lifeblood: listlogs: 2000v03n086-news


ig-news-digest         thursday, may 18 2000         volume 03 : number 086


today's subjects:
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  [ig-news] amy interview        [parker vollmer <parker@luminarstudios.com>]
  [ig-news] free limited edition jayhawks/indigo girls track!  ["neil :o)" <]
  [ig-news] creative loafing article        [sherlyn koo <sherlyn@fl.net.au>]


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date: wed, 17 may 2000 12:13:08 -0700
from: parker vollmer <parker@luminarstudios.com>
subject: [ig-news] amy interview


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.  i'll forward the interview
along in a minute...]


interview with amy in this week's charlotte creative loafing:


http://www.musicmanic.com/reportage/reportage.asp?id=525


parker

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date: wed, 17 may 2000 10:53:05 -0400
from: "neil :o)" <neil@andineil.com>
subject: [ig-news] free limited edition jayhawks/indigo girls track!


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.]


you guys are getting slower up the uptake. don't all rush at once now -
there better be a copy left for me or i'll pout.


http://the-ird.com/coupon.html


beginning may 9th, bring this coupon into any ird store to receive a free
limited edition copy of "the jayhawks - live selections from the columbia
records radio hour". (while supplies last, offer ends 5/31/00, no purchase
is necessary.)


taken from the columbia records radio hour, april 4, 2000 at doppler studios
in atlanta, ga. this disc contains live versions of "i'm gonna make you love
me" (featuring special guests the indigo girls) and "what led me to this
town", both of which are on the new album smile (in-stores now), as well as
"waiting for the sun" from the 1992 album hollywood town hall.


indicated got mailed out to the participants yesterday. boot trees should be
announced soon (i screwed up somewhat so there's a slight change of plan).


@}--,--'--

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------------------------------


date: thu, 18 may 2000 09:09:00 +1000 (est)
from: sherlyn koo <sherlyn@fl.net.au>
subject: [ig-news] creative loafing article


hey folks,


here's the creative loafing article which was mentioned
earlier...


- -sherlyn

- ---begin article---
daemon records: beating the odds
tim c. davis / creative loafing, charlotte
5/12/00 4:24:32 pm


maybe you've never heard of daemon records. it's understandable -
some things about them are sort of unheard of in this day and age.
they're a not-for-profit label.they put out a remarkably varied
catalogue of music, from hip hop to trip hop to folk to punk. they
have their artists help out in the office whenever they're in town
(and most of them are - the label is based in atlanta suburb
decatur). they put on free-or-awful-darn-close showcases so local
high school kids can see these acts in a cool club and learn that
there is life outside of mtv and the narrow constraints of the fm
dial. the part of daemon you probably have heard of is amy ray,
one half of the indigo girls and daemon records' founder.


ray formed the label in the summer of 1989, one year after the
indigo girls signed to sony music. one year later, daemon released
its first record, the ellen james society's reluctantly we.


"when me and emily were putting records out, i didn't think about
it," ray says."i just thought about us and our own records. we
were part of a greater scene where everybody put their own records
out. no one had to have a label for everybody else, because
everyone was already doing it.


"but after we got signed, i started looking around and realizing
that there were a lot of friends of mine who hadn't done stuff
that i thought needed to, and i had money. also, it was this need
i had that i didn't want to be divorced from the underground
world. i wanted to keep my foot in that world that i was so used
to."


ray originally was involved in every aspect of the company, from
making phone calls to designing the label.


"i drew the logo myself - the animal head was like this idea of
unfettered freedom, a gut instinct kind of thing.  the human feet
was about being rooted in your community. i was reading this book
called the gift, i think, and it was about art and commerce and
how your daemon was your gift (actually called the gift:
imagination and the erotic life of property, by lewis hyde). and
that's what i wanted the label to be."


most of the acts in the atlanta area do help out all they can,
from licking envelopes to filing papers. what makes a theory or
idea a gift is its presentation to the world at large, and ray
knew from experience that it was essential to be self-sufficient
as a community, much less as individuals or a record label.


"i knew from my own experience with the indigo girls that doing
our own mailing and booking gave us a lot more confidence going
down the path with record labels. it meant we had less of a
chance of getting taken advantage of by the labels because we
had educated ourselves. and i want (our) artists to learn that,
and also want them to feel a certain investment in what they're
doing and understand how much work goes into it. a lot of times
the people in the bands don't realize how much work the people
who work for me are doing. they might complain or whatever, and
i'll ask them to come work for a few hours, so they can see what
goes on. it's for a lot of different reasons. and our bands don't
just do work for their own releases or shows, either. if we have
a big mailing, we might call the guys in justin hale or ph
balance to come over and help out and have a big mailing party,"
she laughs.


ray says her artists come to her from time to time for advice on
a recording project or upcoming show. while happy to help in any
way she can, often they get more than they bargain for.


"sometimes they get mad at me for giving too much advice," she
laughs. "artists will come to me as friends, which a lot of the
people on the label are, like danielle howle, for instance. some
aren't even on my label anymore, but we still work together,
maybe do songwriters' nights and stuff. they come and will ask
me for hints on booking a show, and occasionally i'll call and
try to help out where i can. a lot of times it's just me saying,
'you're not going to get anywhere unless you tour.' that's the
only thing i think i ever say! you've got to go on the road. i
know they get sick of it, but it's the only way to succeed right
now on an indie level is to play. if you're not playing, nothing
i can do will help. i can't do a national radio and retail
campaign that's going to compete with what a major might do for
their artist. i've had bands that did really well at college
radio but didn't sell any records. you have to create a demand,
and a relationship with the music community at large."


you have to have an audience, she continues. "our most successful
bands tour the most. it's just a corollary that's there. whenever
i have a band that's frustrated with me that they're not doing
better, i pull the numbers of the bands that are touring. and
they usually get the point."


forming a diverse not-for-profit label in the midst of an
alternative rock signing frenzy was an inauspicious debut for
daemon, who have now released dozens of records that have found
an eager audience below the radar of popular radio. yet, even as
daemon continues to grow, releasing critically acclaimed acts
from artists like the rockateens, three finger cowboy, and rose
polenzani, ray says her (and the label's) job isn't getting any
easier.


"it's harder now in a lot of ways than it was 10 years ago," she
says. "one way it's easier is with the internet, which is a great
resource. there's a great infrastructure in place, and if you
learn about it, you can do really well.


"but we've had to turn to that more and more because we can't
compete in the classic sense. all the stores are chains now, all
the radio stations are owned by the same people, the clubs, heck,
the promoters are owned by the same people," she laughs. "it's
just unbelievable. when we first started, we had some offers from
companies, and some asked if we wanted to be a subsidiary, and i
pretty much said that i wasn't interested. now it's obvious who we
are as a label, and i think i'm so eclectic and not interested in
numbers that i don't think i'm very attractive to a major or
somebody wanting to merge.


"there's a lot of labels that function this way, where people come
in and help out and everybody does what they can to make it work,"
she continues. "a lot of them started as the label for the
particular band so they could release their own stuff, and they're
used to doing their own work. it's a little different for me
because i'm not putting my own records out. what i really want is
to help build a supportive community for our musicians.


"i want these artists on the label to feel like it's their own
label."


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end of ig-news-digest v3 #86
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