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Post by Adey on Apr 1, 2008 1:46:10 GMT
Following the recent acquisition of EMI by glorified venture capitalists, I'm already reading worrying comments about their intentions to take a much firmer and less indulgent line with the artists on their rosta. Given Kate's commitment to EMI, I'm concerned about her future relationship with them. Anyone care to comment before I do?
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Post by Al Truest on Apr 1, 2008 4:52:50 GMT
Following the recent acquisition of EMI by glorified venture capitalists, I'm already reading worrying comments about their intentions to take a much firmer and less indulgent line with the artists on their rosta. Given Kate's commitment to EMI, I'm concerned about her future relationship with them. Anyone care to comment before I do? I will tomorrow.
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Post by tannis on Apr 1, 2008 5:20:50 GMT
IN NEED OF ANGELS
Even Kate Bush has joined the naysayers as EMI's future lies in the balance. Dominic Midgley reports.
As the Brit Award nominations were read out at Camden's Roundhouse on Monday, the hearts of the already demoralised EMI staff there sank further. Though one of the country's biggest record labels, it achieved only five nominations. "It was quite shocking really", said one veteran observer, "and it just goes to show no one wants to sign for a company surrounded by so much uncertainty." That is the situation EMI has been in for 18 months and, more specifically, since Guy Hands' private equity group, Terra Firma, took it over in a £3.2bn deal last year. Even Dave Holmes, manager of Coldplay, has said he would not advise any new artist to sign to EMI. And yesterday's announcement of 2,000 job cuts will do little to improve confidence, in the short term at least. Hands yesterday unveiled plans for the company's future, including more focus on A&R finding new talent and the possible sponsorship of artists by brands. Since his arrival, the company has failed to sign any hot new acts and has estranged many of its big names. This week Robbie Williams declared he was going "on strike" in protest at Hands' exhortation for artists to work harder, and The Verve made the same threat. Others have been rocked by the upheaval. The reclusive Kate Bush is said to have telephoned Hands after the departure of Tony Wadsworth, the UK chairman and chief executive, known as the "artists' ally". She allegedly told Hands: "Tony Wadsworth was the only guy I knew at EMI and now he's gone. This is the first time I've spoken to you and it'll be the last. Goodbye." ... More worrying for Hands is the growing ability of bands to succeed without a label by using the internet. It means that record companies now need their artists more than their artists need them.
thelondonpaper 16 Jan 08
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Post by Barry SR Gowing on Apr 1, 2008 6:31:29 GMT
The reclusive Kate Bush is said to have telephoned Hands after the departure of Tony Wadsworth, the UK chairman and chief executive, known as the "artists' ally". She allegedly told Hands: "Tony Wadsworth was the only guy I knew at EMI and now he's gone. This is the first time I've spoken to you and it'll be the last. Goodbye." I wonder if that really happened? It doesn't sound like the sort of thing that Kate would do, or say. Being reclusive and all... Really what it comes down to is the terms of Kate's contract with EMI. I would assume given the 12 year gap between TRS and Aerial that she's not obliged to give them albums on any sort of schedule. The major record companies are self-destructing as their profits disappear into thin air. The download market is about as 1/10th as profitable as physical CDs - and since that is the direction the consumers are moving in it's only a matter of time before there simply isn't enough money to sustain major record companies in any form. This shouldn't be a problem for Kate - she's an established artist with a devoted fan base. She can sell directly to her fanbase from her website if she wants - just as soon as EMI vanish into thin air...
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Post by rosabelbelieve on Apr 1, 2008 17:00:37 GMT
I really don't know much about record companies, but I've always wondered what would happen if Kate had her own label... Anyway, I'm not really worried about her, as she does have quite an incredible fan-base for an artist who has only had one album out in the last ten years. I have to agree with Paul about the phone conversation sounding a bit unlike Kate, though.
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Post by Al Truest on Apr 1, 2008 23:37:36 GMT
If EMI is out of the picture, I don't really see Kate pursuing another label. Fame and money do not seem to be motivation for her. Nor does promotion of her work appear to be a priority. Like always, I believe she will do what pleases her - and at her own pace. But in that her website has much to be desired; she would need some help if she produced for strictly Internet sales. All that said - I haven't a clue what she'll do.
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Post by Adey on Apr 9, 2008 1:43:14 GMT
I see we all share similar views. I suspected as much when I created the thread. It's been many years since Kate accepted any sort of advance from EMI for an upcoming release. Having worked so hard to make herself essentially independant, it would be illogical for her to then make herself beholden to the Company in this way. I've assumed for a long time now that she has basically a Gentleman's ( sic) agreement with EMI for their exclusive right to release such material that she is prepared to make available to them for the purpose. Any obligation on her part to commit to a quota of recordings, is I'm sure, long gone. EMI for their part retain the prestige of being Kate Bush's record label and profits from the sale of her increasingly rare recordings. In exchange, Kate has the benefit of their huge experience and distribution & marketing resources. I also believe that the Company have (had) a fond, almost paternalistic regard for their favourite daughter. So it has been mutually advantageous for Kate and EMI to retain their alliance. I don't expect this to continue. Kate's friend/associate and company boss David Munn, seems to have been a casualty, and I wouldn't be surprised if the comments allegedly made by her to the new Company management are true. "Times they are changing" as they say. If Kate still has music she wants to make and release, someone in the industry will gratefully oblige, if she does not choose to go the entirely independent route. And let's face it, the entire industry is in a meltdown anyway..So I guess we agree it's bye bye to EMI, at least from Kate. Shame really.. And perhaps we should also acknowledge how difficult it must be for any record company to deal with Kate. Her first album release in 12 years and maybe the finest album she's ever made, allowed to sink or swim in the marketplace through the lack of any real promotional efforts by the artist herself? Not even a 2nd single for heavens sake! Much as we love her, it flies in the face of reason for a professional musician! How liberating it must be to not give a sh*t!
