Random Music News for Friday, August 18, 2017

Random Music News for Friday, August 18, 2017
Tim Cook wrote this powerful memo to Apple staff about Charlottesville. The CNE opens in Toronto today, which as everyone in Southern Ontario knows is the official start of the end of summer. Could hackers use your smart speakers to hack into you? London’s Big Ben is being silenced for four years for repairs. Discuss. Good. Spotify culled all the white supremacist music it could find in their system. This Newfoundland artist has seen his Chance the Rapper Kit Kat ad go viral. Bonnie Tyler is going to play a total eclipse concert. Could this be an interim solution? Are you a Millennial? So everything about the reboot of American Idol seems to be a big mess. They don’t know how rough things used to be. That sounds handy. Someone’s gonna have to tell this kid that Michael Jackson is gone. Does this study of media consumption habits ring any bells with you? Apparently so. Meanwhile, here’s some music news for August 18. “Why Elvis ate his emotions.” You read that right. Boy George has signed his first major label record deal in 30 years. Of course she is…
Following her wins in the groping trial, Taylor Swift has made a big donation to a foundation that helps survivors of sexual assault. Kids. New Samsung smart TVs will soon come with Shazam built in. Dammit. But this leads into a trickier discussion. They’re a bit late to the party, but Japan is getting back into vinyl thanks to…streaming? Regardless, Spotify will dominate streaming like Google dominates search.

Playlists are Killing the Album. Here’s Why.

Here’s Why. Playlists are Killing the Album.
Don’t want the whole album? “But that’s in exactly the same way that tracks have always been written for Top 40 radio. Spotify has a vested interest in making playlists – particularly its in-house playlists – the lingua franca of streaming. Other times, we toughed it out through the bum tracks because we couldn’t be arsed to hit the button or move the tonearm. [S]ongwriting is now starting to contort to fit the aesthetic and audience of certain playlists; trying to second-guess what will connect best. The Guardian picks things up from there. In hindsight, this was the official beginning of the end of the album. Sometimes we’d skip through songs we didn’t like. Now we have streaming music services that allow for the creation of custom playlists. Albums? Napster its progeny began messing with those primal forces of nature when it allowed us to just grab the songs we wanted. “I think this is now Spotify’s entire world,” says Darren Hemmings, who runs digital marketing agency Motive Unknown. A quick search through Spotify will undercover millions of them. Unless you were prepared to make a mixtape on cassette (and later, a bespoke burned CD), we listened to albums, those carefully-constructed collections of songs meant to be heard in a specific order. “Spotify doesn’t own the catalogue, so it has to have power on some level. They could be looking to completely destroy the album as a format, if we are going to be extreme about it, and replace it with playlisting.”
When I ask Wallace if he feels the album will be superseded by track-centric playlists, his assessment is blunt: “Probably, yes.”
Read the whole article here. Listen to them if you want, but most people don’t. Then came iTunes in 2003 with its industry-sanctioned ability to pick songs on an a la carte basis. The format the music ends up on determines how people write for that format.”
Second, Spotify, because it is so far ahead of everyone else (140 million active users, of whom 60 million are paying subscribers, compared with Apple Music’s 27 million subscribers), has become a playlisting priority for labels, ratcheting up its dominance yet further. Just download the songs you fancy. Fine. If people (a) don’t stream albums; and (b) continue to buy albums in fewer and fewer numbers, what’s the point of making them in the first place? “There is absolutely no doubt that music is being written and put out to do well on streaming services,” suggests David Emery, head of global marketing strategy at music publishing company Kobalt.

Who–or What–Is Poppy?

