The Night Flight Orchestra (the brilliant classic rock project from Swedish extreme metallers) have released three scorching pre-release singles from their third album, due in May. It started off with the Deep Purple inspired “Midnight Flyer”. Then came the super poppy “Gemini” with its Blondie feel and disco vibes and on Friday, we got the Steely Dan/Rolling Stones inspired “Sad State Of Affairs”.
Any concept story that has males fighting female commandos with pearl necklaces has my attention. Bring on TNFO.
Not So On Fire
Record labels are still fighting to block music piracy websites.
In Australia, it will cost the record labels $50 per name to have the website’s domain names blocked. The labels wanted the ISP’s to cover the costs, however the ISP’s argued the point and the courts agreed. But as numerous research has shown, the labels should be spending their money on ensuring that music is accessible to all instead of fighting piracy. And artists should be negotiating better streaming payments from their label instead of complaining about Spotify.
Sweden’s music scene.
Call it the Max Martin effect. Call it government investment into the creative arts. For those that don’t know, Martin controls the pop charts, with 70% of the songs in the Top 10 written by Martin and his team of writers. Of course, Martin’s real name is Karl Martin Sandberg, and he’s from Sweden and he was a singer in a hard rock band which had a deal in the early 90’s.
His successes, coupled with the Swedish Government (along with other Northern European countries) investing heavily in the Arts sector equals a very healthy music scene of many genres.
Not So On Fire
Jail time for copyright infringement is on par with jail times for drug trafficking and murder. A 22-year-old in Sweden is facing a 5 year sentence for copyright infringements, while a serious drug trafficker in the same country gets a maximum of 3 years.
In the UK, 10 years in jail for copyright violations is now a reality as well.
Blistered Earth have a career spreading the gospel of Metallica as a tribute band. One unfortunate night, they had their gear stolen. As a muso who has had gear stolen, it doesn’t feel too good. It actually feels like crap. Especially, when you don’t have the funds to replace the stolen gear. Well, straight from a scene from the movie “Pay It Forward”, Metallica ended up coming to the rescue and replaced the gear.
Not So On Fire
Australia is going all crazy on Copyright these days. Even to the stage where a copyright collection agency is “diverting payments intended for journalists and authors to a [$11 million] “future fund” to fight changes to the law.”
And the world will still get the same bullshit messages about the service being to blame for low payments or the format. On Fire Adrenaline Mob is back. After the death of AJ Pero and the previous departure of Mike Portnoy, the band is still rolling. “King Of The Ring” just hit the streaming scene and it’s doing the rounds.
Not So On Fire
A few years back when Adrian Vandenberg tried to restart his pre-Whitesnake band called “Vandenberg” with new musicians, his 80’s bandmates went to court to stop him from using his own surname with new musicians. So Vandenberg became “Vandenberg’s Moon Kings”.
Actually a similar thing happened to Don Dokken after Dokken splintered in the late 80’s. Even though George Lynch hated the band name Dokken, he still stopped Don from using it after the break up. Go figure.
Anyway, on my Spotify New Release Radar, a song came up from a band called Vandenberg. I was intrigued and it looks like Vandenberg got to use his surname after all. But it wasn’t Adrian Vandenberg. It’s some techno group called Vandenberg and Spotify couldn’t differentiate between the rock band and the techno band. Not so on fire for Spotify, but also “not so on fire” to the courts and band mates that prevented Adrian from using his surname. Instead, we have a techno band using it.
A hacker threatened to post online episodes of the “Orange Is The New Black” online if Netflix didn’t pay a ransom. The leak would have meant that the series was released one month ahead of its official June 9 release. Netflix did nothing and the hacker released the episodes. Netflix opted to do nothing and nothing really happened post release. The people who are Netflix subscribers and like the show, have no interest in downloading the episodes. They would rather wait. Even the “kitchen talk” social aspect the next day after an episode won’t start until Netflix airs the episodes. Some people might be ahead of the pack and post spoilers on-line, but the majority of fans will wait.
Not So On Fire
The Billboard Chart or any chart for that matter.
Do we still need this metric?
