Frank Zappa passed away 15 years ago today. I remember it clearly for some reason. I wasn’t a huge fan at the time. I had “Lumpy Gravy” and “ We’re Only In It For The Money,” but I hadn’t really explored his music much more than that. The music was intriguing, comical, and accomplished. I knew Zappa was considered a genius. Yes, the term is overused. Maybe it doesn’t apply to Zappa or maybe it does, but no one can argue his musical talent as a composer, songwriter and guitarist.
The news of Zappa’s passing was enough to direct me to the record store to look at some of his catalogue. With so much to choose from and no guide available to direct me to the best titles, I blindly picked up “Zoot Allures.” “Zoot Allures” was somewhat of a departure from the alternative, psychedelic and wacky material found on the other two titles I had at the time. It was more mature. There was still dark humor associated with many of the songs, but the real difference is that “Zoot Allures” rocked.
I remembered reading somewhere about Zappa’s respected guitar chops and on “Zoot Allures” they were in full force. Zappa shows off his command of the guitar throughout the entire album. The thrilling guitar workout on “Black Napkins” and the album title track is all the evidence one needs. Another example is with the opening song “Wind Up Workin’ At Gas Station” – the title and lyrical content are vintage Zappa, but the track is built around a great riff from Zappa and also showcases a smokin’ guitar solo.
Soon after, Rolling Stone Magazine had a large tribute to Zappa and listed some of his must-have albums, so for a novice it was easier to hunt down a few of Zappa’s most respected works. “Zoot Allures” is held in high regard by fans, but it isn’t necessarily a title that will make a Zappa top-ten list along with some of these staples: “Freak Out!,” “Absolutely Free,” “Lumpy Gravy,” “Uncle Meat,” “Hot Rats,” “Weasels Ripped My Flesh,” “Burnt Weeny Sandwich,” “Over-Nite Sensation,” “Apostrophe,” and “Shut Up N Play Yer Guitar.”
There isn’t any sort of clear theme to the music on “Zoot Allures.” The album simply is a gem with melodic songs influenced by Jazz-Blues-Rock, Zappa humor, and fantastic musicianship from all involved. Fifteen years later, I have had the opportunity to explore Zappa’s work in much greater detail, and I still come back to the captivating qualities of “Zoot Allures” as a personal favorite. Highly recommended.
Thursday, December 4, 2008
Zappa
Wednesday, December 3, 2008
Headache
I feel like there are two music businesses. The old, big, dying one we all know. And a newer, underground one playing by its own rules – or no rules at all.
The old rules no longer apply, nor do they really work anymore. A&R departments aren’t discovering and nurturing talent. A&R sell-outs looking for the next talent-less teen sensation aren’t delivering many that can sell millions upon millions of units. The diva and the 15 minutes-of-fame-phenomenon is a dying enterprise.
While the labels always screwed the artist financially, at least they were seen as a crucial vehicle for breaking the artist – now that simply is not the case. The label’s power won’t get the act on the radio and if it does, who is listening? MTV is another dead road. The labels are not a power broker for getting an act a legitimate booking agent or a key component in helping land an unknown act a coveted supporting slot on a major tour. Oh, they are trying to bring back vinyl. Glad they still have their publishing empires.
Physical music sales are dead. Downloads clearly aren’t a solution or the next viable format for consumers. There are a lot of rumblings about subscription services taking over sooner rather than later. Renting music? If that is where it goes, a few diehard fans of the physical format won’t be able to stop it. Hopefully one can actually purchase the music they are renting if they actually want to own it!
Most of the established stars can’t sell a new album. Many are lucky to move half a million copies. Luckily they still have lucrative touring revenue to stay afloat. But of course, the touring business is finally starting to feel the pain of a dying business. The public simply cannot continue to support the inflated ticket prices that have been rammed down their throats for the past decade. The promoters and agents are still trying to push the limits, but the warning sirens are sounding and everybody hears them.
There are very few premier managers that are not aligning themselves with Irving Azoff’s empire. That is great if you are a superstar, but there are many middle-of-the-road acts that simply won’t get the attention they need or once received by being just another name under such a large management umbrella. And for acts trying to break? They don’t have a shot. You would think with Azoff’s muscle they would, but it doesn’t appear they are a priority because after all, they don’t make money.
Speaking of Azoff, is it not amazing how one guy controls touring, the last lucrative element of the old music business? His management company has a large body of clients, most of who do solid business on the road. Yes, Live Nation has a few exclusive deals out there with the likes of Madonna and U2, but many of the major concert attractions are associated with Azoff’s Front Line management company. And of course, once Live Nation announced they were going to severe ties with Ticketmaster, Azoff sold a chunk of his company to Ticketmaster, which in turn made Azoff the head of the company. So now, Live Nation’s in-house ticketing operation is in direct competition with Ticketmaster, which is run by the artist manager of many acts that will play Live Nation venues. Ticketmaster has also aligned itself with AEG, Live Nation’s direct competitor for talent buying operations. Very twisted and a very brilliant move by Azoff. He holds all the cards. The touring business may have some real pricing problems in the future, but for now, Azoff and his acts will milk it dry.
The newer, underground business is more in tune with the idea that it is all about the music. Locking in gigs anywhere and developing a fan-base. Giving away music, selling it online, embracing P2P, making it cheap, establishing strong fan communities. The hype is being generated through word of mouth and through affordable live shows. Not pinning the hopes of success on a traditional record label getting an overproduced single some rotation on the radio. There isn’t necessarily a structured model in place in terms of hierarchy and monetary rewards. How can there be? The old, powerful business that is fading away is the only one that had any structure or rules. Now, the hungry, independent act has to bypass the old world and just play – do whatever is necessary to stay afloat and to spread the music.
Who knows where it will lead? Perhaps a new full-service entertainment entity will surface that embraces the new world and even subscription services. It is hard to tell. But, the current landscape is a mess: watching the old powers struggle, watching to see if new innovative leaders emerge, fans desperately holding onto physical product while others use CDs as coasters, watching music sales plummet, wondering what the next music format will be, Azoff pulling off one more power-play in a fragile concert industry, etc. This whole thing gives me a headache.
Tuesday, December 2, 2008
Axis: Bold As Love
After Hendrix released “Are You Experienced?” along with the dynamic singles “Purple Haze,” “Hey Joe” and “The Wind Cries Mary” in early 1967, his record label directed him to quickly issue a follow up album to capitalize on his quickly growing popularity. Hendrix delivered the brilliant “Axis: Bold As Love” album by the end of the year, but ultimately it would not be released until early 1968.
“Axis: Bold As Love” comes off as an extension of the “Are You Experienced?” project. Both albums share a similar feel in terms of innovative production and colorful musical landscapes. Chas Chandler was listed as producer, but really, Hendrix was co-producer in terms of the overall musical vision. The collaboration between Chandler, Hendrix and engineer Eddie Kramer created a magical sound on both albums. This was the era when the studio became an instrument. The Beach Boys and The Beatles are often mentioned as being pioneers in the recording studio, but Jimi Hendrix’s name should most definitely be associated with this creative movement as well.
Much is always made of his unparalleled guitar skills, but with “Axis: Bold As Love,” Hendrix continued to evolve as one of the finest songwriters in contemporary music. A great deal of the material is an exceptional intertwining of musical styles and production techniques creating a spacey, psychedelic, rock symphony. For example, dreamy, romantic ballads such as “Castles Made of Sand” and “One Rainy Wish” or sensual, psychedelic grooves of tracks like “Up From The Skies” are coupled with full-out rock numbers like “Spanish Castle Magic.” The album also showcases one of his finest studio epics, “If 6 Was 9.” The lyrics and imagery are pure poetry throughout the proceedings.
“Axis: Bold As Love” stands alongside Hendrix’s other studio masterpieces with ease. It is one of the finest rock albums ever recorded. While his studio work would continue to grow in complexity, the results would not necessarily ever tower over the thrilling recordings he created with Chas Chandler and Eddie Kramer during 1967. When exploring the brilliant works of Jimi Hendrix, make sure never to pass this one up.
