/531_steve_jones_brand_like_a_rock_star_companion_1011 by Interbrand

BRAND LIKE A

ROCK STAR

T H E M U S I C A L C O M PA N I O N

STEVE JONES

This publication is designed to provide accurate and authoritative information in regard to the subject matter covered. It is sold with the understanding that the publisher and author are not engaged in rendering legal, accounting, or other professional services. If legal advice or other expert assistance is required, the services of a competent professional should be sought.

Published by Greenleaf Book Group Press Austin, TX www.gbgpress.com Copyright ÂŠ2012 Steve Jones All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from the copyright holder. Distributed by Greenleaf Book Group LLC For ordering information or special discounts for bulk purchases, please contact Greenleaf Book Group LLC at PO Box 91869, Austin, TX 78709, 512.891.6100. Design and composition by Greenleaf Book Group LLC Cover design by Greenleaf Book Group LLC Ebook ISBN: 978-1-936909-20-9 Ebook Edition

PREFACE

elcome to your media guide for my book, Brand Like a Rock Star. If you haven’t had the chance to get ahold of Brand Like a Rock Star, it is the product of my nearly thirty years of experience working in the world of rock ’n’ roll. Brand Like a Rock Star is a compilation of business lessons I have learned from some of the greatest bands in history. It will help you build a stronger brand and a more profitable business. I’m proud to say that people seem to like the message of the book.

“Steve Jones knows a thing or two. Listen and take notes.” —Gene Simmons of KISS

“Rock stars are larger than life, full of emotion and sex appeal, compelling us to become fans and spend money (lots of money). Chock-full of modern examples of success, Steve’s book shows you how to use proven rockstar techniques in your business, making you a hit in your marketplace. But be careful, because you’ll need to learn how to deal with groupies!” —David Meerman Scott, bestselling author of Real-Time Marketing & PR and Marketing Lessons from the Grateful Dead

“Everybody has something to sell ... whether it be a product or a personality. What can you do to make your brand more famous? More mysterious? More NOTORIOUS? Steve Jones’ book Brand Like a Rock Star gives you the insight of a rock ’n’ roll veteran. Read it, and your brand just might go from Milk Toast to Tiger’s Blood.” —Alice Cooper

“Steve captured the mysteries of marketing with this analogous book. Who rises and crashes, rebrands and relaunches, more than a legendary rock star? Steve is brilliant and so is this book.” —Mike McVay, president of McVay Media and McVay Syndication

“With each page, Steve Jones shares the strategies that turned garage bands into rock stars and he helps you apply them directly to your business.” —John Warrillow, author of Built to Sell: Creating a Business That Can Thrive Without You

Even though Brand Like a Rock Star is designed for business, it is also inherently a music book, which only makes sense. For many, music is a tremendous source of inspiration and creativity. I am no exception. As I wrote about the business lessons learned from AC/DC, Jimmy Buffett, U2, the Grateful Dead, and other legendary bands, I often found myself listening to my iPod and to the radio, hearing great songs that I hadn’t heard in years. Listening to the songs helped me put the branding and business lessons in better focus. In fact, one of the most enjoyable aspects of writing this book was the opportunity to rediscover some amazing music and listen to it with fresh ears. That’s when the concept for this musical companion emerged. This is the soundtrack that played in my head while I wrote Brand Like a Rock Star, and I want to share it with you. The songs that I reference in this companion will help you get into the important business concepts exemplified by the bands. For example, if you aren’t really familiar with Bob Marley (chapter three), you can use this guide to help you discover his music, seeing and hearing how he so brilliantly illustrates how a business can reach millions of customers by staying focused on a small niche in which it specializes.

If you weren’t into the British punk movement of the late ’70s and missed out on the Sex Pistols, you can turn to this guide to navigate their music and better appreciate how Malcolm McLaren, their legendary manager, used PR to create a brand that went far beyond music. And so on, over the course of twenty-one chapters. Some of the songs might already be on your iPod or in your collection. Others are easily available from the major download sites or waiting for you on YouTube. You might not like every band or every song (I know I don’t!), but as you read Brand Like a Rock Star and Brand Like a Rock Star: The Musical Companion, you will definitely develop a greater appreciation for how each band pioneered valuable business techniques that will help you build a stronger and more profitable brand. This musical companion is also filled with nuggets of rock ’n’ roll lore. Some of it is absolute fact, and some is purely my opinion, to which you are welcome to disagree. Do you have any favorites? Do you think some of my selections suck? Don’t worry … I can take it. I would love to hear about it. You can reach me by e-mailing steve@brandlikearockstar.com. Ultimately, I hope that this guide will provide the soundtrack for your brand’s success. Rock on! —Steve Jones Summer 2011

CHAPTER ONE

AC/DC AND THE ART OF CONSISTENCY

he opening chapter of Brand Like a Rock Star is all about consistency in business, and no rock ’n’ roll act demonstrates consistency better than AC/DC. While researching Brand Like a Rock Star, I had the chance to spend some time talking to Phil Carson about AC/ DC. In the mid-’70s, Phil was a record-label executive with Atlantic Records. Someone had sent him raw Super 8 video footage of an Australian hard rock band, and that footage sent Carson scrambling to the phone. Without ever meeting the band in person, Carson signed them to a fifteen-album deal and brought AC/DC to England and America.

From those early days, it was evident to Carson that consistency was what this band was all about. They knew what they did, and they did it well. During an era famous for progressive rock and musical experimentation, AC/DC proudly pounded out catchy and unforgettable rock riffs and simple songs about rockin’, drivin’, drinkin’, and women. Our chapter one playlist contains five examples of AC/DC and their incredible consistency, through four decades and two lead singers. 1. “Jailbreak,” from the 1976 album Dirty Deeds Done Dirt Cheap (Australian version) We begin early in the band’s career with the 1976 cut “Jailbreak” from the Australian-only version of Dirty Deeds Done Dirt Cheap, the band’s third album. The song didn’t make it on the international release of the album, and remained a hidden gem from their Australian days for nearly a decade. “Jailbreak” didn’t see the light of day in the US, Japan, and Canada until it was rereleased in 1984. The song is a fan favorite and serves as a perfect introduction to the band. The riffs are simple but irresistible. The rhythm section is seamless and tight, although it is interesting to note that drummer Phil Rudd added more drumrolls and fills in “Jailbreak” than he did in most AC/DC songs. 2. “Highway to Hell,” from the 1979 album Highway to Hell Built around another brilliantly simple Angus Young guitar riff, Phil Rudd’s drums once again kick in with perfect

precision and give “Highway to Hell” tremendous momentum. Released in 1979, the Highway to Hell album would be the last with lead singer Bon Scott, who was found dead in the back of a friend’s car in February of 1980. 3. “Back in Black,” from the 1980 album Back in Black Most bands would have difficulty replacing a lead singer, but AC/DC did it with the same sense of consistency found in their music. When Brian Johnson auditioned for the band, he was said to have put a smile on their faces for the first time since Scott’s death. “Back in Black” is the title cut from the first album with Brian Johnson as lead singer. Once again, the entire song builds upon an astoundingly simple and punchy guitar riff, accentuated by the tight rhythm section and screaming vocals. The song is everything AC/DC was, and would become. Back in Black was dedicated to Bon Scott, and it went on to become AC/DC’s biggest-selling album and the second-bestselling album in music history, ahead of Pink Floyd’s The Dark Side of the Moon but behind Thriller by Michael Jackson. 4. “Thunderstruck,” from the 1990 album The Razor’s Edge “Thunderstruck” represents another milestone for the band, and one that they once again tackled with stellar consistency. The 1980s started out great for AC/DC, but became a tough decade as tensions rose and drummer Phil Rudd eventually left the band. His absence came at a time when the “hair band” sound became popular, and suddenly AC/

DC’s gritty brand of rock ’n’ roll wasn’t as fashionable as it was only a few years earlier. The mid-’80s saw the release of poorly received albums like Flick of the Switch and Fly on the Wall. As the decade closed, the band’s popularity rose again with their soundtrack album to Stephen King’s Maximum Overdrive and the release of the album The Razor’s Edge, on which “Thunderstruck” appears. This time the tapping-style riff is a little more complicated but equally contagious as earlier AC/DC riffs. The song was the band’s biggest hit since the Back in Black days and reestablished them as rock ’n’ roll legends. 5. “Rock ’n’ Roll Train,” from the 2008 album Black Ice “Rock ’n’ Roll Train” establishes itself with a catchy and simple guitar riff that, once again, leaves you no choice but to remember it. Phil Rudd brings in the band, and Brian Johnson’s growl creates another consistent winner. “Rock ’n’ Roll Train” was AC/DC’s biggest hit since “Thunderstruck” and was the opening track on their massive Black Ice world tour. As you enjoy the chapter one playlist, listen for these examples of AC/DC’s amazing consistency: f

Simple, powerful, and memorable guitar riffs

Precise drumming that lacks showy drumrolls but gives songs immense power

Growling and screaming vocals, whether Bon Scott or Brian Johnson is singing

Songs focused on topics like rock ’n’ roll, fast cars, women, drinking, and having fun

CHAPTER TWO

CHANGES

2 serves as a fantastic example of a band that nearly strayed too far from the expectations of its fans. Fortunately for the brand, the members of U2 were able to find a way to pursue their unusual musical tastes without damaging their reputation. They did so by creating an alter-ego band called Passengers. As U2 rose to fame in the early ’80s, fans grew to expect a certain sound from the band, a sound that brought together Edge’s jangling guitar and Bono’s passionately strained voice on songs that addressed social issues and deeply personal emotions. That sound, and the band’s popularity, reached a pinnacle with the 1987 album The Joshua Tree. It remains one of the rock era’s great albums. However, the album also appeared to be a tipping point for U2. As the ’90s dawned,

