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TV21 – A Thin Red Line + more on double vinyl

Hopefully this is the first of many releases from Scottish bands old and new but that will depend on what support the initial releases receive. There are already some other very exciting releases planned covering all decades from the sixties to the present day many on vinyl but there will also be CDs and all being well even DVDs and books. 

This double album is on 180g vinyl and comes in a gatefold sleeve with artwork by Ally Palmer. Limited to 500 and numbered, initial orders will be signed by Norman, Ally and Neil. Orders will be sent out in numerical order so the earlier the order the lower the number ! Release day price will be £28 but it is currently £25 for early birds.

A big problem these days is that people ‘like’ things but don’t actually buy them and though the Rip It Up museum exhibition and opening of the Scottish Pop Music Exhibition Centre will help greatly with the profile of Scottish music these releases will need broad support to make them viable.

This TV21 album contains all the tracks from the “Snakes and Ladders” compilation album divided over two LPs with LP1 being the original album “A Thin Red Line” and LP2 containing all the extra tracks from the compilation.

The release date is expected to be late March but please consider an early purchase so we can pay deposits and plan ahead and in return copies are at a lower price and signed.   

Available to pre-order from the Avalanche online shop

http://vsilly.com/avalanche_shop/index.php?id_product=315&controller=product

Future plans (part four) – location and finance

The blue Fender Coronado Mk2 Paul Haig bought from Edwyn Collins

I was told very early on that life would be a lot easier if I had a location and money. Obvious I know but that really is how it works even for the largest projects. The new concert hall has location and financial backing so it gets even more money.

I don’t think anybody doubts the quality of the exhibition that would be produced nor all the amazing releases and merchandise that would go with it but it was always said that especially once people saw what could be, and the Fruitmarket Gallery pop-up was a huge success, sponsors and financial backers would come forward. If nothing else people of a certain age who had made their money and loved their music would see an opportunity to have a permanent legacy.

I would love to have a location by now but the centre does have the backing of Edinburgh’s councillors and council officials at the highest level and they are committed to providing a building so I have to be content with that. If I can get sponsorship from businesses who don’t normally support the arts I can have that doubled up to £40K which would become £80K. There can be several sponsors so no need for one company to come up with the whole amount.

From classical music to the visual arts there are patrons who finance things like this but despite amazing publicity nobody has come forward which does confirm what I was told which was that you have to very actively chase people for money, something I’m not particularly happy with. I intended to put money in myself but over three years have used up everything I had and much more just to reach this point.

Original photo for Mogwai’s album “Young Team”

The situation is now beyond critical though at least some exclusives to sell will start filtering in soon starting hopefully with the TV21 double vinyl. In the absence of any big sponsors it will take the support of the very bands and labels to be featured to make the centre possible along with of course their fans.

Several bands have already offered support as have labels such as Jeepster, Domino, Cherry Red and Chemikal Underground. There is no doubt people will support any fund raising but you have to give them something to buy or a gig to go to. With regard to the latter, again venues are very supportive and I even have use of places like the Queen’s Hall and Usher Hall. So far I’ve only approached those who have worked with Avalanche closely for many years but now it is essential to involve as many bands, labels and people as possible.

Over the course of the week I will outline all the avenues we will go down to try to make sure the centre is properly financed in time and then over the course of the next year. Hopefully one way or another everybody who wants to get involved will find a way to help. As always I would like to thank those who have helped get to where we are already. It is a marvelous achievement and has only been posible by the kindness of others.

Kevin

Future plans (part three) – the old sales model with a twist

I’ve known for some time now what I considered to be the solutions to the problems the Scottish music industry faces and I’ve never expected much support from that industry as they are to a large part the problem. Things we are constantly told have never been better and they have created a world of workshops, seminars and mentoring which is as artificial as the successes they claim.

At the same time the basic model that worked for decades of making music and distributing, promoting and selling it has completely broken down. What was needed was a way of promoting Scottish artists that accepted that for better or worse bands now think they can do it themselves and in fact are concerned about “losing” sales to anybody trying to sell their music.

