If I were your editor — and the evidence strongly suggests that I am not — I would have insisted that this be entitled Mortgages and Good Shoes. My favorite SNB perception of all time was that if the A&Rs of. yesteryear genuinely believed themselves able to spot The Next Big Thing, they'd have quit their record company jobs and become managers instead.
Of course! But there were one or two (and that really does mean one or two, not quite a few), who were good at contributing helpfully to what the artists or producers created.
I am possibly one of the characters you write about here. Major signing. Loads of money thrown at the project over several years. Success in Australia but eventually ruthlessly discarded by the US powers that be. I have, however, sustained a modest career in music. But I'd like to offer a category distinction; the young person who attracts a modicum of notoriety but ultimately winds up on the trash heap. I can think of colleagues who became 'famous' in a sometimes tiny underground scene at a very tender age (ie in their teens). They may, or may not have, gone on to participate more fully in the music industrial complex before sliding off the edge. These souls, I believe, are emotionally snap frozen at the age where they first acquired that attention; emotionally, psychically, they never developed fully from that first flush of external reinforcement and recognition. The lost souls are the ones we don't know about because they disappeared. Love your writing btw.
Yes, we know a lot of those. I can think of several exactly as you describe - and others who went on to other things, then in retirement regressed to being as you described. Quite shocking, if it weren't so..... (choose one) sad? funny? pathetic? totally hilarious?
All true, Simon. But I think you were a bit too easy on the bastards. Yes, lessons were learned - but at a real cost. Granted, after getting beat up by an industry that eats its young, I aquired a finely honed business acumen that allowed me to develop the first VR game on national TV; author the first Consumer Guide for synthesizers; invent interactive museum exhibits for children's museums, science museums and theme parks, around the world; and produce multimedia content for most of the multinational media companies like Disney, Universal, RCA, Sony, BMG and more. But for all the revenue I generated for them, a modest pension would have been nice, health insurance would have been appreciated (US resident; no NHS); even partial control of my copyrights - every artist's most valued asset - would have alleviated some of the financial terror and stress. A few basic and relatively modest benefits, found in most industries, that could have made a huge difference in a lot of lives. Bottom line - it's legalized abuse enabled by industry-biased laws and inneffectual unions. The only thing that's changed is the names of the companies screwing the artists: streaming services instead of just the old-school labels and publishers who, despite surrendering majority control, managed to secure equity and sweetheart deals with the newmedia regime. But, it has been an adventure. I'll give you that! ;-)
There's plenty of other things I've written where I'm less easy on them. But it's a complex subject and to write a nice piece one has to scope a narrower viewpoint than the broad truth. The reality is - the them is partly the us - because the music business is about making money and we're all free to make music without doing that if we choose. Mainly, them, is all of us when we get seduced into working under the broad corporate umbrella that overhangs the industry. The us is when it doesn't bestow its benefits as kindly as our dreams would like.
Very interesting take on the underbelly i.e. the artists careers and the fallout thereof. No such luck - bad luck - for artists working now. However, belief in the delusion is just the same. Still necessary. Thanks for this Simon.
Thanks for this, someone had to say it. And without the benefits…artists I work with these days seem to be more realistic in their aspirations…and they are prepared to work hard…it’s tough..and I’m trying not to be the middle class romantic in amongst it all… but what you’ve outlined is pretty accurate from where I’ve been and and what I’ve experienced…I mean let’s face it…a plasterer earns a better daily rate than a member of crew and the artists earn much less because everyone else gets paid first and they only get what’s left. Which most of the time is a monstrous credit card or bank account debt.
When I was young, my parents and teachers all warned me - if you choose art as a career, you'll end up with nothing - it's a calling, not a career. The over-visibilty of super rich pop and movie stars has blinded peope to the basic truth about what art is.
Another interesting read Simon, thanks. Has to be said though that for all those that fall into subsequent (and more successful) careers, it can also destroy people and some are left by the wayside and cannot cope (sometimes due to the lifestyle this exposure and advance affords them). Would it not be fair to say that the industry which sells those people the promised land, has a responsibility to care for, or support them in some way when letting them go? I think managers have a responsibility there too btw.
