Radiohead-In rainbows
- Thread starter stavros kamoulakos
- Start date
Σπύρος Σούρλας
AVClub Fanatic
:sleepey::sleepey::sleepey:
Συγνώμη.Αποκοιμήθηκα και δέν τήν πήρα χαμπάρι τήν δισκάρα.:blush:
:damnyou:
Αλμπουμ της χρονιας και για τον Πετριδη.
Γενικα, το In rainbows βρισκεται μεσα στα πρωτα αλμπουμ σχεδον σε ολες τις λιστες του κοσμου, οντας και ενα απο τα καλυτερα. Συνεπως, ειναι το αλμπουμ της χρονιας. Ειμαι βεβαιος πως το μελλον θα το δικαιωσει ακομα περισσοτερο και ακομα και στα ματια των "απιστων".
Γενικα, το In rainbows βρισκεται μεσα στα πρωτα αλμπουμ σχεδον σε ολες τις λιστες του κοσμου, οντας και ενα απο τα καλυτερα. Συνεπως, ειναι το αλμπουμ της χρονιας. Ειμαι βεβαιος πως το μελλον θα το δικαιωσει ακομα περισσοτερο και ακομα και στα ματια των "απιστων".
Σπύρος Σούρλας
AVClub Fanatic
Πάλι καλά πού δέν έβγαλε ο Yiannis τόν Barry Manilow καλλιτέχνη τής χρονιάς.:fahne90:
Γιά τούς Radiohead ισχύει(γιά πρώτη φορά)ότι δήλωσε πρόσφατα ο Κωνσταντίνος Μητσοτάκης:'Σέ έναν χρόνο δέν θά τούς θυμάται κανείς´.
Γιά τούς Radiohead ισχύει(γιά πρώτη φορά)ότι δήλωσε πρόσφατα ο Κωνσταντίνος Μητσοτάκης:'Σέ έναν χρόνο δέν θά τούς θυμάται κανείς´.
Γιώργος Κουν.
Supreme Member
Σπύρος Σούρλας
AVClub Fanatic
Νά τό ακούσεις.
Αμα θές στό χαρίζω.
Και μού τό χαρίζεις εσύ μετά από 20 μέρες ξανά.
Κωστας Λυμπεροπουλος
AVClub Fanatic
- 17 June 2006
- 14,350
Re: Απάντηση: Radiohead-In rainbows
να σου απαντήσω με μία ερώτηση: τους λαγούς γουστάρεις περισσότερο ή τις κουκουβάγιες;
εγώ, σαν γάβρος, είμαι με τις κουκουβάγιες :BDGBGDB55:
να σου απαντήσω με μία ερώτηση: τους λαγούς γουστάρεις περισσότερο ή τις κουκουβάγιες;
εγώ, σαν γάβρος, είμαι με τις κουκουβάγιες :BDGBGDB55:
Last edited:
Κοιτα, αν ολοι οι δισκοι που τους αφιερωνεις τουλαχιστον μια ακροαση ειναι καλυτεροι απο το In rainbows, τοτε σε ζηλευω πραγματικα. Εισαι πολυ τυχερος.
Δημήτρης Ν.
AVClub Fanatic
Πάντως , έχοντας μόνο το Amnesiac στην δισκοθήκη μου , θα έλεγα ότι η μουσική τους είναι πολύ καλή , αλλά η κλαψομ@@νικη φωνή του τραγουδιστή τους είναι τόσο ενοχλητική , που χαλάει τις εντυπώσεις .
David Byrne and Thom Yorke on the Real Value of Music
It seemed like a crazy idea. When Radiohead said it would release its new album, In Rainbows, as a pay-what-you-will digital download, you'd have thought the band had gone communist. After all, Thom Yorke and company are one of the world's most successful groups — a critical darling as well as a fan favorite for nearly 15 years. They hadn't put out a new album in more than four years, and the market was hungry for their next disc. So why would Radiohead conduct such a radical experiment?
