Mailbag

Subject Sugarman

Hi Bob

Thank God for some sensible writing on the Rodriguez saga at last! As a white South African who has been playing, writing about, broadcasting and lecturing on popular music for what seems like ever (and who did his compulsory military service the year that Cold Fact was released) I have been reading the UK and US film reviews with a variety of emotional responses that have ranged from mere irritation at the odd factual error to real anger at the downright lies.

I haven’t yet seen the film either, so I can’t comment on its worth, or even its accuracy, but the press for it has been way off the mark in several respects … voice of the anti-apartheid movement (he wasn’t, quite apart from the fact that some of the most unreconstructed bigots I have known have been Rodriguez fans); bigger than the Stones; better than Dylan; sold half a million copies (I don’t know for sure, but this seems questionable given the total white South African population at any time. I believe, though, that the Light In The Attic reissue has sold around 500 copies here, over four years, and its successor, Coming From Reality, around 200 â€" there is, however, a cheaper CD version around); albums were banned; was specially, with a suggestion that it might have been unique to him, picked out for track-gouging by the national radio broadcaster (this happened to local activist musicians too, and no doubt several others â€" perhaps even Bob Dylan, and probably John Lennon, given that the Beatles were banned from SA radio post the 1966 "bigger than Jesus" furore); and even a hint in a couple of the reviews that you could go to jail for even owning a Rodriguez record (officially released copies of which were freely available pretty much everywhere you went).

Disinformation regarding what was and what was not available in apartheid South Africa is widespread. It no doubt suits someone like Bob Geldof, for example, or Elvis Costello, to believe (or to say that he believes) that his records were not formally released here. Many of them were.

I also struggled with the widespread critical genuflection when Cold Fact was reissued by Light In The Attic about four years ago, but I understood that that was arguably just a matter of musical taste that differed from mine, although the pull of the apartheid-era South African story must, even then, have been a strong one.

Regards

Richard Haslop

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From: NERVO
Subject: Re: When Love Takes Over

Hi Bob,
We read your blog every day and almost fell off our chairs when we saw your post about 'When Love Takes Over'. We've since been inundated with industry friends and colleagues asking us to respond to clarify our involvement in the creation of the track. We wrote and produced the melody and lyrics to 'When Love Takes Over'.

We originally wrote the track for Kelly Rowland; however, her record label decided not to use it. We left the track for dead and continued to work on writing new music in our makeshift home studio. Three months later David Guetta called us asking to use the track and from this point forwards our lives changed forever! If it wasn't for David's A&R ears and credibility as a DJ the song would probably still be sitting on a dusty shelf today.

It was our lucky break that came after a big move from Australia to London, seven years of waitressing, and sharing a bedroom in a crappy London flat share, while simultaneously doing what we love â€" creating music! It was also the defining moment that earned us respect as artists and writers.

The rest as they say is history. We are now touring the world as DJs, currently working on our first NERVO album and basically living the dream: still making the music we love and working with some truly amazing artists.

Bob, your mantra of what can happen if you work hard and stay true relates completely to this little story.

We are so glad you felt the love - that's our job done. :))

Xx

Mim (& Liv Nervo)

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From: Jeff Jones
Subject: Mumford & Sons-Re: Sales-Week Ending-9/30/12

Hey Bob,

I was digging down into the 599.

420 was digital. 70%

Of the 420 about 390 came from iTunes.

390 of the 599 from one retailer. 65% from one US account.

Best,
Jeff

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Subject: Re: Turn The Page

Hi Bob,
I had the pleasure of opening for Seger for a number of shows. We were jumping back and forth between Seger and the Boomtown Rats at the time.

I was a new artist, signed to Arista,and put out a record produced by Jimmy Iovine (another story).

Bob Seger was probably the most kind and gentle person that anyone could dream to open for. He gave us a "drum check" and luckily that was all we needed.

