Saturday, March 01, 2008

"Change Is Not Coming...It's Already Here"

"Change Is Not Coming...It's Already Here"

By Kenny Love


If you are new to the "B# Newsletter," you can
review it, along with a number of its article titles

The following "essay" is vitally applicable to
surviving within today's 21st century music
industry that is, at a minimum, unpredictable.

Due to new time constraints, my independent
promotion and publicity services have now been
limited to my working with clients in the Classical,
Jazz, and Gospel genres, as I am also now
co-owner of Houston-based Eartastic Records
and am serving as its Director of Marketing
( ), which lends itself
as a segue into the subject matter ("Change") of
my below article.

Upon your conclusion of reading it, please feel
free to submit your comments regarding the
article to me at

Thanks for reading me.


Kenny Love, Director of Marketing

Eartastic Records

(936)545-0381 (satellite office)

(281)550-9445 (record label)


[---The Mechanics and Elements of Change---]

Probably nothing else prior to the current U. S.
election process and, specifically, Senator
Obama's campaign, has utilized the phrase,
"change," more. Almost everywhere one looks,
people are ripe for, subscribing to, and even
demanding change for this, change for that,
change as an alternative to the long existing
status quo.

Jazz recording artist Dr. Donald Byrd, whom I
had the pleasure of seeing in concert during
my college years as a Music major, once
released a highly charged uptempo rhythm
loop back in the 1970s titled, "Change (Makes
You Want To Hustle)." The few but compelling
lyrics are...

"Change...makes you want to hustle,

Change...things just rearrange,

Change...makes you want to hustle,

Change...nothing stays the same..."

You can hear the highly driven piece at (track #4)

In a nutshell, and its simplest form, I believe
the message people are, basically, sending is
that they want, expect, and demand
improvement. But, not just any level of
improvement, mind you, but remarkable
improvement with a capital "I."

The interesting thing is, I cannot recall
witnessing so many people, in so many
different areas, within so many diverse
environments, demand improvement at the
same time.

However, the changes I wish to focus on in
this article have, are, and continue to occur in
the Music industry. And, although a few
people are uncomfortable with certain changes
that are occurring in the Music industry, one
thing is certain...change is inevitable, and
nothing will stop change and its first cousin
known as evolution.

As examples, as simple and quickly as it has
become for both radio station and nightclub
deejays to download the same quality of music
as is produced on compact discs from sites such
as Airplay Direct ( )
and, thus, making operations within the Music
industry far easier for everyone at every level,
and certainly less expensive operationally, it is
disconcerting when these particular music
industry personnel resist emerging from their own
private "Dark Ages" by still insisting on receiving
physical product through postal mail.

With sites such as Airplay Direct, not only are
packaging and shipping costs eliminated entirely,
but for the most part, time and chances of loss
or theft via mail is virtually (pardon the pun)
eliminated as well.

An additional element for nightclub deejays is
many still utilize antiquated technology, such as
vinyl recordings, while citing the "warmth" of
vinyl as the reason for their choice of voice.

Yet, the reason the industry and the public alike
abandoned the vinyl format and opted for the
compact disc was due to vinyl's sensitive
physicality. In other words, the vinyl format
would "melt" if not left in a perfect temperature,
could be warped, or scratched, all which
compromised listening pleasure.

Ironically, some music producers are actually
creating "scratch" effects on some recordings
of their songs on compact disc in order to
satisfy some deejays.

Some nightclub deejays are vehemently opposed
to joining 21st century technology and, thereby,
performing their shows via laptops or iPods while
patching their sound through club house systems.
Some are still dragging heavy double 15-inch
cabinet speakers with them to their gigs.

For musicians and recording artists, however,
change has reflected both good and bad. It
has reflected good in the sense that more
online promotional, publicity, and sales outlets
and resources are now readily available than
ever before. Again, this is about obtaining
more convenience at both artist and consumer

Yet, simultaneously, it has reflected badly in
the sense that, not only has an unforeseen
glut been formed through these additional new
resources making it easier and more affordable
for, practically, anyone to throw music up on
the 'Net for sale, but with so many outlets and
resources, more time is now required for artists
to bring attention to their target markets and

This, ultimately, fosters a juggling act for
artists that is confusing, at best, for most
through their continuous wondering which
proverbial door(s) to go through for success
as a result of their limited and undercapitalized
budgets and time.

[---What Musicians *MUST* Do NOW To Survive---]

If musicians/recording artists are to survive
(and thrive) within as well as escape the highly
competitive glut that is increasing even as I
type these words, there are some actions that
*MUST* be immediately taken to insure career
longevity, of which I refer to as "talent

Simply put, and to both adopt and embrace the
new 21st century methodology, this is about
multiplying your talent, then applying it to as
many feasible areas as possible.

