a new generation of bands synomymous with $$$$

As Punknews.org and Idolator reported earlier today, my favorite band in the known world, Paramore (no Cam'ron peeing on the dude in the beginning of "Killa Season"), signed to Atlantic [1] and as a part of their contract, agreed to some arcane deal that allows the label to have their hands deeper into the band's pockets, as well as their touring profits and schedules, in exchange for a substantial cash offering (otherwise called a 360).

This all seems like a bad idea since labels are subsequently dumping large amounts of cash into a band and (probably) expecting to recoup their money as quickly as possible since the current model with major labels is turn a profit rather than turn out an artist. The good news is that if you like a band like Paramore, then you'll be hit with all kinds of aggressive marketing [2] to the point where you'll no doubt hear Haley Williams shrieking at your local Safeway, Lucky's, Albertson's or Kroger. Of course, one could assume that this plan will backfire because the record industry is known to shoot itself in the foot often.

The ironic thing about this whole ploy is that it reminds me of this gold plaque that used to hang in the bathroom at Tower Records that had pictures of EPMD, Cypress Hill, Redman and Pearl Jam which congratulated Tower in helping push the longevity of new artists. Oh far the industry has come indeed. Why savor your steak when you can eat an Arby's beef and cheddar sandwich now? [3]

Related Links:
The New Deal: Band as Brand by Jeff Leads (NY Times)

[1]: Why are bands still signing to the Warner Music Group? There's only one successful band on their roster (Death Cab), the rest seem to be disenchanted like The Format, who were dropped after one record.

[2]: See the original example of this model: Fall Out Boy

[3]: Yes, I did draw some long reaching analogy comparing Paramore to rubber tasting, cheesy ass sandwich. Like Arby's food, Paramore isn't very good for your digestive tract.

note to labels: stop watermarking your discs if you want people to review them!

[Uncle Lyor DOES NOT want you to listen to this CD]

So in the 11 years or so that I've been writing, I've seldom had problems with Copy Protected CDs. Even in the wake of the new Watermarking system that labels have put in place, I've found ways around them so I could begin to listen to the discs for review. About a week and a half ago, I received a promo of the new Eisley album, "Combinations," which was watermarked. I didn't really see this as a problem since my promo copy of their debut, "Room Noises," was also watermarked and I was actually able to upload the batch onto my iTunes.

This morning, I decided to listen to "Combinations," so I brought in my archaic portable CD player, just in case it didn't work on my computer (it didn't). And guess what? The stupid CD doesn't play in that either. As you may have seen in a previous post, watermarked discs also don't play in DVD players and car audio systems. So I ask you, Reprise/Warner Brothers, "Where am I supposed to listen to this CD that you want me to review?"

I'm not sure if Eisley is a priority to their label since they can't even release a playable promo, then again, Reprise is also the same label responsible for giving us a third Used album, so maybe they don't even have their fingers on the pulse of contemporary pop music.

Perhaps Reprise is aware that even though I had a promo of "Room Noises," complete with a bonus track, I went out and bought the CD anyway to have a real copy with artwork. Perhaps they thought that I would do the same with this Eisley album.

Well played, Reprise, well played.