The Day the Music Burned

The list of destroyed single and album masters takes in titles by dozens of legendary artists, a genre-spanning who’s who of 20th- and 21st-century popular music. It includes recordings by Benny Goodman, Cab Calloway, the Andrews Sisters, the Ink Spots, the Mills Brothers, Lionel Hampton, Ray Charles, Sister Rosetta Tharpe, Clara Ward, Sammy Davis Jr., Les Paul, Fats Domino, Big Mama Thornton, Burl Ives, the Weavers, Kitty Wells, Ernest Tubb, Lefty Frizzell, Loretta Lynn, George Jones, Merle Haggard, Bobby (Blue) Bland, B.B. King, Ike Turner, the Four Tops, Quincy Jones, Burt Bacharach, Joan Baez, Neil Diamond, Sonny and Cher, the Mamas and the Papas, Joni Mitchell, Captain Beefheart, Cat Stevens, the Carpenters, Gladys Knight and the Pips, Al Green, the Flying Burrito Brothers, Elton John, Lynyrd Skynyrd, Eric Clapton, Jimmy Buffett, the Eagles, Don Henley, Aerosmith, Steely Dan, Iggy Pop, Rufus and Chaka Khan, Barry White, Patti LaBelle, Yoko Ono, Tom Petty and the Heartbreakers, the Police, Sting, George Strait, Steve Earle, R.E.M., Janet Jackson, Eric B. and Rakim, New Edition, Bobby Brown, Guns N’ Roses, Queen Latifah, Mary J. Blige, Sonic Youth, No Doubt, Nine Inch Nails, Snoop Dogg, Nirvana, Soundgarden, Hole, Beck, Sheryl Crow, Tupac Shakur, Eminem, 50 Cent and the Roots.

Then there are masters for largely forgotten artists that were stored in the vault: tens of thousands of gospel, blues, jazz, country, soul, disco, pop, easy listening, classical, comedy and spoken-word records that may now exist only as written entries in discographies.

Today Universal Music Group is a Goliath, by far the world’s biggest record company, with soaring revenues bolstered by a boom in streaming music and a market share nearly double that of its closest competitor, Sony Music Entertainment. Last year, Vivendi announced a plan to sell up to 50 percent of UMG. The sale is the talk of the music business; rumored potential buyers include Apple, Amazon and the Chinese conglomerate Alibaba. The price tag is expected to be hefty: In January, Deutsche Bank raised its valuation of UMG to more than $33 billion.

The label’s dominance rests in large part on its roster of current chart toppers — stars like Drake, Taylor Swift and Ariana Grande. But UMG’s reputation is also based on the great swaths of music history it owns, a canon that includes Frank Sinatra, the Beatles, Queen and many more artists and labels whose catalogs came under the UMG umbrella during decades of acquisition and consolidation. A key part of that legacy — the originals of some of the company’s most culturally significant assets — went up in smoke in 2008.

The vault fire was not, as UMG suggested, a minor mishap, a matter of a few tapes stuck in a musty warehouse. It was the biggest disaster in the history of the music business. UMG’s internal assessment of the event stands in contrast to its public statements. In a document prepared for a March 2009 “Vault Loss Meeting,” the company described the damage in apocalyptic terms. “The West Coast Vault perished, in its entirety,” the document read. “Lost in the fire was, undoubtedly, a huge musical heritage.”

Article source: https://www.nytimes.com/2019/06/11/magazine/universal-fire-master-recordings.html?emc=rss&partner=rss