While most artists and labels want others to sell their music after release it was clear we had reached the end times when they started talking about not wanting to lose sales to shops in the presell. This was very early on in online selling and the natural progression from this, which is now the norm today, was to then offer incentives to buy directly and not order from a shop.

The real losers in all this are new bands. Shops were saved to some extent by selling the endless tide of reissues on vinyl and older  bands had their fan base established.

It has long been shown that putting good music, new or old, in front of good footfall and promoting it well still reaps great rewards. The idea can work online but the immediacy of the sale gives a shop an advantage. Consequently this is something I’ve been working on for some time now and I hope to have several key outlets in place to take advantage of what should be a great year for Scottish music next year.

The next problem is that while there are places willing and indeed happy to support Scottish music they don’t want to deal with a lot of  suppliers. I have been asked before if I could act as a one-stop to supply a curated selection of music and this would of course address this need. Whatever some folk might think Avalanche has a worldwide reputation for promoting genuinely interesting music and a social media reach second to none. These artists are not my friends, as is so often the case, they simply make music I think others will want to hear.

Similarly I have been asked for over a decade now if there could not be a one-stop website for buying Scottish music. Asking those abroad in particular to pay shipping over and over again to buy from separate sites is daft but that is currently their only option. For “exclusive”new releases this will undoubtedly always have to be the case. Artists generally are unwilling to give up their advantage even if it would benefit the customer. However a site with an extensive catalogue would still be of great use to those wanting to browse what is available especially if the music is promoted sensibly.

None of this of course makes commercial sense as it is a lot of work for little reward but could feature as part of the Scottish Music Exhibition Centre. Realistically there would still be artists and labels who would prefer to deal with things themselves. Again treating this as a non-commercial venture would mean there could be links to all the other sites selling items not available directly from the site. Clearly things would not have to stop at music but could include other merchandise as well. So potentially there could be a site where you can buy a whole range of stuff or be one click away from anything you can’t find directly.

I do have to stress this is a non-commercial way of looking at things despite the aim is to sell stuff and only works as part of a bigger picture. Others can continue with their seminars and showcase gigs but I think all of the above is a different way forward that will benefit more bands and reach more people. We will see !

Postscript from an old man

Late January 1991 and Avalanche receives a call from Sounds the music paper. Andrew Tully Avalanche’s manager and front man, comedian and raconteur of Edinburgh’s second best jangly guitar band Jesse Garon and the Desperadoes answers. They would like to know what we think of the new pop sensations the Manic Street Preachers. Andrew shouts over to me and busy with customers (this was the early 90s remember) I gave the simple reply “a little too fond of The Clash”. I’d just seen them on an Oxford Road Show repeat that I’d turned over to while trying to stay awake during the recent Super Bowl and that seemed a fair assessment. 

Clearly disappointed they asked if Andrew had anything  more humorous or controversial to add. “Well apart from them being Welsh and wearing too much make-up, not really” Andrew replied jokingly. Would we stock the new single they asked. Probably not we said. Next issue of the paper went with Avalanche has banned the Manic Street Preachers for being Welsh and wearing make-up. Manics fans started coming in hassling us and we would politely explain it had just been a joke but they were not to be placated.

There was even a cartoon about the affair with the punchline revealing Mike Peters from Welsh band The Alarm but as it was about to go to press Sounds folded. The curse of the Manics had begun !

Anyway we forgot about it but come May the Manics embarked on their ironically titled You Love Us tour with Edinburgh the first stop. Not having yet reached their stadium rock status they were playing at The Venue and the next morning Robert, Avalanche’s Sub Pop expert and joiner extraordinaire opened up the shop. To quote Robert soon after “a wee guy came in, put a CD on the counter, said this is for you and ran out”. Said CD was Motown Junk and each band member had signed it with a message. They were not wishing us well !

