Tag Archives: Music Business

Fleet Foxes “Helplessness Blues” [ALBUM REVIEW]

Two years ago I was introduced to this band, Fleet Foxes.  I hated them.  No, I didn’t hate them, I loathed them and then I hated them.  Honestly, the most feverish and extreme peer pressure could not get me to like this band.  Pay me 20 bucks to listen to one of their songs and of course I would take it, but I would hate every minute of it.  They were too “indie” for their own good in my opinion and even though they arrived on the scene to great admiration and gained massive amounts of “indie cred” very quickly I wasn’t ready to play for their team.  It was too much of the same thing.  I guess you could say I didn’t get it.  I didn’t get the ridiculous amounts reverb, un-human harmonies, it bordered on something awesome maybe, but it drove me crazy and I left it alone.  I think it was to calm.  I definitely couldn’t put my finger on it as you can see.  (Those of you reading my blogs if you bring up Lord Huron, which is basically what I just described I will cut you down like a big tree. Hold you’re horses.  I’m getting to my point.)

It’s impossible for people to like all music and be agreeable that everything they listen to is pure gold.  People can also change and their tastes can change, and mine has.  “Helplessness Blues” is the newest offering from indie darlings Fleet Foxes and it’s excellent with a capitol EXCEL.  There I said it.  The record will be on shelves tomorrow and I’ll be in line to buy it.

Fleet Foxes – Bedouin Dress

Yes this record has all the great sweeping, airy and earthy harmonies the Foxes have come to be known for.  “Helplessness Blues” also has a great subtly to it which is what drew me back to this band in the first place.  Its gentle.  It’s sweet and quiet.  I guess I would go so far as to say it is clear, whatever that means.  The light acoustic guitar tones, shakers, loose snares, insanely reverbed guitars all compliment the vocals which are the star of the show.  I smell a title track…

Fleet Foxes – Helplessness Blues

The lyrics are breathy and remind me of a young Crosy, Stills and Nash living in Laurel Canyon enjoying nature and the earth.  I don’t want to call these guys hippies because I wouldn’t wish that title on my worst enemy, but the songs have a very organic and “hippy-ish” feel to them so I guess I’ll leave it at that.  In this case its not a bad thing because these songs are lyrically complex and they paint vivid pictures in my mind.  More popular bands these days seem to write their lyrics with crayons while Fleet Foxes are in the middle of the woods writing with new quill pens they plucked from a goose at an organic farm in upstate New York.  That was a stupid statement, but my point is they are great lyricists and it shows on this record.

Fleet Foxes – Lorelai

I’ll end this by saying sometimes its good to take a break from certain things.  When you come back to them, which is the case here, you have a new appreciation for it.  It took me two years to listen to Fleet Foxes again and I’m glad I did.  I now trust the thousands of people who help sell out every Fleet Foxes show, they are there for a good reason.

I went back and listened to their debut self titled release and I didn’t hate that either.  As for the band I hope they read this (they won’t) and breathe a sigh of relief because they gained at least one fan with this new release.  For my preachy moment of the week I’ll say go into your iTunes library or whereever and pull something up that you think you hated 2 years ago and listen to it again.  You might just like it.  Especially if it’s Fleet Foxes.

As always here’s the last track from Fleet Foxes newest release (due out tomorrow 5/3/11) “Helplessness Blues”.

Fleet Foxes – Grown Ocean

Fleet Foxes are currently on tour although it looks like every show is virtually sold out.  Tour Page is HERE if you need proof.  They are playing the Pitchfork Festival this summer in Chicago as well.

You can pre-order “Helplessness Blues” HERE. (or just wait ’till tomorrow and buy it.

By: Steve Rippin | Beat-Play Ambassador Los Angeles | @stevewithMWL|Music Without Labels & Beat-Play, LLC

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Charles Bradley feat. The Menahan Street Band “No Time for Dreaming” [ALBUM REVIEW]]

Daptone Records out of New York is one of my favorite indie labels for one reason and one reason only, the ability to go above and beyond with their artists in production value and sound.  OK fine that was two reasons, sue me.  They have managed to keep the sounds of 60’s and 70’s soul and blues alive in a big way.  Artists like Sharon Jones and the Dap Kings have flourished because they have been given an environment to create new music with respect to the old sounds.  Now Dunham Records (an offshoot of Daptone) has found another diamond in the rough, Charles Bradley.

