Tearing off the plastic film, the click as the case swings open, the smell of the glossy booklet and the excitement as you close the deck of your stereo… I grew up in the era of CDs and I always loved the experience of getting that album you’d been waiting somewhere in the range of 2 to 4 years for. There was something to be said for the physical interaction involved with getting that new music. I would mark the day of release on my calendar and once I got it home I would pop in the disc and examine the artwork and liner notes as it played.

In 2009 this is a practice that most find arcane, overpriced and inconvenient. The Internet has changed the way we consume music (and everything else) and people have less patience for the models of days passed. Rather than waiting for the latest magazine spread featuring an interview and photos of your favourite artist you can do a Google image search while perusing their Twitter entries. Instead of heading out to the store on release day you can surf to the iTunes store or whatever free sharing site has managed to get a hold of leaked tracks early. At the very least you can visit the band’s Myspace page and hear the tracks they’ve chosen to exhibit.

Admittedly, I was one of the reluctant music fans who actually enjoyed the traditional method. I found a certain charm in the anticipation between albums, knowing that the artists were touring and developing their next release. I enjoy looking through my music collection and considering the way the albums fit into the artist’s progression. I’ve never really been one for singles, always gravitating towards bands whose albums I actually wanted to hear from beginning to end. To this day, I still find digital downloads lack a certain sense of experience. They are certainly cheaper, more convenient and an iPod beats the hell out of a Discman but I feel like I’m missing something. It’s probably the same way people felt about the move away from vinyl (although, yes I know they back and actually growing in sales).

The fact is that the entire music environment has changed and is continuing to change. It took me a bit of coaxing, but over time I grew accustomed and began to see the overall benefits of such alterations. The charm in the new model is not the anticipation but rather the constant and immediate access. Instead of postulating about how the new record is coming along you can watch video diaries or chat directly with the artists. Instead of kids plastering their walls with photos out of magazines they create fan pages and online profiles to demonstrate their fandom. There is a constant release of ideas on both the part of the artists and the fans rather than hype.

For these reasons, the artist has changed with the times too. I remember when those who spent all their time on the computer were considered “geeks” and now it is not only cool to have an online presence, it is necessary. Facebook, Myspace, Twitter,… if your band can’t be found somehow it is now longer about anticipation but obscurity. Some have taken to their new surroundings more reluctantly than others and some have done so more innovatively than others but it is a reality of the industry today, which if ignored may result in the end of an artist’s career. Music is still the key but people are no longer satisfied with the mere sounds. Fans expect a noticeable presence. It is the metamorphosis of the much more primitive experience I use to feel when I picked up a long anticipated record. The excitement comes from interaction rather than passive consumption and it will be the artists who take note that will drive the future of music.

It was big news when Nine Inch Nails mastermind Trent Reznor broke ties with long time label Interscope Records (owned by Universal Music Group) after the release of “Year Zero Remixed” in 2007. In an interview with the Australian newspaper The Herald Sun in May 2007, Reznor described his distaste for the major labels and their actions. He recounted how he had entered an HMV in Sydney only to find that his band’s new album was priced $10 to $15 more than most other releases. He told the paper that in a conversation with a label rep about the situation he was told, “basically it’s because we know you’ve got a core audience that’s gonna buy whatever we put out, so we can charge more for that. It’s the pop stuff we have to discount to get people buy it. True fans will pay whatever”.

Since his departure Reznor has become the subject of a different topic. Recent actions by the artist have made him famous in the industry for not only his music but also his innovative marketing, promotional and releasing practices. Even when NIN still had ties to a major label, Reznor involved himself in such projects. Surrounding the release of 2007’s “Year Zero” he created a web-based alternate reality game (ARG) without the label’s involvement in an attempt to create a backdrop for the album. His goal, he said, was to create something he would be excited to find as a fan. There was no direct marketing monetization to be made from the project, but rather another platform by which to interact with the fans.

Nine Inch Nails is no stranger to effective marketing however. During their 2007 tour of Europe in support of 2005’s “With Teeth”, a viral marketing campaign for their next release began. USB key chains were found in the venue washrooms at their show that contained new songs as well as a noisy audio file. This file, when run through a spectrum analyzer, drew an audio wave in the shape of a phone number. The number led to answering machines that played back conspiracy theories. This complex trail was accompanied by various “fake” websites all over the Internet, which only served to increase the hype and speculation before “Year Zero” was released in April of that year. 

