Live Nation is in the process of locking in a long term exclusive deal with Madonna that would have her severing ties with Warner Music Group. The deal would encompass not only touring, but recorded music and merchandising as well. Some say the total package could be worth anywhere between $120 - $180 Million.
Madonna is one of the last arena acts that can sell tickets at obnoxiously high prices and fill arenas. Some of Live Nation’s motivation had to be CEO Michael Rapino wanting to make Madonna’s services off limits to rival AEG. With fewer acts of this caliber available to gross absurd amounts of money in the concert business, look for this to possibly be a business trend in the future.
Does anyone think Madonna is going to sell huge amounts of albums anymore? Certainly her “hits” collections will move a lot of units indefinitely, but WMG gets to keep cashing in on that material. The potential of Madonna producing a hit record isn’t high, especially if she keeps making calculated dance music.
This is all about securing the long-term services of a major concert attraction. It will also be somewhat of a test business model by an entertainment company like Live Nation trying to branch out into other areas to see if they can innovate something lucrative for both themselves and the established artist.
Madonna’s live show still grosses huge dollars, so Live Nation will make back its money and then some. Madonna obviously wins here too. And what does this say to the traditional major labels? A big star chooses to align themselves and their future music making enterprises with a non-major record label. Certainly Live Nation made a better deal with Madonna than AEG did with David Beckham (have you ever seen $200 Million tossed away more quickly?).
The promoters are going to keep throwing insane amounts of money at stars that are at the end of their artistic run, but that have a few more lucrative tours in them. For Madonna to command that kind of deal from Live Nation, the consumer ultimately takes the hit because you can bet that ticket prices for a Madonna show will remain extremely high. This is about greed, not creativity. In the end, it is still all about overpaying for talent, overcharging the consumer and milking this cash cow for every last drop.
Thursday, October 11, 2007
Madonna
Tuesday, October 9, 2007
Best "Live" Vault Releases For 2007
Here is what I consider to be the best “live” archival releases of the year so far:
Deep Purple – Live In London 1974
This is a fantastic MK3 line-up gig from Deep Purple. Prior to 1974, there had been a handful of configurations of the band with the most influential and popular period arguably being the MK2 line-up from 1970 – 1973. However, in 1973, vocalist Ian Gillan and bassist Roger Glover left the band and were replaced by David Coverdale and Glenn Hughes. Due to this change, the musical direction of the band shifted to more of a bluesy, heavy oriented sound. Coverdale certainly was a skilled vocalist and handled the bulk of the vocals quite nicely.
The BBC recorded Deep Purple at The Gaumont State Kilburn Cinema on May 22, 1974. The show has been issued in the past in truncated forms, but was finally issued in all of its glory in 2007. The sound quality is fantastic, especially compared to some of the other vault releases of live material issued by Deep Purple during the past decade. Ritchie Blackmore is absolutely amazing during this show. His solo on “You Fool No One” is worth the price of admission alone.
Within a year, Blackmore would defect from the band he helped elevate to superstar status to embark on a new journey with Rainbow. But, his work with Deep Purple set the bar for many Hard Rock guitar players. Did anyone play a Strat better in 1974? While the MK2 line-up of Deep Purple is certainly worth the hype that it gets, Blackmore’s work on stage in 1974 with the band is as inspiring as it ever was.
“Live In London 1974” is a welcomed release for Deep Purple fans and for Ritchie Blackmore enthusiasts. If you are looking for a taste of Deep Purple’s live work, this is a nice starting point. If you are an established fan, this is a must-have.
*Available at most internet retailers.
The Doors – Live In Boston 1970
In 1969 and 1970, producer Paul Rothchild recorded a series of concerts by The Doors to create the band’s first official live album. Initially, two concerts and a rehearsal from The Aquarius Theatre in Hollywood were recorded in 1969 for the project, but after reviewing the tapes, Rothchild felt there wasn’t enough usable material from the Aquarius run and decided the band should record some additional shows. In the spring of 1970, concerts in Detroit, Philadelphia, Pittsburgh, New York and Boston were recorded for the prospective live album. Ultimately, the live album was completed using material spanning all of the concerts recorded and titled “Absolutely Live.”
In 2000, former Doors manager and long-time fan Danny Sugarman created a collector’s label called Bright Midnight. Some of the initial promotional statements by Sugarman which highlighted some of the material planned for release referenced a couple of the “Absolutely Live” shows in particular, and the two 1970 “drunken over-the-top” Boston gigs were among them.
