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exotica-digest          Friday, June 12 1998          Volume 02 : Number 127



In This Digest:

(exotica) NovaBossa CD
(exotica) The poor poor record industry
Re: (exotica) The poor poor record industry
(exotica) Astroslut
(exotica) basic hip list
Re: (exotica) Stag records
Re: (exotica) Stag records
Re: (exotica) basic hip list
Re: (exotica) NovaBossa CD
Re: (exotica) Stag records / Easy Tempo
(exotica) Annotated, extended Playlist Fantastica # 55
Re: (exotica) The poor poor record industry
Re: (exotica) The poor poor record industry
(exotica) Re: Easy Tempo
Re: (exotica) The poor poor record industry
Re: (exotica) The poor poor record industry
Re: (exotica) The poor poor record industry
Re: (exotica) The poor poor record industry
(exotica) Sitting Here in Soul Limbo
(exotica) MP3 site
Re: (exotica) The poor poor record industry
Re: (exotica) The poor poor record industry
Re: (exotica) The poor poor record industry
Re: (exotica) The poor poor record industry
Re: (exotica) The poor poor record industry
(exotica) Re: recording CD's

----------------------------------------------------------------------

Date: Wed, 10 Jun 1998 15:36:59 -0400
From: "NATHAN MINER" <[e-mail]>
Subject: (exotica) NovaBossa CD

Anybody have this BossaNova comp CD on Verve??

Was just wondering how it is.  Saw it in a catalog.

How about Jimmy Smith: The Cat.... The Incredible Jimmy Smith???

Saw this in the same catalog.

Thanks!

- - Nate




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------------------------------

Date: Wed, 10 Jun 1998 20:00:26
From: Jay Schwartz <[e-mail]>
Subject: (exotica) The poor poor record industry

>heavy music consumers tend to be down on the labels for high
sticker prices, but in reality that is only because they have no
way to know the inner workings of the trade.

CD's sell for $16 and more yet cost well under a dollar to press, even for
a small label. The labels keep the lion's share of that $16, yet pay all of
these silly promotional costs to insure that only major chains can afford
to stay in business. Big stores get all of those co-op benefits to put the
top ten on sale at $12.99 (especially chains that sell big ticket
electronics goods and can justify selling CDs as a loss leader), which the
small store must then match, essentially selling them for no profit. Even
when selling CDs for full list price a small retailer who buys from a
wholesaler is making less markup than almost any other retail product sold
in the same mall. That's the cost of being in a "glamour" business, I guess
(record stores make much more profit on things like blank tape, which also
come from large manufacturers who do heavy advertising).

If major labels can't figure out how to affordably reissue a record that
made its recording budget back 40 years ago, that's their dumb fault. And
if Bar None accepts a rip-off deal from the major in turn because they're
desparate for credibility, that's their's.

>retailers contribute little or nothing to popularizing individual
music releases but want to be paid grossy to do what should be
their job anyway.

This is absurd. Most stores, especially the little indie ones, do more
grassroots promotion of stuff actually worth listening to than almost
everyone else in the chain. Yet the majors encourage the "store real estate
rental" tactics that the biggest stores use because they like to deal in
big numbers (and possibly because there's a lot of corruption involved in
the process also).

The big losers in this equation are not big record labels, who are still
trying to figure out ways to collect money from blank tapes sales, radio
play of their product, etc. (revenues which will never see their fair share
go to the artist). It's the consumers, who have every right to be down on
labels for high sticker prices (and they're much higher overseas). If the
big labels and stores have created a fucked-up system and inflated costs of
doing business, that's not the consumers' fault.

Jay Schwartz
(a consumer with no stake in any record stores -- or labels)



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------------------------------

Date: Wed, 10 Jun 1998 17:38:09 +0000
From: "mighty recording corp." <[e-mail]>
Subject: Re: (exotica) The poor poor record industry

>CD's sell for $16 and more yet cost well under a dollar to press, even for
>a small label. The labels keep the lion's share of that $16

donkey doo.  first of all, a front line cd wholesales for around $11.25, on
average.

>these silly promotional costs to insure that only major chains can afford

the retail sales marketing costs cited are only one segment of many, in
normal everyday marketing costs shouldered in the current market to attempt
expose releases to the consumer.

have any idea of what it cost to get a song onto pop radio ?   50 grand min,
in
promo costs. then there's videos to make, posters to print, thousands of
promo
copies to give away/mail, supporting the bands early tours, and on and on.

