Tag Archives: The Music Business

Don’t Buy the Pink Floyd Box Sets

I see there’s a shock-and-awe advertising campaign for the reissues of the classic 70s albums by Pink Floyd.

Yes, an album like Dark Side of the Moon is all-time classic which has stood the test of time and has finally emerged from the long shadow cast by of Punk to take its rightful place in the British Rock Canon. But let’s face it, if you really cared about the album, you’d already have it on CD, right?

September has been one of the best months for new progressive rock releases I can remember for a long, long time. In the space of two weeks there have been new releases by Dream Theater, Opeth, Anathema, Matt Stevens, Steve Hackett and Steve Wilson. That’s one hell of a lot of new music, and you can have all of it for the price of just one of the ridiculously overpriced “Immersion editions” that you’ll probably only ever listen to the once.

I realise the target market for these things is the middle-aged bloke who stopped caring about new music when he got married and had kids decades ago, and now in the throes of his mid-life crisis is desperately trying to reconnect with his long lost youth. He’s probably never even heard of Opeth.

Don’t be that guy. Don’t buy the box sets. Pink Floyd really don’t need your money. And EMI certainly don’t deserve it.

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Yet Another Music Biz Rant.

Sometimes I wonder if there are people out there who really believe there are no ways to find new music apart from either listening to Radio One or surfing MySpace completely at random. Just read this commenter in a thread about the failure (so far) of digital music products.

I know this sounds trite but it would really help if the big music companies did their job as “gatekeepers” and keep the mediocre music away from the masses. What ever happened to quality A&R departments? With the proliferation of cheap music sequencing programs, horrible club DJs and radio that is beyond unbearable, quality control is more important than ever!

It’s actually worse that that, Big Music is actively keeping far better music away from the masses. They’re pretty much only interested in the lowest common denominator music that follows a small number of proven formulas that they know how to market. And with more and more discerning music fans having made their excuses and left the mainstream, Big Music is increasingly left with the people who can’t or won’t seek out new music for themselves.

I personally think the gatekeeper/elite tastemaker model is fundamentally broken anyway and deserves to die. For better or worse, the Internet has fragmented the market, allowing artists in niche genres to market their music directly, bypassing that small and corrupt clique of gatekeepers and tastemakers.

Such artists rely on fan-to-fan recommendations to build an audience rather than on Big Music’s shock-and-awe advertising campaigns. Perhaps the role of new digital music startups ought to be to encourage that sort of thing, rather than prop up the dying major label business model? The thing about independent artists in niche genres is their business model depends not so much of gaining the largest possible audience, rather on minimising the number of middlemen between them and their audience. Digital startups are new middlemen, they’re only of any use to artists if the value they add is more than the cut they take. And they’re only any use to music fans if they act as a sort of smart filter, perhaps using some kind of wisdom-of-crowds approach to filter out the stuff that falls below the Sturgeon threshold.

Don’t expect the major labels to support such a thing - While they claim to speak for up-and-coming artists, the reality has always been that they’ll do their damnedest to marginalise every new artist except for the small minority that they choose to sign.

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mFlow’s 20p-a-track Sale

Music streaming and downloading site mFlow has been having a January sale. For a few days, they reduced the price of all downloads to 20p a song, or 20p x the number of songs for the whole album. It’s resulted in something of a feeding frenzy; I think I bought ten albums altogether; and judging by the steady stream of credit notification emails I’ve been getting, many others have been doing the same thing. 20p for a song or two or three quid for an album is well within impulse-buying territory in a way a £7.99 album is not.

My purchases included a couple of lesser back-catalogue albums I’ve only got on vinyl from Rainbow and Blue Öyster Cult, a few albums I’d passed on when they came out, such as a couple of recent Marillion live albums, and “After” by Scandinavian metal artist Ihsahn, which I decided to check out since it had appeared in several people’s end-of-year lists. I flowed on track from that with the words “This album is so awesome I feel guilty for paying only £1.60 for it”, and promptly got three 20% commissions for further sales!

