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X Factor Winner's Song


Jeanette

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Unfortunately Buckely will definitely not beat Alexandra to the top spot. When it comes down to it the Great British public would rather hear a slickly produced 3 minute ballad than Jeffs 7minute-ish version with largely instrumental sections and about 10 verses. But they're idiots.

That being said, I don't see why she has any less of a right to cover it than Jeff, even though its just a fucking horrible marketing gimmick to get an easy Number 1 out of.

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He has a face I'd never get tired of punching, the little Jamie Oliver's lovechild wank.

I would honestly pay good money to smack seven bells of shit out of that little cock smoking irish cunt.

I don't think anyone will ever make as much of an impact on me talent-wise off a show like this after Leona Lewis, she's got an amazing voice. Alexandra is third rate next to her. It was a pretty poor series on the whole where the more talented singers were given the boot by the public far too early on.

It's the right time of year for them to whip out a song like "Hallelujah" and Simon Cowell is a genius.

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The thing that annoys me now is that for the next 10 years the majority of the people will refer to Hallelujah as "that Alexandra from X-Factor's song", probably unaware that it's even a cover. I once dated a girl who liked Westlife (I'm not proud of it) and she loved their song "More Than Words". I almost punched her in the face with a copy of Pornograffiti taped round my fist when she didn't know it was a cover. As it happens I didn't have a copy of the album to hand so I just punched her anyway.

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The thing that annoys me now is that for the next 10 years the majority of the people will refer to Hallelujah as "that Alexandra from X-Factor's song", probably unaware that it's even a cover. I once dated a girl who liked Westlife (I'm not proud of it) and she loved their song "More Than Words". I almost punched her in the face with a copy of Pornograffiti taped round my fist when she didn't know it was a cover. As it happens I didn't have a copy of the album to hand so I just punched her anyway.

Well, I'm annoyed at all these people that refer to Hallelujah as Jeff Buckley's song. ;)

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The thing that annoys me now is that for the next 10 years the majority of the people will refer to Hallelujah as "that Alexandra from X-Factor's song", probably unaware that it's even a cover. I once dated a girl who liked Westlife (I'm not proud of it) and she loved their song "More Than Words". I almost punched her in the face with a copy of Pornograffiti taped round my fist when she didn't know it was a cover. As it happens I didn't have a copy of the album to hand so I just punched her anyway.

Westlife covered Extreme? I've never heard this or even knew it happened.

I love Pornograffiti. It's my ultimate guilty pleasure.

When I'm PRES-I-DEEEEEEENT!

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Guest Exposure @ Lemon Tree

I really despise X Factor and pretty much everything about it. Although I think if Louis Walsh wasn't on the programme I could stand it a bit better. Simon Cowell is generally brutally honest with the acts, and let's face it, what he's done with all these talent shows is nothing sort of genius - he is absolutely minted off of all of this shit.

I don't have a problem generally with people doing cover versions of songs, but bands like Westlife (another of Louis Walsh's shit acts...) who do pretty much exclusively covers of songs that a lot of the general public will never realise are covers does piss me off because there's absolutely no credit given to the original songwriter. I like hearing cover versions by bands when they're playing live or the Radio 1 Live Lounge type thing, where bands do "wacky" covers etc.

And, I've got to admit to watching the X Factor final, and actually being quietly impressed with the versions of Hallelujah. I thought the few times I've seen the show this year that JLS were totally wank, but their version of the song was quite good, as was Alexandra's. I actually think she's got an excellent voice, but she's still a fucking moron with all that crying. Beyonce must have wondered what she'd just walked into, what a complete tit.

I can't believe anyone can seriously have a go at anyone for covering Hallelujah! The first time I heard the song was sitting in the Belmont Cinema Cafe about 6 or 7 years ago when a fresh faced Steven Milne covered it, and I instantly loved the song. For ages I thought it was a Jeff Buckley original, which obviously it isn't.

Here's a funny story - on Sunday, I was chatting to my uneducated brother, who said and I (almost) quote:

"Aye, that song was pretty good.... it's off Shrek 3"

I'm not fucking kidding!!