Maybe you start with “I’m Poppy,” a video where she repeats that phrase over and over in different inflections for 10 minutes. Yours is the next soul she may claim. The Daily Dot carries on:
Poppy seems to work inhumanly hard. Is she a secret government mind control project? A robot? The author is right. A singer? As it continues, you notice that her voice does not quite match the movement of her lips; it’s delayed just a beat.  Is she “real,” or just a PR stunt? She seems to be in her late teens or early twenties, though her pastel clothing and soft voice are much more childlike. Beware Poppy. Poppy will have a new album in October called poppy.computer. She’s also the subject of an alternate reality game and several fan-driven conspiracy theories, many of which center around her enigmatic producer/collaborator Titanic Sinclair. And once you go down the rabbit hole with Poppy, it’s hard not to follow it all the way to the bottom. These are all questions that obsessive Poppy fans feel driven to answer, working to crack the mysteries of Poppy’s real identity and the science-fiction story she and Titanic are spinning across the internet. She has a surreal YouTube channel that updates almost daily, where she talks in soothing robotic monotone about the things she loves: technology, social media, the internet, and her fans. Poppy is going on tour, too, where she will sing songs like this. Ten minutes. The future? She is blond and petite with the kind of Bambi-sized brown eyes you rarely encounter in real life. Poppy seems to be the stage name of Moriah Pereira (maybe), a Nashville-born (possibly) woman who now lives in Los Angeles and how has one album called 3:36 (Music to Sleep By) and an EP (Bubblebath from 2016) to her credit. With Poppy, it gets weird real fast. Poppy sings and makes videos. But that barely scratches the surface of whatever’s going on here. She releases a regular trickle of new music, always with accompanying videos. That’s right. Poppy is…I’m not sure. A cult leader? A real person?  
  She seems, by turns, bored, curious, and sweet. You see a woman in a YouTube video. And if so, who? A brand? Wired tried to describe her. Is Poppy a puppet of the Illuminati, the shadowy power-brokers who allegedly control contemporary society? Is someone forcing her to make YouTube videos against her will? YouTube star?
Who–or What–Is Poppy?

Does This Sound Like You and Live Music Events? Check Out These Stats.

(1) Special seating; (2) Meet and greets backstage; (3) Drinks and food; (4) Merch
60% of the average person’s annual spend on music goes to live music events. 70% of concert-goers buy their tickets within two weeks of them going on sale
What’ll entice a person to pay extra for VIP tickets? In today’s music environment, revenue isn’t going to come from selling pieces of plastic. The more you know about who’s listening to your music and how, the better off you’ll be. This is just a taste of what the final report will offer. 70% of people at concert use some kind of social media at the event
On average, 40% of the people who go to a concert bought the artist’s CD and 29% have streamed their music. Here are some of the insights it delivers on the Canadian market. Some of the information will be made available to the public while the rest will have a cost associated. What’s the major factor in determining if someone buys a ticket to your show? Nielsen Music Canada is about to release its “Live Music and Brand Reports” which offers up some interesting consumer data for artists, labels, managers, event producers and brands. And unless you’re written a song named “Despacito,” streams aren’t going to pay the bills, either. Touring and playing live is where the important money is made. But you just can’t stand up on a stage and hope that something goes right. For example, if you’re in the business, you’ll want to know answers to questions like this:

How event-goers feel about brand sponsorships at events
How attendees stay engaged with brands after the event is over
Importance of social media during discovery and planning
How event-goers hear about new and upcoming events
Dollars spent on merchandise, food, drink, travel, and accommodations

This should be interesting. 20% paid for a download of the artist’s music. A full 85% say all depends on the price of the ticket. This is the era of hard data.
Check Out These Stats. Does This Sound Like You and Live Music Events?

This Week’s Top 11 Playlist: 18 August 2017

This Week’s Top 11 Playlist: 18 August 2017
Thanks to Mediazoic for the hosting, too. In the meantime, please contact team@mediazoic.com if you experience issues with the current player. Let me help with this handy list of eleven new tracks that caught my attention. Mediazoic is currently working on building a great new tuner with advanced features, coming soon. ARTIST

Our Lady Peace
Drop Me in the Water

Betray and Degrade
Poison the Parish

Barefoot Mountain
All I Got

Alice Merton
No Roots

Petit Biscuit
Sunset Love
Petit Biscuit EP

Alice Glass
Without Love

Jane Weaver
Did You See Butterflies
Modern Kosmology

Feel the Same

Dark Days + Canapes

The World is a Beautiful Place and I Am No Longer Afraid to Die
Dillon and Her Son
Always Foreign

No Use for a Name
Turning Japanese
Rarities Vol. 1: The Covers Don’t try to sort through all the new music that comes out every week on your own.

