You’re sitting there watching television and all of a sudden music starts seeping into your subconsciousness and you think what the hell, because some elephant has entered the room but you can’t see it, but it dawns on you that you can hear it. You think.
After reading what I consider Cam Carpenter‘s best column ever this past week (if you missed it, read it here), I could not help but look back over my years in the business. The big difference between Cam and myself is that I spent all of my years on the bottomside, i.e. retail, and started those years looking longingly at the labels, hoping to score that most wonderful and elusive job in A&R (Artists & Repertoire— the people who spend ungodly amounts of time listening to live tapes and demos and sucking in smoke in scuzzy bars looking for that next big thing in music). Cam did that.
Remember when I said 2012 was the best year ever in music? 2013 is even at this early date biting 2012 on the ass. Artists are lining up with what I am sure is going to be a run and a half of outstanding and, in some cases, mindblowing offerings. Rather than wait and write about them pretty much after the fact, let us dig in now in a sort of anticipatory way, shall we?
I’m tired. I mention this at the outset because this inevitably is going to turn in to one of those stream-of-consciousness tirades in which logic does not play a part. But I don’t care. I need to get something off my chest and I don’t care if you stop reading right now, but the stench of what is wrong with the music business has me gasping for air and there is little oxygen available. But before I start…..
Bullseye Records of Canada
Segarini: Don't Believe a Word I Say 