8Sided Blog

the scene celebrates itself

Micro-Licensing and the Act of Crossing Fingers

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Micro-licensing sites — where you add your music to an online library portal and licensing rights are granted for a small fee — have an allure. For one thing, they’re convenient as you merely upload your songs and fill in some info. The only other step is to cross your fingers and hope your music takes off on the site. Micro-licensing sites promote royalty in scale — that if your music is successful, it won’t matter that the license fee is $15 (or whatever). Thousands of those will add up.

But it’s common knowledge that it’s a 1% of 1% that have such success on these sites. And I’d wager these successful composers work super-hard at it, doing quite a bit more than crossing fingers.

You also have to accept that, in most cases, you’re losing complete control of your work when you supply music to one of these content providers. You don’t know who’s licensing, and you certainly can’t deny a license, and you won’t be able to gauge or benefit from a commercial entity making loads of money off your work.

Stock photo sites operate the same. Which brings us to this story reported in Petapixel:

It turns out a Newfoundland-based company called Islandwide Distributors (IWD) had licensed [Michael] Stemm’s photo royalty-free from Shutterstock for just $1.88. The company then turned around and made at least 500,000 units of products with it [and sold the products in Walmart stores across Canada] — Stemm learned this number after reaching out to the company. So while Stemm’s experience may seem unfair, it was likely entirely lawful and within Islandwide’s rights.

The salt on the wound:

Unfortunately for Stemm, he isn’t even able to withdraw the $1.88 he earned, as his account needs to reach a balance of $50 before he can see the funds.

Techdirt has no sympathy for Stemm:

Stemm said Shutterstock could license the photo. Shutterstock did exactly that. The fact that Walmart has more than 500,000 items featuring Stemm’s photo is probably unexpected, but if you really want to retain full rights to your creation, you don’t hand part of those rights over to a middleman. When Walmart licensed the picture from Shutterstock, it didn’t seek Stemm’s permission because it didn’t need Stemm’s permission. […]

It certainly seems unfair when a company can make hundreds of dollars from a $1.88 license. But there’s nothing unfair about a process that involves a voluntary relinquishment of control. Shutterstock can certainly find a greater market for someone’s photos, but no one should go into this relationship believing it will result in newfound personal wealth.

I agree with Techdirt’s sentiment here — when you enter into an arrangement with a stock photo library, or a music library, or the record label that will own the rights to your songs, you need to accept what you’re getting into. Moving forward, any mistake is but a learning moment as you got yourself into the mess. According to Petapixel, even Stemm admits he didn’t read Shutterstock’s licensing terms before clicking ‘submit.’

That said, I do believe these sites could do a better job explaining what’s in store for content creators and to favor realistic expectations. The idea that an artist will make ‘easy money’ through a micro-licensing site supports a rare exception. The artist might have better luck buying lottery tickets. Just like the lottery, the allure is strong — I’ve certainly been tempted, by both these licensing libraries and the lottery. And it’s okay if you play — just understand the agreement that you’re entering, the potential outcomes, and how frustrating it is to be in Michael Stemm’s position.

‘Best Of’ Lists Revisted

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I recently wrote about ‘Best Of’ lists and the practice of using them as a guide to finding acclaimed albums one might have missed over the past year. Since writing that post, I’ve decided that playing catch up on the previous year — which might take all year! — only ensures that I’m always catching up. I’ve started the year, as part of my ‘album a day’ routine, looking to the present with the goal of my own ‘Best Of’ or ‘Favorites’ list at the end of 2019. I’ll be a better music-listener if I stay current.

But these end-of-year lists remain a fascinating study. They reveal trends, changing attitudes, and clues to where the mainstream is going.

Rob Mitchum has been aggregating many year-end charts to create a mother-of-all-lists. He’s been doing this since 2013 so comparing his results over the last five years is starting to reveal swings and transitions. This year is marked by diversity, increased critical acceptance of popular artists, and the lack of a clear breakout winner for the number one spot.