More recently, Reznor broke the traditional mould again in 2008 with the release of his two-disc instrumental opus “Ghosts I-IV”. Free from label ties, NIN did things their own way and released the album in a number of different formats at various prices. “Ghosts I” (9 tracks) was free for download on the band’s site and the entire album could be downloaded for $5. A physical two-disc set could be purchased for $10, 4 vinyl LPs for $39, a Deluxe Edition with the CDs, an audio editing DVD, a Blu-ray slide show accompaniment, and a 48-page hardcover book for $75, and a Ultra-Deluxe Limited Edition set containing everything from the Deluxe set as well as 4 vinyl LPs and two Giclée prints signed by Reznor for $300. In addition, fans were encouraged to upload their own visual interpretations/accompaniments for the music to a special video channel. 

It is no surprise then that NIN has once again taken innovative steps leading into their tour with Jane’s Addiction, appropriately titled the NIN/JA Tour. The first step was to provide fans with a free 6-song NINJA 2009 Tour Sampler download. In an attempt to maximize the free flow of tour experiences, the band also released a statement on April 28, 2009 permitting fans to bring personal audio and video recording devices to the North American stretch of tour dates. To discourage those that would take commercial advantage of the relaxed policy there are limits that prevent fans from bringing along a TV crew or a Pro-Tools rig to the show. However, the new policy is a drastic flip on the years of high security and prevention that has gone into keeping content under strict artist/label control (please click here to read the band’s statement).

In a final demonstration of the band’s commitment to fan interaction and innovation, NIN has created their own iPhone App that provides access to an interactive experience unlike any seen before. Uploaded to YouTube on April 6, 2009, a tutorial video led by band members walks fans through the use of its impressive features (please click here to see the video). Free to all, the application takes users to a site streaming with fan remixes, images from assorted shows and tours that can be downloaded as backgrounds, etc., band videos and a section whereby you can send and receive messages to other members. In addition, the iPhone’s GPS capabilities allows you to customize searches so you find and chat with other fans within a specified distance of yourself while perusing their profiles. The same feature lets the phone know if you are at a NIN show and allows to take and upload photos to the site immediately. Going above and beyond, the application provides links that take you via Google Earth to the location where NIN is plying their current show. In real-time, chats and photos being uploaded from this show will pop up for you to see and participate in.

In a time when everyone is still struggling with the traditional model of the industry to come up with the next big thing (an act, an image, an angle) there are a few individuals willing to test the boundaries and break conventional practices. A few years ago it would have been crazy to suggest giving away tracks online because albums equal money. You would be seen as shooting yourself in the foot to allow fans to record your shows since control meant limited supply and therefore money. People would question why you might devote the time and capital into creating free online games or applications that have no tangible monetization abilities because that would be a waste of money. Perhaps what the label reps failed to consider when they chose to take advantage of NIN’s fan base, was the fact that dedicated fans are (and always have been) the real money. Without those core fans an artist is nowhere. Trent Reznor understands this and has taken the time to develop this group. While giving away tracks, show privileges and access may seem frivolous it is one way in which NIN continue to provide their fans with the most comprehensive and innovative experience they can. The only question is what will they think of next.

Sources:

http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:gifexqr5ld6e~T1

http://www.news.com.au/heraldsun/story/0,21985,21741980-5006024,00.html

http://en.wikipedia.org/wiki/Ghosts_I-IV

http://forum.nin.com/bb/read.php?18,641167

http://www.youtube.com/watch?v=kQf76VDWss4

In a recent post (February 24, 2009) the unorthodox marketing initiative of artist Josh Freese was discussed in detail. The following is an e-mail sent directly from Josh Freese to Bob Lefsetz (famous for his career spent as an American entertainment lawyer/author of “The Lefsetz Letter”/majordomo of Sanctuary Music’s American division) that Lefsetz published in one of  his many “mailbag” posts on April 11, 2009. Here Freese discusses the results of his unique approach thus far:

From: Josh Freese
Subject: Checking in with an update.

Hi there Bob. How are ya?

