New Music Business Model

I recently had the chance to revisit a book that I have not picked up in some time called "The Future of Music" by authors David Kusek and Gerd Leonhard. This publication is a must have in any music fan or industry professional's arsenal as the content within it's binding resonates with anyone who has any one or part of the following:

• Ringtone on their mobile phone or device
• computer
• laptop
• mp3
• Xbox
• PS3 
• iPod, phone,touch, pad, etc.

The concept of unlimited content flowing into your home like a utility is certainly not new but it begs the question as to why the music industry is still so slow to make the necessary changes and advancements in an effort to swing the business into a position where it will continue to survive. Recent events with the possible purchase and consolidation of Warner Music Group by BMG Rights Management and Universal Music Group in an effort to land both Warner and EMI only furtherproves this point.

The industry should be analyzing the business model of mega media power houses such as............................

There's a sharp difference of opinion in the music sector about that right now. Billboard magazine started the debate Tuesday when veteran writer Glenn Peoples suggested that the major record labels might do well to emulate some of Netflix's practices. Ethan Kaplan, a former digital exec at Warner Music Group, later that day wrote on his blog, Black-rim  glasses.com, that he's highly skeptical.

The discussion was sparked by Google and Apple's recent efforts to launch cloud music services. Both would enable users to store their music libraries on the companies' servers and then stream songs to users' Internet-connected devices. Google has talked to the labels about charging a fee for the service, according to previous reports. CNET reported on Monday that Apple has told the labels it too will charge.

These companies and the major labels are betting on subscription. They're doing this though the services that have attempted to prove the model in the past have a spotty record. Rhapsody, Yahoo Music, and the recycled Napster who is owned by Best Nuy Inc, all failed to draw large audiences. Most players in the sector dream of having 1 million paying subscribers. Compare that with Netflix, which saw 3 million movie fans sign up for its service in the year's first three months. The company's U.S. subscribers now number 22.8 million, the same amount as Comcast. Helping to fuel that growth was Netflix's offer of $8 a month for unlimited streaming access to movies and TV shows.

"With Netflix consumers have proven they will rent content--even re-run(s)--and stream it from the cloud," Peoples wrote in Billboard. "They will pay for digital content they could get for free through illegal means. They will pay if the service allows streaming through multiple devices."

Peoples wrote that Netflix's low-cost, easy-to-use Web site, and nearly ubiquitous presence on Internet-enabled devices is a worthy blueprint for the music industry. But Kaplan said that Peoples' premise is flawed at its core.

"People feel comfortable applying strategies applicable to one modality of media to all others," Kaplan wrote. "Because the modes are similar, so must be the means of monetization. Wrong."

"People feel comfortable applying strategies applicable to one modality of media to all others--because the modes are similar so must be the means of monetization. Wrong."

--Ethan Kaplan 
One obvious difference between music and movies is that people don't typically watch a film more than once or twice, but they listen to favorite songs maybe hundreds of times. Kaplan argues that people value the media differently. He wrote there's less value in music because movies require more of the viewer's attention than music does for the listener.

(Music's) ubiquity lessens its value as it does not monopolize the senses," Kaplan wrote, "and thereby requires less investment in order to enjoy it. Requiring less investment demands less return and hence, lower value...chasing business models in one media with business models of fundamentally different media is a recipe for disaster." 






Kaplan is no doubt correct in arguing that thinking one-size-fits-all is unrealistic. But the fact that there's even a debate about subscription services, which I and others once dismissed outright as insignificant, says something.

For the past decade, most of the music-buying public has ignored them. But the landscape for music consumption appears to be changing. CD sales are in a free fall. Download sales have leveled off. And what happens if the big labels succeed in making illegal file sharing less attractive? For the past 11 years we've lived in a world where pirating music was a cinch and in this world paying monthly fees for the opportunity to rent songs seemed silly to some. To others, paying at all was a joke.

So, how would subscription services fare in a world where bandwidth providers block subscribers' access to pirate sites or possibly shut off service to accused illegal file sharers? Or both? Pirating media will always be with us but what happens if downloading unauthorized songs turns into a big hassle? That's what the Recording Industry Association of America is trying to make happen right now.

If the RIAA succeeds, how will these all-you-can-eat services look then?

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And In The Distance, Was A Rumble - Top Ten Bassist of All Time

The Rolling Stone “Top Something or Other” lists…you’ve got to love them. Those classic lists that rank various things like best songs of all time, best guitarists of all time, etc etc. Well, Rolling Stone just put out its list for the Top Ten Bassists of All Time, and though it may be different because it is reader voted, it is still just another “top-something list” by Rolling Stone. Just trying to rank people on skills that are almost impossible to rank when the context of the whole band is taken into account, and all the other factors that go into it aren’t ignored, and when historical relevancy is rarely taken into account and…hold on, did they put John Entwistle as number one? They did? Really?! Nice! Yeah, great list Rolling Stone! Who says they don’t know what they’re talking about? Spot on, spot on….

I am a pretty big Who fan. That’s why I am so happy that John Entwistle was voted the number one bassist of all time, because he is (or was) the bass player for The Who. I don’t mean to completely dis Rolling Stone, they put out a great publication and their lists usually are unbiased and rather well done. But as a loyal Who fan, I’ve just been getting fed up with watching them get crushed by The Beatles and Zeppelin in every list since the beginning of music list making. Although I also fully support the fact that “Like a Rolling Stone” was voted the number one song of all time by Rolling Stone, but I digress…back to the bassist list. Let’s see who’s made the top 10.

10. Victor Wooten

It was actually quite interesting going through the ranks. I don’t think anyone would be too shocked to see the bassist who is in the ten spot, granted they have heard of him. But most people that do know Victor Wooten would probably be even a little surprised that he is only number 10 given his amazing talent and even more amazing hair. Wooten is the bass player for Bela Fleck and the Flecktones, a lively bluegrass-jazz-funk-R&B-and-many-more-styles band that is very, very talented. As Rolling Stone puts it, “Every player in the Flecktones is a master, but when Wooten busts out a solo at a concert every jaw in the audience drops to the ground.” Wooten is known for his funky style, complex jazz melodies, and Hermes from Futurama style hair. He has played with the Dave Matthews band a number of times, where most people probably know him from, and has more recently been a guest at a few Mike Gordon (from Phish) shows. So I can’t argue too much with the selection there. 

