Blog Temporarily On Hold; New Website On The Way!

Blog Temporarily On Hold; New Website On The Way! Please stay tuned and thank you for your patience. You can still connect and chat with me via Twitter at @leejarvis. Lee.

You Got Me Sheenin'

Yes, this was entirely necessary.

Phillipe Floppe - You Got Me Sheenin'


Lee Jarvis.

Jagoff Video Interview

Chicago musicians JaGoFF are a funky bunch. Their music is George Clinton meets Deadmou5, often with a message akin to lyrical wordsmiths such as Public Enemy. They helped spur mass resistance to the Chicago Promoters' Ordinance, took part in the Warp tour, and are in the process of giving their latest album away. To find out what makes these guys tick, and to see what advice we could gain from their experiences, we sat down with them at the end of last year for a video interview. Enjoy...



JaGoFF links:
http://twitter.com/JaGoFFmusic
http://www.facebook.com/profile.php?id=609361935
http://www.myspace.com/jagoff
http://www.youtube.com/user/JaGoFFmusic
http://soundcloud.com/jagoff
http://www.cdbaby.com/cd/jagoff


This was also only my second foray into video production and editing – feel free to comment or share any tips and advice!

by Lee Jarvis.


(Previously posted at US Music Jobs' blog.)

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Ones to Watch 2011

2010 was a great year for British music, and in fact, rounded out an interesting musical decade for this wee island, as highlighted in a recent Spotify playlist on Music Jobs. Moving forward, there are many exciting names that are buzzworthy and talented, and I thought I'd stick my neck out and share a few that are going to be taking big leaps forward in 2011.


James Blake
jamesblakemusic.com/
If you buy one album this year, make it this young (22!) Londoner's self-titled debut LP. James Blake, an 11-track album featuring the single Limit to Your Love, is released in the UK on 7th February, and I dare say that I expect it to fly out the stores as well as pick up some credible awards over the next 12 months.




Jai Paul
myspace.com/jaipaulmusic
Apparently taking time out to record an album after XL singed him up off the back of BTUSU, Jai Paul is making waves with his own futuristic sounds mixed with sultry soulful vocals. And that just about all we know about this new kid on the block! Stay tuned.

Warner Music turns to Goldman Sachs for options

Major record label Warner Music has today turned to investment bank Goldman Sachs to look at its future strategy options, including a possible buyout of rival EMI, and possible sale of its esteemed publishing arm (Warner/Chappell) to Kohlberg Kravis Roberts.

Warner/Chappell is reported be worth around £1.25bn, the sale of which could provide finance for the EMI takeover. KKR, who, along with Bertelsmann already own half of another major music publisher, BMG, has shown interested in Warner for some time, and had been discussing a joint bid for EMI, when the talks turned to a complete buyout of Warner instead.

The New York Times shares that CEO Edgar Bronfman Jr. sent a letter last week to shareholders saying that their "proven ability to outperform the rest of the industry” will see them through the challenges ahead. Mr Bronfman speaks the truth, with Warner's revenue declining much less than the rest of the majors. According to the International Federation of the Phonographic Industry, total sales of music declined nearly 23 percent over the last five years, whereas Warner's revenue declined around 9 percent, due to improved profit margins through cost-cutting. Warner reported a $145m net loss last year, compared to the $1.51bn net debt reported by EMI.

Private investors, led by Mr Bronfman, bought Warner Music from Time Warner in March of 2004 for $2.6 billion in cash. The company went public in 2005, trading at around $14 per share. Today they stand at a little over $4 a share, although little of the shares were released into public hands, so the investors have already profited well through dividends

KKR buying Warner as well as EMI would no doubt mean huge savings by combining and streamlining the companies' recorded music divisions, but any bid would face tough regulatory challenges to combining EMI Music Publishing with Warner-Chappell, two of the largest music publishing houses around.

The fact that Warner is looking to either take on another huge music industry empire, or sell itself, is pretty much a 'double down or get out'. Their investors are obviously looking to either go big, pick up EMI, and stick it out in the music biz... or cash in and go home.

Just one thing here....

