Real II Reel Productions

07/13/2024

Jessica Landis, from Kalamazoo Michigan, was back in the studio today.
She's recording classical music.

01/12/2024

AJ Tyrrell rappin away tonight!

12/20/2023

For my musician friends, trying to "make it"....

"Play live.
That's where the bond is solidified, at the show. Today there are two worlds, recordings and live performances, and the power has switched to the latter. If you want longevity in the music business then you must be able to play live. Making a hit record in your bedroom is nice, albeit difficult, but that does not mean anybody wants to pay to see you. And the most money is at the gig. So if you're starting out, start playing out. Whether it be with guitars or synthesizers, you must have a show. Something that rivets those who are interested. This is not easy...to get anybody to pay attention to anybody playing music. And the show does not have to be perfect, but it must connect with the audience. The show must breathe, a click track usually works against you. Live is where you evidence your humanity."
Bob Lefsetz

12/19/2023

Recording vocals tonight for the eight piece band, Packin Heat.

12/03/2023

Rob J, in the studio yesterday, with his producer, P J PJ Dakota .
R&B forever!

11/27/2023

Dora Hardeman was in the studio today. She was a successful participant from discoveryspotlight.com in Myrtle Beach.
She's on her wonderful musical journey!

11/08/2023

Awards ceremony at discoveryspotlight.com in Myrtle Beach last weekend.

11/04/2023

Myrtle Beach.

08/31/2023

All you have to know is "Rich Men North of Richmond" went to number one on the streaming chart. Which is a bit complicated, because there's on demand streaming and radio-style streaming, and YouTube and... But if you make it to number one, one thing is for sure, people are listening!

It's all about consumption.

Can we forget about the good old days? You know, with fat label contracts and prodigious CD sales? They're never coming back, ever.

And we can forget about sales all together. The iTunes Store is de minimis, a fraction of what it once was. Twenty years have passed since its inception. To talk about iTunes consumption today is like talking about 78 consumption after the introduction of the 45. It's over. As for physical sales... That's souvenirs, that's not about listening. Travis Scott? He's number one this week because of a cheap vinyl offer. In other words, his residence atop the chart is manipulated. Unlike Morgan Wallen, who is #2, based on consumption, not sales. Ignore sales. They're a metric the labels use to manipulate the chart. But streaming?

You only get paid when people listen. The pre-internet generation hates this. They'd rather sell you the album, get their bucks and forget you. But this is incredibly shortsighted. What you want to do is create something so infectious that it will continue to be consumed, and you will get paid handsomely.

Now in the pre-internet era, the way you sold was via radio, and then music videos on MTV. People saw the product and then went out and bought it. In other words, radio and MTV were promotional tools. Radio's business is advertising. Stations don't care about the music, they'd air anything if enough people listened that they could sell advertising. It was a marriage of convenience. But that marriage is on the rocks.

Yesterday you used radio exposure to sell product. Today, when it works, you are selling streams. Sure, there's publishing money on airplay in the U.S., but the record company doesn't get paid a penny. And the majors no longer own all the publishing, or have admin deals on the hits at a very low rate. So the labels need to focus on streaming to make money, to pay their bills.

Now online radio pays both the record company and the publisher. As does satellite radio, which is selling subscriptions, not ads. But the real money for the labels is in direct consumption. People choosing to listen to a certain track, streaming it. That's it. To think otherwise is to deny the present.

However, the major labels are lost in this new era, and keep on pouring money into radio. Just like advertisers overpay for spots on network TV. Listenership and viewership are way down, but radio and TV are the best way to reach mass, however tiny.

But we've noticed for over a decade that terrestrial radio is moribund, it goes on records after they've become established hits online. But never have we had a track like "Rich Men North of Richmond," which went to number one and stayed there based solely on streams, with radio not even playing the track. "Rich Men North of Richmond" is nowhere to be found on the Mediabase Country chart. And it's not on the Top Forty chart either.

Sure, maybe both of these formats will ultimately go on the Oliver Anthony track. But I must ask, who are these passive terrestrial radio listeners who need to hear it on the radio to then consume? And as I stated above, it is all about consumption. Terrestrial radio pays no recording royalties. None. So why is radio still the labels' number one focus?

And so far, Oliver Anthony has refused to make a deal.

Chance the Rapper made it without a deal, but that's hip-hop, with a long history of free mixtapes. But country? A supposedly controlled market, all beholden to radio?

