Tag Archives: singles

The Mass Market Music Blues

The train – she’s a goin’ nowhere.

I was prepared to bore the readership with a story about my personal evolution as a music listener, or as Vinny might put it, a “music appreciator”. While it might have explained how I arrived at my feelings towards certain artists and genres, and illustrated the love I have for some and the contempt I have for others, I feel it would have bogged down the reader with needless personal information. Therefore, I will make this statement as simple as possible.

I admire artists who take chances with their material and who don’t conform to a cookie cutter formula when composing music. I love artists that show a high level of musicianship, who can allow their instruments to speak for themselves, rather than letting a lone voice speak for them – not to say that lyrics and a charismatic front man aren’t important, but artists who strike a balance between the two find themselves high up on my list. It’s really more complicated than that, but for the sake of blog sized writing, I’ll leave it there.

On to the point – the cookie cutter approach, modern pop music’s crutch. Plain and simple, it isn’t working, at least not for me. Since hindsight is twenty-twenty, and because  it was recent enough to remain relevant, let’s take a quick look at late nineties pop and apply it to the mold I’m suggesting.

Britney Spears had just exploded onto the airwaves, alongside acts like the Backstreet Boys, and any number of R&B artists – not to mention Limp Bizkit and other “rap-rock” type groups. They gained popularity not through the merit and quality of their music necessarily, but through image. A sexy schoolgirl with a pretty voice, five preppy guys who could melt hearts, a dumb white guy with a Yankees cap – they all applied to certain demographics (well, maybe not Fred Durst).

In a money driven world, and perhaps more importantly, money driven music industry, the mass market is subjected to what will sell. While these trends endured, more of the same kept popping up: Christina Aguilera, Mandy Moore, N’Sync, 98 Degrees, and so on. Were they all making the music they wanted to make? Maybe. Did they have any control over how the media would portray them? Doubtful.

To tie this in with Vinny’s argument about singles – the symptom is largely the same. Though I’m not an industry insider, I can say with some degree of certainty that artists have very little control over what songs from their album get chosen as singles. The recording industry decides what the mass market will like, and pushes it. What results are artists who are made to sound like they have very little to add to the music scene, even if other tracks on their albums are worthwhile. Because of the way the industry packages them, artists are unwillingly and unfairly categorized and stereotyped.

There are a few brave individuals such as myself who support artists that aren’t necessarily backed up by the full weight of the recording industry, but in general I think what we hear on the radio and see on MTV are representative of what marketers have decided the most people will enjoy (and pay to see more of).

But one can bet that when an artist branches out and tries something new, one of two things happens. They either become more successful, or really, really poor (or fall into obscurity, barely managing to eke out a living off of their small cult followings).

-Alex

Now, just for fun, I’ll toss in my answer to Vinny’s argument.

In the case that you believe my fears to be valid, what can be done to stop this from taking place?

Firstly, this is a valid fear, and it’s already happening. As for what can be done, there are a couple things. Looking from the top down – music is both an industry and an art, but money makes the world go round, and the same goes for music. Therefore, if labels were producing music solely for the sake of music and art, with profit only an idea on the backburner, we might see some more risky music falling into people’s hands. Until they stop trying to capitalize on every current trend and shove it down our collective throats, we will likely be faced with heavily marketed music. There’s slim chance that will ever happen, of course.

Looking from the bottom up, aspiring artists need to look at the musical landscape before them. The way things are now, if they want to make a living doing what they love, they need to play into current trends to some degree, or else they’ll never get picked up by a label. I’ve seen too many local bands with MySpace pages that want to “push the musical envelope” (whatever the fuck that means), but just end up sounding like everyone else – how many of them ever really “make it”?

Like any good revolution, it has to start from the bottom and rise to the top. There needs to be a collective effort on the part of aspiring artists to really differentiate themselves from all the other popular offerings out there. The problem is, paradigm shifting is a hell of a lot harder than sounding just slightly different than someone else. Yes sir, we’re in dire need of a game changer.

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The Chaos Begins

Though I am still working on a very long piece on the nature of popular music itself, in order to get this thing rolling I have decided to bring up a point that has been concerning me in recent weeks.
There is no doubt that we have all noticed the fall of the album in the record industry. The internet, in yet another unexpected side effect of the information age, has created a singles based market. Though I am fairly certain that the majority of our readership is unaffected by this change, I can say through personal experience that the public at large has bought into this one song-one price movement.
While popular music has experienced this before, the previous incarnation took place long before the vast fracturing and specialization of said music. My fear is that this change will create an irreparable divide between the pre-existing semi-professional music appreciators (five points if you get that reference) and the typical consumer. I also fear it will destroy the chances of less marketable bands ever getting a major label behind them. This could effectively ruin the advances made in the post-Beatles era (i.e. the album as an artistic form, the death of “single” cuts for radio and label willingness to let top artists experiment.)
In response to this fear, I pose two questions:
In the case that you believe my fears to be valid, what can be done to stop this from taking place?
If you disagree with my argument, what will keep this collapse from happening or why is it not a collapse at all?

My next post will be a response to your responses (and yes, Alex is included in this). I will post my rebuttal sometime next week. Write good, Dudes and Duddettes.
-Vinny

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