9. Cliff Burton

Edging out Victor and landing the number 9 spot is ex-Metallica bass player Cliff Burton. I’m not going to lie here, I never really got that into Metallica. Not because I don’t like their music or anything, but because when I was younger and discovering different kinds of music, the first thing I remember about Metallica is them whining about how people were stealing their music off the internet and how Lars was going to sue people. But either way, I have since listened to their early music and read about the importance and talent of Cliff Burton. He was a pioneer in heavy metal bass riffs, and had gained the respect and awe of many a musician in his short 24 years. Tragically, Burton died when Metallica’s tour bus rolled over while they were touring Europe in 1986.

8. Jack Bruce

Imagine trying to play bass in a band with Eric Clapton and Ginger Baker and not just be “that guy who played bass in a band with Eric Clapton and Ginger Baker”. Well that is exactly what Jack Bruce did. Bruce was the bass player for Cream, and had enough musical talent that he was able to distinguish himself in a band that contained the legendary Clapton on guitar and the eccentric Ginger Baker on the drums. Bruce was an accomplished jazz musician and well known session bass player, and met Clapton when they played in John Mayall’s Blues Breakers in the early 60’s. They formed with Baker to make a super group of sorts, calling themselves Cream, in reference to them being the cream of the crop in the London blues scene. Again, no argument here, as Bruce’s songwriting, singing, and bass skills made Cream one of the most influential bands in rock history.

7. Jaco Pastorious

In the number 7 spot is Jaco Pastorious…another pick that can be seen as being too low on the list. If you were to rank the best bass players of all time based on nothing but talent and virtuosity, I don’t see how Jaco isn’t number one every time. He is easily one of the most influential bass players ever, just ask any serious bass player and I guarantee he comes up in the conversation rather quickly. Jaco’s mastering of jazz fusion, harmonics, high toned melodies and figures along with his distinctive growling tone really set him apart from the pack in the 70’s. Again, unfortunately for the world, Jaco died after a fight outside a Florida bar in 1987 at only 35 years old. Kinda looks like James Franco modeled after him for Pineapple Express...no?

6. John Paul Jones

In the 6 spot, which I suppose an argument for both a higher or lower ranking can be made, is John Paul Jones of Led Zeppelin.  Jones was a very well known session player around London before he joined Led Zeppelin, and recorded many bass tracks for very reputable artists. When he joined Led Zeppelin, he became the backbone of one of the most powerful and influential bands in rock history.  He was your prototypical bass player, just standing in the background doing his thing, not trying to be too flashy, and building a solid backdrop for Page and Plant to layer their riffs and melodies over. Not to mention, he played the flute part from Stairway on the keyboard at live shows, which I always thought was kind of funny. As good as Zeppelin and Jones were, however, the real power of the bass seemed to be lost behind the larger than life figures of Jimmy Page and Robert Plant, which is why I’m not convinced that Jones should be in this spot. But, again, I’m super biased…

5. Les Claypool

Les Claypool is the number 5 bassist of all time according to Rolling Stone readers. Good work readers, good choice. Claypool is best known as the lead singer/bass player for the band Primus, and crafted his own unique bass style out of heavy flamenco style playing, intricate tapping, and extensive use of the whammy bar, a tool which is usually used only on guitar. Claypool actually auditioned for Metallica after the death of Cliff Burton, but did not get the gig because, well, he was too good. Seriously, that’s what they told him, that he was too good and should probably do his own thing…also, he wasn’t that into metal. Claypool…probably deserves more of a write up than this, but, anyway, on to number 4.

4. Geddy Lee

It may seem weird, after looking at all the bands that I really like, that I’ve never gotten into Rush. I don’t know why, I have nothing against them, but I just could never really get into their music. Again, it’s nothing personal. But, I do happen to know that Geddy Lee of Rush definitely deserves to be on this list. And it just so happens that he is number 4. Geddy Lee is just a talented guy. He played bass, sang, AND played the keyboards for Rush, often all at the same time. How you ask? He would use bass pedals anytime he played the keyboards. That’s pretty cool. Most people have difficulty trying to sing and play an instrument at the same time, and Geddy Lee was out there playing keyboards with his hands, bass with his feet, and singing over all of it. Touche, Rush, maybe I should give you another chance.

3. Paul McCartney

There is no lack of words that can be said about this one. But to be honest, I’m surprised that Sir Paul is only number 3. Isn’t that against the “best of” music list making code? I guess as long as he’s in the Top 5 its ok. But really, McCartney deserves to be up here. He truly had a hand in revolutionizing the electric bass in popular music. Throughout the Beatles’ career Paul was constantly changing, adapting, experimenting, and honing different bass techniques. From the simple lines in the early Beatles repertoire to the more complex and melodic riffs throughout the White Album and Abbey Road (see: “Something”), his mastering of the bass as a tool for melody and counterpoint was something not heard before in popular music of the time. And as if his bass playing wasn’t enough, he also played piano, guitar, sang, and wrote some of the most famous songs of the 20^th Century, not bad for the number 3 spot.  So again, it’s a little surprising that Sir Paul is only number 3, I don’t know why he’s not at least number 2…maybe it was that whole Wings thing?

2. Flea

You know how you have that one person that you’ve known in your life that really isn’t into music that much, except for one band or song that they play over and over and over and over? For me, that was my freshman year roommate at college, and he played nothing but the Red Hot Chili Peppers. And I’m not talking the good Peppers of old…he used to play songs like “Snow” all day. It was awful. So, with that experience forming my utter disdain for the Peppers after 2006, I have to say that I don’t agree with this ranking. I don’t want to disrespect Flea or Peppers fans, I know he’s real good…but number 2 of all time? I’m just not sold on that. But, with my personal feelings aside, Flea did find a very signature style and tone for himself as a bass player that helped shape punk and rock music in the 90’s. He developed his slap style after getting into Bootsy Collins in the mid 80’s, and ran with it, becoming known as one of the best slap bass players in popular music. He was able to take a funk style and apply it to punk and alternative rock, and was a pioneer in the “not wearing a shirt, wearing the instrument real low, banging your head around, and slapping the bass” style. I think that’s an official music category, right?

