Here are some of my random wanderings through the subject:
The reasons are myriad and varied. Many of the obvious ones have already been listed in earlier posts: marketability, timing, business sense, business contacts, market analysis… and all of the other things they would teach you in business and marketing classes. After all, this is a business that relies heavily on marketing of the product. And we have a fast food society. Quick satisfaction with a plastic prize in the box sells the units, but does little for true nourishment or a culinary experience.
But consider this reason, which many of us who participate in our forum may not like to hear. In the heyday, of American popular music (early 1900 through 1970's) you had to have a major financial commitment to begin to record and press decent quality recordings. As a result, artists (performers or songwriters) had to produce an ROI such that it would keep the recording company in the black. To do this with minimum investment from the recording companies they diligently sought out those that promised to perform good in the long run. "Blue Chip" artists if you will (e.g. Holland, Dosier, Holland; Booker T. and the MG's; Glen Miller, Richard Cohen, Bob Dylan). Sam Phillips, here in our fair city, nearly went bankrupt because he would record every truck driver that came in the front door with $5. Fortunately for him THE truck driver came in the front door one day and kept him afloat when he sold Elvis's contract to RCA for a grand total of $30,000. This one break saved his a** and gave him the resoureces to work Cash, Lewis, Perkins, et. al. A fortunate break for him, but just luck none the less. Maybe hard work, but I've heard Mr. Phillip speak before, and I don't think so. Even some of the "one hit wonder" performers actually had further success behind the scenes as writers, producers, or studio musicians.
Enter the 1980's…
The digital consumer age has begun. Good quality recording equipment is getting cheaper. Also, the www is catching on which will make marketing and distribution of recorded material that much easier. And a two front assault on our beloved music industry ensues. First, every schmuck with a six string, a microphone, and
Micro-verb sends in a demo tape to the record companies. This flood of %^&* makes it that much harder for people with good ideas to get heard by the right people. Second, fed up with not getting noticed by the big-boys due to reason number one, our talented artist decides to do his own recording. But not having the connections to the radio stations and big time record distributors, most go unnoticed in the big picture. Selling records to the local outlets and at shows is about the best you can do when you try to do everything yourself: performer, writer, producer, engineer, manager, roadie, and in desperate times groupie.
So what can WE do? Glad you asked. Just say, "no." I'm not talking about turning down your uncle's request to record your Granna's favorite hymn for her to listen to at the house. But if someone with no talent wants you to record his songs because he's a legend in his own mind, give him constructive criticism from an honest ear. Be judicious, honest, and helpful. But, if "IT" is not there, tell him. Just because someone has $500, doesn't mean he needs a demo to send out. Seek out good material to record and use the input from this group of ears to get honest and (hopefully) helpful input.
The defense rests.
Memphissound