Planning Planning Planning
Written by Peter Bayliss
Tuesday, 25 October 2011 04:52
Having recently been involved in a number of artist releases I have confirmed how essential good planning is. Even with the best planning this industry is one that is unforgiving and has no guarantees, BUT, and it is a big BUT, you are almost no chance without a well thought out and implemented plan.
Plans don't have to be complicated but they do need to exist and they need to address the key elements of:
- What is it you're doing and why are you doing what you are about to do? (ie do you want to create a great album and expose it to as many people as possible? or do you want to create a commercially successful tour?)
- What is a realistic timeframe (and NO, 3 months is not a sufficient window to organise a successful release, tour and publciity)
- Who is going to do the key tasks, how and by when?
- What is the budget and how is it going to be funded?
It is far better to defer a release, tour, recording session (or whatever the activity is) to ensure you are giving yourself the best opportunity for success.
I'm always amazed at the rush. I know you want to get the record out as you've been working on the songs and recording for 6+ months - shouldn't that then mean the efforts DESERVE maximum opportunity to succeed? Wouldn't you rather save for another 6 months so you can promote the release/tour properly, or record with a producer that is more cionducive to your style, than sell yourself short 'just to do it"?
I've been there, I've made the same mistake. BUT we didn't have access to the many experienced people and facilities that now exist. There was no organisation running workshops, no internet, and only a few industry books which, it has to be said, where very difficult to find in Australia given the retailers we had at the time, and no Phil Tripp Immedia type business was readily available (I guess that's why Phil established his business).
Apart from the planning, the other KEY element is communication.
I recently had a situation with an artist where our communication was not as it should have been. We were communicating a lot and in a fair bit of depth but some vital elements were assumed by both parties without checking and re-checking. As a result we both felt let down by each other and felt like we'd let each other down. While we parted ways we did so having discussed "what went wrong" and came to the mutual agreement of expectation gaps meaning we couldn't continue. They now have a very capable manager and I'm glad I worked with them, but wish things didn't go down the path they did. It was as much my fault as theirs and I look back at is as a wake up call & learning exercise (or rather re-learning not to drop my guard and be diligent about communications and managing projects).
the Bottom line:
Don't let yourself or your art down because of poor planning, poor communication, and impatience.
Black Keys' breakthrough year: Here's how they did it
Written by Peter Bayliss
Thursday, 10 February 2011 22:31
The Black Keys – singer-guitarist Dan Auerbach and drummer Patrick Carney -- have been doing the slow, steady build since their 2002 debut album. By the end of 2009, they had released seven albums and were big enough to sell out the 2,500-capacity Riviera twice at year’s end.
Then things got out of hand. Their eighth album, “Brothers” (Nonesuch), yielded their first radio hit, the whistle-stoked, Danger Mouse-produced “Tighten Up.” Four Grammy nominations followed, including nods for best rock song and best alternative album. The band’s audience exploded; Carney and Auerbach will close 2010 with three sold-out concerts at the 4,500-capacity Aragon Ballroom.
“Tighten Up” capped the “Brothers” recording session and was a conscious effort to nail down a song that might get some spins on commercial radio, Carney says. It injected a few more hooks into the duo’s trademark sound: a blues-based minimalism that embraces moaning-at-midnight vocals and trance-like grooves.
“We felt the album was the best we’d done, but there wasn’t a single,” the drummer says. “Everyone, including Brian (Burton, aka Danger Mouse), told us that there is nothing that will change your career more than getting a record played on radio. You can make all the great records you want, but your audience will stay basically the same. There is a limit to how far you can go without a radio hit. So we spent 14 hours total over two days working on one song; we’ve made whole records in that amount of time.”
Now that the song is a hit, Carney is wondering how long the buzz can last. “Brian was right – ever since the song hit, we’ve been playing to a lot more people. But I’ve seen it happen to other bands: It blows up and it goes away. I realize there is nothing more special about Dan and I that would prevent that from happening, especially now. It’s all propped up by a song on radio, and we’re not a radio band.”
On the contrary, the boyhood friends from Ohio built their career the old-fashioned way: One listener at a time. “The first time we played Chicago we were at the Beat Kitchen, the first out of four, five bands, and played to 12 people. We did that same trip 20 times over the first year and a half. The first time we sold out the Empty Bottle was mind blowing.”
The duo took a big step last year when hip-hop mogul Damon Dash invited the Black Keys to collaborate with an array of hip-hop MC’s – including Mos Def, RZA, Raekwon, Ludacris, Q-Tip and Pharoahe Monch – on the “Blakroc” album.
“We developed a slightly different way of making music that carried over into ‘Brothers,’ ” Carney says. “We used to come up with whole song structures, but on ‘Blakroc’ we worked with fragments and loops, simple hooks and doing variations on those. We had been writing songs with parts, and each part had to be completely different. Sometimes you force yourself to make a change that doesn’t have to be there. We started looking at songs as one continuous thing rather than a series of big dramatic chord changes.”