1. John Entwistle

The number one spot on the Rolling Stone Top 10 Bassists of All Time goes to The Ox, John Entwistle. Entwistle was the bass player for The Who, and is responsible for changing the role of the bass in rock music. Before Entwistle came along, the bass was used to just play the background undertones. It would voice the low line that the rest of the song was built on top of, and never really change or do anything flashy or special. Entwistle came along and turned the bass’s role around, using it as a lead instrument rather than a supporting instrument. Ask any Who fan and they’ll tell you that Pete Townshend played rhythm guitar while Entwistle played lead bass. His power, technique, speed, and musicality allowed for the bass to shine through in many Who songs, such as “The Real Me”, “5:15”, “The Punk and the Godfather”, and many many many more. His bass solo on “My Generation” is undoubtedly one of the most famous and recognizable bass lines in rock history, and not to mention he invented the classic bass player personality (i.e. just standing there very calmly, barely moving while playing, looking like a bad ass). Entwistle, in my opinion as well as Rolling Stone readers, is by far the greatest bass player in rock history, and if you are not yet convinced of that fact, watch this video, and realize that he’s doing this when he was in his 60’s.


Watch: http://www.youtube.com/watch?v=TVl39LBZGMw

And there you have it, the Top Ten Bass Players of All Time according to Rolling Stone Readers.

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Plectrum's Singer Songwriter Series (SSS) debutes at Church of Boston

Live tonight from CHURCH at 69 Kilmarnock Street, Boston, MA Plectrum will present three Singer-Songwriters in the round style (think VH1 Storytellers or MTV unplugged) This event is 21+, $8 cover, and FREE parking behind the club! Featuring: -Jason Labbe

-Rick Gottlieb
-Greg Loftus

Bands from 9:20pm - Midnight

Featuring:

9:20 - Garlic & Moonshine
10:20 - Tsunami of Sound
11:20 - JVD and The Backporch Smokers

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Silent Auction for Red Sox-Mariners Tickets on 4/29/2011

Want Red Sox tickets and an opportunity to donate to disaster relief in Japan? Plectrum Entertainment has a silent auction currently running for two tickets for the Red Sox - Mariners game Friday April 29, 2011 at 7:30 PM at Fenway Park in Boston. Seats are Sec 22-F47, seats G4 and G5, behind home plate, with a face value of $130 each. Send an email to info@plectrumentertainment.com, subject line "Red Sox Tickets" with your bid. Auction will end at 6PM EST on Wednesday, April 27, 2011. The highest bid (and earliest in case of a tie) will win. Payment must be made via Paypal immediately upon notification (instructions will be provided to the winner via email), because arrangements will need to be made to get you the tickets the next day. The full amount of the winning bid will be donated to Japan Disaster Relief Boston.

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Let Down

Don't get sentimental...it always ends up drivel.

the following original thoughts by bobby murphy


In light of my most recent entry about cover wars, I decided to dig up this short piece that I threw together one lazy afternoon while listening to the Easy Star All-Stars' collaboration album, Radiodread.  Falling between Dub Side of the Moon and Easy Star's Lonely Hearts Dub Band, this work brings together the widest range of talent to pay tribute to one of the most significant steps forward by a band in my lifetime: Radiohead's creation of OK Computer.  To make an album of this magnitude immediately following something as straight forward as The Bends was the turning point of Radiohead's career, and a golden ticket into the not-fucking-around club.  That was lucky for them, because as Thom put it, "None of us fucking knew any more whether it was good or bad. What really blew my head off was the fact that people got all the things, all the textures and the sounds and the atmospheres we were trying to create."  Yup, we got it all right.

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You are in a band....AWESOME! Now get out there and be heard!

You are in a band and you want to make something of it. You wish to make music your whole life and live off doing it. Sounds like your ready to become an entrepreneur and start your own business doesn’t it? Well, it should sound like that because that is exactly what you are doing! As any business that operates in this new digital world promotion and advertising is an absolute must after all no one is going to spend money on your product unless you let them know you have it available for sale. Additionally, consumers purchase products from people and businesses they know and have positive report/relationships with. Being in a band and making music is no different.

Bands and artists need to realize that in order to create your fan base (something outside your friends, family, and co-workers) you need to do what any business does and that is let your customers sample or have your product. Now a day nobody wants to pay for something that is unknown to him or her doing so would simply be too much of a risk. Most consumers are discreet discretionary spenders who are risk adverse.

As a musician, it makes no sense NOT to let people hear your music! Think about this for a moment...why did you join or create your band (besides the obvious to score girls and party like rock stars) you did so because you are passionate about the music you create and you want everyone to hear it. Music is not meant to be created and then to be shelved never to be listen too. The whole reason why you create music is to have it heard.

Therefore, there is millions of tracks out there free, and if yours isn’t one of them, then you are missing out on many opportunities to create connections with potential fans of that style. If you are not putting yourself out there how are you going to gain the attention of even a fraction of a percent of the millions of music consumers in the world? You need to be in the position of being upfront with your audience and potential market giving away your music, starting that relationship and growing it. Music fans really appreciate the fact that you have given them something and music nowadays is really based on relationships with your fans.

If they love it, chances are eventually they will reciprocate, either by paying for a ticket to come and see you live, or wanting to actually buy that piece of vinyl or CD rather than just the free download that you gave away to them. Think of your music as a business or calling car for your band or business. If a business owner who is just starting up and getting their name out there is out networking, do you think they are asking the other person for10, 20, or even 30 cents from every prospect they hand a business card too (of course not!) they give the card away free. As a musician, that is what your music is. You are not giving away the farm; you are making a long-term investment in the future of your band and establishing a long-term relationship with your fan base.

