HENRY STONE BLACK MUSIC INNOVATOR


Henry Stone was born and raised on Jackson Avenue in the New York City borough of the Bronx on June 3, 1921. His family stayed in the Bronx until their move to Manhattan’s Washington Heights neighborhood. Henry remained in Manhattan till the age of eight before going away to an orphanage in Pleasantville, New York after his father passed away. He remained at the orphanage until the age of fourteen.  It was 1943 when Stone joined the U. S. Army. He was stationed at Camp Kilmore in New Brunswick, New Jersey for three years. He played in the first racially integrated Army Band and recalls, "I spent a lot of time with Black musicians and that’s where I got a lot of my Blues background."  After being discharged in 1947, he moved to Los Angeles, working on sales and promotion for Jewel Records and then Modern Records, and traveling around the country.

Ray Charles came to Miami n 1951 and I ran across him and he told me he needed to do a gig… I invited him to my recording studio and we cut four sides." The 78-RPM recording of St. Pete Florida Blues ended up selling fairly well in the South and is considered highly collectible today.

During the 1950s Henry kept busy by building his distribution company and recording local artists. He says, "I always liked to make records (produce and record them). That was my hobby. I did a lot of Blues stuff with Earl Hooker, John Lee Hooker, The Charms’ "Hearts of Stone", which became an R&B chart #1 hit in 1954. He was also instrumental in signing James Brown to King, and in recording Brown’s first hit “Please, Please, Please”



 In 1955, he established his own independent publishing companies and several record labels, including Chart and Dade, mainly recording local blues artists. In 1960, Stone cut "(Do The) Mashed Potatoes" by "Nat Kendrick and the Swans" – actually James Brown's backing band - for the Dade label. He also set up Tone Distribution (originally Tru-Tone), which became one of the world’s most successful record distribution companies.  He would distribute records for Atlantic Records, Motown Records, Stax Records and many more independent labels right up through the 1960s and 1970s.

Henry’s success included Betty Wright whose "Clean Up Woman" was a major hit in 1971 on his Alston label. He also set up the Glades label, recording the million selling hit "Why Can’t We Live Together" by Timmy Thomas.  In 1972, Stone formed TK Records (named after studio owner Terry Kane), based in Hialeah Florida


Stone’s companies produced numerous other hits during the 1970s, including Beginning of the End’s "Funky Nassau" (on Alston), Latimore’s "Let's Straighten It Out" (on Glades), Anita Ward’s "Ring My Bell" (on Juana), Little Beaver’s "Party Down" and Gwen McCrae’s "Rockin’ Chair" (both on Cat), and Peter Brown’s "Do Ya Wanna Get Funky With Me" (on Drive).  Two of Stone’s warehouse employees, Harry Wayne “KC” Casey and Rick Finch, began collaborating on writing and performing songs, with Stone allowing them to experiment in the recording studio after hours. As KC and the Sunshine Band, they released a string of hits such as "Get Down Tonight", "That's The Way I Like It" and "Shake Your Booty", all on Stone's TK label. The band had five number one pop singles, and platinum albums, winning five Grammys in 1976. At the same time, Casey and Finch wrote and produced the number one "Rock Your Baby" by George McCrae, and his follow-ups.
By the late 1970s, the TK Records and its sister labels became pre-eminent in the dance and pop music scene, but suffered badly from the anti-disco movement which followed. TK Records ceased operating by 1981, and Stone went into partnership with Morris Levy of Roulette Records to form the Sunnyview label, issuing records by funk and rap artists such as Newcleus. Stone later became involved with Hot Productions in the reissue of dance classics on CD. Today, he continues reissuing R&B and dance tracks on his own label, The Legendary Henry Stone Presents...

Stone established many different labels on the basis, he said, that it was easier to get records played if the radio stations did not realize they came from the same source.

Here’s a brief list of record labels that Henry Stone had an interest in:
  • APA
  • Alston (in partnership with Steve Alaimo)
  • Blue Candle
  • Bold
  • Cat
  • Chart
  • Dade
  • Dash
  • Deep City
  • Deluxe (in partnership with King Records)
  • Drive
  • Glades
  • Glory
  • Gucci
  • Hot Productions
  • Kayvette (partnership with Brad Shapiro)
  • Marlin
  • Nezz
  • Reid’s World
  • Rockin’
  • Saadia
  • Scott
  • Silver Blue
  • Summer
  • Sunnyview (in partnership with Morris Levy)
  • Sunshine Sound Disco (label meant to spotlight KC & Finch productions)
  • T. K. Records / T. K. Productions
  • Time-X





URBAN NETWORK 2014

BEING CREATIVE IS NOT ENOUGH

According to the Internet Advertising Bureau 20.1 BILLION DOLLARS was the amount of revenue Internet advertising reached in just the first half of 2013.  How much of that number did you receive?
Today much of the content we engage with is intimately about us, our desires, our relationships, our locations, our like and dislikes.  As a musician, songwriter, artist or video creator you want to reach the maximum audience you can as quickly as possible.  Mobile phones and hand held devices our now the “screen” of choice.   Over 70% of mobile phone owners age 18 – 29 access social media on their devices as reported by Pew Research.