He would usually retire after the show, and you would see him in the morning, having breakfast and reading the paper. Very unassuming. His band however was older than we were and completely out of control. M80's and Cherrybombs flying throughout the hallways, acting like the much bigger bands who threw TV's into the hotel pool at the "Riot House". They were hysterical...acting like teenagers.

Whereas, opening for Sir Bob was a fuckin nightmare. Our first gig opening for the Rats was at the Tower theater in Philly. The stage crew was instructed to pull the front line monitors for our last number. Leaving me not knowing if the audience could actually hear me. Once I figured out what was going on, I moved my self back toward the band simply to find the key that I should be singing in. This sort of thing happened a number of times. Once we got to Cleveland, where my record was doing well I knew that we needed to put a stop to this subterfuge. Sir Bob was especially pissed when we passed each other on the way into WMMS. I was going on the air live with Kid Leo, and Bob was doing a taped interview. All of us were staying at Swingo's. Engelbert Humperdink was playing somewhere in town, so after sound check we came back to a hotel lobby full of blue haired old ladies.

I, however had a plan to deal with the Rats. My band was mostly from Staten Island, via Brooklyn, they all carried knifes. I asked them to wait by the elevators and jump whoever showed up first, the crew or the band. I also made it clear that I couldn't be personally involved. They were as disgruntled as I was, so they agreed. The elevator doors opened and it was the crew. My band pulled the switch blades or stilettos, saying "We're from fuckin Brooklyn and we will cut you."

The next day before the show, it was all about "Oh, Mr. Byron do you have everything you need? Are the monitors all right?" What a bunch of assholes.

Bob Seger was always a gentleman. He never once resorted to any sort of trickery. He has my utmost respect to this day. I wish him the very best.

Regards,

D.L. Byron

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Subject: Re: Rhinofy-Five Man Acoustical Jam

Hey Bob -

I had the honor and privilege to tour with Telsa on their Psychotic Supper Tour in '92. This tour was supposed to last for 6 weeks, and it lasted for 9 months. The promoters had such success that they brought the tour back 2 and 3 times.

Our band has never been treated so well by a headliner. They gave us all the volume we wanted out of the P.A., all the stage we wanted, and all the lights. They even shared some of their crew (which they were paying for) with us. They also gave us some room on their truck for our gear.

On the first night of the tour, they snuck 5 bottles of top shelf champagne into our dressing room. When the tour came through our home turf in NC, they gave us a HUGE cash bonus because they felt that we helped them sell tickets. That's the only time THAT has ever happened to us in our 22 year career.

We've done some shows with them since, and they sound better than ever. They have AMAZING musicianship and vocals. As you say: "it all starts with the songs", and these guys keep writing GREAT songs.

I can't say enough good things about TESLA, and I thank you for writing about them in your newsletter which I read regularly.

Thanks for helping all of us out... Bill Leverty / FireHouse

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From: Nathan Brackett
Subject: RE: Tom Rush's Video


Bob -

Thanks so much for posting this. My father, Josh Brackett, wrote the song that Rush is covering, "What's Wrong With America"; my dad was a lifelong, small-town activist who got serious about songwriting after his 60th birthday. He left us a wonderful set of songs when he passed away this April at the age of 77. Tom Rush, an old friend, started playing "What's Wrong With America" live last year; my father would have been thrilled to see the attention it's gotten. It's amazing to see songs that he basically wrote for his grandkids reach a larger audience.

best,

Nathan Brackett
Deputy Managing Editor
?Rolling Stone

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From: Tom Rush
Subject: Re: Tom Rush's Video

It says right there on YouTube “Words and Music by Josh Brackett.” He gave me a CD of songs he wrote himself, sung by him and his family. I thought, “Oh, shit! He’s a good guy, he and his wife are good friends, and I’m going to have to listen to this dreck and come up with something nice to say about it.” I put it off for a couple of months and then discovered he’d written some very credible songs â€" zero production value, mind you, but good songs â€" including this one. I only regret that I didn’t get it on stage until after he’d died.
T

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From: Robin Millar
Subject: RE: The Apple Keynote

I'm going off piste here bob...triggered by something in your letter about apple and the foos

Allegiance to bands.