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Cover Wars

Here we sit, just hours away from the NCAA Championship game between UConn and Butler, the two unsuspecting teams that emerged from this series of upsets and early farewells that we call March Madness. I was lucky enough to have Kentucky and UConn as my picks for the East and West, helping me to win my pool days before the final four was even underway. But alas, here is where I admit to knowing nothing about college basketball. Not even nothing; LESS than nothing. But that's the beauty of March Madness: it's possible for someone like me to be triumphant from literally only knowing the bare minimum, i.e. a number one seed is good and a number sixteen seed is not-so-good. From there it's a crapshoot guessing game, and a fun one at that.

But this March, college basketball was not the only bracket that I followed(although it's the only one that I had any money on). Glide Magazine's (partner? affiliate? spawn?), Hidden Track, has reached the final pairing of their March Madness version of Cover Wars, an exciting chance for fans to vote on their favorite covers of well-known songs by well-known bands in a structured bracket set up. Starting with thirty-two covers, fans have since voted and narrowed the field down to two finalists. Let's have a look back at some of the upsets, no brainers, and head-scratchers that have taken place over the last month.

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Round 1: Civil War and Unrest

The first round we were treated to a series of match-ups that featured two different covers by the same artist, two different artists covering the same artist, and two different projects by one artist covering different songs. Confused? Good. Our friends at Hidden Track came out strong, featuring two Dylan covers as the first match-up: The Black Crowes: "Rainy Day Women #12 & 35" vs. The Black Keys: "The Wicked Messenger." Both bands kick it up a notch for their respective covers; the Crowes literally up the tempo and wild sound to this already unusual song, but the replacement of a full horn section with electric distortion doesn't quite work, and it's the Keys' droning bluesy guitar that helps them take the close win in the early round.

Gov't Mule was pinned up against itself for covering Black Sabbath's "War Pigs" and Tom Waits's "Goin Out West." Black Sabbath won because, well, it's Black Sabbath. Gov't Mule took the free pass to the next round.

I was also intrigued by the match-up between M. Ward's two projects, as a part of Beth Orton's touring band (Dylan's "Buckets of Rain), and She & Him with Zooey Deschanel (Screamin' Jay Hawkins' "I put a Spell on You). This is a fantastic rendition of "Buckets of Rain," in which Orton and Ward trade off verses, creating a dream-like world in which the acoustic arpeggios drift you slowly downstream on an endless river of beautiful lyrics and soft voices. Suffice to say, She & Him still won outright with a two-thirds vote, thanks in great part to the siren-like attraction that encompasses Zooey Deschanel and her captivating voice.

Some notable no-brainers include My Morning Jacket covering The Band, The Band covering Marvin Gaye, Umphrey's playing "Ain't No Sunshine," Beck's recording of The Velvet Underground's "Femme Fatale," and String Cheese Incident's magical rendition of Paul Simon's "Under African Skies." What didn't make any sense was how any version of "Hey Jude" could beat Jimmy Herring's version of "Within You Without You," but what do I know.

Phish vs. Phish resulted in the extremely rare cover of "Ramble On" squeezing out a bluegrass version of Boston's "Foreplay/Longtime," and Trey's take on the Dead's "Row Jimmy" crushed the competition all the way to the Final Four.

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Round Two, Sweet 16: Every Band for Itself

In what seems like an unfair pairing, Phish's "Ramble On" crushed Wilco's take on Big Star's "Thirteen," a song I was first introduced to by Elliott Smith. (As much as I love Wilco I think I prefer Elliott's version, although that would never stand up to Phish in this type of bracket anyway).

Everyone who's anyone knows and loves Jeff Buckley's "Hallelujah," and if you don't then you might not have a soul. The song seems to have an even heavier feel since his death, and it easily surpassed "The Wicked Messenger."

Wilson Pickett somehow managed to oust the other Beatles tune in the first round with their "definitive cover" of "Hey Jude," but were easily outvoted in the second round when pinned up against Perpetual Groove's stellar "Live and Let Die." I love solo Paul.

The Band went up against Umphrey's McGee, and may have only won since their cover is straight from The Last Waltz, one of the most epic displays of live music ever, throughout all of history.

It's really a damn shame that SCI had to go up against Trey so early on, as they both deserved to go very far in this bracket. "Under African Skies" is my number one recommendation for covers to check out from this list, although it sadly didn't even get a chance to see the Elite 8.

Other wins:
My Morning Jacket - "It Makes No Difference" (The Band)
Gov't Mule - "War Pigs" (Black Sabbath)
She & Him - "I Put A Spell On You" (Screamin' Jay Hawkins)

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Round Three, Elite 8: The Reality Is...

As good as Jeff Buckley and She & Him really are, the reality here is that Phish is a creative powerhouse, and it's going to take a lot to take down Trey or the whole band.

P. Groove covering McCartney was able to oust The Band covering Gaye, but that's because "Live and Let Die" is easily one of the most powerful songs on the list.

And although The Band themselves didn't make the Final Four, I was happy to see that MMJ's cover of The Band just barely took the edge over Gov't Mule's cover of Black Sabbath.

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Round Four, Final Four: Playing for Keeps

Looking at the Final Four, it appears as though the original songwriting played an equally important role in the decision making process as the actual execution of the cover did. Either that or the hippies are the only ones that kept voting this long.

The first thing that really jumps out here is the possibility of Trey vs. Phish in the finals. We have seen the Zeppelin and Dead covers obliterate the competition throughout the entire bracket. Like I said, Phish is a creative powerhouse, and it was not unreasonable to expect to see both Ramble On and Row Jimmy in a final face-off.

Yet in some weird twist and topple of the universe, both P. Groove and My Morning Jacket edge out Phish and Trey and advance to the Championship round. I have no explanation to go along with this fact, but I must say that although they may not have been underdogs, these two covers certainly deserve a shot at the title.

Perpetual Groove - "Live and Let Die" (Paul McCartney)
vs.
My Morning Jacket - "It Makes No Difference" (The Band)

Voting is to continue through April 11, and I highly suggest sitting down, plugging in your best pair of headphones, closing your eyes, and absorbing these two feats of sound for yourself. And be sure to check back to find out who will be the Cover Wars Champion.

