We’re Releasing Too Many Songs Ahead of Albums
The digital era of music has already destroyed that euphoric moment you experienced as a younger music fan when you would buy an LP, CD, or cassette at the record store, rush it home, get frustrated wrestling the cellophane loose and that stupid little anti-theft sticker that ran along the spine of the jewel case that never peeled off in one piece, frothing with anticipation of what you would hear. Now it’s fashionable to release three or fours songs, or more from a new record before the release date as opposed to the customary one lead single, or maybe two depending how the time falls.
I get it, the philosophy these days is that nobody listens to albums anymore, and you have to release songs to keep your artist in the news cycle. And this isn’t just a mainstream issue. It’s arguably even more pronounced in the independent/Americana realm where in the lack of actual journalists with actual ideas, you have to hand over pre album songs as “exclusives” just to get a periodical to write about you. By the time the release day rolls along, your core fans have already heard half the album, and expended half of their enthusiasm for it, if you didn’t spook them away by some song that turned them off because it needed the context of the full record to be understood.
Even ceding the argument that the album concept is dead for many listeners these days (which is not true at all for core, grassroots fans), there still doesn’t seem to be a whole lot of reason to release a large handful of your songs before an album’s street date, aside from that just seems to be what everyone does these days, and so people keep doing it without questioning the practice. In fact there seems to be plenty of arguments of why it’s bad idea, or at least should be severely questioned.
This was brought into clear focus when on last Friday (8-23), Miranda Lambert’s team released what is now her fifth per-release song from her upcoming album Wildcard. Lambert’s duet with Maren Morris, the feisty “Way Too Pretty For Prison” written by the Love Junkies, now means that over 1/3rd of Miranda’s 14-track record has been heard here in August, and it’s not even scheduled to be released until November 1st—over two months out. And it’s probably a safe bet that more pre-release songs are on the way.
And for Lambert, this move could be especially damaging because she has a single out called “It All Comes Out in the Wash” that is going to need support if it’s going to gain traction on radio (currently sitting at #21). Radio programmers and playlist curators look to see how much attention tracks are receiving when choosing what to add or delete. When you have five new songs out there sucking up attention from Miranda Lambert fans instead of one or two, it dilutes your metadata.
Not only that, but album cuts are made to be exactly that—cuts from an album that often need their brother and sister tracks to make sense to the audience and express the cohesive theme and massage an album and artist is trying to convey. Fans are often sent on wild mood swings with the release of each new song. Oh, the record’s going to be too pop, too rock, not energetic enough, too Americana, not country enough. This also can erode anticipation, and result in a deflated release day once it finally rolls around.
Jon Pardi is another good example, with four songs already released from his upcoming record Heartache Medication that is still a month away from being released. Labels and publicists may not care much about the album concept, but performers often do, at least performers who are actually artists. Maddie & Tae produced a concept album for their sophomore effort, only to have their label Mercury Nashville release half of it as an EP in April. Since their current single “Die From A Broken Heart” is struggling, who knows if and when we’ll get to listen to the whole thing in it’s cohesive, consecutive, and conceptualized form, which the way it was written and turned into the label.
Artists obsess over which songs should be placed where in a track list. Then labels play Russian roulette by choosing what to release when based off of spurious callout data or other capricious whims. Also, A&R is a dead art form these days. These labels seem to have no idea how to pick the best songs to either excite or entice fan bases, or represent a record well with what they choose to release before the album release date, let alone as radio singles.
Some of this complaining may be a bit of old man syndrome. But it doesn’t seem like a silly concept to say that album songs are meant for albums, and should be released to the public sparingly instead of giving into the era of instant gratification. If the public appetite for new material is voracious, good. Let listeners salivate and get to starving, then serve them what they want when the appetite and appreciation will be at its peak. Parting and piecing albums out that are meant to be considered as a whole is a reduction of both the artistic expression and listening experience albums are produced around. It also reduces the likelihood of consumers buying physical albums, which make much more money for artists and labels than the penny fractions racked up from streaming pre-release songs. Albums are for core fans who will go into battle with their favorite artists and pay their bills. Instant grat tracks are for passive fans of fleeting interest.
The receding importance of the album concept isn’t something that should be given into. It should be challenged. As we’ve seen with the recent emergence of surprise albums, people love getting all of the music at once, and it enhances the listening experience because of the fresh nature of the material. We saw this from there recent release by Mike and the Moonpies. With a surprise release, once again you’re able to get that euphoric feeling of listening through each song for the first time and altogether, just like you used to when music in physical form reigned.
Not every record is going to be right for a surprise release. But the autonomy of every record, the idea that songs on a record create something greater than the sum of their parts, and tantalizing listeners instead of giving into their urges for instant gratification is the way to keep the appeal and creative expressions inherent in music vibrant and healthy.