>If major labels can't figure out how to affordably reissue a record that
>made its recording budget back 40 years ago, that's their dumb fault. And

valid point for the industry as a whole.  half of the obstacles are in
royalities/liscensing agreements, which to some degree are trapped
in decades old conventions of the industry.

>>retailers contribute little or nothing to popularizing individual
>music releases but want to be paid grossy to do what should be

>This is absurd. Most stores, especially the little indie ones, do more
>grassroots promotion of stuff actually worth listening to than almost
>everyone else in the chain. Yet the majors encourage the "store real estate

was talking predominantly of the national/regional chains and even multi
location indies.  majors lbls didn't encourage, but did 'give in' to the
larger
chain retail practices.  they chains said 'pay, or your album isnt stocked
up
front this xmas....and if you dont another label will...".

>go to the artist). It's the consumers, who have every right to be down on
>labels for high sticker prices (and they're much higher overseas). If
the...

again, the average consumer thinks labels are living in a world of unlimited
resources "on every album release".    it just ain't so anymore.

paul moshay



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------------------------------

Date: Wed, 10 Jun 98 19:54:49 PDT
From: "B. Yost" <[e-mail]>
Subject: (exotica) Astroslut

Anyone who has the new Astroslut, care to share your impressions of it?

Inquiring minds ...

- -- BWY



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------------------------------

Date: Thu, 11 Jun 1998 00:04:56 EDT
From: <[e-mail]>
Subject: (exotica) basic hip list

THE ELEPHANT'S WAIL  Shorty Rogers  "Shorty Rogers Meets Tarzan"  [MGM]
 - Young, bronzed and muscular Tarzan cradling diminutive Shorty Rogers in his
arms graces the cover.

EXODUS  Shelly Manne  "My Son The Jazz Drummer"  [Contemporary]
 - Album made up of Jewish and Israeli folk songs.  Beautiful rendition of the
film theme.

FLIGHT PATTERNS  Joe Puma  "Like Tweet"  [Columbia]

ONE, TWO, BUTTON YOUR SHOE  Mat Mathews  "Swinging Pretty And All That Jazz"
[Design]
 - Harp and accordian highlight this lite jazz LP.

FRECKLES  Ken Nordine  "Twink"  [Phillips]
 - Very short and very odd vignettes presented by the master.  Here, Ken tells
us of his shoehorn having freckles.

LEFTY'S HIDEOUT  Robert Maxwell  "Spectacular Harps"  [MGM]

FREEWAY JAM  Muzzy Marcellino  "House Party Music Time"  [Capitol]

I'M POPEYE THE SAILOR MAN  Ray Martin  "Comic Strip Favorites"  [RCA Camden]
 - Like the title says, each band is dedicated to all of your comic strip
heroes, including Dick Tracy, Flash Gordon, Batman and Tarzan.

THE GIRLS IN BRAZIL  Leo Diamond  "Exciting Sounds From Romantic Places"  [ABC
Paramount]

I WALK THE LINE  Rick Powell  "Switched On Country"  [RCA Camden]
 - You have to hear this to believe it.  Completely wacked out, screwed up
moog version of the Johnny Cash hit.  How does he do the "vocal" part?

I AM THE WALRUS  Lord Sitar  "Lord Sitar"  [Capitol]

AQUARIUS  Electronic Concept Orchestra  "Moog Groove"  [Limelight]

THE WOMAN IS LIKE A FRUIT  Chiitra Neogy  "The Perfumed Garden"  [Pulsar]
 - "Believe me...the kisses, nibblings, suction of the lips, the close
embrace...the visits of the mouth to the nipples of the bosom, the sipping of
the fresh saliva..."
Middle Eastern actress treats the listener to spoken word erotica with sitar
and tabla accompaniment.  Never heard anything like it, have YOU?

CITY WITHIN A CITY  George Duning  "The Naked City"  [Colpix]

HAWAIIAN EYE  Warren Barker  "Hawaiian Eye"  [Warner Bros.]

I'M ALWAYS CHASING BUTTERFLIES  Pete Rugolo  "The Music From Richard Diamond"
[Mercury]

PERRY MASON THEME  Leith Stevens  "Jazz Themes For Cops And Robbers"  [Coral]

SOULFUL STRUT  Horst Jankowski  "Black Forest Explosion!"  [Motor Music]

COMIN' HOME BABY  Claus Ogerman  'Soul Searchin'"  [RCA Victor]
 - I don't know much about Mr. Ogerman, but this is a very good LP.  Lots
organ and guitar.  White bread, All American teens dancing on the cover.