Monday, November 24, 2008
Chinese Democracy
Many thought the day would never come, but this past Sunday November 23, 2008, Axl Rose unleashed the notorious Guns N’ Roses album “Chinese Democracy” to the masses. For the past decade, “Chinese Democracy” was one of those album titles that always made the lists of the most famous albums never released.
The last Guns N’ Roses studio album, “The Spaghetti Incident?,” was released in 1993. This also marked the last Guns N’ Roses project that any original members other than Axl would participate in. During the tour for the “Use Your Illusion” albums, Axl essentially took full control of the band and ownership of the band’s name. Once early sessions began for what would become portions of “Chinese Democracy,” Axl was on his own.
Axl wanted to move into new territories with his music. It no longer was a band effort. Axl had visions and sounds in his mind that he needed to put down on tape. He knew the direction he needed his music to go. He was captivated with mid-90’s musical forces such as Nine Inch Nails. It was clear that Guns N’ Roses’ sound was going to evolve.
As the 90’s came to an end, “Chinese Democracy” was nowhere in sight. All anyone knew was that Axl had spent the second half of the decade holed up in studios throughout the L.A. area recording and obsessing over his music. His studio bills were well into the millions (ultimately reaching up to $15 million by some accounts). Some believe over 30 tracks were recorded. The project developed legendary status each passing year.
During the past couple of years, there had been strong rumors and teases of a release date, yet nothing appeared. Once Axl aligned himself with Irving Azoff’s company in early 2008, it became clear that “Chinese Democracy” or some form of it, would finally appear.
And here we are. After 14 years in the making, this fabled album has finally arrived. I have been playing “Chinese Democracy” on and off for the past 24 hours. I wasn’t expecting much. Based on what had been described over the past decade, I thought there was a good chance the material would mostly be a sonic mess of industrial metal garbage. The unimpressive opening title track pretty much stayed true to that theory. However, the third track “Better” sets the tone for what ultimately becomes a very strong album.
“Chinese Democracy” is somewhat of a revelation. There is a lot to take in. And that shouldn’t be a surprise since Axl spent almost 15 years tweaking it over and over in the studio. The music is diverse and saturated with layers of dense, melodic instrumentation (such as searing guitars, lush orchestration, atmospheres of electronica, beautiful piano fills) and dynamic vocals. Axl is still a tormented guy - his lyrics and vocals say it all.
One wonders, is this 14 track album what Axl Rose intended “Chinese Democracy” to be a decade ago? Is this the finished product he envisioned or is it a compromise that he finally let go? It is hard to tell, but this release is a pleasant surprise to say the least. After spinning this a couple of times, it makes me grateful that a talent like Axl Rose is still out there and still making music. I hope this isn’t the last project he releases, because the music world is a better place with him in it.
Thursday, October 30, 2008
What Should This Be Called?
Is Led Zeppelin going to take flight again? Robert Plant has said he doesn’t intend to pilot it this time around. Jimmy Page and John Paul Jones, however, are itching for some action and are looking to tour regardless.
This is an interesting development. After Led Zeppelin’s triumphant reunion gig at London’s O2 Arena last year, all parties involved were enthusiastic about the experience and results and discussed the possibility of future engagements. Meanwhile, Plant was gearing up for extensive touring plans with Alison Krauss in 2008. So, while rumors swelled that Led Zeppelin was going to reunite for the biggest tour in Rock N Roll history, it was clear those plans would have to wait until at least the fall of 2008 after Plant’s work with Krauss came to a close.
While Robert Plant has been touring with Alison Krauss in support of their highly regarded album Raising Sand; Jimmy Page, John Paul Jones and Jason Bonham have continued to rehearse and jam. In fact, they have been working with stand-in vocalists as well.
Recently, the rumor mill began churning out more stories of a major 2009 Led Zeppelin tour – this time, with or without Robert Plant. A few weeks ago, Plant came out with a statement that he had no intention of touring with anyone for the next two years and that he had no plans to work with Led Zeppelin. He also wished his former band-mates the best. With that news, Jimmy Page and John Paul Jones have continued their rehearsals and apparently are now actively searching for a replacement vocalist.
This story has divided not only Led Zeppelin fans, but also music fans in general. There are those that feel Led Zeppelin is one of the last truly great bands that has not destroyed its legacy with cash-grabbing tours and that by reuniting with a vocalist other than Robert Plant, it will be destroying the band’s musical legacy that has stayed intact for 40 years.
Others are thrilled about the idea of Page and Jones going out and playing Zeppelin standards with a stand-in vocalist. They figure, many bands move on and evolve. I have seen people comparing this to Fleetwood Mac evolving from a British blues band to one of the biggest pop bands in the world through band member changes.
Well, sorry, but this has more of the potential to follow in the sad footsteps of Journey, Styx and The Doors of The 21st Century than it does of Fleetwood Mac or even Van Halen. This will not end well. Other than diehard fans hoping for any band activity, the concept of Page and Jones working as Led Zeppelin without Plant is not being looked at fondly by the initial press reports.
Now, to be fair, neither Page nor Jones has confirmed whether or not they will tour and record under the Led Zeppelin name. If they choose to regroup and collaborate much like Page and Plant did in the mid-90’s and not use the Led Zeppelin name, they will most likely be embraced. But, if they go out and drag a Led Zeppelin road show across the world, the will lose credibility. And you can be sure promoters and managers will want them to use the Led Zeppelin name.
I can’t blame them for wanting to work. The O2 show was a tremendous success and it was probably the first real musical high both Page and Jones had experienced in many years. They can still play, particularly Jones who happens to be a musical genius. In fact, over the years, I always thought the two of them should collaborate on a full-scale project.
Maybe some of us music fans take this stuff too seriously. Maybe it is okay for Page and Jones to trash one of the remaining band legacies still in good standing. After all, it is their band and their talent. Who are we to say why it is okay and why it isn’t okay for them to work? Either way, plan on seeing Jimmy Page and John Paul Jones touring next year celebrating the music of Led Zeppelin. What they will call themselves, who knows? Whether they use the name or not, they truly won’t be Led Zeppelin – even Page and Jones know this.
The Beatles In The Arcade
The Beatles’ song catalogue and master recordings are some of the most admired and discussed songs in contemporary music. Anytime a song is used for a commercial purpose, it makes the headlines. The announcement that the band’s catalogue is now going to be part of an exclusive interactive videogame through MTV Networks and Harmonix (the developer behind the “Rock Band” franchise) is clearly making headlines.
This is an interesting development on many levels. For the past few years, there have been constant discussions, articles and hints by the band that remastered and digital versions of The Beatles’ recordings are forthcoming. Yet, to this day, nothing has appeared.
The Beatles have a large fan-base that spans many generations, but clearly this development is aimed at a younger demographic. This is a great move in the sense that it creates a unique and exclusive vehicle for the band to showcase its work and legacy in a very contemporary and popular format.
Music producer Giles Martin has stated that the music associated with this videogame will not be remixed or remastered. What is the band waiting for? One would think that optimum sound quality would be criteria for maximizing the potential of this new endeavor.
The Beatles’ core fan-base has been waiting for years for access to upgraded sound quality. The band has a very important and influential body of work and it is strange that the catalogue is solely available to the masses on CD pressings from the 1980’s. Even ABKCO finally remastered and reissued The Rolling Stones’ early catalogue in 2002. In an era of upgraded CDs and an increase in downloads as a viable option for consumers, one has to wonder why The Beatles continue to only offer their music in sub-par sound quality.
Time is ticking away. Instead of offering The Beatles’ fan-base and the holiday consumer a chance at acquiring this famous catalogue in remastered deluxe form, the world gets an announcement of a future videogame. It is big news, but really not that interesting for the fan concerned with the actual music. Rumors again persist that the remasters are coming. Will it be in 2009?
