The subject of vinyl reissues is a thorny one. I've stated
my ambivalence towards them before in these pages, but whatever their
shortcomings, there's no escaping the fact that, unless you have bottomless
pockets, seeking out original copies of every rare LP on your wishlist is a
non-starter. Thankfully there are small, independent labels offering us the
chance to get hold of albums (the originals of which were often released in miniscule quantities) in our favoured format, for twenty quid or less. Is it too
much to ask that these labels find good quality audio sources for their
reissues, put some effort into reproducing the original artwork, and pay the musicians their royalties?
One label whose name crops up regularly in debates over the
pros and cons of vinyl reissues is Akarma. Confusion reigns over whether Akarma
is a legitimate label, or a shady, money-grabbing enterprise dealing in pirate
pressings. Interestingly, Discogs doesn't list Akarma releases as unofficial,
but that shouldn't necessarily be taken as proof that the label is whiter than
white. From what I understand, because the label is based in Italy, where a
quirk of copyright law means that Akarma is not operating illegally by
reissuing LPs without the copyright holder's permission, the label is
'legitimate'. However, acting within the law
and being morally upstanding are not necessarily the same thing. There are
numerous reports of artists complaining that their albums have been re-released
without permission or remuneration of royalties. Sadly, the modest quantities
of product shifted by small, independent labels makes chasing them through the
courts financially unviable, particularly if they are based in another country.
To add to the uncertainty over the true nature of Akarma,
Discogs includes a label profile written by Jo-Ann Greene for GOLDMINE, May 12,
2006 (Vol 32. No 10 . Issue 673), which reads more like an Akarma press release
than an objective journalistic appraisal of the label. At no point in her piece
does Greene address the legitimacy of Akarma's releases or the sources that it
uses to master its reissues, preferring to give marketing manager, Guglielmo
Pizzinelli, a platform for a spot of unchallenged, self-serving PR.
In a typically gushing statement, Greene asserts that you
"can’t appreciate the beauty and the attention to detail involved until
you actually encounter Akarma vinyl," and that "the label has gained
as many high marks for art work as for the equally high-caliber remasterings,
with Akarma’s releases instantly identifiable by their sheer beauty
alone." I'm sure Pizzinelli couldn't
have said it any better himself. What a bunch of sycophantic guff! No wonder then that record buyers continue to
be confused about the legitimacy of Akarma's releases and the quality of their
pressings.
Perhaps it's unfair to single out Akarma for criticism, as
they are just one of the many players in the dubious reissues field,
particularly as, to their credit, the packaging on their LPs is often of a remarkable
quality: every nuance of the original artwork faithfully reproduced, right down
to textured sleeves and embossed lettering. They put more effort into providing
a desirable, tactile product than most of the major labels. It's
just a shame that the reproduction of the music rarely matches up to the
quality of the packaging.
Although I have every sympathy with musicians who find
themselves stiffed by record companies, as a record collector, my overriding
concern is for the quality of the product that is offered for sale. If the
major labels were more on the ball, and weren't so contemptuous of both artists
and customers, they could kill off dodgy reissue labels overnight by putting
out legitimate, high-quality pressings of the many obscure albums that music
fans are crying out for. A market clearly exists. Whether this would result in
a steady stream of royalties for the artists is doubtful, but at least the
record-buying public might get to hear reissues mastered from the original
analogue tapes or, at the very least, from hi-resolution digital files, instead of from dodgy CDs or via knackered vinyl needledrops.
Buying Akarma releases is a lottery: I own one or two that,
in the absence of an original pressing for comparison, are hard to fault;
others are borderline unlistenable. Which of Akarma's
releases is worth buying, and which should be avoided? With their large and
highly desirable catalogue, there's plenty of scope for chucking cash away on a
complete turkey. Please, if any owners of Akarma LPs are reading this and could take the time to leave a
comment about specific titles, this post might serve as a buyers' guide for the
label: a one-stop database for fellow vinyl enthusiasts interested in finding out about Akarma's mastering and pressing quality. I'll start the ball
rolling with details of the titles that I own. I hope you find it useful.
Arcadium - Breathe Awhile
Single, heavy card sleeve. A nice clean, quiet pressing, but cut 'hot', so it's a pretty shrill listening experience.