It turns out the gambit was a savvy business move. In the first month, about a million fans downloaded In Rainbows. Roughly 40 percent of them paid for it, according to comScore, at an average of $6 each, netting the band nearly $3 million. Plus, since it owns the master recording (a first for the band), Radiohead was also able to license the album for a record label to distribute the old-fashioned way — on CD. In the US, it goes on sale January 1 through TBD Records/ATO Records Group.
While pay-what-you-will worked for Radiohead, though, it's hard to imagine the model paying off for Miley Cyrus — aka chart-topping teenybopper Hannah Montana. Cyrus' label, Walt Disney Records, will stick to selling CDs in Wal-Mart, thank you very much. But the truth is that Radiohead didn't intend In Rainbows to start a revolution. The experiment simply proves there is plenty of room for innovation in the music business — this is just one of many new paths. Wired asked David Byrne — a legendary innovator himself and the man who wrote the Talking Heads song "Radio Head" from which the group takes its name — to talk with Yorke about the In Rainbows distribution strategy and what others can learn from the experience.
Byrne: OK.
Yorke: [To assistant.] Shut the bloody door.
Byrne: Well, nice record, very nice record.
Yorke: Thank you. Wicked.
Byrne: [Laughs.]
Yorke: That's it, isn't it?
Byrne: That's it, we're done. [Laughs.] OK. I'll start by asking some of the business stuff. What you did with this record wasn't traditional, not even in the sense of sending advance copies out to the press and such.
Yorke: The way we termed it was "our leak date." Every record for the last four — including my solo record — has been leaked. So the idea was like, we'll leak it, then.
Byrne: Previously there'd be a release date, and advance copies would get sent to reviewers months ahead of that.
Yorke: Yeah, and then you'd ring up and say, "Did you like it? What did you think?" And it's three months in advance. And then it'd be, "Would you go do this for this magazine," and maybe this journalist has heard it. All these silly games.
Byrne: That's mainly about the charts, right? About gearing marketing and prerelease to the moment a record comes out so that — boom! — it goes into the charts.
Yorke: That's what major labels do, yeah. But it does us no good, because we don't cross over [to other fan bases]. The main thing was, there's all this bollocks [with the media]. We were trying to avoid that whole game of who gets in first with the reviews. These days there's so much paper to fill, or digital paper to fill, that whoever writes the first few things gets cut and pasted. Whoever gets their opinion in first has all that power. Especially for a band like ours, it's totally the luck of the draw whether that person is into us or not. It just seems wildly unfair, I think.
Byrne: So this bypasses all those reviewers and goes straight to the fans.
Yorke: In a way, yeah. And it was a thrill. We mastered it, and two days later it was on the site being, you know, preordered. That was just a really exciting few weeks to have that direct connection.
Byrne: And letting people choose their own price?
Yorke: That was [manager Chris Hufford's] idea. We all thought he was barmy. As we were putting up the site, we were still saying, "Are you sure about this?" But it was really good. It released us from something. It wasn't nihilistic, implying that the music's not worth anything at all. It was the total opposite. And people took it as it was meant. Maybe that's just people having a little faith in what we're doing.
Byrne: And that works for you guys. You have an audience ready. Like me — if I hear there's something new of yours out there, I'll just go and buy it without poking around about what the reviews say.
Yorke: Well, yeah. The only reason we could even get away with this, the only reason anyone even gives a shit, is the fact that we've gone through the whole mill of the business in the first place. It's not supposed to be a model for anything else. It was simply a response to a situation. We're out of contract. We have our own studio. We have this new server. What the hell else would we do? This was the obvious thing. But it only works for us because of where we are.
Byrne: What about bands that are just getting started?
