Herbie Hancock, Nile, Managing Nile discussed on Sodajerker On Songwriting


Services. Today we have two hundred, million likes of J., P. Morgan and Goldman. Sachs. Predict as many as two billion by twenty thirty. So we're talking to a business that has grown by four times in the last two years and it's going to grow by ten times in the next ten years, which is why you have something like a little nausea sets, which is a record that gets made for a few hundred dollars. That's eighteen. Weeks at number one because you know the proposition is different today the proposition at one point in our careers was, how do you get that person to put their hand in the pocket and pull out some cash and buy your record right now, the proposition is that person's already paying ten dollars a month of the ten pounds a month for the streaming services how do you get them to push play on your record right and it's totally different right where buying their time in their attention now. He's specific things that you guys doing us hypnosis to help those Catholics reach their fullest potential. Well, the key is that we believe in this particular bugbear for me I I want to eradicate word publishing from the vernacular of the music business I. Think it's an offensive word I think that it's a euphemism for someone writes you a check and ads absolutely no value to what you're doing in part of the problem is that you have these massive companies that have twenty thousand songs for every creative person working for them in the entire world. Part of our thinking is that by buying proven songs, we've now spent as we mentioned half a billion dollars, we own five thousand songs right over two thousand of those five thousand songs number one records over four thousand of those five thousand songs are top forty records and fourteen people that are working those songs. Some of them are in the audience tonight. So we have a couple of hundred. Songs, per person even when you know we've grown to a billion, a billion and a half two, billion, three billion. We will still have at that point something around twenty thousand songs. So we'll have twenty thousand songs that probably at that point spread across thirty to forty people as opposed to the twenty thousand songs per person. So what we do is what we call Song Management as opposed to publishing. Talked about the responsibility that I have not only in Managing Nile. But any artists that I've ever worked with responsibility that I take very seriously because I understand that you know the only thing that gives me a seat at the table with great people like Nile is taking that responsibility seriously is getting the job done but I also understand that if I don't that there are ramifications because there are. People that he's responsible to. So if I let him down, he's letting other people down in that won't happen on my watch but I also feel that same responsibility to the songs these songs of saved my life these songs make it worth me getting up out of bed every day they energize me they excite me the difference between jumping off the roof and feeling like you can take the world on. Energy is what I'm trying to say and I don't see why we shouldn't have that same responsibility to the songs that I have to Nile or that I have to my family right and you can't do that. When you have twenty thousand songs for every creative person that you have working for you in the world, you can do it if it's a manageable number of songs and if you're prepared to be responsible to them. Well. Arguably, the the jewel in the hypnosis crown is the at the she, Hogan Ization. Contained some of the most successful and enduring songs in history I would say. The argument from me. Nile did you have any sense when you Benard right in these songs that they become so valuable in stand the test of time and the way they have. We certainly weren't futurist. We were just trying to survive. We were writing songs that we felt move us and that would get added to the radio because we were clever enough to right now. because. We knew we knew how We basically had an idea we were close to a lot of people who were radio programmers. Early our friends on a musical level. We knew who they were and we have some idea of how they did their jobs. The more time you spend around news business people the more you start to learn how the music business functions. So we had a feeling that if you look at the statistics and you see that most of the music is consumed by younger people. Why would you get an older person to be your sort of sounding board? What you would do is if you're GONNA come up with new music, you want to play it for younger people who are the people who get excited about hearing something new. So we knew that if we could capture people's attention at the beginning of a song or or have something memorable when the program director would be asking their teenage kids usually, what's should I add? They would think of the thing that was memorable. When it goes. To. Freak out or Or whatever. That's why when we first started I used to call ourselves a novelty band and it was not because we were really a novelty band. We actually thought we were just another are NBC Ban Soul Band but we knew that we had to have hits and because the people that we idolize were mainly jazz musicians that were starting to get hit records Herbie. Hancock. Joe Beck. Norman Connors people like that and we're like man. That they were writing hooky catchy songs that were being played at these joints called discotheques and we were like, wow, this is awesome. This underground groove music is making stars on. People. Herbie Hancock so we tried to. Follow in their footsteps. That's why the very first song I have a road was more of a jazz kind of competition called everybody dance the only thing that made it sort of pop and find was the fact that the melody was. So ridiculously simple everybody Dan's Doodoo clap your hands clap your in but the court changes are straight up jazz chord changes. So that was our ticket we've found a formula that made us feel like we could hold our heads high because at the essence, the foundation cool jazz chords and virtuosity of the playing. Even if we did say. Cow? Also we use it. We're GONNA live there. Really beating the source. Know but the truth is, is that there was actually a formula to it was it was well thought out Bernard Ni- were incredibly romantic about the jazz age in Jazz era and we thought it was amazing that some of the greatest compositions in America were done during the great..

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