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MUSIC BIZ INSIGHT #6 Power Reading for Busy Music Professionals Hope you're hungry! MUSIC BIZ INSIGHT is published for musicians, songwriters, managers, label reps, booking agents, entertainment attorneys, studio owners, music publishers, and all others involved in the music business. Its purpose is to help boost your business, find new markets, make the right connections, develop professionally, work smarter and improve your bottom line. "As a general rule, the most successful people in life are those who have the best information." Benjamin Disraeli Published bi-monthly by Peter Spellman, Director MUSIC BUSINESS SOLUTIONS: Turning Music Business Data into Useful Knowledge. Career and Business-building books, articles, consulting and more. P.O. Box 230266, Astor Station, Boston, MA 02123-0266, USA Phone: 978-887-8041 Email: success@mbsolutions.com Website: www.mbsolutions.com © 1997 - 2003, Peter Spellman, Music Business Solutions
WELCOME to Issue #6 of MUSIC BIZ INSIGHT. With this issue we move to a bi-monthly schedule. You can now expect a new issue of MBI around the first days of February, April, June, August, October and December each year. MBI will continue bringing vital information to help you boost your business, find new markets, make the right connections, develop professionally, work smarter, and improve your bottom line.
Announcing! : It's $24.95 postpaid in the continental U.S. Credit card (MC, VISA, AmEx) orders are welcome. Please call (617) 639-1971 and leave card number, expiration date and your address or order at the Music Business Solutions website at (http://www.mbsolutions.com)
Global Music Sales to Experience Steady Growth LONDON, Reuters via Individual Inc. : Worldwide music sales are set to rise by 60 percent in the next five years, according to a report published on Tuesday by market researchers, Market Tracking International. Although sales slowed down last year, the market is expected to regain momentum and global sales of music will be worth $62.1 billion by the year 2002, said the study called the MBI World Report. Much of that growth will be driven by CD sales rather than other music formats such as tape cassettes, although tapes will remain enormously popular in countries such as China and India where CD hardware and software is still too expensive for much of the population. The most dynamic growth is forecast for Asia where music sales are expected to shoot up approximately 315 per cent to $8.8 billion and in Eastern Europe were growth is expected to exceed 300 percent. The world's top music consumption per capita in 1995 was in Western Europe, with Norwegians spending the most at $65 per capita -- equivalent to 3.3 albums per person. Outside Western Europe the Japanese are the biggest consumers per capita, spending an average of almost $53 each -- equivalent to 2.2 albums. The report had some good news for record companies. Music piracy in many countries is declining, with the exception of China which has yet to make serious headway in tackling what the report described as a huge piracy industry. The report said Italy was the worst offender in Europe regarding music piracy issues and, along with Luxembourg, was a major centre for the distribution of pirated products. --London Advertising Newsdesk +44 171 542 4770
Breaking into the TV/Film Music Market The Music Supervisor has come to be the person responsible for all the musical elements--technical, creative, and administrative-that are exclusive of the score and its production. As described by music supervisor Mark Roswell, (Sleeping with the Enemy, Wild at Heart ), "We provide a service to the director to find source songs that are right for the film. To do this we follow the same instinct--creativity--as the composer, but with an entirely different execution." Another music supervisor, Barbara Jordan, says there are many more opportunities for beginners writing these generic background songs for movies than in getting songs cut by top recording artists. "For consideration by a Dolly Parton or a Whitney Houston, you need to have a song that is nearly perfect because you're competing with top-notch songwriters for a limited number of cuts. But there are many more opportunities for placement of songs in film and TV, and it's not as critical that these songs be 'perfect.' They just have to set the right mood." Breaking In:
Recommeded reading: This Business of Television, chapter 33, "Music" by Howard Blumenthal and Oliver R. Goodenough (Billboard Books, 19991); Kohn on Music Licensing, 2nd ed. by Al & Bob Kohn (Aspen Law & Business, 1996); and On the Track: A Guide to Contemporary Film Scoring, Chapter 27 "The Business" by Fred Karlin & Rayburn Wright (Schirmer Books, 1990)
You can also get leads by asking around the industry, reading the trades (Hollywood Reporter, Variety and Billboard, for sure), and watching the credits at the end of a tv program or film.
Genre Spotlight: DANCE Music Introduction The best thing that can be said about music currently is that it is sufficiently fragmented to provide something for just about everyone. There are now numerous currents outside the mainstream. Take your pick. There will be something there that will thrill you, that will seem to speak to you alone, that will seem to speak from your own circumstances. Dance music is HUGE today. Whether you call it disco, or trance, or rave, or techno, or ambient, or jungle, above all, it's dance music, because that's what it is, an agglomeration of genres, all of which assist in mental and physical transport (aka dancing, clubbing, or plain old rump-shaking). Of course, there's also belly dancing, country two-step, waltzes, squaredance, etc... What I'm focusing on here is Club Dance music. Some Dance Sub-Styles (talk about a segmented market!)
