the AMP Issue 39

"My voice is unadorned. I don't try for perfection. I try to be honest and truthful and soulful with the voice I have. If I make mistakes in notes, or there are cracks in notes, I don't fix them. That's the way it is."
— Neil Diamond

In This Issue... 16 pages [less than 25 minutes to read] You'll Get...

_____________

• RECOMMENDS—  the MusicMan

• the BIZ—  Bifurcation Theory— the Two Sides Of the Music Business from MIDiA Research

• BACKSTAGE PASS— How Can I Make My Music-Making Process More Deliberate? by Ian Temple, from SoundFly

• the 100 GREATEST SINGER SONGWRITERS of All Time— Neil Diamond

• MONDEGREEN— Cherry Cherry by Neil Diamond

• COACHING— Name a Singer Songwriter You Admire by John Fogg

• PS from PS— You Owe It To Your Fans. Bread and Butter

_____________

Here’s the playlist

_____________

• RECOMMENDS—  the MusicMan

This a Recycled Recommend from the AMP 23, back on January 3. As we have 200ish more Subscribers today... Though it is worth another shot.

From Paul: I spend a lot of time— a whole lot of time— seeking out great performers and performances, unique versions of old and new songs. And it's rare that I make a discovery that absolutely blows me away. Especially a 'discovery' that had 1,477,649 Likes before I got there. For me, The Music Man is overflowing with intriguing and fascinating people and their performances, a feast of all things musical for your eyes and ears, head and heart... And I can promise it will do so for you. Too.

From John: I have my bad days. Okay, just not-as-good-as days. BUT... I have discovered a sure-fire cure: theMusicMan. Just this morning, I spent the first 40 minutes of my waking day, cacao coffee in hand and theMusicMan on my phone. Smile— Huge! Happy— Absolutely. As Paul noted above, performers and performances that delighted my head and heart. I cannot recommend a site more.

Two ways to get there from here: Facebook: IAmTheMusicMan. And on the web: TheMusicMan.uk

Some examples: First a new take on Beethoven's Moonlight Sonata with a metal beat and amazing guitar playing from 28-year-old drummer Kristina Schiano and Cole Rowland on guitar. Tap Here.

Metal not your thing? How about a mix of a classic rock song from Pink Floyd given a Heartland touch from the bluegrass duo Larkin-Poe. Tap Here 

How about some Show & Tell that breakthrough busking is alive and well. Take a look and listen to these 10 Wonderful Street Performances 

The Music Man proves that the world of music is more diversely alive and well than ever. It's aliving and thriving. So much talent. Make the time, a lot of time, to check out the amazing performances you'll find on this awesome site.  

And Hey, if you have a great performance of your own; busking, performing on the street or in your home studio (or bathroom), send it to us. Post it in the NML Group on Facebook. Please.

PS from JF: Here's one of the ones I watched this morning:

This dramatic version of The Sound of Silence was so powerful many fans said it was even better than Simon and Garfunkel’s original and also rivals Disturbed's mega cover. Dutch baritone Henk Poort delivered an epic version of the song on Dutch TV, first opening with a stately and delicate vocal, before ramping up the song into rock territory and finally a throaty heavy metal roar. The hosts sat there in shock and were just eating it up as Poort absolutely went to town on the song. If you liked Disturbed's version, you don’t want to miss this one. Watch video on (tap here) The Music Man. It's been viewed more than 10 million times on YouTube.

____________________

• the BIZ—  Bifurcation Theory— the Two Sides Of the Music Business from MIDiA Research

__________

"Rather than trying to fit the mold of the traditional music business, a new generation of artists are carving out a parallel path that better fits their needs for connecting with and moneytizing core fans. Whether they realize it or not, a new generation of listeners who want to actively participate— rather than passively consume— are helping pave the way, with AI coming in at a crucial time to speed the process along. Everyone wants to know what the future of the music industry will look like, but the fact is that it is already here."
— Tatiana Cirisano, Music Industry Analyst

__________

Rather than simply describing what the future holds, MIDiA presents a bold vision of how they think both sides of the music business equation should evolve. This is bifurcation theory.

bi·fur·ca·tion | ˌbīfərˈkāSHən | noun; the division of something into two branches or parts: the bifurcation of the profession into social do-gooders and self-serving iconoclasts. 

