The Pocket Gods are hoping to sell one-off album Vegetal Digital for £1 million. Here’s why…
At a small independent record store tucked away in a neat courtyard of shops next to St Albans’ famous cathedral, a vinyl record that one band is hoping could become the most expensive ever sold in the UK is about to be released.
Just one physical copy of prolific indie band The Pocket Gods’ latest album Vegetal Digital has been produced, going on sale at their hometown’s Empire Records for the rather large sum of £1 million.
With charts of the music industry’s “most expensives” usually throwing up world-renowned artists such as The Rolling Stones, Madonna and U2 (most expensive tours), and songs such as Michael and Janet Jackson’s 1995 hit Scream (most expensive music video of all time), it might seem an improbable feat.
The one copy of Vegetal Digital will be on sale at Empire Records in St Albans, run by Dave Burgess
But the Hertfordshire band’s frontman Mark Christopher Lee is confident they will find a buyer.
Why are they trying their luck? Well, they have long protested about what they say is the lack of fair royalties paid to musicians by Spotify and other streaming services – an issue raised by high-profile stars including Taylor Swift in recent years, which was also the subject of an inquiry in the UK in 2021.
Highlighting the fact it only takes 30 seconds for a song to trigger a streaming payment, The Pocket Gods have been recording songs of around this length since 2015; Only The Rich Can Tour and We’re All No Hit Wonders Now are among the quickfire tracks you’ll find in their back catalogue.
But Lee says it’s now time to “stop moaning about Spotify” and do something productive to help artists and songwriters. So if the one copy of Vegetal Digital sells for £1 million, the proceeds will fund a new rival “ethical” streaming platform, Nubplay.
It sounds ambitious, but the musician says he believes the record could be snapped up within a couple of weeks.
‘Actions speak louder than words’
“Someone who’s got lots of money and wants to do something good with it,” he tells Sky News, pondering what kind of person might invest. “It’s a crazy world we’re getting into… but we’re making a stand, we want to make a better future for artists and songwriters. We talk a good game but actions speak louder than words and this is what we’re going to do.
“For years and years, music – a lot of the arts – has been devalued. And I just can’t imagine a world without music.”
Nubplay would guarantee to pay artists and songwriters a minimum royalty of 1p per stream, says Lee. “It doesn’t sound that much, but it’s 50 times the current rate we get from Spotify.”
Formed in 1998 at Tower Records in London, The Pocket Gods are said to have been championed by the likes of the late John Peel and Steve Lamacq over the years, and have broken Guinness World Records for the most studio albums released digitally (75) and most songs on a digital album.
Earlier in 2022, the band – now made up of founding members Lee (vocals and guitar) and Noel Storey (keys), Simon Herries (bass) and former Searchers drummer Scott Ottaway – released Nobody Makes Money Anymore, an album of 1,000 30-ish second tracks.
“That went really well, it went viral around the world,” says Lee. “It’s had nearly a million streams, which sounds really, really good, but we’ve had about 450 quid in terms of royalties. So, no, it hasn’t been a great money-spinner but it has gained us a lot of fans and helps us to raise this issue.”
The one-off $2m Wu-Tung Clan album sold on by the US government
Pic: Chris Pizzello/Invision/AP/2019
As Vegetal Digital is released, the band will remove their back catalogue from streaming services; if it does go for £1 million, it could become the most expensive album ever sold in the UK. However, Once Upon A Time In Shaolin, the seventh album by American hip-hop group Wu-Tang Clan, holds the title of most expensive in the world.
An early stand against streaming, the group made just one physical copy which sold for $2 million (about £1.3m at the time) to pharma company executive Martin Shkreli in 2015. Shkreli, however, was jailed in 2017 – and last year, the US government confirmed it had sold the one-of-a-kind album to help pay off the $7.36 million the businessman was ordered to forfeit after being convicted of fraud.
According to a 2019 article by music company HMV, the top five most expensive albums chart is a Beatles-heavy list; after Once Upon A Time In Shaolin are copies of The Beatles (the White Album), Elvis Presley’s My Happiness, Sgt Pepper’s Lonely Hearts Club Band, and John Lennon and Yoko Ono’s Double Fantasy.
But could Vegetal Digital become an unlikely contender for the number two spot? A £1 million sale would place it ahead of the first mono pressing of the White Album, sold by Ringo Starr at auction in December 2015 for $790,000 (about £521,000 at the time).
“I’m excited to see it and hear it,” says Dave Burgess, manager at Empire Records. “We certainly haven’t had [a record selling at this price] before. It’s really interesting and exciting. I jumped at the opportunity to get on board.”
Lee is documenting the band’s unique story in a film, entitled Inspired The 30 Second Song Movie, which is set to be released in December.
He hopes a million-pound sale will be part of it. Could a big-name artist be the one to invest?
“Well, I did message Taylor Swift on Instagram, invited her to the launch,” he says. “Maybe we’ll see her there.”
Vegetal Digital, by The Pocket Gods, is on sale from Tuesday 4 October, only available at Empire Records in St Albans
The Stone Roses bassist Gary “Mani” Mounfield has died at the age of 63, his family has said.
Mani’s brother, Greg, said in a post on Facebook: “It is with the heaviest of hearts that I have to announce the sad passing of my brother.”
“RIP RKID,” he added.
Gary “Mani” Mounfield and his wife Imelda at the world premiere of “The Stone Roses : Made Of Stone” in 2013. Pic: Reuters
Formed in 1983, The Stone Roses were a mainstay of the “Madchester” scene.
Mani joined the band in 1987 and formed part of its classic line-up alongside singer Ian Brown, guitarist John Squire and drummer Alan ‘Reni’ Wren. He remained with the group until their split in 1996.