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Westlife covered Extreme? I've never heard this or even knew it happened.

I love Pornograffiti. It's my ultimate guilty pleasure.

When I'm PRES-I-DEEEEEEENT!

YouTube - Westlife - More Than Words

Do not listen if easily offended.The bit at 1.40 makes me want to put my foot through the screen. I love that one of them is pretending to play the guitar as well.

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I heard some bird warbling her way a sugary version of Snow Patrol's "Run" on the radio today. No idea who it was but it was delivered with absolutely no heart or soul, made a really powerful song (imo) into just another soppy ballad. Further evidence of what a pile of unoriginal bollocks the charts really are at the moment. What's even more annoying is when the people that finished 3rd or 4th end up releasing shite tracks as well.

Twats the X-Factor / Pop Stars / Pop Idol / American Idol have inflicted on the world:

Will Young

Gareth Gates

Liberty-X

Hearsay

Michelle McManus

Rik Waller

Kelly Clarkson

Leona Lewis

Ray Quinn

Steve Brookstein

Leon Jackson

Same Difference

G4

Phixx

Girls Aloud

Javine

The Cheeky Girls

Darius

Andy Scott Lee

Shayne Ward

Chico

Journey South

The McDonald Brothers

Andy Abraham

I'm sure there are plenty more to add to the list.

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If the NME had any soul they would campaign for Lenny Cohen's version to get to No.1, the poor old guy is after all back on the road at the age of 74 to make some cash after getting ripped off by his ex-manager....however, if truth be told, his version isn't all that good....it's the most pointless campaign since Jade Goody's trip to India to prove she isn't a thick racist buffoon.

I didn't think Alexandra's version was too horrific in the grand scheme of things, she has a pretty good voice and is easy on the eye. Unfortunately any vocal ability will be lost in the dire X Factor processed pap she will be churning out from now on.

At least Eggnog Santa's helper didn't win, another Leon Thingummy would have been born, complete with the same shite step from side to side 'dancing' abilities.

Although I like Jeff Buckley, he wasn't wholly guilt free in the excessive and unecessary vocal warbling stakes, the 'Live at Bataclan' album proves this, it's quite unlistenable more than the once I found.

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I heard some bird warbling her way a sugary version of Snow Patrol's "Run" on the radio today. No idea who it was but it was delivered with absolutely no heart or soul, made a really powerful song (imo) into just another soppy ballad. Further evidence of what a pile of unoriginal bollocks the charts really are at the moment. What's even more annoying is when the people that finished 3rd or 4th end up releasing shite tracks as well.

Twats the X-Factor / Pop Stars / Pop Idol / American Idol have inflicted on the world:

Will Young

Gareth Gates

Liberty-X

Hearsay

Michelle McManus

Rik Waller

Kelly Clarkson

Leona Lewis

Ray Quinn

Steve Brookstein

Leon Jackson

Same Difference

G4

Phixx

Girls Aloud

Javine

The Cheeky Girls

Darius

Andy Scott Lee

Shayne Ward

Chico

Journey South

The McDonald Brothers

Andy Abraham

I'm sure there are plenty more to add to the list.

ha ha ha some names i haven't thought about in a long time! fucking hell some turnips in that list.

the version of 'run' is by leona lewis and i think its awful. i'm not a massive latter day snow patrol fan (prefer the first two albums) but 'run' is an incredible song and doesn't need a mariah carey/whitney houston wannabe warbling all over it. mind u i'm noticing cowell is shifting towards rock songs for his proteges, what next? the drugs don't work? fools gold?

the x factor was poor this year and to think a second rate version of leona lewis won it. even cowell is getting bored with it now, just going through the motions. i'd like to think these competitions are reaching their sell by date but the masses still want them apparently.

