Mailbag

From: Robin Millar
Subject: RE: Taylor Swift

It's not just the songs...this is all about processing Bob. This is about pop processing as opposed to recording. Cliche...keep it real. Once you start straightening out the beats and the dynamics on the drums, vocalining and autotuning all the backup vocals so they are a blend like a synth not a bunch of people singing in the background, once you hyper-compress the guitars so they sound like they are coming out of a ipod already, once you autotune and time correct the lead vocal so there are no flaws, once you create impossible one second dead silences in the middle of songs, once you go for 15 different mixes to take care of fragmented radio niches....then you are into pop processing.

The music no longer sounds like a bunch of people could possibly have turned up to a studio, set up, plugged in, played and sang and an engineer set up a bunch of mics and recorded them...then you are into plastic, temporary, a bubble that bursts ten seconds after it is exposed to the air.

Who are the biggest selling acts this year? Answer mumfords, adele. Who's still going to be around in ten years time? Answer....Mumfords and Adele. No processing.

Make your records impossible to be taken as real and you are as permanent as a seltzer.

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From: peter frampton
Subject: Re: Taylor Swift

But I believed in life after death. And I was right!

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From: peter noone
Subject: Re: Rhinofy-The Move

Blackberry way. Roy Wood Genius!

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From: Bob Ezrin
Subject: Re: Rhinofy-The Move

Keith Elshaw who was the evening DJ on CKFH in Toronto (an AM station with an FM format) played me Brontosaurus in 1970 and it literally changed my life. Until that moment I was really a long-haired hippy folkie dabbling in rock music that all sounded like sons of The Band.

I had just met the Alice Cooper group in NY a few days before and was pitching Jack Richardson to consider producing them when I went to the radio station to visit with Keith, a slight man with a booming, melifluous voice, trippy patter and amazing taste in music. Back then, the DJ's programmed their own shows.

Keith was my friend outside of work. At the time, he was renting Scott Young's coach house on Lyndhurst Ave, the street I grew up on (that's Neil's dad in case you're wondering). We would hang out there, listen to records and smoke dope and I would hide there from my responsibilities as a premature husband and father at 20 years of age. But that's another story.

That evening in the studio, Keith said "I've got something you HAVE to hear. I'm going to put it on the air now" and he did. Because he wanted to, and he was in charge of his own show. What a concept! Anyway, he dropped the needle, turned it up and this lumbering beast of a song charged through the mono Altec 604 studio monitor and took my face off. I had never heard anything like it…though the Beatles and Jimi and a few others had come close to true heaviosity a few times. And maybe there were other antecedents to the heavy metal sound of the 70s that I was unaware of the, but I'd never heard anything THAT massive and sludge-laden before. The minute I heard it, I was cellularly converted and nothing but Truly Big and Heavy would ever really satisfy me again (I'm talking about music here…so get your mind out of your pants). Remember Shana Boom Boom? Heavy makes you happy! So right.

The next thing I knew Jack had cleared the way for me to go to work with Alice Cooper in Pontiac Michigan. And when I got there, the first song I worked on with them was I'm 18 which I needed to sound as massive and bigfooted as Brontosaurus, so I started to experiment with guitars and bass doubling riffs and things like tuning down and all the stuff that became SOP in heavy rock. I didn't know anything about heavy rock then except that I had been infected by it and I wanted THAT sound! And that desire informed my early career - and might be the reason I had some success. Heavy made me happy. And the Brontosaurus was my indoctrination into true heaviosity.

So…I owe it all to Keith and The Move. Really.

Bob

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From: wendy waldman
Subject: Not breaking through

My dear, generous friend

Your letter was such a blessing cause I know you get it...and in this business, you want two things, and it's up to you to decide which is more important if you don't get both-you want to make a living of course, hopefully a great one--and you also want someone to GET what you do, really deeply. The former comes and goes for artists except for the 1/20th of 1 percent now--but the latter, now, THAT is the grail, man. And beyond a shadow of a doubt, I know that you get what I do, what I'm trying to do, and what I hope to continue to do until they cart me outta here.... For that I thank you beyond measure because that's what's priceless and that's actually what carries you through the darkest hardest times, knowing that there are some folks out there who really hear you. That is actually the real measure of success.

I know that somewhere on the net it was written that I've been "disappointed" that I never "broke through." I've said a lot of dumb stuff in the press over 40 years, but that is ONE thing I have never said. In fact, not breaking through was probably the greatest gift of my life. It has forced me to keep pushing my boundaries, to keep studying, to make a buttload of mistakes and a few exciting successes, to search, experiment, to "ride the rails" as I said in the show the other night, to learn to produce, be a session player, a singer, a performer, a teacher, a songwriter in different disciplines, to range all over the globe in incredible musical experiences and with the greatest musicians of my time, to learn new styles of music and work in every possible configuration and discipline except for classical music, (Alas, how I wish I could have.) These boundless, wider ranging opportunities only came to me because I had no choice--I had to stay restless and to keep learning, and it made me grow. I would never have survived being a star in my 20s and 30s.
And by the way, along the way, I've had years where I made a lot of money, and also some horrible times of near poverty.

