Tag Archives: disruption

A to Z of Making It, Copyright, Music, My Stories, Stupidity, Unsung Heroes

Disruption Eruption

In life we are being disrupted all the time.

Music is no different.

The biggest challenge to artists is that it’s so much harder to reach people because everyone today has a voice. In the heyday of metal and rock it was all about scarcity. You know the drill. The bands and the labels were all about making it to the top of the heap and then once they got there, they aimed to dominate that heap.

The funny thing is that once the bands got to that heap, they would seem to implode and deliver their least valued work.

Pantera worked for years to get to top of the heap. “Cowboys From Hell” opened the door for domination, “The Vulgar Display Of Power” provided the steps to the top of the heap and “Far Beyond Driven” provided the motion to get to the top of the heap. As Vinnie Paul once said in a Metal Hammer interview, “Pantera could have been metal’s next Rolling Stones”. “The Great Southern Trendkill” came after and continued that domination however the fabric of the band was already tearing apart. “Reinventing The Steel” came next and the band split after that.

Metallica on the other hand delivered their least valued work after they reached the top of the heap with the “Black” album.

Twisted Sister struggled for years to get to the top of the heap. They where selling out local bars however they couldn’t get a record deal. In that Seventies and Eighties era you needed a label to go national. Finally, they got that major label deal. It all started via an Independent label called Secret, which led to the European division of Atlantic Records showing interest and eventually signing them, which then led to the U.S arm of Atlantic taking over.

They got on MTV and went multi-platinum.

Then they lost it all. Dee Snider filed for bankruptcy and so did Jay Jay French.

After the fall from the top, both Dee Snider and Jay Jay French had to pick up and start from the beginning again. An old saying always comes back into my head space. It’s not how hard you fall but how you get back up. In the end, failure is never final, however if you allow it to be, then it will be. Jay Jay had to take a job selling stereos before Sevendust came into the scene in the mid nineties and asked him to produce their first album. Dee Snider ended up with a “Reason To Kill” during this period.

The dirty little secret is that one year’s success does not guarantee the next year’s success. It doesn’t in sport, so why should it be any different when it comes to music. If money was the end game, then Jay Jay French made more money producing the Sevendust album than what he did while he was with Twisted Sister.

So what does that say about the correlation between success and money?

It says that while a band is successful, most of the money is going to others. Only when the band is at the stage of Metallica or Motley Crue who both own their masters/copyrights, do the economics change. Otherwise why do you think Tom Scholz from Boston and Don Henley from the Eagles and Jim Steinman for “Total Eclipse Of The Heart” are putting in motions to get back their copyrights. And why do you think the record labels are resisting even though the law states clearly that the labels have to return the copyrights back to them.

It’s all about negotiation power.

The labels don’t want to lose it and the artists that have the big songs want it.

Which means another disruption is around the corner?

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A to Z of Making It, Music, My Stories

The Death Of The Traditional Charts

The “traditional” single release used to get marketed and promoted for months. It would then get radio airplay and with all of the hype that goes with each single release, the record label and the artist would hope that the single would sell.

After the single does its run it would be removed from sale. During this period thousands or maybe millions of people would have purchased the single. They would hand over their money at the store and then take it home and play it as many times as they liked. The actual sale of the single was counted by the charts but all of those plays at home didn’t count for nothing.

Until now.

One sale is just one count towards the artist.

But now with streaming, a song/single can continue to have traction for months, years or decades. And there is the paradigm shift right there.

Albums were designed to have a longer shelf life. Singles were designed to have a short shelf life. Now with streaming, the border lines between singles and albums have dissolved. But the record labels and artists still insist on spending three to nine months recording albums. That was fine once upon a time, when albums did have a longer shelf life due to gated releases, but in 2014, albums have a shorter shelf life. Release frequently is the norm today, but nearly every established artists refuses to do it.

An artist will continue to earn a streaming income on a recording for years from their fans, whereas that fan would in the past have only paid once. Actually, if the artist gave their rights away to the record label for an advance payment, then it would be the record label that will continue to earn a streaming income on behalf of the artist.

