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10 Questions with ... Jason Bieler
February 28, 2006
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NAME:Jason BielerCOMPANY:Bieler Bros. RecordsFORMAT:Rock & MetalLOCATION:Pompano Bch, FLBORN:New York, NYRAISED:New York & Coral Springs, FL
BRIEF CAREER SYNOPSIS:
I started out as a musician. I had a bit of a hit record, which that lead to producing records, which then lead to managing artists, which in turn soon lead to starting a record label.
1. What made you want to get into the music business? Early mentors? First job?
Getting my first Kiss record probably got me started; it seemed like a great way to avoid working for a living. I have been so lucky to work with and for some amazing people; a few of the standouts off the top of my head would be Jason Flom, Gary Ashley, Hans Haedelt, & John O'Connel. Those guys gave me some critical breaks and some really solid advice.
2. Too many records, too few slots. What data seems to be most important to you when jockeying for an open slot on a radio station and why? Ticket sales? Tour info? Prior success? Retail? Other stations?
At radio, you have so many different agendas from the business side all fighting for relevance, all with what appear to be valid reasons to cancel each other out. We focus on great songs and great artists. We have had great support from some guys out there who went against the grain and conventional play-list wisdom and added records for us that have gone on to some degree of success. Our plan is simple brute force and relentless work to try and get our records to see the light of day, whether it takes us 6 months or 2 years. Once we believe in something, we just will not give up.
3. It seems that set-up is more important now than ever. What do you do to inspire your staff for success in the field on a daily basis with the amount of material that recording companies are releasing in today's market place?
As charming and inspirational as I think I am, the music does the motivating. Nothing is more exciting than getting into one of our music meetings and listening to something that we all feel is great. We try to raise the bar and sign music that we feel passionate about. Then we give our team room to make creative decisions and participate in the shaping of the plan. Then it goes out like a child into the big world and you hope all the stars line up and magic happens. When you are working bands like Skindred, Nonpoint, Burn Season or Sikth … if you didn't feel inspired, you wouldn't be allowed to work here.
4. Things are changing rapidly in our business. Were it up to you, what would you change in our "system" to give your bands a better shot?
I personally (and I am sure many will disagree) have never seen more opportunity in the music business. The majors are, with all due respect, a total mess, and focused Indie companies are on the move.
5. Who do you consider the current tastemakers in the ROCK world?
Not to be rude, but I don't care about the "tastemakers." I don't know who they are but I assume they dig the Strokes and cool bands from England and maybe weird ambient Jazz from Norway … and have a fetish for funny hats. I care about the kids that support and listen to our artists and artists like them and making sure that we do our best to make sure they feel like we care. I wasn't part of the tastemaker crowd in school and I have a sneaking suspicion I will leave this good earth having never been part of the in-crowd.
6. It has become apparent that in this research driven time, records are taking much longer to "test". How do you go about making sure that your record will be given a fair shot?
Look, we make rock records with great bands. This research stuff seems to be important to some, not as much to others. I maintain that our artists and their fans wouldn't be caught dead participating in callout programs so my research is kids buying the record and going to the show; if they are, that's the best research to me.
7. Repetition breeds familiarity. How does your label increase exposure of your artists outside of traditional radio promotion?
We hammer the web and the streets, looking for constant new opportunities to expose our music to more and more people. We are also really fortunate because our artists have the ability to grow via word of mouth and you simply can't buy that or falsify that.
8. Every Promotion person has a record close to their heart that for one reason or another never broke through, "The One That Got Away"... What is your "One that Got Away" and what did you learn from that record???
As of yet we haven't had one "get away." I can't say that it will never happen but too many people call tracks and artists that haven't blown up in 4-6 weeks "the one that got away." We don't give up, that's the strategy. I like a battle and I like to fight. In my experience, the path of least resistance is usually a slide into a pile of shit.
9. What are the most important tools/resources you use to stay on top of the rock formats growth and constant daily changes?
I guess you use all the standards, but it's more of a way to get a global feel for things rather than a day-to-day intensive stats thing.
10. Artist Development. The lost art of Artist Development. What do you do to ensure your artist is building a career as opposed to just breaking a song? And does it even matter anymore?
It's fun to say artist development, but most labels don't have the heart or balls to actually do it. It means being able to go backwards in sales or chart position and have the faith to battle on. We live in the fight; we develop artists because it's what you're supposed to do, not because it's a buzzword. As an Indie you simply can't afford to sign bands you don't intend on developing.
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