by Bobby Bridger*

    *Voting Member of the National Association of Recording Arts and Sciences since 2000 (AKA: NARAS & “The Grammy’s”)

In 1978, after eleven years of artistic success, fleeting fame, frustration and turmoil in the recording industry, I retreated to the “Big Bend” of the Rio Grande in the Texas/Mexico border regions of the Chihuahuan Desert. There, in the badlands of Terlingua, Texas I contemplated the next steps I would take in life. I certainly could not see myself continuing in the “traditional” record business.

In spite of the many wonderful people and talented artists I had met in the business, I had learned in Nashville, LA, New York and Austin that the “industry” was basically corrupt from top to bottom. Even those who aspired to create something new, or different were by necessity locked into distribution relationships with the major record labels if they intended to market their art to a global community. And as a young man with a major label contract in Nashville I had also watched the “big boy labels” and near-criminal record distributor’s either gobble up or bully any upstart independent label into numbed submission within “the system.”

By my mid-twenties I had watched my idealism slip through the cracks with major record deals with Monument and Nugget Records and two failed RCA albums, and, in doing so, become increasingly jaded and cynical about even being able to create art within the given structure of the recording industry. As the famous maverick entertainment lawyer, Leonard M. Marks put it in an address to a 1990 South by Southwest conference of attorneys, “ no other aspect of the entertainment industry is so well-designed for greedy, immoral old men to take advantage of idealistic youthful artists than that of the recording industry. Does the actor have to pay the studio to be in their film? Does the novelist have to pay for the books printed by the publishing house? Only in the record business is the artist held responsible for the cost of creating and manufacturing his work.”  I would suggest that my friend Leonard should have included in his remarks that the record label executives charge artists for the creation of their art while also dictating how the artist creates while indenturing himself to the company.

To put it bluntly, I had been through the record industry wringer and fled to the desert to lick my wounds. By 1980, however, I had decided to return to making records on my own terms. During my retreat to the desert I had written a veiled concept album I called Heal In The Wisdom. I decided to return to Nashville to “heal” my relationship with master studio guitarist, songwriter and record producer, Fred Carter, Jr. Fred and I have never to this day, after a 36 year relationship ever had an argument; but after a first brush with success in the country music business with Fred's guidence, I had left Nashville for Austin in 1970.  Fred had been my first mentor in the record business; he had taught me the best things about the science of making records. From the beginning of our relationship we had planned for the day when I would produce my own records. When I fledged the nest and flew to Hollywood and Texas, I felt I always knew that one day I would return to co-produce a project with my teacher. I felt that the entire purpose of Heal In The Wisdom should be to heal my relationships with the earth, my family, friends and associates.

Upon returning to Nashville to record I had decided that I would create an independent record label to release my own artistic efforts in the recording studio. In meditation in the simplicity of the Chichuachuan Desert I had become reacquainted with the idea that we live in a state of abundance. I came to believe that miracles and blessings as numerous as the stars surround us constantly waiting to empower us when we can recognize them. In the desert I came to believe that we are all the proverbial “golden egg”; essentially a genderless, infinitely powerful vessel divinely impregnated to become whatever we can imagine. So with hopes of hatching some miracles, I decided that I would name my record label Golden Egg Records.

When creating the logo for the label I remembered what Fred had taught me about having an independent record label. He suggested to always have a little “color” in the actual record label to prevent pirates from being able to cheaply copy and bootleg my records. With Fred’s advice in mind, I put the colors of the rainbow spectrum in the shape of futuristic, mythic wings on the side of a golden egg.

So I hope that in the future Golden Egg Records will be able to grow into a truly independent label. I feel release of a CD of Heal In The Wisdom in 1998 and the release of a  four-disc set of my epic trilogy, A Ballad of the West, on compact disc in January, 2001 ushered in a new era for the record label. This is especially true given the fact that our society has only recently experienced technology’s “Big Bang”  - the explosion of the Internet. Already, the way we create, market, distribute and deliver entertainment has changed dramatically. The introduction of MP3 technology has revolutionized the record industry, for the first time in history allowing artists unfettered access to the global market. As “devices” such as portable phones with connections with the Internet impact culture, the technology’s impact on the entertainment industry will only grow.

I have had a website now since 1998. In 2000 www.bbridger.com introduced electronic sales of products and started selling my CDs, and books over the web. In just two years websales of product has surpassed sales of product at personal appearances.

We are busy preparing Golden Egg Records and Tapes to enter this new age of technology. We intend to be distributing my art as well as the art of other creative people via the Internet in the very near future. We have already joined with Kiva Records of Fort Collins, Colorado to release Australian folklorist/storyteller Paul Taylor’s Walkabout. We also intend to expand our scope and add the creation and distribution of video projects to Golden Egg Records  in the very near future.

 

 

 

 

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2013 HOT News

New Bridger Recording
the news is here

Bridger interviewed and performs for documentary film to be part of an exhibition at the Smithsonian's National Museum of the American Indian.
Find out more here.

Bobby's Calendar is Updated for 2013
show dates here

Bridger's song, 'The Horse and the Man' used in new documentary film
check out the film site

Bridger is Centenary College of Louisiana's resident "Attaway Fellow" for the fall, 2013 semester. learn more

Bridger hangs two exhibition paintings at the Dixie Theater in Ruston, Louisiana and at Centenary College of Louisiana in Shreveport. learn more