Yorke: Well, first and foremost, you don't sign a huge record contract that strips you of all your digital rights, so that when you do sell something on iTunes you get absolutely zero. That would be the first priority. If you're an emerging artist, it must be frightening at the moment. Then again, I don't see a downside at all to big record companies not having access to new artists, because they have no idea what to do with them now anyway.
Byrne: It should be a load off their minds.
Yorke: Exactly.
Byrne: I've been asking myself: Why put together these things — CDs, albums? The answer I came up with is, well, sometimes it's artistically viable. It's not just a random collection of songs. Sometimes the songs have a common thread, even if it's not obvious or even conscious on the artists' part. Maybe it's just because everybody's thinking musically in the same way for those couple of months.
Yorke: Or years.
Byrne: However long it takes. And other times, there's an obvious...
Yorke: ... Purpose.
Byrne: Right. Probably the reason it's a little hard to break away from the album format completely is, if you're getting a band together in the studio, it makes financial sense to do more than one song at a time. And it makes more sense, if you're going to all the effort of performing and doing whatever else, if there's a kind of bundle.
Yorke: Yeah, but the other thing is what that bundle can make. The songs can amplify each other if you put them in the right order.
Byrne: Do you know, more or less, where your income comes from? For me, it's probably very little from actual music or record sales. I make a little bit on touring and probably the most from licensing stuff. Not for commercials — I license to films and television shows and that sort of thing.
Yorke: Right. We make some doing that.
Byrne: And for some people, the overhead for touring is really low, so they make a lot on that and don't worry about anything else.
Yorke: We always go into a tour saying, "This time, we're not going to spend the money. This time we're going to do it stripped down." And then it's, "Oh, but we do need this keyboard. And these lights." But at the moment we make money principally from touring. Which is hard for me to reconcile because I don't like all the energy consumption, the travel. It's an ecological disaster, traveling, touring.
Byrne: Well, there are the biodiesel buses and all that.
Yorke: Yeah, it depends where you get your biodiesel from. There are ways to minimize it. We did one of those carbon footprint things recently where they assessed the last period of touring we did and tried to work out where the biggest problems were. And it was obviously everybody traveling to the shows.
Byrne: Oh, you mean the audience.
Yorke: Yeah. Especially in the US. Everybody drives. So how the hell are we going to address that? The idea is that we play in municipal places with some transport system alternative to cars. And minimize flying equipment, shipping everything. We can't be shipped, though.
Byrne: [Laughs.]
Yorke: If you go on the Queen Mary or something, that's actually worse than flying. So flying is your only option.
Byrne: Are you making money on the download of In Rainbows?
Yorke: In terms of digital income, we've made more money out of this record than out of all the other Radiohead albums put together, forever — in terms of anything on the Net. And that's nuts. It's partly due to the fact that EMI wasn't giving us any money for digital sales. All the contracts signed in a certain era have none of that stuff.
Byrne: So when the album comes out as a physical CD in January, will you hire your own marketing firm?
Yorke: No. It starts to get a bit more traditional. When we first came up with the idea, we weren't going to do a normal physical CD at all. But after a while it was like, well, that's just snobbery. [Laughter.] A, that's asking for trouble, and B, it's snobbery. So now they're talking about putting it on the radio and that sort of thing. I guess that's normal.
Byrne: I've been thinking about how distribution and CDs and record shops and all that stuff are changing. But we're talking about music. What is music, what does music do for people? What do people get from it? What's it for? That's the thing that's being exchanged. Not all the other stuff. The other stuff is the shopping cart that holds some of it.
Yorke: It's a delivery service.
Byrne: But people will still pay to have that experience. You create a community with music, not just at concerts but by talking about it with your friends. By making a copy and handing it to your friends, you've established a relationship. The implication is that they're now obligated to give you something back.
