Do we chase money, or love?

Been having some interesting discussions with some songwriter/producer friends of mine lately. These discussions are revolving around what seems to be a growing trend, and in my humble opinion, a good one. It seems that the business is changing SO much, and so many records are being made by committee rather than the basis of good songs, and the politics of the "biz" is so locked up tight, that a lot of creative types are throwing their hands up and giving up on "chasing the money", i.e. trying to get the next Rascal Flatts cut. (or Faith cut, or whatever...) What I like about this is, people are starting to make music they LOVE. Between iTunes, Napster, MySpace and whatever, the record companies are scrambling to figure things out, watching their profits drop, so THEY'RE scared to death and that leaves alot of would-be talent out in the cold. So most are just saying, "Hey, if I can't make money at it, I might as well just make music that makes ME happy and throw it up on MySpace!"

In my own world, I just did something I've talked about doing for over twenty years: I started a freakin' cover band! Of course, it's a dream band, with all heavyweight cats, which to me makes it special, but we're doing nothing but tunes we love to do. Interestingly enough, it is starting to create a sort of "buzz" that wasn't there before. Like it resonates with people.

In a related example, go online and check out a group called "Sharon Jones & The Dap Kings". It's really cool, authentic, old Stax or Motown sounding stuff. I first heard of them in 2003 and no one knew who they were. I just read about them in a trade magazine and in Rolling Stone as well. Everyone who hears them thinks they are some old obscure, undiscovered Stax group, but they are all just a bunch of Brooklynites who got together, pitched in and converted a house into a studio, and started making records. They bought an old MCI 8-track, and they record everything like the old days and mix down to mono. MONO!! It sounds KILLER. And you know what? You can tell they LOVE it.

I'm in Los Angeles as I write this, and 2 nights ago, I had a meeting with Randy Jackson (sorry...I'll sweep that up later) and he was playing his record that he is working on. It was very eclectic and cool and fun, and I commented that it all felt very "unfettered" by the whole concept of, "ummm, we just don't hear a single". HIs response was, "Well, it's MY record, MY money, and MY label....why not do what I want to do?". Good point. Here's a guy who can afford to do ANYTHING HE WANTS. What does he do? Something he loves.

What's weird is, it seems like all throughout the history of the music biz, the ones who have had "breakout" hits have been the ones who just weren't. chasing. money. They just did it cuz they "had" to, and lo and behold, here come de money. Go figure.

Talk amongst ya'selves.

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Permalink Reply by Mark Capps on November 7, 2007 at 2:09pm

From My Blog "What's Wrong With The Music Business"

Friday, September 28, 2007 What Is Wrong With The Music Business Current mood: aggravated The question asked was, did Bob Montgomery (Record Producer) ever make a bad album? My answer was "I didn't think so", but why???? Please note that I've singled out Bob because I recently pulled out a copy of Vern Gosdin's "Chiesled In Stone" and it brought back thoughts of what a great record this is. Great Songs, Great Singing Great Production. Now don't get me wrong, there are dozens of great albums that fall in this catagory, but back to why....... Growing up as a studio brat I got the chance to see how records were made from the 70's on up and here is my take. A record label signs a recording artist, based on talent, not just looks(hats / tats / rings), they in turn paired the artist up with a producer, a staff producer or an independent. The producer would the find the songs. Through publishers and independent and staff A & R People. Bear in mind that there were not even close to the numbers of so-called writers and publishers as of 15 years ago, before the "country boom". Anyway the producer would then book a band, engineer and studio for the album project. The band would be chosen based on the artists style of music not just the flavor of the month guys. They would choose a drummer and bass player that had the same feel or pocket, because lets face it, if the bottom end of a track isn't solid then how can anything that follows feel right. The producer would overdub vocals, backgroud vocals, strings and other misc instruments to complete the album, then get it mastered, turn it in to the label, pick the singles and tell the promotion department to get it played on the radio. Those that failed to do this might lose ther jobs. Cased closed... Look at all the "standards" we have to listen to because of this process. Now it seems like the producer hasn't any power. The promotion guys are picking the single and aproving the mixes. I have seen a record remixed because the song contained the word "hillbilly" as an ad lib, in the outro and the promotion department felt some stations wouldn't play it unless it was removed. Is that the real problem?? We've got 20 somethings, who don't know who Haggard, Cash & Nelson are, picking the material. They are picking the safest, least offensive, bland, copy of the the last big thing, that they think they can get played on the radio. These are also the same people the think Mutt Lange's career started with Shania Twain. Is this the problem?? We've record labels signing artists based on looks and the "Tuned Demo" that they heard. You can go see half the artists signed to the majors live that can't pull it off on stage. The labels are no longer interested in building careers, but only singles, one offs, copies..... Nothing original...... Is this the problem???? We've got ITUNES and digital downloading. Before we had this, you could take a Garth Brooks cut to the bank. A cut on a major equaled certain monies. Now the same cut on a major means nothing unless you have a single. With CD sales declining and downloading only the songs you want, only the "single" songwriters get paid. I this the problem?? More later

