Kings of A&R

Even before the internet boom, there were tales of US based artists without label representation making a killing as rock superstars in Asia. A classmate of mine in high school was one such rockstar, building an extension onto his parents home for his state of the art recording studio funded by his millions of records sold across Asia, all before his senior year. His music was mediocre- acoustic coffeehouse garbage typical of the time. How his demo made its way to Asia, even he didn’t know, but it was topping radio charts and copies were in high demand. He secured a distro deal and the CDs flew off the shelves, which he followed up by playing 10 sold out arena dates in 3 countries…over spring break. He hasn’t done anything since then, but for 2 years he was a faceless American high school student by day, Asian Rock God by night.

He was definitely the exception at the time, but today with the internet being the primary tool for artists, bands can find a fan base anywhere in the world. Let me put this in perspective. The population of the world is about 6 billion. After you subtract the population of the US from that number, it’s still 6 billion. Tastes around the world are quite varied. Hasselhoff may be a joke and a novelty here in the US, but he’s still gigantic in Germany. Pop punk comedy act, Bowling For Soup has never picked up serious traction in America despite their Grammy nomination, but their records do very well across Europe and they’re still big ticket sellers. The misconception that American mainstream is the be all end all measurement of success is completely wrong, more so today than ever.

The global reach of television is a good indication of how off American taste is from the rest of the world, with television shows produced in the US being shown in other countries. Programs that did not resonate with the American public and were canceled after only one season are finding audience with television fans around the world, disappointed by the short run the shows were given. It’s unlikely that studios will attempt to reassemble the cast and crew to produce more episodes, but there is certainly money being lost here. The same is true for artists who cannot see outside of their own neighborhood, state, region or country. You’re excluding people and doing a disservice to yourself and your music.

Artists in the alternate industry need to be aware that what is happening in US magazines and television and the hype and trends they feel they need to follow aren’t that important in the bigger picture. You may not have a chance on commercial radio in the US, but what about in other countries? If you’re obsessing over trying to land a good review from Pitchfork so you can be an indie superstar, you could be completely neglecting the audience that would enjoy your music just the way it is, without all the pretense. Mimicking what is on the Billboard charts or being hocked on MTV is not the only way to make it. Actually, the more you follow the mainstream and what’s been done, the more you suppress your ability to be original and creative…and if you’re not those things then what good are you? Be honest with yourself as an artist and stay true to your unique voice and perspective. You don’t have to compromise and you don’t have to sacrifice your integrity to find ears that can really hear you. There are more than 6 billion people in this world and you have access to most of them. Find your audience.

AJ, KOAR

I have been trying to think of a movie that has been as overhyped as Spiderman 3 that actually turned out to be halfway decent. Er… I can’t think of anything. The last movie this hyped was Mission Impossible, which was a steaming pile. Now, I’ll admit, I was looking forward to the new Spiderman. I liked the first two and after hearing they spent over $500 million on this third one, I thought it would be a non-stop roller coaster of action and adventure. I was very wrong.

What did Sony get for their $500 million? A two and a half hour long chick flick which sets records for both most expensive movie ever made, and most man tears shed in a film. Now, Sony is well aware that they will be lucky to break even. They didn’t allow any pre-screenings, and there were no free tickets to anything. God forbid they let some theatre ushers in for free. Anyway, despite the fact that Spiderman 3 is a $500 million disappointment, they still managed to dominate the box office this weekend, grossing $151 million.

Although Spiderman 3 got asses in the seats, there’s no telling whether this film will be able to break even. They have to rely on people not telling their friends it sucked, which is harder and harder to do in this technological age. I saw it early, but by the time I got on MySpace to warn my friends against it, there were already 9 other posts saying the same thing. The level of turd burgery in this movie is so high, it seems the cast can’t even get excited about it, with some of them skipping premieres and bashing the movie in interviews. Even the ‘complimentary’ reviews aren’t THAT complimentary. Most of them reek of Sony ad money, remaining completely neutral throughout the review with a few well placed quotes that could be easily taken out of context and a rating of A+ or 5 stars or something else not reflected in the text.

Hey, all of this sounds really familiar. Maybe when the majors finally fold up, execs can find a new career in film, where its all about overblown budgets and egos, low quality products, pandering to the lowest common denominator, and blowing smoke up each others asses! See? There is a silver lining…

AJ, KOAR

Well, the old industry appears to be in its final death throws. Rather than holding our breath and waiting for it to officially bottom out, we’re ready to move on. The alternate industry is booming and the trails blazed here are becoming paths for others to follow. What am I talking about? Quantifiable success and the return of indicators. Good news for those who rely on indicators to know what’s good and what isn’t, but the best news here is for artists.