This readily supports a statement I heard years
ago that says, "Create a single product or
service, then learn how to sell it a million
different ways."

[---Areas To Consider For "The Multiplicity Effect"---]

* Learn To Read Music

This may seem an "old school" worthless idea
to some and, perhaps, even unnecessary in
this age of automated production, but allow
me to show you how you can greatly benefit
from learning to read music, at least, to some

If you currently cannot read music, you are
likely limited to producing your own music as a
solo artist or, at best, working in an equally
limited band situation. Consequently, you are
likely cut off from earning the bigger end of
music performance income with other
organizations, even in your own area.

However, in learning to read music, consider all
the music income doors you could then open,
availing yourself to whatever prizes are behind
Door #1, Door #2, Door #3, or more awaiting

Treasures such as performing in upscale
orchestras, as theatre accompaniments, or
better yet, consistently going on plush tours
with major recording and/or performing artists
whose backup bands or music ensembles are
usually required to read music.

* Learn To Play Multiple Instruments Equally Well

The art and science of "multiplicity" can also
have incredible results when activated with a
product or service that is in demand. As an
example, let's say you learn to play several
instruments very well, i.e., guitar, bass, drums,

Now, in having accomplished such, whether
you reside in a decent size town or small
community, one thing is for have
just multiplied your marketability with the
opportunity to experience 3-4 times as many
calls for jobs.

What does that really mean?

Well, it simply means you could easily find
yourself in great demand for either one (or all)
of your instruments for live performances, thus,
also increasing both your studio recording
and/or your live performance income accordingly.

* Become An In-Demand Master Producer

If you have a great command of the mixing
board console, along with having equally
creative talents and technical skills, why not
boost your income by producing talented area
artists who are musically creative but who also
don't have a clue on how the technical end of
getting music produced and processed occurs.

Obviously, to corner your local or regional
market, you will need to either have a
reference disc, or better yet, a website for
allowing prospective customers to hear your
production skills via your audio files in advance
in order to secure these future clients'
production work.

* Get Your Music Onto Film/TV Show Soundtracks

Actually, I've addressed this particular subject
in past articles, yet, it bears repeating due to
the lifetime residual income royalties that are
easily attainable, yet, are being missed out on
by most musicians and recording artists.

This is, primarily, because they are both
unaware on how to best locate these sources
as well as intimidated by one of the "bigger"
elements of the Music industry.

Formally referred to as "music licensing," this
ongoing financially lucrative area is a dream
come true, particularly for independent
musicians, and here is how and why...

Back in the late 1980s/early 1990s, after
experiencing great ongoing negotiating difficulty
and expense in trying to obtain and license the
music of major label recording artists, film and
television program music supervisors finally had
enough and began opting to work (almost
exclusively) with independent recording artists
for their upcoming sound tracks, as they found
Indie artists far easier to contract with and
significantly less demanding.

Obviously, this was another costly and greedy
misstep by major labels and their attorneys
that they have lived to regret.

It wasn't that the major label artists
themselves were difficult to deal with in this
instance, but their label representatives and
attorneys were the primary causes, with their
ever present corporate greed and price
gouging presented to film and television music

Now, most music heard on film and television
soundtracks today is that of independent
recording artists, and is how many Indie
artists quickly become popular on a large scale.

I also feel that ongoing corporate greed, such
as soundtrack negotiation failures and a loss
of this particular lifetime income source for
major label artists continues to contribute to
major label artists abandoning their labels
permanently at a high rate and taking control
of their careers.

Then, add to that, the difficulty major labels
are having in signing independent artists today
in an effort to replace artists they are losing.

The independent musician and recording artist
of today is more confident than the artist of
yesteryear due to having at his or her disposal,
control of and access to more online and offline
marketing, promotion, publicity, and advertising

Hence, with more choices and options, today's
musical artist is also much more likely to take
the proverbial reins of his/her career from the
start, thus, making the acquisition of a "record
deal" unnecessary and, in this writer's opinion,
eventually obsolete.

Furthering my opinion, this current music
business trend and its model foreshadows an
extinction of major record labels as we have
known them, with the extinction occuring very
soon. With their last breaths, the behemoth
corporate major labels that wish to survive and
continue their existence will convert to forms
of, primarily, promotion and publicity entities as
they struggle in a "do or die" capacity.

Now, in closing this article, as a musical artist,
imagine your being able to easily utilize and
implement a minimum of two of the above areas
(or more) simultaneously while also imagining one
of the most important aspects...your increased
income potential and possibility that can now
become a reality.

Several areas addressed in this article also
carry corresponding support products to assist
you in easily and quickly getting started in the
above respective areas for increased music
career success at

Thanks for reading me.


Kenny Love, Director of Marketing

Eartastic Records

(936)545-0381 (satellite office)

(281)550-9445 (record label)



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