One of the reasons that the major labels got into trouble in the first place is because they involved people who cared about money more than the creation, exploration, discovery, shared enjoyment and art of music. And now, Warner's solution (after boycotting Youtube and video games) is to involve Goldman? When loyalty is devoted to the bottom line, horrible things can happen to the arts.


Lee Jarvis.


(Previously posted at UK Music Jobs' blog.)


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Appleblim Video Interview

UK artist Laurie 'Appleblim' Osborne peddles his blend of dub-house-trip-hop-wobble-electronica-nu-step amongst some of the biggest names in the electronic music scene, both at home and abroad.

I recently sat down with with Laurie to talk about his story of breaking into the music industry scene, his early networking with FWD>>, clubbing in London, starting a record label, his thoughts on physical and digital music products and more. Check out the video interview below...



This was also my first foray into video production and editing - feel free to comment or share any tips and advice!


Lee Jarvis.


(Previously posted at UK Music Jobs' blog.)

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Selling Out

'Selling out' is a phrase that often comes up when discussing the 'sponsoring' choices of famous musicians and bands. There will always be the hardcore fans who want their idols to remain underground, yet want everybody on the planet to appreciate their music. Something of a paradox, and near impossible to balance. For smaller artists, a form of 'selling out' has become an important revenue stream; licensing music to TV and radio commercials, films, TV shows, computer games and promotional videos.

However, there is still a backlash against some of the large, 'legendary' artists doing so. One example is often Pete Townshend and The Who. In an interview with Rolling Stone earlier this year, Townshend says that between 1982 and 1989, "I was also learning how to run my catalog, learning how to be a publisher, learning how to make money outside of making records and touring. I developed quite a knack for it, and I was actually licensing songs for television, for commercials, for movies well before it was considered to be OK. I was one of the first artists to sit with journalists and answer to the idea that I was selling out a heritage and emotional catalog that didn't really belong to me -- that belonged to my fans, that argument."

Here is a quick rundown of some of the licensing options Townshend has chosen:
- "Baba O'Riley" for use in a commercial for a sports utility vehicle;
- "Bargain" for Nissan Xterra;
- The theme from Tommy for use in a TV commercial for Claritin, an allergy medicine;
- "Who Are You? for use by TNN, a cable TV station;
- "Let my Love Open the Door" for use by NBC-TV;
- "Happy Jack" for use in a TV commercial for Hummer;
- "Won't Get Fooled Again" for use in a TV commercial for a MSNBC news program;
- "I Can't Explain" to the PGA Tour/ABC Sports;
- "I Can See For Miles" to Silverstar Headlights;
- "Pinball Wizard" to Saab;
- "Going Mobile" to CBS-TV in New York City;
- "Who are you?" to CSI: Las Vegas
- "Let My Love Open the Door" to JC Penny;
- "Join Together" to Nissan;
- "My Generation" to Pepsi.
One he did turn down: in 2004, Townshend refused to let Michael Moore use "Won't Get Fooled Again" in "Fahrenheit 911."

On defending the accusation that he’s sold out by allowing the Who’s music to be used in TV commercials, Townshend said "Defend myself against whom? The rock ’n’ roll thought police? I sell out every time I drag my weary old ass out on the road to play classic rock to beer-drinking saps who should know better. This may be art, but I own the copyright. I come from a musical family. I know music is special. But I also know it is how my family lives. I am quite unsentimental about it, unlike some of our fans."

What are your thoughts about using your music for television commercials? Do you view it as selling out? Do you say "Good luck Pete, make all the money you can from any corporation willing to pay you"? Post your thoughts below...


by Lee Jarvis.

(Previously posted at UK Music Jobs' blog.)

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iTunes! The Beatles! Downloading! Exclamation marks!

You seem to be web-savvy enough to be reading this blog, so I'm going to assume you've heard all the furor about The Beatles over the last 10 days. Yes, The Beatles have finally released their catalogue of music on iTunes, seemingly ending decades of feuds between Apple Corps (the company owning of much of the rights to The Beatles music) and Apple Inc. (Steve Jobs' computer monster that originally signed a deal to never be involved in music.)

