Tuesday, January 17, 2006
The Big Day Out has often shied away from bringing down international hiphop acts, sticking with hoary old rock. This year marked a departure, with the announcement of Common, Jean Grae and Edan. However, the first lineup schedule had Jean Grae and Edan playing at the same time (1.20pm) on different stages. This scheduling clash had me fretting, but it looks like Jean Grae is no longer coming.
Her name has been taken off the artists list on the official BDO site (Its stil visiible via Google cache), and the official timetable PDF lists 'TBA' (to be announced) playing at 1.20pm on the Green stage, the slot that was allocated to Ms Grae. I'm picking that the organisers try and swing M.I.A. to fill that slot. No official announcement about any of this on the BDO site tho. Anyone heard anything?
Scott Storch, the Most Loathsome Man in Music
That's according to gawker.com, who "recommend you read the piece [in the NYT] just for a hateful chuckle, but if you can’t make it past the first 5 paragraphs because of projectile vomiting, we’ve a handy list of why Scott Storch [pictured above] deserves to be bound, gagged, and flogged:
• He has called himself the Meyer Lansky of hip-hop.
• He bought Paris Hilton a Bentley while they were dating.
• He charges $80 - $90k per song and produced 80 tracks last year.
• He has a “leggy but silent” Brazilian girlfriend.
• His yacht is named Storchavelli.
• He owns 13 different cars and drives something different every day.
• He wears a 32-carat canary-yellow ring.
• He willingly posed for that portrait."
New York Times story here. I'm thinking he aint fussed about flak over working with Ms Hilton - $80K per track, 80 tracks in 2005. Paid in full.
Monday, January 16, 2006
Fat Freddys returned to the number one album slot last week, third time at number one. I'm guessing that there were a few hundred folk among the thousands at Rhythm and Vine in Gisborne for New Years who hadn't purchased the album raced out when they got home and nabbed it.
Fat Freddys came up in the Weekend Herald's Business section in their article called Kiwi Music Hits Manistream (link) . here's a snip..
Sony BMG boss Michael Bradshaw ... said there was a view out there that when the main labels were not around, the independents would pick up the slack. That was not going to work - not if bands wanted to start selling internationally.
"I've been involved with marketing our records internationally for many years and we're talking millions of dollars and I really don't see where that money is going to come from unless we're here," Bradshaw said.
So, let's look at a few recent examples of Kiwi acts cracking it internationally, and see how many of them signed to a major label here, and used that megabucks offshore marketing to make it.
Fat Freddys Drop
None of them signed to a major label here before making headway internationally except Zed, who managed to get signed in the US and went on to do a song for an Adam Sandler movie (The Hot Chick). The Brunettes had a distribution deal with EMI NZ for their last album, but their US tour last year was set up independently, and led to their signing with US label Subpop.
The sidebar to this story was on the success of Dirty Records (Link) who have sold 280,000 albums, mostly on the back of Scribe's album.
Another good look at the music industry popped up in the Sunday Star Times at the end of last year - it's no longer on their site, so here it is in full.
Music lesson for everyone
18 December 2005, By ROD ORAM, Sunday Star Times
Perhaps over the holidays you'll have more time than usual to listen to the radio and to one of the great New Zealand success stories of recent years.
New Zealand artists now account for 21 per cent of the music played on air, up from less than 2 per cent in 1996.
This is a triumph of industry ambition rather than government regulation. With great enthusiasm, radio stations, record companies, artists, retailers and industry associations have worked together to exceed the voluntary target they set themselves.
In the process, they have enlivened our lives, helped define us as a nation at home and abroad and encouraged many more young people to write, sing and play. But the industry and its artists still struggle to make a living. Music is a host of mostly minuscule unsustainable businesses.
Retail music sales have been falling by about 7 per cent a year for the past six or seven years, in line with world trends. Sales may total only $200m this year, of which NZ artists have roughly a 20 per cent share.
While there are some money-making hits, other success is usually a relative term. A CD is a winner if it sells 1000 copies. But thanks to extremely low costs through digital DIY recording and production, it might be slightly profitable. An independent label and its band might
share perhaps $5000 in profits - a meagre return for months of hard work.
