I’ve been meeting and re-connecting with members of many well known and unknown bands. While speaking at length about sync licensing, I got frustrated with my broken record auto-response of telling these great musicians that heavy metal, ska, punk rock, hardcore etc.. weren’t on the radar of most licensees.
Those genres were far overlooked in favor of “indie rock”, rap ala Run The Jewels and common rehashed sync tropes of “it’s a new day”, “we will rise up”, “I’m back”, “time to compete”, “breaking down the barriers” etc..
It got so bad, that at a BBQ i was able to predict which types of songs would be featured on the promos airing during the sporting event, and for scripted shows promoted on the same network as the sporting event. My buddies were surprised I was able to predict the type/theme of the music so accurately. It made me want to puke.
I used to think of music as rebellious and dangerous. Sneaking around listening to Marilyn Manson’s Portrait of An American Family, an album which opened by Manson’s proclamation that he was the “GOD OF FUCK” (I’m not counting the Willy Wonka intro — don’t hassle me).
Now Manson travels to Cannes Lions as an honored guest to speak about music and branding. Probably in between panels with names like “Bands and Brands” or “B(r)and Practice”. That’s cool for Marilyn Manson, since he’s a rock superstar. He’s “made it”. I’m concerned about other bands-bands who can pack nightclubs, sell t-shirts, make it onto Spotify editorial playlists but can’t get any sync traction. What are they supposed to do? Go to sync conferences and wait in the scrum after a panel like a jabroni? F that. They’re supposed to be getting blackout drunk at a hotel bar before passing out in the lobby and being carried back to their room in a luggage cart.
THE SOLUTION
The entertainment industry has a long detailed love affair with cover songs. Cover songs are ubiquitous for a reason. A consumer can already be familiar with a song but still feel a sense of mystery since the song is presented in a new way. Case in point :
Leatherface — one of my favorite bands of all time.
Want me to get a COVID vaccine? Tell me Leatherface is reuniting in the UK and the government requires a vaccine to enter. I’d be outside CVS tomorrow morning waiting for a COVID jab, a Red Baron frozen pizza, a tabloid, some nail clippers, off brand ice cream and whatever else assortment is for sale in a CVS.
The Guardian called them “the greatest British punk band of the modern era.”
…and according to Tunefind.com, their only American sync license to date is a cover of “I Can’t Help Falling In Love With You” on the TV show Sons of Anarchy.
I had a habit of curmudgeonly rolling my eyes when I’d hear a cover song in a trailer, film or TV show. I knew it was only a cash grab by the licensor. Until I realized this was the only way most bands would ever stand a chance at landing a sync license, which could provide a degree of income and notoriety they previously didn’t have.
This was the impetus to start CASH GRAB RECORDS. Instead of explaining to bands/artists why they’re music isn’t getting licensed, I can provide an outlet and process to boost their chances of getting a sync. I’m also betting that licensees will start looking at an artist’s original music catalogue once they get familiar with the artist through covers.
I named the label CASH GRAB because frankly, that’s what it is. I’m going to let the artists and bands be creative and artistic. I’ll be the sales guy offering up the music for a fair price.
In years past, my thought would be to reach out to labels, managers and publishers for their input and help to build this label. However, we can’t wait for these entities to “circle back” with us after what ever made up crap they have to focus on (can we talk after GRAMMY week? there’s so much stuff going on!).
We’re running this label in the same spirit as Dischord, Fueled By Ramen (the indie years) and BYO Records. The polar opposite of a venture-backed “music business” like Kobalt, Epidemic Sounds etc..
Those companies can afford to lose millions a year. Our goal is to actually MAKE MONEY.
Our first release is a Christmas EP by Rookie of the Year, coming out on December 10th. I first heard Rookie of the Year when I did retail promotion for their label One Eleven Records — a Warner Bros. imprint started by Brad Fischetti from the boy-group LFO — the cats who did the song that goes “I like girls that wear Abercrombie and Fitch, Chinese food makes me sick”.
COVID exacerbated many changes in the entertainment business. In addition to decimating live music, the production music bubble has been popped. Opportunities for licensing “Future Bass Volume 71” or “Tension Trap Volume 14” have decreased dramatically. With the rise of neighboring rights collection for US citizens (essentially a performance based royalty on the master side) master recordings can start to bring in a steadier income stream for non-superstar acts.
I’m not sure how to end this article/manifesto thing so I’ll just end with our mission statement.
this is a fucking cash grab.