Maybe we're entering the second revolutionary age. The first started with the internet and Napster. The second starts with the death of traditional exposure outlets. It's not only radio, but television. A late night appearance? Means nothing. SNL and CBS "Sunday Morning" can move the needle, but no other show has this power.

So, the labels find the talent online, after it established success with a fanbase. And then the major label exploits said music...exactly how?

I'm not saying the major labels are going out of business, no way, they control almost all of recorded music history, it's in their vaults. But new music?

Which is why we have so many successful genres of music today. Used to be if it wasn't on radio it was marginal. Then on MTV. Now you don't even need a label to sell tickets. And there's more money in tickets than recordings anyway. Tickets are expensive and shows bond your audience to you. Live is efficient in a way that radio never was.

But how do you get found online?

Well, if you're trying to work it, your only hope is to have a profile in the genre in which you participate. The other players and the audience must be aware of you. Starting from absolute scratch is nearly impossible. As is worldwide domination. The majors still control Top Forty, but it means less than it ever has in its history. The majors fight for slots in the Spotify Top 50, but some of those acts are one hit wonders. Furthermore, as detailed by "Billboard," the majors can't even break a new act anymore. Acts come from the bottom up, not the top down. The bottom up is the internet, top down is manipulation, the aforesaid radio and TV and...if this were working, we'd have new breakout stars, but we don't.

As for dead tree publicity...it works for acts for the aged, it's irrelevant when it comes to youngsters, who are active consumers. Everything that moves the needle is online. Which is a great miasma of information.

Then again, "Rich Men of North Richmond" breaks the paradigm, it is unique. Because it was grown by the public and agitated politicians, who pushed the number. Yes, politicians and their news outlet penumbra have more power than terrestrial radio, traditional TV, anything.

Turns out organic is desirable. And if you're organic, you have a chance of being embraced by people who will promote you.

"Rich Men North of Richmond" is not "Try That in a Small Town." Jason Aldean came from Macon, and he didn't even write the song. And the controversy superseded the track. Which shot up and then fell online, which is the only place where you can make any money. Aldean is #10 on this week's Mediabase Country chart, but "Try That in a Small Town" is #32 on the "Billboard" streaming chart. All that terrestrial radio airplay? The label ain't making a dime. The publisher is. And maybe Aldean's image is being burnished. But when it comes down to money, Oliver Anthony trumps Aldean, period. Because Anthony's consumption figures are much higher.

Mania might get you noticed, but it's the music that sustains you. Which is why Morgan Wallen continues to dominate the charts, with no stunts employed. Wallen can be loved by everybody, it's conventional song structure, with verses and choruses, the basic building blocks. Which are rarely the key elements in the Spotify Top 50, and if they're present the tracks are rarely believable, barely credible.

Something is happening here.

Don't forget, although distributed by a major, Big Loud, Wallen's label, is an independent. Next time will the independent do it themselves?

Do you sell your soul to the company man?

That's what we've been told to do for decades. To take the money. Forget the audience perception. Sell your songs, better to have the cash than the control.

Maybe that's all wrong.

Maybe radio is no longer all powerful.

Maybe Oliver Anthony is a harbinger of what's to come.

But maybe not.

But one thing is for sure, terrestrial radio is circling the drain when it comes to breaking acts. It's never meant less. Maybe you want it to be part of your marketing campaign, but if you're making it number one, you're missing the target.

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First in Music Analysis

08/04/2023

Via Bob Lefsetz:

"1. HONE YOUR ACT

You need to practice off the grid, offline. This advice is for pros, not amateurs. If you're just screwing around, post on YouTube and TikTok, have fun, but if you want to make music your career... People tend to know this at a young age. And if you're one of these people you don't want to try and build an audience online until you are ready. Maybe post, but don't try and draw attention, don't dun people to watch, this will ultimately backfire, because people are overloaded and hate to be told to take time out for you and if they do and you're substandard, it's much harder to get them to come back.

So, learn how to play in your bedroom. Practice with your buddies in the garage. Play live anywhere that will have you. Put money last. It's about the experience, not the cash. If you put money first you're doing it wrong. The key is to learn how to do it, and this is a skill. To get over the stage fright, to perform adequately, to handle the audience, to build the arc of a show. This is a skill most of the overnight wonders do not have. Which is why their live shows, assuming they can play to anybody, that anybody wants to pay to see them, have to be stacked with ringers and production, it's to cover up their greenness. You want to be ready when you get your break.

