Death Of The Labels

One of the only reasons why CDs are still a mainstream way of obtaining music is because the major labels haven’t figured out what to do next. How are they going to sell music? They hate iTunes and blame it for some of their problems, but iTunes is irrelevant. No one wants the iTunes model to take over the way they obtain music.

So Doug Morris wants to create his own version of iTunes? This dude is out to lunch. It isn’t like Universal and the other major labels are going to want to sell tracks for 99 cents. They will want to raise the price per track. There is no doubt about it. And who in their right mind is going to pay more than a buck for a song?

This is the fundamental problem with the labels. They got too greedy during the 1980’s and 1990’s when music sales were explosive and the money was rolling in. They continued to gradually raise prices of recorded music, but at the same time, they stopped developing talent. They were able to push shit on people, and it sold. They want things the way they were, but it will never be the same.

The price of recorded music has to go down. That is the bottom line. Today there are so many outlets for the consumer’s entertainment dollar. Consumers are not going to continue dropping $20 per CD. It costs less to purchase DVDs of movies or to buy books and the cost of living continues to go up in most places. People just aren’t going to spend the money they once did – especially on new releases filled with crap.

The labels were short-sighted. They were screwing the public with high pricing and for a time didn’t really have to offer any music of substance because it continued to sell. Now the whole operation is dead.

The labels have a very big decision ahead. Their next could be their last if they are not really careful. If they try to move everything online and develop an iTunes download service or create some insane subscription service, the public will not embrace it. Their revenues will plummet and that will be the end. The record companies known today may very well be extinct in less than a decade.

What will happen to those amazing catalogues of music? Some major company will own them and have less of a clue as to what to do with it than the morons in charge now. The artists will survive – in fact, they will have more power and control than they ever dreamed of. The devoted music fan will lose out. New music will be easy to obtain, but amazing catalogue music will be tougher to legally find and obtain.

I know a lot of music fans that are concerned about the future of product. It is disappearing. Things are going out of print. New archival releases are being cancelled. They know the CD is hanging on by a limb simply because the major labels don’t know what the hell to do but complain that their once lucrative business is gone. Once the majors finally decide to move their operations online and kill physical product, they are going to alienate a very important part of their audience and they will feel it where it hurts – their bank accounts.

Screw the labels. All I am concerned about is the future of obtaining product. Maybe a billionaire surrounded by some visionaries that really care about music and love music will step in. As Pete Townshend wrote in “Sound Round” from The Who’s latest album Endless Wire, “I fear the future man, as I take in the view.”

OOP

The famous three letters I hate to see when searching for music titles; OOP. Nothing sucks the life out of a potential music purchase more than seeing it is “out of print.” I run into this from time to time and it is somewhat baffling. In the year 2007, it doesn’t make sense for music to be unavailable. There are so many ways labels can make music accessible to the consumer, but they choose to stand by the old faithful CD. And by doing so, they force themselves into deleting catalogue due to poor sales.

Music can’t be all about sales. Obviously it is a key element to the financial process of the business model, but catalogue shouldn’t suffer because it doesn’t move six figures worth of units. That is what the flavor of the month artists are for – they are expected to move 7 figures worth of units and pump money into the pockets of the short-sighted executives.

I ran into my latest OOP aggravation this past weekend when I was looking at a Deep Purple title that had caught my eye in the past. I pretty much have ignored the first post-Ritchie Blackmore era from 1975. His replacement Tommy Bolin was an interesting choice to handle lead guitar duties, but Bolin’s increasing drug dependency during that era derailed any possibilities. Because of this, I have always stayed away from the material out there showcasing that line-up of Deep Purple.

However, there was a vault release issued about seven years ago titled “Days May Come and Days May Go: The 1975 California Rehearsals” that is a peak into a rehearsal session with Bolin and Deep Purple right when he joined the band. I decided this was an interesting place to start if I was ever going to explore Bolin’s tenure with Deep Purple. The problem is that this title is out of print. Used versions are going for nearly $40 and a newly sealed copy is around $140.

It drives me crazy when this sort of thing happens. Obviously Deep Purple fans were psyched when this title was issued seven years ago and most probably picked up a copy for their collection. But what about the consumer that became a fan later on? I didn’t fully get into Deep Purple until the past couple of years. By the time I got around to picking up “Days May Come and Days May Go: The 1975 California Rehearsals,” it was out of print. Is this a good business model? Screwing future generations of fans out of having access to catalogue items?