A New Tragically Hip Biography is Coming

A New Tragically Hip Biography is Coming
And Michael Barclay is writing the book solo. The Never-Ending Present, set for release next album, is written by Michael Barclay. ECW Press is one of the best Canadian publishing houses when it comes to books on our musical history. Their next major project is a new biography on the Tragically Hip. CORRECTION TO A PREVIOUS VERSION OF THIS POST: Gord Downie didn’t write the forward for this book; he wrote the forward for Have Not Been the Same. My error. Duh. They were also responsible for the very fine Have Not Been the Same: The CanRock Renaissance 1985-1995, which was also published by ECW.

How Did Unreleased Queens of the Stone Age End Up on Australian Folksinger’s Album?

How Did Unreleased Queens of the Stone Age End Up on Australian Folksinger’s Album?
Hey, it’s good publicity for Gordi, right? In a major oops, fans of Australian folktronica singer Gordi, noticed that she sounded…different on side two of the vinyl edition of her debut album, Reservoir. Both albums will officially be released next Friday (August 25) but are set to come out on different labels. The error at the pressing plant had QotSA songs “Fortress,” “Head Like a Haunted House” and “Unreborn Again” on the B-side of Gordi’s album. People at the vinyl plant are looking to solve this issue ASAP. That’s because those songs are from the still-unreleased Queens of the Stone Age album, Villians.

I Went to Coldplay’s Chicago Concert Last Night. Virtually, Anyway.

Virtually, Anyway. I Went to Coldplay’s Chicago Concert Last Night.
First, I connected a Galaxy S7 to my home wifi network and downloaded the Samsung VR software. Absolutely. Audio was delivered through the phone to a small speaker on the goggles, although I could have plugged in a set of headphones for better sound. Would I go to another concert this way? Setup was reasonably easy. The visuals were hardly HD– the resolution wasn’t even standard def, so even though I was sitting at Jonny Buckland’s feet, I couldn’t read the setlist that was printed out in front of him–but it was enough to give me a taste of what the future of VR concerts could be.  
  That’s right. Before the show, I also watched a couple in the audience who seemed to be having an argument. Creepy, I know. Using some goggles and a phone provided by Samsung, I was able to jack into the Chicago concert while sitting comfortably propped up on my bed. Definitely. I also saw the gig sitting in front of guitarist Jonny Buckland’s effects board. Once that was done, I clipped the phone into the headgear (powered by Oculus, by the way), which immediately booted up and presented me some menu screens floating in front of my eyes. The dogs must have thought I was ridiculous with the VR contraption on my head–my wife certainly laughed at me–but I didn’t really notice because I was immersed in the whole experience. After that, I moved to a spot to the left of bass player Guy Berryman. I may get to experience Glastonbury after all–but without the mud and drunk people. My vantage point was on the stage behind Will’s right elbow. Coldplay performed a sold out show at Soldier Field in Chicago last night and from my spot about four feet behind drummer Will Champion, it was pretty good. (I spent some time watching Will Champion’s drum roadie, who was sitting in a pit to Will’s right. The rest of the time, I just sort of followed Chris Martin up and down the long catwalk or floated above the stage. There’s still a long way to go when it comes to improving the video experience (resolution and focus, mainly), but that will come in time. Using a laser pointed locked to my head movements, I chose the menu items I wanted to access by tapping the side of the goggles. Still, this is all in the name of technology, right?) Camera angles switched just like they would if you were watching the show on TV, except that you could adjust yourself along X, Y and Z axes. Was it cool? This was my first experience watching a concert in virtual reality. I was able to swivel my head and body along a 360 horizontal axis as well as being able to look up to the sky and down to the ground.

I’ll See You at The Music Expo!