Consumers’ access video on their smartphones of course, but the content accessed is directly related to their lives.  Instagram, Facebook, Foursquare, Twitter, Vine, Snapchat, Whats app and now mobile dating platforms are popping up catering to the needs and desires of coordinating, socialization and connecting human beings constantly while on the go.

Smartphone screens have become as powerful, and in some instances, more powerful that television.  Once thought to be a passing fad the smartphone market has grown to be a crucial channel for advertisers and entire campaign strategies.  eMarketer predicts that by 2017 mobile will account for four (4) of ten (10) global digital ad dollars.

Start thinking now about how you can effectively reach your targeted audience through mobile.  Having people “LIKE ME” on a Facebook campaign no longer qualifies as a social media strategy.  Successful campaigns are those that prioritize mobile devices and social media during upfront planning getting customers involved while interacting with your audience in “real time” on a one on one basis.

Technology and content are getting more personal and individualized everyday. This trend is pushing mobile devices to the forefront for both advertisers and content creators.  As this shift continues successful companies will be those who build their marketing strategies around the consumer and engage them.
Listen to the Voice of Customer (VOC) whenever you can.  Most entertainment industry content creators substitute their audiences’ attitudes and motivations for their own biases resulting in frustrating web experiences and loss of profits.   When developing your content think more about what is needed versus what you want to happen.  The most profitable content of this century was developed by what people were NOT seeing or hearing at the moment within their day to day loves.
SXSW 2014

The South by Southwest (SXSW) Conferences & Festivals offered the unique convergence of original music, independent films, and emerging technologies. Fostering creative and professional growth alike, and also numerous senior level networking opportunities SXSW was complete.   


MIDEM 2014

This year 20214, Midem was smaller in size, smaller in attendance but much more intense with business deals. The smaller floor size made it much easier to find company booths, easier to find executives and much easier to have private meetings.
The announcements at Midem were ground breaking to say the least:
Will.I.Am in his opening day speech, delivered via Skype said: “The state of the music industry is delusional… our music is seen more than it is heard… They’re showing you music rather than you’re hearing music… I try my hardest not to dwell on how delusional and dysfunctional and splintered the industry is. I surround myself with mega super geeks, so we can make and market hardware and things like that. Maybe I’m chasing something I would probably never catch, but I’ve been here before when I was in the ghetto chasing the dream of starting a band.”
“I really encourage every single person in the music industry to try and compete not with other record companies, but compete with Samsung, compete against LG, compete against the big ones! Why is Sony competing against Universal? As a matter of fact, HOW DID SONY LOSE? THEY HAD THE CAMERA, THEY HAD THE RECORD COMPANY… How did you lose to Apple?!”
Will cited Dr Dre and Beats as inspiration that the music industry can go into the hardware game and compete. “Boom. How do you like that shit?!”