Charles Bradley –  I Believe In Your Love

I read Mr. Bradley’s bio and I was blown away.  Talk about hardship scarafice and true unadulterated love of music.  The man has hitchhiked or traveled all over America, from Maine to Alaska, picking up odd jobs along the way.  Basically living  on the streets for a good part of his life, Charles Bradley has always had a love for music.  After seeing The Godfather of Soul James Brown at the Apollo in 1962 he knew he wanted to be a apart of the scene, but circumstance after circumstance led Bradley away from what he loved.

Charles Bradley – The World (Is Going Up In Flames)

This record in a word, heavy.  It’s a biography of a man’s life leaning on hard times and suffering.  The thoughtful music is sung by a man who has not only felt these emotions but lived them.  I’d tell you more about Charles, but I think I’ll let him fill you in better than I ever could.

Charles Bradley –  Why Is It So Hard?

Bradley was discovered playing, his idol James Brown, covers in Bedstuy, NY under the name “Black Velvet” by a representative from Daptone Records.  After listening to this record I can see where Bradley’s raw vocal talent comes from.  He and his label mates knew it was time to put his story on tape.  He like many other successful artists sings about what he knows and doesn’t pull any punches.  Backed by the Menahan Street Band, Bradley is a vocal force reminiscent of the great James Brown who he loved so much.  If you love the soulful sounds of the 60’s and 70’s do yourself a favor and check out Charles Bradley and the Menehan Street Band.

Charles is currently on TOUR and his new record “No Time For Dreaming” is available in many formats through the Daptone site HERE.  He will be playing LA’s Echo on May 4th.

Here’s the title track and the last track from “No Time For Dreaming”

Charles Bradley – No Time for Dreaming

Charles Bradley – Heartaches and Pain

Check out Daptone as well.  They are an awesome little label with an amazing roster.  And as they say, I hope they “Keep Puttin Soul Up.”

By: Steve Rippin | Beat-Play Ambassador Los Angeles | @stevewithMWL|Music Without Labels & Beat-Play, LLC

People Go ‘ILL’ For CHILL

A college graduate in Speech Communication, Chill Moody is now gaining a degree in the underground rap world of Philadelphia. Moody’s distinctive lyrical content is often compared to conscious rappers such as Talib Kweli, Black Thought, and Common, so much so that he was fortunate enough to meet and rap for Common at a performance at Millersville University, “ He (Common) really took a liking for my lyrics.  (He) Liked what I was saying, liked what I was doing. He even shouted me out in one of his freestyles.”  Even though, he’s probably cursed about four times in his last album, mainly so that his mother wouldn’t feel embarrassed playing his music in front of other people, he thinks that’s where people tend to draw the comparisons from Chill Moody to conscious music. Moody called out the labeling in one of his songs “I carry a back pack, but I’m not a backpacker. It’s just me being me, just Chill… I’m not in the streets, I’m college educated, so I can only talk about the things I know.”

In 2009, the novice rapper debuted his Ill Chill album on his website, which had 100 downloads in 10 minutes and overall cleared an impressive 3,000 downloads. “I didn’t know 100 people were looking for my music or like anticipated for it to drop. It just started buzzin’ and it was like a snowball effect and it was a blessing.” As the front man for a hip- hop stable called, “Tha ESTablisymynt,” that includes a team of producers, rappers, and singers. In addition, Chill has a show on YouTube called, E.S.Tv. and has also created a clothing line called, Moody Sunshine. Chill plans on getting his feet into many production projects as possible and plans on directing as well as pursuing his music career.

Currently, Chill has released a more recent album entitled, wESTchilly with producer, Wes Manchild who has worked with him on his last album, “We tend to stick to the same formula. I like to work closely with one producer and get a cohesive sound for the album.”  His sound is distinguishable amongst other Philly rappers and carries a prolific sound that expresses the pits of reality that he has witnessed. He is without a doubt comparable to Nas, Common, and Talib Kweli for a reason and rightfully so, deserves respect for his art.

