this band is very new. they write really catchy songs. their album came out yesterday - it's called "Tally of the Yes Men"..it reminds me of "jagged little pill" in that every song sounds like a hit. they are signed to an indie label and their fan base is growing quickly.
check out their website:
goldspot.net
i'm curious to hear what everyone thinks...
thanks!
GOLDSPOT
Moderators: Jake, D. Phillips
Re: Goldspot
You bought an album based on a first-time poster's recommendation on a message board where you've never posted before? Wow. That's cool.kracnaya wrote:I just bought goldspot's album based on your rec....
Here, go buy the Quasar Wut-Wut cd and the new Riviera cd. They're really, really good. I promise. Seriously, they are really good.
Goldspot
Well, I have nothing to do all day....so instead I read up on what people recommend, I go sample the music, and if i like it, i'll buy it.....as in the case with the goldspot album...why don't you go preview it and see if you like it?....oh, and thank you so much for your recommendation....i'll go preview it...is it available for preview anywhere?
watch out... that guy from that nanny is a fan.
turns out that they're managed by someone with big corporate rock/corporate money ties..."...they are managed by a friend of mine who used to work at Madonna's old record company, Maverick..."
and here's what their manager, none other than ron stone (former agent at lookout management and co-founder of gold mountain management - gold mountain managed the likes of nirvana, beastie boys, beck, foo fighters sonic youth, bonnie rait, belinda carlisle, rodney crowell, ronnie milsap, and hank williams iii) has to say about breaking a band... (from 2002)
"You've recently taken on Goldspot.
Yes. I can afford to work with Goldspot for the next two years knowing I'm going to make any money. Because one I believe they're going to be very successful and I'm willing to invest two years of my life. But anyone who doesn't have the financial resources that I have, starting from square one managing Goldspot, unless their parents are prepared to subsidize them for the next two years, won't make any money.
Does it take at least two years?
Two years to find out if they'll be successful. If they have a chance. Two years.
What do you do in those two years?
You work your ass off for free. Seriously! You go find them a record deal. Even in this context you still need somebody to underwrite probably a million dollar investment to make the record, to market the record, to subsidize the concert tour. Somebody's has to pay for your transportation to and from, and your food, and your hotels and maybe even per diem, and God knows what else. Maybe even money for the roadies and people like that. It costs between five and ten thousand dollars a week. They'll spend a half a million dollars on the road in the first year just to find out if anybody's interested, and a half million dollars to market the record to try to get it on the radio and on video in Europe and the Far East. We do business in 116 countries. It costs some money to do this. Somebody has to believe to the point where they throw down a million bucks. Most A & R guys say no because they're terrified. Because if they say yes they lose their jobs if they're wrong. And they're wrong nine times out of ten. When I take on a new band who I'm wildly excited about, like Goldspot, I'm resigned to the notion that if I do everything right and you're wildly successful, they’ll be in debt for four years and I won't even know if they have a shot at being successful for two. But somewhere down the line, I think they're going to be a very important, a very big band and I have the resources to entertain my insanity and I'm going to go for it. Somewhere down the line they'll start to make money. If they have a big successful record and sell a million copies, by the time the money comes in from that, they'll be back in the studio making another one borrowing against previous success and still make no money. They could sell a million records being the third or fourth year of their record deal and still be making less than two or three thousand dollars on the road and owe the record company a million dollars. And that's the reality and it goes downhill from there? Unless you blow the hinges off the door and you sell five million copies. But you can't have a marketing strategy that intellectually accepts the notion that you're going to sell three million records. That's insane. They come and take you away for that kind of thinking. You have to understand that you're going to have to build. You could sell 100,000 records as a first time artist and the record company will throw money at you like they just discovered gold. There's a group on EMI called Starsailor from England. They sold 100,000 records. I guarantee you they spent a million dollars to sell those 100,000 records and they think they're doing great. That's the dynamic. They have to feed the machine. They have to pump out that product. One Backstreet Boys covers the 30 mistakes they made on something else. And they scream and cry and beg that the artists understand the situation. And we say "Make better fucking choices." But those better choices means we sign less bands. It's fucking murder out there boys and girls. My recommendation to any young managers is "Get a job." I'm serious. This is a dying business. There may be five more years. Or maybe 10 more years where music still has vitality and still has enthusiasm. But it's changing because people under 25 don't see it as a collectible anymore. They're not collecting CDs. They're using up files. It's a different mentality. Music is losing value. It's a file and you can get another one tomorrow. It's a disposable as opposed to a collectible.
Is that a by product of a market that currently emphasizes disposable, unmemorable pop songs?
No. There are bands like Beck and Radiohead that are tremendously talented bands that come along and have tremendous impact and tremendous value. Radiohead will be around for 20 years if they want to. Ten years from now nobody will remember The Backstreet Boys. Hopefully. The point I'm making is that there are certain groups that are worth the trouble. And every generation only has a couple. There's been ear candy since the 50s. At the same time in the 60s that you had Bob Dylan, the Rolling Stones, Jefferson Airplane, Buffalo Springfield, and all these incredible bands, but Bobby Darin was a hit on the radio. That's not going to change. The largest part of the population buys ear candy, this crap. But in every generation, there are a handful of artists that transcend. Those that will make it from this first 10 years of the new millennium to the second 10 years of the new millennium. I want to be involved with one or two of them. But having hit records is not what we're talking about. It's having successful bands or artists mean something in the larger scheme of things.