It has amused me for decades that singers in bands or lead guitarists in bands or the main writer in a band so often foolishly assume that the fan base is all about them. this is of course because to a singer everything is always all about them. the idea that the fans could be fans of the band not of any one individual - or at least only as long as that individual remains in the band? Surely not.

And yet as you eloquently described, van halen lost a string of singers thought of as indispensable by said singer, yet forged ahead from strength to strength.

Surely genesis couldn't continue without the charismatic peter Gabriel, replacing him with their little balding drummer could they? Surely pink floyd couldn't lose their singer AND their primary writer roger waters and fill in with their chunky guitarist could they?deep purple, white snake, AC/DC little feat, and on and on.

The point is this: we become fans of a football team. We love the star
players. Then the biggest star player is poached away by a rival team. Do we follow that player to his new team? Do we even consider it for a second? No, we not only welcome his replacement but we boo the old guy if he comes back with his new team to play a home game.

Be warned singers. It's not all about you. if you leave you're forgotten. If you put out a solo record nobody cares. If you produce your own record and play all the instruments it'll suck...but if you go back to your band the fans will love you all over again

Cheers

Robin

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From: Steve Lukather

Hope life is treating you well.
Have loved the last few ' raves' .
Dylan.. yeah it is sad as a lifelong fan.. sometimes ya gotta pack it in BUT he doesnt care so as long as people show up..
The critics.. YOU nailed. Irrelevant now. Could not happen to a more fucked up bunch of arrogant cunts. LOL
You know who I mean as well.. I LOVE 'their power' is gone.
As you have stated.. the REAL critics are your fans. The postive about social media. They know what you are capable of and love and WILL bust you when you do something lame. I know haha BUt I listen to them. They have given me so much.

Luke

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Subject: Roxy Music

Hi Bob,

I followed Roxy Music in the very early 70's while they were in a transitional state between playing the pubs and colleges and breaking out to a larger audience.

I would bump off school, put my tie in my pocket, my blazer over my shoulder, jump on a train and pray I didn't look like a 12/13 yr old kid who had bumped off school...!

I'd turn up for the sound check and try to say hi.
They were friendly, bizarre and I knew I was experiencing something very special.

Thanks for the reminder, a unique and highly underrated artist.

Best

Fred Fairbrass

Right Said Fred
www.rightsaidfred.com

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From: Dave Dederer
Subject: Re: Another Leno comment

Bob,

The Presidents were on Leno a few times in the mid 1990s. Every time we were on the show, Jay came to our dressing room -- alone, with fruit basket or other gift in hand -- to introduce himself and chat for a little while during the long hours between arrival and taping. We were also free to wander around the set as we pleased. I recall playing frisbee in the glorious LA winter sun (glorious if you're from Seattle) in the parking lot next to one of Jay's crazy cars.

The set felt like a warm, friendly and welcoming place, not typical for a TV or film production environment.

Contrast this with a visit to Letterman, where guests are sequestered in a tiny green room far from the stage for hours before taping, then held after the end of taping in another green room immediately adjacent to the stage while the halls are cleared after the show so Dave doesn't have to even see any of his guests, much less interact with them.

I didn't meet a lot people in the entertainment business willing to do what Jay did every time we visited his show, which was to take a minute to say hello and have a very human and real interaction.

Dave

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From: David Penn
Subject: We Are Never Ever Getting Back Together

Hi Bob,

Taylor Swift going to Max Martin and Shellback is like Robert Johnson going down to the crossroads. The fear of her losing her fame, as you so rightfully put it, caused her to sell the two things that launched her into Pop/Country superstardom in the first place â€" her soul and her uniqueness. What she got in return is what most of the mainstream Pop songs have â€" a super infectious melody that’s like crack that you can’t get out of your head, coupled with all of the “hit song bells and whistles” like the "filtered" bridge, the "Pink" influenced lo-fi dialog before the chorus comes in and the Katy Perry/Pink "shout" into the final chorus The problem is that with this song she’s now just "one of the pack," and there are others that do it much better.

