.2012 - Mylar Records has "retired"!

With changes in the recording industry due to advances in technology, Mylar Records will no longer engage in the creation of hard copy media, such as compact discs (CDs). Recording and distribution of music has changed drastically and it is no longer practical to create CDs and try to sell them. Digital audio and video recording is now the paradigm for distributing music through internet outlets. Mylar Records will take a new direction by supporting projects that can be delivered more successfully through a variety of websites and digital services.

Mylar Records Story
In 1983 William Mylar created the independent record label, Mylar Records, mainly to support his original music. The first albums to be produced were on tape cassette media and later, CDs. As distribution went international in the 1990s, the label was renamed Mylar Records, USA. In addition to Mylar's own music, bands such as the Barking Spiders and artists, such as Amy Anne, also appeared on the Mylar Records label.

Mylar created his own independent record label because he wanted to record and share his music with complete creative control. Mylar was becoming a popular artist in the late 1970s and was courted by major recording companies. The following is from Mylar in his own words:

"There were three major labels that offered me recording contracts between 1979 and 1981. I had done some talent scout work for some of the lawyers who invested in these contracts, so I learned a little about how many recording contracts worked. I was a music critic in the early 1970's for the Sacramento State College paper, the Aardvark. Investors would send me samples of bands or artists and I would critique them, with the emphasis being on what might "sell" to the public. Two of the bands I recommended that hit it big were Genesis and Styx.
When I left the theater business for good in 1977and embarked on a career in music, I saw many bands and artists sign with record companies in the mid and late 70s. Some of these people were friends. I watched as many worked very hard, but never really made any money for anyone else but the people who signed them. I also saw how artist and repertoire (A&R) agents, promoters, and managers seemed more interested in their cut of record label money than the artists they represented. More often than not, lawyers would draft a recording contract for a record company, for which they were paid a fee. Some of the lawyers would invest money into the contract for which they would be guaranteed a percentage of gross profits. The total contract amount included additional deductions for studio time, resources, promotions, and personnel (like the A&R, managers, engineers, etc.) By the time a recording hit the streets, the band or artist got very little of the money the record might make.

The other thing I witnessed was how these contracts often took away the creative abilities of the bands and artists. Musicians were often told how to dress, who could be in their band, and even how their music was to be written and presented.
During the days of Disco music, I remember one A&R guy, who also managed a couple of very famous bands, tell me, 'The masses are asses. They don't care about how well a song is crafted or whether it has any artistic value or meaning. People want to hear a good beat and a lyric they can remember. My job is to take that music and cram it down people's throats at least once per hour on radio and TV stations we own. My job is to sell a product and make as much money for my record label as possible.'

Needless to say, I was very leery about signing with a major label in 1981. The death of John Lennon a few months earlier also had an incredible affect on me. I could not imagine an artist's music becoming so popular that some lunatic would want to kill them because of how they or their music was perceived. One of the things I enjoyed most about performing live in those days was meeting and talking to people face to face to hear what they thought of my music.
When I sat down at the table in the fancy office with these successful lawyers, they told me how much they liked my music. They told me how they could make William Mylar a household name. They told me I would be performing at all the biggest and best concert venues and my music would be plastered all over radio and TV. This also sounded great to me.
But, then they started telling me I needed to rename some of my songs and I needed to add a "hook" to this one or that one. They asked if I could stick with a certain style, so I could be "branded". They wanted me to have an "advisor" who would decide how my music should be arranged and who should perform it with me. They liked one song because they thought it could sell cars. They like another because it could help sell soap. They said the record company would have control over publishing rights and where and when I could perform. Facetiously, I asked them if my long hair was ok. They seriously answered that someone would let me know how I should look and if I had a different wardrobe (I was dressed in jeans and a pocket t-shirt).

Perhaps I was naive and I know I was very headstrong in those days. I told them I'd like to look over the contracts and I would get back to them. I read the contracts, but I never got back to them.

I decided to try and record on my own. Of course, while I was able to make a recording, I could never get my music into the mainstream media. Mylar Records was labor of love more than anything. I never made any serious money and most of my recordings were sold to family, friends, and people who came to my shows. I sold some recordings through local stores and at cafes and bars that would display them. Some of the music made it on college and community radio stations. My Mom once heard my music on a grocery store's sound system in North Carolina! I got ripped off by some of the music stores and small distribution companies, but, for the most part, I was still doing what I wanted to do, which was record my music for who ever else was interested.

As I began to produce other artists, I later realized that Mylar Records was probably not the best vehicle for them. After all, while I believed in the music from these gifted people and did the best I could to help them express their musical ideas the artist should have the opportunity to decide if they should be part of the mainstream music business.
I had hoped they could use the work I helped them create to their advantage and to this day, they are under no obligation to me or Mylar Records. If they decide they want to sell or take their music to a label that can give them what they want, they are free to do so."

Future Projects
Mylarville may use this area to list future projects by William Mylar. In the meantime, please use the Music part of this website for info and products.

The Amy Anne CD, Supergirl, is the only Mylar Records project (from 2005) that remains active and can be purchased through http://cdbaby.com/cd/amyanne and downloaded from iTunes and all the other digital media sites.