So began a rather one-sided feud with the Manics still mentioning Avalanche from time to time in interviews, commenting at gigs that we had closed down when we hadn’t and generally not letting it go. I believe we still got a mention only a few years ago. By the mid-nineties the shop was split with Andrew not only enjoying the Manics brand of corporate stadium rock but even going to their Glasgow gig as a guest of Sony and shaking James’ hand.

And so all good things must end and to help raise funds for the new Scottish Pop Music Exhibition Centre I’m selling the famous signed CD. It seems only fair that I’l donate some of the money to a charity of the Manics choosing. Let us see what we are offered. Unsigned the CD has sold for £50 to £90 so a CD signed by all four members will be worth considerably more and with the story attached ……………… I’ll see what offers are received and if there is nothing suitable I’ll put it on Discogs. All offers to kevinavalanche@hotmail.com. Would I buy them a pint if I met them now. Of course I would !


The Cure – Wish award for 100,000 sales

The Cure – Wish award for 100,000 sales

I’m selling a few things to help finance the Scottish Pop Music Exhibition Centre including this award. Any offers to kevinavalanche@hotmail.com

Future plans (part two) – social media

Cold Turkey at Summerhall

It never ceases to amaze me that most people don’t understand social media and how it works. Now if you just want to post a picture of a nice cake you are about to eat that doesn’t really matter but if you want to reach people with information or even sell them something then blindly tweeting or posting is pointless. For some I understand they aren’t that keen anyway so they just half-heartedly use social media so they can say they are using it. However most frustrating are those who claim to be experts and in particular measure their success.

Truth is you can’t accurately measure reaching people with social media but there is now an entire industry based on doing so. At the core of all this is clickbait. All those “you won’t believe …..” stories at the bottom of news pages. All those 30 best whatever where you have to keep clicking to the next page. Don’t get me wrong you can measure reaching people to a certain extent but then you certainly can’t measure what they then do with that information beyond the immediate click-through. 

When I occasionally help people with a gig or album I have to explain that yes the Avalanche social media accounts reach a lot of people but all that means is that folk will know about the gig but not go or know about the album and not buy it as opposed to not knowing about it at all. Of course that isn’t to say the odd person doesn’t go to the gig or buy the album but it will be a very small percentage indeed. 

On the other hand just because you don’t have a lot of retweets or likes doesn’t mean folk aren’t paying attention it is just that most folk don’t feel a need to interact and that of course is absolutely fine. Now being a sad statistician I know how to measure things that don’t as such exist to be measured in a way that is never very accurate but is far better than counting clicks. You can also compare basic available data so for instance I know Avalanche has a far greater reach and engagement than some accounts ten times our size.

Another way you can gauge your reach is because people tell you. It always amazed me to have somebody in the shop ask something and when I’d start giving the standard answer they’d say that that knew that as they followed on twitter, read the blog, checked on Facebook and were looking for more information. It always felt especially strange when they were from South America or a small town in places like Russia or Australia.

There is however loads of basic stuff that has a sound statistical basis. Tweets with a picture are four times more likely to be viewed. Music related things will have several times the click-through rate of the average link. Plus plenty more. There are different approaches. I prefer to make something as interesting as possible so people will click the link while others will make you click to find out anything. The latter is more a clickbait attitude – “you won’t believe what 80s heartthrob looks like now”.

If you can tie up a strong social media presence with the regular media then it becomes even more powerful and of course I have a regular column in The Edinburgh Evening News but that really is a bonus. Properly managed, interesting social media accounts with original comment are always popular and is part of the reason I was offered the column. 

Pic @AHMcKay

I often get asked why shops don’t use social media more and the answer quite simply is that for the time it takes to do it properly the payback isn’t worth it. Avalanche does better than most but the vast majority of people “like” that we sell stuff rather than actually buy anything. The Avalanche account is of course far more than a record shop account and many would say unique. There are lots of different strands to it so people need to filter the things they are interested in but I like it to be that way. When I set up the Scottish Music Centre account it was to promote all Scottish music without regard for any Avalanche preferences and again that has been successful.