Wednesday, October 29, 2008
Ronnie & Steve
Today, Lynyrd Skynyrd is one of the most celebrated rock bands in history and Ronnie Van Zant is a legend. But in 1977, Lynyrd Skynyrd was still a hardworking band, a band that had not reached its iconic status. From 1973 to 1977, the band released six albums and toured relentlessly. On October 17, just three days before the accident, the band released the final studio album from the Ronnie Van Zant-era, Street Survivors. When the accident occurred, the band had just embarked on a major supporting tour for what was arguably their finest album to date. Their first headlining gig at Madison Square Garden was on the itinerary – a symbol that the band had indeed hit the big-time.
Ronnie Van Zant was a rock star. But it wasn’t because of Greek God looks or an angelic voice. Ronnie was rocker. For a time, he lived hard with bouts of intoxication and brushes with the law. His behavior contributed to his legend, but he was best know for his love of the South and more importantly, his incredible skill as a songwriter and arranger. Bandleaders, front-men and songwriters like Ronnie Van Zant don’t come around very often. He was a tremendous talent.
Steven Gaines had only been in the band for a year when he passed away, however, Gaines’ creative stamp on the band was instant. Gaines was a gifted songwriter, dazzling guitarist and impassioned vocalist. His influence and drive gave Lynyrd Skynyrd a jolt of creative energy it had been lacking at the time of his arrival. Ronnie publicly marveled at the diverse talents of Gaines, even claiming that he and the rest of the band would one day be in Gaines’ shadow.
Who knows what kind of heights Lynyrd Skynyrd could have reached had the accident not occurred.* If there was ever a need for documentation of a creative rebirth within the band, look no further than the triumphant Street Survivors album. This is one bad-ass rock album. It has it all: great hooks, strong melodies, fantastic vocals by both Van Zant and Gaines, inspired guitar work, introspective lyrics and a whole lot of groove. Street Survivors is testament to the greatness of Lynyrd Skynyrd – and the monster talent of Ronnie Van Zant and Steve Gaines.
The music still lives and breathes. That is what great rock and roll does. Ronnie Van Zant and Steve Gaines are not forgotten.
*Lynyrd Skynyrd reformed a decade after the accident with Ronnie’s younger brother Johnny Van Zant handling the lead vocal duties. A revolving line-up of musicians including some original members have been parading around the world performing the Lynyrd Skynyrd catalogue for twenty years now, but the true creative greatness of the band ended in 1977.
Friday, September 5, 2008
More Retail Exclusives
Christina Aguilera will release the greatest hits album, "Keeps Getting' Better - A Decade of Hits," on November 11. This isn't a huge news development other than the fact it will be a Target exclusive. I don't really see the significance of tying this particular greatest hits album solely to one retail outlet other than the strong possibility that the artist will be getting a much more substantial advance compared to what she would have received had this upcoming title been released via a traditional route.
One would think that there would be a better chance of widespread sales if this title were available at all retail outlets. It is a fourth quarter release, right on time for the holidays. Granted, a portion of Aguilera's audience will hit Target for one thing or another, but having a hits compilation by a popular entertainer widely available during the busiest shopping season of the year at multiple outlets might offer the best sales potential. Loads of consumers will be at Best Buy, Circuit City, Borders, Barnes & Noble, Wal-Mart, Target, etc as well as shopping online at popular retailers like Amazon - why limit the exposure of this album to one entity?
It is the same thing with AC/DC. The new, upcoming album is getting buzz, but if an interested consumer wants it, Wal-Mart will be their only choice. The Eagles moved a few million copies of their Wal-Mart exclusive last year, but other than getting The Eagles and Front Line handsomely paid, the album unfortunately left no lasting mark or impact. Will AC/DC fair any better?
Journey sold more records with their Wal-Mart exclusive than they had done in years, but was it because it was only available at one retailer? Or did other factors come into play such as some actual radio traction for the new single? Still, we are not talking a seven figure sales number either way.
The only people that benefit from these retail exclusives are established acts and their representatives that are looking for a big payday. And what is wrong with trying to secure as much money as possible? Nothing. But if the consumer gets robbed at the chance of easily or conveniently obtaining the music, something is wrong.
True record stores are basically gone from the landscape. CD sales are dwindling. Recorded music can be obtained in so many ways. It just isn't the same as it once was on any front. But, with all of the flaws from eras past, none of them were as bleak, uncreative, uninteresting and non-enjoyable for the fan as the way business is currently being done with regards to the sale of physical product. These retail exclusives are just another sad reminder of how bad things have become. It used to be so much fun.
Sunday, August 31, 2008
Before They Were Superstars
These new reissues are done in a first class manner containing deluxe packaging along with extensive liner notes and a full bonus disc of extra tracks. One of the best features is that the band’s guitarist, The Edge, contributes to the liner notes where he discusses the background of the bonus material.
The Edge may feel some ambivalence or embarrassment toward some of the band’s earlier work (particularly from the quickly assembled October album), but even with the flaws he claims it has, the music is superior to the band’s later experimental, and mature crap of “Zooropa” and “Pop.”
There is something special about the initial burst of creativity from a young, talented band. U2 basically locked themselves into a basement and composed and arranged an entire album of material in a very short period of time. There were arguments, elements of writer’s block to overcome, exhaustion from months of touring – but the youthful exuberance and drive to create music that they knew they had inside won out. The Edge even points out that the creativity was flowing to the point that a half-baked musical idea in the morning could turn into a completed song by the evening. That is particularly impressive when listening to the final product.
The same story has been told many times. It is amazing when one looks at all the incredible music produced by young bands with their backs against the wall; starving and struggling to stay afloat. Once they hit the big-time, it can take years to produce an album not nearly as impressive as a hastily produced album from their youth.
U2 isn’t the superstar stadium and arena act it is today because of mostly forgettable music found on “All That You Can’t Leave Behind” and “How To Dismantle An Atomic Bomb.” U2 secured its place in this elite level because of milestone albums like “The Joshua Tree” and “Achtung Baby,” however, the path and roots that led to the masterful sounds on those albums was laid by the band’s first few albums.
The unique sound that embodied the band’s work during this prolific period from 1980 thru 1984 was a combination of The Edge’s signature, reverberation guitar assault containing layers of sweeping, lush landscapes and the inspired production standards set by Steve Lillywhite, Daniel Lanois and Brian Eno.
There may be some fans of U2 that simply are not overly aware of the band’s work from the early 1980’s – in fact, some may have just been born during that era. The band had a lot more to offer during the 1980’s than what is currently found on “How To Dismantle An Atomic Bomb.” These U2 reissues along with last year’s reissue of “The Joshua Tree” (and the yet-to-be reissued “The Unforgettable Fire”) are must-have rock albums. These sounds are what launched U2 and gave the band a lasting musical identity.
Sunday, August 24, 2008
It has been awhile...
Island Def Jam Music Group and Procter & Gamble's TAG are creating a new record label together to be run by Jermaine Dupri. It is another example of non-traditional entertainment companies jumping into the music business. Does anyone think this new venture will result in anything artistically relevant? This is all about TAG attempting to market directly to a particular audience and demographic by collaborating and being solely connected to certain artists and product in order to drive attention and sales to its own products. It could be a great marketing/advertising concept, but the music plays a secondary role here.
Isn’t that what unsigned, inspiring artists dream of? Signing a deal to make music that will essentially tie into a corporation’s product and marketing campaigns? Some young hip-hop artist must be thrilled about the prospect of having Dupri produce an album that will be connected to body spray.
How about the 360 deals Madonna and Jay-Z have with Live Nation? Who cares? New product will be issued to coincide with over-priced tours. It is more about a large-scale marketing campaign than the desire to produce lasting music. And no one should forget - Live Nation is making their company more attractive by aligning itself with star power so it can jack up the price for a big sale of the company later on down the road. These artists are financially secure – why would they ever want to be owned by a large company? Looks like there can never be enough money. With Michael Cohl out of the picture, perhaps the next deal will not be made so quickly.