Since I’ve seen both The Reasoning and Mostly Autumn coming up in my credit notification emails, I do wonder how artists feel about their work being sold for such low prices - I do remember one RPG writer I won’t name being not at all impressed to find one of his works in the remaindered bin at Stabcon a few years back. But surely any revenue is better than none, and gets there music heard by people who might not otherwise have listened. From such beginnings, fandom can start, if the music is awesome enough.

It does make we wonder what the rational price for MP3 downloads ought to be nowadays. This year I’ve paid everything from that £1.60 for the download of the Ihsahn album, to well over double the price of a regular CD for the pre-order special edition of “Go Well Diamond Heart” by Mostly Autumn, and I really can’t say that either was not a “fair” price. In one case I was taking a gamble on a completely unheard-of band, with only Dom Lawson’s word for whether it was any good, and the other was a fan pre-order for an album which would not have been possible to record otherwise.

Time will tell what sort of pricing strategy labels and artists will take in the future. It may well be that with universal “always on” internet connections we’ll all move towards streaming anyway. But I think the days of pricing album downloads so as not to undermine CD sales are almost certainly numbered.

What does anyone else think?

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Stupid Music Journalist Quote of the Day

Comes from The Guardian’s Mark Beaumont, in a blog post about Radiohead’s Kid A

By the mid-noughties, just like the mid-90s, alternative and mainstream were conjoined by a frothing mass media and shrinking major-label budgets – there seemed little distance between Kasier Chief and Sugababe, between Arctic Monkey and Crazy Frog. There was nowhere for an underground to be.

That really does speak wonders about the smallness of cultural bubble that “mainstream” music critics inhabit, doesn’t it? Just about all the music I love just simply doesn’t exist as far as they’re concerned.

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Time to bring back Top of the Pops?

On The Guardian website Miranda Sawyer campaigns for a return of Top of the Pops. Unfortunately she spoils a good argument with the mistaken opinion that The Mercury Music Prize represents the sole valid alternative to Simon Cowell’s X-Factor, and they are the only two games in town.

I’m not sure if the Top of the Pops format will work today, but we desperately need something to reverse the situation in the past decade whereby the general music-buying population is more or less completely cut out of the loop in determining which records and artists become successful.

With records played to death on the radio before they’re even released, we’ve reached the point where everything mainstream audiences get to hear is decided in advance by a very small number of elite tastemakers from the record companies and the media. The Mercury Music prize gives every appearance of being run by this same clique.

What was great about TOTP was the way it used a strict formula based on chart position to decide who appeared on it - nobody got vetoed because a clique of cloth-eared idiots from BBC light entertainment thought they didn’t fit the show’s format. If enough fans went out and bought the record, they got on. So we had Mötorhead on prime-time TV playing “Ace of Spades”, something which would be unthinkable now.

What’s very notable is the way the BBC marginalises genres like metal, jazz, blues or folk, despite their popularity up and down the country, in favour of various flavours of ‘indie’, which is all they think exists as an alternative to X-Factor pop. Yes, they might do the odd BBC3 documentary, but they tend to be very nostalgia-orientated, and don’t feature up and coming acts. Look at their festival coverage. For example, there was an eclectic mix of artists at Glastonbury this year, but you’d never have known it from the bands shown on TV.

Maybe genres have become so fragmented in today’s net-connected multi channel world that a crossover hit like “Ace of Spades” simply isn’t possible any more. But surely the best music of all genres deserves better than being trapped in separate musical ghettos?

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What is the point of The Mercury Music Prize?

What is the point of The Mercury Music Prize?

I’m not going to comment on the merits or otherwise of winners The XX - they’re so far removed from my own tastes in music that I’m simply not qualified to judge them. But I think it is fair to comment on the very obvious exclusion of entire genres from Mercury shortlists.