The Outline:

When asked about why there isn’t a breakout pick for best album of 2018, Mitchum pointed to a paradigmatic shift in music writing that’s led to better representation and coverage of music genres across the board, with more albums thus vying for preferential treatment. “Music writing has become a lot less indie rock-focused, and there’s a better diversity of music opinion, which levels the playing field a lot for albums …” he said. “You can see in 2013 already how critics have been broadening out to other genres. If I had started the project fifteen years ago, it’d be more apparent how music writing has changed.” […]

Mitchum stressed that it’s good for music when critics move towards a wider variety of genres, and more consideration of the popular and the mainstream. “There’s a lot of alarmist writing on algorithms and streaming, but data-driven music discovery can be good… and I guess that [my] project is another way of saying that,” he said.

These results also show how much the mainstream has changed in the past several years. The sound of popular music has been affected by unlimited access to emerging sounds and cross-pollination of genres that previously would have stayed in tight niches. There hasn’t been an obvious new musical movement or style since perhaps the ‘90s, but I’d argue that a lot of current popular music would sound downright experimental to someone listening ten or fifteen years ago. It’s good to see critics supporting this.

However, for a ‘Best Of’ list reality check here’s some straight talk from book publisher Anna Trubek from her always enlightening Notes from a Small Press newsletter:

… I feel a fool for falling for [Best Of] lists, which are really “favorite books read by critics, who must read the must buzzed-about books for their jobs, so much-buzzed-about books are a large percentage of the books they read, so they often end up on the Best of lists, which are really just their favorites, and a tiny percentage of the total number of books published in a year, and so these lists are all a bit of a self-fulfilling prophesy.”

The Album Long Game or the Wrong Game

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Vulture explores today’s topsy-turvy state of the album release strategy in an article that asks Does the Surprise Album Release Still Work? My answer: it can if the strategy fits your brand and fan expectations … and, as the article points out, if you’re not looking to release vinyl on the same day.

This quote from Beggars Group’s Matt Harmon in the article is important:

“Streaming means that we’re not getting the sales that we used to get the week of release or the first three or six months of release, but that those sales or streams or equivalent units are stretched over the first two, three, four, five years …”

Longterm thinking is increasingly vital and that’s a good thing. The first-week album splash might still work for the music industry’s 1%, but anyone else not actively promoting an album — and a body of work — continually for the entirety of his or her recording career is playing the wrong game. Streaming rewards maintaining interest in a back catalog. Take advantage of this and stop looking at a release date as the crest of your promotional efforts.

Don’t Let Music Become Software

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Above: another pic from the sticks, hope I don’t get ticks. I’m hiding out in this remote location for a couple more days.

I’m a fan of email newsletters — I subscribe to way too many — and one of my favorites is Cherie Hu’s Water & Music. Even outside of the newsletter Hu is one of my favorite music industry writers/pundits, and she seems to reserve her most thought-provoking opinions for the newsletter. And 2018’s final edition of Water & Music, titled ‘The Music Industry’s Inconvenient Truths,’ is a corker.

The premise revolves around answers to the question, “What is one truth about the music industry that very few people agree with you on?” I can’t say I strongly disagree with any of the responses Hu received, and this one bolsters the direction of my consulting work. But it’s Hu’s two answers to the question that elicit the most thought — this newsletter’s been reeling in my head since I read it a few days ago.

Hu’s first answer has familiarity as she’s dropping some Seth Godin knowledge and I just finished his latest book, This Is Marketing. The concept of the ‘smallest viable audience’ is emphasized, which states that an artist should only seek to please his die-hard fans. Musicianship and ‘honing the craft’ remain important, but not at the expense of serving the needs of those who support you. Says Hu:

Let’s put it this way: as long as music can be materialized as an item or activity whose purchase generates revenue for somebody, music is a product. People who buy or engage with a musical product are referred to by the industry as “fans,” so “fan” is just another word for “customer.” Customers buy the products that best satisfy their own needs and desires. So, like in any other industry, the best music products most effectively address customers’ needs and satisfy clearly-defined gaps in the market that other products haven’t filled.