August 27, 2019 @ 10:53 am
Listening to the new Tyler Childers record the other day. House fire comes on and my old lady says “weren’t we wearing jackets when this song came out? And the album only just now gets released.”
Spot on again Trigger
August 27, 2019 @ 11:24 am
My main issue with the Tyler Childers pre-release songs is what they chose. Aside from “Everloving Hand,” you couldn’t have picked two worse songs in my opinion. It’s not the songs themselves, it’s how they don’t really represent the work, and don’t appeal to the core of Tyler fans. There are still rednecks out there barking that they’ll never listen to Tyler again after Sturgill screwed everything up after they listened to “All Your’n.”
August 27, 2019 @ 12:22 pm
It’s also odd that both “House Fire” and “All Your’n” literally sound different than the rest of the album. Like they were recorded/mixed/mastered separately from the rest of the tracks, and simply tacked on. I don’t have album credits (I downloaded) so maybe somebody can confirm?
They both stand out like sore thumbs while listening to the album the whole way through, and it’s not simply because of the style of songs. They literally just *sound* out of place.
August 27, 2019 @ 3:38 pm
Well I might be the only person alive that thinks House Fire is a straight up banger.
I think it was meant to be a barn burner. Something to open sets.
Take note of the false ending, and the way Tyler and the band “hell no, we ain’t done” back into it.
The video gives another clue. Watch the young couple continue to dance their asses off as the set tumbles around them.
It really was a perfect first single.
August 27, 2019 @ 4:50 pm
I didn’t mind house fire either. Maybe it was coincidental but, I interpreted house fire as an “official” announcement of the new album, the record deal, a video budget, “I negotiated creative control,” you name it. Even if it wasn’t intended, that is when I shifted gears from touring in support of Purgatory to “here comes the new album.” Granted, I already knew it was coming but, figured it was his announcement to the world. It was a cool drop d riff, an interesting video, and didn’t strike me as a major song writing effort (given its like 13 total words). I picked up a guitar, learned the riff, and googled the album. Mission accomplished notwithstanding I agree it’s no where close to his best work on the album, let alone in his career.
All your’n was different because it really was a banger in the live shows on par with the best tracks from Purgatory, which was the music everyone knew at the time. Part of the charm of the original version was he was singing about his lungs collapsing as he was pushing his lungs as hard as he would the entire show. While I understand what he did (using the love song lyrics to paint an alternative picture of a psychotic breakdown whilst enjoying some potent substances), I really enjoyed the raw effort of the original live version so that song went from “this should be the next single” to “what happened to this amazing song.” It was a major songwriting effort and was successful in that regard but, album presentation grounded it. Still bummed about that track and no longer listen to either very much. However, in my book, house fire objectively did it’s job in informing me I needed to check in with his camp.
August 28, 2019 @ 8:00 am
@Rob
Didn’t say I didn’t like the song. I like it. I agree, it’s a banger (in sort of a simplified way, at least). I just think there’s something “off” about the mix/mastering – particularly the vocals. They aren’t as bright (ie. prominent in the mix) as the other songs on the album. Odd for a single intended to “wow” people.
August 27, 2019 @ 3:47 pm
its very common in the industry for songs destined for single release to be mixed and mastered differently than the rest . two reasons , apparently . it has to sound and BE radio friendly sonically…not just ‘ear’ friendly to a listener in terms of hooks , lyrics etc…. this necessitates a different mastering in many cases and in the pop world means a different mastering studio with some high-powered talent .
secondly , the special treatment and mastering expertise given a radio single is a more costly service .
this may account for why the material you refer to sounds ‘different somehow than the other material from the album .many labels won’t put out the extra dollars for tracks not seen as potential singles because they don’t need that attention or the additional costs .
August 28, 2019 @ 8:07 am
@albert
Good take on this. Makes sense. I recall Kurt Cobain being forced by his label to heavily remix/remaster several tracks from his final album, In Utero, back in 1993, to make them sound more appropriate for radio and singles sales.
That said, still, why does the mix/mastering on “House Fire” sound worse than the rest of the album? The vocals are considerably lower in the mix. More quiet. Muddy, even.
The only thing I can think of is that Tyler’s voice is somewhat shrill and maybe that doesn’t play well on radio, so they had to bury the vocals and flatten out (ie. compress) all the instruments so the track can be played loud without being too jarring. That’s my take.
August 27, 2019 @ 11:02 am
I think it’s more a problem that albums are pretty short now. The norm for a good album is about 8 to 10 tracks. Which is fine, I’m all about cutting out filler and creating a cohesive or even themed experience.
