Bill's PurpleCrayon Blog

GRAND RAPIDS BUSINESS JOURNAL THINKS PURPLE

Katy Rent, a very fine writer with the Grand Rapids Business Journal, wrote a nice article about PurpleCrayon Direct in today's edition.

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A GLIMPSE OF THE MUSIC INDUSTRY FROM THE INSIDE

Every so often serendipity strolls into my life and taps me on the shoulder.

Like now, for instance.

This installment of Bill's Blog is courtesy of David K. Tedds, a Reissue Producer living in California. David was letting his mouse do the walking through Amazon.com one night reading reviews of CDs when a particular review -- written by yours truly -- caught his attention. Intrigued, he read my About You information and sashayed over to PurpleCrayon Direct's web site where he sent me an e-mail from our Contact page.

Turns out, David is responsible for many of the CDs I (and I'm betting you) own and play often -- if you listen to listen to Queensryche, Grand Funk Railroad, UFO and Robin Trower, that is.

Just flip to the credits page of the newly remastered editions of Operation:Mindcrime, We're An American Band , or Bridge of Sighs and you'll see this line: "Produced & Compiled For Reissue By David K. Tedds for EBE Inc."

After a couple of initial back-and-forth e-mails, I realized David had something vital to say to musicians today. So I asked him if he'd be willing to be interviewed for Bill's Blog. Thankfully, he agreed.

And here's how our conversation went...


Tell me, David, what exactly does your job entail?

I'm a Reissue Producer. Most of the time I initiate these projects. I go to the labels and make a case as to why these albums should be re-issued based on what's happening either with the band or the demand for the catalog. Once they okay it, what I'll do from there is I'll start doing research -- or I may have already done research -- but there's research involved to see what additional material I can add to these CDs booklets or additional studio material done at the time of the original sessions. In Grand Funk's case there's not a whole lot of that. So I just added on unreleased live material that was done at the same time the album came out. Plus, I oversee all the studio work that's necessary -- if it's mixing the unreleased material. I'm not an engineer, but I'll sit in the studio with an engineer and mix the stuff. Then I'll sit in there with another engineer when the re-mastering is done and add my two cents, like -- when it comes to Grand Funk -- I'll be, like, "No, no, no. More bass EQ on that."

Basically, I'm overseeing every aspect of the reissue, including the packaging and that sort of stuff, just to make sure that it's a quality product in the end. A lot of times I don't agree with the packaging, and what have you. But at least there aren't stupid things done. For example, I originally got some of the Grand Funk CD booklets, say, on the Born To Die album where in real life at that point [Mark] Farner had a brush cut, but the booklets had pictures of him playing live with hair down to his waist. "No, you can't do that." Generally, I'll hire a liner notes writer. At the end of the day, every aspect of that package I'm answerable for. That's what I do.

Do you ever talk to people in the band? Or do you deal strictly with the record label?

Sometimes yes, sometimes no. Grand Funk? Yes. Queensryche? Yes. Trower and UFO? I didn't and I think it was probably because rather than the whole catalog [being released] it was just the one album.

With Queensryche, I just talked to Geoff who assured me he was speaking for the rest of the band. I've talked to the rest of the band since. They're happy with the way the packages turned out.

The concept with those (Queensryche CDs) is that there are a lot of B-sides, if you will. Or CD singles. A lot of material was released on CD singles overseas. And a few things that were released over here. A certain percentage of the fans said, "Gee, we'd like to get this all collected on one thing." What Geoff and I said was let's get as much of this material as we can that was released in conjunction with the album as CD singles whether it's a song that wasn't included on the studio album or a different mix of the song or a live version of the song and let's put all that as the bonus tracks on this thing. Because then we knew we'd be able to address the completely unreleased material situation on a rarities package that I'll be working on towards the end of this year.

How long have you been doing this type of work? And how did you get this gig?

Oh, I've been in the industry for 30 years at this point, if you count as a starting thing when I used to work in high school, part time, in record stores. It's just been a continual thing since then. It's all I've ever done. I was director of licensing for Time-Warner for eight years, from '88 to '96. I left there and I went over to the catalog division of Capitol-EMI. I worked there for nine months and the division got dissolved in all the wisdom of an incoming president of EMI.

I had enough licensing experience and A&R experience and knowing what I know to suggest a lot of different projects to a lot of different people. The industry is in such a bad state right now that it may be better that I'm working for myself and I can consult with any number of companies and just do it out of my house.