I must say, though, that I had high hopes when I first heard that she was collaborating with Martin and Shellback. I really thought that something interesting would come of it â€" that it would press the boundaries of Country and Pop to new horizons. It didn’t.

So now she’s #1 on the Hot 100. I think it has more to do with the hype of her putting out something new than the merit of the song. We have more than enough artists putting out the sugary modern Pop crack. Not every song needs the Max Martin, Shellback, Dr. Luke, Bonnie McKee, Stargate, Smeezingtons, Cirkut touch.

The saddest thing of all is that she had it all right on her previous album â€" and the sales and all of the awards proved it. She exceptionally talented and she’s knows what she’s doing. She just needs to do the hardest thing in the world â€" trust and stay true HERSELF. She’s earned it.

So â€" let’s see what the rest of the album is like. Remember, once the "Taylor’s back" hype wares off, all we’re left with is the music. The music will determine her true longevity.

In your previous email you said, “Instead, we've got the mainstream media trying to figure out who she wrote the song about, as if it'll solve global warming…” Well â€" I really hope that this song isn’t this generation’s “You’re So Vain.”

Best,
Dave
Founder
Hit Songs Deconstructed

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Subject: Re: E-Mail Of The Day

Hi Bob,

I've always had a theory that print holds some sort of stronger power or at least a credibility factor over other media, even to this day. So when I read the mail from Scott McKain I had to comment on a very different experience I had with that same publication. We've been lucky at Blue to get some great press over the years from both traditional and more non-traditional publications. At one point USA Today did an expose on the company. Wow - anybody who says print is dead is missing something. We've had online press from Time Magazine, Wired, USA Today, and on and on. But one big print article with a few great photos and our phones were ringing off the hook for days - both business inquiries and industry friends congratulating us (it's the only press we've ever gotten that motivated my Mom to call!). It was a 20 fold increase in activity over any other press we've received.

I think your note makes a good point - if this article had been about Mr. McKain and his business I'm guessing he would have gotten a much different reaction.

I attended a focus group of millenials conducted by the Intelligence Group (part of CAA). VERY interesting feedback from this group of twenty-somethings but the thing that jumped out at me was their comments about print. They completely wrote off getting their news from print. However, every single one of them had 2 or more magazine subscriptions and felt that ads or editorial they saw in these print publications held more sway than the same thing they might see online. Interesting stuff.

Thanks for stirring the pot! Always enjoy reading your posts.

John Maier
CEO, Blue Microphones

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Subject: RE: E-Mail Of The Day

Bob:

'Taxi Terry' is NOT a viral video. The video is an example of successful search content. Look at the views chart and discovery data. There is no spike in views in the entire history of the video. For example, one of the top discovery events is the search for 'customer service'. Another top discovery event is an embedded version on customerservicezone.com. That embed is probably attributable to one of the aforementioned searches. The only discovery event that could be attributed to word of mouth is the search term 'taxi terry' and that only accounts for 1,120 of the 65,000 views.

The point is that the video was 'distributed' through search. It was successful because it was great content. It drove sales for Scott McKain because it was a product sample and NOT hype.

The term 'viral video' is a misnomer that obfuscates the reality of what really works on YouTube.

Best,

Keith Robbins

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From: Armand Sadlier
Subject: Re: Vi Hart

We had Vi Hart as part of Coulton's fan cruise last year (which is growing at a great clip and we don't advertise one dollar). Vi and I sat at the pool bar the night before the cruise and drank scotch until 2 AM. It was the most interesting conversation I've had with someone I didn't know in quite a while.

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Subject: Re: Chris Frantz Responds

Hi Bob,

Of course, as Chris Frantz says, Talking Heads booked themselves into CBGB's, they were not there because Tom Verlaine convinced Hilly to hire them; the very idea is unimaginable.

They drove down to New York from Providence, and were about to audition for Hilly.