But releasing 3 songs on a short album is now normal and really ruins the experience of unpacking a new record from your favorite artist.
August 27, 2019 @ 11:17 am
honestly i have gotten to where i only listen to the first song released before the rest of any given project comes out. hearing half of the tracks before an albums release kind of ruins the actual release date for me. good article!
August 27, 2019 @ 11:28 am
I try to do this as well, though it’s very difficult when as a music writer and you’re trying to stay informed. As a reviewer, you want to make sure you listen to each album with fresh ears and an unbiased opinion and considered cohesively. People want you to review each one of these pre album songs, and it’s unhealthy. Of course the temptation is there because you’re curious. But in my opinion it’s best to just focus on the lead single, and nothing else unless it feels very necessary.
August 27, 2019 @ 11:18 am
Not exactly the same, but I remember Garth, on either Fresh Horses or Sevens, was on his 3rd single when the album was actually released.
August 27, 2019 @ 1:27 pm
But those songs had a life cycle on the radio. Most of Garth’s albums were released on a second radio single to give it a jolt. Usually, it coincided with a CMA performance when that award show was held at the end of September or being of October (the beginning of the 4th and final quarter).
They are now releasing songs weekly not given them any room to breathe.
August 27, 2019 @ 11:38 am
Just don’t listen to the pre-release songs if this practice bothers you. We are really only talking about the popular artists anyway. I’m 60 but have to laugh about people missing the way things used to be. Things change. That’s life.
August 27, 2019 @ 1:21 pm
This issue is actually worse with independent artists. Because the only way they can get the press to pay attention to them is by giving them an “exclusive” song premier to an outlet whose business model is to have artists link to them via their socials, they’re forced to give up most of their songs before release.
August 27, 2019 @ 6:18 pm
Yeah, not true. Vincent Neil Emerson already releases 30% of his album and 40% if you count the acoustic version of 7 come 11 he released on YouTube.
August 27, 2019 @ 11:39 am
I agree with you Trigger.One song as a lead single is enough. I try to avoid any more if I can as I still want to experience a new album old school as you described
As for Mike & the Moonpies I really want to hear it but won’t until it’s released physically
August 27, 2019 @ 11:40 am
The Moonpies’ Cheap Silver surprise album has been my favorite album “experience” this year, so far and by far, in large part because of its surprise drop. I was already a big fan of the band, and already had “You Look Good in Neon” on repeat for months, but that surprise felt like Xmas morning to me.
The band hit us with a great album last year, Steak Night, then added the cherry on top with Cheap Silver. My devotion to those guys is through the roof right now because they aren’t playing by industry “rules” and their relationship with their fan base is genuine, with no middle-men. No label guys telling them what to do, and when to do it.
There’s a time and place for pre-release tracks, but as you said Trigger, many artists can’t afford not to play by the rules. Putting out “exclusives” in exchange for a minimum of coverage. It looks like four tracks (a third, sometimes half of an entire album), beginning two months in advance or more, seems to be industry standard these days. I usually add ’em to a Spotify playlist but don’t pay them much mind until way closer to album drop date.
August 27, 2019 @ 11:46 am
Are album pre release sales counted in the total for 1st week album sales? If so, I would imagine labels are now using releasing extra songs as a tactic to get more people to pre order to make the debut sales look better.
I think that tactic can work but also not work in getting people interested because it gives a preview of the direction of the new musc. The 3 pre release Midland songs I enjoyed & I have enjoyed streaming their new album. The 4 Jon Pardi pre releases I love and I know I will love his new album (direction is obvious 90s honky tonk). Now with Miranda I only like 1 out of the 5 songs. So far a third of her album is clearly pop. I don’t see how pre releasing a bunch of songs is going to make a difference to a certain extent. I will still stream Miranda’s new record once released but I wont re listen to the pop songs. If there are country songs I will only add those to my playlist. So she will still get album/ single streams. I really just think it’s to boost debut sells regardless if people like the music or not.
August 27, 2019 @ 1:26 pm
Pre-release sales definitely count with 1st week sales, and that is why if you’re planning to buy the album from one of your favorite artists anyway, go ahead and pre-order it, and help with their chart placement.
Obviously the reason these songs are being released is to try to gin up interest in the album. But sometimes this works in the opposite direction. There are also other ways to gin up interest, like doing interviews, giveaways, touring, features.
And in some cases, perhaps releasing four or five songs is a really great marketing strategy. The reason it seems to be working with Jon Pardi is because the songs are really country, and have been solidifying his grassroots interest. With Miranda Lambert, they’ve been sort of all over the place, and people really don’t know what to think.