The full MIDiA report explores how today's music industry challenges are leading to the creation of a new business defined by two parallel consumer worlds. Here, streaming becomes more mainstream while non-digital service provider (non-DSP) platforms exert significant influence on fandom and the creator economy.

Instead of solely predicting the future, we present a bold vision of how we believe both sides of the music business equation should evolve. This is what we call Bifurcation Theory.

This is a brief overview of MIDiA's innovative ideas. 

Bifurcation is here already, but it is only just getting started

The old maxim that change is the only constant feels tailor-made for the 21st century music business. Piracy, downloads, streaming, and social all triggered music industry paradigm shifts. Now, all the indicators on the disruption dashboard are flashing red once again.

The causal factors this time around are all direct byproducts of today's music business. They are unintended consequences of a streaming market that has cantered along its natural path of least resistance.

Everyone across the music industry's value chain has played their role, often unwittingly. Whether that be shortening songs, increasing social efforts, or following viral trends, each of these micro actions has contributed to a macro effect.

Two-tier licensing has put up a "you're not welcome here, long tail" sign on streaming's door. Long tail creators were already struggling to balance the effort of being 'always-on' artists with streaming's returns.

This may deliver near-term royalty rewards for larger rightsholders, but mid-to-long term it will further catalyze the shift of cultural capital to social as the place fandom happens and streaming where consumption takes place.

MIDiA's vision for tomorrow's music industry

CAUSE AND EFFECT
The fault lines of today's rightsholder-centric music business are the foundations for a new, fan and creator-centred one.

SOCIAL'S CULTURE TRAP
Social apps are decent, but not great, at exporting streams. They are demonstrably weaker at exporting fandom, which stays on app as streaming retains consumption.

LEANING BACK
Streaming became more 'lean-back' just as consumers became more 'lean-in'. Meanwhile, social lets music fans 'lean through' to create and co-create.

PLAY
Platforms will provide end-to-end, creation-to- consumption, inviting consumers to lean in by participating in the artists' content and by creating themselves.

LISTEN
Streaming becomes the long-term successor of radio (only much better moneytized): a space for professional, often major-label-signed artists to release static finished products for traditional consumption.

NEW SUPPLY CHAIN
The post-streaming world will require a new digital supply chain, but much of what happens will sit within closed ecosystems, outside of industry systems.

The cracks in today’s music business are creating the foundations of tomorrow’s, catalyzed by disruptive threads.

Tune In: A new, 'less-is-more' approach, designed to counter the  commodification and volume inherent in today's streaming world

Rather than let things continue on a reductive down spiral of doom, new systems need to be built that carve out spaces where artists can pursue different paths.

This starts with building a new type of streaming app: Tune In, a new lane for artists who want to opt out of the algorithm and social dominated system. Though we have some specific suggestions, we present Tune In as a way to think about re-configuring streaming rather than as an app blueprint:

• The return of gatekeepers: A community of tastemakers handpick music, not algorithms

• Combating the skip: Limits on skips to let challenging listens cut through

• Metered access: Purchase stream credits to enable a set penny per stream rate

PLAY: A 'lean through' social music space for creators and fans, where social is the enabler for music, not the other way round

We need to rethink the social landscape so that social media is an enabler for music. It should be a space that centers music artists, arms them with new revenue drivers, and empowers fan creation even further.

• Taking fan creation further: Allowing fans to modify, deconstruct, reconstruct, and mix songs.

• Increasing personalisation: Offering listening experiences that respond to the listener.

• Giving artists options: Providing artists with the freedom to stay on the PLAY path or transition to LISTEN.

"The last half a decade has seen the rise of numerous friction points in the streaming economy– across its business as well as its impact on creators and music itself. Rather than being endpoints, these form the starting line of the next phase of the music industry, giving rise to a new, parallel business that will represent a step change in both the business and culture of music."
-Mark Mulligan, Managing Director, MIDiA Research

__________

MIDiA Research is a market research and analysis firm known for its expertise in the digital media industry. They provide insights into the latest trends, strategies, and behaviors across digital media sectors including music, video, games, and technology. The company is reputed for its thorough research methodologies and detailed reports which are highly regarded in the industry for aiding strategic decision-making. They serve a global client base, including media companies, tech firms, and financial institutions seeking data-driven market and consumer analyses.