By coincidence it was on an afternoon that I was meeting Johnny Ramone (I was the manager of his band) at CB's to talk to Hilly about an upcoming show.

"Oh, Danny," Hilly said to me, pointing at the stage where Talking Heads were setting up, "this band just got to town, and since the Ramones don't have an opening act for this coming weekend, I wonder if it would be OK for them to open."

I said, "Here's Johnny! Let me ask him."

"Johnny, Hilly is auditioning this band, he wants to know if they can open for us this weekend. Nobody ever heard of them. I don't even know what they're called."

"Well, let's hear them," Johnny said. Talking Heads were about fifteen seconds into their audition, when Johnny caught my eye and said, "They suck. Yeah, they can open for us."

That's an oft-told tale--Chris and Tina are great friends of mine, and they've certainly heard it before. You'll have to read "Please Kill Me" to find out what happened next.

Best,
Danny Fields

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From: lonn friend
Subject: Re: The Age Of Miracles

I heard "Hide in Your Shell" on KROQ, seven plus minute opus, shortly after the album was released. Prog rock kid. mind blown by the sonic production and infectious hooks. They were playing "Dreamer" and "Bloody Well Right" too. The LP was flawless, first of four straight masterpieces. Supertramp had an Alice Cooper -esque 70s run. "Don't arrange to have me sent to no asylum!" "Rudy's on a train to nowhere, half way down the line." Verses of the platters that mattered, adolescence, innocence lost and found - they flash back in an instant accompanied by the elation of first discovery. I saw the Crime of the Century tour at the Santa Monica Civic, the venue I spent most of my youth in. Fifteen years later, when Slash's debut Appetite checks started steamrolling in, he went out and bought the most expensive kick ass stereo he could find. Invited me up to his Walnut Drive house in Laurel Canyon for a listening party moments after the components were hooked up. "I'm gonna test the speakers with this album," he smiled. "Do you know it, dude? Its one of the best SOUNDING records I've ever heard." Before the needle dropped and the dial went to 11, I did a five minute sermon on my life of Crime. "Amazing right!??" yelled the new rock star with the new toy as Roger and Rick's miraculous melodies filled the canyon "Bloody Well Right, man!!"

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From: Danny Buch
Subject: You are always right...except sometimes...lol

Nice seeing u in Phila....

Slight tiny correction:

"you can do just fine without radio play" is wrong
Radio remains massive driver. (Yes I am thankful)

I assist fantastic ATO (RED) in driving Alabama Shakes radio. Soundscan #8 (same week that RED had 3 Top 11 Soundscan- Bonnie debuted #6 & #11 Counting Crows).

Shakes one of Most Played AAA artists at that time and has gone on to over 40 Million in Radio Audience! (No Top 40 but rather combo of Top 5 AAA+ 19* Alternative this week).

Most other successful acts you eloquently speak of have similar strategies. I helped work Once Soundtrack (RED) - Big AAA....Lumineers (not RED) is one of Most Played AAA...Fantastic Glassnote Promo (with RED assist) delivered huge #1 AAA, #1 Alternative play on several Mumford tracks

Strategy being to secure a radio home in every mkt.

Fascinating that combo of passionately listener driven Noncomms, AAA's, and Alternative Radio Stations can expose and drive ALBUM Sales of these artists - with a fraction of spins compared to Pop formats (which drives big track sales)

However you are 100% correct on 1 FACT:

"And credit must be given to the distributor, RED" (thank you for the nice kudos - now on 2nd Top 15 Bonnie track @ AAA & Noncom radio)
--------
Thanks for some pretty strong analysis and perspective overall

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From: Gary Witt
Subject: Re: Around The Web

We eliminate 80% of the scalping of our tickets by just not shipping the tickets to out of state buyers. Because to understand the scalper is to visualize a guy sitting in his Sponge Bob underwear, in Schenectady, with 10 credit cards laid out in front of him, already having "purchased" the venue pre-sale passwords, buying as many tickets as he can when a cool tour is announced for venues, buying on the entire tour until he maxes out his credit cards. And then he tries to dump them.