Yorke: Yeah, yeah, yeah. I was just thinking while you were saying that: How does a record company get their hands on that? It makes me think of the No Logo book where Naomi Klein describes how the Nike people would pay guys to get down with the kids on the street. I know for a fact that major record labels do the same thing. But no one has ever explained to me exactly how. I mean, do they lurk around in the discussion boards and post "Have you heard the..."? Maybe they do. And then I was thinking about that Johnny Cash film, when Cash walks in and says, "I want to do a live record in a prison," and his label thinks he's bonkers. Yet at the same time, it was able to somehow understand what kids wanted and give it to him. Whereas now, I think there's a lack of understanding. It's not about who's ripping off whom, and it's not about legal injunctions, and it's not about DRM and all that sort of stuff. It's about whether the music affects you or not. And why would you worry about an artist or a company going after people copying their music if the music itself is not valued?
Byrne: You're valuing the delivery system as opposed to the relationship and the emotional thing...
Yorke: You're valuing the company or the interest of the artists rather than the music itself. I don't know. We've always been quite naive. We don't have any alternative to doing this. It's the only obvious thing to do.
It seemed like a crazy idea. When Radiohead said it would release its new album, In Rainbows, as a pay-what-you-will digital download, you'd have thought the band had gone communist. After all, Thom Yorke and company are one of the world's most successful groups — a critical darling as well as a fan favorite for nearly 15 years. They hadn't put out a new album in more than four years, and the market was hungry for their next disc. So why would Radiohead conduct such a radical experiment?
It turns out the gambit was a savvy business move. In the first month, about a million fans downloaded In Rainbows. Roughly 40 percent of them paid for it, according to comScore, at an average of $6 each, netting the band nearly $3 million. Plus, since it owns the master recording (a first for the band), Radiohead was also able to license the album for a record label to distribute the old-fashioned way — on CD. In the US, it goes on sale January 1 through TBD Records/ATO Records Group.
While pay-what-you-will worked for Radiohead, though, it's hard to imagine the model paying off for Miley Cyrus — aka chart-topping teenybopper Hannah Montana. Cyrus' label, Walt Disney Records, will stick to selling CDs in Wal-Mart, thank you very much. But the truth is that Radiohead didn't intend In Rainbows to start a revolution. The experiment simply proves there is plenty of room for innovation in the music business — this is just one of many new paths. Wired asked David Byrne — a legendary innovator himself and the man who wrote the Talking Heads song "Radio Head" from which the group takes its name — to talk with Yorke about the In Rainbows distribution strategy and what others can learn from the experience.
Byrne: OK.
Yorke: [To assistant.] Shut the bloody door.
Byrne: Well, nice record, very nice record.
Yorke: Thank you. Wicked.
Byrne: [Laughs.]
Yorke: That's it, isn't it?
Byrne: That's it, we're done. [Laughs.] OK. I'll start by asking some of the business stuff. What you did with this record wasn't traditional, not even in the sense of sending advance copies out to the press and such.
Yorke: The way we termed it was "our leak date." Every record for the last four — including my solo record — has been leaked. So the idea was like, we'll leak it, then.
Byrne: Previously there'd be a release date, and advance copies would get sent to reviewers months ahead of that.
Yorke: Yeah, and then you'd ring up and say, "Did you like it? What did you think?" And it's three months in advance. And then it'd be, "Would you go do this for this magazine," and maybe this journalist has heard it. All these silly games.
Byrne: That's mainly about the charts, right? About gearing marketing and prerelease to the moment a record comes out so that — boom! — it goes into the charts.
Yorke: That's what major labels do, yeah. But it does us no good, because we don't cross over [to other fan bases]. The main thing was, there's all this bollocks [with the media]. We were trying to avoid that whole game of who gets in first with the reviews. These days there's so much paper to fill, or digital paper to fill, that whoever writes the first few things gets cut and pasted. Whoever gets their opinion in first has all that power. Especially for a band like ours, it's totally the luck of the draw whether that person is into us or not. It just seems wildly unfair, I think.
Byrne: So this bypasses all those reviewers and goes straight to the fans.
