Kings of A&R

He who writes first will determine success or failure of a particular album. This has become a common complaint among promoters. Whichever publication is first to review an album will trigger a series of similar reviews, which could either bury the record, or turn it into the new ‘must download.’ This fear of the domino effect has left many promoters holding on much tighter to advances, careful to leak earliest to those who will have a favorable opinion because of past reviews, personal opinions, or a love of free t-shirts. Why does this happen? Simple- there is no integrity left in music journalism.

KOAR posted an article in June of last year discussing the breakdown between the label and press due to the volume of material and shortage of employees/respectable outlets. The problems discussed in that piece have only gotten worse. Everyone involved is still overwhelmed with material, and there are even fewer places with credibility. Add the issue of every album being a virtual roll of the dice, quality-wise, and a population of artists who are quickly losing hope, and I think it would be fair to say we are at the end. How long we wait here for a new beginning and how dark it gets is yet to be determined.

The new Black Crowes album Warpaint received a less than stellar review by writer David Peisner in March’s issue of Maxim, who wrote, “They sound pretty much like they always have.” One problem- he’s never even heard it. The label isn’t making advance copies available. If that’s not startling enough, the editor essentially responded with “We either make stuff up about you or you aren’t gonna be in our magazine.” The Crowes were pissed. As they well should be. They can now expect 30 more ‘it’s more of the same’ reviews, as more bloggers and writers plagiarize the original fake review, because that’s faster than listening to the album and forming an original thought.

This level of unprofessionalism is common these days, and writing a review without actually listening to it is a skill that many writers have down to an art form. Some choose to review other people’s reviews, and some simply project their prejudices based on their critical assessment of the band’s name, song titles, myspace/website and photo. I am sure this Black Crowes review is not the first bullshit article to make it into the magazine, and Maxim is far from the only publication willing to print fluffy fabrications. How much does this hurt the artist? Is the Black Crowes new album doomed to obscurity, coveted by only the most hardcore of existing Black Crowes fans? Will there be no single, no video, no world tour…no future, all because of one bad writer poisoning the well?

I have no idea. I haven’t heard the album. Maybe they wouldn’t have had those things even with a string of excited, positive press. Or maybe it will be the album that changes the course of modern music, despite the bad press. Perhaps you cannot stop an album from fulfilling it’s destiny. Greatness always rises to the top, right? I think that’s a romantic notion, and as a firm believer in the cosmic power of music, I’d like to believe it. However, it seems artists today have a lot of forces working against them. This industry has broken, and that doesn’t only affect the major labels. It affects every facet of the music world, from how it is distributed, to how it is promoted, to how it is performed, to how it is received by the public to, ultimately, the artists themselves.

Artists have conceded the labels. They watched radio and television eliminate themselves from the opportunities list. They gave up the money in the name of ‘freedom’. They bounce around the disorganized distribution systems, waiting to see who wins; and now press, in its transition period, has tuned out to them completely, finding plagiarism and pure fabrication preferable to listening to their music or finding out anything about them. Musicians have been quite passive in these turbulent times. Maybe the dissolution of press will be the catalyst they need to become more involved, but it will probably just be another nail in their coffin. Strap on your aprons and ready your name tags.

-Angela ‘AJ’ Jenson

Last week was the first of a 4-week hearing from the Copyright Royalty Board to determine new mechanical royalty rates. The National Music Publishers Association proposes a royalty increase for physical music, from 9.1 cents to 12.5, and a digital rate of 15 cents per track. And in the other corner are the RIAA and DiMA. The RIAA proposes a cut to 6 cents per physical track, while both groups support a digital royalty under 5 cents. Someone slept through economics.

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Today with the internet a good artist can find fans work with big producers and maybe even find themselves on internet radio and mainstream radio rubbing shoulders next to the big national artists. In the old days, these types of opportunities were next to impossible, now its attainable. This is the true benefit when an industry is in chaos. Chaos is a breeding ground for opportunity. True winners will succeed and the mediocrity will vanish.

For instance, a lesser known band who formed in a small town in PA called
The Drama Club worked on some demos eventually catching the ear of producer Rob Caggiano who has worked with Jesse Malin, Anthrax, and Cradle of Filth. Rob Caggiano and mixer Jay Baumgardner (Evanescence, Papa Roach, Godsmack) eventually produced the EP. The EP also features guest appearance from Ben Burnley of top rock act Breaking Benjamin who sings on the song “Brand New Day”.

Of course having a strong EP isn’t the end of the story. Exposing the music is the next crucial process. This process truly separates the winners and the losers. Many artists fail miserably at self promotion or just suck live. In order to get to the next level or achieve the next level of success a well oiled machine must exist.