Tap here to Subscribe to the MIDiA Research newsletter.  

____________________

• BACKSTAGE PASS—  How Can I Make My Music-Making Process More Deliberate? by Ian Temple, CEO & Founder, SoundFly

__________

NOTE: This article is a gently condensed version of Ian's original article for the AMP. Tap Here to read the full original online.

__________

As someone deeply embedded in the creative industries, I've recently expanded my horizons by joining a writing group. This new venture has not only been enjoyable but has also served as a significant learning curve, revealing insights into how I approach different forms of art. 

I've discovered fascinating parallels between writing and music-making; both are deeply personal means of expressing and reflecting on my emotions and thoughts at any given time.

The journey through the writing world has made me realize how structured and deliberate my writing process is compared to my approach to creating music. Here's a breakdown of my writing routine:

• Ideation & Note-Taking: Constantly capturing fleeting thoughts, I use various tools like the Notes app, email drafts, and Pages on my computer. My digital and physical spaces are sprinkled with over 80 potential essays, stories, and thematic explorations.

• Research: Each chosen idea undergoes rigorous examination. I delve into existing literature, absorbing perspectives, agreeing or disagreeing, and then shaping my unique stance. This phase is dynamic and interwoven throughout the writing process.

• Quick Draft: As research unfolds, I begin drafting, aiming to capture the essence of my thoughts swiftly. This stage focuses on structure over finesse, setting the foundation for refinement.

• Simmer: Post-draft, I let the piece rest, pondering over it during walks or other daily activities, allowing subconscious tweaking and refining.

• Long Edit: Returning to the draft, I spend considerable time revising, striving to infuse my unique voice, make bold choices, and steer the narrative to unexpected territories.

• Final Pass & Publish: Attention to detail is crucial in the final review, correcting minor errors before sharing my work with the world.

Reflecting on this meticulous process highlights a stark contrast with how I usually make music, which often starts with spontaneous sessions at the piano, evolving organically rather than through deliberate planning.

This observation prompts a pivotal question: 

Why do I treat my music-making more casually? 

Music, just as much as writing, deserves a thoughtful and structured approach. Inspired by my disciplined writing practices, I am motivated to revamp my music-making process. My aim is to adopt similar strategies— meticulous ideation, active listening, and systematic organization—to enrich my musical creativity.

This week, I plan to start small, perhaps by organizing my existing musical ideas more coherently and introducing deliberate research phases akin to my writing. I'm curious about other musicians' processes and how they might blend practices from other artistic disciplines into their music creation.

To my fellow artists: How does your creative process look? Are there elements from other artistic endeavors you incorporate into your music-making? Sharing our methods could lead to richer, more intentional artistry.

Happy music making,
Ian

__________

Ian Temple is an entrepreneur, composer, and pianist — and the founder of Soundfly. He’s played all over Europe, North America, and Asia as one-third of the modern classical, experimental trio Sontag Shogun, performed with incredible musicians like Julia Kent, Matana Roberts, and Greg Fox, composed music for films and videos, including the award-winning short film Rosa: These Storms, and recorded multiple well-received albums.

Ian hopes that his students will push themselves a little bit forward each week, and realize that the best outcomes are achieved in small steps.

Tap this link to subscribe to Flypaper from Soundfly.

____________________

• the 100 GREATEST SINGER SONGWRITERS of All Time—  Neil Diamond

Neil Diamond wrote for himself, but he spoke to everybody. Diamond testifies that songwriting is his way of finding his true nature. His ability to put words to the human experience explains his commercial success, his fans of all stripes, and his timelessness.
— Rock and Roll Hall of Fame (2011)

Neil Leslie Diamond, born on January 24, 1941, in Brooklyn, New York, is an iconic American Singer Songwriter with a career that has spanned decades. Diamond has sold over 130 million records globally, establishing him as one of the best-selling musicians ever. He has produced ten No. 1 singles on the U.S. Billboard Hot 100 and Adult Contemporary charts, including hits like Cracklin' Rosie, Song Sung Blue, and Sweet Caroline. Over his career, thirty-eight of his songs have reached the top 10 on the Billboard Adult Contemporary charts.