I agree, I've seen young people cope badly with thinking they've won the jackpot, then finding they haven't. Whether the industry really should have a esposibillity for that or not is open to discussion - but one thing's for sure, they won't accept it, however the argument pans out. In general, I tend to think what the rejected artist goes through is a learning process - like being rejectced in love, or anything else. As for the managers having a responsibility for the artist not eventually making it, or being dropped - for every well known manager there are hundreds of minor ones who are often as hard hit by it as their artists. I guess the best advice is - if you love music, don't try to make a living from it - Robert Fripp has repeatedly said just that.
I agree somewhat on the learning process and rejection, but some people and especially artists and creatives can be less prone to coping. In my view its a managers responsibility to manage the expectations of their artist, and to educate as bet they can about the pitfalls etc (as an artist manager I certainly take that view in my role). Equally that could be said for the industry too once they get into bed with them - "but one thing's for sure, they won't accept it" - maybe a clause in a contract might help, a sort of sunset clause which if not financial, then perhaps with practical support measures.
Well, you can try negotiatng it. What it will end up as is - both parties agreeing that a percentage of the advance should be put into trust for the artist to use in case of termination. In fact, as manager you could propose that to the artist yourself. Or just tell the artist it's a ruthless business and if they truly love music, it's best played for enjoyment, not financial reward.
Fascinating parallels with the pharmaceutical industry where, for every blockbuster drug that makes a fortune (Zantac) there are tens of thousands that fail in development - some after millions and years spent on their development
I woner if there are star chemists/researchers who time and again come up with potentially brilliant drugs, yet consistently have failures that at the advanced testing stage. Do they still keep their jobs? I suspect that in the pharmaceutical industry they do. That would be a significant difference. From the corporations point of view it seems much the same, from the artists/or researcher, it looks like it might be a bit different. Or maybe not? Perhaps after a few years with no validated drug, you get dumped. (Probably to move on to a rival company.)
Its such a good read and every word rings true, seen it myself many times , as well noted sometimes a hopeful pop or rock star goes from being dropped to becoming a session player or a touring player for a more successful artist, maybe becomes a producer or some write for other acts, of course some get real jobs and go back to the world they came from, its a brutal business as you know, instinct taken over by socials, would David Bowie come through today ?
A lot of replies show more sympathy for the dropped artist than may be necessary. As you say it's a brutal industry - but the brutality doesn't come from the industry behaving badly so much as your expectations being unrealistic. Does any young artist really go into it without knowing the odds? And from the opposite point of view - where is another industry that will invest a million in a teenagers vague ideas?
Thank you so much for posting this, - I remember signing to Almo Sounds in the 90s and at the signing celebration, the accountant said: "Remember this moment when it all goes wrong" or words to that effect - it was a hard-won contract, and we felt as though we had finally found the label for us... but, yes Jerry and Herb closed the label just as we were about to release our album. Was so tough. They didn't care, that they had work from artists they sold the dream to just waiting to be released. (Us Boom-Boom Mancini, Gillian Welch, Garbage etc) - it was devastating.
This are the worst moments, aren't they. Not dropped because the album wasn't good, or someone was at fault - just because you were caught up at the wrong moment in a corporate game. That's when the business seems most brutal and heartless. I could tell you many. And managers suffer them too.
Much like Vincent Van Gogh who only sold one painting in his life, a lot of the greatest victories in pop music were colossal flops.
I remember when people started loading up their vinyl collections onto YouTube, deciding to see if I could create an all-killer, no filler Northern Soul Top 100 playlist. Imagine my surprise when I found I was up to over a thousand within a month, and the vast majority of those records were made in 1965/6 by people no one had ever heard of that likely went back to pumping gas after the one flop shot at fame, but their records still live on to this day.... https://www.youtube.com/shorts/_tSxPonnlY0
Actually - that's the way it should be. And on their part, it's admirable. You have this one momentary experience of superstardom - than realise it's just that - a moment. But still worth having - like getting to lay a world famous film star, then finding she hasn't fallen in livwe with you. So was the moment worth having? Or not?
