| Showing posts 1 to 20 of 1,126 results |
Pages (57): [1] 2 3 next » ... last » |
 Thread: Terry's new solo album |
|
|
Well they say no good deed goes unpunished. That can pretty much sum up the whole thing.
|
|
| Thread: Terry's new solo album |
|
|
I think I could count on one hand the people that appreciate what we did. And most people don’t even know the half of it.
|
|
| Thread: Terry's new solo album |
|
|
Unfortunately a lot of people still waiting on everything. Almost five months since the last kickstarter update. Hope they sort things out soon.
|
|
| Thread: Bibleland Appreciation Thread |
|
|
On topic my view of Bibleland was always mixed. Basically I saw all the BAI releases kind of the same, sort of one dimensional or flat. Sort of garage band-ish. Less like what DA usually did in the studio and more like what they did live. That sounds like more of a criticism than what I intend, I think they are just different in direction and presentation. I always sort of assumed it had something to do with Gene Eugene's engineering style? I guess because to me all of the Frontline DA releases have a similar feel, sort of pristine digital and ethereal while the BAI stuff comes across in the grungy direct to tape vibe. Then you have the releases post green room which all seem to have a level of intimacy not found earlier. And then the stuff Terry and Rob have done together has a whole other slant. It's like ordering the same meal from different restaurants and they each have their own take that can put you in a different place.
|
|
| Thread: Hi from a Newbie & Fearful Symmetry Question |
|
|
| quote: |
Originally posted by WoaaahJelly!
Yeah. Glad to hear that, Eric. So It appears Jason is disillusioned or maybe burned out, and Eric is still on board for more reissues. |
Nope. Tom G. is taking the lead in most stuff going forward I believe. Eric might stay involved, but I won't.
|
|
| Thread: Hi from a Newbie & Fearful Symmetry Question |
|
|
The plan used to be to slowly release every album ala deluxe. Some albums make more sense to do that with in that some have more demos and unreleased tracks than others. The first album was easy in that there were several years of demos prior to the band's first album. HD was easy as there was a wealth of material in the lost 3 years or so and the album had never been produced properly. Shotgun Angel was just fun to do.
Some albums we store the masters for so that also makes it a lot easier to check them for missing material or remix some stuff. I can't remember off hand if we have the master for Fearful Symmetry. I also am unaware at this time of any unreleased tracks. I am sure Terry has some demos or something. But I think that was a period of time without a bunch of extra material. So we could have probably remastered it, but not sure about extra content.
At this point I won't be working on any more releases of any kind. Not sure if Eric will. So Tom Gulotta is probably the guy to ask but I wouldn't hold my breath on that. Unless he dumps it to bandcamp.
|
|
| Thread: Tim's birthday today on the Forum |
|
|
I spent more time with Tim and Terry than the rest of the band. Jerry is probably next. Tim was always extremely kind to us. He was probably the kindest of all the artists I've known over the years. He stands out in my mind and I think that makes it ache even more.
I didn't have the privilege to know him as well as some of his relatives and close friends that spoke at his memorial, but everything they said just confirmed what I knew of him. It's like the end of an era.
|
|
| Thread: Bibleland Appreciation Thread |
|
|
They talked quite a bit about Tim's history as a bass player at his memorial service. I don't remember all the details just that he won a lot of rewards and was well known out that way as being an actual genius with the bass. Literally not figuratively.
|
|
| Thread: Daniel Amos - Horrendous Disc Deluxe |
|
|
Yeah a train wreck is right. Even when the album was originally released (April 10, 1981) Larry waited until right before Alarma was released (June 1, 1981) to release it which hurt Alarma's sales.. since there was so much anticipation and mystery concerning HD.
It's almost like he had no intention of releasing it at all, but when he heard they had another album coming out he rushed it out. Incorrect master, incorrect artwork, missing artwork, weird edits and track order, etc.