Neil Diamond's early life was marked by a profound introduction to music. By his teen years, he received his first guitar and quickly became captivated by songwriting, a skill he honed by writing songs and poetry. His early career efforts in the music industry were a mix of setbacks and small successes, writing songs for various artists and struggling to make a significant impact.

His big break came in the mid-1960s, beginning with Solitary Man, which charted and established him as a notable artist. This period marked the beginning of his rise, with subsequent hits like Cherry, Cherry, and Kentucky Woman solidifying his reputation. Despite challenges with record labels, Diamond's songwriting prowess shone through, eventually leading to widespread recognition and success.

Diamond's impact on music was further cemented in the 1970s. He produced a string of hits including Cracklin' Rosie and Song Sung Blue, both reaching No. 1 on the charts. His music gained further traction with Sweet Caroline, a song that became a cultural phenomenon and is widely used as a stadium anthem today. The song was inspired by Caroline Kennedy and crafted in just one hour, showcasing Diamond's adept songwriting skills.

One of Diamond's most memorable live performances was captured in the album Hot August Night in 1972, recorded during a concert at the Greek Theater in Los Angeles. This album is often considered his finest live work, capturing the energy and essence of his performance style.

Throughout the 1980s and 1990s, Diamond's appeal continued, though his recording output varied. He ventured into acting with the 1980 film The Jazz Singer, although it received mixed reviews, the soundtrack was a success, producing hits like America, which became particularly resonant during national events.

"I never expected that I would be doing this for as long as I've been doing it. So looking back and seeing that it's been over 40 years since the first hits makes you think, "Is there a time that you stop?". But I don't think I'm ever going to stop. It's the only challenge I have left in my life."

In the 2000s, Diamond did not slow down. He continued to release albums, such as 12 Songs produced by Rick Rubin, which was praised for its stripped-back style and strong songwriting. He remains a significant live draw, with performances often selling out and his music continuing to be a staple at various public events and gatherings.

His contributions to music were recognized with numerous awards and honors, including induction into the Songwriters Hall of Fame in 1984 and the Rock and Roll Hall of Fame in 2011. He also received the Grammy Lifetime Achievement Award in 2018, underscoring his enduring impact on the music industry.

Neil Diamond's career has been marked not only by his hit songs and record sales but also by his ability to connect with audiences through his music and performances. His legacy is defined by his deep catalog of songs that have touched the hearts of millions around the world.

And for a platinum dose of Diamond, do Sir Neil's YouTube channel, Tap Here. More than 330 videos covering a nearly 60 year-long successful Singer Songwriter career.

in partnership with SongTown On Songwriting

• MONDEGREEN— Cherry Cherry by Neil Diamond

Original

She got the way to move me, Cherry.
She got the way to groove me.

Mondegreen

She got the waist movement, Cherry.
She got the waist improvement.

If you want more mondegreens of Neil Diamond songs or hundreds of other head-shaking misheard lyrics, tap the link. They're at AmIRight— "Making fun of music, one song at a time, since 2000" and they're amazing!

____________________

• COACHING— Name a Singer Songwriter You Admire by John Fogg

Really. This is important. And fun. You'll see.

So, who is a Singer Songwriter you truly admire? Just pick one for now. Once you learn what this is about you'll probably want to pick a couple more, but for now... Just one.

Okay, you've got your name in mind. Now, think— and it'd be great to write this all down— think of three things you admire most about them, who and how they are, and their music. Three qualities that have you flat-out hold them in high regard. With respect. Maybe even reverence. 

Got your list? Now, what makes each of those qualities so admirable for you? Think about it. 'I admire ________ their name_________, because..." and complete that sentence with a reason that quality matters to you.

Okay, now... Look over each of those admirable traits and realize that...

YOU have those qualities, TOO. 

Don't 'aw shucks' this. No denial or avoidance is allowed, because it's a stone-cold fact that We the People cannot admire anything that we do not posses ourselves.

Does that need repeating or do you get it?

Imagine you've never seen nor heard a piano before. You come across this large, concert grand Steinway. Glossy black wood with black and white keys and some pedals near the floor. You might appreciate its design and craft, its aesthetic, but you wouldn't appreciate its true essence— the ability to produce music. You'd have no concept of what it is or its purpose.