Apart from the token jazz and folk entries, it does seem dominated by various sub-genres of indie plus the odd hip-hop record. Far from being as broad as it’s apologies claim, it’s pretty much restricted to the sorts of artists that Apple Macintosh-owning urban metrosexuals might have heard of. I recognise that prog is too niche, but it’s unthinkable, for example, for a metal band to make the shortlist. Admittedly a lot of cutting-edge metal seems to be Scandinavian these days, and The Mercury is restricted to British and Irish acts. But why have Iron Maiden never got nominated? And when was the last time an out-and-our pop album got nominated? Surely Simon Cowell’s karaoke drivel hasn’t killed pop completely?

Alexis Petridis’s Guardian Article gives the game away - he doesn’t quite come and out and say it, but I think the subtext and inference is pretty clear. The main purpose of The Mercury Music Prize is indeed not to celebrate the best of British music in all it’s diversity, but is merely a cynical ploy to sell records to the demographic that doesn’t know much about music, but wants to think of itself as cool and sophisticated.

Which is a perfect justifcation of why, despite the genre’s eternal popularity, you’re never going to get a Metal band in Mercury shortlist. Metal just isn’t a genre you can sell to people like David Cameron or William Hague.

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Whither mFlow

I’ve been using mFlow for several months now (you can see my profile here). I’ve described it as “the bastard offspring of Spotify, iTunes and Twitter. It combines Twitter-style social networking, online music streaming and mp3 sales. It’s actually great fun, and has exposed me to a number of artists whose music I’d never have heard otherwise.

The way it works is people “flow” tunes to their followers, who can then listen to the complete song. Following works like it does on Twitter - it’s completely asymmetric, in that there’s no obligation to follow someone back if they choose to follow you. Follow friends, or follow random people who have great taste in music, it’s up to you. If you really like a song, you can reflow it to your own followers, or purchase it as a DRM-free mp3 download, And when someone buys a track, whoever flowed it gets a 20% commission on the sale.

It has two big drawbacks at the moment. Firstly, their catalogue is nothing like as comprehensive as I’d like it to be - while they have three of the four majors and many of the larger indies on board, it gets very spotty once you get down to smaller labels and independent artists. There is practically nothing from female-fronted prog scene I follow; currently there’s a single song by The Reasoning taken from a compilation, and one cover by Magenta, and that’s it. Not even Fish’s post-EMI releases are there. These are precisely the sort of artists I’d love to be able to use mFlow to spread the word about.

Secondly, it’s currently UK only, and my online friends network isn’t constrained by geographical boundaries; I’ve got online friends in America and continental Europe who share my tastes in music, and can’t use mFlow yet.

Now iTunes have introduced something called “Ping” which seems to do much of the same thing, there are fears that it could damage mFlow. iTunes is the 800lb gorilla in the downloading market, keen to lock everyone in their closed proprietary ecosystem, and are quite likely to stomp on a startup who’s established a niche that they want for themselves. Let’s hope mFlow survives.

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The Digital Economy Bill: The Costs of a Terrible Mistake

In The Costs of a Terrible Mistake, Doug Richard expresses all the same concerns as in my previous post. Only rather better-articulated. And he doesn’t mince his words in the conclusion.

There was no need to rush this legislation through except that someone, somewhere wanted to get passed under the wire. Someone wanted a bad law in place, and in the wrapping up of parliament it happened.

That is devastating.

And people think I’m overreacting when I call for a boycott of the “Big four” record companies (Sony, EMI, Warners and Universal). While I’m sure there are other vested interests in play, especially the cynically calculated evil of Rupert Murdoch, there does seem to be smoking gun incriminating the major labels, who may have given us some great music in the past, but are now dinosaurs willing to trash the future in order to postpone the extinction they so richly deserve.

There are many lifetimes’ worth of great music released by smaller labels and independent artists - we don’t need the majors any more, and a boycott is far less than they deserve. Not as dismissal of ‘mainstream’ music as an act of musical snobbery, but a refusal to give any of my money to businesses who act in such a disgraceful way.

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The Digital Economy Bill

So the government has railroaded through the deeply-flawed Digital Economy Bill in the dying days of a Parliament with completely inadequate discussion or consultation. It’s being sold as an urgently-needed measure to tackle widespread internet piracy, but I see it as a massive power-grab by old-media giants who want to destroy those parts of the Internet they don’t like.