Artists need to negotiate better. Sell your rights away for an advance payment, however have a clause in there that stipulates that if a song reaches a certain target, then a different rate of payment kicks in or the advance needs to be topped up. Because at the beginning no one knows how big or how low the actual song could go.

Going back to the new charts.

I am expecting the best to rise up again, the classic songs that we have known. Don’t be surprised if AC/DC and Metallica make a comeback to the charts. Journey will be there with “Don’t Stop Believin’ and Bon Jovi will be there as well. Old recordings will reappear. I have no doubt about that.

But with any technological product, it is open for misuse and I am sure that streaming services could skew the results based on their corporate deals with TV Shows and Record Labels.

But in the end it is a change and a big one.

Are the Heavy Metal artists and their fans ready?

This is their chance to bring Metal and Rock music back to the masses because the power of the radio and the labels is diminishing in this area for now.

The power is in the hands and ears of the individual streamer. The fans of the artist have the potential to control the musical career of their favourite artists. As an artist this is a good thing.

And business models around streaming and ownership of music will continue to grow.

“We can say with a high level of confidence that it no longer matters how many albums an artist has sold. All that matters now is how many listeners that artist can convert into owners.”

The words above are from the Arena CEO.

Who is Arena you ask?

Arena is another player on the scene and their business model is very different. Once a listener streams a participating single song 5 times, Arena then gives the listener the MP3 file to download and own. Arena then will pay the artist $0.85, in addition to the $0.21 for the 5 streams, as if the listener had purchased the song to own directly. This is a combination of streaming and ownership, because if peer-to-peer downloading has taught us one thing, it is that fans of music still want to own and they want to own music for free.

What Arena is paying is well above the industry standard rates from Pandora, Spotify, Beats Music, and YouTube. To top it all off there is no monthly subscription. If Arena will take off, or if it will get swallowed by Spotify is a different matter. What is clear is that it is addressing a gap in the record label business model that is still unaddressed.

And that is peer-to-peer downloads of mp3’s. And how these five streams = 1 download will count on a chart is another matter in its entirety and it further highlights how out of date the current charts are.

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Music, My Stories, Unsung Heroes

1991 – The Year Of Disruption

1991.

What a year of disruption. I was reading two Hot Metal magazines from October and November 1991 and it got me thinking about 1991. Hard Rock, Power Metal, Glam Rock and the pedal point Heavy Metal that we got used too was facing obliteration. The smarter acts started building their Ark’s. They saw the warnings. The rest all drowned in the flood. Castle Donnington in August had AC/DC, Metallica, Queensryche, Motley Crue and Black Crowes. All of those bands survived the flood, however Queensryche managed to commit hara-kiri many years after.

Guitar Heroes Looking For Work

Jimmy Page
He announced that he was working with David Coverdale. The media reported it as White Zeppelin and Led Snake. The band was filled out with Denny Carmassi (Heart) on drums, Ricky Phillips (Bad English) on bass with Johnny and Joe Gioeli from the band Brunette rounding out the band. Fast forward to March 1993, “Coverdale/Page” finally came out. The wheels of motion in the recording business travelled slowly once upon a time.

Of course the following month, it was also announced that Neal Schon along with Deen Castronovo signed a band to MCA. The band at the time didn’t have a name however it featured Johhny and Joe Gioeli from the band Brunette, whom Schon discovered when he started dating their sister. The bands line up was completed by Todd Jensen (DLR) on bass. Of course that band would go on to become “Hardline”.

Vinnie Vincent
It was announced that he was writing songs with Gene and Paul. Most of those songs would end up 1992’s “Revenge” including the excellent “Unholy”.

John Sykes
Rumours started circulating that he joined Def Leppard to replace Steve Clark and those rumours started to earn some credibility when Carmine Appice and Tony Franklin quit Blue Murder. Then the rumours started that he would be a touring guitarist for them, as Def Leppard had plans to bow out at the top. Of course we all know how that panned out.

