The Official "The Boy Who Knew Too Much ERA" Charts & Sales around the world Thread

[Marilyn Mastin]

Yeah, me too! It almost sounds like he HAD to do those two albums as a kind of selftherapy about those times and the next one is a "free" choice. I am very interested in the lyrics, actually, much more than in the music, because I don't think there will be a big change there, to be honest. But what is he going to write about???? Suspence, suspence....

 

I like the "maestro" btw ! I think I'll call him The Maestro from now on.

I have called him that since I first bought LICM and realised what an amazing songwriter he is. Happy Endings and AOW always seem quite classically based, as is I See You from TBWKTM, while other songs seem to fit other genres, like the bluesy Pick Up and the callipso masterpiece Blue Eyes.

[southeast]

I have called him that since I first bought LICM and realised what an amazing songwriter he is. Happy Endings and AOW always seem quite classically based, as is I See You from TBWKTM, while other songs seem to fit other genres, like the bluesy Pick Up and the callipso masterpiece Blue Eyes.

 

I think he's like a conductor when he's on stage with the band and he's always giving signs for the other musicians how to play, that's why I like Maestro.

[Marilyn Mastin]

I think he's like a conductor when he's on stage with the band and he's always giving signs for the other musicians how to play, that's why I like Maestro.

Yes I agree, he has clear ideas about what he wants from his band. He is a true musician and it's always obvious that the band respect him greatly and will step up a gear to please him and make the show outstanding.

[Christine]

Didn't Greg call him the Maestro once? Or am I imagining things?

 

I have thought for years that Mika should blow off his record company and do his own thing. But I'm not sure what to think now. That would require someone else to step in and fill that void because Mika is not going to be able to personally do a better job than his record company.

 

Mika can conduct his immediate world in a sort of quasi-organized chaos. Everyone flying the by the seat of their pants to make his latest vision a reality. It works because Mika IS a maestro so when he goes on stage each night it's all pulled together by the people closest to him who understand how he operates and how to help him execute his vision.

 

I don't know if this kind of operation is going to work to promote him globally or come up with and execute a long term strategy. First of all it assumes Mika knows anything at all about what that effective strategy might be which he probably doesn't. His job is to produce the art, perform and be the human face and voice of his team's promotional efforts.

 

Maybe it appears that Universal is dropping the ball on the latest album in the UK, but where would he be in South Korea for instance? How could Mika have known how to or had the resources to promote himself there so successfully without Universal's help?

[CazGirl]

Didn't Greg call him the Maestro once? Or am I imagining things?

 

I have thought for years that Mika should blow off his record company and do his own thing. But I'm not sure what to think now. That would require someone else to step in and fill that void because Mika is not going to be able to personally do a better job than his record company.

 

Mika can conduct his immediate world in a sort of quasi-organized chaos. Everyone flying the by the seat of their pants to make his latest vision a reality. It works because Mika IS a maestro so when he goes on stage each night it's all pulled together by the people closest to him who understand how he operates and how to help him execute his vision.

 

I don't know if this kind of operation is going to work to promote him globally or come up with and execute a long term strategy. First of all it assumes Mika knows anything at all about what that effective strategy might be which he probably doesn't. His job is to produce the art, perform and be the human face and voice of his team's promotional efforts.

 

Maybe it appears that Universal is dropping the ball on the latest album in the UK, but where would he be in South Korea for instance? How could Mika have known how to or had the resources to promote himself there so successfully without Universal's help?

 

well, maybe that's all he needed. He's been in the business long enough now to know how it all works, perhaps the past 3 years was just an education. maybe he will create his own record label, who knows.

[Christine]

well, maybe that's all he needed. He's been in the business long enough now to know how it all works, perhaps the past 3 years was just an education. maybe he will create his own record label, who knows.