The opportunities available in this alternate industry are plentiful. Through social networking, online advertising and promotion, and digital distribution, artists can not only build their fanbase, but make enough money to quit their day jobs at Starbucks to tour full time. Artist services ranging from merch design to bio writing to online booking to budget mixing and mastering to organizational programs specifically designed for bands have cropped up via the internet and given artists affordable opportunities and the ability to control the direction of their careers. Every aspect of major label inner workings have not only been duplicated, but improved upon, and available for at least 20 times less than what labels pay for it.

However, despite all of the access and bargain services available, that doesn’t mean bands will have it easy. If anything, navigating the alternate industry can be significantly harder and more time consuming than turning over the reigns to a label. Between approving comments, responding to fans and keeping them active, managing a MySpace profile is a full time job by itself. Add in maintaining the numerous other profiles artists have, booking shows, performing shows, writing new material, practicing, seeking out new opportunities, promoting and advertising, networking locally with press and radio, etc etc, and its a wonder that such a large number of kids actually want to be musicians. It’s grueling and it’s time consuming, and you can’t skip any of it. So much work can be overwhelming to artists, which is why many of them are quick to jump into bad deals or align themselves with anyone promising to alleviate some of the work load.

The Red Jumpsuit Apparatus, despite being on a major label, are seen by many as the flagship internet artist. In interviews, RJA credit sites like MySpace and KOAR as being integral to their career. They worked the hell out of the MySpace profile, building up a large national fanbase long before they ever left their hometown. They interacted with new fans and maintained those relationships so when the record did come out and when they did come to town, they were selling out shows and charting the record immediately. More recently, artists like One Less Reason and My Favorite Highway are making between 5 and 10 thousand dollars per month just on downloads. Independent artists who play their cards right actually stand to make more money on their own than their major label counterparts. No big advances to pay back, no staff of thousands of people you’ve never met to support, no splitting profits among people who don’t help you, no expensive office building in an expensive city relying on you to keep the lights on, and most importantly- no one trying to change your vision to make it more profitable for them.

If it weren’t for the internet, would anyone know who The Red Jumpsuit Apparatus is? Honestly, yes. Sure, they worked the hell out of their MySpace profile and KOAR gave them the industry exposure that led to their signing, but working MySpace and being on KOAR does not guarantee a record deal. In the end, its always about the music, and the band writes hits. More importantly, the band put the work in. What they did off-line was just as important as what they did online. For the couple years leading up to their signing, this is a band that was giving it away. Hanging around malls and other young people hot spots, handing out cds, flirting with girls, and being rockstars. They literally gave their music away because they knew that no one was going to buy something they have never heard before. But, if they give it to people for free, perhaps they will invest in the band in other ways…the ways that pay off in the long run. They were right. It worked. One Less Reason is working hard for radio exposure. It’s a similar idea to RJA- making the music available and letting people decide for themselves whether or not they like it. One Less Reason puts the work in. They know how to schmooze radio, they know which songs to work, and for as ridiculously arrogant as their frontman is, he clearly has star power.

The internet isn’t a vacuum. It takes the combined efforts of working online, working in person, and working on stage to get people to notice. No matter how kick ass your MySpace is, if your music sucks, nothing will happen. Having a million friends on MySpace is irrelevant unless they’re true believers in your music and actively supporting you. The internet is cheap, but it isn’t free. If you’re an artist, you need to be making money, because you’re going to have to spend some. Recoup your own expenses and turn your own profit by making smart investments and spending wisely. No, you don’t need to buy a tour bus unless you’re actually on the road significantly more often than not. No, you don’t need 35 different t-shirt designs readily available at all times. No, you don’t need to spend $10k buying onto a tour with a band that doesn’t draw a big crowd. I know musicians aren’t businessmen, and articles like this probably bore the piss out of them, but it is imperative that artists do these things on their own. Their job is to rock…hard, but artists shouldn’t pick up management with the hopes that there will someday be something to manage, and they shouldn’t pick up management simply because they don’t want to put the work in.

The alternate industry exists. It’s a real thing and it’s beginning to produce results. At this point, I am not sure why any artist would want a major label deal. I have said before that for the right artist, the old industry still works, and I believe that to be true. But I don’t think most artists are ‘that kind of artist.’ The majority of what we post on KOAR would sound ridiculous on Top 40 radio sandwiched between Beyonce and Daughtry, but that doesn’t mean it isn’t good. It just isn’t Top 40. Most bands aren’t. The alternate industry has given the artists willing to work for it, no matter the genre, a place to be heard and be successful, without compromise. Don’t get it confused though, ‘the alternate industry’ is not synonymous with ‘the internet.’ Its merely a new way of doing things. Taking back the power. Putting the control back into the hands of the artists. The internet, of course, was integral in demolishing the old system, but the change in mentality across the board is what has allowed the alternate industry to evolve so quickly.