Carney says he and Auerbach are hip-hop fans, but he fears for the genre’s survival. “It is an art form that is totally at risk of dying,” he says. “With the decline of record sales, that genre is exposed. There never really was a live hip-hop scene. When you think about rock ‘n’ roll, you think concerts. With hip-hop, you think albums. Other than Jay-Z, hip-hip shows aren’t big business. I feel bad for a lot of rappers we work with because they have a hard time making a living. Promoters don’t want to put on hip-hop shows because a few (unreliable) rappers have screwed things up for a lot of other rap artists.”
Playing shows is what the Black Keys do best, and it has kept them afloat even through a decade when the market for recorded music has collapsed.
“We make 85 percent of our money from shows,” Carney says. “Our record-company advance for this last record was pretty small; we’ll make twice that amount on New Year’s Eve in Chicago. I won’t lie to you. Being on tour sucks. It’s hard. There’s a level where it’s fun, the concerts are great, and then I’m in a hotel room by myself watching the Lifetime channel and texting my dad, who I haven’t seen in six months. It’s an insane way to make a living, but you can’t not do it.”
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US Music market decline in physical sales
Written by Peter Bayliss
Tuesday, 25 May 2010 11:51
Here's an interesting article on the US music industry that is well worth a read for some perspective on the state of the industry.
You should bear in mind that Australia is a fair way behind the US in terms of impact of digital downloads v physical cd decline.
The Latest Startling Stats Out of NARM...
Author Info
Monday, May 17, 2010
#NARM2010
NARM has traditionally been a sales-focused conference, and over the weekend, plenty of stats were being bandied about. At a top level, the downward decline in physical sales remains obvious, though this is an industry pondering a very complicated puzzle. Instead of consumers walking away, engagement is higher than ever before, just not across paid channels.
Hence, the vexing riddle. How do artists, labels, and the broader industry take advantage of this enormous demand, most of which is being satisfied for free? And, how does anyone launch a career in such a super-saturated market?
On that last question, Nielsen Soundscan offered some sobering stats. A total of 98,000 albums were released in 2009, and just a handful crossed the million-mark. Perhaps more sobering, just 2.1 percent managed to cross the 5,000-mark, a group that made up 91 percent of total sales. Suddenly, fresh artists are staring at a near-zero chance of selling even modest amounts, part of a continued drizzle on DIY optimism.
But what about the sinking CD? In an interview with Larry King last year, Marc Andreessen urged newspapers to ditch their print editions, and dedicate themselves to figuring out the digital piece. The argument is that companies - whether newspapers or record companies - are doomed if they burn most of their resources on a sinking format.
Certainly a debatable point, though at NARM, the focus has been on servicing a diverse group of consumers. In an opening keynote, NARM president Jim Donio noted that 75 percent of albums sold in the US are still physical, mostly CDs.
But part of that total is coming from vinyl. According to Nielsen, a hard-to-ignore 2.5 million vinyl albums were sold in 2009, a figure expected to ramp towards 2.8 million in 2010. And, 74 percent of those sales are coming from independent retailers. In terms of titles, half were catalog-oriented.
But is there a case for preserving physical? On this point, Nielsen's David Bakula offered a fascinating breakdown between the sales of Susan Boyle, Lady Gaga, Black Eyed Peas, and the Beatles. In essence, Boyle and the Beatles garnered most of their sales from physical albums, while Gaga and the Peas were weighted heavily towards a-la-carte downloads and mobile formats.
In fact, Boyle pulled 90.5 percent of sales from physical, and the Beatles, 100 percent. And, Boyle beat Gaga in total album sales last year, a sign that older-skewing artists have a much better chance of monetizing. Still, Boyle was panned as an 'anomaly' by one executive, and a nearly-impossible phenomenon to recreate. Perhaps just like the CD boom of earlier decades, a huge run that is proving very difficult to replace.
Report by Paul Resnikoff at NARM in Chicago.
http://www.digitalmusicnews.com/stories/051610narm2010_stats
Working hard and smart, not “just” hard
Written by Peter Bayliss
Wednesday, 31 March 2010 11:37
Working hard and smart, not “just” hard
I was thinking the other day while chatting to a band about the importance of hard work and dedication that there is a difference between types of hard work. It goes without saying that in one of if not the most competitive industry in the world that hard works is a must, not an option. Gone are the days where you could have talent, be picked up and have most of the hard work done for you. Quite often, the hard work before you get signed (if you do of course) is replaced by even harder work, with the main difference being you have more support around you via a label, publisher, manager, agent. They might all do a lot of the work you did yourself but there will be a lot more work for you to do and a lot more pressure.
This sounds like a topic in itself so I will save that thought for a future conversation – back to the type of hard work.
Read more: Working hard and smart, not “just” hard
Sort out your songwriting splits and be careful when using other people's songs
Written by Peter Bayliss
Thursday, 11 February 2010 05:26
Hi everyone
There has recently been a couple of high profile cases where songwriting has been the cause of a lot of friction (and loss of money)
A few months back Alex Lloyd was accused of not paying royalties to a supposed co-writer of "Amazing" among other songs. The case was eventually thrown out but the process cost Alex a lot of money up front to defend himself and a lot of worry and heartache. Read more about the case here.