So, I wanted to check in and give you an update on what’s been going on just after the first week or so of my records release. My label, “Outerscope Records” (that’s me, my girlfriend and our nanny when the kids are asleep) is proud to report that  I’ve sold about 150 of the $50 of the packages and all 25 of the $250 packages (those went in the first 24 hours.) In less than a week I have sold 4 of the $500, 2 of the $2,500, 2 of the $5,000, and the big old $20,000 package! No one has bought the $75,000 package yet but I’ve had someone fairly serious inquiries about it (still only “talk” at this point though.)

Any-hoo, I just started my “lunches” with people and I’ve been on the phone nonstop for the past few weeks with people who have bought the record (and a phone call option). It’s actually been completely hectic and I’ve just finally got my head above water for a minute. My friends were joking the other day that I may be the only person in the music business that considers himself to be selling TOO MANY RECORDS right now! These phone calls and lunches are a lot to keep up with and I’ve hardly just begun. I still stay “BRING IT!” though. I made my bed and now I gotta’ sleep in it.

I’m still waiting for some numbers regarding how many downloads or just regular CD’s I’ve sold but my expectations aren’t very high. But if it all stopped right now I can walk away feeling successful about  the whole thing and I am pleasently surprised at how many of the “packages” have sold. I truly did not expect them to sell so well. And sure it’s been great to make some money doing it, but the most rewarding part has been getting feedback from people about how much they liked what I’d come up with. Or how much they laughed while reading the stuff at their desk or in the studio with their friends huddled around the computer. Getting the nod from smart, creative people always feels good. I’ve received emails and phone calls ranging from guys in Pearl Jam, to Tony Hawk to Trent Reznor to Billy Gibbons to Devo to top producers and label people all loving it and giving me big props on the whole thing. I had the head of marketing at a very prestigious and famous company (who shall remain nameless) tell me that she “hung her head in shame for a week after seeing my marketing plan.” It was like, here she was doing this for a living and some dumb-ass rock drummer came along and smoked her at her own game… or something along those lines (sorry, I think I just pulled a muscle from patting myself on the back.) We had a laugh about it and I thanked her for the compliment. Point being, it’s been nice receiving so many accolades from people I admire and from professionals who deal in this world every day. I also love the fact that this has nothing to do with drumming and writing music but EVERYTHING to do with being creative and unique.

I’ve got 6 of my 25 lunches under my belt now and it feels pretty good (and weird.)  I’ve got one tomorrow and I’m doing 2 back to back on Saturday. I schedule all lunches from 11 AM to Noon so I can continue on with my “normal life” of showing up and doing sessions. So far people seem surprised and appreciative when I call them at home in Texas or Iowa or Greece or Australia (called all those places and another 100 cities so far.) The guy from Florida that bought the $20,000 package and I have been joined at the hip since Sunday and I won’t even go into all the stuff that we’ve done in the past 4 days but I’ve already gone above and beyond for him and we’re continuing to have a blast. I’ll start posting stuff soon on my website and on youtube but just to give you a quick idea…mini-golf with Maynard James Keenan, pizza at Mark Mothersbaugh’s house, sensory deprivation tank sessions, a signed snare drum I used on a Nine Inch Nails tour, slumber party at the Queen Mary, going to gigs of mine with me, pulling items out of my closet, etc, etc……He’s a great kid and a friend for life. We’re having him check out of his hotel and stay at our house tomorrow night. It’s a LONG, LONG story that I’ll write about later. You can laugh when I say this but it’s true when I tell you that he came into my life for a reason other than just the $$. I actually feel bad about taking the $$ because at this point I’m not hanging out with him or pretending to be his friend for the cash. He got all of his stuff (and a bunch more that wasn’t on the original menu) a while ago. He’s a sweet 19 year old kid who’s had a really rough last couple years (like REALLY fucking rough.) Like….this money he spent to come out here is part of a inheritance he received (you can fill in the blanks there.) I feel like his big brother and I’m trying to make this one of the best weeks of his life. OK, we’re getting a little too heavy here SO…for now here’s a shot of me and my first lunch date last week at the ol’ Cheesecake Factory. His name’s Andrew, he’s a photographer for the OC Weekly and a super guy! Bob….if you want I’l throw ya a free $500 package and we can go floating in Venice and then whip over to Sizzler sometime. I’m telling ya man….you’d dig it! Trust me…I’m a drummer.

