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Music's Next Big Copyright Fight: Juice Wrld Sued In $15M Lawsuit Filed By Blurred Lines Lawyer In the past few years, the Nashville-based lawyer represented the Marvin Gaye Estate in its successful copyright infringement case against the co-creators of Blurred Lines, Pharrell Williams and Robin Thicke – which ultimately led to an award of almost $5 million. Last year, Busch represented Irish band The Script as they sued British star James Arthur, again for alleged copyright infringement, this time for Arthur’s worldwide hit, Say You Won’t Let Go. More recently, Busch has represented Eminem’s publisher, Eight Mile Style, in a lawsuit against Spotify which alleges, yep, copyright infringement of hundreds of the rapper’s songs. Now, Busch, a partner at King & Ballow Entertainment Law, has filed a $15m lawsuit against the creators and rightsholders of Juice Wrld’s 2018 global smash, Lucid Dreams. https://www.musicbusinessworldwide.com/yellowcard-sues-juice-wrld-for-15m-in-copyright-infringement-lawsuit/
5 Reasons Every Musician Should Be Using Twitch I know what you’re thinking – for some it’s “What’s Twitch?” and for the rest it’s “Isn’t that for gamers?” That’s what I usually hear from people when I talk to them about Twitch. And yes, it’s a livestream platform mostly where gamers play games live for other gamers, but there is a very vibrant creative arts community on Twitch and music is a big part of it. You may have livestreamed a little already on YouTube, Facebook, or Instagram. Maybe you’ve done a show on ConcertWindow or StageIt. As with those, on Twitch you’ll perform live, the audience will post comments to the chat, and you’ll respond verbally to the comments. Pretty basic so far. https://blog.symphonicdistribution.com/2019/11/reasons-every-musician-should-be-using-twitch/
Purged: How A Failed Economic Theory Still Rules The Digital Music Marketplace Unless you spent a lot of time listening to early ’00s techno-utopian babble, the Theory of the Long Tail probably means nothing to you. Yet if you live in the US or Europe and you run a digital music label, you’re living it – or the fallout from it – almost every day. In 2004, Wired magazine editor Chris Anderson proposed The Long Tail, an economic theory blown up by futurist steroids. It theorized that with the introduction of the internet, blockbusters would matter less and everyone would sell “less of more.” The Long Tail prophesied “How Endless Choice Is Creating Unlimited Demand,” according to the subtitle of Anderson’s later book, which if true would turn the field of economics on its head. https://5mag.net/i-o/failed-long-tail-digital-music/
The Music Industry is Evolving Faster Than Ever, and So Are The Scammers In early 2018, Jay James was gearing up for the rollout of his new album, when all is said and done. Although it wasn’t the San Diego-based composer and producer’s first project, James believed that the album could be his big break. For the first time in his music career, the young artist decided to invest some money into marketing and PR. A few months earlier, James had been followed on Twitter by someone who appeared to be a big player in the music industry. Billing himself as an “artist helper” in his Twitter bio, the verified account had almost 100,000 followers and seemed to be an expert in the field of artist development and digital marketing. In between regularly dishing out music industry advice aimed at budding artists and producers, he also advertised his abilities to consult and execute marketing campaigns that targeted press, social media, and even Spotify playlists. https://www.complex.com/pigeons-and-planes/2019/10/music-industry-scams
20 Questions for New Artists Part 7: Sound Recording Aggregators An independent artist is practically required to sign up with an aggregator in order to have your works serviced to many online outlets–some aggregators service hundreds of different retailers. (So one example of a pre-existing contract under Question #10 may be a band member’s contract with a sound recording aggregator.) It is important to remember that without marketing and promotion, a new artist is simply a needle in an even bigger digital haystack. Do not expect the aggregator to do any significant marketing or promotion, much less guarantee it. This is the primary difference between a traditional distributor and an aggregator, but even traditional distributors may have a shaky ability to do marketing and promotion. Given that there are so many potential digital outlets, it is important for an artist to be able to decide on a case by case basis whether they want to be included and preserve the right to opt-in to any retailer or to opt-out at any time. https://musictechpolicy.com/2019/11/06/20-questions-for-new-artists-part-7-sound-recording-aggregators/
