Can Rick Rubin Save The Music Business?
The New York Times Magazine this week took an in depth look at super producer and new Columbia co-president Rick Rubin.
"So many of the decisions at these companies have not been about the music," says Rubin. They sign artists for the wrong reasons — because they think somebody else wants them or if they need to have a record out by a certain date. That old way of doing things is obsolete, but luckily, fear is making the record companies less arrogant. They’re more open to ideas. So, what’s important now is to find music that’s timeless. I still believe that if an artist gains the belief of the listener, then anything is possible."
In addition to focusing on the music, Rubin’s recipe for saving Columbia and the rest of the industry includes creation of a "word of mouth" viral marketing
department, elimination of all titles and a move toward a subscription service model. Interestingly, Rubin appears to resist moves by labels to profit from
additional artist income streams like merchandise sales and touring.
None of this is particularly revolutionary. But coming from Rick Rubin who is universally considered a brilliant thinker with a 20 years of success creating hits for such diverse acts as The Beastie Boys, Metallica, Dixie Chicks, Johnny Cash and Neil Diamond, he may carry enough weight to finally turn industry babble into action.
No, Rubin can’t save the music. His profile in the New York Times was completly distorted. You can’t save anything by being hand-fed music like your the grand-poobah. He comes off like a demi-god.
The great music is out there, you just have to hit the road and hear these artist, first hand.
Sorry to say it not in the major cities of America where the music
clubs and scene has been wiped out.
I’m also sorry to say, but his work ethics sound horrid. He’s even more concerned with his empty expensive house, big wasteful car and the posh digs he and his lazy team demand then say putting on his shoes and dropping in at anyhowtown.
But more importantly, there is no indication that he’s going to enlist a real A&R team that works
and feeds greta new artists. And there was no mention on how much he and his staff will pay themselves, which greatly hinders R&D. He even goes down a level with an amateur pick for his grand, debut release. So much for honing one craft and paying your dues, Unlike Mr. Cash did.
In closing, did anyone notice that he stated the lables still know how to get the Artist out there? Can you say the four-letter word, payola. As a world famous drummer recently said to me, “it’s 1967 all over again,so get in your van and tour anywhere
and everywhere that they’ll pay you something. Just play.” Amen.
all over again,
Not to mention his one hour drop in on lame-great Diamond.