And I kept being so damned excited about all these great places I got to visit (and get to visit even now) and learn from. With such opportunities, who could be disappointed? Truth is, I always suspected in my heart it would be like that: my dream was to be a musical thinker, and I guess my dream has come true. I have always been deeply grateful for the chances I've had, especially the chances to learn to do it better, even though some of those were the ...most painful ones. Such is the road, and so it goes on and on, if I am lucky.

Please tell our friends who wrote such kind letters to you, worrying that I never broke through, that I am so happy to be the musician I am, and that I wouldn't change it for the world, and that like my heroes, I intend to make music until the day I die, literally. And that THEY and you are the light that sustains me, gives me reason, hope, and optimism. Out of our hands who will be remembered and who forgotten.

W

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From: James Hutchinson
Subject: Re: Rhinofy-Paul Brady

Hi Bob.

Thank you for the piece on Brady.

He's an old friend who's deserved more recognition for his work throughout his long career. Nothing's much changed as far as that goes. A great solo performer, he's been making great records, solo and otherwise (w/ Andy Irvine especially) since his traditional stuff of the mid-1970s. All of these are well worth seeking out. (Check out "The Liberty Tapes" and "Welcome Here Kind Stranger") Dylan later co-opted his arrangement of Arthur McBride.

I was introduced to his contemporary material by a couple of friends in Ireland (guitarist/songwriter Bobby Dunlap and Jim O'Neill of the RTE) in the early 1980s shortly after the release of "Hard Station", still one of my favorite records, and would listen to it almost constantly during that time and shortly thereafter while on the road on our bus with Bonnie. She got him immediately. Not everyone that I'd played him for did at the time. And although he was legendary in Ireland at the time due to songs like "Nothing But The Same Old Story" (about the Irish Diaspora) and later "The Island" (how one man dealt with the "Troubles"), which were almost anthems, I was surprised how few people here really got his stuff. His records needed to be searched out. I'd have friends send them from Ireland. Or maybe find them in Boston.

One Monday afternoon around 1989 (while taking a nap before a late China Club jam gig) and a few days before a benefit at the Santa Monica Civic, which Jane Fonda had helped organize and which we were doing with Bon, Richard Thompson (who along with Jeff Porcaro and myself performed on the "Luck Of The Draw" track on Bon's record), Jackson Browne and Springsteen, I got a call in the afternoon from Paul, who had been given my number by Irish singer Maura O'Connell (of De Dannan). Couldn't quite believe that it was he at first and thought it might have been another Irish friend "winding me up". After I'd realized that it actually was him and not my friend Bobby, and after a few minutes of chat we decided to hook up later that evening and we headed down to the China Club for a grand night all around.

Later that week at the benefit, I had the pleasure of introducing he and Bonnie and Paul was surprised by the fact that universally, the musicians performing there were fans of his work. That's still the case with him today. A truly genuine soul who writes his songs from the heart.

We later hooked up some gigs for him at the old Largo on Fairfax which were a great success. The first night being an almost entirely Irish crowd, who knew all the words. The second night was attended primarily by the LA singer songwriter crowd and featured a memorable entrance by David Crosby. (Another story, ask Flannie).

We've had the pleasure of working, playing and hanging together many times now of the years and it's never enough. Great Craic.

Thanks again. HH

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From: Brad Parker
Subject: Re: Your Catalog

I was a guest teacher at MI last week in a songwriting class. I used a technique to start off that I learned from my old boss Bill Graham:

"How many of you believe that you will be as successful as I am, with a career that spans decades? (everyone raised their hand) All of you? OK… Well, not one of you will ever make it in my business. Not any one of you. You need to go home, get a good job, do your music on the side and have a wonderful life without being a part of my world of artists, songwriters, musicians and producers… (long pause) Now, how many of you believe that you will succeed? (a couple of hands go up) These are the people in this room today who have a chance because nothing I said changed their mind. I am a fairly nice guy but you will meet some really mean people in the music business who get their kicks out of stompin' on a dream. You must believe. You must be tough. It's the only way…"

I first saw Bill do this in Berkeley in 1970 to an auditorium full of aspiring rock stars like me and my brother. We were among the handful who raised their hands the second time. Bill said no one there would ever play on his stage. He told us to go back to our garages, forget about making it and have a good life. A few years later I became a stage hand for BGP, while I played in my band on the off nights. Eventually Peter Barsotti, my boss, offered me the chance to move up at BGP. I had to say no. When Bill asked why I told him that I was determined to play on his stage and not just work on it. He was totally cool even though he and Peter thought I was crazy. A few years later I did play on the stages I had worked on, the Concord Pavilion, the Shoreline Amphitheater and many others. My wife at the time, Wendy Waldman, was the opening act on the Dan Fogleberg national tour and I was the band leader and lead guitarist. It was a promise I had made to myself that was pretty sweet when it came true. Many other dreams have come true since then.

