"Declining Online Music $ales"
Subtext: How to compensate for their current slump
According to the latest issue of EMarketer.com, comScore, an Internet
monitoring company that gauges how well the 'Net is performing in certain
respects, reports that music sales dropped by 25% between the first three
quarters of 2001 and the first three quarters of 2002. In terms of dollar$,
this amounts to a reduction from $730 million to $542 million, with a slip
of $72 million between Quarters 2 and 3 of this year alone.
Without directly and overtly blaming it, comScore also makes the
'politically correct' comparison that, simultaneously, the number of users
of popular music file-swapping sites has increased. At the very least, in
my opinion, the mere comparison implies a certain amount of blame.
And, while I believe that there is a degree of validity in comScore's
report, alternatively, I have seen reports from similar reporting agencies
that surveyed online file swappers who responded that, as a result of their
participation, they purchased *more* music. I believe this is also true.
So, who's right?
My opinion is that any report's perspective is but one piece of the puzzle,
and can be slanted in any direction it sees fit in an effort to support its
impliance. As such, this is the case with each report that is published to
explain why online music sales are in the current slump that they are.
And, since everyone seems to be in the slanting spirit, I would like to now
offer my own 'slant', if you will, and present my own perspective that may
(or may not) have merit for the online decline of sales as it relates to
1. Independent recording artists:
The typical independent recording artist, largely unfamiliar with business
as a whole, especially the procedures of marketing and/or promotion, and who
probably cares even less about it, finds his proverbial back against the
wall, as he is now forced to relegate and create exposure for his music
product. And, with so many options and avenues available, he is immediately
overwhelmed with the consideration of which piece of the puzzle to begin
So, he starts by sending his CD out to a few stations (usually, in the
comfort zone of his geographical locale), a few press/print contacts, gets
it on as many online sales sites as possible, along with as many Internet
radio stations as possible (at least, the few who are still webcasting), all
while trying to continue doing what he really loves...being an artist and
Which, in itself, is a whole other cross to bear as he must continually find
gigs to make money, along with promoting those gigs in order to get enough
people to come out to them, so he can...make money. Vicious, vicious ever
revolving cycle, ain't it?
"Gee, Mr. Morley! I don't like the business of music anymore, Sir. I think
I'd like my old job back at Wal-Mart! Or, I might just go in the army.
What do you think, Sir?"
Hence, the overwhelming reality of operating in two different and
significant capacities (as both artist and business person) starts to drive
our independent artist krazy, with a capital "K." :-)
For, his initial desire is now blowing out faster than a candle in a Chicago
wind. Concurrently, his online marketing and promotion efforts start to
quickly decrease, with the eventual reduction to any subsequent online sale
being attributed to the mere accidental discovery of his recording through a
passerby or word-of-mouth.
2. Major label sales:
Hard to believe but, for once, it seems that the major record labels have
finally met their match through still not being able to figure out which end
the Internet donkey eats with, and which end he 'sheets' with.
Any decline in sales that the majors are experiencing is, primarily, due to
their long-term, donkey kong, cookie-cutter approaches in continuously
attempting to produce, then shove their cookie-cutter artists down the
throats of prospective music buyers and fans who are just plain damn tired
of the same old rattling sound.
In fact, believe it or not, I correctly predicted the life span of Britney
Spears, Brandy Knives, NSYNC, Outer Realm, Backstreet Boyz, FrontStreet
Girls, and all the other semi-talent-challenged artists that were shoved in
our faces a few yarns ago. I gave them each 2 years, 3 tops, more or less.
And, truthfully, it wasn't difficult at all. But, enough said about them,
as I've already devoted far too much space to them in these lines of
3. Music fans:
Truth in point: Music fans ain't necessarily music buyers...that's just a
fact of life. As incredible and as difficult as it is to believe, some
people have no plans to purchase a single piece of music...ever! Some music
lovers will download and 'burn' music until the fire department is called to
put out a 3-alarm fire in their hard drives. But, as they are also God's
children, we love them too...don't we?
So, look at this particular aspect in this way: let them continue to
download and 'burn' because, as a recording artist, you can turn this
situation completely around to where they, unknowingly, become one of your
most important allies. In fact, you can turn it around to where the
file-swappers will be one of the first lines of promotional contact you will
make on future releases, if not the first.
How's that? Well, let me show you how you can do it...
As opposed to recording artists who (STILL, for some reason I cannot yet
fathom) upload every single song on their CD in its entirety to MP3.com and
other such sites, then wonder why they are not making the sales they expect,
this would be my process...
