Extinction

When the "dinosaur" acts become extinct, so will a large aspect of the touring business. The Rolling Stones, The Who, The Eagles, Madonna and Streisand are a few acts that generate huge revenues for managers, agents and promoters - and have exorbitantly high ticket prices. Others that fall into the high touring revenue category that aren't quite dinosaurs, such as U2 or Celine Dion, aren't spring chickens either. Other legacy artists who have more of mid-range priced ticket such as Clapton, Springsteen, Rod Stewart and Bob Seger aren't going to be working forever. When all these types of artists stop working (and it will happen), the business will be greatly affected.

A lot of these artists aren't guaranteed sell outs anymore. There is a lot of papering going on and there are a lot of prime tickets being sold by the promoters directly to scalpers, I mean "ticket brokers", to maximize potential profits. The artists and promoters are raping the public for every last drop because they see the train coming off the tracks sooner rather than later. Oh, and there is nothing like all these additional fees tacked on to the ticket price which generate hundreds of millions of dollars for all involved.

There is no band or artist from the past 15 years that appears to be on the path of being able to command huge guarantees 20-30 years after the initial period when they broke into the big time. There are many reasons for this. One major reason being that the record labels stopped developing talent and stopped nurturing bands.

They went for the quick buck and started pushing talentless crap that would have 15 minutes of fame. This has created a lot of problems for the labels and one of them which is rarely discussed is that all these acts with no depth and musical talent will have no lasting catalogue sales for the labels. Where as now they have Springsteen, Miles Davis, The Beach Boys, David Bowie, etc which represent catalogues that consistently move solid numbers, the current musical landscape does not boast a lot of potential artists that will be a return investment for the labels.

This directly affects touring. The "dinosaur" acts are legacy artists and they represent a lot of the catalogue artists referenced above. They are artists that created a large core fan base, but that also have enough cross-over hits to generate solid ticket sales to casual consumers as well.

Who is going to command $150-$350 ticket sales in 15 years from the current generation of mainstream artists? Green Day? Maroon 5? No Doubt? Beyonce? Nickelback? Fergie? Linkin Park? Korn? Tool? Timbaland? Avril Lavigne? Amy Winehouse? Eminem? Justin Timberlake? Maybe Carrie Underwood or Michael Buble?

A solid selling album doesn't mean s**t anymore. The public moves on. Alanis Morrissette released one of the epic albums of the mid-90's and she is having trouble filling theatres. Certainly she has more artistic credibility and talent than a handful of the current stars I just referenced. Will they suffer the same fate in the next 10 years? Even if one or two doesn't, will they be able to fill arenas around the world over the course of a year charging over $100 a ticket? Does anyone think that is a possibility? Some of the best non-dinosaur live acts in the world right now such as Pearl Jam and Radiohead (who no longer sell large quantities of records) have ticket prices hovering in the $50 range in the prime of their careers. Will they be such a draw in 20 years that they can rip off the consumer by tripling their ticket prices? Doubtful.

So when The Rolling Stones finally call it a day, Townshend decides he can't take touring under The Who banner any longer, Babs finally "really" retires, etc etc etc - the touring business will be f**ked unless somehow, some amazingly talented artists come along that touch the hearts and souls of millions with their music on a consistent basis for at least a decade. Then maybe, the touring industry will have a product they can overprice and sell to the public.

There is still good music out there. And there are a handful of artists that will have enough of a fan base to work for many years to come and make a nice living doing it. But the days of stadium tours at $100+ a ticket with $1 Million guarantees for an act that is 30 years old is coming to an end. How will all the greedy executives in the concert business react? Like the greedy executives in the record business that are desperately holding on to an outdated business model? Hey, it is the entertainment business, why not live in Fantasy Land for as long as possible? Time will tell. But in 10-15 years, the concert business that is known today will be like what the record labels were 10 years ago; a distant memory.

Archives

For decades, Neil Young has been working on his "archives" project. There have been a few times that I recall a serious release date was being considered and then of course, the date came and went. Finally, the fall of 2007 was supposed to be the one for "Archives Volume 1" with a list of some of the content being announced in some press releases.

In typical fashion, the release date is now February 2008. This newly revised date may be real. Why did it get pushed back again? Well, one can assume artwork delays, mastering or even late song additions. Certainly Warner Brothers would have preferred to issue a large and expensive box set of Neil's archives during the 4th quarter of the year to capitalize on the holiday shopping season.

The real bummer here is that Neil is releasing a new studio effort this fall entitled "Chrome Dreams II" that will now contain a bonus disc with a song from the upcoming archives project. Hey Neil, you could have pushed your studio album back to winter 2008 and cleaned up the loose ends with your archives project so it could be issued in 2007. How much material is Neil going to leak ahead of time? The 2 archival concert titles issued so far, "Live At The Fillmore East-March 6&7 1970" and "Live At Massey Hall 1971," are now going to be part of the archives box when issued as well as the track that will be on the "Chrome Dreams II" sampler disc. Nice move Neil. Fans love nothing more than having to repurchase material they already own just to get unreleased gems.

And what does this really tell you? That Warner knows sales of "Chrome Dreams II" will most likely be weak, so maybe they can entice or sucker a few fans who are on the fence to spend $15 on the new CD just for a taste of the archives, because after all, most fans at this point want the archives, not another new studio album from their man Neil.

So, in February 2008, me and many other Neil Young fans will be shelling out a lot of money for his long-awaited "Archives Volume I" project - a release that we will have 2 discs + 1 song worth of material from already. Nothing like getting tag-teamed by Neil Young and Warner Brothers.

Friends Revisited

So, another unsubstantiated rumor is floating around about a Led Zeppelin reunion show. The Evening Standard in London reports that the band is planning on a reunion show at London's new O2Arena in the fall. The paper claims an official press release is expected shortly.

Well, if this is true, is this a one-off date? A local gig for the band to play and experience the musical camaraderie they once shared in the past one more time? Or is this the springboard for a 2008 world tour? O2 is an AEG Live controlled venue, so if a world tour does get launched, does AEG Live score and hit the jackpot by landing the biggest Rock tour of all time over Live Nation?