U2 became more and more experimental as they discovered new sounds and new technology. That sense of discovery led U2 further away from their core sound, to the point where they recorded an album so experimental that they felt they couldn’t release the material as “U2.” That album became Original Soundtracks 1 under the band name “Passengers.” Eventually the pendulum swung back the other way, and U2 returned to their trademark sound. The chapter two playlist takes you through the U2 catalog to discover five songs that capture each phase of the band’s evolution. 1. “Pride (In the Name of Love),” from the 1984 album The Unforgettable Fire Although it was from their fourth album, “Pride (In the Name of Love)” came out at a time when the band was just breaking into the North American pop music mainstream. Therefore, for many U2 fans “Pride” was the song that introduced them to the band. It serves as a powerful political statement as it chronicles the assassination of Martin Luther King Jr. The song is a stellar example of Edge’s ragged guitar work and Bono’s intense vocal style. 2. “With or Without You,” from the 1987 album The Joshua Tree While “Pride” rocked, “With or Without You” is a more intimate song and captures the band’s ability to communicate urgency without having to make a lot of noise. The

guitar jangle and intense vocals are still there, but this time both are restrained. That, coupled with a mesmerizing rhythm section, delivers a song that is almost hypnotic. The troubled lyrics leave a haunting message in a way similar to the Police’s “Every Breath You Take” a few years earlier. 3. “Numb,” from the 1993 album Zooropa “Numb” is a glimpse at the experimentation that was under way within the band in the early ’90s. With Edge doing much of the vocal work, the song brings more industrial and electronic influence into U2’s sound. The chorus comes back to the band’s more recognizable sound, but the use of tape-loop sound effects at the beginning and the odd vocal style are both good indications of the direction the band was headed in. The choice of “Numb” as the lead single from the Zooropa album was an unusual one that left some fans concerned about the future of the band. 4. “Miss Sarajevo,” from the 1995 album Original Soundtracks 1 by Passengers The only song on this playlist that isn’t technically a U2 song is “Miss Sarajevo.” It is from the too-eclectic-to-be-U2 album by Passengers and features a wonderful guest vocal by Luciano Pavarotti. This song is the most commercial and accessible of the Passengers songs, and the band has incorporated the song into their live set over the years. However, the album was never promoted as a U2 project, therefore it never alienated the many fans who were hoping that U2 would return to their core sound.

5. “Beautiful Day,” from the 2000 album All That You Can’t Leave Behind The uplifting “Beautiful Day” is a song that signaled that U2 was back. After the experimentation of the 1990s, U2 publicly stated that they were “reapplying for the job of the best band in the world.” “Beautiful Day” contains the trademark sounds that U2 had come to represent, and as a result, reception from critics and fans was quite positive. “Beautiful Day” quickly became a U2 classic and a steady part of the band’s live repertoire. As you experience the career of U2 in the chapter two playlist, consider these elements to their success: f

The band established a trademark sound. Edge’s guitars and Bono’s vocals, as well as socially relevant topics, became their hallmarks.

Notice how they drifted from those core values as a brand with the song “Numb.”

When the experimentation became too far from the U2 core sound, the band created a pseudonym to record under.

Eventually they were able to reconcile their need to experiment with the desires of their fans, creating classic songs like “Beautiful Day.”

CHAPTER THREE

BOB MARLEY: JAMMIN’ WITH THE BRAND

ob Marley is a great example of how a brand can start off serving a very small niche market, and by staying true to core values grow its audience without ever compromising. When Bob Marley began playing music, there was no genre called “reggae.” The name came to be long after Jamaican musicians first combined various elements from rock, ska, and R&B to create this new island music. At that time, in the late 1960s, it was popular only in Jamaica and the islands of the Caribbean. The popularity of reggae music didn’t spread until the mid-1970s, at which point Bob Marley quickly became its worldwide ambassador.

The story of Bob Marley, and how it relates to massive brands like Jeep, KFC, and Jones Soda, is a lesson in turning your niche into something much, much bigger by never straying from core values. The chapter three playlist begins with the early roots of Marley’s music and takes you through his short but powerful career. 1. “Sugar Sugar,” a single released only in Jamaica Creating reggae versions of contemporary pop hits has always been popular in Jamaican music, from the early days of reggae up until today. The Wailers, with lead singer Bob Marley, recorded their version of “Sugar Sugar” in 1970, a year after the original version by the Archies had topped the charts. This song shows Marley’s music without the refinement and production that went into later work, and it demonstrates that even as production techniques improved, Bob Marley’s core sound hardly wavered. 2. “I Shot the Sheriff,” from the 1973 album Burnin’ The album Burnin’ was the fourth album for the Wailers, and the last before Peter Tosh and Bunny Wailer would leave the band. The album’s most famous track is “I Shot the Sheriff,” a song that would later catapult Marley and reggae music into the mainstream when Eric Clapton recorded a version of it.

3. “I Shot The Sheriff” by Eric Clapton, from the 1974 album 461 Ocean Boulevard Clapton’s version is worth including on an otherwise allMarley playlist simply because it was such a pivotal moment in the career of Bob Marley and the popularity of reggae music. By recording a Bob Marley song in such true fashion, Eric Clapton lent the singer from Jamaica a tremendous amount of rock ’n’ roll credibility and brought reggae music to an entirely new audience. 4. “Jamming,” from the 1977 album Exodus While Bob Marley’s fame rose substantially when Clapton recorded “I Shot the Sheriff,” the album Exodus clearly established Marley as a superstar. It gave us a long list of hit songs, including “One Love/People Get Ready,” “Three Little Birds,” “Turn Your Lights Down Low,” “Waiting in Vain,” and the classic “Jamming.” Exodus is widely regarded as one of the greatest albums ever, and it was ranked number 169 on Rolling Stone magazine’s 2003 list of the 500 Greatest Albums of All Time. 5. “Buffalo Soldier,” from the 1983 album Confrontation Two years after his death, this album of unreleased material was compiled. Bob Marley recorded the song in 1980 during his final recording session, but it didn’t appear until 1983, at which time it became one of Marley’s biggest

American hit songs. The song is evidence that despite his immense popularity, Bob Marley’s commitment to making socially conscious reggae music never wavered. When taking in the chapter three Bob Marley playlist, soak up the island vibes, rays of sunshine, and positive spirit of Marley’s music, and consider these lessons: f

From a business perspective, notice how Bob Marley never altered his mission. He stayed true to his core values and let his audience grow, instead of compromising his sound to appeal to a wider audience.

When listening to “I Shot the Sheriff,” notice how closely Bob Marley’s original and Eric Clapton’s cover resemble each other. Clapton added a blues undertone, but the songs are remarkably similar, giving reggae instant credibility.

On “Jamming” and “Buffalo Soldier,” consider how Bob Marley was dealing with fame. Over a tenyear period, reggae had evolved from nothing to a worldwide phenomenon. The pressure must have been immense, but Marley stayed true to his roots through it all.

CHAPTER FOUR

DEAD HEADS AND PARROT HEADS: BUILDING A TRIBE

ock star brands today take a cue from the tribebuilding tactics employed by Jimmy Buffett and the Grateful Dead. Buffet and the Dead discovered the value of social media decades before Facebook, Napster, and Myspace. Despite their mutual lack of hit songs on the radio (both had only one each), both became top-grossing concert acts year after year. They learned to tap into the power of their fans and surrender some of the control of their brand over to those passionate fans. They also turned their music

into an immersive experience for fans, not just something they listened to but something they actually lived. Our chapter four playlist contains songs by both Jimmy Buffett and the Grateful Dead that show how these two brilliant brands evolved. 1. “Margaritaville” by Jimmy Buffett, from the 1977 album Changes in Latitudes, Changes in Attitudes Buffett had spent the early 1970s busking around New Orleans and Key West, developing a sound that brought together country, folk, rock, and Caribbean influences. It was “Margaritaville” in 1977 that became his first (and only) big hit song, peaking at number seven. That song became the framework for a business empire that includes restaurants, hotels, retail, casinos, sports franchises, and more. 2. “Playing in the Band” by the Grateful Dead, from their 1971 live album called Grateful Dead but also known as Skull and Roses The Dead Head phenomenon began in earnest with the release of the band’s seventh album in 1971. In the sleeve of that album was a note asking fans to write to the band. They did. From that initial invitation, one of rock’s most famous fan organizations began. The mailing list grew exponentially over the years, becoming a sort-of social network long before social networking was even a term.

3. “One Particular Harbour” by Jimmy Buffett, from the 1983 album One Particular Harbour By 1983 Jimmy Buffett was a solid and consistent concert draw, but he wasn’t close to being a chart-topping musician. This song peaked at number twenty-two on the Billboard adult contemporary charts, but it was far from a hit single. What makes “One Particular Harbour” important on this playlist is how it embodies what Jimmy Buffett is all about. The song begins with a chant in Tahitian, and the lyrics are completely in step with Buffett’s beach bum image. Fans gravitated to the song, and it remains a staple of his live shows nearly thirty years later. 4. “Touch of Grey” by the Grateful Dead, from the 1987 album In the Dark Like Buffett’s “Margaritaville,” this was the Grateful Dead’s one commercial hit. It was also the band’s first ever music video. Like many Dead songs, “Touch of Grey” evolved from live jam sessions, and it was being played live by the band for about five years before they finally recorded it. The video featured a live performance of the band, first as lifesize skeletons and later as themselves. It was the video and the steady diet of the song on the radio that helped nurture a new generation of Grateful Dead fans.

5. “Here We Are” by Jimmy Buffett, from the 2006 album Take the Weather with You Jimmy Buffett gets the extra song on this playlist, mainly because a subsequent chapter examines the Grateful Dead in greater detail, and we’ll have the chance to experience five wonderful cuts from the Dead then. “Here We Are” by Jimmy Buffett is important because it shows how a brand can give back to the fans. The song was recorded as a tribute to Buffett’s loyal fans, and a video was recorded for the song that became part of Buffett concerts. It didn’t take a ton of effort on Buffett’s part, but it meant a lot to fans who felt acknowledged by the song. It also fits well on this playlist for the lyric that ties these two acts together: “We’re the dreamy Dead Heads who just like us and Dave Matthews” As you take in the unusual mix of Buffett and Grateful Dead songs that make up the chapter four playlist, consider some of the implications for brands today: f

Social media success doesn’t come from technology itself; it comes from using the available technology to create opportunities for your customers to become passionately invested in your product.

Success isn’t always measured by the same standards. There were hundreds of artists who achieved higher chart positions than Jimmy Buffett and the Grateful

Dead, but very few have become as successful or as rich. f

When a movement has a name, it takes on added profile. Buffett fans became Parrot Heads. Dead fans became Dead Heads. Lady Gaga has called her fans “Little Monsters” and KISS famously drafted fans into the “KISS Army.”

CHAPTER FIVE

ARE YOU EXPERIENCED?

he essence of chapter five is that brands that offer an experience transcend brands that simply offer a product. Harley-Davidson offers middle-aged professionals the chance to escape from reality for a few hours on the weekend and become a bad-ass biker. Guinness offers beer drinkers the chance to experience the authentic honesty of an Irish pub, no matter where they might be geographically. Jimi Hendrix was an experience, to hear and to see. He even named his band â&#x20AC;&#x153;The Experience.â&#x20AC;? He is the template for sharing an experience with your customers.