Mereb Gebremariam

The Beat-Play Radio [Update]

Beat-Play is the first social radio app on Facebook - in internal beta now - the picture above shows Beat-Play still in progress

Beat-Play is a Facebook Radio App, launching in a few months, where you will “follow” people who you share a taste in music with (friends, favorite artists, family, etc). The songs that they like enough to actually save into their playlists, automatically get sent to your radio. If you like a song enough to save, it automatically gets sent to anybody following you.

This creates a viral spread of the music unlike anything seen before in music. It will completely level out the playing field, insuring that if the music is good enough to spread, it will. Beat-Play is completely devoted to helping independent artists create sustainable careers with their music.

A couple of other great benefits of Beat-Play:

  • It’s a FREE form of promotion and distribution for artists – and we believe it will be more efficient
  • It’s an incredibly easier way for fans to find and share music
  • It operates using free streams – free music for the fans!
  • Artists can get paid based off of plays, not sales, by generating ad revenue from their popularity. (more info)
  • Beat-Play uses “Piracy,” or music sharing, as a driving force for artist revenue instead of an opposing  force for it
  • Artists maintain full control over their music, their rights, and even the price of their ad space, and they never have to sign away a thing.
  • There’s no risk to try it

We are currently looking for more awesome music and artists to add to our app’s music library so that there can be music on the player when we launch officially, on Jan 31st 2011. If you would  like us to put your music on our radio app, please email our Customer Relations Director at Kian@musicwithoutlabels.com, and please include information about how to obtain your music in mp3 format.

We’re getting really excited about this, and it’s coming along beautifully!  We hope to hear from you!

– The Beat-Play Team

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The Original Apple [Video]

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How Much Eminem Would Make on Beat-Play (Hint: there’s a “b” in there)

First of all, if you’re not familiar with Beat-Play or how artists will make money, I’ll give you a real quick run-down. Beat-Play will be a Social Radio App launching on Facebook in several months. On Beat-Play, you’ll follow people who you share a taste in music with(friends & favorite artists). The songs those people like enough to actually save to their own playlists, automatically get sent to your radio. If you like a song enough to save it, it get’s sent to anyone following you. So if the music is good, it will spread throughout people’s social networks like wildfire.

Now for the money part. Artists give away full quality streams of their music for free to the fans, and then artists are able to set their own prices for their ad space. There is a small “postage stamp” sized ad affiliated with each stream of a song (shown below). The artists will set their price/1000 plays, that the advertiser will have to agree to. Negotiations between the artists and advertisers will occur until an amount can be settled on. The more plays an artist gets, the more leverage they have to get more money for their ad space. Eminem gets a LOT of plays, so his price/1000 will be pretty high.

The immediately following calculations represent ONLY Youtube and Vevo plays. This includes mostly official music videos for Eminem’s singles. The thing to remember is that Beat-Play will not only include an artist’s videos, but it will also track each time an artist’s songs are played without videos. So this includes an artists whole catalog of music, plus any additional audio/video content that they generate.

According to Eminem’s “EminemVEVO” channel only, he has accumulated approximately 680,588,260 plays from May 11th 2009 to Nov 7th 2010 (about an 18 month time period). That’s approximately 37,810,488 plays a month and about 453,725,496 in one year. Again, this is only in official music videos and things like behind the scenes footage of the making of his videos.

Of course, this also doesn’t even begin to count the views on videos that were not uploaded by the EminemVEVO account. I tried to get an estimate on how many plays Em has gotten from other people’s uploads, and I got up to 216,670,668 only getting to page 5 of the search results for the search term “Eminem.” In actuality, that number is probably more the the 680+ million plays he’s recorded on his Vevo account, though it would be over a longer time span.

Based on the EminemVEVO account numbers, if Eminem were to have this content on Beat-Play, let’s say for a range of $17 – $21/1000 plays (considerably high, but it is Eminem), he would have made anywhere from approximately $7.7 million – $9.5 million in one year, off of videos alone.