Yorke: In a way, yeah. And it was a thrill. We mastered it, and two days later it was on the site being, you know, preordered. That was just a really exciting few weeks to have that direct connection.
Byrne: And letting people choose their own price?
Yorke: That was [manager Chris Hufford's] idea. We all thought he was barmy. As we were putting up the site, we were still saying, "Are you sure about this?" But it was really good. It released us from something. It wasn't nihilistic, implying that the music's not worth anything at all. It was the total opposite. And people took it as it was meant. Maybe that's just people having a little faith in what we're doing.
Byrne: And that works for you guys. You have an audience ready. Like me — if I hear there's something new of yours out there, I'll just go and buy it without poking around about what the reviews say.
Yorke: Well, yeah. The only reason we could even get away with this, the only reason anyone even gives a shit, is the fact that we've gone through the whole mill of the business in the first place. It's not supposed to be a model for anything else. It was simply a response to a situation. We're out of contract. We have our own studio. We have this new server. What the hell else would we do? This was the obvious thing. But it only works for us because of where we are.
Byrne: What about bands that are just getting started?
Yorke: Well, first and foremost, you don't sign a huge record contract that strips you of all your digital rights, so that when you do sell something on iTunes you get absolutely zero. That would be the first priority. If you're an emerging artist, it must be frightening at the moment. Then again, I don't see a downside at all to big record companies not having access to new artists, because they have no idea what to do with them now anyway.
Byrne: It should be a load off their minds.
Yorke: Exactly.
Byrne: I've been asking myself: Why put together these things — CDs, albums? The answer I came up with is, well, sometimes it's artistically viable. It's not just a random collection of songs. Sometimes the songs have a common thread, even if it's not obvious or even conscious on the artists' part. Maybe it's just because everybody's thinking musically in the same way for those couple of months.
Yorke: Or years.
Byrne: However long it takes. And other times, there's an obvious...
Yorke: ... Purpose.
Byrne: Right. Probably the reason it's a little hard to break away from the album format completely is, if you're getting a band together in the studio, it makes financial sense to do more than one song at a time. And it makes more sense, if you're going to all the effort of performing and doing whatever else, if there's a kind of bundle.
Yorke: Yeah, but the other thing is what that bundle can make. The songs can amplify each other if you put them in the right order.
Byrne: Do you know, more or less, where your income comes from? For me, it's probably very little from actual music or record sales. I make a little bit on touring and probably the most from licensing stuff. Not for commercials — I license to films and television shows and that sort of thing.
Yorke: Right. We make some doing that.
Byrne: And for some people, the overhead for touring is really low, so they make a lot on that and don't worry about anything else.
Yorke: We always go into a tour saying, "This time, we're not going to spend the money. This time we're going to do it stripped down." And then it's, "Oh, but we do need this keyboard. And these lights." But at the moment we make money principally from touring. Which is hard for me to reconcile because I don't like all the energy consumption, the travel. It's an ecological disaster, traveling, touring.
Byrne: Well, there are the biodiesel buses and all that.
Yorke: Yeah, it depends where you get your biodiesel from. There are ways to minimize it. We did one of those carbon footprint things recently where they assessed the last period of touring we did and tried to work out where the biggest problems were. And it was obviously everybody traveling to the shows.
Byrne: Oh, you mean the audience.
Yorke: Yeah. Especially in the US. Everybody drives. So how the hell are we going to address that? The idea is that we play in municipal places with some transport system alternative to cars. And minimize flying equipment, shipping everything. We can't be shipped, though.
Byrne: [Laughs.]
Yorke: If you go on the Queen Mary or something, that's actually worse than flying. So flying is your only option.
Byrne: Are you making money on the download of In Rainbows?
Yorke: In terms of digital income, we've made more money out of this record than out of all the other Radiohead albums put together, forever — in terms of anything on the Net. And that's nuts. It's partly due to the fact that EMI wasn't giving us any money for digital sales. All the contracts signed in a certain era have none of that stuff.
