jaygilbert22

[jaygilbert22]

The State Of Vinyl (from someone who works at a vinyl pressing plant)

Your Morning Coffee guest post by Sean Rutkowski, VP at Independent Record Pressing

Everyone’s talking about vinyl like it’s 1970, 1980, 2014 etc…

How Vinyl Got Its Groove Back [Billboard] FULL STORY Music fans pushed sales of vinyl albums higher, outpacing CDs, even as pandemic sidelined stadium tours [CNBC] FULL STORY

So many people have reached out to me questioning the recent craziness happening in the world of vinyl records, so it only seems appropriate to write about it.  

In case you didn’t know, I am a VP at Independent Record Pressing in Bordentown, NJ.  I have been here before we even had a building and I have done everything at the plant one time or another over the last 6+ years.  Before that I’ve worked in music retail, a music buyer, in distribution and at a label.  I’ve dealt with both physical and digital and am an active music consumer both physically and digitally, so I believe I am as good as anyone to give my opinions when it comes to music, vinyl and the music industry.

I can tell you first hand the struggle is real. If you are dealing with the manufacturing of vinyl from any perspective you know about long lead times, demands from artists, managers, accounts, and consumers.

So here is my perspective:

We are a manufacturer.  Manufacturing is really hard and manufacturing vinyl is even harder. This job has been the most challenging experience I’ve been involved with in my 25 year work history.  Not only do you have to manufacture something that has to look good, it has to sound good.  Making records is not as simple as plugging a machine in, filling it with PVC,  turning it on and letting it go. I won’t get into the minutiae of making a record, that is an endless rabbit hole, and there are plenty of places online that will explain it better than I can.

All those supply chain issues you read about in other manufacturing industries-increased cost of goods, shortage of materials and parts, shipping challenges, or labor shortages- we are dealing with every single one of them at any given time.  It’s like playing Whack-A-Mole everyday. 

Shortages in capacity are creating an urgency that is driving demand for vinyl and there is a capacity shortage world-wide.  The basic laws of supply and demand are at play and everyone is trying to find the right balance, but we have to be cautious of oversupplying the market to the point that it exceeds demand. 

There are too many multiple color variants.   How exclusive is an exclusive if there are 5+ versions of the same album all being released?   I can specifically think of 3 titles we have pressed in the last 3 months that have had orders of 20,000 or more.  Each one had 7-9 different color variants released the same day.  At a pressing plant, each color variant change costs an estimated hour in lost press time.   That results in reduced capacity, potential for more mistakes and a sense from consumers that we as an industry are beginning to get greedy.   The question I ask is, do we want more capacity or more color variants?  We love color records they are fun to make, but right now love does have its limits. 

Everyone wants to make the best record, but mistakes do happen.  When we are pushed to the limits and being asked to compress our timelines because artwork is running late or there is a hold up somewhere along the supply chain, the potential for mistakes increases across the board.   I see it in nearly every segment of every business.  We are sitting on a pallet of $30k+ worth of light bulbs that somehow FedEx mistakenly shipped to us and we can’t seem to get it sent to whoever is supposed to get it.  Every plant is trying to do better and we obsess in an unhealthy way by reading Reddit, Steve Hoffman forum and Discogs picking our own albums apart on a regular basis.   I still get sick to my stomach thinking about our most hi-profile mistake that actually made Pitchfork 4 years ago https://bit.ly/3BtHsiC (note this was on a limited 200 run pressing).

By selling music that people can get legitimately at no cost at places like YouTube or Spotify, we are competing with free, so we are all working daily to deliver something that is of value that is sold at retail for $25 or more.  It is a constant battle to make sure that we are delivering quality everyday because we know that quality issues hurt the growth potential of vinyl. 

Despite the growth, no one that I know in vinyl is getting Mr. Burn’s rich. Every plant that  has become operational in the last 15 years has gotten into it because they saw the opportunity and acted on it because of their passion for music and the format.  At the same time many people I’ve talked to say that if they knew it was this hard beforehand, they might have decided to sell life insurance instead. 

Nearly every plant in the world, including us, are working to increase capacity through extended hours, better processes and/or purchasing of new presses.  I want to stress that I am not complaining or making excuses, and when I read about droughts, wildfires, people dying, buildings falling apart, I believe these are first world problems to be having.  I am extremely lucky to be a part of vinyl and know that what we do gives many people a lot of joy.  I am also happy that I haven’t heard of anyone dying because they were not able to find their record .

- Sean Rutkowski

[jaygilbert22]

10 Phases of Audience Development Over An Artist’s Career By Lowade Jones

Let’s face it:  we’re an industry that likes to measure itself.  Our obsession with data and statistics isn’t something new, we just have more of it to look at now and much better sources.  When someone buys a CD, we don’t know if they listen to the whole thing, or to one song over and over and over.  With streaming, we know and we can build marketing plans to reach them and keep them….hopefully for many years to come.  It doesn’t get clearer than this, here are the basics over your whole career:

1. Find fanbase - Get started, reach an audience, find some momentum in one or several forms of marketing, tour, monitor data to see in what market and DSP activity is starting

2. Build fanbase - Replicate what’s working on subsequent song releases, get fans talking to each other and spreading the word, release more music

3. Serve fanbase - Stay consistent, connect on all platforms, tour, diversify your merch offering, release regular video content, engage with fans, keep releasing music

4. Keep fanbase - Give them more of the same. Don’t deviate musically. Build your follower and listener counts.  This is your music that connects big, for the first time

5.Broaden fanbase - Try something that widens the funnel and brings in a new type of fan, exposing you to a new audience, possibly taking a risk, appeal to younger audiences, collaborate with different genre artists, emphasize social growth

6. Maintain fanbase - Engage more directly with fans and offerings, commentary and insight into the music and in-depth press, revert to previously successful musical formula, go with what got you here

7. Appease fanbase – Release your greatest hits, live albums, package tours, covers, holiday albums, other projects that allow connection, focus on catalog

8. Serve the hardcores - Special packages, high end merch bundles and experiences, e-mail marketing, physical product, reward the long-term fans

9. Hold on to the hardcores - Deep specialized audio, social and video content from the vaults, VIP meeting packages for tours, sporadic new music but reimagined catalog

10. Whatever the hell you want - Self-explanatory...collaborate with whoever, tour with whoever, write and produce your passion project…whatever it is, your true fans will love it forever

[jaygilbert22]

COFFEE TALK with Dauzat St. Marie

Q: Everyone in the music industry has a few favorite “industry moments;” the time you had dinner with your favorite artist or worked with someone you respected and/or admired… what are a few of your favorite industry moments?

Mat - One of my favorite “industry moments” that most people don’t know about is when I got to jam some of my favorite songs with Ozzy Osbourne and band when I auditioned for the guitar seat in the Ozzy’s band. We sounded GREAT! And EXTREMELY LOUD!!! 🔈 🔈 🔈

Heather - When we toured with Pat Benatar, every night during her set, she would make it a point to call us out by name and commend us on our talents (and adorableness). And every night, I felt like I was floating above the ground to have such an incredible musician give us accolades.