This happens constantly with multiple artists from all genres. There are still a ton of original Johnny Cash albums unavailable on CD and they certainly aren’t on iTunes. If you find yourself getting into Elvis Presley and want to purchase one of his greatest albums, “Elvis Is Back!,” good luck securing a copy. Yes, there are plenty of used copies around, but why isn’t a critically acclaimed album from one of music’s greatest artists out of print on BMG/Sony’s mainstream label? You can spend over $40 for a deluxe version on the Follow That Dream collector’s label through an Elvis fan club, but what if you just want the original album? Oh, “Elvis Is Back!” didn’t sell enough, so BMG/Sony deleted it and decided to continue issuing hits compilations instead. Who cares if “Elvis Is Back!” doesn’t sell huge quantities? Why should it? It was released in the early 60’s. But it is still an important title that should be in print for future generations of fans. The other problem here is that the labels are selective in this process. Here is an example: certainly “A Long Time Comin’” by Electric Flag doesn’t move many more copies than “Elvis Is Back!” did when it was in print, yet it is readily available. Either delete all catalogue albums that don’t move or keep them available for the music consumer.

Fine, the labels don’t see the value in keeping some slow moving catalogue items in print as CDs. How about making the material available as downloads? Do you think that is a feasible scenario in the year 2007? Never in history has there been more technology and unique ways in delivering music to the consumer. Why give them less and a higher price? It is absolutely insane.

The Joshua Tree

U2 just reissued The Joshua Tree. There are a couple of versions. The three disc package consists of the original album, a disc of B-sides and rarities, and a 3rd disc containing a DVD of a 1987 live gig from Paris. The other version of the deluxe edition consists of the first two discs of the three disc set.

I always have to commend a band and a label for putting some time and creativity into celebrating a great album. The packaging is beautiful with some nice liner notes and photos. For the hardcore fan, a glimpse of the band from ‘87 in concert is a nice gem. The bonus audio content is somewhat of a disappointment. Most of the songs have been previously available, so it isn’t like the consumer is getting exposure to a large amount of unreleased tracks. Some demos or alternate mixes would have been a true bonus.

The thing that I like about the two different packages is that one doesn’t have to be out $60 because of the DVD. The consumer has the option of going all the way or simply settling for a more affordable option that allows access solely to the audio. Either way, any fan of U2 should support this new release.

The band’s management has stated that other reissues from their catalogue are in the pipeline. Here’s hoping for a reissue of “The Unforgettable Fire” and “Under A Blood Red Sky.” A deluxe edition of “Rattle And Hum” could also be a winner….

The Song Has Come Alive

A reissue of Led Zeppelin’s “The Song Remains The Same” was released this week on CD and DVD. This project has always been somewhat of a point of contention among Zeppelin fans.

The 3 concerts filmed for the movie were done at the end of the band’s 1973 North American tour at Madison Square Garden. Most fans will admit that while there were some magical and inspired performances recorded, the film and recordings show a band slightly fried.

From early-1969 through mid-1973, Led Zeppelin practically lived on the road. Yes, there were breaks and obviously the band took time out to record their phenomenal studio albums, but they toured non-stop. They were a well-oiled machine. For a period of time, they were considered the best live band in the world. However, during those 3 legendary shows at the Garden in '73, it was apparent that those shows were not the finest of the era.

The movie is over-the-top in a lot of ways. It is a product of its time. The band had a much bigger vision for the finished project. They knew the shows at the Garden did not represent their best. They intended to film more shows during 1975. Ultimately, due to a multitude of issues, the film was wrapped up with some controversial reenactment sequences filmed at Shepperton Studios along with some fantasy sequences and was released in 1976.

It was no secret that Led Zeppelin was considered one of the greatest live bands in the world by 1976. However, no official live album had ever been released until “The Song Remains The Same” soundtrack was issued. Up until that time, amazing bootlegs such as “Live On Blueberry Hill,” “Burn Like A Candle” and “Bonzo’s Birthday Party” were the only live documents fans had – and they were fantastic. When “The Song Remains The Same” was finally issued, it was met with mixed reception that has lasted 30 years. It isn’t that the performances are bad; it is just that fans knew it could have been so much better.

