Mailbag

Subject: Rockin 1000

Bob -

Have you made a post about Rockin 1000? Have you given it much mind share?

The Foo Fighters desperate attempt to go viral (that is working).

I think I smell a rat.

Does anyone believe that this was an organic effort not made by the label or a third party marketing agency that trades in viral videos? They are full tilt experts in this field these days. The production level alone is enough to imply to anyone that has spent time in the industry that this was NOT organic.

A brilliant marketing stroke that has worked. I just feel a little gross when I watched it. Am I alone?

Does anyone believe that Huff Post quote -

"The megaperformance was an effort to convince the Foos to play a show in Cesena, a city of about 100,000 in the country's northeast."

Really....convince?

I couldn't help but think...wow...Foo Fighter European tour budget included a bit of marketing dollars.

Maybe this truth has already been exposed. Maybe I missed it.

Thank you for reading and considering.

Joel Bornzin
Portland, OR

(Learn to Fly - Foo Fighters Rockin1000 Official Video: http://bit.ly/1ODzJyW)

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Subject: Re: This Week's Quotes

Music is all about feel not sound
Go back and listen to Motown mixes ,tamb and vocals baby ....smoking grooves.
I have to say the analog days of tape and vinyl for me were the best. But a shitty song with no attitude or soul is a shiity song. No amount of audio hype will help you out.

Keith Forsey
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From: Steve Lukather
Subject: Re: E-Mail Of The Day

Kenny is a dear old friend and neighbor and a lifer musician like me and we have been great friends for a LONG time.

We do anything and everything musically... and have our whole adult lives.. making records in 5 different decades!
It was how we were trained and how we still live and what our dream was.
Kenny and I have discussed this many times over the years on the many sessions and gigs we have done together.

Kenny is a force of nature and a monster player and his passion has never waned.
I love and respect the guy and he is funny as hell too.

There are not many of us left.. a dying breed of musicians that can do whatever is thrown in front of us without notice or rehearsal and were inspired to start music by the Beatles and then devoured every other style of music along the way but are still just rock n rollers at the end of the day.

Some might say we are old but we are not in the heart and soul... and the great thing about getting older is I don't give a fuck anymore.
Showing everyone how big your dick is is a young mans game and all the BS and the mis-conception of trying to be ' the best' when there is no such thing... Now I look back at very close to 40 years of making records and touring for a living with a huge smile knowing I pulled it off.. the dream of being a lifer musician.. always working and doing new things and getting to work with most of my childhood heroes...

For this I am most grateful to all that gave me these opportunities and this life I get to live
I don't work for a living I LIVE for work.. and my 4 kids.

Have a great day and tell Kenny to pull his pants back up and get some tissues for gods sake. hahaha

Luke

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Subject: Re: Hamilton

I agree wholeheartedly Bob. Hamilton is one of the best things I've seen
in ages. Lin-Manuel Miranda did an amazing job and he makes Wesleyan
Alums like me very proud of him, and of Wesleyan in general; I was only
one of three Co-Founders of Blue Man Group, But I think I can safely say
that it would not have become what it is today without the eclectic blend
of artistic, cultural and historical influences I was exposed to there.

Best,
Chris Wink
Co-Founder Blue Man Group

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From: Denisara
Subject: Re: Facebook

I represent a band that had one song reach the top 30. But before it did, they recorded 9 LPs. Those lps still have shelf life. We collect net profit of 6$ Per LP from retail and 13$ at merch table.

But better than all else is we have 245 songs published by BMG and
Everyone of those tracks are licensed to stream. We have never made more money than today. Not even close. Our advance has been paid back in 17 months. It was the fattest advance ever offered us. We now get to extend the deal for double the advance because the income isn't just tied to mechanicals any more. (which petered out in the old system After 12-18 months from release.

It is tied to streaming revenues as no one is buying physical. We love getting 80% of the licensing income

It is not saddled w costs of goods, packaging, etc. It is almost a friction-free process to record then upload and we dont need a label to admin. anything

These are glory days for us. In the old physical model our sales would be lost To the cycle of music. At some point, the units stop moving and people would jump Over to a different scene or Sound

But now, our music can be played several times a day, on Youtube, RDio.

That adds up

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From: Bill Cutler
Subject: Re: Rhinofy-New Riders Of The Purple Sage

Hi Bob,

Nice piece on the first New Riders of the Purple Sage album. As someone who played and recorded with both Jerry Garcia and most of the New Riders, I just wanted to add a few more details to your review. John Dawson was a great songwriter and frontman, but David Nelson, who played lead guitar in the original line up, Dave Torbert, the bass player, and Spencer Dryden, the drummer (from the Jefferson Airplane), were also crucial to creating the mood of the band's music on that initial album. Steve Barncard, one of the best engineers of the 60s and 70s, was also a big factor in shaping the sound of the tracks.