Josh F-

Sources:

http://lefsetz.com/wordpress/

Perhaps the only topic receiving more attention these days than digital downloading and the unstable footing of the major labels is concert ticketing. As record sales have bottomed out, the revenue accrued from touring has not only remained strong but has in fact increased. This is one reason that “360 deal” has now become a commonly uttered term in the industry. Concert earnings and merchandise sales, which at one point were largely immune to being tapped by the labels, are often included in these umbrella style deals that trade overarching representation for a cut of everything. Madonna signed such a contract with Live Nation in 2007 for $120 million that combined her recording, publishing and touring revenues.

Since concert tickets are continuing to sell it is no surprise that more people are trying to get into the game. It is well known that goliaths Live Nation and Ticketmaster are hoping to join forces (if they can get past all of the anti-trust concerns) but a new addition to the playing field is a little company by the name of Wal-Mart. In a different twist on the ticketing front, Wal-Mart will work on an act-by-act basis, choosing specific artists to work with rather than selling tickets to anything/everything. In return, the artist receives tons of promotion and money. Wal-Mart’s debut artist partnership is with Bon Jovi whose next tour will be advertised in store flyers. In addition, little Bon Jovi stores will be constructed inside each retail location where fans can purchase merchandise, DVDs, etc. The next deal was signed with KISS, whose ticketing requires fans to purchase a minimum of $50 in merchandise in addition to their ticket to the show.

In another twist, the tickets will only be available in-store (helping to bring in the foot traffic that Wal-Mart craves). This means that fans must be present to purchase tickets and there is a limit of two per customer. Additionally, in an attempt to fight off scalpers, every entrant to the show must provide their receipt from purchasing the ticket. While this all sounds very dry and inconvenient, it is hoped that the sales process will be an event all on its own. People will camp in the parking lot the night before and Wal-Mart will sell hot dogs, drinks and tents to waiting fans. There will even be entertainment from acts sponsored by Viacom, who beat out Disney in a bidding war.

So, what do Live Nation and Ticketmaster think of all of this? Irving Azoff, Chairman and CEO of Ticketmaster Entertainment, has stated that he has no problem with it as the hope is that it will help ease their proposed merger along towards approval. He has even released Ticketmaster venues from their exclusives for these Wal-Mart deals.

The real question however, is what this means for fans. On the one hand it proposes a method that will allow true fans to get the good seats by lining up and reducing the second-market selling done by scalpers and unauthorized websites. There are some points of issue that must be addressed though. Should fans really be pushed to purchase merchandise, especially $50 worth in addition to their ticket? That seems like quite the underhanded thing to do to your fans. Is it not good enough that they want to pay to come see you perform that you have to force your overpriced action figures on them? Another issue is the sale process. Most people over the age of 18 or 20 are not interested in sleeping in a parking lot in order to get tickets to a show and my guess is that the average KISS or Bon Jovi fan is not 16. Even with this aside there is the fact that most people have jobs and cannot take a day off to stand in line outside a Wal-Mart. Are they simply out of luck? What about those who don’t live anywhere close to a Wal-Mart? In today’s world the thought of having to go buy tickets in person and not being able to buy them over the phone or online seems arcane and, quite frankly, like a waste of time.

The Wal-Mart ticketing style seems like one step in the right direction followed by about three in the wrong. It is unclear if their approach will take and how fans will respond but it is not the only new method being tested. Another interesting approach is that which Toronto-based hip hop artist k-os is using for his 10-date Canadian tour that begins next Thursday (April 30) in support of his new album “YES!”. Conceptualized by k-os’ manager Terry McBride, who is also the chief executive of Nettwerk Music Group, the tour will ask fans to pay what they want after they have seen the show. The move is a similar “tipping jar” approach to that used by Radiohead on their last album. In this case however, fans will be asked to make a “karma” donation inside the venue (about 2,500 capacity) and fans can also donate to the David Suzuki Foundation. Those who make donations will receive a “fan-mixed” version of the new album called “YES! It’s Yours”. As McBride stated, “I don’t see it as an experiment. It seems intuitive to me. The more chances people have to see k-os, the stronger his fan base will be.”