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Guest Exposure @ Lemon Tree
ha ha ha some names i haven't thought about in a long time! fucking hell some turnips in that list.

the version of 'run' is by leona lewis and i think its awful. i'm not a massive latter day snow patrol fan (prefer the first two albums) but 'run' is an incredible song and doesn't need a mariah carey/whitney houston wannabe warbling all over it. mind u i'm noticing cowell is shifting towards rock songs for his proteges, what next? the drugs don't work? fools gold?

the x factor was poor this year and to think a second rate version of leona lewis won it. even cowell is getting bored with it now, just going through the motions. i'd like to think these competitions are reaching their sell by date but the masses still want them apparently.

They are here to stay unfortunately. So long as people keep tuning in and voting each week in their millions. Apparently there were 8 million votes cast on Saturday night. That is incredible. And as long as people keep putting the winner to Xmas number 1, and the X factor tour keeps selling out, these shows will be here for a good few years yet.

It does my head in on a massive scale because people can't be arsed with "real" music a lot of the time, and aren't interested in checking out music magazines or music programmes, radio shows etc that tout the real new talent that's out there, let alone go and check out the Tunnels or Drummonds of an evening to see what live music they can find, but they'll happily sit through weeks on end of this drivel, and waste (and I mean "waste") their money paying through the nose for premium rate votes, and X factor albums/gig tickets etc, but they'll grudge 3 at the Tunnels (for example) for music that's a million times better probably for the sole reason that the artist isn't "famous". Well how "famous" are the people in Lucky's list?? Not very anymore. 15 minutes of fame, fucked over by Simon Cowell/Louis Walsh/insert name of any other number of similar cunts here, so that they can get rich off the back of producing some bland cover version at Xmas time etc etc.

The prize for winning the X Factor is a million pound record deal for a year, right? I don't know the ins and outs of what a million pound record deal is, but I'm guessing there's all sorts of costs etc come out of that million pounds, and the individual isn't an instant millionnaire?

Load of fucking bollocks, I hate X Factor.

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i was reading about the 'million pound' record deal and its far from that and there's all kinds of clauses in it, one states they're not allowed to slag off simon cowell!

also this is the way the yoof of today think is the way to become a mega star. cowell is a genius mind that i do agree with but nothing to do with music in a business money making sense! i admire the way he chased robson and jerome for a year trying to get them to sign a record contract!

it was bloody marvellous watching the peter kay piss take again last night.

'i havent heard as good a harmonies in 25 years since brother beyond'

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If the NME had any soul they would campaign for Lenny Cohen's version to get to No.1, the poor old guy is after all back on the road at the age of 74 to make some cash after getting ripped off by his ex-manager....however, if truth be told, his version isn't all that good.

The live version on his "More Best Of" album is good. I can honestly say I would rather listen to it than Buckley, although I can understand why people like it. I just love Leonard Cohen's voice. I'd listen to him sing the phone book.

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I'm not quite so sure that the X-Factor and other type shows are worth getting as worked up about as some here seem to be. Some people seem to forget that music is a matter of taste, there isn't anything "wrong" with people liking the music made by the contestants. Anyway all the shows do is make some easy populist entertainment for TV at the same time as finding the next top 40 act who we would end up with anyway.

Personally I'd prefer not to listen to either Snow Patrol's or Leona Lewis' version of run.

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They are here to stay unfortunately. So long as people keep tuning in and voting each week in their millions. Apparently there were 8 million votes cast on Saturday night. That is incredible. And as long as people keep putting the winner to Xmas number 1, and the X factor tour keeps selling out, these shows will be here for a good few years yet.

It does my head in on a massive scale because people can't be arsed with "real" music a lot of the time, and aren't interested in checking out music magazines or music programmes, radio shows etc that tout the real new talent that's out there, let alone go and check out the Tunnels or Drummonds of an evening to see what live music they can find, but they'll happily sit through weeks on end of this drivel, and waste (and I mean "waste") their money paying through the nose for premium rate votes, and X factor albums/gig tickets etc, but they'll grudge 3 at the Tunnels (for example) for music that's a million times better probably for the sole reason that the artist isn't "famous". Well how "famous" are the people in Lucky's list?? Not very anymore. 15 minutes of fame, fucked over by Simon Cowell/Louis Walsh/insert name of any other number of similar cunts here, so that they can get rich off the back of producing some bland cover version at Xmas time etc etc.