For us, these out of state "buyers" must show up, with the credit card used to buy the tickets and with their drivers license in order to be able to pick up their tickets on the day of show. When contacted following their purchase, they realize that they cannot do this and we take their tickets back, adding a handling charge. And we donate that handling charge to a local charity The other 20% we tackle little by little by searching the same websites where they sell them. Afterward, we sell those returned scalper tickets back to those in our community who love and support entertainment, be it comedy or music.

And that is one of the reasons why we do not have customers, we have a community... of over 120k who believe in what we do… in a small city like Milwaukee, for our 3 venues. Because we care about the experience. It's not just about selling tickets, it's about putting the real fans of that artist in the best seats. A chef would not change a recipe by simply adding more expensive ingredients. He adds the "right ingredients" in order to make the best meal. And a concert experience is the exact same thing.

Gary
milwaukee, wi
Pabst Theater | Riverside Theater | Turner Hall Ballroom

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From: John David Souther
Subject: Re: Who Shot Rock & Roll

Bob,

Funny column. Norman Seeff came to my little bungalow in 1971 to photograph me and upon plugging his armada of strobes and kliegs for all I know, blew the power out in my house. I don't remember how he took the pictures (for the reasons mentioned in your piece) but they were good, quite original, and made the book.

Sounds like a fun evening. Diltz is, of course, an old friend, and as a photographer and historian (as well as a very good musician), stands alone.

Best,
JD Souther

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Subject: Re: Who Shot Rock & Roll

Bob,

I had the pleasure of meeting Bob Gruen at SXSW this year. As I perused through his book titled "Rock Seen", obviously a take off of the magazine he used to shoot for, I came across my favorite album cover of all time, "Dressed to Kill" by Kiss. You reference Gene Simmons wearing clogs in the photo. Bob told me those those clogs were his girlfriends at the time! He mentioned that half those dress clothes were his, since the band didn't have much in that department.

I love hearing the back story of famous photos, especially from music. Thanks for the information!

Jeff Holmes

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From: Ian Kennedy
Subject: Re: Lowery

I make the majority of my income mastering, mixing, recording, and otherwise handling the music of people most of whom wouldn't have been making records 25 years ago. So do a lot of my friends and colleagues. I feel bad for Mr. Lowery and happy for all of us.

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From: BG Bremer
Subject: Re: Update

My in box is filled daily with CD release announcements from people I don't know and/or people I know but don't care about. Announcing a CD release is akin to announcing the arrival of the latest buggy whip. Waste of time.

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From: Rikelle Eilbott
Subject: Re: What I Learned At The One Direction Show

Hi Bob,

I've got a 12-year-old and she DID buy the whole One Direction album, and DOES listen to the entire thing.
Believe me, cause I could probably recite the lyrics by now!

She found a site on Etsy which makes handpainted Converse sneakers. She uploaded two One Direction fan-made graphics to the artist and she now owns a pair of black high tops with One Direction art on the sides. Only $105. She paid for it herself with bat mitzvah money.

This summer's concerts were out of the question because they're during her sleepaway-camp, but she's been bugging us to pick up tickets for NEXT summer's show that's in Dallas (3.5 hours north of us).

What she's been excited about lately is a British musician named Ed Sheeran. She ordered his album from Amazon using gift cards and she received it in the mail the day it came out. We listened to it twice all the way through on the way to camp.

She told me recently that she wants us to move to England because "that's where all the good music is!"

And she listens to Spotify while on Facebook and it recently posted that she listened to Changes by David Bowie. She's quite something, I think.

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Subject: Re: Questions

Hey Bob,

One of the things that always surprises people when they learn to sing is that when we breathe in, when we fill out lungs with air, our chests and guts stick out. It seems totally counterintuitive and, looking back, I have no idea why. Of course we puff up when we fill up. But, for some reason, we insist on sucking in our guts when someone tells us to take a big breath. Learning to properly fill our lungs is one of the keys to learning to sing properly. It's amazing that our minds trick us into doing the wrong thing sometimes.