In the wider world, a deluge of artists has turned music into a commodity. And the internet's brutal assault has massacred record company profits. Trying to capture an audience - and make money out of it - has never been harder.
Since everybody else in the world has access to the same technology,success will flow to those who use it in the most creative and persuasive ways. This is New Zealand's big chance. We have rich and diverse music thanks to our many cultures, we have a slightly exotic, intriguing story to tell about who we are and where we are in the world, and we're good at striking a rapport with people.
To do so, though, requires the New Zealand recording industry to make an enormous improvement to its skills.
Here are seven lessons:
# Nurture the talent.
The upsurge in interest in local music is attracting teenagers into writing and performing. This year's Coke Smokefree Rockquest competition drew 650 secondary school bands playing their own compositions. The Play it Strange song writing competition for the same age group had 315 entries. A recent television documentary on Play it Strange and an upcoming commercial double CD of its top 30 songs reveal the passion and growing sophistication of these young composers.
This broad base is crucial to talent development, says Mike Chunn, chief executive of the Play it Strange Trust, NZ chief executive from 1992 to 2003 of the royalty body, the Australasian Performing Rights Association and a member of the legendary NZ band Split Enz in the 1970s.
It's a numbers game, he says. The more teenagers deeply into music, the better the chance a few will rise to the top of world rankings. He likens it to rugby. We have a large and talented All Blacks squad because of the depth and intensity of school, club and provincial competition.
# Use the technology.
Artists and labels are starting to make money from selling songs through internet downloads. Most of the activity has been through home-grown sites such as Amplifier but a few Kiwi songs have achieved global distribution through Apple's i-Tunes. But paradoxically, it might never have been easier. The internet and mobile phones are radically changing the way audiences are won, music delivered and money made.
Since everybody else in the world has access to the same technology, success will flow to those who use it in the most creative and persuasive ways. This is New Zealand's big chance. We have rich and diverse music thanks to our many cultures, we have a slightly exotic, intriguing story to tell about who we are and where we are in the world, and we're good at striking a rapport with people.
# Build a rapport with audiences.
Local bands are excellent at building local audiences, which explains how this year, Fat Freddy's Drop was the first band recorded by an independent label to enter the charts at number 1. It also swept the music industry's Tui awards. But local bands are only just learning to build global audiences over the internet. Given Kiwis' personalities, more are likely to succeed.
# Develop business skills.
The local music industry has made great strides in sorting out its structure and organisations and getting them to work better together. It has also built better relationships with major international labels. But it does not have the skills to be a serious or sustainable
wealth generator, and it never will if it remains almost entirely a domestic business.
# Create new ways of making money.
Licensing of Kiwi music for films, commercials, video games and other uses is starting to increase. Innovation is crucial. For example, Tardus, an independent label, has put together a CD of Kiwi music which will be distributed to about 200 US creative directors of JWT, the international advertising agency.
# Outgrow government assistance.
Six years of sizable government funding under a Prime Minister who doubles as Culture Minister is great, but it won't last. When the government changes, support and money will probably dry up. The industry has used the money well so far but is still a long way from self-sufficiency.
# Forge a distinctive NZ brand.
We're too diverse and interesting a nation to have a narrow "Kiwi" brand of music. But we can create highly distinctive forms of music under a distinctive brand of New Zealand music business. To cut through the global cacophony, we need to be just as famous for the way
we make money from music as we are for the music we make.
At the heart of the business brand will be some of New Zealand's greatest strengths - our ability to be small but global, to be remote but accessible, to be different but authentic. These qualities are highly prized in the world. People will pay well for them.
Yet, this isn't just a music thing. These lessons apply to almost any business. They are our hope for a fulfilling and prosperous future.
