Paul James Project is a singer and songwriter who has been working tirelessly over the years to improve his craft and make a mark in the industry. Ever since he discovered his passion for singing, he has been on a roll, releasing songs that truly make an impact on the listeners and succeeding in the same. With an authentic sound and unwavering zeal, Paul James’ music is truly one of a kind.

Recently, Paul James Project released a delightful country-rock number called ‘Speak to Me in Silence’. With themes of love and nostalgia, the song exudes some irresistible vintage charm, which is brought about by stunning rock musicality and a good old 80s-90s feel. The song features some amazing retro soundscapes and flows beautifully with exotic and mellifluous motifs, adding musical splendour and artistic brilliance. 

What is so good about the track, apart from the charming rock soundscapes and smooth progression, is the stellar vocals! The way James adds softness and palpability to the song through his electrifying vocals is something quite marvellous. Only when you listen to the song would you know its brilliance. The song offers a cathartic experience of music-listening, with great, poignant verses that focus on human connections, making the most out of simplicity. 

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What keeps the song so raw, rustic, and heartfelt is thoughtful production, without any unnecessary fussy details and over-the-top beautification. With good old rock charm, loads of nostalgia, simple but heart-touching verses, and outstanding vocals, the song will easily find a place in anyone’s playlist! 

Listen to this music marvel by Paul James Project right here:

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The post Paul James Project Released a Delightful Country Rock Number ‘Speak to Me in Silence’  appeared first on Sinusoidal Music.

The music industry has the potential to reach $131 billion by 2030. It is a machine that is well oiled and serviced, with millions of musicians contributing to these numbers. Although “music” as a business goes into 4 stages or so, musicians are pictured only making and recording music. The real money lies outside what happens after musicians publish, and the tale is truly eye-opening.

Record labels were started with the purpose of taking care of  recording, mastering, publishing, and distribution of music. Initially slated as “letting the artist focus on the music”, many noticed that the trend was self-devouring. Many artists stopped owning their own music, contracts were unforgiving, and a constant cycle of touring taxed these performers. 

With this in mind, musicians did begin to start their own record labels. We look at a few who really made it big, and the others who bit the dust. Try to notice the similarity between those who failed. I’ll catch you at the bottom of the article again.

Shady Records (Eminem)- 250 million 

Thanks to his lyrical fortitude and firm place in pop culture, Eminem was quick. I meant that in two ways. He understood that losing ownership of his music and dancing to someone’s tune isn’t really worth it. Shady Records is his own label–and almost the entire net worth is from Eminem’s catalogue as well. That’s the real slim shady.

Roc Nation (Jay Z)- 140 million

We’re going through a bit of travel for this one. Jay-Z was initially tied to Roc-A-Fella records, with whom he had a public falling out. Though a group of rappers began the label, internal friction caused Jay-Z to leave. He soon joined Def Jam, releasing a few records under their label. Taking big pay cheques from each of these groups, he waited for the right opportunity for some serious coin.

When the entertainment group Live Nation offered to make Roc Nation more than a label–he was intrigued. This meant NFL shows, entertainment options while having ownership of his music. No wonder the mogul is a billionaire now.  

Reprise Records (Frank Sinatra)- Acquired by Warner Music Group 

 for 10 million dollars in 1963 

Sinatra was one of the first music superstars to be amplified by different media formats like radio, TV and film. He began Reprise Records in 1960, to find more freedom in his recordings. In the first 2 years, he had signed almost the whole Rat Pack, Bing Crosby, Jo Stafford, Rosemary Clooney, Duke Ellington, Nancy Sinatra & Esquivel

He sold the label to Warner Music Group for a mere 10 million dollars (adjusted to 104 million now). He continued to hold 1/3rd interest in the label, although many previously signed acts were dropped. Reprise as a brand continues to operate under WMG.