Bodkin - Bodkin
Single sleeve housed in an elaborate and utterly ludicrous six panel cardboard crucifix featuring a burning goat. Plays well enough, but the source used for the master is very noisy, especially on B1. I'd happily forego the over-the-top packaging in exchange for decent sound.
Buffalo - Only Want You For Your Body
Gatefold sleeve with lyric insert. Decent sound reproduction, if a little 'flat' and digital sounding.
Earth and Fire - Earth and Fire
Gatefold sleeve. Sound is very good, but a bit brittle and digital.
Felt - Felt
Single sleeve. The sound quality is great on this LP, but there is a noticeable wow on the second of the four tracks on side one. The stylus sits rocksteady in the groove, so I assume the wow originates in the playback of whatever source Akarma used. Shoddy!
Indian Summer - Indian Summer
Gatefold sleeve. Fantastic sound. If it's a digital source, Akarma have done a good job of warming it up for vinyl. There seems to be a slight bias in output to the left channel in parts. Recommended!
Leaf Hound - Growers of Mushroom
Gatefold sleeve. Decent sound reproduction, if a little 'flat' and digital.
Room - Pre-Flight
Single sleeve. Clear, dynamic, warm airy sound. If it's not from an analogue source then whoever transferred it from digital did an impressive job. Recommended!
Salem
Mass - Witch Burning
Textured single sleeve. Despite buying this new and sealed, my copy has noticeable distortion on A2 and A3, and the over all sound is a bit lean.
Still Life - Still Life
Gatefold sleeve. Nice clean pressing and convincingly fat and analogue-esque sound reproduction. Recommended!
Wizard - The Original Wizard
Textured single sleeve with textured band biog insert. Good clear, rich sound reproduction. Recommended!
Writing On The Wall - The Power of the Picts
Textured, silvered single sleeve. Nice, clean pressing. An enjoyable listen, but lacks the depth and warmth you'd expect from vinyl. A digital transfer no doubt! Cautiously recommended.
Zior - Zior
Gatefold sleeve. Sound repro is a bit 'hot' and 'toppy'.PLEASE share your experiences of Akarma vinyl. Thanks!
As someone who has worked for various legitimate, catalogue owning record labels, I can vouch for the fact that most of what Akarma do is either bootlegged or exploits various loopholes in Italian copyright law.
ReplyDeleteSure, there are some legitimately licensed titles - but not many and the business is full of aggrieved parties chasing royalties!
Look how difficult it is to track down and contact Akarma - I mean, what company legitimate company doesn't have some sort of online presence nowadays?
Crooks - pure and simple.
Your comments confirm what I suspected, in which case it's a shame that Discogs continues to legitimise Akarma by failing to flag their releases as unofficial. I reiterate my point though that 'legitimate, catalogue owning record labels' appear to have more interest in making a quick buck (endlessly repackaging the same handful of tried and tested 'classics'), than in dusting off overlooked music that deserves to be heard by a new audience. As custodians of this catalogue of recordings, I think the legitimate record labels have a duty to make it available. Their failure to do so (the logistics of finding master tapes / tracking down the original musicians aside) further reinforces the general view of record companies as cynical, exploitative, money-making enterprises, with scant interest in, or love for, music.
ReplyDeleteWell, if you are calling this label "a bunch of bottleggers", as you are above, then you shouldn't be able to carelessly declare "Buying Akarma releases is a lottery: I own one or two that".
ReplyDeleteYou simply should own none.
But no, the collector's fever is such that "first, I've got to have that release, no matter what", then "I can go online and slander the label".
How stupid, how inconsistent, how hypocritical...
Dear Don Draper, it must be wonderful living a blameless life up in your ivory tower. Despite your quotation marks, at no point in my article do I refer to Akarma as "a bunch of bottleggers" (I assume you meant 'bootleggers'), or slander the label. Rather, I invited other record collectors to share their knowledge of Akarma and the legitimacy of its releases so that we can all make informed choices. As I stated, Discogs considers the label legitimate, and the first comment above suggests that "there are some legitimately licensed titles", so there is clearly room for, and grounds for, debate. I fail to see inconsistency or hypocrisy in anything I have written here. As for stupidity and a cavalier attitude to slander, you may wish to look closer to home. I should add that all the Akarma titles I own were purchased prior to looking into the legitimacy of the label. Perhaps I should destroy them just in case they aren't legitimate releases. Or maybe you could ride in on your moral high-horse, make a citizen's arrest, and hand me into the appropriate authorities. One day I do hope to be a fine upstanding pillar of the community like your good self, but until then, please find it within your heart to forgive me: what was I thinking, buying records without first having their provenance investigated by a team of copyright lawyers. Shame on me.