Who is playing the drums? John Bonham is very much irreplaceable. That was one of the main reasons the band disbanded in 1980 after his death. Some suggest his son Jason should take his place, but while Jason could be a sentimental favorite, he is not the most skilled drummer available for the job. Zeppelin needs a heavy hitter to fill out the sound; someone such as Kenny Aronoff or Matt Sorum. They aren't in the same league as John Bonham, but who is?

Lots of questions need to be answered if this is becoming a reality. What are my feelings? Well, they are mixed to say the least. I think a big tour potentially hurts the Led Zeppelin legacy. Plant no longer has the vocal range for a lot of the material. Page is not the same player he once was, and that will be obvious if he tries to tackle some of the demanding material in the band's catalogue. John Paul Jones is probably in the best shape as his skills as an arranger and musician have continued to mature over the years. There is no way the shows will live up to the reputation of Zeppelin's former live work. However, most people will not care. They will be psyched that they are witnessing one of the greatest Rock bands of all time in concert. I will probably be one of the minorities that does not see a reunion tour adding anything of substance or value to the Led Zeppelin legacy. But as my original post "Friends" stated, I do see some value in the band playing a few shows together in the U.K. with a true passion to play and then for the band to walk off into the sunset. Time will tell what is going on with all these Led Zeppelin reunion rumors....

Bolero

"Bolero" is a beautiful piece of music. Joe Walsh's version on the James Gang "Rides Again" album is absolutely stunning. Sandwiched in the middle of the extended suite "The Bomber," the beautiful melody flows for over 3 minutes with Walsh's breathtaking slide guitar workout.

If you are only familiar with Joe Walsh's singles like "Rocky Mountain Way" and "Life's Been Good," you are missing out on some seriously important Rock music by not exploring his work with The James Gang. "Rides Again" is a mini-masterpiece. It is a versatile album with bright and explosive melodies, tastes of funk, acoustic leanings, some soul and inspired guitar work. If anything, check out "The Bomber" to experience one of Rock's great treasures.

Amazing Journey

At the end of 2005, it was announced that The Who were having a major DVD film/documentary produced about their legendary career produced by the band and directed by Murray Lerner. At the time, not much was said about the actual content other than there would be extensive interviews, maybe some recreated scenes of certain eras with actors (very bizarre), and rare concert footage (this is what the fans really want). All was quiet during 2006.

Today, a press release was leaked for the upcoming DVD project. It now involves two separate films. Lerner's involvement is still co-director for one of the films, but it appears The Who's management company Trinifold is actually the major creative force here along with Spitfire. The films are entitled as follows:

'AMAZING JOURNEY: THE STORY OF THE WHO'
'AMAZING JOURNEY: SIX QUICK ONES'

Both will tell the story of The Who with have exclusive interviews, mini-documentaries and rare footage. The second film will have more in-depth features for hardcore fans.

My question is, is this really necessary? It is important for a legacy artist like The Who to have a quality bio-documentary available for historical purposes. So in that sense, the films serve a purpose. But, The Who's fan base is for the most part built around a devoted following. The band no longer has the mass appeal they had in the past. They still are a solid concert attraction and move some decent units of "hits" packages annually, but their core audience is certainly not as broad as it once was when The Who were the biggest band in the world.

Their core audience wants a lot of live footage and live recordings from the archives. They are not interested in hearing another story about the band and hearing more interviews from Pete Townshend and Roger Daltrey that they have heard a hundred times. This is where these new DVDs will fail. Their devoted fan base expected something different and probably deserved something different. Yes, there will probably be ample footage, some of it rare, but what the fans wanted was a DVD in the vein of the top-selling Led Zeppelin "DVD." That is the live package that all live packages from here on out will be measured against. It is a no nonsense release; it strictly consists of hours and hours of beautifully produced concert footage/TV footage spanning the band's career.

The Who have the ability to release a DVD that comprises of something similar. Imagine if the band issued a "live" DVD of the following:
*TV performances like Shindig, Smother's Brothers, Ready Steady Go!, etc
*The entire 1969 London Coliseum gig
*portions of the 1969 Woodstock gig
*portions of the 1970 Tanglewood gig
*portions of the 1971 Houston gig
*portions of the 1974 Charlton gig
*salvageable portions of the 1977 Kilburn gig
*portions of the 1978 Sheperton Sound Stage gig
*1978 rehearsal footage
*portions of the 1979 Chicago Amphitheatre gig
*a mix of highlights from their 1982-2007 gigs
*rare amateur footage (maybe even make deal with the 'owner' of the professional Houston 75 footage)

That would fill 2 DVDs with ease and secure the artistic legacy of The Who's reputation as one of the all-time greatest live acts. This is the sort of DVD fans wanted. And the frustrating thing is that something similar to this could have been a reality. Some of this footage will be on the upcoming DVDs, but most likely it will be just snippets and a few selected full performances. It seems like The Who really dropped the ball this time, but since I have not seen the films yet, I need to keep an open mind. A full DVD of performance footage would have definitely been an amazing journey.

Business As Usual

That is the name of a new song on The Eagles' upcoming studio album "Long Road Out of Eden." But the release of this album is not business as usual. As most know, in N. America, this album will be a Wal-Mart exclusive (and also available on the band's website). Wal-Mart? I know a lot of music consumers dig going to Wal-Mart for new releases. I am not one of them.

Honestly, I do not get this whole "exclusivity" concept for music releases. I get the business deal and the money involved for the artist. But that is not my issue. It can't always be about the money. So, is it an effective marketing tool? Maybe to some degree, because the press releases all make a point of saying that the release is exclusive to a certain store. But how does that help the consumer? You only give them one choice of where they can make a purchase? What happened to the free market? The free market is always something I have loved about America. I guess I am old school. More importantly, I would think an artist would want as many outlets for their music as possible to generate as many sales and as much exposure as possible.