Adrian Vandenberg
Was out of a gig after David Coverdale disbanded Whitesnake. Rumours started circulating that he was forming a project with
John Waite as Bad English was more or less over. Then he had a solo deal with Victory Records. Then rumours persisted that he was tapped to join House Of Lords who also had a deal with Victory.

Of course, Adrian Vandenberg went on to be involved in the supergroup “Manic Eden” that had Rudy Sarzo, Tommy Aldridge as well as Little Caeser vocalist Ron Young. Of course, the House Of Lords connection was there in the early incarnation of the band, as James Christian was the original vocalist.

Steve Stevens
Another guitar hero in between employers. He was also on the radar to fill the guitarist slot with House Of Lords and then he was working on a solo record and then he was announcing plans to work with Michael Monroe. Of course the Monroe project went on to become Jerusalem Slim.

Randy Jackson
He spent almost 5 years working on the “China Rain” project, assembling a brilliant band that included Brian Tichy on Drums, Ronnie Snow supporting Randy on guitar and Teddy Cook on Bass. Then the label decided to not release it.

Lita Ford
Released “Dangerous Curves” which got her a Grammy nomination. However it was a big price to pay to have that all-star backing band for a tour that didn’t take off. The band included Myron Grombacher (Pat Benater) on drums, Dave Ezrin on keys, Matt Bisoneette (DLR) on bass and Joe Taylor on guitars. Joe Taylor suffered the indignity of being fired by Jim Gillete, Lita’s husband at the time because Jim wanted to cut Taylor’s pay.

Dave Navarro
Rumours at the time stated that he was asked to replace Izzy Stradlin in Guns N Roses as rumours started circulating that Janes Addiction was more or less over as Perry Farrell and Eric A started to hate each other over their views on drugs.

Vivian Campbell
Was in a new hard rock band called Shadow King, with Lou Gramm of Foreigner, Bruce Turgon on bass and Kevin Valentine on drums. Eventually went on to become a Def Leppard main stay.

Vito Bratta
At that point in time it was known that Bratta had tied down a solo deal with Atlantic. Of course in 2014, we know that nothing panned out.

Jeff Watson
Was rumoured to be in a project with Carmine Appice, Bob Daisley and Derek St Holmes. That project ended up becoming “Mother’s Army” and the final line up consisted of vocalist Joe Lynn Turner, guitarist Jeff Watson, bassist Bob Daisley and drummer Carmine Appice. Again this news was out in 1991 and it wasn’t until 1993 that the self titled debut hit the market.

Neal Schon
Along with Deen Castronovo signed a band to MCA. The band at the time didn’t have a name however it featured Johhny and Joe Gioeli, whom Schon discovered when he started dating their sister. The bands line up was completed by Todd Jensen (DLR) on bass. Of course that band would go on to become Hardline.

Richie Sambora
He didn’t know if Bon Jovi would continue and released a solo album based on the blues infused with a little bit of pop and rock. He never achieved the platinum sales that he got with Bon Jovi, however he got to show a side of himself that could never have been shown in Bon Jovi.

Cemented Their Guitar God Status In An Hostile Environment

Zakk Wylde
Cemented his status as a guitar god with “No More Tears”. Every track is rock solid.

Paul Gilbert
Guitar players knew him from Racer X, however it was “Lean Into It” that brought him to the mainstream. Shame that it was a ballad that did it. Regardless the album is guitar heavy.

Dave Sabo and Scotti Hill
They came into their own on “Slave To The Grind”. Fusing rock, metal and blues with a shitload of groove. Add to that Rachel Bolan, the Nikki Sixx type persona of Skid Row.

James Hetfield
The whole “Black” album. Enough said.

Frank Hannon and Tommy Skeoch
They ramped it up on “Psychotic Supper”. Check out “Song and Emotion”, “Freedom Slaves” and “Had Enough”.

The New Winds

Nirvana dropped “Nevermind”. Earache Records had the big three in Napalm Death, Morbid Angel and Massacre.

