I have been watching, studying, and analyzing why some people ‘make it’ and others don’t for a long time, and I have given up trying to discover some magic formula that every musician can follow on the road to so-called ‘success’.
Today, more than ever, there are countless advisers like myself who offer tips to developing acts and ‘struggling musicians’, and all too often we try to inflict some step-by-step process on musicians that will help them become successful as musicians, but the truth is ‘There are no 10 steps to success’ or even 25 or 50 steps.
So, I have been asking myself some questions about why some acts make it and others don’t.
Is there a difference between the attitude of successful, well known acts and the attitude of upcoming acts? Why do some musicians make it big, while other equally talented people songwriters and musicians never get their music heard by the masses? What specific skills and/or inherent talents do the successful artists embody that so many ‘wannabees’ do not?
Is it charisma? That special something that many artists seem to exude the minute they walk into a room? I think that is part of it, but many successful acts have as much charisma as a pitcher of milk, and yet do quite well for themselves.
How about a lot of money? That seems to be the one thing behind so many successful names these days. There are always major labels owned by huge multinational conglomerates behind so many superstars. They can buy their way into the hearts and minds of the public, right?
Wrong. Money can only push something out to the public for their acceptance or rejection…that’s all it can do. Nobody reaches into the public’s wallet and forces them to spend their hard earned money on anything unless the public sees some real value in it.
Think about it. Today there is a lot of (what some observers) call ‘shallow
and immature’ music out there. But you know what? No one who bought any of that music would cop to that criticism.
No indeed, the people who buy the latest sounds on the pop charts buy that music because it gives them some kind of pleasure. It means something to them.
I think we should look at what sells and what is successful from this standpoint; music fulfills the needs, wants, and desires of any group of fans because they identify with it. Basically people like a song because they can hum it in the shower.
The one thing that all successful acts have in common when they cross over to mass appeal is great songs! This is true as well for the more edgy artists who eek out a living from smaller fan-bases… they still write compelling songs that touch the hearts and minds of their fans. I think that is the reason why some musicians succeed and others don’t.
Whether or not you personally ‘like’ current popular songs has nothing to do with it. Enough ‘somebodys’ coughed up $10 each to prove your tastes may not be in-tune with what the general public likes.
But there must be something else that separates successful artists from those who don’t connect with the public. What other thing is it that successful artists and bands have that separates them from struggling artists?
My answer is business savvy. Yup…that’s it. Somebody somewhere in every successful acts history had enough business savvy people behind them to make them the stars that they are or were.
NOW…listen up! It isn’t as simple as you think. In the past having some business savvy may have been the domain of a weasel-like manager, or record label executive. It may have been the unscrupulous business practices of shady lawyers and booking agents, as well as greedy club owners, or money hungry publishers.
My point is that no matter what the behavior of a particular music business gatekeeper may have been…they got a certain part of the job done…they broke on through to the other side of the competition, and got their act’s song into the ears of the thousands of music fans. And to do that, I can assure you they had a plan.
There are no short cuts to success, and there just isn’t enough room at the top for everyone who makes music to make a living from their music. But there is a balance that can be obtained in one’s life. With the tools available on the Internet, and the technology of downloadable music now an every day reality, no musician who writes great songs should have that much problem realizing modest successes with their music.
Be careful of the “10 Steps To Musical Success” and the “What Every A&R Rep Is Looking For” articles and books. I myself have written some articles with similar such titles, only because they are my means of getting the attention of an ever growing group of music star ‘wannabees’. Once I get their attention, I try to give them proven tactics and strategy tips that are time-tested ways that record labels and industry professionals work.
In reality, there are no 10 steps to anything! There is the conscious involvement, and commitment to your songwriting and musicianship, and to the business of music.
Remember that the world of commercial music is a world of dollars and cents, whether you like it or not. But that does not mean that Art and Commerce cannot walk hand in hand…they must do that. It never ceases to amaze me how often history repeats itself when it comes to the question of artistic achievement and music business savvy.
Most ‘artists’ in the truest sense of the world are narrowly focused people who never take no for an answer. No matter what challenge comes their way, they have no recourse but to turn to their creative side and get lost in their music as a way of staying alive. Then, along comes a businessman or woman who either is or is not ethical, but knows the music business inside out. They hear the magic in a client’s music, and they do what it takes to get that music into the marketplace.
Today, businessmen and women are the artists themselves. They have to be. That’s just the way things work in this era.
We live in a capitalist, consumer-driven society. The successful musicians of tomorrow will be those people who either attract dedicated, knowledgeable
People to do the marketing and promotion for them, or they take that responsibility on themselves and realize that no artist has to sell hundreds of thousands of copies of their music to make some money with their music. Just KNOW who your audience is and create a lasting ‘friendship’ with them.
However, you do have to be able to write and perform great songs, and then produce them with the ‘sound’ of your particular genre carefully understood and honored, AND you have to take the time to read trusted consultants and advisor’s articles and books and also find time to stay on top of this ever changing business by attending a few music business conferences or seminars.
But you also need to do some ‘grunt-work’… Keep up on your social networking presence at Twitter and at least Facebook, call club bookers (over and over), read good and bad reviews, put on a great show when you're exhausted or sick, and tirelessly promote your music. This is where the ‘entertainer’ steps in and handles things.
The ‘entertainer’ is someone who knows that the show must go on. They know that no matter what obstacle is put in front of them, they will persevere. Looking at the work habits of most successful musicians and bands, I think they all have an ‘entertainer’ inside them. That's what allows them to succeed in all areas of the business. That is what keeps them going during the fifth press interview of the day, and all the other crap that has nothing to do with music and everything to do with the business of music marketing.
When an upcoming artist finally ‘makes it’, the pressure to keep producing sellable music is huge. So the ‘artist’ has to be healthy and ready to create on demand. You may be asked to hit the road for nine straight months, then make a world class album immediately following the grueling tour.
What it all boils down to is that any professionals have to be on top of their game, both artistically and business-wise. It is essential to create a balance between music and business early on. First, make sure your psyche is in the right place. You know, screw your head on right! Be honest with yourself regarding what things you are and aren't willing to do to be successful with your music.
Then, make a plan. Map out how you will improve your skills in both business and art. Put it on paper. Try living the 50% business - 50% music lifestyle.
Make sure you honor your business commitments and always act professionally. Make sure you keep your artist side healthy and creative. Take days off, take walks in nature, take time to noodle around that new idea for a song that just popped into your head. Those types of habits will keep the artist inside you in good shape and feed the creative juices inside you too.
Being a famous musician is not a "normal" life. To survive and thrive requires a special set of skills. The good news is those skills can be learned and developed. Every little bit you learn now will benefit your career plan down the road.
Put your hands together. The one hand is the creative side of you, and the other hand is the business side of you.
Now clap your hands!