WORKING IN THE COAL MINE  Enoch Light  "Enoch Light's Action"  [Project 3]
 - I love these dance albums.  A railroad spike is used as a percussion
instrument here and the Frug, Watusi or Monkey are suggested dances.

A MAN AND A WOMAN  Lester Lanin  "Thoroughly Modern"  [Audio Fidelity]
 - Do doubt aimed at a younger crowd, this is pretty happening, too.  Great
cover of a sexy, blonde mod doing her thing.


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------------------------------

Date: Wed, 10 Jun 1998 16:32:07 +1000
From: Philip <[e-mail]>
Subject: Re: (exotica) Stag records

Ronnie Wagner wrote:
>
> I'm looking for any and all information on stag LPs that were released in
> the 1970's. .

Hi Ronny,

I have "Midnight Cowpoke" on Funky Finger records. It has a copyright
date "1971". It also says that Funky Finger is a division of Nature
Eve Inc. 1674 Broadway NYC.

The cover notes are sexier than the soundtrack which is risible. How
on earth it landed in a thrift shop in Melbourne Australia I can't
imagine but it is a real gem.

Unfortunately the original "Free Gift inside - genuine french Tickler
worth $2.00" was not there.

There are no credits for the performers but there is a credit for
producer: Ernie Tucker audio:Pat Patterson.

BTW the cover also mentions availablity on tape cassettes and 8 track
catridges so keep looking.

Philip




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------------------------------

Date: Wed, 10 Jun 1998 16:32:07 +1000
From: Philip <[e-mail]>
Subject: Re: (exotica) Stag records

Ronnie Wagner wrote:
>
> I'm looking for any and all information on stag LPs that were released in
> the 1970's. .

Hi Ronny,

I have "Midnight Cowpoke" on Funky Finger records. It has a copyright
date "1971". It also says that Funky Finger is a division of Nature
Eve Inc. 1674 Broadway NYC.

The cover notes are sexier than the soundtrack which is risible. How
on earth it landed in a thrift shop in Melbourne Australia I can't
imagine but it is a real gem.

Unfortunately the original "Free Gift inside - genuine french Tickler
worth $2.00" was not there.

There are no credits for the performers but there is a credit for
producer: Ernie Tucker audio:Pat Patterson.

BTW the cover also mentions availablity on tape cassettes and 8 track
catridges so keep looking.

Philip




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------------------------------

Date: Thu, 11 Jun 1998 07:08:04 -0400
From: "telstar" <[e-mail]>
Subject: Re: (exotica) basic hip list

Basic Hip wrote:

> THE WOMAN IS LIKE A FRUIT  Chiitra Neogy  "The Perfumed Garden"  [Pulsar]
>  - "Believe me...the kisses, nibblings, suction of the lips, the close
> embrace...the visits of the mouth to the nipples of the bosom, the
sipping of
> the fresh saliva..."
> Middle Eastern actress treats the listener to spoken word erotica with
sitar
> and tabla accompaniment.  Never heard anything like it, have YOU?

Hmmm, the closest thing I can think of is the Yvette Mimieux/Ustad Ali
Akbar Khan lp "Baudelair's Flowers of Evil" on Connoissseur Records. Mind
you it's low on the erotica content but high on the spoken word/sitars &
tablas side!

Allan.


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------------------------------

Date: Thu, 11 Jun 1998 14:40:36 +0100
From: dan hill <[e-mail]>
Subject: Re: (exotica) NovaBossa CD

>How about Jimmy Smith: The Cat.... The Incredible Jimmy Smith???
>Saw this in the same catalog.

we've got a review of this on motion ...

http://www.state51.co.uk/motion/reviews/

i reckon its fantastic ... jimmy smith + lalo schifrin. features the theme
from "the money programme" (for uk readers) ...

cheers,
dan.

- ---+ dan hill [state51]
- ---+ motion:
            http://www.state51.co.uk/motion/   +---




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------------------------------

Date: Thu, 11 Jun 1998 08:41:05 -0400
From: "Nathan Miner" <[e-mail]>
Subject: Re: (exotica) Stag records / Easy Tempo

Hmmmm...... I just wonder if that "Pat Patterson" from Philip's "Midnight =
Cowpoke" is the same Pat Patterson that worked on Herschel G. Lewis gore =
films in the 70's and released his own atrocity called "Doctor Gore???"