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Phish: The Ultimate Experience B(r)and

I’m sure there are more than a few Phish fans out there that would be outraged for me to associate Phish with brands and business, but I’m going to do it anyway. Because I, myself, am a huge Phish fan, and I guess I can be considered to be pretty businessey as well (that’s totally a word, look it up…well, no, don’t). And to be quite honest, Phish is the definition of an experience brand, at least in how it relates to music and live entertainment. And when you think of what they’ve accomplished in their 20 plus year career, it’s really quite amazing. They have never had a number one single, they’ve never had a hit music video on MTV, and they have never ever been played on Mix 94.5, or most radio stations for that matter. Yet they can still pack hundreds of thousands of fans into a three day festival headlined by only them. How is it that a band can be so out of the mainstream, yet so popular right outside the confines of it? Well, in case you haven’t gotten the point of this post so far….it’s the experience! The experience of going to a Phish show is unlike any other now a-days; the people, the community, the pre-show excitement, guessing what the opener will be, not having any idea of what is in store for the set-list, the lights, the on-stage antics, the dancing…and last but absolutely not least, the music! What draws people to a Phish show is the experience of all the above, plus much more that you can only understand if you’ve been to a show…and trust me no Phish show is ever the same.

Phish has built a massive audience as well as massive brand recognition through that live show experience, and they have done a great job to sticking to their core brand. For example, if you were to stop a random person on the street and ask them to name a Phish song, they probably couldn’t. That’s because the songs themselves aren’t at the center of their brand equity. Now, if you asked that same person if they know who Phish is, they probably do…or would probably say they’ve at least heard of them, and maybe say something along the lines of “aren’t they that Vermont stoner hippie band?” Which is fine, because I’m sure that Phish would rather be known as that Vermont stoner hippie band than as that girl who needs to wear dresses out of meat to gain notoriety. But at any rate, the point is that people know Phish as a live experience jam band, not as an in-studio, radio friendly pop act that puts out singles. Phish sticks to their core brand, and you can bet that they know exactly where their brand equity lies.

Along with the live show experience, connecting with fans has always been a priority for Phish. Audience participation is a guarantee at any Phish show. The beginning of the song “Wilson” is a great, simple example. Trey, who is the guitar player for any non Phish fans reading this, starts out the song by just strumming two quick notes, and the audience almost immediately responds with an elongated two pitch response of “Wiiiiiillll-sonnnn”. This repeats a few times and then they start playing the rest of the song. Another great, slightly more involved example is the song “Meatstick”. “Meatstick” is a song that came about after a European tour in 1997 when, looking for food backstage, the band was only able to find a refrigerator full of sausage. The song was never released on an album, but is a crowd favorite because of the Meatstick dance. Phish came up with a little dance for the chorus (you can watch the over the top New Years 2010 here, go to about the 3:40 mark…they’re doing the chorus in a different language, but they do the dance…and then they have dancers from different cultures come out…talk about an experience!) For the rest of the 1997 tour they showed the dance to the audience and taught them how to do it. Then, at a festival in upstate New York, they told the audience that they were trying to break the world record for the most people dancing exactly the same to the same song at the same time….and it was true, there were Guiness Book of World Records representatives there to judge. Unfortunately, part of the dance required the dancer to jump 90 degrees to the left after each run through, and then repeat the dance, and then jump again, until you came full circle (kind of like the Macarena)…and at the festival the audience wanted to keep facing the stage, so they did not count the record because the audience failed to turn angles. Talk about being robbed. The last that I’m going to mention, and one that I think one of the funniest, is the Audience Chess move. And yes, it is exactly what you’re thinking. Phish played chess against the audience at a few shows during one of their tours. They had a large chess board on stage, and at each show the band would make a move in the first set...audience members would gather at the set break and decide what move to make, and then one of them would make a move on stage during the second set. To say that their live shows are an experience is an understatement.

But with all the talk about the live shows, the music is really what ties everything together. The eclectic mix of rock, jazz, blues, classical, funk, country, psychedelic, bluegrass, improv, and of course face-melting guitar solos really brings the experience home. You don’t go to a Phish show to hear their newest single played live, you go to have a good time and hear some really great music, whether it was released 2 months ago or 15 years ago. If you’re lucky, you might see some classic antics along the lines of playing chess on stage and the Meatsick dance, like jumping on trampolines while playing, vacuum cleaner solos, the band members switching instruments for some songs, and some a-capella songs…but at the very least you are always guaranteed a great show that is unlike any you’ve seen before. And the experience of the show is what sticks with the audience, or the consumer, and inspires them to buy their music and keep going to their shows. To me, that makes Phish one of the best experience b(r)ands.

P.S- Go to a Phish show at some point in your life if you haven’t.

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Alice Cooper

I have been a huge fan of all things music for as long as I can remember. Alice Cooper is one of those iconic figures that have been to hell and back overcoming many trials and tribulations of demons throughout his career. Unlike so many other rockstars, he is still ticking and still touring? Known for his theatrical style and often times bizarre behavior, Alice paved the way for many other acts to follow.

What I cannot grasp my head around are a few things: 1) how is he not dead yet….simple! He took like a few years off to chill out and play golf. Do not know about you but if I was on the golf course and saw this guy heading down the fairway, I would grab my ball put it in my pocket and go the fuck home! Seriously, I do not want him messing with my mojo during tee off. 2) After his sabbatical, he went back to work doing what he does best and wrote an album called Brutal Planet basically describing how twisted the human race and dark a place the world is. Alice never holds back and calls it as he sees it using this platform as a medium to vent his frustrations. Do not bottle up your anger and emotions folks; it is the quickest way to the grave. 3) There has to be something in his diet…C’mon people just look at the guy. He has been a toothpick for as long as anyone can remember. He has the type of stature that when there is a slight breeze to the air, he falls over. Meanwhile the sun does not do him any favors for it is beginning to melt his face off.

See what I mean!

3) If it is something in his diet that is keeping him on this earth then give yourself a round of applause for you are all feeding the machine that produces his chemical treatments. Looking at the picture (above) he is off his usual treatment, and this is what he looks like when he is on his treatment (below.)