After the Detroit 1970 show and Aquarius material was issued by Bright Midnight in 2001-2002, there were rumblings of financial issues with the label as well as an ongoing battle with cancer by Sugarman. With Bright Midnight being in a holding pattern, some fans wondered if the legendary Boston shows would ever officially see the light of day.
In 2006, Bright Midnight got back on its feet with the release of the 1970 Philadelphia concert. Finally in 2007, the complete Boston gigs were issued. The Boston shows have always been a curiosity for many because Jim Morrison was completely trashed during the concerts. It wasn’t uncommon for Morrison to be under the influence on stage, but in Boston, he was loaded. Nevertheless, “Live In Boston 1970” is arguably the best official live Doors release issued so far by Bright Midnight.
Yes, Morrison is intoxicated and definitely loses focus off and on throughout the proceedings, but it isn’t as bad as one would expect. In fact, there is a strange sort of charm to the whole thing. The rest of the band is on fire. They make some mistakes and ocassionally lose their timing, but the energy from Manzarek, Densmore and Krieger is tremendous. Robby Krieger in particular is tearing it up that night. His tone and execution in Boston is as good as it gets.
Don't expect flawless singing and flawless playing if you pick this title up, but the fantastic energy and intensity of that night makes for one remarkable release. If you want a standard and safe Doors gig, check out “Live In Philadelphia.” If you want to hear an invigorating show, “Live In Boston 1970” is the one.
*Easy to find, available at most internet retailers and at traditional music retail stores.
Allman Brothers Band – Boston Common 1971
This is a nice surprise. The Allman Brothers Band started issuing live material from their archives in 2002 with the release of “American University 12/13/70.” When the Allman Brothers announced that they would be opening the vaults for archival releases, they made it clear that they wanted Duane Allman’s work with the band to initially take priority. After the American University gig was issued, the following year another concert from the Duane Allman era was released. The third and fourth releases, however, were post-Duane Allman performances. So, it seemed as though that was it for Duane and the original line-up of The Allman Brothers Band.
Then, the 2007 release was announced, “Boston Common 1971.” Another show featuring slide guitar virtuoso Duane Allman was being showcased. There can never be enough live material with Duane Allman in the marketplace. Duane was one of the most inspirational Blues/Rock guitarists to ever play. One can get chills listening to his slide work. Also, the brilliant interplay between Duane Allman and Dickey Betts is one of the greatest collaborations in music. There was a magic about the instinctual communication between those two guitar masters on stage that was reminiscent of the musical interplay between Coltrane and Miles Davis or Charlie Parker and Dizzy Gillespie.
The set-list is pretty typical from the era. There are not any surprises except for the sound quality. How did a show with such fantastic sound quality stay in the vaults for 35+ years? Anyone wanting a taste of the genius of Duane Allman does not need to look any further and any fan of The Allman Brothers Band should not be without this live show. Hopefully additional performances from the original line-up of The Allman Brothers Band will continue to be issued, but for now, this is another welcomed release that will get unlimited spins.
*Exclusive item found at hittinthenote.com
Elvis Presley – Viva Las Vegas (bonus disc)
Elvis' live gigs from Las Vegas in 1969 are among the finest in Rock N' Roll history. Bass player Jerry Scheff called it "Punk Rock Lounge Music." That is a pretty accurate description. Elvis' energy, passion and incredible vocals created a dynamic show. He also had one extraordinary band.
Prior to 1969, Elvis had spent a vast majority of the decade in Hollywood making B-level movies (which generated millions) and for the most part after 1962, recording D-level soundtrack recordings. There was an occasional non-soundtrack recording session that yielded something special (including the stunning Grammy award winning "How Great Thou Art" Gospel album). Other than two benefit concerts in 1961, Elvis' touring days had ended in the late 1950's.
Then in 1968, Elvis was back as a legitimate artistic force due to his legendary 68 Comeback Special on NBC. A few months later in early 1969, he recorded some of the finest studio recordings of his career in Memphis at Chip Moman's American Studios. The ground work was now laid for a return to the concert stage.
Elvis' manager, the notorious Colonel Tom Parker, booked a month of shows at Las Vegas' newest casino, The International (later to become the Las Vegas Hilton). Elvis was supposed to open the showroom, but Parker wanted it broken in prior to Elvis taking the stage, so Barbra Streisand did a run of shows to "work out the bugs" prior to Elvis' triumphant return.
