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| Vol. One:Major Label Deals Gone Bad |
| I feel there is value in learning about other people's "True" stories. "True" is in quotes because no single point of view holds a monopoly on the truth. Therefore, it is important that we accept that the story we are about to hear is true only from the point of view of the person who wrote it. And no one else's. Some may disagree with its conclusions. If you do, you are encouraged to communicate so. This is not news. It is a forum. |
| This months story is about Steve French. Steve was signed to a six figure deal on Island records. He's worked with Robin Wilson of the Gin Blossoms and Blister Rust. In this gut wrenching rags-to-riches-to-rags-again-major-label-horror-story, Steve holds back very little in terms of who got screwed and who did the screwing. He names real names, dates and places. I reprint his story (as is, with no editing) not because it is unique, but unfortunately, because it is not. |
| A brief Bio, discography and contact information follows the piece. |
| Big Deal - Big deal. |
| The band was based in London. A beatle-esque 4 piece |
| We had been together since 1981 (age 13) and, almost 10 years later, had a pretty tight rapport, regular gigs in a wine cellar in Covent Garden (our version of the cavern - it was PACKED EVERY GIG), and had been recording together forever. We basically had survived everything an unsigned band could go through, and came out the other side better, stronger, and more resolute. We even lived together. We were tight. |
| We had always done our demos with the same guy, and had got that whole thing down. One day, we discovered pot, decided to adopt a hippie attitude, and wrote two very fine songs. They were large and confident, great harmonies, strong vocals, poignant and cerebral lyrics, awesome guitars, cool grooves, and all wrapped in a psychedelic swirl which, together, screamed for attention. |
| Adep drummer we used to use was the guy that did "rock-school" (remember that TV show). That drummer - "Jeff" - played with Sam Brown on EMI (remember her) on a college tour. The "college tour promoter" at EMI was a guy named "Eamon". Jeff suggested we give the tape to Eamon. |
| I dropped it off by hand, and by the time I got home, an EMI A&R guy called and said he hoped EMI got us first. Same thing with every label that listened to it. It was gold. If they wanted to see us play, they would either go to the seething masses in Covent Garden (if they dared) or hire Nomis (A high-end rehearsal complex) and see us there. We blew them away whichever they did. |
| Now, Eamon (the college promotion guy) was crafty. He was flat-mates with a young man named Barney Cordell, whose father was Denny Cordell (may he rest in peace) (Procol Harem, Jo Cocker, etc), whose old partner was Chris Blackwell. Zoooom. The tape went bouncing all the way to Chris. |
| We got offers from virtually every major. Eamon assumed the role of manager (good for him) and got John Kennedy as our lawyer and OJ Killkenny as accountants (Live Aid, U2; in fact, everyone massive). He played it well, and the bidding war got stupid. Ah... the dinners we were taken to... and we, like good little Beatles, entertained with a perfect blend of charm and silliness. |
| Denny saw this as a way to get back into the industry with a bang. We went to see Island, but we didn't like the Managing Director. Clive Banks, (I think that was his name). We mentioned this to Chris Blackwell, and were very tickled when, the next week, he was mysteriously replaced by Marc Marot. |
| Island had the cool AND the cash, so, less than 4 months after the demo was recorded, we signed with them. |
| 6 albums |
| 2 albums firm |
| $200 000 advance on #1 |
| $225 000 on #2 |
| Tour support |
| They would also advance our recording and video costs, etc (And we got a similar publishing advance). |
| It was a monster deal for an unknown act. |
| Now, there were two camps in Island. The Marot camp (which represented the mechanical day to day, feet on the ground, working team), and the newly arrived Cordell faction (the aloof, ethereal old-timer with charm and clout). Chris Blackwell - Da Man himself - gave the nod, and every one was to make it happen. |
| We had a little attitude by this time, and the singer did a royal job of pissing off the staff. While the ethereal Cordells began to love him more and more for this, the politics was developing badly within the company. |
| Anyway, they bought us a 24 trk studio ($80 000 worth of stuff) and we set it up in our rented 5 bedroom house in Camden (The hippest area in london), and began recording with our same engineer friend. After 2 months of discipline-free, newly rich pot smokers reaping the affirmation of a 10-year dream, we had nothing more than an indulgent and inventive demo. The Cordells (who, by this time had assumed the role of exec producer/ exec A&R) didn't know how to fix it, so they kept on praising and saying "it¹s not ready". The more practical Marot camp wanted a big shot to make the album. |
| John Leckie mixed some stuff. But around this time, or shortly there after, Tears for Fears released "Sowing the Seeds of Love". Chris Hughes heard and loved the stuff we did, and everyone got excited again. |
| A year after we signed, we began work with the talented Mr Hughes in a suave residential studio out in the countryside. He remains a prominent ideal in my own production sensibilities. He was AWESOME. But, and this is subjective, the attitude problems with the singer manifested themselves as technically strong but emotionless deliveries. The songs were strong, the guitars huge, gorgeous grooves, massive harmonies, sonically incredible, amazing mixes, but despite all that, ... something didn't move people. |
