Making it pay: consider being a hard bastard; definitely get a lawyer.

2013: the Steve Harris memorial gig      
 Photo from Rob Campbell      

Four re-mortgages and counting – but Madhouse's Roy Davis is cautiously optimistic

At Madhouse Rehearsals last month, Jaci Davis startled me by revealing that she and husband Roy had had to re-mortgage their house four times to keep the business afloat. I've known Roy since his Shy days: late period NWOBHM. They had a pretty good run. Since then, I've seen Roy and Jaci build up their business against the odds. Lots of PR and charm; lots of graft. But they haven't exactly got rich.

That said, the place thrums. Twelve busy rehearsal rooms, a recording studio, two venues, two record labels, a Rock club night that promoters would kill for. A diverse roster of clients rehearsing and recording. And like all good music workplaces, it's got a calm and business-like vibe. 

So I'm curious. Let's start with what Jaci told me: you've actually re-mortgaged your house four times to keep thise place afloat? 

Roy Davis: We have. When we started, we re-mortgaged to raise the money. As things went along, we need to re-mortgage again, to get more money... and again... every time we needed money to expand or build, we re-mortgaged. 

The oldest Bitch in Birmingham

Rich Bitch studios. What kind of name is that? For starters, a pretty long-standing one

Update: Saturday 6th Dec sees a Rich Bitch Anniversary gig at the Crossing Birmingham.  Rob may even strap on a guitar again. Lots of star guests from the studio's history. Buy tickets here.
 

In the Lobby: Rich Bitch's
very own Manikin Pis

When you chart local music history, artists get most attention. Maybe a bit goes to venues, a tiny bit to the fans. But we don’t hear stories about the other guys: the road crew, the PA boys, the promoters who put up gigs, the lighting boys. All of them enterprises that both underpin and depend on the business of local music. 

Then there are rehearsal studios. I like rehearsal studios. They mix professionalism and knowledge with a constant stream of new young talent. Sure, there's muso ego and grandstanding, but there's also the chance for of ideas to flow and mix, for contacts to be made. These places smell of hope, potential, aspiration. And work and sweat - in a good way..

Here’s a story about the oldest rehearsal studio complex in the city, which also houses its oldest continuously working recording studio, with a client list that reads like a rock Who's Who: Rob Bruce's Rich Bitch. It's an odd name to work with in 2013, but we'll get to that. 

Ozzy as Brum Rock Tsar! Nooooooo.....

Where are the dead megastars with mansions in Moseley when we need them?

Every so often, our elected and appointed leaders stir their stumps, look around blinking, and cry: “Music! Aha! Yes! That makes money! Let’s DO something to exploit our rich heritage!” 

They form committees. They write reports. Sometimes they do a bit of research; not much, though, that costs money. They witter on about music tourism. They print glossy brochures and pat themselves on the back; job done.   

Then it goes quiet. Something else grabs their attention. Politicians must have the worst cases of ADD. At the coalface, where today's musos toil away, nothing changes. And once in a while the press gets hold of this stuff and pulls out the most headline-grabbing story it can. It happened this week. 

Some bone-headed functionary at Oxford Economics, in a Government-backed report, has put forward the notion of music ambassadors for our major cities. And the ambassador for Birmingham would be… Ozzy Osbourne.  The Independent has jumped on this. 

Now, Ozzy's a nice chap, but come on. It’s not a great idea; really not. My reasons after the jump.

UB40’s new album might just be a stroke of commercial genius. But they won't see a penny.

Lots of questions to ask about UB40. Where are they after years of turmoil? What's the real story? Brian Travers gets this a lot. He gives some of the answers.

Brian Travers bearing up under the strain

Seems like the only time the papers write up UB40 these days is to report bad news. They’ve had their fair share: bankruptcies, Ali leaving with harsh words about their financial management, the old Dep studios on Fazeley Street now a car park, and dark stories aplenty circulating round town. 

Recently, The Sun newspaper had a lovely time painting Brian Travers as so hard up that he’s had to play with UB40 cover bands. That little ploy backfired, leading to favourable coverage on 5 Live and WM, and even scoring a mention on Radio 4’s flagship Today programme. 

Beautifully timed, though. Next month sees the release of Getting Over The Storm, UB40’s new album, their first in years. If you thought the title might refer to the band’s troubles, you could be right. And the content? Well, it’s Country. I think it works. 