Q: If you were to make a playlist of the songs that are part of your DNA, the comfort food that you keep coming back to, that never fail to move and inspire you, what would those tracks be?

Mat - Ugh. How does one decide??? I’ll give you a list for today, but that would likely change should you ask me again tomorrow. Here goes (in no certain order): “Photographs and Memories” by Jim Croce. A masterful song by one of the true masters of song. “More Than A Feeling” by Boston. It has everything - great guitar riffs, guitar solo harmonies, vocal hooks, LOADS of vocal harmonies, and plenty of opportunities for me to show off the fact that I can hit some seriously high notes! “One More Try” by George Michael. Devastatingly powerful vocal performance. “Tiny Dancer” by Elton John. And if you ask me again tomorrow, I’ll give you another Elton song. And again the day after. “No More Tears” by Ozzy Osbourne. Signature bass riff, crushing guitar riffs, crushing guitar tone, stellar vocal melody and performance, and one of my favorite guitar solos of all time. “Tom Sawyer” by Rush. I know that one might seem like a weird choice, but anytime that song comes on my radio, I turn the volume ALL THE WAY UP and I get out my air drumsticks and GO TO TOWN... and all becomes right with the world. “Rain When I Die” by Alice In Chains. This is another band where you can ask me again tomorrow and I might give you another song. SO MANY GREAT SONGS! “The Sweetness” by Jimmy Eat World. An ultimate singalong song... whether you actually know the correct lyrics or NOT! It just oozes with hooky poppy sugary goodness. “Red Rain” by Peter Gabriel. Or really any song on “So.” “Like Suicide” by Soundgarden. Dark and moody, but delicious. “Buttercup” by Brad. So moody and powerful. “Say Hello 2 Heaven” by Temple Of The Dog.

Heather - My playlist changes with my moods or with the weather. Lol But I’ll narrow down some of the songs that I get lost in when I’m playing them: “Isis” by Bob Dylan - The live versions of this song are fantastic! And the attitude and delivery of the vocal is perfect. “Unbound” by Ásgeir - His voice is so smooth, and his songs are equally beautiful in English and his native Icelandic tongue. “Hold On” by flor - It’s hard to pick one song from this band, but this song is how I discovered flor. It’s perfect for a road trip - or dancing while doing laundry! “Hurricane” by MS MR - Such dark attitude and a KILLER vocal! “Fears” by MTNS - I love how this song builds up tension musically with an almost lazy vocal - until it just blossoms on the chorus. “Nola 1” and “Hallucinations” by PVRIS - Lynn Gunn is one of my favorite vocalists. She can go from singing to shredding in a beat, and the blend of genres keeps the band interesting. You never know what you’re gonna get with PVRIS - but it’s gonna be great! “Somebody Else” by The 1975 - What can I say? This is one of those songs that’s a crystalized gem of perfection. “Lifespan” by Vultures - Another band with a powerful female vocal! Their songs are so much fun to sing. I just wish the band had stuck together to make more music. “Come Rain or Shine” by James Booker - This guy felt every note he sang and played! His music was coming from every cell in his body. “I.Y.H.” by Elliot Root - Woah, such a dark and bittersweet song! And that smokey vocal just cuts through that painful emotion-scape. “Looking Too Closely” by Fink - Watch YouTube videos of Fink performing live. Fin always sounds like an album - he’s just sooooo good! “If I Get High” by Nothing But Thieves - I love this band’s soaring vocals and creative guitar lines. This song, especially, is so much fun to sing!

Q: Are there any artists that never really made it, that you’ve discovered, that you wish people could hear and embrace.

Mat - I’m not sure what the threshold is for having “made it” any more, but one artist who I’d love to see get a little more mainstream attention is Martin Sexton. I met Martin many, many years ago when we played the ASCAP Sundance Festival showcase (I was playing with Schuyler Fisk at the time). I was blown away. Schuyler and I met up with him again some years later while we were on tour and saw him in his element in front of a quite sizable crowd... OUTSTANDING! His live show is raw and powerful. Go to one of his live shows if you ever get a chance.

Heather - Like Mat, many of the “smaller” bands I listen to may feel that they HAVE, indeed, “made it.” Success is different for all of us. But I do love discovering new artists. Many of the bands on my setlist above are all doing their thing to varying degrees of audience reach, and I would love for y’all to check out the ones you haven’t heard before. A few others are Aquilo and Colouring.  

Q: Who was your mentor? Why?

Mat - I’ve been blessed with many mentors on my journey through life and music, and I draw wisdom and inspiration from all. Traveling with Ozzy Osbourne and family when I was touring with Kelly was awesome because Ozz would drop all kinds of wisdom nuggets daily.... and plenty of WILD stories as well. Touring with Schuyler Fisk afforded me time with her mother Sissy Spacek, who imparted a lot of wisdom... and a LOT of laughs! Touring with Rick Springfield has certainly shaped us as we get to travel and work with one of the savviest and hardest-working guys in the biz... and he is always so supportive and helpful to our efforts.

Though you can probably spot an obvious theme of mentorship by folks we tour with, the biggest mentor in my life is one we don’t tour with... my father. His influence inspires so many aspects of my life, and my awe of his strong work ethic keeps me driven every day.

Heather - I was fortunate to have many people take me under their wing and guide me through the twists and turns of my life… and I’m grateful for each of them. If I had to choose one, I’d say it is my Grandmother. She taught me how to face adversity with a smile - understanding that these are the moments that shape us. And at 98, she still faces life with fearlessness and excitement.

Q: What’s the best part of what you do?

Heather - Mat and I put quite a bit of thought and heart into our lyrics, so it always means a great deal when people share their experiences about how our songs have impacted their lives. I feel that we’re all on this earth to make connections, and if our voices and our art creates a deep and lasting impression on someone’s soul - then we’re doing something right!

Mat - ☝🏻☝🏻what SHE said!

[jaygilbert22]

COFFEE TALK WITH Brett James

Brett James is  superstar songwriter. He wrote “Blessed” (Martina McBride), “I Hold On” (Dierks Bentley), “Mr. Know It All” (Kelly Clarkson), “The Truth” (Jason Aldean), and “When the Sun Goes Down” (Kenny Chesney). He also wrote several Carrie Underwood hits, including the Grammy award-winning Best Country Song “Jesus Take the Wheel,” “Somethin’ Bad” (with Miranda Lambert), and “Something in the Water.” James recently released an EP, I Am Now.

Q: Everyone in the music industry has a few favorite “industry moments;” the time you had dinner with your favorite artist or worked with someone you respected and/or admired… what are a few of your favorite industry moments?

I’d have to say seeing Steven Tyler come down the drive to my studio hanging out the window of a ‘79 Rolls Royce was a real moment. Getting to produce Dolly Parton on a song was a dream.  And every time Kenny Chesney asks me out on stage is a gas.  

Q: If you were to make a playlist of the songs that are part of your DNA, the comfort food that you keep coming back to, that never fail to move and inspire you, what would those tracks be?