1. “Hey Joe,” from the 1966 album Are You Experienced Although his childhood home was Seattle, we can trace the rise of Jimi Hendrix to the United Kingdom. It was in London in 1966 that Hendrix hooked up with former Animals bassist Chas Chandler, who was looking for acts to manage and produce. “Hey Joe” was the first song that Hendrix released, and it became an instant top-ten hit in the UK. 2. “Purple Haze,” from the 1966 album Are You Experienced Jimi Hendrix followed “Hey Joe” with a song that became an anthem for the psychedelic sixties and remains one of rock ’n’ roll’s greatest songs. “Purple Haze” went to number three on the UK charts, and it became Hendrix’s first chart hit in his homeland. The song is famous for the often misheard lyric “Excuse me while I kiss the sky,” which is frequently interpreted as “kiss this guy.” Having a keen sense of humor, Hendrix would often sing the misheard version when he played “Purple Haze” in concert. 3. “All Along the Watchtower,” from the 1968 album Electric Ladyland Although a Bob Dylan composition, Jimi Hendrix’s version of “All Along the Watchtower” is the more widely recognized version, and Rolling Stone ranked it forty-eighth on its 500 Greatest Songs of All Time list. Dylan was quoted as being influenced by the Jimi Hendrix version of his song.

In the album notes from his Biograph album he points out that “ever since he died I’ve been doing it that way. Strange how when I sing it, I always feel like it’s a tribute to him in some kind of way.” 4. “Fire,” from the 1967 album Are You Experienced but released as a single in 1969 “Fire” was a song the band loved to play, and they opened many of their concerts with it. The song also became extremely popular in marketing, appearing in TV commercials for the Chevrolet Camaro (1993) and the Pontiac Sunfire (1999), as well as Verizon in 2007. 5. “The Star Spangled Banner,” from the 1970 live album Woodstock: Music from the Original Soundtrack and More Jimi Hendrix captured what many considered to be the pinnacle of the 1960s with his version of “The Star Spangled Banner” to close out the legendary 1969 Woodstock concert. His set was delayed by hours, and the sun was rising on Monday morning when he finally took to the stage. He played for two exhilarating hours and ended his set with a chilling rendition of the national anthem. With war raging in Vietnam, racial tensions high, and a generation coming of age, this was a galvanizing moment for millions. As you relive the late ’60s with Jimi Hendrix, keep these points in mind:

Great bands and great brands offer their fans a unique experience. Seeing Hendrix burn his guitar on stage was an experience unlike any other!

Although the career of Jimi Hendrix was short, you can bet that had he not tragically died he would have continued to offer his fans a unique experience.

What experience does your brand offer? Move away from selling products, and focus on selling the emotional and visceral connection fans have with your brand.

CHAPTER SIX

THE BRANDING EQUATION: DEMAND + SCARCITY = VALUE

he old law of supply and demand takes on new meaning when you look at the careers of The Who and Led Zeppelin. Both came into being in the ’60s and dominated rock music in the ’70s. Both bands had high-profile and dynamic drummers who died. The Who had Keith Moon; Led Zeppelin had John Bonham. When Keith Moon died, the band carried on. Even when bassist John Entwistle died years later, they found a new bass

player and carried on. To this day, The Who embarks on a world tour every few years. When John Bonham died, Led Zeppelin ceased to be. They recognized they would never be the same without him, and they broke up. Since then, the band has played together three times. They had Phil Collins play drums at 1985’s Live Aid concert, and singer Robert Plant called it an “atrocity.” They appeared at a private show to mark Atlantic Records’ fortieth anniversary in 1988 with Jason Bonham, John’s son, on drums. Plant characterized that performance as “foul.” In 2007, they decided to reunite in memory of Ahmet Ertegun, the president of Atlantic Records. That reunion, once again with Jason Bonham on drums, became the hottest ticket in rock ’n’ roll. More than twenty million ticket requests were made online, giving Led Zeppelin the world record for ticket demand. That’s supply and demand. If demand is high and supply is high, as with The Who, value isn’t all that high. But if demand is high and supply is low, as with Led Zeppelin, you can break records. The Who and Led Zeppelin deserve to be recognized as two of the greatest bands in rock history, but Led Zeppelin has elevated their brand’s value by keeping supply far lower than demand. The chapter six playlist profiles both legendary bands, beginning with their 1960s roots and paying particular attention to the charismatic drummers that became so integral to both bands.

1. “My Generation” by The Who, from the 1965 album My Generation Few songs have distilled the sentiments of youth the way “My Generation” did. The line “I hope I die before I get old” became one of rock ’n’ roll’s most quoted lines, and Roger Daltry’s stuttered vocal communicated a sense of frustration and urgency. 2. “Good Times Bad Times” by Led Zeppelin, from the 1969 album Led Zeppelin “Good Times Bad Times” was the first song on side one of Led Zeppelin’s debut album, and it signaled the arrival of a new sound. With microphones placed all around the studio, the band captured a live sound when they recorded the track. John Bonham also introduced a new way to play the kick drum, creating sixteenth-note triplets on a single bass drum. John Paul Jones claims the bass riff he created for the song was the most difficult one he ever wrote. 3. “Pinball Wizard” by The Who, from the 1969 album Tommy While Zeppelin was playing “Good Times Bad Times,” The Who was creating a “rock opera” in the form of Tommy, the story of a deaf, dumb, and blind pinball player. While Pete Townshend was never happy with the writing, the song became one of The Who’s big commercial successes and a concert favorite. “Pinball Wizard” has been played at nearly every Who concert since 1969.

4. “When the Levee Breaks” by Led Zeppelin, from the 1971 album Led Zeppelin IV “When the Levee Breaks” is an example of the blues influences that permeated much of Led Zeppelin’s music. The original was written and recorded by the husband-and-wife team of Kansas Joe McCoy and Memphis Minnie, in reference to the Great Mississippi Flood of 1927. Zeppelin’s version is significant, as it illustrates the impact John Bonham had on the band. His drum sound on “When the Levee Breaks” was played on a brand-new drum kit placed at the bottom of a stairwell using two different microphones placed at the top of the stairs. The result is a distinct and memorable drum sound that has become one of the most sampled drum sounds in modern music. 5. “Who Are You” by The Who, from the 1978 album Who Are You This song was released a mere month before Keith Moon was found dead in his sleep from a drug overdose. The album Who Are You became the band’s fastest-selling album, peaking at number two on the Billboard charts. The song “Who Are You” was also one of the band’s most successful songs. It was inspired by a true event in the life of Pete Townshend, as he battled alcoholism and “woke up in a Soho doorway.” One of the intriguing aspects of “Who Are You” is the use of the word “fuck” on two occasions. The obvious swear was never removed from radio versions of the song. It continues to be played unedited on radio stations around the world,

although many American radio stations removed the word in the wake of the Janet Jackson “Nipplegate” incident and the ensuing FCC crackdown on indecency. This is definitely a playlist to turn up good and loud. The Who and Led Zeppelin are both famous for their loud shows, and their music sounds best when played that way. As you crank these songs up, consider the lessons that can be applied to your business: f

Because demand was higher than supply, Led Zeppelin set a world record for ticket demand.

Sometimes the normally invisible piece of your organization can be one of the most critical. Keith Moon and John Bonham were drummers who were irreplaceable in their respective bands.

If you sing something offensive, most people won’t notice. The Who proved it with two F-bombs in their hit song “Who Are You.”

CHAPTER SEVEN

WALK THIS WAY: GETTING TO KNOW YOUR BRAND

here are two versions of “Walk This Way” on Rolling Stone magazine’s list of the Top 500 Songs of All Time. Depending on when you were born, you probably prefer one over the other. The original version is from Aerosmith’s 1975 classic album Toys in the Attic. Toys in the Attic is one of those albums that everyone seemed to own at the time, and nearly forty years later almost every song on the album stands up as a vintage part of the Aerosmith story. The original peaked

at number ten on the Billboard chart, and ranked 336th on the Rolling Stone list. Eleven years later, the song returned to the charts as a duet between hip-hop group Run-DMC and Aerosmith. This time around it had rap verses and a singing chorus, and was backed by a thumping hip-hop drum beat. The revitalized version became a bigger hit than the original, peaking at number four on the Billboard chart and ranking 287th of all time on the Rolling Stone list. The song, and the story behind it, serves as a template for ideal brand partnerships and the need to always be recruiting new fans for your brand. Stagnation happens quickly when brands stop marketing, innovating, and searching for a new generation of fans and followers. The songs on the chapter seven playlist take you through the mid-1980s collision between hip-hop and rock. 1. “Walk This Way” by Aerosmith, from the 1975 album Toys in the Attic The original is repeatedly cited as one of the greatest hard rock songs of all time, and often makes many of the “greatest guitar songs ever” lists. In 2009, VH-1 named it the eighth best rock song of all time. It is a true rock ’n’ roll classic. 2. “Walk This Way” by Run-DMC and Aerosmith, from the 1986 Run-DMC album Raising Hell Producer Rick Rubin brought the song to the attention of hip-hop group Run-DMC, and they recruited Aerosmith’s

Steven Tyler and Joe Perry to appear on their version. The result was a song that broke hip-hop and rap music into the mainstream of pop music. It also revitalized the sagging fortunes of Aerosmith, who had all but disappeared from the music scene amidst infighting and drug abuse. 3. “(You Gotta) Fight for Your Right (to Party!)” by Beastie Boys, from their 1986 album Licensed to Ill There is some irony to including this song on this playlist, since the band has expressed such distaste for the song in hindsight. Yet it was named by the Rock and Roll Hall of Fame as one of the 500 songs that helped shape rock ’n’ roll. Coming out at around the same time as Run-DMC’s “Walk This Way,” “(You Gotta) Fight for Your Right (to Party!)” was a landmark coming-together of rock guitar riffs and hip-hop styles. It made it to the top ten on Billboard, topping at number seven. 4. “Wild Thing” by Tone Lōc, from the 1988 album Lōc-ed After Dark The subject of a civil lawsuit, this 1988 hip-hop song heavily relied on the uncredited Van Halen song “Jamie’s Cryin’.” The band and Tone Lōc settled out of court, with the hiphop star cutting Van Halen a check for $180,000. The song peaked at number two on the Billboard chart and is an example of the melding of rock and hip-hop that was coming into the forefront in the late 1980s.