All these deals are short-sighted attempts to cash in on the moment. These aren’t in place to create art. For the most part, there is no soul in anything being produced. It is all about the money and short-term gain. That definitely was not the basis during the making of “Born To Run” or “Pet Sounds.”
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Speaking of Madonna, has anyone seen the on-stage images from her recent tour? Wow. She looks like a clown. When does the consensus view of her current image finally become the definition of pathetic? The woman is 50. She may be in good shape, but she isn’t pulling off 35. It is an embarrassment. Not sure why anyone would want to see her version of a Las Vegas show with loads of dancers, lighting and dazzling props while she lip-synchs through half the show. The propaganda machine claims she is still a nightly sell-out, but that isn’t exactly the truth and everyone in the concert industry knows it. Madge, watching you deal with your mid-life crisis over the next few years should be entertaining…
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So, The Rolling Stones are going to be reissuing their post-Abkco back catalogue via Universal in the upcoming months as deluxe editions.
http://www.albumvote.co.uk/news/article.aspx?headline=368
The writing was on the wall for that one. How else is Universal going to recoup their multi-million dollar investment? New Rolling Stones’ product is not going to sell. A few die-hard fans will blindly make the purchase of a new album, but after a few hundred thousand copies leave through the doors of Best Buy, the album will be forgotten (even with reviews in Entertainment Weekly stating it is the best work the band has done since “Exile On Main Street”). What else can Universal do?
Here is the deal. The Rolling Stones are going to screw their fan base with this move. In order to get the unreleased studio tracks and live material, fans will have to repurchase the original albums to obtain the bonus tracks. Universal should just release a box set of outtakes and live material. They will still make a killing since there is little-to-no vault material in the market place. But, that would be too kind to the consumer. So, loads of fans are going to shell out hundreds of dollars for new remasters just to get their hands on the bonus tracks.
Hey, the same thing is happening with Creedence Clearwater Revival. A great set of remasters was issued a few years back. But now that John Fogerty is working with Fantasy Records again, he is approving a latest batch of remasters. And of course, this latest batch will have unreleased bonus tracks. So, fans that shelled out money the first time around will shell it out again to obtain the rarities. Thanks John. I guess he needs to pay off his huge legal bills from decades of litigation against Fantasy’s former owners one way or another.
These artists and their record labels should give away a free jar of Vaseline with bulk purchases since they are fucking consumers in the ass.
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So, The Who are going on a short tour of the U.S. this fall. Just for fun, I went to check out what it would cost for prime tickets. Now, everyone knows the trend for promoters and artists is to create V.I.P. packages built around the ticket sale. But, at the end of the day, the consumer pays triple the price of a great seat for a bunch of lame “V.I.P.” crap. So, for $500+ dollars to see The Who, I get a seat in the first 10 rows. That is cool, but what else do I get since I am a V.I.P.?
*Exclusive, High Quality Who T-Shirt
*Collectible Who Tour Poster (Limited Edition, Numbered, Exclusive to Ticket Packages)
*$50 coupon for use in the official Who on-line store
Wow. How exciting. For $500+ dollars, I get a t-shirt, a poster and coupon for the future purchase of some lame item from the band’s website. This is V.I.P. worthy? You would think for $500+ dollars, one would get a meet and greet with the band or at least a premier parking pass at the venue plus a free beer.
This, my friends, is a total rip-off. I’m not picking on The Who here. All artists are doing this with their V.I.P. ticketing packages. It is simply a way for the band and promoter to make more money. They aren’t interested in giving the consumer true value for a highly excessive ticket price. They are looking for any possible way to screw the fan. This is GREED.
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Axl Rose’s Guns N Roses may be the next band to have a Wal-Mart exclusive release with their “Chinese Democracy” album. Universal music has apparently invested around $15 million dollars in production/studio costs into this project since the mid-1990’s. Various rumors of release dates have come and gone. Now Irving Azoff is part of the management team for Axl Rose and the word is that Azoff is in negotiations with Universal to get this album finally released.
What exactly needs to be negotiated here? Axl Rose owes Universal this album. They have pumped huge amounts of money into it.
Clearly, the only reason Azoff took on Guns N Roses was to make money. The band is no longer a strong touring draw and the only way to generate the possibility of strong ticket sales on the road is to have some new product or to reunite the original line-up. Now, there is no way the original band will reunite, so the only other option is to finally get Axl to agree to release “Chinese Democracy.”
The interest in the band is waning. Even if “Chinese Democracy” is released, there is no guarantee it sells the millions it would have sold a decade ago. So, Universal will probably go along with Azoff’s Wal-Mart exclusive since those releases are proving to be quite the sales tool. Maybe Universal can break even on this baby by giving up a piece to Wal-Mart (and to Irving). Time will tell, but this could end up being available as a 2008 holiday stocking stuffer.
Saturday, February 23, 2008
Teaser
In that short span, not only did his influential work with Cobham shine, but he also released two albums as a member of the James Gang, two albums as a member of Deep Purple, two solo albums, and as a guest on various other projects with artists such as Moxy and Alphonse Mouzon.
Fans of Bolin will tell you that most of it, if not all of it, is essential listening. And, in all actuality, his playing and/or writing on all of the projects he was involved with during that period is impressive.
His fantastic playing on “Spectrum” opened a lot of doors. After a very underrated stint in the James Gang, Bolin was set to launch his solo career. He had all the intangibles – a dynamic stage presence, looks, songwriting ability and a supreme skill as a guitarist. So, in 1975, Bolin began recording his solo debut, “Teaser.”
“Teaser” was an exciting collage of genres and styles, yet everything blended together. He rocked hard on numbers such as the title track and “The Grind,” he dabbled in Reggae with “People, People,” and tore through some outstanding Jazz Fusion instrumentals like “Homeward Strut.” He displayed a talent for singing with his impassioned vocals on the ballad “Dreamer” as well as his sensual approach on “Savannah Woman” and “Lotus.” The material was strong and impeccably played by notable musicians such as Jan Hammer, Narada Michael Walden, David Foster, David Sanborn, Jeff Porcaro and Phil Collins.
While recording “Teaser,” he also auditioned with Deep Purple to replace Ritchie Blackmore who had recently split to form Rainbow. After a lengthy jam session, he was hired on the spot. So, as Bolin worked on finishing his first solo project, he also was simultaneously recording a new Deep Purple album. Even with exerting so much energy between these to mega projects, the quality of his work did not falter.
“Teaser” was a stronger album than what ultimately became his debut with Deep Purple, “Come Taste The Band.” But, the opportunity to be part of one of world’s biggest rock bands was too much to pass on. With Bolin on tour with Deep Purple, “Teaser” was unable to receive the necessary promotion to break. Sadly, it sort of became a lost gem, as it was one of the finer rock albums from the mid-1970’s.
Understandably, during 1975, Bolin’s solo career took a backseat to Deep Purple. By the time Deep Purple disbanded the following year, Bolin not only had a lot of work to do to get his solo career back on track, but he also had fallen deep into heroin addiction. He still managed to release his second solo project, “Private Eyes,” but it lacked the dramatic style and diversity of his debut. On December 4, 1976, one night after opening for Jeff Beck in Miami, Tommy Bolin died of an overdose.
There are many tales of young musicians dying before their time, passing away before they were able to reach their fullest potential. This is absolutely the case with Tommy Bolin. He was an extraordinarily talented musician. One is left to wonder what could have been because he had the goods to reach superstardom and to take his creativity, music and guitar playing to special places. There didn’t seem to be any boundaries in his way other than his reckless lifestyle. The title of his debut album “Teaser” defines what his career was.
Anyone not familiar with Tommy Bolin’s work, or anyone curious to hear his brilliant guitar work should check out Billy Cobham’s “Spectrum” and Bolin’s debut solo album “Teaser.” It is an inspiring musical ride.
Monday, February 18, 2008
“…an ancillary business.”
