1. Is a revenue producing item for the label, it's how they get their money back.
2. Is a trigger for publicity.
3. Is too long. On vinyl, you were loath to put more than twenty minutes of music on a side. The most classic of double albums, and the cliche is there's not one that could not be a single, fit on one CD no problem.
4. On vinyl there were four key tracks. Openers and closers on both sides. The CD is incomprehensible. You don't know what songs you should check out, so overwhelmed, you ignore everything but the hit.
5. Had its breakthrough with "Sgt. Pepper." If you've got a rock opera or something to say over ten or twelve tracks, be my guest, create an album. But I can't even remember the last cohesive album statement that was any good. This is a straw man.
6. Mainstream publicity is the weakest of them all. Because the mainstream constantly needs a new stream of info. And your product gets brought down by the crap they
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His intense brilliance captivates readers from Steven Tyler to Rick Nielsen to Bryan Adams to Quincy Jones to music business honchos like Michael Rapino, Randy Phillips, Don Ienner, Cliff Burnstein, Irving Azoff and Tom Freston. Never boring, always entertaining, Mr. Lefsetz's insights are fueled by his stint as an entertainment business attorney, majordomo of Sanctuary Music's American division and consultancies to major labels. Bob has been a weekly contributor to CelebrityAccess and Encore since 2001, and we plan many more years of partnership with him. While we here at CelebrityAccess and Encore do not necessarily agree with all of Bob's opinions, we are proud to help share them with you.
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feature the following day or week. You want word of mouth publicity. And word of mouth publicity doesn't work on albums, but tracks. You want to go viral. This depends on a cut, not an album. The days of hearing a song on the radio and buying the album so you could hear that and more are done. There's not a single in existence that you can't hear alone on YouTube.
7. CDs at gigs are souvenirs. People don't buy them to listen.
8. The fact that your hard core listens to your album is fine if you're satiated with only reaching your hard core. But if you find a musician who's satisfied with the size of his audience, he's not a musician.
9. Network news was killed by cable news which was killed by the Net. People want the latest on demand. And you're dropping an album every year or so? And the radio is eking out the music track by track, if you're lucky? In today's world you want to be in the public eye constantly. I'm not saying you should make less music, just that you shouldn't see it as an album.
10. With the cost of production and distribution so low, it's time to experiment, which is anathema to the dying majors. If you're a metal band with country roots, cut a country song, why not? The album release cycle was a prison, you've been unchained, why do you want to stay inside?
11. The audience has no time. There are too many stimuli. You're looking for the one track that can set off the explosion. And you never know what track that will be, which is why you must keep creating. Otherwise you can make an album that stiffs and your career can be over.
12. The audience is looking for great things. If you create something great, there's a plethora of people ready to spread the word. This is more powerful than any newspaper or radio station. But your track must be great, otherwise virality stops cold. You can buy a few YouTube views but you can't fake virality. The old days of paying radio to play your middling song into a hit are dead.
13. Labels don't want to abandon the album because it changes their revenue model. You've got to pay for the exec's car, his kids' private school, his vacation… He likes the old way, he's gonna fight for the old way.
14. The acts listened to albums so they want to cut albums. Not realizing the way you become a hero today is to do it the opposite or a new way from your heroes. You don't want to do what's already been done.
15. The album will not die overnight. But it's dying as we speak, look at track sales.
16. Sales are miniscule compared to listens. We're going to a listen world, i.e. streaming. It's not whether you sold it, but whether people listened to it!
17. You're the victim of too many bad albums before you.
18. There will always be a demand for superstar albums. But are you a superstar? Furthermore, there are fewer stars than ever before. People don't have time for more.
19. You want a career. Careers live in the minds of listeners, not gatekeepers. The listener wants nothing more than new music. You don't want to go on a date once a year with the love of your life, but constantly. And you don't want to go to the same places and do the same things.
20. Albums were originally collections of 78s. Don't let the format dictate the music. That begat Napster, when there were too many overpriced CDs with only one good track. You've been freed. Then again, it's a wilderness and you don't know where to go.
21. Think outside the box. Don't do it like everybody else does. Make a twenty minute single. Or a two minute one. Issue a challenge to yourself or your audience. This stimulates and creates heat. And what you want is heat.
22. Albums ruled in the classic rock era because of scarcity. You couldn't hear much and you couldn't afford much. You played every cut because it was all you had. It's kind of like dating. Once upon a time you were limited to the people you bumped into physically, now your universe is…the universe! You can even hook up with Russians online! Tell someone to date someone undesirable while they're hanging out at the Playboy Mansion. That's kind of like telling someone to listen to your crap when they can listen to the best music made, which is just as free online.
23. Artists need to be leaders, not followers. In this case, the audience wants singles and it's the artists who are locked in the past. Artists need to get in front of the audience, they need to lead, to titillate and entrance!