The prize for winning the X Factor is a million pound record deal for a year, right? I don't know the ins and outs of what a million pound record deal is, but I'm guessing there's all sorts of costs etc come out of that million pounds, and the individual isn't an instant millionnaire?

Load of fucking bollocks, I hate X Factor.

I can't remember where, it was possibly the BBC, but the other day there was an article about this. It stated that the winner only actually receives 150,000, but because more than a million is spent on them, they can justify the "1 MILLION RECORD DEAL" tag.

I'm pretty sure it was Cowell that said it too.

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I can't remember where, it was possibly the BBC, but the other day there was an article about this. It stated that the winner only actually receives 150,000, but because more than a million is spent on them, they can justify the "1 MILLION RECORD DEAL" tag.

I'm pretty sure it was Cowell that said it too.

Thought it would be something along those lines. Cowell generally seems fairly honest, and it wouldn't surprise me if he came out and said that in an interview because he's clever enough to know that the majority of wannabes won't even hear him saying that, all they'll hear is "1 MILLION RECORD DEAL" and "CHRISTMAS NO. 1" etc etc.

Fair play to Cowell really, he's making an absolute cunt of a lot of these people, and they think he's doing them a favour.

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I can't remember where, it was possibly the BBC, but the other day there was an article about this. It stated that the winner only actually receives 150,000, but because more than a million is spent on them, they can justify the "1 MILLION RECORD DEAL" tag.

I'm pretty sure it was Cowell that said it too.

That's the way record deals work though, the record companies LEND you some money, you have to pay all expenses AND pay them back the loan. This is normally quite tricky as well because the record company skims a pile of cash off the top of your earnings, then your manger skims 20+% off of what's left etc etc.

Still, 150K for a years work isn't shabby.

It's a pity Cowell will probably earn 50 times that when you take into account what he gets paid for the show, phone lines etc etc. It also wouldn't surprise me if these expenses include paying top dollar for recording studios, management companies etc that Cowell owns. Double ch-ching.

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The Problem With Music - by Steve Albini

Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying s**t. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless A&R guy at the other end, holding a fountain pen and a contract waiting to be signed.

Nobody can see what's printed on the contract. It's too far away, and besides, the s**t stench is making everybody's eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end. Two people arrive simultaneously and begin wrestling furiously, clawing each other and dunking each other under the s**t. Eventually, one of them capitulates, and there's only one contestant left. He reaches for the pen, but the Lackey says, "Actually, I think you need a little more development. Swim it again, please. Backstroke."

And he does, of course.

I. A&R Scouts

Every major label involved in the hunt for new bands now has on staff a high-profile point man, an "A&R" rep who can present a comfortable face to any prospective band. The initials stand for "Artist and Repertoire," because historically, the A&R staff would select artists to record music that they had also selected, out of an available pool of each. This is still the case, though not openly.

These guys are universally young [not much older than the bands being wooed], and nowadays they always have some obvious underground rock credibility flag they can wave. Lyle Preslar, former guitarist for Minor Threat, is one of them. Terry Tolkin, former New York independent booking agent and assistant manager at Touch and Go is one of them. Al Smith, former soundman at CBGB is one of them. Mike Gitter, former editor of XXX fanzine and contributor to Rip, Kerrang and other lowbrow rags is one of them. Many of the annoying turds who used to staff college radio stations are in their ranks as well.

There are several reasons A&R scouts are always young. The explanation usually copped-to is that the scout will be "hip" to the current musical "scene." A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences.

The A&R person is the first person to make contact with the band, and as such is the first person to promise them the moon. Who better to promise them the moon than an idealistic young bloke who expects to be calling the shots in a few years, and who has had no previous experience with a big record company. Hell, he's as naive as the band he's duping. When he tells them no one will interfere in their creative process, he probably even believes it.