I'm sure there're a few more I missed! On Breaking into the Dance Market
A lot of what follows comes from an amalgamation of ideas and feedback I received while researching this topic. Thanks to the producers I spoke with and to the people at DMM for your insights!
What is the best piece of advice for someone who wishes to become a dance music producer or remixer? If you can budget it, get your own equipment, build your own studio and learn, learn, learn. When you're at a point when you feel you're ready, then get a demo tape of some of your work to record company promotion and/or A&R departments. Remix stuff which has accapellas available and which fit your remix or production style. Alternatively you can approach one of the DJ services such as Mastermix. Most remixers today get into it from first having some success with an original track, or (as usual) being in the right place at the right time and knowing the right person. Make it your goal to befriend various people working in the industry as opposed to mailing tapes and hoping they'll get heard. Most A&R people will tell you unsolicited demo tapes have a very low chance of getting you results. It's by no means easy getting remix work, and there are many talented people who can't even get to do a 'spec' job (free to see if they like it) as the A&R crew would prefer to ask say the Rhythm Masters, or Qattara to do the remix. What do you think are the most important qualities of a hit record? If you can remember how it goes after one play, you've cracked it, pretty much. Its not essential, but in today's ever speedy world where records get one or two chances to impress the radio programmer or club DJ they have to make some kind of quick impact. Records have only a few weeks 'window' on the chart and on the shop shelves, so there's little opportunity for a record which is a grower these days - a shame, as there are so many which are truly growers and don;t get the opportunity to do this. Other qualities include Longevity (ie you don't get sick of it after a few plays), Production quality (it doesnt have to be polished, but there is an accepted standard even for radio these days, which is constantly being lifted), and image. Even though club and radio play needs no associated image at all, you have to accept that the media plays an important role in breaking a record or more importanly breaking a long-term 'act', so an image is equally necessary. You can have a great dance record, with either no image, or a hurried one, and you;'ll fare badly against the competition. Club support is suffient to get you a high chart run on it's own . . . for exceptional records. If someone has been producing or remixing dance music for a few years but has not had any success, not necessarily due to the quality of the product, but maybe just bad timing, and they want to give up, what do you suggest? Keep on trying. Regarding that short chart and shop shelf 'window' many big records last year were on their second or third (re-)release. Some A&R and marketing departments even build this into their plan, knowing that the first release will set the scene, and get people growing on the track, and that they'll then capitalize on the growing vibe on it's second release! What do you see happening with dance music over the next couple of years - what do you predict? Dance which is considered 'mainstream' and 'crossover' club will continue to get harder in sound, and continue to be sparse vocally for the most part. There've been some great rap-house tracks of late on a more commerical tip (Stretch N Vern, Souvlaki, JT Playaz etc etc) but the bubble will burst soon - a shame as I love em! No one can ever predict too far into the future, but the retro vibe is still strong, and there's evidence of more people sampling, cutting and reversing funk loops a la Armand Van Helden's "Funk Phenomena". With people like JX taking lines of other peoples' records and adapting them into full songs (as with "Close To Your Heart") I think the copyright and sampling theme is going to get even more complicated as we delve deeper into new 'arrangements'..... Essential Dance Links:
The most complete list of DJ and Dance music related sites on the Internet. The Dance Music Resource Pages The Difference Between House, Techno, Trip-Hop and Jungle Soul And Dance Music Directory Epsilon: The Ambient Music Information Archive A site dedicated exclusively to the music that gets you in the mood. For those just starting out with ambience, there's a series of essays answering the question "What is ambient music?" including a set of liner notes from Brian Eno's ambient albums. A list of recommended ambient albums gives listening tips to newcomers. The Ambient Artist section here is full of profiles, discographies, images, and sound clips for artists like Biosphere and Voice of Eye (close to 100 artists are covered in all). If you're more interested in ambient record labels, the Label Information section will be more your speed -- you'll find discographies and press releases for all the major companies. The is the dance world's version of Time magazine. Mixmag's been reporting on techno, house, and hip-hop music, plus clubs, drugs, DJs, and everything to do with the international clubbing life for over 12 years now. A current edition featured articles on Laurent Garnier (a supermodel in the European DJ world) and the results of a test to see whether club kids can drive safely after a night of drugs and dancing (the conclusion: don't try this without a safety net.) Also find a single-of-the-week review and news briefs to keep you in the know. After flipping through Mixmag, it's easy to see why its known as the world's leading dance music and club culture magazine. USENET alt.music.makers.dj Put the needle in the groove at this group, which features lots of name-that-track requests ("The song sounds like 'I Got the Music in Me' but with a disco beat and piano chords. What's it called?!?"). Also read about how to become a jockey and the professional code by which all DJs must abide. Current Top Dance Record Labels (6/97) FFRR (London, UK) Jellybean (New York NY) King Street (London, UK) Logic (New York, NY) Moonshine (Los Angeles, CA) Mute (London. UK) Nervous (New York, NY) Strictly Rhythm (New York, NY)