“The Song Remains The Same” was one of my first Led Zeppelin albums. I actually purchased the vinyl in a used shop. It really was a fascinating album in terms of the artwork. The black cover with an animated picture of an old defunct theatre centered on the front along with the famous Swan Song insignia located on the bottom really was intriguing. It just seemed so mysterious and full of promise.

This was before the internet. Finding out information about an album was much harder; especially an album that had already been out over 12 years. I remember playing the album on my record player and being spellbound. I had no need for a 12 minute “Moby Dick,” but hearing the opening chords of “No Quarter” was captivating. The title track was blistering with its dazzling guitar work. “Whole Lotta Love” was a wild musical excursion (although it failed in comparison to previous workouts of the song from previous tours, but I didn’t know it at the time). The album definitely made an impression on me.

By the time it was released on CD, the ambience from the vinyl was missing. The performances were flat. It also was apparent that there was some heavy editing done to the songs. By then I was able to compare the material with some of the great bootleg performances mentioned above and it was clear that the 1973 Madison Square Garden shows as a whole left something to be desired. Still, the band nailed certain songs such as “No Quarter” and “Since I’ve Been Loving You." It was clear that a proper CD release was needed to give “The Song Remains The Same” some credibility.

This new version of the soundtrack is different from the old one in a handful of ways. Engineer Kevin Shirley did a fantastic job mixing the music like he did on 2003’s “How The West Was Won” and the skilled Bob Ludwig did a fine job with the mastering. This album has finally come to life.

In addition to the glowing sound, additional songs have been added to the track listing to replicate more of the standard set list from that tour. The song versions also are different than what was originally on the soundtrack album as they are now intended to match the versions found in the movie. What, there were different versions of songs used on the soundtrack and movie? That is another very complex issue that can only be explained by Eddie Edwards – if you are a Led Zeppelin fan and want an entertaining read, check out Eddie’s site dedicated to this project (as well as other official live Zeppelin releases): www.thegardentapes.co.uk

This is definitely one of the best vault reissues of the year. Led Zeppelin was one of Rock’s greatest live bands. And while the July 1973 concerts at Madison Square Garden do not represent the finest Led Zeppelin had to offer, the band definitely was still playing at a very high level. While I wait for a vault release of the band’s 1972 Japan gigs or the 1975 Earls Court gigs (one can dream), this new release of “The Song Remains The Same” along with “How The West Was Won” will be just fine for hours of enjoyment and inspiration.

Unsung Hero

Ten Years After was one of the finest Blues/Rock bands to come out of the UK during the 60’s. The defining element that separated them from a lot of their peers was virtuoso guitarist Alvin Lee.

Alvin Lee is still widely respected today as one of the greatest electric guitarists of his generation by hardcore music fans, but most people have barely heard of Ten Years After, let alone Alvin Lee. They had a top-40 hit single with “I’d Love To Change The World,” but they never really broke into the mainstream.

Alvin Lee played with reckless abandon when he would solo. Bursts of notes would just explode from his guitar. This was during a prolific era dominated by geniuses such as Hendrix, Beck, Clapton, Page, Green, Bloomfield, Allman – and Lee was every bit as impressive and brilliant.

Ten Years After definitely had some great studio albums such as “Ssssh” and “Cricklewood Green,” but where one can really hear the magic of Alvin Lee’s playing is in the band’s live work. Their second album from 1968, “Undead,” was a live recording and really showcased the talents of the band. “I May Be Wrong, But I Won’t Be Wrong Always” and “I’m Going Home” are two fine examples of not only Lee’s brilliance, but the talents of the whole band. Lee didn’t just astonish with his speed and flash, but he also played with a lot of feeling and with a nice knowledge of the Blues as evidenced on “Spoonful” and “Summertime.”

2001 saw the vault release of “Live At The Fillmore East.” This archival gem is a powerful testament to the prowess and dazzling nature of guitarist Alvin Lee. Lee starts off the festivities driving through “Love Like A Man” and absolutely shreds his way all over “50,000 Miles Beneath My Brain.” A must have for any Rock fan and particularly any fan of the pioneers of electric guitar.

