billyworld99
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Following the success of the simultaneous radio/iTunes release of Britney Spears‘ new single ‘Hold It Against Me’, arch rivals Sony Music and Universal Music have teamed up for a revolutionary new release strategy. A strategy which industry pundits claim will change the scope of the charts in a way not seen since downloads officially contributed to chart placings.
Full story after the jump…
Via the UK’s ‘Guardian‘:
Ten years after piracy first began to ravage the music industry, Britain’s two biggest record labels will finally try to play their part in stopping it, by making new singles available for sale on the day they first hit the airwaves.
Universal and Sony Music – home to Take That and Matt Cardle, respectively – hope the effort will encourage the impatient X Factor generation to buy songs they can listen to immediately rather than copying from radio broadcasts online.
David Joseph, the chief executive of Universal Music, said: “Wait is not a word in the vocabulary of the current generation. It’s out of date to think that you can build up demand for a song by playing it for several weeks on radio in advance.”
Songs used to receive up to six weeks radio airplay before they were released for sale – a practice known as “setting up” a record. But the success of selling the winner’s single immediately after the X Factor final has made record bosses think again.
“What we were finding under the old system was the searches for songs on Google or iTunes were peaking two weeks before they actually became available to buy, meaning that the public was bored of – or had already pirated – new singles,” Joseph added.
Sony, which will start the “on air, on sale” policy simultaneously with Universal next month, agreed that the old approach was no longer relevant in an age where, according to a spokesman for the music major, “people want instant gratification”.
Cardle, who signed to Sony via an agreement with Simon Cowell, sold 439,000 copies of When we Collide when it made the Christmas number one, the track having gone on sale just as the X Factor final ended on television.
Industry insiders believe instant sales will make it easier for records to climb the charts as excitement about a new song builds, developing a trend first seen when download sales joined the mainstream.
In the past, heavy pre-release marketing had tended to mean a new single crash-landed at its peak position on its first week of release – making the top 40 a dull narrative of short-lived new entries leavened by falling songs and fading glamour.
Jessie J’s Do it Like a Dude went on sale and on radio at the beginning of December, and the 22-year-old’s R&B single climbed steadily to reach number 5 last week. As more singles follow suit, the charts will briefly become uneven as songs adopting the old and the new marketing policies mix.
Piracy remains a crippling problem for the British music business, where the overall market fell by nearly 6% in 2010 and album sales slumped 7%, despite the success surrounding Robbie Williams’s rejoining Take That and Simon Cowell’s television-fuelled hits factory.
While set to impact the British charts first, it’s no doubt only a matter of time before the US and other major territories follow suit – and just as good. For too long, whatless label execs have prevented many a great song from reaching its full chart potential due to ridiculous gaps between a single’s radio release and digital/physical availability.
That said, it will be particularly interesting to see how marketing and promotional strategies adapt to this new model. For now, it appears everything from videos, television performances, radio tours, and the like, will have to be ‘in place’ and ready to deploy ahead of (or not long after) a song’s on-air premiere and parallell iTunes availability.
Looked at this way, the new strategy provides great opportunity for the autonomous success of non A-List acts, who enjoy great initial radio play (yet not much else due to a previous lack of label backing). Still, the new model also leaves plenty room for labels to continue to drop the ball (if the above-mentioned ’essentials’ aren’t in place), as well as provide a fertile breeding ground for more talentless ‘digital acts’. One can only hope the former is the true success story to emerge from this, as opposed to the latter.
Full story after the jump…
Via the UK’s ‘Guardian‘:
Ten years after piracy first began to ravage the music industry, Britain’s two biggest record labels will finally try to play their part in stopping it, by making new singles available for sale on the day they first hit the airwaves.
Universal and Sony Music – home to Take That and Matt Cardle, respectively – hope the effort will encourage the impatient X Factor generation to buy songs they can listen to immediately rather than copying from radio broadcasts online.
David Joseph, the chief executive of Universal Music, said: “Wait is not a word in the vocabulary of the current generation. It’s out of date to think that you can build up demand for a song by playing it for several weeks on radio in advance.”
Songs used to receive up to six weeks radio airplay before they were released for sale – a practice known as “setting up” a record. But the success of selling the winner’s single immediately after the X Factor final has made record bosses think again.
“What we were finding under the old system was the searches for songs on Google or iTunes were peaking two weeks before they actually became available to buy, meaning that the public was bored of – or had already pirated – new singles,” Joseph added.
Sony, which will start the “on air, on sale” policy simultaneously with Universal next month, agreed that the old approach was no longer relevant in an age where, according to a spokesman for the music major, “people want instant gratification”.
Cardle, who signed to Sony via an agreement with Simon Cowell, sold 439,000 copies of When we Collide when it made the Christmas number one, the track having gone on sale just as the X Factor final ended on television.
Industry insiders believe instant sales will make it easier for records to climb the charts as excitement about a new song builds, developing a trend first seen when download sales joined the mainstream.
In the past, heavy pre-release marketing had tended to mean a new single crash-landed at its peak position on its first week of release – making the top 40 a dull narrative of short-lived new entries leavened by falling songs and fading glamour.
Jessie J’s Do it Like a Dude went on sale and on radio at the beginning of December, and the 22-year-old’s R&B single climbed steadily to reach number 5 last week. As more singles follow suit, the charts will briefly become uneven as songs adopting the old and the new marketing policies mix.
Piracy remains a crippling problem for the British music business, where the overall market fell by nearly 6% in 2010 and album sales slumped 7%, despite the success surrounding Robbie Williams’s rejoining Take That and Simon Cowell’s television-fuelled hits factory.
While set to impact the British charts first, it’s no doubt only a matter of time before the US and other major territories follow suit – and just as good. For too long, whatless label execs have prevented many a great song from reaching its full chart potential due to ridiculous gaps between a single’s radio release and digital/physical availability.
That said, it will be particularly interesting to see how marketing and promotional strategies adapt to this new model. For now, it appears everything from videos, television performances, radio tours, and the like, will have to be ‘in place’ and ready to deploy ahead of (or not long after) a song’s on-air premiere and parallell iTunes availability.
Looked at this way, the new strategy provides great opportunity for the autonomous success of non A-List acts, who enjoy great initial radio play (yet not much else due to a previous lack of label backing). Still, the new model also leaves plenty room for labels to continue to drop the ball (if the above-mentioned ’essentials’ aren’t in place), as well as provide a fertile breeding ground for more talentless ‘digital acts’. One can only hope the former is the true success story to emerge from this, as opposed to the latter.