Permalink Reply by Tim Akers on November 7, 2007 at 8:46pm

Hmmmm.....I still think you can make money on an album cut if it's a BIG album. I mean, I'd take an album cut on a Garth record anyday. The mechanicals (only) on a Garth record are still nothing to sneeze at. Having said that, I will admit that the "big artists" are not moving as many units as they used to.

However, to be honest, I'm not necessarily saying all these changes are a bad thing. Change is inevitable, and I try to be careful not to be the "blacksmith" of the music business. (i.e., you know, when cars were invented, all the blacksmiths went out of business because they didn't adapt to the new technology, blahblahblah) i think we just have to re-think the revenue streams. It is, after all, a YouTube world we live in. And an iTunes world, etc.

Also, on the bright side, I think the whole "record full of singles" thing is slowly coming back around as well. I've said for years that nobody makes "albums" anymore. You know, where they're paced from beginning to end and you had a cut that was the fourth cut that FUNCTIONED as the fourth cut. You know what I'm saying.....I saw the Cirque de Soleil "Love" in Las Vegas...the Beatles thing, and I was so moved I cried and I immediately wanted to come home and write a "concept record"!! Go figure.....

Nashville has an amazing burgeoning pop scene and there's so much new talent here it's mind-boggling....things ARE looking up. We're not back to the "salad days" yet, but we're getting there. Keep your eyes and ears open. It's all good, friends.

Permalink Reply by Bret Teegarden on November 7, 2007 at 9:02pm

Tim,

another point to add...

doesn't there seem to be more quality "live" venues in town now? I remember when I first moved here, bars, the Opry and Blue Bird Cafe were about it. Now "live" music clubs and coffee houses are popping up everywhere.

Also, in the 60s and 70's you didn't make an album until you had a hit single (45rpm), then you went in and cut 7-8 more to go with it...

wouldn't that method adapt well to the digital age?

Permalink Reply by Tim Akers on November 7, 2007 at 9:58pm

Yeah, you know, I hadn't even thought of that. It makes alot of sense though. I grew up here, and I've DREAMED of it being here the way it was in L.A. in the late 70's/early 80's, when you'd go to the Baked Potato JUST to see who showed up. That's kinda my intent with my cover band. I want to see that kind of buzz created here. We've got the talent. As the scriptures say, "What doth hinder us?"

Permalink Reply by Pat Coil on May 9, 2008 at 8:59am

Tim,

I think you should start your own band and play your own (and band members') tunes. The cover band thing is fun, no doubt, and it serves to get people out to hear you, but you have a lot more than that to contribute, in my humble opinion.

Permalink Reply by Tim Akers on May 9, 2008 at 9:03am

oh pat. sometimes you just say the SWEETEST things.....you and me need to sit down and smoke some cigars. I owe you a couple after that! ;-)

Permalink Reply by Lisa Bevill on November 7, 2007 at 9:06pm

Amen.. my friend! I love what you wrote and love that the record labels are scurrrrrrred! It makes them all look at the independents a little harder... and the listeners determine what they want the singles to be. Power to the people!

Permalink Reply by Tim Akers on November 7, 2007 at 9:59pm

Yeah, I think American Idol has proved that people wanna hear good music. They don't even seem to care what the singers look like! I mean, yeah, if a guy or girl is sexy they're gonna have a leg up if they're a good singer. But a good singer can still put out something artistic and creative and the public will buy it! I just love that we can be free to be creative again....

Permalink Reply by Mark Capps on November 8, 2007 at 9:09am

I disagree... The "people" are different from the powers that be. I believe the majors will sign an artist based on looks & age before talent. How many time have we done a session, where everybody on the date said this arist is great, but still can't get arrested........... There is one country singer out there now. No, No a great singer, has done demos for years, ala Trisha Yearwood, but a little older, but makin good records. Was turned down by every label in town, some twice, but wound up on major because of one of these shows. By the way, the label he is on was one that turned him down (twice).........

Permalink Reply by Tim Akers on November 8, 2007 at 10:00am

well geez....sounds like we AGREE....:-)

Permalink Reply by Mark Capps on November 8, 2007 at 10:02am

You right, me bad, me re-read your post.......;-)

Permalink Reply by Calvin Turner on November 7, 2007 at 10:05pm