My musical tastes are all over the place and there are far too many to list, but a few might be:

“For the Summer”- Ray Lamontagne “In Color”- Jamie Johnson “Somebody was Watching”- Pops Staples “Bridge Over Troubled Water”- Aretha Franklin “Manhattan”- Kings of Leon

Q: Are there any artists that never really made it, that came across your desk, that you wish people could hear and embrace.

My first night ever in Nashville I heard an artist from Kansas City named Jeff Black.  An absolute genius writer and magnetic performer, he really inspired me my first few years trying to make it.  I wish he were a household name.  

Q: Who was your mentor?

Honestly, I haven’t had one specific mentor.  Nashville has always had such a  great sense of community that I sort of feel like I was raised by the whole town.  It’s always been an open and encouraging place for creatives.  

Q: What’s the best part of your job?

That goes back to the last question in that it’s simply the friendships that I’ve made in the music community.  When you go through struggles and successes with other songwriters,  artists and business friends over a lot of years, those roots go deep.  I’ve been crazy blessed to have been a part of it.  

[jaygilbert22]

COFFEE TALK WITH JULIA LAUREN (The Foxies)

Q: Everyone in the music industry has a few favorite “industry moments;” the time you had dinner with your favorite artist or worked with someone you respected and/or admired… what are a few of your favorite industry moments?

Oh man...I have so many that I could write a short novel. I'll condense for you. I would say the most pivotal moment was how we met our manager, Charles. I did a lil reality show back in 2012 and my roomie was Sophie Simmons, Gene Simmons' (KISS) daughter. Fast forward to a year later, she hooked my family and me up with KISS tickets for my dad's birthday. After the show we decided to go to this rinky dinky McDonalds 20 minutes away from the venue. A big black tour bus pulls up next to us and out strolls Paul Stanley and their manager Doc. My dad is internally flipping out and he says to me "Go and introduce yourself to Doc. Tell him who you are." So I did and he told me to "Be Persistent" with my career. So I was. Four years later I was at the lowest point of my life. I lived in Phoenix where I wasn't really close with anybody and not to mention, I had just been dropped from this Artist Collective I was a part of...over TEXT. Feeling all woe-is-me...I had an idea to send Doc my new music. Just to catch him up. An hour later I get an email from a guy named Charles at their office, stating that he loved our music and wanted to see us live...in Nashville. I somehow got a band together. Hopped on a show. And the rest is history. The band and Charles aren't with Doc's company anymore, but if it weren't for him, Sophie, and KISS, we wouldn't have our Chief Vibe Officer.

Q: If you were to make a playlist of the songs that are part of your DNA, the comfort food that you keep coming back to, that never fail to move and inspire you, what would those tracks be?

I seriously AM going to have to write you a novel one day. Ready? 1) The Db's "Black And White" 2) The Replacements "Talent Show" 3) INXS "Don't Change" 4) The Smiths "This Charming Man" 5) Blondie "Union City Blue" 6) Billy Idol "Dancing With Myself" 7) Joy Division "Disorder" 8) Tiffany "I Think We're Alone Now" 9) The Cure "Just Like Heaven" 10) David Bowie "Heroes"

Q: Are there any artists that never really made it, that came across your desk, that you wish people could hear and embrace.

Hmmm that's a hard question only because "making it" is a personal scale. I'd say a band I feel needed more recognition back in the day was Minipop. It's just feel good music...the perfect sound track to a late 90s romcom.

Q: Who was your mentor? Why?

I feel I have had many mentors throughout stages of my life. My parents have always been there for me and always will. My first band when I was 13 had a mentor named Chris Smith. He was and still is the coolest dude. Played in a band called IN-V. Then it became various friends that are in highly recognized bands now; they helped me a lot with the years leading up to The Foxies. Now it's Charles and our dear friend Reggie Watts. Mr. Watts is not only a wonderful mentor, but a wonderful friend to us. We each owe him our first born;)

Q: What’s the best part of your job?

The best part about being an artist is sharing my art. Art, Music, is a universal language. There is no better feeling than the pure adrenaline rush I get when I'm performing and people are singing, dancing, enjoying themselves. It's as if in that moment, we are all one.

Artist Web and Social Links: http://www.wearethefoxies.com/ https://www.facebook.com/thefoxiesmusic/ https://www.instagram.com/thefoxies/ https://twitter.com/TheFoxiesMusic   Music video Youtube Link:  https://youtu.be/SVRPzt1vnJA

[jaygilbert22]

COFFEE TALK WITH ANGIE GRAYFOX / FINDING ELYSIUM

Q: Everyone in the music industry has a few favorite “industry moments;” the time you had dinner with your favorite artist or worked with someone you respected and/or admired… what are your favorite industry moments?

We wrote this song about a year ago called “Medusa”. Noel did the production and then we went to Larrabee studios with Scott Desmarais and Raul Lopez to cut the vocals. Hearing something that you wrote, come to life and unfold at one of the biggest studios in the business, is a really magical feeling. It’s one of those “Oh so that’s why I do what I do” moments.

Q: If you were to make a playlist of the songs that are part of your DNA, the comfort food that you keep coming back to, that never fail to move and inspire you, what would those tracks be?

The three artists that I constantly listen to and never get sick of are Melanie Martinez, Sasha Sloan, and Billie Eilish. I love female vocalists with unique voices. These women also have really clever lyrics to carry their hooky evocative melodies. There is a track called “Older” by Sasha Sloan that I listen to almost everyday. It talks about the growing pains of childhood and the melody is just stunning. We also used to cover this song during our acoustic live sets. (Back when live playing was a thing haha)

Q: Are there any artists that never really made it, that you wish people could hear and embrace.

There is a female cinematic musical artist named Eurielle, who I absolutely love. Her songs sound like they could all be the soundtrack for a fantasy film. Her songs have such beautiful orchestration and elements of scoring. I’d love to see more fans of pop music listen to her because I think the world of pop music embracing cinematic music would open up a whole new world of creativity. It’s actually what inspires us to do what we do.

Q: Who was your mentor? Why? As cheesy as it may sound, I would have to say my co-writer and the other half of FINDING ELYSIUM Noel Waters. She is the most talented producer I have ever met and her ability to be able to work with anything put in front of her is quite astonishing. When I had just graduated music school with a BM, I realized I still had so many weak spots musically, and within our creative process of conjuring up all this music, I had realized I learned more from her than I did during my 4 years of college.

Q: What’s the best part of being in FINDING ELYSIUM? FINDING ELYSIUM represents the fairytale that we all carry inside of ourselves. The fact that I get to be apart of a journey that uses music to encourage people to be who they are and follow their dreams, is the most rewarding part of this entire process.

[jaygilbert22]

The Surprising Evolution of Creativity in the Era of COVID-19 [Your Morning Coffee OP-ED]

SOUNDSTORMING

These times of social distancing are opening artists’ minds and forcing them to be more creative. There will be hardship and loss of revenue, make no mistake. But great new collaborations, sounds, conversations, and interactions will come out of this. I believe that the restrictions required to confront the COVID-19 pandemic are helping us understand the connections and engagement we need with our audiences and with our community.