Anyone not familiar with Ten Years After and Alvin Lee should definitely explore this band. There are no surprises with the material. It sounds like the era it came from. It is Blues based Rock with an emphasis on strong musicianship. But Alvin Lee is an unsung hero from an innovative era of Rock N’ Roll that deserves more exposure. His influence and inspiration is evident from the first few notes.

Recommended titles:
Undead
Live At The Fillmore East
The Anthology (1967-1971)

Getting Shafted At The Box Office

Eric Clapton and Steve Winwood are the latest batch of legacy artists gouging the public with insane ticket prices. Don’t get me wrong, I am thrilled the two of them have reconnected on a musical level and are working together, but $250+ for tickets at Madison Square Garden? I could see them charging that kind of money if they were playing somewhere a little more intimate like the Beacon or Carnegie Hall, and it would still be a shaft to the consumer, but the Garden? And this isn’t a case of two arena headliners going out. Yes, Clapton can still play the Garden on his own, but Winwood is now a theatre artist.

Their agenda clearly is not to spread the music. It is not to create a buzz about what should be the most important element of their collaboration – the music. This just makes it look like an attempt to cash out. They are jumping on board the greed train. The concert business at its finest.

The funny thing is that their work together only somewhat appeals to a niche audience. They can pull this off in NYC, but this show can’t fill arenas nationwide. This isn’t the magnitude of a Led Zeppelin reunion show in terms of mass appeal. These are two brilliantly talented guys that played briefly together in the late 60’s and while their work together made a significant mark popularity-wise in the 60’s, it hasn’t had a lasting effect in those terms 30+ years later.

If I lived in NYC, I would really want to see this show. But $250+ is just too much. And I know a lot of people that feel the same way. This would be just another show I would have been priced out of. I would rather blow $250 on 15-20 CD titles that I can spin endlessly for years and download a recording of the Clapton/Winwood show off the internet to get a sense of what transpired. It just isn’t worth it to spend that kind of money on concert tickets.

The real music fans, the ones that can really appreciate a show of that magnitude are left out in the cold. Seriously, who are Clapton and Winwood really trying to appeal to?

Reissues

So the word is The Eagles are going to reissue their catalogue in December. They remastered and reissued their catalogue back in 1999 and overall, the results were favorable. Is this really necessary to do again 8 years later? The remasters sound great. There is no artistic reason for this. This is simply a way for the band to cash in on the success of “Long Road Out Of Eden.”

Who is this aimed at? The hardcore fan base. The Eagles want their hardcore fans to shell out hundreds of dollars to repurchase their catalogue because it supposedly will sound better (and who knows, maybe there will be some nice artwork in digipaks with liner notes). The only way there will be real value here is if there are bonus tracks consisting of alternate takes and outtakes – and this will not be the case.

C’mon guys, your fans don’t need or want another batch of remasters. The devoted fan-base wants something archival. Back around 2000, when the band was planning on launching its own label, one of the reasons was to start issuing archival releases, particularly live shows that were in the vaults. Of course, shortly thereafter, Don Felder was fired under strange circumstances and ultimately he sued Henley and Frey with the legal battle lasting for almost 7 years. Now that the legal matter has been settled, the door has been opened for the archival projects to surface again. There are some fantastic vintage concerts in The Eagles’ vaults – that is what the fans want.

EMI is doing the same thing with John Lennon’s catalogue next month as well. Hello? Haven’t they been reissuing the Lennon catalogue over the past several years? Unless they are planning on erasing the Yoko revisionist mixes (stay away from Yoko’s version of “Walls And Bridges”), then this is another example of a label attempting to screw the fan. Instead of issuing Lennon’s solo work again, why not focus on finishing remastering The Beatles’ catalogue which is in desperate need of attention?

Now there are some catalogues that do need upgrades. Bruce Springsteen, are you listening? Springsteen has one of the most important catalogues in Rock history and right now the vast majority of it is available on badly mastered CDs with very generic and bland packaging. Black Sabbath’s U.S. catalogue on Warner Brothers is a disgrace unless you want to shell out $120+ for a remastered box set of all the Ozzy-era albums (Sabbath’s catalogue is beautifully done by Sanctuary in the UK). The Faces’ catalogue is also desperately in need of an upgrade and fortunately the word is that the remasters are coming in 2008 with bonus material. And of course there are others.