Of course since Beat-Play will accommodate more than just his videos, let’s try to figure out how much Eminem would make with all of his content on Beat-Play. We’ll use simple logic to get an estimate.

The search for the number of albums Eminem has sold world-wide returns conflicting answers online, but let’s say 80 million just to be safe (the most commonly agreed upon answer), even though it is probably more since his newest releases. Remember, this ONLY counts the albums that Eminem has sold. This doesn’t account at all for any pirated copies of Eminem’s CDs floating around out there.

So, not including Infinite or the Slim Shady EP, Eminem has had 10 commercially released albums (also not including any mixtapes, leaked underground tracks or freestyles). For the sake of being easy, let’s say that’s about 200 tracks – 20/album (this is a low estimate for all of Eminem’s trackable songs).

If each one of these 20 tracks has been listened to only 5 times for each of the 80 million copies, at $18/1000 plays, that would mean Eminem, by himself, would have made approx. $144 million dollars since 1999 (11 years). If each of those 200 tracks were listened to only 5 times by 80 million people on a radio platform like Beat-Play where they can save songs into playlists to listen to anytime for free, he would have made $1.44 billion dollars, based on an ad price of $18/1000 plays. Of course, Eminem’s songs have probably been listened to more than 5 times by each person who has bought a copy of his CD’s, AND, the number of actual copies of his CD’s around out there has to be over 80 million, so there has to be more plays, which means more money.

Let’s go for a more accurate estimation of how much Eminem should be worth. According to MTV’s Discography of Eminem, including verified audio biographies, mixtapes, greatest hits and other works, Eminem has 50 albums available for purchase. If there was approximately 200 tracks on 10 albums, there might be close to 1,000 tracks on 50 albums, however, let’s be conservative and say 650. That would be an average of 13 tracks on each of the 50 albums.

If each of those 50 albums were FREE, and available in one place (the conditions on Beat-Play), and each one of the 650 tracks were listened to an average of 3 times by say…150 million people (a conservative estimate of Eminem’s word-wide fanbase considering he has sold over 80 million records, and p2p file sharing is now way more common than sales). At $18/1000 plays, Eminem would have made $5.265 billion dollars over his entire career so far, if he owned all of his masters (without a record label), and before recording and production costs. That’s only each of his songs being listened to 3 times, by 150 million people.

Also remember, with Beat-Play there would be no real need to market the music, being that the music spreads by itself throughout people’s social networks (as long as it’s good), and the music is free for everyone.

This also doesn’t include ANY of his music videos, interviews, freestyles, stupid videos of him playing basketball with Jimmy Kimmel (over 6 million Youtube views), ANY merchandise sales, ANY tour money, or ANY profit from ANY of the movies and TV shows he has starred or appeared in, or any other offers he’s gotten during his career.

According to CelebrityNetWorth.com and a number of other sources online, Eminem is worth approximately $115 million dollars. That estimate probably doesn’t take into account his most current releases, but that $115 million dollars equals about 8% of our first estimate of $1.44 billion dollars. I don’t even want to know what percentage $115 million dollars is compared to our (most likely more accurate) estimate of $5.265 billion, so I’m not even going to do the calculation..go ahead if you want to.

If you look at this commonly accepted chart of the distribution of money within the music industry right now, for an album that costs $9.99 in a store, with a high end royalty deal similar to the one Eminem’s label has with the distributors (who then have deals with the retailers like Walmart), the label would keep approx. $2.00 dollars from this $9.99, and the artists would get $1.00 (after they have paid back the labels for paying to record, promote and package the album). $1.00 is just about 10% of $9.99.

Based on this it’s not hard to imagine that if Eminem has himself made $115 million dollars, the industry(including distributors and retailers) has all together made approx. $1.15 billion dollars off of Eminem sales alone. Also, if $115 million is a low estimate of his actual worth, and that figure is 8% of $1.44 billion, our first estimation of how much Eminem should be worth, then the numbers seem to back themselves up pretty closely.

The fact that 90% of Eminem’s money has already been handed out to other people so that he could make 10%, because of a broken, outdated, and seemingly greedy industry model, is pretty disgusting to me, and it almost borders on crime, had Eminem not signed away all of that money when he signed with Interscope. This also shows that with this model, you don’t need to have 80 million fans world-wide to make a decent living from your music.

