PREFACE
Although there exist many publications, online articles, YouTube instructional videos, online and in-person courses, many of these published by knowledgeable industry experts, there seems to be a void in putting all of these components into one comprehensive document. The purpose of this book is to provide insight and focus on key strategies in crafting, establishing, and building a brand encompassing various established entertainment marketing techniques.
The title for the book – IT’S ALL ABOUT THE MUSIC MARKETING STUPID, is a nod to a former boss – the legendary Producer, Phil Ramone, (Aretha Franklin, Elton John, Bob Dylan, Paul McCartney, Ray Charles, Frank Sinatra, Paul Simon, David Sanborn, James Taylor, Billy Joel, and Stevie Wonder). It was 1996, and the internet had yet to insert itself into the public consciousness, yet our start-up was keenly aware of the potential of the dissemination of music over such a platform. Record labels were constantly searching for the next big thing. A&R people were still checking out bands, artists and DJs in clubs, and screening demo tapes. Data and analytics were largely absent and void from the music industry. It truly was ALL ABOUT THE MUSIC STUPID.
The office was located at 55 Broad Street, directly across the street from the New York Stock Exchange. The building the start-up company leased was previously that of the stock exchange tycoon Michael Milken, who famously pled guilty on felony charges for violating US Securities laws and sentenced to ten years in prison. The building itself provided two essential requirements.
a) The proximity to the NYSE & NASDAQ, and more importantly;
b) A T-1 line (the equivalent of what we all know today as high-speed internet access or ISDN, DSL or 5G today). Note: T-carrier systems offered entirely digital, full-duplex exchange of data that were rare, problematic to install and very expensive, yet vital to the company’s success.
The company was one of the first to understand and embrace the potential of the distribution of music via the internet. The start-up leased numerous floors of the building and construction and build-out was continuous. A business plan was written and presented, and the company raised in excess of $70 million dollars in 1997.
There were entire floors devoted to developers and coders from all over the world (outside of the US) – as that was the only resource. The record label was located on the 12th floor. Upon stepping off the elevator, one was greeted with an antique movie theater ticket booth and a Queen Ann desk in Phil’s office; indicating the disruption and convergence of what a few, early pioneers believed was the future of music delivery – the internet. The company explored and developed new technology in both audio, video transfer, and website design. With our various backgrounds in the music business, notable executives from radio, retail, press, distribution, and labels were all invited to the office for lunches and demonstrations of the future transfer of music / files over the internet. With Phil often holding court in the Conference Room with the T-1 line in place, the transfer of music over a high-speed infrastructure had a very short download / lag time. Over time, we came to realize that not one of the major industry executives we demonstrated this transfer of files to believed us. Rather, they looked at us puzzled, found no relevance to the music industry, and unanimously exclaimed, ‘not in my lifetime,’ and walked out of the room. Were they ever wrong. The disruption the music industry experienced as we moved from physical to digital consumption resulted in the recorded music business losing more than half its annual revenue. Fortunately, today, the trends have dramatically shifted, and the recorded music industry has an optimistic outlook. However, this has taken over twenty years to reverse. The preferred consumer format of entertainment no longer requires ownership, but rather access which today equates to our preferred methodology of entertainment consumption – streaming and on demand.
Phil had a reputation of embracing technology. A musical prodigy violinist, (trained at Julliard) his attraction to signing-up with the company was exploring the convergence of technology and music. To put it in perspective, one day while in a limo, his cell phone rang, he answered Pav, it was Pavarotti calling Phil on his mobile phone from Italy which, at the time, was remarkable. Another day, while working together, wrapped up in all this internet sensation, he had this idea, that technology does not make an artist – “It’s all about the music stupid,” which was then deemed the official record label screen saver of all computer monitors on our floor. Why this is ironic, at one point, essentially prior to the advent of the internet, it was, ALL about the music. Social media, streaming services, monthly listeners,’ # of plays, views, and streams which are now the primary considerations in signing an artist to a major label didn’t even exist.
Which begs the question, is it all about the music or is it all about the marketing? Obviously, this is a rhetorical question, with no right or wrong answer, however, one thing is certain, with few exceptions, marketing may be your optimal vehicle and pathway to making it in the music business. If one is to explore and understand that with few exceptions, your favorite artists all have assembled a team, large or small, who are working incessantly in building their career.