When Eric and I were discussing putting the ultimate HD together with Larry back in 2006-2007 we had discussed it from the perspective that Larry owned the album and DA owned all the bonus material and extra songs and that a deluxe reissue couldn't be done without collaboration between DA and Solid Rock. Through the discussions we mentioned some of the tracks we wanted as bonus material and through the whole discussion Larry seemed to be into it and said he wanted to work with us on it.
Then Solid Rock secretly and seemingly rushed out the CDR copy of Horrendous Disc in 2007 with some of those tracks as bonus material. "Fairy Tale", "After All These Years", "Talk","Twilight Love","Noelle","Hello Aloha." It was odd like he wanted to rush and preemptively get them out. The mastering was poor, the mixes were bad, the artwork was crap and it was a CDR. Setting aside the fact he didn't own any of the bonus material...
That was classic Larry. Hard to understand why he did that, he could be your best friend one day and then the next it was like he had a bunch of paranoia and had to protect himself by hurting you before you (as he thought) would hurt him. It's the only way I can make sense out of any of it.
I don't know, but in all the interactions with Larry we had I always had the feeling that it was like he had a split personality and both were honest and contradictory in their interactions with you. He could one minute attack you for who knows what and the next gush like you were his greatest friend on earth. It's like you could inadvertently trigger one or the other by what you did or said. I was always a Larry Norman fan and never disliked him, it always seemed sad and we felt like all we could do was be patient with him.
|
|
| Thread: Horrendous order |
|
|
I don't have any information on Terry's kickstarter other than what they send out as updates.
We will check on that order.
Posting on the board vs sending the form is really just about organizing so we make sure the message gets to the right place. We used to have people post on the boards, send questions to email discussion lists, send emails about orders to band members or booking people or the manager. Most of these methods never made their way to us. Or one of these people would try to answer without access to the actual order information. We had one band member in one band answering these questions by saying he didn't know why we had not shipped such and such yet.. when we actually had.
We check the board frequently but not as often as the site email, plus with email we can regulate all the order questions to one folder and keep track of them. Here we might see it and forget about it by the time we get home from work or back to filling orders where we have access to order info. Or the thread gets buried.
We also used to have people post simply "where's my order" with nothing that we could actually use to find out who they were, what the order number was or what they ordered.
Occasionally something gets lost in the mail, especially with international orders. And occasionally there can be some hang up with the credit card transactions, a typo or something. And occasionally the credit card transaction place has some hiccup where the invoice email doesn't ever get sent to us.
|
|
| Thread: Horrendous order |
|
|
Yeah we will check on it. Was it the record set or CD set?
|
|
| Thread: Terry's Patreon is boomin with greatness |
|
|
Absolutely.
The Avocado Club from what I understand now was the brainchild of the then manager. (At them time he would always present these things to us as if the band/Terry was all in.) He wrote the press releases (which included "all kinds of grandiose plans" like reserved seating at shows) and he was in charge of the material that was on the releases and how they were printed. We'd send out the press releases from him, take the orders when he said everything was ready we'd send him the dough and then wait for him to send us the discs to send out. And when I say wait, I mean waaaaaaaaiiiiiit... which meant the club members waaaaaaaiiiiiittted as well.
(Footnote any time T-shirts were promised it worked this same way. The manager would promise them, we'd take the orders and send him the money and he would have them shipped to us about a year late if at all... and we'd have to find the money to ship them all out. Worked like a never oiled machine left out in the rain in a pond.)
Terry wasn't even really 'in on' what was on the discs I don't believe, he was kind of in the dark from what I understand. The manager used some songs Terry demo'd as a song writer for a publisher he was working for at the time and printed those on the discs. Eventually he sent them to us as discs on a spindle. We had to come up with some kind of artwork and send them out and apologize to everyone for the looooong wait.
Apparently the manager at the time made it seem to Terry that we were behind the Avocado Club and when he quit we were accused of not paying the CD printing bill. (We had no idea who even printed them.) When we found out we asked for the invoices from him which all had the managers address on them. This is also how the 77s club worked by the way, although Mike may have had more input on what was on the CDs and what the artwork would look like.
The clubs were a failure. A few interesting CDs came out of it but everything that made them happen was majorly broken.