With tours and gigs on hold, artists at every stage of their careers are trying things that they never would have tried before, experimenting with formats. Erykah Badu invited her audience to choose her next move in a recent live-streamed concert, changing her sound as she performed in different rooms in her house. Thao & the Get Down Stay Down’s new video, shot on zoom, is another sign of the creativity that triumphs over constraints. Every day we’re seeing online-only “festivals” spring up that might feature livestreaming acoustic guitar sets from an artist’s bedroom or live DJ sessions from the living room.

All these artists can’t just move their live shows to small screens, they have to create more intimate experiences out of necessity. They’re going live on social media with limited equipment, playing stripped-down arrangements, and sharing how they make music on lockdown with fans. But they will learn that bringing more of themselves and their creative process to live streaming and social media brings fans closer for good.

They’re learning now what attracted early adopters to live streaming, membership, and crowdfunding platforms like Twitch, Patreon, and Kickstarter: when fans see raw musical ideas take shape, they become fervent supporters. Those fans are more likely to buy merch, pre-save the finished tracks they watched being born, and buy concert tickets (when live shows return).

Music marketing paradigms will shift as a result. Releasing an “exclusive” used to mean a fully finished, totally produced track on one unique platform. From now on the truly sought-after exclusive will be an experience: being there as artists are creating, and feeling like you’re part of the creative process. We knew artists and listeners were moving in this direction, and now social isolation has accelerated that movement.

Social platforms are the most common channels artists use to connect with fans. But previous platforms for text, image, and video content put the focus on lifestyles and personas, not sounds. As a musician myself, I saw the need for a social music platform that adapts the way musicians work: recording musical ideas. With co-founder Alicia Rius, I built the social music collaboration app SoundStorming to give artists new ways of engaging with other musicians as well as the audiences. When artists record and share the beginnings of a track on SoundStorming, other musicians can build on it- adding a drum loop or a vocal track, for example, that takes the idea in a new direction. Using a musical idea (a riff, a melody, a beat) as a piece of content—equivalent to a tweet or Instagram post—opens up a conversation through collaboration. In a music-centered environment, genre barriers disappear in favor of free creativity.

Connecting and collaborating are the keys to success in the music industry. Making collaboration social opens a door to new ways for artists to connect, and for fans to discover artists and connect with their music. We’ll all welcome the return of in-person, live music-making when this pandemic passes, but I predict that artists who are exploring new ways of connecting with their fans now won’t go back to using social media merely to share announcements and photo shoots. They will find closer connection and more effective communication on social platforms that let them focus on musical ideas and the creative process, and they’ll gain creative dividends as well.

Musically and creatively, the COVID-19 pandemic will break down genres, stereotypes, and old mindsets, including how we collaborate and how artists connect with new audiences. If you’re an artist, this is the right time to try new ways to communicate, beyond promoting shows and releases. This is the right time to open up your creative process to fans and potential collaborators. This is the right time to share your ideas, bring listeners with you on your musical journey, and watch them become your strongest supporters.

[jaygilbert22]

PHYSICAL RETAIL UPDATE 04.13.20

Covid-19 Retailer Update: https://bit.ly/3cfHPzT 

Indies:

200 have closed retail storefronts; 99 have moved to online only, 101 have closed completely.

Here is an additional resource that RSD has created for all affected RSD/Coalition locations including those that aren’t open with distributors directly:

https://recordstoreday.com/Page/9509

Barnes & Noble:

Stores opened to the public: 62

Stores closed but offering curb side pick-up, ship from store or both: 431

Stores closed completely: 125

Target:

Stores closing by 9pm to allow cleaning/restock

Purchases could be made by Online Order / In Store

Target will actively monitor and limit the total number of people inside based on the store’s square footage. If metering is needed, guests directed into a designated waiting area outside with social distancing markers, team members to guide guests inside the store and keep things moving quickly and conveniently.

Walmart:

Adjusted Store Hours: 7:00am-8:30pm; Stores that regularly open later than 7am will keep regular opening time

Senior shopping hour every Tuesday before opening (3/24-4/28)

Purchases can be made by Online Order / In Store

Stores limiting the number of customers who can be in a store: no more than 5 customers / 1,000 square feet at a given time, roughly 20 percent of a store’s capacity. There will be one-way movement through aisles in a number of stores, using floor markers and direction from associates

Best Buy:

All Stores Closed

Online purchases and store pick up service is available at all locations

FYE:

All Stores closed

Online orders via their website: https://www.fye.com/music/

Urban Outfitters:

All Stores Closed until 5/1

Online Orders via their website: https://www.urbanoutfitters.com/

[jaygilbert22]

Why the Apollo Fire Is Not The Beginning Of The Vinyl apocalypse [Sean Rutkowski]

[jaygilbert22]

the Apollo Fire Is Not The Beginning Of The Vinyl apocalypse [Sean Rutkowski]

[jaygilbert22]

MUSIC & MEAT ENDS -"In The Box"...the new "Out Of The Box"? [by Sean Rutkowski]

Business jargon words and phrases like “Action Items”, “Transparency”, “Disruptive”, “Touch Base” and “Penetration” range from cliche to just creepy.  One of my favorites is “Out Of The Box”.   For the last twenty years everyone has been trying to get “Out of the box”.   Look where being out of the box has got us.   We are more divided, distracted, impatient, and obese than ever.   Out of the box has given us multiple recessions that ends up only helping those that caused them and a “great business man” who thinks he’s King as our president.

I propose that maybe it's time to get back in the box.   With everyone getting out of the box, the box is now empty and has plenty of room.   No long lines for the bathroom, easy parking, no junk mail, and a quiet undistracted place to meditate and sleep.    I’m thinking “In The Box” could be the new “Out Of The Box”.

So I am inviting a few friends to get back in the box with me.  I’m not advocating for everyone to get back in the box... because then the box will suck again.   I’m building my box like a cool house party with an awesome mix playing in the background and foods that have just the right amount of preservatives to make them tasty but not give me cancer.   I will allow you all to still bring your cell phones and I won't make you sign a $1 million NDA.   It will be completely appropriate in a conversation about that Netflix show you just binge watched to google the name of that 80s or 90’s star who was in it so we can keep the conversation rolling instead of line listing the entire casts of Pretty in Pink, Breakfast Club, St. Elmo’s Fire, Dirty Dancing, or Roadhouse for 20 minutes.  Though if you stand in the corner playing Words With Strangers you will be publicly shamed.  

At my In The Box house party here are some of the songs that you will hear.

JEFFREY LEWIS-BAD WRITING

Comic book songwriter nerd in the most complimentary way.   I can identify with the song below more than any other I have heard this year.  Just "take a chance on something that will blow your mind."

LPs-http://bit.ly/3526eWr

TUFF SUNSHINE-DIG DEEPER, PEANUT

Brooklyn indie band (I now feel silly even saying “Brooklyn Indie Band” because that is like calling out an apple in an apple orchard).  Mix of power pop and 70s punk.

Move A Mountain-http://bit.ly/35ckQT2

SAULT-5

Indie dance funk.   Even though they don't necessarily sound like them, if you like Khruangbin you will probably enjoy this album.

