Check out the full interview with Vice Chairman of EMI David Munns. Here is an excerpt below.
On Breaking a ‘new’ artist………..
Munns: Back in the early ’70s, you put a single out, and then you worked it. Maybe three weeks later Radio 1 added it or Radio 3 in Holland, and a few weeks later maybe it became a hit. Now, you work it and then you put it out. You go on the road, you build up a fan base, you get a MySpace page. You do this and you do that. Then you’ll get some radio play, maybe. Radio is starting to use the Internet as a sort of research program as well. You’re working those taste-making communities and trying to get to some attention there. You don’t go to radio straightaway. And then when you’ve got your record somewhere up the chart, you come with your album. It certainly used to be the other way around.
Munns: We look at all of those (social networks), and then we start to get to a picture. It’s allowing you to see the consumer directly, consumer response directly, the good and bad. So the marketing techniques are switching from sort of mass market to a more fragmented approach. Not every artist we have “works,” and not every record we have “works,” so it’s enabling us sometimes to find out more what the consumer and the taste-makers think about our music before we spend a lot of money. That in itself it will act like some kind of filter. But the reason we love this business is (that) you don’t know. You can play me a record that I think is absolutely the most wonderful thing in the world, and it won’t sell a copy. And you can play me a record I think is crap, and it’ll sell a million. Do we have some idea that we’ve got people who are good? Sure, but it’s not an exact science.
Munns: I think radio is still pretty important. But in some countries, it has got itself too narrow-cast, and it’s too worried about what the other guy is doing. Some radio stations, some radio programs are better than others on that front… They’re migrating some listeners to satellite or digital radio or online radio, which is perhaps even more adventurous, but still radio and its concept isn’t going to go away.
On the Singles Business…..
Munns: The singles market and the album markets coexisted very comfortably all through my life. So the concept of the single, hearing your track in isolation on the radio, buying a track on its own, taking a track off YouTube–the concept of the track business has always been there…There’s nothing wrong in an artist having a huge hit all around the world and not repeating it
Universal Music Group is sueing Myspace for copyright infringement.
The owners of the site have “made infringement free and easy, turning MySpace videos into a vast virtual warehouse for pirated copies of music videos and songs,” the complaint says. They use “extensive efforts to encourage members to upload pirated videos to MySpace servers.” The site reportedly has more than 50 million unique visitors per month and more than 200,000 new registrations each day.
The complaint includes an example of a MySpace page showing a pirated video of “Beautiful Day” by UMG artist U2. It was viewed more than 2,000 times according to the site, the suit says.
“Businesses that seek to trade off on our content, and the hard work of our artists and songwriters, shouldnâ€™t be free to do so without permission and without fairly compensating the content creators,” a UMPG spokesperson said in a statement. “Our music and videos play a key role in building the communities that have created hundreds of millions of dollars of value for the owners of MySpace. Our goal is not to inhibit the creation of these communities, but to ensure that our rights and those of our artists are recognized.”
The suit, filed in the federal District Court in Los Angeles, includes claims for direct copyright infringement, secondary copyright infringement and deceptive business practices.
Check out unsigned South Carolina act Leslie a three piece rock act in the lines of Jet, The Who, Wolfmother.Â Currently getting some spins for their song “Sick” on 96.1 WAVF – program director Dave Rossi is a huge fan. Performed on Nov 1 @ Sin-E in NY, NY for the ASCAP showcase for CMJ and in October @ Atlantis Music Conference. Touring the southeast for the remainder of the Fall and into the Spring. Have toured with Blue Dogs, Will Hoge, Limbeck, and Valient Thorr among others. Just recorded 3 new songs with Eric Bass (The Working Title, Tyler Read) that are available for free download at www.myspace.com/leslierock.
Too late to win back listeners, many kids tuned out and too late to win them back. It’s amazing Clear Channel didn’t see the brick wall, so instead they ran into it head first.
Check out the new track
Nations from around the world have been choosing musical outfits and sending them to the biggest music markets abroad in hopes of raising their international profile and generating export sales.
Sweden Attempts to Rock.
In 2002, the Hives, a calculated tailored garage-rock band from Fagersta, Sweden, seized the spotlight. Then came Division of Laura Lee and Sahara Hotnights. Their home country got the credit: â€œSweden Rocks,â€? declared Rolling Stone.
Canada Wants to Rock.
The year 2004 unquestionably belonged to Canada, which bred indie-rock bands like the Arcade Fire, Stars and Broken Social Scene just in time to draw praise from the emerging music blogosphere.
Could the Goverment’s Determine the Next Big Thing?
government trade and culture officials, attend American music festivals, organize junkets for critics and record executives, and arrange coaching and subsidies for their homegrown acts.
In Canada, artists can apply for an array of grants or loans to finance up to 75 percent of recording costs, advertising, marketing or touring expenses. Heather Ostertag, chief executive of Factor, the public-private Canadian agency that oversees music funds, said it controls a budget of roughly $12.4 million. Broken Social Scene and its label, for example, have been offered more than $140,000, she said. The Arcade Fire and Stars were also beneficiaries.
The government recognizes the importance of a cultural spend for a cultural identity,â€? Ms. Ostertag said. â€œI think that we struggle as Canadians for our own Canadian identity. American dominance is so prevalent wherever you go.â€? Part of maintaining the nationâ€™s place on the cultural map, she added, â€œis happening through identifying ourselves through the success of other Canadians.â€?
Australia Wants to Rock
In Australia state and federal governments offer a series of programs. The countryâ€™s main export program offers to cover up to 50 percent of an actâ€™s costs above the equivalent of $11,600. Over the last year trade officials provided roughly $1.8 million in grants to 80 recipients aimed at exporting their music.
The School of Rock – No Goverment Please.
Samuel Scott, a singer and guitarist in a New Zealand rock band called the Phoenix Foundation, sympathizes. â€œI think that image, that rock â€™nâ€™ roll is a thing of rebellion and that you should be flipping the bird to the government, is prevalent,â€? he said.