How The G-Man Got Played, Got Signed, Got a Publisher, & Got on iTunes by Giving His Music Away For Free.
by Janis Amy
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 career in 2001.
DEFYING THE RIAA
In fact, he went even farther than that: he contacted thousands of DJs and remixers and 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.
He is signed to Delvian Records, each 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.
ON THE AIR
HOW IT BEGAN
"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
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 DJs, remixers, and those involved with raves, clubs, electronica, dance, and drum 'n' bass genres. "This took approximately as much time as it did to record some of the songs, but it was worth it."
KEEPING IT SIMPLE
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
Perhaps most interesting is the reaction from the European community. A consortium of remixers called The Allianz, led by DJ Insane, is now creating remixes of every song on "Grin Groove." One of the DJ Insane tracks reached #5 on a European dance chart.
PART OF A PLAN
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, and it involves several new methods of working. One is cooperation in combination with competition, or 'coopetition,'" as Novak puts it.
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 commercialization."
Did he write out his business plan? "Absolutely. I used the methods outlined by John Stiernberg and his succeedinginmusic.com organization. It always helps to jot it down. I even showed some of it to a few people. Some said I was crazy to think this method would work, and certainly the record company doesn't let me act like that 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 globe," 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, Big Bear Lake, and The Hague in Holland?"