I was away in Florida all weekend for a wedding, so I am a little late to the party about the Walter Yetnikoff interview. If you have not already seen it, you should watch it. [Walter Yetnikoff Interview]

I first learned about Walter Yetnikoff a few years back when I picked up a copy of the book [Hit Men: Power Brokers and Fast Money Inside the Music Business] by Fredric Dannen.

This interview is awesome. Yetnikoff has some great insight on how major labels are run today as opposed to when he was head of CBS Records. He also rails a bit on Hit Men.

Seth Godin wrote a blog post today that is titled “Opportunity of a lifetime.” It sums up in a small paragraph exactly why I think it is the perfect time to get into the music industry. Read it here [sethgodin.typepad.com/seths_blog/2008/03/opportunity-of.html]

I’m not going to be here on Monday. We’re crunching to get everything ready for two big shows. The Wes Sp8 EP release show on 3.28.08; and Street Corner Champs EP Download Party/Website Launch on 4.3.08. Stay tuned for the details…

photo credit: fiddi1
I was talking on the phone yesterday with a friend of mine, Jacquire King [www.jacquireking.com], and we began discussing the idea of community in the music industry. The whole conversation kind of coincides with my post from a month ago, The People Business. We concluded that most successful music happened when a group of people came together to form a community. The resulting sum was immensely more powerful than what the individual parts could have been on their own. There have been several of these key movements in the history of recorded music that are tied to a decade, a group of musicians/bands, a few key producers, a few key engineers, a few key record labels and/or publishing companies and a geographical location.

Examples include:

photo credit: tpholland

• The 50’s era American rock music in Memphis with Elvis, Johnny Cash, Roy Orbison, Sam Phillips, Sun Records, etc.
• The 60’s era British Invasion with the Beatles, The Rolling Stones, The Kinks, The Yardbirds, The Who, Norman Smith, Geoff Emerick, George Martin, Andrew Loog Oldham, Gus Skinas, EMI, Decca, etc.
• The 70’s Punk era with The Clash, Sex Pistols, The Ramones, Sire Records, Seymour Stein, Richard Gottehrer, etc.
• The 80’s Hair Bands era in America with Motley Crue, Van Halen, Bon Jovi, Poison, etc, and New Wave/Post Punk era in Manchester, England with Joy Division, The Church, Cocteau Twins, Echo and the Bunnymen, Siouxsie and the Banshees, Factory Records, 4AD, Rough Trade Records, Geoff Travis, Tony Wilson, Ivo Watts Russell, Peter Kent, etc.
• The 90’s Seattle grunge with Nirvana, Soundgarden, Pearl Jam, Alice In Chains, Mother Love Bone, Temple of the Dog, Sub Pop Records, Butch Vig, Brendan O’Brien, Terry Date, etc.
• Recently in Nashville with the Muzik Mafia, Movement Nashville, The Music Society Nashville, Big and Rich, Gretchen Wilson, Chance, Cowboy Troy, Luna Halo, AutoVaughn, Kings of Leon, The Pink Spiders, etc.

photo credit: nichcollins

Jacquire also brought up Stax Records [www.soulsvilleusa.com], Muscle Shoals Sound Studio [www.muscleshoalssound.org], and Daptone Records [www.daptonerecords.com]. Each one of these companies is unique in that not only are they a part of a community as described above, but they also are companies that take an “all in house” approach. In the case of Stax and Muscle Shoals (both of which are no longer around), a house rhythm section was provided on recording sessions. These companies are also unique in that they have never tried to be all things to all people. Instead they have excelled in offering the best quality content to a niche who are interested in that content.

The point in all of this is that people want a community. People want to feel like they belong to something special. The people in these examples came together because they all had a common interest, and they wanted an outlet to express what they were passionate about. They began playing together, and as a natural occurrence attention was brought to what they were doing.

People as fans also want to feel like they belong to something special. They get attached to a story. They want to be able to retell the story of how a certain musical movement came into existence. People feel compelled to be the first on the scene. They want to be the authority in their social circle for this information.

Now with the internet and social media, this community has taken a whole new shape in the 21st century. As you continue to build your career as an artist or producer, think about your community and how you can actively become involved in it. There are infinitely new ways to propagate a community online built around your music. Pursue your dream purely for the sake of achieving your deepest desires. Focus on forming a social bond with fellow musicians, engineers, producers and other music industry people in your area. Focus on sharing a connection with fans. Create a story.

What do you think? What are some other musical communities/time periods that I didn’t mention here? What ways could you team up with other members of your community, or use social media to help each other gain exposure? Leave comments with your thoughts.

Note: All photos are Licensed Under Creative Commons

Although I thought I was back to 100% by last Thursday, turns out I’m not. I will feel well, then suddenly I won’t. I have gotten behind in work, and there is a lot to do. I’m frustrated to the point of biting nails.

Bob Lefsetz made some good points in a recent post. Particularly this quote rang out to me:

The music business will be fine. People will create music and infrastructure will exist to monetize that music. It just won’t look like the system we have now. How will it look? Ask those small, nimble companies starting out, who aren’t worried about protecting their infrastructure.

There are some additional bits of dialogue and links to other goodies worth reading. [lefsetz.com/wordpress/index.php/archives/2008/02/02/quote-of-the-day/]