AJ, KOAR

There are many parallels between the music industry and politics. Politicians have discovered that in a nation completely disinterested in politics, the only way to rally the people is by scaring the hell out of them. How scared can they make you of a possibility before you’ll sign all your rights away? How afraid can you be of a word before you’ll pass laws banning it from public speech? How afraid can you be of a statistically unlikely scenario involving a gun before you’ll demand all weapons (other than the nuclear kind) be done away with in America? Overblown examples of worst case scenarios meant to shock people into a desired behavior. It’s been effective, thus far, for political agendas. So why isn’t it having the same kind of success in music?

The RIAA was established to protect the interests of the recording industry, specifically the major labels. It’s debatable whether they are serving major labels as their muscle or their scapegoat, perhaps both. The RIAA are the ones responsible for not only determining the precious metal status of the records they’re affiliated with, but also for suing the pants off of old ladies, dead people and children. They led the way against Napster and other file-sharing programs, a clearly effective campaign. They are now targeting the websites who post the music made available to them through the promotional efforts of the labels themselves, surely in an attempt to deter free downloading of any kind, or perhaps to scare the blogs and sites who do not have permission. Who knows…and who really cares? Maybe some people wet themselves over a cease and desist from the RIAA, but more and more cases are coming into question as people realize you actually need evidence to sue someone. Oh, and 99 cent downloads are not worth more than 99 cents.

According to the RIAA website, they claim “RIAA members create, manufacture and/or distribute approximately 90% of all legitimate sound recordings produced and sold in the United States.” I guess that means the majority of music released is not “legitimate” because there is no way that even comes close to accurate. Speaking of accuracy, why is the RIAA having such a hard time coming up with evidence to support their claims against these completely random people they file suit against? And who is doing their math? $750+ per song on a computer can add up fast, even if you don’t include legally acquired songs (which the RIAA includes). Sure, we look the other way when it comes to measuring albums shipped instead of those actually sold, but charging more than a thousand times the actual value for possibly stolen material is questionable.

Truth is, the RIAA only represents a small fraction of this industry, and its the fraction with all the trouble. These meaningless lawsuits and scare tactics are completely trivial and ineffective because they aren’t operating in the reality where everyone else lives. Artists need to be protected, not labels. But even with the RIAA to look out for major labels, they are stifling the efforts made by these labels to move into new media. Suing the websites that promote your artists? Are you crazy? They are attempting to legally keep change from happening, but it has already happened. The RIAA is supposed to support the interests of the recording industry, but we seem to have moved on without them, including major labels.

AJ, KOAR

Nickelback (formed in Alberta, Canada, 1995) didn’t actually have chart topping success until 2001 with Silver Side Up and the track “How You Remind Me.” They then struck gold again with the same song, this time called “Someday.” They have sold about 14 million albums to date, just in the US. They currently have about 12 songs in heavy to medium rotation on US Rock, Alternative and Active Rock stations, and a number of crossover hits. Compare that to one of rock’s more overplayed bands, Nirvana, with only 10 songs in medium to light rotation and zero crossover hits.

The band has won nine Juno Awards, an American Music Award, an MTV Video Music Award for Best Video from a Film (Hero), and a World Music Award for World’s Best-Selling Rock Artist. The band was also nominated for seven Grammy Awards, four American Music Awards and ten Juno Awards. On December 4, 2006, Nickelback won three Billboard Music Awards out of five nominations. [wiki]

Formula? You bet! They even discussed it on NPR’s All Things Considered. Just because they have an obvious formula does that mean they aren’t any good? Well, according to their sales numbers, no one really cares. If you like one song, you like them all, but unfortunately if you don’t like one song, you probably won’t like any of them. Many people have been speaking out against Nickelback recently, implying that they don’t deserve their success because they lack originality in their music. Others believe that the sales numbers indicate just how great the music is. In the end, sales numbers indicate little aside from how well it is selling. It doesn’t speak to the quality of the music outside of the fact that people are clearly connecting with it on some level.