Great, there are plenty of Wal-Marts and Starbucks around, but I don't drink coffee and I have no use for Wal-Mart. Yet, there are times when I am forced to make a purchase at one of those companies because certain artists have sold out and made certain product exclusive merchandise to one of those entities. I wasn't crazy about having to purchase the recent Elvis Presley compilation "Viva Las Vegas" at Wal-Mart simply to obtain the bonus disc (which is a sensational complete concert from 1969). Bottom line, I don't want to make music purchases at Wal-Mart (or anywhere equivalent).

I loved Tower Records. On weekends or weeknights after work, I could spend hours sifting through the bins and talking shop with other fans or employees. I dug great independent stores like the now defunct Go Boy! Records in Redondo Beach. Those were record stores. They had it all. That is where I would have preferred to have purchased the upcoming "Long Road Out of Eden." Even though true record stores are disappearing, there are still a handful of options available. But now I can purchase some paper towels, toilet bowl cleaner and The Eagles' new album all at the same time! That is exactly what I envisioned the record business would turn into! The Eagles are obviously making some nice cash with this distribution deal, because with The Eagles, it has become all about the money. This Wal-Mart exclusive is certainly making their artistic integrity somewhat questionable. A long time ago, that was important, even to them.

So, aside from the whole Wal-Mart issue, am I looking forward to "Long Road Out of Eden?" Well, as an Eagles fan, yes. Henley and Frey are one of the best writing duos in music and certainly Joe Walsh will deliver some quality material. I am a little skeptical though as their previous single "Hole In The World" was an absolute pathetic lightweight throwaway, and Don Felder is sorely missing (even if they don’t believe it), but I have to keep an open mind. The new single "How Long" is an improvement. This new album will span two full discs, so there will be a lot to explore. And I bet there will be a few gems scattered throughout. My biggest decision will be, do I go to my nearest Wal-Mart or order it from the band's website? I guess I shouldn't make such a big deal out of all of this; maybe it is just business as usual after all. What a joke....

Fresh Air

What made Slash such a breath of fresh air in the late 1980's when Guns N' Roses broke into the big-time was that his tone and style was a throwback to another time. In an era when shredders like George Lynch, Greg Howe, Jason Becker, Steve Vai, etc. were dominating the guitar scene, Slash came along and was totally different. He had that f**k-off swagger to his playing. Yeah, he could play with speed and flash, but his real appeal was that raunchy dirty playing previously found with guys like Keith Richards and Joe Walsh. He gained instant credibility. He wasn't the most technically proficient player from the era, but he had a distinctive tone. Check out his playing on the classic "Appetite For Destruction" album as well as scattered gems like "Coma" on the "Use Your Illusion" albums. 20 years later, Slash's playing from his Guns N' Roses stint still comes across as a breath of fresh air.

Dennis Wilson

I broke out The Beach Boys' "Hawthorne, CA" compilation earlier today. If you are not familiar with this release, it is a pretty cool insight to the band with outtakes, live stuff, rehearsals, backing tracks, etc. One track I always spin a few times when I play this compilation is the backing track to "Be With Me." "Be With Me" is a Dennis Wilson penned and produced song that was originally found on the "20/20" album. Hearing the backing track without the vocals really highlights the intense beauty and elaborate production of the song. Dennis was the hidden genius in the band and a gifted producer (hopefully his lost solo album "Pacific Ocean Blue" is issued on CD again soon. This masterpiece has been out of print for far too long).

Often times it is easy to overlook the actual music within The Beach Boys' songs as the amazing vocals and harmonies steal the show, but hearing the backing track to "Be With Me" is a reminder of how musically skilled and talented the band was. Fortunately Capitol Records has released plenty of examples of Beach Boys songs without vocals to showcase the band's incredible musical compositions and production techniques.

Dennis Wilson was a great many things and his non-music related activities is what he seems to be most famous for, but his talent as an artist is the highlight for me. "Be With Me" is a romantic and inspiring musical piece; a definite hidden gem by Dennis Wilson and The Beach Boys.

Deluxe Legacy

Music collectors are all very well aware of Universal Music's Deluxe Edition series and Sony/BMG's Legacy Edition series. It is a cool concept. You take a classic or pioneering album and you add to it with a remaster and bonus material.

Occasionally, the consumer gets ripped off. One example is the Deluxe Edition of The Allman Brothers Band's epic "At Fillmore East." This release had major potential. Original producer Tom Dowd recorded 4 shows over two nights back in March 1971 to create the double album. The original album had 7 tracks, two of which were over 20 minutes in length. Over the years, additional tracks from this famous run of shows at the Fillmore East have been issued. This happened as early as 1972. Still, two shows worth of tracks have never been issued (and additional shows were recorded later in the year). This release was a chance for the vaults to open up and to give long-time fans a glimpse of the unreleased performances. Instead, Universal put every single previously released performance from the Fillmore East into one package. Nothing new, just a $30+ price tag. Remember, these types of releases should be aimed at the collector and the established fan base. What a waste.

But on the other hand, sometimes the consumer scores with one of these releases. This is the case with The Clash's Legacy Edition of "London Calling." In addition to the original album found on disc one, the second disc is the famous Vanilla Tapes made up of rehearsal sessions which include five new songs and the third disc is a DVD documentary about the making of the landmark album.

Another fantastic example is the Legacy Edition of Miles Davis' "'Round About Midnight" which obviously includes the original album, but also includes studio bonus tracks. The second disc is graced with a live performance of the title track at the 1955 Newport Jazz Festival and an unreleased live concert from 1956.