5. “Epic” by Faith No More, from the 1989 album The Real Thing Outside of the original Aerosmith version of “Walk This Way,” the songs on this playlist showcase hip-hop acts that brought rock sounds into their music. “Epic” is an example of the opposite approach, and it showcases the influence that hip-hop music was having on rock ’n’ roll at the time. “Epic” was Faith No More’s only top-ten hit, and it helped pave the way for acts like Red Hot Chili Peppers, Kid Rock, Limp Bizkit, and others that fused their rock with elements of hip-hop, funk, and rap. Some interesting points to consider in the chapter seven playlist: f

By bringing rock and hip-hop together, Aerosmith and Run-DMC presented two distinct sets of fans with something new to appreciate.

Great brands are always searching for new customers and fans. Incorporating elements of another band’s music into their own gave many of these bands access to a new group of potential fans.

CHAPTER EIGHT

THE OPPOSITE OF LOVE

ure, my teenage boys both say they hate him, yet they seem to know a lot about him. Justin Bieber is an example of how important it is for brands to accept that they cannot please everyone. Being hated is okay, as long as you are well known. Great brands are widely loved, yet passionately hated. It is a law of nature that any action will have an equal and opposite reaction, and branding is no different. Brands that try to win over everybody usually end up appealing to nobody at all. Justin Bieber wins the love of millions of adoring fans, and repulses millions of others at the same time. Great

bands, and brands, know that the opposite of love isn’t hate, it is indifference. Very few people are indifferent about Justin Bieber. Our chapter eight playlist focuses on bands that polarize and alienate people, yet are immensely successful. And I’m warning you in advance, there’s going to be a Justin Bieber song on this playlist. 1. “Baby” by Justin Bieber, from the 2010 album My World 2.0 The young man everyone loves to hate was already a worldwide sensation when this song was released. It was the lead single from Bieber’s first full-length album, and raced into the top five in the US in early 2010. In June 2010, the video for “Baby” was simultaneously the most viewed and the most disliked clip on YouTube. 2. “Yes Sir, I Can Boogie” by Baccara, a 1977 single release This disco song was never a hit in America, despite being a massive hit across Europe. Disco itself stands up as a great example of the relationship between love and hate. “Yes Sir, I Can Boogie” sold eighteen million copies and is one of fewer than thirty singles in history to sell over ten million copies.

3. “… Baby One More Time” by Britney Spears, from the 1999 album … Baby One More Time This was the single that launched a career filled with controversy from the start. The steamy video, shot with the seventeen-year-old Britney Spears in a Catholic schoolgirl costume, became a flash point for some conservative groups. Yet it went on to be voted by Myspace users as one of the most influential music videos of all time, and Britney’s costume from the shoot is on display at the Hard Rock Hotel & Casino in Las Vegas. Britney is loved and hated, but very seldom are people indifferent toward her. 4. “My Heart Will Go On” by Celine Dion, from the 1997 album Let’s Talk about Love Celine Dion’s ballad became the centerpiece for the blockbuster movie Titanic, yet even as the song was becoming the most-played radio hit of 1998 there were plenty of haters. Whether that hatred came about because of the sappy nature of the song or the fact that it was impossible to escape in ’98, it is impossible to tell. The single sold fifteen million copies worldwide and easily became the year’s bestselling single, and it remains one of the all-time bestselling songs. Interestingly, Aerosmith was rumored to have been offered the song first, but they declined it. They would later record a similar song, “I Don’t Want to Miss a Thing,” for the movie Armageddon.

5. “Girl You Know It’s True” by Milli Vanilli, from the 1989 album Girl You Know It’s True Everyone knows the story of Milli Vanilli, the two singers and dancers who won a Grammy Award and became worldwide stars, until it was discovered that they lip-synched their songs and never actually sang a note. Within days of being discovered as a fraud, their Grammy was taken away and their record company dropped them and deleted their album from their catalog. Yet until the moment when the world turned on them, they were worldwide superstars. After the truth came out, neither the real singers (known now as “The Real Milli Vanilli”) nor the disgraced duo (singing for real as “Rob & Fab”) could manage any notable success. While you groove to the odd songs on the chapter eight playlist, think about how they impact your business: f

Are you focused on seriously pleasing your fans (like Justin Bieber) or are you trying too hard to please everyone?

How do you feel about complaints? It might be worth considering that complaints are valuable because they enlighten you as to how people see your brand. In that light, some complaints are perfectly acceptable to ignore.

Are you comfortable with some people disliking you? The concept of people disliking you is hard to reconcile, but one of the hallmarks of a great brand is the ability to create something people cannot ignore. There are Apple haters, Google haters, and HarleyDavidson haters out there.

CHAPTER NINE

SMELLS LIKE SOMETHING FAMILIAR

hapter nine of Brand Like a Rock Star uses Nirvana as the ideal example of a band that introduced an entirely new sound to the world by packaging it in a way we would understand. They combined punk with pop, using catchy hooks and deeply personal lyrics, creating a sound that was entirely new yet somehow very familiar at the same time. New ideas are hard to digest, but when presented in a context that is familiar, new concepts are much easier to grasp. For product launches, smart brands consider the context in which they present their story. The chapter nine list explores Nirvanaâ&#x20AC;&#x2122;s incredible

ability to create songs that sounded instantly familiar, bringing together elements we were already familiar with to create a fresh, new product. 1. “Smells Like Teen Spirit,” from the 1991 album Nevermind It was their debut song, their biggest hit, and a song that remains a turning point in music and a generation’s theme song. While it was widely regarded as the point where grunge music emerged, Kurt Cobain told Rolling Stone magazine that he “was trying to write the ultimate pop song.” It is interesting that what many cite as the ultimate alternative rock song actually began with such mainstream intent. 2. “Come as You Are,” from the 1991 album Nevermind The record label saw “Come as You Are” as a more mainstream song than “Smells Like Teen Spirit,” intending to use it as a follow-up to bring the band to a wider audience. The commercial success of “Smells Like Teen Spirit” came as a surprise to the band and the record label! “Come as You Are” is one of the band’s most melodic and memorable songs, although hearing Cobain sing “I don’t have a gun” is haunting, since he died of a self-inflicted gunshot wound in 1994. 3. “Rape Me,” from the 1993 album In Utero In 1992, Billboard magazine announced that “Nirvana is that rare band that has everything: critical acclaim, industry respect, pop radio appeal, and a rock-solid college/ alternative base.” Their new album, In Utero, came out a

few months later and continued the fine balance between alternative credibility and mainstream appeal. “Rape Me” is a perfect example of that balance. By the way, if you purchased In Utero in a Walmart store, the song was listed as “Waif Me” because Walmart objected to the song’s title and subject matter. 4. “All Apologies (Unplugged),” from the 1994 album MTV Unplugged in New York Recorded for MTV in November 1993, the album wasn’t released until a year later, a few months after Kurt Cobain’s April 1994 suicide. The song “All Apologies,” originally a split single with “Rape Me,” also appeared on MTV Unplugged in New York. It is a song that Melody Maker magazine called a “gorgeous, aching tune,” and it is yet another example of Nirvana’s ability to bridge pop and alternative to create an accessible yet credible sound. 5. “Heart-Shaped Box,” from the 1993 album In Utero The band’s unexpected popularity in the wake of Nevermind made recording a follow-up album a difficult experience. One of the obvious challenges was creating a commercially appealing album that maintained alternative credibility. Before In Utero came out, rumors circulated that Nirvana had recorded an album that completely rejected commercial success. Yet that was far from true, as Ben Thompson of The Independent newspaper in London noted: “Nirvana have wisely neglected to make the unlistenable punk rock nightmare they threatened us with.” The first single from

the album, “Heart-Shaped Box,” was called “the Nirvana formula personified” by journalist Gillian Gear. “HeartShaped Box” is all at once a catchy, gritty, deep, melodic, and confusing song that sums up Nirvana’s ability to create something entirely new out of familiar parts. Nirvana and the chapter nine playlist inspire some points to ponder relating to business: f

Legendary new products are most often positioned in a framework we already grasp. Dyson created a bagless vacuum cleaner. It was an entirely new product, presented in a way that was easy to understand.

When launching a competing product to the market leader, their brand identity might dictate how you present your brand. Scope became the leading mouthwash by marketing itself as a mouthwash that didn’t taste like medicine, like Listerine did.

CHAPTER TEN

DEATH BY HYPE: LEARNING FROM AXL’S MISTAKES

ike Sweet sang about love and oxygen, “get too much you get too high, not enough and you’re gonna die,” so it is with hype. Too much or too little, and everything goes wrong. Axl Rose proved it with the long-awaited Guns N’ Roses album Chinese Democracy. Guns N’ Roses started working on the album in 1994, amidst drug addictions and infighting, and shortly after work began guitarist Slash, bassist Duff McKagan, and drummer Matt Sorum all left the band. Leader Axl Rose

rebuilt the band and soldiered on. Over the course of the next fifteen years, Rose would go through various incarnations of the band, numerous producers, and a rumored $13 million to create Chinese Democracy. It was released in late 2008. Despite generally positive reviews, the album is regarded as an expensive failure in large part because of the immense hype that built up over more than a decade of waiting. Rose and others frequently boasted about the work-in-progress, creating hype that no album could live up to. The chapter ten playlist includes not only cuts from Chinese Democracy but also songs from the Sammy Hagar– led supergroup Chickenfoot, which Sammy compared to Led Zeppelin and Van Halen. Although Chickenfoot’s music was solid, the advance hype didn’t help. How can anything live up to Zeppelin comparisons? 1. “Chinese Democracy” by Guns N’ Roses, from the 2008 album Chinese Democracy The first single from the long-awaited album was the title cut, a song that the band had been developing in their live shows since 2001. It is a song that starts quiet, building into a powerful guitar riff and tough chorus. The song, like the album, got generally positive reviews. Even former guitarist Slash had good things to say about the song. 2. “Better” by Guns N’ Roses, from the 2008 album Chinese Democracy “Better” was leaked on the Internet in early 2006, and for a short time that year it was used in a Harley-Davidson

commercial. It was officially released as the second single from Chinese Democracy in November 2008. Many critics suggested that “Better” was the best song on the album and sounded most like classic Guns N’ Roses music. 3. “Street of Dreams” by Guns N’ Roses, from the 2008 album Chinese Democracy “Street of Dreams” is another song that had been widely heard by fans in the years leading up to the release of Chinese Democracy, as the band played it live many times under the original title “The Blues.” “Street of Dreams” is a pianodriven ballad that became the third single from the album. 4. “If the World” by Guns N’ Roses, from the 2008 album Chinese Democracy “If the World” is an unusual Guns N’ Roses song, with a restrained sound and industrial-style instrumentation. The normally loud guitars are replaced, for much of the song, by classical-sounding guitar. 5. “Oh Yeah” by Chickenfoot, from the 2009 album Chickenfoot Sammy Hagar, Michael Anthony (ex–Van Halen), guitar wizard Joe Satriani, and Chad Smith (Red Hot Chili Peppers) put together this “supergroup” and released their debut album in 2009. It was hard to live up to expectations after Sammy Hagar promised a band that was “better than Van Halen” and comparable to Led Zeppelin. Chickenfoot’s debut song “Oh Yeah” is a fun party song, but it doesn’t quite measure up to that level of advance hype.