There was a short Q&A session from The Eagles’ manager, Irving Azoff, in the NY Post yesterday.
http://www.nypost.com/seven/02172008/business/eagles_soar_97980.htm
At one point in the article, he says that the music industry will have to wake up and realize that recorded music sales are an ancillary business. He says touring revenue is much more substantial.
Well no offense, but isn’t that obvious? Does anyone in the music business really think recorded music sales should (or could) somehow compete with touring revenue? Isn’t that why record labels are trying to get a piece of their artists’ income from their live appearances?
Again, why is there such a discrepancy between the income generated through touring and record sales? The answer is overpriced tickets. The Eagles have sold millions of copies of their new album through Wal-Mart, but those are priced out at around $12. What is the lowest priced concert ticket to one of their shows, maybe $50 for nosebleed seats? Of course touring revenue is by for the most profitable avenue for artists to take – especially when they can charge over $200 for certain blocks of tickets every show like The Eagles do.
Let’s face it - this isn’t some sort of answer to the industry’s problems. The legacy artists currently are taking advantage of the high guarantees offered to them by promoters. Why wouldn’t they? Other than The Eagles, what other legacy artists are moving big units of their current studio work? This will not be an indefinite scenario, however. Christina Aguilera or the Foo Fighters will not be commanding $200+ tickets on a nightly basis in 25 years. As soon as The Eagles, The Who, Streisand, The Rolling Stones, and U2 stop touring – managers like Azoff will not be able to tell the promoter to sell tickets at $200.
There is no question that Irving Azoff is one of the best managers in the music business. He shouldn’t be so quick to dismiss recorded music because it is one of the greatest creations in history. It drives inspiration and evokes emotion. It helped make The Eagles legends. And it can still be lucrative. Azoff’s deal for The Eagles with Wal-Mart looks like a stroke of genius. He gets them a 2-3 album deal with a guarantee in the neighborhood of $30 million. And even better, the new album is moving units. Is it because it is a Wal-Mart exclusive? No, most likely it is because The Eagles are still a viable act and more importantly, it is effectively priced. Consumers don’t mind spending money on music, but they aren’t thrilled having to pay nearly $20 for one CD, so when a new double disc release comes out from one of America’s all-time biggest selling acts under $12, it is going to move.
Yes, recorded music currently is an ancillary business and frankly, it would also have been in 1975 if Eagles concert tickets were $200 instead of $10. Recorded music does not have the same short term value that concert tickets currently do. But recorded music has a lasting effect – that is why The Eagles can charge $200+ for tickets because of the magic they once created in the studio.
At one time, recorded music, radio and the concert industry somewhat worked as one. It was a vehicle used to break artists. It will never be the same again. The business changed and currently is having an identity crisis. Labels still are occasionally breaking acts, radio is still playing certain artists in heavy rotation and agents are trying to break bands on the road. But it doesn’t work as often or as well as it once did. The model is outdated. There is less room for error. The cycle has been damaged beyond repair.
How will acts break in the future? A clear cut, definitive way has not been revealed. I certainly don’t pretend to have the answer. It is a scary time for new artists, but in some ways, possibly liberating because they have to know they have more control over their destiny than their forefathers did.
The music industry can’t assume that a healthy outlook is to continue overpricing concert tickets in order to continue overpaying itself bloated salaries. Azoff knows this. But he isn’t trying to reinvent the wheel. He is trying to help his artists earn as much as they can and right now, that place is on the road. Most likely, recorded music will continue to be “an ancillary business” because in no way will it generate the gross dollars of concert revenues. However, there is value in reestablishing a sense of importance for recorded music. The current musical landscape and the greed of record label executives helped kill the album and value of recorded music. Hopefully someone swoops in and saves the sinking ship. Does Irving have any ideas?
Wednesday, February 13, 2008
The Police To Disband
The news is that the band will make one more profitable round of tour dates in N. America and Europe in 2008 with Elvis Costello as support. After they play their final concert in the summer, they will walk off into the sunset as very wealthy men. And after all, isn’t that what this little reunion was all about? The money? It certainly wasn’t to create new material for the love of playing.
Many reports claim the band still does not get along. So why extend the tour? The Police certainly aren’t playing another round of dates because they love their catalogue and the magic they are creating on stage. In fact, I am shocked that the band isn’t issuing a new set of remasters and a hits compilation for this next run of shows. Why not go all the way and screw the fans in the name of greed?
I still love “Regatta De Blanc,” “Zenyatta Mendatta,” and “Syncronicity.” Those are albums that have stood the test of time. But I can guarantee that I won't spend a dime to see this band in concert in 2008. Good riddance.
Friday, February 8, 2008
Empty Award
The Grammys mean nothing. The show and the actual awards have lost credibility. It is a vehicle for labels and industry elitists to push their agendas. There is no way anyone can objectively say the Grammys is a legitimate awards show celebrating the best that music has to offer. The whole thing has become a huge joke.
Now, of course there always has to be a big, extravagant moment planned. Last year, The Police used the Grammys as a platform to announce their reunion tour. It was pathetic on all levels - particularly for the band. Sting is simply a guy with a massive ego that embraces fame. It was a no-brainer for him. But, the fact The Police chose the Grammys as the launch pad for their excessively overpriced concert tour shows they are just part of the current system in place. Their tour was all about the money - for them as a band and for the promoter. Again, the Grammys proved to be a stage for an industry agenda.
This year, one rumor suggests Michael Jackson may perform. Jackson is completely irrelevant as an artist in 2008. That isn’t to say that his body of work from the past should be forgotten, but what is the reason for his potential appearance? Sony is on the brink of reissuing a 25th anniversary edition of “Thriller.” Why not promote the release with a performance by the extremely bizarre former star? He may have been declared innocent of the charges against him a couple of years back, but a vast majority of the public certainly sees him as a guilty man. So, other than a shrinking devoted fan base, who is really going to buy a reissue of “Thriller?” Will his appearance be enough to draw an audience? Most likely he won't perform due to his own ego and excessive demands. Guess viewers will have to settle for Justin Timberlake.
How about the actual artists being celebrated with Album Of The Year nominations?
Foo Fighters – Echoes, Silence, Patience & Grace
Vince Gill – These Days
Herbie Hancock – River: The Joni Letters
Kanye West – Graduation
Amy Winehouse – Back To Black
If this is a true indication of the best music currently has to offer, it should be no surprise that music sales are down. This is a lackluster mainstream musical landscape currently in place. Herbie Hancock? He is a brilliant piano player, but this is a cliché addition to the line-up to show audiences that there is still some musical credibility associated with the Grammys – has anyone really heard this album? Kanye West? Will anyone remember this album a decade from now? Foo Fighters? Another forgettable rock album – it isn’t terrible, but is it that good? Vince Gill? Seriously…. Amy Winehouse? She is at the top of her game musically, but is it the best album from 2007?
And what happened to Bruce Springsteen? When “Magic” was released, weren’t we all lead to believe it was his finest effort in 25 years? What about the so-called depth of McCartney’s “Memory Almost Full?” Didn’t Timberlake bring sexy back with “FutureSex/LoveSounds?” Not to worry, these three will win awards in other categories. The list goes on and on with soulless, overproduced and lifeless albums released in 2007. What a joke.
And this is why there is absolutely no reason to tune into the Grammys on February 10. There is nothing to celebrate. There is no music to celebrate. It is depressing. The industry is a sinking ship. These are the “best” artists it can celebrate. These are the best artists and projects the pathetic labels are developing. It is a cesspool. Passionate music fans will continue to stay away.
Thursday, February 7, 2008
Archives Update
As reported last fall, Neil Young’s ongoing development of his “archives” project was once again delayed. The news was frustrating, if not unsurprising, but many felt the first volume of the “archives” project was finally going to arrive. The project’s existence is decades old. On a few occasions, it had seemed as though the release was imminent, but ultimately a delay would always occur. The most recent delay seemed to be related to product design issues, so a 2008 first quarter release was likely the new time period.