Don't Waste My Time-http://bit.ly/2LxEMbA

BLACK BELT EAGLE SCOUT-AT THE PARTY WITH MY BROWN FRIENDS

Katherine Paul grew up on a reservation in Washington state.   She represents a group of individuals who don’t get heard as much probably because they don’t yell as loudly as others.

At The Party-http://bit.ly/2RrZFbE

GREAT DEATH-NEW HELL

Michigan trio.  Heavy shoegaze.   A mix of the band Hum and Red House Painters.

Entertainment-http://bit.ly/2P0c1GA

RECYCLED MEAT (Old Is the New New)

GENE CLARK-NO OTHER

Solo album from one of The Byrds founding members.  Released in the 70s, this was one of those storied high production, expensive, critically acclaimed and was a sales disappointment.  It was way ahead of its time and sounds remarkably current 45 years later.  Recently reissued by 4AD.  Not sure how I didn't catch this one earlier.

Silver Raven (Version Two)-http://bit.ly/350LQ8e

Let me know what songs you want me to add to the mix.

ONE STOP SHOPPING (PLAYLIST)

https://spoti.fi/2XbxX2o  

MEAT ENDS (RANDOM BITS) http://bit.ly/36hCYvb

[jaygilbert22]

Can Those Involved in Physical Goods Survive the Big Distribution Debacle?

Your Morning Coffee OP-ED by Terry Currier - Owner Music Millennium

I can remember Jim Caparro, former president of PGD and WEA distribution, making a comment in the early 2000’s that some day all distribution from the majors would most likely be out of the same warehouse. The reason? A cost savings by each, with not having to have their own back room and staff. He was a bit ahead of the game but in April of 2019, this became a reality.

Direct Shot, a third party warehousing system, already distributed Universal Music and Sony. This also included goods from their independent arms, the Orchard and In-Grooves. Around the beginning of the year it was announced that WEA and its independent distribution arm ADA would join the club and also be distributed through Direct Shot. This was after a year of offering buy out packages to staff involved in physical goods and a good 50% of them taking the packages, as they were not guaranteed jobs if they stayed.

WEA distribution’s last task was making sure the Record Store Day product for April was shipped out of the building before they shuttered the door and to also get out all the last orders that they stated they would ship by the closing date. There were problems with both but we all survived.

“There will be retailers and labels going under due to the negligence of this problem in the months ahead.”

To retailers, WEA distribution was a better distribution system than Direct Shot. Due to their previous dealing with Direct Shot, our receiving staff was not looking forward to the change. Little did they know, or any of the rest of us know, this would become the biggest debacle involving physical goods ever in the history of the record industry.

8 months later and just a week before the retail holiday shopping season begins, retailers are struggling to get product to sell. There were problems in the beginning but mostly with WEA product. They changed their ordering system to be in line with their European system. It was an inferior system to the old system from a retailer’s point of view. On top of that, Direct Shot was rarely including packing slips. With the old system, you could go to the B2B and print one but not with the new system. Problems mounted. You might order 40 of a title and 1 each would show up in 40 different boxes. You could order 2 of something and 2 boxes of a title show up.

WEA was hoping by the end of May for all the kinks to work their way out. It was reasonable that there was going to be a few problems in the change over. To compound problems, WEA’s customer service reps all took the buy out packages. That was known by mid 2018 but nothing had been done to put some new ones in place and with the amount of problems that were happening with shipments, most of the problems remained unsolved. Customer returns were not being processed at all.

“It perplexes me that WEA, Sony and Universal have not jumped in earlier to find solutions to this matter.”

September was then looked at as a reasonable time lime for getting everything in order. Several open letters were written including one by Michael Bunnell of the Coalition of Independent Record Stores around the 1st of June. It motivated WEA, Universal and Sony to go to Direct Shot to see what was going on because it was now effecting the shipments from all three. New Release orders were showing up late at accounts, turn around time in getting orders was taking longer, overall the quality of Direct Shot’s shipping was deteriorating. It was not only hurting retailers, it was affecting most labels and many of the artists on those labels as those artists were having problems getting their product shipped to them to sell on their tours.

Then some things came to the surface. Direct Shot’s parent company had wined and dined WEA to move their distribution to Direct Shot. Their intent? To raise the stock value of the parent company after the bank had taken over the CD manufacturing plant that they owned. Stock value in the company went down and this would be the way to raise it back up. They also had the intentions of selling off Direct Shot once WEA came on board, as stock would go back up. Direct Shot never added any staff when WEA came into the fold.  More product was shipping with the same amount of overhead. They also got hit with having to ship to all the Target stores at that time instead of just the Target depots…. yes, with not adding any more staff. And they succeeded in finding a buyer with a company called Legacy, who had been in distribution business for over 40 years.

“Little did they know�� this would become the biggest debacle involving physical goods ever in the history of the record industry.”

There was thought that hopefully Legacy could turn it around but the problems have escalated to the point that WEA, ADA, Sony and the Orchard have asked independent retailers to buy their product from one-stop partners. They have offered some compensation to the retailers through these partners. However, none of these have all the product either due to the same Direct Shot inefficiencies.

It perplexes me that WEA, Sony and Universal have not jumped in earlier to find solutions to this matter. Most of retail is not able to do the business they should be doing and their numbers are down. We are bracing ourselves to experience a 10 to 20% shortfall of the business we did in 2018 and we are having to work extra hard to be able to do that. Our customers are starting to get impatient with Music Millennium’s inventory, something we prided ourselves in for the past 50 years we have been in business. They think we are slipping in being a quality record store and they are correct. They have no idea it’s some warehouse that is run so inefficient somewhere else in the country that is causing the problem. The same thoughts are happening from customers all over the country: Soundgarden in Baltimore, Waterloo in Austin, and Electric Fetus in Minneapolis. Their customers are getting tired of coming in the store and not finding what they are looking for.

“Direct Shot’s shipping was deteriorating. It was not only hurting retailers, it was affecting most labels and many of the artists on those labels.”

It’s up to the big three, WEA, Sony and Universal to step up to the plate now and find a solution. Physical goods are in danger of losing their luster to customers, at a time when we have succeeded in bringing in new customers over the past decade, interested in vinyl.

CDs are still a viable format if we can just get them into the store.  We have seen new physical retailers sprouting up over the past decade. Most artists depend on selling physical goods on the road to sustain the financial side of their careers. There is still a decent demand for physical product. Tool just proved that compelling product will sell with new single CD with innovative packaging sold amazingly well at a price of $45 to an interested fan base.

“It’s up to the big three, WEA, Sony and Universal to step up to the plate now and find a solution.”

There will be retailers and labels going under due to the negligence of this problem in the months ahead. There will be artists that will be forced to do something else besides pursue their musical dreams because they can not sustain their chosen career path and dreams. No more time can be wasted in fixing the problem. We need a viable solution now and it has to be done by WEA, Sony and Universal.

Your Morning Coffee 11.22.19

[jaygilbert22]

COFFEE TALK [with with Fred Croshal]

Fred Croshal has forgotten more about the music business than most of us know. 