I am asked why there is no other account that promotes Scottish music the way we do and the answer is simply nobody is being paid to do it and the official bodies don’t do anything without being paid for their time. It is irritating to see those claiming they support Scottish music doing very little but there is often a gap between what people say and what people do in the music industry.

So moving forward the good news is that for the Scottish Pop Music Exhibition Centre the media and social media could not be in better shape and if sponsors and financial backers recognise that then there is a lot the centre can offer. I’ll continue to try and help artists and make followers aware of gigs and other events but people still need to help themselves and a lot of the work I do is not taken advantage of and there is nothing I can do about that. 

What both accounts hopefully do is encourage discussion beyond the obvious nostalgia that will always have a place but can easily take over especially when dealing with the past as much as the centre’s account does even though of course I’ve always been keen to look to the future too.

The bottom line is people seem to enjoy the twitter feed, Facebook posts and reading the blog/column and you can’t ask for more than that. Anything else is a bonus. The last few days have included a pic of a Paris record store in 1963, a Borussia Dortmund CD and toaster, The Fall at Buster Browns, Edinburgh in 1983, news of a new Smackvan album and gig, a pic of a Grundig Majestic music centre and a plug foe Cold Turkey a music and poetry night at Summerhall that also featured in my paper column. Add in a couple of William Crozier paintings of the castle and the Mound, a quote from Peter Capaldi about his old band Dreamboys, an old pic of the Pastels playing with Strawberry Switchblade and an imagined poster for Trainspotting directed by Godard and there is  something for everybody ! 

Pic @Birmingham_81

   

Rip It Up will be great but not The Only Fun In Town

Just a quick post to explain about the National Museum of Scotland’s exhibition on Scottish Pop Music “Rip It Up”. For those asking yes of course I knew about it as far back as April 2016 but couldn’t say anything. I’ve been more than happy to help out with contacts and exhibits and it is going to be a great help in getting a permanent location for The Scottish Pop Music Exhibition Centre that I have been working on for several years now.

The museum’s focus is very much on the bands and a few key labels while the Exhibition Centre will have a far wider remit also covering artwork, posters, badges, venues, clubs, photographs, memorabilia and even a few shops and the odd pub ! Also even with an exhibition of this magnitude the number of artists featured will be far smaller than what we have planned for the Exhibition Centre. Consequently both exhibitions will complement each other nicely and of course the Centre’s exhibition will continue after the museum has finished. 

Lots more news soon and certainly 2018 is going to be a great year for Scottish music. 

Future plans (part one) – streaming and vinyl box sets not the answer

I was in Edinburgh several times this week and wherever I went seemed to bump into people wondering what I was up to. Most followed on social media and quite correctly felt there might be news soon. Truth is I had expected at least one big announcement this month but that will now be in November. With partners and support in place it is now not just in my hands deciding what can be said and when.

I’ve known for over 18 months that 2018 is going to be a big year for Scottish music both old and new. That was never in doubt. It is fair to say it is what I have been working to but I did expect to have much more in place by now. Having said that I’m constantly reminded by others that when dealing with councils and arts bodies taking three years to achieve something is positively speeding along. 

In terms of a vision there was little room for compromise but also I felt the aims were realistic. At the heart of the premise was that Avalanche’s reputation for supporting Scottish artists was no longer viable given artists own sales strategies. Having said that that is where our heart lay and I saw no future in selling vinyl reissues of Led Zeppelin albums and 5xLP vinyl box sets of “The Queen Is Dead” or more accurately if there was a future it wasn’t one I wanted to be a part of.  

Don’t get me wrong I’m more than happy selling old collectable vinyl and selling older releases but the current situation has gone way beyond that. It also became clear that even when trying to sell new releases by new bands it was rarely possible to offer the collectable versions fans wanted. Even an indies only vinyl would also be available from the label or band with a signed print I wouldn’t have.

However the one area everybody avoids in this direct to fan era is trying to sell new music to people who have never heard of a band. This is by no means easy but very rewarding especially when people get back to you to thank you for their discovery. It isn’t however impossible and with Avalanche’s reputation and the interest there is in Scottish music the Scottish Pop Music Exhibition Centre seemed a fantastic opportunity to promote new music within the context of what has gone before.

