The top four searched items that bring people to the Destroyer Of Harmony site are as follows;
1. Vito Bratta or Vito Bratta 2013
2. Chris DeGarmo or Chris DeGarmo 2013
3. Live At Luna Park DVD (during the period of no information on the status of the release)
4. Richie Sambora
When someone types in Vito Bratta or Vito Bratta 2013 in Google, there is a very good chance they will end up at Destroyer of Harmony.
The posts on Vito Bratta are like are like a slow hit burner for the site. People are really interested to find out what he is doing. Since he doesn’t have a social media presence himself, it’s up to hard-core fans to keep his talent going. All I am doing is trying to connect the past with the present for Vito.
Isn’t it a coincidence that all the searched topics have a lot of question marks?
The Jon Bon Jovi and Richie Sambora split was very vague and even though Richie Sambora said recently he just wanted to spend time with his daughter, Jon Bon Jovi still wants an explanation as stated in a recent interview he did with the Herald Sun.
“… he was never fired, we certainly have no animosity and when the tour is over he can come and see me and Tico and Dave and explain what happened.”
Fans want to know what the hell is going on. They want to know what their heroes are doing. We live in an information society, now more so than ever.
Vito Bratta is leaving money on the table here. The glory days of 1988 are long gone. The glory days of someone putting a sizeable offer on the table are also long gone. The “guarantee concept” is fading. Promoters are waking up. They are starting to look at different models.
There is no point in giving an artist $200,000 a show based on what they did twenty years ago. What are they worth today?
Vito Bratta touched on this “up front guarantee” when he did the Eddie Truck interview back in 2007. He was open to the idea of White Lion reforming; however he needed to know that if he left his house, there would be something there to keep the lights running and the bills paid. In other words he was looking for a guarantee and that was something a lot of the promoters did not want to do.
Mike Tramp does his normal thing, playing small venues and clubs, sharing in the takings with the owners. There is no guarantee in what he does however it is a source of income and it gets him out there, connecting with people.
No one is guaranteed of making it in the music business. That is the nature of art. It is subjective. People will either connect on a large-scale or a small-scale.
The bottom line is this; Vito Bratta has a hard-core fan base. It is a niche audience that is made up of Eighties Hard Rock fans and Guitar Enthusiasts. It is a market that has been waiting for a long time for something new and that is why his name is searched out every day.
Chris De Garmo is missed. There is no guarantee that if he remained in Queensryche everything would be rosy and of high quality. However with the current debacle with the two Queensryche bands and a looming court case over the name, the Queensryche fans are looking for a shining light in all of this. And that light is Chris DeGarmo. He got out before it all went south.
People want to know what his thoughts are on the two Queensryche bands that are doing the rounds. They want him to create new music. They want him to step back in and save the band name.
As with everything there is no guarantee that if he does step back in, it will all work. And that is the issue. Is Chris DeGarmo prepared to leave his family for something that is not guaranteed. If he had some data that could advise him, then maybe he could commit.
In my opinion, data is actually the biggest currency in the music business however it still remains relatively untapped.
Has anyone seen the data that Musicmetric puts out?
Iron Maiden is the most heavily BitTorrent’ed band in Brazil. Brazil is also one of the biggest file sharing countries. What does this data tell Iron Maiden? It tells them that they have fans in Brazil that love music. It tells Iron Maiden that they need to get Flight 666 to South America and turn these free file sharing fans into concert ticket paying fans.
Having the data available to track where a bands fan base is more vital and more important than how many units an artist sold from a recorded product.
Iron Maiden has not sold great numbers in South and Central America since Peer to Peer Sharing started. However, they have toured the continent on a yearly basis, selling out large stadiums in the process and heaps of merchandise as well.
In relation to Dream Theater, the whole Live at Luna Park DVD/CD/Blu-ray release was a debacle. The fans wanted answers. Their Facebook page had thousands of comments from fans, all asking what is happening with the DVD release. The responses went unanswered for about eight weeks before Dream Theater made any comment on the delays.
Up until 2005, Dream Theater more or less avoided South America due to the “what they wanted to be paid so that they can bring the full show vs. what the promoters wanted to pay”.
This is what Mike Portnoy had to say on South America, on the Ytse Jam Bootleg DVD live release of their Santiago, Chile performance that took place on June 12, 2005.
“..the promoters in South America were apprehensive to give us what we would normally get to put on a show not knowing what the turnouts would be like. So in order to finally do a proper tour of South America, we agreed to bite the bullet and strip down; do the tour completely barebones so the promoters could feel out what to expect on future tours.
Well, surely they must have been shocked (as were we) when 20,000 people showed up for our very first show in Santiago, Chile.”
There you go; both the promoters and the band had no idea about the size of the fan base. Dream Theater avoided South America due to a hunch. That hunch is “hey the guys are not moving a lot of sales in Brazil so that must mean that they have no fan base.” Even for 2005, this line of thinking was outdated.
There is change coming to the live business. It’s slow but it is happening. What is a ticket worth these days for a concert? Normally, a number is pulled from somewhere and the promoters go to market to see if the fans are willing to pay for it. If the tickets don’t sell, then discounting begins and that more or less alienates the true hard-core that paid top dollar up front.
This even happened to Dream Theater when they played Sydney on the Black Clouds tour. A fortnight before the show, the tickets went to half price, just so they could fill the venue (that more or less sold out two years prior).
In the end the fans are an artists best asset. Treat them with the respect they deserve and not like the rock star that is portrayed in the Protest The Hero song, Underbite.
Iron Maiden article http://www.theguardian.com/music/2013/nov/29/iron-maiden-llp-stock-exchange