I had no idea how much had changed since the 80’s! You were pivotal in getting WHAM’ into China, but you also had a very talented writer with a golden voice to promote. Sometimes the stars align just right and the dedicated and talented people are on the same team. Another great story from you, my favorite writer of the music industry, Simon Napier-Bell! Very few can tell these stories and have watched them unfold the way you have!
Beautifully written as usual Simon, the story of my early, and later life, in a way. A bit cynical, but that's reality. One thing, from my third album ('Fresh Blood', WEA 1980) on, my music lives on online on all streaming channels (with their pathetic 'royalties') and on Reverbnation, Soundcloud and the best platform for ye olde artists, Bandcamp (steveswindells.bandcamp.com).
I agree with all of that, except - regarding your hopelessly small royalties. Look how that compares with what would have been in a previous era. A couple of ancient copies of your album in a second-hand shop. If one's focus is on art, and making it available, things are better. And I'm sure your mum and dad and schoolteachers all told you - "being an artist will keep you poor."
Fair comment Simon, but it's also worth pointing out that great songs never go away. Also, when I was 14 at school, my classical music piano teacher taught me all the basics of jazz, blues and gospel, on learning that I was intending to pursue a career as a singer-songwriter. He also surprised me by showing-up to congratulate me at the launch party for my first solo album 'Messages' at RCA Records in 1974 (I was 21). It turned out that he was now working for my music publisher, Chappell Music, in the classical department. As for my parents, they were extraordinarily supportive and later bought me my first proper keyboard/sequencer, A Korg T2, so that I could record tracks at home. It cost £2100 in 1987. Also, in 1983, Roger Daltrey had recorded four of my songs, with me on keyboards. One of them was 'Bitter And Twisted', which featured on the McVicar film soundtrack. It's my biggest song on YouTube, with over 300K plays. So at least I went 'into the black' with my publisher.
Great article Simon. Luckily I never had that problem 😂
If I were your editor — and the evidence strongly suggests that I am not — I would have insisted that this be entitled Mortgages and Good Shoes. My favorite SNB perception of all time was that if the A&Rs of. yesteryear genuinely believed themselves able to spot The Next Big Thing, they'd have quit their record company jobs and become managers instead.
Of course! But there were one or two (and that really does mean one or two, not quite a few), who were good at contributing helpfully to what the artists or producers created.
I am possibly one of the characters you write about here. Major signing. Loads of money thrown at the project over several years. Success in Australia but eventually ruthlessly discarded by the US powers that be. I have, however, sustained a modest career in music. But I'd like to offer a category distinction; the young person who attracts a modicum of notoriety but ultimately winds up on the trash heap. I can think of colleagues who became 'famous' in a sometimes tiny underground scene at a very tender age (ie in their teens). They may, or may not have, gone on to participate more fully in the music industrial complex before sliding off the edge. These souls, I believe, are emotionally snap frozen at the age where they first acquired that attention; emotionally, psychically, they never developed fully from that first flush of external reinforcement and recognition. The lost souls are the ones we don't know about because they disappeared. Love your writing btw.
Yes, we know a lot of those. I can think of several exactly as you describe - and others who went on to other things, then in retirement regressed to being as you described. Quite shocking, if it weren't so..... (choose one) sad? funny? pathetic? totally hilarious?
All true, Simon. But I think you were a bit too easy on the bastards. Yes, lessons were learned - but at a real cost. Granted, after getting beat up by an industry that eats its young, I aquired a finely honed business acumen that allowed me to develop the first VR game on national TV; author the first Consumer Guide for synthesizers; invent interactive museum exhibits for children's museums, science museums and theme parks, around the world; and produce multimedia content for most of the multinational media companies like Disney, Universal, RCA, Sony, BMG and more. But for all the revenue I generated for them, a modest pension would have been nice, health insurance would have been appreciated (US resident; no NHS); even partial control of my copyrights - every artist's most valued asset - would have alleviated some of the financial terror and stress. A few basic and relatively modest benefits, found in most industries, that could have made a huge difference in a lot of lives. Bottom line - it's legalized abuse enabled by industry-biased laws and inneffectual unions. The only thing that's changed is the names of the companies screwing the artists: streaming services instead of just the old-school labels and publishers who, despite surrendering majority control, managed to secure equity and sweetheart deals with the newmedia regime. But, it has been an adventure. I'll give you that! ;-)
There's plenty of other things I've written where I'm less easy on them. But it's a complex subject and to write a nice piece one has to scope a narrower viewpoint than the broad truth. The reality is - the them is partly the us - because the music business is about making money and we're all free to make music without doing that if we choose. Mainly, them, is all of us when we get seduced into working under the broad corporate umbrella that overhangs the industry. The us is when it doesn't bestow its benefits as kindly as our dreams would like.
