11/28/2023 0 Comments Yep roc records phone numberIt’s different, but I have to say, we’re big enough that it’s pretty seamless. His focus and concentration right now is the international side of the business, working on relationships with all the different digital partners, physical distributors, and marketing people in the international community. We talk on the phone at least once a week, so there’s a constant dialogue going on. How has Tor’s relocation to Berlin affected your working relationship? You and Tor Hansen started Yep Roc out of a basement decades ago. It’s probably three-to-one, for every three developing new artists, we probably sign one legacy type artist. It just so happens that the legacy artists continue to put out records. We’ve probably signed more new artists than we do legacy artists. We’ve brought on people like The Stray Birds, Jeremy & the Harlequins. Mandolin Orange is one of our best-selling artists. But when it comes to younger artists, some of our biggest-selling artists are on that up-and-coming level. We never had anything like that happen before, so that was an odd one. That was just a bad situation in general. Is it fair to say that it’s been a challenge signing younger acts? I’m thinking of the Major and Monbacks debacle, where you had to cut ties with a promising band because of its racist name. Yep Roc has a reputation as a legacy label. And eventually, it also gave us confidence that we could do the job. That enabled us to get into places like Tower Records and Borders back in the day. They didn’t have any money to spend on marketing, so it was really helpful for us to reinvest our money into marketing, which is what the big chain accounts expected from us. And you can also lead the charge with some of those things, whether it be experimenting in new marketplaces and formats, or sometimes you have to lead the way in terms of marketing as well.Ī lot of the people we worked with at first were just individual artists. It’s been an important part of our model from the get-go: having the ability to have your own content, your own records that nobody can take away from you. How important has Redeye been to your success? Younger acts probably have way more vinyl, while an artist that’s been around for a while is a little more on the CD side. For us, the physical side is still pretty strong close to forty percent vinyl and maybe sixty percent CDs. The digital side has been strong for awhile, but its obviously changed from downloads to streaming. I’d think your revenue pie must have undergone a major shift. The best of INDY Week’s fiercely independent journalism about the Triangle delivered straight to your inbox. Glenn Dicker spoke with us from New York about changes that have occurred since Yep Roc 15, the “legacy label” label, and the continued glories of owning a successful record company. When it celebrates twenty years of existence in a weekend that includes two nights at the Cradle and a free outdoor show in Hillsborough, where the company is currently located, the stages will feature many of the impressive names that continue to grace the Yep Roc roster, including Nick Lowe, Mandolin Orange, Dave and Phil Alvin, Tift Merritt, Tony Joe White, Dressy Bessy, and the Fleshtones. Dedicated to no genre and guided solely by the tastes of its founders, Yep Roc has risen from modest beginnings to the status of a proven winner, flourishing while others fade away. In 1997, Glenn Dicker was the head of his own small label, Upstart Records, and Tor Hansen was the owner of a new distribution company called Redeye when these two old friends ended up in North Carolina and decided to launch Yep Roc Records.
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