Nobody apart from the major media cartels and a bunch of corrupt and/or technically-illiterate politicans are actually in favour of this thing as it stands. Even the strongly anti-filesharing Featured Artists Coalition opposes the bill.

I have always maintained that the major labels overstate the losses caused by file-sharing for largely self-serving reasons, and their real agenda has always been about maintaining market share. There are still people who claim that every illicit download represents a lost sale, which is so transparently ridiculous that they deserve to be slapped repeatedly with the proverbial Very Large Haddock until they see sense. They ignore the multiple studies concluding that file-sharers actually spend more money on music and other media than average, and frequently use file-sharing to guide their legitimate purchases.

Even if you believe illicit filesharing is a terrible thing, the whole collective punishment aspect sticks in the throat. This bill targets households, not individuals. I know I’m going to risk Godwin’s law saying this, but from occupied France in World War Two downwards, collective punishment has always been the last resort of the authoritarian thug with no moral authority. So we will see parents losing internet access due to the actitivies of their teenage children, or similar things in shared houses. That lodger you kicked out last month because he didn’t pay the rent? Turns out he’s cost you your internet as well. And that’s before we get into how cafes and libraries providing free wi-fi are now going to be expected to police their customer’s activity. No, small businesses are certainly not exempt, and many people are predicting a sharp decline in free wi-fi facilities.

Then there’s the whole ‘guilty unless proved innocent’ thing. How are they going to determine what’s a legal and what’s an illegal download? What guarantees are there that whatever data-mining or traffic analysis they propose to use isn’t going to generate significant numbers of false positives? What happens if you listen to an Internet radio station or download free songs from a band’s own website, and those sites don’t appear in some major-label approved whitelist? I’ve asked the bill’s apologists about this, and all I get is bland assurances that “it’s only going to be used against a hard core of persistant file sharers”. But there is nothing in the bill that states this.

The bits in the bill about site blocking are just as bad - again the wording is so vague that it can end up being used against virtually anything that the big media companies don’t like - much like Britains hopelessly broken libel laws.

But perhaps the most toxic thing about the entire bill is the way it undermines public support for the notion that creative artists deserve to be paid for their efforts. From the sleazy way it emerged from a meeting between the unelected twice-sacked-for-corruption Peter Mandelson and label boss David Geffen while being wined and dined on Philip Rothschild’s yacht in the Med, to the cynical way the government rammed it through Parliament without proper discussion, the whole thing has the effect of making file-sharing look like a righteous act of civil disobedience. And that will persist even if the DEB fails.

There’s still an outside chance that the House of Lords will see sense and kick the bill out, but I wouldn’t bet on it. In the meantime, if your MP voted in favour of this travesty, be sure not to vote for them in the election.

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Why they review what they review.

An article on The Guardian Media Site has turned into an interesting tangential discussion on exactly how The Guardian decides on what to and what not to review.

Film and Music editor Michael Hann came up with this gem:

Other albums that “have to be reviewed” are the ones that are achingly hip, or from artists one would expect to see reviewed in the Guardian - the likes of Bonnie “Prince” Billy, for example.

This drew a wonderful spleen-filled response one noted metal fan, to which Hann responded.

And features are actually a better way of contextualising minority interest musics than reviews are, especially when accompanied - as our features usually are - by a playlist.

Which ignores the fact that hipster-indie is as much a minority interest music as metal. Except that the groupthinking Guardian writers don’t seem to be able to realise this.

So far, I haven’t had a response to exactly why they “have to review” Bonnie “Prince” Billy, but did not have space to review Opeth’s “Watershed”. A cursory glance at the sorts of tour venues the two artists play suggests both are of similar standing in terms of audience style. While I know popularity isn’t everthing, I cannot see how the relative merits of progressive death metal vs.lo-fi indie folk are down to anything other than purely subjective taste.

Or is it simply Opeth are further from their comfort zone than hipster-indie?

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