When he sits down with the band for the first time, over a plate of pasta, he can tell them with all sincerity that when they sign with company X, they're really signing with him and he's on their side. Remember that great gig I saw you at in '95? Didn't we have a blast. These A&R guys are not allowed to write contracts. What they do is present their boss with a band they reccomend for the deal. They will however loosely state some terms, and confirm that the band will sign with the label once a contract has been agreed on.

II. There's This Band

There's this band. They're pretty ordinary, but they're also pretty good, so they've attracted some attention. They're signed to a moderate-sized "independent" label owned by a distribution company, and they have another two albums owed to the label.

They're a little ambitious. They'd like to get signed by a major label so they can have some security you know, get some good equipment, tour in a proper tour bus, nothing fancy, just a little reward for all the hard work.

To that end, they got a manager. He knows some of the label guys, and he can shop their next project to all the right people. He takes his cut, sure, but it's only 15%, and if he can get them signed then it's money well spent. Anyway, it doesn't cost them any thing if it doesn't work. 15% of nothing isn't much!

One day an A&R scout calls them, says he's "been following them for a while now," and when their manager mentioned them to him, it just "clicked." Would they like to meet with him about the possibility of working out a deal with his label? Wow. Big Break time.

The A&R guy was full of great ideas, even talked about using a name producer. Butch Vig is out of the question as he wants 100 g's and three points, but they can get Don Fleming for $30,000 plus three points. Even that's a little steep, so maybe they'll go with that guy who used to be in David Letterman's band. He only wants three points. Or they can have just anybody record it [like Warton Tiers, maybe cost you 5 or 10 grand] and have Andy Wallace remix it for 4 grand a track plus 2 points. It was a lot to think about.

Well, they like this guy and they trust him. Besides, they already signed the deal memo. He must have been serious about wanting them to sign. They break the news to their current label, and the label manager says he wants them to succeed, so they have his blessing. He will need to be compensated, of course, for the remaining albums left on their contract, but he'll work it out with the label himself. Sub Pop made millions from selling off Nirvana, and Twin Tone hasn't done bad either: 50 grand for the Babes and 60 grand for the Poster Children without having to sell a single additional record. It'll be something modest. The new label doesn't mind, so long as it's recoupable out of royalties.

Well, they get the final contract, and it's not quite what they expected. They figure it's better to be safe than sorry and they turn it over to a lawyer one who says he's experienced in entertainment law and he hammers out a few bugs. They're still not sure about it, but the lawyer says he's seen a lot of contracts, and theirs is pretty good. They'll be getting a great royalty: 13% [less a 10% packaging deduction]. Wasn't it Buffalo Tom that were only getting 12% less 10? Whatever.

The old label only wants 50 grand, and no points. Hell, Sub Pop got 3 points when they let Nirvana go. They're signed for four years, with options on each year, for a total of over a million dollars! That's a lot of money in any man's English. The first year's advance alone is $250,000. Just think about it, a quarter-million, just for being in a rock band!

Their manager thinks it's a great deal, especially the large advance. Besides, he knows a publishing company that will take the band on if they get signed, and even give them an advance of 20 grand, so they'll be making that money too. The manager says publishing is pretty mysterious, and nobody really knows where all the money comes from, but the lawyer can look that contract over too. Hell, it's free money.

Their booking agent is excited about the band signing to a major. He says they can maybe average $1,000 or $2,000 a night from now on. That's enough to justify a five week tour, and with tour support, they can use a proper crew, buy some good equipment and even get a tour bus! Buses are pretty expensive, but if you figure in the price of a hotel room for everybody in the band and crew, they're actually about the same cost. Some bands (like Therapy? and Sloan and Stereolab) use buses on their tours even when they're getting paid only a couple hundred bucks a night, and this tour should earn at least a grand or two every night. It'll be worth it. The band will be more comfortable and will play better.

The agent says a band on a major label can get a merchandising company to pay them an advance on t-shirt sales! Ridiculous! There's a gold mine here! The lawyer should look over the merchandising contract, just to be safe.