The Music That TikTok Users Want To Hear TikTok is an unstoppable force in the world of music. With more than one-billion downloads worldwide and over 500 million monthly users, TikTok has a sprawling community of creators who are actively shaping pop culture on a daily basis. From dances to jokes and even music, TikTok is at the forefront of social influence among young people, and that trends is likely to continue for the foreseeable future. TikTok’s influence on music is perhaps its most interesting. Since helping Lil Nas X rise to history-making success with his hit song, “Old Town Road,” the platform has aided other unlikely stars in finding success. First came Blanco Brown and “The Git Up,” which is now a platinum-certified song, and then came the one-million-dollar deal Stunna Girl received after her track “Runway” went viral. More recently, fast-rising star Ashnikko found a burst of attention after TikTok users discovered her sexually-charged smash, “STUPID.” https://haulixdaily.com/2019/10/music-tiktok-popular
What Is Music Mastering And Why Do I Need It? Music mastering is the final step in the recording process. During mastering, additional audio treatments are applied to your mix to correct problem frequencies and enhance the musicality of your track. Since magnetic tape replaced straight-to-lathe cutting in the late 1940s, audio mastering has become its own artform. But many in the music industry still see it as dark magic. Before we pull back the veil on this mystery, let’s define an important term. An “audio master” is the final version of a song that’s prepared for for sale, download, streaming, radio play, or any other form of mass consumption by listeners.https://diymusician.cdbaby.com/musician-tips/what-is-music-mastering/
“I just recently paid about 65 dollars for a playlist promotion service. I can see my Spotify plays from DistroKid. The plays for my track were zero for the whole “campaign”. That means no one ever actually considered the track. I don’t think the guy ever pitched to anyone.”
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Title: Beat Down Babylon Genre: Roots / Dub Label: Side Door Records
The final recording with the original line up.
The Mighty Mystics are a Canadian base vocal group from the Reggae capital of the world, Jamaica. Toronto has been their home since the late ’70s. *Louis O’Conner (R.I.P. June 2019)*, Carlton Harrison (Simba), and Mr. Winston (Thinka Francis) are known throughout Canada and the bordering U.S cities as a top vocal group in all genres of song; with reggae in their hearts.
The Mystics are a strong advocate of conscious lyrical content and a real lover of “Lover’s Rock.” That determines the type of songs they play. The demand for their performances led them to share the stage with some of Jamaica’s legends, such as Third World, Delroy Wilson, Freddie McGregor, Maxi Priest, Frankie Paul, and one of Jamaica’s top singers, Mr. John Holt. Holt told them they remind him of the vocal group, The Paragons. Holt was a singer/songwriter with The Paragons of Kingston, Jamaica up until 1964.
The Mystics are also known for their ﬂashy clothing styles as witnessed when they share the stage with US artists like the Manhattans, the Drifters, and Percy Sledge. The Mighty Mystics have decided to turn their attention to the recording studio once again. This time with Toronto’s Rhythm Express – Everton Paul, Bill King, Shane ‘Shaky J’ Forrest, Juno award Winner - Jesse ‘Dubmatix’ King – guest horns and Juno Award winner Alison Young and Chris Butcher of Heavyweights Brass Band.
A complete recording is in the works with covers of early rocksteady classics from artists such as Desmond Dekker and others. The first single ‘Beat Down Babylon’ pays homage to Junior Byles and Lee Perry and their influence over a generation of reggae lovers.
The sound is Studio One – as captured by sound engineer Jesse ‘Dubmatix’ King at Side Door Records.
Of note – Mystic - Louis O’Connor past suddenly only weeks after recording vocals. This one is for you Louis!
Producers: Bill & Jesse King and Everton ‘Pablo’ Paul.
The Mighty Mystics are: Vocals: Carlton Harrison Louis O’Connor (R.I.P.) Winston Francis.
Arranger/Organ: Bill King Guitar: Shane ‘Shaky J’ Forrest Bass: Jesse ‘Dubmatix’ King Drums/Percussion: Everton ‘Pablo’ Paul Tenor Sax: Alison Young Trombone: Chris Butcher Photography: Bill King Graphics & Design: Jesse ‘Dubmatix’ King Side Door Records Inc.
One of the funkiest episodes we've had in a long time. Pudge enlisted his friend, Kapsoul, who came through and delivered an amazing all vinyl set. Seano played some house and disco and the mighty Pudge dropped an eclectic electronic set to kick things off. Turn it up and enjoy!