Now, let's say you're a musician, but your instrument is the guitar. You encounter a piano for the very first time. While you might not know how to play it, your musical background allows you to appreciate it more deeply than someone with no musical experience at all. Seeing those 88 keys and 230ish strings you can imagine the music that could come from that piano. You recognize its potential and can imagine the skill required to play it, even if you can't immediately play it yourself.

Finally, consider a skilled pianist encountering the same piano. "OMG! That's a model D Steinway. It's nine feet long!" They not only appreciate its aesthetic and understand its musical promise, but they can also sit down and bring that potential alive. They have a deep, intuitive understanding of the instrument, its capabilities, and its nuances, which come from their own direct experience and skill.

When you admire something about a person— in this case another Singer Songwriter— you are like that skilled pianist encountering that Steinway grand. You KNOW because you yourself HAVE the EXPERIENCE and AWARENESS to recognize those qualities. If you didn't, you wouldn't.

So... ABC... Adele, Billie, Chris... Pick one, two or three Singer Songwriters you admire most. What do you admire most about them? And why? 

Now you know what made John Lennon admire Chuck Berry so much.

Here's a proper tag on this song we're singing:

The qualities you admire most in another person 
are those you possess yourself.

It's called the 'Mirror Game.' 

____________________

Help us spread the word about the AMP. 

There's one BIG reason we give it away Free. No strings. 

Because... Our Mission & Purpose is to 'Put Success In Your Singer Songwriter Career.' We know cost can be a barrier for aspiring creative artists to get the knowledge, resources, and inspiration they need to succeed. So... the AMP is free. 

If you're a TrueFan... You enjoy the AMP... ✭✭✭✭✭...  Benefit from what's in each issue... And you're willing and able to spread the word with and for us... PLEASE. And THANK YOU! 

Send your friends, family, band members, roadies, and complete strangers this link: New Music Lives FREE. They'll get the AMP. the Book. the Group. No charge. No strings. 

We're a word-of-mouth-movement because: It's Time... for a Change. Big Time. Past Time. We're asking you to help us make that happen. 

Or copy and paste this link to others:
https://newmusiclives.beehiiv.com/subscribe?ref=PLACEHOLDER

• PS from PS—  You Owe It To Your Fans. Bread and Butter.

A friend forwarded this post from Quora to me:

How can Mick Jagger sing a song like Satisfaction to this day without going nuts? Is he just going through the motions when he sings it?

Self-proclaimed 'lifelong rock and roll fan' Amy Christa Erano answered...

__________

James Taylor was interviewed back in the 90s, and asked about singing his old, well-loved songs like Sweet Baby James and Fire and Rain— songs he had written some 25 years earlier, and played hundreds or even thousands of times live.

He said that in rehearsals he would often change them up and mess with them because he absolutely was bored of playing them, but that live, in front of an audience, it was different— because the audience reacted so strongly and emotionally to these old songs, it often brought back some of what he felt when he initially wrote them, and sometimes even gave him goosebumps. He felt he owed it to the fans to play the songs the way they knew them and wanted to hear them.

I would posit that James Taylor knows where his bread is buttered— his fans helped him get to where he is today, and he feels he owes them the experience they come to his shows to have. (Having seen him live myself, I can attest that he delivers.) And it's probably similar with Mick Jagger.

__________

I wondered how Keith Richards kept it fresh, playing Jumpin Jack Flash for the umpteenth time, until I read an interview where he said he always focuses on the fact that it's a legacy song and an honor for him to play. Bruce Springsteen said when he's about to play a classic song like Born To Run, he'll sometimes play most of the song acoustically and then have the band join in near for the last verse and chorus.

You need to find the best way to handle those songs that feel old to you when you perform them. What fresh ways can you find to play and still have it appeal to those fans who've heard it before? Maybe many, many times before...

Remember, at every show, there are people in the audience who are hearing your song for the first time. I like what James Taylor said: 

He felt he owed it to his fans to play the songs the way they knew them and wanted to hear them. 

Bread and butter, indeed.

Until we speak again...

Thanks for reading. Give us your feedback.

And PLEASE, if you've got any Singer Songwriter friends, pass the AMP on, because... It’s Time... for a Change. Big Time. Past Time...