****** FOR SALE ******

Save $5 and purchase Easy Tempo Vol. on vinyl (2 LP's) for only $13 =
(including postage).  E-mail me if you're interested.  Vinyl/jacket are in =
excellent condition....

- - Nate


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------------------------------

Date: Thu, 11 Jun 1998 17:11:35 +0200
From: Johan Dada Vis <[e-mail]>
Subject: (exotica) Annotated, extended Playlist Fantastica # 55

Fantastica runs on:
* Radio Scorpio, FM 106, Leuven, Belgium, each Saturday 15-16 h.
* Radio Centraal, FM 103.9, Antwerpen, Belgium,
  at irregular times in their "Night Machine".




                          Fantastica # 55: Boo!


 1. Sound Effects: "Strangulation"
       o album "The Essential Death & Horror Sound Effects Vol. 2"
       o CD, BBC | +++
 2. Rex Garvin: "Strange happenings"
       o compil. "Monster's sounds and 'boppin' tracks Volume 1"
       o CD, Marginal MAR 003, Belgium, 1995 | +++++
       o Review: "http://bewoner.dma.be/Dada/critiq/T/Mnstrbop.htm"
 3. LEITMOTIV: Alfred Hitchcock: "Alfred talks about ghosts, while slowly
    drowning in his own house"
       o album "Alfred Hitchcock Presents Ghost Stories for Young People"
       o LP, Wonderland LP 89 mono, USA | +++
 4. John Zacherle: "assorted horror sound effects"
       o album "Monster mash"
       o LP, Wyncote 9050 stereo, USA, 1964 reissue of 1962 original | not
         rated
 5. Criswell: "Someone walked over my grave"
       o single "Someone walked over my grave"
       o 7", Dionysus ID074579 | +++
       o info: piano plus dramatic voice of Criswell.
 6. John Zacherle: "Come with me to Transylvania"
       o album "Dinner with Drac"
       o CD, Transylvania 6-5000 (bootleg), USA, 1997 | +++++
       o Track list:
         "http://bewoner.dma.be/Dada/critiq/A/Zacherledinnerwithdrac.htm"
 7. Vinnie Bell: "Baker St. mystery"
       o album "Big sixteen Guitar Favorites"
       o LP, Musicor Mono | +++++
       o info: Killer LP, 16 very good to superb innovating guitarS tracks!
         Better than anything I've heard by Buddy Merrill or Billy Mure,
         but I guess this was recorded later, and Vinnie learned a lot from
         those 2, and from Les Paul. Also released on the same label as
         "The Best of Vinnie Bell"
 8. Angelo Badalamenti: "Audrey's dance"
       o Soundtrack "Twin Peaks" (TV soundtrack)
       o CD, Warner Bros. 7599 26316 2, USA, 1991 | +++++
 9. Sound Effects: "Chinese water torture"
       o album "The Essential Death & Horror Sound Effects Vol. 2"
       o CD, BBC | +++
10. v/a: "The Shadow"
       o compil. "Themes like old times" (90 genuine original program
         openings from the most famous radio shows...)
       o CD, Radio Yesteryear, USA, 1990 | +++++
       o info: highly recommended! There's a lot of use of a Theatre organ
         on these themes compilation, many themes from mystery and
         adventure series. Contact: <[e-mail]>
11. George Wright + Wade Denning: "The Swan's tell tale-heart all through
    the night MIX"
       o album "At the mighty Wurlitzer" + "Famous ghost stories!"
       o CD, Legacy 7663 407 2, USA, 199? + LP, Mr. Pickwick SPC-5146, USA,
         1975 | ++
12. The Robert Cobert Orchestra: "Epilogue (fragment)/Dark Shadows"
       o Soundtrack "Dark Shadows"
       o LP, Philips stereo PHS-600-314, USA, 1969 | ++++
       o info: Great soundtrack! Both charming, innocent melodies and more
         scary kind of things.
13. Spike Jones: "(All of a sudden) my heart sings (vocal by Dracula and