August 27, 2019 @ 2:01 pm
“Pre-order” doesn’t make sense to me, personally. Pre-orders are usually fulfilled by the label, or outsourced to some fly-by-night merch fulfillment contractor, who inevitably ship on release day (or after) rather than deliver on release day. You might not get your album for a week or more after release date. Why delay your enjoyment like that?
I prefer to preview on Spotify for a day or two, then buy digitally. Stream and download on release day, through the following week, still counts toward chart position right? And you get to enjoy the music immediately.
Another thing bands do to juke their chart position is they include a free copy of the album as a gift with the purchase of concert tickets. I ordered two concert tickets for the Raconteurs (Jack White side project) earlier this summer and got two free copies of the CD in the mail a month after release date. I had no idea that was happening, and I couldn’t opt out of it. I would’ve opted out if I had a choice, since I make a conscious effort to buy a CD-quality downloads rather than plastic junk flown in and trucked to my house. Plus, that album wasn’t that good. I already bought a digital copy on release day, and now I have two CDs I didn’t want that are worthless on the second market – but Jack White got three album “purchases” out of me to boost his chart position. I don’t like that.
August 27, 2019 @ 4:33 pm
I am rare but I like the early release of songs but also enjoy the record as a whole unit. Pre releases certainly can give false narrative on what to expect but it shouldn’t. If it does I think the label is releasing the wrong songs. For Pardi based on his early releases you know exactly the type of record his new one will be (which I am excited about) & that’s the way it should work out. Midland also matched the expectation based on the early songs. I think Miranda’s early releases is an indication that her record sonically is gonna be all over the place perhaps that will be false but based on what has been released fans are getting a glimpse what to expect.. pop, rock, maybe a country tune. Hopefully a country tune or 2.
I completely understand the reasoning behind releasing a couple songs starting months ahead of time. Gives the record more time to put up better #s for streams & purchases of songs/ whole record for that debut week. They want to hit the ground running. Helps with touring sales, etc. For Miranda I am happy that it seems like her label is making an effort to promoting her new music. I don’t recall them doing that for her ‘Wings’ record but I can be wrong.
August 27, 2019 @ 12:10 pm
Whiskey Myers has done the same. They already released 4 of the 14 songs (almost 1/3) on the new album coming out in a month. Being a fan, it’s really hard not to go listen to those songs while they’re pre-released. But that means I’m only looking forward to 10 sons when the album drops.
These labels need to get with it and start listening to fans, or in some cases, the artist.
August 29, 2019 @ 8:40 am
Only 10 songs to look forward to??? Oh my what a tragedy
September 13, 2019 @ 11:40 am
Aaaaand they’ve released 2 more songs since then…. they should release one more to make it half the record
August 30, 2019 @ 10:11 am
This morning the album popped up at the top of my recently added. I thought, great the whole albums finally here only to just get the 5h song released. Though I liked the song in the first listen I’m disappointed in the way the album is being dripped out. I would much prefer 1-2 songs in the month before the album release.
August 27, 2019 @ 12:21 pm
I’m really surprised we haven’t seen more surprise releases.
August 27, 2019 @ 12:34 pm
I love a surprise release, and I want more, but there’s a sweet spot where the artist has to be big enough (or interesting enough) to sway industry writers and media to “stop the press” and divert resources to cover the news with no advanced notice (the Beyonce’s and Kanye’s of the world).
Unfortunately most artists, even small ones, have to plan their single and album release schedules in coordination with print and blog media schedules – which require months of lead time and advanced groundwork by labels, press agents, managers, and content creators etc. It’s a mess, and it likely used to have measurable results, but these days its hard to tell if all that groundwork actually makes much of a difference vs. just throwing the whole album out by surprise.
August 27, 2019 @ 12:29 pm
In the last few years I’ve started actively avoiding listening to songs prior to the album release. I want to experience the whole album fresh.
August 27, 2019 @ 12:29 pm
I couldn’t agree more. I freaking hate this. One single and maybe what used to be a “B-side” to that single before the album comes out. Then it’s not anticlimactic when it is finally released. I do have to say that I also hate that the lead single is being released 4 months before the some albums even sees the light of day. Miranda isn’t released until November and we heard the first single in early August. Clearly record labels have forgotten that “strike while the iron is hot” approach. Singles used to come out about a month before album release dates because the single was used to entice people to buy it. Now people forget the single because it’s 2-4 months before the album is released.
August 27, 2019 @ 12:31 pm
too many errors in my post…sorry. typing fast and changing thoughts on the fly.
August 27, 2019 @ 12:36 pm
Unfortunately, the album concept has been dying a slow death. Shame. Like everything else, it is all click-bait now.