Well, last week the news of additional delays was announced. This time, the apparent delay is due to technology. Neil has never been a fan of CDs. He hates the sound. He has on a handful of occasions said nothing will ever replace the ambiance and sound of vinyl – and he is probably right. However, vinyl will never be back as a mainstream music format. With the versatility DVD/Blu-rey technology offers, Neil has decided he wants the first volume of the “archives” to be issued as DVDs.
With the DVD/Blu-rey, Neil feels he can offer consumers a more interactive experience by allowing them to view articles, film clips, lyric sheets from the eras of individual songs. His concept is understandable from an artistic standpoint. But it is also somewhat impractical and not user-friendly.
Who really has quality time to sit in front of their computer or television for hours listening and watching multiple hours of archival Neil Young material? It is a novelty. The CD is still the preferred format of listening to music around the world. Its popularity is waning, but it certainly is the preferable choice with consumers if they are choosing between CDs or DVDs as a format for playing music. Yes, the DVD allows for top-notch sound quality and other bonuses like what Neil has suggested, but the CD offers more flexibility because it can be played anywhere.
This project should be more than a novelty. There will be a LOT of music to digest and explore. Long-time fans that have been clamoring for Neil to open up the vaults for years will want to spend significant time embracing the music – they will want to play it in the car, at the office, and on their iPod. They won’t be happy having few options and opportunities to listen to the music. Their only option for unlimited accessibility to the music will be to rip the audio from the DVD/Blu-rey files.
How can Warner Music Group agree to this and why would they? It is hard to imagine Warner and Neil’s manager wanting this to happen. If anything, Neil should offer an audio-only version as well as the grandiose version he appears to be pushing. There is still a large consumer base that does not want to be forced to embrace a technology that is not the most popular mainstream format. Shouldn’t the desire to spread the music in the most easily accessible way be a goal among not only labels, but artists as well?
This potentially goes a little deeper than Neil suddenly wanting to embrace DVD/Blu-rey technology for the “archives” project. Some believe that Neil may feel that once he finally opens the floodgates to his archives, he will no longer be seen as a relevant contemporary artist. Well, if this is true, Neil should understand that for the most part, the general music consumer does not see Neil as a mainstream musical force. While the reviews for “Greendale,” “Prairie Wind,” and “Chrome Dreams II” were pretty strong overall, no one outside of die-hard Neil Young fans really noticed. The biggest selling album he has had in years was his 2007 archival release of “Live At Massey Hall 1971.” That should say something to him. While his devoted fan base still supports his new endeavors, there is a big audience for his work from his prime years as an artist.
So, now Neil claims that his first installment of his “archives” project is definitely coming out in 2008 – and will be only available in DVD/Blu-rey format. If this is true, it will be a fantastic experience to hear some of the treasures he has had locked away in the vaults, but it will also be very difficult to find time to enjoy the music. What an exciting update Neil….
Thursday, January 31, 2008
Apple Rooftop
The rooftop concert does not showcase The Beatles in their finest form. It is somewhat of a ragged performance, but in a sense, that is what makes it so great. It is an authentic and insightful look at the band (and keyboardist Billy Preston). There are no sleek overdubs. The Beatles were simply running through some tracks from the ongoing rehearsals that had taken place downstairs at Apple. It doesn’t get any better than when a group of talented musicians just plugs in and plays.
The rooftop performance wasn’t a highly tight affair playing-wise, but there were some spirited performances of tracks like “I’ve Got A Feeling,” “Get Back,” and “Don’t Let Me Down.” It amazes me that an official release of this famous gig has not appeared on some sort of Beatles archival project. It is certainly worthy from a musical and historical standpoint. The set list included:
1) Get Back
2) Get Back
3) Don’t Let Me Down
4) I’ve Got A Feeling
5) One After 909
6) Dig A Pony
7) I’ve Got A Feeling
8) Don’t Let Me Down
9) Get Back
By 1969, The Beatles were a fractured band. Their demise was inevitable. But through all the drama and personal tension between some members of the band, they were able to produce their final masterpiece with George Martin, “Abbey Road.”
However, prior to work on “Abbey Road,” a series of tension-filled rehearsals and the rooftop gig were recorded. In 1970, bits of this material were culled from the vaults to compile the controversial final Beatles’ album, “Let It Be.”
Up to that point, all official Beatles recording projects had mostly been of the highest production value. For the “Let It Be” album, the essence of the project was that it showed the band in a stripped down, live setting. This was also the first time where there seemed to be a lower standard from a performance standpoint. The performances weren’t as cohesive and lacked some of the energy from the past. Still, the finer moments on this underrated album such as the title track “Let It Be,” “The Long And Winding Road,” “I’ve Got A Feeling,” “Get Back,” and the beautiful “Across The Universe” are of very high quality and can stand alongside The Beatles’ best work.
Other than the segments found on “Let It Be” and “Anthology 3,” the bulk of the historic rooftop gig had been kept in the vaults for 30+ years. In 2003, Capitol reissued “Let It Be” as “Let It Be…Naked.” Initially, I thought it was a chance to hear some undoctored live tracks from the Apple rooftop. Unfortunately, the live material from the rooftop used was heavily edited in parts. The rooftop gig still had little representation from an official standpoint.
For almost 40 years, one of rock’s most famous concerts by arguably the biggest band of all time has remained in the vaults. The Beatles’ rooftop performance at Apple is a special and unique glance at one of the most influential bands ever. Happy belated birthday to this special moment in rock history, maybe something will happen with the tapes on the 40th anniversary. In the meantime, the legend will continue to grow.
Friday, January 25, 2008
If You Love These Blues
“I’m glad to have the chance to pass on what I have learned from listening to records, the radio and so many great bluesmen. You know, the blues is America’s musical legacy to the world and if you love these blues, man, play ‘em as you please…” – Michael Bloomfield, 1976
That is the opening narrative from the song “If You Love These Blues” from Michael Bloomfield’s “If You Love These Blues, Play ‘Em As You Please.” Bloomfield is a guitar legend. His impact and influence isn’t well known in popular culture, but it is there behind the scenes. After all, his lead guitar licks were an important part of Bob Dylan going “electric” at the 1965 Newport Folk Festival and on the classic album, “Highway 61 Revisited.”
As a young blues musician from Chicago, he initially was signed by legendary A&R man John Hammond Sr. to be a Columbia Records recording artist, and shortly after made a name for himself with his stunning guitar work in The Paul Butterfield Blues Band. Upon leaving Butterfield, he formed a new band called Electric Flag. While Electric Flag was supposed to be a musical vehicle in which an extensive list of musical influences could mesh - such as blues, jazz, rock, soul and world music – the band was mired in chaos and Bloomfield left before their first album was released. He quickly connected with his friend Al Kooper in the studio and was part of the legendary “Super Session” album. His dazzling playing and breathtaking solos from his days with Bob Dylan through his collaboration with Kooper all in a short period of four years garnered him a highly acclaimed reputation as one of the most talented and influential musicians and guitarists of his generation.
Shortly after, Bloomfield left the spotlight. He wasn’t a fan of the fame that was associated with his accomplishments and was also battling drug addiction. For the rest of his career, he mostly avoided becoming a mainstream and commercial artist. There were the occasional high-profile collaborations with other notable musicians such as Dr. John, John Hammond, Rik Grech and Carmine Appice; but none of them went anywhere. A lot of his recording activity during this period was done on smaller independent labels.
One surprisingly remarkable project from his low-key 70’s output, was of all things, an instructional album for Guitar Player Magazine. “If You Love These Blues, Play ‘Em As You Please” showcased a wide range of various electric and acoustic blues styles and it ultimately became one of Michael Bloomfield’s most revered projects of his entire career. One of the elements that makes this album such a fascinating listening experience (other than the spoken instructional references and descriptions by Bloomfield between tracks) is that there were no commercial ambitions behind it. This album was simply an exercise of love by a devoted blues fan. Bloomfield lets loose and just plays the blues. This is what he loved doing way before he hooked up with Dylan. You can hear it in the playing.