In This Is Marketing, Godin argues that we are all marketers as individuals seeking to make a change in others. For the recording artist, that change is as simple (or complex) as convincing a listener to check out her album rather than someone else’s. Godin then challenges us to think of ourselves as something more than marketers — also as teachers, delivering value and reward to our customers/fans. With a teacher mindset, we’re encouraged to produce meaningful content for those who are paying the most attention.

I could go on and on about this but I’ll save it for a future post. I’m cutting myself short as I can’t wait to get to Hu’s next proclamation: “The word ‘creator’ does more harm than good:”

I understand that the word “creator” might be the simplest, most easily accessible term for addressing all possible users releasing content on a given platform. And don’t get me wrong: democratizing creativity is undeniably a force for good, and the last thing the world should do is give fewer people access to tools for making art and expressing themselves. But who owns and profits from that creativity is an entirely separate debate, in danger of being obfuscated by the widespread adoption and promotion of “creator” as a job title.

It may seem like semantics, but the way we adopt and use language rewires our thinking (hello, George). Hu’s point— which I never considered — is that the more we refer to ourselves as ‘creators,’ the easier it is to submit to the notion that our creations are in fealty to others. Notice how the services almost all use ‘creator’ — a sampling of examples Hu points out include YouTube Creators, Facebook for Creators, Spotify’s “Creator Marketing.’ So when a platform sneakily claims ownership of our work — as Spotify did with its #PraiseV campaign (see Hu’s newsletter) — we’re desensitized against protest. Hu again:

Throughout history, the democratization of creativity has coincided with a dilution of clarity around ownership […] [and] the mechanisms by which other companies can claim IP ownership in a world of democratized creation are becoming much swifter than reading through tens of pages of a record contract.

I feel like the tech platforms — Spotify, Apple, Amazon, et al. — would like us to start thinking of music as software. That is, we’ve ‘created’ something that’s inseparable from their technologies. Just as Omnifocus, my to-do app of choice, won’t run and can’t exist without my iMac, a song can’t exist without Spotify. Then we start thinking of our music as dependent on the platform when, of course, it’s the other way around. 

That’s one thing I love about music publishing. Its framework forces us to think of compositions as separate from the recordings and undetachable from the songwriter. A song isn’t a creation, per se, but an idea tied to an individual (or individuals, if there are co-writers). The tech platforms have had their problems with music publishing, showing that the intimacy of composition may help protect against music becoming software.  But, as Cherie Hu points out, the real battle may be fought through language and how a shift in simple phrasing affects the ownership mindset of future songwriters. Let’s hold on to our ideas and understand that songs are breathing things that exist on their own, platform be damned. Don’t let your music become software.

P.S. — I realize this last bit may seem in contradiction to the first, where it appears I’m referring to songs as product. But it’s not in opposition at all if you understand the type of marketing we’re doing as artists. Godin’s This Is Marketing will help you understand and I recommend it. 

P.P.S.— There’s no disrespect intended to software and software makers. But I feel programmers have a better understanding of their IP rights in the milieu of platform-dependence than songwriters and artists do.

The Album, If You Want It

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The streaming model has led to many changes in how we create and consume music. One impact debated as much as any other is the supposed decline of the album as a format. From the outside, streaming seems tailor-made for singles, and many artists are taking advantage of this, consistently releasing one-off songs on streaming platforms, effectively building hype and, in some cases, hits. Some are suggesting the music industry is experiencing a throwback to the ‘50s when singles ruled, and the idea of a self-contained long-form artist statement (i.e. an album) was distant at best.

