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elSicomoro · 09-29-2001, 08:57 PM

What IS a sellout anymore though? R.E.M were called sellouts when "Green" came out. The Cure were called sellouts when "Wish" came out. I don't believe in that term...I don't blame an artist one bit for trying to make some money. R.E.M is laughing all the way to the bank with their record deal...my personal opinion is that they haven't put out a decent CD in 7 years ("Monster.")

The Offspring are "okay"...they're "punk-pop" now (much like Blink 182. But I don't mind Blink 182...they make some nice punk-pop that sounds good). Granted, I only own "Smash." I don't know how much of a hand Columbia has had in their two records for them. However, I offer Cake's new release as proof that a quirky band can do well on a major label (and they happen to be on Columbia now as well).

I think an artist has good intentions when signing to a major label. The artist wants to make music and money. The label wants to put out new music and make money. Sometimes, the partnership doesn't pan so well...and I do believe that the labels take advantage of new talent.

But perhaps the best example I have of "Take that!": Signing Moby to Elektra in 1994 was a coup. They had the premier dance talent recording for them. And Sylvia Rhone (the CEO) is a smart lady who manages a stable that ranges from Pantera to Tracy Chapman. However, in making 3 records for them, Moby felt like they wanted him to make "singles." (Truth be told, the closest songs he made to being singles on Elektra were his cover of Mission of Burma's "That's When I Reach for My Revolver" and his reworking of the James Bond theme.) Moby's music just didn't equate to singles in the States (although his singles do well on Mute in the UK). So he bought out his contract and signed to V2 (Richard Branson's newer label). Then he released "Play," an album that has spawned SEVEN singles, with the first one being released over THREE years ago. Touché...

09-29-2001, 08:57 PM	#8
elSicomoro Person who doesn't update the user title Join Date: Jan 2001 Posts: 12,486	What IS a sellout anymore though? R.E.M were called sellouts when "Green" came out. The Cure were called sellouts when "Wish" came out. I don't believe in that term...I don't blame an artist one bit for trying to make some money. R.E.M is laughing all the way to the bank with their record deal...my personal opinion is that they haven't put out a decent CD in 7 years ("Monster.") The Offspring are "okay"...they're "punk-pop" now (much like Blink 182. But I don't mind Blink 182...they make some nice punk-pop that sounds good). Granted, I only own "Smash." I don't know how much of a hand Columbia has had in their two records for them. However, I offer Cake's new release as proof that a quirky band can do well on a major label (and they happen to be on Columbia now as well). I think an artist has good intentions when signing to a major label. The artist wants to make music and money. The label wants to put out new music and make money. Sometimes, the partnership doesn't pan so well...and I do believe that the labels take advantage of new talent. But perhaps the best example I have of "Take that!": Signing Moby to Elektra in 1994 was a coup. They had the premier dance talent recording for them. And Sylvia Rhone (the CEO) is a smart lady who manages a stable that ranges from Pantera to Tracy Chapman. However, in making 3 records for them, Moby felt like they wanted him to make "singles." (Truth be told, the closest songs he made to being singles on Elektra were his cover of Mission of Burma's "That's When I Reach for My Revolver" and his reworking of the James Bond theme.) Moby's music just didn't equate to singles in the States (although his singles do well on Mute in the UK). So he bought out his contract and signed to V2 (Richard Branson's newer label). Then he released "Play," an album that has spawned SEVEN singles, with the first one being released over THREE years ago. Touché...