Albums that shouldn't be out of print...

Kim Wilde - Kim Wilde (s/t debut)

Is it just me or almost everything from the RAK label catalogue was erased from existence?

Bah!

The last time we had a similar thread on this subject I answered 'World of Echo' by Arthur Russell, which is still MIA and which by now can't possibly ever live up to my expectations for it.... I cld also use a CD reish of the 'Jazz Composer's Orchestra' alb.

Amen on Wanna Buy a Bridge.

Bedouin Ascent?

Also Double D & Steinski's Lessons series, all of it

AMG shows it's all been reissued.

Sensations Fix Fragments of Light [Italian prog with somewhat Frippish guitar--the track I heard was all instrumental, thank goodness]
Mars Everywhere Industrial Sabotage [relatively subdued progish fusion]
Tom Johnson Nine Bells
That Avengers album mentioned in the other thread
Sun Ra [well just about everything that isn't but I'm particularly interested in hearing} Strange Strings
Astro-Black Mythology
Fireside Chat with Lucifer [I think I might have that title wrong]
I wish Laurie Spiegel would give up her policy of only selling music in virtual form and reissue Music for an [the?] Expanding Universe

Two comps. were released in the US at the start of this decade, so while it's not proper albums, it's not too hard to find SM material.

all those '90s Interscope/Geffen albums by ex/future indiers like Sloan

Sloan's albums are available through their own label (they got the rights to the Geffen ones in the mid-1990s), so they'll probably never go out of print, and you never see the two Geffen ones for more than $8 Canadian in stores.

FOR THE LOVE OF GOD CAN SOMEONE REISSUE THAT!

On the contrary, I think it's deliberate.

Seems the strategy is to create a panic buy.

yeah FOMO

really nice to see the recent Zoviet France reissues, and the Vanity label catalog

I don't know that I buy that it's 100% deliberate. I mean, obviously, as pointed out in another thread, creating demand and artificial scarcity is business 101, but when a hyped box sells out before the release date even hits, doesn't that also show that the label is leaving money on the table? At that point the only people profiting on it are the flippers and secondhand sales on places like Discogs. Seems like running out that fast would merit at least one more run, if the demand is there, but I don't run a label so...

I'm more specifically talking about the labels that are, "nope, that's it, we're done", not so much the labels that follow up with additional pressings later after they've gauged demand.

Yeah, that mentality that every reissue is a Rhino Handmade.

I read a little chat with George Clanton (who runs his own label) about this sort of thing, he says it's pretty much impossible to figure out demand for vinyl. Some stuff sells out immediately and gets flipped for 4x the price, some get a flurry of orders right away but then will sell just 1-2 copies every week. He's pretty good with doing extra runs every time something gets sold out but idk how feasible that is for bigger labels. There's definitely this culture, especially with boutique labels like Light in the Attic, where if you don't preorder on Day 1 you miss your chance forever, and I'm sure the labels don't mind that exactly

the Richard & Linda Thompson box set that was sold out before it was released

I had no idea that sold out. I think with an elaborate boxed set for an artist like the Thompsons, who were never big sellers, the (reluctant) label has to be convinced to make it happen in the first place. They probably agree to do it along the lines of, "Fine, fine, we'll put it out, but since no one buys this stuff, we'll only press x copies." Then it sells out, but the label has no major incentive to repress. The profits that something like the Thompsons box generate for a major label are probably so minuscule as to be the equivalent of an accounting rounding error.

(Then again, the live Jam box that came out a few years ago also sold out quickly, wasn't repressed, and the Jam were huge in the UK.)

Ha I emailed george Clanton recently about doing another run of the Windows96 reissue they put out. He said they would like to but it’s a matter of getting the rights again or something

that thing sold out in like an hour or two

same with the I'll Try Living Like This repress, which I think really surprised him, since the original run on Orange Milk took a couple years to fully sell out. these were gone within like an hour and I think a lot of people were pissed because he didn't even have time to formally announce it before they were all spoken for. I think FOMO does play a huge role here, much easier to convince yourself to pull the trigger if you think you won't have the choice in a half hour

Oh yeah, FOMO is a big driver for sure. It's just aggravating to miss out on a limited window only to see, inevitably, six months later there are 18 copies popping up on eBay and Discogs, still shrink-wrapped and clearly bought specifically for flipping.

yeah it really annoyed me to see all those Hosono reissues sell out immediately and go for 3x the price. I feel like if you've been posting about the guy for a decade you deserve a shot at a copy, even if you didn't preorder.

Or, more aggravatingly, trying to find a out-of-print boxed set, and then the artist dies, and the same set is a couple hundred $ more than a week (or a day) earlier. Aretha Franklin's Take A Look was going for maybe $100-$175, but right after she died, it was (is) impossible to find for less than $350.

when a hyped box sells out before the release date even hits, doesn't that also show that the label is leaving money on the table? Seems like running out that fast would merit at least one more run, if the demand is there, but I don't run a label so...

― soaring skrrrtpeggios (jon /via/ chi 2.0)

Minimizing risk seems to take priority over maximizing profit these days. They need or want to sell everything pressed.
Especially those running smaller boutique or vanity labels who have to store their own stock, vs. labels whose unsold stock sits in a distributor's warehouse.
Fwiw I have spoken to artists who are very frustrated by this practice, and others who grudgingly accept it.

As you say the focus is not (and imo, should not be) on physical product

Yeah, that all makes sense, and I get it. My expectations adjust depending on the label, artist, etc. I have a little less understanding when a label like Universal blows it with something like that Thompson box set.

I hung around waiting for a copy of that Trees box set to appear as an Xmas present that had been ordered and supposedly sent to me. It never appeared. NOw just had to pay for a copy so hoping that is the end of the story.

I thought i got the audio for the Thompson box which had the late 70s lps by the couple then couldn't find it. Shame would love a copy cos I don't know that late 70s stuff between Pour Down Like Silver and Shoot Out The Lights. & that was a box that was getting publicity and reviews almost everywhere and Thompson is not exactly unknown either. So yeah what exactly gives like.

im sympathetic to risk-averse labels insofar as (ime) people saying "i would totally buy that" do not in fact always totally buy that

Oh, absolutely. I just hate to see buying new music turn into some sneaker drop thing where you have to be on the right website or see the right tweet at the exactly right time to snag a pre-order.

no yeah totally. as a consumer there can be this almost demeaning element to it. like yesterday i got a promo email from a label about a short run repressing of a recent-ish release i wanted , "COPIES IN STOCK, WILL SELL OUT!", i immediately followed the link and bought a copy, and while i'm excited to get this album theres also a weird gross feeling about like buying something on command

I am upset that I feel bad I missed out on the Deepchord - Lanterns limited repress. FOMO is a valuable tool. The same thing exists with boutique video game publishers; it's their entire business model.

I've been lucky enough to score a Grouper 7" that remains $75+ on discogs

On the other hand I've been had by the "X copies remaining" manipulative device on bandcamp and overpaid for an album or 2. Freaking FOMO.

I’m guessing they are in indie ownership rights limbo but I would figure there would be interest in getting those early Screaming Trees records into print again.

To me, Buzz Factory was my favorite one they did and it is crazy expensive on secondary markets as a cd and Lp at this point.

i saw copies of the first three SST Lps yesterday at a store- don't know how long they'll be available though

here it is-

https://sstsuperstore.com/products/screaming-trees-buzz-factory-lp

More than a few old Rhino Handmade releases, but especially T Bone Burnett - Proof Through the Night/Trap Door EPs