Monday, August 9, 2010
Thursday, August 5, 2010
How Record Labels Are Setup
There is a lot of work involved with running a record label: signing, recording, promoting, publicizing, and selling music. The following introduction to the way major labels and independent labels setup the business of music marketing is broken down by departments. As you will see, the larger record labels have the luxury of having many different departments and dozens of employees to carry out the many responsibilities involved in running a label. And, the smaller companies, that have the same work to do, have to be quite creative and energetic to get all that work done.
Major Label Departments:
What are the key departments at a record label, and what are those departments responsible for? Let’s take a look.
For starters, the CEO of a major label will generally oversee the business affairs of all the affiliated labels under their corporate umbrella. Each major label will have its own President who is responsible for all the label activities. For example, at Warner Brothers, there is a president for Warner Brothers Records, a president for Reprise Records, a president of Atlantic Records, etc.
Every department at a major label is usually run by a Senior Vice President, in charge of one of the following:
The Business Affairs Department takes care of label finances; bookkeeping, payroll, et al.
The Legal Department handles all contractual issues and other legal responsibilities.
The A&R (Artists and Repertoire) Department locates and signs new talent. They work with the artist in song selection, choice of producers, recording studio selection and they communicate with the label’s Business Affairs Department to make sure all the paperwork and accounting issues involved with the actual recording of an act’s record are setup properly. In short, The A&R Department can serve as a liaison between an artist and all the other departments at the label.
The Art Department supervises all product design jobs, (CD, Tape, Vinyl cover art etc), trade and consumer press advertising, retail sales posters and flats, and other needs of the print media.
The Marketing Department is responsible for creating the overall marketing plan for every record the label is releasing. They are also involved in coordinating all the promotion, publicity, and sales campaigns that the label is committed to.
The Publicity Department arranges for any feature stories, interviews, or record reviews in local and national newspapers, magazines, web-zines, as well as the broadcast opportunities for such coverage on radio stations and television. They may also co-ordinate any of these publicity opportunities with an artist’s own Publicist.
The New Media Department produces and promotes the music videos for the label’s artists that are shown on MTV, VHl, etc. This department also oversees some promotions and marketing opportunities on the Internet that use the audio and video technologies available from online hardware and software sites that support music..
The Artist Development Department usually oversees the career planning of artists signed to the label. This department coordinates a consistent marketing and promotion presence for an artist throughout their career with the record label. The Artist Development Department has changed over the last decade. Many labels no longer have such a department. Others have changed the name to Product Development and concentrate more on “breaking,” or promoting artists quickly in order to try to speed up the return on their financial investment. The pressure to return a profit to shareholders has changed the face of the music business dramatically in recent years, so the emphasis has been more on Product Development, and securing a hit as fast as possible.
The Sales Department oversees all the retail activities of the label, and concentrates on building relationships with the key record store chains and other mass-market retailers. The Sales staff coordinate their efforts with the major label’s distribution company, as well as communicating regularly with the Promotion and Publicity departments at the label.
The Label Liaison is the person who coordinates the business of the major label’s distribution company with the needs of their parent record labels. Street dates, (the date that a new release goes on sale at music retailers), must be approved by the label’s distribution company
The Promotion Department’s primary goal is secure radio airplay for their company’s new releases. Their ability to get songs played on the radio is central to the success of the whole company. The Promotion department is closely connected to and constantly communicating with other departments within the label to make sure that all strategies being used to market and sell an artist’s record are working together properly. Soliciting videos to MTV, VH1, BET and other music oriented television networks and programs may also be the responsibility of this department. At some labels this job is a separate department, or part of the New Media department.
Every department at a record label plays an essential role in the success or failure of the company. They are team members, working together toward the goal of selling their records, cassettes and CDs as one lean, mean machine.
Inside an Independent Record Label
Independent record labels come in all sizes and shapes. The large, well-funded indie labels are organized by departments much like the major label operations described above. The more money a label has the more they people they can hire to handle the various responsibilities of a label. Smaller, grass roots or garage labels organize the work of promoting, selling and publicizing their releases by wearing as many different hats as they can. These smaller labels have an awesome task marketing their records because there may be only two or three employees, including the label owner, doing the A&R scouting, calling radio stations about airplay, working with a distributor (if they even have one), checking with the music retailers, and coordinating the publicity efforts, as well as dealing directly with their artists and bands helping them find gigs and put tours together.
Running a record label is a very expensive and time-consuming job. One of reasons so few independent labels succeed is related to the issues I have just outlined. It takes a lot of money, and a lot of time to operate a legitimate record label. The more research and planning a young label does before jumping into the world of music marketing, the higher the likelihood that they will survive, and perhaps even prosper in a very competitive business.
Major Label Departments:
What are the key departments at a record label, and what are those departments responsible for? Let’s take a look.
For starters, the CEO of a major label will generally oversee the business affairs of all the affiliated labels under their corporate umbrella. Each major label will have its own President who is responsible for all the label activities. For example, at Warner Brothers, there is a president for Warner Brothers Records, a president for Reprise Records, a president of Atlantic Records, etc.
Every department at a major label is usually run by a Senior Vice President, in charge of one of the following:
The Business Affairs Department takes care of label finances; bookkeeping, payroll, et al.
The Legal Department handles all contractual issues and other legal responsibilities.
The A&R (Artists and Repertoire) Department locates and signs new talent. They work with the artist in song selection, choice of producers, recording studio selection and they communicate with the label’s Business Affairs Department to make sure all the paperwork and accounting issues involved with the actual recording of an act’s record are setup properly. In short, The A&R Department can serve as a liaison between an artist and all the other departments at the label.
The Art Department supervises all product design jobs, (CD, Tape, Vinyl cover art etc), trade and consumer press advertising, retail sales posters and flats, and other needs of the print media.
The Marketing Department is responsible for creating the overall marketing plan for every record the label is releasing. They are also involved in coordinating all the promotion, publicity, and sales campaigns that the label is committed to.
The Publicity Department arranges for any feature stories, interviews, or record reviews in local and national newspapers, magazines, web-zines, as well as the broadcast opportunities for such coverage on radio stations and television. They may also co-ordinate any of these publicity opportunities with an artist’s own Publicist.
The New Media Department produces and promotes the music videos for the label’s artists that are shown on MTV, VHl, etc. This department also oversees some promotions and marketing opportunities on the Internet that use the audio and video technologies available from online hardware and software sites that support music..
The Artist Development Department usually oversees the career planning of artists signed to the label. This department coordinates a consistent marketing and promotion presence for an artist throughout their career with the record label. The Artist Development Department has changed over the last decade. Many labels no longer have such a department. Others have changed the name to Product Development and concentrate more on “breaking,” or promoting artists quickly in order to try to speed up the return on their financial investment. The pressure to return a profit to shareholders has changed the face of the music business dramatically in recent years, so the emphasis has been more on Product Development, and securing a hit as fast as possible.