“If You Love These Blues, Play ‘Em As You Please” is a fantastic blues gem and an inspirational musical journey by a virtuoso musician. There are some obvious Michael Bloomfield excursions like “Super Session” and Paul Butterfield’s “East-West” that any music fan will appreciate, but “If You Love These Blues, Play ‘Em As You Please” is an essential Bloomfield project and listening experience for any fan of the blues.
Wednesday, January 23, 2008
Is The Circus In Town?
Has anyone attempted to purchase tickets to a children’s concert lately? While there are still some appropriately-priced events, there are also some mind-boggling prices too.
How about the bizarre Doodle Bops charging $70 for floor seats in some markets! Are you kidding me? I can see legends like Eric Clapton and Bruce Springsteen on the floor for $75. Three failed musicians/actors dressing up like puppets lip-synching. $70 for good seats, $20 to sit in the rafters. The whole idea behind children’s entertainment is be somewhat close to the action – not to sit in the stratosphere watching the gig on a jumbo-tron.
The notorious Wiggles are charging $40 (isn't that the price of a great Pearl Jam ticket?). These guys are a bunch of talentless hacks, with no songwriting ability, embarrassing lyrics (just because it is children's music doesn't mean there shouldn't be artistic standards), horrible vocals and ridiculous stage costumes. These buffoons are absolutely horrible. Add the Ticketmaster fees/charges plus parking and a ticket to The Wiggles becomes one expensive afternoon for the family. And as a bonus, one year olds have to pay to get in! Ticket brokers are charging over $150 for floor seats - who is buying these tickets? This is where parents have to draw the line.
Then you have a musical guy like Dan Zanes who once had a legitimate adult music career and decided to branch out and appeal to children. He keeps the musical value intact with some credibility, but he also keeps it fun. This is a guy you can take your kids to see for $20 in a small theater. That is more like it.
It is a bad sign when the insanity surrounding absurd concert ticket prices trickles down to children’s entertainment. Entertainment is supposed to be an escape. In the case of children’s entertainment, it is also supposed to be an opportunity for parents and loved ones to treat a child to a special event and to create a fun way of bonding. Shelling out hundreds of dollars for a pair of Wiggles tickets defeats the purpose. It isn’t a front row seat to the circus – although, The Wiggles are clowns and so are a lot of promoters and agents, so who knows…
*On a side note, one really good children's band is a group of four guys from New Orleans called The Imagination Movers. If you are looking to expose a child to good children's music that contains strong melodies, solid lyrics and good vocals - this band is worth checking out.
Roger Waters & Coachella
Roger Waters is headlining the closing night of the 2008 Coachella. That is somewhat a departure from the normal talent line-up usually associated with the festival. Waters’ Pink Floyd material has plenty of cross-over potential, particularly “Dark Side Of The Moon,” which he apparently will be performing.
How many times can the festival have the likes of Radiohead, Red Hot Chili Peppers and the Beastie Boys headline? At some point, it was inevitable that the festival would branch out. Still, it couldn’t go too “classic rock” or they would alienate a portion of its devoted audience and the festival would lose some of its alternative vibe and credibility. Even though there is somewhat of a cross-over appeal with Waters (mainly because of the great influence Pink Floyd’s music had on so many past and present performers of Coachella), it still seems sort of odd.
For Waters, it is a no-brainer. Coachella is still one of the premier music festivals in North America and it is a chance to perform in front of thousands of music fans that are not necessarily avid listeners of his music or even Pink Floyd’s music. And you can also bet he is receiving a nice incentive-laden, seven figure guarantee for his appearance.
Still, I would never make the trek up to Indio simply to see Waters blow away the competition – and that is what he will do. No other performer on the festival’s bill will even come close to unleashing the power and magic Waters’ set will have. Nevertheless, festivals totally and completely suck. Yes, they can offer the opportunity to see a special show by an artist that isn’t currently touring, but I have never understood why anyone would want to spend 2-3 days of leaving their personal hygiene behind, using porta-toilets, getting heat-stroke, seeing loads of talentless bands, and being crammed onto a sweaty field to hear some tunes by one or two notable headliners. Thanks, but no thanks, I think I’ll pass. Trust me, the experience is overrated.
Playing The Beach Boys
Anyone familiar with Brian Wilson’s life during the “Pet Sounds” era knows the significance of the lyrics of “I Just Wasn’t Made For These Times.” Wilson was a very troubled soul and a dedicated musical genius. The ability he had to create and produce the colorful sounds along with being able to arrange the spectacular, dramatic vocal arrangements of The Beach Boys’ music is nothing short of amazing. His emotional problems ultimately got the best of him, which derailed the great lost album “SMiLE.”
Whenever a short period of time passes where I have not played The Beach Boys, I end up spinning dazzling musical pieces such as “Let’s Go Away For Awhile,” “Til’ I Die,” “Surf’s Up,” “Good Vibrations,” “Lonely Sea,” the backing track to “Sail On Sailor,” or “The Warmth Of The Sun” – and I am absolutely blown away. The music removes the listener from reality. And often when I get into the Beach Boys' zone, "I Just Wasn't Made For These Times" is part of the playlist.
Brian Wilson may not have felt he was made for the late-60's, but the music he created from that era is timeless. Carl Wilson once said The Beach Boys' music had a spiritual quality to it and that the sound did an indescribable thing to the environment. He couldn’t have summed it up any better.
I Just Wasn’t Made For These Times
(Brian Wilson/Tony Asher)
I keep looking for a place to fit
Where I can speak my mind
I've been trying hard to find the people
That I won't leave behind
They say I got brains
But they ain't doing me no good
I wish they could
Each time things start to happen again
I think I got something good goin' for myself
But what goes wrong
Sometimes I feel very sad
Sometimes I feel very sad
(Can't find nothin' I can put my heart and soul into)
Sometimes I feel very sad
(Can't find nothin' I can put my heart and soul into)
I guess I just wasn't made for these times
Every time I get the inspiration
To go change things around
No one wants to help me look for places
Where new things might be found
Where can I turn when my fair weather friends cop out
What's it all about
Each time things start to happen again
I think I got something good goin' for myself
But what goes wrong
Sometimes I feel very sad
Sometimes I feel very sad
(Can't find nothin' I can put my heart and soul into)
Sometimes I feel very sad
(Can't find nothin' I can put my heart and soul into)
I guess I just wasn't made for these times
I guess I just wasn't made for these times
I guess I just wasn't made for these times
I guess I just wasn't made for these times
I guess I just wasn't made for these times
Tuesday, January 22, 2008
The Rolling Stones
The Rolling Stones mean something in name, but The Rolling Stones don’t represent sales. They haven’t released anything relevant since Tattoo You back in 1981. Voodoo Lounge and A Bigger Bang were hyped, but they are both completely forgettable. Yes, The Rolling Stones are still one of the biggest concert attractions in the world, but this isn’t because of their post-1981 work, it is because of their pre-1981 work which consists of their hits.
So what, The Stones are going to release the soundtrack to the upcoming Scorsese concert documentary on Universal. Does anyone think that project is going to move big units? If I want to spin some live music by The Stones, I’m going to break out “Get Yer Ya-Ya’s Out!” or an underground soundboard recording from 1972. The current Rolling Stones’ concert experience does not translate well onto album.
Is this Universal attempting to open the door to a longer-term relationship which could include the band’s post-1971 catalogue? There are certainly a few gems from that era such as “Sticky Fingers,” “Exile On Main Street” and “Some Girls.” But none of them move huge units on an annual basis. Having access to The Rolling Stones’ back catalogue is more about status than actual numbers. And are fans really going to want to purchase a new set of remasters that will most certainly be unleashed by whichever major label acquires the catalogue? I am fine with my EMI versions of The Rolling Stones post-1971 titles.