A couple weeks into the engagement, RCA recorded 14 of the shows for a proposed live album which ultimately became "In Person at The International Hotel." Portions from only a few shows were used to construct the live album. Other than a handful of tracks from the 1969 Vegas run being added to a posthumous box set in the early 1980’s and one in the early 1990’s, the bulk of these stunning performances gathered dust in the vaults for 30+ years.
Finally in 2001, the first complete show from Elvis’ fantastic stint at The International Hotel was issued on BMG’s “Live In Las Vegas” box set (unfortunately in a terrible mix) with two more complete shows being issued on the BMG Elvis collector’s label, Follow That Dream (the finest collector’s label in existence by a mile), shortly thereafter.
BMG issued a compilation of some quality live Elvis performances from Las Vegas between the years of 1969 – 1972 in the late summer of 2007 titled “Viva Las Vegas.” Most fans could have cared less as these particular performances had been issued countless times on multiple compilations. However, BMG added a second bonus disc as a Wal-Mart exclusive that housed another complete show from 1969. One can never have too many concerts from Elvis’ unbelievable run of shows in Las Vegas from 1969.
Up until recently, live Elvis Presley archival material issued by BMG has had very questionable and controversial mixing associated with it. Most of it was done by Dennis Ferrante. He absolutely destroyed the 8/24/69 midnight show released on the “Live In Las Vegas” box set by mixing out the prominent keyboard track from the mix while increasing the volume levels of James Burton’s guitar. Later on the Follow That Dream collector’s label, he made up for it with solid mixes of Elvis’ 8/23/69 midnight performance found on “Elvis At The International” and Elvis’ 8/26/69 midnight performance found on “All Shook Up.”
The Wal-Mart exclusive bonus disc from “Viva Las Vegas” was fortunately mixed by the skilled Ray Bardani. However, the fantastic disc is not without some controversy. A lot of fans who have compared it to underground recordings of the 8/21/69 dinner and midnight performances believe this current release is a spliced composite of both shows. Producer Ernst Jorgensen has been quiet on all fronts, so nothing has been confirmed. Either way, this may be the best sounding live Elvis recording on the market. Personally, I am partial to the show found on the “All Shook Up” release as being the best live 1969 Elvis show available. But, if you are mildly interested in Elvis and want to hear why his reputation as a live performer is legendary, next time you are at Wal-Mart (how pathetic is it that one can only buy something of this magnitude at Wal-Mart?), pick this gem up for a taste of “Punk Rock Lounge Music.”
*Unfortunately, this one is a Wal-Mart exclusive. Either suck it up and go to a location or do it the simple way and order on-line.
Other fantastic archival "live" releases issued in 2007 so far:
Pearl Jam - Live At The Gorge 05/06
Muddy Waters/Johnny Winter/James Cotton - Breakin' It Up, Breakin' It Down
Aretha Franklin - Oh Me Oh My: Aretha Live In Philly, 1972
The Grateful Dead - Live At The Cow Palace: New Years Eve 1976
Can't wait for:
Jimi Hendrix - Live At Monterey (reissue)
Monday, October 8, 2007
A Bargain In Kansas City
Garth Brooks doesn’t mean what he once did in terms of mass popularity. The guy has been pretty inactive and out of the mainstream music publicity machine for years. But he has sold A LOT of albums during the course of his career. He has a big following from a strong fan base.
This fall, Garth is playing 9 shows at Kansas City’s new Sprint Center and they all are sell-outs. But the real story here is that the top prices are $32.50 (total + fees). This is unheard of in today’s music business landscape for an artist of the caliber of Garth Brooks.
What is his motivation here? Who really knows, but Garth Brooks has created a buzz about a music event. He is offering high-end tickets at $32.50 and the remainder of the house at a whopping $25.00.
The consumer wants to be entertained. People enjoy going out to a show, grabbing some dinner and leaving the craziness of life behind them for a couple of hours. Garth is enabling this. Even mildly casual fans will be inclined to buy tickets to a show if it is reasonably priced.
This is fantastic. No $200.00 tickets, no VIP packages for an even higher price for good seats and a meaningless laminate pass that gets you nowhere in the venue all in the name of greed. The arena won’t be half empty needing creative curtaining and papering to fill out the empty seats.
