Whilst CDs were indeed extremely expensive in the nineties, second vinyl was pretty cheap. I got in to vinyl for cost reasons, not because I like the format particularly and built a decent collection of “classic” albums. Additionally, you could buy re-released new classic vinyl quite reasonably - CBS called them “mid-price”, and other record labels did similar - they have may have been a lower quality pressing but they sounded alright.
A lot of the 60s stuff I bought in the early 90s were second hand copies of those cheap 80s reissues.
I mean your 90s were substantially different to mine if record players were a viable thing. Not sure I knew anyone who had one, or if they did they never used it.
We had a record player
Cheaper to get 2nd hand vinyl than cds. We were a fairly poor family
Not read this thread yet but dunno what needs to be fixed it’s brilliant. Just listening to an Emmylou Harris album from the mid 90s
He’s such a tone deaf clown.
Ah I meant as a student in the 90s and after. The size of a mini system was like a 1/4 of the size a record setup took up in your one room plus you have the whole thing of what you’ll risk drunken parties using for music.
Certainly people’s parents had record players. My house was unusual because mum and me only had cassette decks. I think again mum had lost a lot of her vinyl and so it was cheaper to buy boom boxes and have friends of hers record albums to cassettes.
what I’d really like to know is how many of the 870 artists in the $1m a year cateogory released their first record in the last 10 years
like there was that point a few years ago where every rock music festival seemed to be headlined by Muse or Kings of Leon - cos no big bands had popped up for ages
I’d imagine there’s bands making $1m a year from streaming who started decades ago who’d never get anywhere near full time earnings if they’d started now, there’s no appetite for risk from the labels in terms of promoting things to the mainstream that aren’t very very commercial
the real change is that in the pre-internet era, the labels would sign a shit load of bands and all of them would get an advance that let them live pretty well for a couple of years
the bands that did really well made the labels so much money that they could do it like that and still turn a good profit
and the model worked for the bands, cos even if you failed financially, you’d likely still had a couple of years where you could reasonably be seen as having ‘made it’ and were doing music full time
whereas now you can make it to the front page of kerrang and still need a day job when you’re not on tour, which is mad and enormously off-putting to anyone without wealthy parents in terms of trying to even get to that level in the first place
We should be very careful about taking off the rose tinted glasses though
The band gets an advance but they can be put into debt by the label, etc.
No big rock* bands. Rock fell out of fashion hard around 2010 but most festivals are guitar centric so star making potential kinda noped oit. In the mean time hip hop edm and pop was producing legit superstars
I’d argue there hasn’t been a legit massive rock band for the better part of 12 years
I thought I’d covered this with
agree with your point about the lack of big rock bands for the last 12 years, you’d think it was (commercially speaking) the time for the industry to start churning out a few by now
Yeah i wasn’t denying the rock festival part but I imagine a lot of the biggest earners are newer musicians like Drake and Migos… are Migos still popular?
Am I still hip?
I’ve never heard of Migos
I’m going to assume that mean you’re very hip
Are imagine dragons massive enough? I don’t really know. I just know they’re pish.
I responded to the survey @sean posted above about earnings etc, and I thought it might be interesting to people to see from the POV of a tiny independent label which started on these very boards just how messed up streaming earnings are.
For Disintegration State, the total number of streams across all artists on the label and all streaming platforms* from Q2 2019 to Q4 2020 (the most recent data we have available) was 869,708.
Corresponding earnings for those streams was £209.08, or £0.00024 per stream.
Once our distributor had taken their cut for processing and delivering to streaming services and stores, total earnings were £171.41, or £0.00019 per stream.
Raking it in.
*bandcamp not included, and weirdly a bunch of these streams are actually social media channels like Facebook, but I think it still shows the issue
This is a good read:
“… New legislation proposed in the Senate, along with a House committee’s recommended legal changes after a comprehensive look at monopoly power among Apple, Amazon, Google, and Facebook, are aimed at reining in unchecked corporate power. If enacted and successful, the proposed changes would rebalance the music industry away from corporate bigness and toward music’s vibrant, crucial middle class.”
Also it’s the final part of the UK government’s investigation into music streaming on Monday. You can rewatch the precious bits online. The MPs were far more informed than you might expect and asked some really cutting questions
Could you share the breakdown by platform? Facebook does now pay royalties in US as distributors can submit full videos to Facebook video like they do with YouTube
Yer man from Undertones has done the maths
I’m guessing disintegration state takes little, possibly nothing, in overheads/label split from that money either? So most artists would get what 50% of that if on a generous indie label and far less from a major?