The Sales Department oversees all the retail activities of the label, and concentrates on building relationships with the key record store chains and other mass-market retailers. The Sales staff coordinate their efforts with the major label’s distribution company, as well as communicating regularly with the Promotion and Publicity departments at the label.
The Label Liaison is the person who coordinates the business of the major label’s distribution company with the needs of their parent record labels. Street dates, (the date that a new release goes on sale at music retailers), must be approved by the label’s distribution company
The Promotion Department’s primary goal is secure radio airplay for their company’s new releases. Their ability to get songs played on the radio is central to the success of the whole company. The Promotion department is closely connected to and constantly communicating with other departments within the label to make sure that all strategies being used to market and sell an artist’s record are working together properly. Soliciting videos to MTV, VH1, BET and other music oriented television networks and programs may also be the responsibility of this department. At some labels this job is a separate department, or part of the New Media department.
Every department at a record label plays an essential role in the success or failure of the company. They are team members, working together toward the goal of selling their records, cassettes and CDs as one lean, mean machine.
Inside an Independent Record Label
Independent record labels come in all sizes and shapes. The large, well-funded indie labels are organized by departments much like the major label operations described above. The more money a label has the more they people they can hire to handle the various responsibilities of a label. Smaller, grass roots or garage labels organize the work of promoting, selling and publicizing their releases by wearing as many different hats as they can. These smaller labels have an awesome task marketing their records because there may be only two or three employees, including the label owner, doing the A&R scouting, calling radio stations about airplay, working with a distributor (if they even have one), checking with the music retailers, and coordinating the publicity efforts, as well as dealing directly with their artists and bands helping them find gigs and put tours together.
Running a record label is a very expensive and time-consuming job. One of reasons so few independent labels succeed is related to the issues I have just outlined. It takes a lot of money, and a lot of time to operate a legitimate record label. The more research and planning a young label does before jumping into the world of music marketing, the higher the likelihood that they will survive, and perhaps even prosper in a very competitive business.
Monday, August 2, 2010
Some Things To Remember About Distribution
Things To Remember About Record Distribution
By Christopher Knab (copyright 2010)
Distributors will usually only work with labels that have been in business for at least 3 years or have at least 3 previous releases that have sold several thousand copies each.
Distributors get records into retail stores and online stores, and record labels get customers
into retail stores and to visit online music retailers through promotion and marketing tactics.
Make sure there is a market for your style of music. Prove it to distributors by showing them how many records you have sold through live sales, internet sales, and any other alternative methods.
Be prepared to sign a written contract with your distributor because there are no ‘handshake deals’ anymore.
Distributors want ‘exclusive’ agreements with the labels they choose to work with. They usually want to represent you exclusively. Exception is online distributors such as tunecore.com, iTunes, CDBaby etc.
You will sell your product to a distributor for close to 50% of the retail list price. Online price for a song is set by each online store.
When searching for a distributor find out what labels they represent, and talk to some of those labels to find out how well the distributor did getting records into the various types of retailers, both on and off-line.
Investigate the distributor’s financial status. Many label have closed down in recent years, and you cannot afford to get attached to a distributor that may not be able to pay its invoices.
For traditional distribution find out if the distributor has a sales staff , and how large it is. Then get to know the sales reps.
What commitment will the distributor make to help get your records into stores. Ask them.
Is the distributor truly a national distributor, or only a regional distributor with ambitions to be an national distributor. Many large chain stores will only work with national distributors.
Expect the distributor to request that you remove any product you have on consignment in stores so that they can be the one to service retailers.
Make sure that your distributor has the ability to help you setup various retail promotions such as: coop advertising (where you must be prepared to pay the costs of media ads for select retailers), in-store artist appearances, in-store listening station programs, and furnishing POP’s (point of purchase posters and other graphics).
Be aware that as a new label you will have to offer a traditional distributor 100% on returns of your product.
You must bear all the costs of any distribution and retail promotions.
Be able to furnish the distributor with hundreds of ‘Distributor One Sheets’ (Attractively designed summary sheets describing your promotion and marketing commitments. Include barcodes, list price, picture of the album cover, and catalog numbers of your product too).
Traditional distributors may ask for hundreds of free promotional copies of your release to give to the buyers at the retail stores.
Make sure all promotional copies have a hole punched in the barcode, and that they are not shrink-wrapped. This will prevent any unnecessary returns of your product.
Don’t expect a distributor to pay your invoices in full or on time. You will always be owed something by the distributor because of the delay between orders sent, invoices received, time payment schedules (50-120 days per invoice) and whether or not your product has sold through, or returns are pending.
Create a relationship that is a true partnership between your label and the distributor.
Keep the distributor updated on any and all promotion and marketing plans and results, as they develop.
Be well financed. Trying to work with distributors without a realistic budget to participate in promotional opportunities would be a big mistake.
Your distributor will only be as good as your marketing plans to sell the
record. Don’t expect them to do your work for you, remember all they do is get records into the stores.
Read the trades, especially Billboard for weekly news on the health of the industry, and/or the status of your distributor.
Work your product relentlessly on as many of the Four Fronts as possible…commercial and non commercial airplay, internet airplay and sales campaigns, on and offline publicity ideas, and touring…eternally touring!
By Christopher Knab (copyright 2010)
Distributors will usually only work with labels that have been in business for at least 3 years or have at least 3 previous releases that have sold several thousand copies each.
Distributors get records into retail stores and online stores, and record labels get customers
into retail stores and to visit online music retailers through promotion and marketing tactics.
Make sure there is a market for your style of music. Prove it to distributors by showing them how many records you have sold through live sales, internet sales, and any other alternative methods.
Be prepared to sign a written contract with your distributor because there are no ‘handshake deals’ anymore.
Distributors want ‘exclusive’ agreements with the labels they choose to work with. They usually want to represent you exclusively. Exception is online distributors such as tunecore.com, iTunes, CDBaby etc.
You will sell your product to a distributor for close to 50% of the retail list price. Online price for a song is set by each online store.
When searching for a distributor find out what labels they represent, and talk to some of those labels to find out how well the distributor did getting records into the various types of retailers, both on and off-line.
Investigate the distributor’s financial status. Many label have closed down in recent years, and you cannot afford to get attached to a distributor that may not be able to pay its invoices.
For traditional distribution find out if the distributor has a sales staff , and how large it is. Then get to know the sales reps.
What commitment will the distributor make to help get your records into stores. Ask them.
Is the distributor truly a national distributor, or only a regional distributor with ambitions to be an national distributor. Many large chain stores will only work with national distributors.
Expect the distributor to request that you remove any product you have on consignment in stores so that they can be the one to service retailers.
Make sure that your distributor has the ability to help you setup various retail promotions such as: coop advertising (where you must be prepared to pay the costs of media ads for select retailers), in-store artist appearances, in-store listening station programs, and furnishing POP’s (point of purchase posters and other graphics).
Be aware that as a new label you will have to offer a traditional distributor 100% on returns of your product.