As with everything else in the music industry right now, the approach to concert ticketing is up for debate. Should the system be more regulated and rigid (as with Wal-Mart) or should we use a more flexible method (as with k-os)? It seems that only time will tell and that it will be the fans who inevitably make the final decision. As with downloading, radio listenership and album sales it is the fans to demonstrate whether or not a model is or will continue to work.

Sources:

http://www.nme.com/news/u2/35540

http://lefsetz.com/wordpress/index.php/archives/2009/04/01/wal-mart-enters-ticketing/

http://www.billboard.com/bbcom/news/k-os-embraces-name-your-price-strategy-for-1003963588.story

One of the most consistently debated and pondered over topics proliferating the conversations of the industry these days is the importance of the record label. Do artists still need them? Can you succeed without one? Whose interests do they have in mind? If you look back at the previous entries on this site you will see that there is a lengthy discussion on the position of labels in the current market. Rather than reiterate what has been said earlier this is an opportunity to look at a few recent occurrences and make a few observations. 

It is apparent that the music industry is no longer controlled by a group of head honchos or dominated by a few superstar artists. The playing field has been leveled in recent years as it has been made easier for fans to seek out new music and satisfy their niche tastes. Radio friendly tracks and Top 40 singles are not our only option. The Internet has allowed every person to determine their own tastes and this is diversifying what is popular or even successful music. If that is the case then some would suggest that the record label’s power in marketing and breaking a band has been diminished. Many bands are taking a portion, if not their entire career into their own hands. Myspace, Twitter, and YouTube are just a few ways that artists can communicate directly with fans and cut out the industry middlemen. Successful artists like Nine Inch Nails and Radiohead created quite a stir when they parted ways with the traditional record label model. Others such as Amanda Palmer have made a little campaign out of it, blogging about her desire to be dropped from Roadrunner Records. You can even visit her blog or YoutTube and watch a live performance of her ‘please drop me’ song to the tune of “Moon River” (watch video here).

The question remains however, even if these artists who have managed to be picked up by labels can survive after leaving them, what about an artist who avoids labels from the very start? Surely Nine Inch Nails and Radiohead would agree that a portion of their success in the beginning was due to the help of their major labels supporting them. Once you have a massive fan base it is easier to stand on your own because you know they will support you. Some argue that the label is still a necessary part of getting your music out there. Lots of people are not interested in seeking out music and are quite content to let those that program radio and television do the sorting for them. In this fast-paced information age there are those that claim time is too precious to waste on sifting through the hoards of below average artists in the hopes of finding one you like. The other side of the coin is that time is too precious to be spent listening to music you’re not that interested in.

As a listener you need to decide whether you are content to hear what is served to you, or whether you have the inclination to seek out music for yourself. As an artist it is more difficult. The traditional model of signing with a big label has worked for years, but the industry is changing constantly. It is no longer the rule but rather the exception that artists are developed over time and given a chance to build gradually. The music business is exactly that; a business. Chances are Pink Floyd would have never made it to “Dark Side Of The Moon” (their eighth release) if they were signed now given that “A Saucerful Of Secrets” (their second release) never charted in the United States. The fact is artists cannot expect labels to break them the way they did before. People’s attention spans have dropped to 8 seconds and if can’t you make an impression then they’re likely to move on. Whether you want to be a “singles artist” pumping out hits to the masses while you can or an “album artist” building a smaller loyal fan base, you need to understand the business that you’re in and take a role in securing your own career.

Sources:

http://en.wikipedia.org/wiki/Pink_Floyd

http://blog.amandapalmer.net/

Widely considered to be one of the most influential bands of the 1990’s and one of the key members of the grunge movement, Pearl Jam has followed the increasingly popular trend of re-releasing one of their most successful albums in a new and improved package. With an estimated sixty million albums sold worldwide throughout their career it may be difficult to determine which album that would be, but for the band formed in the mid 1980’s, it was their freshman release “Ten” from 1991 that seemed most appropriate. Although released at the end of August 1991, “Ten” reached notable commercial success in mid 1992 when it was certified gold and reached number 2 on the Billboard charts. With songs like “Jeremy”, “Alive” and “Even Flow”, the album remained on the charts for over two years and has gone on to go twelve times platinum (12 million album sold).