A couple of days ago I was talking about the major record labels and their catalogue. There is a lot of quality material stored away in the labels' vaults. Yes, it costs money to work with the tapes. But, the money was spent years ago to record all the additional material that is just sitting gathering dust. More importantly, a lot of these legacy artists have audiences that are getting older. Interests change and the fan base loses numbers due to the passing away of some. Why not capitalize on selling as much catalogue product as possible (and you know, it can be in the form of downloads....)? Not only does a label potentially earn money on an investment made years ago, but artists' legacies are enhanced with historically important documents being issued. It can be a winning situation for all. Hopefully, Sony/BMG and Universal continue developing this side of the business with these two concepts as there is unlimited potential.*

*I should not leave out Universal's Hip-O Select and Warner's Rhino Handmade collector's labels either as both have issued some incredible packages as well.

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If you have a few more minutes to spare, here are a few fun ideas that come to mind. From time to time, I may post others as there are loads of possibilities. These initial ones are from a few of my favorite artists... This can be a cool exercise if you dig a particular artist and/or album and you know the potential is there to improve it.

The Who - Who Are You. The 1996 remix/remaster was a mixed result. Some fans do not like reissue producer Jon Astley's overall work with The Who's catalogue. Personally, I think he has done a pretty decent job overall (no one will be perfect). The 1996 reissue had some decent bonus material made up of alternate mixes, a demo, and a working demo. The one controversial move was replacing the original version of "Music Must Change" with an alternate that had different guitar parts. Nevertheless, this release could be extended to two discs and equipped with a nice booklet for the liner notes. The content could include:
*The original album (with the original mix of "Music Must Change").
*The bonus tracks from the 96 reissue + the alternate mix of "Music Must Change."
*Townshend demos for the album.
*Any other suitable alternate mixes remaining in the vaults.
*The bulk of Keith Moon's final show from 1977 at Kilborn State Theatre. Some will argue that it was a horrible show, but it was Keith's final show and this album was Keith's final album. Plus, having heard an underground tape of this show, it isn't the train wreck some label it as - and it has a very cool embryonic version of "Who Are You."

The Who - Who By Numbers. This one was apparently slated for a 2006 release. It never materialized, but it was referenced in a MOJO Magazine showcase for the band. One can assume that in addition to the original album, there would have been some newly unearthed alternates (like the known full-band version of "Blue Red & Grey") with the second disc being the bulk of the famous 1976 Swansea gig. If this Deluxe Edition is no longer being considered, hopefully the Swansea gig does see the light of day in some other capacity as it is one of the band's last stellar shows with Keith Moon.

Jeff Beck - The Jeff Beck Group. Now this isn't one of his best titles. In fact, it is one of his worst. The production is muddy and the material is sub par at best. So why issue it as a Legacy Edition? The second Jeff Beck Group (post-Rod Steward & Ron Wood) never had a proper representation on album. This album was a mildly successful album commercially in the early 70's and if it was properly mixed, mastered and augmented with bonus material, a positive light could finally be shed on this period of Beck's career.
*Original album remixed and remastered.
*Include alternate mixes/guitar solos as a bonus on disc one.
*Include some of the Motown tracks Beck and Cozy Powell recorded with James Jamerson in Detroit.
*On disc two, the famous 6/29/72 Paris Theatre gig for the BBC makes its official debut. This was an incredible live band. Beck was on fire and drummer Cozy Powell was a beast on stage. Most likely this fantasy release never sees the light of day, but, hopefully this concert does in some official capacity. Best case scenerio is a Jeff Beck Group BBC Sessions release with material from JBG1 with Rod & Ronnie and material from this JBG2 version of the band....

Beck Bogert Appice - Beck Bogert Appice. Now this was one sh**ty album by three amazing musicians. Still, it actually performed respectively well (and is a cult classic along with the "Live In Japan" album). The album never had a proper mix and the mastering was been below average at best. Again, why issue a Legacy Edition of this album? Well, the point is, Jeff Beck is a legacy artist. Does anyone think the Legacy Edition of The Byrds' "Sweetheart Of The Rodeo" sells well? It is deluxe package for hardcore fans. Granted, "Beck Bogert Appice" is not a milestone recording (a handful of Deluxe and Legacy edition reissues aren't), but there is a lot of material available in Sony's vaults to spice it up with (a fan can dream...). Make it a Legacy Edition and suddenly one of Rock's most notorious power trios has an intriguing album to explore.
*Original album remixed and remastered.
*"Things Go Better With Coke" commercial which brought the musicians together initially in 1969.
*One or two outtakes from Electric Lady Studios with Stevie Wonder.
*One or two outtakes from the Record Plant with Sly Stone (if anything usable was salvaged).
*A few gems from the unreleased second studio album like "Solid Lifter" and "Satisfied."
*Second disc consisting of the band's final gig at the Rainbow Theatre in January 1974 - a smokin' show.

Jimi Hendrix - Are You Experienced. Shockingly, Experience Hendrix has not agreed to issue a Deluxe Edition. There are a lot of outtakes from the groundbreaking "Are You Experienced" album. Some of them appeared on the "Jimi Hendrix Experience Box Set." With enough quality studio outtakes/alternates and incredible live material, "Are You Experienced" could be a stunning two disc retrospective (Actually, the same concept could be applied to Jimi's "Axis: Bold As Love").
*Original album with the 1997 remaster/remix.
*Outtakes/Alternates from the sessions.
*Live tracks such as the Monterey Pop Festival performance and the 9/5/67 Stockholm concert + other live gems in the Experience Hendrix vault.

Stevie Ray Vaughan - Soul To Soul. Not his best album, but that doesn't mean it isn't great. The 1999 reissue had a nice remaster with 2 bonus tracks. Well, this is where the Legacy Edition comes into play. There are TONS of outtakes/alternates from the "Soul To Soul" sessions. Literally hours and hours. There are still a lot of inspired and amazing performances in the vaults. Much like Hendrix, Vaughan as a few albums that could easily be enhanced by a Legacy/Deluxe Edition. "Couldn't Stand The Weather" is an obvious choice with lots of studio outtakes/alternates and live material gathering dust in the vaults....Here is what a remake of "Soul To Soul" could offer:
*Original album (with the original mix of "Life Without You").
*In addition to the 1999 reissue outtakes of "Little Wing/Third Stone From The Sun & Slip Slidin' Slim - add tracks such as "I'm Leaving You (Commit A Crime)," "Boot Hill," "May I Have A Talk With You," "Say What" (alternates), "Life Without You" (alternates), "The Sky Is Crying" "Chitlins Con Carne" (outtakes) to name a few options.
*Disc 2, you have the bulk of the professionally recorded 3/31/86 Dallas gig unedited or even the bulk of the 6/30/87 Philadelphia gig.