Mani’s death comes two years after that of his wife, Imelda Mounfield, who was diagnosed with stage 4 bowel cancer in November 2020. The couple welcomed twin boys in 2012.
Ian Brown, left, with Mani, right, performing on stage during their 2012 reunion concerts in Manchester. Pic: Reuters
The Stone Roses frontman Brown shared a tribute online, writing: “REST IN PEACE MANi X.”
Oasis singer Liam Gallagher said he was “in total shock and absolutely devastated”, describing the bassist as “my hero”.
“RIP Mani – my heartfelt condolences to his twin boys and all of his family,” wrote the Happy Mondays’ Shaun Ryder, whose bandmate Rowetta added: “Back with your Imelda, Mani. Going to miss you so much. All my love to the boys, the family & all those who knew & loved him.”
The Charlatans frontman, Tim Burgess, shared a photo of himself with Mani, writing alongside it: “I shared this photo a week or so ago on Mani’s birthday.
“It never failed to bring a smile to my face – and that was exactly the same for the man himself.
“One of the absolute best in every way – such a beautiful friend.”
Echo & the Bunnymen vocalist Ian McCulloch said Mani was someone “who I have always loved and always will love, deeply and forever. Like a brother”.
He continued: “I am in shock to be honest. Please tell me I’m just having a bad, bad dream. My thoughts and feelings and Mani. Love to all of his family from me”.
Pic: Robert Marquardt/ZUMA Press Wire/Shutterstock
The “Madchester” bands were known for blending indie with acid house, psychedelia, and pop.
The Stone Roses’ eponymous debut album of 1989 was a huge success, and was named the second greatest album of all time in a “Music of the Millennium” poll conducted by HMV, Channel 4, The Guardian, and Classic FM.
The novel has survived the industrial revolution, radio, television, and the internet. Now it’s facing artificial intelligence – and novelists are worried.
Half (51%) fear that they will be replaced by AI entirely, according to a new survey, even though for the most part they don’t use the technology themselves.
More immediately, 85% say they think their future income will be negatively impacted by AI, and 39% claim their finances have already taken a hit.
Tracy Chevalier, the bestselling author of Girl With A Pearl Earring and The Glassmaker, shares that concern.
“I worry that a book industry driven mainly by profit will be tempted to use AI more and more to generate books,” she said in response to the survey.
“If it is cheaper to produce novels using AI (no advance or royalties to pay to authors, quicker production, retainment of copyright), publishers will almost inevitably choose to publish them.
“And if they are priced cheaper than ‘human made’ books, readers are likely to buy them, the way we buy machine-made jumpers rather than the more expensive hand-knitted ones.”
Chevalier, author of the book Girl With A Pearl Earring, with the painting of the same name. Pic: AP
Why authors are so worried
The University of Cambridge’s Minderoo Centre for Technology and Democracy asked 258 published novelists and 74 industry insiders how AI is viewed and used in the world of British fiction.
Alongside existential fears about the wholesale replacement of the novel, many authors reported a loss of income from AI, which they attributed to “competition from AI-generated books and the loss of jobs which provide supplementary streams of income, such as copywriting”.
Some respondents reported finding “rip-off AI-generated imitations” of their own books, as well books “written under their name which they haven’t produced”.
Last year, the Authors Guild warned that “the growing access to AI is driving a new surge of low-quality sham ‘books’ on Amazon”, which has limited the number of publications per day on its Kindle self-publishing platform to combat the influx of AI-generated books.
The median income for a novelist is currently £7,000 and many make ends meet by doing related work, such as audiobook narration, copywriting or ghost-writing.
Read more: The author embracing AI to help write novels
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Could the AI bubble burst?
These tasks, authors feared, were already being supplanted by AI, although little evidence was provided for this claim, which was not possible to verify independently.
Copyright was also a big concern, with 59% of novelists reporting that they knew their work had been used to train AI models.
Of these, 99% said they did not give permission and 100% said they were not remunerated for this use.
Earlier this year, AI firm Anthropic agreed to pay authors $1.5bn (£1.2bn) to settle a lawsuit which claimed the company stole their work.
The judge in the US court case ruled that Anthropic had downloaded more than seven million digital copies of books it “knew had been pirated” and ordered the firm to pay authors compensation.
However, the judge sided with Anthropic over the question of copyright, saying that the AI model was doing something akin to when a human reads a book to inspire new work, rather than simply copying.
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Most novelists – 67% – never used it for creative work, although a few said they found it very useful for speeding up drafting or editing.
One case study featured in the report is Lizbeth Crawford, a novelist in multiple genres, including fantasy and romance. She describes working with AI as a writing partner, using it to spot plot holes and trim adjectives.
“Lizbeth used to write about one novel per year, but now she can do three per year, and her target is five,” notes the author of the report, Dr Clementine Collett.
Is there a role for government?
Despite this, the report’s foreword urges the government to slow down the spread of AI by strengthening copyright law to protect authors and other creatives.
The government has proposed making an exception to UK copyright law for “text and data mining”, which might make authors and other copyright holders opt out to stop their work being used to train AI models.
“That approach prioritises access to data for the world’s technology companies at the cost to the UK’s own creative industries,” writes Professor Gina Neff, executive director of the Minderoo Centre for Technology and Democracy.
“It is both bad economics and a betrayal of the very cultural assets of British soft power.”
A government spokesperson said: “Throughout this process we have, and always will, put the interests of the UK’s citizens and businesses first.
“We’ve always been clear on the need to work with both the creative industries and AI sector to drive AI innovation and ensure robust protections for creators.
“We are bringing together both British and global companies, alongside voices beyond the AI and creative sectors, to ensure we can capture the broadest possible range of expert views as we consider next steps.”
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