    Vampira)"
       o album "Spike Jones In Stereo" (A spooktacular in screaming sound!)
       o LP, Warner Bros. 1332, USA, 1959 | +++++
       o info: One of my favorite Spike LP's! Must be the best novelty
         horror concept album ever.
14. Spike Jones and the Band that Plays for Fun: "Spooky, spooky, lend me
    your tomb (Kookie, Kookie, lend me your comb)"
       o album "60 Years of "Music America Hates Best""
       o LP, Liberty LST 7154, USA, 1960 | ++++
       o info: Spike's last real novelty album, before he started his "New
         Band" project.
15. Dinah Shore: "Scene of the crime"
       o compil. "Monster's sounds and 'boppin' tracks Volume 1"
       o CD, Marginal MAR 003, Belgium, 1995 | +++++
16. Vic Mizzy: "The Addams House"
       o Soundtrack "The Addams Family" (original music from)
       o CD, RCA 61057-2, USA, 1991, deleted | +++++
       o info: Originally released in 1965. Really worth finding, all of it
         is excellent, fun , slightly twisted and quirky, catchy
         instrumental pop with of course lots of harpsichord.
17. Nina Simone: "I put a spell on you"
       o compil. "Barjazz 2"
       o CD, Verve/Motor 525 878-2, Germany, 1995 | ++
       o info: All in all not really an exciting vocal cocktail jazz
         compilation, Nina Simone's "I put a spell on you" is by far the
         greatest track.
18. Les Baxter featuring Bas Sheva: "Terror"
       o album "The passions"
       o CD, Oriental Pacific (bootleg) | +++++
       o info: Abstract vocals - quote from the liners: "ranging from the
         gutteral snarl of savagery to a delicate and lyric beauty,
         expressing a woman's passions, emotions like despair, ecstasy,
         hate, lust, terror, jealousy, joy." backed by Baxters orchestra.
         In 1 word: wooooooooooooow!
19. Lambert, Hendricks & Ross: "Halloween spooks"
       o album "The Hottest New Group In Jazz"
       o Double CD, Columbia/Legacy C2K 64933, USA, 1996 | +++++
       o info: Halloween jazz vocalese
20. Sesamstrasse: "Flitter-flatter Fledermaus (Transylvanian love call)"
       o album "Die schonsten Lieder"
       o CD, Europa /BMG 74321 18597, Germany, 1994 | ++++
       o info: Yep, the German version of Sesame Street, including a German
         "Mah na mah na" and 2 Beatles covers.
21. The Upperclassmen: "Cha-cha with the zombies"
       o compil. "Monster's sounds and 'boppin' tracks Volume 2"
       o CD, Marginal MAR 005, Belgium, 1995 | +++++
       o Review: "http://bewoner.dma.be/Dada/critiq/T/Mnstrbop.htm"
22. Lewis Lee: "Attack of the killer tomatoes"
       o compil. "Billboard Presents: Family Scarytime Classics"
       o CD, Rhino R2 72457, USA, 1996 | ++++
       o info: Only 10 tracks, but all worth having, including "theme from
         the Munsters", "Bewitched", "Dark shadows", "Twilight zone"...
23. John Zacherle: "Limb from Limbo rock"
       o album "Dinner with Drac"
       o CD, Transylvania 6-5000 (bootleg), USA, 1997 | +++++
24. Film trailer: "The house by the lake"
       o compil. "Forbidden City Dog Food"
       o LP, | not rated
       o info: I was told that this is a bootleg LP copy of a tape that
         used to be played after Cramps live shows; in the style of "Wavy
         Gravy" and the likes, and includes about 14 horror B-movie
         trailers.
25. Jerry Wald: "The Creeper"
       o compil. "Monster's sounds and 'boppin' tracks Volume 2"
       o CD, Marginal MAR 005, Belgium, 1995 | +++++