Best,

Steven Page

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Subject: Re: The Gregg Allman Book

I was disappointed in Gregg's book because he said some very inaccurate and hurtful things about my time with the band's and his solo management and especially during the 1980's when Alex Hodges and I were possibly the only two people in America who still believed in him and his talent and were able to assist him in reviving his career, getting him a deal at Epic which garnered a string of #1's at aor radio and also getting the ABB re-united. I let him know about it, too. Hey, no good deed goes unpunished especially in rock and roll, but no sour grapes here. I never stole a dime and have few regrets. Still, Gregg is one of the all time great blues singers and his brother Duane was one of the finest men I ever knew.

I do tell a different side of the story in my book "No Saints, No
Saviors - My Years With The Allman Brothers Band" now in it's fifth
printing and 100% true and accurate.

Wille Perkins

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From: Nicole Williamson
RE: Mavis Staples At The Greek

I am sure you have gotten many emails, but of course Mavis has a website.
mavisstaples.com

(Note: I did get a lot of e-mail about this, so I Googled Mavis again, her site came up, then again, it did not. When I checked originally, before before writing the article, it did not come up in the results. That's the power of Google. I can't explain why this happened, but it's scary...)

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From: Darren Templeton
Subject: Re: When Love Takes Over

Bob- really cool to hear you appreciating the sound of dance music. I got into it a few years ago. 8 years ago, I sustained a spinal cord injury and am paralyzed from the waist down. But when I go to dance festivals and shows, it doesn't matter! I feel the beat with everyone else. And the people there are the nicest people you'll come across. Never rude, and always looking to help me out. Not uncommon for me to get lifted up to chair-surf!!

Darren

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From: Rhonda Merrick
Subject: Re: The Newsroom

"What's right, what's smart, doubling down and fighting for change...that's for pussies."

Well, in that case Bob, I'd rather be a vagina.

It has depth and warmth.

It can take a pounding and enjoy the experience.

Rhonda

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Subject: Spirit

Hi Bob,
Just a short note on something sort of out of the realm….

We’ve licensed the right to release a Spirit Anthology from SONY and we decided to make the effort to make this into something more than a straight re-issue. Years ago, I’d spoken to someone who knew Ed Cassidy, the drummer and stepfather to Randy California (and a ripe old 42 years of age, at the time) and he confirmed Ed was still very much alive.

He provided Ed’s number so I called Ed and explained what we were doing and asked if we could meet, thinking he might have photos for the packaging or there might be other ways to generate money for him. He agreed and we drove the 3 hours to meet him. There is much more to the story that isn’t germane but the bottom line is, Ed was living in a single wide trailer, with no air conditioning that was at least 10 degrees warmer than the outside temperature (which was in the high 80’s). He had an ancient box fan that wheezed and coughed and didn’t move much air (we bought him a new one before we left, plus one for his bedroom) and it was obvious his quality of life sucks.

His mind is fairly focused, he is alert, aware, shared some amazing and funny stories but, as with many elderly, he is adamant, protective of his independence (he still drives, a 1957 Chevy) and I believe, harbors a lot of anger. Getting him to accept change won’t be easy. Ed is also dealing with the after effects of a broken leg and ankle (sustained over 2 years ago) so he can only get around with a walker and even then, not easily.

We contacted MusicCares and they’re attempting to help Ed but not sure how much they can or will actually do for him. We’ve spoken to Mark Andes who is working with us to try and assist Ed but I’m hoping through you we can generate some awareness, additional support and suggestions for how to improve his life without compromising his independence.

I believe Ed is the oldest living rock ‘n’ roller and I would think he deserves a better quality of life….suggestions are welcome. I’ve considered raising money to assist Ed via IndieGoGo but perhaps there are better suggestions.

Thanks,
Arny

Arny Schorr
COO/President
S’more Entertainment
RockBeat Records


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