He began his career as a retail sales representative at local record stores in the San Francisco/Bay Area before securing his first position at CBS Records. Soon after he earned executive positions at Sony Music Distribution and Columbia Records, working with artists such as, Michael Jackson, Pearl Jam, Bruce Springsteen, Mariah Carey, Stevie Ray Vaughan and many more. In 1996, Madonna hired him at the Maverick Recording Company, where he soon became General Manager, overseeing all departments including; Sales, Press, Radio, Marketing, Creative, etc. on a daily basis. At Maverick Recording Company Croshal was able to build and nurture the careers of artists like Alanis Morissette, Deftones, Candlebox, Michelle Branch and many others.

He’s a mentor and a friend. A pioneer in label and artist services with his CEG. Long live Fred Croshal.

Q: Everyone in the music industry has a few favorite “industry moments;” the time you had dinner with your favorite artist or worked with someone you respected and/or admired… what are a few of your favorite industry moments? 

A: I’m so blessed to have had so many great moments, but I will name a few that immediately come to mind. As an executive at Sony Music Distribution we always had meetings in NY just before Christmas to review the past year and do some forecasting for the following year, these meetings were always fun, but in 1989 it went to another level! Walter Yetnikoff brought in Tony Bennett to sing Christmas Carols to a small group of us at a Tavern On The Green private dinner, it was beyond special. Another moment, while still at Sony, was a dinner in New Orleans with Bruce Springsteen. We had been flown in to listen to Bruce’s new records Human Touch and Lucky Town at Tipitina’s in the day and that night he came to dinner and talked with everyone, it was awesome. Lastly my interview to come to work at Maverick with Madonna at her home in 1996 was EPIC, I will never forget all the details.

Q: If you were to make a playlist of the songs that are part of your DNA, the comfort food that you keep coming back to, that never fail to move and inspire you, what would those tracks be?

A: All Right Now-Free, The Tighten Up-Archie Bell & The Drells, True-Spandau Ballet,  Destiny-Zero 7, Doctor My Eyes-Jackson Browne, Everlong-Foo Fighters, Tears of A Clown-Smokey Robinson, The Groove Line-Heatwave, Heart of Gold-Neil Young, Golden Lady-Stevie Wonder, Jump-Van Halen, O-O-H Child-The Five Stairsteps, Reelin In the Years-Steely Dan, Rock Candy-Montrose, Hold Me Now-Thompson Twins,  Borderline-Madonna, Time Waits For No One-Rolling Stones, Waterfalls-TLC, You Get What You Give-The New Radicals, Grazing In The Grass-Hugh Masekela, Voices Carry-‘Til Tuesday, Ironic-Alanis Morissette AND anything by Led Zeppelin.

Q: Are there any artists that never really made it, that came across your desk, that you wish people could hear and embrace. 

A: Jude, a Maverick recording artist that never got the recognition he deserved, great artist, and incredible songwriter

Q: Who was your mentor? Why? 

A:I can honestly say that I have had many mentors throughout my career, with them all teaching me different skills at various points in my career. Jack Chase, my Branch Manager at Sony Music Dallas (1989-93), had a major impact on my growth as an executive, leader, and manager of people.

Q: What’s the best part of your job? 

A: The best part is that each day is so distinctly different from the next, an open canvas, an opportunity to learn new things!

[jaygilbert22]

COFFEE TALK [with Olivier  Robert-Murphy]

Olivier Robert-Murphy has great taste in music, a stellar resume and says that you can be nice and still get the best from people. He also happens to be UMG's Global Head of New Business.

Q: Everyone in the music industry has a few favorite “industry moments;” the time you had dinner with your favorite artist or worked with someone you respected and/or admired… what are a few of your favorite industry moments?

I started working quite young as I needed money to finance my studies. During my business school in Paris, I worked nearly every night as a limo driver, a “chauffeur” for stars. Most clients were music artists. Over three years, I drove in Paris by night artists from all regions and music genres: from the Bee Gees to Prince, from The Pasadenas to Patsy Kensit. Patsy was actually one of my favourites, she was still unknown promoting her new single called “I am not scared” with her band “Eighth Wonder”, and was a refreshing personality.

After that, over the last 20 years, I have since had many occasions to do business and creative projects with the very artists I was driving around (and yes, I never told them….).

Q: If you were to make a playlist of the songs that are part of your DNA, the comfort food that you keep coming back to, that never fail to move and inspire you, what would those tracks be?

I don’t know if they inspire me, but I feel at ease when I listen to Sade, a British Nigerian singer of the 80’s. I actually go back to this era regularly. I met most of these artists at some point during my chauffeuring time. Think Prefab Sprout, Simple Minds, Tears for Fears, Spandau Ballet etc.

I also go back from time to time to the harsh reality of the voice of Willy de Ville (when he was in a band called Mink de Ville).

Oh, and I also have a soft spot for Phil Collins, the drummer, more than the singer.

Q: Are there any artists that never really made it, that came across your desk, that you wish people could hear and embrace.

If I exclude the one hit wonder population, I recall a talented girl called Fefe Dobson, a Canadian singer and songwriter. She was signed at Island/Def Jam I believe and her entire album was just very impressive. More recently there was a pop band out of Sweden called Urban Cone. They broke up a year after I first heard them. Shame, their single “Old School” was very funky.

Q: Who was your mentor? 

Looking back, I had two mentors: the first one at the beginning of my career when I joined the media industry after a few years at P&G. His name was Laurent Storch (head of Polygram Entertainment). I learned a lot, the hard way from him. Then I had Peter Smith when he was head of Universal Pictures. I learned you could be nice and get the best from people.

Q: What’s the best part of your job?

Two parts mostly:

Playing cupid between an artist and a brand and watching authentic creative relationships develop.

Managing globally a young and inspiring team of future music leaders (that already know it better than most!:)

[jaygilbert22]

COFFEE TALK [with Zane Lowe]

Alexander Zane Reid Lowe is a DJ, radio personality and creative director of Apple Music’s influential radio station, Beats 1.

Everyone in the music industry has a few favorite “industry moments;” (interactions with a favorite artist, special event or experience etc.) What are a few of yours?

This is a hard question for me to answer. I feel blessed to have had many experiences. Every interview I've done with Jay-Z, those early Apple Music meetings with Jimmy, Trent, and Dre, and the team, my first ever Radio 1 show, my first Beats 1 show for that matter, interviewing Paul McCartney on a crappy brown couch for a really cheap afternoon TV show on MTV2 called Gonzo…multiple times, countless Maida Vale live sessions for the BBC, and of course going out to Shangri La to interview Rick Rubin for the first time. I’ll never forget that. Every time I’ve talked to Kanye, playing Adele's Hometown Glory on Jamie T’s independent label Pacemaker for the first time anywhere in the world on the radio, hearing Arctic Monkeys for the first time. Recently, being there at the start of and producing the early Queen Radio shows with Nicki Minaj, which was a truly incredible and memorable experience.