Many are called and few are chosen. I guess in the end we choose ourselves? Who knows. I am happy to be here still crazy after all these years. Your words are an elixir for those of us "On The Road." Bob…

Thanks for keeping it real…

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Subject: Re: Jimmy Calls

Hi Bob,

Proud to say Jimmy Iovine was the tape operator on my first album AQUASHOW recorded at The Record Plant in NYC in 1973. He did a flawless job as I remember and was always into the music. To say his career moved on nicely from that point on is an understatement to be sure. It was my first time in a real studio and the superb quality of the sound I listened back to was a revelation and inspired me to make my performance somehow commensurate with the level of my surroundings. I think there is something poetic and just and even intimate about how artists work in studios wearing high quality headphones to record music that is then mixed and mastered and listened to by kids wearing ... high quality headphones. Those of us who remember when the advent of stereo was a mind-blowing experience, when the format of an LP changed the art form itself and who listened long and hard to those amazing sounds of yesterday to the point that our ears are ringing today can only have hope that the level of sound technology and musical artistry will again create that perform storm and give forth irresistible life-changing records. Me, I'm an optimist.

All the best,
Elliott Murphy

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From: Lennart Krarup
Subject: Re: Jimmy Calls

Beats are NOT studio sound, the curve is TOTALLY wrong for studio work.

Stick a test mic in the cans and run some test, and you'll see the bass is tilted over 20db! (every 3db feels twice as loud)

If you mixed on those cans, it would sound SHIT on any and every system.

Studio sound has NOTHING to do with cans, nor speakers.

You see, studio sound it all about the room, (and how few reflective
surfaces you can reduce it to).

YOU CANNOT BREAK THE LAWS OF PHYSICS!!!

Studio sound is for the elite, everything else is mass marketing...

Love and grooves

Lenny Ibizarre

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From: peter frampton
Subject: Re: Beats At Half Price

All the noise canceling headphones I have tried for flying do cancel some good frequencies. Not what one should listen with whilst checking a master mix from the road. The trick of removing the lead vocal from a stereo track by putting the speakers/headphones out of phase is similar to noise canceling (but it's much more involved than that). While canceling the frequencies of the plane or traffic that are making it hard for you to hear your music, the process unfortunately removes part of what you are listening to as well. I learned this the hard way. The mix was great when I finally listened through regular cans and then speakers. Just saying .....

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Subject: Re: Rhinofy-Mott The Hoople

You might be interested to know that I am the author of the novel, Mott The Hoople from which the band took its. name, back in the early 50's. The book, by the way, is now available in print and e-book versions. Let me know if you'd like further information.

All good wishes,
Will Manus

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From: Bob Lefsetz
Subject: re-Zuckerberg saying it was a mistake to use HTML5 for Facebook app
To: Roger McNamee

http://www.ft.com/intl/cms/s/0/8133bd96-0d3d-11e2-99a1-00144feabdc0.html#axzz2Av4aCGVU

What do you think this means? A turning point, or will HTML5 dominate eventually?

You're the guru!

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From: Roger McNamee
Subject: Re: re-Zuckerberg saying it was a mistake to use HTML5 for Facebook app

Dear Bob,

What Mark said about native vs HTML5 is axiomatically true for the Facebook application. Facebook had created a one size fits all mobile app in HTML5 that worked on all the platforms with only minor tweaking ... getting FB into mobile faster than would otherwise have been the case. It turns out that substantial processing horsepower is required to configure each (personalized) FB page, so consumers had to accept really pokey performance. To perform satisfactorily, the Facebook app needs to take advantage of every opportunity offered by Apple's tool set. The only way to do that is to write native apps. (This is why action video games must always be optimized for each platform.)

The FB example is really important, but it's not the whole story. Many valuable products do not benefit from native apps.

The most important use case for tablets is content consumption; on smartphones, content consumption is probably use case #3 after phone/text and camera. For linear, time-based content such as video or audio, however, processing power is irrelevant. Once the stream starts, the only things that matter are bandwidth and the quality of the playback device.

For content publishers (as opposed to app app creators like FB) there are two potential negatives to native apps:

- App Store: content publishers give up tons of control to Apple. They also give up rights to demographic data about their customers. In a word of mouth era, the App Store is a poor discovery tool.

- 30% tariff: Apple's fees are really high for word of mouth products. If your fans want your product wouldn't they rather buy it directly from you?

The question about HTML5 is this: will there be a next generation web optimized for mobile? In terms of profit, iOS is gradually sucking the life out of the HTML4 web that revolves Google, Facebook and Microsoft. HTML4 can't compete on mobile because of Flash, so HTML5 comes to the rescue.

If everyone interprets Mark's quote as the end of HTML5, then iOS is the new Windows. It's possible, but the smart money will bet on a slow but steady adoption of HTML5 by owners of branded content (who offer app versions, as well, to hedge the bet). But they will work harder on HTML5 because margins will be higher. In time, open source HTML5 will evolve more rapidly than iOS. This is why Apple is so smart to enable great HTML5 experiences across all iOS devices ... it's a great hedge.

One more observation: about the time of Mark's HTML5 quote, Apple discontinued its social tools and integrated FB into iOS6 to replace and enhance the social functionality. Probably just a coincidence.

Take care,

Roger

Sent from my incredible Palm Pre


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