The Drama Club began performing shows in their region and soon were known to be an exceptional live band which led to increase popularity known as the ’snowball effect’ - and and being a promotional machine for themselves the shows began to sell out regularly.

Once an artist begins making noise and shows begin to sell out then national artists who come to town rely on those artists’ to assist in ticket sales. Most national acts cannot sellout clubs to the fullest capacity and always need artists that can sell an extra 75-250 tickets. The Drama Club began opening up for bands including Breaking Benjamin, Velvet Revolver, Flyleaf, and many others including a 30 date North East tour which included a stop at the Warped tour in their hometown.

Basic logic says with increased exposure more opportunities will arise, especially in you’re hometown, and thanks to the internet - opportunities can be limitless. The Drama Club has been featured many times on their hometown radio stations 97X, and WZZO, as well as Metal Edge Magazine, Purevolume, Puregrainaudio, Origivation, and other regional press. Not only that
The Drama Club teamed up with a manager as was just added to ‘POWER ROTATION’ on AOL Radio “New Rock First” station. This is when the internet can be you’re best friend because AOL isn’t localized.

If you play by these rules, success can almost be guaranteed. You will be able to quit your day job, even sign some autographs. If these rules fail you, it’s not because the rules are broken, its because something within the artist is not connecting. Maybe its not your destiny.

Artists that are armed with good music and a strong desire can make it without the big man today. The door is opened to anybody who is willing to walk through it.

When Kanye West opened up with 957k while 50 Cent topped 691k, Island Def Jam Music Group Chairman Antonio “L.A.” Reid said the sales are proof that music fans will still buy albums as long as the quality is good.

“Market conditions certainly have changed in the last few years, but the
decay we are seeing has more to do with the lack of quality in music,” he said.

The Bottom Line:

L.A. Reid is one of the few executives in the music business other
than Rick Rubin who acknowledges or at least speaks out that the decay in the music business is due to quality, in what KOAR calls the CREATIVE DROUGHT. Unfortunately, many other executives have fell to the idea that the lack of sales is mainly due to technology.

Many execs and music labels spend their long days in meetings thinking about selling music. This is a BAD OMEN. We can be rest assured with this mentality that the quality of music will continue to suffer. Instead execs in music labels need to focus on CREATING quality music with potential artists. Many execs will argue, it’s not that easy - ok fine, lets continue..

The Music business consists of ART and COMMERCE.

There is a lot of mediocrity out there that consumers will bypass. We have so many more releases, more genres, more artists, more competition. To many releases clogging up the arteries. Music labels do not set up a record for a year, its all about the first week. Music Labels cannot focus on 10 releases for the full year. When companies work more than three records they are overwhelmed.

You would think that with more competition we would have better music. The long tail is wrong, its just the opposite. With more competition we have less heroes because it gets watered down.

We know there is no such thing as artist development, instead we have priorities now.

Music Labels want FACTS. If there is not a story, a label won’t work a record. If you are that type of artist that is radio driven and you have lukewarm radio, you will get lukewarm attention - unless you are a multi-dimensional band. A multi dimensional band does not rely on radio for success - radio is icing on the cake. A multi-dimensional act has great songs, great players, great live performance, and has a true unique vision. Multi-dimensional artists are AFI, Slipknot, and Foo Fighters in the rock world, 50 Cent and Kanye in the Hip Hop World.

Our best guess that the creative drought may in fact have resulted from technology. We can make people sing in tune that cannot sing. What does this mean? It tells me that we have lead singers that should not be singers.  Developing………………

Between natural disasters, terminal illness, political agendas and social awareness, there seems to be more money raising than ever. But how effective are benefit concerts, really? With a new cause every other week, are they losing their meaning? Wealthy celebrities begging for money and the most frivolous artists appearing on CRIBS one day and lecturing the public about their irresponsible lifestyles the next?

Now, I’m all for social activism. I think it’s important as human beings to help our fellow man, even when the cameras are off. But how many people are really helped by Madonna flying her 100+ person circus on gas guzzling private jets to play a benefit show intended to raise awareness about environmental responsibility? People don’t tune into massive line ups of the biggest stars in music because they care about Africa or AIDS or global warming, and I don’t believe all of these artists show up because they care either. There are few benefits Paul McCartney and Bono aren’t a part of, and artists like Fergie will show up to the opening of an envelope. These shows are supposed to be about a cause, not the artists trying to appear human why they peddle their products. In the end, people won’t even remember what the causes were. They’re only watching to be entertained. So, what’s the point?

Benefit shows have turned into what? Organizers say things like “if we can change the thinking and habits of just one person, then we’ve succeeded.” REALLY?! That seems like a lot of effort to make ONE person start recycling. I don’t doubt that some of these people have their hearts in the right place, and I applaud the true efforts people make to better the world. However, I’d rather see these celebrities write gigantic checks to these causes than ask me to write one, or  at the very least, practice what they’re preaching.