This band is polarizing because they are one of the only rock bands that’s been successful when it seems no one else can do it. Why is this happening? Is it that they’re the greatest rock band of all time? Or do they just have a great business plan, a formula that works, and good timing? I don’t doubt a valid argument could be made either way, since we have been seeing those arguments on KOAR for a while now. The truth of the matter is, for the right band, the ‘old industry’ is just as effective now as it was before, if not more so since there is less real competition in the mainstream. The revolving door of hype and fad bands mean nothing when compared to a band that consistently delivers with no surprises. Although many are singing the praises of satellite radio, iPods are selling like hotcakes and hardcore music fans are scouring the internet for free music, don’t underestimate the stronghold the mainstream has on the South and the Midwest. The South and the Midwest ARE the mainstream. In these parts of the country, commercial radio is still king and established artists like Nickelback aren’t even screened before being thrown into heavy rotation, while new artists have to jump through all kinds of hoops before being considered. Labels aren’t the only ones interested in hit songs. Radio needs them too and they are less willing to gamble on something without a proven impact.

However, in these parts of the country, there are pockets of listeners who rebel against the mainstream . They’re online, they listen to satellite, they attend every show that comes through their town on an endless search for great new music. They are desperate to connect to something the way their neighbors have connected to Nickelback, but at this point, they’re on their own. Even with all of the options and access they have through technology, finding the one great band in the endless ocean of shit is a full time job many of us are being paid to perform. There is great potential for an industry to exist outside of the ‘old system,’ but as of right now, it is in no way regulated and there are no clear leaders yet. MySpace seems to be the website of choice for artist self-promotion, but it’s a site that’s so huge and so poorly designed, artists are reduced to spamming to justify having a profile there. How often does it happen that you are spammed on MySpace by a band and they end up being the greatest thing you’ve ever heard? It never happens. Maybe because artists are spending more time spamming and updating profiles than actually working on their music and building their careers.

For those NOT interested in the mainstream and the major label system, where mass appeal hits are required with great consistency and the ‘game’ must be played, there isn’t really a working system for them, but it’s getting there. Bands CAN pick up a certain amount of traction and make waves almost solely through the internet, but there are no examples of that resulting in a legendary, great or even really good artist. We know it’s coming. We know it will eventually happen, but it hasn’t happened yet. There are literally thousands of music sites and internet-based third party companies of varying quality, taste and ability. As the better ones rise to the top, better opportunities will be available to those looking for other options. So, at some point a great band will come along and opt for this system and they will be successful at it, by anyone’s measurement. Until then, it is still a struggle.

Great music is out there. Great artists still exist. Whether they choose to be a part of the major label system or blaze their own trail, their true value can never be measured in album sales or awards. A band’s quality can only be determined by the connection they establish with their fans, and no one can say one connection means more or is worth more than another. ‘Success‘ means different things to different people and although labels may define it as ‘millions of copies sold,’ I’ve met very few artists who share that definition. There is no right way or wrong way to be in this business, there is only truth and lies. If you’re an artist or if you work with artists, you have to love the music you’re working with and believe in what you’re working towards. If you simply see it as a cash cow or a means to an end, you’re missing the point. I think Chad Kroeger has no problem sleeping at night. I believe he looks himself in the mirror and likes who he sees. No matter how I feel or don’t feel about Nickelback’s music, I think Chad Kroeger is a good dude and has a lot to be proud of. It’s not right to belittle his success or his fans just because the new system we would like to see isn’t in place yet or because things didn’t work out the same way for another artist.

AJ, KOAR

I have a habit of writing down what people say when I overhear something interesting or if something said strikes me as odd. After this year’s SXSW, my hand is cramped from scribbling down stupid quote after stupid quote. Between the two of us at KOAR, our rolodex is expansive, however at one point we looked at each other and said ‘who the hell are all these people?’ This year was overrun with ‘newbies,’ and while a part of me wants to be excited that people are so interested in entering the music industry even with all of the problems, a new industry packed to the rafters with people who don’t know what they’re doing won’t exactly solve the problems. Here are a few of my favorite quotes from SXSW07:

(manager to band) “The A&R heard part of your song and said he liked it. I got his card, so I will call him next week and we can start negotiations.”

(band to A&R) “We’re the only band that can successfully pull off 3-part harmonies.”

(indie label owner to me) “That classic rock sound is cool and everything, but I don’t think it has a place in the mainstream. Right now its all about dance pop and emotional rock. That’s where the smart money is.”

(A&R to artist) “If you don’t move to New York or LA, you’ll never make it.”

(PR to band) “It can be difficult to stand out. You need to get your image together. You need the hair, you need the style. Consider wearing matching suits.”

(band member to band member) “With all this industry here, how could we not land something?”

(douchebag to douchebag) “Brooklyn sets all the trends. If its not hot there, it won’t be hot anywhere.”

