Peer-to-Peer to Launch a Music Career
How The G-Man Got
Played, Got Signed, Got a Publisher, & Got on iTunes... All
by Giving His Music Away For Free.
(PRWEB) -- The G-Man is a musician who knows how to
"work the Web," perhaps because he's also deeply involved in
the worlds of advertising and marketing. Some of his
marketing savvy was put to use in launching his music
DEFYING THE RIAA:
What did he do that was so extraordinary? Defying the wishes
of the RIAA and the major record labels, he offered all the
music on his first album for free.
In fact, he went even farther than that: he contacted
thousands of DJs and remixers, established peer-to-peer
filesharing relationships with them, then offered to send
them individual tracks (bass, synth, vocals, drums, guitar,
etc.) if they wanted to mix new versions of his songs.
The results have been spectacular, involving reviews,
remixes, club play, radio play, a record deal, publishing
and licensing agreements, and awards. All three of his
albums have been nominated Electronica Album of the Year by
the Los Angeles Music Awards, and he won for his "Grin
Groove" album in 2002.
INDIE SIGNING & HIS OWN COMPANY:
He is signed to Delvian Records, all of his albums are on
Apple's iTunes, his song catalog is administered by
Janssongs.com, and he has opened his own company, G-Man
Music & Radical Radio, where he creates songs, sonics, radio
spots, and music for film, TV, and games.
Perhaps best of all, two of his songs have been remixed by
Matt Forger, best-known as Michael Jackson's recording
engineer on "Thriller," "Bad," "Dangerous," and four other
albums, and who also worked with Paul McCartney, Bruce
Springsteen, Van Halen, and many more. These tracks are a
part of The G-Man’s "The Platinum Age of the Remix," an
album featured on StudioExpresso, home to more than 100 of
the world’s best music producers and engineers.
Additionally, The G-Man has become a creative director for
NARIP (National Association of Record Industry
Professionals), an associate writer for MusicDish.com, and a
content supplier for Circle of Songs, L*A*M*P, Bitchin
Entertainment, and Venus Music.
Reviewers have compared his songs to such artists as Devo,
David Bowie, Art of Noise, Brian Eno, OMD, Gary Numan,
Thomas Dolby, Spandau Ballet, and Frank Zappa. From
mainstream media like the New York Times and the All Music
Guide, to respected Web sites and eZines, music by The G-Man
is written about with zeal.
The G-Man is also receiving airplay on college stations in
many cities across the United States and Internet radio
around the world. Most important from the business aspect,
his songs are being licensed for use in radio and TV
HOW IT BEGAN:
"The 'give it away' approach may be a cool new way of
starting a career," G-Man states. "And some people say this
method puts me in the vanguard of changes that are
overwhelming the music industry. Perhaps it's both," he says
with a grin.
"I think that the music business as we know it is
splintering into a million shards," he states, "and it is
being built up into something new right before our eyes."
SIX YEAR OVERNIGHT SUCCESS:
Six years ago, Scott G was an advertising writer, radio
commercial producer, and sometime music critic. But he
wanted to make sounds, not just write about them, so he
picked up a guitar and began learning to play.
In 2001, he started recording his first album, creating
music that fuses today's dance grooves with pop melodies and
then adds sly commentary. Some have called it dancebeat,
some have called it Zappa-esque, but Scott calls it "grin
Using "Grin Groove" as his album title, The G-Man did
several things that together represent the beginnings of a
quantum shift in the way music is created, marketed and
disseminated to listeners around the globe.
First, he put up a simple, graphically clean, "100%
animation-free" Web site at http://www.gmanmusic.com . Next,
he combed other Web sites for the e-mail addresses of media
as well as 25,000 DJs, remixers, and those involved with
raves, clubs, electronica, dance, and drum 'n' bass genres.
"This took as much time as it did to record the songs, but
it was worth it," he says.
KEEPING IT SIMPLE:
Then, two simple e-mail messages were created. He followed
the ideas recommended by Indiespace's Pete Markiewicz,
namely, put the basic idea in the Subject line, keep the
message short, and do not include any graphics.
One e-mail message announced his new genre of music to the
media. The other e-mail offered to send tracks for free to
anyone who wished to remix his music -- and that is perhaps
the most significant part of his approach, as you will see.
IT'S IN THE REMIX:
Remixers have been using his tracks all around the globe. "I
have had five songs remixed in Russia by a sonic master
called Random Distribution," The G-Man states, "and one of
these tracks went to #1 over there. Meanwhile, an Australian
DJ known as Zero Point Energy has done a remix that is now
showing up on Web sites around the world. A jazz artist
known as il moroso has begun remixing more of my songs and
we have now agreed to collaborate on an album of acid jazz
Perhaps most interesting is the reaction from the European
community. A consortium of remixers called The Allianz, led
by DJ Insane, created remixes of every song on "Grin
Groove." One of the DJ Insane tracks reached #5 on a
European dance chart.
PART OF A PLAN:
All of this could be viewed as just a series of fortuitous
accidents, but The G-Man doesn't think so. "I believe that
the music world is breaking up and is at the same time
transforming into something new, and you have to address the
peer-to-peer file sharing in order to exist in this new
As seen in the presentations by Indiespace's Pete Markiewicz
and Jeannie Novak in the Future Of Music seminars, "the
structure of the music business is different now,” Novak
says, "and it involves several new methods of working. One
is cooperation in combination with competition, or 'coopetition,'"
a word Novak coined.
It also involves an attitude of total independence from
traditional distribution, and a faith that the business end
of your work will play 'catch-up' to your art. "You create
and market and interchange and share and compete with fellow
musicians," The G-Man says. "And only afterwards does the
business world come in to license your work for
Did he write out his business plan? "Absolutely. I used the
methods outlined by John Stiernberg and his Succeeding in
Music organization. Some said my ideas were crazy, and
certainly the record company doesn't let me do this anymore,
but the plan worked. I wouldn't have even been talking with
Delvian Records if they hadn't heard about me from all the
activity with my songs all around the world," he points out.
"Mostly, I love the fact that the business was totally being
driven by the art," G-Man says. "Plus, it was and is the
most fun I've ever had in the world. And besides, under what
other set of circumstances could I be collaborating on music
simultaneously with people in Australia, Moscow, Los
Angeles, Big Bear Lake, and The Hague in Holland?"
Janis Amy may be contacted at: firstname.lastname@example.org
The G-Man: www.gmanmusic.com
Delvian Records: www.delvianrecords.com
John Stiernberg: www.succeedinginmusic.com
Matt Forger: www.studioexpresso.com
Jeannie Novak & Pete Markiewicz: www.indiespace.com
Circle of Songs: www.circleofsongs.com
Venus Music: www.venusmusic.com
Bitchin Entertainment: www.bitchinentertainment.com
Interview with The G-Man: www.lamusicscene.com/articles/00120/index.php3
Music Dish: www.musicdish.com
By Janis Amy
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