The bell tolls for Kerrang Radio

Sad news - another local radio service exits the Midlands. 

On June 3rd 2013, Bauer Media, the second largest UK Radio group, announced that they were taking Kerrang! off their West Midlands FM regional frequency, to replace it from Friday 14th June with the newly acquired Planet Rock, previously only on digital and online. Planet Rock comes from London, so yet more good West Midlands radio people will hit the scrapheap. And it’s bad news for local musicians who lose another outlet sympathetic to their efforts. 

Kerrang will limp on as a youth-positioned voice-tracked rock service on digital, with a much-reduced on-air staff, delivered from London. There is one really interesting angle to all this. Planet Rock had a smaller reach than Kerrang. The station has never made money, and its previous owner unloaded it last year. Planet Rock, if truth be told, had a considerably smaller profile that Bauer was hitherto able to give to Kerrang with cross-platform positioning. 

So why kill the bigger brand? 

16 tracks and that's your lot: the joys of analogue at one of the oldest studios in Birmingham

Recording studios #3: It takes a special kind of enthusiasm to run - and to record at - a seriously retro recording studio. But it seems to be working at Highbury.

Where does an analogue recording studio, stocked with vintage 80s kit, like a reel-to reel multitrack tape recorder, fit in our relentlessly digital age ? 

Like so many 20th century technologies, the accepted norm has been savagely upended by digital technology. The bottom end of the market has been eaten by laptops running free software, while the top end is left to at Air or Abbey Road - see here for more on this. Studios left in the middle have had to become nimble and, sometimes, specialised. 

There are, of course, different ways to specialise. John Mostyn runs Highbury Studio, one of the oldest studios in Birmingham; one that is cheerfully old-school in its approach. Built by Bob Lamb on producer royalties from UB40’s 'Signing Off' album, it sits happily in a onetime cricket bat factory, in a quiet side street in King’s Heath, Birmingham. John lives, literally, over the shop. It’s a unique place. 

Friends of the Stars and Misty’s Big Adventure: Two bands who take the long - very long - view

Grandmaster Gareth                     Craig Hamilton

Music-making for the joy of it first, and business second.  Running record companies. 

Wait a minute. Record companies?

The  20th century ways are well and truly gone. You don’t work in recording studios the same way  - see this post - you don’t promote the same way, you don’t get paid the same way - now, it’s even worse. Record labels are having a catastrophic time; sales have collapsed in the face of torrent sites.

And yet, and yet. There’s at least three bijou record labels operating out of Birmingham, two of them featured in this post,  that may just have escaped your notice.  The third – Spritely Records – has been known to issue a jar of chutney as a release, complete with Catalogue number – and another has issued packets of, er, fried chicken seasoning.

Commercially Inviable Records are the chicken seasoning merchants, and the album that goes with it – Faith’s Meat Kiosk – is due out at the end of April. Craig Hamilton runs the label and plays in Friends of the Stars… who are, of course, released on the label. 

You run a record label. And it’s 2012. Can I, politely, ask – what on earth possessed you to do this?

"We finished an album in 2007. Self-releasing and self-promotion on the internet had taken off in a big way. So I set up the label, in name only, to give that release a boost. I didn’t think any more about it than that, until people I know – and some who I didn’t know – got in touch with me, asking if the label would be interested in their material. James Summerfield, who’s a friend of mine, gave me his third album, and I put that out. Simon Fox did the same, and we released his album as World of Fox. By the end of the year, I’d put out about five albums."

Here's one of two tasters from the album: 'Railroad Towns': 


Tell me something about costs………?

"Initially I made the same mistake most small labels make – pressed up 1000 copies of Friends of the Stars, and another 1000 of James Summerfield’s album. I still have several copies of both albums at home… And I realised that wasn’t a sustainable way of doing things, having laid out the best part of £1500 for each album. The money does come back, but in a trickle…"

A trickle of bits and pieces, scruffy fivers at gigs….?

"Yes. And if it comes in in cash, it fritters away…"

How the hell do you keep track of all this stuff? Does it not take more time than it’s worth?

"Well, recently, I’ve reduced the size of the release. I now press and print the CDs myself. I’ve released more EPs, and they come in limited editions with hand-coloured sleeves. That makes the run more collectible.  I did a limited edition single release with Fields of Ypres – he’s a lovely folk guy from Wolverhampton. That sold out - 50 CDs at four pounds each - and actually turned a small profit after we split the proceeds. The artist has been paid, which is important to me, and the money that came back into the label paid for materials, and the funds are now sitting in the Commercially Inviable pot."

