nardes

After hearing the new song... Lights and Tegan&Sara tour please!

AHEM... I'VE GOT YOUR PICTURE, I'M COMING WITH YOU!!!!

Well there's currently none. But usually you put it in your basket and keep updating the quantity until it doesn't let you put any more in.

You just wanted to say BJ...

Cuz I wanna be, where the people are...

Really is an awesome package. Bit the bullet and bought it for $30 so I didn't have to wait for shipping. Sounds great, nice heavy gatefold with the awesome album booklet. The vinyl isn't heavy, actually on the thinner side but sounds great.

Relient K - MMHMM
 
Bought it before I had any other records for $10 from the band. 

I checked out the other tracks. I dig it.

Someone will press it in 2018, ruining Cartel's planned deluxe package planned for 2019.

YES! YES! YES!

Although I did not want to resort to posting screen caps , this matter has already become far more public than it should have.
 
I am not sure which member answers or checks the facebook account but someone saw it and responded based on this response which was AFTER the private message sent to will on FB.
 

 
 
I 100% agree that facebook is not a great way to get in touch with anyone especially a "public figure" sich as the singer of a popular band but no other public info for the band was available at the time and it was my first attempt at contact but that message did say "read" back in Feb 2013 so it was seen although he may not have bothered to take it seriously.    Regardless, after that private message to will's personal account, I WAS able to get a response from the band on their band account which was how the initial contact with their manager STARTED. Often bands do not have any public info available on their site other than twitter or facebook band accounts so getting in touch with members or management direct is often difficult and starts like this before I finally get the right contact info to have a real conversation.
 
I then had a few back and fourth's via email with their manager and then a phone conversation in which the whole "tour variant" conversation happened and the band being very interested & excited in finally getting this pressed. After the phone convo, I then sent a follow up email which recapped all the details of what we planned to do as their manager requested (pressing info, which plant was pressing, cost per record, color variants etc....)  I sent the same follow up email 3 times after that which my only response was "Hey Ross, sorry for the delay, hope to get back to you soon"  which in no way seemed negative since the response came a month after the phone convo and I assumed he spoke with the band about it at that point. In the phone conversation it was also mentioned that I was told by Epic that another label was in line for the license and if I did not move forward in the next month or two then they would grant them the license. Once i mentioned that to their manager, who openly stated "we would love to get this pressed but simply do not know how to go about getting the license"  I was then told to get the wheels in motion if another company was in line and he would get back to me in regards to the tour variant proposal. 
  Unless their manager refers to himself in the third person then someone else in the band answered this and sent me his contact info which was how we initially STARTED talking, prior to the phone conversation mentioned above
 
 
 
 
 
As of tuesday, I have been approached by a website so do an interview about this whole situation and give my side of the story. I may provide more screen caps of the emails and what not , if need be in that interview. I am scheduled to be interviewed tomorrow and hope to have it up by the weekend at some point.
 
 
 
In regards to Nic posting on here, that is VERY cool of you and wish that I had reached out to you in the first place as you seem to be rational and a good guy. In no way was i trying to do this behind your back and offered you as many copies at label cost in exchange for your support of the release in order to have the band make some money on the re-issue which most of my competitors do not even attempt to do. I am really sorry that all this drama has gone down with the release & thank you for writing and releasing one of the best pop punk albums of the 2000's

Shits gettin weird

are there any songs about cats, specifically?

Just wanted to post this because nobody quoted it yet. If someone randomly asked me is "Company ABC" releasing your record, I'd probably pick up the phone after the interview ended and ask questions to the right people.
Will Pug from UndertheGun in June 2013:
"Speaking of the other records on vinyl, I’ve heard that Enjoy the Ride may be involved with that. Is there any truth to that rumor?
Nobody is onboard to do any sort of vinyl rerelease or rerelease otherwise. At this point, now that we’re releasing stuff on our own, it would be ludicrous to try to involve somebody else. We may go to somebody for distribution when we do Chroma on vinyl just because of how many copies we sold originally and we’d like to have it in stores not just online or at shows. We’re going to be very careful with that just because it is our baby. Just to be completely honest, it’s probably going to be pretty financially lucrative. So, we don’t want to share what we’ve shared too much of already, you know? At this point we don’t know how it’s all going to work because of licensing and whatnot."

I actually met her this morning leaving toronto.  I asked her about this and she confirmed that there will be a standalone vinyl for it.  She however didnt know if there would be picture discs.  She is one of the nicest celebrities I have ever met... and super hot!

Also, who does he think he is saying Ross doesn't know anything about record contracts? What a dick.

Cartel is pissed because they knew a Chroma reissue was a potential money spinner, but sat on their hands too long and someone beat them to the punch. Sometimes I get the feeling that it only occurs to bands that it might be lucrative to press their old records when an outside label contacts them about doing so. In this situation, Cartel has no one to blame but themselves - they could have stopped the process if they'd been responsive, they could have licensed the vinyl themselves years ago when it was already becoming pretty apparent that the demand for a reissue was there, they could have avoided signing their rights away, but they didn't. Like it or not, music is a business, and an experienced band who's been through the whole major label experience should be more savvy than they have shown themselves to be, OR, perhaps more to the point, should be getting better advice from their manager. 