The main thing with catalogues that have been issued multiple times is that it only serves to take advantage of a devoted fan base, a fan base that has been supportive for an extended period of time and that has spend a lot of money on product. The fan base should be treated with some respect and consideration. What do they really want after years of supporting a band or an artist? More remasters? No, they want unreleased performances. Sure, one can obtain this stuff from the underground markets, but usually the sound quality leaves something to be desired. Led Zeppelin fans love the “Burn Like A Candle” bootleg, but there is something nice about being able to crank performances that are fantastically mixed and mastered from the officially released “How The West Was Won.”

Record labels have a lot of music at their disposal that they can release. They have vaults full of it and a lot of fans would be surprised how much cool stuff is unreleased. Some artists have more archival material than others, but these kinds of performances are plentiful in the record company vaults. You want to generate substantial sales? Give hardcore fan bases what they want. Neil Young released a 1971 Massey Hall performance early this year and it moved hundreds of thousands of units – his new Chrome Dreams II studio release has moved around 75,000. Vault releases are in demand.

Fans want music from the vaults, not a consistent flow of rehashed remasters. There are definitely catalogues of legacy artists and bands that need attention, but once a catalogue is reissued and the devoted fan base has purchased the new versions, they shouldn’t be targeted by greedy, ruthless label executives trying to find a way to squeeze another buck out of a consumer that has already paid. Vault releases could be a nice way for labels to generate much needed income in the frightening landscape they are facing. Too bad they don’t see it that way.

Clapton And Winwood In NYC

A couple of days ago Eric Clapton and Steve Winwood announced that they will be playing 3 concerts together at Madison Square Garden in February 2008. This is a pretty intriguing collaboration. Obviously their impromptu reunion at Clapton’s 2007 Crossroads Festival inspired the desire to continue working together to some degree.

Everyone familiar with their previous work together in Blind Faith knows the band imploded before it ever had a chance to reach its full potential. Blind Faith initially began as a vehicle for Clapton and Winwood to channel their creative energy into something different, something organic. It had nothing to do with ambitions of fame and money. Both were looking for a new creative outlet after having recently split with their respective former bands, Cream and Traffic.

A period of inspired jamming and writing sessions was followed by a visit from Clapton's former Cream band mate, Ginger Baker. Winwood was fascinated with the idea of working with the highly respected Baker – Clapton however was very ambivalent about the prospect. However, his desire to continue working with Winwood was enough to allow Baker to join their musical experiment.

Once word hit the street that these three star Rock musicians were forming a band, the concept of the “supergroup” was born. Suddenly, this innocent musical venture between Clapton and Winwood with no agendas turned into burgeoning money-making machine for record labels, promoters and managers. The band suddenly was booked to play a massive festival gig at Hyde Park for 100,000 people with a major U.S. tour lined up to support their self-titled debut album, “Blind Faith.”

Clapton has never made any secret that his heart was no longer in Blind Faith once the initial premise of the group was lost due to the over-exposure and excess of the commercial sell-out mentality that was quickly established by the music industry executives. Blind Faith simply got too big, too fast. They never had a chance to naturally evolve, experiment and explore all the music possibilities in front of them. The band barely lasted 6 months.

Still, their debut album is a classic. It was assembled somewhat quickly in the sense that it was premature. The band was still developing and creating, but the pressure to deliver an album became a business priority and they ultimately pulled together what they could from their jam sessions. From the guitar layered wizardry brilliance of “Had To Cry Today” to the soaring “Presence Of The Lord” to the beautiful acoustic melodic “Can’t Find My Way Home,” there was a lot of depth on the album. One can hear the potential the band had. Universal’s deluxe edition of “Blind Faith” gives an even greater insight into the band’s creative process and musical virtuosity.

Fans that are able to go to the Clapton/Winwood shows at Madison Square Garden are probably in for a magical concert experience. Winwood has returned to his musical roots during the past 5 years and has gone through a creative rebirth so-to-speak. Clapton is playing as well as he has ever played. There is no doubt that playing with a musician of the caliber of Steve Winwood will bring out the best in Clapton. Just look at the initial Cream reunion shows from the Royal Albert Hall stand in 2005 – Clapton was pushed by Jack Bruce and Ginger Baker and played with a fire and intensity not always there. Having a chance to hear these two seasoned musicians revisit not only the Blind Faith catalogue, but possibly elements of Traffic, Cream and other areas from their expansive musical careers is a special opportunity that does not come along too often.

