From: owner-avalon-digest@smoe.org (avalon-digest) To: avalon-digest@smoe.org Subject: avalon-digest V14 #161 Reply-To: avalon@smoe.org Sender: owner-avalon-digest@smoe.org Errors-To: owner-avalon-digest@smoe.org Precedence: bulk avalon-digest Tuesday, November 2 2010 Volume 14 : Number 161 Today's Subjects: ----------------- [AVALON] Re: Define winning [chandla911@aol.com] [AVALON] Scanner's November newsletter [chandla911@aol.com] RE: [AVALON] Re: Define winning [Andrew Shearer Subject: RE: [AVALON] Re: Define winning I think here are a few artists making products which are "exclusive", "special" etc which are hugely expensive and will only appeal to the very rich. I think Jimmy Page has recently released a special edition book costing about #400, and I think there are other similar instances where artists are trying to make up for the monies they loose through illegal copying etc. I'm not familar with Brian Eno's offering so I can't comment on the price or his reasons for doing that but I believe the #50 edition of Olympia is designed to reach a particular level of fan (as hinted at by Ferry in The Word). The alternative is that the artists won't be able to make money or survive from what they do and we will only have "Cowelesque sponspored artists". It might be the culture we deserve. I've alway thought of "bootlegs" as being recordings of concerts by members of the audience but I admit I could be mistaken about that. Richard, are you saying that your bootleg is a copy of a commercial release? > To: avalon@smoe.org > Subject: [AVALON] Re: Define winning > Date: Mon, 1 Nov 2010 06:25:06 -0400 > From: chandla911@aol.com > > It's such a crap argument to call foul on Ferry releasing 'earlier > recordings'. > Agreed. And anyway, Brian Eno does that too. > > > I'm sure it's thrilling to see Eno in conversations with Brand and Dawkins > It truly is, but one does need to have a 3-figure IQ to understand what they > are talking about. > > > Ferry is a mainstream artists who wants to sell albums. He's hit the trail > and > been a witty guest on a number of chat shows already. It's a win/win > situation. > > > Agreed. > > Eno can work with whoever he chooses, can he? Belinda Carlisle and Coldplay > must have been for financial reasons I guess... > > > Can't agree here though. He basically is in a position where he can work when > and where he chooses. Brian Eno never asks how much a commission is worth, > because he doesn't need to and because he wishes to work on the projects that > interest him most. No doubt he can command a huge fee for producing the best > selling album of Coldplay's career (Bryan Ferry, a mainstream artist who wants > to sell albums should have that ability) but he has worked on their stuff > because he likes to AND sent Chris Martin away from the studio in order to > concentrate on the other members input. As for Belinda Carlisle, I can assure > YOU that the budget is not large where her projects are concerned which is why > she appears on every celebrity programme imaginable. But Brian Eno liked the > idea of working on an album recorded almost entirely in French. Plus Brian > shares another characteristic with Bryan Ferry: they both like to play the old > roue Lothario and I can see Brian enjoying work in a confined space with a > younger woman, just 10 years away from her last Playboy shoot, trilling away > in a foreign tongue. > > I'm sure Brian is thrilled that you forked out for all those collector's > editions! > Don't be silly. Did you see my shoes? I've a bootleg of the Japanese album. > It's wonderful and it's all that I need. No-one but an idiot or a banker would > buy the ridiculously over-priced collector's edition of the Brian Eno album by > choice. > PS You didn't actually define winning but if "Bryan Ferry is a mainstream > artist who wants to sell lots of albums" and only entered the charts at 19, > can we assume he's losing? > > > Viva la vida! > Richard Mills > > > ___________________________________________________________________________ > To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Mon, 01 Nov 2010 07:18:25 -0400 From: kwil632057@aol.com Subject: Re: [AVALON] Re: Define winning I'd probably define winning as not being Rod Stewart, who releases the 125th installment of his American songbook series this week. Now there is an example of a once great artist reduced to churning it out - something you can't accuse Ferry of. J PS You didn't actually define winning but if "Bryan Ferry is a mainstream artist who wants to sell lots of albums" and only entered the charts at 19, can we assume he's losing? - -----Original Message----- From: chandla911@aol.com To: avalon@smoe.org Sent: Mon, 1 Nov 2010 10:25 Subject: [AVALON] Re: Define winning It's such a crap argument to call foul on Ferry releasing 'earlier recordings'. Agreed. And anyway, Brian Eno does that too. I'm sure it's thrilling to see Eno in conversations with Brand and Dawkins It truly is, but one does need to have a 3-figure IQ to understand what