Blog of singer-songwriter Coen van der Horst. I write about songwriting and share tips I stumble upon on my way to stardom.

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The Verve - “The Drugs Don’t Work” (#773, 1 week). Under discussion here: http://freakytrigger.co.uk/popular/2014/03/the-verve-the-drugs-dont-work/

My birthday present to myself is finishing this bloody entry, which took much longer than usual (it *is* also longer than usual). Most of the reasons it took longer were real-life busyness but a significant amount of time was spent in a futile struggle against the impulse to type “The Drug’s Don’t Work” every time I wrote the title.

ALL I CAN THINK ABOUT REGARDING NEIL YOUNG’S PONO ANNOUNCEMENT…

Bob Lefsetz says it best: ”[…] I’ve got a single device that lets me play music, surf the web, talk, text, stream music and files… and Neil says I’ve got it all wrong, I’ve got to go back ten years and get a single player, that looks chunky in the pics, so I can get higher quality audio. […] Do you really want me to go back in time fifteen years when MP3s were cool? What next, a return to BlackBerry, because it had a keyboard and it was such a good e-mail device?”

#musiciansproblems

LISTEN TO THIS - DEFINITELY MAYBEThis year marks the 20th (!) anniversary of Oasis’ debut album. In a new category on my blog, let’s look at four other debuts by guitar bands that are like Definitely Maybe, and that may have slipped your attention.
Viva Brother - Famous First WordsThe Slough four-piece created a lot of buzz before the release of their debut album in 2011, but when it dropped, everyone seemed to hate it. Not me. It definitely (ha!) has a Oasis blueprint, but it’s a great album nonetheless. Key track: Darling Buds of May
Album: iTunes / Spotify
The View - Hats Off to the BuskersThe View are four albums into their career, and they seem to never run out of catchy songs to write. Their debut was welcomed with single ‘Same Jeans’, but for me, lead single ‘Wasted Little DJs’ was way better. With a chorus in pig latin, how could it not be? Key track: Wasted Little DJs 
Album: iTunes / Spotify
Mozes & the Firstborn - Mozes & the FirstbornHow I love when media are wrong. The band may sound unknown, but that’s soon about to change. Upon the release of their debut - on a hiphop label, no less - M&tFB did the routine press round in the Netherlands (TV, radio, festivals), but they never seemed to catch on more beyond their hardcore fans. As one, I’m glad to say they’re touring the US now, so it won’t be long before everyone realizes they made a mistake. Key Track: Peter Jr.
Album: iTunes / Spotify
The Subways - Young for EternityBesides debuting with a bang, The Subways stood out because of their formation: two nephews and one fiancé of said nephew. Having a girl on bass is nothing new, but it is when she rocks this hard. Though their engagement is off, singer Billy and bass player Charlotte are still in the band with drummer Josh, and continue to make great records. Key track: No Goodbyes
Album: iTunes / Spotify

LISTEN TO THIS - DEFINITELY MAYBE
This year marks the 20th (!) anniversary of Oasis’ debut album. In a new category on my blog, let’s look at four other debuts by guitar bands that are like Definitely Maybe, and that may have slipped your attention.

Viva Brother - Famous First Words
The Slough four-piece created a lot of buzz before the release of their debut album in 2011, but when it dropped, everyone seemed to hate it. Not me. It definitely (ha!) has a Oasis blueprint, but it’s a great album nonetheless. Key track: Darling Buds of May

Album: iTunes / Spotify

The View - Hats Off to the Buskers
The View are four albums into their career, and they seem to never run out of catchy songs to write. Their debut was welcomed with single ‘Same Jeans’, but for me, lead single ‘Wasted Little DJs’ was way better. With a chorus in pig latin, how could it not be? Key track: Wasted Little DJs 

Album: iTunes / Spotify

Mozes & the Firstborn - Mozes & the Firstborn
How I love when media are wrong. The band may sound unknown, but that’s soon about to change. Upon the release of their debut - on a hiphop label, no less - M&tFB did the routine press round in the Netherlands (TV, radio, festivals), but they never seemed to catch on more beyond their hardcore fans. As one, I’m glad to say they’re touring the US now, so it won’t be long before everyone realizes they made a mistake. Key Track: Peter Jr.