Those asking for recommendations would often be looking for a new band like Belle and Sebastian or Orange Juice or Mogwai or Frightened Rabbit and that is a good start in judging what other music they might like. 

This of course relies on people wanting to but physical product and certainly some people will go away and just listen to recommendations online. This was certain;y a major issue at Avalanche where a customer would buy maybe one album but type into their phone the names of many more I had suggested so they could listen more. However even this would not be a disaster for the centre if its main purpose was to promote Scottish music and not to sell it.

Streaming works for Taylor Swift and Kanye West but for small bands, as with downloads before, it provides neither income nor decent exposure. With the centre as a focus I still believed the aim had to be to put good music, well promoted in front of good footfall in other places too. Do that especially in front of people who may have an interest in discovering new music and I think a lot can be achieved.

Ambitious admittedly but I always felt it was achievable. A centre that focused on the artists, labels, venues, clubs and even shops that had helped Scotland achieve the worldwide reputation it has today for its music and exposure for Scottish artists old and new in key places with high footfall.

I’m not quite there yet but close enough and with enough commitment from others to confidently say it will only be a matter of time. 2018 will be the year Scottish music reaches a worldwide audience and the Scottish Pop Music exhibition Centre will be at the heart of it. 

Is a £45m concert hall really a priority ?

Picture: Ian Rutherford

With so many important arts related buildings needing refurbished or to relocate I do really wonder whether the money being spent on the new 1,000-capacity concert hall earmarked for a site behind the Royal Bank of Scotland’s historic head office on St Andrew Square is best use of the money.

Now originally when I heard about the new hall it was being financed by the Dunard Trust administered by Carol Colburn and given Carol’s background as a classically trained pianist she is clearly entitled to spend the money as she sees fit on a project of her choice. However then I later read the concert hall was to receive £20m from the City Deal in matching funding. Now it has been announced that there will be a public fundraising campaign to raise £10m for The Impact Centre as it will be known and the Dunard Trust has set aside a matching £10m.

So of a £45m project at least two thirds will come from public/government funding so that then raises the question whether this is the best use of the money. A lot of arts folk remind me of that time Derren Brown went to the greyhound racing. He would have a losing ticket but walk up to the cashier saying “I have a winning ticket” and somehow they would believe him and pay out.

Similarly these people tell you those fag packets picked up from the street and stuck on the wall are “art” or that horrible square looking building is a fabulous example of Brutalist architecture. People are just scared to be declared philistines and dutifully nod. In this case we are just told Edinburgh lacks “a purpose-designed, mid-sized venue which can provide a world-class acoustic experience” and nobody goes wait a minute what about ………….

Now there may not be something that exactly matches that description but Edinburgh is not short on buildings that many would argue mean a concert hall like this is not a priority. And that is the key word there a “priority”. Sure if there was enough money out there why not have such a building but truth be told there is a desperate shortage of funding for the upkeep, refurbishment and relocation of arts related buildings so maybe the funds could be better spent.

The King’s Theatre is also fundraising needing around half the amount being spent and while there was talk in 2014 of the Filmhouse moving to Fountainbridge nothing came of it with again £20m+ quoted as needing to facilitate the move. I’m sure there are many others but the Queen’s Hall could do wonders with much less than a quarter of that money being spent as would the Leith Theatre. Clearly several other projects could be achieved using the public money so I find it hard to justify the concert hall. Of course it was the one billion pound City Deal so maybe it has more money for these buildings on top of the £20m but I’ve heard nothing along those lines so far.

There is of course only so much money out there and the new concert hall raising funds can only impact on the ability of the other buildings to find donations and sponsors. A well-named centre indeed!

If the Dunard Trust want to build a concert hall then who are any of us to argue but once other funds are used then it is not so clear and certainly it appears to me that like Derren Brown they have simply stated the hall is needed and the money has been handed over.