    album ratings:

         +++++outstanding, ++++very good, +++good, ++not bad, +so-so, -yuk

        the radio pages + "eXotica Releases Overview" on my web site:
        <http://bewoner.dma.be/Dada/>


        Johan Dada Vis


        [e-mail]   +   [e-mail]




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Date: Thu, 11 Jun 1998 13:27:50 -0400
From: "Br. Cleve" <[e-mail]>
Subject: Re: (exotica) The poor poor record industry

At 8:00 PM -0400 6/10/98, Jay Schwartz wrote:

>If major labels can't figure out how to affordably reissue a record that
>made its recording budget back 40 years ago, that's their dumb fault. And
>if Bar None accepts a rip-off deal from the major in turn because they're
>desparate for credibility, that's their's.

Actually, many of the original recordings did not make their money back,
and the artist still must pay the recoupable costs even if their recordings
are reissued some 30 or 40 years later. This, in fact, happened to
Esquivel, who made very expensive records that didn't sell very well when
they were released.

As for a label accepting a "rip-off" deal.........well, it's the only game
in town. You either accept it, or you don't do any reissues at all. It's
that simple. The major labels own the catalog, so you have to do business
with them on their terms. Publishing royalties (controlled by ASCAP, BMI,
SECAM) will never change. Maybe major labels will go back to more
reasonable figures for minimum quantities (when the first Esquivel disc was
liscensed, the minimum was only 3000 copies), although that's doubtful.

br cleve




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Date: Thu, 11 Jun 1998 10:54:41 -0700
From: "Ron Grandia" <[e-mail]>
Subject: Re: (exotica) The poor poor record industry

I checked: Conservatively, a minimally packaged CD in the case
and shrink wrapped costs about $1.60 in volumes around 1000.
$750.00 of the up-front costs was for a "glass master," so one can
imagine that the overall production cost drops dramatically as
volume increases. (This included 4 color printing and 2 color
screening on te disk)

This seems remarkably inexpensive, but then you start figgerin'
all the other stuff and the margin gets pretty thin pretty quick.

I keep toying with the idea of bootlegging CD's of rare records
whose appeal is so narrow, that they could be marketed by
word-of-mouth among people who are interested.

The intent should not be to defraud people out of royalties, etc. The
idea is to preserve and distribute some interesting music/whatever
in limited quantities.  An activity that would not likely be feasible
by doing it all by the book. Make some copies, break even, have fun
doing it.... Something like that.


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Date: Thu, 11 Jun 1998 14:17:40 -0400
From: "Nathan Miner" <[e-mail]>
Subject: (exotica) Re: Easy Tempo

That's Vol. 1 folks.

- - Nate


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Date: Thu, 11 Jun 1998 15:18:51 EDT
From: <[e-mail]>
Subject: Re: (exotica) The poor poor record industry

In a message dated 98-06-11 13:56:17 EDT,:

<< Publishing royalties (controlled by ASCAP, BMI,
 SECAM) will never change. >>

I've wondered how these companies(???) have worked for years.  Anybody care to
elaborate?

Robert


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Date: Thu, 11 Jun 1998 15:30:49 EDT
From: <[e-mail]>
Subject: Re: (exotica) The poor poor record industry

In a message dated 98-06-11 14:04:06 EDT, you write:

<< I keep toying with the idea of bootlegging CD's of rare records
 whose appeal is so narrow, that they could be marketed by
 word-of-mouth among people who are interested.  >>

Wait until recordable CD's are perfected (and affordable) and that bootleggin'
thing may become an afordable reality.

Robert


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Date: Thu, 11 Jun 1998 15:31:46 EDT
From: <[e-mail]>
Subject: Re: (exotica) The poor poor record industry

<<I checked: Conservatively, a minimally packaged CD in the case
and shrink wrapped costs about $1.60 in volumes around 1000.
$750.00 of the up-front costs was for a "glass master," so one can
imagine that the overall production cost drops dramatically as
volume increases. (This included 4 color printing and 2 color
screening on te disk)

This seems remarkably inexpensive, but then you start figgerin'
all the other stuff and the margin gets pretty thin pretty quick>>

This would put the cost of your "boot-leg" adventure around 2500 bucks.  Even
at $ 5.00 a piece you would break even if you sold half of them.  I know that
it would be illegal but what a concept.

I guess my major question would be this (and I know I am an ignorant non-
music-business type):

How in the world does an item that cost $ 2.00 to make end up costing $ 17.00
or $ 18.00?  Now I see how the BMG Record Club makes it (of course it ain't
just the high margins -- it's the idiots that forget to return the little
cards).

Also,  there are tons of classical budget CD's that are "fair" and are only 3
or 4 bucks.  Is the savings based on the low royalities Laserlight, etc. have
to pay?

Robert


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Date: Thu, 11 Jun 1998 15:29:03 EDT
From: <[e-mail]>
Subject: Re: (exotica) The poor poor record industry

<<I checked: Conservatively, a minimally packaged CD in the case
and shrink wrapped costs about $1.60 in volumes around 1000.
$750.00 of the up-front costs was for a "glass master," so one can
imagine that the overall production cost drops dramatically as
volume increases. (This included 4 color printing and 2 color
screening on te disk)

This seems remarkably inexpensive, but then you start figgerin'
all the other stuff and the margin gets pretty thin pretty quick>>

This would put the cost of your "boot-leg" adventure around 2500 bucks.  Even
at $ 5.00 a piece you would break even if you sold half of them.  I know that
it would be illegal but what a concept.

I guess my major question would be this (and I know I am an ignorant non-
music-business type):

How in the world does an item that cost $ 2.00 to make end up costing $ 17.00
or $ 18.00?  Now I see how the BMG Record Club makes it (of course it ain't
just the high margins -- it's the idiots that forget to return the little
cards).

