บท 536: High and low

George Slender was feeling a sense of concern, not because the recording results were subpar, quite the opposite, but because they were almost too exceptional. Renly had completed recordings for sixteen songs, each one a masterpiece, leaving George enraptured and unable to let go. In George's eyes, "Don Quixote" had the potential to surpass Norah Jones's debut album "Come Away with Me", becoming one of the most remarkable albums of the 21st century.

However, such an exceptional album implied a lack of marketability.

When Norah finished recording "Come Away with Me" back in the day, she was full of hope, but almost no record company was willing to touch this hot potato. Few believed in the album's sales potential. It took nearly a year of bouncing around before it was finally released by two independent record companies and made it to market.

However, "Come Away with Me" had abysmal sales, only circulating among seasoned music enthusiasts, confirming industry insiders' speculations.

Later on, the Grammys proved to be astute. They not only awarded Norah eight trophies, tying Michael Jackson's record for most awards in a single year but also swept all four major categories.

Originally, "Come Away with Me" had the lowest sales among the Grammy nominees for the four major categories. However, after the awards ceremony, the Grammy effect took hold, doubling the album's cumulative sales in just a week. In other words, the number of albums sold in a week equaled the sales of the past ten months.

Afterward, with the passage of time, "Come Away with Me" gradually became one of the most outstanding albums in the 21st century, with total sales surpassing eight million copies, making it one of the highest-selling albums.

Back in 2002, it had only been a few years since the last boom in the music market of the 1990s. Even then, it was challenging. What's more, it was now 2011. Not every album could replicate the miracle of "Come Away with Me", and not every excellent album could earn the recognition of the Grammys.

Niche appeal was a significant challenge in any era, and in the age of fast-food culture dominating the internet, it was even more so. The excellence of "Don Quixote" was, ironically, its fatal constraint.

Although cruel and absurd, this was the reality. What sold well was not necessarily the best, and the best did not necessarily sell well. The market was evolving to become more entertaining, popular, and straightforward.

During this time, George had been actively reaching out to major record companies, including the Big Five and independent labels. He had contacted seventeen record companies in total, expanding his network to the utmost, but the results were meager.

Even the small British record companies known for producing avant-garde and experimental music needed to reconsider. After all, their distribution channels were effective, but cost recovery was naturally more challenging. Compared to albums produced domestically in the United States, they were more inclined to support artists with underground music backgrounds.

"Fast 5" had been a box office hit, something George initially dismissed, but his mind raced, hoping to seize this opportunity to find the right collaborator for "Don Quixote". The results were still less than satisfactory. In the end, Renly's foundation was not solid. Despite the current popularity, it was essentially a bubble.

Abraham Grey was George's first contact and his last hope.

Abraham worked for Atlantic Records, initially as a record producer and later transitioning into the role of a production director. He now oversaw the record department, making him the key figure steering Atlantic Records' overall style and album direction.

When it came to Atlantic Records, industry insiders were well aware of its significance. This was the company that propelled the rise of rhythm and blues. It was also the company that signed Aretha Franklin, not only molding her into the greatest soul diva in American music but also ushering soul music into its golden era. And, it was the company that signed Led Zeppelin, considered a cornerstone of the rock era.

Though Atlantic Records had been acquired by Warner Music, they still maintained their independent creative spirit. Compared to other record companies, Atlantic Records, as a top-tier label, consistently exhibited a fervent passion for independent music and artistic creation, which was truly commendable. In the 21st century, Bruno Mars was an artist created by Atlantic Records, and, of course, there was Ed Sheeran, whom George had previously introduced.

In Ed's case, Abraham had swiftly and decisively signed him. Ed's debut single was set to release in the UK the following week, and Atlantic Records wanted to gauge the market's response before deciding on the album's release date.

Ed's music blended various styles, including pop, folk, soul, and hip-hop. It wasn't the mainstream style of the current market, but it still aligned more with the tastes of contemporary young people, offering a relatively clear market outlook. However, Renly's album was unconventional, boldly venturing into uncharted territory, with a unique style that almost seemed to deliberately avoid all the key factors of mainstream marketability. Renly was wholeheartedly pursuing musical and artistic breakthroughs.