The current state of the concert business is completely out of control. Heavily inflated ticket prices are ruining the business. The artist gets paid, but the consumer loses. And ultimately the artist loses. The artist loses the faith and respect of the consumer and turns away potential new fans. Someone loosely interested in an artist is not going to roll the dice and fork out $90.00+ to purchase a ticket to a show they are not sure they will dig. You can bet that there are some consumers that are not really into Garth that are going for the hell of it – and once they are blown away by the show, Garth will have brought a new fan into the fold that will be buying the albums and future concert tickets. He is creating an atmosphere to generate new fans as well as taking care of the already devoted.
Garth Brooks will have to play more shows at $32.50 per ticket to generate the same kind of high performance guarantee associated with one show priced significantly higher, but who cares? He obviously doesn’t. Certainly there are agents and managers that would say he is crazy. But, he is a music artist and respected performer. His first love should be performing, so why should it matter if he has to play a couple of more shows to earn what he could playing one show with higher ticket prices?
You couldn’t pay me $32.50 to see Garth Brooks because I have no interest in his music, but right now I respect the hell out of him. He is doing what a lot of other artists should be doing. It is time to get the public back into the arenas enjoying entertainment at a reasonable price. It is time for the concert industry executives and artists to regain the trust of the consumer and get them excited about the concert experience once again. Good for you Garth.
Friday, October 5, 2007
461
From a production standpoint, it can sound a little dated. It may come accross as lacking a certain amount of energy due to its subdued laidback feel. The guitar work isn’t dazzling as one might expect. So why is it special? Well, sometimes brilliant work is understated. There is nothing forced, contrived or musically calculated. This is an album that is authentic in its lyrical content, musical landscape, and message.
“461 Ocean Boulevard” was issued in 1974 following a very dark period for Clapton. Since 1970, he had been nursing a debilitating heroin addiction. After the break-up of Derek and The Dominos, Clapton remained pretty much inactive and in seclusion other than a brief guest appearance at George Harrison’s Concert For Bangladesh. In early 1973, Pete Townshend orchestrated a comeback concert event at the Rainbow Theatre in London to get Clapton out of hibernation and back on stage. Soon thereafter, Clapton convened with producer Tom Dowd to go over material for his second solo album.
Up until that point, Clapton was a guitar hero. His inspired and innovative playing had spanned a handful of legendary projects and bands such as his stint with John Mayall and as a member of super-groups Cream and Blind Faith. His 1970 landmark album, “Layla and Other Assorted Love Songs,” with Derek And The Dominos only added to his legend. Anyone expecting the guitar heroics of the past was in for a great surprise upon hearing the release of “461 Ocean Boulevard.”
That isn’t to say there wasn’t some fantastic playing on “461,” but it was different. It was laidback. The volume was low. There was a lot of slide. The explosive bursts of notes from past glories were replaced with tasteful chords and licks. Clapton was transforming himself into an artist concerned with economical songcraft.
The album starts off with a bang with the scuffle groove of “Motherless Children.” This is one of the album’s most energizing pieces and the heaviest guitar track. But the true tone of the album is set with the second tune, “Give Me Strength.” This is one powerful cut. It is a very subtle track musically with a slow bluesy acoustic guitar as the lead instrument along with a soulful organ track and slide guitar in the background. You can hear Clapton’s anguish in his painful delivery. You hear a man struggling to regain a sense of direction.
Clapton then ventures into formerly unchartered territory with his renditions of Reggae staples “Willie And The Hand Jive” and the hit “I Shot The Sheriff.” From here there are stabs at Soul with “Get Ready” to sweet love songs like “Please Be With Me.” He even revs it up again with the guitar work-out “Mainline Florida.”
But the real gem of this album is the beautiful “Let It Grow.” It is a simple song. Yet it is such a powerful statement. The lyrics are somewhat minimal and undemanding, but the message is genuine. And it really is a pretty self-reflective piece from that era in his life. Clapton did not do much writing in the early 70’s during his mini-retirement, but this is one of the few songs that came out of that dark period. It is almost an extension of “Give Me Strength.” He was a tortured soul and putting his faith in love gave him hope. It truly is a majestic piece.
Standing at the crossroads, trying to read the signs
To tell me which way I should go to find the answer,
And all the time I know,
Plant your love and let it grow.
Let it grow, let it grow,
Let it blossom, let it flow.
In the sun, the rain, the snow,
Love is lovely, let it grow.
Looking for a reason to check out of my mind,
Trying hard to get a friend that I can count on,
But there's nothing left to show,
Plant your love and let it grow.
