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ivan@stellysee.de
| From | "MTN HIGH" <mtn-high@msn.com> |
| Subject | Re: Soundscan and Not Lame |
| Date | Wed, 19 Feb 2003 17:08:33 +0000 |
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>From: Not Lame <popmusic@notlame.com>
>Why don't artists believe in their abilities to create music w/o the huge $
>resources of major labels is beyond me in 2003. That's just borderline
>ridiculous. Brad Jones could do a Owsley record wonderfully for $10-15K.
>Michael Carpenter for half that. He could re-record them just fine. If he
>had the heart for it. He does not and that's fine. Other great artists
>will continue to create and fill the vacuum he chooses to not to
>participate
>in. sad.
Bruce,
IMO, all that Owsley got from signing a major deal was to have his music
instantly deposited into almost every *used* bin in the land via unwanted
promos. I've seen 3-4 copies in store after store in Denver, and selling a
copy is almost impossible because there's so many of 'em out there. So much
for "big" distribution, huh? (promos of *complete* discs lying in the bins
hurt unit sales more than song per song downloads of MP3's, IMO)
There are a few discs out there that I enjoy time and time again/never tire
of. (and I noticed some of these on other people's lists using the same
criteria) I wonder what the recording costs were for these discs?
Jiffipop/Cloud Eleven (all 3 releases)
Starclock (his own label, right?)
June and the Exit Wounds
Rich Creamy Paint (connections may cloud costs on this one?)
Doug Powell-Curiouser
Marc Bacino-Pop Job
Brian Charles-SadderdayDreaming
Cotton Mather-Kontiki
Orgone Box (homegrown, right?)
Some of the stories I've heard relayed along the way (true or not, I can't
say/that's why I'm asking) lead me to believe that there wasn't much money
invested in the recording of some of the above discs beyond what the artist
themselves had to throw in. Therefore, I am in agreement with your
assessment that it (apparently) doesn't take a lot of $$$ to make a good
record in 2003.
What I somewhat disagree with, is that the Internet is not a key player in
all of this. To me, (sorry to say this) DIRECT sales seems like the way to
go/the ultimate future for most marginally popular/unknown artists who rely
on word of mouth almost exclusively for sales. Case in point, AUDITIES. I've
bought more music in the 3 years since joining this list than I have in the
last 10...and 99.9% of that was via word of mouth and nothing that any
record label..etc. had a hand in. Yes, I may have *had* to purchase the
music through the label/their website...but I didn't see any
promos/tours/ads/etc *from the label* that *prompted* my purchase.
In all fairness, your offering of soundclips (as well as the mailing
list/monthly specials, etc.) is a great service that breaks through much of
what I have said above....IF the user has access to a fast enough connection
to utilize it. (which i unfortunately don't)
Due to this ever-so-slow dial up...I therefore find that word of mouth and
cold purchases are the norm for me. I suspect others in the same (slow) boat
also use the same formula of "4 out of 5 Audities regulars can't be wrong"
when they make their purchases. (This USUALLY works, but isn't fail proof by
any means)
But yea, to throw in the towel because the biz you went into is still the
exact same biz it always was seems very short-sighted. Having as
large/varied body of work is what will get some folks noticed eventually,
IMO. to bail after one disc is ...well...wimpy to say the least. i wish the
guy the best...but there's no real destiny in quitting -beyond- quitting,
IMO.
plug & play...rock & roll...make me smile
P
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