Tag Archives: CD

Scots comic Janey Godley to present Duke of Edinburgh’s Awards in July

I tell Janey a joke last night (photograph by MEU-NF)

I tell Janey Godley a joke last night, which she finds hysterical

My chum Scots comedian Janey Godley rarely performs her one-hour shows in London. That is London’s loss.

Last night, she was at the Comedy Cafe Theatre performing a preview of her upcoming Edinburgh Fringe show Janey Godley Is Ungagged and afterwards, outside, what appeared to be a police helicopter was hovering, static, overhead.

A complete coincidence, I am sure.

Janey’s show was recorded by new audio outfit Just The Greatest (who are also sponsoring The Increasingly Prestigious Malcolm Hardee Comedy Awards Show at the Fringe this year). So her show will soon be available as an audio download.

“Will you also be selling physical CDs after your shows at the Gilded Balloon in Edinburgh?” I asked. “I dunno what percentage the venue takes.”

“Nobody takes a percentage from me, John,” said Janey. “Nobody.”

I asked: “Why are you doing a show at the Fringe again, after three years away?”

“I’m just doing the first two weeks,” said Janey, “and my daughter Ashley is going to support for the first 15 minutes, then I’ll do the new material I did tonight all about Twitter and Facebook and being ungagged. People are getting death threats; people are being not allowed to speak. I do nothing but fight like fuck on Twitter with people like Donald Trump and 50 Cent and there was that Tim & Freya situation.”

A series of live Tweets which Janey made last year, recording an argument between a couple on a train, went viral and triggered articles in the press about invasion of privacy.

“Ask about something else,” said Janey.

“The Duke of Edinburgh thing surprised you, didn’t it?” I asked.

Janey Godley’s bestselling autobiography

Janey’s bestselling UK autobiography

A fortnight ago, Janey was asked if she could present the awards (with HRH Prince Edward) to the 30 gold winners of this year’s Duke of Edinburgh’s Awards – in the gardens of Holyrood Palace, Edinburgh, on 3rd July.

She was told: “The Awards are given out to young people who have gone through a rigorous programme to achieve their award and we invite people of note from Scotland to present them with their certificates… It would make this special occasion even more memorable for the young people.”

“I did write back to them,” said Janey, “saying You do know it’s me you’re asking? You’ve not got me mixed up with someone else? They said they’d chosen me because I work for several children’s charities. I’m a bit flummoxed. Those poor kids are expecting a celebrity and they’re gonna get me.”

“But you are a celebrity to them,” I argued. “Former Scotsman columnist, best-selling author, award-winning comic…”

“My ass I am a celebrity,” said Janey.

“You’re ideal for them,” I argued. “What was that ‘scum’ thing Ned Sherrin said about you?”

“He said I was educated scum,” replied Janey.

“Didn’t he say you were Glasgow scum made good?” I asked.

“No,” said Janey, “Educated scum.”

“Well, he should have called you Glasgow scum made good,” I said. “And Ned adored you. You’re zero to hero. Inspirational. All that stuff. Ideal for presenting the Duke of Edinburgh’s Award.”

At this point, the helicopter overhead came lower and drowned out our conversation.

I find paranoia can be very distracting.

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New UK audio comedy label launches and initially gets 100% of its sales in US

(A version of this piece was published on the Indian news site WSN)

Neale Welch: in Shoreditch last week

Neale Welch – building something new in Shoreditch last week

Neale Welch is a busy chap.

This year, he took over-all charge of programming at the Comedy Cafe Theatre in London, a full-time job which continues.

But, in July last year, he also started his own independent comedy label Just The Greatest and, this month, it released its first three audio albums – by Anil Desai, Steve N Allen and Erich McElroy (all recorded live at the Comedy Cafe Theatre).

When I talked to him in London’s Shoreditch last week, he told me something very odd:

“All of the sales so far,” he told me, “have been in the United States.”

“Why?” I asked.