Finally, an industry model will exist where artists will independently get paid what they properly deserve, while gaining the exposure they need to gain, even if unknown, without having to borrow millions from record execs who want to charge huge interests in return. This is the beginning of real freedom for musicians and producers; of independence and victory, instead of dependence and misery.

This is an opportunity that has never before existed for independent artists, but with the right tools, the internet now makes this model completely possible. Beat-Play is planning on providing these tools. We’re getting EXTREMELY close now. If you would like to get involved and help us beta test our social radio, by submitting your music to us, please contact me directly at Dante@musicwithoutlabels.com and I will send you more information.

Eminem’s not the only one..at least his career 10% has more than 3 zeroes in it. We’re all in this together. The talent is there. The opportunity is there. It’s time we unite and get it done!

Written by: Dante Cullari Founder & CEO Beat-Play, LLC

Music Industry Discussion with Skinny Deville of Nappy Roots

This interview turned into an awesome discussion about the state of the music industry, and also about the solutions that are out there waiting to be adopted.

If the video is choppy, turn HD off.

The Pursuit of Nappyness is in Stores & on iTunes Now

Also Nappy Root’s Free Mixtape Nappy University – Fall Semester can be downloaded now at NappyRoots.com

If you would also like to get involved with the Beat-Play beta testing, please go here or contact me at Dante@musicwithoutlabels.com

Frestyl.com – Map Your Live Music Environment

A great online promotion tool is the new website http://www.frestyl.com. It allows artists, venue owners and the general public to create a profile and list events they will be performing/hosting/attending.

All the events are then viewable from a map of the area you’re in, making the info rather easy to get to.

Frestyl is an AWESOME tool for artists to promote their live events. The only problem right now seems to be adoption. It looks like they need more artists to advertise their events so the software will be more effective. Ha..their problem is they need artists to advertise their own events for free..why is that hard? If you’re an artist, try it out, this software has a lot of potential to take off.

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A Look at New Artist Revenue Model: The Social Radio – By the Numbers

For those that don’t yet know, Beat-Play will be introducing the first ever social radio to the web in a few short months. It will run off of Facebook and will be fueled by social recommendations. With this radio app, if you like a song, it will automatically get sent to your friend’s radios, if they are following you. If they like it then, they pass it on to their followers.

Not only is this an awesome (free) form of viral promotion and distribution, but it can also be a completely new revenue model for artists as well, and I believe it’s a model worth looking deeper into, and worth doing some comparisons with what else is out there right now.

In this new model, the music is free for the fans. The artists will get paid based on ad revenues generated from their popularity. The artists essentially get paid from their plays. The more average plays/day they get, the more an artist can charge for their ad space (artists set their own prices).

Let’s get right to the numbers. We’ll start with an artist having an average of 20,000 plays/day. This may sound like a lot, but you must remember the environment that this will be in. With this viral automated word-of-mouth system, a steady supply of great music will always be fed right to the users without them having to search, and being filtered through people they trust, so the chances of them liking the music are greater as well.

With this system, the playing field would finally be leveled: If the music isn’t good, it won’t spread very far; if it is good, it will spread like wildfire.

As long as the artists pump out a steady supply of great music themselves, with even the smallest pre-established fan base to start with, I think building up to an average of 20,000 plays/day can be pretty achievable in not such a long time, with the right amount of hard work being focused to where it should be: on the music.

An ad appears every time a song plays. The ads themselves are unobtrusive and not interruptive, although they could be quite interactive and engaging if clicked, instead of damaging to the user’s experience. So say an artist has an average of 20,000 plays per day for a whole year, and the average price for their ad space is $6/1000 plays. At this price, the artist, in that one year, would make approx. $43,800.00 before taxes. Of course that also doesn’t include any merchandise or tour money.

That’s not too bad at all! Let’s compare this model now to some other artist revenue models out there.

I’m sure you’ve seen the following chart at some point before. I will use their averages because I feel they’re still pretty accurate.