SRV

Today is the anniversary of Stevie Ray Vaughan's untimely passing in 1990. Stevie Ray Vaughan's music touched millions and it certainly touched me. I got into Vaughan's music about 4 years after his death. At the time, I wasn't very familiar with his work. I knew his name and recognized images of him, but I assumed he was just another overrated guitarist that people like to gush over. But after seeing some pictures of him with Jeff Beck from their 1989 tour, I started to become more intrigued.

A few months later I was scanning the radio stations while driving and I came across "Pride And Joy." I purposely listened to the track because I knew it was him and I wanted to see if I was going to hear what all the hype was about. At first I was enjoying the shuffle groove of the rhythm, but then the guitar solo hit. The stinging tone that sounded like Albert King. I was into it. A few days later I heard "Telephone Song" from the Vaughan Brothers album. Not a song one will hear on regular rotation on a radio station play list. Wow, now that was a guitar solo. At that moment, I knew I had to check this dude out.

Stevie changed my life. I always had liked the sound and feel of the Blues, but had never fully explored the genre that extensively beyond the obvious choices like B.B. King. Vaughan helped open the door to the genre and a whole new world of music: T-Bone Walker, Johnny Copeland, Guitar Slim, Koko Taylor, Otis Rush, Lonnie Mack, Earl King, Albert Collins, Elmore James, Lightnin' Hopkins, Hubert Sumlin, etc etc etc.

Stevie's mainstream career only lasted about 7 years from 1983 - 1990. But the story started much earlier. He was part of the bustling and rich Austin, TX Blues scene throughout the 70's and early 80's in various Blues bands such as Paul Ray & The Cobras and Triple Threat. His story of breaking into the big time is legendary. After finagling their way into a slot at the famous Montreux Jazz Festival in 1982 (and being booed throughout their set by the audience), Stevie Ray Vaughan & Double Trouble's fortunes soon would be changed. David Bowie who was at the festival was blown away by Vaughan's playing and offered him the slot of playing lead guitar on his new solo album (Let's Dance) and another Rock icon, Jackson Browne, was equally impressed with Stevie and offered him free studio time in Los Angeles at his studio if he was ever in town. After the festival, Stevie did lay down some incredible guitar licks on the "Let's Dance" album and also made his way to Jackson's studio in L.A. where he and Double Trouble cut their debut album, "Texas Flood." Soon after, legendary A&R man John Hammond (also famously known for signing Bob Dylan, Bruce Springsteen, Aretha Franklin, Billie Holiday, etc) signed Stevie Ray Vaughan & Double Trouble to a record contract with Epic Records.

Stevie Ray Vaughan only released 5 official albums during his brief mainstream career. He was not only known for leading a Blues revival and being considered one of the finest electric guitarists of all time, but also for being an inspiration due to his battle with a severe drug addiction and successfully defeating it. At the time of his death (in a tragic helicopter accident), Stevie had been drug and alcohol free for over 3 years. His music and life influenced and inspired millions.

By 1990, he was somewhat of celebrity and major concert attraction. His playing was impeccable and also pretty polished. His final studio album "In Step" is a little sleek for my taste (although "Riviera Paradise" is one of his most stunning pieces he ever played). The era of Stevie's career I enjoy the most is from before he was famous when he was playing the Blues club circuit. I love listening to his early recordings such as the "Texas Flood" album and private recordings of various shows from the late-70's through the early-80's. Back then, he was playing raw authentic blues. His playing was so impassioned. Stevie played the Blues until the end, because after all he was a Blues musician, but there is something special and very organic found in his playing from the beginning stages of his career. For a taste of what I am talking about, check out not only "Texas Flood," but also "In The Beginning" which is an awesome glimpse of a club gig from Austin, TX in 1980.

Stevie Ray Vaughan's death was a huge loss to music. His playing continues to inspire and influence countless music fans and musicians from around the world. Stevie said it perfectly: "...I use heavy strings, tune low, play hard and floor it. Floor it. That's technical talk." Stevie, you are missed.

Recommended Stevie Ray Vaughan listening:

1) Texas Flood
2) The Sky Is Crying
3) Couldn’t Stand The Weather
4) In The Beginning
5) Live At Carnegie Hall
6) In Step
7) Soul To Soul

-or-
If you want a compilation to start with, check out:

1)Martin Scorsese Presents The Blues: Stevie Ray Vaughan
2)SRV [box set, sort of a one-stop-shop with a mixture of masters and gems]

Friends

After listening to some solo Robert Plant material earlier in the day, I played a few tracks from the Page/Plant reunion project "Unledded." No one can deny that the magic was indeed there for that collaboration. Plant finally embraced his past and his golden back-catalogue. Page finally had a vehicle to properly channel his enthusiasm and creative juices. No one thought it would go beyond the MTV special and accompanying tour. Amazingly it lasted 4 years.

When Robert Plant and Jimmy Page decided to work together again back in 1994, it was a reunion music fans from across the globe celebrated. They were the principal stars in Led Zeppelin. They were responsible for one of Rock's greatest song catalogues. Some complained that John Paul Jones, the other surviving member of Led Zeppelin, was not involved. Well, one of the deciding factors that contributed to Plant working with Page again was that their collaboration would not be a Led Zeppelin reunion. So by leaving the amazingly talented Jones out of the equation, Plant was able to comfortably embrace his past without feeling like he was selling out. And ultimately, the union with Page broke apart because Plant felt it had actually become the Led Zeppelin reunion he wanted to avoid from the start. He left the arenas and started playing small English clubs under the radar with his Priory Of Brion outfit.

So when you read all the articles claiming Robert Plant, Jimmy Page and John Paul Jones have agreed to tour, you have to wonder who is starting the rumors. Certainly nothing official has been issued from the publicists who handle Led Zeppelin's affairs. Robert is involved with a highly creative band, Strange Sensation. What would he get out of playing with his former colleagues at this point? He already went down that road with Page ten years ago; he got it out of his system.

In fact, the big chance for the band to hit the road was back in 2002 when they finally issued loads of live material from their vault; the fantastic "How The West Was Won" and "DVD." The releases were huge. Promoters were holding venues for potential tour routings. The band passed. In interviews, they all shot down the rumors by saying if anything, they would be happy just to sit in a room together again and play some music to see how it felt. That apparently did not happen. But it isn't as though a reunion has never been considered by the three remaining band members. Back in 1985 after their disastrous Live Aid performance (five years after they broke up after John Bonham's death) they began rehearsing for a possible tour. Drummer Tony Thompson got into a car accident and the rehearsals stopped. Five years later when they issued their hugely successful box set, meetings were set up to discuss a possible reunion once again. Nothing materialized. So what about now?

Plant has denied the stories. But would one last massive payday be worth it to him? Promoters Live Nation and AEG Live have open offers out to the band that are well over $100 Million. Plant doesn't need the money, if he did, he would have toured under the Led Zeppelin banner a long time ago. Of course, the band is releasing a "hits" package this fall with a reissue of "The Song Remains The Same" on CD and DVD, so there will be some hype to announce tour dates around.

I would have mixed feelings about some monstrous stadium tour with $250 ticket prices. If they did decide to play, I personally would want to see them play at the Royal Albert Hall for a few shows, hug and embrace afterwards, release a DVD of the event, and walk into the sunset.*

For Robert, it is about the music. Just listen to his last two studio albums "Dreamland" and "Mighty Rearranger" and you will know what I am talking about. If Plant, Page and Jones can actually get together and sit in that room and play something creative and inspiring, maybe they will take it a step further and attempt to take it to the stage. It won't be about the money (although you can bet the ticket prices will be high), it will have to be about the passion and inspiration between old friends.

*This is why the Cream reunion worked so well in 2005. Clapton wanted to play with Jack Bruce and Ginger Baker one last time before it got too late. They played a few shows at the Royal Albert Hall and a few at Madison Square Garden. That was it. They could have toured the world for huge money. Instead, they kept it real. It was about the music. Who knows, they may play a few more isolated shows in big markets over the next couple of years, but don't expect a massive world tour.

A Bigger Bang?

That is the title of The Rolling Stones’ 2005 studio album and it doesn’t have one ounce of the raw power or "bang" effect that their second single did, which was released 42 years earlier (in 1963). The single I am referring to is The Rolling Stones' cover of The Beatles’ well-known “I Wanna Be Your Man.” It is total Punk Rock decades before the genre was officially mainstream. At a running time of 1:42, the song absolutely roars with Bill Wyman’s pulsating bass and Keith Richard’s stinging leads. It is just another reminder that at one time, The Rolling Stones were the greatest Rock band in the world. Do yourself a favor and check it out.

Watching You

Started the morning off with some solo Robert Plant. "Watching You" from the "Manic Nirvana" album is a stellar track. It shows Robert was still a creative force outside of the Led Zeppelin walls. The track moves with a heavy tribal drum beat, a heavy acoustic guitar chord progression, some orchestration, some Middle Eastern musical influences and an impassioned strong soaring voice from Plant. The "Manic Nirvana" album as a whole is somewhat of a mixed bag (really a transitional album), but listening to a key track like "Watching You" is an inspiration and justifies owning the album. Another amazing Robert Plant track with Middle Eastern influences is the stunning "Life Begin Again" with the band, Afro Celt Soundsystem. You can find it on his "Sixty Six To Timbuktu" retrospective among other places. If you haven't heard these tracks, seek them out for a very cool listening experience.

Key Plant solo albums: Pictures At Eleven, Fate Of Nations, Dreamland and Mighty Rearranger.

Bummer In The Summer

No, I'm not talking about the gem found on Love's brilliant "Forever Changes." I'm talking about touring. One tour in particular that fits this description nicely is the Genesis reunion tour. Does anyone really care? Obviously they do because the band can still sell tickets, but this baby was a big lost opportunity.

Now, so there are no misconceptions, I am not a big fan to begin with. I owned a couple of cassettes from the post-Gabriel era when I was 13, but quickly grew out of it. There were some stellar tracks like "Mama" that still hold up well, but overall, I'm not into that brand of Pop. You would have to pay me money to sit through "I Can't Dance" and the price would double if I had to witness it in concert. But any fan of Rock needs to dive in and explore the Gabriel-era of the band. If anything, a few spins of "Selling England By The Pound" should be expected.

For years, promoters have been trying to get a tour off of the ground with the original line up -- Phil Collins, Tony Banks, Michael Rutherford, Steve Hackett and Peter Gabriel. The idea of seeing the pre-Collins led version of the band would have been intriguing. That was the original plan. Apparently Gabriel was strongly considering a full-scale reunion with the band for this summer's run, but then declined. Peter Gabriel was a legendary front man. He was an incredible stage performer; he brought theatre to the concert stage with props, costumes, make-up and masks. Rutherford, who now plays lead guitar, was the bass player/rhythm guitarist when the talented Hackett was playing lead guitar. From 71-75, Genesis was a revolutionary band with complicated, creative and artistic studio albums and an incredible live show. Then Gabriel split in 75 and by the end of the decade, the first incarnation of Genesis was a memory as Collins, Rutherford and Banks marched into stardom with a briefcase full of Pop.

Thinking of the tour that could have been, I broke out the sprawling masterpiece "The Lamb Lies Down On Broadway" yesterday and played a handful of tracks from it. Then I broke out a fantastic live show from Peter Gabriel from London in 2004. It made the current tour by Genesis seem even less interesting than it already was. A Peter Gabriel led tour would have been must-see event. Even if you are not a fan of Genesis, if the Gabriel reunion had taken place, it would have been a dynamic show to see musically and visually. So, for those of you who are still going to give the current tour a shot, hopefully you are not thinking of all the money you have just tossed away while Collins belts out "Invisible Touch" out of tune and out of pitch while you are sipping on a $12 beer.
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VAN HALEN

Is this a summer tour? Well, sort of. It was supposed to be a big summer showcase in sheds, but now, after a few hitches and loads of money on the line, a very late summer-most fall tour will hit the arenas.

Fans of VH have been clamoring for a full-scale reunion with the original line-up since the mid-80's; Edward Van Halen, Alex Van Halen, Michael Anthony, and David Lee Roth. Well, Roth is back in the fold, but Edward has pushed out Anthony and enlisted his 16 year old son Wolfgang as the new bass player for the band. I haven't seen how pre-sales for these shows have done, but the fact that Edward and Roth are working together again should be enough to lock in solid sales even with ridiculous ticket prices.

A lot of fans around the net are baffled that Anthony has been tossed out. Yeah, he is a mediocre bass player at best, but he was an important contributor to the band and was the only guy in the group that could actually sing in tune in 2007. Fans and the Rock world wanted the original, entire band. Was this too much to ask for? At the end of the day, this comes down to money. Sure, people say Eddie also doesn’t like Anthony’s alliance with Sammy Hagar outside of the band, but it is about the cash. Anthony himself has said that he was forced to take a significant pay cut to take part in the disastrous 2004 tour. An original member having to basically become a salaried employee to play with the band that he helped establish? Is this The Eagles? Oh yeah, they are both managed by the same company.

I was on board for checking this out, but with only 3/4 of the original line-up in place, I may end up taking a pass this time around. However, if it becomes clear that Roth can hold a tune and Eddie is playing with passion and focus, maybe I'll be tempted. Time will tell.....

CD R.I.P.

So the CD is dead, or at least terminally ill. For the past 6 years the format has been on its way out. Some consumers want it gone and haven't purchased one in years, others still support the format. One group that desperately is holding on to the CD is the record labels.

The CD represents their business model -- a model they refuse to evolve and develop so it can be legitimate in the new century. The old rules don't apply anymore. Bands and artists do not need the label to break them, do not need to embrace the top 40 format on Radio (another format in big trouble), need to give up ownership of their masters, or to be locked into long-term deals that pay nothing. And the labels did it to themselves. They stopped developing REAL talent. They became used car salesmen. They took an artist and simply made it into a product. Forget about being a true vocalist, musician or writer; to make it on a label the past few years all you need to do is follow their rules of promotion. That is what the vast majority of music the labels push is; promotional product. It is not real and in many cases, it is not lasting music. The labels no longer cultivate the talent and give artists a chance to grow and develop naturally. In today's music climate, a legacy artist like The Who would have been dropped after their 3rd album due to poor sales and a lack of commercial appeal and the world would have been robbed of the chance to hear their 4th album "Tommy" -- an album that changed Rock (and made millions for the record label). Does anyone really think Justin Timberlake is legitimate? Is he real? NO. Timberlake is a complete joke. What does he bring to the table? What is lasting about the crap he and his producers have produced? He is a product, plain and simple. The media and the publicists that control it have been telling you to like him, that he is the best thing since sliced bread (although they have nothing to back that up) and that he is good looking (even though he looks like an inbred). They hammer it down your throat. A few million people are suckers. But with that heavy promotion machine you would think he would have sold more albums in a country of over 300 million people. Maybe even with all the promotion, the majority still sees past the hype and can safely say he sucks (By the way, why the hell would anyone want to tune into Timberlake's HBO concert special?).

Timberlake and the heavy handed promotion behind him is a glaring example of why the record business is in huge trouble. Real music fans are turning away. They aren't sheep. They want music and they want it to be real. They are finding the real deal on the internet and at clubs. The executives at the label continue to live in fantasy land convincing themselves that the consumer wants to spend up to $20 on a single CD with maybe one radio friendly track and 12 others of filler. The sales aren't there and continue to dwindle. The labels are greedy and short-sighted because there is no reason to continue selling CDs in this era at upwards of $20 especially when music fans can freely trade files and download individual tracks for $.99. Hello?! Maybe slash your CD prices by at least half and you won't see such a rapid decline in sales. Of course the bigger problem is, are there any good new choices of talent to choose from? Because if there are, you aren't finding them at Walmart. Another reason the CD's death is speeding up; record stores are gone!

But the labels still have assets. Their publishing catalogues are like gold and of course, they have catalogue. The mighty catalogue. Who is more of an important artist to BMG/Sony, Justin Timberlake or Elvis Presley? Will Justin be moving a million units per year 30 years after his death? The labels should spend some time looking at their catalogues. Yeah, the labels will continue to issue hits compilations for The Beach Boys and Elvis Presley for years as the casual consumer takes the bait every time, however, those types of legacy artists are where they are at because of a large fan base that developed over years. You may get some of the hardcore fans to make a purchase of another hits compilation if you add an unreleased bonus track, but you will move units if you open the vaults and give the real fan base something to be excited about. The problem is most vault releases will not sell the 6 or 7 figures worth of units (unless you are talking about The Beatles....) the labels want. The labels do not want to spend $100,000 mixing and mastering 30 year old tapes if they are only going to potentially move 50,000+ units. Is this the only way? Here is a question, other than The Beatles; do labels ever really promote vault releases? They are pumping their money into Timberlake and Beyonce campaigns. The labels no longer promote music, they promote talentless pawns.