The average price for an Alice Cooper concert these days: $46.20, which is not so bad comparatively to others currently on tour. I am extremely bothered by the fact that he is being classified as Pop / Rock. Huh….are you fucking people kidding me! You are really going to put him in the same vain as Nickleback (should rename themselves “pennyback” because that is what their music is worth these days, Maroon 5, The Fray, and Jason Mraz? What the hell is everyone smoking…apparently it is the same thing that is keeping Alice Cooper going! His current tour lineup has him playing in very rough, tried and true venues that includes the Sturgis Rally, and appearing with heavy metal greats Iron Maiden and current metal mainstay System of a Down.

Love the man; he is a legend but seriously man….take a break for a bit.

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Who's currently on tour and what are the average ticket prices...be prepared to suck you wallet dry!

Keep in mind folks these are the average! Tickets are going for much more. Stay tuned for more comments about some of the acts listed. This is going to be fun :-)

Aerosmith Pop / Rock $91.56
Alicia Keys RB / Soul $78.74
André Rieu Classical $78.39
The Allman Brothers Band Pop / Rock $71.71
A.R. Rahman World $67.83
Aventura Latin $59.92
"America's Got Talent" Fair / Festival $59.72
Al Jarreau Pop / Rock $59.10
Alejandro Fernandez Latin $56.81
Anthony Bourdain Lecture $55.51
Alan Jackson Country $53.63
Al Green Pop / Rock $51.67
America Pop / Rock $49.96
Alice Cooper Pop / Rock $46.20
Amy Grant Christian $45.81
"American Idols Live" Fair / Festival $45.07
Arcade Fire Pop / Rock $42.87
ASIA All Four Original Members Pop / Rock $42.60
Alice In Chains Pop / Rock $42.01
The Australian Pink Floyd Show Tribute Acts $41.64
Aaron Lewis Pop / Rock $40.64
Air Supply Pop / Rock $40.23
Allen Toussaint RB / Soul $39.02
Air Dance / Electronic $38.22
"ArtPark Festival" Fair / Festival $37.83
Adam Lambert Pop / Rock $36.68
Aimee Mann Pop / Rock $36.68
Avenged Sevenfold Pop / Rock $34.84
The Avett Brothers Pop / Rock $34.47
Ani DiFranco Pop / Rock $34.09
Aziz Ansari Comedy $33.83
Apocalyptica Pop / Rock $30.89
Andy McKee Folk $29.65
Alejandro Escovedo Pop / Rock $28.62
Asleep At The Wheel Country $28.07
Amos Lee Folk $27.67
The Airborne Toxic Event Pop / Rock $26.65
Arctic Monkeys Pop / Rock $25.48
As I Lay Dying Pop / Rock $25.22
Amon Amarth Pop / Rock $24.98
Andre Nickatina Rap / HipHop $24.74
Angels And Airwaves Pop / Rock $24.29
Atreyu Pop / Rock $23.56
Australia's Thunder From Down Under Theatrical $23.51
Alexisonfire Pop / Rock $23.48
Atmosphere Rap / HipHop $22.69
The Aquabats Pop / Rock $22.27
"Aqua Teen Hunger Force Live" Theatrical $21.91
Alter Bridge Pop / Rock $21.51
A Day To Remember Pop / Rock $20.77
Asylum Street Spankers Country $20.43
Amy Speace Country $19.66
All Time Low Pop / Rock $19.36
All That Remains Pop / Rock $18.86
Aqualung Dance / Electronic $18.79
Anberlin Pop / Rock $18.59
Alkaline Trio Pop / Rock $17.67
Ariel Pink's Haunted Graffiti Pop / Rock $17.31
Attack Attack! Pop / Rock $17.25
Angus & Julia Stone Folk $16.93
Authority Zero Pop / Rock $16.51
"Alternative Press Tour" Fair / Festival $16.16
Against Me! Pop / Rock $16.10
Allstar Weekend Pop / Rock $15.96
ALO (Animal Liberation Orchestra) Pop / Rock $15.47
Autolux Pop / Rock $15.28
As Tall As Lions Pop / Rock $14.68
Alberta Cross Pop / Rock $13.96
The Album Leaf Pop / Rock $13.87
Adler's Appetite Pop / Rock $13.77
The Antlers Pop / Rock $13.70
Athlete Pop / Rock $13.22
Ana Sia Dance / Electronic $12.64
Avi Buffalo Pop / Rock $12.42

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Thinking of a music Startup? Do your homework and prepare to be shocked

Below is an article I read today on Digital Music News.com. I found it very interesting and insightful! As someone who has been in the music business for a decade plus it never ceases to amaze me how quickly the business changes and the instant affects those transformations have on businesses of all sizes that operate within our field. Many people have asked me should I start up my own record label, publishing house, or recording studio, and I always say you have to do your homework and research.

The aspiring entrepreneur cannot just jump into bed with the first idea that comes across their mind (even if it’s a born and raised musical thoroughbred) who is championing for the coveted six figure plus multi-album record deal…those days are dead and gone unless you are already a star and making things happen. The rest of us have to pay our dues. To any aspiring artist, band, or individual who is looking to be the NEXT BIG THING in this industry take your time, do it right, pay, your dues, and most importantly know who your competition is, understand how your proposed product is going to fit in the market and what will set it apart from others already out there in the world so, you can exploit the market inefficiency.

Take a look at your local markets, the World Wide Web, and the latest advancements in technology and how people are leveraging it. If you do not constantly keep on top of this you will fall victim to companies like Google, Apple, Facebook, and the like who are gaining more and more muscle every day in the music and entertainment field. Ok…enough of my dry, boring, and mundane lecture/rant and on with the SHOW!!!!!!!!!!!!!!!!!!!!

Sunday, March 13, 2011


Who really has the power to kill your music startup? It used to be the major labels, but that's so 2006. "Index Ventures will put a lot of money into music," said Vince Bannon of Getty Images at Canadian Music Week. "But they won't touch anything involving the major labels or licensing."

In other words, they figured that part out! And if Spotify dies while waiting for UMG's signature, then it's their own damn fault. Because the 'major label problem' was isolated and identified years ago, and investors decided they wanted to make money, not burn it.

