.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
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
"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
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
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
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
and downloaded from iTunes and all the other digital media sites.