ReplyDeleteI own a Hard Attack by Dust. The pressing is excellent in my view. I'm not experienced enough to comment on the source. But I'm 100% satisfied with my purchase
ReplyDeleteJerome
South Africa
Agreed the covers are beautifully crafted but the sound quality is patchy. I've got a few but haven't compared to originals owing to their ridiculous prices :-
ReplyDeleteBakerloo (Clem Clempson's band) sound quality quite good
Warhorse 1st not a great sound differing from.....
Red Sea Warhorse's follow up which I am pretty impressed with.
Same goes for May Blitz debut being less impressive than 2nd May.
Looking to get double vinyl of Quatermass. Anyone heard this one from Akarma?
Yes, Quatermass is available, on CD, I have a CD copy, excellent packaging, and in my opinion, it sounds great, for an Akarma release.
DeleteI have many records of this "ghostly" label. My opinion is that the label is perfectly legal. Look the booklet of Toad, for instance. The two Brothers owners with Vic Vergat. I assume a condition legal with the artist. When it is possible. In other cases, the recording or author can be as oscure, that not have contact. Moreover,bought Akarma records is like a "human acce $$" to many impossible records.
ReplyDeleteI have many records of this "ghostly" label. My opinion is that the label is perfectly legal. Look the booklet of Toad, for instance. The two Brothers owners with Vic Vergat. I assume a condition legal with the artist. When it is possible. In other cases, the recording or author can be as oscure, that not have contact. Moreover,bought Akarma records is like a "human acce $$" to many impossible records.
ReplyDeleteShould there be another persuasive post you can share next time, I’ll be surely waiting for it.
ReplyDeleteCopyright Infringement Lawyers
As a former member of the band Cressida, I can attest to the fact that despite several attempts to contact Akarma with regard to their "unauthorised" releases of the first two Cressida albums, they have never responded. They have never paid a single dime or lira in artists royalties to myself and fellow band-members, unlike labels such as Repertoire, Esoteric and Belle Antique, all of whom we have licensed our recordings to, and all of whom have paid us royalties. From this one can only conclude that Akarma are indeed 'bootleggers'. Further to that, Akarma also claim they own the copyright to some of the master recordings. This claim is entered by them in databases held by PROs (Performing Rights Organisations). Such a claim is patently false. They do not own any of the Cressida recordings and their releases are unauthorised. If you want to buy Cressida recordings, please buy them from the previous mentioned labels.
ReplyDeleteyou can talk as long as you like about the legality of the label, but until the big brothers pay attention to consumers, we will buy akarma, repertoise and other small reprints. the people vote with their money.
ReplyDeleteMay be late in a day but who ever come across this “ comment “ should read it as I know “ what I’m talking about “ ie have insider knowledge on the subject. Well for almost 100 years now recoding / publishing business has lotta issues that were dealt with , read that as still ongoing thing ....dealing with ! Now many of you , no matter how much you’re involved in music ie fans , collectors and such have to understand few points of music / publishing rights . Firstly countries/ regions have their own regulations . For example most European countries have through EU regulations adopted principle that publishing / copyright is valid for 50 years from the date first PUBLISHED ( it could be renewed only ONCE for additional 49 years but that is EXTREMELY COSTLY PROCES and only well of could afford it under “ extended copyright revised rule “ . Hence Beatles they’ve renewed their copyrights 2009 ONLY copyrighting DIGITAL REMASTERS OF 2009 . Which means any sound quality sources prior and excluding 2009 digital remaster © is in PUBLIC DOMAIN NOW ( it’ll take pages and pages to explain it !?) . Which means anyone who wants could release any of theirs albums but not BOOTLEGGING 2009 remasters ( confused ?) .