The only way The Rolling Stones will move some big units will be if the band finally issues some archival material. There have been some attempts in the past, most recently in 2002, but nothing ever surfaces. They don’t even have an official release of BBC material. There is next to nothing archival on the shelves by The Stones other than 1975’s “Metamorphosis.” If the band released a few titles reminiscent of The Beatles’ Anthologies, you can bet some units would move. Tie it in with a huge marketing campaign highlighting the first vintage release of unreleased archival material from the vaults, and there will be a vibe. Other than the stunning, but short “Get Yer Ya-Ya’s Out!” release, there still is not a premier live album in the band’s catalogue.
Mick Jagger does not embrace his past work with any real passion. He downplays the older recordings and has publicly made it clear on many occasions that he has little interest in vault releases. Well, if The Rolling Stones are looking for a big payday for their back catalogue, they may want to make a deal for a vault release. Granted, The Rolling Stones do not move units like Led Zeppelin, but ask Led Zeppelin and Warner Music Group about how much money was made with the band’s first real vault releases back in 2002 with “DVD” and “How The West Was Won.” A lot of units were moved and there was a real vibe out in consumer land because of the rare occurrence of a vault release from one of rock’s greatest bands.
The Rolling Stones can get a taste of that if they play their cards right. If I am a label, I make archival releases a part of the deal. There are only so many hits packages that can move – and unless the new label makes a deal with ABKCO, a lot of the band’s huge hits from the 60’s will be off limits for future hits packages.
At the end of the day, this deal means nothing. It is simply the transfer of a big name from one label to another. There is no substance behind it. EMI doesn’t really lose anything here; it just solidifies the perception that Guy Hands' operation is falling apart. The Rolling Stones gain a headline and maybe an advance.
Thursday, January 10, 2008
Cactus
Anyway, there isn’t much of a huge difference between the live and studio material. Cactus was a heavy boogie band; plain and simple. I have always labeled them as a glorified garage band. That is not intended to be a knock on the band. They could play. There was no nonsense about their approach; they plugged in and floored it. Carmine Appice and Tim Bogert were a premier rhythm section and Jim McCarty was a powerful guitarist. Rusty Day was a limited vocalist at best, but fortunately for him, the band’s material didn’t require Day to push any vocal boundaries.
Cactus’ material was a collage of heavy R&B and blues riffs, searing lead guitar licks, and intense boogie jams courtesy of the thundering rhythm section. Their live shows were over the top with volume and intense jamming. The studio work wasn’t much different. If anything, the songs were shorter in length, the band played a little tighter, and with the ability to play at a lower level in the studio, the band was able to pull off some more delicate musical passages within certain tracks. Whether Cactus was in the studio or on stage, the energy and power of their approach was the same.
Had Jeff Beck not been in a severe car accident in 1969, Cactus most likely would never have formed. Beck, Appice and Bogert had plans to create a rock band, but when his car accident left him out of commission for an indefinite period of time, Appice and Bogert went looking for another gig. While in the process of forming Cactus, the duo secured the vocal services of former Amboy Duke singer Rusty Day. Shortly thereafter, Day was able to reach out to Jim McCarty who had recently split from The Buddy Miles Express. With McCarty available and interested, one of rock’s most powerful line-ups was born.
Ultimately, Cactus would have a short shelf life. While the high quality of their musicianship was undeniable, the band was never able to come up with material that could propel them to the next level. By 1971, the band’s line-up began to change with the addition of second guitarist Ron Leejack. In 1972, McCarty and Day left the band and guitarist Werner Fritzschings, keyboardist Duane Hitchings, and vocalist Peter French came aboard Cactus, which by then was a sinking ship. There was the occasional musical highlight found with the post-McCarty/Day line-up, but the magic was gone. Cactus disbanded in mid-1972.
Cactus’ studio work isn’t bad; it’s just that their live work is a better representation of what they were all about. Whenever I’m in the mood to jam to some Cactus; I break out the live stuff. Cactus isn’t one of my favorite bands by a long stretch, but there is no doubt that the original line-up of the band would have blown most of its contemporaries off of the stage. They weren’t the biggest band, the best band, the best looking band, and they weren’t necessarily gifted songwriters – but, Cactus was a great rock band.
*Most of the band’s studio output is still available, in fact, Wounded Bird reissued some titles in 2007. Rhino Handmade’s “Barely Contained – The Studio Sessions” is worth seeking out for a thorough overview. Rhino Handmade’s “Fully Unleashed/The Live Gigs” and “Fully Unleashed/The Live Gigs - Volume II” are must-have live compilations. The 1971 show from Memphis found on the first volume is worth the price of admission alone. The fact that these titles are limited editions is baffling – how are future generations of fans supposed to enjoy these recordings?
Tuesday, January 8, 2008
Happy Birthday To Elvis
This is a man that changed popular culture. He helped shape and revolutionize Rock N’ Roll. He was and still is an inspiration to millions. His music continues to have meaning and influence.
Happy Birthday to The King. His music continues to age gracefully.
Album Sales Down...
The numbers are coming in. Album music sales dipped by at least 15% in 2007, meanwhile digital music sales rose by over 50%. Is anyone shocked by this news? This trend has been going on for awhile. But what does it really mean?
Casual music consumers no longer have many easy ways of obtaining CDs. The aisles at Best Buy, Wal-Mart, Borders are all pretty thin with overpriced titles usually consisting mostly of hits compilations and top 40 material. Most that are computer savvy in the slightest have embraced downloading tracks. It is easy enough, isn’t it? Millions of consumers have iPods. Why not just download the music while paying bills or surfing the net? Casual consumers have it made. They can simply select their favorite hits of the day and find some of the older classics with the touch of a button or click of the mouse. So, of course digital downloads continue to be on the rise. The primary buyers of downloads are casual music consumers.
For the devoted music fans and collectors, well, things have become much more complicated and dire. The devoted, hardcore fans are not fans of the download for the most part. If they do download anything, it is usually via P2P as a trade. But for the most part, devoted fans are still purchasing physical product, whether it is new factory sealed or used. Vinyl has even made a reappearance as a top format choice among many consumers.
Devoted fans still want physical product. Many are loading up on their purchases in preperation for the moment when the CD is gone and no physical replacement is available. This reality is coming sooner than most think. I know plenty of fellow music collectors that have been in high-volume-purchase mode for the past couple of years preparing for the inevitable day when product is gone.
The one thing that should not be forgotten is the market created by devoted music fans and collectors. This market is filled with individuals that live for music. They support it on all levels and consistently spend a lot of money on product. This market isn’t enough to sustain an entire record industry, but it is a market that needs to be taken care of by the record labels. The labels have lost their stronghold on casual consumers, but the moment the labels completely disassociate themselves from the hardcore fan-base is when their fate is permanently sealed.
Product is part of the music experience. The artwork and liner notes add value. I was jamming to The Byrd’s Legacy Edition of “Sweetheart Of The Rodeo” over the weekend. Not only is it a milestone and legendary album, but the story behind it is such a fascinating and important footnote in music history. The story is told through great liner notes and photos found in the Legacy Edition. This story won’t be found on iTunes if a music fan decides to explore “Sweetheart Of The Rodeo” through a download. iTunes is the modern day cassette tape – a no-frills way of hearing music. So much is lost through downloading.
Now, one could make the argument that all consumers have to do is download the tracks and search for the stories online. Well, that could work, but it isn’t quite the same as owning the music and story in a physical form. Ultimately, that may be the only way of doing it though, because the CD is on the way out. But, will casual consumers even know to look for the story? In many cases, this crucial piece of the picture will sadly go unnoticed.
Album sales will continue to plummet over the next couple of years. The percentage of sales will continue to drop because casual music consumers no longer support the CD as they once did, the prices continue to stay way too high, there are few options of where one can actually purchase CDs, and the quality of music continues to be at a low level. Downloads will continue to be on the rise, as discussed above. Still, there doesn’t seem to be any answers. The future for music sales looks bleak. It is only going to get worse before it improves.