What is my position on CDs? Personally, I love them. Not the round piece of plastic. I love what the CD still represents -- Product. I love physical product. The album once meant something. The artwork, the sequencing of the tracks, the liner notes, etc. Musicians treated the album like a piece of art. Of course there were always Pop artists that labels promoted for the moment just to move some units before the 15 minutes ran out, but there were also a lot of legitimately talented artists and bands that were producing important work and this important work was selling. A Led Zeppelin album was a home run for the label, and yet, the label never meddled with the creative process of that band. How many bands have that freedom in today's climate? U2, Pearl Jam or Radiohead? Only a handful, the rest are playing by the major labels' rules. So I am holding on to the format because I will miss the physical product when it is gone. I love my iPod and certainly have downloaded plenty of music, but when the CD officially dies, the album will die with it. That will be a sad day.

Magic

Bruce Springsteen - Magic
DUE: OCTOBER

Wow. I have mixed emotions about this one. Message boards around the net have been hopping since this press release came out a couple weeks back. A new album from Bruce Springsteen and The E Street Band. The publicity machine is now off and running. The typical statements with crap you can smell a mile away like "...it is his best work since The River..." will be flying left and right. But what do you expect?

I am a huge Springsteen fan. I don't listen to him as much as I once did. When I was 22, his music saved me. I was in a living hell in many ways and I finally heard lyrics and a voice that I could relate to. His music spoke to me. It gave me hope, understanding and was therapeutic. It was that important at the time. At that point, his most recent project had been "The Ghost Of Tom Joad" and being a new fan, I had a lot of catching up to do with one of Rock's most amazing catalogues. Each album purchased was better than the last. Bruce could do no wrong, and in all seriousness, there were few questionable official tracks on the market. Yeah, the Human Touch and Lucky Town lps got some grief, but I will always defend those albums (probably a different discussion for a different time). But from "Greetings From Asbury Park NJ" through "Tunnel Of Love", you are looking at a catalogue of albums that can be given 5 stars across the board. The music is that brilliant, inspiring and powerful.

But since 1995, Bruce's official releases have not been at the once brilliant level they once were. "Tracks" was a lost opportunity due to questionable overdubbing, mixing and a much shorter track listing than was expected (Bruce you still have a couple of discs of amazing tunes in the vaults!) and then fans had to shell out additional money with "18 Tracks" just to obtain "The Fever" which should have been on "Tracks" in the first place along with an early 90's outtake and a re-recording of "The Promise" (which is beautiful by the way). The "Live In NYC" disc from the E Street Band HBO Special was bizarre -- why not release a more accurate document of one of the 99/00 shows with a complete set-list?

Then, the first full-length rock album since "Lucky Town" was issued in 02, entitled "The Rising." Now this is one overrated album. After the excitement wore off of finally having a new Rock album with The E Street Band, reality set in. There is some filler on this one. Tracks like "Waitin' On A Sunny Day" and "Let's Be Friends" are fluff that I never would have thought would have been on a Springsteen album. Of course there are some very strong tracks like "Lonesome Day" and "Further On (Up The Road)", but it is almost painful to hear Bruce perform a parody of himself with "Mary's Place." The worst thing about "The Rising" is the production. Brenden O'Brien brings nothing to this album. His production sucks the life right out of it. Suddenly Bruce has a sleek, tidy and mechanical sounding album versus the natural, organic and authentic ambience found on previous E Street Band efforts. There are some hardcore fans that feel Bruce can do no wrong and that this album can stand alongside masterpieces like "Darkness On The Edge Of Town," but that view is completely misguided. I admire Bruce's work as much as the next guy, but I also don't think his s**t smells like roses either.

The Springsteen/O'Brien team then released the mediocre "Devils & Dust" project next. This one was confusing. Again, the production gave the album a bland feel. The material was spotty. I have to admit, after repeated listening, I sold this album and I have recently considered purchasing it once again to give it another shot because I still cannot believe it was so lackluster.

During this time, fans also got an anniversary edition of the epic "Born To Run" album. Like "Tracks" before it, another huge lost opportunity. No outtakes/alternate mixes? They exist! Thanks for the remaster. How many times can one watch the "Wings For Wheels" documentary? Well at least the consumer gets to hear some alternate mixes while watching the DVD. The live Hammersmith show from 75 is the real gem, arguably the finest music Bruce has issued in the last decade. Of course, fans who did not rip the audio from the DVD that wanted a CD version of it in the first place, had to shell out the money months later when The Boss finally made the audio available as a separate package. That was one expensive anniversary Bruce!

Then of course, the intolerable Seeger Sessions album was released. Hey, I'm glad Bruce was having some fun and put out this little side project, but thankfully it has run its course. The recent live CD/DVD from the accompanying tour is well done and more interesting than the studio album, but how many times can one really dive into the Seeger Sessions material???

So now we have arrived at the upcoming "Magic" album. Jon Landau said in a recent press release"...Magic is a high energy rock CD. It's light on its feet, incredibly well played by Bruce and the members of the E Street Band, and, as always, has plenty to say." A light rocker with Brenden O'Brien as producer - excuse me if I am a little skeptical of its potential. But, hey, it is a new Bruce Springsteen record and that being the case, it is worth checking out. Time will tell if it adds any real value to the Springsteen catalogue.

Inaugural Words

What is the deal with this music blog? Aren't there dozens out in cyberspace? Why is this one worth reading? Who is this f**king guy and why does he think his opinion matters? Etc. Etc. Etc. Bottom line, I am a fan who not only loves the art form, but has always been intrigued about the business that has been behind it. After reading countless books and articles, talking music with anyone that will listen, exploring thousands and thousands of albums in various genres and spending years working in the industry, I figured why not share some thoughts? I don't really care if you check this out frequently or not, the passion for me to talk music will be here regardless. And maybe, just maybe, some of my words will be intriguing. You never know.....

Music is an outlet, an inspiration, a way to connect with the world and with internal emotions. It has changed my life on many occasions and in many ways. Off the top of my head, two of the most significant pieces of music that affected my life were the entire "Quadrophenia" album by The Who and the phenomenal song "Backstreets" from Springsteen's "Born To Run." Many fans of music can quickly name a couple of pieces that touch their heart, that speak to who they are and maybe define what they are about to a certain degree. That is the beauty. That is why I am addicted and keep coming back for more.