Sometimes the worst friend that a musician can have is the record comnpany. Like any business, a record company is there to make money from selling recordings. Therefore, in order to maximise profit, it makes sense to have available for purchase the product that is most desirable and most attractive to an established fanbase. This will therefore be the most worthwhile product from a fans point of view.
Therefore, it makes sense to issue product designed with the fan in the mind. What this does not mean, is cobbling together a inconsequential, non sequential, cash in compilation album made by whichever A&R man happens to be dumped in charge of a paricular back catalogue artist as a booby prize; normally an A&R man who wants to be seeing this job as a career and wants to be known as the person who found the next oasis, rather the person who was given the laborious task of compiling a "best of" album from a bunch of early 90's indie no-hopers signed as a tax loss who got dropped after 2 albums.
To take a few examples:-
1)repackage the existing "Tattooed Beat messiah" album by Zodiac Mindwarp, add ONE bonus song, totally rearrange the running order of the original album and call it "the best of", and delete the original.Congratulations - what you've just done is massacre the only product he did you have you can resell, and made an artistic turd.
2)Do a best of Pop Will Eat itself - call it "wise up! suckers!". take a photo from the cyberpunk movie blade runner and stick some cheap graphic designers idea of the much lauded and ultra-collectible art that the hyper-influential designers republic did for the band in the first place ; especially insulting when they designed over 100 T-Shirt designs and a highly recognisible iconography , and those designs which can easily be reused. Nope. Then take a non-chronological compilation using the original easily available album mixes (available for years), rather than those tracks issued only on CD in the early years and manufactured in ridiculously small small quantities - now being ludicrously rare, and if you ever find them, its a fucking miracle. So, why not put together a CD of rarities and unavailable but officially released tracks, such as the acoustic remix of "Mother" on a french only promo CD? Well, why not when you not simply compile a CD of stuff fans can find anytime they like in major high street shops and likely already own anyway, making it a redundant purchase that cheapens the entire back catalogue and a laughable, derisory attempt at flogging records the fans already own? in this case, the first the band heard of it was when I told them.
The less said about the Ned's Atomic Dustbin "Singles Collection" CD the better, really.This involved a roughly chronological running order starting with the second single - omitting the opening track of their opening EP and long time set opener, the classic "Aim", and then ignoring the US only A-side and their biggest US Radio track, not to mention fan favourite,"Grey Cell Green ", in favour of, duh, an incosequential album track. Then you ignore the single released in Europe "Walking through Syrup" in favour of its easily available B-Side (which had no radio play, wasn't an a-side, and wasn't played on MTV); It can be found on the budget priced b-sides album "522,The Rarities".Add in yet more album tracks. Then you ignore their traditional set closer and album closer for the last album and for their last gigs (at the time) with yet more album tracks no one actually liked. There's no incentive to buy this random grabbag containing roughly half of each album anyway - nothing that any fan of the band can't already purchase by picking up the three original albums up from HMV, which they probably already own anyway. Or does the record company really think that maybe stick some unavailable and rare material on there is too much to ask for?
There's a 3 track live french promo CD which has been unavailable for years and never bootlegged - not to mention US only live b-sides and live tracks unavailable excpet on a limited cd single 11 years before, which would have rounded up the compilation nicely and given the fans something they didnt already fucking own, as well as tidying up the few bits and piecesof the discography whose obscurity means hardly anyone has ever heard them - how many of you actually own the "Mark Goodier Sessions" CD release on Strange Fruit with the live BBC session version? How many of you own the "In a Field of their own" compilation with a live version of "Grey Cell Green" recorded at Glastonbury? When was the last time you ever saw these CD's? For some of these, I can't say I ever have.
And Don't even get me started on the Orb. That's gonna take up part 3 of this.
Take also the example of Carter USM. Anytime Any place Anywhere is another record company cash in, again comprising of tracks seemingly selected with by a random function on an iPod. There's again, nothing rare here. Nowhere does this compile up the loose odds and ends of the discography - it looks like the long lost live version of "A perfect day to drop the bomb" will never be compiled up again, or made available but be stalinised out of history. Similarly, with "Starry Eyed and Bollock Naked" already out there as a B-Sides compilation, it would take zero effort to simply compile up all the cover versions Carter USM recorded and to which the rights belong to EMI, into an album of rare and mostly unreleased material, none of it really available in over a decade, and bingo! something the fans might want to fucking buy!
Anyone remember Jesus Jones? Big in the early 90's. Huge #1 hit in "Right Here Right Now", and across the years they recorded some 33 b-sides for EMI. None of which are available. None of which can be found now except for Cd's out of print for over a decade, and if you find em...well, good luck finding them, coz they were almost impossible to find at the damn time, let alone now.So, wouldn't it make some sense just to stick 'em out? Guess not. EMI have no intention or inclination of ever releasing the tracks again. Nor will they let Mike Edwards sublicense the tracks out for release on another label. Quite simply, they have no inteion of releasing them,or letting anyone else release them. Therefore, it's a lose/lose situation for everyone; people can't buy the songs, and people want to buy them, the artist wants to buy them, and no one wins. And the songs are lost forever.