Maverick Records (Madonna)- Acquired by Warner Music Group 

In many ways, Maverick was supposed to be the beginning of a revolution. Madonna became one of the first female artists to head a real record label, and one of the few women to run her own entertainment company. Her landslide albums and star power made it a profitable label, Alanis Morissette and grunge rockers Candlebox brought some name and fame to the label.

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However in March 2004, the label and Madonna filed suit against Warner Music Group for mismanagement and poor bookkeeping leading to losses in millions of dollars. WMG filed a countersuit, alleging the same. On June 14, 2004, Madonna and co-owner Veronica Daschev’s shares were purchased, and they were exiled from the company. 

That’s 2 for WMG, in this tiny list. 

Apple Corps (The Beatles)- 5.5 million pounds

Let’s not make the list all depressive. Apple Corps is still owned by The Beatles (and estates of those who have passed). The undisputed spearheads of the music revolution, the band realised that most of their life would be whiled away not owning their music and touring even if they didn’t feel like it. 

It is evident that The Beatles wealth and presence in the world has made sure no one has bought out Apple Corps. Perhaps McCartney and Starr have some stories to share. The label continues to operate to this day-the most of the catalogue made by the success of the Fabulous Four. 

Tangerine Records (Ray Charles)

Though a famous record label and catalogue, the true net worth of Tangerine is not known. Ray Charles founded the label in 1962, and moved to it in 1967. ABC-Paramount was the distributor, and did not manage to acquire the company. When Charles left ABC in 1973, he closed Tangerine and started Crossover Records. 

Silver lining? Ray Charles Estate still owns Crossover and the Tangerine name. Small win for an artist. 

Bizarre/Straight/DiscReet (Frank Zappa)- Warner Music Group 

Zappa was always for the freedom of artist and against the monopoly of the music business. A lot of his music has it in subtle, sharp and clever ways. 

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Bizarre mutated into DiscReet, where Zappa released some of his most experimental work. In 1979, Warner Bros. decided to release four albums for which Zappa claimed Warner Bros. did not have proper permission. As distribution goes, Frank Zappa had a lot of disagreements creatively with Warner–a massive player in the music game then and now.

It also led with partnerships ending with Herb Cohen, his long time manager. This was due to acts being signed who Zappa did not approve of, namely Kathy Dalton and Growl. The record label is still property of the Zappa Estate.

Grand Royal (Beastie Boys)-Defunct

The Beastie Boys were a powerhouse by the time they began Grand Royal Records. It was the same name as their magazine, which they ran quite regularly.  After they left Def Jam Records in 1992, the boys began this label for their further releases. 

However, due to poor management, Grand Royal closed down on August 31, 2001, and formally declared bankruptcy in July 2002.

Paisley Park/NPG (Prince)- Warner Music Group discontinued 1997 feud with the company 

Mainly run by the genre bending powerhouse Prince, Paisley Park Records had limited success thanks to its owner. As usual, the distributors were Warner Music Group, and had a distribution deal with the stellar artist. 

However in 1994, WMG dissolved their contract with Prince after their feud. Prince fought for the rights to the master recordings of all artists recorded at the label’s studios–and won the case. Prince later started NPG Records, run by Trevor Guy.

Third Man Records (Jack White)- 17.6 million net worth

Though modest in number, Jack White is very responsible for the global vinyl revolution that is going on. From Adele to Metallica, many artists have moved to Third Man for publishing their music on vinyl. 

An avid old schooler, Jack White is pushing for the retro rhymes to return with the same style it did. All The White Stripes music, White’s solo work and many other artists are now connected to Third Man. A modest worth of 17.6 million dollars, the 3 production houses now running have a unique aesthetic and appeal. 

The power of the indie music movement

Very few artists have found success outside the massive connections and establishment the Big Four groups have. They are namely, Universal Music Group (UMG), Sony Music Entertainment (SME), Warner Music Group (WMG), and BMG. Globally, they control approximately 75% of sales. 