As you rock out to G Nâ&#x20AC;&#x2122; R and Chickenfoot on the chapter ten playlist, think about how publicity can help and hurt your brand. f

Too much hype creates expectations that are often impossible to meet.

Hype itself is artificial. Strive for natural excitement around your brand, not artificially created hype.

Word of mouth is powerful. Create a remarkable brand and use many channels to allow your customers to rave about it. That avenue beats bragging and hype any day.

CHAPTER ELEVEN

YOU GOTTA SERVE SOMEBODY

ob Dylan has spent forty years making music that matters to him. It has certainly connected with millions of others, but Bob Dylan serves himself. It is an important lesson for brands and businesses: if you are passionate and honest about your mission, others will be more likely to join you. You can’t fake it. Dylan hasn’t always done the popular thing, but he’s always done something uniquely his own. The chapter eleven playlist takes you deeper into Dylan, with examples of some of the unusual and interesting twists he has taken on his career path.

1. “Ballad of Hollis Brown,” from the 1964 album The Times They Are a-Changin’ A song about a desperate farmer killing his family and taking his own life doesn’t exactly reflect the musical mainstream of an era that gave us “I Wanna Hold Your Hand” by The Beatles. But Bob Dylan seemed to instinctively avoid the obvious and chart his own course. This haunting blues song is a Dylan classic that showcases his musicianship as much as his poetry. 2. “Subterranean Homesick Blues,” from the 1965 album Bringing It All Back Home Dylan went electric in the mid-’60s, and this song was one of his first noteworthy electric pieces. The video of a young Dylan holding lyrics on cue cards has become legendary. Rumor has it that John Lennon was so captivated by the song that he was intimidated at the thought of having to write a song to compete with it. 3. “Like a Rolling Stone,” from the 1965 album Highway 61 Revisited At the time he wrote “Like a Rolling Stone,” Bob Dylan was feeling burned out and depressed, and he seriously considered quitting music altogether. The song was judged to be too noisy for radio at the time, and far too long. And his fans, upon hearing the electrified version for the first time at the Newport Folk Festival, were unenthusiastic about this

new rock ’n’ roll Bob Dylan. Despite all of that, the song didn’t just become a hit, it became the number one song on Rolling Stone magazine’s 2004 list of the 500 Greatest Songs of All Time. 4. “Hurricane,” from the 1975 album Desire The story of Rubin “Hurricane” Carter, sentenced to jail for murder, became one of Bob Dylan’s most famous storytelling protest songs. Dylan created an eight-minute trip into a hot New Jersey night, where a vicious triple murder had taken place and a man had been wrongly convicted. The song became famous for its subject matter and controversial and accusatory lyrics. Carter was eventually exonerated, and the Bob Dylan song is widely believed to have influenced the eventual outcome of the lengthy case. Dylan hasn’t played the song in concert since 1976. 5. “Here Comes Santa Claus,” from the 2009 album Christmas in the Heart Bob Dylan, born Jewish but with a long history of Christianity, surprised many when he released a Christmas album in 2009. Not only did Dylan record Christmas songs, but he recorded surprisingly upbeat songs like “Must Be Santa,” “The Christmas Song,” and the Gene Autry classic, “Here Comes Santa Claus.” While this is an unusual album in Dylan’s career, that’s exactly what makes Bob Dylan so great. He does what he wants to do, because he is passionate about doing it.

Bob Dylan and the chapter eleven playlist should leave you with plenty to consider when it comes to your brand and business: f

Do you create something you are passionate about? Dylan sang about what mattered to him, and he made it matter to us.

Are you brave enough to go against the grain? Recording six-minute epic songs such as “Like a Rolling Stone” wasn’t the norm in the ’60s, but it became arguably the greatest song of the rock era.

C H A P T E R T W E LV E

HONESTY: YOU CAN’T FAKE IT

othing can replace honesty. With today’s endless social connections, brands have little choice but to replace false hype with real communication. Smart brands relish the chance to be more human, creating a stronger bond between brand and customer. Some of the greatest rock ’n’ roll classics are so memorable because they communicate that same sense of honesty. From mistakes left in to songs created on the spur of the moment, we relate to things that are real. Perfection, after all, is impossible. Human beings cannot relate to perfection. We can, however, relate to reality.

1. “Barbara Ann” by the Beach Boys, from a 1965 single release Few songs embody a real party in progress the way that “Barbara Ann” does. The song was apparently recorded during a long and strenuous recording session that gradually devolved into a party, complete with friends and flowing beer. As things got more and more out of hand, the tapes kept rolling. In the final version, you can clearly hear a chorus of singers who have no idea as to what the lyrics actually are. You can hear studio drummer Hal Blaine tapping along on an ashtray instead of the drums, and someone yells out “Hal and his famous ashtrays” as he plays. 2. “Old Time Rock and Roll” by Bob Seger, from the 1979 album Stranger in Town Legend has it that the famous eight piano notes that open the song were actually never supposed to be played twice. Someone included them twice, and everyone liked the way it sounded. That mistake has become an integral part of a rock and roll classic! 3. “Eruption” by Van Halen, from the 1978 album Van Halen This famous song wasn’t even a song at all. “Eruption” began as a solo that Eddie Van Halen would play during the band’s live shows. He was playing it in the studio while producer Ted Templeman was recording it, and the solo became the second song on the band’s debut album. It served as a

stunning showcase to Eddie Van Halen’s immense talent, although Eddie has often admitted that there are mistakes in the final version, and that he probably could have played it better. If you really want to be true to Van Halen, “Eruption” is best served as an appetizer to “You Really Got Me,” the Kinks remake that immediately followed it on the album. 4. “Flake” by Jack Johnson, from the 2002 album Brushfire Fairytales Jack Johnson’s first single wasn’t his biggest hit, but it remains one of his most memorable. What makes Jack Johnson worthy of inclusion on this playlist is that his career is built on honesty. He doesn’t just preach a commitment to improving the environment, he actually lives up to his words. With a solar-powered studio and a plan to offset the carbon emissions generated by each of his concerts, Johnson has built up a solid base of fans, thanks to his ability to speak honestly to them. 5. “How Do You Sleep?” by John Lennon, from the 1971 album Imagine Amidst the anger and rubble of the breakup of The Beatles, John Lennon let his honesty out on this song directed at Paul McCartney. In “How Do You Sleep?” Lennon viciously attacks McCartney, letting his anger come through in every lyric in the song. While George Harrison played guitar on the song, Ringo Starr was apparently unhappy with John’s decision to record it. Eventually, Lennon and McCartney

would reconcile, but “How Do You Sleep?” is an example of the raw honesty that connected John Lennon to his fans. The chapter twelve playlist about honesty might inspire a few considerations about your business: f

Honesty connects. People bond with real entities and not faceless companies. We sensed John Lennon’s anger and the Beach Boys’ party atmosphere, and we bonded with them.

Always leave the tapes rolling because you might record a classic. In other words, be open to where your next great idea might come from. Eddie Van Halen was messing around when he recorded “Eruption.”

Live up to what you say. It takes conviction but it pays off. As a brand and as a person, your word is who you are. Break it, and you won’t easily be forgiven.

C H A P T E R T H I RT E E N

CASHING IN ON OLD (SPICE) BRANDS

he amazing resurrection of Johnny Cash’s career is the template for chapter thirteen, looking at how bands and brands revive themselves and become relevant again to an entirely new generation. Old Spice is the perfect brand example, going from the leading product in men’s grooming to a nearly dead brand and back again. In music, Johnny Cash might be the best comparison. Johnny was always unusual in country music. He was louder, bolder, wilder, and brasher than most of his country music contemporaries. His songs bordered on rock ’n’ roll, and he used outlaw imagery to further cultivate

his antiestablishment image. After a legendary career that spanned twenty years, Johnny Cash’s star faded in the mid’70s. For the subsequent twenty years, Cash was nearly invisible. But starting in the mid-’90s, Johnny Cash began to rise again. In the decade before he died, he once again became one of music’s iconic figures. Our chapter thirteen playlist chronicles the rise and fall of Johnny Cash. 1. “I Walk the Line,” a single released in 1956 Producer Sam Phillips helped Cash create his first number one hit, recorded at the famous Sun Studio in Memphis. The song was originally a slow ballad, but Phillips encouraged Cash to pick up the pace of the song. Rolling Stone magazine ranked “I Walk the Line” at number thirty on its list of the 500 Greatest Songs of All Time. 2. “Folsom Prison Blues,” from the 1968 album Johnny Cash at Folsom Prison After some career peaks and valleys in the 1960s, Cash realized his long-standing dream of performing live at a prison on January 13, 1968, at Folsom State Prison in California. The album became a surprise hit, and the live version of his 1955 song “Folsom Prison Blues” reached the top forty. 3. “The Wanderer” by U2 and Johnny Cash, from the 1993 U2 album Zooropa Although his career was legendary, Johnny Cash had largely been written off in the early 1990s until a series of

collaborations brought his music to an entirely new generation. One of the first of those collaborations was with U2, when Cash sang lead vocal on this song from their Zooropa album. 4. “Hurt,” from the 2002 album American IV: The Man Comes Around Teaming up with famous producer Rick Rubin, Cash recorded a series of albums that cemented his place as a contemporary force. The albums were sparse, often just Johnny’s deep baritone and acoustic guitar. Most of the songs were covers of rock and alternative hits, songs fans would never expect to hear Johnny Cash sing. The most famous of those songs is this one, a Nine Inch Nails song called “Hurt.” Recorded shortly before he died, the song and video are hauntingly powerful and serve as an epitaph to Cash’s life and career. After hearing Cash’s version, songwriter Trent Reznor said “that song isn’t mine anymore.” 5. “Ain’t No Grave,” from the 2010 album American VI: Ain’t No Grave The most recent of Cash’s posthumous releases, American VI: Ain’t No Grave continues to carve a powerful legacy. The first song and title cut, “Ain’t No Grave,” carries added depth because Cash was quite ill at the time it was recorded. During the 2003 recording sessions for the album, his wife, June Carter Cash, passed away. Johnny Cash would die only four months after his wife. He was buried next to her in Hendersonville, Tennessee.