With all the delays in the 'launch' (the iTunes Store went live in 2003, and digital music has been around longer than many music consumers), I wondered if it was a case of too little, too late. Nielsen Soundscan released the figures yesterday, and in the first seven days, The Beatles sold over 2 million singles and more than 450,000 albums. Quite a lot. Well, kinda.....

I'm not a die-hard Beatles fan, but I own 4 of their albums on CD or 12" vinyl. I'm not in a rush to go out and sweep up another 4 or 5 digitally, especially when Amazon played along and dropped the prices of all the remastered Beatles albums on CD to a competitive $7.99 each. I'm sure I'll pick up another one or two at that price soon, but right now I have been sidetracked by their Thanksgiving week sale, where they have slashed prices on various digital albums to just $1.99 each. So far I have picked up LPs from John Legend & The Roots, Gorillaz, Belle & Sebastian, KT Tunstall, Vampire Weekend and more.

Before this starts sounding too much like a promotion for Amazon, my point is this... Album pricing needs to be drastically adjusted. At $1.99 I am (and many others are, i'm sure) sweeping them up: exploring new sounds, current trends and past hits of unknown artists. Discovering new music and taking a 'risk' is fun and easy. Yet, I don't know if the industry can sustain at that price point (at least, not with major labels and their costs involved.) Eight bucks for a CD? I'm still going to have to choose wisely, and just pick up one or two a month that are dead certain. I'm not risking too much - too many memories of being burnt by terrible LPs from the 90s ;)

$12.99 for a digital album that isn't full WAV or FLAC quality, and I may have bought in previous formats over the last 20 years, and could potentially rip a better quality recording from... I'll pass every time. If convenience is king (and, it is), it is not convenient for me to spend 52 bucks to 'replace' my Beatles collection with inferior quality audio, years after I bought the CD/vinyl.

Correcting this price point could inspire a whole new generation to buy a collection of Beatles albums. I'm not saying that younger music listeners aren't into them now, but chances are they ripped a copy of Sgt Pepper about 10 years ago. This year, there have been two much more headline worthy releases - Taylor Swift sold a whopping 1 million albums in the first week with her latest release, and Eminem topped off a $60m tour with another million sales of his 'Recovery' LP - going platinum in just two weeks.

With all the hype for the Beatles, and all the things this could have been, I feel it is much ado about nothing. And so... Apple (Inc. and Corps), if you halved the price per unit and sold twice as many units, would that have been a bad move?


Lee Jarvis.

(Previously posted at US Music Jobs' blog.)

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Sound and Health

(photo by Kim Marius Flakstad on Flickr)

Making records has always been part of a bigger picture for me. Learning how people react to music, the science behind acoustics, and music therapy have all been of interest. Understanding how sound works and affects the human brain may sound complex, but there are some basic principles that take the creative process in a different direction, and make sharing the right music at the right time more fun and enjoyable.

Edgard Varèse described music as 'organised sound', and many people would agree that 'un-organised sound' can be unpleasant and even painful. The relationship between sound and health is one that science and medicine are still unravelling, but offering to bring some of the basic understandings and theories, TED presented a talk from business sound expert Julian Treasure. Julian says that "our increasingly noisy world is gnawing away at our mental health -- even costing lives". He lays out an 8-step plan to soften this sonic assault (starting with those cheap earbuds) and restore our relationship with sound.

Something to bear in mind; this TED talk crammed a lot into 7 minutes. Some links and resources for his claims and ideas are shared via http://juliantreasure.blogspot.com/.




I would love to hear more on the subject from anyone involved in music research, lecturers, sound architects, or any other professional. Feel free to comment below...


Lee Jarvis.

(This was originally posted on the UK Music Jobs blog)


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Good Old Days

(photo via Ching Chiao)

They don't make them like they used to... records, that is. True or False?

Back when you had to pay $$$$ to use a record studio, if you were lucky enough to have one in your local area, you would only do so if you thought that you had something really worth working on. A label (even independent dance music labels) would only sign your record if they though it was worth them spending $$$$ on mastering and then pressing 3000 pieces of vinyl, and then distributing those promos nationwide and overseas for premium exposure.

Now, you can buy an entire software studio for $500, email your track to a digital label, who will likely release it because it often costs them nothing upfront and only a small percentage to their digital distributors.