August 27, 2019 @ 12:56 pm
I’ll point and counterpoint…
The digital age did kill the anticipation of unwrapping a new album. However, it also killed the all-too-often disappointment felt when, after hearing a good song or two released on the radio, you ran out and paid good money for an album that absolutely sucked and never got played again…including the one or two good songs because you were so sickened by the rest of it you could not bring yourself to listen to any of it. And, I am thankful for the music it introduces me to that would be much more difficult before its inception.
As for the prereleases, which is what this article is really about, I could not agree more. I try not to listen to any prereleases anymore and, before making any judgment, listen to an entire album through a few times. The Moonpies played it so well by the surprise release and left us no choice but to listen to the whole thing. Honestly, I forgot that Pardi’s release was still impending until I read this article since it seems like it’s already out there. Prereleases are part of the fast-food culture when everyone clamors to have it all right away.
August 27, 2019 @ 12:59 pm
This is very frustrating for me as a listener/consumer. I hate that so many songs get released before the album as a whole. Also, I really related to the first paragraph.. I used to go wild over that sticker on CD cases that seemed freaking impossible to get off and all I wanted to do was shove that thing in a car stereo system and listen! Church’s “Desperate Man” sure didn’t suffer from releasing the way it did.. I just feel like the music will speak for itself. It’s like unwrapping presents on days leading up to Christmas instead of opening them all on Christmas morning. I guess it’s subjective, but that’s my take.
August 27, 2019 @ 1:36 pm
I always felt like the sticker was penalizing me for buying a non-bootleg product.
About like having to endure all the anti-piracy stuff at the beginning of a dvd I just bought.
August 28, 2019 @ 7:20 am
Realized I said Desperate Man and I was meaning to refer to the album Mr. Misunderstood
August 27, 2019 @ 1:28 pm
Pre releasing several songs definitely weakens my expectation of an album. It’s too easy to form an opinion based on those songs and not getting to hear the complete project. I am so glad that Cody Jinks has decided to not pre release or perform any of the new content on his upcoming release. He’s got me looking forward to October 11. I miss the days of an artist releasing a single maybe even a B-side and then about a month later getting the full project.
August 27, 2019 @ 1:34 pm
I disagree, completely. You kept using the same couple of reasons why you believe that it is a wrong thing and repeated several times. The fact is in today’s streaming market the album sales do not amount to as much as they did years ago not even close. You can look at it this way Jon Pardi or Miranda or any other artists gets full play on a song that is released for streaming for a few weeks usually a couple at least and sometimes longer. During that period streaming music fans are racking up serious numbers of plays. Then it is rinse and repeat for the next song. This happens usually for three four or five songs from an album. Instead of a one or two week play cycle for their album they get a couple months of play times. That’s just how it is when every week there are ten twelve or more albums being released. Your album at best will get a few two or three songs played for a week or two when the album comes out and it is on to the next artist. Or you can release songs along the way stretch it out and get more listen time to more songs. As an artists they are now hoping that those who streamed their songs will come to a show next time they are in town. It’s just not like it was years ago when 1-5 albums at most came out. Back in the late 80’s and 90’s I used to purchase virtually every country album when it came out. I have not purchased more than four or five albums over the last few years. Why would I? They are available on my phone and I don’t have to store them. Sorry you get 1/2 of 1 thumbs up on this one.
August 27, 2019 @ 2:33 pm
“Your album at best will get a few two or three songs played for a week or two when the album comes out and it is on to the next artist.”
Only if the album doesn’t resonate, and the fan is fleeting. As I said in the article:
“Albums are for core fans who will go into battle with their favorite artists and pay their bills. Instant grat tracks are for passive fans of fleeting interest.”
Real fans will buy the $99.00 pre-order vinyl/t-shirt/signed poster/koozie bundle, and still stream the record. Catering your album release to fans who will forget about you after two weeks is foolish.
But I don’t have my head buried in the sand here. The way people consume music is changing. But that doesn’t make it right, or good.
August 27, 2019 @ 3:04 pm
I stand by what i said i spent thousands every year on cds back years ago i could afford it and i supported those artists, not just with album purchases but concerts merchandise, etc. I also support them now with concert tickets although less because I am 70 and not able to stand for hours. Times change and the payoff is different now, your reason for it not being good ie; getting fans to spend $99 on vinyl etc is also the exact same reason that with streaming it makes sense to release a portion of the album early. I’m not even going to speak about vinyl and how few people buy it as opposed to purchasing and downloading or getting a CD. It gives you more opportunities to reach that buyer. And it makes it much more likely that during that early release period more fans will come out to see the artist live. Because they want to hear that new song they just heard streaming. All of your reasons are the same for streaming. I hope this is not about greed. You act as if the streaming fan is not a real fan who won’t spend his/her money for concert tickets or merchandise and that’s far from true. There is a problem in today’s music industry because streaming should not be so cheap. But that is for another day, and remember I am someone who would regularly spend $100 or more a week on CD’s. Get with the times because on this one your beating your head against the wall
August 27, 2019 @ 8:23 pm
“Get with the times because on this one your beating your head against the wall.”