 

What makes you think he knows or cares how it all works? I remember someone asking him if BIOTG would be available in hard release and he didn't seem to be sure and definitely didn't seemed to be bothered about it in any case. To listen to his stories Mika can barely manage to keep his phone service connected and not lose his laptop. How is he going to be able to strategize to promote his own album, keep contacts in every corner of the globe to execute it, etc. He's got enough on his plate just turning up for interviews and other promotion.

 

If it was left to Mika he'd probably be working on To-fu dolls, art books, etc. Which is great, but is it going to get him on the radio? Is it going to sell millions of albums? I don't know. I think it's a lot more complicated than that.

[southeast]

Didn't Greg call him the Maestro once? Or am I imagining things?

 

I have thought for years that Mika should blow off his record company and do his own thing. But I'm not sure what to think now. That would require someone else to step in and fill that void because Mika is not going to be able to personally do a better job than his record company.

 

Mika can conduct his immediate world in a sort of quasi-organized chaos. Everyone flying the by the seat of their pants to make his latest vision a reality. It works because Mika IS a maestro so when he goes on stage each night it's all pulled together by the people closest to him who understand how he operates and how to help him execute his vision.

 

I don't know if this kind of operation is going to work to promote him globally or come up with and execute a long term strategy. First of all it assumes Mika knows anything at all about what that effective strategy might be which he probably doesn't. His job is to produce the art, perform and be the human face and voice of his team's promotional efforts.

 

Maybe it appears that Universal is dropping the ball on the latest album in the UK, but where would he be in South Korea for instance? How could Mika have known how to or had the resources to promote himself there so successfully without Universal's help?

 

I agree with you that he couldn't have done this in the last few years. But perhaps he has learned by now how it all works? I mean, he knows how the touring goes, he has contacts to lots of musicians and knows lots of people in the music business. And he could hire some really good people who can do the boring PR work for him? I don't know, it was just an idea I had while listening to interviews with other artists...

[Christine]

And he could hire some really good people who can do the boring PR work for him? I don't know, it was just an idea I had while listening to interviews with other artists...

 

Yeah the hiring of good people is the void I was referring to. I guess I'm not convinced he would end up with the right people.

 

What were the other artists saying?

[southeast]

Yeah the hiring of good people is the void I was referring to. I guess I'm not convinced he would end up with the right people.

 

What were the other artists saying?

 

Yeah, that's true. And on the other hand, I mean, that's UM, a huge record label, they should know how to do this promo stuff. That's what annoys me: I think they could do more for him if they wanted to, but they don't really seem to care to promote him that much anymore...

 

I must say I am also a bit confused, since he has so many managers and labels: Island (UM?) for UK, Casablanca (UM) for USA, Fuerte Man. for USA, Mashine Man. for UK plus John, who is "only" the tour manager. I don't know who does the promo work for the different countries? But if he starts a record label it doesn't automatically mean he'll not have John for the touring, right? So this part would go on as it does now. It wouldn't all end up in chaos...

 

I was reading interviews with I. Heap and others, who were grumbling about their record labels and watching interviews with mgmt, they are with Sony & they are in the same position as Mika, 2 albums out. They said they are going to start their record label pretty soon, it is in the making, because they want to produce other bands and work with other bands. And they said it in an interview while the Sony guys were sitting behind them and listening. But they didn't seem to mind!

 

Also I was thinking about Babyface and some other pple in the US, they are performers but they also produce other artists. And Mika said in a recent interview he preferes to write songs for unknown, young artists, less for established ones like Madonna, because that's too much pressure.

I think he really cares for music, that's the difference between him and some other artists/bands who are artificial products of some music managers and who only want to make cash and lead a nice, easy life and be a celeb and sing whatever someone tells them to sing. And if you care like that for music, then at some point you want to have more freedom and to have more influence about the direction in which the music industry develops. But perhaps it is too early for him to think like that, who knows.