Bobb Deep - Got it twisted
Shark Wilson and the basement heaters - Make it reggae
Sharkey feat Jean Grae - Summer in the city
Erma Franklin - Light my fire
Breakstra - Stand up
Greenhornes feat Holly Golightly - There is an end
Nina Simone - Seeline woman
Freddie Cruger - Something good
Jackie Mittoo - One step forward
Newmatics - Riot squad
Capleton and Dennis Brown - Moving on (Yard club remix)
Cubalooba - Cubalooba
Ghostface Killah - Cherchez la ghost
Joint Force - AK2000 instrumental
Roots combination -Spoony Bill
Blacknificent Seven - U wot (Skitz remix)
Cornerstone Roots - Forward dub
Common - Testify
Boozoo Bajou feat Joe Dukie and U Brown - Take it slow
Lou Rawls - For what it's worth
A certain ratio - Shack up
Rodney Hunter feat Paul St Hilaire - Vampire
Chezedek - Dem a fight we
JA-13 feat Rico Rodriquez - Wareika vibes
Recloose - Mana's bounce
Lalo Schifrin - Enter the dragon theme
Femi Kuti - Truth don die (Lagos dub)
John Gibbs and US Steel Orchestra - Steel funk
Joe Tex and U Black - Standardization
Iggy and the Stooges - Down on the street
Spot the Big Day Out theme? Well done.
Wednesday, January 11, 2006
Robyn beat me to the jump, but hear the Radio NZ piece I did over here - thanks to James. Nice work, fella.
"Well, it looks like National Radio aren't going to archive the 3D Radio show that I was on back on New Years Eve, but fortunately one of my co-panellists, James from Noizyland, has kindly hosted the whole shows as a podcast (i.e. an mp3) for your listening pleasure."
3D Radio on National Radio - Internet Panel Discussion.
Listen out for the bit where James lets slip that he's surfing the net during the show, and Robyn calls him a geek. Too right!
Via Coolfer, some holiday reading... "Jason Gross of Pefect Sounds Forever compiled a list of the best music writing of the year.
Gross looks for good writing in many locations. One honoree was an album review from San Francisco's Aquarius Records. (The store's new release emails are great reading, though they're lengthy.) An article at the satiric The Onion made the list. And Damian Kulash's op-ed for the New York Times got a nod. Very nice. And since there's always bad to go along with the good, Gross has a list of the worst music writing of 2005."
Copped from Beats and Rants, a great interview with Questlove Thompson from The Roots. "I stumbled upon this old interview with the Roots mastermind Questlove. It was conducted in 2003 by journalist-turned-BET personality Touré for online magazine Believer. I don't know if any other bloggers linked this interview up besides Soulmind, but it's recommended reading. This piece features Q offering some insights on the Roots' recording process, why D'Angleo is so
damn fat overweight and Q's views on hip-hop..."
How do you feel about hiphop today?
Questlove: Does it speak volumes that I listen to the White Stripes more than I listen to anything in hiphop? The only album I’m listening to from start to finish right now is Elephant.
Monday, January 09, 2006
... is the name of a very fine local music show bought to you by the folk at cheeseontoast.co.nz. They have been avidly photographing the local music scene in AK for the last year or two, and late last year they started taking video cameras to gigs as well, and made a fab one off special of local acts playing live and loud. They've been busy making a new special, and it screens tonight Monday 9th Jan at 10pm on Triangle TV in Akld. Now, I am assuming that if you're savvy enough to turn on your computer and work the internets, you are smart enough to tune your tv to get Triangle.
Features live clips from THE KILLS, ROCK AND ROLL MACHINE,GUITAR WOLF, WHIPPING CATS,CHARLIE ASH, THE EVILS, TEGAN,VODAPHONE WARRIORZ, MIAMI BEACH,SHAFT, and more...
ADDED: Okay, so I was channel surfing on Monday night, and switched over to Triangle about 9.35pm and discovered that Something On TV had already started. Apologies, but the flyer I picked up in Real Groovy had the advertised start time of 10pm.
RIP Lou Rawls....
Washington Post... "If ever there was a cool-cool singer, it was Lou Rawls, who died [Friday] at the age of 72 in California of brain and lung cancer. Rawls's recording career stretched across genres, covering pop, gospel, blues and jazz. "Lou had a big, strong voice," Whitaker says. "He could go up or down, whatever you needed in a song."
Rawls, raised poor in Chicago, cut his teeth in the world of gospel. There'd be church ladies inside those brick Chicago churches, patting young men on their heads, young men who sang so pretty, who hummed so fervently. Rawls was just one Chicago youth, Sam Cooke was another. Where other young men may have had different pursuits -- sports, the nightlife, dreams of teaching in black colleges -- Rawls and his ilk were in basements, singing "Jesus Met the Woman at the Well."