Also,  there are tons of classical budget CD's that are "fair" and are only 3
or 4 bucks.  Is the savings based on the low royalities Laserlight, etc. have
to pay?

Robert


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Date: Thu, 11 Jun 1998 10:10:28 -1000
From: [e-mail]
Subject: (exotica) Sitting Here in Soul Limbo

Aloha y'all-

Here's the promised report on Booker T in Hawaii nei... hope this
diversion into sweet soul music is of interest to most exoticans. As
mentioned, he's in town to promote Bravo Channel's new profile on
Stax/Volt that airs tonight at 10pm here (check local listings, and
don't miss it!). There was a pre-reception for the man, the legend
complete with fresh lychee martinis before he went next door to perform
at Border's for over an hour. He was gracious, regal accessible... very
willing to sign my "Melting Pot" album (his wife said was his favorite).
Also knowledgable about exotica, Martin Denny as well! His set was just
him, a baby grand... and the man sings!
He played What'd I Say (the tune that made him want to play electric
keyboards), Thrill is Gone, Born Under A Bad Sign (he wrote it with
William Bell), When Something is Wrong with My Baby (Porter/Hayes),
Ain't No Sunshine, You Don't Know Like I know, Knock On Wood, Hold On
I'm Coming, I've Been Loving You Too Long (not a dry eye in the house),
and Dock of the Bay (MGs were the band on original track and house band
for many of the big Stax hits). He whistled, scat sang horn parts,
charmed with tales of his close pals like Otis, et al... a killer
fuckin' evening!

wish you were there,
Fluid Floyd


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Date: Thu, 11 Jun 1998 21:59:09 GMT
From: [e-mail] (Lou Smith)
Subject: (exotica) MP3 site

Of interest to those involved in the recent discussion of MP3.
- -Lou


MP3 Music Universe
Delivering a quick way to find the best sites devoted to MP3 audio,
this site lists the best 50 and ranks them by the number of visits
each day.
World Wide Web: http://welcome.to/MP3MusicUniverse



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Date: Thu, 11 Jun 1998 14:17:40 +0000
From: "mighty recording corp." <[e-mail]>
Subject: Re: (exotica) The poor poor record industry

>How in the world does an item that cost $ 2.00 to make end up costing
>$ 17.00 >or $ 18.00?  Now I see how the BMG Record Club makes it
>(of course it ain't just the high margins -- it's the idiots that forget to
>return the little cards).

it is ALL because of the royalties payable and the MARKETING costs the
record company shoulders to try to expose the artist.  the actual
manufacture
of the cd is almost irrelevant, by proportion.

how much do you think a can of coke actually costs to 'manufacture"
probably one tenth of one cent.  why is there a 3000 percent mark up
on the can of coke?

because coke spends tens/hundreds of millions in marketing their products
annually.  those marketing budgets have to come from somewhere.  they,
like the record biz are not selling anything that anyone actually *needs*,
like a commodity.

artists must usually agree to 50% royalty cut to have their cd's sold by
record clubs just for this reason.  most figure the record clubs are worth
it as they reach large numbers of yokel consumers that dont often shop
for records at retail.

>Also,  there are tons of classical budget CD's that are "fair" and are only
3 >or 4 bucks.  Is the savings based on the low royalities Laserlight, etc.
have >to pay?

like i said; ever see a video produced for a 'Laserlight" cd release ?  It
is ALL in the marketing expenses.  The cost of *manufacturing* an individual
cd is inconsequential, as compared to the marketing expenses that need to
be figured into the cost of a cd to the consumer.

budget classical cd's dont have any royalties payable to chopin or beethoven
from the record companies and they are not 'marketed' in the sense pop music
is.  you have made my point better than i did originally.

paul moshay
mighty recording corp.
p.o. bx. 1833
los angeles, calif. 90078
[phone], [phone] fx
new 'reply to' email now: [e-mail]
coming soon: http://www.mightyrecords.com




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Date: Thu, 11 Jun 1998 17:50:33 -0700
From: "Ron Grandia" <[e-mail]>
Subject: Re: (exotica) The poor poor record industry

> Wait until recordable CD's are perfected (and affordable) and that
bootleggin'
> thing may become an afordable reality.
>
> Robert

Recordable CD's are great. I've had my CD-r since Christmas and marvel
at he the fact I have not worn the damned thing out.