It’s lovely to turn a profit on a 50 EP sale, but… that means you’ve taken even more of the process in-house: the recording the publicising, and now the manufacturing…

"If I factored in my time, I would probably cry a little bit! But having done all this work, the next recording – the Friends Of The Stars album, 'Faith's Meat Kiosk' - will be the 23rd release on the label, and I’m now building up a catalogue of stuff. There’s about 150 or 160 songs on the label. And in terms of digital revenues, that’s starting to tick along on a monthly basis."

Does a physical release stimulate online sales?

"Yeah. I want the record, I’m that kind of person. Others like the downloads. It’s nice to be able to say that I’ve sold out, and getting a sell-out is good promotion." 

And here's another Faith's Meat Kiosk track - 'Wagons'



Craig, it must take as much time to manage a 100 unit run as a 1000 unit run. This can’t be cost-effective!

"It’s a labour of love. I wouldn’t do it if I didn’t enjoy it. All of the artists – people I really like - have been really chuffed to have had a record released, even if it’s on a really small record label. .The other side of things is that as an artist, I’m really interested in the business side of things, how the nuts and bolts work…the other thing is that if an artist moves on to bigger and better things - and one of my artists may just be about to do that – that I’ll always be the label that first recorded that artists. And it will drive people back to my label." 

It's worth noting that, among those early artists who first had an outing on Commercially Inviable, you'll find the excellent Gurdan Thomas. 

Friends of the Stars go back a long, long way. Two John Peel sessions under their belt in previous incarnations.  Two name changes. Members rotating in and out… and the members now live in three separate cities. 

"We all still want to play together, we all still believe in what we’re doing. Over the last couple of years, we’ve worked out our way of recording. The second album is finished, and about to be released – but we’ve also completed material for the third, and we’re working on a fourth. The plan is to release a record a year." 

How does distance recording work?

"I’m in Birmingham, and Campbell is in Glasgow. Rachel, the bass player and the drummer are also in Birmingham, so the basic rhythm section is on one place.  The problem we’ve had in the past is - which is why it’s taken twelve years to release two records  - is that you wind up with something like a snare being very slightly late, and it’s very very tricky to fix and still make it sound like a live record.  

Folk For Free, Symphony Hall, Birmingham, 2011

"Now, rather than record drums live, we use a digital midi signal, so when we do put everything else back on top, it’s a simple matter to move something if it’s not right. There’ll be a session in Birmingham; then it goes up to Campbell in Glasgow; then it comes back down, and so on. Everybody has an input, and we’ve all been working so long that we can be honest with each other."

What about the band – after twelve years? Are you going to step up a gear?

"Having put all this time and effort in… We’re doing it for the love of it, but we want something to show for it.  We’d be happy to do five or six gigs a year and to put out a record that appealed to between five hundred and five thousand people a year. We’ve be happy with that. And after that, as music fans, the beautiful thing about the internet is – once it’s out there, it’s out there. It’s now really important for us to compile and present our body of work." 

Moving across town: here's Misty's Big Adventure: 'I See A Cloud', from the new album, Family Amusement Centre:

Sitting in the sun in King’s Heath, Misty’s Grandmaster Gareth also takes the long, long, long view…

"There’s eight of us. Has been for ten or twelve years. We started as a three-piece when we were 15. I guess the biggest fuss was around 2006 when we put out ‘Fashion Parade’ as a single. It stumbles along in a non-directional form."

Gareth’s being too modest here – ‘Fashion Parade’ is a brilliant slice of great pop… if you haven’t listened, fire it up now. More videos follow further down the post; they're well worth exploring, just to get a taste of one of the country's more unique operations. And there's a new video in the pipeline, which you might wish to participate in - read on... 

"We were signed to Sunday Best, which is Rob Da Bank's label. After that we’ve been funding our records ourselves on our own label, Grumpy Fun."

And how does that work for you? 

"Not that well in my case….We had a manager from 2004 to 2008, Matt Priest, who drums with Dodgy. He’s gone back to playing with Dodgy, so that’s handed back to me now. But for a while that worked really well for us."