Byrne: So when the album comes out as a physical CD in January, will you hire your own marketing firm?
Yorke: No. It starts to get a bit more traditional. When we first came up with the idea, we weren't going to do a normal physical CD at all. But after a while it was like, well, that's just snobbery. [Laughter.] A, that's asking for trouble, and B, it's snobbery. So now they're talking about putting it on the radio and that sort of thing. I guess that's normal.
Byrne: I've been thinking about how distribution and CDs and record shops and all that stuff are changing. But we're talking about music. What is music, what does music do for people? What do people get from it? What's it for? That's the thing that's being exchanged. Not all the other stuff. The other stuff is the shopping cart that holds some of it.
Yorke: It's a delivery service.
Byrne: But people will still pay to have that experience. You create a community with music, not just at concerts but by talking about it with your friends. By making a copy and handing it to your friends, you've established a relationship. The implication is that they're now obligated to give you something back.
Yorke: Yeah, yeah, yeah. I was just thinking while you were saying that: How does a record company get their hands on that? It makes me think of the No Logo book where Naomi Klein describes how the Nike people would pay guys to get down with the kids on the street. I know for a fact that major record labels do the same thing. But no one has ever explained to me exactly how. I mean, do they lurk around in the discussion boards and post "Have you heard the..."? Maybe they do. And then I was thinking about that Johnny Cash film, when Cash walks in and says, "I want to do a live record in a prison," and his label thinks he's bonkers. Yet at the same time, it was able to somehow understand what kids wanted and give it to him. Whereas now, I think there's a lack of understanding. It's not about who's ripping off whom, and it's not about legal injunctions, and it's not about DRM and all that sort of stuff. It's about whether the music affects you or not. And why would you worry about an artist or a company going after people copying their music if the music itself is not valued?
Byrne: You're valuing the delivery system as opposed to the relationship and the emotional thing...
Yorke: You're valuing the company or the interest of the artists rather than the music itself. I don't know. We've always been quite naive. We don't have any alternative to doing this. It's the only obvious thing to do.
Απο εδω
Όσοι από εσάς είστε φίλοι των Radiohead έχετε την ευκαιρία ν´ αλλάξετε το χρόνο μαζί τους, έστω και μέσω υπολογιστή. Η βρετανική μπάντα θα παρουσιάζει σε μαγνητοσκόπηση το νέο της δίσκο, In Rainbows και όσοι πιστοί προσέλθετε.
Η μετάδοση θα γίνει αρχικά από την επίσημη ιστοσελίδα των Radiohead και θ´ αρχίσει στις 2 τα ξημερώματα της 1ης μέρας του νέου χρόνου (μιλώντας πάντα για ώρα Ελλάδος). Επιπλέον, το live θα μεταδοθεί και μέσω του αμερικανικού τηλεοπτικού δικτύου, Currert Tv στις 7 το πρωί της ίδια μέρας.
Οι Radiohead είχαν κάνει κάτι ανάλογο και στις αρχές του Νοέμβρη, παίζοντας μεταξύ άλλων, διασκευές στο The Headmaster Ritual των Smiths, το Unravel της Bjork και το Ceremony των New Order. Σύμφωνα με πληροφορίες και αυτό θα περιέχει κάτι αντίστοιχο και μάλιστα λέγετε πως αυτή την φορά θα διασκευάσουν τους siouxsie and the banshees.
Όσοι από εσάς είστε φίλοι των Radiohead έχετε την ευκαιρία ν´ αλλάξετε το χρόνο μαζί τους, έστω και μέσω υπολογιστή. Η βρετανική μπάντα θα παρουσιάζει σε μαγνητοσκόπηση το νέο της δίσκο, In Rainbows και όσοι πιστοί προσέλθετε.