Very interesting take on the underbelly i.e. the artists careers and the fallout thereof. No such luck - bad luck - for artists working now. However, belief in the delusion is just the same. Still necessary. Thanks for this Simon.
Yes - delusion is essential - for managers too - even for corporate execs - it could almost be the delusion industry
Theme 4 of 20 from my book Riding the Rollercoaster: believe in your delusion
But take a little time to make sure you've created a really good one.
Thanks for this, someone had to say it. And without the benefits…artists I work with these days seem to be more realistic in their aspirations…and they are prepared to work hard…it’s tough..and I’m trying not to be the middle class romantic in amongst it all… but what you’ve outlined is pretty accurate from where I’ve been and and what I’ve experienced…I mean let’s face it…a plasterer earns a better daily rate than a member of crew and the artists earn much less because everyone else gets paid first and they only get what’s left. Which most of the time is a monstrous credit card or bank account debt.
When I was young, my parents and teachers all warned me - if you choose art as a career, you'll end up with nothing - it's a calling, not a career. The over-visibilty of super rich pop and movie stars has blinded peope to the basic truth about what art is.
Another interesting read Simon, thanks. Has to be said though that for all those that fall into subsequent (and more successful) careers, it can also destroy people and some are left by the wayside and cannot cope (sometimes due to the lifestyle this exposure and advance affords them). Would it not be fair to say that the industry which sells those people the promised land, has a responsibility to care for, or support them in some way when letting them go? I think managers have a responsibility there too btw.
I agree, I've seen young people cope badly with thinking they've won the jackpot, then finding they haven't. Whether the industry really should have a esposibillity for that or not is open to discussion - but one thing's for sure, they won't accept it, however the argument pans out. In general, I tend to think what the rejected artist goes through is a learning process - like being rejectced in love, or anything else. As for the managers having a responsibility for the artist not eventually making it, or being dropped - for every well known manager there are hundreds of minor ones who are often as hard hit by it as their artists. I guess the best advice is - if you love music, don't try to make a living from it - Robert Fripp has repeatedly said just that.
I agree somewhat on the learning process and rejection, but some people and especially artists and creatives can be less prone to coping. In my view its a managers responsibility to manage the expectations of their artist, and to educate as bet they can about the pitfalls etc (as an artist manager I certainly take that view in my role). Equally that could be said for the industry too once they get into bed with them - "but one thing's for sure, they won't accept it" - maybe a clause in a contract might help, a sort of sunset clause which if not financial, then perhaps with practical support measures.
Well, you can try negotiatng it. What it will end up as is - both parties agreeing that a percentage of the advance should be put into trust for the artist to use in case of termination. In fact, as manager you could propose that to the artist yourself. Or just tell the artist it's a ruthless business and if they truly love music, it's best played for enjoyment, not financial reward.
Fascinating parallels with the pharmaceutical industry where, for every blockbuster drug that makes a fortune (Zantac) there are tens of thousands that fail in development - some after millions and years spent on their development
I woner if there are star chemists/researchers who time and again come up with potentially brilliant drugs, yet consistently have failures that at the advanced testing stage. Do they still keep their jobs? I suspect that in the pharmaceutical industry they do. That would be a significant difference. From the corporations point of view it seems much the same, from the artists/or researcher, it looks like it might be a bit different. Or maybe not? Perhaps after a few years with no validated drug, you get dumped. (Probably to move on to a rival company.)
