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Live coverage continues from Bandwidth Music / Technology Conference in San Francisco.
Keynote interview with Jac Holzman, Elektra founder. All comments summarized from Holzman unless otherwise specified.
There was a "big boom" in the 40s and 50s. Suddenly, entrepreneurial opportunities opened. The LP changed everything - they could be shipped, they didn't break, etc.
Prior to that, "indie" labels were mostly regional and focused on shellac recordings.
Other nice game-changers - recording technology improved, cassette recorders emerged, etc. Holzman loved engineering, music, eventually started the label in St. John's College. College was a "perfect potting soil for the little seed that was Jack," it became what "your parents hope college will be" for people. In college, Holzman got exposed to folk - it became a very integral part of what Jac was going to do.
In the 50s, LPs were just coming out. "The genius of the LP was that they didn't reinvent the wheel" - in that, every device could handle 33-1/3 - just thinner grooves, it could be pressed in existing plants - "the technology was basically the same".
First album - sold "about 15" from his dorm room. ie, "none". Learned along the way, "you never learn less". And, "he blew his Bar Mitzvah money on the first release." Then, started with Jean Ritchie, struggled to start a catalog, before that it was more about breaking even.
Guiding motivation for releases - often, some very niche and non-mainstream stuff at Elektra. Holzman noted that he released material he wanted to listen to. Eventually, he encouraged folk singers to write songs, and "most every great songwriter writes children's music."
And Vanguard? Traditionally classical label, eventually dipped into folk and became a much larger folk label. "I learned a lot from Vanguard," including their expertise on how to record classical music. Folk, on the other hand, was far cheaper.
Also, Holzman is a "big believer in process," which is essentially "learning from what you've done, bookmarking what's worked for you," but also an attitude and collection of realizations.
Noted that the artist is not likely get more than one shot - and that creates some respect and pressure to do the best you can for an artist. Oftentimes, artists simply didn't want to do the work, travel on the road, or "move out of LA" in the case of Love.
Also, what's happening on the sides? "We're so focused on looking forward," but what's happening on the sides? For example, a stereo sound effect series was done by Elektra - no recording, publishing, or other royalties... but it sold over a million copies in 7 years.
Collaboration with Peter Bartok, who taught him "respect for the entire recording process."
Also, "I made records I was interested in and never stopped doing it." On the album, "one of the things I regret is that we're losing the album," and "there aren't that many great albums". Oftentimes, if it wasn't working with an artist "we'd give back the masters and say thank you," simply to give the artist their one shot back.
On pricing, Holzman opined that the digital world should experiment with lowered pricing to sell a lot more. And "a very big part of process" for him is to envision how the listener will ultimately feel.
On Nonesuch, "we made a lot of money" in the first year. And fueled greater expansion into rock n' roll. Signed the Paul Butterfield Blues Band, a mixed-race band but "no one seemed to notice," and "that was the norm for us". This was a band "much loved" by other bands, "the kind of band that would excite rock bands".
After discovering Love in LA, Love led to The Doors (which were bottom of the Love bill), etc. Commented on "Whisky Bar," hardly a typical song for a rock band. Independent record makers "have to be insane," because you're doing what you want to do.
Then, Doors stories? Jim Morrison throwing a fire extinguisher in the studio, and "dope smoking rock n' rollers" hardly gelled with a Disney-used studio. Up until 1958, Holzman made the records himself, eventually handing more control to others - including Paul Rothchild. "He knew how to whip that band into shape," and that included rehearsing the band before going into the studio. A great album is often "touched by fairy dust" at some point, but that "dust" needs a little help.
Also discusses how to set the mood, to create that "extra element" that works. That did happen, even putting Rothchild into tears, "this is why we do this" he said after an incredible take. The Doors - first album - was a special album - but "Light My Fire" was not initially released as a single because of the inexperience of the label in the singles area. They ended up cutting the instrumental break to shorten the song, but included the full song on the B side to preserve the version - it was "putting yourself in the shoes of the artist".
Then, "let the chaos happen," while "keeping your head straight," but creativity can be a crazy process.
Questions:
On the ability to release instantly, quickly, whenever? "The problem with the crap is that it raises the noise level, so you have to shout louder," though he's generally supportive of the ability of everyone to release. Filters? Talks about "trusted agents" can be "first filters," as was Elektra - and, Holzman would fully refund albums - with a sampler sent to the returnee. Also, tried to get a "second session" written into the red book spec, this could have helped to promote new artists.
Samplers were quite effective for promoting new artists - $2, no shipping or tax.
Legislation? Holzman backs the recording right from terrestrial radio, which is critical for collecting overseas revenue. And, industry needs "some method for compensating the artists before all music gets loose on the internet." Calls for ISPs to pay a royalty that goes into a pool, and "we need to be compensated for however the music is used," and "we're not a music industry anymore, we're a rights industry."
And 360? Most deals are a fraction - 260, 180, "261," etc.
What is he listening to now? Listens to lots of music from other countries, points to a much more connected global experience. Also, lots of world and classical.
Also, "it's tough for record labels today," while noting that indies can more quickly respond to changes. That is critical, and he never had to get approval for expenditures or other decisions for upper management. Also noted that there was tremendous competition between Elektra, Atlantic, others - despite the major distribution overhang.
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