Η μετάδοση θα γίνει αρχικά από την επίσημη ιστοσελίδα των Radiohead και θ´ αρχίσει στις 2 τα ξημερώματα της 1ης μέρας του νέου χρόνου (μιλώντας πάντα για ώρα Ελλάδος). Επιπλέον, το live θα μεταδοθεί και μέσω του αμερικανικού τηλεοπτικού δικτύου, Currert Tv στις 7 το πρωί της ίδια μέρας.
Οι Radiohead είχαν κάνει κάτι ανάλογο και στις αρχές του Νοέμβρη, παίζοντας μεταξύ άλλων, διασκευές στο The Headmaster Ritual των Smiths, το Unravel της Bjork και το Ceremony των New Order. Σύμφωνα με πληροφορίες και αυτό θα περιέχει κάτι αντίστοιχο και μάλιστα λέγετε πως αυτή την φορά θα διασκευάσουν τους siouxsie and the banshees.
Δημήτρης Ιωάννου
AVClub Fanatic
Σπύρος Σούρλας
AVClub Fanatic
Εννοείς να κάνω Πρωτοχρονιά με αυτούς???:grandpa:
Eξυπακούεται.:BDGBGDB55::BDGBGDB55::BDGBGDB55:
Δημήτρης Ιωάννου
AVClub Fanatic
Axaxaxaax
Πώς λέμε "Χριστούγεννα με την Καίτη", "Christmas with The Three Tenors", ε.. ένα τέτοιο πράμα..:HTEHETH63:
Γραφει ο Πετριδης...
Τελευταίες μέρες του χρόνου και το μεγαλύτερο παραμύθι της μουσικής χρονιάς ολοκληρώνεται. Προφανώς, η σημασία της περιπέτειας του In Rainbows είναι τεράστια για την ενδεικτική πορεία που ίσως ακολουθήσουν και άλλα μεγάλα ονόματα στο κοντινό μέλλον (και εμμέσως, το απώτερο), όμως σε καμία περίπτωση δεν μπορούμε να θεωρήσουμε ότι μιλάμε για επαναστατική κίνηση μιας μπάντας.
Όπως έχουμε πει στο παρελθόν και τώρα προκύπτει και από τα λεγόμενα των εκπροσώπων της ΕΜΙ (στο βαθμό που πρέπει να τα πιστέψουμε, όπως και των Radiohead), η υπόθεση έχει ως εξής:
η μπάντα ζήτησε αρκετά (έως πολλά) χρήματα τόσο σε προκαταβολές, όσο και δικαιώματα ακόμα και επί του καταλόγου της (τα προηγούμενα 6 άλμπουμς).
Για να αποφευχθούν οι διάφορες κραυγές και υπερβολές, να θυμίσουμε ότι παρά το μέγεθος της μπάντας, οι πωλήσεις των τελευταίων δίσκων της δεν ήταν και τεράστιες (όπως συμβαίνει και με μπάντες όπως οι R.E.M. ας πούμε). Ο χαμός που έγινε στα media με την "δωρεάν ιστορία" δεν μας επιτρέπει να κρίνουμε ασφαλώς για το τι θα γινόταν με το In Rainbows έτσι και αλλιώς, αλλά πρέπει να σημειώσουμε ότι δεν έγινε αντιληπτό να υπήρξε κάποια μεγάλη φασαρία από άλλες majors ούτε labels για το ποιος θα υπογράψει τους Radiohead, οι οποίοι κατέληξαν σε μια μικρή εταιρεία όπως η XL, προφανώς χωρίς να πάρουν κάποιο τεράστιο ποσό.
Επίσης, η μπάντα κυκλοφορεί τον δίσκο σε CD (όπως ίσως σκόπευε να κάνει εξ'αρχής) και το boxset δεν ήταν καθόλου φτηνό.
Εν κατακλείδι, η ιστορία δείχνει τα όρια που θα αποτελέσουν το ουσιαστικό μέλλον της μουσικής: τα πνευματικά δικαιώματα στις διάφορες μορφές εσόδων που έχει ένας καλλιτέχνης.
