An Original: Born Too Soon or Too Late?

Yesterday, Shawn Peters, one of the executive partners of Rebel Soul Records, sounded off about the industry challenges of taking mega-talents like Martin Luther, Cody ChestnuTT, and Kameron Corvet to the levels their talents deserve. Black rockers and urban alternative artists often find themselves unable to get signed to major labels doing the very music their Black forefathers and foremothers created, the music that helped create many of these labels to begin with. The story of Black rockers not being able to get signed could be a harbringer for soul, jazz, and blues which have also seen a marked reduction in artists following the traditions of their musical heritage, always forsaking yesterday for the next, leaving others to pick-up, master, and eventually dominate their leavings. But what happens to those few still trying to keep the torch and even innovate so that the flame is relevant for the next generation? Well, hopefully, they get cheerleaders like Rebel Soul behind them to make it happen.

LMG: Given the popularity of Martin Luther, Cody ChestnuTT and Kameron Corvet and the rapid decline of major labels (and remotely fair major label deals) why not stick to the indie labels? What’s gained?

SP: Well, there isn’t much to gain; unless you can find a label that is willing to let you tell them where to spend their money which is highly unlikely. Artist like these need to be build organically and unfortunately most labels with their high overheads don’t have to time or the capital anymore to do that for artists. Indie labels are left to do that and the one that does break an artist like these will be highly sought after and probably paid a lot of money. We are hoping to one day be that label

Next?

LMG: If there was a manager out there seeing and considering representing an amazing black kid rocking today, what advice would you give the manager given your experience?

SP: I would say first and foremost focus on great songs. If a three-year old can sing them after a first listen than you have something. If you have an artist with a knack for writing great songs, then for the first album give the bulk of it away and tour like hell.

Young Soul

LMG: What’s in store for Martin, Cody and Kameron in 2010 and where can fans cop it?

SP: Martin’s album will be dropping late Spring, Cody is recording a new album in the spring for a late summer release and Kam is working on some new incredible material soon to be available as well.

Cody Returns Twice In 2010!!

LMG: All three of your artists are still coming out as indies on Rebel Soul, their own label, or did someone actually get a major label deal?

SP: Well, we are in negotiations for Martin for a possible partnership, but it will still be indie. Cody’s project will beindie but it may or may not be through Rebel Soul, so I don’t have definitive answers yet.

Scoop Alert!: A couple of days after our interview, Shawn Peters let me know that partner Cody ChestnuTT’s EP, “Black Skin No Value” will be out this Spring and a full-length album, “Landing On A Hundred” will be released by the close of 2010. Kameron Corvet’s new song, “This Way To Love” and Martin Luther’s “Precious” will be hitting digital stores before you can bat a lash! Check out the new Martin Luther song for the forthcoming project.

An Original: Born Too Soon or Too Late?

Shawn Peters has been a partner in Rebel Soul Records, an indie label and management company, from day one. He and business partner Jeffrey Alston have watched their partner and marquee artist, Martin Luther, flourish into a multi-dimensional soul rocker with critically acclaimed projects like The Calling and Rebel Soul Music, touring opportunities with A-list acts like The Roots, and tony movie roles such as the Beatles homage Across The Universe. The always grinding Martin Luther was becoming a seriously respected industry name, but somehow the success of singles like “Daily Bread” and a guest spot on The Root’s “Tipping Point” project wasn’t enough to move admittedly impressed major label executives to sign Martin Luther and catapult him to the Lenny Kravitz status his talent deserves. Not too long ago, Peters sounded off on his blog about the struggle of getting a thirty-something Black soul rocker taken to the next level, despite Luther having the looks, showmanship and cult following labels claim they want from new talent. Reportedly, the execs were perplexed as to how to market a Black rock act doing the music Black people founded (will we not “know how” to market Joshua Redman or Roy Hargove performing jazz next?) and decided to beg off rather than even try. We followed up with Peters who was experiencing similar industry challenges with other urban alternative acts associated with Rebel Soul including Cody ChestnuTT (“Headphone Masterpiece”)  and Kameron Corvet (“Korporate Rockstar”) to  find out what’s really going on.

LMG: How hard has it been for you as a manager to get rockers like Martin Luther, Kameron Corvet, and Cody ChestnuTT signed? What are labels telling you is the problem?

SP: The main push back that we get when talking to labels when presenting an urban alternative artist like Martin Luther or Kameron Corvet is that they don’t know what radio format to place them into out of the gate. With artists who like to walk the line between genres labels have a hard time categorizing them for a particular audience. This is why Capital had a hard time breaking Van Hunt, because he was black; they went the conservative route and tried to place the first single in the adult contemporary category. Van’s writing is a bit more intellectual than that of the average R&B song; so it didn’t hit. If they would have taken a chance with a song like Hold My Hand on the first album and went to pop stations; they might have won. If Van would have had a win it would have been easier for artists like Martin Luther and Kameron Corvet to get major label deals. Unfortunately, the pop category is elusive for artists like Van Hunt, Martin Luther, Cody ChesnuTT, and Kameron Corvet for some reason. Maybe it’s because they play guitars; who knows.

Unsignable Korporate Rockstar?

LMG: How much of a role do you think age or race plays in label heads inability to see Martin Luther, Cody ChestnuTT or even a young Kameron Corvet as marketable commodities?

SP: I think age and race always have a role to play when label executives sign artists. Everything has a category based on intended audience demographic. If you are a pretty, 16 year old, white girl who sings like Lauren Hill; it’s a layup for the labels. Everything outside of that layup gets huge scrutiny.

Rocker, Funkster, Revolutionary

LMG: Why hasn’t the success of rockers like Lenny Kravitz, Hootie and The Blow Fish, and Corey Glover (Living Colour), much less Jimi Hendrix and Sly and the Family Stone, ended the notion that Black artists cannot successfully be marketed for a music genre they invented?

SP: I think that Lenny Kravitz has been able to define his style on one direction; pop rock. Hootie is straight up southern rock and doesn’t have any inkling of blackness or soul and Sly was in another time before consolidated radio. Maybe the problem with Martin, Cody, Kameron, and Van is that they do both pop/rock and soul too well. Makes them hard to categorize and therefore market easily.

Tomorrow: What’s Next for Martin Luther, Cody Chestnutt, Kameron Corvet and the future of Black Rock in Part II. Tune In!