what’s the 411? do record companies have a future?
A Toomaworldwide article – number 1 – April 2010.
They did it again, dear dokusha. Should you still need to learn something today, I can tell you that “dokusha” is Japanese for “reader”. Now how ‘bout that? Isn’t that amazing?
Anyway, what I wanted to share with you today is that the suckers of the music industry once again fucked me in my proverbial ass. “How nice of them”, I hear you think in the deepest depths of your queer mind, “why does this never happen to me?”.
Well, maybe because you are not attractive enough and consequently can not turn them on, but(t) more likely because you no longer buy cd’s. I however, am of the opinion that I need to “support the artists” and so I buy 2 cd’s a month or more if I really feel the need to help some poor artist pay for his MTV-crib.
So on the 21st of december 2009, I sat staring at my mailbox, waiting for the new Mary J. Blige CD to drop. Having admired Miss Blige from the moment she started singing, I buy her cd’s without even listening to them first.
Somehow I have never had any regrets about this. But that would be an understatement as far as this new CD Stronger with each tear is concerned: it really makes my heart dance. You may find this a bit dramatic or gay even, but I don’t give a flying horsefuck because I tend to think this is easily Mary J.’s best work to date.
So I am playing this CD on endless repeat, driving my boyfriend to despair and waking my neighbour up with the sound of da Hood at 6.30AM.
And today, dear dokusha, barely 4 months later, the CD is re-released in an E.U.-edition, containing a bunchload of new songs, packed in a different artwork. The first release did not include the title track (I kid you not! – which was probably a stroke of genius of a marketeer at Geffen Records) and so the new version does have it. So far so good. The CD also “stars” 2 more European sounding clubby tracks (Local Marketing! – which was probably yet another stroke of genius of a marketeer at Geffen Records) than on the original CD. Two other, more rocky sounding tunes (at Geffen Records they cater to anyone) top off this E.U.-CD sticking out like sore thumbs. One would almost wish this was a Turkish bootleg and not an original release.
Now what are record companies thinking? That they deliver added value in this way? Whenever you buy a new cd these days you are fucked on the spot. You can be sure that the cd you bought will be re-released at X-mas, including remixes, extra tracks, a poster and a temporary tattoo. To make things worse, now they do no longer seem to have the decency to even wait for the holidays. I find this very impertinent.
I buy my cd’s online because: 1) I can buy whatever I want (which is not the case in record stores) 2) for a reasonable price of approx. 8 euro (which is basically half of what you pay in record stores) 3) and I don’t even have to get out of my house for it and consequently avoid the degrading looks of the shop assistant when I ask for the new Kylie Remix CD.
Recently I read that record companies now “consider” selling the cd’s at approx 8 euro in stores. That really makes me laugh. They should have done that years ago instead of just standing there complaining about the “changes in society” being detrimental for the music industry. Downloading, copying, blabla… deprived them of the musical dollar but did the big record companies see this as a challenge? No, they just pretended it was not there and hoped it just might go away.
The potential that this new way of “consuming” music brought along, they refused to see. Artists and companies that embraced new technologies reep the seeds now. A perfect example is Ellie Goulding and the record company Neon Gold. They make good songs and give them away for free. They realise that good stuff sells itself and that music lovers will always buy music. They need a physical form of the music to connect to their loved artists. So when a (free) download is succesfull they release it on vinyl. When all goes well up to there, they go and release a cd. And look what happened to Ellie Goulding? Her cd-album sold like hot cakes. Ellie Goulding did not have to convince a marketing manager at a record company of the fact that people liked her type of music, she had download numbers to prove it. She did not have to convince radio station managers that her songs were compatible with the target population because the people who wanted to hear her music already discovered it via the www.
And what does Sony Music Entertainment do? I invite you to try and check out the new video for Usher’s Hey Daddy (please refrain from any comments, thankyoueversomuch). As a www-aholic I get to know a lot of new music via networking sites where people post video’s. Today, I would have liked to share the new Usher video with my Facebook friends. So I logged in to YouTube, to the official Usher Channel, where I clicked on the “if you want to see the video from outside the US or Canada, click here”-button. Apparently the video had been blocked by Sony on copyright grounds. On the official Usher Channel? (insert roll-eyes here)
If record companies will not realise that they have to deliver what the market is asking for instead of creating the demand themselves as they were able to in the past, they will never be succesful again. At least that’s the way I see it. For starters, Geffen records already convinced me of their incompetence. So I have “found” myself the E.U.-edition of MJB’s Stronger with each tear and made my own cd of the “bonus tracks”.
How very dare they punish me for my devotion.
ToomawasHIT of the day: Nottee – Control
FREE music from Neon Gold Website
Listen to it here: