EXPLODING!
johmbolaya
4,472 Posts
I'm halfway through this book, which I've been reading for the last two days:
A lot has been said about the WEA empire, but there was a lot I didn't know, much of which is discussed here.I remember when I had my record company dreams, and I know I still do. Maybe I need to get off my fucking ass, move to California and work with Rhino or whatever. I remember when I applied to be the "caretaker" of the EMI tape library in L.A., didn't get that, but that would've been great.It coincides with me reading the new issue of Wax Poetics[/b] (I assume it's new, #11, I haven't read it since #3), and the editorial where Andre Torres talks about how the energy of the music felt great, and yet a lot of that is gone, and that energy doesn't seem to exist in today's music.The book's primary focus is Warner Bros. as a label, and as the big WEA machine, but it also covers the Elektra and Atlantic sides, and how Atlantic slowly began to abandon R&B for rock, even though Jerry Wexler was adamant about keeping Atlantic as a soul label, and how Nesuhi Ertegun insisted on jazz and nothing but. Then there's the drugs and the record party blow jobs.Great book so far, although I'm only in the late 70's part. Writer Stan Cornyn has already talked about the hazards of the cassette, and how it became possible for a college student to buy one record, and then buy 10 blanks to pass to friends. They were worried, and that was only in the early 1970's. The "record button" was a threat. Cornyn is slowly hinting at the major changes coming, as WEA creeps into the 80's.Has anyone read this?
A lot has been said about the WEA empire, but there was a lot I didn't know, much of which is discussed here.I remember when I had my record company dreams, and I know I still do. Maybe I need to get off my fucking ass, move to California and work with Rhino or whatever. I remember when I applied to be the "caretaker" of the EMI tape library in L.A., didn't get that, but that would've been great.It coincides with me reading the new issue of Wax Poetics[/b] (I assume it's new, #11, I haven't read it since #3), and the editorial where Andre Torres talks about how the energy of the music felt great, and yet a lot of that is gone, and that energy doesn't seem to exist in today's music.The book's primary focus is Warner Bros. as a label, and as the big WEA machine, but it also covers the Elektra and Atlantic sides, and how Atlantic slowly began to abandon R&B for rock, even though Jerry Wexler was adamant about keeping Atlantic as a soul label, and how Nesuhi Ertegun insisted on jazz and nothing but. Then there's the drugs and the record party blow jobs.Great book so far, although I'm only in the late 70's part. Writer Stan Cornyn has already talked about the hazards of the cassette, and how it became possible for a college student to buy one record, and then buy 10 blanks to pass to friends. They were worried, and that was only in the early 1970's. The "record button" was a threat. Cornyn is slowly hinting at the major changes coming, as WEA creeps into the 80's.Has anyone read this?
Comments
Say what you want about major labels, but there was a time when those at Warner Bros. were very much into the music. But when it became "more about the money and less about the boogie", that need for more and more money never stopped.
It also gets very in-depth at the web of people involved, how Warner Bros. bought Reprise, which was Frank Sinatra's label. Reprise was a flop in the early 60's, but with new people involved, Reprise eventually became the freak label. It talks about how they went to San Francisco, fell in love with the music, drugs, girls, and lava lamps, so they just created a label division up there. It gets into how some people on the WB staff fucked like crazy, in the offices and on planes.
It said that one of the Warner logos looked like "two and a half turds in a punchbowl":
One thing I did find interesting was when it touched on hip-hop. Warner Bros. were one of the last majors to jump on the bandwagon, because they weren't so sure, even with successful albums from Ice-T on Sire, if hip-hop would be a success. It doesn't mention Dave "Funken" Klein's contribution to WB's hip-hop roster, but stated that when Ice-T came out with Cop Killer[/b], it would not have been a big deal had it been released by an indie. I also didn't realize that C. Delores Tucker had shares in WEA, yet as a shareholder she blasted the company for releasing "smut". Home Invasion[/b], according to the book, was originally meant as a WB album, but with all the controversy thrown his way, and fearing the imagery he portrayed on the cover (a white kid taking in the elements of hip-hop through his Walkman), they dropped him, and the album was released elsewhere (in this case, priority).
Cornyn admits that Warner Bros. did not do its part to make hip-hop a success for them and in the end they lost out. Probably said because by now, they would have a wealthy back catalog to work from. Sylvia Rhone, however, did make hip-hop a success for her through Elektra and eastwest. It didn't touch on Atlantic's coverage, even though they had the Atlantic Street label and also distributed The D.O.C.'s first album through Ruthless. No K-Solo, no Kwame, no Audio Two mentioned in the book, but it is interesting to hear an insider admit that Warner Bros. were too late in jumping in the game, which makes the lack of promotion on albums by the Jungle Brothers, Monie Love, and a few others understandable (although they considered some of Cold Chillin's output a success). He does refer to Lil' Kim in here, who was signed to Atlantic, and that segment of the book is funny.
I've always been interested in knowing more about the music, I wanted to know the ins and outs, the whys and why nots, and Exploding[/b] does an excellent job at looking at all of it, from an insider's point of view. It tries to ask the question "how did we get lost along the way?", not unlike the questions posed in the last issue of Wax Poetics[/b], and it's the same reason why hip-hop sucked in 96. It was, still is, and will always be the money. It became a battle of the "record nerds" vs. "the suits" and sadly the suits won. Cornyn mentioned how for years, the top CEO's of the labels in the Warner Music Group often had no knowledge of music, but had a need to make millions. Whereas before, Warner Bros. started out and would become a place where music nerds would gather, create, write about, and release great albums.
It was an industry I wanted to be a part of as a kid, and maybe I was born too late.
Here is a way to look at the music over money visa versa story. Every now and then THE MUSIC makes money. For instance the early days of hip hop or San Francisco 1968, or Liverpool 1964. But when "the happening music" does not make money, then both artists and labels have to change to put the money first. Or else you starve.
It's a combination of both, and it also depends on who its target audience is. From a record company standpoint, they want to release an album that will do well, and will promote it within their budget means. If it doesn't do well, then the promotional people feel they're at fault.
But you're right, maybe people will read the review or buy it blindly and find that it sucks. Especially these days, word of mouth is crucial and if most of it is negative, you can't turn that around.
However, all bad albums have a cult following. Trout Mask Replica[/b]. Anything by Rod McKuen. Church albums made by families of 15. At that point a record label can't do anything about it, and of course you can't do anything about the fans who see the crap as something someone felt was worthy enough to listen. I'm a huge fan of Rod McKuen. The guy is corny, but outside of that, there are some incredible string arrangements on all of his records.
So you're right, it can be a combination of things that doesn't make an album sell. There was a time when regional music mattered, so while it not not work in Raleigh, it might be a huge hit in Bellingham.
Yep. I'm just looking forward to some change right about now. Fortunately I have no problem seeking anything other than the mainstream, that's never been a problem for me. I don't know when it will happen, or in today's climate, if it will happen. I still have hope for whatever is next.
Hit Men (old school mafioso record industry tales)
Howling At The Moon (walter yetnikoffs autobio - he ran CBS from the 70s-90s)
The Mansion On The Hill (from counterculture to huge biz in 30 years)
Machers And Rockers (Chess Records story)
Soulsville USA (Stax Records Story)
I haven't read this one (saw it at Barnes & Noble), but I did read Spinning Blues Into Gold[/b] by Nadine Cohodas, which is also about Chess Records. I know Ahmet Ertegun and Jerry Wexler have both done books, and Wexler's is one I've been wanting to read for awhile. I'd also like to read the book Jac Holzman did about his label, Elektra. The Stax one I want as well.
There's ole Gray with 'er dove-winged hat
Threre's ole Green with her sewing machine
Where's the bobbin at?
Tote'n old grain in uh printed sack
The dust blows forward 'n dust blows back
And the wind blows black thru the sky
And the smokestack blows up in suns eye
What am I gonna die?
Uh white flake riverboat just flew by
Bubbles popped big
'n uh lipstick Kleenex hung on uh pointed forked twig
Reminds of the bobby girls
Never was my hobby girls
Hand full uh worms and uh pole fishin'
Cork bobbin' like uh hot red bulb
'n uh blue jay squeaks
His beak open an inch above uh creek
Gone fishin' for a week
Well I put down my bush
'n I took of my pants 'n felt free
The breeze blowin' up me 'n up the canyon
Far as I could see
It's night now and the moon looks like uh dandelion
It's black now 'n the blackbird's feedin' on rice
'n his red wings look diamonds 'n lice
I can hear the mice toes scamperin'
Gophers rumblin' in pile crater rock hole
One red bean stuck in the bottom of uh tin bowl
Hot coffee from uh krimpt up can
Me 'n my girl named Bimbo Limbo Spam[/b]
I also like Lick My Decals Off, Baby[/b]. There was a Captain Beefheart tribute album from a long time ago, and XTC did a cover of "Ella Guru" (which they eventually released on the 12" of "The Mayor Of Simpleton"). The tribute was called Fast & Bulbous[/b]. I know Sonic Youth were once the tribute album kings, but I don't remember if they did anything for that one.
My apologies. I thought you were dissin' Mr. Van Vliet.
Nah, I'm a huge fan of his work. I even covered that song way back when I used to speak in my music.
My point was to say that for most people, that album was considered awful. I mean, I remember when Rolling Stone said that in 20 years, the album had yet to sell over 10,000 copies (or maybe it was 5000).
I think this is a real must read for diggers.
Dan
I'll have to check this out as well.
As for Walter Yetnikoff, he is talked about negatively in the Explosion[/b] book, but then again he was considered Warner Bros. major competition. I remember when Yetnikoff's book came out:
People were saying "what the hell is he doing?" but considering what he had done, I guess the cover shot for this book was not much of a deal.
Thanx for a rundown of that book. I probably wouldn't have heard about it otherwise. Looks like some summer reading.