Billboard is looking back to 2018 as a harbinger of what’s to come:

In case you hadn’t heard, streaming is now king, and 2018 was a case study in how abandoning old-school recording cycles in favor of experimental, fan-favoring workflows can yield tremendous success, even when physical music sales continue to plunge. […]

Executives from both the recording and streaming industries agree that it is no longer the restraints of a physical medium (vinyl, CD, etc.) or shelf space that dictate the impact or capacity of an artist’s work; the real battle is now fought against fan distractions.

I would agree with this, and I also agree with the article’s leaning to the opinion that the rulebook for albums is torn up, thrown out. It’s not that albums are old-fashioned; it’s that we’re at a place where an artist is free to create a statement that best suits her music and fans.

Looking to the past, we can remember purchasing a ten song album — CD, cassette, or vinyl — and finding out there were only one or two good songs. It felt like the record companies were conning us. Arguably, a factor in the quick rise of Napster was dissatisfaction with high-priced CDs featuring only a couple of ‘good’ songs.

I submit that it wasn’t necessarily a record label con. The ‘one good song’ artists shouldn’t have been releasing albums in the first place. There are artists adept at crafting brilliant singles, and there are artists able to make a stunning album statement. Sometimes an artist can do both (mid-80s Michael Jackson or Prince are obvious examples), but I think that’s rare. And a lot of artists had no choice but to wrap a mediocre album around their great, hit single. That’s how things were done before streaming.

In 2018 (going into 2019), artists have the freedom to create in a way that best suits their output and their fan expectations. Childish Gambino can impactfully drop “This Is America,” and Drake can succeed with a 25 track album. Nine Inch Nails can release a 30 minute EP and call it an album, and it’s cool (keep in mind, Van Halen didn’t release an album that clocked in over 35 minutes until David Lee Roth quit.).

Monta At Odds

Just as a singles artist doesn’t have to release albums, an artist best suited for albums is free to still work in that format. Take our 8D Industries artist Monta At Odds — the album Argentum Dreams is intended as a cohesive piece for listening from front to back. There are a couple of songs that might work as one-off singles, but the Monta At Odds fanbase expects an album and expects the band to take them on this 40-minute journey. If Monta At Odds started releasing a single every month, their fans would be confused and probably listen elsewhere. And an artist finding success with consistent singles would lose fans if she took eight months off to record a concept album.

Once again I’m emphasizing freedom as the defining element of our new music landscape. The album isn’t dead — it’s there if you, or your fans, need it. Be intentional, and understand what you’re trying to say and how your fans want to listen. If that warrants a series of four-song EPs, or a weekly single, or a sprawling 20 track album, then you’re golden. You can do any of that. You could even do all of it if it works. Or, most importantly, you can come up with your own format and schedule — a new expression that might be a single, or it might be an album, but it’s definitely all you.

Music Recognition and the Future of Venue Royalty

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DataArt’s Sergey Bludov, writing for the Medium publication Hackernoon, has posted an interesting rundown of Music Tech Trends to Bolster The Music Industry in 2019. He writes that 2018 may have been one of the more pivotal years for technology in music, both in innovation and adoption, which sets things up nicely for 2019. The article explores the potential of sexier tech-topics like artificial intelligence, VR/AR, and wearables, but the area I’m most excited about might seem mundane in comparison. Sergey places it at the top of his list, so I think he shares my enthusiasm. We’re talking about using music recognition technology as a tool to calculate accurate performance royalty payments from song play in venues. I swear — this is super-exciting:

The music industry faces a massive challenge when it comes to monitoring and tracking where and how often a song is being played. Without effective Music Recognition Technology (MRT) artists, publishers, and other rights owners lose their royalties each time music is played in a club, bar or any other venue. And, of course, this is a very serious problem, with some estimating that 25–35% of mechanical licenses in the U.S. are unrecognized on streaming platforms alone. Fortunately, a range of experts around the world are working diligently to solve this major issue through MRT innovations and implementation.