You must bear all the costs of any distribution and retail promotions.
Be able to furnish the distributor with hundreds of ‘Distributor One Sheets’ (Attractively designed summary sheets describing your promotion and marketing commitments. Include barcodes, list price, picture of the album cover, and catalog numbers of your product too).
Traditional distributors may ask for hundreds of free promotional copies of your release to give to the buyers at the retail stores.
Make sure all promotional copies have a hole punched in the barcode, and that they are not shrink-wrapped. This will prevent any unnecessary returns of your product.
Don’t expect a distributor to pay your invoices in full or on time. You will always be owed something by the distributor because of the delay between orders sent, invoices received, time payment schedules (50-120 days per invoice) and whether or not your product has sold through, or returns are pending.
Create a relationship that is a true partnership between your label and the distributor.
Keep the distributor updated on any and all promotion and marketing plans and results, as they develop.
Be well financed. Trying to work with distributors without a realistic budget to participate in promotional opportunities would be a big mistake.
Your distributor will only be as good as your marketing plans to sell the
record. Don’t expect them to do your work for you, remember all they do is get records into the stores.
Read the trades, especially Billboard for weekly news on the health of the industry, and/or the status of your distributor.
Work your product relentlessly on as many of the Four Fronts as possible…commercial and non commercial airplay, internet airplay and sales campaigns, on and offline publicity ideas, and touring…eternally touring!
Wednesday, July 21, 2010
A 100 Question Test For You: Do You Know How To Get A Record Deal?
What Do You Know About Getting A Record Deal Today? A Test
(all questions based on material found in the book ‘Music Is Your Business’) copyright 2010 by Christopher Knab and Bartley F. Day
If you want the answers to these questions...Email: Chris@Knab.com
1. If you INSIST on sending demo packages to A&R Reps, then those packages should contain exactly the same information that you would send to a club owner.
2. Many musicians and bands STILL try to shop their music to record labels in an era when that is no longer the best way to go. But, if you still believe that is the best way to establish your career, then know that A&R Reps will listen to a demo only as long as it keeps their attention.
3. Record Label A&R Reps participate in developing the marketing plans for their acts.
4. Good A&R Reps must study the current marketplace for musical trends on a regular basis.
5. Cover letters that you include in any kind of demo package are generic letters. So, you should send the same exact letter with the same content in it to all recipients.
6. The first paragraph of a Bio (whether it is part of an electronic press kit or a traditional press kit) should contain background information on the artist.
7. At most record labels A&R Rep help arrange the recording for an act they have signed to their label.
8. A&R Reps get paid by the artist from a percentage of their royalty rate.
9. An A&R Rep can assist in finding the right songs for an act to record.
10. When you register your copyrighted songs you are giving any potential licensees the rights to use your material for free.
11. The 4 key areas or ‘Fronts’ used to develop an artist’s career are: Product Development, Promotion, Publicity, and Performance.
12. When designing packaging materials for demo recordings, CD releases, or online website downloads it is important to remember that your cover art can help emphasize the music style you have.
13. The best way to establish a lasting career in the music industry is to send unsolicited email music attachments to everybody you can think of in the music business
14. According to Soundscan sales data, most new releases by aspiring artists fail to sell even 100 copies of those releases.
15. If an artist/band insists on recording and shopping for a record deal they should include at least 7 or 8 songs on the demo recording.
16. The best way to get a contract with a major label is to party with the stars of the music scene.
17. Designing stationary and/or any graphics with an act’s name and Logo design on it is an effective tool for presenting a professional impression to any gatekeeper in the music industry.
18. It is always a positive thing for an act to be involved in a "bidding war".
19. Because more and more artists and bands are building their own careers by running their music careers as a business, more acts are getting better deals whenever they occur.
20. ‘8x10 Black and White glossies’ are standard practice for traditional press kit photographs.
21. When a photograph is sent with a traditional Demo package, it is important to include contact information either on the front or back of the photo.
22. Facebook.com and other social networking sites are a waste of time for bands/artists these days.
23. It doesn’t matter who takes the photographs for your demo kits. Any person with a digital camera can do the job professionally these days.
24. The first sentence of a cover letter should introduce yourself, and the reason for the cover letter.
25. “Just because you CAN record, doesn’t mean you should”.
26. A controlled composition clause is a clause in a recording contract that deals with the fact that only 75% of mechanical royalties due to a songwriter and publisher of the songs contained on a recording will be paid by a record label.
27. A bio differs from a fact sheet in that the bio can elaborate on a certain fact or anecdotes about the artist, but a fact sheet must simply list those facts or anecdotes.
28. In writing a fact sheet, all the key information from the Bio should be in it.
29. EPKs are Electronic Photograph Kilobytes used by photographers.
30. Creating your own music business company or record label is now the most efficient and realistic way to get attention for your music.
31. These days it doesn't matter if a person can spell or write a coherent sentence, because in the music business all that matters is the music.
32. In a bidding war, it often happens that the labels bidding for the services of a certain act want the act solely because other labels are interested in them.
33. Sending unsolicited demos to the major labels is an effective method of shopping for a record deal.
34. Using quotes from music industry professionals in a bio can be less powerful than describing the music on your own.
35. A good Bio, like a good song, should always have a hook, or a specific angle to it.
36. The best way to get attention to your music in the beginning of your career is to give-a-way a few songs on your website so that people can hear your music as mp3 files.
37. Today there are fewer new releases coming out each week than anytime in history.
38. ‘Deal Memos’ from record labels are not legally binding as a recording contract.
39. The advances given to an artist in a recording contract are exactly like the loans given by a bank, and must be paid back, with interest, by the artist.
40. Getting your music on TV shows, into video games, and arranging other licensing deals can be much more effective these days than shopping around for a traditional record contract.
41. The subject matter of each paragraph in a bio is written in the following order:
1. History and band formation info
2. Comments from fans
3. Current summary of activity-what you are doing now
4. Additional Data and Elaboration, and
5. Summary/Closing.
42. It is easier today than any time in music history to get a distributor for your music.
43. An A&R rep’s responsibilities at an indie label are exactly the same as an A&R job at a major label.
44. For new and/or aspiring acts, getting airplay on commercial radio is the better way to go, compared to getting airplay on Internet stations, or non-commercial college and public radio stations.
45. If an artist has not filed for registration of their copyrighted songs, it is the job of the A&R Rep to take care of that job.
46. Most Major Labels know what they are looking for when they audition new talent.
47. Leaving out contact information on demo recordings and CD labels is a leading reason why many demos get thrown away in the trash.
48. When a recording contract is being negotiated, the only people directly involved with the legal negotiations are the label’s attorney and the act’s attorney.