Eric Clapton and Steve Winwood were shortchanged the first time around. In fact, one could argue that the music fan was also shortchanged. These are two incredibly gifted musicians that highly respect each other. They created something natural and real nearly 40 years ago, but it was derailed by outside influences. Maybe this time around it will last a little longer. Granted they are only booked for 3 gigs, but who knows, maybe it will be such a fulfilling ride that they extend their collaboration. If you are in NYC in February - do what you can to see one of these shows.

The Long Boring Road

There has been a lot of talk about The Eagles’ new album “Long Road Out Of Eden.” The reviews by the press have been pretty much favorable in a predictable way. But the way one really gets a true feel for the value of the album is by hearing what other fans have to say.

I have gathered that the overall feeling about “Long Road” is mixed. Some fans are very enthusiastic about having new product and are embracing it. Others are a little skeptical about what they are hearing. I fall into that second category.

Going into it, I wasn’t expecting to be blown away by the album. I knew that there couldn’t possibly be two full discs worth of quality material. Still, I was looking forward to exploring the results of The Eagles’ first album of new studio material in nearly 28 years.

“Long Road” starts off with promise. The first track, “No More Walks In The Wood,” is predominately made up of beautiful harmonies reminiscent of “Seven Bridges Road” from the “Eagles Live” lp. It is followed by the single “How Long.” “How Long” is a nice rocker that exemplifies a feeling of the vintage Eagles sound. After this initial burst of potential, the album loses some steam.

From this point on, the album has varied results. “Busy Being Fabulous” is a solid Don Henley/Glenn Frey collaboration as is Henley and Steuart Smith’s “Waiting In The Weeds.” But then the listener has to sit through painful puff ballads like “What Do I Do With My Heart” and “No More Cloudy Days.” “Fast Company” is a total embarrassment and makes “Disco Strangler” from “The Long Run” look like a masterpiece. The title track of the album is musically intriguing although usually I am not one for political themed songs. The Frey-penned instrumental “I Dreamed There Was No War” is stunning and may be the strongest track on the album.

One of the biggest disappointments is the fact that the album lacks the true touch of Joe Walsh from a songwriting standpoint. In a pre-release interview in Billboard some time ago, Walsh insinuated that “Long Road” would have a couple Walsh-influenced rockers to add some balance to the album and disrupt the heavy flow of ballads. Well, I’m not sure what happened to the standard Joe Walsh up-tempo track, but “Last Good Time In Town” doesn’t quite reach the mark.

It isn’t necessarily wise to compare the current work of a band with past glories. That usually is a mistake simply because it should be expected that artists will continue to evolve over time - the level of creativity changes and the direction of their writing changes. At the same time though, bands do have a signature sound to some degree. “Long Road” has some elements reminiscent of The Eagles’ former work, but for the most part, no one should expect to hear many similarities from albums like “On The Border,” “One Of These Nights” or “Hotel California.” Those albums were essentially created by a different band.

The musical contributions of Randy Meisner, Bernie Leadon and particularly Don Felder cannot be ignored. A lot of that special guitar sound found on Eagles’ recordings from the 70’s have Leadon and Felder’s signature licks all over it. Joe Walsh, sideman Steuart Smith and to a lesser degree Glenn Frey, cannot entirely replicate that sound (although they come close on the single “How Long”).

I saw a review from a journalist that said this new album makes it feel like it is 1976 again. Another cliché review from a music journalist who has no clue about the subject matter. Talk about misleading the consumer. The “Hotel California” album was release in 76, and “Long Road” has little-to-nothing in common with that album other than Henley, Frey and Walsh being contributing musicians. Not to go too far off course here, but will a music journalist ever write anything honest about a new recording by a legacy artist? Are they too scared Irving Azoff will call their editor?

“Long Road Out Of Eden” is as good as it probably could have been. I had some hope that Henley and Frey would write one or two gems that could stand alongside with some of their classics. So far, I don’t hear it. The other issue is that there is too much filler. This could have been a much stronger release had it been pared down to one CD. I almost feel like this is a deluxe edition with the album and all the outtakes that should have stayed in the vault. I do enjoy a few of the tracks, but most of it is forgettable. “Long Road Out Of Eden” is an album for the devoted Eagles fan, but I would not recommend it to the curious casual consumer.