I’m beating my head against the wall with most all of the subjects I discuss, or causes I champion. Doesn’t mean they aren’t important. I’m just adding my perspective to what I believe is an important topic. It also appears there are a lot of listeners who agree with me.
August 27, 2019 @ 11:21 pm
I didn’t take it this way at all. I took this as the difference between one or two number one songs on an otherwise boring album vs a solid cohesive album nine or ten songs long. If you spent thousands 25 yrs ago on new albums and CDs, what other choice did you have? The difference here is listener preference. Do you want that flash in the pan hit single that is overshadowed, or worse, cheap and irritating by next year? Or do you want that solid 80 mins of passion and raw emotion and humanity that you can listen to now or ten years from now and still feel? I’ve been streaming music for years. I still prefer albums to songs, be it 70s CCR live or Weezer’s Pinkerton or the recent Moonpies Silver and Gold. Streaming music isn’t cheap when you pay for albums, still go to shows, buy the t-shirts and cds, or crowdsource your favorite band’s new album. If anything, I spend far more on music now, but I feel it, love it, and support it more than ever before. I can put on an album and lay on the floor and be transported to an entirely different place and feeling. I can’t do that with a 3 min single. For me personally, I feel like streaming and crowdsourcing have made independent artists less beholden to money grubbing labels looking for a fast buck. Today’s Independents are shying away from those regulated labels and instead focusing on writing and playing what they believe in and hoping that someone will take notice. I notice, and I appreciate it. A lot of other people do too. Long live the album, in it’s entirety, cohesive from start to finish, free from the prerelease buzz and bias.
August 31, 2019 @ 8:29 am
The digital era of music has already destroyed that euphoric moment you experienced as a younger music fan when you would buy an LP, CD, or cassette at the record store, rush it home, get frustrated wrestling the cellophane loose and that stupid little anti-theft sticker that ran along the spine of the jewel case that never peeled off in one piece, frothing with anticipation of what you would hear.
I think that Trigger’s opening description is the essence of what has changed in the experience of listening to music between pre- and post-digital availability. I get that musicians need to make a living and I accept that it is not only practical but ESSENTIAL for artists to be able to monetize their cultural products. I don’t grudge them of financial rewards. But as a human being, what I am greedy for is not savvy consumerism when it comes to listening to music. I am searching and willing to compensate for skillful human connections through storytelling because that is real work! That is work that deserves compensation! So, I agree with Trigger’s implicit idea that sitting down and investing my time and attention with a carefully thought out and meticulously curated album is the closest that the artists and their fans are able to have an intimate conversation through their mutual love of music.
Listening to pre-release singles one by one is like reading excerpts from books, or quotes from famous speeches: You get the essence and the heart of what the writer/speaker is trying to say, but you lose the context and the intent — the “how” and “wherefore,” which can be just as important as the message itself. There’s a world of difference between reading the Reader’s Digest and reading the full 600 pages of, say War and Peace, and I don’t think that Trigger’s lament is about being behind the times. I think he’s making an valid and valiant argument for record labels to respect, or at least acknowledge, that the value of what their selling is ultimately in the human experience of connection. It’s how you gain new fans and how you build a base of core fans. It’s how you build a sustained relationship that’s allows BOTH financial gains and social meaning.
On the flip side about this “greed” business: Some songs can and have stood alone on their own, without their album mates. But wouldn’t it make more sense to let songs come into their own based on the tests of time, zeitgeist, and public reception? I don’t trust cultural values being shaped by questions of gaining power and money — shouldn’t it be the other way around? I guess that would be naive, but it’s still an ideal. If anything, I would say streaming culture is more about greed: Being able to stream whatever you want, whenever you want, however you want is all about manipulating numbers and raking in money and attention by playing into instant gratification — and the kind of desperate instant gratification we see now is a trained response for sure.
August 31, 2019 @ 8:13 pm
I stand by what I said. All your whining is not going to change or stop singles being released. That’s been happening as long as records have been made. Just yesterday Trigger wrote a whole article on an advanced single released by Ashley Mcbryde. Praising it and talking about the new album. He just claimed he did not like doing that in this article we are commenting on. The industry is changing. Change with it embrace it or be left behind. You don’t like listening to singles from am album don’t listen to them wait till the album comes out. No one will care. You can be happy and so will the vast majority of music fans who just want to hear new music from their favorite artist.
