Day 1, album #3?

[Nicicarus]

Good News: new music only 4 months away. maybe a single before then?

Also, is Haley the only season 10 alum with 3 albums? Maybe Casey has 3, too? She was the standout of her season; her career will have the most success and longevity I can already tell.

[Miguel]

Scotty put out two albums and a Christmas album. I would call that three albums, but Wikipedia notes he was due to put out a "third studio album" and that a single for it was released in August 2015 only to have him part ways with his label in Feb 2016.

Lauren is still with her original label and releasing a second album. But she had vocal cord surgery and family issues between the two releases.

James Durbin released two records under Wind-up records but fans were disappointed the second album strayed from "metal" music. He self-released a Christmas EP in 2015. And plans on self-releasing a third album - "Riot on Sunset" - this July.

I think Casey released on album under Concord and plans on self-releasing a second one within a couple of months.

In terms of sales, Scotty has been the most successful. I think Haley has the most current buzz. Thanks mostly to PMJ.

I am hopeful that Concord (assuming she's signed with them) will build off of that. I see her creating an album that includes familiar songs in their catalog from the 1960s as well as some originals. Then, once they've introduced Haley to a wider audience, they follow that with a second album of all original music (that's how I would approach it -- a two-album deal).

[Tusk]

haleyreinhart
Pops ain't the only one on the new record! I got my rockstar mummy sangin background vocals on many a tracks! Feels incredible spending quality time & working with her out in LA. I'm honored to have her powerful voice that has guided me through my life, now interweave and leave ever lasting impressions on these songs. I will continue to bring it full circle Ma and thanks again for bringing me into this world of sonic brilliance. ??Shot by: @lightstonpix #whatsthatsound

[Miguel]

That's a really nice shot of them both. A great keepsake for them.

And possibly part of a press kit that talks about Haley's musical roots?

[dswim2]

Patti looks incredible in that picture!

[cherelann]

Patti looks incredible in that picture!

I remember seeing a picture of Patti when she was closer to Haley's age and she was a stunner when she was younger. She seems to be aging like a fine wine...the Reinhart family seems to be blessed with both talent and good genes.

[Tusk]

grahna
Hanging with one of my favorites in the whole wide world, @haleyreinhart at the legendary @villagestudios - working on her upcoming 3rd album. Very exciting indeed

---

I recently tweeted Haley a documentary about Rumours 40th Anniversary, which she liked... Village Studios is where half of Fleetwood Mac, Lyndsey Buckingham and Christine McVie are recording a new album, same place 40 years ago, Fleetwood Mac recorded "Tusk", Fleetwood Mac's follow up album to Rumours #FullCircle

A day at the Village — how L.A.'s legendary record studio cleaned up its act and survived the YouTube age

It’s more than fate that has brought Lindsey Buckingham and Christine McVie to Studio D, the recording suite inside this one-time Masonic temple. It is history.

“It’s almost eerie, you know?” Buckingham says. “Almost too familiar in a strange way… A time warp. You walk into the bathroom, the tiles are the same. Everything.”

“Stopped in time,” echoes McVie, sitting on a couch next to him.

Buckingham and McVie, together to make their first duet album after decades of Fleetwood Mac collaborations, have returned to the Village Recorder, now called Village Studios, the same place where four decades ago they made their 1979 double album “Tusk.”

(I really do swear I used the tag "Tusk" in High School way before I even knew of Haley and her love of elephants )

Within these walls, so much enduring music has been put to tape, a lot of it celebrated through gold records on the walls of its many hallways. The space seems to hum with history.

Bob Dylan’s “Forever Young,” Heart’s “Barracuda,” Aaliyah’s “Are You That Somebody” and much of Steely Dan’s classics were recorded or mixed here. The Smashing Pumpkins’ Billy Corgan holed up at the Village to build “Mellon Collie and the Infinite Sadness.” Both the Red Hot Chili Peppers’ “Californication” and the music for Showtime’s David Duchovny TV series of the same name were made at the studio.

Few of the millions of commuters zipping by on the 405 a few blocks to the east know that the film scores for “Toy Story,” “Cars” and “WALL-E” were set to tape (or hard drive) here.