So in the new social radio model, to make $43,800.00/year, the artist would need 7.3 million plays in that year. (Think about artists that get millions of plays in a day)

For Last.fm, according to the chart, to earn just $13,920 in one year, which is the US minimum wage, an artist would have to have 18.5 million plays in that year. To earn $43,800 on Last.fm, they’d have to have almost 60 million plays in one year!

It’s hard to compare this model with CD Baby or Itunes, because these 2 models are based on sales, not plays, and there will always be more plays than sales, but let’s try to compare anyway:

For an artist to earn approx. $43,800.00 on Itunes, they would have to sell over 450,000 singles; On CDbaby, over 75,000 singles. That’s a lot of credit card transactions no matter which site you choose.

Think about this too, when you make your money off of downloads, your only getting paid to sell a copy. That copy will get listened to hundreds, or thousands of times after the sale, but you only get paid once. Now I hope you can see the potential in the opportunity to monetize the plays of songs, with a proper ad model, instead of just selling copies to fans who love to share.

With this new model, the artists may finally be able to make a decent living off of just making and circulating their music, without having to kill themselves to market and promote their music, without signing away their souls for a distribution deal, and without having to worry about piracy taking all of their money! Maybe, with this new system, artists will be able to make the kind of money they should be making when they factor in shows, merch, music licensing, and any other opportunities that a model like this could potentially present.

I urge all independent artists to consider supporting a model like this, and to think about the kind of effect this model could have on your career. I’m an indie artist myself. It’s about time we start using a model that works for us.

If you would like to help us test this model, right now we need artists and music to be submitted to our social radio so we can continue testing internally. We’re getting really close to our Facebook launch.

Written by: Dante Cullari – Founder & CEO Beat-Play, LLC

A Fragmented Music Community: The Sum of the Parts Equals Less than the Whole

Music is so spread out online these days. Why? And why do artists not get paid for all the free plays they give away on these websites? These are two huge questions that I’ve been studying, and the answers are well worth addressing.

Part of music being so spread out has to do with the fact that the internet is still fragmented itself. The web is still set up like our real world – you have “sites” with their own “addresses” and you have to physically go to them. This is part of the problem for sure, and it turns out that it is actually easily solvable. With the software, you can pretty much make up your own rules, which means you could make everything just come to the user instead, almost like the iphone model, where every app is in one spot waiting for you at all times. That’s another topic though.

The rest of the problem really seems to be about preference. There are hundreds of music sites out there, and certain fans, or fan-bases, like to stick to certain ones for certain reasons. It could be the difference in interfaces or the difference in people in the network, but it usually has to do with simple preference.

The truth is that not one of the music sites out there right now has established supreme dominance over any other one. That means that as an artist, even though it is way more time consuming, it may actually seem smarter to be on 10 different websites rather than only one or two. After all, the way it is right now, you’ve gotta go where your fans are.

Some people may argue that having so many touch points out there can be beneficial for artist promotion; that a fragmented strategy on a fragmented internet is the best way to get your stuff out there; but they would be wrong.

Not only does the fact that there are hundreds of music websites out there make it harder for artists, in terms of managing the content, and harder for the fans, in terms of finding the music, but it also spreads out the fan bases so that they’re harder to reach, and harder to track.

The reason for one sole music community though, is not only about ease, for the artists and the fans, but it’s about concentration and stability. With 10 different websites you have 10 different methods of operation, 10 different user experiences, 10 different pricing models, 10 different ad models, 10 different terms of use..and so on. It can turn into a nightmare quick.

Everybody runs their site differently, and that can also mean different returns for the same content. If there could be only one website for music, where artists were satisfied with revenue returns, player features, the fan base size, the ad model and so on, it would open the doors up to do so much more with the artist’s online fan bases.

So it’s important that artists get their fans to come to one website for their music. Again, not only does this make it easier to reach them, but it makes it easier to track them and their streams of the music. As an artist right now, it’s definitely an important thing to think about.

It’s ideal to concentrate your fans as much as possible, because that way you can get your views, plays and fan numbers growing on one site. If you can concentrate all of these numbers to one spot, you might be considered worth more to potential advertisers and maybe you could start making some money by people just listening to free streams of your music, or just glancing at your profile page.