All you have to do is RSVP to the event. Free parking, and close to Kipling subway station. Also, if you would like to check out the concert portion of the event (from 8pm-1am), check out the Music Expo website for more information. I am pleased to announce that I will be at the Music Expo, on Saturday September 23, giving my brand-new lecture titled “Chickens and Eggs: The Relationship Between Music and Technology.”
The trade show portion of the event, which includes my talk, is free to attend for all Music Technology group members! 2029. Learn how this symbiotic relationship has evolved over the decades and how it will continue to exist well into the future.  Book your booth directly here or email katrina@TorontoJobs.ca or call 905-812-5627 ext. Talk Summary: For more than a hundred years, music and technology have gone hand in hand. If you have any questions about this event, feel free to email nathalia@musictechnology.ca
Exhibitors:  Are you looking to promote your products or services to music fans? 11am–5:00pm: Trade show and Lectures, free to attend. Get your complimentary tickets now! Sometimes it’s music that initiates the change. Click here for a full list of speakers. Meet exhibitors who will share all kinds of information about music and listen to speakers, each hour, talk about music topics that will interest even a casual music lover. The Agenda: Saturday, September 23
2:00pm–3:00pm: Alan Cross’ Presentation: “Chickens and Eggs: The Relationship Between Music and Technology,” followed by Q&A. Sometimes music follows the technology. Address: The Rockpile, 5555 Dundas Street West, Toronto, ON M9B1B8.
I’ll See You at The Music Expo!

The Ongoing History of New Music Encore Presentation: Great Lost Albums

The Ongoing History of New Music Encore Presentation: Great Lost Albums
Don’t forget that you can get the podcast version of this podcast through iTunes or wherever you get your on-demand audio. WAPS/WKTL The Summit/Arkon, Canton, Cleveland, Youngstown

We’re still looking for more affiliates in Calgary, Kamloops, Kelowna, Regina, Saskatoon, Brandon, Windsor,  Montreal, Charlottetown, Moncton, Fredericton, and St John’s and anywhere else with a transmitter. All right, what about that final 1%? There are a surprising a number of lost albums, records that were made (or at least partially made) that will never, ever see the light of day. Making an album is straightforward, right? And they involve some very big names. And 99% of the time, that’s exactly what happens. Time, money and energy is poured into a project and out the other end comes…nothing. If you’re in any of those markets and you want the show, lemme know and I’ll see what I can do. These are the lost albums of alt-rock. Those are the times when someone goes into a studio, starts working on an album and then for whatever reason, nothing gets released. The Ongoing History of New Music can be heard on the following stations:

102.1 The Edge/Toronto – Sunday night at 7
Live 88-5/Ottawa
107.5 Dave-FM/Kitchener
FM96/London – Sunday night at 7, Monday night at 11
The Drive/Kingston
Power 97/Winnipeg (Sunday nights at 11)
98.1 The Bridge/Lethbridge – Saturday night at 6, Sunday morning at 10am
Rock 97.7/Grand Prairie – Sunday nights at 6. Songs heard on this show include:
Rivers Cuomo, Superfriend
Bad Radio, I’m Alive
Late!, Color Pictures of a Marigold
Weezer, Tired of Sex
Oasis, Live Forever (Unplugged)
Beastie Boys, Railroad Blues
Dave Matthews Band, Grey Street
Green Day, Cigarettes and Valentines
A Perfect Circle, Passive
Zach de la Rocha, We Want It All
Eric Wilhite has, as usual, created a playlist for us. You write some song, go into a studio and a few months later, something gets released. 92X/Calgary
Sonic 102.9/Edmonton
The Zone/Victoria
The Fox/Vancouver
Live 105/Halifax