Edited July 23, 2010 by southeast

[Marilyn Mastin]

Yeah, that's true. And on the other hand, I mean, that's UM, a huge record label, they should know how to do this promo stuff. That's what annoys me: I think they could do more for him if they wanted to, but they don't really seem to care to promote him that much anymore...

 

I must say I am also a bit confused, since he has so many managers and labels: Island (UM?) for UK, Casablanca (UM) for USA, Fuerte Man. for USA, Mashine Man. for UK plus John, who is "only" the tour manager. I don't know who does the promo work for the different countries? But if he starts a record label it doesn't automatically mean he'll not have John for the touring, right? So this part would go on as it does now. It wouldn't all end up in chaos...

 

I was reading interviews with I. Heap and others, who were grumbling about their record labels and watching interviews with mgmt, they are with Sony & they are in the same position as Mika, 2 albums out. They said they are going to start their record label pretty soon, it is in the making, because they want to produce other bands and work with other bands. And they said it in an interview while the Sony guys were sitting behind them and listening. But they didn't seem to mind!

 

Also I was thinking about Babyface and some other pple in the US, they are performers but they also produce other artists. And Mika said in a recent interview he preferes to write songs for unknown, young artists, less for established ones like Madonna, because that's too much pressure.

I think he really cares for music, that's the difference between him and some other artists/bands who are artificial products of some music managers and who only want to make cash and lead a nice, easy life and be a celeb and sing whatever someone tells them to sing. And if you care like that for music, then at some point you want to have more freedom and to have more influence about the direction in which the music industry develops. But perhaps it is too early for him to think like that, who knows.

Well I don't claim to know how it all works, but to me it seems, it's all about the next big thing with the record companies. We notice the lack of promotion for Mika, because it's Mika, but how many other artists have there been who have begun their career with (maybe) a number one single, and perhaps a couple more hits, then seemed to disappear off the radar. I don't think it's all that unusual.

In a way, it's a testiment to Mika's skills (mainly his incredible performance skills) that is keeping him in the public eye and giving him wonderful reviews for his tour, while the singles haven't done so well in the charts. I do think he has other projects (possibly with other artists) in the pipeline.

But my opinion is that The Powers that Be should look after their existing artists and promote them properly, not just assume that because they had a successful album, the promoters needn't bother promoting them anymore. There's no harm in searching for new talent, but they have a duty to the acts they have already signed.

[Christine]

Yeah, that's true. And on the other hand, I mean, that's UM, a huge record label, they should know how to do this promo stuff. That's what annoys me: I think they could do more for him if they wanted to, but they don't really seem to care to promote him that much anymore....

 

It sounds like they are continuing to promote him in places like Asia and France. I think it's natural that they are going to drop the promotion of the album when it's not doing well in certain markets. Someone (I don't know if it was all Universal's doing or who exactly gets involved in this process) was pushing for him in the lead up to the release of WAG and TBWKTM. There was a lot of buzz about both in the English press, Mika was making television appearances, there was a concerted effort to launch him in the US, even before France. It just didn't take and he didn't get a lot of airplay.

 

If Universal abandons Mika before the next album even launches then he's going to have a real problem, but I think he's still going to get support in markets where he's a proven commodity.

 

I must say I am also a bit confused, since he has so many managers and labels: Island (UM?) for UK, Casablanca (UM) for USA, Fuerte Man. for USA, Mashine Man. for UK plus John, who is "only" the tour manager. I don't know who does the promo work for the different countries? But if he starts a record label it doesn't automatically mean he'll not have John for the touring, right? So this part would go on as it does now. It wouldn't all end up in chaos...

 

Yeah honestly I have no idea how all these different players fit in and work together. Maybe it's also a case of too many cooks in the kitchen?

 

Anyway John is not responsible for any of the promotion as far as I know. I am confident that Mika will always do well in touring and pulling a show together. But these other PR/business decisions...I don't know. I hope that he could do it and that he could get the right people. As I said I've always wanted him to blow off Universal. I just hope that's the right decision.