Do you have any favorite re-issues you've worked on?

Well, Grand Funk was definitely a favorite. That was a labor of love.

What's going on in the record industry these days?

It's just changed. It used to be where the people who ran the record labels were people who could also go into the studio with the artist and produce an album for them. They were music connoisseurs themselves. Whereas the guys who are running the labels now are ex money guys from Proctor and Gamble. So the idea of artist development is out the window. It's, like, "Here, we'll give you a shot to do one album. If it doesn't do well, you're outta here." You look at a band like -- I always use the classic one, not my favorite band, but you look at -- REO Speedwagon. They did, like, six albums that just barely did anything before they got their hit. Six or seven albums. Whereas now, like I said, you get one album and that's your shot. And then a lot of times if you do a couple of albums, and even if they've done really well, the label is already looking to see what the next huge megastar is. They're not looking to develop careers. They just want one or two hits off you to hit the bottom line and then bring in the next artist.

What does EBE stand for?

Extra-terrestrial Biological Entity.

Are you serious?

Sure.

Does anybody ever ask you that?

Not usually. The labels never ask me, I'll tell you that. In my special thanks they've never asked me exactly who Sebastian & Katrina are.

And who are they?

My two cats.

Unreal. What does the future hold for the music industry if it keeps up the way it's going?

Based on your last group of words there -- "if it keeps on going like it's going" -- I would say it's just going to whither up and die.

What will take its place then?

The state of the music industry is due to three things right now, in my opinion.

Number one, the crummy economy.

Number two, downloading. We've got an entire generation of people -- kids, let's say -- growing up now believing that if you can get it on the Internet it's automatically free. And that's the end of that. That comes from everything from music to literature. It's getting to the point now where people are downloading movies off the Internet. But especially music because it's so readily available.

Number three, you've just got the stupidity of the labels. They're trying to get it to where it's going to go back to people buying CDs by the zillions for $15 or $20. They don't realize those days are never, ever coming back. They just want the good old days again. This is why they're suing their own customers, which has got to be the most unbelievably stupid thing in the world. Sue your own customers. It just boggles the mind. I understand why you would do it, would want to do it. But to actually go and do it? It's unbelievable. They want the good old days back. And they're just not going to come back.

What they need to do is they need to address the fact that this is an entire generation of people here, younger people, that barely go into stores to pick up albums any more. In my opinion, they need to develop one site on the web -- that's why kids love Kazaa. They can just go there and get anything they want. What the labels are thinking now is each label would put up their own web site where you can download from it. Well, if I asked the average 15 year old on the street what label the latest Korn album is on they'd just look at me like, "What, are you nuts? I don't know."

In my opinion, the music industry needs to have one web site where you can download songs -- whatever you want -- for 49 cents a pop. Something like that. Ninety nine cents [per song] is too much. If you think 99 cents is fair, well, if you download 10 songs that's 10 bucks but you're not getting any artwork, you're cutting out the middle man completely, etc. So these things should be a lot cheaper than 99 cents. If you put them out there for 49 cents or 50 cents a pop -- come one, come all -- kids would do it...but it'll probably take the industry another five years to come to this conclusion because they're run by people who just want to hit the bottom line for the conglomerates that own them and the investors that invest in them.

They just want to try to tell people, "Hey, don't worry. Everything is going to be all right here. We'll make sure you get your bottom line." They don't want to say, "You know what? We need to go through a change here. And what this means is we're not going to be getting our 20 percent yearly increase just like we've been doing for the last 30 years. During this period of adjustment it's going to take a while to adjust." They don't want to tell that to people because that's not what the investors and whatever foreign companies own most American record labels these days want to hear.

It's not a good time. If I'm not painting a rosy picture here it's just because it's reality.

# # #

David and I talked for another 15 minutes or so, mostly comparing notes on bands we both grew up listening to. It was a fun conversation.

And an eye-opening one.

These days, it's tougher than ever to break into the business -- especially if you don't sound like every other band out there. If you're unique, if you have real talent, if you're remarkable, if you're unconventional...well, be prepared for a long road ahead.

It's not hopeless, however. Give us a call. We'll do what we can to help.

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FORGET SANTA...TSO IS COMING TO TOWN!

Do NOT -- I repeat, DO NOT -- miss the Trans-Siberian Orchestra tour this year. There is no more magical, fun, exciting, and memorable concert you're likely to attend in your lifetime.

Here in Grand Rapids they're playing at Van Andel Arena. Check Ticketmaster to see where they're playing in your city. And then take everyone you know to see the show.

