Interestingly, record company
executive David Tedds says that this question of branding is not new, that big
bands continued long after their leaders died because of the brand, the name recognition.
He also makes a point about doo-wop bands that would continue with only one
original member, or even no original members. (I went to see one of those bands
several years ago – I believe it was The Platters – and was shocked and
infuriated to find no original members. I left after two songs.) Other music
executives are interviewed in this film, as well as band managers and
publicists. But most of the people interviewed are musicians. Though doo-wop
and big band music are mentioned at the beginning, this documentary focuses on
hard rock. Those interviewed include Nadir D’Priest (of London), David Ellefson
(of Megadeth), David Lombardo (of Slayer), Marc Ferrari (of Keel) and Jack
Russell (of Great White).
“I think the argument can be made that the brand is more important than
the band,” says Marc Ferrari. Bands make more money merchandising their
name than selling their records, and apparently the profit margin is greater on
the sale of a T-shirt than a record. The documentary includes a segment on band
logos, showing plenty of examples, most of which you’ll recognize even if you
aren’t familiar with the music. The narrator says, “It is vital to own the trademark, and to establish an eye-catching logo
to imprint on everything from T-shirts, baseball caps and stickers to alcoholic
beverages, tattoos and condoms.” And yes, there are examples of all. “KISS
Kondoms: Tongue Lubricated.” Really? Bloody hell. I have never been a fan of
KISS, and this little bit of information certainly did not endear the band to
me. The narrator goes on to say, “No
artist in the history of music has capitalized on the business of branding more
than KISS.” True.
Several of those interviewed
also talk about classic rock bands now re-uniting without all the original
members. They use Queen and Journey as examples of bands whose bodies of work
are popular enough that they can tour without their famous lead singers. A
connection is drawn to bands who changed singers rather early in the careers,
such as Black Sabbath and AC/DC. But of course it’s not the same thing, since
those bands didn’t actually break up. Journey and Queen got back together
without key members to tour, seemingly to capitalize on nostalgia and on the
popularity of the music. At what point does a band become a tribute to itself? Someone
once said to me that the Rolling Stones have become the world’s best Rolling
Stones cover band. And that rang true to me, that the Stones had long ago ceased
being a creative entity and are simply cashing in on the love people have for
what they once were. This documentary does delve into the question of tribute
bands. I’ve never cared for tribute bands, because there is nothing remotely
artistic or creative about what they do. It’s interesting to me that someone in
this film indicates that occasionally tribute bands make more money than
surviving members of the bands they’re covering.
The documentary is divided into
different sections, and there is a section on how the internet has changed the
music industry. Mike Varney (of Shrapnel Records) says, “When you do away with the labels, you do away with a lot of the quality
control.” It is mentioned how the internet is allowing bands to exist
without them having to put in the time on the road to learn, to establish
themselves, to develop creatively. So the market is flooded with a lot of
garbage. That is true. But there is a lot of really good music out there as
well, from artists the big labels probably would not have risked taking on.
The film also includes a section on touring. What is interesting is that it helps to
keep any version of the band on the road, because that generates income even
for the original members or their estates, as keeping the brand name in front
of the people does lead to sales of albums and T-shirts and so on. Toward the
end, something is mentioned that I had been happily been unaware of: bands
performing with holograms of dead singers. That is completely insane.
Though a good deal of this
documentary’s topic I found rather depressing, I was still completely engaged.
It’s definitely worth checking out.
Band Vs. Brand was directed by Bob Nalbandian, and was released on
DVD on February 12, 2018 through Cleopatra Entertainment and MVD Visual. The
DVD includes two different trailers for the movie, as well trailers for a few
other music documentaries.
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