More Lewis Taylor
 Bob
Just got your Letter for the day and was happy to hear that Lewis Taylor struck that deep-down chord with you. He did the same to me, so much so that I started a record company just so I could release his music in America. Honestly. We put out Stoned in 2005 and The Lost Album (which "Hide Your Heart Away" is from) this past January.
The critical response to Stoned was overwhelming (Rolling Stone "Artist To Watch", USA Today four-star review, Entertainment Weekly’s "Must List", three NY Times features, endless blog-love, etc.), and KCRW championed the record to the point that it was the #1 record there for nearly 3 months. We even had him play live on Conan the night before his sold-out American debut at the Bowery Ballroom (he also did sets for WFUV, World Café and Sirius Disorder that week). Unfortunately, that was the last bit of promo Lewis would do for the album and the heat quickly cooled.
The Lost Album came out a few months ago to similarly rapturous reviews but it’s had zero effect on sales. If you ever need proof that press alone can’t sell albums, I’ll gladly show you a stack of glowing "drop what you’re doing and buy this album" reviews that barely moved the needle.
Just to clarify, it sounded from your letter as if you think "Hide Your Heart Away" was a vintage recording. It was actually made in 2004. "Lovelight," from Stoned, is from 2001.
I’m happy to speak to you (in confidence) about this incredible music and the incredibly twisted tales behind our attempts to expose people to it, but either way I really hope you listen to both of these albums. You’ll be floored as I was, I have no doubt of that. I’m attaching a link to Ernest Hardy’s review of the Lost Album from the LA Weekly a couple of months back. It’s typical of the reaction we get to his music.
We’re distributed by Rhino, who I know you have a close association with (I actually met you years ago when I worked there) so next time you’re there, grab a copy. Otherwise, we’re in Venice and you’re more than welcome to stop by and pick one up.
Cheers and thanks for the enthusiasm,
David Gorman
www.hacktone.comTHE LA WEEKLY PROFILE:
www.laweekly.com/music/music/lets-get-lost/15854/
Dear Bob,
Eighteen months ago, our services were engaged by Hacktone to spread the good word on this amazing artist and "Stoned," his (then) newly released album.
To this end, we did our best to secure appropriate exposure including national TV (he made his U.S. debut on Conan) and radio — he did a live broadcast on KCRW from the UK. This was a no-brainer in light of the fact that the record was the station’s most played and most requested album for three months.
Print coverage included not only USA Today (circulation 3 million +), noted in your piece, but also Entertainment Weekly, Billboard, MOJO, Blender, Rolling Stone and numerous major market dailies including the Boston Globe, Atlanta Journal Constitution, Dallas Morning News and the New York Times where Lewis was reviewed, referenced or otherwise mentioned (album review, performance preview feature, performance review) at least three times during the course of January, ’06. Right here at home, the LA Weekly called it "one of the finest albums of the year" and, not to be outdone, the Village Voice named it the album of the year. Rest assured, we didn’t neglect the web as popmatters.com championed the album calling it "spectacular."
I’m delighted that you’ve discovered Lewis Taylor at long last. In some way, it validates our efforts to let the world know about this very special artist and his brilliant music. I’m only sad that you didn’t get with the program earlier. I’d love to know what you think we should have done that we didn’t to get your attention on this earlier. As Randy Newman sang, "Maybe I’m Doing It Wrong," but in this case, I don’t think that’s a conclusion that many would draw.
All the best,
Bob
Bob Merlis/MFH
I got 75 e-mails about Lewis Taylor, singing his praises, with HOSANNAS! You’d think this is the new Elton John.
Actually, Elton himself endorsed Taylor,
but STILL his records didn’t sell.
What does that tell us? A LOT!
There are too many marketing messages. We’re on overload. We’ve tuned them out. To the point where we trust no outlet other than our friends. And only those friends we believe have tastes similar to ours.
If Bob Merlis was on the case, I’m sure I’ve got a CD somewhere in the house, his follow-through is great. But what would have motivated me to PLAY the damn album? Certainly not the reviews. Like I’m gonna trust a reviewer in the LA WEEKLY?
I might trust the reviewer in the "Wall Street Journal", since they write for an erudite audience. Then again, when Barry Mazor hyped the usual suspect, Lucinda Williams, I didn’t jump up to play the album either. So, he’s a fan. I don’t know him!
I think Dave Gorman is right, print is dead. Because the writers are just like today’s acts. Completely untrustworthy. There’s no Jon Landau writing for some credible magazine, never mind John Mendelssohn or Lester Bangs. No one you can follow, whose taste you divine and align yourself with. If some hack went to see the Springsteen of today and said he saw the future of music, he’d be lucky if the audience SHRUGGED!
Media is oppressive. And the Net is not much better. There are a million writers on Pitchfork, and no rhyme or reason why one album is good, and another bad. And there are ENDLESS reviews. New albums every day. How is someone supposed to KEEP UP!
I’ll clue you in, WE’RE NOT!
It used to be a badge of honor in this business to know every record. To study "Billboard" and be aware of every scene. Anybody who says they’ve got that ability, that knowledge today, is LYING! There’s just TOO MUCH INFORMATION!
So, you can harangue us. Try to convince us with saturation marketing. But that can’t be working too well. All that hype and Paul McCartney can only sell 160,000 odd albums? The hype must have slid off most people’s shoulders. Unless you’re involved in acts of bestiality on the side of the road, we’re just not paying attention.
So, you’ve got to motivate the fan base. Your mailing list is the most important marketing tool you’ve got. You can’t dun these people into submission. You’ve got to give them tools they can use. To help spread the word. You’ve got to let them know you appreciate their belief.
Really, don’t focus on converting new people. That’s like making blind sales calls. Just fan the flames of what you’ve already got.
If you’ve read the "Tipping Point", you know there are some connectors in the 75 people who e-mailed me. The key is empowering those ONE or TWO dudes. Because those people know everybody, can reach everybody. You’ve just got to reach THEM, and have them believe and spread the word. Convincing someone who talks to no one, or is too shy to push something on somebody else, is just a waste of fucking time. In other words, you’ve got to find the rabid people on your list, and SET THEM FREE! Not by paying them, just by giving them access to the shows, to the act. That’s all they want. Have the act stay at their house, let the fan feed them and you’ll own the fan FOR LIFE!
Meanwhile, what kind of fucked up exposure system do we have here in America. What kind of fucked up radio that Robbie Williams’ cover of Lewis Taylor’s "Lovelight" couldn’t get an OUNCE of traction.
Then again, EMI didn’t even bother to RELEASE "Rudebox" in America.
They tried overhyping him. How about UNDERHYPING him. His take on "Lovelight" has got more sex than anything Justin T. brings to the party. I’d tell you to watch the video, but it represents everything that’s WRONG with Robbie. Whoever shot this should be shot, he eviscerates any credibility Robbie Williams might have.
Still, you can hear the track… And you SHOULD!
We hate Robbie Williams in America because of the overhype.
But if they sold from the bottom up, with just the track…
"Lovelight" truly brings sexy back, it makes you move sinuously, not in a herky-jerky fashion. It’s not solely about the beat. People WANT to hear this, WANT to dance to this. But by pushing Robbie down America’s throat, we almost can’t sell ANYTHING he does.
The music business is in turmoil. Because all the old systems have calcified and if not dead, are on their last legs.
There IS no radio format for so much good music. And that and the endless commercials have caused people to tune out. But labels who only know how to do it the old way only want to sign what radio DOES play. Giving the impression that music sucks, for adventure is not rewarded whatsoever. And with the usual filters gone to shit, the public has given up, just tried to evade the shitstorm.
There’s stuff bubbling up. But that’s exactly what it’s doing, bubbling up. From the bottom. Top down marketing no longer works for music, if it works for ANYTHING!
