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Date: Wed, 6 Mar 2002 13:12:34 +0000 (GMT)
From: alastair@pretentious.co.uk
Subject: re:breakup songs
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All this talk of break up songs and no-one has mentioned Peter Hammill?
His entire 70s catalogue has helped/hindered me through heartbreaks old and new. If you're looking for unremitting bleakness, I recommend "Over", or Van Der Graaf Generator's almost-contemporaneous "Still Life", which tempers the misery with a bit of Arthur C Clarke.
Alastair
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Date: Wed, 6 Mar 2002 09:11:53 -0500
From: "Sean Westergaard" <seawes@allmusic.com>
Subject: RE: remastering
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Thanks Sean, I was wondering if the original version existed on CD, and got
no response at all to my inquiry to the Zappa "estate." Is this a Mobile
Fidelity gold disc?
Dale.
[Sean Westergaard]
no, it was put out by Ryko. I think it was available for about 5 seconds.
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Subject: Re: and the opposite of & something completely different
> At 10:27 AM -0800 3/4/02, skip Heller wrote:
> >So -- what does the list list as best "new love in
> bloom" music?
>
> Al Green, Al Green, Al Green and Al Green. I was in a
> bar in Berkeley once and suddenly found myself
> duetting "Still in Love With You" with a woman I'd
> never met before in my life, just because we'd both
> just happened to walk to the bar for another round at
> the same time. It was amazing -- he's ATOMIC SPANISH
> FLY!
i kinda like bill withers 'lovely day'.
on an entirely different note: for a piece on (free) jazz and policital
(freedom) movements in the 1960s, i'm looking for interesting
books/articles dealing with this subject. (i already have valerie
wilmer's "as serious as your life"). thanks,
geert
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Date: Wed, 06 Mar 2002 15:12:25 -0500
From: Mark Saleski <marks@foliage.com>
Subject: Miles Copeland defends the record industry
the following article surfaced in one of my exotica mailing list
digests. i was wondering what you all thought about it.
http://www.riaa.org/Guest_Column031500.cfm
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Mark Saleski - marks@foliage.com | http://www.foliage.com/~marks
"Music is spiritual. The music business is not." - Van Morrison
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Date: Wed, 6 Mar 2002 12:44:49 -0800
From: "s~Z" <keithmar@msn.com>
Subject: Just My Luck
She's looking into my eyes, she's holding my hand
She's looking into my eyes, she's holding my hand
She says, "You can't repeat the past." I say, "You can't? What do
you mean, you can't? Of course you can."
Where do you come from? Where do you go?
Sorry that's nothin' you would need to know
Well, my back has been to the wall for so long, it seems like it's
stuck
Why don't you break my heart one more time just for good luck
--from 'Summer Days' off _Love and Theft_.
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Date: Wed, 06 Mar 2002 15:44:57 -0500
From: <wlt4@mindspring.com>
Subject: Re: Miles Copeland defends the record industry
> the following article surfaced in one of my exotica mailing list
Most of it's true enough but stops short. Anybody who's ever worked in any kind of retail industry realizes that the claims that since a CD costs only $1 (his example but I've more often heard anywhere from $3 to $6) to manufacture doesn't mean that $16 final price is overcharging. The physical costs are usually the least important. But what he doesn't point out is that this final price might be high because of inept or entrenched management, outdated industry practices, overspending, short changing artists because the companies have the position of power, or simply because they want the prices to be the same as everybody else's. In other words, $16 might not be overpriced under the current system but that doesn't mean the system is a good one. As for the companies not showing much of a profit on their annual reports, well maybe and maybe not but that doesn't mean that some of the people working for them aren't well compensated. (Certainly not all since the lower level e!
mployees at a major label probably aren't any better off than they would be anywhere else.) And the "Internet geniuses" who can't make money? No, it's the business people like Copeland who can't. The Internet geniuses built the damn thing and designed peer-to-peer file sharing and compression technology and historically have actually opposed making money off the Internet. And just look at the recent report in the New York Times about the major labels' own online services where not only were they paying artists an almost trivial amount but the labels didn't even get permission (several bands like No Doubt had their music removed until the labels negotiated properly).
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Date: Wed, 06 Mar 2002 12:59:55 -0800
From: skip Heller <velaires@earthlink.net>
Subject: Re: Miles Copeland defends the record industry
on 3/6/02 12:12 PM, Mark Saleski at marks@foliage.com wrote:
>
>
> the following article surfaced in one of my exotica mailing list
> digests. i was wondering what you all thought about it.