49. Putting a short video of one of your songs on www.youtube.com is a waste of times these days.
50. Which of the following is not the duty of an A&R Rep at a major label?
a. discover talent
b. book tours for the act
c. participate in marketing
d. be a liaison at the label for the act
51. Which of the following is not a reason why demos get rejected?
a. the music sucks
b. lack of musicianship
c. poorly recorded songs
d. lack of originality
e. none of the above
52. 54. Which of the following are not ‘gatekeepers’ in the music business?
a. fans
b. PDs and MDs at radio stations
c. Buyers at Distributors
d. Writers for blogs, magazines and newspapers
53. In a bio, concentrating on how good the music is, is the most effective thing to say.
54. When designing a fact sheet, one of the most important sections to include is ‘Musical Genre or Style’.
55. What type of information should not be included in a bio?
a. too much hype
b. marketing plan info
c. background info
d. music description
e. city/area if original
56. The 3rd and 4th paragraph of a bio should concentrate on the current activities of the artist.
57. The ‘purpose’ of a cover letter is most effectively stated in the first sentence.
58. Which of the following is not a good tip for writing a cover letter?
a. Tell the reader what you want
b. addressing an unknown contact by first name
c. keep the writing style natural, positive, and personal
d. reminding person of previous contact or reference
59. In a quote sheet, either in a traditional paper form, or as part of an electronic press kit…which of the following sources for quotes should be kept to a minimum?
a. music writers
b. radio station contacts
c. producers
d. fans
e. none of the above
60. Small press or internet Blog reviews should never be included in press clippings.
61. It is more effective to select ________ of the best press clippings:
a. 2 or 3
b. 4 or 5
c. 6 or 7
d. it doesn’t matter how many
62. The best way to assemble a traditional demo kit materials is:
a. in a 3 ring binder
b. stapled together
c. loose in a folder that has ‘pockets’ inside
d. bound
63. When in doubt what to send in a demo kit:
a. put everything in
b. presume what their profession needs
c. ask the intended recipient what they want
d. none of the above
64. When trying to phone an industry professional always check what time-zone they live in before calling them.
65. Today, when giving contact info, providing the media with email info is essential.
66. A quote sheet is the same thing as a press clipping.
67. A song is considered published when copies of the song have been distributed to the public by sale or by other transfer of ownership, and/or by rental, lease, or lending.
68. Legal proof of copyright ownership is accomplished by registering songs with the copyright office in Washington DC.
69. Mechanical rights and Performance rights are different names for the same source of income for songwriters and publishers.
70. A song that is used on a soundtrack for a film or TV show is called synchronization.
71. Artist and bands who establish their own careers, and demonstrate a strong fan following are more likely to be attractive to record labels in this day and age.
72. You ‘trademark’ songs and you file for copyright registration for your performance name.
73. A ‘hook’ is that part of a song that is most memorable.
74. If you have ‘investors’ willing to give you money to record and market your music, you do not need to have a written contract with them.
75. The business department at a record label monitors the funds allocated for the recording budget of an artist or band.
76. A&R departments at major labels do not contact any other departments at the label because doing so could cause a lot of problems for the rep and the artist.
77. One of the main reasons why so many artists/bands fail is they believe their music is so good that someone will come along and discover them and make them a star.
78. Which of the following is not important to remember when taking band photographs?
a. background objects that distract attention from the people in the band
b. clarity and brightness issues
c. using a professional photographer
d. artist or band’s image
e. none of the above is not important
79. Photographers do not have the rights to the photos they take.
80. The best way to find a competent photographer is to look in the yellow pages.
81. Which of the following is not one of the ‘myths’ that new artists believe:
a. people in position of power are never wrong
b. putting out your own record and building your own career is a good idea
c. a record deal means success
d. the best way to make contacts is to party with the stars
e. record labels know what they are looking for
82. The world of the A&R rep is very structured, and every rep is trained and disciplined to evaluate, search, and discover talent in the same exact way.
83. Booking agents and Artist Managers are easy to get for new bands or artists.
84. It costs more money to promote and market a recording than it does to record it.
85. Most attorneys charge their fees on an hourly basis.
86. As an artist career develops, a business manager is brought on board to handle the money.
87. For new acts, which of the following are rarely negotiated when a recording contract is offered:
a. ownership of the masters
b. recoupment issues
c. term of contract
d. exclusivity issues
e. recording budgets
88. Traditional record stores are doing better than ever in this era of downloadable music.
89. There are no governmental regulations or statutes that affect music industry contracts.
90. ‘Band Agreements’ of ‘Partnership Agreements’ are essential for any band to have if they are serious about making it in the music industry.
91. Barcodes are not necessary when releasing your own CD.
92. A music publishing company is another name for a record company.
93. ASCAP and BMI are known as Performance Rights Organizations.
94. If you have a Facebook or Twitter page, you don’t need to bother having your own website.
95. “Artist Development” is a term that means the same as ‘Product Development’.
96. Independent Labels are more likely to offer some kind of “profit split” deals these days.
97. SoundExchange is the first organization to represent labels and artists in negotiating fair licensing deals in the new digital age.
98. Program Directors at radio stations do the same job as a Music Director at a station might do.
99. Today, music oriented radio stations receive between 700-800 new recordings a week that they have to listen to and decide whether to play any of them or not
Last Question:
100. Today, most artists believe that that the art of recording music can be separated from the business of doing music.
The book ‘Music Is Your Business’ is available as a printed book or a PDF book at
the website of Christopher Knab and FourFront Media and Music’s bookstore:
http://www.musicbizacademy.com/bookstore/musiciyb.htm
or if you prefer at. www.amazon.com
If you didn’t get at least 90% of these questions right...you need this book!
IF YOU WANT THE ANSWERS TO THESE QUESTIONS...EMAIL Chris@Knab.com
(all questions based on material found in the book ‘Music Is Your Business’) copyright 2010 by Christopher Knab and Bartley F. Day
If you want the answers to these questions...Email: Chris@Knab.com
1. If you INSIST on sending demo packages to A&R Reps, then those packages should contain exactly the same information that you would send to a club owner.
2. Many musicians and bands STILL try to shop their music to record labels in an era when that is no longer the best way to go. But, if you still believe that is the best way to establish your career, then know that A&R Reps will listen to a demo only as long as it keeps their attention.
3. Record Label A&R Reps participate in developing the marketing plans for their acts.
4. Good A&R Reps must study the current marketplace for musical trends on a regular basis.
5. Cover letters that you include in any kind of demo package are generic letters. So, you should send the same exact letter with the same content in it to all recipients.
6. The first paragraph of a Bio (whether it is part of an electronic press kit or a traditional press kit) should contain background information on the artist.
7. At most record labels A&R Rep help arrange the recording for an act they have signed to their label.
8. A&R Reps get paid by the artist from a percentage of their royalty rate.
9. An A&R Rep can assist in finding the right songs for an act to record.
10. When you register your copyrighted songs you are giving any potential licensees the rights to use your material for free.
11. The 4 key areas or ‘Fronts’ used to develop an artist’s career are: Product Development, Promotion, Publicity, and Performance.
