Message Board Archive: Thread Number 57

Ari, what a great board! I'm in love with acoustic blues. I love '20's &
"30's music...some new stuff too, though! What do you think about Rory
Block?

Date: Fri, 30 Jan 1998 14:02:18 -0500 (EST)
From: ari@secondmind.com (Ari Eisinger)
Subject: Feedback: Re: First time here!
Message Number: 57.1

Thanks for your message, Jennifer.
I think Rory Block is very good. I especially like her classic ragtime
pieces.
Of the original artists from the 1920s and 1930s, my favorites are Blind
Blake and Blind Lemon Jefferson. Whom do you like from the old days?

Date: Wed, 4 Feb 1998 20:19:34 -0500 (EST)
From: Owner-HyperNews@ComCAT.COM (Jennifer)
Subject: Question: More blues on the radio!
Message Number: 57.1.1

Ari, I like Blind Lemon, too. Also, Leadbelly, Willie Brown, Son House,
Robert Johnson.....too many to list! I love the blues, and I know there
are millions of people out there who love acoustic blues....why don't we
hear more of it on the radio? It's a shame. jen

Date: Wed, 4 Feb 1998 22:01:55 -0500 (EST)
From: ari@secondmind.com (Ari Eisinger)
Subject: Feedback: Re: More blues on the radio!
Message Number: 57.1.1.1

Good question! I find in general that this great music does not receive
the exposure it deserves. I sense that most people don't even know it
exists, and think the blues = the electric blues. It's no wonder they
don't know about the early blues, because so little of it gets played on
the radio. In addition, blues festivals tend to feature the more popular
electric blues rather than the acoustic.
One reason airplay is scarce, I think, is that the sound quality on some
of the old recordings is often less than perfect. However, this is
something of a Catch-22: if people don't hear the early recordings, they
surely will not become used to listening to records that sound scratchy.
On another level, doesn't this seem to be part of a larger phenomenon in
which the best stuff is not thrust in your face by alot of promotion,
radio play, etc., but must be aggressively sought out and, indeed, is
increasingly regarded as esoteric?

Date: Thu, 5 Feb 1998 12:59:54 -0500 (EST)
From: Owner-HyperNews@ComCAT.COM (Jennifer)
Subject: Question: Recording Question!
Message Number: 57.1.1.1.1

...I got tired of hearing the bubble gum pop music that gets played on
the radio! When you get turned on to one terrific artist, it definitely
makes you want to find out more. Most of my cd collection is Blues
(electric included!).
Here's another question for you (I hope you don't mind!): If you want to
be a recording artist, it's really difficult to get your tape to the
right people. If you sing "traditional" blues music, it's almost
impossible to get noticed by a "major" label. There are some great
independent blues labels out there with wonderful artists....Now here's
the million dollar question....How do you get a foot in the door? Easy,
right?! :-) jen

Date: Thu, 5 Feb 1998 19:49:59 -0500 (EST)
From: ari@secondmind.com (Ari Eisinger)
Subject: Feedback: Re: recording question
Message Number: 57.2

>Here's another question for you (I hope you don't mind!): If >you want
to be a recording artist, it's really difficult to >get your tape to the
right people. If you sing "traditional" >blues music, it's almost
impossible to get noticed by a >"major" label. There are some great
independent blues labels >out there with wonderful artists....Now here's
the million >dollar question....How do you get a foot in the door? Easy,
>right?! :-) jen
I certainly don't mind your asking this question, although I have to say
that I really don't know the answer ;) I can say that my feeling is that
it is often easier to get your material _listened to_ by someone at a
small or independent label. However, unfortunately, the small labels are
often stuck in a familiar bind: they have limited resources and
therefore can't afford to lose too much money on too many of their
artists. Therefore I think it's alot easier to get signed when you're
already known, touring, and, if possible, selling self-produced albums!
How do you get to that point? It's very tough at best. However, I just
don't think it's realistic to think that one can walk into a small
label's office and on the strength of talent alone land a record deal
with alot of promotional money behind it, including money to pay for the
many tours that will lose money before things get going.
If you have a ton of money saved up, of course, that can get you out of
this bind, but it's still tough.
Sorry to be so grim. Perhaps others have a different perspective.
Others?...