If you were to make a playlist of the songs that are part of your DNA, the comfort food that you keep coming back to, that never fail to move and inspire you, what would those tracks be?

I find myself listening to more new music and experimenting in areas I had little or no knowledge to, prior to the streaming era. This would’ve been a lot easier for me to answer even 5 years ago but now my taste has broadened even more (and I used to have pretty broad taste). That being said, there remain firm favorites for me: Beastie Boys remain on every device I’ve ever owned - cassette, CD, computer, iPod and phone, A Tribe Called Quest, Queens of the Stone Age, Pavement, Neil Young, PJ Harvey, old funk, old jazz, Thomas Newman, Shihad, Neil Finn, Bjork, Bon Iver, Frank Ocean, Adele. There’s so many amazing artists, songs, albums, moments…I could fill this entire conversation with a list of artists who have made more than just music, they have made a lasting impression on my life and been there through all of life’s complex experiences and emotions and then…oh shit Smashing Pumpkins, Soundgarden, Pearl Jam, basically all of Seattle from the late 80s to the mid 90s, all of New York always, I can’t forget Mike Skinner and the Streets and what about the XL Recordings roster, oh shit Jack White and the White Stripes... you need to stop me now.

Are there any artists that never really made it, that came across your desk, that you wish people could hear and embrace?

There’s so many amazing artists that never break through in ways you hope they will, but if you love them that doesn’t affect the way you feel about their music or who they are. Those artists may go on to influence a generation of artists that may reach a wider audience. I never understood why, maybe it’s just timing, maybe they evolved the original spirit into something more that people can relate to, but specifically Quicksand, who recently reformed and remain an incredibly potent hardcore rock n roll band from New York City that never made a bad record. They’re definitely an artist that if you know, you know. I think about an artist like Del the Funky Homosapien. Whilst he’s a reoccurring member of Gorillaz that’s had a great career in music, I always feel like it’s never guaranteed that when I mention his name to people they’ll know who he is or what he’s achieved in music. He’s a maverick, a true original. A band that used to really help me through pretty bleak times when I first left New Zealand and was experiencing some long winters with only enough money for rent and beer, was a band called Rex. No one’s heard of that band but they made these beautiful, lilting post-rock records. I’d also include Shihad. While they’re one of the most influential and legendary hard rock bands of New Zealand, they never made it on the international stages that I believe they should have. Listen to their album Killjoy and tell me it doesn’t stand out with the all time greats. I could go on.

Who was your mentor? Why?

I’ve been fortunate throughout my life to have gotten to know and work alongside some incredibly inspiring people. My parents and my brother are hugely influential parts of my life. They mentor me every day. Outside of immediate family, I was introduced to some of the founding principles of great broadcasting and media by two gentlemen, both called Eddie - one in New Zealand and one in London. Each of them gave me great advice which I carry today. I relied on the advice and inspiration from a man named Brent Hansen when I first arrived at MTV he’s definitely been a mentor to me throughout my life. He’s a very independently spirited and straight talking individual who holds the line. I was lucky enough to have some great time with Andy Parfitt when he worked at the BBC. He was one fo the most all around brilliant leaders I ever worked with. Since moving to America and starting at Apple, some incredibly inspiring people have taught me a huge amount. Robert Kondrk, Eddy Cue, and of course Jimmy Iovine who is easily one of the most instinctively brilliant human beings I’ve ever spent time with. To my mind theres no one sharper in the music business than Jimmy.

What’s the best part of your job?

It’s got to be the thing that rings true every day. For me, that’s getting to still work at a job where music is the driving force and remains my driving inspiration. Even on a tough day, a song or conversation will bring me into the moment. I’ve always felt very in the moment when music's been around me and the experiences that I’ve been able to have alongside artists who really are for me the north star, remain a huge source of gratitude for me. I feel very fortunate to be as close to something that I love as much as I love music.

Your interviews and conversations with artists have a unique style. How do you prepare for them?

It depends on who I’m talking to. If it’s something that has a more serious cadence, I will prepare what, to my mind, is the perfect flow of conversation, design it to some degree, then reduce it to its core framework: key words, phrases, sentences, moods - then I’ll commit it to memory. I’ve always had a good memory for retaining these kinds of details, triggered by key words. I’ll then go into the conversation with this in the back of my mind so that at the forefront I’m able to focus on the conversation as it happens. I never want to miss anything that’s right in front of me, but equally I never want to be caught off guard if something doesn’t land right. I like having that architecture in the back of my mind so I can move forward with the conversation. If it’s a new artist, or one I know that I’ve interviewed multiple times where the environment is more relaxed, I like going in thinking about life more than business. That said I’ll always listen to the music and always be aware of what i’m talking about, but as I've done more interviews and had more conversations, I’ve started to learn that the most human part of conversation is the most fascinating. If I can find a balance between talking about music and talking about life, I’m in a very sweet spot.

Would you ever resurrect “Masterpieces?”

I wouldn’t “not" resurrect it, but the way people stream music and albums has changed so much since we played albums in full on the radio. Now it’s a creative experience for the listener where you’re adding it to playlist, shuffling music, putting the albums in different orders, there’s so much you can do in terms of creating new context around music. That being said, it’s always important if you’re a real fan to be able to listen to the album as the artist intends it. When people ask if albums will survive the streaming era, I always say albums will survive as long as the artists want to make them. We keep asking that question, but ultimately it’s the artists that are benefiting from things that are a complete thought. This is why artists want to make films, complete books, it’s not like we’re moving into a literary age where paragraphs are the new norm. Yes, there’s room for short form content for songs, projects, mixtapes, EPs, there’s also room for artists to say something from start to finish and expect for it to be listened to in the way that’s intended. Masterpieces was built out of recognizing that, but sometimes it’s nice to leave something in great shape rather than try to mold it into a new era.

Listen to the Beats 1 List

[jaygilbert22]

COFFEE TALK [with Mike Fink]

Sr. Director, Artist Marketing and Industry Relations, Pandora. In his role as Sr. Director, Artist Marketing and Industry Relations at Pandora, Mike heads up relationships with indie music rights holders, labels and management. While at Pandora, he has established and continues to spearhead a number of programs, including Pandora at SXSW and Pandora Sessions, which have successfully connected more than 250 artists to their fans through intimate live performances.

Prior to joining Pandora, he produced over a thousand shows at The John F. Kennedy Center for the Performing Arts and co-founded indie label The Kora Records.

Q: Everyone in the music industry has a few favorite “industry moments;” What are a few of yours?

While at WHFS, I produced a bunch of live broadcasts. A personal favorite was a free concert we did with Elastica at Hammerjacks in Baltimore which happened to fall on my birthday. Justine Frischmann sang an impromptu version of “Happy Birthday” live on air during our pre-show interview and we shared some birthday cookies off air. Cookies > cake at least when sharing with a Britpop idol.

Running the rehearsal with The Kennedy Center Opera House Orchestra and Sufjan Stevens (and band members Annie Clark aka St. Vincent, Bryce and Aaron Dessner from The National) and stage managing the performance later that night. It was the first time The Kennedy Center brought a contemporary artist to play with one of their orchestras and fans lined up for over 24 hours for a chance to get into this free concert.