Are you kidding? Most big labels want nothing to do with pressing albums from bands 10 years ago because it takes A LOT of work. So in comes labels like ETR that do all the footwork and make it possible for people that want these albums and the major labels don't have to do shit, except take the paycheck from these labels. If you think the idea of this is that stupid, you should probably go find another forum  

Wait, so Cartel aren't rich from all that Dr. Pepper money?

solution: Press you own stuff. Rehashing  old pop punk from major labels is a bogus way to sell records. ETR is more like a copying machine than a label. Take an old ass cd, put it on big colorful format, pay the major (who likely doesn't give a shit about the band in the first place) press 500 copies at Pirates Press=profit.
 
It may be monetarily beneficial to run a "label" like this. But it's far from an actual label. To think that this guy makes money off this horseshit is depressing. Is there really that little of a demand for new music?  Instead of paying licencing fee's he could pay for an awesome band to hit the studio and put out a great new record at a reasonable price. 
 
also lol at folks that think the bands get paid first when they sign to a major. most bands leave majors in major debt. On the flipside should a label own the rights of a release that they advance recording, touring, promotional and numerous other cost's? Hell yes. Otherwise all labels would not for profit ventures.  I know most people here don't know anything me or my label. But we retain rights for 5 years, or until the album recoups, whichever comes later, and then revert it back to the band (if they want to). 
 
Also Fuck Absolute punk and the douche fucker that runs that place.
 
Like Scott said also, licencing original recordings from bands works out great for all parties involved as well. Especially nowadays. 

I am pretty sure he is talking about copeland who after aaron expressed having his own plans (which i messaged him multiple times on social media to run the reissue idea by him). I had already gotten the go ahead from the label at that point but regardless I backed off with no questions asked. I never got contacted by any lawyers at any point with any release. It takes a ton of work time and work to get a release full cleared and worked out so there are many releases in which i get label clearance and then approach the band about their involvement.
 
If a band who i contact expresses having their own re-issue in the works or do not want the album re-issued for whatever reason then I inform the label that I will be moving forward, and that is it. Many releases which still have yet to see a vinyl release or a reissue, which could have happened by ETR have not for that reason. I always try to do right by the artist, as i did by offering cartel copies at cost for this one which they were planning to do until the manager forgot to respond to me with their decision in which time, contracts with label were already signed and things in motion.
 
In my opinion, all of this was due to poor communication between band and management & the band responded in Feb 2013 saying "awesome and interested, speak to our manager..he is the one who handles these matters" and then sent me his contact which was the last contact i had direct with the band. But someone other than their manager responded to that message, unless their manager was responding in the 3rd person. I was also told by a few people that some interview where people outright stated "I heard ETR got the rights to chroma for a vinyl re-issue, how do you feel about that". I hinted on the VC board about getting the rights over a year ago so maybe it was from that but regards...it was something along those lines where I was specifically mentioned to Will.  Will responded saying "I know nothing about that or who etr is"      I never saw these interview until yesterday but if he that was asked specifically about this when why wouldn't he have asked the manager about it and/or contact me direct at that point.  I also contacted will on facebook direct with shows as being read, which i also mentioned yesterday but that is beside the point.  The fact that they are outright claiming that we had no prior knowledge of this, is my main issue because i made many efforts to bring it to their attention and work out a deal with them which would benefit everyone and be fair to them. I understand that it sucks not owning the rights to your music which is why i offered them copies at cost, but the reality is that the album is controlled by a major label and the band/manager outright told me that they would love to see a re-issue but cannot even get copies of chroma at wholesale from the label & they have no idea about how to obtain the rights. 

If you call and ask someone on a date, and they say yes... and you show up for that date and they don't... did you get stood up? I think so.

Based on Ross' "stellar" grammar skills and long, run-on paragraphs that are painful to read, how am I not surprised that there are communication issues with his releases...

That was a totally different situation. Ross was new to everyone at the time, was completely unproven as a record label owner and had no track record. He fucked up, and I think he'll willingly admit that. He's since put out dozens of records with all sorts of bands, active and broken up, big and small, and it's clear he's gotten better at what he does, because people continue to work with him and promote the product he creates.
 
Would I reissue something on vinyl without telling the band? No. But clearly, that's not what Ross did here. And the only reason people care is because it's 1)an active band and 2)someone who's easily reachable—aka not Music On Vinyl, 4 Men With Beards, Mobile Fidelity Sound Labs, etc. All of those companies buy the rights to releases all the time and reissue them with all sorts of bells and whistles, likely without the artist's involvement. Do you think those limited colored pressings Newbury Comics are doing are signed off on by the artist 100% of the time? Doubtful.
 
It's an artist's job to create art however they deem appropriate. It's a record company's job to sell that art however they deem appropriate. As someone who has nearly 15 years in "the industry," let me tell you that band members are typically the most out-of-the-loop people when it comes to their own careers, which is why they react emotionally and publicly to things like this instead of trying to politely and professionally get to the bottom of it behind the scenes. Such is the creative mind, I suppose.
 
I like Cartel. I like this record. I like Ross. I bought a copy, which puts money in Ross' pockets, who already put money into Cartel's pockets, because the licensing fee he paid to Epic most likely included royalties. There is no loser in this situation, except people who want to pretend they understand how the music industry works but have literally less than 1% of a clue.