Patreon is all Terry and Andrew. It's what the Avocado Club should have been. A precursor to it was his Basement "Swine Before Pearl" Demos series he did a few years ago. With that series we basically thought he could produce his own 'Basement Tapes' like Keaggy had done over the years and it was planned it would continue. But Patreon is even better as the money goes directly to the artist and there is a lot less overhead since you are not manufacturing and shipping stuff. Terry is in full control of how it goes which is exactly how it should be. A lot more stable and creatively alive.
|
|
| Thread: Babies! |
|
|
On Horrendous Disc Mark gets zapped by the UFO and leaves the band.
On Alarma Marty turns to salt and leaves the band.
Hmmm.....
|
|
| Thread: Lost Dogs - LRRH, 25th Anniversary Kickstarter |
|
|
The Horrendous Disc box set is the last thing I am going to work on and I wasn't even going to do that but sort of got pulled in. At this point I pretty much regret even doing that.
|
|
| Thread: Daniel Amos - Horrendous Disc Deluxe |
|
|
Yeah I think (my opinion) what sounds better to different people has a lot to do with opinion laced with nostalgia. I've never been one of those people that bought the analogue is better than digital thing. I get what they are saying in that digital has a limit to it's audible range and analogue has in the least a much wider range. The problem is the human ear also has a limit and it's less than the digital limits. So sometimes our biases can fool us.
I basically see it this way (assuming a high quality source recording):
CD/CDR.
Flac.
WAV (HQ).
Vinyl.
MP3.
Cassette.
8-Track.
Some people argue CDRs are worse than pressed CDs, but pressed CDs are taken from CDR masters typically so they shouldn't be better than their source. If anything it would seem CDs would only be as good as the CDR source even considering the potential for being better. I remember having a discussion with some people about a "surround sound" mastered DVD that was taken from a VHS or High8 tape of a concert. How "surround sound" can it actually be without being able to actually mix the audio? At best it's a fake "Surround Sound" of a 2 track recording.
Sometimes I prefer to listen to Vinyl over an MP3 or CD but mainly because I grew up with vinyl and have a certain bias concerning the experience of Vinyl.
For a while I preferred Cassettes over Vinyl mainly because it didn't pop and was portable. But honestly they don't sound better than Vinyl. Tapes age worse with all the hiss and variable speed and warpage and whatnot. Likewise an MP3 is portable and better than a cassette, the portability makes it better than a Vinyl even though it technically sounds worse.
I had 8-tracks back in the day and they were just a big clunky clicky joke.
|
|
| Thread: Lost Dogs - LRRH, 25th Anniversary Kickstarter |
|
|
Kickstarter is mainly just a way to produce something that you don't have the money to produce by getting assistance from the people that want to see it done.
Not sure about that Choir idea, interesting concept. Who knows?
|
|
| Thread: Terry Taylor Kickstarter campaign |
|
|
| quote: |
Originally posted by WoaaahJelly!
I suppose what I want to see is my favorite artists happy, healthy, and well-paid for their efforts. It's possible Patreon has enabled this already. |
Yeah I think it's the best we've got And we can hope that there aren't any little gossips spreading rumors that the patreon money doesn't reach the artist like we had here concerning the band's site.
The only difference between the two (this site and patreon) is that we paid manufacturing and shipping bills before sending the rest of the income to Terry, etc. and Patreon just goes to Terry without any manufacturing or shipping bills.
Kickstarter as I said before is a different story, you get the money to record, manufacture and ship the product. And then you sell the remaining product and pay shipping and then the remainder goes to Terry, etc. The expenses for Vinyl manufacturing and shipping are very high.
If Terry had an indie label then he'd have to split the remainder, which would be just asinine at this point.