Celebrating Obama’s first Presidential election victory at the Embassy of Sweden. A band (Fredrik) on my record label was there to do a live television performance for Sweden’s version of “The Today Show”. While my heart was in the streets of DC, I’ll never forget spending the night at the Embassy watching CNN and hanging with some very nice Swedes while history was being made.

There have been a ton of fun moments at Pandora during artist visits. Some highlights include talking home renovations with Ben Harper, reviewing the music genome with Beth Orton and pontificating outer space with Father John Misty.

Q: If you were to make a playlist of the songs that are part of your DNA, the comfort food that you keep coming back to, that never fail to move and inspire you, what would those tracks be?

Available for streaming here: Mike Fink: My Musical DNA https://www.pandora.com/playlist/PL:562949970667799:36439154

The Dandy Warhols – Good Morning

Brand Nubian – Wake Up (Reprise in the Sunshine)

Cornershop – Sleep on the Left Side

Courtney Barnett – Avant Gardener

Digable Planets – Where I’m From

Special Ed – I Got It Made

Gang Starr – Mass Appeal

Anderson .Paak – Come Down

The Make-Up – White Belts

Coconut Records – West Coast

Thievery Corporation – Le Monde

Blur – Tender

Fredrik – Black Fur

Harry Hudson – Sign of the Times

Lykke Li – Dance, Dance, Dance

Fatboy Slim – Praise You

Tony! Toni! Tone! – It Never Rains (In Southern California)

The Drums – Let’s Go Surfing

Jean Knight – Mr. Big Stuff

The Brian Jonestown Massacre – Nothing to Lose

Chain and the Gang – It’s a Hard, Hard Job (Keeping Everybody High)

Sufjan Stevens – Now That I’m Older

PJ Harvey – River Anacostia

Cigarettes After Sex – K.

The Jesus and Mary Chain – Sometimes Always

The Stone Roses – Waterfall

Isaac Hayes – Walk on By

The Breeders – Drivin’ on 9

Bob Marley – Thank You Lord

Gram Parsons – Streets of Baltimore

Q: Are there any artists that never really made it, that came across your desk, that you wish people could hear and embrace.

These artists are making it and could appreciate more embracing; Caleborate, Emily Wells, Marissa Nadler

Q: Who was your mentor? Why?

I’ve been fortunate to have a few! Bob Waugh, Pat Ferrise and Robert Benjamin at ‘HFS, Garth Ross at The Kennedy Center and Tommy Page at Pandora. Bob/Pat/Robert showed me the ropes of working in the music industry, Garth embodied how to lead with humility and Tommy exemplified the golden rules of going with your gut and pursue what you’re most passionate about.

Q: What’s the best part of your job?

This is an easy one. Helping artists build their fan bases/get heard is what I’ve always been most excited about.

[jaygilbert22]

THE CLIO MUSIC AWARDS: 2018 CALL FOR ENTRIES

The prestigious Clio Awards recently sent out a Clio Music call for entries in various categories within music marketing and the use of music. Industry veteran Michael Kauffman, previously featured on Coffee Talk and supporting the Clio team on the awards, provided this additional background.

What are the Clio Awards and Clio Music?

The Clio Awards is the leading international awards competition for the creative business. Founded in 1959 to celebrate top achievements in advertising, the Clios annually recognize the work, the agencies, and the talent that push boundaries and establish new precedent.

Born of the original Clios and created in partnership with Billboard in 2014, Clio Music underscores the visceral power of music to connect consumers and brands. It lives as a section within the Clio Awards event dedicated to honoring work that spans artist promotion, music marketing, brand collaborations, and the use of music in advertising.

Clio Music is currently open for entries and will announce our shortlist, bronze, silver, and gold winners in early September. Clio Music Grand winners will be revealed during the 2018 Clio Awards on Wednesday, October 3rd (during Advertising Week) at the Ziegfeld Ballroom in New York City.

What type of work can be submitted and what are winning examples?

There are two entry types for submissions with multiple categories within each: music marketing and use of music. Individual mediums and categories include Branded Entertainment & Content, Design, Digital/Mobile, Events/Experiential, Film (which includes a music video category), Innovation, Integrated Campaigns, Partnerships & Collaborations, Social Good, Social Media, and Use of Music (synchronization) in commercials, films, games, etc. All medium types and categories are listed on our website here.

Previous Clio Music winners can be viewed here on our website. There’s a lot of inspirational work featured, but a few standout examples of 2017 winning work include:

Clio Grand

·         Official Gorillaz App

Events and Experiential

·         Martin Garrix Concert For The Deaf

Design

·         Metallica’s Hardwired... to Self-Destruct album design

·         Universal Music Group / Republic Records’ printed materials designed to promote the “Kids (Ain't All Right)” music video by Grace Mitchell

Partnerships and Collaborations

·         Cracker Barrel’s Dolly Parton and Pentatonix “Jolene” collaboration

Brand and Artist Collaboration Integrated Campaign

·         Citi Sound Vault

Innovation in Music Marketing

·         Mares Films’ Unforgettable Songs

What’s the eligibility period and submission deadlines?

Entries first appearing in public between January 1, 2017 - July 31, 2018 are eligible with three subsequent deadlines for submission (April 20, May 18, and June 29). Entry fees increase slightly with each one, so it’s ideal to submit early.

There are also student categories for anyone enrolled (full or part-time) in a recognized film school program or an accredited college or university. The work submitted by a student must have been produced during their enrollment, and also made public within that same period of January 1, 2017 - July 31, 2018.

Who’s on the jury?

Each year we enlist top experts from the global music and advertising industries to participate on our juries. It's an esteemed panel of creatives and marketers whose own work epitomizes the best of their respective fields. Our 2018 Jury was just announced and is listed here.

What’s the value of a Clio Music Award?

As a former copywriter many years back at Weber, Cohn, & Riley in Chicago, I fantasized about earning a Clio while banging away on a typewriter concocting spots for 1-800-Cable-Me, the area’s cable television marketing consortium. And if you loved Mad Men like me, you’ll likely remember Don Draper’s Clio win in “Waldorf Stories”(season 4, episode 6).

A Clio Music Award is a fantastic way to celebrate the exceptional creative work that you’re producing with your team. It’s an honor that highlights creative excellence, fuels recognition and respect from artists, brands, agencies and peers  in our music ecosystem. It’s also a big morale-booster for the winning team and company.

Where can we find out more information?

Go to Clios.com/music. For key dates, fees and the full list of mediums and categories, visit our resource center, and if you wish to receive Clio Music calendar reminders for deadlines, winner announcements, event notifications and more, you can opt in here.For more creative inspiration, take a look at last year’s winning entries or the recap video from our 2017 Clio Awards, held at Lincoln Center NYC last October with musical guests Iron and Wine and Marian Hill, and the 2017 Clio Music Honorary Award recipient Swizz Beatz. Get started by downloading this year’s Clio Music entry packethere.  

Have any questions or need help with an entry?  Feel free to reach out to me directly via email.