Actually, this problem gets easier over time. Because every year, the majors become less powerful, and the ice slowly thaws on a heinous licensing process. But the power of companies like Google, Apple, Facebook and the ISPs continues to expand, and so does their power to destroy your music startup - or even fully-grown company - overnight.

Take Apple and its in-app subscription fees. Maybe Apple will spare the music companies, maybe they won't. But the fate of countless subscription startups depends on which side of the bed Steve Jobs wakes up on. That type of power makes the majors look like Smurfs.

But it's not just Apple. The 'finish them' button also belongs to behemoths like Google, cable companies and ISPs. Over the weekend, one executive at a major cable and internet property told Digital Music News that small switches in Google's search algorithm have had profound impacts on his business. And, if a major cable provider changes its mind about its lineup, people are getting laid off - tomorrow.

And let's not forget Facebook. One of the hottest startups of late is RootMusic, and currently, the Facebook environment is friendly for nestled music apps. But what happens if RootMusic blows up, and dominates music on Facebook? Will Zuckerberg change his mind, overnight? Do you want to invest in a startup with that level of vulnerability?

Well, it turns out that plenty of companies - very successful ones - are living with it. Tunecore is one example: this is one of the best-performing digital music companies right now, yet Apple could erase their middleman niche in a weekend coding session.

Oh, easy to say it won't happen. But the competitive environment is so intense, so quick-shifting, that no one can really predict these things in advance. So maybe it's just another risk to assume and weigh, and part of the game. But in many ways, it sucks: because we live in their world now.

Paul Resnikoff, publisher, reporting from Toronto.

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The Vibes Are Being Gathered

The Gathering of the Vibes lineup has been announced, and I've got to say, I'm kind of sad that I didn't put any thought or effort at all into trying to go to it. Like, if I even thought once over the past few months, "Hey, maybe I should look into going to the Gathering of the Vibes this year"...or even "Hey, the Gathering of the Vibes is, in fact, happening this year"...then I would be much happier than I am right now. John Butler Trio, Taj Mahal, Elvis Costello, Jane's Addiction (??), Further and .moe are all parts of this festival, and also happen to contribute to all things good in music. Which I support.

Also on the bill are Dark Star Orchestra, Levon Helm, and The McLovins. Gotta love a band that is young enough to name itself after Superbad, and also, they're dirty...(check them out covering "You Enjoy Myself" by Phish...http://www.youtube.com/watch?v=s5E3iGtyX18)..not bad considering they are like 16 years old. But my favorite part of this lineup is .moe. I saw .moe last year on Halloween in Albany, and other than the fact that it was in Albany, it was great show... John Entwistle skeleton body suits and all. (In case of missed reference, check it)Anyway, .moe kills it. So I'm pumped for everyone that is going to see them at the Gathering of the Vibes.

Also, if you want to gather with some vibes of your own, check out Plectrum's Saint Patrick's Day Showcase at the All Asia Bar in Cambridge this Thursday, March 17th at 7!, featuring Ridden, Fifth Element, Wicked Blue, Jason Labbe, Andy O'Brien, and special guest Dan Rodman.

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"To Suck It And See"...?

That's not a come on...nor is it the name of a questionably legal "spa"in the sketchy part of town. "To Suck It And See" is the name of the new Arctic Monkeys album that's going to be released on June 7th, 2011. Arctic Monkeys just revealed the release date, and the fact that they are making a new album, AND the new single, "Brick by Brick", in a very under-the-radar-but-still-cool-because-its-underground-and-sticks-to-their-roots kind of way. I love when new albums come out. I get really excited for a long time until it comes out, then I listen to it, and am usually disappointed for a while. But then I listen to it more, and start to like it, and validate my pre-release excitement. It's a really bad way to listen to new music, I know, but it works for me.

But the thing that has me most excited for this album is, no surprise here, the title. Because I'm all for artistic expression and blah blah blah, but I love a band that can just put things out there because they're funny or because they go against the acceptable norm (and no, I'm not talking about lady gaga wearing meat type stuff, that would fall under "artistic expression blah blah blah") but this is the band that put out an EP called "Who the Fuck Are Arctic Monkeys", who have managed to expand and grow while still keeping to their original roots, and who's observational lyrics basically narrate a typical night out in clubs/bars and make fun of everyone that takes everything too seriously. Don't know what I'm talking about? Listen to songs like "Red Light Indicates Doors Are Secured", or "From the Ritz to the Rubble" and tell me that you've never had those type of experiences when going out on the weekend. So I'm excited for this album. I'm also excited for them to play at the House of Blues on May 19th (you should prob get tickets right now). I just wonder what the second meaning of the album title is...because knowing them, I'm sure it means something more than what it is?

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Live Nation, Entertainment, and Charlie Sheen Oh My!

What is this world coming too?

The current move by Live Nation to strike a deal with Charlie Sheen has me pondering. Is this a brilliant move to capitalize on what could translate into millions of dollars in revenue, or is the largest live music promoter in the country taking so much of a hit financially that they are desperate to find anyway to make money. I think the answer is somewhere in the middle.

Charlie Sheen is a very interesting “basket case” who continues to somehow capture our attention and infiltrate our daily lives like an infectious disease. Who is “crazier”…Live Nation or Charlie? No doubt, LN will make a large profit on the exploitation of Charlie’s over the top behavior however; they really have only a narrow window of opportunity. History has shown us Charlie’s radically exuberant exploits comes and goes in cycles (very typical to that of your traditional bipolar) with long periods of manias and periods of lows.

The mainstream media and paparazzi do not help this situation either. The more attention you throw at Charlie, the stronger he becomes. My thought is “stop feeding the beast!” if you leave it well enough alone it will go away and then we will be cured of Mr. Sheen.

Charlie is dummy, and he definitely has some very smart people working in his corner. His “marketing and branding” strategies take a page out of the Conan O’Brien playbook. Sheen is fired, joins the social media world and thus amassing a large amount of Twitter followers in a very short time, etc. LN wants to create Sheen merchandise including T-shirts, mugs and other items bearing his new catchphrases like "winning" will be for sale along with the possibility of a live tour. I am confused because this is a live music promotional company what do they know about clothes.