As you savor the incredible Johnny Cash on this playlist, consider how his career and his comeback can help your business: f

Every brand (and band) has a timeline. At some point all brands peak and need to reinvent themselves.

Working with new partners can open entirely new doors. By aligning himself with U2 and then Rick Rubin, Johnny Cash was presented to a new generation as an artist worthy of consideration.

By working with new partners, Johnny Cash found a wealth of new songs that helped reinvigorate his career. Recording his own interpretations of “Personal Jesus” (Depeche Mode), “I Won’t Back Down” (Tom Petty), “Hurt” (Nine Inch Nails), and “Rusty Cage” (Soundgarden) gave new life to Cash’s career.

Is your brand always looking for the next generation of customers? If your brand’s fortunes start to sag, as Johnny Cash’s did, look to new partnerships to help expose your brand to new customers and new ideas.

C H A P T E R F O U RT E E N

THE POWER OF THE INCOMPLETE

f the twenty-one chapters in Brand Like a Rock Star, this was probably my favorite to write. It is a bit outthere, drawing comparisons between Led Zeppelin, the Beatles, DaVinci, Volkswagen, and In-N-Out Burger. The common thread between them is an ability to harness the power of the incomplete. In one way or another, each of those artists and brands smartly tapped into the human brain’s need to fill in the gaps. The Beatles and Zeppelin did it with album cover art, including the sparse White Album by The Beatles and Zeppelin’s famous Zeppelin IV. Both albums didn’t even have names written on them! It was

music fans who gave the albums the nicknames by which we know them today. The power of the incomplete goes beyond the visual, though. Many bands have used silence as an integral part of their music, employing an audio version of what advertising executives might call “white space.” Those songs make up the chapter fourteen playlist. 1. “Animal” by Def Leppard, from the 1987 album Hysteria This song was painstakingly put together by the band and producer Mutt Lange over the course of two and a half years. The band said it was the most difficult song on the album to get right, but it also proved to be a massive hit around the world. Near the end of the song, as the chorus repeats, the entire song comes to a startling halt. After a few seconds of silence, it kicks in again with a final refrain of the chorus. 2. “A Day in the Life” by the Beatles, from the 1967 album Sgt. Pepper’s Lonely Hearts Club Band This song uses the power of the incomplete near the end, as the band holds the final piano note for forty seconds. It remains one of rock ’n’ roll’s most famous final chords. All of the members of the band played an E chord simultaneously on different pianos. In the studio, they kept increasing the recording level to capture the fading sound. As the level increased, the studio noise became audible, including a squeaking chair and rustling papers. The silence that closes

“A Day in the Life” is every bit as much a part of the song as the piano notes that open the song. 3. “The Look” by Roxette, from the 1989 album Look Sharp! This song used the power of the incomplete in two ways. First, it was a mystery to many when Minneapolis radio station KDWB started playing it. They had been delivered a copy by a US exchange student who bought it while in Sweden, where the band was already popular. When KDWB started playing it, there was a sudden rush in America to find a copy of “The Look” because it was a rare import until EMI Records could get a copy rushed out to hungry fans. Second, like Def Leppard’s “Animal,” the song comes to a complete stop near the final chorus before picking up again. 4. “Shakin’ All Over” by Chad Allan and the Expressions, a single released in 1965 When this Canadian band recorded a version of Johnny Kidd’s “Shakin’ All Over,” they had an instant number one hit in Canada. With the British Invasion in full swing, the record company didn’t want US radio stations to know that this new song was by a Canadian band. To create mystery around it, they released the song in a white label with the words “Guess Who?” on the front. It worked … almost too well! The song went to number two on the US charts and led Chad Allan and the Expressions to change their name to the Guess Who.

5. “Good Vibrations” by Brian Wilson, from the 2004 album Smile The original Smile album was intended to be the followup to the incredibly successful Pet Sounds album. Using the same progressive recording techniques that created the number one hit song “Good Vibrations,” Brian Wilson envisioned creating a masterpiece. Unfortunately, his deteriorating health, escalating drug use, and other pressures put the project on hold and the album was left unfinished. Over the course of thirty years, Smile became the hottest album that never was, as bootleggers and collectors shared what little elements of the album were leaked. Finally, in 2004, Wilson completed the album, thirty-seven years after he started it, and without the help of the original band. This version of “Good Vibrations” is from that album. While Wilson’s solo version was well received, fans still clamored for the original. Early in 2011 the band finally announced that they would be releasing the album under the title The Smile Sessions. Here is how chapter fourteen and the power of the incomplete can help your business, especially in terms of marketing: f

Are you telling too much of the story? The human brain loves to fill in gaps and is intrigued by an incomplete story.

What are you leaving to the imagination? Great marketing always leaves something for the consumer to mentally absorb.

Remember that one of the purposes of great marketing is to allow the customer the opportunity to mentally make the purchase. Once theyâ&#x20AC;&#x2122;ve mentally seen themselves do it, actually making the purchase becomes much easier.

CHAPTER FIFTEEN

THE SEX PISTOLS AND THE ART OF GETTING ATTENTION

ne of the great masters of creating buzz passed away in 2009. Malcolm McLaren created the Sex Pistols in the 1970s and helped spawn a punk music revolution that in many ways laid the foundation for bands like Green Day, Nirvana, the Offspring, and Oasis. His influence will be felt for generations to come, both in music and in PR. Malcolm McLaren knew that the Sex Pistols werenâ&#x20AC;&#x2122;t just about the music; they were about image, fashion, culture, and attitude. Fans of the Sex Pistols were fans of a movement,

not just a band. The Sex Pistols and the music and legacy of Malcolm McLaren form the chapter fifteen playlist. 1. “God Save the Queen” by the Sex Pistols, a single from 1977, later included on the album Never Mind the Bullocks, Here’s the Sex Pistols Although it wasn’t their first hit, “God Save the Queen” embodies the band, and the story behind it embodies McLaren’s knack for generating excitement. The Sex Pistols were signed to A&M Records, and 30,000 copies of the single had been pressed and were ready to ship when the band trashed the record company offices in London. They were promptly dropped by A&M and nearly every copy of the single was destroyed. Days later they were signed to Virgin Records, but the staff at the factory pressing the single refused to work because of the abusive content of the song. Eventually that dispute was solved, and “God Save the Queen” was released. To promote it, McLaren had the band play live on a boat sailing down the River Thames outside the houses of parliament. He, along with others in the band’s entourage, was arrested. The single sold 150,000 copies that week and went to number two on the charts. To this day, some claim the song should have been a number one hit, but the charts were rigged to prevent that from happening. 2. “Anarchy in the UK” by the Sex Pistols, a single

release from 1976 later included on the 1977 album Never Mind the Bullocks, Here’s the Sex Pistols Never Mind the Bullocks was the only full album the Sex Pistols ever released, but it claimed a place in rock history. Rolling Stone magazine ranked it number forty-one on its list of the 500 Greatest Albums of All Time. But a year prior to the album’s release, they released their debut single “Anarchy in the UK.” It was a violent snapshot of a frustrated generation of young people growing up in Britain at the time. Malcolm McLaren called the song “a call to arms” and “a statement of self rule.” It peaked at number thirty-eight on the UK singles chart, but it caught the attention of the world and paved the way for the band’s future success. 3. “No Fun” by the Sex Pistols, an unreleased song recorded in 1977 The song “No Fun,” originally recorded by the Stooges, was the last song the Sex Pistols played before breaking up in early 1978. They were playing in San Francisco and Sid Vicious had been dropping deeper into drug addiction and erratic behavior (even by their standards). Tensions were high in the band as Johnny Rotten took to the stage at the Winterland Ballroom and told the audience, “This is no fun. No fun. This is no fun at all. No fun.” They broke up three days later. Vicious died of a heroin overdose thirteen months after the breakup. 4. “Buffalo Gals” by Malcolm McLaren, from the 1983

album Duck Rock Sounding nothing at all like the music he helped inspire in the Sex Pistols, Malcolm McLaren helped popularize an entirely new musical movement in the early ’80s. After attending a street party in New York City, McLaren decided to incorporate elements of hip-hop and scratching into his music. The result was a song that served as an introduction for many into hip-hop music. Eminem even paid tribute to it at the start of his 2002 single “Without Me” when he sings “Two trailer park girls go ’round the outside.” 5. “Madame Butterfly” by Malcolm McLaren, from the 1984 album Fans Turning once again to entirely new sounds, McLaren bravely attempted to fuse together elements of R&B, hip-hop, and opera. While the album Fans was considered strange by many people, the song “Madame Butterfly” managed to reach the upper echelons of the British and Australian pop charts, and the erotic video of beautiful models lounging in saunas and steam baths brought the song a wealth of attention. While the song doesn’t warrant a high-profile place in rock music history, it is worthy of inclusion in any discussion about the impact of the late Malcolm McLaren. Malcolm McLaren was an unusual figure in music, but the chapter fifteen playlist that chronicles his career can help you build a stronger brand. f

In many ways, PR is the new marketing. If you

can get thousands of people talking about your brand—as McLaren did for the Sex Pistols—you’ll accomplish something that it would take millions of marketing dollars to accomplish. f

Even bad publicity can help certain brands. For edgy bands like the Sex Pistols, the endless stream of negative press helped further their antiestablishment image.

Tap into emotional waves. The Sex Pistols rode the wave of disenchanted youth in the UK. They were an emotional outlet for millions of angry young people.