Now, 18 years later Pearl Jam has decided to re-release their pivotal album in a selection of four different editions that became available on March 24, 2009. There are buzzings that this may be the first reissue in what will be a complete re-release of the band’s entire catalogue as they approach their 20^th anniversary in 2011.

Each version contains a digitally re-mastered version of the original album and a new remixed version (with unreleased tracks) by their longtime producer Brendan O’Brien who produced the band’s subsequent four discs. The most extravagant package is the “Super Deluxe” edition which adds a DVD of the band’s previously unreleased performance on MTV Unplugged, the previously unreleased September 1992 concert at Seattle’s Magnuson Park on two vinyl LPs and a replica of Vedder’s composition notebook filled with notes, photos, stickers and memorabilia from the era. It all comes in a linen-covered, slip-cased clamshell box and also includes a replica of “Momma-Son”, the demo tape Eddie Vedder sent to bassist Jeff Ament and guitarist Stone Gossard in 1990 to get the job as vocalist. All of this is available for $140 US (plus shipping, etc.) from www.pearljam.com.

So, in a time when it seems that selling music has become a challenge, why are we seeing more and more bands offer these over the top packages with hefty price tags? Surely if someone refuses to pay $15 for a CD then there is no way that they will spend $150 for a few little extras. This does not seem to be the case however. The fact is, Pearl Jam have historically not been one of those bands that turns every opportunity into a cash grab. They took some flack for their commercial appeal early in their career (even from the likes of Nirvana front man Kurt Cobain) but they tended to shy away from the overexposed methods of so many others. 

After the video for “Jeremy” the band decided to stop making videos and opted for less interviews and television appearances. They even put a cap on their ticket prices during the Vs. tour to dissuade scalpers and later cut ties with Ticketmaster after discovering that service charges were being added to the fans’ costs. The band has always favoured the old style of success that involves developing your art and taking it directly to the fans. They followed much of what worked for their heroes in the 1960’s, by limiting their media exposure, aiming to release music more often and most importantly, providing a quality product.

This why fans are going to buy this re-release. All the marketing and promotion that has become the focus of so many of today’s bands is precisely why that music isn’t worth buying anymore. Most labels will not give a band time to grow and develop a fan base before “dropping” them so it is important to ram what they can down listeners’ throats before they disappear. Nobody is going to pay $150 for a Pussycat Dolls deluxe package because they haven’t earned it, their fan base has not been developed, people are sick of seeing them on reality television without having even heard their music, and the quality of the product is low. It is product like that that makes people question the worth of a song and steal it online. Without the relationship that artists build with fans by providing quality product throughout their career, there is no vested interest, respect or obligation felt by the consumer to give back. 

Pearl Jam has given to their fans and their fans give back. This is not to say that nobody steals their music or that the band can take advantage of listeners but it demonstrates how and why they have succeeded and will continue to do so.   

Sources:

http://en.wikipedia.org/wiki/Pearl_Jam

http://www.billboard.com/bbcom/feature/q-a-pearl-jam-s-jeff-ament-1003954760.story?pn=1

www.pearljam.com

It seems today that the big question being asked by the music industry is how to effectively market and monetize music. We’ve seen successful artists the likes of Nine Inch Nails and Radiohead abandon their major label ties and test the “tipping jar” (or pay what you want) and “free digital album” waters. In both cases however, the artists’ long standing track record of quality music and devoted fan bases are what have allowed such methods to work. It is still the music that is drawing people in.

Best known as the drummer for such bands as The Vandals and A Perfect Circle, and as a tour or session drummer for acts like Nine Inch nails and Ashes Divide, Josh Freese is testing out a new method of marketing that takes a different approach to selling music. Freese’s new solo album, “Since 1972”, due out on March 24, 2009 is available to fans at a variety of costs ranging from $7 to $75,000. The lowest end of the cost spectrum gives fans a digital download of the album including 3 videos. As the cost goes up the number of orders available becomes more limited (25 at $250, 15 at $500, 10 at $1000, etc.) until the top price at which only one order will be taken.

