In a forum post at Gatsbys fansite Snicker At The SwineBobby stated the following on the band's decision to release the album in Japan first and the reason they aren't signed to a label in the US:. From Wikipedia, the free encyclopedia. For other uses, see Search and rescue disambiguation.
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On June 9, a musician named Michael St. James tapped into a deep vein of insecurity shared by all artists challenged by the ongoing digital transformation of society. He wrote an article posing the question: What if it just doesn't work out?
At that point, global sales of recorded music were headed for their 13th decline in 14 years, with the overall value of the industry nearly cut by half since the turn of the century. It looked like the digital revolution really did turn the music business into a moldering husk. But now, like any good zombie during an apocalypse, the industry is once again primed to devour the world on a massive scale.
The album is out on March 1,and was produced by the members of Potty Mouth themselves. This Massachusetts-based band has a fearless spirit, and its newly-unleashed, angsty pop-punk album represents it perfectly. The gap between the two albums brought a lot of ups and downs, but the band looks back on those years with a positive mindset.
As in the film industry, streaming platforms have become the norm in the music business. Subscription streaming services have already eclipsed CDs in terms of sales, and at one point, Spotify was actually worth more than the music industry as a whole. Musicians have thus turned to touring as their main source of income nowadays.
I've been in the industry for 30 years, had my ups and downs, and still get together with old dance music friends to gossip and joke about the industry. It's in my blood. But it's horrid place too.
If you've been following how much the record labels stumbled around the internet for the past couple of decades, then you know the basics here. But time has a way of erasing some of the nuances of history, and I find it incredible to watch the RIAA and the record labels these days walking around proudly acting as if they were the ones who "saved" the music industry by embracing streaming services that now make up the bulk of the recording industry's revenues. Indeed, as we've pointed out for years, the recording industry has a very long history of overvaluing the music and undervaluing the services that people want. They've spent so long insisting that the music is the sole source of the value of what they produce, that they always downplay or entirely erase the rest of the equation: getting the music to fans in a manner that is convenient, reasonable, and non-burdensome.