This is why movements like Taylor Swift’s are important. Although she re-recorded all her music under her individual label, the ownership of an artists music should be theirs alone. Millions of masters and originals belong to these big four record companies now, who drain royalties for it to this day. A slice of the pie goes to the composer, the original maker of the music. 

The independent music movement powered by the internet is supposed to be a game changer. Musicians can now own their music, distribute it through websites and labels who respect the art itself. These examples are dire moments of realising how the capitalistic music industry has to be dissolved, only by the listeners power. 

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‘Cry Baby’ is the 6-track debut EP by singer-songwriter Erica Rose that takes its listeners on a journey of genre and sound. From in-your-face sass to reflective vulnerability, each track on the EP finds our narrator at a pivotal milestones in their   life. 

Each track takes on a new layer, braiding in sass with vulnerability while articulating emotions that feel familiar, yet well thought-out. Heartache moves, on its way to healing as we make our way through this album’s tracklist. 

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‘Cry Baby’: Track-by-Track

‘Cry Baby’: ‘Cry Baby’ – ‘Reason and Love’

We begin with the playful, energetic tones of the titular track ‘Cry Baby’. The lyrics feel like an description wrapped in warning that doesn’t take itself too seriously. It’s imbued with the blend of sass and attitude, an in your face interplay with this edge of defiance. 

“…She’s just a cry baby,…she’ll always lie…she’ll make you cry baby…”. 

It gives you a sense of who this is, and where they find their start in a way. 

‘Move’ holds in its melodies a fun groove, while urging the listener to just do what they want, know fear. The groove swings past with this deliberate sway, working to urge confidence out of a wallflower, who seems stuck their corner of the room “…quiet and afraid…”. 

The vocals seems to pan all over by the song’s climax, urging passion and release. “…Baby light that flame and burn that city down…”. “…I want to see you move…”. 

‘Reason and Love’ is a slow, vulnerable acoustic guitar track that reflects on all those mismatched pieces that were left behind in the wake of a failing relationship. “…I met the girl you think you see in me today…”. We see the parts that were nurtured then let go of, fuelling this sense of frustration that seems to make sense as it goes on. 

“…Reason and love…keep little company…”. 

The things our narrator realises on this track feel warm, almost settled. 

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‘Cry Baby’: ‘Lose Sleep’ – ‘Falling’

‘Lose Sleep’ brings back the energetic rev-up from the first track in the EP, with a renewed sense of vigour. The narrator seems to hold this sense of value for themselves, and have no time to waste, building a new life in wake of the life that fell apart. 

“…I got shit to do…I won’t lose sleep over you…”. 

‘California’ brings back guitars with this soft sense of nostalgia. The lyrics begin to embrace this calling for a new beginning, rethreading old parts and remapping plans in an effort to start again. 

“…I moved to California for a man, must admit there was (no) plan…

…Two years later…looked around and couldn’t find what brought us here…”. 

But soon they realise, “…It’s…New York that’s got my heart my dear…”. The song grieves what’s going to be left behind, but strives to forge ahead anyway. 

The final song on the album, ‘Falling’ is a song that feels settled in its sentimental passion. There’s a depth to the track, eluded to by the song’s soundscape and impassioned vocal delivery. “…I’m falling fast for you and I’ll let you catch me…”. 

There’s a vulnerable edge to the song, evident most prominently in its key change. The narrator wants to know they’re in a loving situation, even though vulnerability scares them tremendously. It charges the song with this finality that feels deeply emotional, sentimental in its vulnerability. 

Conclusion

‘Cry Baby’ by Erica Rose delivers on what it promises, taking us on a journey that feels equal parts energetic, as it is reflective and vulnerable. Its use of genres and lyrics that evoke emotion help tell its story of growth with moving efficiency. 

Energetic, Familiar, Immersive and Nostalgic.

Listen to ‘Cry Baby’ here:

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