August 31, 2019 @ 8:47 pm
Ken, please don’t misrepresent my opinions. I stated very specifically in this article and other places that a lead single from a record is customary and warranted, and maybe even two if that’s how the timing works out. It’s four or five advanced songs like we’ve seen from Miranda Lambert (and word is a sixth might be on the way) is when it gets ridiculous. Ashley McBryde’s new song is the lead single from her upcoming record being sent to radio. Not releasing a lead single like that would be irresponsible.
August 31, 2019 @ 9:32 pm
Exactly. Not trying to be argumentative we both have i believe valid thoughts on this. We are engaged as fans and in your case as your livelihood. I respect that. I just think differently and in my mind more in line with what way the industry is going. Take for example Erin Enderlin’s multiple volume release of 3 song volumes. I think ideally that’s a great way to keep your music and your name in front of fans and building hopefully new fans over a larger period of time than a single release of 12 songs would. There is so much competition now especially for the Independents and this is one inexpensive way for them to get more time in front of fans.
August 27, 2019 @ 1:59 pm
I do feel like these pre-release tracks take away from the actual album. Chris Young is on his third pre-release song and he hasn’t even announced when his new album will be out. I try to avoid listening to these songs until the album actually is out, but it does get hard sometimes. Like Combs has a new album out in November and for all we know, we may have heard a good chunk of the record. I’m old school and still actually buy CDs, but these pre-release songs do ruin the joy you get hearing them for the first time as a whole project. Hopefully this trend will eventually go the way of bro-country.
August 27, 2019 @ 2:29 pm
Luke Combs released an EP of songs that will be on the new album. So not only are you assured you’ve heard half of them, if you buy or download it, you’ll have to buy those same songs again.
August 27, 2019 @ 2:13 pm
Amen, couldn’t agree more.
August 27, 2019 @ 2:23 pm
You guys are trying to put everything in a box and claim authority over the title country music which is SO much bigger than any of us individually. This website is trash and I feel bad for anyone who writes for a website so vehemently dedicated to excluding and claiming to be an authority on what makes good music. Not only is it just so negative in nature-but it’s also narrow minded. But if you write for this site you’re gonna give zero value to these thoughts anyway so what’s the point?
August 27, 2019 @ 3:24 pm
So just to clarify… streams of “it all comes out in the wash” and Miranda’s other pre-released songs count towards her first week streams for chart purposes?
August 27, 2019 @ 8:17 pm
Yes. All metadata activity accrued pre-release will be compiled into her first week sales.
August 27, 2019 @ 9:54 pm
Not exactly.
The opening week total, which impacts the Billboard chart position, consists of the following:
– Pre-orders (and any relevant bundle promotions) that are redeemed during the first tracking week.
– Actual album sales during the first tracking week.
– Track sales during the first tracking week (converted to equivalent album units)
– Track streams during the first tracking week (converted to equivalent album units)
The pre-release activity on songs like “It All Comes Out In The Wash” will NOT count toward the opening week sales/consumption/chart numbers.
It will, however, count toward the album’s RTD (run-to-date/release-to-date) total, which impacts certifications from the RIAA. That’s how you’ll see albums from artists like Drake, Cardi B, Post Malone, etc go gold the day they come out – because activity on the pre-release singles already adds up to over 500K album equivalents.
August 27, 2019 @ 11:22 pm
Okay, I will take your word for this and look into it more when I have a moment. The way it was explained to me was all song streams would count as album equivalents for the first week, but maybe I misunderstood, or maybe that rule was changed at some point.
August 27, 2019 @ 3:33 pm
This happens primarily for one reason. You can only pitch one track to Spotify playlists at a time and it has to be something that isn’t released yet. But a single counts as an upcoming release. So 4 single releases + the album release is 5 chances to pitch the curators. A single and then the album is 2 chances. Once the album is released, you can’t pitch any of the other songs. (There’s some nuance to this, but mostly it resides at the higher levels)
For better or for worse, Spotify Playlist placements are a huge prize for an artist and their partners and that’s what is driving this.
August 27, 2019 @ 3:45 pm
I do agree that the current release (& pre-release strategy) is broken, especially for independent and up and coming acts. But it’s not being held onto because labels are dumb and hate albums (not your words, I know, and we can be dumb for other reasons!). Again, not saying the current way is good, but there are many reasons it’s in place, here’s a few:
-presales add to charting. Already touched on in thread, but albums that chart well, will go on to get better positioning across all digital and physical formats.
– the biggest physical retailer by far is Amazon. They are basing their initial album purchase largely on past performance and presale numbers. For most artists, Amazon is a bigger deal than all other physical retailers combined.