“I don’t know,” he replied. “I think there’s an element of If you build it, they will come. The sales are there. Sales started as a trickle and they are starting to increase.”

“The blurbs must be bloody good,” I said.

Anil Desai: Hey, Impressions Guy!

Anil Desai – the first album released by Just The Greatest

“Well,” Neale told me, “there’s only a very brief description of what’s on the albums – there’s no real space on iTunes for any promo copy or quotes. They’re just really good products. Very funny.”

“Yeah,” I agreed. “They’re very good comedians but the Americans, presumably, don’t know them – To the Yanks, they’re Fred Hippity-Hoppity from Guatemala.”

“What I think you’re witnessing here, John,” suggested Neale, “is the power of the distribution channels – iTunes and Amazon. Who are we to know why Americans are buying the albums? It’s comedy, it’s spoken word, it’s British and it’s out there available to buy.”

“How much do they cost?” I asked.

“The distributors set the prices themselves,” explained Neale. “iTunes set the price by category and genre. The albums are $9.99.”

“So Yanks are forking out $10 for unknown-to-them comedians!” I said in amazement.

“But they’re getting to know them slowly,” said Neale. “And you can also buy cheaper individual tracks.”

“I guess, when it all develops,” I said, “your market is going to be Britain and the English-speaking pink bits on the map – plus the US?”

“And parts of Europe,” added Neale.

“This is like one of those rock star things,” I said, “where someone from Manchester is a major star in Botswana for no discernible reason. Or Right Said Fred  being massive in Germany, which they are. Massive.”

“…and David Hasselhoff,” added Neale.

“And David Hasselhoff,” I had to agree. “Did you expect to get foreign sales?”

“Not this early, no,” said Neale.

“So why did you start the label?” I asked.

Steve N Allen - one of the acts Yanks seem keen on

Steve N Allen is one of the acts Yanks seem very keen on

“Because,” explained Neale, “a few years ago, I was travelling alone around Asia and Australia and needed something to listen to when I was in planes, on beaches, in hostels. Videos are fine, but videos require your attention whereas, with a sound album, you can do other things when you’re in another environment.

“I came across a great podcast called Stop Podcasting Yourself by Graham Clark. So I brought him over to do a special gig at the Comedy Cafe in London, which was great, sold out, fantastic.

“Graham is signed to a podcast network in the States called MaximumFun.org, run by a guy called Jesse Thorn – a great inspirational guy who started this network with lots of free content, a little bit of paid content, lots of different shows, mostly run on donations.

“And I thought I could do something like that. I thought I want to do something that’s good and I want to work with original artists that are going somewhere and have got something to say.”

“Hold on though,” I interrupted, “You said, with a sound album, you can do other things while you’re listening. But doesn’t comedy require you pay attention? The build-ups and the punchlines?”

“Yes,” agreed Neale. “But not as much as visuals. I think there’s an opportunity for the re-birth of comedy albums in digital form.”

“And physical CDs?” I asked.

“It’s all digital,” said Neale. “At Just The Greatest, we’re not interested in physical products, though some of the artists are going to produce physical products – CDs – to sell themselves after their gigs. It doesn’t make any sense any other way. I don’t have a warehouse to store a load of stuff.”

“And CDs are dead anyway,” I suggested.

“Yeah,” agreed Neale, “CDs, DVDs… but downloads have made up for the decline in over-all sales. If you pay attention to who’s listening to podcasts – graphic designers, knowledge workers if you will – it’s people who are at their desk working a flexible, autonomous working day who can also enjoy audio entertainment. That’s the kind of demographic who are going to buy it.”

“Did you do market research in advance?” I asked.

Erich McElroy - North American but with Brit Identity

Erich McElroy – a North American but with Brit Identity

“The sales ARE the market research,” Neale explained. “I’m finding out now what kind of market I’m going into and it’s clear that there are opportunities. I knew in advance, obviously, that there were similar projects out there already. It’s not like I was wondering if people would buy a digital file; of course they will.”