You must sacrifice. You can't be on the team or be in clubs or go to the prom. You may be able to do all of these, but there will be times you have to choose, and you'll have to choose music. Think of it like the swimmers and other athletes gunning for the Olympics, they cannot take their eye off the ball.

You're going to have to start with covers. The classics are key here. Everybody knows "You Shook Me All Night Long." Yes, the rock classics, the classics of the MTV era, they are the last universal songs. Sure, maybe know some contemporary songs, but only play them for audiences you think will know them.

Write. From day one. You get better over time, so you might as well start early. Anybody who tells you their initial songs are great is wrong. Writing is an adventure, you have to learn the basics and then how to express yourself.

Start playing some originals live. See what works.

Ultimately get enough gigs that you are making money. Such that someone who works on a percentage will be interested in working with you.

2. THE AGENT

More important than a manager at this point. Gigs are the issue, not direction. You don't need a manager to negotiate deals, your path, because there is none. But you do need someone to get you work. An agent works on percentage, they will only work with you if they think they can make money, not only today, but tomorrow. If you want an agent to work with you don't tell them how good you are, but how you can make them money.

3. GIG

Anywhere and everywhere, to bigger audiences. Even with an agent it pays to know the other acts, so you can trade headlining gigs in each other's territory.

4. FAN BASE

If you've gotten this far, you will have fans. Know them, pay attention to them, serve them. They want to serve you. Give them access. Incentivize them to bring their friends, i.e. let them bring their friends free or at a discount, let their friends meet you. It's about establishing a relationship. In this broad world everybody wants an identity and in many cases this is their adherence to an act.

5. ONLINE

Now is the time. You can have a website, have information online earlier, but as far as videos, now you are ready. Post on YouTube and TikTok. Your fans need to spread the word. Make them aware the videos are there, don't dun them to spread the word, either they will or they won't, if you're good enough and the bond is strong enough, they will.

TikTok... Should you try and game the system? Do covers? Have innovative videos? Well, OK Go was famous for its innovative videos but no one can sing a song of theirs. Once you try and manipulate the system you're going down a bad path. The music must be the draw, not the penumbra.

6. MANAGER

This is the time you need one. You'll probably have one earlier, but probably one you'll ultimately want to fire if you become successful. Because only a passionate nobody will be interested at first and ultimately you need someone with experience. Having said that, oldster managers tend not to know the new, digital landscape and the audience of young people. They're all inured to radio and Spotify, they think big and miss the low-hanging fruit.

When you get big enough, you'll need a real manager. And a real manager will come to you because you're making money and they see an upside, they think they can add value, make you bigger.

If you get a manager earlier, do not sign a contract with them, no way, odds are it will come back to haunt you. Pay them their percentage, but ultimately you will probably want to fire them, and you don't want to have to continue to pay them.

7. GIG MORE

The key is to be big enough that you can get slots at festivals. So more people can see you. The key is not to be able to say you were on the festival, but to kill at the festival. People know if you're great, if you've got something, and they never forget. I saw Hooray for the Riff Raff at the Rose Bowl/Arroyo Seco playing in a tent with fewer than a hundred people and they slayed me, I've paid attention to them ever since. This is what you're looking for.

Make merch when it's not a hobby, when someone likes your show so much they need a souvenir. Handmade stuff for the hard core only is a bad look.

8. OPPORTUNITIES

If you've jumped the above hurdles, you will start to have opportunities. This is why you need a manager, to negotiate, to handle these opportunities. The smaller you are, the more you say yes, the less you weigh the pros and cons. It's just the reverse when you get bigger.

9. RECORD DEAL

You probably won't need one. It's no longer the badge of honor it once was. Only sign a deal with a major if it signs, promotes and makes hits in the genre you operate in, otherwise you're giving up too much for too little. Sure, you might be so successful that the advance is huge and the recordings revert to you in a short period of time, but this is rare.

You need to do it yourself. You need to do everything yourself. At first keep your day job. If you or your friends and family can't finance your operation you're doing it wrong. Don't borrow money from a bank or anyone who charges interest, don't even borrow money from someone who expects to get it back. This is a long shot venture and you don't want to be beholden to anybody. If you can't make it work financially from the get-go, you're doing it wrong, you just don't want it bad enough.