 

I was reading interviews with I. Heap and others, who were grumbling about their record labels and watching interviews with mgmt, they are with Sony & they are in the same position as Mika, 2 albums out. They said they are going to start their record label pretty soon, it is in the making, because they want to produce other bands and work with other bands. And they said it in an interview while the Sony guys were sitting behind them and listening. But they didn't seem to mind!

 

Are you sure they are going truly independent? Maybe this record label will be distributed by Sony so Sony doesn't care, and in fact wants to help them promote their new label.

 

Maybe Imogen will sign Mika?

 

And if you care like that for music, then at some point you want to have more freedom and to have more influence about the direction in which the music industry develops. But perhaps it is too early for him to think like that, who knows.

 

I agree and I have always wanted that for him. I just hope he's got all his ducks in a row before he makes a leap like that and it's the right decision for him. But he knows more about it than I do, so I think it would be good news if he announced he was becoming independent of Universal.

[Naectegale]

I hope this isn't too far

 

But here's some background about how the industry works which you might find interesting and a bit relevant

 

http://www.independent.co.uk/arts-entertainment/music/features/who-needs-record-labels-1920056.html

 

http://www.independent.co.uk/arts-entertainment/music/features/andy-gill-glittering-ceremonies-cannot-disguise-the-problems-of-the-music-industry-2030310.html

 

http://www.bbc.co.uk/news/entertainment-arts-10654380

[Christine]

But my opinion is that The Powers that Be should look after their existing artists and promote them properly, not just assume that because they had a successful album, the promoters needn't bother promoting them anymore. There's no harm in searching for new talent, but they have a duty to the acts they have already signed.

 

Yes I agree. It's become too corporate with these huge record companies swallowing up all the small labels. It's really all about the bottom line and answering to shareholders, etc. They want to blame illegal downloading but I think they've destroyed their own industry themselves by focusing solely on making money instead of promoting the development of music.

[southeast]

I hope this isn't too far

 

But here's some background about how the industry works which you might find interesting and a bit relevant

 

http://www.independent.co.uk/arts-entertainment/music/features/who-needs-record-labels-1920056.html

 

http://www.independent.co.uk/arts-entertainment/music/features/andy-gill-glittering-ceremonies-cannot-disguise-the-problems-of-the-music-industry-2030310.html

 

http://www.bbc.co.uk/news/entertainment-arts-10654380

 

Hey, thank you very much! Found those articles really very informative, esp. the one about record labels!

[southeast]

It sounds like they are continuing to promote him in places like Asia and France. I think it's natural that they are going to drop the promotion of the album when it's not doing well in certain markets. Someone (I don't know if it was all Universal's doing or who exactly gets involved in this process) was pushing for him in the lead up to the release of WAG and TBWKTM. There was a lot of buzz about both in the English press, Mika was making television appearances, there was a concerted effort to launch him in the US, even before France. It just didn't take and he didn't get a lot of airplay.

 

If Universal abandons Mika before the next album even launches then he's going to have a real problem, but I think he's still going to get support in markets where he's a proven commodity.

 

 

 

Yeah honestly I have no idea how all these different players fit in and work together. Maybe it's also a case of too many cooks in the kitchen?

 

Anyway John is not responsible for any of the promotion as far as I know. I am confident that Mika will always do well in touring and pulling a show together. But these other PR/business decisions...I don't know. I hope that he could do it and that he could get the right people. As I said I've always wanted him to blow off Universal. I just hope that's the right decision.

 

 

 

Are you sure they are going truly independent? Maybe this record label will be distributed by Sony so Sony doesn't care, and in fact wants to help them promote their new label.

 

Maybe Imogen will sign Mika?

 

 

 

I agree and I have always wanted that for him. I just hope he's got all his ducks in a row before he makes a leap like that and it's the right decision for him. But he knows more about it than I do, so I think it would be good news if he announced he was becoming independent of Universal.

