Page 15 - Effable Encounters

Krud

of newcomers and unknowns. The majority of such gambles failed,
with losses pre-calculated to apply against other profits, reducing
taxable income. Torn Limbs had catapulted Krud’s music into a larger
arena of attention, whose broad outer regions overlapped the
mainstream. It was time to seize the reins and drive the fatted golden
calf to market.
“I’ve been discussing the sessions with Lennie Bumpers and some
of his people. He has a lot of good ideas to run by you.”
Lazaretto extracted the revised scores and lyrics from his bag.
Schacht exhaled at length and stared above and beyond Vince.
“Oh, he’s full of all sorts of crap, but a good technician. I will of
course call on him when needed, you know that. Or have you
something else in mind?”
Vince, having judged candor the best policy in dealing with Krud,
kept the friendly look on his face and said, “Well, yes, as a matter of
fact. Squirt is ready to gamble a lot on your next album, and we want
to be sure it’s really dynamite.”
Krud scowled and stubbed out the cigarette on the dressing table.
“I suppose I knew this was coming sooner or later. I thought we had
a good working relationship, Vince: I make the music, you put it out
on disc.”
“Right, of course. What do I know about music? I’m a fat, balding,
middle-aged capitalist with elevator shoes and too much jewelry. But
I do know that you’re going to grow as an artist. Nobody remains
static in this business; your own experiences as a performer are going
to change your outlook. Making a few bucks has got to affect the
way you look at life. Dealing with people like me is bound to give you
a new attitude toward your fellow human beings. All I’m trying to do
is keep up with your changes, and help you make the transition to a
new level of achievement.”
Shel Schacht laughed, and broke down wheezing.
“Cut the crap, Vince; it’s not like you. You’re here in the capacity
of hatchet man for the accountants and blue-noses that run the music
business—let me see those notes. Running Sore is like a concept
album, you know; I might go along with a few background tracks of
strings or girl gospel-group choruses, but you can’t screw with my
basic concept.”

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