When it comes to recordings... Sans hits, which are rare, recordings generate little income, why not take the lion's share? Which you can do if you own and distribute yourself, via a third party like CD Baby, TuneCore, etc. Don't be enticed to sign with an indie label. What the indie label says it will do it rarely does. The indie doesn't have much cash, doesn't want to spend it and doesn't have enough personnel and wherewithal to hammer something again and again. Meanwhile, the indie will take most of the money that comes in and may even own the copyright.

Today's markers of success are not the ones of the past. Record deals? You're better off with a sold out gig.

10. DUES

You're always paying them. Through your whole career. And now, if you get off the hamster wheel, you're quickly forgotten. You've got to stay in the game, delivering all the while, making the most of new opportunities.

You can try and flush out new opportunities, but this is like writing and producing movies, they rarely come to fruition. This is the job of the manager, let the manager dedicate their time to this.

11. CAREER

This is the ultimate goal. To not have to work a day job and be able to continue to play music until you die. If you're in it to become a brand and to extend that brand into other areas, there are much easier ways to do this than music. Some don't even require any talent, nor do they require a whole hell of a lot of dues. Look at the Kardashians, look at the influencers. And even actors. Music is the hardest way to make it. And people know this and treasure music in a way they do not treasure the purveyors of other art forms. The key is to touch people's souls, and if you do this you're on your way, and ultimately there will be enough money to provide. And you may not be a billionaire, but you have more sway over your audience than the billionaires. That's the power of music. Focus on the music, that's where your strength lies."

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First in Music Analysis

07/14/2023

Via Abbigale Rose
"6 years ago I recorded 3 songs with Marshall Block at Real II Reel Productions with my friends Renae Rockwell and Rachael Mae.

I was trying to enter into a local Battle of the Bands, and I want even considered. No name recognition. 6 years later, I'm an award winning, full-time touring musician and singer.

I never really did much with the recordings. Maybe I'll redo the vocals since my voice has gotten stronger over the years. If you want to hear the whole cover, you can here:

Buddy Holly's Not Fade Away covered by Abbigale Abbot. Follow her and support her journey at http://www.patreon.com/abbigaleabbot

07/07/2023

Stanford Lewis ( Stan Da Man) and Dante Dorsey in the studio today!

07/04/2023

John Vance and Al Carmichael were in the studio yesterday, recording a new John Vance song.

06/28/2023

TONIGHT is the Night! Join us at Cornerstone Village Bar & Grille for a really great show with The Stable Dudes and Tosha Owens! Only $15 at the door. You can reserve your table by 4pm. See you there! ❤️

“Rise Up Detroit” show #3!
Next up this Sat. 6/24 is Detroit Diva, Ms. Tosha Owens. 8pm Cornerstone Village Bar & Grille
$15 at the door. Make you table res. after 4pm, (313) 821-4998. See you there!
Our director of development Victoria beyond thrilled & honored to present an award for Tosha’s music video for children’s hospitals in our Shake, Rattle & Rock music program, which is now national!🎶🏆

06/25/2023

Meet Danielle Bollinger -- one of the finalists in our Go 4 It singing competition!

05/12/2023

Justice Hayes was recording his music 🎶 video this evening.

05/10/2023

Jessica Landis, from Lansing, Michigan, was in the studio today, recording classical guitar music 🎸.

04/12/2023

Nathan Schmitt, rappin' away this evening. He's a recent Florida transplant.

03/30/2023

Music producer and singer/songwriter, PJ Dakota , and piano 🎹 player, Pat Cronley were in the studio 🎙 today, recording a soundtrack for PJ's cover song.

03/24/2023

Doctor Phillips Center for the Performing Arts, Orlando, Florida.

03/24/2023

Hanging out with Rich Hersey and Amy (Ken and Barbie), in Orlando tonight at discoveryspotlight.com

03/05/2023

Chad Czerneski Jr. recorded a new song yesterday.

03/05/2023

Josie kudzma, singer/songwriter from Lansing, Michigan, was recently recording her original music here.

03/05/2023

Bre Mz Klymax Collins and the Doctor of Rythmology, Kevin Collins were recording their original song yesterday.

02/12/2023

"The U.S. military shot down another high-altitude object on Sunday afternoon, this one over Lake Huron, three U.S. officials confirmed to ABC News, marking the latest in a string of such incidents."