Random Music News for Saturday, August 19, 2017

Seriously? Two days until the Eclipse Day. Warner Music Canada has jumped on board the Canada 150 celebrations with this collection. This one. Here’s why. Got your #14 welder’s glass yet? Sunrise Records continues to fill the gap left by HMV. Apple just released six videos showing what iOS11 will be able to do on iPads. This didn’t work out so well for Katy Perry. Goldman Sach sold $75 million in Spotify shares. Predictions are that Lady Gaga’s world tour will gross $100 million. This new Nokia phone takes something called “bothies.” Wait: You can still buy Nokia phones? A lot of people are. Good. Try this thing that interfaces with your phone. Have the need to make music wherever you are? Could this pop-up music festival be the next Fyre Fest? Following the demise of Toronto’s United Talent Agency office, a new company has risen in its place. How many of these retro gadgets can you identify? Frank Sinatra traveled everywhere with a golden Uzi? Shania Twain isn’t selling to her Nashville show because she can’t. And some of this behaviour would have landed him in jail today. Sounds like they’re clearing the decks for an IPO. And now, the music news for August 19. David Bowie had a weird, weird life–at least in the early days. They’re expanding into Newfoundland now. Are you financing concert tickets? Discuss this at the bar tonight: Which celebrity is the most popular sex doll request?
Random Music News for Saturday, August 19, 2017

Black Sabbath Releases Trailer for The End of the End Concert Doc

When Black Sabbath left the stage in Birmingham on February 4, 2017, fans were told that was it. The End of the End is the concert film that documents that last show. A one-night-only cinematic release is set for September 28. Here’s what we can expect. After a final lap around the planet, Sabbath was done.
Black Sabbath Releases Trailer for The End of the End Concert Doc

Origin Stories – Anne Murray on The Song That Revived Her Career 1978’s “You Needed Me”

“When I realized I wasn’t getting anywhere at home, I went to see the president of Capitol Records, Don Zimmerman, at the Capitol Records Tower in Los Angeles,” recalls Murray. “It’s funny because when I started playing the song for people, that songwriter form was so deeply ingrained in everybody’s heads that they couldn’t get over the fact that it needed a chorus. “I just said, ‘You’ve got to find out about this song and how we put it on hold.’ In my mind it was just so good that it really couldn’t be stopped.”
Written several years prior by Nashville-based songwriter Randy Goodrum, “You Needed Me” almost didn’t see the light of day. “It was staggeringly beautiful and staggeringly good. “You Needed Me,” which appeared on her 12th studio album, Let’s Keep It That Way, revitalized her career and became her biggest record to date. I’m still not entirely sure how it found its way to me.”
But, despite its obvious appeal, “You Needed Me” wasn’t an easy sell. We even went out and tried to get somebody to write one. “At least it was in those days. At 33, Murray had plenty to phone home about. ‘You Needed Me’ just seemed to come into my life at the right moment, and everything else aligned.”
Interestingly, Murray discovered the song in a box of cassette tapes she had previously marked, “Listen To Again,” but it wasn’t until she did so that she heard everything the song could be. Sometimes your ears take a beating and you don’t know what you’re hearing any more, so I would have to put things aside. Sometimes that works well because you’re not as nervous or scared and scrambling. I just have such a strong feeling about this song.’
“I had never, ever asked him to do anything for me before. “Every day people would send them to me and I would have hundreds and hundreds of tapes. “I just told him, ‘You’ve got to do this for me. Thankfully for Murray, that wasn’t the case. “Randy wrote the song for his wife,” says Murray. Murray’s label, Capitol Records, didn’t like the fact that the song had been written without a traditional chorus and felt it wasn’t exactly a surefire pick. I knew, I just knew.”