Pearl Jam gave us “Ten” and it started to get some traction.

Soundgarden dropped “Badmotorfinger” and NIN was slowly rising in the background with “Pretty Hate Machine”.

Smashing Pumpkins released “Gish” to little fanfare and Prong released the critically acclaimed “Prove You Wrong.”

Alice In Chains sure did it tough, appearing on a few tours were even the people said “WTF”. Clash of The Titans saw them get pelted with rubbish and the Van Halen shows had people saying “What The”.

A Band Ahead Of The Times

Galatic Cowboys
Showed that diversity didn’t belong in the music business as at 1991. Mixing gospel, thrash, punk, bluegrass, rock and metal with a touch of prog and signed to Geffen. What could go wrong????

Tours

“Clash Of The Titans” did terrific business in major cities and dismal turnouts in rural cities and even cancelled a few gigs due to terrible advance sales.

“Operation Rock N Roll” with Judas Priest, Alice Cooper, Motorhead, Dangerous Toys and Metal Church earned the reputation as the biggest travelling failure of the summer.

GNR and Skid Row operated on a 70% of tickets sold tour.

Lollapalooza blitzed all comers.

The shift was happening.

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A to Z of Making It, Alternate Reality, Copyright, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

Chaos + Disruption = The Music Business

It’s a chaotic and disruptive time in the music business and with chaos comes opportunity.

On one side you have COPYRIGHT. And that can be broken down into a lot of other little chaotic categories like infringement, the length of copyright terms, copyright monopolies, the lack of works entering the public domain and so on.

The public domain is culture. Keith Richards once said, ‘you can’t copyright the blues.’

Culture is built and expanded by sharing stories and building on the works of others. Led Zeppelin, The Beatles, The Rolling Stones and all of the sixties greats like Hendrix, Clapton and Beck used this concept. They built off the blues.

However copyright law and its real purpose got hijacked by corporations and everything changed. Instead of culture being built up in the works that the public creates and shares, the public is now faced with copyright corporations locking away works that should be in the public domain by now. These works that should be in the public domain do not benefit the original creators in any way, however they are beneficial for the few copyright monopoly gatekeepers.

For culture to thrive once again, it is important to respect the public domain.

Then on another side of the music business you have the RIAA who continually push lies out into the world, so that technology companies can do something to protect crap business models. Did you know that the global music industry sent it’s 100 million takedown notice to Google, to remove search links to certain sites. It looks like the RIAA doesn’t get it.

So if a person types in “free mp3” in Google Search what should Google return?

Sites that have free mp3’s or sites that the RIAA want Google to point to when that term is typed in. Maybe when that person types in free mp3, they want a free mp3 and have no interest in paying.

Then you have the ISP’s on another side that are caught up in the middle of all this as they offer the service that provides internet access to users. According to the RIAA and the record labels, the ISP’s allow “copyright infringement” to happen, therefore, they need to do something about it to help out the music industry. In Australia, this is heavily disputed, however in other parts of the world gradual response schemes are in place.

Then you have the technology companies trying to offer low cost services to fans of music. However, low cost to a fan means high costs to the RIAA and the record labels in licensing fees. This is before the new service is even allowed to trade. If the new service starts to trade without licensing in place, expect them to be litigated into submission.

Have you noticed that artists have not been mentioned anywhere as yet. That is how far the music business has come, where the actual music is only a small part of it, however it should be the major part of it. For the business to thrive, you need great music.

I was looking back to some of the releases in 2013 that I liked. Two of my favourites are “Protest The Hero” and “Coheed and Cambria”.

“Protest The Hero” and “Coheed and Cambria” are working to the “Keep your fan base close” mantra. Both of the bands moved from major labels into a DIY independent mindset, realising that their fans are king.

Exceptional fan service is the key driving force behind a bands success. I expect “Coheed and Cambria” will get a lot more fans purchasing the next super deluxe package for the new album because they did such a great job with “The Afterman” releases.

