Feb 02
1, 2, 3
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May 16
So every one wants to know… “How many albums have been sold?” How many downloads has each artist had?” Why am I making more money on other artists I believed in and not on the one/s that I think should be getting sold physically and digitally more so?”
There are so many questions on the `forum` of Sellaband.
Of course we are all interested in many ways and many reasons. Some for financial gain and others for the `love` of it all. Some simply because we love an artist so much, we forgave them for not being a great musicians? The list of these reasons for those out there are quite long…
How much an artist sells or doesn`t sell is down to many factors; marketing, promotion in the right places/countries; help from the `believers` with them telling all of their friends and using their network to help artists they believed in; quality of the artist; whether they can perform live or not; music videos…
You can have the greatest album in the world but without any marketing or promotion, then it will be a dead album.
Sellaband, up til now, have not been very good on the marketing side of things. Hopefully that will change soon now they have extra investment. In June the amazon.co.uk Sellaband shop will FINALLY be live (and a lot of promotion on amazon to go with it). The same for amazon.de and some other partners they are working with.
We REALLY need all of the Sellaband artists songs on commercial radio. Anywhere!
I believe I am an artist with a lot to give… emotionally, lyrically, musically…
Annie Lennox is a stunning artist in my opinion. Brilliant songs, lyrics and emotion. I don`t think her voice is always “my cup of tea” but with her other attributes of amazing-ness, I don`t care. Other people don`t like her music, her voice at all. We are all different and into different artists… We can`t like every body. We can`t think everyone is great.
Some artists need to be brought into the light of day for the many to see and feel what it is they can give… Keep them in the dark and they will be just a shadow, give them light and all will shine.
I am not here and my life is not full of being the “best”. Being part of a survey of artists. Being part of a list of who is better or not so good… I want obviously to be the best for my family and me. This is paramount. I am here as an artist, as a Mother, as a person trying to relay their many experiences and stories. To release onto the world and its ears… When someone listens I`ll sing louder. If I touch people, make them cry, make them dance, make them laugh when they hear my stories I am being the best for myself and my family.
Love you all. XXXX
Apr 23
Especially if its about the topics/situations that can arise and happen that it represents.
Is it good for on-lookers to sit back in their well used computer chairs and rave about what they `think` they know and what they `think` should happen or be the case? Especially if they know nothing about the case and have only heard “one side”.
Should we all close our eyes and let innocent honest behaviour not be seen or heard in the face of daylight?
Should a person get “slandered” and bullied in public (suiting some people with the `side` that they have decided to pick, and point the firm finger at) and give no defense in return? More intelligent people could see from the evidence given who is the more professional and genuine person? Or so you`d think…
Will the world ever stop, look, listen and know that from what has been said and done that indeed there are always two sides of a story, but the more likely side that “wins” most of the time is the one that is the truth…
Do people like the truth or does it really hurt? I`d say in a lot of case it hurts bad.
Is it always good to be honest and upfront? I would have to say yes for dignitys sake, for a healthy conscience and for a good restful sleep each night.
I always have been honest and open and although it doesn`t always go down very well… Its the only place I like to see and feel in myself.
Are people scared of the truth? Oh yes!
Is it always good to tell the truth and unravel the real genuine side of a person to people. I think so, in every instance, and even if the world would cave in on top of me in the process, I would be buried with a clear conscience.
Now as time is getting nearer to the birth of our third child you will hear a little less from me. Time to focus on what really matters now.
Love to you all, and some need more love than others. XXXX
Oh on a nice note… I was played on Perth radio just recently again (one of the radio stations I know about who is playlisting “Fire & Snow”), and the song happened to be (you guessed it…), “Deep Sea Green”.
A lady went into the “Replay Records” store and knew of me and the title of the song from the radio piece she had heard a few days previous. She will be buying my album this week. She said that “Jimmy Barnes” was on the radio and heard this song and really liked the singer he had heard.
“Jimmy Barnes” can be found here. 
Apr 21
When two artists work together on creating a song (one does the acoustic guitar and the other does the vocal melody and lyrics), and they then split up, what happens to the song?
If the guitarist states that he will take his music and get someone else to create new vocal melody’s and lyrics, isn’t it fair for the singer/songwriter to take her vocal melody’s and lyrics and create new music? Otherwise that music and melody and lyrics would be lost forever. What a waste.
If a guitarist was asked by the singer/songwriter to be professional and allow their guitar parts to be used on the album, and they refuse to have anything to do with it, should the singer/songwriter just throw her melodies and lyrics in the bin, or ask the professionals to create new music for her melodies and lyrics?
When the singer/songwriter releases an album and the guitarist sees that the singer/songwriter used her melody and lyrics to different music (even changing some of the vocal melody) and arrangement, is it fair for him to threaten the singer/songwriter because his name is not on the credits for the music he refused to be a part of or contribute to (which cost money as the new musicians had to create new music).
If the guitarist had agreed to be a part of the original composition being used for the album, then the song may (or may not) have sounded much better on the album. It certainly would have been alot quicker, easier, and less stressful if the guitarist had supplied the notation, strange tunings and chords etc to the song on the album.