Everthing You Ever Wanted to Know About Recordable CDs but Didn't Know Who to Ask The era of full creative control of one's musical destiny looms large now that recordabe CD machines have come down in price to around $500. You can find some excellent FAQs (frequently asked questions) on the subject of recordable CDs at: http://www.cs.ruu.nl/wais/html/na-dir/cdrom/cd-recordable/part1.html http://www.cs.ruu.nl/wais/html/na-dir/cdrom/cd-recordable/part2.html
NEW SECTION!! Biz Smarts
If you're sick and tired of receiving two pounds of unwanted mail each week (that's the American average), then you're in luck. The Direct Marketing Association provides a service where they remove your name from rented mailing lists when you request them to do so. This doesn't, however, apply to companies who already have your name. You'll have to notify each of them individually and let them know you'd like your name taken off their mailing list (they are obliged to do so). Here's how you do it: Write a letter to the DMA requesting that your name be removed from all rented mailing lists. Enclose your name and address and send letter to:
Mail Preferences Service
The DMA's phone number is 212/768-7277 if you have any further questions. Here's to less unwanted mail and more trees!!! When to Hire Help As your business success builds, there likely will be times when you find yourself facing more than you can do on your own. Perhaps you've set your sights on larger projects, but they require greater resources or different skills. Or you're looking for a collaborator who can be a sounding board and who has a fresh pool of contacts to tap. Maybe you're just overwhelmed with the relentless demands, and you want someone else to handle the bookkeeping or paperwork chores. If you find yourself facing these situations, it's time to consider outside help. You should probably considering hiring.... 1. When the time you could spend marketing or earning income instead of doing the tasks involved covers or exceeds the costs of the help. For example: 2. When the cost of hiring the staff would be self-liquidating. In other words, when the person's activity would generate as much income as, or more income than, you would have to pay them. For example: 3. When paying someone else would cost you less than doing it yourself. For example: 4. When you are bringing in enough income that you can cover the costs of hiring help to increase the quality of your life. For example:
)))Illuminating Trivia((( Record Companies that Turned Down the Beatles (can you imagine the nightmares some select record executives suffered one year later?!): 1. Decca 2. Pye 3. Columbia 4. HMV 5. EMI The Beatles were eventually signed by George Martin, an A&R man with Parlophone, until that point, regarded as a backwater label. Parlophone, ironically, was an EMI subsidiary, and Beatles records were released on EMI worldwide, including that company's U.S. subsidiary, Capitol.
1) Babes in Toyland: The Making and Selling of a Rock and Roll Band by Neal Karlen (1994, New York: Avon Books), pb. $11. Sometimes the best way to get a realistic picture of something is through biography--in this case, band biography. Author Karlen hung out with Babes in Toyland for three years and this book documents what he saw. As such it's a valuable look into otherwise private moments in a band's development from local buzz to major label deal. Pulling the band together, paying local dues, internal squabbles, the Big Break, and the subsequent fallout. It's all here, warts and all. I found the asides on Tim Carr's role as a Warner Bros. A&R rep particularly illuminating. All who wonder what it's like to do A&R at the major label level will gain plenty of light here.
2) A Year With Swollen Appendices: Brian Eno's Diary (1996, London: Faber & Faber), $16.95. A rich traipse through the everyday life of one of this century's creative artists. Eno decided to keep a diary through 1995 to "schedule in advance some of the things that Anthea (his wife) and I don't get round, to doing often enough...The preplanning idea failed within weeks." Alas. But we do get some terrific insights into how a creative mind works: its subtle connections, seredipitous encounters and lightening-bolt discoveries. Highly recommended for both encouragement and illumination.
3) Gig Magazine, Miller Freeman PSN, Inc., 460 Park Ave. South, New York, NY 10016. Basic subscription price: $15/yr. A new bi-monthly start-up mag (actually the resurrection of another magazine by the same name a few years back) designed to teach you everything you need to know about live performance: the business, technology and artistry of hauling your butt up on stage night after night in some of the unfriendliest nightspots in the galaxy; getting yourself and the rest of your band psyched; getting paid; and getting everything packed and back in the van before midnight so that you can move onto your next gig (or your day job).
That's all for now folks. MBI #7 will appear in early August. Don't forget to check out our new "Resources" section of the MBS website. There you will find some powerful tools to help you grow your music career and business. Have a great Summer! It's time to flourish!
About the Publisher PETER SPELLMAN is Director of MUSIC BUSINESS SOLUTIONS, a business and marketing consultancy to the music industry, and Director of Career Development at Berklee College of Music, Boston. He is the author of several books for music entrepreneurs and teaches music industry courses at Northeastern University (Boston) and the University of Massachusetts (Lowell). A musician since he was ten, Peter continues to spin riddims in the improvisational collective, Friend Planet and sing Cat Stevens' songs to his kids every night before bed. BLOOM WHERE YOU'RE PLANTED! Quote of the Month-- "As a general rule, the most successful peoplein life are those who have the best information." -- Benjamin Disraeli E-mail: success@mbsolutions.com © 1997 - 2003, Peter Spellman, Music Business Solutions P.O. Box 230266, Boston MA 02123-0266 978-887-8041 Rise up!
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