What did you see in Goldspot?
I saw a creative spark that has yet to be realized. I really am excited about what their third or fourth record might sound like because then they'll learn their craft. They'll understand what song writing and song making is. They'll become better singers and better performers and better artists. They'll be more creative. The exciting part to me is their third record. Let's get six or seven years down the line. I'm really excited about where this might go.
How did you come across Goldspot?
I think Peter Shurkin my assistant played them for me. Peter has played me a thousand CDs in the past three years. This is the first one I've actually said "Wait a minute. You may have something there.""
management - gold mountain
booking - william morriss agency
label - union (no information, never heard of it)
chances are we'll be hearing about theses guys for a while to come. afterall, someone's gotta try to recover their investment.
good luck goldspot. and good luck mr. ron stone!
ps - if the folks from gold mountain and william morris want to help anyone on the glono roster become huge stars, by all means contact us at glorious noise records and we'll set it up.
turns out that they're managed by someone with big corporate rock/corporate money ties..."...they are managed by a friend of mine who used to work at Madonna's old record company, Maverick..."
and here's what their manager, none other than ron stone (former agent at lookout management and co-founder of gold mountain management - gold mountain managed the likes of nirvana, beastie boys, beck, foo fighters sonic youth, bonnie rait, belinda carlisle, rodney crowell, ronnie milsap, and hank williams iii) has to say about breaking a band... (from 2002)
"You've recently taken on Goldspot.
Yes. I can afford to work with Goldspot for the next two years knowing I'm going to make any money. Because one I believe they're going to be very successful and I'm willing to invest two years of my life. But anyone who doesn't have the financial resources that I have, starting from square one managing Goldspot, unless their parents are prepared to subsidize them for the next two years, won't make any money.
Does it take at least two years?
Two years to find out if they'll be successful. If they have a chance. Two years.
What do you do in those two years?
You work your ass off for free. Seriously! You go find them a record deal. Even in this context you still need somebody to underwrite probably a million dollar investment to make the record, to market the record, to subsidize the concert tour. Somebody's has to pay for your transportation to and from, and your food, and your hotels and maybe even per diem, and God knows what else. Maybe even money for the roadies and people like that. It costs between five and ten thousand dollars a week. They'll spend a half a million dollars on the road in the first year just to find out if anybody's interested, and a half million dollars to market the record to try to get it on the radio and on video in Europe and the Far East. We do business in 116 countries. It costs some money to do this. Somebody has to believe to the point where they throw down a million bucks. Most A & R guys say no because they're terrified. Because if they say yes they lose their jobs if they're wrong. And they're wrong nine times out of ten. When I take on a new band who I'm wildly excited about, like Goldspot, I'm resigned to the notion that if I do everything right and you're wildly successful, they’ll be in debt for four years and I won't even know if they have a shot at being successful for two. But somewhere down the line, I think they're going to be a very important, a very big band and I have the resources to entertain my insanity and I'm going to go for it. Somewhere down the line they'll start to make money. If they have a big successful record and sell a million copies, by the time the money comes in from that, they'll be back in the studio making another one borrowing against previous success and still make no money. They could sell a million records being the third or fourth year of their record deal and still be making less than two or three thousand dollars on the road and owe the record company a million dollars. And that's the reality and it goes downhill from there? Unless you blow the hinges off the door and you sell five million copies. But you can't have a marketing strategy that intellectually accepts the notion that you're going to sell three million records. That's insane. They come and take you away for that kind of thinking. You have to understand that you're going to have to build. You could sell 100,000 records as a first time artist and the record company will throw money at you like they just discovered gold. There's a group on EMI called Starsailor from England. They sold 100,000 records. I guarantee you they spent a million dollars to sell those 100,000 records and they think they're doing great. That's the dynamic. They have to feed the machine. They have to pump out that product. One Backstreet Boys covers the 30 mistakes they made on something else. And they scream and cry and beg that the artists understand the situation. And we say "Make better fucking choices." But those better choices means we sign less bands. It's fucking murder out there boys and girls. My recommendation to any young managers is "Get a job." I'm serious. This is a dying business. There may be five more years. Or maybe 10 more years where music still has vitality and still has enthusiasm. But it's changing because people under 25 don't see it as a collectible anymore. They're not collecting CDs. They're using up files. It's a different mentality. Music is losing value. It's a file and you can get another one tomorrow. It's a disposable as opposed to a collectible.
Is that a by product of a market that currently emphasizes disposable, unmemorable pop songs?