Automatic music recognition isn’t new. In fact, Broadcast Data Systems (BDS) was widely-deployed by the early 1990s for recognizing songs played on U.S. radio stations. However, even though the core algorithm for recognizing music has existed for decades, a large percentage of venues are still not adequately equipped with MRT. The good news is that many companies such as DJ Monitor heading up the technology side. And of course, once the music is effectively recognized, the data is sent to the performance rights organizations (PRO) that handle payment distribution. Paris-based Yacast is another tech company working in this space, as well as SoundHound Inc.’s Houndify, Google’s Sound Search, and others.

I’ve written about this before. Music played in venues (restaurants, nightclubs, hair salons, etc.) cannot be accurately tracked unless someone’s taking notes and submitting tracklists to the PROs. So, historically, the payments venues make to the PROs (mainly BMI and ASCAP here in the states) go into a pool. The top artists of that quarter — who the PROs assume are getting the most venue-play — receive payments from this pool. Of course, this is ludicrous — though there hasn’t been any other realistic solution — and causes frustration for the gothic club or the hipster coffeehouse that’s never playing ‘top artists.’

Shazam-like technology is a hope to solve the problem. With a device installed in venues, the music coming from the speakers can be monitored 24/7 with the info sent to the PROs. Theoretically (and realistically) that info is used to pay out accurate venue royalty to the artists receiving play.

A few countries and PROs in Europe are already testing this — PRS in the UK and GEMA in Germany are working to implement this technology — and it can’t come soon enough for the US and the rest of the world. However, most countries only have one performance rights organization, which makes it easy to select and install the device and have it report back to the appropriate party. The US is an outlier (go figure) in that there are technically four competing PROs. It may be a battle to get these companies to agree on a single device that will report data to each. I’m sure each fork of that data will need to be a private and trusted stream so, for example, BMI can’t see how ASCAP is faring. If they can’t agree then the untenable status quo may hold or — even sillier — venues may be asked to install a separate listening device for each PRO.

The impact of virtual reality and A.I. on music over the next few years will be fascinating to watch. But, to be honest, I am a lot more curious to see how this song-tracking technology develops.

Tom Waits and Imitation in Advertising

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A couple of days ago I examined the “Blurred Lines” decision, potentially allowing lawsuits against artists who acknowledge and transmit their influences ‘too much.’ I find this precedent dangerous, but it also got me thinking about the line between influence and intentional mimicry. There are many examples of music made to sound just like another artist purely to capitalize on the identity or success of that artist. The advertising world can be especially naughty in this practice. Recently, Eminem won a case against a New Zealand agency that used an intentional copy of “Lose Yourself” in a political advert. Licensed from a music library (which is a whole other topic), the soundalike track was even titled “Eminem Esque.” There’s no question of the intention there.

Tom Waits has a particularly tough time with imitation. I suppose it’s the price to pay for being such a distinctive, one-of-a-kind figure. Today I Found Out just released a video on Waits’ battles with advertisers and, though I’ve followed the Fritolay fracas, there’s a bit in here I didn’t know. I didn’t realize Fritolay had the nerve to have the soundalike sing a Tom Waits song in the ad (I am assuming Waits had an approval clause in his contract that didn’t allow his label to license the original recording outright). And, even more curious, I didn’t know that, despite Waits’ high profile victory over Fritolay, agencies continued to mimic his voice in ads, creating a legal whack-a-mole for the frustrated singer.

I admit that I don’t understand Tom Waits’ lawsuit over his songs being used in a horse circus, as mentioned near the end of the video. A ’horse circus’ sounds like the most Tom Waits thing ever. There must be something more to that. A compulsory public performance license should allow any of his songs to play in the venue, right? My guess is it was more about how the show was promoted, with an implication of Waits’ endorsement or involvement, rather than the actual musical content.