Hypothetically, let's say that I am an independent recording artist who has
just completed my new CD titled, "Kenny Love's Messed-Up Music" (don't you
dare laugh) and am releasing my first single titled, "Mary Jane Can't
[Sidebar]: It seems to be a long-standing tradition for artists to *not*
release their absolute best possible single FIRST, in the interest of
"building up to it." Wakeup Call!: You may not *GET* a second chance to
release another single, so release your absolute BEST possible single FIRST!
This will serve to definitely maximize your efforts and results all the way
In my opinion (and those around me who have listened to it), "Mary Jane
Can't Complain" is going to be #1 with a bullet, and my absolute ticket to
the Grammies, stardom and beyond. In fact, look out, Michael Jackson...your
heels ought to be burning with my spiritual presence! ;-)
So, since I am more than willing to give every radio station from China,
back to China, a copy of my single, I should *ALSO* allow it to be
file-swapped, swished, swooshed and whatever other word that begins with
"sw" that is going to bring it mad exposure and attention. Why?
Well, one of the problems I have with the ongoing RIAA mess, is its
seemingly complete willingness to ignore the fact that file-swapping,
albeit, in a limited and controlled state by each artist, can be one of the
absolute best assets for recording artists, particularly, unsigned/Indie
recording artists, fans, music buyers and the industry as a whole.
Even if there exists file-swappers who never plan to buy a piece of music,
the sheer number of them dictates that a certain portion of people who
happen to hear your music in this state, by accident or design, are going to
want the "real deal"...the first generation recording, the CD, along with
the rest of it (cover, credits, etc.)
So, for this reason, and in this respect, I cannot, will not and shall not
agree that file-swapping is commercial music's genocide. Again, just make
sure that the single that you make available online, is the single you are
ever so willing to give away multiple copies to radio, press, distributors,
friends, family...shall I go on?
This situation with file-swapping eerily reminds me of the online spam
situation, whereby, people will call in the FBI, the CIA, the IRS and any
other 3-letter monikers when they receive a single piece of unrequested
email. Yet, ask yourself how many people you know who contact these law
enforcement agencies to arrest the mailman who delivers junk mail daily to
their mailbox? Hmm...
4. Music fans/buyers (a perfect combo):
These people are your 'external family' and ongoing life supporters in both
your business and personal aspects. They are, perhaps, the most important
group in your spectrum who, not only like/love your music, but in order to
show you just how much they do, are willing to part with their hard-earned
money...time and time again for copies of it. And, at some point, you
should reward them with contests, giveaways, prizes, free music, free
tickets, merchandise and other paraphernalia to show reciprocal
5. Brick-and-mortar retail sales:
At some point, in order to be viewed as a "real" recording artist by radio
promoters, press and even potential music buyers, you are going to have to
face the fact that you will, eventually, need some degree of physical
distribution if you are to grow your career and company. In fact, today, it
is difficult to convince a commercial radio station to air your music, or to
convince a major publication to review your recording if your music is not
readily available to the listenerships and readerships that they serve.
Because, not everyone is online, and even the ones who are, fewer are
willing to pay for product online in comparison to people who still wish to
buy from brick-and-mortar retail outlets. That's not Kenny Love's
doctrine...that's a fact of the business. And, not just the music business,
but every business that has an online/offline counterpart and presence.
But, how can you get national retail distribution without demand?
Well, the best way, perhaps, is to begin working real world distribution
locally and regionally, where you can control it within your own area. If
you can create a sales demand with a distributor from your own area, this
can, eventually, translate into national success. Success at your local and
regional levels can probably also open you up for a national P&D (Pressing &
This P&D deal is the type of deal, whereby, the distributor incurs the costs
of manufacturing your recording, takes a slightly larger percentage over the
normal distribution royalty for the effort, then submits you a check
accordingly. The great thing about this deal is that you rarely, if ever,
need to worry about product accounting, and can spend your time simply
promoting the record through performances and media.
What this all comes down to, is your refusal to become complacent with your
career and to, otherwise, remain in a proactive state...always seeking
alternatives when it appears that proverbial doors are closing to you. And,
these are the ways to create an uprising in online music sales, and get them
back to where they were when all this technological excitement began.
For, as we say in Antarctica, "there is more than one way to skin a cat."
To all humane societies and animal rights organizations, I am only
kidding...about being in Antarctica.
"Singin' the Online Music Sale Blues"
Courtesy of Emarketer.com
Kenny Love's Links:
Record Promotion/Press Publicity
firstname.lastname@example.org(Request Info via Email)
Music Business/Career Services
email@example.com(Request Info via Email)
Kenny Love's Music Career Resume
Kenny Love's Writing Career Resume
Kenny Love's Music Business/Career Articles
Garage Radio Network
Editor's Note: Kenny Love has an extensive background in the Music and
Writing industries. Learn about his services for gigging and recording
artists by sending requests to firstname.lastname@example.org
and email@example.com .
Written By: Kenny Love