“How do you think the market will it develop?” I asked. “Will iTunes’ dominance diminish?”

“In the digital market, I just do not know,” said Neale. “If you look at the barriers to entry and the coverage that they get… it would be a difficult market for anyone to attack. If you think that a company the size of Amazon aren’t even getting close, then…”

“And beyond that,” I asked, “you’ll develop radio shows, TV shows and major movies with lots of special effects?”

“No,” laughed Neale. “As you know, I’ve shot some small videos, but try and find someone in Shoreditch who hasn’t!”

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Cut out the music industry middle-men, think small and make big money

I got a Facebook message from Ben Peel in Bradford, saying:

“I would love you to go check out my home-made video from my debut single here. It will sure make you smile. I have currently just released my debut album – which can be previewed here. ”

I don’t know Ben Peel nor his band The Wool City Folk Club, but his video and songs are interesting.

Quite soon some unknown person is going to achieve worldwide fame and become a millionaire through YouTube clips and subsequent audio or video downloads. Maybe the Arctic Monkeys have already done it, but only on a limited scale.

Perhaps in a couple of years time, Ben Peel will be a multi-millionaire.

Or maybe not.

The world is changing fast but no-one knows what the fuck is going on or what they’re supposed to be doing.

Shortly before Apple announced their new iCloud service, I wrote a blog in which I mentioned the on-going death of the traditional record industry – by which I meant vinyl, tapes, CDs and DVDs sold in shops.

The blog resulted in some interesting feedback.

Hyphenate creative Bob Slayer (he’s a comedian-promoter-rock group manager) reacted:

“It is at worst a myth and at best very misleading to say that the record industry is dying – there is more demand for music then ever. What has happened over the last ten years is that the music industry has completely reinvented itself. The X-Factor has had an effect and a smaller number of pop artists are selling a high number of records. They still operate in a similar way to the traditional industry.

“But everywhere else has radically changed so that the artist (and their management) can play a much more hands-on role in controlling their own careers.”

Mr Methane, the world’s only professional farter, who knows a thing or two about self-promotion and has made his own music CDs produced by former Jethro Tull drummer Barrie Barlow, tells me:

“Large record labels no longer have the money to keep well-known acts on retainers or publishing contracts like they used to and have pressed the ejector seat. New and well-known acts are not as a rule getting huge piles of money thrown at them to go away and make an album. The Stone Roses’ great rock ’n’ roll heist, where they made one decent album then got a shed load of money advanced to make another and did sweet FA, just would not happen in today’s economic climate – or at least it would be highly unlikely.”

We have entered the entrance hall of an iTunes world of downloads with megastars and small self-producing, self-promoting unknowns where good middle-ranking performers and groups will potentially be squeezed out. It is much like comedy at the Edinburgh Fringe, where the big TV names and unknowns on the Free Fringe and Free Festival pull in crowds, but it is increasingly tough for very good, experienced middle-rankers with no TV exposure.

Ben Peel, just starting out in the music business, says:

“The digital realm does not have time for people who are solely musicians. You have to evolve into some type of super musician / marketing guru to be able make an impact amongst people. I have to be 50% musician, 50% marketing and branding. The digital realm is creating a new generation of musician: one-man machines cutting out the middle-men. The downside is that the middle-men had collateral – and contacts.”

Self-promotion ability is vital, though Ben thinks e-mails are outdated in publicity terms.

“I do a gig… and send an email out… I get ten people there…. I do a gig and throw out a 30 second YouTube short… one a week on the run-up to a gig…. I get two hundred people to attend and the exposure of the viral promoting and people re posting is priceless…. You cannot buy ‘word of mouth’ promoting …. you can only inspire it through something quirky/ original/ funny/ catchy etc.”