So after all this time, with all this intelligent appealing pop that you send out, I would have thought you’d have built a reasonably solid following. Is that the way it is? 

"Of sorts… but it’s very cult. A lot of it’s word of mouth. We can go to Manchester or London and do well. And we have followings via the internet. There’s people listening to us in places we’ve never been to." 

Misty’s have been touring as Misty’s Little Adventure, working as a three piece, while their trumpet player has been otherwise occupied with Birmingham Opera Company. Their album - Family Amusement Centre - is out, and videos are in production as you read this - scroll down to the bottom of this post. 

"The main problem is always recording. We want it to be as good as possible, and that involves pulling a million favours. So it took us three years. We used the Guillemots’ studio – for free – and one or two others… and then I worked on it on my own…  We managed to get a 100-piece choir on it. The father of (Band members and twin sisters) Lucy and Hannah runs the Birmingham Choral Union. We managed to persuade them to sing on the album. It’s a long process…."

"When I was a teenager, a lot of the local bands I liked were the post-rock bands like Novak, Broadcast and Pram. I met them as I got older. So we’ve done stuff with Pram and broadcast… I was really lucky to be a teenager when that was going on. It got me into a lot of ignored sixties music."  

So you were watching those bands as they were wrestling with the industry?.

"We did a tour with the Zutons, which was great – we got to confuse thousands of people on that tour. What was clear was the… rigmarole… of what they were dragged into. They’d hardly played any pub gigs before they got signed. Suddenly, they were on a tour bus playing academy venues.  It seemed such a soulless vacuous experience. You can see how the drugs, and the boredom and the arguments with the others come in. So the Zutons, even though they had Valerie, covered by Amy Winehouse, even though they got sent to LA to record their album by Sony, they still got dropped.  It’s just weird seeing that happen. Dave (of the Zutons) is a brilliant songwriter, but you feel like their (new) record company is holding them back, because he has to keep delivering what they want. And at the moment what they want is another ten ‘Valeries’ from him…"

"We’ve been friends for twelve years, and we’re better friends now than we’ve ever been, while a lot of other bands have split up.  When you’re younger you think that’s exactly what you want - to get signed, to get a big deal. As you get older, you start to realise that what we’ve got is a lot better, because you can still be creative, we’re still going, and each album is an improvement on the last."

Misty's want you for their video! Over the next couple of weeks, Misty's are shooting a new video for their song 'Aggression' with director Mark Locke, who shot the video for Fashion Parade (above). Here's the pitch from Misty's: 

"This looks like being the most ambitious yet. It's set on a typical Friday night and we need extras (or essentials) based near Birmingham to come and be townies on a night out. If you're interested, please email mistysmovie@live.co.uk for more information. The main night of shooting is going to be the 9th of April, but there are a few other evenings when we also need extras, including for a scene set in A & E. If you could ask friends too that would be amazing!

It's got the potential to be an incredible video, and if you think you could spare the time, we'd be really grateful."

Links
Friends Of The Stars
Commercially Inviable Records
Misty's Big Adventure Wikipedia page

You never know who's listening...

I visited the Brussels Museum of Musical Instruments last month. It's brilliant. They give you wireless headphones which spring to life when you approach the display cases: you get a blast of a Mozart wind quintet on period instruments, or some stonking Hurdy Gurdy dance music, or a bit of steaming Hammond B3. It just brings those wonderful old instruments to life. And, of course - this is a state museum in the capital of Eurobureau - it is very fully documented, with discographies and notes. But: did they ever miss a trick... a big one too...

That Mozart piece blew me away. I love Mozart, and this, played on warm and subtly toned period instruments, was just gorgeous. I had to have it. So I visited the museum shop, where a deeply cool and painfully crucial guy with a wicked 'do cooly and politely informed me that, no, there were no CDs available with any of the museum's music samples - just what they had on the shelves... there might be a bit of Mozart wind stuff over there....

I was tempted to ask him if he had trained in retail in the UK, but I passed. He wouldn't have understood.

In all seriousness, this represents a completely wasted opportunity. Here is a museum which attracts music lovers. During their visits, these music lovers are exposed to a tantalising range of fantastic music - hundreds and hundreds of samples, effortlessly brought to life in a charming and accessible way. I would probably have come away with several CDs had they been available for purchase. Of course, there are bound to be copyright issues, but I don't see that these couldn't have been overcome. If I ran a record company, I would happily have made appropriate samples available to the museum, in exchange for their shop stocking the source CDs. It just makes simple business sense, and, provided the curatorial goals of the museum drive the process, there is no reason that the profit motive should override things.