This creates a cycle of chasing hits, and it is almost a numbers game of scooping up as many 'maybees' as possible, in the hope that one of them will stick. The ways that digital labels can now cut corners extend to not bothering with mastering a track, badly pasted together 'artwork', and, in my experience, rarely paying the artists, producers and remixers.

Does this mean that every digi-only label sucks? Not at all. It may mean that you have to pick your labels well. Research those in charge of it, who they distribute to, who they master with, do they take out online advertising to help you stand out from the 3000 other digital tracks in your genre being uploaded that week.

Labels that take 15 years to reach 130 releases, such as Freerange Records are real gems - they nurture artists, work on follow-up EPs and albums, and grow organically, thus producing loyal artists and fans.

Maybe they do make them like they used to, but the 'noise' of so many other songs being released by so many labels and artists (on scores of websites) makes "them" harder to find.

Sometimes, less is, often, more. Probably.


Lee Jarvis


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Metadata aka 'who the heck is this?'

(photo via jm3)

Metadata is (loosely, and applied to music) the information in a digital music file. It is data that is used "to enhance access and usage of content and provide information that computers are not yet able to interpret". It often identifies the artist, track title and album, but also can contain release artwork, genre, BPM, web links and anything else you would like the listener to know.

So, in the current climate where people share digital music and there is no telling where your latest track may end up....... why are so few artists adding metadata? Who is "Unknown Artist"? What is "Track 01"?

I am not entirely excluded from this, it took me a while of sending out badly-labeled mp3s to realise (discovering TuneUp helped me wake up to the issue). Promos I receive from labels are often full of information, ones from individual producers, far less so. As an independent artist, you should use this opportunity to share your contact info with the listener. Now, when I send out promos for my single track releases (as is often the case in dance music), I have taken to adding my email address within the 'album' field. Simple, and yet very effective if anyone new ends up with my track and wants to find out more. No label artwork for your unsigned cover song? How about a cool shot from the band's last live gig? How about a list of tour dates? How about a phrase such as 'free music at our website', and offering some free and some purchasable music at said site?

Here's the thing: People will go on P2P and torrent sites and download copies of your music for free. If you are the one posting high-quality files with full artwork, tour dates and links to buy the album on 12-inch LP, then yours are the files that will end up in the hands of music fans. At least with all the correct information at hand, they can make an informed decision about if they wish to contribute to your revenue stream in future.

Not only that, but if you are sending digital music to a radio station or magazine, and they download and open the music file, whilst simultaneously deleting your emaill and losing your Electronic Press Kit, they still know who the heck you are!


Lee Jarvis.

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Press Kits - Who, What, When, Where, and How?

(Photo via smart went crazy)

Press Kits can be amazing. They can also be amazingly bad, or amazingly useless. To ensure you don't fall into the two latter categories, I thought I would share some basic information and advice.

WHO

Everyone from an individual acoustic artist, to a 49-piece orchestra, to a live event promoter, to a record label should develop a press kit to aid their promotional efforts and business deals.

WHAT

Content
There are many different elements you can add to a music press kit. Not all of them will be needed for every occasion, some will be situation specific. As Bob Baker says, "your goal should be to send only what is necessary and needed to accomplish your promotion objectives."

Break your content down into these four areas:
• Text : Biography, Discography, Press Releases, Fact Sheet, Tour Dates, Song List, Equipment List, Famous Quotes / Endorsements, and more.
• Images : Professional Photos, Live Performance Photos, Press Clippings, and more. Images should all be hi- and lo-res, for either print or web.
• Audio : CD albums, Limited edition 7-inch coloured vinyl, Low bitrate mp3s for quick streaming, High bitrate audio files for download, and more.
• Video : DVDs, Music Video, Live Performance Video, Behind The Scenes Footage, Interview Footage, and more.
• Additional Inserts : USB Flash drives, T-shirts, coffee mugs, candy bars, pop-up storybook, or other RELATED items.

