By Hans Ebert
Sure, as a dyed-in-the-wool music fan, i enjoy the occasional dose of musical nostalgia as much as the next wistful person. But if still involved in being in music as a business and making music, being shackled to Yesterday and producing and producing, there’s always that inner voice asking, But producing for what? Where’s this tonnage of Whats leading? Down the long and winding road with all the other Nowhere Men?
Yes, the Beatles are timeless and there were some classic records made. But those Swinging Sixties and Woodstock and Monterey have often glamourised the pretty mediocre.
Continue reading “ALWAYS BE A MUSIC FAN. BUT IF IN THE BUSINESS OF MUSIC, MAKE IT WORK FOR YOU.”
By Hans Ebert
When the majors talk about the money they’re making from the streaming of music, they’re not lying. It’s more than a good soundbite. Where the real truth lies is that only around twelve of their most important artists with big back catalogues that continue to sell and are protected by armies of legal crossfire hurricanes share in the financial repast. And even though those golden days of these artists are spluttering to an end where even the Asian region which used to take in any touring act from the West are now saying, Thanks, but no thanks, there’s that association through name. It’s an attractive magnet for similar deals and ammunition for the future in case anything new might come up.
Where things are on hold right now is that the old business mantra of “It’s the economy, stupid” is baaaaack. Today’s consumer has a much greater choice of everything than ever before, and music is being pushed further and further back. It’s not important anymore.
Continue reading “SPOT A FLY AND SPOTIFY: WHAT’S THE DIFFERENCE”
By Hans Ebert
Writing this with a repeat of Britain’s Got Talent flickering in the background and some random Spotify Playlist playing what could be described as “coffee shop music” while thinking about one particular well-known name dropping music blogger who is clueless about the world outside of America writing incessantly about embracing new technology and The New, but then goes on and on about the need for artists to tour and how touring gave the Grateful Dead their loyal Deadheads shows just how unfocused, hypocritical and confusing trying to make a career out of music has become. All the excitement and enthusiasm seems to have been sucked out and replaced with bland clutter and speaking in the vagaries of circles.
Trying to make a livelihood out of music today is almost an impossibility. Or so it seems. To those who’ve worked in music companies run as successful businesses by visionaries like Ahmet Ertegun and Chris Blackwell and grown up watching, and even getting to know, unknown artists become legends, it’s easy to come across being know-it-all windbags and dreadful bores in the process.
Continue reading “WHY IT’S GOT TO BE MUCH MORE THAN SOME SONGS AND LOOKING AT THE CHINA ENTERTAINMENT MARKET WITH THOSE WHO REALLY KNOW IT”