I’m also thinking about artists that refuse to have their music used in advertising. It’s amusing to explain to younger songwriters that there was a time — not that long ago! — when it seemed the majority of artists wouldn’t allow their songs used in ads. Mindsets have certainly changed, and you’ll get no judgment from me as far where you might lean. But there is something admirable about Waits’ position, though he’s able to earn income from a revered catalog and multiple vocations. I know the Beastie Boys are advertising hold-outs, too (and have had their own headaches for holding this line). Who else is left? And except for that handful of idealistic punk rockers, are there any newer artists or not established (i.e., well-to-do) artists that are also non-starters with advertising music?

America Is Waiting

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Brian Eno & David Byrne’s My Life in the Bush of Ghosts is often credited as one of the first ‘sample-driven’ albums. It can be argued whether or not its cut-and-paste tape embellishments are ‘samples’ in the Art of Noise “Who’s Afraid Of?” or The Bomb Squad sense, but the influence is undeniable. The album did alert many already art-inclined musicians to the possibilities found in adding sounds and dialogue to productions. Rather than sampling, we could say it popularized collaging.

I was on a high school trip to Disney World, probably around 1986, and we ended up in Panama City for an overnight rest stop (we were coming from Louisiana). I was hungry for ‘alternative’ records, as they were scarce in small town I lived in. So, in our short stay in Panama City I sought out and somehow found an underground record shop. I was tempted by the many albums I’d never heard of — they all looked like something I should listen to — but I only had money to buy one. I did what you did in those days: I asked the record clerk for his recommendation.

He asked me what I was into and where my taste currently resided. I’m not sure what I said, but I was mining early Cabaret Voltaire at the time (Red Mecca was an obsession) so that may have influenced his decision. He pulled out a vinyl copy of My Life in the Bush of Ghosts and asked, “Have you heard this?” I hadn’t, so he insisted I spend my cash on this unassuming-looking album. Once I returned home and put the album on the turntable I was transfixed. It was weird, completely different than anything else, and organic and sloppy while other sample-based/electronic albums at the time were technical and precise. I wish I could thank that guy at the record store.

I bring up My Life in the Bush of Ghosts today because of this sad news story reported in Soundblab:

Less than two weeks ago from this writing (December 2, 2018), the body of longtime progressive radio host Ray Taliaferro was discovered in the woods near Paducah, Kentucky. Taliaferro was a pioneering black broadcaster and community leader in San Francisco starting in the late ‘60s. Sadly, he suffered from dementia in his later years and mysteriously went missing several weeks before his body was found.

It’s hard not to think about Taliaferro wandering disoriented and alone when he was a lamp to so many in life. For posterity though, his voice was captured in a much more vibrant moment as the first that is heard on Brian Eno and David Byrne’s collaboration, My Life In The Bush of Ghosts.

If you know the album you immediately know the voice: “America is waiting for a message of some sort or another.” It’s so matter-of-fact, but ominous, almost authorative, denoting a conspiratorial paranoia that we recognize all-too-well in 2018. I knew nothing about Ray Taliaferro — I didn’t even know he was behind the song’s vocal until today — but he seems to have been a well-respected broadcasting forerunner. I wonder what he thought about his voice on “America Is Waiting,” portraying him with nervousness and an almost methodical mania.

This brings up some of the problems expressed about My Life in the Bush of Ghosts. There’s a matter of cultural appropriation and context-shifting that could be extended to Ray Taliaferro.

At the time, fellow world-tapping producer Adrian Sherwood seemed to sneer at this and Eno’s intent of creating a “vision of a psychedelic Africa” when he titled an African Head Charge album My Life in a Hole in the Ground, not soon after the Eno/Byrne release. Sherwood also later appropriated the Eno quote for another album title.