CHAPTER SIXTEEN

DIFFERENT BEATS BETTER

f all the branding principles looked at in Brand Like a Rock Star, few are as important to grasp as the simple concept that â&#x20AC;&#x153;different beats better.â&#x20AC;? The premise is that most businesses get far too fixated on being better than their competitors, when what really matters is being different from your competitors. KISS, Madonna, Alice Cooper, and Lady Gaga are prime examples. All are massive stars around the world not simply because they are better musicians than everyone else, but because they are unlike anyone else! When you present the world with something remarkable, it gets noticed. Getting

noticed is the first, and hardest, step in becoming loved. The chapter sixteen playlist profiles several artists who showed us remarkable things that we had never before seen, proving that being different is more important than being better. 1. “Love Gun” by KISS, from the 1977 album Love Gun When the New York band Wicked Lester changed their name to KISS and adopted comic book imagery and makeup, their fortunes turned. Within a year they were embarking on a world tour and within three years they were one of the biggest rock and roll acts on the planet. Although “Love Gun” wasn’t one of the band’s bigger chart hits, it became a concert favorite and has been on the set list for every tour since it was released. 2. “I Was Made for Lovin’ You” by KISS, from the 1979 album Dynasty Flavored with elements of disco, “I Was Made for Lovin’ You” became the biggest KISS hit to date when it was released in 1979. It came at a time when tensions were high in the band, and drummer Peter Criss was dismissed from the band shortly after. “I Was Made for Lovin’ You” is the most pop-friendly song in the KISS catalog, which accounts for both its enduring popularity and its polarizing nature among hard-core KISS fans. 3. “Welcome to My Nightmare” by Alice Cooper, from the 1975 album Welcome to My Nightmare A funky and jazzy song, “Welcome to My Nightmare” isn’t typical of Alice Cooper’s hard-rocking history, but it is a

great example of Alice Cooper’s brilliant use of antihero imagery. Cooper recognized early in his career that most rock stars portrayed themselves as heroes, so he took a dramatically different approach. Alice Cooper became famous for his shocking stage shows, using elements of horror, fantasy, death, and gore to leave a lasting impression. 4. “Like a Virgin” by Madonna, from the 1984 album Like a Virgin For her second album, Madonna took control of her career, became a coproducer, and gave the world a song and a video that shocked. “Like a Virgin” is lyrically laced with plenty of innuendo, and the video of her frolicking in a wedding dress with a lion and dancing suggestively on the canals of Venice got plenty of attention. Madonna was a relatively new phenomenon at the time, and her provocative sexuality and religious imagery set her apart from many long-forgotten artists of the day. 5. “Born This Way” by Lada Gaga, from the 2011 album Born This Way Lady Gaga has become one of the biggest stars of modern music by creating a persona that is unlike any other. She might not be the absolute best artist of our time, but she is one of the most unusual and unforgettable. Her appearance in a dress made entirely of raw meat landed her on the cover of nearly every newspaper and magazine. Between her fashion choices and her music, Lady Gaga has grabbed the attention of the world in a big way.

Almost any smart marketer will agree that being dramatically different is more important than being dramatically better than your competitor. Here are some things to consider as you enjoy the chapter sixteen playlist. f

The human mind only notices the unusual. We learn to forget the everyday things we see over and over again. Seth Godin made the point well with his book Purple Cow.

If you can show people something they haven’t seen before, they have no choice but to pay attention. Once you’ve got their attention you can show them how much better you are.

Being different creates passion. Lady Gaga’s fans are passionate. KISS fans joined the “KISS Army” to show their passion. When you create something unique that people identify with, you create a strong and lasting bond.

CHAPTER SEVENTEEN

ABBA-FY YOUR BRAND

ew bands have been offered as much money to reunite, over and over, as ABBA has. They are rumored to have turned down one billion dollars to reunite for a concert tour. Why? According to Bjorn Ulvaeus, the band wants to be remembered as they were, young and exuberant and full of energy. They donâ&#x20AC;&#x2122;t want to be viewed as a cover band, touring around playing versions of their own songs. What makes ABBA special and noteworthy in terms of branding is their acknowledgment that their fans see them in a special way, and they steadfastly refuse to violate that expectation. Brilliant! Most of us get caught up in how we see ourselves, but the only thing that really matters is how your fans and customers see you. Their perception is your reality.

The chapter seventeen playlist is a fun spin on the career of Sweden’s biggest musical export, ABBA, from their early days to their unofficial breakup in 1982. Love them or hate them, you have to respect their integrity and their awareness of how their fans perceive them. 1. “People Need Love” by Bjorn, Benny, Agnetha, and Anni-Frid, a 1972 single that was included on the 1973 album Ring Ring The first song credited to the four members of the band came out in 1972, about a year before their name was shortened to ABBA. “People Need Love” is a catchy song that shows exactly where the band was headed in terms of sound and style. 2. “Dancing Queen” by ABBA, from the 1976 album Arrival The song that became a number one hit in thirteen countries began as a demo called “Boogaloo” that gradually evolved into “Dancing Queen.” It was premiered on Swedish TV on the eve of the royal wedding of King Carl XVI Gustaf and his bride-to-be, Silvia Sommerlath. Four decades later, “Dancing Queen” is considered by many to be one of the best pop songs of the 1970s. 3. “Take a Chance on Me” by ABBA, from the 1978 album The Album Next to “Dancing Queen,” “Take a Chance on Me” was ABBA’s most successful hit song, reaching the top ten in

fifteen different countries. The song’s pacing was apparently conceived by Bjorn Ulvaeus while jogging. British synth band Erasure took their version of the song to number one in the UK for a month in 1992. 4. “Super Trouper” by ABBA, from the 1980 album Super Trouper The Super Trouper album marked a change in direction for ABBA, adding more keyboards and a more lush sound. The title song from the album was the band’s final number one hit in the UK. The band would record only one more album before unofficially breaking up in 1982. 5. “One Night in Bangkok” by Murray Head, from the 1984 album Chess What does a one-hit wonder by British actor and singer Murray Head have to do with ABBA? The music for “One Night in Bangkok” was written by Bjorn Ulvaeus and Benny Andersson as part of their contribution to the musical Chess in 1984. The song became a major hit worldwide, although it was banned in Thailand for disrespecting Thai culture and Buddhism, according to the Thailand Mass Communications Organization. Boxer Mike Tyson made Bjorn and Benny a little more money in 2011 when he performed a version of the song during his cameo in The Hangover: Part II. I don’t think I ever envisioned writing a business book about ABBA, but the chapter seventeen playlist does give brand managers some worthwhile points to consider:

When you stand for something in the mind of the consumer, you are wise to reinforce that perception instead of fighting it. ABBA became famous for youthful exuberance, and they refuse to reunite if they cannot adequately live up to that image.

By not reuniting, and potentially letting down their fans with a less than youthful version of ABBA, they have continued to increase the value of their brand. A reunion that didnâ&#x20AC;&#x2122;t live up to expectations would have the opposite effect.

CHAPTER EIGHTEEN

KNOW YOUR ENEMY: GREEN DAY MEETS SUN TZU

t may seem like a stretch at first, comparing a band that played Woodstock â&#x20AC;&#x2122;94 covered in mud with a famous ancient Chinese military general and philosopher. But Green Day sang a song in 2009 that perfectly captures one of Sun Tzuâ&#x20AC;&#x2122;s lessons in his teachings in The Art of War: know your enemy. Sun Tzu essentially said that anyone who hopes to win a battle needs to know everything about themselves and their enemy. Knowing only one or the other would never result in consistent victory. The same is true in business and branding.

Defining your enemy is a vital part of understanding what you are as a brand, and what you stand for and against. The chapter eighteen playlist rocks out with some of Green Day’s best songs. 1. “When I Come Around (Live at Woodstock ’94),” from the 1995 album Woodstock ’94 and originally from the 1994 album Dookie Dookie was Green Day’s first major-label album, and it quickly caught on, but it was Green Day’s mud-covered Woodstock ’94 performance that made the band legendary nearly overnight. 2. “Brain Stew,” from the 1996 album Insomniac With their second major-label album, Insomniac, Green Day emerged with a little darker sound. The album didn’t sell as well as the Dookie album before it, but it rated four out of five stars in Rolling Stone magazine and gave us lasting songs like “Brain Stew.” 3. “Good Riddance (Time of Your Life),” from the 1997 album Nimrod Certain songs transcend genre and era to become classics. “Good Riddance” is one of those songs. It showed a side of Green Day that many people had yet to see, and brought the band’s music to a wealth of new fans when it was used in the closing moments of the historic finale of Seinfeld.

4. “American Idiot,” from the 2004 album American Idiot The song “American Idiot” came at a time when Green Day had been invisible for a few years, and it was a perfect revival for the band’s career. The song was written by Billie Joe Armstrong as a response to the redneck pride espoused in the Lynyrd Skynyrd song “That’s How I Like It.” It also introduced fans to a more politically aware Green Day, willing to speak out about the future of their country. 5. “Know Your Enemy,” from the 2009 album 21st Century Breakdown Continuing the band’s politically charged theme, “Know Your Enemy” is a classic protest song, harking back to the ’70s punk rock of The Clash and the Sex Pistols. The song has simultaneously become a sports anthem, video game soundtrack, and political rallying cry. Green Day has cemented its place in rock history over the past two decades, and the chapter eighteen playlist can help cement your brand’s place as well. f

Know your enemy! It is a principle of any battle. Know who you are up against, what armaments they have, and what strategies they employ.

Defining your enemy and what they stand for helps to define your brand. For every brand position, there is a brand that stands for the opposite position. Know them and define them.

Recognize that you need your enemy. Without Coke, there is no Pepsi. Without PCs, there is no Apple.