This is the pulse of the music and entertainment business…..still want in?

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Live Concert at Church Rock Club 3-02-11

Everyone at Plectrum Entertainment and Citywide Blackout are excited to be able to present Gravitas, Hadrian's Heroes, Matt Koelsch & The Allies, and Patrick Coman at the Church Rock Club this Wednesday.

This is not to be missed!
-Great Bands
-Low Cover ($7)
- Fantastic Food
- Superb Sound
- Drink Specials
- FREE PARKING!! in the back
- Network with local bands, Citywide Blackout, and us

Check out more info here:
www.plectrumentertainment.com
www.ticketfly.com/event/29085/
www.citywideblackout.blogspot.com

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Check out music from Plectrum Entertainment

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Check out music from Plectrum Entertainment

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Sonicbids Now Making a Serious Move Into Facebook...

As reported by Digital Music News on Thursday, January 27, 2011.

So who's the latest to dive into Facebook? That would be Sonicbids, a company that is about to announce a serious expansion into the network. This is an involved artist profile builder that further broadens the Sonicbids model beyond live performances.

Members are getting notified later today. "We realized that we were helping people get gigs but not cultivating their audiences," Sonicbids founder Panos Panay told Digital Music News at Midem this week. "We needed to do more."

That was the impetus behind the recent acquisition of ArtistData, and now, the push into Facebook. And, at first blush, this looks pretty slick. At the onset, bands can quickly get started by linking their Sonicbids and Facebook accounts, then the process of porting over Sonicbids EPK information begins. So, just like that, Sonicbids profile details are loaded onto a Facebook tab.

Then, there are lots of customization options. Bands can load customized banners, select customized colors, and stray from the default Facebook layout theme. Also, there are some nice features that seem ambitious for a first version. That includes the ability to 'lock content,' then unlock that content to reward certain levels of fan engagement. So, for example, if a fan 'likes' a band, that fan can then receive more music, photos, or whatever.

Follow this link for a screen shot example:
http://www.digitalmusicnews.com/uploads/93/47/93472fd93ea1fc1f7a7223130549b7f3/sonicbids1.jpg

And, here's Sonicbids founder Panos Panay talking a bit about his company's expansion, and how that ties into artists' needs.

Follow this link to here Panos Panay: http://www.youtube.com/watch?v=lx3faEqmtq4&feature=player_embedded

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2011 Rockstar Mayhem Festival

Over here at Plectrum, we take pride in saying that we do not just focus on one particular genre of music. WE LOVE THEM ALL whether we want to believe it or not. You may not like to listen to the latest Usher, Eminem, or Katie Perry release but you admit (albeit secretly to yourself) and sometimes even aloud to yourself while standing in the mirror with a comb in your hand that each of these over the top production value artists do have a catchy quality that makes you want to tap your toes, smack your thighs, and throw your hands up and shout. All of those examples are of similar yet different artists. It might even make sense to throw them all on a lineup together and tour them around the U.S.

However, the men and wo(men) behind the scenes of this year’s Rockstar Energy Drink Mayhem Festival must have been hitting what can only describe as a near lethal combination of 4loco in order to have created this year’s Mayhem Festival. Organizers for this year’s event decided to put together Disturbed, Godsmack, Megadeth, in Flames, Machine Head, and Trivium. Additionally, they put together Unearth, Kingdom of Sorrow, Red Fang, plus a few Jagermeister Battle of the Bands winners. Some folks have said that the lineup presented this tear will be chalk full of sonic fueled head banging, heart pounding, fist pumping, metal head debauchery.

Now...maybe it is just us here but it seems like the fine folks who are in charge of making these decisions pulled names out of a hat that was filled with the slimy goo they used to use on Double Dare back in the day and threw it against the wall, and whomever was left stuck to the wall after a half our were chosen to perform. Now don’t get us wrong... we love metal and all thinks hard rock but do not go slathering them all together between two slices of bread and call it a sandwich.

Let’s go down the list in order shall we...Disturbed has not been considered metal since ummmm...well come to think of it they are not metal! They have been sold to the unsuspecting drones as Metal but they have always been Hard Rock. The only thing metal with these guys are the animal noises and repetitive grunts we hear on album after album. Don’t buy what we are saying than why don’t you go check out 10,000 Fists again and explain to us why they decided to do a Phil Collins cover! Next up is Godsmack. Are you people freaking kidding us....for those who never got the 411 on these guys they started in Boston as an Alice in Chains cover act. They got big with an overly influenced post grunge rock flair that can only be categorized in the Hard Rock Category. Following them is the legendary Megadeth. Back in the day, this was one of Curtis’ favorite metal bands...only back then it was Thrash Metal. No question this band is as good as it gets when it comes to the Metal genre. Unfortunately, they are past their prime and no longer innovative. Dave Mustaine is still hopelessly set on that early e80’s sound but mixes it up with modern daily social and political commentary. Inflames, Machine Head, and Travium...ok we’ll give you the Metal Tag.

Perhaps all of this might make a little more sense if we enlightened you as to who your cooks are for this feast. Hands in the pot this year include the Rockstar Taste Of Chaos organizer John Reese, Vans Warped Tour founder Kevin Lyman and the Creative Artists Agency and co-produced by Live Nation. See...too many cooks in the kitchen can spoil the broth (or however you choose to word it.) It is going to be interesting come the day of the shows when the true metal head die-hards come face-to-face with the meek yet Hard Rock fanatics in a battle for supremacy in the mosh pits! Believe us when we say “Oh...there will be blood”

Our thoughts on this event, Skip it!

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"Cornerstone" - reviewed by The Noise Magazine

Jamie Alimorad's debut EP “Cornerstone” has been reviewed in the The Noise magazine (February issue #308) which is available now throughout the city of Boston as well as metro-Boston area Newbury Comics locations. The monthly magazine is free, and chalk full of music and entertainment related happenings going on right in your own back yard. Pick up your copy today and if you get the chance check out Jamie Alimorad’s “Cornerstone” now available on iTunes, emusic, Unheard Radio, Bandcamp, Nimbit, and CD Baby.

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