Writing for Getintothis, Jono Podmore is heavily critical of Eno and Byrne’s ethics with regards to the project but eventually celebrates the tension:

The musicians were by and large white but the style is rooted in African American forms of funk, replete with thumb slapping bass and the sound world of George Clinton. There’s no rock drum sounds, no wailing guitar solos. And then there are the “found voices”. Of the 10 tracks on the original release, there are 9 vocals and 6 of them are American, and at least half of them are clearly African American voices. None are African. There’s a sense of selling American culture back to itself as exotica. A slight change of context, a touch of “African psychedelic vision” and the picture we get is a Pynchonesque world, a filmic unreality directed by Wim Wenders featuring Harry Dean Stanton as a sweaty southern preacher …

Cultural appropriation is a tricky subject. No one disagrees that the originators should get their due. And context-shifting is fine and dandy until it happens to you. But the mash-up of different cultures is how new movements and genres are made — Hank Shocklee has even stated the influence of My Life in the Bush of Ghosts on The Bomb Squad and his innovative production for Public Enemy. And these combinations also release a bubble, inspiring fans to track down the influences. Paul Simon got a bit of flack for Graceland, but the album did turn a lot of people (including me) onto Soweto street music.

Even Jono Podmore admits, “The first African book I ever read was My Life in the Bush of Ghosts – because the album had introduced the title to me.” The line is even blurrier once we learn that Eno and Byrne never read the book themselves — they just liked, and appropriated, the title.

The Best of Music to Check Out

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How have end-of-the-year album lists changed since the advent of streaming? I think they’re entirely different, both in how the lists are compiled and how we, as music listeners, read them.

‘Best Of’ lists weren’t as freewheeling as they are now. There was pressure for the publication and its critics to have selections in the top slots that were familiar to the reader, even if just casually. And it seemed that lists were limited to a top 10 or 20 — 25 if we’re feeling crazy. After all, these were suggestions of music you should buy. Previewing these releases, if you were so bold, meant taking the list to the record store and asking the person at the counter to play a little bit off each record. You’re out of luck if there aren’t any open in-store play copies.

These lists are no longer meant as suggestions for purchasing — it’s music to check out. Fire up your favorite streaming service and take the top ten for a stroll. Or, if you’re feeling ambitious, sample the entire list. But that can take a while as today’s end-of-the-year album lists can go to 100.

The differences don’t stop there. While the pre-internet year-end music lists in Rolling Stone or The Village Voice included selections that generally spanned all genres, online publications offer specialized options. It’s curation, in a sense — find the site or blog whose taste you trust, and that’s the ‘Best of’ list meant for you. And these specialist sites (and even more general music sites) have no attachment to keeping things safe and familiar — it’s not rare when an album you haven’t heard of occupies the number one slot.

I’d argue that, in most cases, these are no longer ‘Best Of’ lists, but they’re more like playlists. That is, playlists of albums rather than songs (though there are ‘best song’ lists, too), curated by the taste that guides a blog or a site’s editorial staff. A top ten has always been subjective, sure, but now we’re talking about albums that we should sample, not purchase with hard-earned money. In a way, this makes these lists less subjective. “These are the albums that we enjoyed this year and, if you like our site, perhaps you will, too.” The difference is listener investment, and, though there are also some negatives to that (which we may discuss someday), it does inspire risk-taking.

I’m not saying the critic doesn’t believe his or her album is the best of the year. But I do feel the path to making that choice and the other choices that populate the rest of the list are less determined, less rigid. And I’m happy with that.

I’ll be sampling a handful of ‘end-of-the-year’ lists over the next several weeks. It’s a December tradition. I’ve picked my favorite lists, and I’m going through them, giving each album at least a three-songs-chance before I decide “yay” or “nay.” I’ll make a note of the ones I like the most and will go back to them later for repeated listens.

