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Tag: Record Labels (1-7 of 7)

Inside Light in the Attic Records, the vinyl-loving crate-digger's favorite label

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In 1968, Barbara Lynn was riding high. A gifted young blues guitarist and songwriter whose compositions had already been covered by Otis Redding and the Rolling Stones, the Beaumont, Tex., native had just signed with Atlantic Records to release her major-label debut, Here Is Barbara Lynn. Though it spawned the radio hit “You’ll Lose a Good Thing” and landed her an extended tour with B.B. King, it wasn’t the success Atlantic had hoped for. By the mid-1970s, a disillusioned Lynn had mostly withdrawn from the industry to raise her family—and Here was essentially lost to history.

Fast-forward four decades, and cue the entrance of Matt Sullivan. In 2002 the then-26-year-old founded Light in the Attic Records, a label whose raison d’être is resurrecting forgotten classics for a new generation of vinyl fetishists and crate diggers. “When they called, I was amazed,” says Lynn, now 72, via phone from her Beaumont home. “I feel so good about these songs. I didn’t think anybody was still thinking about me.”

Here Is Barbara Lynn is the latest in a series of some 150 eclectic reissues put out by the Seattle-bred boutique label. READ FULL STORY

Meet Profound Lore Records founder Chris Bruni, the face of modern metal

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Next week sees the release of Foundations of Burden, the second album by Arkansas-bred doom metal band Pallbearer. Their first album, 2012’s Sorrow and Extinction, was a critically-beloved collection of heavy tunes that not only announced the arrival of a great act but also cemented Pallbearer’s label, Profound Lore Records, as the best source of new material for headbangers everywhere.

The 10-year-old label, based out of Kitchener, Ontario, has put out a staggeringly excellent series of releases by some of the best groups currently working in the extremely fertile metal underground. Just this year, Profound Lore has released stellar collections from Lord Mantis, the Atlas Moth, Alraune, Dead Congregation, and the Must List-approved Agalloch. Pallbearer comes out next week, with a new album by Witch Mountain not far behind. These bands dig deep into metal subgenres, conjuring up remarkable darkness via black metal, death metal, prog, hardcore, folk, and whatever else is available to get the turned-to-11 point across.

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Haley Reinhart dropped by Interscope: What all reality competitions can learn from this tragedy*

Sad news, American Idol junkies!

Standout Idol alum Haley Reinhart, who finished in third place during season 10 of the veteran reality competition series, has quietly parted ways with Interscope, the label that signed her following her eilimination. The Hollywood Reporter broke the news over the Thanksgiving holiday.

The singer, 22, who growled out memorable renditions of “I Who Have Nothing” and “House of the Rising Sun” (the latter performance is not available on YouTube, but a live version is embedded below) during her Idol run, released a debut album, Listen Up!, in May, but the record never became a mainstream force on the charts. After moving 20,000 copies in week one, sales topped out around 60,000 total.

Reinhart certainly isn’t the first Idol contestant to lose a major label deal — Season 8 winner Kris Allen was dropped by RCA earlier this year — but news of her split with Interscope feels particularly sad given her formidable (and sadly mis-marketed) talent. READ FULL STORY

Universal's purchase of EMI approved by the European Union

Universal Music Group can buy the famed British music company EMI and keep the hugely-lucrative Beatles catalogue, the European Union’s competition regulator said Friday, but must jettison some of its biggest acts, including Coldplay and Pink Floyd.

Among the assets that must go are the Parlophone label, home to those two British bands as well as Kylie Minogue and David Bowie. The Beatles, which is part of Parlophone, was exempted though.

Universal will also have to sell off EMI’s classical music divisions, its French arm and labels that are home to Depeche Mode and The Ramones. READ FULL STORY

James Taylor becomes latest artist to sue his record label over digital royalties

On Thursday, legendary singer-songwriter James Taylor filed a complaint in Los Angeles Superior Court against Warner Bros. Records. The document claims that Taylor is owed nearly $2 million in royalties from digital downloads. Taylor was on the label from 1969 until 1979, when he moved over to Columbia.

Taylor’s main complaint is one that many artists have levied at their record labels: While most digital downloads are treated the same as physical sales, many artists are claiming that a digital download should be treated like a license. The difference is astronomical, as most recording contracts generally give the artist around 10% of the fee for sales but as much as 60% for a license. Taylor’s royalty rate for licenses is 50%.

Taylor has been combing through the label’s accounting for several years, uncovering a number of other places where he feels like he was short-changed. He joins artists like Kenny Rogers, Rob Zombie, George Clinton, and Chuck D, all of whom have filed similar suits against their labels. READ FULL STORY

Kellie Pickler talks making '100 Proof', splitting with her label

On Tuesday, we sat down with country star Kellie Pickler to discuss her new work with the ConAgra Foods Foundation and Feeding America, a charitable organization dedicated to fighting hunger in America. “There’s no reason why we can’t beat this,” says the singer, who reveals that she knew various peers growing up that had to worry about having food on the table. Pickler’s main goal right now is to get people over to ConAgra’s Facebook page to learn about how to help with their Hunger Free Summer campaign.

Still, since we had a hold of her, we had to ask about her recent split with label Sony Music Nashville (she was on BNA, with whom she was contracted for three albums), and Pickler was quite open about the whole shebang.

For those who don’t know, Pickler’s third album 100 Proof has struggled more than her previous efforts and sold 74,000 copies (versus Small Town Girl, which sold over 800,000, and her self-titled sophomore disc, which passed 400,000). She looked back on making the record and looked ahead to her next step.

ENTERTAINMENT WEEKLY: It’s interesting that this split comes after 100 Proof, which was easily your best work so far — at least in my opinion. Before we talk about the record deal, I’d like to hear about making the record.
KELLIE PICKLER: Luke Wooten and Frank Lidell — they helped me discover the artist in myself. Since American Idol, it’s been like a blur. I’ve been pulled in a hundred different directions by a hundred different people. You know, signing contracts that I couldn’t read, but I was 19 and green and it was, “Sign this contract or go back to working in fast food,” and I didn’t want to do that. Luke and Frank sat me down and I got to just sit with an acoustic guitar and I got to sing songs to them that I grew up on. You know Tammy, Merle, Waylon, Al Dexter, Kitty Wells. I could just go on and on and on. I just love traditional country music. They saw that in me, and that’s real. That’s me. When this album came out, the people that know me, my friends, went, “There’s Kellie. There you are.” READ FULL STORY

Katy Perry starting her own record label

The California Gurl is growing up.

In a recent interview with The Hollywood Reporter, 27-year-old Katy Perry revealed her plans to start her own record label. Her new enterprise doesn’t have a name yet, but “I’m preparing for it now,” she assured THR.

“And when this record label does come to fruition, I’m going to try and avoid the things that take away any fighting chance for an artist to have financial success,” Perry said. “As people are coming to me with opportunities, I’m thinking, ‘How would I want to be treated?'”

It’s unclear where her imprint will live, but it’ll likely be at EMI, where Perry is currently signed (with Capitol Records). As one EMI executive told THR, “Katy is one of our crown jewels.”

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