...Rawls was offered $15,000, Brokaw says, to do a voice-over commercial for Budweiser. The commercial was a hit. Rawls wasn't satisfied. "He said, 'How do we make this bigger?' ", David Brokaw -- his publicist and later manager -- says.
Rawls proposed inviting Busch wholesalers and distributors to his shows. He'd chat with them backstage. "He'd take pictures. We got to know everybody," Brokaw says.
Rawls befriended beer magnate August Busch III. "August really loved Lou," Brokaw says.
Rawls also came up with an idea for a college fundraiser for the United Negro College Fund. He told Brokaw to call Busch, and Busch came aboard. Rawls eventually helped raise more than $200 million by hosting the annual event.
There were occasional acting gigs, more albums later in life. He talked to friends about his life, which he thought lucky: an Army paratrooper who was never hurt, survivor of an awful car accident (Sam Cooke also was in the car), a singer who escaped the harsh pavement of Chicago."
Cedric Im Brooks – Shaft
Marcia Griffiths – Feel like jumping
Roy Ayers - Boogie back
Hugh Masekela – Languta
Jackson Sisters – I believe in miracles (remix)
Al Brown – Aint no love in the heart of the city
Damian Marley – Move
Bushwackass – Who's wylin Inst.
Self Scientific – What you need
Breakstra – Stand up
Cornerstone Roots feat Ranking Joe – Forward movement Pt 2
Barrington Levy – Many changes in life
Pete Rodriquez – Oh that's nice
20th Century Steel Band – Heaven and hell's on earth
James Brown – Funky drummer (Muro remix)
Kora – Politician (Paddy Free remix)
Iggy and the Stooges – No fun
Zaguzar -Welcome to England
Jackie Mittoo – Chicken and booze
The Pleb – Ride one
Roberto Carlos – O Calhambeque (XRS remix)
Tanya Stephens – Need you tonight
Mantronix -Who is it?
Augustus Pablo – Song of the east
Sean Paul – Yardie bone
Kraftwerk –Electro Kardiogramm
Ohio Players –Take the funk off, fly
David Walters – Mesy bon dye (Bigga Bush dub version)
One Lung – Cinema 90
Tiombe Lockhart - Tip of my tongue
Saturday, December 24, 2005
Underground vegetables – Melting pot
The Jamaicans – Ba ba boom
Kool and the Gang – NT
Giberto Sextet -Good lovin
Patti Jo – Make me believe in you (Ashley Beedle and Phil Asher re-edit)
Rhombus – True love rub a dub style
The Tennors – Ride your donkey
Hank Marvin – Sunday for seven days
Thes One and Rashaan Ahmad – Doin it
Ini Kamoze and Capital D – World a reggae
Freddie McGregor – Bobby Bobbylon
M.I.A. – Galang
Family of percussion and Archie Shepp – Here comes the family
Nightmares on wax – Morse
Tiombe Lockhart – You need me
Quantic Soul Orchestra – Raw ingredients (Nostalgia 77 remix)
Rodney Hunter feat Paul St Hilaire – Vampire
Mere Mortalz feat U Brown – Dis a boom
Breakstra – Family rap
Jablonski – Soul makossa
Gainsboot Manuva – Locataires colossaux
Son Sine feat D.E.W. – Believin'
The Go! Team – Ladyflash
The Clash – Magnificent seven
Keith Lawrence – Style and fashion inst
Stones Throw Holiday Mix from Peanut Butter Wolf (feat Freddie
McGregor, Lou Rawls, James Brown, etc)
Catch me on National Radio at 1pm December 31, taking part in a panel discussion fronted by Jon Bridges, on exciting events that happened with blogging, the internets etc in 2005 alongside James and Robyn – looking forward to it. And tune in next Saturday for Ring The Alarm with Big Matt at the helm.
Take it easy.