Bob Slayer manages not only the wonderful Japanese rock group Electric Eel Shock but also internet phenomenon Devvo and tells me:

“At his height, Devvo was achieving over a million hits on every YouTube clip we put online. We had no control over who was viewing them but, as they were mostly passed around between friends, he found his natural audience. Devvo is not really understood outside the UK, so that massive following came largely from the UK and predominantly in the north. It meant that, he could easily sell-out medium sized venues anywhere north of Birmingham and strangely also in Wales but, for example, we struggled to sell tickets in Brighton.”

Financially-shrewd Mr Methane has so far failed to dramatically ‘monetise’ the more than ten million worldwide hits on just one of several YouTube clips of his Britain’s Got Talent TV appearance. but he sold shedloads of CDs and DVDs via his website after appearances on shock jock Howard Stern’s American radio and TV shows because small local radio stations across the US then started playing his tracks. They were small local stations, but there were a lot of them.

Only Bo Burnham, winner of the 2010 Malcolm Hardee ‘Act Most Likely to Make a Million Quid’ Award, who straddles music and comedy like Mr Methane and started as an online phenomenon, seems to have got close to turning YouTube clips into more mainstream success and music downloads.

The fact Mr Methane made a lot of money online, sitting at home in Britain, after very specifically local US radio exposure is interesting, though.

At the bottom of his e-mails, Ben Peel has a signature:

“Dwarves are like tents… a lot easier to get out of the bag than they are to put back in.”

Yes indeed. And that is very true with new technology. But it made me remember something else.

Years ago, I attended a Writers’ Guild of Great Britain meeting where the speaker’s message was “The way to make money is not to think big but to think small.”

He suggested that one way to make money was to create a weekly five or ten minute audio insert which could be run within local US radio shows. If anyone could come up with an idea, made in Britain, which would be of interest to Americans on a weekly basis, you could sell it to local US stations at a very low price.

If you tried to sell the mighty PBS network a weekly half hour show for £2,000 it was unlikely they would buy it.

But any small local US radio station could afford to pay £5 for a weekly five or ten minute insert. If you could sell that same insert to 499 other small local US radio stations (not competing against each other because they are small purely local stations), you would be grossing £2,500 per week for creating a five or ten minute item. And you could distribute it down a telephone line.

If you could persuade the stations to buy it for £10 – around $15 – still throwaway money – then, of course, you would be making £5,000 per week.

The trick was to price low and sell in volume.

That was before iTunes, which became successful by that very same model of micro-pricing. It was worth buying a single music track if it only cost 79c in the US or 79p in the UK. If iTunes had priced a single music track at £1.60 in the UK, they would almost certainly have sold less than half as many units, so would have grossed less money.

Think small. Think cheap. Think volume.

Modern technology allows ordinary bands to record, mix, cut and put their own tracks on iTunes alongside music industry giants. It also allows people in New Zealand to listen to and watch Ben Pool on YouTube just as easily as people in Bradford can see him play a live gig.

Think small. Think cheap. Think volume. Think worldwide.

Just as some comedians are looking into e-publishing, bypassing traditional publishers, Ben Pool in Bradford and local bands in South East London can now expand beyond selling their own CDs after gigs and could reach a worldwide paying audience of millions with no music industry middle-men.

Last year, I wrote a blog titled Britain’s Got Talent in Pubs about an astonishing regular pub gig I saw in South East London featuring Bobby Valentino and Paul Astles.

A week ago, I saw Paul Astles perform again, this time with his seven-man band Shedload of Love in their monthly gig at The Duke pub on Creek Road, Deptford, not far from Malcolm Hardee’s old Up The Creek comedy club. They also play the Wickham Arms in Brockley every month. They are astonishingly good. Formed in 2004, they recently recorded an album at Jools Holland’s studio in Greenwich.

Both the Paul Astles bands are world-class, playing mostly locally but, if promoted on the internet, they could garner a worldwide following with no music industry middle-men.

There are, of course, as with anything involving creativity and cyberspace, those big words IF and COULD.

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Filed under Comedy, Internet, Music, PR, Radio, Rock music