In fact, Renly's approach was even more audacious than "Come Away with Me". Back then, Norah had only been involved in the production of three out of the fourteen songs on her entire album. The artistic direction of the album had been jointly controlled by Jessie Harris and a few other producers. But "Don Quixote" was almost entirely created by Renly in terms of artistic composition.

For such an album, anyone would be anxious. In today's market environment, it was almost a guaranteed failure. Even the boost of a top-tier superstar like Johnny Depp might not be effective, let alone someone like Renly Hall, a relatively unknown figure.

Abraham was no exception. He could sign Ed Sheeran but couldn't sign Renly Hall, even if it was just for a single album like "Don Quixote".

When George approached him earlier, he mentioned the songs "Cleopatra" and "Ophelia", and then brought up this album. Abraham conducted market research and analysis, repeatedly listened to the three singles Renly had released so far, but ultimately, he lacked the decisive courage to make a final judgment.

After listening to the live recording in the studio today, George couldn't help but feel a mixture of awe and regret. He marveled at Renly's deep understanding and interpretation of music, a talent that others could only dream of possessing. Yet, he also lamented the harsh reality that Abraham Grey, more than anyone else, knew well: an album like this would face an uphill battle in the market. Over the years, even the Grammys had begun to compromise with the market, losing the courage they had displayed a decade ago when they honored "Come Away with Me". The path was now blocked.

Amidst these sighs and reflections, Abraham expressed that the young man was being reckless, and he had no choice but to reluctantly decline. Deep down, he felt a greater sense of regret than anyone else, and he understood George's ambitions and ideals. The more he understood, the more profound his regret became, yet his refusal only grew firmer. Because this was a dream destined to remain unfulfilled.

Though the reality was cruel, it couldn't be denied.

"Producing a commercial album is not difficult, but creating an artistic album is far from simple. Anyone can make a commercial album, but not everyone can make an artistic one." A voice rang out, and both Abraham and George looked up, following the sound. Then the two exchanged a glance, and Abraham noticed the confusion in George's eyes, evidently unsure of what was happening.

Roy felt the gaze of the two and took a moment to compose himself, organizing his thoughts. He continued, "Indeed, in today's market environment, producing an artistic album is like making an art film; it's destined to be a loss. For businessmen, no one wants to incur losses, and no one knowingly goes into something knowing they'll lose money. But for artists, they cannot give up their pursuit of art."

"The reason is simple. If no one makes art, there will be no one to continue doing so in the future. If there's no pursuit and dedication to art, the future might see all movies becoming "Transformers", and all music becoming electronic beats." Roy's words flowed rapidly, but his thoughts were crystal clear, like a machine gun, fast and accurate, pouring out a wealth of information. "It's not that "Transformers" or electronic dance music is bad; in fact, I really like "Transformers", and I'm eagerly awaiting the upcoming release. But when the entire market is saturated with such works, it becomes a disaster."

"What we need to encourage is not increasingly obscure and risky artistic endeavors, nor abandoning commercial considerations in artistic pursuits. What we need is a diverse market where everyone can thrive. So, while everyone is making commercial albums, who will make the artistic ones? Those record labels that truly have a long-term vision and genuine artistic value."

At this point, Roy didn't continue, and his gaze settled on Abraham. The implication was clear: yes, it's you, it's your record company.

Abraham was momentarily taken aback by Roy's torrent of words. He hadn't expected this turn of events. Finally, when he found an opening, a smile involuntarily appeared on his face.

The logic was understood by all, but reality didn't always work that way. Atlantic Records could take risks, but they couldn't gamble. Ed Sheeran was a risk, but Renly Hall was a gamble. Balancing art and commerce was a pursuit shared by many, but not everyone had the confidence, capital, determination, and ability to achieve it. Not even the Oscars and the Grammys could achieve it, let alone Atlantic Records.

Abraham opened his mouth, preparing to discuss the matter further with Roy. He wasn't unwilling; he was simply unable.

But before he could speak, someone else chimed in, "I think this album is quite interesting. I wonder if Renly would be interested in entrusting our studio to release it?"

It wasn't Abraham, it wasn't George, but the person sitting farthest inside on the couch, the one who had remained silent from start to finish, almost overlooked by everyone.