The would-be artists are the only people referred to in this book who will be affected by the actions of everyone else mentioned for the duration of their careers.
If the manager’s no good, the artist suffers. If the concert promoter’s no good, the artist suffers. If the record company’s no good, the artist suffers. If the tour manager, the plugger or publisher are no good, the artist suffers. If the A&R person’s no good, the artist suffers; in fact if the A&R person’s no good the artist might never have been discovered in the first place. And so on, and so on.
It works the other way around too, of course: if the artists are no good, then all the above are likely to go down with them. The artists and the material they write and perform are at the hub of the music business.
But before we burden all aspiring artists with such a responsibility, it is important to remember that most musicians, singers and bands never reach the dizzy heights of international stardom; many don’t want this, few are ever able to attain it anyway and most are happy making a reasonable living doing what they love: playing their instruments, singing their songs and getting applause and hopefully money at the end of it all.
In fact, many of the best-paid artists and performers in the music business are those you have never heard of: the session musicians, the behind-the-scenes writers, the cabaret stars who make fortunes around the world but whose chart careers were either very brief or never existed. The music business has much