Soundtracks for Whitney Houston’s “The Bodyguard,” “Dirty Dancing,” “Moulin Rouge” and many more moved through these mixing boards. T Bone Burnett regularly uses the place, doing the scores for “O Brother, Where Art Thou?” and “Crazy Heart” here. The Band and Martin Scorsese worked on “The Last Waltz” under this roof.

---

haleyreinhart
#moodymonday #recordsfordaze #retrofresh #whatsyourfav? #whatsthatsound? #better #listenup! #currentlyfinishingoverdubs

Rachel and Avelene found it's someone else's photo.... I was wondering about the tattoo on the left wrist

[Miguel]

Pleasantly surprised to hear Haley's still at the studio.

Looking up info about studio time, I found this testimony (related to the Mechanical Royalty Rate) from 2006 by the president and CEO of Concord before the "Copyright Royalty Judges."

It basically says recording companies spend a lot more on production and promotion than publishing companies.

Record companies make enormous investments in finding and developing new musical talent and producing records. We have an artists and repertoire ("A&R") staff that manages our existing artist rosters and actively searches for new recording artists. Once we have signed an artist, the process of making an album begins. This often involves our A&R staff working with the artist to develop the concept for the album and identifying songs that are appropriate to the artist's style. Concord must arrange and pay for studio time, equipment, sound engineers, musicians, arrangers, and often a producer to create the initial studio recordings and then edit, mix and master the music to create the final, high-quality sound for release. We also design album cover artwork and produce additional content, such as video content, that are associated with the album release. Most of the time, we also have to pay an advance to the recording artist. Our overall cost of producing an album can be anywhere from $ __ to $ __ , with many of our albums requiring a production investment of $ __

They redacted the dollar amounts, but the last "production investment" cited seemed quite a bit longer than the others.

Even great songs and great recordings don't make money for their creators unless they connect with an audience... Our costs of promoting a release are usually much more than our costs of production.

Most publishers have an A&R function associated with signing writers and sometimes producing demos of their songs. However, artists are more often "discovered" by record companies and then sign publishing deals than vice versa. And the costs of producing the occasional songwriter demo pale in comparison to the costs of producing high-quality commercial recordings.

Publishers have a limited marketing function - typically marketing songs to producers of motion pictures, television programs and advertisements. But publishers don't invest in branding their composers through expensive consumer advertising. When is the last time anyone saw a television commercial for a hot songwriter? At one time, decades ago, music publishers were actively involved in promoting songs to record companies. However, in most genres today, those efforts so seldom pay off that we do not do much of that, and I am reasonably sue that, outside of Nashville, other publishers do not either. In fact, I can say with certainty that, as a very active record company engaged in the production of numerous new recordings per year, we rarely get calls from publishers suggesting songs to be included in those productions. As a result, where record companies have huge promotional costs, publishers have very little.

Music publishers have some costs of administration, but the staff necessary to grant and administer licenses is a fraction of that required on the recorded music side to create and promote new recordings.

In our role as a publisher, I do not need to worry about the success of particular recordings. Our publishing business incurs only a small administrative cost to license use of a musical work in a recording, and we get paid from the very first record sold. As a publisher, we like to see recordings of our songs succeed, because it is recordings that give commercial life to songs. When recordings succeed, we see bigger mechanical royalty checks, as well as meaningful performance royalties, and have a better chance of licensing synch uses in motion pictures, television programs and advertising and even selling sheet music. But our publishing business suffers no loss from the failure of a recording of one of its songs, because our publishing business does not incur the costs of recording and distributing songs.

https://www.loc.gov/crb/proceedings/2006...mended.pdf

---

Rachel and Avelene found it's someone else's photo

It's been used by many others too. Hard to figure out the original source.

[john]

Tusk Wrote:
Rachel and Avelene found it's someone else's photo

^ Stoned Immaculate is a clothing store with lots of "vintage" clothes
Fits the 60s concept

[Tusk]

Ole has a Grammy event tonight, wonder if Haley's there?

[img]olemajorlyindieHappy to have @rustygaston of @this_music_nashville with us! #olegrammyevent #redcarpet #nashvilleinla #oleallday[/img]