So, help me here: I find an obscure track from a music company’s back-catalogue- most likely, a recording under Public Domain- that no one working there had even heard of, I am willing to pay a DJ to remix it for a Premium CD for one of MY clients, and the music company wants to be paid for the original track AND own the Master Rights to the Remix.


Make sense to you? Or is this just another example of how desperate music companies are for chump change- and how partners they so desperately need, go to some soundalike company, or just give up on the idea and say,”Why bother? I’ll just bend a few notes, write something original, own all the Rights and release it on my own”.


To be fair, the person I asked about the above comes from “digital” and admitted she had no idea about the “approval process.”

This “approval process” has been a major chasm and bone of contention between business partners and music companies since Methuselah and The Vandellas ruled the airwaves.


There is a very simple problem/solution here: The wrong people in all the required positions where all sides can win IF the fish didn’t stink from the head down due to poor management with no one caring about who does what.

It’s like the Wild West and, still, music companies wish to have one final futile attempt at- yawn- conquering the China market?

What market? But, before that, with who? Where’s the team that can deliver?


I can go through every single music company in Asia/Greater China and point out why those promoted above their obscene levels of incompetence are massively overpaid Yes People incapable of making a decision, and just Happy as Pharrell in a silly hat to simply say, No, because it’s easier than saying, Yes.

Maybe, I’m a dreamer, maybe I know music companies and their inner workings too damn well, but it’s not very smart people unable to grasp the basics of business and living in their insular la la worlds.

Maybe, I see too many out there happy to coast below the radar, keep outta harm’s way, and receive that golden handshake at the end of a very long and slow innings of doing bugger all.


This is soul destroying to anyone who first heard a piece of music and went,  “This is a business I wanna be part of and a creative process where i think i can make a difference.”

Today- and this IS today, by the way, and not yesterday- trying to GIVE music companies BUSINESS is more work than it’s worth as it means looking over those incapable of traveling down that two-way street in the spirit of partnership, and shows how the music has left the building with Elvis along with understanding that to build partnerships, one has to give a little, to get a little, in the glory of love.

It’s all been reduced to dealing with those with titles that mean nought, and, let’s face it, those with no idea of how to see the bigger picture and deliver something other than vapid soundbites.


Every time I meet those from music companies, there’s the sad realization that nothing has changed since that legend in his own lunchtime- Harry Hui- was made head of Universal Music in Asia with those around him being fawning nincompoops who said nothing about his goofy ideas- but guffawed behind his back.

Back-stabbers? Nah. Just those in it for the free ride and to be seen as being in a “glamourous” industry, but who, in hindsight, made someone as inconsequential and goofy as Harry Hui look like a visionary.

He wasn’t and neither was his Loitering Barmy Army whose “executive skills” have been handed down to those too young to understand, and too lost in thinking that working in a music company today has any relevance.

It doesn’t and way too many of these “music companies” have no soul or chutzpah as they plod along being managed as if banks with very few being capable to think outside of the box and offer up some new thinking- to music fans and business partners.

think inside the box

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