No. There are bands like Beck and Radiohead that are tremendously talented bands that come along and have tremendous impact and tremendous value. Radiohead will be around for 20 years if they want to. Ten years from now nobody will remember The Backstreet Boys. Hopefully. The point I'm making is that there are certain groups that are worth the trouble. And every generation only has a couple. There's been ear candy since the 50s. At the same time in the 60s that you had Bob Dylan, the Rolling Stones, Jefferson Airplane, Buffalo Springfield, and all these incredible bands, but Bobby Darin was a hit on the radio. That's not going to change. The largest part of the population buys ear candy, this crap. But in every generation, there are a handful of artists that transcend. Those that will make it from this first 10 years of the new millennium to the second 10 years of the new millennium. I want to be involved with one or two of them. But having hit records is not what we're talking about. It's having successful bands or artists mean something in the larger scheme of things.
What did you see in Goldspot?
I saw a creative spark that has yet to be realized. I really am excited about what their third or fourth record might sound like because then they'll learn their craft. They'll understand what song writing and song making is. They'll become better singers and better performers and better artists. They'll be more creative. The exciting part to me is their third record. Let's get six or seven years down the line. I'm really excited about where this might go.
How did you come across Goldspot?
I think Peter Shurkin my assistant played them for me. Peter has played me a thousand CDs in the past three years. This is the first one I've actually said "Wait a minute. You may have something there.""
management - gold mountain
booking - william morriss agency
label - union (no information, never heard of it)
chances are we'll be hearing about theses guys for a while to come. afterall, someone's gotta try to recover their investment.
good luck goldspot. and good luck mr. ron stone!
ps - if the folks from gold mountain and william morris want to help anyone on the glono roster become huge stars, by all means contact us at glorious noise records and we'll set it up.
-
vishalicious
- Posts: 1
- Joined: Sun May 01, 2005 9:16 pm
- Location: burbank, CA
goldspot: you are incorrect, vitas
vitas-
i commend the extended research you did on goldspot, and their management...however, you are completely off. they are not managed by ron stone of gold mountain, rather they were. The band parted ways with gold mountain over two years ago. The band also had a different lineup at the time. After completely reshuffling their lineup, and after getting new management, they are now signed to an indie label (union) started by a former head at maverick, who actually left the major label business because he felt that a lot of great underground artists were not being respected by the majors. They were losing creative freedom with the majors, and his disgust of that led to his own indie label. so, here;s a story of a corporate monster with a creative heart.
you know, what? it bothers me when people like you comment on the "corporate" side of the music business, and comments like "oh, watch out, the guy from the nanny likes them..." because i can almost guarantee that any band you like is probably on a label of some kind---indie or major....and if you know anything about the music business is that it is a business, no matter how unadvertised and hidden it may seem.
the reason why i know so much about the band is that one of my best friends is the lead singer of the band. and that guy is a great talent, and has been through difficult times in this business. so for you to come out and lash out on the band based on the comments of a manager that he fired 2 years ago, you obviously know nothing about the music business. Further if it is "art" that you truly care about, and not the "corporate" world that you fear governs so much of music, then why are you so obsessed with corporations and music? Have you even heard their album? Have you even listened to any of the music? Be careful to judge a band based on the words of someone else, and be careful to judge a band when you haven't even listened to the music.
You need to be a lot more credible and knowledgable about music, bands, the difficulties of being a musician before you bring that to the table.
i commend the extended research you did on goldspot, and their management...however, you are completely off. they are not managed by ron stone of gold mountain, rather they were. The band parted ways with gold mountain over two years ago. The band also had a different lineup at the time. After completely reshuffling their lineup, and after getting new management, they are now signed to an indie label (union) started by a former head at maverick, who actually left the major label business because he felt that a lot of great underground artists were not being respected by the majors. They were losing creative freedom with the majors, and his disgust of that led to his own indie label. so, here;s a story of a corporate monster with a creative heart.
you know, what? it bothers me when people like you comment on the "corporate" side of the music business, and comments like "oh, watch out, the guy from the nanny likes them..." because i can almost guarantee that any band you like is probably on a label of some kind---indie or major....and if you know anything about the music business is that it is a business, no matter how unadvertised and hidden it may seem.
the reason why i know so much about the band is that one of my best friends is the lead singer of the band. and that guy is a great talent, and has been through difficult times in this business. so for you to come out and lash out on the band based on the comments of a manager that he fired 2 years ago, you obviously know nothing about the music business. Further if it is "art" that you truly care about, and not the "corporate" world that you fear governs so much of music, then why are you so obsessed with corporations and music? Have you even heard their album? Have you even listened to any of the music? Be careful to judge a band based on the words of someone else, and be careful to judge a band when you haven't even listened to the music.
You need to be a lot more credible and knowledgable about music, bands, the difficulties of being a musician before you bring that to the table.
-
Barabajagal
- GLONO Board Maniac
- Posts: 1461
- Joined: Wed Feb 19, 2003 10:15 am
- Location: Not quite close enough to say Chicago
I don't think vitas was sniping about anything, and if he was, it's the result of the curious smell of "street team" wafting through this thread, whereupon people pose as fans on message boards they've recently joined, rather than just come out and say "hey check out my band." And if anything that was an interesting post about the biz.
But to be fair the band does sound pretty good, so good luck to you.
But to be fair the band does sound pretty good, so good luck to you.