12. When designing packaging materials for demo recordings, CD releases, or online website downloads it is important to remember that your cover art can help emphasize the music style you have.
13. The best way to establish a lasting career in the music industry is to send unsolicited email music attachments to everybody you can think of in the music business
14. According to Soundscan sales data, most new releases by aspiring artists fail to sell even 100 copies of those releases.
15. If an artist/band insists on recording and shopping for a record deal they should include at least 7 or 8 songs on the demo recording.
16. The best way to get a contract with a major label is to party with the stars of the music scene.
17. Designing stationary and/or any graphics with an act’s name and Logo design on it is an effective tool for presenting a professional impression to any gatekeeper in the music industry.
18. It is always a positive thing for an act to be involved in a "bidding war".
19. Because more and more artists and bands are building their own careers by running their music careers as a business, more acts are getting better deals whenever they occur.
20. ‘8x10 Black and White glossies’ are standard practice for traditional press kit photographs.
21. When a photograph is sent with a traditional Demo package, it is important to include contact information either on the front or back of the photo.
22. Facebook.com and other social networking sites are a waste of time for bands/artists these days.
23. It doesn’t matter who takes the photographs for your demo kits. Any person with a digital camera can do the job professionally these days.
24. The first sentence of a cover letter should introduce yourself, and the reason for the cover letter.
25. “Just because you CAN record, doesn’t mean you should”.
26. A controlled composition clause is a clause in a recording contract that deals with the fact that only 75% of mechanical royalties due to a songwriter and publisher of the songs contained on a recording will be paid by a record label.
27. A bio differs from a fact sheet in that the bio can elaborate on a certain fact or anecdotes about the artist, but a fact sheet must simply list those facts or anecdotes.
28. In writing a fact sheet, all the key information from the Bio should be in it.
29. EPKs are Electronic Photograph Kilobytes used by photographers.
30. Creating your own music business company or record label is now the most efficient and realistic way to get attention for your music.
31. These days it doesn't matter if a person can spell or write a coherent sentence, because in the music business all that matters is the music.
32. In a bidding war, it often happens that the labels bidding for the services of a certain act want the act solely because other labels are interested in them.
33. Sending unsolicited demos to the major labels is an effective method of shopping for a record deal.
34. Using quotes from music industry professionals in a bio can be less powerful than describing the music on your own.
35. A good Bio, like a good song, should always have a hook, or a specific angle to it.
36. The best way to get attention to your music in the beginning of your career is to give-a-way a few songs on your website so that people can hear your music as mp3 files.
37. Today there are fewer new releases coming out each week than anytime in history.
38. ‘Deal Memos’ from record labels are not legally binding as a recording contract.
39. The advances given to an artist in a recording contract are exactly like the loans given by a bank, and must be paid back, with interest, by the artist.
40. Getting your music on TV shows, into video games, and arranging other licensing deals can be much more effective these days than shopping around for a traditional record contract.
41. The subject matter of each paragraph in a bio is written in the following order:
1. History and band formation info
2. Comments from fans
3. Current summary of activity-what you are doing now
4. Additional Data and Elaboration, and
5. Summary/Closing.
42. It is easier today than any time in music history to get a distributor for your music.
43. An A&R rep’s responsibilities at an indie label are exactly the same as an A&R job at a major label.
44. For new and/or aspiring acts, getting airplay on commercial radio is the better way to go, compared to getting airplay on Internet stations, or non-commercial college and public radio stations.
45. If an artist has not filed for registration of their copyrighted songs, it is the job of the A&R Rep to take care of that job.
46. Most Major Labels know what they are looking for when they audition new talent.
47. Leaving out contact information on demo recordings and CD labels is a leading reason why many demos get thrown away in the trash.
48. When a recording contract is being negotiated, the only people directly involved with the legal negotiations are the label’s attorney and the act’s attorney.
49. Putting a short video of one of your songs on www.youtube.com is a waste of times these days.
50. Which of the following is not the duty of an A&R Rep at a major label?
a. discover talent
b. book tours for the act
c. participate in marketing
d. be a liaison at the label for the act
51. Which of the following is not a reason why demos get rejected?
a. the music sucks
b. lack of musicianship
c. poorly recorded songs
d. lack of originality
e. none of the above
52. 54. Which of the following are not ‘gatekeepers’ in the music business?
a. fans
b. PDs and MDs at radio stations
c. Buyers at Distributors
d. Writers for blogs, magazines and newspapers
53. In a bio, concentrating on how good the music is, is the most effective thing to say.
54. When designing a fact sheet, one of the most important sections to include is ‘Musical Genre or Style’.
55. What type of information should not be included in a bio?
a. too much hype
b. marketing plan info
c. background info
d. music description
e. city/area if original
56. The 3rd and 4th paragraph of a bio should concentrate on the current activities of the artist.
57. The ‘purpose’ of a cover letter is most effectively stated in the first sentence.
58. Which of the following is not a good tip for writing a cover letter?
a. Tell the reader what you want
b. addressing an unknown contact by first name
c. keep the writing style natural, positive, and personal
d. reminding person of previous contact or reference
59. In a quote sheet, either in a traditional paper form, or as part of an electronic press kit…which of the following sources for quotes should be kept to a minimum?
a. music writers
b. radio station contacts
c. producers
d. fans
e. none of the above
60. Small press or internet Blog reviews should never be included in press clippings.
61. It is more effective to select ________ of the best press clippings:
a. 2 or 3
b. 4 or 5
c. 6 or 7
d. it doesn’t matter how many
62. The best way to assemble a traditional demo kit materials is:
a. in a 3 ring binder
b. stapled together
c. loose in a folder that has ‘pockets’ inside
d. bound
63. When in doubt what to send in a demo kit:
a. put everything in
b. presume what their profession needs
c. ask the intended recipient what they want
d. none of the above
64. When trying to phone an industry professional always check what time-zone they live in before calling them.
65. Today, when giving contact info, providing the media with email info is essential.
66. A quote sheet is the same thing as a press clipping.
67. A song is considered published when copies of the song have been distributed to the public by sale or by other transfer of ownership, and/or by rental, lease, or lending.
68. Legal proof of copyright ownership is accomplished by registering songs with the copyright office in Washington DC.
69. Mechanical rights and Performance rights are different names for the same source of income for songwriters and publishers.
70. A song that is used on a soundtrack for a film or TV show is called synchronization.
71. Artist and bands who establish their own careers, and demonstrate a strong fan following are more likely to be attractive to record labels in this day and age.
72. You ‘trademark’ songs and you file for copyright registration for your performance name.
73. A ‘hook’ is that part of a song that is most memorable.
74. If you have ‘investors’ willing to give you money to record and market your music, you do not need to have a written contract with them.
75. The business department at a record label monitors the funds allocated for the recording budget of an artist or band.