>
> http://www.riaa.org/Guest_Column031500.cfm
Gee, Miles is painting in broad strokes, isnt he?
He makes a few valid points, espec with regard to new companies not having
catalog to rely on for bedrock sales over time, but he's ignoring some basic
stuff.
One of the things that has screwed the industry is greed on boths sides of
the table. Labels offer big advances to artists, advances that are unlikely
to be recouped. Artists want the money, but the unfortunately tendancy is
to be short-sighted.
Let's look at this from a theoretical downtown music standpoint and you'll
see what I mean.
Say Mark Feldman catches the ear of an A&R guy at Sony, just at a time when
Sony is feeling the need to revamp their jazz roster and what it represents
out in the marketplace.
So Mark is courted and eventually wooed by Mr Sony, who tells him to
contract any players he likes as artistic freedom is part of the deal. Mr
Feldman responds by hiring, say, Klucevsek on accordion, Erik friedlander on
cello, and Milford Graves (as long as we're being theoretical, let's dream
big). he gets Dave Douglas to play on a couple tunes. The advahnce is
healthy enough that he not only pays everybody three times what they usually
get, but he pockets a helluva a lot more than you will with HatArt.
So Feldman makes his album, and the Zorn list thinks it's bitchen, ads are
taken in Downbeat and similar publications, but mainstream jazz radio (who
have had fantastic luck with Brad and Josh R) won't touch it. There no
standard songs, and -- with no bass or piano -- nothing straight-ahead
enough to program next to "Dat Dere" or any of their other perennial
choices. The record barely sells, and Feldman's deal is done. Record
stores return the thing in droves. Also, he's paying anywhere from five to
seven dollars a copy for copies to sell off the bandstand.
The party is over in a hurry. Even worse, when the artist returns to smmall
label-land to put out his new record, his advance sales to stores suffer,
because stores remember returning his last opus in DROVES. It's a very
effective form of negative publicity for his next record, and probably the
most concrete. And the jazz sections of stores are given less physical
(floor space) expansion opportunities, because jazz records sell less than
rock, and new rock always will beat jazz for pure dollars and therefore
floorspace.
In the non-mainstream world, sales of 30,000 are multi-platinum. Straight
ahead jazz records are really really lucky to do 5,000 copies, and in many
if not most cases the kind of stuff we beat our chests over on this list
barely break 1,000. To a label as big as Sony, we'd have to escalate to be
worth peanuts. We're micro-peanuts.
One thing Miles Copeland does not seem to understand is that, because
audiences have been developed in super-specific ways, there is more
splintering of clientele than there used to be. "Jazz" used to mean a
certain thing, but the average Bill frisell consumer is not neccessarily the
average Cecil Taylor consumer is not neccessarily the average Art Blakey
consumer and so forth.
But major labels do not want to deal with small sales, even though a record
with low sales numbers can make money if it's recorded for a reasonable
budget and promoted accordingly.
Oone practical answer might be if majors opened up their own outpost
branches and saw how well what they signed and recorded for $10,000 did in
the marketplace before dumping $30,000 into it. But everybody is deeply
into playing a numbers game to the point where that looks unlikely anytime
soon.
As for the net, what Miles does not seem to realize is that audiences know
how to use the net more than labels do. Davedouglas.com has probably been a
more relevant promo tool than just about anything else for Dave's various
projects and how his profile is maintained. It works like that for most of
us who live in the margins, too.
But until the "bigger is better" mentality is dismissed both by artists and
labels alike, there will be trouble. The first question the artist should
ask is, "Am I better off at Sony, or at [fill in the name of smaller label
who actually stays in business selling this stuff]? "
The practical reality is that he's better off at [ ], but will take the
major label payday, when he probably should have stayed small, as his
records are not really made for a crossover audience (think of a Josh redman
fan checking out Ellery eskelin to dig what I mean by "crossover").
To wit -- those of you who attend the Alex/Nels Cline-promoted shows in
Eagle Rock might know an Italian restaurant up the street called Julio's,
which closed not so long ago, even tho it did big business. The buiding and
liquor license came up for sale for big $.
Up the street is a smaller, Mom & Pop establishment called the Capri, a
little joint with probably a dozen tables. I asked Pop (whose name is
actually Dick) if he was going to look into moving into Julio's.
"Hell no. How many pizzas do you think I can sell?"
If record labels and artists took this attitude, things might be healthier
for us all.
skip h
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