Its such a good read and every word rings true, seen it myself many times , as well noted sometimes a hopeful pop or rock star goes from being dropped to becoming a session player or a touring player for a more successful artist, maybe becomes a producer or some write for other acts, of course some get real jobs and go back to the world they came from, its a brutal business as you know, instinct taken over by socials, would David Bowie come through today ?
A lot of replies show more sympathy for the dropped artist than may be necessary. As you say it's a brutal industry - but the brutality doesn't come from the industry behaving badly so much as your expectations being unrealistic. Does any young artist really go into it without knowing the odds? And from the opposite point of view - where is another industry that will invest a million in a teenagers vague ideas?
100%
Thank you so much for posting this, - I remember signing to Almo Sounds in the 90s and at the signing celebration, the accountant said: "Remember this moment when it all goes wrong" or words to that effect - it was a hard-won contract, and we felt as though we had finally found the label for us... but, yes Jerry and Herb closed the label just as we were about to release our album. Was so tough. They didn't care, that they had work from artists they sold the dream to just waiting to be released. (Us Boom-Boom Mancini, Gillian Welch, Garbage etc) - it was devastating.
This are the worst moments, aren't they. Not dropped because the album wasn't good, or someone was at fault - just because you were caught up at the wrong moment in a corporate game. That's when the business seems most brutal and heartless. I could tell you many. And managers suffer them too.
Much like Vincent Van Gogh who only sold one painting in his life, a lot of the greatest victories in pop music were colossal flops.
I remember when people started loading up their vinyl collections onto YouTube, deciding to see if I could create an all-killer, no filler Northern Soul Top 100 playlist. Imagine my surprise when I found I was up to over a thousand within a month, and the vast majority of those records were made in 1965/6 by people no one had ever heard of that likely went back to pumping gas after the one flop shot at fame, but their records still live on to this day.... https://www.youtube.com/shorts/_tSxPonnlY0
Actually - that's the way it should be. And on their part, it's admirable. You have this one momentary experience of superstardom - than realise it's just that - a moment. But still worth having - like getting to lay a world famous film star, then finding she hasn't fallen in livwe with you. So was the moment worth having? Or not?
As always … spot on !
Thank you Liz.
I had no idea how much had changed since the 80’s! You were pivotal in getting WHAM’ into China, but you also had a very talented writer with a golden voice to promote. Sometimes the stars align just right and the dedicated and talented people are on the same team. Another great story from you, my favorite writer of the music industry, Simon Napier-Bell! Very few can tell these stories and have watched them unfold the way you have!
Thanks Linda. Yes - seen a lot - and still seeing it.
Beautifully written as usual Simon, the story of my early, and later life, in a way. A bit cynical, but that's reality. One thing, from my third album ('Fresh Blood', WEA 1980) on, my music lives on online on all streaming channels (with their pathetic 'royalties') and on Reverbnation, Soundcloud and the best platform for ye olde artists, Bandcamp (steveswindells.bandcamp.com).
I agree with all of that, except - regarding your hopelessly small royalties. Look how that compares with what would have been in a previous era. A couple of ancient copies of your album in a second-hand shop. If one's focus is on art, and making it available, things are better. And I'm sure your mum and dad and schoolteachers all told you - "being an artist will keep you poor."
Fair comment Simon, but it's also worth pointing out that great songs never go away. Also, when I was 14 at school, my classical music piano teacher taught me all the basics of jazz, blues and gospel, on learning that I was intending to pursue a career as a singer-songwriter. He also surprised me by showing-up to congratulate me at the launch party for my first solo album 'Messages' at RCA Records in 1974 (I was 21). It turned out that he was now working for my music publisher, Chappell Music, in the classical department. As for my parents, they were extraordinarily supportive and later bought me my first proper keyboard/sequencer, A Korg T2, so that I could record tracks at home. It cost £2100 in 1987. Also, in 1983, Roger Daltrey had recorded four of my songs, with me on keyboards. One of them was 'Bitter And Twisted', which featured on the McVicar film soundtrack. It's my biggest song on YouTube, with over 300K plays. So at least I went 'into the black' with my publisher.
Extremely interesting article. I’d never thought of it like that. But then I suppose simon Napier Bell knows what he’s talking about!
Mmm - sometimes I'm not so sure.
😆👍🕺