This is the background behind a recent forum thread on Sellaband, where the guitarist in question, after he is getting no joy anywhere else it seems, takes his threats to the forum and slanders the singer/songwriter (Mandyleigh) in front of everyone.
The thread was deleted by SAB as it was against their code of conduct (personal attack) and wasn’t tolerated. Here (6mb pdf. Right-Mouse-Button and “save target as” to download it) is the thread in .pdf form for you to make your own mind up. Interestingly the OP never posted again. We feel that because the thread was deleted and the guitarist is (in our opinion) spreading alot of mis-information around (or at least not the full story), that Mandyleigh’s name is being sullied and she hasn’t had a chance to respond properly.
Mandyleigh is quite sick at the moment (definitely a cracked rib from all the coughing, and less than a week until her baby is due), so I (Gary) am typing this. We may or may not be able to tell more of the interesting history we have with the guitarist as obviously our priorities lie elsewhere at the moment, but here’s a little bit of advice for anyone considering collaborating with others:
- get a written agreement drawn up and signed which states that if the parties go their different ways, then either the elements (music, melody, lyrics) they brought to the table go with them if they wish (as is applicable in Australian, US and UK law without a contract), or the song is recorded with the elements from both parties. Basically, if you don’t want to contribute your elements to the song, then you are both free to use your own elements of the song in any way you see fit, and don’t cry about it afterwards when the song is on an album and your elements weren’t used (by request).
Mar 25
Recently, Paul was kind enough to answer some questions about himself and his views on the present and future of the music industry (which we all know is in major flux at the moment).
For those who don’t know, Paul is the editor and founder of Digital Music News, which is a highly respected and popular news site for all things to do with the business side of the music industry. Paul has a serious amount of good contacts, which is why DMN is the best there is for the inside stories and gets the news before anyone else does. Sign up to their newsletter if you are interested in getting the news first.
Hi Paul, firstly, could you tell us a bit about yourself for those who don’t know you, and how you came to create ‘Digital Music News’?
I’m part musician and music fan, part technologist, part entrepreneur, and part writer and publisher. So, Digital Music News is really molded around that DNA. It’s been gratifying to see the publication grow. Now, we’ve become an indispensible part of the discussion surrounding the quickly-changing music industry.
Have you had any first-hand experience of being in a band?
Growing up, I was an avid French Horn player. So, I played in as many orchestras, bands, and ensembles as possible. I also spread my wings as a soloist, thanks to some incredible tutelage.
I also play bass, competently but at a more recreational level. In college, I played in a ridiculously talented ska band. But everyone wanted to get a real job, and we decided to skip the struggling van idea after graduating.
Digital Music News is full of the latest inside news stories… mostly before anyone else even sniffs them. How do you get such good information?
Over the years, I’ve cultivated relationships with some very, very connected executives. Some of these relationships go back years and years, before Digital Music News was hatched. So these people feel comfortable talking to me, and they trust that I will handle information with care. It’s amazing, I usually can’t publish half of the stuff that I hear, but my sources understand that they can trust me with their life.
What have been the most memorable news stories you have published?
The most exciting stories are the most disruptive ones. We broke the deal between Madonna and Live Nation months before anyone even dared, and I remember readers asking me, “Is this real?” It was.
Which news stories do you think have had the most impact on the music industry?
We apply a healthy dose of skepticism to the “new new thing,” and we’ve gained a great deal of respect for that. Don’t get me wrong, we love getting excited about new technologies. But the temptation is to extend that initial excitement into something revolutionary. Sometimes it is: YouTube was once an interesting user-generated video concept that had potential. But most of the time, it’s something less than that, and the market is the ultimate judge, not the companies and VCs involved.
Do you think music should be fee or free?
It doesn’t really matter what I think, because most digital music consumption is free. But we are seeing the recorded asset start to shrink in terms of its revenue impact. That is fueling the growth of broader businesses, or to use industry parlance, 360-degree models.
Do you see any future for advertising-based revenue? As you know, the first budget to be slashed in tough times is the advertising budget, and there is also only a finite amount of advertising money available.
Advertising is cyclical, and if you don’t beleive me, just wait a few years. It goes up and down. But advertising-based media models have thrived, most notably those involving terrestrial radio, television, and the internet. So can music join that bunch? The numbers look incredibly thin right now, and it’s unclear if that valuations can ever mature into some substantive.
And remember, ad-based music isn’t free. There is an attention cost for consumers, even those with heavy amounts of disposable time. Alternatively, shared MP3s have less cost attached, even though both technically have a price tag of $0.
As you know, there are alot more professionals working in the music industry than just the band. If music revenue is mainly adertising-based, how can those producers/engineers/A&R/secretaries/shelf-stackers etc expect to be paid a wage?
It depends on how big the pot ultimately grows. Radio stations employ large staffs beyond the deejay. But I agree, it is an open question whether advertising can support a healthy music industry.
What could the major record labels have done, if anything, to avert the current crisis?