Charts are still there for the “old way of doing things” record companies to see who is succeeding or losing, because in today’s world they have no idea what’s happening. The chart might measure an instant impact, but it will not measure what is around for years.
It’s all about if people are listening. And if they are listening, are they throwing money down to see you live. And if they come to see you live, are they throwing money down for your merchandise. And SoundScan/Billboard without investing in anything, are trying to remain current. So they come up with a formula that so many streams equal a sale. But streams are not sales. They are listens. So it’s all a mess. What we need are charts that combine sales, streams, concert grosses, Google search items and torrents.
We live in a land of data, however when it comes to music, it’s always muddled. Because it’s fans that make the monies roll in music and no one is asking them who should be on top of the charts.
For the sake of music and creativity, let’s hope that the courts finally throw out the stupid “Blurred Lines” plagiarism suit. While the Record labels talk about a music community when they do their own PR statements (which in other words they are talking about themselves), the real music community is in the latest filing condemning that a judge in the previous case believed a groove and an idea is copyrightable.
Not So On Fire
Artists are still mad at Spotify for the streaming rates they pay when people listen to their music.
But the fact that Spotify and Universal Music (just one record label) agreed to a new licensing deal, which means multi millions of dollars to the record label, the artists are silent.
They should be getting a cut from this licensing arrangement, as it’s their songs the labels are using as leverage in its negotiations with Spotify.
And for the songwriters who write songs that other artists perform and songs that record labels use as leverage in negotiating deals, you can hear their complaints about the pennies paid to them on news stories from time to time.
There are a few things these songwriters can do;
- Write a new song that is a hit. You don’t hear Max Martin complaining about the streaming rates coming his way.
- Renegotiate their royalty arrangement with the label and their publisher.
Remember in 2008, when 30 Seconds To Mars, ended up $1.4 million in debt to their label, even though they had sold over two million records. They took each other court. EMI for breach of contract and the band for unpaid royalties.
“Spotify is giving up 70 percent of all their revenues to rights owners. It’s just that people don’t know where the money is because the record labels haven’t been transparent.” Bono – U2 “
Spotify is not the enemy; piracy is the enemy,” Quincy Jones
“Piracy doesn’t pay artists a penny. We’re trying to build a new music economy that works for artists in a way the music industry never has before.” Daniel Ek
Do a great TV show with no filler episodes and watch people gravitate. As a fan of the “American Gods” book, the first episode is a win.
Not So On Fire
Being a Spotify Premium user for 2 and a half years, I can honestly say that the album is irrelevant. Even for bands I like, I hear it once, select my favourite songs on the initial listen and add those to playlists.
As an artist, is it better to get four to five songs out every 4 to six months or 10 to 14 songs every 2 years?
In 2017, whatever is new lasts for minutes. So a new album, will last for a few minutes before we move on. But a great collection of songs more frequently that inspires people to spread the word is a better alternative.
No one cares that Bon Jovi’s new album stiffed. It was just an event to go and sell out stadiums and arenas. It’s a hit game.
Even when albums sold a lot in the 80’s it was still a hit game. “Home Sweet Home” and “Smokin In the Boys Room” sold a poor Motley Crue album. Let’s not forget the follow-up which only had “Girls, Girls, Girls” and “Wild Side”. Speak to any fan of the band and it’s very rare they would say they purchased “Theatre Of Pain” because of “City Boy Blues”.
Even Five Finger Death Punch who sell albums today need to produce hits to sell the albums.
Even Metallica’s new album is selling on the backs of a few songs, like “Spit Out The Bone”, “Moth Into Flame”, “Now That We’re Dead”, “Atlas Rise” and “Here Comes Revenge”. But Metallica is a niche themselves, in total control of their destiny as they control their own copyrights.
But without a hit, you’re a niche artist, like Dream Theater. The album cycle works for them and their fans. And they still tour. Because they have a legacy, but every artist can build a legacy.
Release more frequently and watch your catalogue build on Spotify. While sales are good, they tell only part of the story. Streams (listens) are important and if they are growing, it means people are taking the time to listen.