Διαβάστε εδώ την έντονη άποψη της EMI
και εδώ την έντονη απάντηση των Radiohead
Τελευταίες μέρες του χρόνου και το μεγαλύτερο παραμύθι της μουσικής χρονιάς ολοκληρώνεται. Προφανώς, η σημασία της περιπέτειας του In Rainbows είναι τεράστια για την ενδεικτική πορεία που ίσως ακολουθήσουν και άλλα μεγάλα ονόματα στο κοντινό μέλλον (και εμμέσως, το απώτερο), όμως σε καμία περίπτωση δεν μπορούμε να θεωρήσουμε ότι μιλάμε για επαναστατική κίνηση μιας μπάντας.
Όπως έχουμε πει στο παρελθόν και τώρα προκύπτει και από τα λεγόμενα των εκπροσώπων της ΕΜΙ (στο βαθμό που πρέπει να τα πιστέψουμε, όπως και των Radiohead), η υπόθεση έχει ως εξής:
η μπάντα ζήτησε αρκετά (έως πολλά) χρήματα τόσο σε προκαταβολές, όσο και δικαιώματα ακόμα και επί του καταλόγου της (τα προηγούμενα 6 άλμπουμς).
Για να αποφευχθούν οι διάφορες κραυγές και υπερβολές, να θυμίσουμε ότι παρά το μέγεθος της μπάντας, οι πωλήσεις των τελευταίων δίσκων της δεν ήταν και τεράστιες (όπως συμβαίνει και με μπάντες όπως οι R.E.M. ας πούμε). Ο χαμός που έγινε στα media με την "δωρεάν ιστορία" δεν μας επιτρέπει να κρίνουμε ασφαλώς για το τι θα γινόταν με το In Rainbows έτσι και αλλιώς, αλλά πρέπει να σημειώσουμε ότι δεν έγινε αντιληπτό να υπήρξε κάποια μεγάλη φασαρία από άλλες majors ούτε labels για το ποιος θα υπογράψει τους Radiohead, οι οποίοι κατέληξαν σε μια μικρή εταιρεία όπως η XL, προφανώς χωρίς να πάρουν κάποιο τεράστιο ποσό.
Επίσης, η μπάντα κυκλοφορεί τον δίσκο σε CD (όπως ίσως σκόπευε να κάνει εξ'αρχής) και το boxset δεν ήταν καθόλου φτηνό.
Εν κατακλείδι, η ιστορία δείχνει τα όρια που θα αποτελέσουν το ουσιαστικό μέλλον της μουσικής: τα πνευματικά δικαιώματα στις διάφορες μορφές εσόδων που έχει ένας καλλιτέχνης.
Διαβάστε εδώ την έντονη άποψη της EMI
και εδώ την έντονη απάντηση των Radiohead
ΔΗΜΗΤΡΗΣ ΜΑΝΩΛΑΚΟΣ
Supreme Member
- 19 June 2006
- 8,661
ΜΕΤΡΙΟΤΑΤΟ.
Θα έλεγα πως ο μόνος λόγος ύπαρξης του είναι δύο track.
Από μπάντες σαν τους Radiohead περιμένεις πολύ περισσότερα πράγματα.
Δεν ξέρω αν έχουν τελειώσει αλλά όλο το θέμα με το free και καλά άλμπουμ ,μου βρωμάει τρελό μάρκετινγκ.
Ψιλοαπογοήτευση.
Θα έλεγα πως ο μόνος λόγος ύπαρξης του είναι δύο track.
Από μπάντες σαν τους Radiohead περιμένεις πολύ περισσότερα πράγματα.
Δεν ξέρω αν έχουν τελειώσει αλλά όλο το θέμα με το free και καλά άλμπουμ ,μου βρωμάει τρελό μάρκετινγκ.
Ψιλοαπογοήτευση.