This last part is essential. One significant difference in charts then and now is that if you purchased the album, it had better be good. You lived with it for weeks and got to know the album, sometimes even if you weren’t crazy about it. That’s the attachment of investment that streaming doesn’t offer. As music fans, we now have to be intentional in our listening. Streaming is nothing more than a tool for access, but it encourages a casualness by nature. The majority of music listeners have always listened to music casually, so there’s nothing lost there. But if we’re die-hard music fans, it’s necessary to be aware and vigilant in our habits as streaming users.

OK, here are the ‘end-of-the-year’ lists I’m listening through:

Once I’ve exhausted those (unlikely, as it’s a lot!) then I may explore what I haven’t listened to in the more general lists, such as Pitchfork’s The 50 Best Albums of 2018 and The Best Electronic Music of 2018, and NPR’s Best Music of 2018.

Happy hunting! I’d be curious to know your go-to end-of-year lists … and your album picks.

Disco’s Shadow

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Musical collisions can create the most exciting and innovative sounds. I’m fascinated by that gray space on the Venn diagram between two disparate genres, instruments, or creative objectives. Jon Hassell combined elements of ancient world music with electronics and spawned a blurred terrain he termed ‘fourth world music.’ And I’ve written previously about the fun things that happened when classic rockers ran head-first into the new wave.

But the often-reluctant introduction of disco to other styles is curious and complicated. Disco is a combination of genres in itself, and the results can be extraordinary – queue Brian Eno’s “I have heard the sound of the future” pronouncement upon encountering “I Feel Love.” But love it or hate it, we must accept that we are living in disco’s shadow, with every genre touched not just by its beat and groove, but also by disco’s radical production techniques and rearrangement of format (singles, remixes, extended versions, etc.).

There was a period of collision when disco was forced upon, rather than accepted, by mainstream artists of the non-disco persuasion. Alexis Petridis writes about this phenomenon for The Guardian:

Critical opprobrium, a collapse both of sales and artistic credibility, fans who paid good money to see you baying for your blood: you couldn’t wish for a more vivid illustration of the risks awaiting the late-70s rock artist who chose to go disco at disco’s height. It was a hell of a gamble. There was always the chance of some short-term commercial gain, but the odds were stacked against you: the back catalogues of umpteen 70s artists are flecked with ignored attempts to cash in on the success of Saturday Night Fever, remembered largely by fans as catastrophic career aberrations. Even if you did get a hit out of it, your success would almost invariably be accompanied by mockery or even anger.

It’s easy to identify the artists that embraced the opportunity for experimentation versus those unwittingly dragged by their feet into the studio session. There are plenty of aberrations, but then there’s also “Heart Of Glass,” “Another One Bites The Dust,” and “Miss You.” Talking Heads would’ve been a different band without the combination of disco and their artsy ethos, and I’d argue new wave and post-punk may not have taken off without the ’70s nightclub’s groovy influence. We wouldn’t have this surprising moment from Crass either:

It’s a bit old-fashioned to mock disco — I think the consensus, finally, is that it was a significant cultural movement, not just musically but socially as well. A lot of the resistance to disco had a sinister backbone that had nothing to do with the music, as evidenced by the infamous Disco Demolition’s quick transformation into a riotous hatefest.

I remember a moment watching Late Night With David Letterman as a kid in the early-80s. Paul Shaffer would regularly have a guest fill in with the band who would often be a studio musician of some renown, though unknown to the general public. There was a drummer with the group that night and, I can’t recall who it was (though I can guess), but Shaffer introduced him as “the man who ruined music.” When Letterman asked what that meant, Shaffer explained that this drummer “invented the disco beat.” The drummer then demonstrated by playing a simple four-on-the-floor rhythm with a slight shuffle as Letterman and the audience jeered. I remember being confused by this — ruined music? I know they were joking, or maybe half-joking, but in retrospect, it seems that Shaffer — the guy who co-wrote “It’s Raining Men” — really should’ve known better.

P.S. – I do realize the photo of Klaus Schulze at the top doesn’t have a lot to do with disco, but, man, it’s such a great image.