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Old 14th December 2002
7rojo7's Avatar

Thank you for your responses everyone.
For seven years I've been directing, composing, arranging and recording or performing for Dance and Theater. I'm outside of the record and demos scene now, I'm wondering how it's going out there now and looking for inspirational tales for myself and others.
One of the reasons I left NY at the turning point of my engineering career (besides falling in love) was the desperation that surrounded me, Artists being coaxed and manipulated into doing things they would have otherwise thought ethically horrendous, stumbling around with their pants down getting whacked in the butt while they're following that ever elusive carrot (somaro, jackass) record deal!! I got very angry at some of my dearest friends.
I thought I'd understood well what was happening but then I read an article on Fletcher's web site by Steve Albini, who detailed every deceitful move. I thought so!!! Is anyone familiar with this article? Also to blame are incapable publishing agents who throw low paying 3 song a month deals around not ever expecting to plug one song that the artists are writing and telling them not to write songs they think will be on their record , to save them for when they get the "deal". Why? (this was my experience in NY)
It seems that as soon as independently produced music starts to become popular and commercially feasable, it gets bought and stuffed by the majors. With very few exceptions the "survival of the fittest" scenario, in my opinion, doesn't yield the most interesting or the most "valid" Artists (I don't like Bolton or G either but they're certainly "valid" Artists and a good example of A&R in the Bolton case).
After a few encounters in this realm most sensitive (even Alice Cooper, Johnny Rotten,Trent Reznor and Marilyn Manson are sensitive) Artists would crawl in a hole and perform their material at the local wine and cheese pub and buy a cheap recording rig to futily attempt to plug themselves. This of course puts struggling engineers out of work, unless they want a live gig at the local wine and cheese pub. Studios suffer also. The whole support superstructure suffers. Viscious Cycle? Thank god for Multimedia or right now everything would be in the can. But it doesn't fulfill my needs as an Artist or as an Artist supporter. Video games, blahh. Survival of the most adaptable.
There's certainly alot of interesting stuff to listen to but it's difficult for Jo Shmo e Jill Shmill to find it when they're looking for it at the supermarket after a hard day's night. My chinese doctor, Dr. Bong once said to me "whole body connected! You no notice?". If one part of the industry gets weak the other parts will soon follow. Or has this already happened?
I suppose, as Eric said, the Producers are now what the classic example of the A&R guy were. But now anyone who has an SP1200 under his arm and walks into a studio calls himself a producer, Artists with no experience are producing themselves. I read things on some of these forums where it's clear that the authors lack the fundamentals. Why don't they trust engineers?
It seems to me that the mystical heirarchy of student, intern, assistant etc... and the relationship between engineer, producer, artist has completely changed and any nutter who has an M -Box thinks he's a grammy award winning producer. When our interns used to talk too much we used to make them clean the toilets, the ones who stayed around really wanted the experience and kept their mouths closed..
I haven't heard much in the way of song construction (not even a bridge)on the radio recently, just some clever ideas and some pretty nice performances. That is why I started this thread in the first place because somebody has to be controlling this. I don't hear much country over here. What's it like in that scene now?
Thank you again for your fine comments.