Sonicbids buys ArtistData!

Sonicbids, the company that helps you get gigs, has acquired ArtistData, the company that helps you promote gigs. Brendan Mulligan, CEO of ArtistData, published a letter to ArtistData users talking about the transition and what it means. When I first read the news, I have to say I was pretty pissed. I have a Sonicbids membership and while they have some good exclusive gigs, parts of their system desperately need improvement. My fear was that Sonicbids would screw up ArtistData and/or lock it up for members only.

Fortunately, Brendan relieved these fears. Part of the acquisition deal was a free option for ArtistData’s services. The paid parts of ArtistData would become standard issue for Sonicbids members (yea for me!). He also said he’d be helping improve the Sonicbids system. If the amazing work he’s done with ArtistData is any indication, we can all look forward to a vastly improved Sonicbids! I’m very happy about the change in this case.

What does this mean for you? Since there will still be a free option, you can still publish your gigs through ArtistData for no cost. If you have a Sonicbids membership as well, like I do, it will mean getting some extra AD features for free. I think the biggest thing will be having Brendan and his team working with Sonicbids. I sincerely hope they’re able to help Sonicbids improve their system.

Here are some suggestions for Brendan as he helps improve their system at Sonicbids:

More granular options for gig listings. Nashville is only a four-hour drive from Cincinnati, so I have to include Ohio in my options for gig listings to see shows there. Unfortunately, Ohio is lumped in with Michigan and Pennsylvania, so I see tons of gigs that too far away for me to consider. Not to mention seeing gigs for Cleveland which is also too far away. It would be nice if you could select not only which states you’d like to see, but which parts of states, like southern Illinois vs northern Illinois or eastern, middle, or western Tennessee. Or maybe select by city. I know several musicians who fly back and forth from Nashville and Los Angeles, so it would benefit them to see gig listings in those cities, but not every city & state in between.

Improved email notifications. I’ve changed my email preferences several times and I still get daily emails with gig listings (I’ve asked for a weekly digest instead). For the last three weeks, these daily emails have included all the same gigs. While I understand why you’d relist the same upcoming deadline, if you’re going to send a daily “new listings” email, it should only include actual new listings. Not listings from two weeks ago that you’ve already either submitted to or decided to ignore. Same thing for deadlines. Maybe try sending a third email when a listing is half way over to remind people about it.

What about listing venues, period? There’s a site called indieonthemove.com that lists venues and allows bands to give their feedback about the place and their experiences there. Sonicbids could allow members to submit venues and their contact info, which could then be verified and listed in the Sonicbids database. As part of the verification process, SB could contact these venues about possibly accepting peformance offers from their members. Keeping in regular contact with venues would also give SB the most current, up-to-date venue listings around; that alone would be worth the SB membership fees! I do the booking for my band and I can’t tell you how many closed venues still have sites up with no news about them closing.

AD improvement:

Have a form to submit media. I have a habit of picking up out of town newspapers and periodicals and such, but there’s no easy way for me to submit them to your database. Crowdsource this part of the process to make your life easier!

Cinco de Mayo = Fantasy World

CJ name FWEP Clip

This is best news I’ve been able to deliver during the past year: the EP is done. Yeah, you read that right; it’s finally finished! Recorded, mixed, mastered, artworked (is that a word?), uploaded, and ready to be in your hands!…er…ears, that is. I swear, this has been like being pregnant. Well, not quite, its been a year since we started! Either way, I’m letting my baby out into the wild.

May 5th, Cinco de Mayo, Fantasy World by Christopher Joel will be released on iTunes, Amazon.com, Amie Street.com, here on christopherjoel.com, and quite a few more places. Why wait three more weeks? I’m redesigning everything: my website, my myspace, my facebook page, my twitter profile, my sonicbids EPK, and quite a few other things to match the artwork.

Speaking of the artwork, it was done by one of my favorite artists, Aaron Grayum. For now, that banner up there is all you get to see, but if you search the internet for Christopher Joel, I think there are a few places you can see the rest of it early. For now, I’m going to tease you with just that little bit. :)

I’m working on the EP release party, which will be here in Nashville, and some special promotions for that night too; you won’t want to miss it!  I’ll email everyone on my mailing list with details as soon as I get them, so sign up for the mailing list if you haven’t already!

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Legal payola squeezes out the little guy

Artists will apparently just continue to get screwed.  You can add technology, you can change the terminology, you can interchange companies, you can even change continents…but artists will still get screwed.

As if recording contracts aren’t already unfair to the artist, labels are now trying to demand that radio stations pay them for the right to play their recordings.  Currently, radio stations pay a performance license fee to BMI, SESAC, and/or ASCAP, which then goes to the publishers and songwriters, not the labels.  What does this have to do with recording contracts being unfair?  Let explain…no, there is too much, let me sum up.

Right now, the way things “supposedly” work is a radio station plays a label’s recordings for free in exchange for the promotional value the labels receives.  If label’s new plan succeeds, that balance teeters heavily towards the labels (who would then be collecting massive amounts of money from the stations), but radio can fight back: payola.  Payola can be summed up as “pay for play”.  You pay the fee, the station plays your music.  In today’s over-analyzed world, it would probably mean a whole range of prices based on time slot.  I imagine the stations would use payola to balancing out the label’s fees or make more money from the labels than the labels are making from them.  Which is just silliness – leave it alone and you have the same thing, minus the pointless exchange of money.  That exchange may look good on paper for Wall Street, but it doesn’t add to the bottom line in the end, so it’s a dumb move.  But maybe not…

The question for artists right now is – what does a record label have to offer me?  Think about it – you can reach your audience directly through the internet.  You have a free website through Myspace, you can sell recordings for nrealy free through iTunes, Amie Street (which I just signed up for today), Amazon, and a dozen other sites, you can book gigs through Sonicbids, you can hire PR, marketing, and radio promotion services for anything that can’t be done through the web.  So why let most of your money go to some corporation, only for you to never make a dime from the deal anyway?  This is where this new plan looks like the golden goose to the labels.

Using payola, the station would choose to play artists that already attract their audience, a.k.a. – well-established artists that people want to hear.  They would also play artists who have the cash to pay to get played.  Which means new artists, who have little audience attraction value and little money would get pushed out of radio altogether.  Enter the record label.

“How else are you going to get your music heard?  We’ve got deep pockets and will finance all that payola that you need in order to reach your audience with your new recording that we will also finance.  Just sign here and we’ll take the majority of your profits for this “service”.  (Enter evil sounding bwhahaha laugh here.)”

My sincere hope is that Congress and the FCC remember they exist for the public good, not the corporations and setup rules and regluations that prevent such things from happening.  I doubt that will happen (history proves this constantly), but an artist can dream, can’t he?