ReplyDeleteBuff of that . As far as Arkama is concerned and many others of similar MO , they operated ( seized to exist as Arkama ) within those “legitimate enough boundaries “ of music business. Many of their releases if you check carefully were more or less “obscure “ even for the time of original release. Thus many if not all never were “ PUBLISHED “ and copyrighted through publishing companies. Second : major labels even ENCOURAGED labels like Arkama to print their records / CDs etc . even supplying them with masters or second generation tapes through back door ( still making money out of it - too long to explain) . Also most of you’re not aware that majors : Sony ( all their labels ) , WEA , UMG etc are doing the same thing : BOOTLEGGING their “back catalogue “ although publishing licences have had expired 10-20-30 + years ago so they DO NOT HAVE REPRODUCTIVE PUBLISHING /. COMMERCIAL RIGHTS to those “ illegally pressed LPs/ CDs / downloads etc ( again too long to explain) . Major problems are : most of the artist in order to record / release their music were duped / forced or just plain stupid to SIGN AWAY / WAVE THEIR COPYRIGHTS AND ROYALTIES thus depriving themselves of fruits of their labour ( you can read now and then how many court cases were or are ongoing whereas artists are trying to regain their rights or part of it and due monies etc ) . There you have it . If you are after certain record in relevant format that lets say Arkama has offered go for it and believe me no one is going to “ cry “ about it , even those aggrieved artist actually like to see their music OUT again despite not having single cent out of it - heck they didn’t get their dues in the first place ..., first time around !
Good luck to y’all
Hi! Thanks for clearing this situation up, very useful to have such an insight.
DeleteHello! Does anybody know if Akarma still exist somehow? Looking for any contact to purchase rights for one track that they owned. Really need help! Sorry if I’m writing at the wrong place!
ReplyDelete+ 39 0187 777832
DeleteI own the Third Power and Brain Police Akarma pressings and they are actually packaged really well and sound pretty good, those ones I can at least recommend for pretty solid sound quality.
ReplyDeleteMaybe 20 years ago i spoke with a well respected record dealer at a big record fair in the UK who claimed to have had face-to-face professional dealings with one of the people behind Akarma in Italy back in the day. He said he came away from these experiences with the impression that the Akarma label may well have been a money laundering front for an un-named organised crime 'syndicate'. So convinced was he that 'wise guys' pulled the strings behind the scenes that he stopped doing business with the label & said he no longer worked the Italian record fairs in case he ran into them again.
ReplyDeleteHe didn't go into much detail beyond that, but while he was recounting this tale his body language was telling. His head was on the swivel, eyes darting & his voice lowered, leading me to the conclusion that, true or not, he was convinced of what he was teling me & was genuinely fearful.
Make of that what you will, but i suspect there was at least some truth to his story & it would certainly go a long way towards explaining many of the questions that surrounded this 'label' & how it was able to launch itself with a collectors fever dream of a catalogue, in high quality packaging & backed by enviable distribution whilst remaining a ghost in terms of all the usual things you'd expect of a normal physical day-to-day business.
If you're were involved with the big European record fairs in the 90's/'00's you may be able to deduce the identity of the person i spoke with. I believe he's now retired from that business, and i haven't run into him at any of the events for about 15 years. Perhaps someone might still be in contact with him, and if so it would be interesting to know if he'd now feel able to share his Akarma experiences for a wider audience in a public forum such as this.
Kev the Kollector
Almost got hooked on purchasing a copy of Big Star Radio City Limited to 300 for 50.00 plus shipping. Thank You
ReplyDeleteTwo weeks ago I bought May Blitz - May Blitz on Akarma from an online retailer. As usual, faithful artwork, and the usual struggle to get the album back into its sleeve, as all Akarma sleeves are just a little tight. However, the copy I purchased had countless small concave 'dimples' or small pits on both sides, predominantly on the last two tracks on both sides. As the seller is very conscientious and reliable, he sent me a second copy. Whereas with the first copy I put the defects down to a poor patch of vinyl, looking at its replacement (considerably worse) I now suspect badly worn or dirty acetates as the culprit. I'm going to risk a test play to see if the faults render the album unplayable, or just visually imperfect.
ReplyDeleteMy advice is avoid this reissue just incase you get one of this imperfect batch.