“Protest The Hero” on the other hand have fallen into the fan funded conundrum where the perks always arrive later than expected for international fans. I live in Australia and I am still waiting for the perks to arrive. The band have been clear with their information, advising that it will take 6 to 8 weeks.

It’s good old business 101, “treat your customers right and they’ll stay with you forever”.

Then you have bands like Five Finger Death Punch, Avenged Sevenfold, Dream Theater, Stone Sour, Killswitch Engage, Trivium, Volbeat, Alter Bridge and TesserAct that have label deals.

Should those bands go independent like Protest The Hero or Coheed and Cambria. It all depends on a person’s definition of success and hard work. Going independent means that you need to build a team around you like any business start-up.

What are the benefits of going independent?

The lesson is simple. Selling your artistic freedom and independence as a “success” strategy can bring lucrative rewards. But it’s not always the best move for your career, as you are also selling off important data to the record label. The record label doesn’t want to know your fans or connect with them. They want you to do it, so that the label can make money of that relationship and then pay you a percentage of it.

Coheed and Cambria moved over 100,000 units of their deluxe “Afterman” editions. At $60 (I think it was $68, however I will use $60 for the example) an edition, that comes to $6 million in revenue. If the band was on the label model, what percentage would the band see from that $6 million.

The music market/business is filled with acts trying to make it. It is going to take a huge effort to stand out amongst the rest. Music is a lifer game. It is a slow and steady approach that builds careers.

Artists should be looking at development. With each song release, artists should never be afraid to try things out. Even try out new technologies that make it very easy for their fans to interact with them and their music. In a company, this is called research and development. Investing in your career is never a mistake.

The artists have the power to make the record labels redundant, purely to be used as a distribution arm if needed, however with the rise of streaming technologies, even this arm can be in danger of disappearing. Bands like Coheed and Cambria, Protest The Hero and Digital Summer have seen the recorded business side of things and have decided, hey we can do it better. That’s what great businesses are made of.

So in all of this chaos, who will rise and who will fall? Time will tell, however if you compare music to technology, you will see only a select few rise to the top. Smartphones and tablets is all Apple and Samsung. Amazon has online shopping cornered. Google is the king of search. Spotify will win the streaming war. Facebook rules social media. iTunes rules the mp3 and app market. Will the same fate happen in the music business?

2019 Crystal ball predictions;

Coheed and Cambria – will get bigger and bigger. Their style is unique, so expect them to keep to that style, sort of like how AC/DC releases music in the same style or Iron Maiden.

Protest The Hero – proved to themselves that they still matter. Will get bigger and more crazier. The future of progressive metal.

Machine Head – will still be bigger then what they are. Robb Flynn understands the internet and understands the change that is coming. He will make sure that Machine Head rides the wave all the way to the shoreline, while Adam Duce circles in the undercurrent, ready to litigate the band into submission.

TesseracT – will become the next Pink Floyd.

Digital Summer – are one of the hardest working rock bands around like Twisted Sister and Dream Theater. They will get bigger as they are lifers.

Avenged Sevenfold – will become the new Metallica.

Five Finger Death Punch – I have a feeling that they will break up after one more album.

Shinedown – will be bigger than what Aerosmith ever was.

Volbeat – will remain relevant in their niche genre.

Metallica – will still be relevant in the same way the Seventies act remained relevant.

Dream Theater – will still tour and do a lot of side projects, however they will be replaced by TesseracT and Protest The Hero.

Black Veil Brides – will take over the void left by Motley Crue and Guns N Roses.

Trivium – will deliver an astounding progressive technical metal album.

Killswitch Engage – will remain relevant in their niche genre.

Alter Bridge – The world needs Led Zeppelin to continue. Expect Alter Bridge to fill this void. They have one of the best vocalists of the modern era in Myles Kennedy. Marc Tremonti is a prolific writer. Call his Creed project, “The Yardbirds” and Alter Bridge as “Led Zeppelin.”

Bullet For My Valentine – will deliver their own version of “Master Of Puppets” and “The Blackening”.

Lets see how it pans out.

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