Chorus
Time is getting shorter and there's much for you to do.
Only ask and you will get what you are needing,
The rest is up to you.
Plant your love and let it grow.
Chorus
Chorus
Musically, it is beautiful with an attractive array of notes, layers of acoustic and electric guitars, piano and organ, sensitive backing harmony vocals, and a soft soulful lead by Clapton. It definitely is one of the finest tracks in his solo catalogue.
Upon release, even with the startling change in musical direction, the album hit number one on the charts and went gold within a month. Eric Clapton had rebounded with a high artistic achievement that would help propel him to continued stardom for the next 3 decades. Over thirty years later, “461 Ocean Boulevard” still has that timeless appeal of a classic.*
*The story doesn’t end there. In 2004, Universal issued a Deluxe Edition of “461 Ocean Boulevard” that was augmented with session outtakes (all of which had been available on previous archival releases, but were at least finally in one place) and a second disc comprised of two live performances from December 1974 at the Hammersmith Odeon in London. The sound quality on this release is fantastic and with the addition of the bonus material, it makes this amazing album a total must-have for any Rock fan.
Thursday, October 4, 2007
In Rainbows, Pt. 2
So, it looks like Radiohead is closing in on a deal to release a CD version of "In Rainbows" with one of the major record labels. The previous news that they were going to distribute their upcoming studio effort independently now only is a half-truth.
It makes sense from a business perspective. If one wants their music to have the best chance of being exploited to the fullest extent possible, they have to play the old game. The major labels still can get you the best exposure possible. As one of the band's managers said to Billboard; the band is proud of the new album, they want it introduced into the mass marketplace, and the record companies have the infrastructure to deliver it. That pretty much sums it up. That is the reality.
And here is another thing to consider; would there have been this much buzz about the new album had Radiohead not taken their initial stance that their new album was going to be self-distributed? I'm not saying it was a marketing ploy, but why initially hold back this substantial detail about how the album will be made available to the consumer?
What are the major labels thinking? The band will be issuing basically free downloads of the album and those same downloads will be traded like crazy all over the internet. Hardcore fans will invest in the deluxe box set version. So who will buy the traditional CD version? Casual fans at Wal-Mart and Borders? Radiohead isn't a guaranteed million seller, so it isn't as though the CD version of "In Rainbows" has double platinum potential. Usually, large revenue streams and profits due to big sales are what the major labels go for and Radiohead isn't necessarily a recipe for that (their impressive concert box office grosses are a different story). Certainly the desperation to be in business with one of the few bands in the current music landscape that has any artistic credibility is an appealing factor.
The only disappointing aspect to this update about the pending major label deal for Radiohead is that it would have been fascinating to see how the success of "In Rainbows" would have panned out had the band kept it as a self-distributed project. Maybe Pearl Jam will show us how this experiment works someday in the future....
Wednesday, October 3, 2007
Stuff
So, I had a chance to spin Springsteen’s “Magic” loosely a couple of times. There are definitely a few gems on this new disc which is a nice change of pace after having lived through the bland “Devils And Dust” and uninteresting “Seeger Sessions” albums the past couple of years.
There is nothing reminiscent of past glories or past projects as a lot of the reviews out there would suggest. The only thing that is familiar is Brendan O’Brien’s production. I can’t stress enough how I think O’Brien’s influence on Bruce’s music has left it sterile and sleek. One of the attractive things about the bulk of the Springsteen catalogue up until this century was how organic and natural it all sounded. Even his ventures into a more synthesized Pop sound in the late 1980’s-early 1990’s didn’t feel mechanical like his current sound does. I’m sure there are some fans that totally dig what O’Brien brings to the table, but Springsteen’s music doesn’t need a modern sound. Bruce is the artist, and if this is what he feels his music needs, more power to him.
Nevertheless, “Gypsy Biker” and the title track “Magic” are worth exploring. Those two hit me right away. I’m sure a couple more will follow.
_______________________________________
I have been spinning a few Motorhead discs off and on the past week. It is another reminder to me that they were the best Metal band of all time. What an energizing ride to sit through. The album “Overkill” is an absolute masterpiece from the Metal genre. It has it all: strong hooks, power, energy, speed and fantastic volume. Bottom line; it is great Rock N’ Roll.
The Sanctuary 2CD reissues of the band’s albums are brilliantly done. The bonus material which ranges from outtakes, alternates to live material is excellent. This is how reissues should be done.