– releasing tracks early on spotify puts you into their “Release Radar” playlist, one of the most powerful ways to introduce your music to your fans on the platform
-press was mentioned above, but I’ll also add that it’s not just for potential record sales, festivals and bookings are another reason for these early releases.
I could keep going, but I won’t. I think one of the reasons there’s a rise in artists bundling and/or signing their products is to find a way to take care of hard core fans who are turned off by digital release strategies
August 27, 2019 @ 3:57 pm
Thought something like this when I saw the lyric video for Miranda’s new one pop up on YouTube. Five pre-release is a bit much. Same with Pardi (minus one or two maybe) but at least it’s one song a month. Not one a week since it’s been announced.
August 27, 2019 @ 4:12 pm
And every pre-release but “Bluebird” sucks. Thanks, Jay Joyce.
August 27, 2019 @ 6:24 pm
My problem is that I have not loved any of Miranda’s new music, which has killed my enthusiasm for wanting to hear the “album” in its entirety.
August 27, 2019 @ 7:01 pm
This article just made me realize we’re only about six weeks away from Cody Jinks’ new album and have yet to hear one pre release tune.
August 27, 2019 @ 8:10 pm
And if you’ll remember, there were a lot of Cody Jinks fans that weren’t especially jazzed about the early songs he released from his last record. I think “Lifers” was still really solid. But some people got spooked by the early songs. I think the wrong early song can go a long way to taint people’s perspectives.
August 28, 2019 @ 7:47 am
Childers is damn lucky that hasn’t been the case with Country Squire. At least it’s not a big enough group to derail his rising
August 27, 2019 @ 9:12 pm
This is something I can agree with you about. I feel like I’m getting ripped off these days. First a single or two gets released, then the EP, then the album pre-order singles, and finally an album with two or three new songs. But wait, there is always the deluxe, super deluxe, Target exclusive, foreign country only albums each with their own songs to come along.
I have stopped buying singles so I can get that all new album feel back. It’s hard to wait sometimes, but I enjoy the album more that way, and I’m not buying the same songs multiple times.
August 28, 2019 @ 8:49 am
Peaking at your Christmas presents is awful fun, cause you know what you’re gonna be getting. But it sure does make Christmas Day boring.
August 28, 2019 @ 10:07 am
I remember hearing a song on the radio and loving the anticipation of hearing the whole album, which would usually come a month or two later. I’d turn on the radio just to hear that song again, and even maybe try and record it on tape. It not only prepared me for the album’s release, but exposed me to other new songs by new artists that helped me repeat the cycle. Having half of the songs out before the album completely kills that anticipation and even if I like the songs, I usually don’t circle back to the album. In some cases, I’ve stopped listening to the early tracks for artists I really like. It makes the new music more enjoyable.
That said, contemporary corporate country albums, which I usually stream once and then never again, can be released however the label chooses. I don’t care because they’re usually a collection of disparate songs with no flow, chosen or written specifically to pander to a target demographic. When they release multiple songs pre-release, it’s because they’re trying to rope in certain groups, rather than trying to offer a taste of the artist’s direction.
August 28, 2019 @ 5:14 pm
Very thought provoking..as a music consumer I have to say that the instant gratification of more singles in advance is nice, but I can see how from the artist perspective a leaner approach might be more strategically effective.
August 28, 2019 @ 9:50 pm
Amen!
August 28, 2019 @ 11:28 pm
Back in the day there were some artists that sold more records than albums. Country has almost never been about albums, but instead songs.
September 1, 2019 @ 8:55 am
I think one reason for so many pre-releases for Miranda’s new album may be the fact that her tour starts a month and a half before the album drops. Although i always buy her albums anyway i tend to think of her mostly as a touring artist more than a commercially viable act if that makes sense.
September 5, 2019 @ 1:45 pm
Here is something to contemplate for new artists. I realize content is king, but the rationalization of how to release content and timing is also key. For newer artists, we have to determine how to rise above the noise floor of releases to be noticed and then stay there. If we have one shot and then we are on a two year release cycle, that may put us far behind the competition. If we continue to release new content every couple of months, it can create a sustaining appetite and attract fans who are now days ADHD.
Secondly, it comes down to finances. With no label support, no trust fund, the DIY musician can only spend so much on studio time. Do we wait until we get all the music compiled and release an album OR do we release as we can to work our way up Everest?
I love the album concept. I am sad it is dying. I appreciate some artists for still keeping it on life support, but if you listen to a publicist or someone it today’s marketing about how to emerge, it comes down to how to break through and then how long can you stay relevant. I would rather take time to do the best I can/afford in the studio and then let it create a life of its own. Hopefully (fingers crossed) the music is well received. That is all that really matters. Content is key but some of us have to get content out there on a timeline albums won’t support in the new paradigm.