CHAPTER NINETEEN

CHANGE WITH THE TIMES: EMINEM’S COMEBACK

or a while he was everywhere. He was the face of hiphop. If the song you heard wasn’t his, it seemed he had a hand in it somehow, as a collaborator, writer, producer, actor, or record label executive. And then Eminem seemed to disappear. In 2010 Eminem came back, in a major way, tapping into a trend in honesty and openness. Eminem’s early music was theatrical, almost parody. Songs like “The Real Slim Shady” and “Without Me” were

self-indulgent and antagonistic toward others. They mocked different bands and built Eminem up as music’s only true star. At the time, that approach was what hip-hop music was all about. Rappers picked fights with each other through their music all the time. But times change. Eminem’s music needed to change too. The chapter nineteen playlist is a journey through the evolution of Eminem, from boastful young rapper to mature, self-reflecting hip-hop veteran. 1. “The Real Slim Shady,” from the 2000 album The Marshall Mathers EP In his first hit song, Eminem picks on Pamela Anderson, Christina Aguilera, Will Smith, Britney Spears, ’NSync, and others. The song was controversial and antagonistic, garnering a wealth of publicity for the young rapper. 2. “Without Me,” from the 2002 album The Eminem Show “Without Me” continued Eminem’s path of destruction, openly mocking Vice President Dick Cheney, Moby, Limp Bizkit, and all of his critics. The premise of the song is that Eminem is back to save the music industry. 3. “Just Lose It,” from the 2004 album Encore While previous Eminem songs had generated controversy and become massive hits, “Just Lose It” broke the trend. It

generated controversy, but it wasn’t quite as big a hit as previous Eminem songs, and it started a downward trend in Eminem’s career. In 2005 he took a hiatus from music, hinting in interviews that he might not return at all. 4. “Love the Way You Lie,” featuring Rihanna, from the 2010 album Recovery After a less-than-successful album called Relapse and some time spent in actual rehab, Eminem returned in 2010 with an album full of songs that maintained his passion and venom, but did so without the silliness and gimmickry of his early work. The song “Love the Way You Lie” became a worldwide smash hit. 5. “Not Afraid,” from the 2010 album Recovery In years past, Eminem would have viewed his comeback as the music industry’s saving grace. Instead, “Not Afraid” presented a humble and grateful Eminem, apologizing for letting his fans down and alienating those around him. In the song he promises “no more drama” and a commitment to being a better father. He even takes a poke at his own music, admitting his 2009 album Relapse wasn’t up to par. The chapter nineteen playlist is essentially about honesty, and as you listen to Eminem’s career evolve from self-inflation to self-actualization, you can take a few points away to help your brand:

We bond with those who have similar qualities. By being honest about his struggles, Eminem forges a bond with fans who have undergone similar struggles.

Weakness can be strength. When you expose a weakness or vulnerability, you give your brand human qualities that we can relate to.

There are universals in life, and when a brand relates to those universals it can connect with customers on a deeper level.

CHAPTER TWENTY

THE NOT-SO-DIRE STRAITS OF CONTROVERSY

hat brought Dire Straits back from rock ’n’ roll obscurity in early 2011? It wasn’t a comeback album or a reunion tour of a young artist doing a remake of one of their songs. All it took to return their 1985 hit “Money for Nothing” to the charts was a healthy dose of controversy. In January of 2011 the Canadian Broadcast Standards Council ruled, based on a listener complaint, that the unedited version of “Money for Nothing”—containing the lyric

“the little faggot with the earring and the makeup”—was a violation of their codes. Hence, Canadian radio stations were effectively banned from playing the unedited version without risking punitive repercussions. The unexpected banning of a hit song from twenty-six years before made headlines around the world, stirring up renewed interest in “Money for Nothing,” so much so that the song made an appearance on the iTunes chart for a few weeks, alongside Taylor Swift, Eminem, and Lady Gaga. The focus of chapter twenty is how certain brands benefit from controversy and other brands lose. Brands like Calvin Klein and Red Bull have used controversy to their advantage. Other brands, like BP and Tiger Woods, have been forever damaged by it. Our chapter twenty playlist contains five songs that have been the subject of controversy, for better or for worse. 1. “Money for Nothing” by Dire Straits, from the 1985 album Brothers in Arms It was a number one hit, a Grammy winner, and it won Video of the Year at the MTV Music Video Awards. “Money for Nothing” stands up as the most successful song in the career of Dire Straits, featuring an unforgettable guitar riff, a cameo from Sting, and lyrics that satire the working man’s view of the pampered rock ’n’ roll life. While controversy surrounding the song was minimal at the time it was released, the 2011 Canadian controversy gave it an entirely new life.

2. “Relax” by Frankie Goes to Hollywood, a 1983 single included on the 1984 album Welcome to the Pleasuredome To promote the song, ZTT Records took out quarter-page ads in British music magazines, promising a band that would “make Duran Duran lick shit off their shoes.” The ads featured members of the band in outlandish sailor costumes with the slogan “All the nice boys love sea men.” The song was a slow starter but eventually went to number one on the UK charts, fueled by a BBC ban on the song for its sexually suggestive lyrics. The song went on to top charts around the world and become one of the decade’s most memorable records, due no doubt in part to the controversial marketing and BBC ban. 3. “Darling Nikki” by Prince, from the 1984 album Purple Rain Although never a single, this Prince song about a sex fiend “masturbating with a magazine” caught the attention of Tipper Gore, who founded the Parents’ Music Resource Center to help protect children from controversial content in music. The PMRA is the group behind the advisory stickers we see today on CDs. Prince was already well known for his raunchy lyrics at the time, and “Darling Nikki” helped further his sexual image.

4. “Cop Killer” by Body Count, from the 1992 album Body Count First-person protest song or hate-inciting anthem? Body Count lead singer Ice-T claimed it was a protest song from the point of view of someone who had experienced police brutality. But the song’s anti-police message attracted unprecedented attention, from President George H.W. Bush to local police associations, some of whom called for a ban on all products distributed by Time-Warner, the parent company of Warner Music. Eventually the outcry led Body Count to withdraw the song, rereleasing their album without “Cop Killer” on it. There is no question that the song, album, and band would have had far less attention without the offending song. 5. “You Oughta Know” by Alanis Morissette, from the 1995 album Jagged Little Pill Rumored to be about Morissette’s breakup with actor Dave Coulier, the song “You Oughta Know” set new standards for an angry, jaded breakup song. With controversial lines like “would she go down on you in a theater” and “are you thinking of me when you fuck her,” various edited versions needed to be presented to radio stations. The song definitely owes some credit for its success to the controversy surrounding the lyrical content and the mystery around who she is singing about.

Chapter twenty and the story of Dire Straits are about using controversy to your advantage. Here are a few things to keep in mind while you listen to the chapter twenty playlist: f

Controversy doesn’t work for everyone. While some brands benefit, some don’t. Know your brand and understand your situation before trying to capitalize on controversy.

People are enticed by bans. When a song, like Frankie Goes to Hollywood’s “Relax,” is banned by authorities, people are naturally interested in hearing it. They want to know why and they want to be part of the story.

Ultimately, controversy is a form of PR. If you can make it work in your favor, you can accomplish what it might otherwise take millions of dollars to accomplish. You can tell your story in a way that paid marketing could never do.

C H A P T E R T W E N T Y- O N E

THE GRATEFUL DEAD’S CRYSTAL BALL

ome would say I’ve saved the best for last. The Grateful Dead are unquestionably one of rock’s great brands, and as chapter twenty-one of Brand Like a Rock Star details, the Dead did things that no band before them had ever done. They encouraged fans to bootleg their shows. They built the ultimate mailing list, which became the ultimate fan club. Looking back on their career, it almost seems like the Grateful Dead had a crystal ball that allowed them to see into the future, because much of what the Grateful Dead did resembles file sharing, social media, and the rise of the artist-driven business model prevalent in

the music industry today. The chapter twenty-one playlist is a long, strange trip through the Grateful Dead’s incredible catalog. 1. “Truckin’,” from the 1970 album American Beauty This is one of the most widely recognized Dead songs, and it includes the classic line “what a long strange trip it’s been.” That phrase has become part of the pop culture lexicon thanks to the Grateful Dead. Having peaked on the charts at number sixty-four, it remained the highest-charting Grateful Dead song until “Touch of Grey” became a surprise hit in 1987. 2. “Uncle John’s Band,” from the 1970 album Workingman’s Dead Covered over the years by Jimmy Buffett, Crosby, Stills, and Nash, and the Indigo Girls, “Uncle John’s Band” is a classic Grateful Dead song. The harmonies are perfect, and the song is a stellar example of the band capturing their jamming style in a commercially accessible way. When the song came out, the band was already an underground legend, but “Uncle John’s Band” helped expose them to a more mainstream audience thanks to its presence on emerging FM progressive rock radio stations. 3. “Casey Jones,” from the 1970 album Workingman’s Dead One of the most recognizable Dead songs thanks to frequent play on classic rock radio stations, “Casey Jones” was

inspired by the true story of an engineer who crashes his train. The song was even made available to a new generation of fans as a download for the video game Rock Band. 4. “Sugar Magnolia,” from the 1970 album American Beauty “Sugar Magnolia” is one of the most-played Grateful Dead songs over the course of their long concert career. It made its first live appearance in July 1970 and turned up on the album American Beauty later that same year. The song has the folk/country feel that the band was famous for in the early ’70s. 5. “Hell in a Bucket,” from the 1987 album In the Dark The band reached a commercial peak somewhat unexpectedly in 1987. They hadn’t recorded a studio album since 1980, although they were extremely popular on tour. In the Dark is most famous for the band’s only top-ten hit, “Touch of Grey,” but it also contained the gem “Hell in a Bucket” with Bob Weir on lead vocals. Having created a massive MTV hit with “Touch of Grey,” they recorded a humorous video for “Hell in a Bucket,” but it failed to replicate the chart success of “Touch of Grey.” Nevertheless, the song stands on its own as a latter-day Grateful Dead classic. What makes the Grateful Dead and the chapter twentyone playlist important for your business?

The Grateful Dead broke the rules. The band didnâ&#x20AC;&#x2122;t do what the music industry said they should do, they did what they deemed best for their band.

Because the band did things differently, they created a devoted following. Fans respected the band for the way they treated their fans and the music.

The Grateful Dead endorsed file sharing long before computers by encouraging fans to record their concerts and trade the tapes. They were involved in social media long before Facebook by facilitating a connected network of fans.

The Dead surrendered some control over their brand by allowing their fans so much freedom, but the fans responded by treating the brand with tremendous respect and devotion.

EPILOGUE

THE BACKSTAGE PASS: CLOSING WORDS

here isnâ&#x20AC;&#x2122;t a single business today that wouldnâ&#x20AC;&#x2122;t benefit from having a stronger brand. Strong brands get the click-through traffic on Google. Strong brands get the walk-up traffic. Strong brands survive the up-and-down nature of the economy. If you plan on being in business for any length of time, you need to understand and develop your brand. I hope that Brand Like a Rock Star helps you do that, and makes your business plenty of money along the way. Brand Like a Rock Star was forged from my mutual passions for music and business. It began on a spring night in

Austin, Texas, while I listened to Jimmy Buffett on my iPod, but it doesn’t end with the publication of the book. Brand Like a Rock Star continues to evolve online through blog posts, discussions, and contributions from people like you who love music and business. Here are some important links to bookmark: www.brandlikearockstar.com—The Brand Like a Rock Star website and blog www.brandlikearockstar.com/index.php/purchase—A direct link to order your copy of the book www.facebook.com/brandlikearockstar—Brand Like a Rock Star on Facebook www.twitter.com/rockstarbrands—A link to follow my updates on Twitter