 

That's from those articles that Naectegale posted: "Record companies broadly assume that one in five of the artists they sign will bring some sort of profit, with the others quickly cast aside. It's sometimes the case that an artist will record an album and do the promotional legwork before being told, at the 11th hour, that their record is to be shelved, with resources being redirected to the more bankable artists on the roster. In other instances, a record company may throw everything at an artist's first album, often with great success, only to ignore the second. Still want that record deal, kids?"

 

Hmmm....that sounds familiar, doesn't it?

 

That is a good point, Christine, to ask if mgmt are going truly independant. It didn't cross my mind that there is another option. Mgmt as well as Imogen Heap are signed with Sony. Heap has a special deal, she gets promo done by Sony but has her own label Megaphonic Records to be independant and to do the music she wants to with her own team. Don't ask me how this works! But perhaps that's the option for mgmt too, since they are with Sony? And for Mika it could be a good start option as well. But he's with UM, and I don't know if they make such deals.

 

Did you knew that Imogen Heap was signed with Island Records as well but as the first album was not THE major commercial success they dumped her? That was when she decided to go independant. I hope Mika has a better contract with them But I don't know if she can sign Mika, I think he would be too expensive? They say in this article that a record company usually invests something like 1 mln pounds in an artist and his album to promote it and to pay the artist, make the videos and the whole rest of the promo. In recent times they spend apparently less and less money on promotion, because of the difficult situation in the music industry and falling sales numbers. So that can be one reason for not promoting him as they should.

Edited July 23, 2010 by southeast

[Marilyn Mastin]

I hope this isn't too far

 

But here's some background about how the industry works which you might find interesting and a bit relevant

 

http://www.independent.co.uk/arts-entertainment/music/features/who-needs-record-labels-1920056.html

 

http://www.independent.co.uk/arts-entertainment/music/features/andy-gill-glittering-ceremonies-cannot-disguise-the-problems-of-the-music-industry-2030310.html

 

http://www.bbc.co.uk/news/entertainment-arts-10654380

Great articles that say a lot. T4P. I like the line which says they should concentrate on an artists longevity, instead of instant profits. That's absolutely right.

I also think that a lot of young would-be-popstars don't really know what they are getting themselves into when they are trying to get signed. It's far worse, imo, to be signed and then dumped, than to not be signed at all.

[CazGirl]

What makes you think he knows or cares how it all works? I remember someone asking him if BIOTG would be available in hard release and he didn't seem to be sure and definitely didn't seemed to be bothered about it in any case. To listen to his stories Mika can barely manage to keep his phone service connected and not lose his laptop. How is he going to be able to strategize to promote his own album, keep contacts in every corner of the globe to execute it, etc. He's got enough on his plate just turning up for interviews and other promotion.

 

If it was left to Mika he'd probably be working on To-fu dolls, art books, etc. Which is great, but is it going to get him on the radio? Is it going to sell millions of albums? I don't know. I think it's a lot more complicated than that.

 

LMAOOOOO.

 

Touché

[Daisuke]

It would be more than a bit difficult for MIKA to go independent, or leave his current label period; The label holds all the control.

 

He's certainly signed for at least a 3 album deal (The average for a new artist is 5-7). And there's no telling how is deal is structured, typically, the Record label is required to release only 1 or 2 albums, after that it's all options on the Label side, meaning that he can't record for anyone else, but they don't have to release any material.

 

And then of course, recording costs- MIKA could certainly pay them himself, but he'd have to pay for those and all the other expenses if he starts his own label to release his own material.

 

I think you guys are making it out to be alot dimplier than it is; and there's still the fact that most people in the Music Industry don't understand the Music Industry (sounds absurd, but its true); and I doubt MIKA is an exception to the rule.

 

The Tour cycle for TBWKTM will begin to wind down in the relatively near future, I'm sure he'll inform us of his plans once he's ready to begin work on his next project.

