We’re Only in it for the Funny

Do artists even make these albums anymore? At least years ago, when I was more tuned into the major record label status of big artists, there were sure signs that an artist was nearing the end of a long-term contract. A hastily compiled album of lesser material, often packaged on the cheap, would be rushed to market with little fanfare. The Contractual Obligation Album (COA) might be loaded with cover songs or padded out with live tracks. I believe an entire live album was a pretty cheap way to fulfill a contract as well. The artist wouldn’t do much press for the album, or what interviews were granted centered on how excited they were for their next album.

I’m not sure if Greatest Hits and Best of collections could count toward an artist’s fulfilling a contractual obligation, but I believe to this day they still serve as the old label’s last shot at making a few bucks off the departing artist. Does anyone know the ins and outs of these deals? Too bad Links Linkerson keeps himself in the basement and can’t send us some Billboard links to fill in the details.

The Way Contractual Obligation Albums Were Meant to Sound!

Some contractual obligation albums were outright “F-U” affairs: F-U to the old label, F-U to the buyers, F-U to the coming Greatest Hits/Best of repackaging options. Lou Reed‘s Metal Machine Music is reported to have been one of those F-U COAs, maybe the most brazen of them all.

I wonder what artist has cranked out the most COAs? Do you have a favorite COA, one that works despite – or because of – its tossed-off nature?
Continue reading »

Who knew this one required a special tuning?

“It seeps in like osmosis…”