At this point. CD's are labor intensive for the first copy on the CDR.
First, you have to
digitize the original onto the hard drive, create a playlist, burn the
disk, and then
erase the hard drive (unless you have unlimited space) But once you have a
CD, it can be copied directly. Blank CDR's are about $1.50 each whan
purchased in
bundles of 50. Jewel cases cost about $1.00 each if you buy the cheapies.

A CDR could be used as the master to create a glass master for reproducing
regular CD's too!

I don't doubt we'll soon be trading CDR's instead of tapes. I have done two
mix CD's
so far. they turned out GREAT!

Weee hOOO!


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Date: Thu, 11 Jun 1998 20:56:21 -0400
From: "Br. Cleve" <[e-mail]>
Subject: Re: (exotica) The poor poor record industry

At 3:18 PM -0400 6/11/98, <[e-mail]> wrote:

><< Publishing royalties (controlled by ASCAP, BMI,
> SECAM) will never change. >>
>
>I've wondered how these companies(???) have worked for years.  Anybody care=
 to
>elaborate?

They are collection agencies for musicians. They divide up monetary fees
that are paid to them and distribute them to musicians based on how often
their specific works were used. Everything that uses music - nightclubs,
restaurants, television stations and networks, etc - have to pay annual
fees to these agencies. If, say,  a clothing store in the mall is playing
the radio in it's store, then they have to pay as well (unless it's talk
radio).

Cue sheets detailing songs that were played (on radio, tv, etc) are
collected by the agencies, as well as documentation of record sales. These
are tallied for individual artists, who then get a check in the mail. There
are specific payments for various useages. For example, a BMI registered
composer of a TV show theme gets 72=A2 per half-hour show per station (72 x
the number of network affiliates) for a primetime show. If the show is on
more than 13 weeks, is longer than 40 seconds, and is used in the opening
and closing credits, it is then worth $2.00 per show per affiliate.
Etcetera etcetera.....obviously this translates into a lot of money. The
agencies make their money from what is leftover from the fees they collect.
ASCAP also charges annual dues. Each agency does the same thing slighly
differently.

br cleve




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Date: Thu, 11 Jun 1998 21:08:10 -0400
From: "Br. Cleve" <[e-mail]>
Subject: Re: (exotica) The poor poor record industry

At 3:29 PM -0400 6/11/98, <[e-mail]> wrote:

>Also,  there are tons of classical budget CD's that are "fair" and are only 3
>or 4 bucks.  Is the savings based on the low royalities Laserlight, etc. have
>to pay?

Laserlight does not pay royalties. There is some weird loophole they use -
their records are legally not allowed to be sold in record stores
(although, in many cases, they are). They are supposed to be sold only at
other types of venues, like drug stores or restaurants.

Classical recording royalties go to the orchestra that does the
performance, but contain fewer 'tracks' than your average pop music
release. Plus, as Paul Moshay correctly pointed out, Beethoven and Mozart
were not members of ASCAP and don't get mechanical royalties.

br cleve




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Date: Thu, 11 Jun 1998 22:01:26 -0400
From: Lang Thompson <[e-mail]>
Subject: Re: (exotica) The poor poor record industry

>How in the world does an item that cost $ 2.00 to make end up costing $ 17.00
>or $ 18.00?


Because you're not paying for the physical materials but for the music and
for the people who bring it to you from the musicians to the record store
clerk.  Even with self-manufactured CDs the artist might charge $10 to $12
if they're trying to undercut the standard price; not only does a good bit
of that markup go to administrative costs but the simple desire to be paid
for their work.  The real shame of current pricing is that so little of it
goes to the musicians.
- ------------------------------------------------------
Lang Thompson
http://www.tcf.ua.edu/wlt4

Godzilla Bites! webpage
http://www.tcf.ua.edu/wlt4/godzilla.htm


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Date: Sat, 13 Jun 1998 00:04:10 +0100
From: Ron Grandia <[e-mail]>
Subject: (exotica) Re: recording CD's

CD's can indeed be copied from ROM drive to
recorder. (though this is subject to the vagaries
and temperament of the computer system I
could not do it until I upgraded my ancient ROM player)

The speed of the recorder and ROM player
are the determining elements of how long the
transfer takes. Most ROM drives sold today are 16
to 20x it seems, while recorders are 4x
(most are 2x.) The Nx refers to the multiple of
real-time speed, so 2x is two times faster than realtime
and would take one minute to record two minutes of audio.
So in most cases, a CD would transfer in half of it's audio
play-time.




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End of exotica-digest V2 #127
*****************************