 

But it's unlikely the label drops him, and it will be difficult for him to get out of his contract, especially considering his success- TBWKTM didn't do as well as LICM, but it was a moderate success.

It made money; MIKA brings in money, and that's what's important to a label.

[southeast]

It would be more than a bit difficult for MIKA to go independent, or leave his current label period; The label holds all the control.

 

He's certainly signed for at least a 3 album deal (The average for a new artist is 5-7). And there's no telling how is deal is structured, typically, the Record label is required to release only 1 or 2 albums, after that it's all options on the Label side, meaning that he can't record for anyone else, but they don't have to release any material.

And then of course, recording costs- MIKA could certainly pay them himself, but he'd have to pay for those and all the other expenses if he starts his own label to release his own material.

 

I think you guys are making it out to be alot dimplier than it is; and there's still the fact that most people in the Music Industry don't understand the Music Industry (sounds absurd, but its true); and I doubt MIKA is an exception to the rule.

 

The Tour cycle for TBWKTM will begin to wind down in the relatively near future, I'm sure he'll inform us of his plans once he's ready to begin work on his next project.

 

But it's unlikely the label drops him, and it will be difficult for him to get out of his contract, especially considering his success- TBWKTM didn't do as well as LICM, but it was a moderate success.

It made money; MIKA brings in money, and that's what's important to a label.

 

That's slavery, not a contract!

 

Yeah, I suppose you're right. As I said before, I don't have a clue about all this. But it is fun thinking about these things, one learns a lot.

What does "to wind down" mean btw? Something like go to an end? Am learning new English expressions on all threads today! thanks!

Edited July 28, 2010 by southeast

[laura*]

 

...

 

But it's unlikely the label drops him, and it will be difficult for him to get out of his contract, especially considering his success- TBWKTM didn't do as well as LICM, but it was a moderate success.

It made money; MIKA brings in money, and that's what's important to a label.

 

Really? I thought they just cared about the music.

[southeast]

Really? I thought they just cared about the music.

 

"Blue eyes, blue eyes, what's the matter with you?"

[Marilyn Mastin]

That's slavery, not a contract!

 

Yeah, I suppose you're right. As I said before, I don't have a clue about all this. But it is fun thinking about these things, one learns a lot.

What does "to wind down" mean btw? Something like go to an end? Am learning new English expressions on all threads today! thanks!

To "wind down" simply means, to begin to loose momentum. It just means his tours for this album will gradually stop and he'll concentrate on the next album.

[Christine]

I think you guys are making it out to be alot dimplier than it is; and there's still the fact that most people in the Music Industry don't understand the Music Industry (sounds absurd, but its true); and I doubt MIKA is an exception to the rule.

 

That's what I think and I don't think it's a negative thing. Obviously it would be helpful for every artist to understand all the ins and outs of the music industry but that's a whole different career to develop. He's got his own career and his own creative team to manage. He has to put a lot of trust in others to manage the business and promotion side of it but at least with a record company they are assuming some of the risk as well and they've got their own vested interest in promoting him and selling his albums.

 

You're right Mika is still a money maker and I don't see Universal abandoning him before the next album is released.

[Menthe]

TBWKTM is still doing quite well in French charts: it's number 32 this week!

You can see the evolution of TBWKTM here:

http://lescharts.com/showitem.asp?interpret=Mika&titel=The+Boy+Who+Knew+Too+Much&cat=a

[French Deb]

TBWKTM is still doing quite well in French charts: it's number 32 this week!

You can see the evolution of TBWKTM here:

http://lescharts.com/showitem.asp?interpret=Mika&titel=The+Boy+Who+Knew+Too+Much&cat=a

 

Thanks ! I saw that too ! That's nice he won positions last week, but it's mainly due to the price, Universal has made a special promotion on several albums, including TBWKTM, and it is at less than 10€ now