KOAR is not alone….more here:

Arctic Monkeys shiver at Live Earth ‘hypocrisy’ ….

Superstars flying 222,623 miles between them to get to the LIVE EARTH concerts…

Rock n Roll!….

Click here to watch all the shows live and online.

Live Earth fails to pack large-scale punch…

Earth underwhelmed by environment pop extravaganza…

Live Earth Internet streaming sets record: 9 Million Streams…

AJ/KOAR

Labels:
Major labels have made serious cuts when it comes to staff, and they started with promo and marketing. While it was common knowledge that majors had plenty of fat to trim, the cuts that were made have left a bare bones staff of people too busy to be interested in the music they’re working. Any one person is working more records than is really possible, and although they are paying for the assistance of 3rd party PR companies, this kind of disorganization at the top always trickles down. For marketing departments to handle the workload, they have adopted a very simplistic template for press that they can plug any artist into, making only minor changes. Here’s what you need to work a major label record to press: 2 press releases, 1 bio, 1 audio link, 1 video link, tour dates, ad budget. Unfortunately, this standard set by majors has been adopted by essentially everyone, and ‘not knowing anything about what you’re working’ has become somewhat commonplace.

PR:
Since PR companies are given so few materials from their clients, there isn’t much more they can pass along to their press outlets, except maybe a few pictures. The main reason they are hired by labels in the first place isn’t really to ‘do press’ but to manage the ad buys and make sure people print the press releases. Where a successful PR agent once knew all of the big players in print personally, they are now maintaining spreadsheets to keep track of the thousands of music sites and blogs, a list that changes almost daily. These sites and blogs are of varying quality and reach, and their writers are of varying skill and taste, meaning for every good review, I’ll show you 10 bad ones and vice versa. While the actual work load is relatively minimal for just one band in this template system, PR companies are also feeling the pinch of an industry hemorrhaging money, and are picking up as many clients as possible to make up the difference. And while they aren’t being given any real information about the acts they’re working and most of the time have never even heard the music, they are still expected to produce results from their campaigns. They must report back with every site and magazine that has written about the artist and anywhere ads have been placed.

Press:
The average music site will receive upwards of 50 press releases a day. In a given week, they will be introduced to approximately 30 new bands, all of whom are ‘the next big thing.’ From the PR companies they work with, they are expected to print every press release and all of the tour dates, post the songs and videos from the acts and then review the album. While MOST sites will never receive money from labels or artists, many can be included in bulk ad buys through a number of companies, where they make fractions of a penny per day from their ad space. The constant flux of music sites and blogs can be attributed to how easy it is to start one, but how difficult it is to maintain. Writers are being bombarded by people demanding exposure, most of them not worthy of it, and find it difficult to break even, let alone turn a profit. Additionally, those who created sites because of their love of music quickly learn that not only does love not pay the bills, but the serious reporting they were hoping to do is made near impossible by the lack of information and access available. Magazines are certainly experiencing these same problems, and then some, as their ad space costs about 5 to 10 times more than what can be purchased on websites. The cost of producing a physical magazine is much higher than a web page, and finding someone who can afford the space often takes precendence over unearthing the underground.

Unknown artists do not break ground in press without ad budgets. Most press outlets are too broke to be concerned with hooking someone up, unless they’re being hooked up in return. Perhaps, if they’re creative, they can appeal to the right hipster journalists at the bigger rags and gain a little traction, but that hasn’t proven useful as those artists rarely achieve significant sales as a result. Now, I am not saying that press is pointless, but I will say that for music, it is completely dominated by those who can afford to purchase a writer’s time and pay for ad space. Real music journalism is barely alive today. Real writers who see the stories and wish to pursue them face roadblock after roadblock as their PR contact tries to find the right information for the label contact, who may or may not have heard of the band, but is certainly too busy to be bothered. Reaching out to the bands directly can also be a dead end as writers are bounced between the numerous managers and staffers, if they are able to find contact information at all. And should they finally get that story, the one they had been waiting for, all they can do is hope someone sees it amidst the endless overhyped press releases and ‘purchased’ articles.

So here’s the question:
Even if you DID have the ‘real thing’ on your hands, what would you do about it?

AJ, KOAR

What happened to the Rock Stars?

All The media outlets are producing some type of rock star except for Music?

Forgoodness sakes! Simon Cowell is more interesting to look at than the karaoke singers.

Say What?

The public is so bored that their eyes are glued to Paris Hilton and Lindsay? At least the socialites are living up to the public expectations. The public is bored and they should be!

Did artists forget how to become rock stars?