Trans-Siberian Orchestra is the name of a group of extraordinary musicians (some from the rock group Savatage) who stage a Christmas concert with all the high-watt power of a rock concert...with the spectacle of a Broadway musical...and the flamboyance and virtuosity of a classical music performance. The first time I saw TSO I was moved to tears. I didn't want the show to end. It literally changed my life. From that night onward, I've been driven to seek magic, creativity and passion in all that I do.

You can buy TSO's superb CDs virtually anywhere. They have three: Christmas Eve and Other Stories, The Christmas Attic and Beethoven's Last Night. But you don't have to take my word for it. Read about them on Amazon.com before you buy them.

Tickets to this year's TSO show are on sale now. Don't delay! This one will sell out fast.

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IN THE STUDIO AT SCHULER BOOKS

If you weren't at Schuler Books and Music on 28th Street Friday night, you missed an incredible performance by a half dozen of West Michigan's most talented folk musicians.

Originally slated for Friday night was noted British folk musician Clive Gregson, a highly regarded Artist who was recently voted one of Guitar Player Magazine's Top 1000 Greatest Guitarists.

Gregson canceled his entire U.S. tour at the last minute, which left Schuler music manager Lou Baney in the lurch -- but only briefly. Baney quickly got on the phone and called a few local musicians who more than made up for Gregson's absence.

In fact, if anyone doubted the depth of West Michigan's musical talent pool, one listen Friday night is all that would have been needed to lay all such doubts to rest.

On the bill were Andy Willey, Ralston Bowles, Drew Nelson, Brant Satala and Phil Biggs. If that weren't enough, a surprise appearance by Michael Crittenden (formerly of Troll For Trout), who shared the stage during Satala's set, was the icing on the cake.

The near-capacity audience in the Schuler Studio (a really cool stage located beside the music department in the back of the store) enjoyed a couple of hours worth of incredible musicianship, as well as an obvious camaraderie amongst the performers. Clearly, everyone enjoyed being there.

Especially the audience.

Just before taking the stage for his set, guitarist Drew Nelson spoke to me about the state of the music scene in West Michigan. He said that although it's a tough time for musicians in general, the folk scene is growing more popular all the time. As evidenced Friday night, he's not kidding.

Friday night's free performance helped highlight a recently released CD called "Standing Together," which was recorded at Crittenden's Mackinaw Harvest studio. Information posted on the Troll For Trout web site said:

Twelve Michigan singer/songwriters have joined forces to help the inner-city children of the Grand Rapids. The Mackinaw Harvest Music Group, Inc. in conjunction with Mr. Phil Biggs has produced a benefit CD including all of the artists entitled "Standing Together." One hundred percent of proceeds of the sale of the CD will go to the Grand Rapids Public Schools Student Advancement Foundation to help fund after school programs for young at-risk children. Produced by Troll for Trout frontman Michael Crittenden, the CD includes tracks from Brian VanderArk of the Verve Pipe, Ralston Bowles, Drew Nelson, and Michelle Chenard among others...The CD is available at Schuler Books & Music , Aris' Disc Shop, and Meijer.

Please seek out these incredibly talented musicians, buy the CD, and help support West Michigan folk musicians. (Not to mention the kids of Grand Rapids Public Schools.)

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SOMETHING WICKED

"First of all, it was October, a rare month for boys..."

And so begins what very well could be my favorite book of all time -- Ray Bradbury's incomparable Something Wicked This Way Comes.

This being October, I thought it was the proper time to enjoy again Bradbury's classic story about a mysterious carnival and the two young boys who discover its dark secrets.

I try to read Something Wicked at least once a year, preferably in October. Not only is this Ray Bradbury's favorite month, but it's also mine. And the best time of year to read an extremely well written scary story.

This is a great time of year for a lot of things, actually.

For instance, if you live anywhere near West Michigan, I suggest going to the Saugatuck Gallery Stroll October 11 and 12. Mackinac Island is my favorite place on earth, but Saugatuck is a really close second -- especially when it comes to the world of Art. Very few cities can boast as rich and diverse an array of Artists as Saugatuck.

Another fun activity is just going for a walk -- either early in the morning or at night, just around dusk. Check out the crystal clear sky. Feel the crisp air. Hear the leaves swishing and crackling underfoot.

Wow. If you can't find something inspiring, uplifiting, and joyful about Fall there's something dreadfully wrong.

See you in Saugatuck.

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