First in a series of investigations into the death of the music industry record business.
Background: I went to Berklee College of Music as a conducting and arranging major. I switched my major to music business mid-way when I discovered how lawyers and accountants make the major decisions about the music I heard. I wanted to change that from a performer perspective.
I worked 3 years in the record business and became convinced something was wrong with the record business model (1989-92). When I thought about a career in the record industry in my ability to advance being tied to a degree in law, not business, I became a bit more skeptical and projected what I might be able to do after 20 years in record industry promotions and felt the skills of record industry promotions do not translate into other industries. I then decided I wanted to develop a traditional business career and set out to accomplish a series of goals:
Now in my second decade outside the record industry, I look into the world of music and find a business in atrophy that stumbles around like a spoiled child who had his trust fund shut off and looking to pick a fight with anyone perceived a threat to their party.
Frankly, I am happy the record industry is in this current state. We are about to wrest control away from 3 decades of corporate record thugs. We are now unencumbered to discover more new artists, and discover more ways to connect and share artists and music than ever before. Today there are more business models for an artist to reach an audience than ever before and the opportunity to make a living as a performer is emerging. The record business is dead, but the record business still tries to lurch forward with their 30-year old business model.
How many articles do we need to read about the record industry chance of survival? Here is the first in a series of reviews of the record business that will look at the industry through strategic frameworks that many businesses and executives rely on to frame market opportunity, identify competition, and manage business risk. Let’s look at this corpse and I hope we can all discover this business was dead in the mid 70s and has been on life support, it never had a healthy outlook, and we have put up with a facade for too long.
New posts will evaluate the record business using industry and business frameworks like: Michael Porter’s Five Forces Analysis, the ever-present SWOT (strengths, weaknesses, opportunities, threats) analysis, and Boston Consulting Group Matrix. I’m game for other frameworks to enter the discussion and happy to see how others might analyze this crime and against the music fan, the music artist, and the art of music.
So part 1, the crime scene: did the record business just happen to be at the wrong place, at the wrong time or did they have this death coming to them? Was this a murder, was this a suicide, was it negligence, or was it old age that led to this death ?
Let’s take an initial peak into the record business series of unfortunate assumptions:
I hope you now have a sense for the dark underworld in which we will need to travel to solve this crime. In the next blog post we will look at some initial “toxicology” reports from the scene of the crime and a background check of financial measures that in most business is the accurate way you to assess health.
Throughout these blogs I will also offer some online and offline resources to help further our investigation.
This blog post I recommend the following 3 books:
Payola in the Music Industry: A History, 1880-1991
Hit Men: Power Brokers and Fast Money Inside the Music Business
Dirty Little Secrets of the Record Business: Why So Much Music You Hear Sucks
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