They get drunk at the signing party. Polaroids are taken and everybody looks thrilled. The label picked them up in a limo.

They decided to go with the producer who used to be in Letterman's band. He had these technicians come in and tune the drums for them and tweak their amps and guitars. He had a guy bring in a slew of expensive old vintage microphones. Boy, were they "warm." He even had a guy come in and check the phase of all the equipment in the control room! Boy, was he professional. He used a bunch of equipment on them and by the end of it, they all agreed that it sounded very "punchy," yet "warm."

All that hard work paid off. With the help of a video, the album went like hotcakes! They sold a quarter million copies!

Here is the maths that will explain just how f**ked they are:

These figures are representative of amounts that appear in record contracts daily. There's no need to mess around with the figures to make the scenario look bad, since real-life examples more than abound. Income is underlined, expenses are not.

Advance: $250,000

Manager's cut: $37,500

Legal fees: $10,000

Recording Budget: $150,000

Producer's advance: $50,000

Studio fee: $52,500

Drums, Amps, and Phase "Doctors": $3,000

Recording tape: $8,000

Equipment rental: $5,000

Cartage and Transportation: $5,000

Lodgings while in studio: $10,000

Catering: $3,000

Mastering: $10,000

Tape copies, reference CDs, & misc expenses: $2,000

Video budget: $30,000

Cameras: $8,000

Crew: $5,000

Processing and transfers: $3,000

Offline: $2,000

Online editing: $3,000

Catering: $1,000

Stage and construction: $3,000

Copies, couriers, transportation: $2,000

Director's fee: $3,000

Album Artwork: $5,000

Promotional photo shoot and duplication: $2,000

Band fund: $15,000

New fancy drum kit: $5,000

New fancy guitars x 2: $3,000

New fancy guitar amps x 2: $4,000

New fancy potato-shaped bass guitar: $1,000

New fancy bass amp: $1,000

Rehearsal space rental: $500

Big blowout party for their friends: $500

Tour expense (5 weeks): $50,875

Bus: $25,000

Crew x 3: $7,500

Food and per diems: $7,875

Fuel: $3,000

Consumable supplies: $3,500

Wardrobe: $1,000

Promotion: $3,000

Tour gross income: $50,000

Agent s cut: $7,500

Manager's cut: $7,500

Merchandising advance: $20,000

Manager's cut: $3,000

Lawyer's fee: $1,000

Publishing advance: $20,000

Manager's cut: $3,000

Lawyer's fee: $1,000

Record sales: 250,000 X $12 = $3,000,000 gross retail revenue Royalty (13% of 90% of retail): $351,000

Less advance: $250,000

Producer's points: (3% less $50,000 advance) $40,000

Promotional budget: $25,000

Recoupable buyout from previous label: $50,000

Net royalty: (-$14,000)

Worth pointing out here that none of the money from selling records actually comes to the band, it all comes into the record companies bank account.

Record company income:

Gross income: $1,625,000 (Record wholesale price $6.50 x 250,000)

Artist Royalties: $351,000

Deficit from royalties: $14,000

Manufacturing, packaging and distribution: $550,000 ($2.20 per record)

Gross profit: $710,000

The Balance Sheet: This is how much each player got paid at the end of the game.

Record company: $710,000

Producer: $90,000

Manager: $51,000

Studio: $52,500

Previous label: $50,000

Agent: $7,500

Lawyer: $12,000

Band member (net) income each: $4,031.25

The band is now 1/4 of the way through its contract, has made the music industry more than 3 millon dollars richer, but still owes the label $14,000. The band members have each earned about 1/3 as much as they would working in a shop, but hey, they got to ride in a tour bus for a month!

The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never "recouped," the band will have no leverage, and will oblige.

The next tour will be about the same, except the merchandising advance will have already been paid, and the band, strangely enough, won't have earned any royalties from their t-shirts yet. Maybe the t-shirt guys have figured out how to count money like record company guys.

Some of the bands you & your friends admire are probably this f**ked too!

By Steve Albini

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