Last week the court upheld Larrakin music's accusation that Men At Work lifted 2 bars of the Australian Children's classic "Kookaburra sits in the old gumtree". Larrakin own the rights to the song, written in the 1930's. Unfortunately, EMI who were Men At Work's label at the time have their own financial issues and a large payout to Larrakin could cost millions in unpaid royalties. Read more about the case here.
So how does this relate to independent musicians?
It is a reminder to get your songwriting arrangements sorted out as soon as possible, and to ensure that if you use any/all of someone else's song that the use is "cleared" and you acknowledge and compensate the songwriter appropriately.
Read more: Sort out your songwriting splits and be careful when using other people's songs
The art of networking
Written by Peter Bayliss
Thursday, 14 January 2010 09:10
The art of networking
Networking is one of the most important tools you need in the music industry. It sounds like a lame term used by accountants, lawyers and public servants but I’m sure you’ve heard the phrase “it’s not what you know it’s who you know”? This is networking.
I used to work for a large multi-national accounting firm and they would hold “networking events” with clients and staff. The idea would be to establish or build relationships with the client. They understood that having a good relationship with clients or prospective clients would increase the chances they would get or keep the clients business. A comfortable and trusting relationship is far better than not really knowing someone and “having” to trust them just because of the job.
While I understood the rationale and could physically see the benefits in this, I wasn’t a real accountant. Sure I have the qualifications and work experience, but I am not passionate about accounting or the business I was working for. This meant I had to either get acting experience to be “believable” (but false) or work out how not to subject myself to these events. I chose to get out of those situations.
The music industry is no different. Relationships are vital.
Read more: The art of networking
Independent Artists recognised
Written by Peter Bayliss
Sunday, 06 December 2009 10:12
Hi all
While you may have seen the ARIAs (although looking at the ratings this year you would've been in the minority), the Jagermeister AIR awards were held 22nd November in Melbourne. While both awards ceremonies are quite different, they both provide a lot of inspiration from the Australian and indpendent artist angle.
The Drones took out the best indpendent album of the year and independent artist of the year AIR awards - a fabulous outcome for a very hardworking act. Particularly impressive given the lack of radio play the band receives. It shows good talent and hard work can get results even if barriers such as airplay are put in front of the band. The Drones have got around this barrier through hard work, a great live show and relentless touring.
Bertie Blackman took out breakthrough album AIR award - well deserved and highlights the dedication needed in this highly competitive and tough industry. Bertie got the breakthrough album after 2 previous albums and around 10 years as a performer. Pretty quick breakthrough!!! Bertie also took home an ARIA for best independent album - again very well deserved - her dedication should be a guide to any independent artist out there.
CW Stoneking also adds much inspiration - taking out both AIR and ARIA gongs with his great Deep South Blues. Another hard-working artist finally getting recognition.
I would recommend all artists out there to check out who is winning what and the history of the artist's career. It's very rare to get there without a lot of time, dedication and VERY hard work. But it's there if you want it.
Cheers
Pete
First Base Music advocating live music reforms
Written by Peter Bayliss
Friday, 30 October 2009 01:50
On Tuesday 24 November 2009 I appeared alongside fellow First Base team-member Bruce Ryan addressing the ACT Standing Committee on Planning, Public works, and Territory and Municipal Services . We were asked to appear based on our submission to the "Inquiry into Live Music" in the ACT.
While the terms of reference for the submissions were essentially limited to zoning/order of occupance legislation and provision of legal spaces to put up poster, the hearing was a bit broader which in our opinion it needed to be as the issues that affect live music are quite broad and need to be reviewed with the broader issues in mind.
You can read our submission here and read the transcript of the hearing here.
Hopefully the ball has started to roll back to a more reasonable approach for live music and not slanted towards developers and residents.
Here's to live music
Peter
One Movement Perth
Written by Peter Bayliss
Tuesday, 27 October 2009 00:25
Hi everyone
One Movement for Music Perth wrapped up in the early hours of Monday 19th October with a number of late night showcases.
Our attendance was essentially to gain information and develop knowledge and relationships for the benefit of our members.
Night one was an APRA session featuring artists, managers and venue bookers/owners. It was a fabulous introduction to the conference with Kate Miller-Heidke dispensing her perspectives on music and live performance.
Read more: One Movement Perth
Welcome to First Base Music from Peter
Written by Peter Bayliss
Friday, 02 October 2009 04:33
On behalf of the team I am excited to welcome you and be able to present the first step towards what we believe will be a great resource for independent musicians and songwriters in Australia.
While the full site is a little way off, the signs are fantastic and the "reference site" as we affectionately or practically call this one hopefully gives you all a great insight into what we are striving for.
We encourage you to let us know of any suggestions for improvement, or any services we don't appear to be providing that you would like us to. We also encourage you to suggest topics, people or businesses you would like information from and any other things you would like to see/hear.
This is your site for you - we just happen to be the runs steering the wheel.
Welcome, enjoy the site and we hope we can help you with your music and career.