Many think that the current shifts are so disruptive, so game-changing, that there is nothing majors could have done to avoid catastrophe. Others point to a slew of missed opportunities and technophobic reactions, starting with Napster.
I think the answer is somewhere in the middle. Labels have started to embrace a broad range of digital and mobile distribution platforms, and slowly shift away from more protectionist policies. And, they are now starting to diversify beyond recordings. But whether they can diversify quickly enough is a serious question mark, and the once-dominant major label is undoubtedly shrinking.
In your opinion, what can be done now to help the recording industry?
It’s really up the industry to help itself. Consumers are shifting away from records, and labels need to move accordingly. Talk to a pre-teen – many have never heard of a record store – their CD exposure comes from Best Buy, Target, and Wal-Mart. Online, the experience is digital, and usually free.
Do you think isp’s should monitor and filter p2p content, and then suspend accounts involved in piracy?
It’s a difficult question, because it raises very serious censorship and big brother issues. Major labels want serious oversight, but ISPs – for the most part – argue the “dump pipe” defense. Meaning, ISPs can’t be blamed for everything that happens on their networks, just like phone companies can’t be held responsible for criminal conversations. And ISPs have a lot more money and lobbying muscle to defend that. I think ultimately, consumers prefer a hands-off policy.
What do you think are the most promising technologies appearing for the music industry?
Some of the most promising and exciting technologies surf in a legal gray area. Or, they are blatantly illegal. Just look at Napster, which has now revolutionized music consumption. Or YouTube for that matter, which is being sued for $1 billion by Viacom.
In the current context, entrepreneurs are pushing ubiquity, though action is happening on both the legal and illegal sides. Michael Robertson, founder of mp3.com, wants to build the cloud-in-the-sky that will allow access from any PC, device, phone, or other peripheral. But Robertson is being sued because of some less savory aspects of the model, ones that cater towards the grayer preferences of most music fans.
Others are pushing more legalized concepts, including Slacker, which is attempting to create ubiquitous music discovery and acquisition though PCs and a customized player. But more functional than iPod+iTunes? iTunes is not a cloud in the sky – at least not yet – and consumers in the present seem most satisfied with their iPod (or iPhone) and iTunes experiences.
Your opinion on new models like Slice The Pie, Sellaband, We7 etc?
Slicethepie and Sellaband are really exciting concepts, and I can’t wait to see if some breakouts emerge. Because both companies are challenging the structure that has surrounded A&R for decades – namely, that entities like major labels are needed to filter content to the music consumer. Slicethepie and Sellaband are saying that the masses can do this organically, through the democratic web.
The ‘pay whatever you think’ model may or may not be successful for established artists like Radiohead, who have a legion of rabid fans and a well-known name, but do you think this same strategy is worthwhile for unknown artists? There are many unknowns who try this avenue, but not with much success it seems.
I don’t. It’s very difficult to extend the Radiohead model to smaller artists. Why? Because most unknown artists have difficulty giving their music away for free. And of course, Radiohead was an unknown band at one moment in history, and they had a similar problem.
Would you say it’s marketing money that makes a succesful artist, and if so, are people only ever going to have mass knowledge of major label artists, no matter how good (or bad) they are?
We’re already seeing something different going on. There are bands you and I have never heard of that have thousands and thousands of fans. It’s a more decentralized market, and the same phenomenon is happening across other forms of media.
That said, there is still room for over-the-top, bigger artists, though they are selling far less. Future heavyweights like Live Nation will be able to execute much stronger campaigns, though I agree with prognosticators who think that there will never be another mega-group like The Beatles, Led Zeppelin, or The Who.
What is going on with EMI since Guy Hands took over? Do you think he bought into a lame duck without knowing it?
This is a game Hands loves to play. EMI is a distressed company that he wants to return to profitability. But the music industry has crashed many-an-outsider into the rocks. And Hands is now playing in a quickly-tightening market, one that almost cooled the leverage buyout to begin with.
How does a new, non-established artist make themselves known in the current music climate?
The real action starts with targeted audiences, and targeted promotional strategies. Unfocused approaches will dissipate, simply because there are way too many distractions in the current market. And word-of-mouth, online and off, happens between closely-connected people. And, once a targeted group of loyal fans is established, bands can actually start making money if they are in business for themselves.
What are your favourite artists to listen to?
It’s all over the place. In heavy rotation on my iPod right now are BT, Brothers Johnson, Pantera, Flo Rida, Pitbull, Rachmaninoff, Elephant Man, Metallica…
If you owned a record company, what would it’s business model and marketing strategy be?
The first thing I would do is replace “record” with “music,” and diversify accordingly. That means broader revenue relationships, which is where majors are going today. I’d pursue smaller, tighter audiences for developing artists, then build from there. And hire people that are a lot smarter, younger, and musically connected than me.
What advice do you have to the industry as a whole, and specifically the artists?
Forget about the technological backdrop for one moment. It has always been incredibly difficult to pursue an artistic career. There are just too few dollars out there, no matter how prosperous and artistic the community. But success stories happen all of the time, and many successful artists are also very astute business people.
cheers Paul