 

Royal High project needs facts not scares

I was trying very hard not to mention the old Royal High again but was shocked to hear that there were fears it would become a budget hotel. Now I very much suspect that despite promises from the developer for the King’s Stables Road site the hotel there will suffer that fate so I wondered what new evidence had surfaced to cause such claims.

As it turned out the “couple battling to halt Edinburgh’s former Royal High School being handed over to hotel developers” were “former concert pianist Carol Colburn, one of Scotland’s leading arts philanthropists, and Murray Grigor, a former Edinburgh film festival director.” What there didn’t seem to be was any reason to believe that the six star hotel was to be ditched to be replaced by a “Travelodge or something” and what it did seem to be was simple scaremongering from those supporting the rival music school.

I do completely agree with the couple that it would be for the best if the council’s contract with the hotel developers was to be made public but it would be highly unusual for a confidential agreement to receive such treatment. It has been confirmed the developers have a lease for several more years and I think it would be safe to say without seeing it that breaking that contract would indeed cause the lawsuit Ms Colburn seems to fear.

Don’t get me wrong neither Duddingston House Properties nor Urbanist Hotels have covered themselves in glory handling what has become a lengthy process and their attitude to publicity would need to improve to be even called dysfunctional. They have adopted a siege mentality that while understandable is not acceptable.
As has been very well documented recently classical music already has a disproportionate amount of financial support so it is a real pity the rest of the arts in Edinburgh doesn’t have its own Carol Colburn as if they did most of their worries would disappear overnight.

It is totally understandable that Ms Colburn would support calls for a new concert hall and that St Mary’s music school be given the Royal High School site but decisions have to be based on facts not unfounded fears and guesswork. I think it is time for all sides to take a deep breath and move forward.

 

Sugar-coated reward on The Apprentice

While The Apprentice doesn’t seem to get the genuine characters it used to do I still always look forward to a new series and watching episode two this week the participants were starting to bed-in. It was a luxury hotel challenge and both sides were fairly dreadful but the girls won and Alan Sugar announced their prize – visiting the Rosewood London and its Scarfe’s Bar to meet internationally renowned cartoonist, Gerald Scarfe, to have their caricatures drawn.

Rosewood are of course the very hotel operators that will run the luxury hotel on Calton Hill should the developers ever be successful. Interestingly it had been claimed in that very same article on the threat of a budget hotel that “Rosewood don’t understand that their name is mud” which again seemed to be a claim that came completely out of left field. Apart from confirming their commitment to delivering a luxury hotel on Calton Hill they have had no role to play in the saga.

As has been said by others before such negativity towards a respected brand like Rosewood risks sending out the wrong message to other potential investors in Edinburgh.

The Scottish Pop Music Exhibition Centre needs a building !

It has become clear from recent discussions that now we have reached a point where nobody really doubts that the centre is a feasible proposition and that Scottish pop music deseves its place and recognition that the next step is to secure a building. Such was the quality of the items that were on display at the recent Fruitmarket Gallery exhibition that I’ve already agreed to loan items on the owners’ behalf to other museums and galleries for display next year. I already have so many possibilities at my disposal that I can afford to see some items on loan knowing there are equally impressive replacements.

Incredibly there are still many people I need to get in touch with that I know will have their own collections and archives never mind just the odd interesting item but I simply haven’t had time. Reaching this point has only been possible thanks to the help of bands, journalists, photographers and fans and I really am very grateful. 

Several years ago Edinburgh Council vowed to support music in the city centre and it was because of that I looked at spaces in council buildings and in particular their galleries. I was recently reassured this was still a possibility but as I say it is now clear securing a building or in fact just a defined space is now the priority. It helps enormously when trying to raise funds and find sponsors to have a building in mind. At the same time exactly what we will be looking to achieve will be defined by the space there is to work with.

There are still folk who feel that pop music lacks the gravitas of say the visual arts or more highbrow music and while they are in a small minority I don’t underestimate their influence within the arts community. However I’m confident that the interest shown byv other institutions for next year can only help both with getting a building and bringing sponsors on board.