drnrg wrote:This is true. However they usually sign up once one of thier singles has become popular enough to be concidered TOP 40. Take Foster The People. Thier album Torches wasn't given much air paly(if any) untill Pumped Up Kicks hit top 40. It also charted in Rock, Alt Rock, Adult and Dance charts. The group is now signed to Warner(I could be wrong) Fans are still enjoying thier latest effort the way the band intenede it to be. The change in thier sound; which is bound to happen will refclect in thier next releases. The pressure you speak of will more than likely take a toll on thier material. They signed 3-4 record deal; if I'm not mistaken. Warner is one of those lables I speak of who will force you to sound like Bieber in order to sell records. My gues; Foster the people will sound like Owl City on thier next cd.
You're very close; if I'm not mistaken, they're with Columbia which is essentially owned by Sony.
This still assumes that the changes to their style— already proven to sell records, at that— will be drastic and dramatic, and we haven't even seen their new release yet. It's... sensical, I suppose, to assume the worst of how producers will handle an act's next album, especially given your experiences with labels, but I prefer to give the benefit of the doubt until it's clear something is going wrong.
There ARE ways to negotiate out of/around sound-changes, and while Warner IS notorious for this sort of thing they also, like I mentioned in the last post, do let things go if it's moving records. They give the dub-wub world a LOT of creative freedom because, frankly, it works well enough on its own. (Why would they make Foster the People sound like an act that's been on decline, excepting one song for Wreck It Ralph?)
drnrg wrote:My advise when and if the opportunity would rise is to stay away from Warner or have a good lawyer when you sign your contract.
Absolutely agreed. This is where quite a few books by my well-trusted favorite author on this subject, Moses Avalon, comes in handy (one of them is even about how to negotiate a good contract depending on your skill/desirability by the label).
drnrg wrote:True and you know I have no love for AVEX. and yes , since they are big company; could ,infact deal with the Warner and Universals of the U.S. and keep the Eurobeat artist vocals in tact, however, those big American lables also have a huge ego. If Eurobeat would hit big, Top 40, whatever you concider Big TIME, there is no doubt in my mind that the Chris Browns and Ke$has of POp would get in line to sing the next Eurobeat hit or worse grab one from the vaults and cover it. and that's a scary thought. I mean could you really swallow a "Night Of Fire" cover sung by Adam Levine. I like Maroon 5 ,myself but not on Eurobeat. Furthermore they most definately would change the rather charming accent and Engrish of Eurobeat vocals. I don't think Americans are ready for it. The Accents, ok , but the "Engrish"and I as a fan would miss that. I also fear that Most Americans would have a hard TIME getting used to Eurobeat vocals.Just like I can't get used to the "Urban" dance vocals of American artists. Thus being the reason AVEX and BIG Label name might change them.
I somehow doubt that the urban artists would put much stock into an inherently un-urban sound such as Eurobeat— sure, we might have a few, and even acts like LFMAO or Biebs himself might take a stab at it, and on that kind of scale, I suppose I can see your fear. And, I absolutely agree that the Engrish is part of the charm. But... WOULD an Adam Levine Eurobeat song be so bad? I'm sure it might not be great, but I'd like to give it a chance to exist before I deem it "bad". Would it be so bad to hear some of the more
talented vocal acts (I'm thinking around the lines of Adele, Matthew Koma, Ellie Goulding, etc) produced by our Italian friends? I'd have to hear it before I judge it.
I think SCP would actually do very VERY well in this area, because their voices are already for the most part USA-appropriate and appealing (I could EASILY see Pamsy doing well in the mainstream or even EDM market)
drnrg wrote:I'm telling you man, I think of everything I like about Eurobeat before going on my "GOD forbid Eurobeat becomes Mainstream in the U.S." rants.
That's fair. It's because we love this genre so much that we think about what is right for its future, no? If it's not worth arguing over, it's not worth saving.
drnrg wrote:but I ask myself, if it was common practice for bands or record labels to misinform us(Fans)on the credits space on the albums and what not about who wrote, produced ect..the music, then why wouldn't a HUGE POP name like Kelly Clarkson or Micheal Jackson; who rely on material written for them to perform, say they wrote thier own material in order to appear more talented? I'm pretty sure that Lables havn't sunk that low to lie about that? besides if found out, they (Artists) would lose thier credilbilty with the fans and once that's gone; thier finished.
You're absolutely right. I think the problem here is when fans don't read the liner notes and assume it was written by someone else. (Sort of like with me and The Living Tombstone's cover of my song "Discord"— Tomb himself will go out of his way to tell people I made the original, but just about everyone assumes he wrote— AND SANG!!!— the song. Not Tomb's fault so much as the fans.)
drnrg wrote:Maybe you concider me a bit naive, but I choose to belive the bands have some credibilty. Besides I can tell the style of my favourite bands. For instance I would know if Ryan Tedder(sorry to pick on Mr. Tedder so much. I say this, in case he has any fans on this forum?) wrote a song for Green Day, just because his style alone sounds so alike in the bass tones. I pinpointed his style when he wrote for Kelly Clarkson, Beyonce, even Ryan Starr and I was 100% right.
Not so much naïve as making a great deal of assumptions, but... that was an assumption in and of itself, proven very wrong in these discussions. Please forgive my presumptuous nature in the affair, my initial reaction was led less with reason than with emotion.
drnrg wrote:SomeTIMES it's not always a bad thing to have others write for you. I apply this mainly to Eurobeat. Take when Live Music Studio(HRG Attack) wrote on TIME records. Great sound. Revamped thier synth riffs and I dare say thier introductions using Techno and house effects gave the label a fresh sound. I admit it. It worked like magic.
My problem here is, why the double standard? It's okay when a Eurobeat singer isn't writing their own material, but when a USA pop act goes the same way (and makes no claims to the contrary) it's a bad thing? (I mean, if they DO make claims to the contrary, which is rare, that absolutely IS a bad thing, but I think it's a great deal less common than the discussion would suggest.)
drnrg wrote:I have ; infact recieved mainstream pop with more of an "Open Arns" attitude. What's funny, is that i'll start likeing a cetain Cher Lloyd, Adele or Carley Rae Jepsen song, only to find out they aren't even American to begin with. They are Enlish and Canadian(Respectively); whome I've always loved since the 70's. It's probly a hard etched preference that's deep in my listening pleasures.I do like a little Katy Perry , but respect Taylor Swift and Pink, because they write most of thier own material. I still can't get used to the Urban vocals of Ne-Yo, Flo-Rida, ect.. I just can't.
That's good, that you've at least tried being open to pop material. The thing here would be to distinguish between personal taste and evaluations of quality. For instance,
I don't like Ne-Yo or Flo-Rida. But I can still consider that they are, in fact, good at what they do.
drnrg wrote:You notice I've laide off the whole "Auto-Tuned" issue I used to rant about a few years back, because I know Eurobeat uses or has used in past. Sergio Dall Ora used it when he sang under Arena 69 alias. Believe it or not; one of my fav American pop artists ; Kelly Clarkson has also admited to use auto tune in the past at request of record company.
She says she didn't want to, but really had no choice being under contract and all. It's no longer an issue with the fans either. To tell you the truth, I'm pretty sure the majoraty of Big record lables require thier acts to go "Auto-Tune"
I do notice and respect this. I, also, slightly lament the prevalence of the plugin in the production world, but... at this point I simply have to count the upsides of it and press on.
drnrg wrote:and please my p.c felt like turing your quotes into bold texts. Sorry

No worries. BBCode is kinda... iffy at best.