Gratuitous Girls Aloud references
About 200 years after it stopped mattering, The Beatles’ catalogue is finally available on iTunes.
Do you remember where you were when Apple made its world changing, unforgettable Beatles announcement? I was right here, on this chair, in front of this computer, making this face: meh.
360 deals – contracts where record companies get a share not just of record sales but of other things such as concert revenues – are becoming increasingly common. Are they good for artists? Perhaps not, according to this Billboard piece by Bob Donnelly.
When you read the fine print, you’ll also discover that the labels want to make money from the books that artists write, the Hollywood movies in which they act and the fan clubs they create. In fact the labels want to share in absolutely everything. Does that sound fair to you?
In many of these 360 deals, the record company will demand that their earnings come out of gross revenues. This means that if the cash the labels actually receive has been reduced by any parties in the middle of the transaction (even if those parties themselves add value, as, for example, many music publishers do), then the label will add those amounts back in before calculating the percentage of revenue they retain.
Think about that for a moment. The manager doesn’t get paid on gross, and the artist certainly doesn’t get paid on gross. Why then should the record company be paid on gross?
It’s not hard to find common ground between Babybird and Eels. Both are ostensibly bands, but in reality they’re solo efforts that may or may not involve other musicians. They both tend to use the same recurring musical motifs (or, if you’re not a fan, both keep releasing the same bloody song). They both tend to depth-charge their chances of commercial success (one of Eels’ most beautiful songs is called It’s a Motherfucker, while Babybird’s comeback single starts with the line “I will kill you, said the five year old” and moves on to talk about feral kids and kiddie-fiddling). And if they’re known in the outside world at all, they’re known for the One Big Hit – Novocaine for the Soul in Eels’ case, and You’re Gorgeous in Babybird’s case.
Where they differ is in personality. Despite the horrific things E from Eels sometimes sings about, there’s always an aw-shucks, self-deprecating humour behind it all. There’s humour in Babybird too, but it’s much darker, much bleaker. Eels’ humour is survivor’s humour, gallows humour. Babybird’s is a maniacal cackle, the sort of noise the mad scientist makes before pressing the big red button that unleashes the killer monkeys. Or something.
Actually, they differ in another way too: quality control. I love Babybird, but of the 4 billion albums he’s recorded and released I reckon there are four really amazing albums in there.
I’m thinking about all of this because Babybird’s got a new album out, Ex-Maniac. If you don’t like Babybird you’ll bloody hate it, but if you ever liked the band there’s a lot to like here. Unless, that is, you’re a fan of You’re Gorgeous – a fan in the “it was our wedding song” sense, because it does seem that a lot of people bought it for the title alone and didn’t listen to the rather horrible words. Ex-Maniac’s happiest title is “Bastard”.
Ex-Maniac is very Babybird, both in good ways and in bad ways. The bad: it’s patchy, and when it’s bad it’s self-indulgent and pretty tuneless. The good: there’s some great stuff here. Like Them nails the paranoia and anger of (some people’s experience of) fatherhood, while the Failed Suicide Club is heartbreaking in the same way so many Eels songs are heartbreaking. Drug Time is both funny and sad, and Unloveable – with long-time fan Johnny Depp playing guitar – is almost funky. Apparently Depp largely paid for it too, although while Ex-Maniac was recorded in LA – the same place Eels hail from – the sunshine clearly hasn’t cheered Babybird’s Stephen Jones up at all.
I hate reviews that say “If you like this sort of thing, this is the sort of thing you’ll like” but… if you like this sort of thing, this is the sort of thing you’ll like.
Here’s a link to a live version (or at least, live pictures stuck on the studio audio) of the cheery single Like Them. I’m going to the Glasgow gig on March 18th. Do say hello if you’re there too. I’ll be the overweight bloke blubbing to If You’ll Be Mine. Or more likely, one of the overweight blokes blubbing etc etc etc.
An interesting post by David Hepworth of The Word magazine:
experience has taught me that if I say I like the demo people will then expect me to do something to make them successful; if I say I don’t like it then I am an unfeeling, heartless bastard.
According to BT and the Carphone Warehouse, it seems that implementing the proposed three-strikes system would cost at least £2 per connection per month – an enormous amount of money that will have little or no effect on file sharing.
Wouldn’t it be smarter to subsidise Spotify?
Lord Mandelson’s draconian anti-filesharing plans are designed to save the music business. But does it need saving?
Thanks to evil music pirates, sales of singles in 2009 are, er, higher than they’ve ever been. “This truly is the era of the digital single,” Martin Talbot of the Official Charts Company says.
“The UK Top 40 is now almost entirely comprised of digital singles,” the British Phonographic Industry says. So does the music business really need saving from technology – or is technology saving it from itself?
Sorry I’ve been quiet: still ill. But not too ill to predict doom! DOOM!
in order to exist, Spotify has to pay the bills – and you can be confident that it’s paying rates that the BBC would laugh at. By all accounts the going royalty rate for streaming music is around 1p per stream, which doesn’t sound like a lot until you start getting lots of users.
One user listening to ten streams per day is 10p a day, or £3.00 per month – which means Spotify’s paying more than the BBC spends on its entire radio and online output.
iTunes 9 is out. It does some interesting things. Still crashes a lot though. Here’s a review I’ve written.
iTunes 9 feels snappier, the column browser is a much-needed improvement and the Home Sharing feature works very well, although on our Mac at least iTunes 9 doesn’t seem any less crash-prone than its predecessor.