EMI in this case are turning out to be a particularly bad example to follow. With the exception of Marillion, whose back catalogue has been maintained with the help of long time fans and substantial archival work where each album has been reissued with a bonus disc of stuido demo's b-sides and live stuff, 90% of which is unreleased, to keep interest in the band fresh and so forth. Alas, what Marillion really need to do is tie up the loose ends collecting their live work, but whats what the front row club on their website does - selling various CD's from their own official website mixed down and approved for release with though i really doubt it will issue a proper live album of the Fugazi tour, such as what I had to compile lately with nero, a CD burner, and my own original copies of "Real to Reel"/"Brief Encounter"/"The thieving Magpie". As I own all the songs, I paid for them, I bought them, and I can listen to 'em anytime I like. So I will, and listen to 'em in a manner of my own choosing. I'm sticking them in an order which accurately reflects the shows of the era.
And I really do doubt that the live at loreley CD album will be released either - originally designed as part of a short lived and ill fated series whereby EMI artists would repackage their Live videos releases with a CD containing the soundtrack, which included such items as the aborted followup to Iron Maiden 's classic "Live After Death" in the form of the video release that was "Maiden England", originally intended for release on album but then cancelled - and even then, the marketing bods hacked out 2 tracks to make it fit on a single CD, leaving 7 minutes spare at the end, or enough for at least one of the missing songs at any rate. And the only live recording of Black Sabbath with long time singer (7 years) Tony Martin ? Again, only available in this sort of package. AS for Marillion's "Live at lorely" A CD which accurately portrays a single marillion gig for the first, and so far only time. Once again, how many people are going to own this? Or even find it? it's never been reissued, and there's no intention to reissue it : The recent DVD release included just the gig, and nothing more. I've only seen 1 copy in ten years - and I bought it on the spot for a ridiculous price of £18.
For example, it might not seem like much, but to do something that follows the example of this or this does mean a lot to the fans.
Another example for the appalling way the Marillion back catalogue has been treated is evident in the multitude of repackaged and ill sequenced ompilations that have sprung up throughout the years. With the exception of "Six of One, half a dozen of the other" - a sanctioned compilation and their first greatest hits in 1992, and "Best of both worlds", there have been a number of other compilations. Throwing together a random haphazard collection of tracks ; say for example, one half of a studio medley (That Time of Night) for one example, with a couple of hit singles and tracks any fan would already own already.And worse still, using a fuzzy publicity photo that looks like they've cut it out of a faded copy of Sounds magazine and done a colour photocopy - surely there is nothing a little thought might actually achieve. More info is here
No matter what you may think of their musical content, it's a sad fact that the Marillion has been treated with contempt by the record company. The only people to come out of this with any credit are Marillion themselves in terms of providing to the fans what they want, where the record coampnay cannot be bothered, in terms of packagaing, content and simply thinking things through and making it available to the fans.An example to follow. In terms of everything else though, the record comapny has show their actions to be artistically excerable, insulting to the fans, and could only possibly be more exploitative if they decided to simply produce a cd comprised of people making farting noises.
But who needs a bit of thought when you can throw it at the wall anyway, with no consideration to art or the fanbase, knowing you might pick up some casual listeners? thing is, if you make the product worth buying, people will buy it. It might take a little more investment, but what you will have is an example of how a little effort pays off greatly with a release that might make people actually reappraise the band and get some press coverage, as opposed to a CD which treats its fans with contempt and as nothing more than a cash cow - and decides to piss on the band's legacy, cheapening all the other product.
As for the rarities - the stuff the fans want? Well, no one's going to bother making these things available to the general public except for the record company. The Record company chooses not to make the product available in one easily compiled place - and it's only available on long deleted CD's that sold miniscule amounts even then, the majority of which are no longer circulating for sale. If you want to buy officially sanctioned product approved for release by the band at the time, you can't buy it now. Insane.
Now these things won't get a high chart position. We're not competing with the Libertines and Kasabian and Razorlight or anything the NME wants to cover and hype up into no.4 on the album chart. But what these CD's will have is legs. The fans may not read about in the NME, maybe because they don't read it anymore because the bands don't mean shit to them. They'll check the official websites for information, hear about it word of mouth, from a friend of a friend, the information will trickle out. What this means is the CD's will sell, and will sell steadily and on an ongoing basis. Sure, its not a high risk strategy, because the cost to recoup is practically ZERO - there's virtually no production costs for these sort of things, because all you need to do is find the original CD's and lift them wholesale, make up a cheap glass master, invest a little time in making some tasteful artwork and bingo, there you go. It's the same principle as simply bunging together yet another cheapo cash-in compilation album for a band you've now dropped to make a quick buck - only thing time, it's appealing not the casual purchaser who buys an 5.99 best of album on the fly in Woolworths, but it's appealing to the fanbase they spent years building up. Fans who still like the band, liked the band then, and wonder where all the tracks they had on 12" they can listen to again because they've now no longer got a vinyl deck.
All you need to is to give people what they want, and they will buy it.
It's all the music. Any fan gets intot he band because they love the music. So when there's music they haven't heard before, they want it. It's simple supply and demand - the fan wants to consume as much music of their favourite band as they can ; and especially if its music they haven't heard and don't already own. There's no incentive to purchasing music they already own, not in the slightest. They want new stuff, rare stuff, interesting stuff. And the record companies are in the ideal position to capitalise on this; by identifying a gap in the market, and exploiting it to maximise their revenue by releasing rarities and making them available to the fan.
Because if they don't, someone else will. (Part 3 tomorrow)