The recorded music business has been up double digits in revenue the past ten years thanks in large part to streaming services. There has never been a better time to be an artist and creator with countless ways of building your brand and being discovered. The challenge is how to get noticed despite all of the clutter and competition. The objective of this book is to provide you with ideas, concepts, and tools to do so – you just have to do the work.
It’s our intent that this book, if nothing else; provides you a roadmap to a life as a full-time musician, artist, producer, aspiring tour manager, industry executive, or a creator, enabling you to quit your part-time job with the potential of realizing significant increased earnings from your craft.
I’ve had the good fortune of working with some of the most successful producers, artists, and talented, smart colleagues in the music industry. A select few of them have generously shared their knowledge regarding their respective area of expertise within the music industry. This book is an attempt to distill this information for you to understand, grasp and to digest strategies you can actually utilize in forging your career. It is our hope that we’re successful in providing this pathway for you.
The authors and contributors of this book are colleagues and friends; one with a master’s in information management. Another is the CEO of a multi-faceted entertainment organization that includes the booking, marketing, and hosting of over 700 events per year. My co-writer, Jerry Brindisi, has led music business programs in higher education for over 15 years and is the chair of the Business and Entrepreneurship department of one of the most well-known liberal art schools in America. And then there’s me; I’ve had a truly multifaceted career; first as professional bassist, a record store manager, a Regional and National Sales Manager for major labels, a consultant, and as an adjunct professor. Cumulatively, it is our hope that you might find some of the ideas and marketing initiatives which we present, might equate in making a positive impact on your career. Read on if you dare (ha). Understand that if you are to implement some, most of, or all of the suggested methodologies in this playbook, you’re in for a lot of work. Marketing, like creating music takes thought, planning, time, dedication, and commitment.
We wanted to add that by implementing the techniques and strategies outlined in this book in no way does it guarantee that you’ll become a TikTok sensation or a viral Spotify artist achieving millions of streams. If that is your goal, we deem this limited marketing scope to be a very risky strategy in terms of career development. So, if you were hoping that somewhere in the book, we reveal the secret sauce to becoming a TikTok star or Spotify breakout artist – you’ll be disappointed. The good news is, should you implement a few or all of the suggestions we offer, there’s a strong likelihood that you will be better positioned in your career (assuming you of course have a talent). You’ll be able to derive revenue from several different sources while not being reliant on just one or two.
I was fortunate to attend two universities, both with exceptional music programs. I was a member of the #1 jazz band at a Division 1 and a Big 10 school, an award-winning acoustic jazz septet, and studied with a world-class cellist and a celebrated principal bassist and instructor. My music lessons included sight reading, intonation, music theory, and improvisation - all of which are so vital and relevant to music. But what I learned many years later after landing my first gig in the music business, was that my instruction did not include anything about the business of music, let alone, the marketing of music. So, all of my experience has been on the job training for the past 30+ years. It is our hope that our introspective might provide for you an advantage many of us attending conservatories (then and now) were not exposed to.
This book will be obsolete the day it’s published - as that is how quickly the digital music landscape is transforming. NFTs are being explored, TikTok artists are being signed, yet they too seem to be an unknown commodity. Authenticity and talent is an awesome recipe. But there's one more component - music marketing.
DISCLAIMER: by no means does the constitution of this document ensure success. Success is predicated on a number of things; talent, marketing, the people one surrounds themselves with, etc. However, we can guarantee this – that if you were to adapt one, two, three or all of the ideas and recommendations presented in the following pages, you will be far better positioned in your career than should you decide not to.
TO CLARIFY: I’m a musician, a musicologist of sorts. I have a deep understanding of all forms of jazz, a deep appreciation for classical music, and possess a knowledge of popular music, rock, and R&B, as well as record labels, sidemen, and producers who were responsible for investing in and believing in making great music. The point being - in the end, I do truly feel it’s about the music. There was a time when great music alone would prevail; today this is not necessarily the case. As a musician or artist, it’s now essential that you allocate a portion of your time to music marketing. Even if you are an artist signed to a major record label, it is an expectation, and obligation to be involved in the marketing of your career. It is our aspiration that this book will offer you a practical sense of applying marketing strategies to enhance your talents. One thing we can say for certain; all of us, in the music business can cite more than one favorite record we worked, were told it was a ‘priority’ and would be a smash hit. And with all the major label monies beyond it - and for what-ever reason, it didn’t find an audience. The missing element may have been ineffective or a lack of marketing to connect the project with the fans.