why wish never released an album

[Sccit]

for real guys, you really think these guys make serious money from these indie albums:

http://www.realtalkent.com/static_site/index.htm

some of em, yea

[bouli77]

for real guys, you really think these guys make serious money from these indie albums:

http://www.realtalkent.com/static_site/index.htm

you're talking about Real Talk Entertainment, which is very different. I'm talking about being Independent in general. It's way more profitable for an artist to be independent than to sign on a major in general. Not in terms of career, but in terms of money. Some local rappers are richer than platinum selling artists.

Real Talk Entertainment is different, the label belongs to Big Hollis, and the artists that put out albums over there are not signed on the label, I'm pretty sure Big Hollis pays them a good amount of money, records the album with them and keeps most of the publishing rights. So that's a win win situation for them. Kinda like how you would pay someone for a featuring but instead you pay them for a whole album.

you should learn more about the independent game, cause it seems you don't have a clear idea of how it works. look up Wendy Day.

http://www.rapcoalition.org/Wendy%20Day.htm

One of Wendy's priorities is to consult with and help build regional and national independent urban record labels so hip hop artists can regain control of their own art form. Consistent with this goal, Ms Day has negotitaed some stellar distribution deals in urban music. She has played a part in Eminem's deal at Aftermath/Interscope, Master P's No Limit deal with Priority Records, Psycho Drama's deal at Suave House, DJ DMD's deal with Elektra, Fiend's deal with Ruff Ryders, UGK's renegotiation with Jive Records. She negotiated the incredible joint venture deal for Twista with Atlantic Records in 1996, which both The Source and Rap Pages magazines called "the best deal in the history of Black music," until she topped her own record with the now famous $30 million dollar deal for Cash Money Records with Universal. She focuses on complete control and ownership for the independent label in all of her deals. Master P was the first artist to keep control and ownership of 100% of his masters for No Limit. Cash Money is the only other label in urban music to own 100% of their masters, contrary to what the press says about Bad Boy, Death Row, Roc-A-Fella, and others. The money Wendy Day earns negotiating these deals goes immediately into Rap Coalition, and is solely what funds the not-for-profit Rap Coalition.

[doggfather]

for real guys, you really think these guys make serious money from these indie albums:

http://www.realtalkent.com/static_site/index.htm

you're talking about Real Talk Entertainment, which is very different. I'm talking about being Independent in general. It's way more profitable for an artist to be independent than to sign on a major in general. Not in terms of career, but in terms of money. Some local rappers are richer than platinum selling artists.

Real Talk Entertainment is different, the label belongs to Big Hollis, and the artists that put out albums over there are not signed on the label, I'm pretty sure Big Hollis pays them a good amount of money, records the album with them and keeps most of the publishing rights. So that's a win win situation for them. Kinda like how you would pay someone for a featuring but instead you pay them for a whole album.

you should learn more about the independent game, cause it seems you don't have a clear idea of how it works. look up Wendy Day.

http://www.rapcoalition.org/Wendy%20Day.htm

One of Wendy's priorities is to consult with and help build regional and national independent urban record labels so hip hop artists can regain control of their own art form. Consistent with this goal, Ms Day has negotitaed some stellar distribution deals in urban music. She has played a part in Eminem's deal at Aftermath/Interscope, Master P's No Limit deal with Priority Records, Psycho Drama's deal at Suave House, DJ DMD's deal with Elektra, Fiend's deal with Ruff Ryders, UGK's renegotiation with Jive Records. She negotiated the incredible joint venture deal for Twista with Atlantic Records in 1996, which both The Source and Rap Pages magazines called "the best deal in the history of Black music," until she topped her own record with the now famous $30 million dollar deal for Cash Money Records with Universal. She focuses on complete control and ownership for the independent label in all of her deals. Master P was the first artist to keep control and ownership of 100% of his masters for No Limit. Cash Money is the only other label in urban music to own 100% of their masters, contrary to what the press says about Bad Boy, Death Row, Roc-A-Fella, and others. The money Wendy Day earns negotiating these deals goes immediately into Rap Coalition, and is solely what funds the not-for-profit Rap Coalition.

Ok, that's proof that indie/artist label can make good money, and the owner of the label (Master P from No limit for example), BUT as an artist?!

i'm not sure about that Snoop at no limit get MUCH better money, than Snoop on priority later.

for real guys, you really think these guys make serious money from these indie albums:

http://www.realtalkent.com/static_site/index.htm

some of em, yea

you sure?!

[Portugoal]

Wow, I didn't know there were people on these forums that are still ignorant about this subject