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Post by Barry SR Gowing on Apr 9, 2008 1:59:28 GMT
Not even a 2nd single for heavens sake! Much as we love her, it flies in the face of reason for a professional musician! How liberating it must be to not give a sh*t! I wonder what might have been selected as a second single? KotM was an obvious choice for a single, but what else? The disappointing sales in the US were the most obvious issue with the whole non-promotion of the album. At least Aerial and KotM made the top 10 in the UK! In the meantime, not only are the major record companies bleeding to death, but the whole 'pop star' routine is looking staler than ever. Little wonder that Kate wants to steer clear of that (or even worse, doing some kind of "nostalgia tour" like she was The Eagles or something). --Paul--
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Post by Adey on Apr 9, 2008 2:06:12 GMT
Not even a 2nd single for heavens sake! Much as we love her, it flies in the face of reason for a professional musician! How liberating it must be to not give a sh*t! I wonder what might have been selected as a second single? KotM was an obvious choice for a single, but what else? As I recall we discussed that some time ago. The general consensus was "How to be Invisible" What do you think Paul?
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Post by Barry SR Gowing on Apr 9, 2008 2:36:48 GMT
I wonder what might have been selected as a second single? KotM was an obvious choice for a single, but what else? As I recall we discussed that some time ago. The general consensus was "How to be Invisible" What do you think Paul? I'm going to critically reevalute the tracks, Adey, in that light. Certainly the "A Sea of Honey" tracks are all more obvious contenders than the "A Sky of Honey" tracks. How to Be Invisible is a strong song. --Paul--
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Post by Barry SR Gowing on Apr 9, 2008 11:49:41 GMT
I wonder what might have been selected as a second single? KotM was an obvious choice for a single, but what else? As I recall we discussed that some time ago. The general consensus was "How to be Invisible" What do you think Paul? And the winner is: Joanni. Unfortunately How To Be Invisible doesn't really have a hook so it's not entirely suitable as a single, strong though it is an album track.
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Post by Al Truest on Apr 9, 2008 23:15:31 GMT
As I recall we discussed that some time ago. The general consensus was "How to be Invisible" What do you think Paul? And the winner is: Joanni. Unfortunately How To Be Invisible doesn't really have a hook so it's not entirely suitable as a single, strong though it is an album track. HOTBI's 'hook' would be the haunting guitar. Although not a vocal hook, it nonetheless reverberates after the song is done. I can imagine it being 'here in my head' after radio play. Besides it has suitable initials for reference by Kate fans...'Not to say that Joanni would not also make a good single. Three would have been better than one regardless.
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Post by Barry SR Gowing on Apr 10, 2008 4:54:54 GMT
HOTBI's 'hook' would be the haunting guitar. Although not a vocal hook, it nonetheless reverberates after the song is done. I can imagine it being 'here in my head' after radio play. Besides it has suitable initials for reference by Kate fans...'Not to say that Joanni would not also make a good single. Three would have been better than one regardless. Yes, the guitar part does qualify, I was originally going to mention it in my first post and then say: but nonetheless it needs a vocal hook or two as well. Ideally one of the vocal hooks should incorporate the title of the song, as Joanni and KotM do, otherwise the listener won't easily remember the name of the song. For example, Cloudbusting would have been a bigger hit if the title had also been a hook. Also, although Kate preferred A Deal With God there's no doubt that Running Up That Hill was a sounder choice for title in terms of memorabiliity! --Paul--
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Post by Al Truest on Apr 10, 2008 11:39:28 GMT
HOTBI's 'hook' would be the haunting guitar. Although not a vocal hook, it nonetheless reverberates after the song is done. I can imagine it being 'here in my head' after radio play. Besides it has suitable initials for reference by Kate fans...'Not to say that Joanni would not also make a good single. Three would have been better than one regardless. Yes, the guitar part does qualify, I was originally going to mention it in my first post and then say: but nonetheless it needs a vocal hook or two as well. Ideally one of the vocal hooks should incorporate the title of the song, as Joanni and KotM do, otherwise the listener won't easily remember the name of the song. For example, Cloudbusting would have been a bigger hit if the title had also been a hook. Also, although Kate preferred A Deal With God there's no doubt that Running Up That Hill was a sounder choice for title in terms of memorabiliity! --Paul-- Good points all ^.
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Post by rosabelbelieve on Apr 10, 2008 23:28:52 GMT
Interesting points. I had always assumed HTBI would've been the single, but thought that, though it doesn't have a direct 'hook', something from A Sky of Honey would have been spectacular. Like 'Nocturn', or 'Somewhere In Between,' which I thought I had read actually did get some airplay anyway? Maybe it wouldn't have done well, but to tell the truth it doesn't seem Kate really cares about that... and they're the ones that get stuck in my head.
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