So what does $75,000 get you?Not only will you receive a signed CD and DVD but you will go on tour with Freese, he’ll write an EP about your life, you get to take shrooms and drive around Hollywood with Tool drummer Danny Carey, Freese will either join your band for a month or he’ll be you personal assistant for a month and you’ll take a flying trapeze lesson with Freese and Robin Finck from Nine Inch Nails. Some of the lesser priced packages will see you playing mini golf with Tool’s Maynard James Keenan, taking a guided tour of Disneyland and eating dinner at Roscoe’s Chicken n’ Waffle with Freese and Twiggy from Marilyn Manson.

Are these serious packages that Freese will deliver upon? Yes. Freese has responded stating: “I’m no dummy and I don’t expect anyone to purchase some of the ridiculously expensive “packages” that I am offering. BUT so far what I wanted to happen HAS happened …people have taken notice and are now talking about it…I am 100% serious though in delivering on any of the packages that are purchased. That’s half the fun…if not ALL THE FUN!… Everyone I pulled in on this one have signed off and are prepared IN CASE it goes down.”

The marketing Freese has put into this album has by his own admission been minimal in cost, hiring a only a publicist to spread the word and arrange for some interviews. The radical approach however, has received attention but is anyone mentioning the music? What is being sold here? It seems as though the product is not the music itself but rather the crazy experiences being offered. While these “packages” are fun to think about however, will people be driven to purchase the $7 CD because of it?

It will be interesting to see how this plays out for Freese in terms of monetary success and regardless, it is certainly a creative approach. This may not be the most feasible method for artists on the whole to make a living as few have the same following and famous friends to pull it off if necessary. The key in all of this is to show that some people are thinking outside of the box and that is exactly what the industry needs. Freese has done just that even if in part is to parody the way in which the industry has turned.

Visit Josh Freese’s website for full details on the various packages available: www.joshfreese.com

Visit here to view the commercial created in support of this album’s campaign: “Since 1972″

Sources: The Lefstz Letter (Josh Freese Responds)

The Wall Street Journal newspaper reported on Tuesday that according to “people familiar with the matter”, global ticket seller Ticketmaster and international concert promoter/management firm Live Nation are close to a merger deal. The two companies are some of the largest and most powerful in the music industry. Until recently Ticketmaster has held a strong monopoly on concert ticket sales although Live Nation launched its own ticketing operation in January. Interestingly enough, Ticketmaster had purchased a majority stake in the talent agency Front Line Management Group Inc. back in October for $123 million.

Together the company would be named Live Nation Ticketmaster and would easily become the world’s biggest concert promoter, ticketing service and artist management firm. Questions are stirring about the possible anti-trust issues surrounding such a merger. Ticketmaster was already accused of holding a monopoly over ticket sales before Live Nation entered the market so one can only imagine how a merger of the two will result.

Should the two companies finalize a deal, which could be announced as early as next week according to the paper, the new Live Nation Ticketmaster will control more than 200 artists including acts like U2, Jay-Z, The Eagles and Guns ‘N Roses to name a few. There is no word yet as to which company would be acquiring the other or how such a merger will affect fans and service fees.

Info Sources: 

http://online.wsj.com/article/SB123371303837346367.html

http://www.rollingstone.com/rockdaily/index.php/2009/02/04/live-nation-ticketmaster-close-to-merging/

http://www.ctv.ca/servlet/ArticleNews/story/CTVNews/20090204/Ticketmaster_Nation_090204/20090204?hub=Entertainment

Launched in 1991, CHART magazine has been a voice for Canadian artists admidst the many music publications like Rolling Stone and Spin that focus more on the music to the south of us. Started by two York University students, Edward Skira and Nada Laskovski as an airplay chart for campus radio stations in Canada, it eventually grew into a monthly magazine featuring interviews, reviews, etc. 

Now, almost two decades later, CHART’s current issue will be their physical print edition. They will now be providing readers with Canadian music news via their website only (www.chartattack.com). In comment, Skira noted that “considering the state of the music industry and considering the state of the advertising industry, the advertising side of print was just not working very well and we basically had to go with the future and that’s the online side.”  Essentially there is a lack of advertising money which is the life-blood of such physical press.