Thursday, December 22, 2005
Top ten albums for 2005
Amadou and Mariam - Dimanche a Bamako
Iggy and the Stooges – Iggy and the Stooges, Funhouse reissues
Fat Freddy’s Drop – Based on a true story
M.I.A. – Arular
Broken Flowers soundtrack
Breakstra – Hit the floor
Damian Marley – Welcome to Jamrock
Sharon Jones and the Dap Kings - Naturally
Roisin Murphy - Ruby Blue
OST Block Party Edits compilation
J-Live - The Hereafter
Blackalicious – The Craft
Common – Be
Recloose – Hiatus on the horizon
...and handfuls of killer singles from all over the show.
Please note the lack of boring indie rock which has infected every other top ten list I've seen (cept for Stinky Jim in the Listener). And then there's Dubber's monster list which scares the pants off me...
Wednesday, December 21, 2005
Set your video
Just wanted to draw your attention to this fine doco, War Tourist: Christmas in Bethlehem, screening at the aburdly late hour of 11.20pm. Its a shorter version of the feature-length doco that Radar is puting together of his xmas holiday in Bethlehem, where he searched for the Intifada but only found large scale outbreaks of peace. I've seen a few clips from this and it's hilarious.
War Tourist: Christmas in Bethlehem
Screens Wednesday 21 December at 11.20pm, TV2
War Tourist: Christmas in Bethlehem is the story of comedian and documentary maker Te Radar's desire to seek answers about the Israeli/Palestinian conflict.
In late 2003 Te Radar, real name Andrew J Lumsden, managed to persuade his good friend Aaron Watson to accompany him to Israel and Palestine in order to shoot a film about the conflict. This was no junket - the only thing Te Radar was able to promise Watson was they'd eat a chicken on Christmas Day and that Watson had to pay his own way.
Normally a European tour guide, Watson agreed, despite the fact he was not a camera man and suffers from a degenerative eye disease. The two arrived in Tel Aviv at the beginning of December knowing nobody and with no plan bar eating the festive chicken on Christmas Day.
The result is War Tourist: Christmas in Bethlehem, a half-hour documentary for TV2. The programme is part travel show, part current affairs and part historical documentary.
Very quickly Watson discovered Te Radar was not ideally suited to being a journalist. His knowledge of the situation was limited and he was particularly inept at dealing with contacts, especially when it came to taking note of directions. Te Radar was eventually banned by
Watson from carrying money after being fleeced by trinket salesmen. Watson's frank updates on how he thought the film was progressing are conveyed in secretly recorded diary cam moments.
Nevertheless, beyond these trifles Te Radar and Watson embarked on a journey of discovery; they sought answers, but eventually left with more questions than they arrived with.
As Te Radar says; "While War Tourist: Christmas in Bethlehem contains moments of drama, of poignancy, of absurdity and of sheer unadulterated confusion, it is also the story of courage and
compassion in seemingly interminable conflict."
Catch the courage, the compassion and the chicken in War Tourist: Christmas in Bethlehem.
From TVNZs website
Monday, December 19, 2005
Lee Arab – Now
Backnificent 7 – You wot (Skitz remix)
U-Roy and Francois K – Rootsman
Prince Jammy – Dub there
Hugh Masekela – Grazing in the grass
James Brown – Soulful Christmas
El Chicano – Spanish grease
Mulatu Astatke -Yegelle tezeta
Junoir Murvin – Give me your love
John Holt – For the love of you
Little Tempo - Jemima
Cornerstone Roots feat Ranking Joe – Forward movement pt 2
George McCrae - I got lifted (Mischief brew re-edit)
LMNO and Madlib – Headlock
International Observer - Welcome
Blackalicious – Your move
Mia – Hombre (Xerox soundsystem remix)
Western Roots – Rockers galore
Maxwell Implosion – Grasshopper
Rosalia De Souza - Bossa 31 as performed by Gerardo Frisina
Axel Krygier – Echale Semilla (Watch TV remix)
Pricne Fari & Singers and Players – Water the garden
Jackie Mittoo – Ska shuffle
DJ C and Quality Diamond – Let it Billie (Jungle mix)
Breakstra - Burgundy blues
Skull Snaps – It's a new day
Jimmy Castor Bunch – King Kong
Self Scientific – What you need