So moved by the song, Murray immediately picked up the phone and placed a call to her office. But, those were the sorts of questions that were flying around. She had clocked both record sales and television ratings in the millions, but her focus was shifting. She and then husband, producer and longtime host of Singalong Jubilee, Bill Langstroth, had just started a family. That’s where ‘You Needed Me’ was when I found it. She had already released a string of radio hits including a rendition of Kenny Loggins’ “Danny’s Song” (1972), “A Love Song” (1973), “He Thinks I Still Care” (1973), and a Top 10 cover of The Beatles’ “You Won’t See Me” (1974). I just kept saying, ‘It doesn’t matter. By: Juliette Jagger (@juliettejagger)
When Anne Murray released, “You Needed Me” in 1978, she hadn’t had a hit single in four years. “I was going through so many tapes in those days,” says Murray. “When I listened to it again I had to sit down because I couldn’t believe that I hadn’t heard it the first time,” she adds. “Four years is quite a long time between hit songs,” says Murray. As an artist, momentum is everything, and that kind of radio silence is typically a career killer. “So, he crumpled it up and threw it out. Generally, the label would suggest things and I usually did them, but for whatever reason this particular time he just looked at me and said, ‘Okay.’ He picked up the phone and stopped the presses on the spot, and well, when it went to number one, we both looked like heroes.”
Continue reading via the National Music Centre. If the songs had any hope at all I would put them in that box. As an artist, you do start to get a bit uneasy, but I had also just become a mother for the first time, so I had other things on my mind. It’s too good.’”
To complicate matters further, the label had already selected the title track, “Let’s Keep It That Way,” as the album’s first single and sent the record out to be pressed. I mean how stupid is that? I was just breathless when I heard it. “And, it’s pretty self-explanatory, kind of like, ‘I can’t believe you love me the way you do.’ My understanding is that when he first showed it to her, she sort of said, ‘Yeah yeah, it’s nice,’ which obviously wasn’t the response Randy was hoping for,” says Murray with a laugh.
Origin Stories – Anne Murray on The Song That Revived Her Career 1978’s “You Needed Me”

52 Albums That Changed My Life (and Other Exaggerations), Chapter 34: Achtung Baby

52 Albums That Changed My Life (and Other Exaggerations), Chapter 34: Achtung Baby
Achtung Baby is the album that almost captures the amazing band that U2 is live (although, none of their albums have quite gotten that yet). They get kind of a theme idea for the music they want to work on, nail it, play with it a bit more and then the band goes away for a while only to return with a new set of sounds. Before the release of Achtung Baby, I was familiar with U2, it was really hard not to be during that time period, but I wasn’t a fan. U2 is one of those bands that fans may only like one particular album in their career or a particular phase. It’s also a fairly solid album. Here’s where I get a little tricky. I’m not sure why I just didn’t really pay attention to the album. The band was on tour and participated via satellite and performed “Until the End of the World.” Bono was in his “Fly” get up, the band looked cooler on a whole, the song sounded amazing. With The Joshua Tree, U2 became the biggest band in the world for a number of years. Where I will probably get yelled at by some of you is that I feel Joshua Tree has a fair amount of filler in it. I remember staying up late at a friend’s house to watch a late night music video show (on either CBC or City as they didn’t have cable) and U2 came on I didn’t really get what the big deal was. An amazingly solid album from top to bottom. A similar thing happens during the Achtung era; Achtung Baby nails it right out of the gate, Zooropa goes off into a weird but cool experimental area, taking what they had done with Achtung and expanding the idea and then Pop is the band pushing some of those ideas a little too far. The thing about U2 that I love but also drives me nuts is that they tend to work in a three album format. I think I had mentally shelved it with other U2 songs I had heard and didn’t want to waste the time on it. While it may be blasphemy to some fans, Achtung Baby is not only my favorite U2 album, but I would propose that it is their best album. You have amazing ballads like “One” and “Tryin’ to Throw Your Arms Around the World” as well as great up beat tracks like “Even Better Than the Real Thing” and “The Fly.”
For me, my favorite tracks are “Until the End of the World,” “The Fly,” and “Tryin’ to Throw Your Arms Around the World,” but that can change depending on my mood and what day of the week it is. U2 was in a period of experimentation, trying new sounds and new ideas with their songs. And sometimes this back fires. Don’t get me wrong, I’ll take a “not as good as…” album from U2 any day of the week because while I ultimately feel Achtung Baby is U2’s best work, the rest of it is always worth a listen and is usually pretty good. It’s kind of hard to argue that in many ways. I liked what I heard but I didn’t grab on to anything. Why hadn’t I paid attention before? I can name you the singles off Joshua Tree off the top of my head. I think the hits from The Joshua Tree are among the best songs U2 has ever written. Achtung Baby had been out for a number of months by the Freddie Tribute rolled around. As a younger kid at the time, those sounds completely caught my attention. From then on I became a fan of U2 fan. In most people my age, it’s The Joshua Tree era. Then Achtung Baby came out… and I promptly ignored it. Simply, I think the song writing is better. Until The Freddie Mercury Tribute Concert for AIDS Awareness, a concert which changed a lot of things for me musically but it introduced me to Achtung Baby via satellite. I would go on to hear one or two more songs on the radio before I would get the album in July of that summer as a birthday present. I think that All That You Can’t Leave Behind is particularly great as is Zooropa (yes, I really like Zooropa, we’ll come back to it in a bit) and The Joshua Tree. So why does Achtung Baby tower over The Joshua Tree for me? But not their best album. There is a balance between the experimentation and what U2 had become really good at. I do not own every album they’ve done but there are some I really like. With The Unforgettable Fire, The band begins working on sounds and ideas and dip their toes into the well of “American” music that then comes into full promise with The Joshua Tree and then they go a little overboard with Rattle and Hum. It’s hard to deny how good “Where the Streets Have No Name” or “With or Without You” are because they are really good. They aren’t bad but they are just kind of there. But once you get out of the singles, I’d be hard-pressed to name the other songs. The songs are also tracked perfectly, one just leads into another. They are that good. Achtung Baby, on the other hand, is song after song of awesome.