The new Terry solo Kickstarter is being handled by his son Andrew, with help from Tom Gulotta. Not sure how the shipments of product will occur, it costs a small fortune to ship vinyl around. So I don't know if Andrew will ship all the orders out or if they plan on having everything shipped to us and then send us the money to ship it out. I'm pretty much out of the process now, Eric may know.
|
|
| Thread: Daniel Amos - Horrendous Disc Deluxe |
|
|
Ten Biggies was one of several 4 track demos that were recorded back then. It seems a couple of those old 4-track demos were dubbed off to a master reel tape and then the 4 track tape recorded over. Luckily in the case of the Ten Biggies the 4 track tapes still exist, so we used that and had them professionally mixed and mastered. Thats why they sound so much better than the other 4-track demos on the CD version. Some of those other demos only have survived in cassette form.
I thought "Taking A Fall" sound a lot like a pre-Daniel Amos Terry track.
|
|
| Thread: Terry Taylor Kickstarter campaign |
|
|
I think to answer some of the questions; You saw Daniel Amos, the Choir, Adam Again and the 77's tour much less and the Lost Dogs appear and do the touring. You consolidated at least in part the fan bases of all these bands and they could perform largely without a band. You also saw artists like Stonehill, Keaggy, Larry Norman, and Mike Roe tour with bands less frequently. They can show up with a guitar and put on an amazing show without needing a bus full of people and equipment. Keaggy and Stonehill have followed the ceaseless touring model for a while. So I think this has been happening for many smaller following artists since the mid-eighties. Terry even did some solo touring for a few years. And both (Keaggy and Stonehill) are turning to patron as well.
There are mainstream teen CCM pop (safe) young bands that tour because they have the backing of the labels still. 'I think' the labels are much more picky about which bands they feel they can market than they used to be. Younger and pop, hip-hop or praise, etc generally. CCM Radio and Youth Group friendly or hip enough to book on late night talk shows and tour large concert halls, etc.
This is all entirely my opinion looking at what I know and have experienced.
I also believe the Cornerstone Festival was mismanaged the last few years or so and I think it had a lot to do with misinterpreting the way the market was changing. I know some will disagree with me on this but I really don't care. The fact is the festival died, which is not the outcome of a successfully managed enterprise.
|
|
| Thread: Terry Taylor Kickstarter campaign |
|
|
When Eric and I volunteered to put some CDs out for Janet Heard, then work with DA, Uncle Stonehill, 77s, and Lost Dogs this was largely the mindset. Some of these artists have been ripped off their entire careers in one fashion or another. Early on they may have had some mutually beneficial relationships with labels, but that was largely due to the market exploding and supporting it through the 70s and 80s. But the market seemed to take some big hits in the mid-80s. Labels pretty much either dropped bands or the bands stopped getting compensated to any degree suitable for continuing. Some artists left the business and got 'regular jobs.' Some continued to tour and put out albums on their own, although quite stripped down. Going from touring with a band and producing music videos to touring solo and having a website for promotion and distribution.
These artists really can't afford working with any kind of label or entity that takes a cut. Anyone who thinks so is majorly deluded. Not to mention at this point there's really nothing that a small indie-label can offer to an indie artist that they can't do themselves. To survive they have to make a few changes beyond dropping the unnecessary middle-man, a couple of which are alluded to in this article. Things like Kickstarter, Patreon and (unfortunately for a while) preorders allow the artist to use the internet to interact directly with the fanbase financially. And secondly it reduces much of the dangers with releasing something in the internet file sharing age by getting much of the funds up front. Because lets face it you can't and nobody will put $20,000+ into an album, print the CDs, start selling them only to have the songs distributed by people on the web killing any more sales.
I would say that from a financial standpoint Patreon is probably better for supporting the artist themselves. Kickstarter is great for producing a large project like a box set or album, but technically you raise what is necessary to produce the album and then ship out the copies people pledged for from the funds. Then you pretty much have nothing left, you generate profit from selling the copies you printed beyond the copies already claimed by the pledgers. And that can be difficult if you have a limited following who have already bought the album through the campaign. Thats actually the way it's supposed to work, which is great for getting it done, but not too great for financial support of the artist. And of course people upload these releases to the web and sales dry up.
These methods have downsides but they are probably the best we've got at this point since the general market has pretty much died.
|
|
|
| Showing posts 1 to 20 of 1,126 results |
Pages (57): [1] 2 3 next » ... last » |
|
