Wolfgang's Vault, which offers high-quality digital recordings of rock concerts, has been trickling out updates since I wrote about its new iPhone app last month. On Tuesday, the site will begin to offer a new optional membership model where $48 a year gets you $50 worth of merchandise, plus discounted downloads and other benefits.
Wolfgang's Vault offers free streams, and downloads that cost up to $12, of professionally recorded concerts, in various formats up to and including lossless FLAC files. The Vault got its start by buying the recorded archives from San Francisco concert promotion company Bill Graham Presents, and added to that with the King Biscuit Flower Hour, a live concert radio show popular in the 1970s and '80s. That means the vault is pretty heavy on music from the classic rock era. However, the same company also owns Daytrotter, which invites touring bands into a studio in Illinois to record a session, which adds nearly 800 sessions from modern, mostly independent acts to the archive.
Starting last week, the company began releasing hundreds of new recordings under a promotion called Cracking the Vault. It expects to add more than 1,000 new concerts over the next three months, including 150 shows by the Grateful Dead that have never been officially released. (Although, knowing the Dead, bootlegs probably exist.)
The new membership model allows true fans of the site to show their colors and become WVIPs. It's strictly optional--this isn't a new subscription service, but more of a fan club. An annual fee of $48 nets you $50 in merchandise (including posters, T-shirts, and other memorabilia) from the Vault Store, plus 10 percent off on all merchandise (you can take the 10 percent before you reach $50), 30 percent off on all downloads, unlimited streaming access from the iPhone app (non-members are limited to 10 hours a month), special offers, and exclusive download packages. Perhaps most interesting: if you're ever in San Francisco, you can arrange a tour of Wolfgang's Vault headquarters, which the company claims contains the world's largest collection of concert memorabilia.
Record label EMI this week announced that it will begin selling on-the-spot recordings of concerts.
The name of the initiative, Abbey Road Live, is a bit misleading--it doesn't have anything to do with the Beatles album or the recording studio after which it was named.
Rather, EMI is using its Abbey Road brand to indicate that these aren't low-quality bootlegs but professional multitrack recordings, mixed and mastered on the spot, and sold on CDs, DVDs, or flash drives to fans at the venue. EMI also said on Wednesday that it plans to make the recordings available as streams or downloads, so fans can access them from home.
Instant concert recording isn't new: EMI sub-label Mute Records has had a similar program in place since 2004--according to the press release, 10 percent of fans at a recent Blur concert downloaded the show afterward--and Willie Nelson has been selling flash drives with on-the-spot concert recordings for several years.
But having a large record label like EMI on board legitimizes the practice. It's a no-brainer way for live acts to earn some extra cash--and great for fans as well. I can think of many concerts I've attended, after which I would gladly have paid another $20 for a recording. This should become standard operating practice in the next couple of years.
Pollstar magazine asks a good question: why aren't more artists recording their live concerts to CD and selling them at shows? I recall that the Pixies recorded most of the shows on their reunion tour in 2004, but I haven't seen many bands do it since.
Pollstar notes that some venues retain the rights to sell anything recorded there, while others charge artists a fee for the privilege of recording their own shows for resale later. (Fair enough--the venue has probably invested heavily in sound gear, or at the very least in acoustics, which may have an effect on the final product.) Copyright issues surrounding co-written songs and label/publisher ownership can also be an issue.
But another reason is technology: rigs that can burn lots of CDs simultaneously cost several thousand dollars, and the artist has to haul this gear as well as blank CDs and jewelcases around. One possible answer is memory sticks. They're more expensive per unit than blank CDs, but they're smaller, file-transfer is faster, and they don't require dedicated equipment--just a computer, which you're probably already using to record the show.
At least one high profile artist is already doing this. Last summer, I spoke to Seattle P-I reporter Todd Bishop (who maintains an excellent blog on Microsoft) right after he got back from seeing Willie Nelson. Willie was selling USB wristbands of the day's concert for $25 a pop at the show--in fact, you can still buy them through his Web site. Trent Reznor also made some very creative use of memory sticks to promote Nine Inch Nails' last record, and given his recent split with his label, I wouldn't be surprised if he starts selling music this way as well.
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