I didn’t know much about the industry at the time, but these days it seems artists are getting a lot buzz before they’ve come out with a proper album and can tour on that early successful buzz. That’s what I thought of when I was reading your story; you had a lot of singles that were getting some pick-up, and you would get the chance to record an album and then that opportunity fell through. It seems like before there was the major crossover for African American artists the industry was much more competitive. Looking at how the industry works now, have things changed that much for new artists?
I think the record industry today is virtually unrecognizable to anyone my age unless they’re, like, Clive Davis. My manager once introduced me to Billy Eckstine, who had a record on the charts for the first time in his twenty-year career. Whereas today you can sing for thirteen weeks and be on the cover of Vogue. The children have taken over! It’s just like the children running the house.
People are becoming successful based on nothing, but it doesn’t seem like there’s a long shelf life for them.
Oh, no, they’re almost disposable. And I think that the thing that keeps me from being terrified of them; I know that they are disposable, and that none of them are going to run up against me way late at night in a little small joint where there’s nothing but a baby grand piano. So those two things keep me sane.
I was so excited to talk to Bettye LaVette about her new memoir, A Woman Like Me. She’s sassy and fun as hell, and she dropped some truthbombs about how the record industry works (and threw some obvious shade at an unnamed chanteuse). Read it here!