He further stated that “the record companies don’t have the kind of money they had even a couple years ago. The Canadian major record companies are not signing the number of Canadian bands that they used to sign and they don’t have as many bands that we spotlight than they used to have. They are focussing on physical sales of CDs and the audience that’s buying those is not necessarily 15 years old; they’re 35, 40 50-year olds. The focus then is on artists that would appeal to people that are still buying CDs, while [the labels] try to figure out their digital strategies.”

Given the situation, CHARTattack has been given a full makeover in order to meet the standards set by its physical publications. Will these industry changes affect the content? Skira answered “we have a base that we’ve built on with the magazine, so I don’t think we’re going to all of a sudden be covering Celine Dion because we’re online. Basically we’re trying to build a community that’s interested in like-minded stuff. We definitely want to look at ourselves as tastemakers in terms of what we’re covering.”

While many may be sorry to see the magazine disappear off store shelves, there are features to be found on the website that will hopefully make up for the loss. For one thing, readers no longer have to wait a month for the latest edition as the website will be a constantly publishing source of music news. There is certainly more flexibility in the amount of information they can offer since the costs and limits of physical pages are gone. Not to mention, for those of you new to CHART’s site, there are features like “Pumping On Our Stereo” (what the staff are currently listening to) and the “Daily Poll”.

Today’s poll: “You can only save one… Morrissey or a baby seal”. Head over to the website to weigh in on the vote.

Sources:

http://en.wikipedia.org/wiki/Chart_(magazine)

http://www.eyeweekly.com/blog/post/49604

With 2008 behind us we can look back on another year of music and remember the songs and the albums that we loved and hated. We all have our own personal ideas about what were the best and the worst of the year but it’s always interesting to see what was the most successful. Granted, technology has vastly altered our conceptions of what makes music “successful” these days. In addition to physical album sales, tour earnings and merchandise sales there are ring tones, digital downloads (purchased or not), Pod casts, myspace visits, etc. to account for. Is success measured by the amount of money earned or by the number of fans reached? What about artistic merit and critical acclaim? 

It is difficult to pin down who was the most successful overall so let’s just review the top album sellers. Before we began it is worth noting that since Nielsen Soundscan began tracking sales in 1991, the best selling album has never sold less thn 3 million copies… until now.

01. Lil Wayne – Tha Carter III (Cash Money / Universal) [2.88 million]

02. Coldplay – Viva la Vida (Capitol / EMI) [2.15 million]

03. Taylor Swift – Fearless (Big Machine / Universal) [2.11 million]

04. Kid Rock – Rock N Roll Jesus (Atlantic / Warner) [2.02 million]

05. AC/DC – Black Ice (Columbia / Sony) [1.92 million]

06. Taylor Swift – Taylor Swift (Big Machine / Universal ) [1.6 million]

07. Metallica – Death Magnetic (Warner) [1.57 million]

08. T.I. – Paper Trail (Grand Hustle / Atlantic / Warner) [1.52 million]

09. Jack Johnson – Sleep Through The Static (Brushfire / Universal) [1.5 million]

10. Beyonce – I Am… Sasha Fierce (Music World / Columbia / Sony) [1.46 million]

All told, 428.4 million albums were sold in 2008. That is 14.4% less than 2007’s 500.5 million albums sold. Of the albums sold this year, digital downloads accounted for 65.79 million (15.4%). In 2007, only 10% of the sales were digital.  

2008 also saw an intersting change in sales of vinyl. Almost 1.9 million albums were sold which is more than any other year since Nielsen Soundscan began its tracking in 1991. It is also the first time since 2004 that more than 1 million vinyl albums were sold in the calendar year. The top selling vinyl album this year was Radiohead’s “In Rainbows” which sold 26, 000 copies.

Digital track sales exceeded the billion mark this year for the first time reaching a total of 1.07 billion sold. This is 26.7% more than 2007. The top selling track of 2008 was Leona Lewis’ “Bleeding Love” which sold 3.37 million.

With all of this said, 2009 should be a very interesting year. There are a number of highly anticipated releases in stock regardless of where your tastes lie. From U2, Bruce Springsteen, and Morrissey, to Marilyn Manson, Green Day and Mastodon, to No Doubt, the Yeah Yeah Yeahs, and Amy Winehouse, to Dr. Dre, Eminem and Jay-Z… These are just some of the big titles to be expected and even more exciting is all of the new music out there to discover this year. Happy Hunting.

Source: www.billboard.com