they are talking about. Ferry is a mainstream artists who wants to sell albums. He's hit the trail and been a witty guest on a number of chat shows already. It's a win/win situation. Agreed. Eno can work with whoever he chooses, can he? Belinda Carlisle and Coldplay must have been for financial reasons I guess... Can't agree here though. He basically is in a position where he can work when and where he chooses. Brian Eno never asks how much a commission is worth, because he doesn't need to and because he wishes to work on the projects that interest him most. No doubt he can command a huge fee for producing the best selling album of Coldplay's career (Bryan Ferry, a mainstream artist who wants to sell albums should have that ability) but he has worked on their stuff because he likes to AND sent Chris Martin away from the studio in order to concentrate on the other members input. As for Belinda Carlisle, I can assure YOU that the budget is not large where her projects are concerned which is why she appears on every celebrity programme imaginable. But Brian Eno liked the idea of working on an album recorded almost entirely in French. Plus Brian shares another characteristic with Bryan Ferry: they both like to play the old roue Lothario and I can see Brian enjoying work in a confined space with a younger woman, just 10 years away from her last Playboy shoot, trilling away in a foreign tongue. I'm sure Brian is thrilled that you forked out for all those collector's editions! Don't be silly. Did you see my shoes? I've a bootleg of the Japanese album. It's wonderful and it's all that I need. No-one but an idiot or a banker would buy the ridiculously over-priced collector's edition of the Brian Eno album by choice. PS You didn't actually define winning but if "Bryan Ferry is a mainstream artist who wants to sell lots of albums" and only entered the charts at 19, can we assume he's losing? Viva la vida! Richard Mills ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Mon, 01 Nov 2010 07:21:41 -0400 From: chandla911@aol.com Subject: [AVALON] I'm not the author http://www.popmatters.com/pm/review/132819-brian-eno-small-craft-on-a-milk-se a/ ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Mon, 01 Nov 2010 07:47:23 -0400 From: kwil632057@aol.com Subject: Re: [AVALON] Re: Define winning Isn't it the case that the money is all in the touring these days? As far as I know, there isn't a tour to support this album, so other avenues of revenue are investigated (hence the B#50 Olympia book). It's a shame as I'd love to see an Olympia tour - there's real potential for a great live experience based around the album. J - -----Original Message----- From: Andrew Shearer To: avalon avalon Sent: Mon, 1 Nov 2010 11:04 Subject: RE: [AVALON] Re: Define winning I think here are a few artists making products which are "exclusive", "special" etc which are hugely expensive and will only appeal to the very rich. I think Jimmy Page has recently released a special edition book costing about #400, and I think there are other similar instances where artists are trying to make up for the monies they loose through illegal copying etc. I'm not familar with Brian Eno's offering so I can't comment on the price or his reasons for doing that but I believe the #50 edition of Olympia is designed to reach a particular level of fan (as hinted at by Ferry in The Word). The alternative is that the artists won't be able to make money or survive from what they do and we will only have "Cowelesque sponspored artists". It might be the culture we deserve. I've alway thought of "bootlegs" as being recordings of concerts by members of the audience but I admit I could be mistaken about that. Richard, are you saying that your bootleg is a copy of a commercial release? > To: avalon@smoe.org > Subject: [AVALON] Re: Define winning > Date: Mon, 1 Nov 2010 06:25:06 -0400 > From: chandla911@aol.com > > It's such a crap argument to call foul on Ferry releasing 'earlier > recordings'. > Agreed. And anyway, Brian Eno does that too. > > > I'm sure it's thrilling to see Eno in conversations with Brand and Dawkins > It truly is, but one does need to have a 3-figure IQ to understand what they > are talking about. > > > Ferry is a mainstream artists who wants to sell albums. He's hit the trail > and > been a witty guest on a number of chat shows already. It's a win/win > situation. > > > Agreed. > > Eno can work with whoever he chooses, can he? Belinda Carlisle and Coldplay > must have been for financial reasons I guess... > > > Can't agree here though. He basically is in a position where he can work when > and where he chooses. Brian Eno never asks how much a commission is worth, > because he doesn't need to and because he wishes to work on the projects that > interest him most. No doubt he can command a huge fee for producing the best > selling album of Coldplay's career (Bryan Ferry, a mainstream artist who wants > to sell albums should have that ability) but he has worked on their stuff > because he likes to AND