Theme
Having an inventive theme to your press kit and promotional material is a way to make it unique and stand out. A style or gimmick that suits the artist's music and image won't hurt at all, as long as any theme is related and appropriate! A record label for kids music? Think colourful, jack-in-the-box, cartoon animation, and Hello Kitty bubblegum style decoration. Chicago goth-metal band? Think stormy, unicolour city skyline images, sharp fonts, and blood-stains across your bio. Do not try and fuse the two.

WHEN
Read more...

Bad Publicity?

(Photo via Chrisjohnbeckett)

No such thing, right? Often, even bad press is good news.

Browsing through music website Resident Advisor recently, I stumbled into the 'New Singles Review' area, and found an artist I generally liked, with a pretty bad review. It kicked off with "Whether or not a rehash of someone else's work is deserving of review is debatable." The review inspired 80 comments in three days (average for the site is anything from 2-20, depending on preceding reputation.) The comments ranged from disagreement ("track of the year so far"), to outrage, to confusion, to agreement ("total garbage"), to death threats (well, nearly, they are a feisty bunch at RA) to the profound "makes my nips hard".

Ultimately a LOT of people wanted to know what the fuss was all about; whatever your previous views on the artist at review (if any), you want to listen to the tracks at question and have your say. And now, by reading this, you want to listen to the track and figure out what the hell is going on... well there you go. There's no such thing as bad publicity (Disclaimer: in this case.)

Don't be put out next time you earn a bad review.

Soul Clap - R&B Edits

(Resident Advisor review)


Lee Jarvis.

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Chicago Promoters' Ordinance Kills Independent Music

The good people of JaGoFF spend a lot of time on worthy causes. Over the last couple of years, Chicago has been under threat of an ill-conceived 'Chicago Promoters' Ordinance' and the JaGoFF crew have been raising awareness, pointing out the huge holes an ridiculous impact it would have. This Promoters' Ordinance, if passed into law, would effectively "drop a bomb on Chicago's independent music community, if not nuke it entirely." according to Jim DeRogatis at the Chicago Sun-Times.

To break it down:
*You would be required to submit to fingerprinting and background checks.
*If approved, you would be required to purchase a renewable license for $500 - $2000, even when working with a fully licensed venue.
*You must acquire $300,000 in liability insurance, even if working with a fully insured venue.
*You must notify chief of police seven days prior to event.
*The definition of "promoter" is vague and open to wide interpretation.
*The Ordinance targets the little guy while providing a big business exemption.

Although the Ordinance has currently been tabled, that does not mean it has disappeared; it can rear it's ugly head in a mutated form at any time. It has also inspired Philadelphia to try and construct an equally-ridiculous set of rules that will crush the independent creative community.

JaGoFF have filmed a documentary to prove it. Do yourself and everyone a favor - Watch it, embed it, download it, share it... DO SOMETHING about it.



The Chicago Promoters' Ordinance Kills Independent Music: A Documentary from the Street.
Part 01 of 07 (Head to The Record Industry's Youtube Channel for all seven parts)

Read more...

Creative Networking at Music Events

(Photo via Orin Zebest)

I've been to a couple of large music festivals in the last few months - first there was the Miami Winter Music Conference, and recently the Detroit Electronic Music Festival. Both were great places to meet up with old colleagues, DJ / producer / performing peers, and establish new contacts.

This got me thinking about networking among musicians. Such events are often spread across several days, and between the seas of new faces and wads of business cards, it can all get a bit confusing. Don't do what I did in Miami: When people ask "What are you working on now?", you say, "erm... I've nearly finished an EP and it is kinda pitched down but deep and like 80s influenced but still dubby and groovy". Take CDs, or USB sticks, or free download cards. You want to go, "BAM. Here's where I'm at, what I sound like and how you can find more of me". Being organised (unlike myself) and having something slightly different to give out on your travels will often go a long way. One of the best examples I saw of this was from house music DJ/ Producer Joshua Iz, who printed out specific cards for the Miami event. Giving your potential collaborators or consumers an extra reason to hold on to them is a smart move too...


Exhibit one...
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DEMF 2010 in Photos

This past weekend I hit the road to Detroit to check out the 10th year of the Electronic Music Festival. Now going by the name of 'Movement', the event is three days of electronic techno goodness. All photos (c) Lee Jarvis. All Rights Reserved.