The Wall Street Journal is Totally Full of Sh*t When It Says the Vinyl Boom is Over. Here’s Why.

How often does a lathe break? Shah quotes History of Recorded Sound’s Len Horowitz, who related to Shah how a cutting lathe broke down and it took “weeks to come back online”. You really need to read the rest of it.   While all of the people in the industry that I know were then and are now highly optimistic about vinyl’s future, Mr. Shah used only negative quotes—and from people I know feel otherwise about vinyl’s future. To explain why, lLet me hand you over to this fantastic article from Analog Planet. Shah’s cynical and highly selective use of the information he obtained by talking to people in the industry. Investors aren’t interested in sinking serious cash into an industry that represents 2% of total music sales.”
On what basis does Shah make such an assertion? Does the cutter head require maintenance and careful attention? The story speaks the truth about vinyl. Wall Street Journal writer Neil Shah seems to back up those opinions. Lathes are the “brick shit houses” of the record producing chain. Shah wrote in that article “there has yet to be a big move by entrepreneurs to inject capital and confidence into this largely artisanal industry. Shah described TPC, a huge, worldwide petro chemical conglomerate that I recently visited near Bangkok as “a three-man shop in Long Beach, California.” Why? However, Shah is totally full of shit. Because it fit into his phony narrative—one he invented and “proved” via his highly selective, thoroughly dishonest use of quotes from people I know who are high on vinyl’s future. You may have heard rumblings from certain quarters that the vinyl resurrection is over. Curious because while the headline heralds that “the biggest music comeback of 2014” was the resurgence of vinyl records, the story itself threw a mud caked wet blanket over the entire experience, one created by Mr. Shah wrote in that story that the vinyl business was “on its last legs” at a time when we all knew the precise opposite was the truth. No. No. Very dishonest reporting. On the basis of ignorance and/or not asking the right people the right questions. Do lathes often break down? I have a long-running feud with a friend who is convinced that the whole thing was a fad, even though we’re now in the 10th year of vinyl growth in an environment where sales of physical and digital product are cratering. Back in 2015, Wall Steet Journal correspondent Neil Shah wrote a curious piece called “The Biggest Music Comeback of 2014: Vinyl Records”. Is there a lathe shortage? Not often. Yes. Utterly and completely brimming over with poop. Shah calls the lathe a “sensitive piece of electronics.” Not really.
The Wall Street Journal is Totally Full of Sh*t When It Says the Vinyl Boom is Over. Here’s Why.