sent Chris Martin away from the studio in order to > concentrate on the other members input. As for Belinda Carlisle, I can assure > YOU that the budget is not large where her projects are concerned which is why > she appears on every celebrity programme imaginable. But Brian Eno liked the > idea of working on an album recorded almost entirely in French. Plus Brian > shares another characteristic with Bryan Ferry: they both like to play the old > roue Lothario and I can see Brian enjoying work in a confined space with a > younger woman, just 10 years away from her last Playboy shoot, trilling away > in a foreign tongue. > > I'm sure Brian is thrilled that you forked out for all those collector's > editions! > Don't be silly. Did you see my shoes? I've a bootleg of the Japanese album. > It's wonderful and it's all that I need. No-one but an idiot or a banker would > buy the ridiculously over-priced collector's edition of the Brian Eno album by > choice. > PS You didn't actually define winning but if "Bryan Ferry is a mainstream > artist who wants to sell lots of albums" and only entered the charts at 19, > can we assume he's losing? > > > Viva la vida! > Richard Mills > > > ___________________________________________________________________________ > To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Mon, 1 Nov 2010 12:05:13 +0000 From: Andrew Shearer Subject: RE: [AVALON] Re: Define winning I thought Ferry said somewhere last week there might be something later next year after the Roxy tour. I think it's true that more money is generated from touring and merchandising these days and I think that's why there's quite a vibrant live scene now. (I quite like the irony that the "Digital Age" didn't kill music off but kick-started it again because musicians have to be able to play live). However I think traditionally most of that money has gone directly to the artists but now the record companies are wanting a big (or bigger) slice of that now. > To: avalon@smoe.org > Subject: Re: [AVALON] Re: Define winning > Date: Mon, 1 Nov 2010 07:47:23 -0400 > From: kwil632057@aol.com > > Isn't it the case that the money is all in the touring these days? > As far as I know, there isn't a tour to support this album, so other avenues > of revenue are investigated (hence the B#50 Olympia book). It's a shame as I'd > love to see an Olympia tour - there's real potential for a great live > experience based around the album. > > J > > > > > > > > > -----Original Message----- > From: Andrew Shearer > To: avalon avalon > Sent: Mon, 1 Nov 2010 11:04 > Subject: RE: [AVALON] Re: Define winning > > > I think here are a few artists making products which are "exclusive", > "special" etc which are hugely expensive and will only appeal to the very > rich. I think Jimmy Page has recently released a special edition book costing > about #400, and I think there are other similar instances > where artists are trying to make up for the monies they loose through > illegal > copying etc. I'm not familar with Brian Eno's offering so I can't comment on > the price or his reasons for doing that but I believe the #50 edition of > Olympia is designed to reach a particular level of fan (as hinted at by Ferry > in The Word). The alternative is that the artists won't be able to make money > or survive from what they do and we will only have "Cowelesque sponspored > artists". It might be the culture we deserve. > > I've alway thought of "bootlegs" as being recordings of concerts by members > of > the audience but I admit I could be mistaken about that. Richard, are you > saying that your bootleg is a copy of a commercial release? > > > > To: avalon@smoe.org > > Subject: [AVALON] Re: Define winning > > Date: Mon, 1 Nov 2010 06:25:06 -0400 > > From: chandla911@aol.com > > > > It's such a crap argument to call foul on Ferry releasing 'earlier > > recordings'. > > Agreed. And anyway, Brian Eno does that too. > > > > > > I'm sure it's thrilling to see Eno in conversations with Brand and Dawkins > > It truly is, but one does need to have a 3-figure IQ to understand what > they > > are talking about. > > > > > > Ferry is a mainstream artists who wants to sell albums. He's hit the trail > > and > > been a witty guest on a number of chat shows already. It's a win/win > > situation. > > > > > > Agreed. > > > > Eno can work with whoever he chooses, can he? Belinda Carlisle and Coldplay > > must have been for financial reasons I guess... > > > > > > Can't agree here though. He basically is in a position where he can work > when > > and where he chooses. Brian Eno never asks how much a commission is worth, > > because he doesn't need to and because he wishes to work on the projects > that > > interest him most. No doubt he can command a huge fee for producing the > best > > selling album of Coldplay's career (Bryan Ferry, a mainstream artist who > wants > > to sell albums should have that ability) but he has worked on their stuff > > because he likes to AND sent Chris Martin away from the studio in order to > > concentrate on the other members input. As for Belinda Carlisle, I can > assure > > YOU that the budget is not large where her projects are concerned which is > why > > she appears on every celebrity programme imaginable. But Brian Eno liked > the > > idea of working on an album recorded almost entirely in French. Plus Brian > > shares another characteristic with Bryan Ferry: they both like to play the > old > > roue Lothario and I can see Brian enjoying work in a confined space with a > > younger woman, just 10 years away from her last Playboy shoot, trilling > away > > in a foreign tongue. > > > > I'm sure Brian is thrilled that you forked out for all those collector's > > editions! > > Don't be silly. Did you see my shoes? I've a bootleg of the Japanese album. > > It's wonderful and it's all that I need. No-one but an idiot or a banker > would > > buy the ridiculously over-priced collector's edition of the Brian Eno album > by > > choice. > > PS You didn't actually define winning but if "Bryan Ferry is a mainstream > > artist who wants to sell lots of albums" and only entered the charts at 19, > > can we assume he's losing? > > > > > > Viva la vida! > > Richard Mills > > > > > > ___________________________________________________________________________ > > To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon > > > ___________________________________________________________________________ > To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon > > > ___________________________________________________________________________ > To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Mon, 01 Nov 2010 09:57:05 -0400 From: chandla911@aol.com Subject: [AVALON] Bryan Ferry, take note Brian Eno says: " I think that there's something that I still like about the fact of a package, like the latest report from somebody. "Okay, this is what they're up to now; this is what they're doing; who's working with them?" It infuriates me that stuff from the Internet routinely doesn't include all the credits. Because as soon as I listen to something, if I like it, I want to know, "Who's the bass player?" "Who did that?" "Who's the engineer on this?" Olde worlde CDs and vinyl can benefit from getting the name of the guy you worked with too. http://pitchfork.com/features/interviews/7875-brian-eno/ ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Mon, 01 Nov 2010 10:22:12 -0400 From: kwil632057@aol.com Subject: Re: [AVALON] Bryan Ferry, take note Fascinating stuff. - -----Original Message----- From: chandla911@aol.com To: avalon@smoe.org Sent: Mon, 1 Nov 2010 13:57 Subject: [AVALON] Bryan Ferry, take note Brian Eno says: " I think that there's something that I still like about the fact of a package, like the latest report from somebody. "Okay, this is what they're up to now; this is what they're doing; who's working with them?" It infuriates me that stuff from the Internet routinely doesn't include all the credits. Because as soon as I listen to something, if I like it, I want to know, "Who's the bass player?" "Who did that?" "Who's the engineer on this?" Olde worlde CDs and vinyl can benefit from getting the name of the guy you worked with too. http://pitchfork.com/features/interviews/7875-brian-eno/ ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ Date: Mon, 1 Nov 2010 14:46:05 -0500 From: MarlanaK@webtv.net (M.M.K.) Subject: [AVALON] Re: Olympia Last week I wrote about what my paper said about the album & was rated B+. When I went to get it at Best Buy one of the big stores. I was told sold out. Was very Pi--ed when I was told they had only gotten 3 copies. They did check other Best Buys in the area that were near by. Again only 3. I had a friend pick it up for me & it was the last one.---I know everyone talks of Ferry on Chat shows & touring. IMO if he doesn't think it worthy to come to USA to get on talk shows as he did in past. Is it any wonder stores only get 3 copies? What is this with Management? You got to appeal to the younger generation.-- You might talk of Rod Stewart but at least he is still drawing huge crowds even at his age. Everyone who releases a new CD is on the circuit to be on talk shows & to sing a hit from it. Just saw Seal this morning as well as a few weeks ago. If all his songs are as good as what he's bringing it is fantastic. Some of his finer work. I will end up buying it. When will Ferry cross the Ocean or is he content with just remaining where he is? If he wants to climb the charts he needs a bigger audience. We die-hards like it whenever he opens his mouth. We have stuck around in spite of how long it takes him to get something new out. Always, Marlana ___________________________________________________________________________ To unsubscribe, mail majordomo@smoe.org with: unsubscribe avalon ------------------------------ End of avalon-digest V14 #161 ***************************** ======================================================================== For further info, mail majordomo@smoe.org with: info avalon-digest