76. A&R departments at major labels do not contact any other departments at the label because doing so could cause a lot of problems for the rep and the artist.
77. One of the main reasons why so many artists/bands fail is they believe their music is so good that someone will come along and discover them and make them a star.
78. Which of the following is not important to remember when taking band photographs?
a. background objects that distract attention from the people in the band
b. clarity and brightness issues
c. using a professional photographer
d. artist or band’s image
e. none of the above is not important
79. Photographers do not have the rights to the photos they take.
80. The best way to find a competent photographer is to look in the yellow pages.
81. Which of the following is not one of the ‘myths’ that new artists believe:
a. people in position of power are never wrong
b. putting out your own record and building your own career is a good idea
c. a record deal means success
d. the best way to make contacts is to party with the stars
e. record labels know what they are looking for
82. The world of the A&R rep is very structured, and every rep is trained and disciplined to evaluate, search, and discover talent in the same exact way.
83. Booking agents and Artist Managers are easy to get for new bands or artists.
84. It costs more money to promote and market a recording than it does to record it.
85. Most attorneys charge their fees on an hourly basis.
86. As an artist career develops, a business manager is brought on board to handle the money.
87. For new acts, which of the following are rarely negotiated when a recording contract is offered:
a. ownership of the masters
b. recoupment issues
c. term of contract
d. exclusivity issues
e. recording budgets
88. Traditional record stores are doing better than ever in this era of downloadable music.
89. There are no governmental regulations or statutes that affect music industry contracts.
90. ‘Band Agreements’ of ‘Partnership Agreements’ are essential for any band to have if they are serious about making it in the music industry.
91. Barcodes are not necessary when releasing your own CD.
92. A music publishing company is another name for a record company.
93. ASCAP and BMI are known as Performance Rights Organizations.
94. If you have a Facebook or Twitter page, you don’t need to bother having your own website.
95. “Artist Development” is a term that means the same as ‘Product Development’.
96. Independent Labels are more likely to offer some kind of “profit split” deals these days.
97. SoundExchange is the first organization to represent labels and artists in negotiating fair licensing deals in the new digital age.
98. Program Directors at radio stations do the same job as a Music Director at a station might do.
99. Today, music oriented radio stations receive between 700-800 new recordings a week that they have to listen to and decide whether to play any of them or not
Last Question:
100. Today, most artists believe that that the art of recording music can be separated from the business of doing music.
The book ‘Music Is Your Business’ is available as a printed book or a PDF book at
the website of Christopher Knab and FourFront Media and Music’s bookstore:
http://www.musicbizacademy.com/bookstore/musiciyb.htm
or if you prefer at. www.amazon.com
If you didn’t get at least 90% of these questions right...you need this book!
IF YOU WANT THE ANSWERS TO THESE QUESTIONS...EMAIL Chris@Knab.com
Monday, July 19, 2010
5 Tips on Writing a '4 Front' Promotion (Radio Airplay) Plan
(copyright 2010 Christopher Knab: all rights reserved)
1. Remember that your focus is on ALL types of broadcast AIRPLAY, not just commercial and non-commercial public radio, but Internet broadcasters and XM/Sirius satellite radio too. Remember that the details you must include are: selecting, convincing, and working with your selected stations with the goal being to secure as much airplay for your artist as possible. That IS the reason for funding and implementing a realistic Promotion Plan.
2. State clearly what your GOAL is for the Promotion Plan; write a clear and concise summary paragraph that describes the music format/genre of your artist, and gives a brief biographical statement on who they are, and what they have achieved, and what they hope to achieve with Radio’s help.
3. Remember the “Four Fronts” and focus on how RADIO AIRPLAY, with the assistance of ‘Product Development’, ‘Publicity’, and ‘Performance’ methods should all be SUMMARIZED to show support in each of the 4 Front areas, because the “Four Fronts” are interrelated and inter-dependent on each other.
4. Create an Airplay ‘TIMELINE’ carefully, considering any and all promotional activities that must be planned for, and give enough time for each activity to be prepared in time for the Release date of your recording being given to traditional radio and all other broadcasters.
5. Remember that if you do a thorough and complete job on this ‘Promotion Plan’, that you will be in good shape for creating your Distribution and Sales Plan (Product Development), as well as your separate ‘Publicity Plan’, and your plans for performing live and touring, (the Performance Plan).
1. Remember that your focus is on ALL types of broadcast AIRPLAY, not just commercial and non-commercial public radio, but Internet broadcasters and XM/Sirius satellite radio too. Remember that the details you must include are: selecting, convincing, and working with your selected stations with the goal being to secure as much airplay for your artist as possible. That IS the reason for funding and implementing a realistic Promotion Plan.
2. State clearly what your GOAL is for the Promotion Plan; write a clear and concise summary paragraph that describes the music format/genre of your artist, and gives a brief biographical statement on who they are, and what they have achieved, and what they hope to achieve with Radio’s help.
3. Remember the “Four Fronts” and focus on how RADIO AIRPLAY, with the assistance of ‘Product Development’, ‘Publicity’, and ‘Performance’ methods should all be SUMMARIZED to show support in each of the 4 Front areas, because the “Four Fronts” are interrelated and inter-dependent on each other.
4. Create an Airplay ‘TIMELINE’ carefully, considering any and all promotional activities that must be planned for, and give enough time for each activity to be prepared in time for the Release date of your recording being given to traditional radio and all other broadcasters.
5. Remember that if you do a thorough and complete job on this ‘Promotion Plan’, that you will be in good shape for creating your Distribution and Sales Plan (Product Development), as well as your separate ‘Publicity Plan’, and your plans for performing live and touring, (the Performance Plan).
Wednesday, July 14, 2010
Would You Ask Your Dentist To Fix Your Teeth For Free?
Why do I ask? Well, I can't even count the number of phone calls, emails, and Facebook messages I get asking me to help a new artist or band "be a star".
I have complained about this time and time again. Since my first website went up in '95 that type of question keeps coming up. I never have been able to understand the mindset behind that question.
Why should I, or ANY music business professional work for you for free just because you think you are so special, but have no track record of success.
So, would you really ask your dentist to work on your teeth for free?
Would you ask your lawyer to work for free?
Would you ask any physician to work with you for free?
Would you ask a publicist to do your media work for free?
My point is this: What makes me or ANY OTHER music business professional different from any other professionals?
I think part of the reason I get this question is because newer acts are so caught up in their own 'self', that when they write a song, or perform in front of a small crowd and get a polite response...at that exact moment they give birth to a premature EGO! They fantasize that "if this small group of people like me then all I need is some connection to the music business who will recognize my unrealized dream", and will be willing to stop whatever they're doing to make them a star.
Well...NO THEY WON'T!!
Why? Because we are actually busy trying to make a living ourselves. We,like you, actually have bills to pay, like a mortgage or rent, utilities, car payments and car upkeep costs, doctor and dentist bills, credit card debt (maybe) and probably have kids in school and tuition to add to all our other commitments.
so, in that way...we are really not unlike yourself!