DAY 1


Jamie Jones

..
Theo Parrish // Matthew and Richie Hawtin // Josh Wink


Plastikman

..
Plastikman // Plastikman //Plastikman

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Lee J the DJ Apr'10 - Deep House, Presentations and Clouds

April kicked off with a gig here in Chicago - Mi Casa Su Casa @ Between Lounge. Giom and Mes were here on tour from London and San Fran, and so they came along to hang out. Very cool night, i played it nice and deep and techy, after some great music from Greg K. Hope to be back there again, I love that vibe and that sound.



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Change in the Music Industry

The digital revolution and the internet age have flipped many industries on their head, but, arguably, the music business is feeling the effects the most.

How to summarise the change in the music industry? I has become immensely complicated, fragmented, and involves huge amounts of hard work. It may have involved a lot of time an energy in the past, but it used to be relatively simple; you formed a band, you get signed, your label gets AM/FM airplay, you go on tour, and people went out and bought your records. That was pretty much it for about 50 years; it was spelled out for you. Fail any of those and you fall back (at least) one step in the process and (hopefully) try again.

None of that stands today. There is no 'way' to make it. There isn't really a 'make it' anymore. 'Making it' will likely consist of selling a few thousands items that are a sideline to recording music, and simply earning a living doing something that you enjoy.

A band can / should / needs to consist of a web designer, graphic artist, marketing graduate, VC investor, manager, creative director, technology advocate and more. Without being signed you need to organise your own recording session, production and distribution, online and offline marketing strategies, photography & video sessions, press interviews and reviews, design, manufacture and sell merchandise, establish venue and promoter contacts, publish gig information, and hire any outside help with any of the above areas. You should still try to get AM/FM airplay, but also internet radio play, podcast inclusions, music blog recommendations, LastFM/Spotify/Myspace Music plays, DJ chart positions and more. Oh, and by the way.....

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The Future of Music is Primal

(Photo via See-ming Lee 李思明 SML)

Is music returning to its roots of being a non-recording based culture?

The primal idea of music was a as participatory experience; there was no production and no punter, people joined in with chanting, clapping, percussion and dancing. It was shared freely and willingly taught. It was meant for as many people to enjoy as possible. Today, with the aid of all kinds of technology, more people in more places are listening to and enjoying more music than ever before, and for that we should be happy and seek possibilities within this.

The way that modern indie artists relate to this, is touring. Being able to share a musical experience with an artist rather than obtaining 'just another disposable digital file' is becoming more valuable. Personal interaction and genuine emotion is a big part of a fan-artist relationship, and while it may not be exactly the 'get up and join in' tribal experience of old (obviously having 250 people on stage is a bit manic), the most successful shows are the ones that replicate this the closest. A performance where a sax player weaves through the dancefloor, adding flurries and sharing smiles, surely sound like a good time.

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Independent Record Store Day: this weekend, Sat 17th April 2010

Artists, stores and communities are putting together all kinds of packages and treats for this year's Independent Record Store Day, from limited pressings of coloured 12" Vinyl, to CDs of live shows, to special edition T-shirts, to full-on in-store parties and more.



I've spelled out how I feel about Saving the Record Store; I truly love them. And as the trailer above and forthcoming film shows, they have had a rough time in this new digital-driven world. They are fighting back, with various plans of attack, and with varying results.

Features such as the (kinda) recent Lost My Dog 'Connect' event at Swag Records in London are an interesting take, using independent artists and labels to unite and draw in a switched on crowd that want to meet, network and just chill with some of the music creators, distributors, retailers and generally be a supportive part of the music scene.

Here in Chicago, Gramaphone Records have tried to expand their vinyl junkie customer base by reaching out directly to independent artists on the rise and trying to work a deal for them to sell CDs of their digital work in the store. They also have an amazing collection of hard to find, highly desirable vinyl from the past 4 decades and a good website alongside, attracting attention of online buyers from across the globe. Also worth noting - they have announced that they are discounting all vinyl by $2 on Independent Record Store Day - a decent saving, so that you can now either buy six records for the normal price of five, or you can buy Michael a much deserved beer next time you see him ;)

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