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The pursuit of starting a reissue label


Re: The pursuit of starting a reissue label

Postby Rubellan » Mon Dec 18, 2017 12:04 pm

Positive update, I just had a phone conversation with the Senior VP of Sales regarding the communication breakdown. He seems like a very friendly guy. He was very apologetic and said he will rectify it immediately, stating if I don't hear from my assigned contact today (he's about to call them) that I should call him back tomorrow to inform him (even though he's on vacation this week). I didn't get any big business arrogance from him, just a down-to-earth concerned department head regarding a client.
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Re: The pursuit of starting a reissue label

Postby Poyns » Tue Apr 24, 2018 6:30 am

Did you get that call back, Rubellan?

I appreciate the good work you are trying your best to do here. Common courtesy costs nothing.

Never let the b*st*rds grind you down, mate.
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Re: The pursuit of starting a reissue label

Postby Rubellan » Tue Apr 24, 2018 7:18 am

That was the end of last year, and communication did improve briefly. But the sales associate I was stuck with was not very good and too many very unfortunate events happened; to the point that I cut ties with Sony a few weeks ago, though I have one release of theirs that is said to be going into production this week. Two projects with Warners are near completion and Universal have re-appeared after a 6 week absence.
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Re: The pursuit of starting a reissue label

Postby CRM » Sun Apr 29, 2018 2:39 pm

I have some friends who've been involved in various Cherry Red and Salvo reissues (the odd few which I've had minor involvement in too), but never knew the levels of frustration could be so high with the whole process of applying to do them!

I think the key thing for people to be aware of is the limited profit margin of these releases, if there is any at all. For example, I would LOVE to see Mitchell Froom's first album "The Key Of Cool" on Slash/Warners being released on CD (it's a wonderful quirky and atmospheric bit of synth heavy work that was used as music for an arty porn film called Cafe Flesh), but I'm also aware that it probably wouldn't sell out within a few years, if at all.

And also, re there usually being a small budget with reissues, this can often manifest in corners being cut re remastering, hence unlistenable brickwalled releases with needledrops (and often not much of an attempt to clean them up).
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Re: The pursuit of starting a reissue label

Postby swerve » Sun Apr 29, 2018 5:30 pm

You hate to lose one of the big three ( Sony ) for sure as so many acts fall under their umbrella with all the labels they control but looking at Universal and Warner and who they have I think either of those 2 would have been bigger losses act wise.
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Re: The pursuit of starting a reissue label

Postby Thefxc2 » Mon Apr 30, 2018 12:47 pm

CRM wrote: For example, I would LOVE to see Mitchell Froom's first album "The Key Of Cool" on Slash/Warners being released on CD (it's a wonderful quirky and atmospheric bit of synth heavy work that was used as music for an arty porn film called Cafe Flesh), but I'm also aware that it probably wouldn't sell out within a few years, if at all.


Maybe, but it seems to me there's a fairly substantial reissue field for synthy soundtrack work from the 1980s; Dark Entries might be interested in something like the Froom. Although I'd guess the Slash/Warners thing might be the issue.
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