Please think about this. Never ask ANY music business professional to help you with your career for free. It is an insult and down-right RUDE to do so.
Pass this tip around!
I have complained about this time and time again. Since my first website went up in '95 that type of question keeps coming up. I never have been able to understand the mindset behind that question.
Why should I, or ANY music business professional work for you for free just because you think you are so special, but have no track record of success.
So, would you really ask your dentist to work on your teeth for free?
Would you ask your lawyer to work for free?
Would you ask any physician to work with you for free?
Would you ask a publicist to do your media work for free?
My point is this: What makes me or ANY OTHER music business professional different from any other professionals?
I think part of the reason I get this question is because newer acts are so caught up in their own 'self', that when they write a song, or perform in front of a small crowd and get a polite response...at that exact moment they give birth to a premature EGO! They fantasize that "if this small group of people like me then all I need is some connection to the music business who will recognize my unrealized dream", and will be willing to stop whatever they're doing to make them a star.
Well...NO THEY WON'T!!
Why? Because we are actually busy trying to make a living ourselves. We,like you, actually have bills to pay, like a mortgage or rent, utilities, car payments and car upkeep costs, doctor and dentist bills, credit card debt (maybe) and probably have kids in school and tuition to add to all our other commitments.
so, in that way...we are really not unlike yourself!
Please think about this. Never ask ANY music business professional to help you with your career for free. It is an insult and down-right RUDE to do so.
Pass this tip around!
Sunday, July 11, 2010
Music Today-It Is What It Isn't
I was watching Austin City Limits last night on PBS. They had M.Ward and Okkervil River performing....god it was awful!! but, I stayed with it! It didn't get any better.
Both these acts wouldn't have gotten on the show without a strong following, and music industry connections to help them get to this level. M. Ward has been around 10 years, and I can't understand why or how he is such a popular attraction.
His interaction with the audience was non-existent. In a short interview he is so introverted that he couldn't even keep up eye contact with the interviewer!
As for his music, apparently it grows on you. It won't grow on me that's for sure. I know introverts are 'in' right now, but will people put up with that immature attitude for 10 or more year to come? I hope not. I wanted to slap the guy around and tell him to get a grip on himself. When it came for him to talk for a few moments about his music and how he perceives it...he stumbled around like a lost baby duck trying to find his mommy. BORING guy, BORING music.
What do his fans see in him?
I have heard many people say that we are living in "the most creative musical time ever". Well if we are the tastes of the public are in dire straits.
No way are we living in such an era. The mid 60's- yes. Most of the 70's-yes. The 80's-had its moments. The 90's- only the early years. This last decade-give me a break!
Yes, my age has a lot to do with my opinions....it better! We are supposed to have the ability to distinguish between good and bad better as we age. Anyone who is a teenager today, or in their 20's and 30's...I feel sorry for them when it comes to music.
Why?
Well for one thing the media has de-evolved over the last 3 decades and it's harder and harder to find great new talent out there to play on TV, commercial radio, and now on the more popular music sites...Accessible music, music that is 'safe' has been the name of the game for a long time now.
so, I don't get it...the fact is that there is today more music than ever to choose from....tons of it. But most of it really is crap. So what do the bookers of Austin City Limits, or the late night TV shows book...artists and bands that are on the so-called 'cutting edge'... NOT!
I haven't even reviewed Okkervil River. I was looking forward to them because of the work they have done recently with Texas legend Roky Erickson. But their own music?
Yikes, a horrible lead singer who thinks he is a rock-god and insists on singing off-key as if that was a real cutting-edge thing to do.
Ohh, and the band itself. Well, a drummer, bass player, guitars, piano and on this show another singer who did not compliment the other off-key lead singer. AND, they had a small string section, a guy on horn, and a woman guitarist who had to get on her knees to create the unoriginal feedback sounds she used to 'compliment' the previously mentioned off-key lead singer.
Music is in good shape as we end this first decade of the new millennium?
If that's true, no wonder there are so many movies and novels about the end of the world, zombies, and vampires...with what I viewed last night on Austin City Limits is any indication about the state of music today, I wonder if those creatures of the night that are coming out to eat and kill us all, might just land up getting an upset stomach and spitting out what they had hoped would nourish their brain-dead appetites.
Enough already!
Both these acts wouldn't have gotten on the show without a strong following, and music industry connections to help them get to this level. M. Ward has been around 10 years, and I can't understand why or how he is such a popular attraction.
His interaction with the audience was non-existent. In a short interview he is so introverted that he couldn't even keep up eye contact with the interviewer!
As for his music, apparently it grows on you. It won't grow on me that's for sure. I know introverts are 'in' right now, but will people put up with that immature attitude for 10 or more year to come? I hope not. I wanted to slap the guy around and tell him to get a grip on himself. When it came for him to talk for a few moments about his music and how he perceives it...he stumbled around like a lost baby duck trying to find his mommy. BORING guy, BORING music.
What do his fans see in him?
I have heard many people say that we are living in "the most creative musical time ever". Well if we are the tastes of the public are in dire straits.
No way are we living in such an era. The mid 60's- yes. Most of the 70's-yes. The 80's-had its moments. The 90's- only the early years. This last decade-give me a break!
Yes, my age has a lot to do with my opinions....it better! We are supposed to have the ability to distinguish between good and bad better as we age. Anyone who is a teenager today, or in their 20's and 30's...I feel sorry for them when it comes to music.
Why?
Well for one thing the media has de-evolved over the last 3 decades and it's harder and harder to find great new talent out there to play on TV, commercial radio, and now on the more popular music sites...Accessible music, music that is 'safe' has been the name of the game for a long time now.
so, I don't get it...the fact is that there is today more music than ever to choose from....tons of it. But most of it really is crap. So what do the bookers of Austin City Limits, or the late night TV shows book...artists and bands that are on the so-called 'cutting edge'... NOT!
I haven't even reviewed Okkervil River. I was looking forward to them because of the work they have done recently with Texas legend Roky Erickson. But their own music?
Yikes, a horrible lead singer who thinks he is a rock-god and insists on singing off-key as if that was a real cutting-edge thing to do.
Ohh, and the band itself. Well, a drummer, bass player, guitars, piano and on this show another singer who did not compliment the other off-key lead singer. AND, they had a small string section, a guy on horn, and a woman guitarist who had to get on her knees to create the unoriginal feedback sounds she used to 'compliment' the previously mentioned off-key lead singer.
Music is in good shape as we end this first decade of the new millennium?
If that's true, no wonder there are so many movies and novels about the end of the world, zombies, and vampires...with what I viewed last night on Austin City Limits is any indication about the state of music today, I wonder if those creatures of the night that are coming out to eat and kill us all, might just land up getting an upset stomach and spitting out what they had hoped would nourish their brain-dead appetites.
Enough already!
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