Musings on the Music Industry

This is an article I am going to submit unsolicited to the U of W Student Newspaper The Uniter in response to an opinion piece in last week's edition.

Musings on the Music Industry

Last issue's Uniter featured an article that attempted to defend the roll of the recording industry in the wake of Radiohead's recent label-free, pay-what-you-want release "Rainbows". Although it raised many valid arguments it failed to mention what may be the most fundamental point about the business of music in general. Namely: that until about 100 years ago there was no such thing as a recording industry. Although publishing sheet music and composing were a source of revenue for some, most musicians then, as now, made their money by touring. Thus the current woes of the major labels are no great threat to the great cultural gift that is music. While it is often said that a band tours in support of a current release, from the perspective of the working musician it is quite often the reverse.

There's no denying that the recording industry has brought to our attention many stupendously talented artists for whom we should be eternally grateful. But let's not forget that the industry is also responsible for the awful crap that constituted "Can Rock" in the 1980's; an era of shame that we get to live over and over again thanks to the omnipresent 92 CITI FM. Kim Mitchell anyone? And let us also remember that it was the record industry who, without justification beyond greed, gouged us more seasoned record buyers when they decided that CDs should replace LPs at nearly double the price, despite the fact that production costs were the same or lower for CDs. Should we accord these scoundrels any quarter now that the shoe is on the other foot?

New technologies have found the soft underbelly of the once mighty corporations that made a mint off of recording the talents of others, and I for one couldn't be happier. Now it is possible for bands with a bit of know-how to make their own records and decide their own fate. If it means that less musicians get to own private jets and live the celebrity life of a Radiohead or Led Zeppelin it's quite alright with me. Fame is overrated anyway.

Indie Rock, and Canadian Indie Rock particularly has seen a great rise in prominence and record sales since the 1990's. Not only are these acts as talented as the ones who pack stadiums worldwide they are often far more accessible. Bands like The New Pornographers, Arcade Fire and Winnipeg's own Weakerthans play shows at smaller, more intimate venues where the object is not to witness a spectacle but to hear great live music.

Indeed this is the kind of music one should be supporting with one's wallet. Who cares if The Rolling Stones ever make another cent on anything they do? Does Jimmy Eats World need my $20? Those guys are doing just fine last time I checked. And what about the schmoozers that acted as A & R reps for these bands? Should I be paying for their champagne breakfasts in the Bahamas? No. I should be at the Zoo banging my head to Priestess or at the Burt singing along to Tegan and Sara. Acts I didn't hear about in the latest issue of SPIN, acts I got to know because they have actually been across Canada a number of times and attracted a following. That is how musicians made money before there was a cigar chomping executive cutting the cheques, and that is how they should be making money now.

I urge record buyers to lay the boots to antiquated notions of what supporting the artist means. Copy as much of EMI's catalogue as your conscience dictates, anything older than 15 years aught to be public domain anyways. Feel free to follow my motto: "if an artist (or band) is dead, just go ahead." And for God sake, don't pay for punk, it's anathema. However, make sure you go to lots of shows and buy something off the merch table, and/or buy a new, undiscovered record or two from an indie label every time you need to give a gift. Your friends and friendly neighborhood musician will thank you.