The last, and best, comes direct from a major label employee. I’ll let you guess which department…

“The more you know about music, the less objective you can be.”

So, this is where we are. Some of these are adorably naïve and some are simply frightening. Sure, there were good performances…even some great ones. Bratty over-hyped brit rockers tearing apart stages, and some kick ass straight up American Rock n Roll, but they were just leaves in the SXSW pool of shitty fad bands and mediocre singer/songwriters.  What happened?

AJ, KOAR

In May of last year, KOAR posted an article pointing out the negative influence of trends in Rap, the whoring taking place, and the dark future Hip Hop was facing. Compared to songs on Rock formats, Rap and Hip Hop can be heard on 6 times as many radio stations, with a rotation giving songs 10 times as many spins in a given week. The Urban visibility on MTV outnumbers Rock nearly 2 to 1, not to mention BET, MTV2, MTV Hits and MTV Jams. And yet, despite the massive amounts of exposure, Hip Hop record sales have plummeted 21% from 2005 to 2006. Even though music sales are down, in general, for the first time in 12 years the Top 10 Best Selling Albums of the Year did not include a Hip Hop record.

A recent poll of black Americans by The Associated Press and AOL-Black Voices last year revealed 50 percent of respondents said Hip Hop was a negative force in American society. As criticism increases from African Americans about rap artist’s negative influence on their culture and the perpetuation of stereotypes, Hip Hop fans are starting to question the ethical irresponsibility of the genres biggest players. Additionally, the recent news coverage surrounding the enslavement and murders taking place in Africa to procure the diamonds these artists put in their teeth has been raising long-ignored ethical questions within the Hip Hop community.

While the decline in sales is a dark sign of things to come for the huge industry surrounding Hip Hop, it is also signaling the end of the abhorrent lifestyle that’s been celebrated for too long.

“Similar to what grunge did to glam metal, its going to take a unified movement of musical ingenuity combined with a clear message to overthrow the reigning hedonistic empire.“

MP3s are a fad like any other. Sure, digital music files will most likely be around forever and will continue to grow, however it’s probably premature to say that it will be the end of the physical product. Digital files are in response to a quality of music- disposable. There is no commitment in a digital file as it can be obtained and erased with a click of a mouse. You may throw a track on your iPod and rock it for a while until a hot new track comes out and you need to make some space. Then it’s like you never had the song in the first place. Digital files are being heralded as ‘the future of music,’ but as someone passionate about great music, I find that somewhat sad. If the future of music is disposable, replaceable and forgettable, then I am glad I hung onto the cds that I purchased, because it looks like I’m shit out of luck when it comes to new music.

Newcomers to the music industry are putting all of their eggs in the internet basket, the polar opposite behavior of old timers who think if they close their eyes and wish it away things will return to ‘normal.’ The web-obsessed entrepreneurs are trying to bank in on the theory that people live their lives almost exclusively online. They live there, they work there, they shop there, they hang out there, and it’s where their friends live. As MySpace and other sites have shown us, the novelty WILL wear off. Young Americans, especially, do not have the attention span to make a real commitment to something like a website, no matter how many people are on their buddy list and no matter how addicted to it they once were. The internet is unreliable, and I am not talking about connection. Sites, often times, are here today and gone tomorrow. Those who do stick around and obtain some level of popularity are quickly purchased and commercialized, stripping it of all ‘cool factor.’

Those in favor of internet only marketing cite the success of Gnarls Barkley as an example since their iTunes sales were so impressive. It seems they have already forgotten how much they spent on television advertising and the large amount of radio play they received, not to mention the video and press. The internet buzz and promotion definitely played a part, but it was in no way their sole outlet for promotion. What got people interested was the band name. It’s clever. Their music is unexpected. A name like Gnarls Barkley conjures up all kinds of assumptions, none of which are realistic. Again, clever. The song was good, hence the downloads. The album, however, is quite another story. If digital files have replaced anything, it’s the single, which hasn’t really existed in the US for years anyway.

One thing has become very clear over the last couple years- things are changing. Everyone is looking for a way to make music marketing easier. The industry wants a simple formula they can plug any artist into and be successful. Unfortunately, that is no longer a possibility. Things have changed and they will continue to change. Cookie-cutter marketing is no longer an option. You need great, unique artists, and you must market them in great and unique ways. If the artists are original and are bringing something special to the table, why would you even consider working them the same way as Joe Average and The Typicals? I’m sorry, but it’s not going to be easy, nor should it be. As professionals in this business we should be armed with the creativity, ingenuity and passion to be successful and work with successful artists. If you can’t take the heat, get out of the oven.

AJ, KOAR