By: Jerome Fitts  Dec. 25th, 2014  

In late June 2014, someone told me that music has the power to shake the chemicals in our bodies and stimulate our souls. After nearly 17 years with Crownn Records, I was finally recognising this truth.

So, what’s the issue with the terrible music being released today? “Who do they think they are?” With the rise of systems like (Just Add Water/Do It Yourself) for music distribution, it seems that some believe the world owes them something just because they can upload their music to iTunes. But does that make the music better? Where is the effort in public relations, artist/band infrastructure, and quality sound?

In our instant gratification world, why do we continue to categorise everything into specific genres? As we close out 2014, we see divisions like rock, hip-hop, dance, and traditional music. Yet, we are also confronted with terrible rock, hip-hop, and overly replicated dance, trap, and EDM, while there seems to be no such thing as genuinely new traditional music.

The majority of these songs are created in a DIY style and released within two months of recording, often lacking any structure or quality assurance. The absence of trust within a loyal team is evident in the DIY approach. Who in their right mind would consider recording a song one month and releasing it the next? Is this a matter of public relations?

It’s a clear indication that such artists’ music will become a fleeting novelty if their single, album, or video is labelled as “dropped on such and such date” without a structured four-month plan in place. Can we all agree on the importance of “brand building”?

Here’s another joke: these artists or bands often take to social media to announce live shows, expecting audiences to attend. This approach can be insulting to the public and to the established industry. It includes pleading for more performances in bars, clubs, or other venues that lack Mechanical Royalty Protection Society (MRPS) coverage, and then they expect people to show up based solely on bathroom selfies and low-quality promotional efforts.

Hold your stomach, because here’s the hook: they won’t perform live unless there is a financial guarantee from a venue, even though they operate with a DIY structure. On top of that, hardly anyone knows who they are or has heard their music. Hilarious, right? They call themselves artists. Isn’t it the hallmark of an artist to take the risk of capturing an audience before asking for money based on a great collection of songs? So, who do they think they are?

On the other hand, it’s DIY culture and a sense of entitlement in a free world filled with satellites that have made song releases accessible to everyone. What if we took a worldwide vote to make uploading horrible music a crime?

Except bands from Ireland and the UK, everyone else seems to be copying the American sound. For the love of God, what is that? “Who do they think they are?”

The DIY approach in the music business is more contagious than Ebola; it seems like everyone is getting it and spreading this dreadful trend. Sure, the world has changed, and the methods of creating and delivering good music are different, but there’s nothing like the conventional way of creating a great sound, having the courage to perform it live without “handout” excuses, and seeing what happens. Those days when people valued courage over status seem as distant as a tiny white golf ball on the moon—you simply can’t find it.

I remember in 2004 when Crownn signed its first major distribution deal and how excited we were. We were releasing tapes, vinyl, and CDs. For some reason, we kept hearing in Berlin, “Yeah, but the digital age is going to eat you up!”

My first thought was, “Why?” It’s just another form of communication, so why not embrace it? We still needed to put out good music and support our bands playing live. This meant engaging in radio plugging, public relations, poster campaigns, and a well-defined guerrilla marketing plan. Above all, good music still sells, no matter the format it’s delivered in. To me, it should be easier to execute these strategies than ever before.

“Master your craft first!”

Was 2004 the last year of good songs? No offence to Dave Grohl and the Foo Fighters—without them, there wouldn’t be much music worth listening to. Okay, that was a bit unfair; there are tons of great bands and music out there. However, the ratio of 3 to 1 in 2004 compared to 100,000 to 1 in 2014 doesn’t consistently resonate with us anymore.

Let’s be honest: a band competition is probably one of the most boring events on the planet. Does anyone disagree? Why do we listen to music from 15 to 45 years ago? It’s to stimulate our emotions, right? Do you get it now?

Who do the “New Power Generation/DIY” music creators think they are? Why do they choose to listen to so-called older music but fail to follow the blueprint for getting their own music out there?

Ironically, the phrase “Master Your Craft” can almost feel like an insult. If you feel offended by it, perhaps it strikes a chord because you know deep down there’s some truth to it.

As someone who has been in the music industry, I’d like to offer a possible solution.

1. Try having a 45-minute listening session that starts with The Wildhearts’ single “It’s Only Love” (3 minutes). After that, play 45 seconds of the chorus from the T.I./Justin Timberlake song “Dead and Gone.”

   Next, take a sip of water and put on “Estranged” by Guns N’ Roses for 3 minutes, then follow it up with “You Dropped a Bomb on Me” by the Gap Band. It may be wise to take a seat now.

   While you’re sitting down to catch your breath or relax from the intensity of the music, play “Goodbye Yellow Brick Road” by Elton John, and then enjoy any song by Public Enemy! It’s worth noting that Chuck D and the group were decades ahead of their time.

   Just when you think it can’t get any better, put on the single “Sing” by Travis. After that, you can repeat the entire process again.

   What do you think? Did you notice the difference in creativity, diversity, and how the artists are mastering their craft?

My point is that all of these artists come from different backgrounds, cultures, and influences, yet the chemistry in our bodies allows their mastered craft to resonate with our souls. We recognize who they are!

For the life of my imaginary goldfish, I can’t understand why DIY artists, entertainers, and even unreliable agents and managers can’t provide a single sales statement, tour settlement spreadsheet, or public relations receipt. At the very least, these documents serve as proof of their efforts. Sometimes, those efforts don’t lead to tangible results, but they still show that they tried.

Without these basic components and without mastering their craft, I must ask, “Who do they think they are?”

It would be fascinating to hear what Prince—if he were still with us—would think of today’s music industry. I can only imagine what the Father of Rock and Roll, Johnnie Johnson, is thinking from above.

“We know who they are!”

In closing, who do they think they are? Copying all the remarkable music creators from the past, then mixing and remixing their work without following the rules. Where is the honour among thieves? The X-Factor has to be one of the biggest contributors to those tears in heaven. Sorry, Mr Cowell, but you’ve created a new weapon that could destroy us all. I understand that the same person who invented the gun may have had good intentions, but look at how that device has been misused in 2014.

— JFitts