Album: iTunes / Spotify

The Subways - Young for Eternity
Besides debuting with a bang, The Subways stood out because of their formation: two nephews and one fiancé of said nephew. Having a girl on bass is nothing new, but it is when she rocks this hard. Though their engagement is off, singer Billy and bass player Charlotte are still in the band with drummer Josh, and continue to make great records. Key track: No Goodbyes

Album: iTunes / Spotify

ABOUT THAT OASIS ANNOUNCEMENT…

image

So ‘Oasis’ (I use quotation marks because: marketing team) announced a big announcement yesterday, and they announced that they will release Definitely Maybe(What’s The Story) Morning Glory? and Be Here Now will be remastered and released this May. Complete with a collection of rare recordings and previously unheard tracks. Well, to that I say…

I doubt it, marketing team.

So color me disappointed. The site is also renewed, though it’s been out this morning, and the old site is back up. 

Musician Zoe Keating reveals iTunes, Spotify and YouTube payouts for 2013

Cellist’s latest publicly-shared numbers reveal 92% of her income still comes from sales rather than streams

From The Guardian:

Want to know how much a musician really makes from digital services like iTunes, Spotify and YouTube? Zoë Keating is one of the more reliable sources.

The cellist, who self-releases her music rather than work with a label, has made a habit of sharing details of how her earnings break down between different sources, for the benefit of her peers and the wider debate around digital music payouts.

Over the weekend, Keating published her latest set of figures as a public document on Google Drive, splitting her recorded-music earnings from 2013 into sales and streams. In short, 92% of her income last year came from sales – $75,341 – with a further $6,380 coming from streaming services.

Keating’s biggest source of income last year was Apple’s iTunes Store, where sales of 32,170 single tracks and 3,862 albums netted her just over $38,195.

Meanwhile, 185 tracks and 2,899 albums sold through her profile on direct-to-fan site Bandcamp earned a further $25,575, while a mixture of physical and MP3 sales on Amazon earned her a further $11,571.

403,035 Spotify streams earned Keating $1,764, while more than 1.9m views of videos on YouTube – mostly those uploaded by other people featuring her music – earned her $1,248. US personal radio service Pandora generated $3,258 of royalties – but from an undisclosed number of streams.

Keating also notched up 266,331 streams on SoundCloud and 222,226 streams on her Bandcamp site, neither of which generated royalties for her.

She tweeted a link out to the spreadsheet on Friday (21 February) without passing comment on any of the services listed. “2013 music sales & streaming numbers for a middle-aged mom in a non-album cycle,” she tweeted, while noting that Apple keeps 30% of iTunes sales, while Bandcamp takes a 10% cut of sales through its website.

Keating’s per-stream payout for Spotify was thus $0.0044 in 2013. The streaming service said in December 2013 that its average per-stream payout to music rightsholders is between $0.006 and $0.0084 – a figure that includes payouts to publishers as well as labels (or in Keating’s case, self-releasing artists).

Her Spotify payouts were still a long way ahead of YouTube’s $0.00064 per stream: a single Spotify stream was worth nearly seven YouTube streams in 2013. However, it would take 160 Spotify streams to generate the same income for Keating as a single track sale on iTunes.

Keating has spoken publicly in the past of seeing streaming services as a positive tool for her music, while warning that the companies running them must work harder to help artists forge sustainable careers.

“I don’t feel like streaming is the evil enemy. I think it’s a good positive thing to get music out there,” she said during a music industry debate in October 2013, while calling for streaming services to do more for independent musicians. “All I’m asking is make a direct deal with me, let me choose my terms.”

In a previous Google Doc sharing details of her income between October 2011 and March 2012, Keating provided more detail on her views on streaming.

“The income of a non-mainstream artist like me is a patchwork quilt and streaming is currently one tiny square in that quilt. Streaming is not yet a replacement for digital sales, and to conflate the two is a mistake,” she wrote at the time.

“I do not see streaming as a threat to my income, just like I’ve never regarded file-sharing as a threat but as a convenient way to hear music. If people really like my music, I still believe they’ll support it somewhere, somehow. Casual listeners won’t, but they never did anyway.”

Keating has also been one of the most prominent musicians calling on streaming services to share more listening data with artists. “I wish I could make this demand: stream my music, but in exchange give me my listener data,” she wrote in 2012.

This constructive feedback played no small part in leading to Spotify’s announcement in December 2013 that it was making its analytics available to musicians through a partnership with digital music firm Next Big Sound.

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