It’s time independent artists started thinking about how to realistically start earning revenue from their music online, and with the incredible viral quality of online content, and music especially becoming more and more popular to share, it’s time to start thinking seriously about ad models, and how to connect them in the right ways to the free content we already give away.

People don’t really buy independent music on iTunes, because on iTunes there’s no way to find something you’ve never heard of before. There’s no good recommendation for fans, which is exactly what independent artists need to get their stuff out there. Of course even if they get known, there can be piracy. This is why it’s best just to give away free streams that you can track and then collect ad revenue from. In the end, the ad model seems like the right answer if it’s done right.

Let’s take a look at a chart I put together, representing the online presence of one of my favorite indie bands – Temple Scene. On the left, I listed all (15) of the sites that Temple Scene has a presence on (there’s probably more). Along the top are different statistics and properties of those websites, relevant to the artist, such as number of plays, number of fans, amount of music offered, and so on.

Note: I will try to get Temple Scene to help fill in some of these numbers, and I would encourage you as an artist to make a similar chart. I would love to see the results of yours!

You will see that even though there are some large chunks of data missing, the band has recorded over 45,000 views to their profile pages. Using the data in the table to create an average, we can estimate that Temple Scene has accumulated something like 200,000 views overall, but even that I think, is a low estimate.

Over 200,000 views in 4 years – That’s about 50,000 a year. I bet the artists could negotiate some kind of long term ad revenue contract between them and a particular company for views like that, with a simple negotiation like for every view I get, I’ll show your ad once. Now imagine if the artist could get payed based on plays instead of views. These numbers were way bigger, with a total of 127,251 known plays.

One thing I need to note is that the 57,860 plays recorded on thesixtyone.com, actually technically isn’t plays, it’s hearts, which if you’re familiar with thesixtyone, are way less common than plays, yet are still dependent on them. I estimate, based on averages of Temple Scene’s fan base’s average plays/per heart, it would put the plays at just over a million on thesixtyone alone!

Of course there’s no way to actually track that exactly, because thesixtyone doesn’t choose to give you that information, but at the very least, this band has served well over 200,000 free streams of their music for sure, (though it could be more like 1 million) and they haven’t gotten payed for any of it!!

The real problem though is that the totals of these numbers are all spread out throughout 15 different websites, and so the opportunity to even use these numbers to negotiate with a sponsor is almost non-existant, being that most websites probably wouldn’t even let you place your own ads, and all of them would have different policies.

Also, I believe the fact that they are spread out like this means that these numbers are not as high as they could be. I mean think about it, if there was one website for all things music, and all of the fans in the world, or even the country were on that site, there would be a much better chance that those fans would run into your music, being already within close reach.

The way it is now, with the fans spread out all over the place, even if you’re on 15+ different websites like Temple Scene, you still won’t be covering all of the fans out there, and so the numbers will not be as high, even when added together. We need one music environment where the artists can take advantage of basically 1 huge fan base.

It turns out, this kind of situation would be better for the fans as well, because then all the music would be right there in one place too, and it could actually be brought right to them, using new forms of social recommendation. Did you like the song you just heard? What’d you think about that show last night? Did you leave a good comment on a band’s song today? This is all information that could potentially fuel a pretty useful recommendation for anyone who trusts your taste in music.

Imagine this kind of recommendation being tied to an ad model that pays artists based on how many plays they get. For each different song, there is a different unobtrusive and relevant ad. The songs just keep playing without the fans even having to search for anything, much like Pandora, except the songs are being filtered through their social networks instead of a broad algorithm.

If the music is good, it will get passed on through the social networks, and if a song gets played, the artist gets paid. The music can be free, easy to find, easy to manage, and easy to track. The artists can get free promotion and distribution, AND get paid, and everyone can be happy. The point is that this place can exist, and that this place already should exist!

We are working hard on bringing these concepts to reality. We’re currently in beta testing phases now. We need indie artists and music to start testing our social radio recommendation system now! If you would like to get involved please go here.

Written by: Dante Cullari Founder & CEO Beat-Play, LLC