However, since this is a Radio and Local Music booster blog, you may well be asking by now why I am spending so much time banging on about wasted business opportunities in Brussels.

Well, I've got two reasons, the most important of which is this: every time you go on the air, or play a gig, or get your song on the radio, you get a chance to sell yourself. And you never know who might be listening. Don't ever be content to put something lovely together, like the fabulous Brussels MIM, and then skip a chance to press home your advantage. It may just be a dumb tourist, like me in the Museum, asking the questions. But it could be a listener. Or someone who wants to buy your stuff.

This all connects up. Really, it does. There's been much talk lately - see my previous post, and a new post up today on the Infinite Dial blog - about the creative areas, where new radio practitioners are bypassing the old-school network operators, to go straight to their audiences. New ideas and new approaches are being born every minute, and I welcome them. Podcast and community radio audiences might be tiny right now, but you can bet that in among these audiences, there are movers and shakers, future bosses and future decision makers. They're listening right now, because they too are looking to find new inspiration.

Second reason - I just got friended on Facebook by a local muso, Mick Howson... who plays the Hurdy Gurdy... which reminded me about the Brussels MIM. See? It all does connect up.

The Tools are Free; Pay The People!

I follow a lot of radio blogs. Lots of savvy thinking going on out there. I'm posting a link to one of the most impressive among them, a US based blog from Tom Webster, called the Infinite Dial - there's a link at the end of this post.

Tom's talking about about staffing, resources, creativity and Radio's approach to digital tools, coming off the back of a session on just this area at the US NAB convention in Philadelphia (in passing, note that the European NAB convention in Athens has, er, been cancelled this year).

Tom talks a LOT of sense. Here's the pay off line:We cannot continue to say, over and over, that content is king--and then continue to invest in tools. Tools don't make content, people do. The tools are free. Pay the people.
Couldn't agree more, Tom. Here's the whole post

Buddy, can you spare half a million?

There was an interesting if depressing article on Community Radio Monday 24th in the Guardian, from Steve Buckley, one of the stalwarts of the movement. It got me thinking, and sparked some vigorous debate in the online comments. I'm posting - belatedly - because there's so much to say, not all of it cheering.

The case for governmental Community Radio funding is so clear so and simple. And yet, and yet...
I've posted several times on this blog about visiting Community stations as an interview guest. I'm a thoroughly interested observer: the vibe of a buzzing station is something I really enjoy, and I've found that exact same vibe at all levels of the industry, including at Community level. I am both genuinely impressed with some of the efforts put in at hyper-local level, and genuinely depressed at some of the output I've listened to.

I suppose the most engaging thing about Community Radio is that it truly depends on the efforts of a few people at each station putting in ridiculous amounts of time and effort to stack up a wobbly broadcast edifice against all the odds. I admire that enormously. Leaving that hard work aside, you don't set up a station for free, and a key point in Steve Buckley's article is that promised support funding has been both sparse and unevenly distributed.

But once you open up that funding discussion, things start to get hazy. As I see it, the distinction between small-scale Commercial Radio and Community Radio is getting more and more blurred. The line between the two becomes harder still to draw once Community stations are allowed to sell advertising, raise sponsorship funds, and the like. It's understandable that Commercial Radio is not about to support funding initiatives that would encourage competition from the Community sector, while at the same time seeing some of the commercial revenue they would expect to receive drifting away to the Community boys. And there is also the awkward fact that some Community operations might well be accused of being more interested in getting the funding than serving their audiences.

That said, the good side of that line-blurring is that it should remind us that Radio, like Football, does have a pyramid structure. In Radio, the current legislative structure is criticised at each level of that pyramid. Worse, it offers no defined paths for practitioners to move around. But it is a pyramid structure nonetheless, and we should acknowledge this.

I don't see a perfect solution, probably because there isn't one. Funding is needed to up-skill community stations, give a better experience to the listener, better training to station volunteers, and, vitally, ensure the stations' survival; no argument there. But I can see why the Commercial boys don't want the Community stations firing on all cylinders, and start nipping at their heels - and cash flow. But possibly, despite all the horrible compromises that external funding can bring, that's exactly how it should be.