In the panel debate on whether streaming music can be a sustainable platform for artists things got hot. After a year of criticism of services like Spotify from musicians including Thom Yorke and David Byrne streaming was directly accessed.
Radiohead’s manager, Brian Message, spoke more positively about the impact streaming had on the last album from another of his clients, Nick Cave. “We put streaming right at the forefront of everything he did, right the way from developing Spotify apps through we then used lyric cards and all that kind of stuff, in order to drive an awareness campaign without him having to do too much promotion. And that worked very well for us,” he said.
Meanwhile, Deezer’s CEO Axel Dauchez talked about the way the industry can’t just make music available to stream – it has to think hard about how people will discover new music through these services, in order to convince artists that it can pay off for them.
“If the platform is just a jukebox, people will only listen to the tracks they already know. If we do that, no money will finance the creation of new music,” said Dauchez. “We have a common responsibility to generate discovery: to force people to try new artists, new songs… Investing in new artists is not a marketing tool: it’s an industry need… if 70% of the streams are done in the back catalogue, there will be no new creation.
In a session on new frontiers for music videos, The Collective Music Group’s Jordan Berliant noted that in 2014: “What has changed is the video isn’t a promotional thing: the video IS the thing… It’s not something to promote something else.”
Berliant said that labels criticizing YouTube for not making them enough money were missing the point: they perhaps haven’t mastered what fellow panelist Brandon Martinez described as the “12-month content cycle” of a successful channel. ““It’s not a place to make money right now, but it’s not primarily because of YouTube or Google in my mind, it’s because the people representing the content primarily don’t understand the marketplace,” said Berliant
Lyor Cohen Unveils 300,a New 'Content Company' with Atlantic Deal, Google Backing and Ex-Warner Brass which has just signed an interesting deal with Twitter’s music division.
“We’re going to create A&R tools to find artists early, and help develop them,” he said. “I’m really happy to be working with them. Certainly the modern A&R business, we all are looking for talent in various places, and certainly Twitter is a terrific place to look at talent, just like YouTube. If you want to get signed, I think you have to engage with Twitter, and of course YouTube. And we’ll be looking and trying to develop tools that the rest of the music community can utilize. That’s super-exciting for us.”
Cohen also threw his weight behind streaming music as the future for the industry. “I think this is an amazing opportunity for entrepreneurs to be independent, especially in the music business. I see macro-business models that are not on some chalkboard, but actually reality. I certainly believe in streaming as being the future of very healthy business, and so the tide would rise.” 
“In the modern A&R business we are all looking for talent in various places, and certainly Twitter is a terrific place to look at talent,” Cohen said. “If you want to get signed, you have to engage with Twitter, and of course YouTube, and we’ll be looking to try and develop tools that the rest of the music community can utilize.”
“The mission statement is to create a lasting reputation for high quality and artist development,” Cohen told the audience.
I see 300 as a massive effort to organize and utilize independent new music, energy, creativity and acts for the financial gain of an already “FAT” executive cadre.  Developing a system that will find the “crème” of the Indies, nurture them and gain financially off their concepts has been the way of the major label since majors were created.  THIS IS JUST THE FIRST PHASE OF A NEW USERY SYSTEM.

The greatest NEW service and system made available at this Midem hands down was MUSIC KICKUP
Music Kickup is a 100% free digital music distribution service to major digital music stores, coupled with their new services Career Path and Music Kickup Foundation.  This company has the potential to become a music internet behemoth.  Their concept is simple enough, Digital distribution with ALL of the major digital storefronts (iTunes, Amazon, EMusic, etc...) for FREE
“Our disruptive technology enables 100% free and super fast distribution. This combined with Career Path creates great platform for artists to develop.” Antti Silventoinen, CEO Music Kickup
Every artist and musician wants a 100% free digital music distribution service to major digital music stores, but the Career Path service is truly what makes the difference.  Career Path is a groundbreaking artist development toolset and service that pushes the artist forward task by task. Building on Music Kickup world leading analytics and their partner network, they build human curated artist pathways for regions, artist development and genres. The qualified and quantified data makes sure that the artist will always be presented with the right next steps and opportunities. Career Path will be online March 4th 2014.  This allows for the ability to have a virtual consultant online who will give the artist specific tasks to accomplish day by day allowing them to market, promote and sell their music.   Additional marketing partners include manufacturing, marketing, promotion, design and video all ready to assist the artist in having a winning Career Path.
“The combination of career development tied to actionable distribution solutions based on analytics and data is a smart marketplace solution.  I'll be watching closely what this company can do for artists of all sizes around the world.” Jay Frank, Owner & CEO of DigSin and Author of the bestseller Futurehit.DNA Also expanding Career Path is Music Kickup partners, such as 3plet, Radar Music Videos, Band App and MusicXray. Career Path gives them unique a unique platform and access to artists, who through Career Path can be reached at the right time.
Adam Perry, CEO of BandApp and drummer of Bloodhound Gang comments: "We are super excited about the BandApp partnership with Music KickUp. The platform allows artists to really manage their careers like never before online and BandApp will play a big part in that. Providing both artists and fans with powerful, free tools is what we are all about, and so are Music Kickup. We are delighted to be onboard a cant wait to see the results!”
“Since we started Music Kickup in 2011, we’ve been working with thousands of artists to produce the most complete service for artists to build their careers and sell their music”, Perttu Sutinen, COO of Music Kickup explains. ”After two years of development, we’ve finally nailed it!”






              A HISTORICAL LEGEND PERFORMS



                                     "I AIN'T STUDDIN YOU"
                                
                                              BOBBY RUSH