_______________________________________
On November 20, Rhino is issuing a 2 disc DVD set comprising of various performances from Eric Clapton’s 2007 Crossroads Guitar Festival. Normally, this sort of release doesn’t grab my attention, but Clapton’s annual Crossroads gig delivers the goods. He always has an incredible cast of characters performing on the bill.
This one will be worth it to see for these performances alone:
*“Highway 61 Revisited” featuring Johnny Winter with the Derek Trucks Band
*“Sitting on Top of the World" with Hubert Sumlin, Robert Cray Band, Jimmie Vaughan
*”Paying The Cost To Be The Boss” and “Rock Me Baby” with BB King, Hubert Sumlin, Jimmie Vaughan, Robert Cray Band
*”Cause We’ve Ended As Lovers” and “Big Block” from Jeff Beck
*”Who Do You Love” with Robbie Robertson and Eric Clapton
*”Presence Of The Lord,” “Can’t Find My Way Home,” “Had To Cry Today” and “Crossroads” with Steve Winwood and Eric Clapton
Seeing Clapton and Winwood collaborating again will be worth the price of admission alone.
Monday, October 1, 2007
In Rainbows
Radiohead is set to release its first new studio album in over 4 years. "In Rainbows" is set to be a pioneering release in terms of distribution. Over the past 24 hours, the internet has been buzzing about "In Rainbows." No one is talking about the music. Everyone is talking about the fact that Radiohead has basically given the middle finger to the mainstream record labels.
After their deal with EMI expired, Radiohead was one of the biggest free agent bands in the world. Certainly they were offered some lucrative and possibly innovative deals, but they obviously had their sights set on something different.
Musically speaking, I am not a big Radiohead fan. I enjoyed aspects of their early work and have always found "The Bends" to be one of the strongest Rock albums to come out of the 90's, but the band lost me with "Kid A" and "Amnesiac." Yeah, it was supposed to lose people, dazzle them with hypnotic experimentation, but I couldn't digest it. I found it to be overrated. Experimental music can be given artistic accolades, but it still has to have melody and sound good. I dig Miles Davis as much as anyone, but "On The Corner" still sucks.
Nevertheless, what they are attempting to do with the release of their upcoming album is an attempt to revolutionize an alternate way of distributing their music. Other artists do things in a unique way, but usually they have to because they are small and independent and do not have a large audience. Radiohead is an A-list band in terms of credibility and popularity. They don't sell huge amounts of records, but they have artistic integrity, industry-wide respect and have one of the hottest concert tickets around.
Here are the consumers’ options for purchasing "In Rainbows":
1) On October 10, they can download it for whatever price they want. Seriously. If you go to the 'check out' phase on the website: http://www.inrainbows.com/Store/index3.html - the consumer is prompted with the following message, "It's up to you. Really, it's up to you." That should be interesting. Essentially they are giving away their music for free, or for a very small price.
2) If you are a hardcore fan, you have the option of spending nearly $80 U.S. Dollars for a deluxe configuration in early December consisting of the following:
*CD version
*12 X 12 inch heavyweight vinyl version
*Download version
*Bonus CD with additional new songs, artwork and photographs
*Artwork and lyric booklet
All this is being done independently. The band left money on the table from the majors and is doing their own thing. They no longer want to be part of the old business model. This may not be the ultimate answer to the long-term landscape of music releases, but it definitely is a positive step.
The casual fan can download the tracks and burn them onto a CD for very little money. The hardcore fan can get a fully loaded deluxe package and a premium price. But what about the fan who wants an affordable CD with some artwork and liner notes? Guess they are stuck with some cheap downloads because $80 will be too much for something physical.
Will this be financially successful for the band? The downloads probably won't be since the band will be giving those away for next to nothing. The deluxe package most likely isn't built for large profits; its price probably covers production costs and gives the band a little extra revenue. Obviously, Radiohead's agenda for releasing new music isn't to make loads of money. They want their music out there for their fans to consume in unique, easy and enjoyable way. If they were in it for the cash, they would have signed a lucrative deal with one of the majors. And don't forget, they are an immensely popular concert attraction. Any money the band is giving up by releasing their upcoming album independently, they will make up on the road.
I applaud the Radiohead for rocking the boat. Granted, their albums have not been flying off of the shelves the past 7 years, but they still have major name recognition, and leaving the major labels' model behind will be an eye opener for other artists that are not strictly in it for the money. Keep an eye on this because it is just the beginning...
