Musicians: Why it’s still a good idea not to quit your day job.

February 24, 2011{ 7 Comments } posted a spirited rant about why the major labels were doomed to experience their current downturn, and why we should all remember to make music, most importantly, for the love of it.

Music Hobby Vs. Music Career

Of course, there are pros and cons to both choices, some more obvious than others. We’d love to hear from our artists on both sides of that line. What sacrifices have you had to make? What was gained? Was it worth it? What would you do differently, if anything?

Let us know in the comments section below.

-Chris R. at CD Baby

  • sigh…

  • Wow! That's a complicated "Truth Table." I'm still working on it.

  • The only difference between a pro and an amateur is the exchange of funds. There will still be only a few greats, but the noise floor of quantity is greatly raised. And why the heck not. It's casting a wider net to find the great ones. A few, like Pamplemoose and Jonathan Coulton, will rise up via new avenues. And besides the geniuses, there's a ton of really, really, good inspiring art. I've fallen in love with songs that would have never been released without today's easy access. The more the merrier.

  • I quit my day job back in 1989 and have never looked back. Had I continued with a regular job my songs Logs On The Fire, Carolina Autumn and Sound Of My Guitar would have never come to be. A good friend said it this way "Better to take a risk for something you love rather than stuck with something you hate".

  • Tom

    In these economic times not quitting your day gig might be some solid advice for some.

  • I will never be able to do nearly as many things musically as I would have liked to, and will never be as good as I could be, because I am just a part-time musician. The world misses out on lots of good music because they don't support artists like they should.

  • The very day the RIAA/Bain chart was leaked I read a rebuttal that proved it was inaccurate:

    The only thing shown in the statistics (once corrected) is that the future of recorded music as a commodity is in doubt (and has been for some time.) The news has been treated as if recorded music is the only aspect of music that is worth capitalizing upon, and as if people will suddenly quit writing songs if there is no gravy-train potential.

    It also is reported as if there is no money in buying, selling, and repairing musical instruments, or no money in giving lessons, etc.