Axl Rose returned briefly in 06, and he didn’t forget to bitch slap Tommy Hilfiger. Thanks Axl. You are a true rockstar. Keith Richards smoked up his grandfathers ashes. Whether true or not, its genius. Amy Winehouse is intriguing, a coked up rocker unable to perform. Rap stars were rock stars for a millisecond until kids figured out they were greedy hustlers concerned about their bank accounts. Rock stars don’t save money, they light their cash on fire.

Tattoos, eyeliner, and black clothing don’t automatically turn someone into a rock star. Passion, intensity, and belief are the true ingredients. Who is responsible for selling records? The labels or the act itself? or both? Unless an act consisently writes Beatle quality top 40 songs, you can’t sell squat if consumers aren’t passionate about the act.

Any rock stars on the Warped Tour? Nope. Although Davey Havok from AFI does a good job creating a live experience. Any rock stars on the Ozzfest? Nope. Maybe Ozzy himself but all he has left is vital signs and a nagging wife.

One year I was backstage at the Ozzfest overhearing the stage manager yelling at some hardcore act to get their shit off the stage. Thats the type of of respect these acts get. “Get your amps and kit off the stage now, we are on a time schedule”. Next act?

Except for a few, artists today can’t even sell out 3,000 seaters. How do promoters get the audience attention today? They need to gather up 200 acts, circus clowns, elephants, tents, and popcorn machines. If a petting zoo isn’t attractive, we will give away free tickets (Ozzfest 2007).

Oh, let me hear the excuses! Things change…. We are living in a different times. ….Society has changed…. Kids have changed….. Video games…… MySpace…… The national mood has changed….. Self Worship…… Bull! no excuse for the lack of rock stars that had the ability to persuade 15,000 kids to congregate in one place.

We are waiting…………………………………………..

As Linkin Park released their new album, Minutes To Midnight, a debate about re-invention arose in the KOAR camp. LP first hit in 2000 with the groundbreaking album Hybrid Theory. Although rap-rock was nothing new, they did it with a level of technical proficiency and originality the genre had never seen. By the time they released Meteora, they were established as a revolutionary band; one of the most creative and talented groups in mainstream rock. That was 4 years ago. Now, after going into the studio with Rick Rubin to ‘re-invent themselves,’ one can’t help but wonder why they’re fixing something that wasn’t broken.

The trouble that artists run into, especially those with a massive impact on pop culture, is that their sound is so closely associated with a time and place, staying true to what worked in the past may not work in the present or future. Artists in this position have 3 options: evolve, re-invent or call it a day. Of course, evolution is ideal. Fans who truly believe in an act want to know how much better the music can be when artists elaborate on what made them great and explore new corners of their potential previously unknown. Green Day, for example, surprised Dookie fans who thought they had a pop-punk formula by exploring anything and everything that tickled their musical fancy, even landing success with an acoustic ballad. Though their popularity waned temporarily over the years, they stuck to their guns and continued their evolution. The fans returned, bringing even more people with them, resulting in Green Day’s first #1 record in 2004. Green Day had the balls to redefine ‘3 chord punk’ and it paid off for them.

Linkin Park could have gone the way of Green Day, exploring what they’re really capable of and letting their musical curiosity lead them down a path of ingenuity, but they instead opted for re-invention. Madonna-style. Madonna has made her entire career on re-invention. The reason she is successful at it is because she operates in the pop world, where it’s here today and gone tomorrow. Constant change and endless marketing is crucial to achieving longevity for solo performers in the flash-in-the-pan world of Top 40.  For most bands at that level, however, re-invention isn’t a realistic option. It can cheapen your past success and force you to lose relevance (e.g. Metallica). 

The highly contested third option of ‘quitting‘ is not necessarily a bad thing. What’s wrong with stopping? It would be like if Clapton stuck with the Yardbirds or Peter Gabriel stayed in Genesis. Their individual legacy as musicians didn’t hinge on the success of one project, and it’s their collaborations with other great artists and involvment in a variety of projects that make their stories so rich and interesting. If Linkin Park never made another album after Meteora, would it have lessened their impact on rock music, or would it have been seen as going out on a high note? Would the individual members go on to create music with others that is just as important or even more so than what they made in Linkin Park? It’s never too late for that to happen, but is damage being done to the Linkin Park legacy by changing what the band is all about?

Evolution happens when natural musical instincts are followed down an unknown path. Re-invention is the conscious decision to change with a desired outcome in mind. Across the entirety of music, successful examples of both are plentiful, but the third option is not one to be overlooked. Ending one chapter allows a new one to begin. It’s evolution, but on the individual level rather than as a group. A group of creative people cannot be expected to travel down the same linear musical path indefinitely. There are twists and turns for every musician where numerous intersections and parallels should be allowed. Fear only stifles progress, so artists shouldn’t be afraid of where the unknown can take them.

AJ, KOAR