| (The album must have cost 250 000 pounds, we were in the Wool Hall for 5 months, and mixed for 5-6 weeks at Metropolis and... er ... that place in Barnes) |
| We had single of the week on radio one. Featured artists on the chart show. HEAVY rotation on Radio. EVERYWHERE. A radio hit with a different song in the states with a tour supporting the Gin Blossoms all over (In a bigger bus than they had)... but that "something" that was missing in the music was detected by the public and neither single hit the charts. |
| We sold 6000 albums. |
| Now the two camps in Island started feeling uncomfortable. And rightly so. So did WE. The band had been held together for 10 years on the strength of one goal. We were going through the motions of achieving that goal, but I found it painful to watch. The comradery was gone. The singer was a complete prick, the bass player became sulky and "party and substance oriented" and I was having anxiety attacks over the whole thing. Struck by Chris Hughes' direct smartness, I began to oppose the dumb Cordell flakiness, which still adored the arrogance of the singer. Denny was right in knowing you need a strong front man, we all know that. He just didn't see that the guy was detested by everyone who saw him. It was out of control. |
| So, scapegoats and sacrificial lambs were required. The Marc Marot camp blamed the Cordells for forcing the Island machine into something the company were not so sure of, and the Cordells blamed the machine for not working appropriately and, wanting to focus on the singer, started spreading words of dissatisfaction toward the only personality standing up to them and the singer. |
| That would be yours truly :) |
| Thus followed months of bickering, divisiveness, insecurity, gray hair, and the most miserable time in my life. |
| I SOOO lost ANY interest. I stood up for what I believed in, only to be bombarded by a singer who became terrified to leave Cordells side, Cordell, who was working on a solo act (along with a voiceless bass player) and a Record Company whose working parts had no faith, interest or pallet for the old man who headed the thing nor the act he was working with. |
| Fuck that. |
| Alone, I went to our lawyer, John Kennedy. He told me that if the company could chip off a member of the band, the contract would become void. Remember, we had a two-album-firm deal. We were still owed $225 000. I wanted to know if I could leave, but pretend to stay. This was possible. And that is what I did. |
| Cordell arranged for a new guitar player, but the band were dropped a few months later and the company settled with a $75 000 payment to the band. |
| The money surrounding this deal was SO stupid. The company was a victim of its own game. I respect the Marot angle most of all. I like him very much. I was BLOWN AWAY with Chris Hughes, and the overall experience was amazing. |
| It taught me valuable life lessons, including the realization that money is in no way connected to happiness if you are not in control of your life. |
| So that's that. I could round of this story with philosophical personal stuff but, whatever, we all survived, I'm happy, Who cares? I moved in with the New York woman who made one of the bands videos, we live in Manhattan and we now have a 2 month old little boy. |
| Among other more profitable work, I am producing unsigned singer/songwriters getting a strong enough reel to impress Record Companies |
| I use my experience, creativity, song writing craftsmanship, refined sensibilities, guitar ability and all I learned from Chris Hughes to make the product. I don't own equipment, and am not hands on (apart from Pro-tools, and performer, which are the perfect interface for me. I do great work on pro-tools). I have a partner who owns equipment, is a very clean engineer, and completes the picture. |
| So, as thanks for the info you shared in your book, there's my brush with the law. |
| Your book is a beautiful thing. Thanks for writing it. |
| Peace |
| Steve French |
| I want to thank Steve for having the courage to come forward and speak his mind. |
| If you have a story you would like to tell, e-mail me. |
| BIO: |
| Steve French began his music career by forming a school band at the age of 12 in a provincial town in England. Currently, he is a young and active Music Producer and Composer based in New York. |
| Steve strives to always present the client's music in a compact, accessible, original and attractive way, while never straying from the integrity and common ground between the artist and himself. |
| Aware of the changes in the industry re: the MP3 revolution, Steve co-founded MP3Promo.com. MP3Promo.com I is A unique service for artists without the required site placement knowledge, hardware or patience necessary to attain significant WEB presence. |
| For more information on Music Production and MP3Promo.COM services contact Steve directly at; |
| Steve@MP3promo.com |
| Discography |
| Blister Rust Album - Producer (CMJ TOP 200) Jo |
| Cunningham Album - Producer, writer, All Instruments |
| Jennifer Lévy Album - Producer (in progress) |
| Sean Naughton Album - Mixed and mastered |
| Prominence Mini CD - Producer, Writer, Arranger, guitars |
| Karin Brennan Mini CD - Producer, Writer, Arranger, guitars |
| Ex Makina Mini CD - Producer, Writer, Arranger, guitars |
| Laura Harding, Tracks - Producer, arranger, all instruments, |
| Jess Klein, Tracks - Producer, arranger, all instruments, |
| Robin Wilson (Gin Blossoms) Writing collaborations, appearing on upcoming releases |
| Cost of Living Movie score, instrumentation, and production |
| Downtown 81 Movie composition |
| Not Afraid to Say Movie music co-ordination and design |
| TV Numerous TV Commercials & Show Theme and incidental music Numerous TV and film Sound Designs |
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