{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/8p5v699v0k/manifest","type":"Manifest","label":{"en":["From Blue Horizon to Saydisc: Independent Record Labels in the British Blues Revival"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Roberta Freund Schwartz (Presenter)"]}},{"label":{"en":["Date"]},"value":{"en":["2009-05-28 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eThe blues revival in Britain in the 1960s created a widespread demand for blues recordings; a 1964 Melody Maker survey revealed that 41 out of 100 beat and R\u0026amp;B record buyers occasionally purchased blues records. While major labels like Decca and Pye dominated the commercial market, their offerings focused on major urban blues and soul artists. The specialty market, dominated by connoisseurs interested in a wider variety of artists and eras, was underserved by the major labels, so committed blues lovers took matters into their own hands. This paper will survey the turbulent independent blues record scene in 1960s Britain, an ever-changing kaleidoscope of labels with colorful names, shadowy origins, lofty goals, and often surprising founders. Dozens of British musicians and collectors founded labels, licensing (or bootlegging) materials for reissue, importing 45s from the United States and reselling them in Britain, or recording new material for exclusive release. Many of these small concerns, reissuing rarities and recordings by artists outside the commercial mainstream, were labors of love rather than serious commercial enterprises. Their limited edition discs were marketed directly to their target audience, and label owners rarely did more than break even. Most only issued a handful of recordings, though in the process they revived the stalled careers of American blues singers, provided much needed income and support to older artists, and introduced Britain to a wider variety of blues.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eThe blues revival in Britain in the 1960s created a widespread demand for blues recordings; a 1964 Melody Maker survey revealed that 41 out of 100 beat and R\u0026amp;B record buyers occasionally purchased blues records. While major labels like Decca and Pye dominated the commercial market, their offerings focused on major urban blues and soul artists. The specialty market, dominated by connoisseurs interested in a wider variety of artists and eras, was underserved by the major labels, so committed blues lovers took matters into their own hands. This paper will survey the turbulent independent blues record scene in 1960s Britain, an ever-changing kaleidoscope of labels with colorful names, shadowy origins, lofty goals, and often surprising founders. Dozens of British musicians and collectors founded labels, licensing (or bootlegging) materials for reissue, importing 45s from the United States and reselling them in Britain, or recording new material for exclusive release. Many of these small concerns, reissuing rarities and recordings by artists outside the commercial mainstream, were labors of love rather than serious commercial enterprises. Their limited edition discs were marketed directly to their target audience, and label owners rarely did more than break even. Most only issued a handful of recordings, though in the process they revived the stalled careers of American blues singers, provided much needed income and support to older artists, and introduced Britain to a wider variety of blues.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128464/file/240075","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2009_Schwartz_audio.mp3"]},"duration":1906.79,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128464/file/240075/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128464/file/240075/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/240/075/original/ARSC_conf_2009_Schwartz_audio.mp3?1714698460","type":"Audio","format":"audio/mpeg","duration":1906.79,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128464/file/240075","metadata":[]}]}],"annotations":[]}]}