When the band did come back with the their hit, "Panama Red", the lead vocal was sung by David Nelson, not John Dawson, and Dave Torbert also had some fabulous lead vocals on the Riders material as well. The reconstituted New Riders are still touring today, and packing clubs with both David Nelson and Buddy Cage (who replaced Garcia on steel guitar) in the current line up. Thanks for recognizing a seminal moment in the history of country-rock.

Bill Cutler

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From: Danny Zelisko
Subject: Re: Rhinofy-New Riders Of The Purple Sage

Marmaduke was a real piece of work. At a show I had at a club called Dooley's of Tucson, (1978) between shows, he dosed the deli tray with some liquid sunshine. The guests imbibed without knowing it, including me. Needless to say, the second show sounded really amazing, although some of the people flipped out because they had no idea why they felt that way. I did know the feeling but was mildly pissed as I had to drive back to Phoenix that night. Fortunately I must have got a piece of food that was lightly dosed, some others were not as lucky. He thought it was funny because he was already high on it, and wanted everyone to feel as good as he did.

Always a lot of fun with those guys, and those fun 70's, I miss 'em.

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From: Rob Bleetstein
Subject: Re: Rhinofy-New Riders Of The Purple Sage

Bob,

Thanks for showing some respect for the New Riders of the Purple Sage and the late John Dawson. Sure they were seen as a Grateful Dead offshoot, but for a lot of kids on the East Coast in the mid-late '70s, the Riders coming to town was an event and great musical party every time around. The Powerglide album was my introduction to them and it changed my life at 10 years old. By the time I was 12 I knew that Marin County was going to be my future home. On my first trip to San Francisco at 15 I ventured up to their office in San Rafael and within a half hour was sitting on the front steps with Spencer Dryden. Fast forward a few decades and I oversee their archives and archival website http://www.nrps.net

From their vault we've released six concerts from the heyday, of which you'll probably enjoy the Boston Music Hall 12/5/72 show, and they all can be streamed at http://www.nrps.net/musicandvid.html

And while Dawson, Garcia, Dave Torbert, Skip Battin and Spencer Dryden have left us, original guitarist David Nelson and steel wizard Buddy Cage have been behind the New Riders Renaissance for the past 10 years, keeping the spirit alive while creating new music with GD lyricist Robert Hunter and touring steadily. Take one listen to "Suite At The Mission" from their 17 Pine Avenue and tell me if Garcia was with us, he wouldn't be singing this one! New Riders Of The Purple Sage – Suite At the Mission

As for the first album, can't argue with your assessment at all, though perhaps "Glendale Train" has become more popular than "I Don't Know You" over time. But even 40+ years later, I still hear something new every time I spin this classic masterpiece. Thanks for pointing it out for your audience.

Rob Bleetstein
NRPS Archives
San Rafael, CA
http://www.nrps.net

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Subject: Re: Rhinofy-Can't Buy A Thrill

Bob
One of my 2 favorite Steely Dan albums. Katy Lied also had that same mood for me.
Intelligent lyrics with a twist. The lyric quality was always something a listener could count on. I would always be excited when they released a new album - not only for their skilled musicianship, but for Fagan's incredible take on life. That band had a huge influence on seventies musicians in Toronto, including myself. I saw Steely Dan for the first time in Orange County in 1995 and I was blown away with their live performance. I told myself on the drive home that I had to free up as a writer because the music I heard in the show was si bold and unrestricted.
the next day I composed "Birmingham"
(Amanda Marshall).
Cheers
Dave Tyson

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Subject: Re: Re-Laura Nyro

Bob,

Laura's influence was enormous.

I was fortunate to work with her for several years in the late 80's, engineering sessions at her home studio in Darian Ct. as well as her 1989 Live At the Bottom Line album.

She apparently heard the albums I had engineered for Rickie Lee Jones, and got in touch with me, and I was honored to get to work with her.

I found her to be a lovely, spiritual, kind spirit who was far removed from the world and egos of "show biz". She had built a state of the art studio in her home, but she lived above the garage in one large room at the other side of the property.

One day I was cleaning up, and looked under the sink for some cleaner. What I found next to the Ajax was her framed "million air" award commemorating a million plays of "Wedding Bell Blues". It was the only sign of her success as a writer and artist that I ever saw.

Mark Linett

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From: Patrick J. Daly
Subject: RE: Re-Laura Nyro

The other day I heard a comically awful version of The Wanderer on YouTube. I told my friends about it, and then for good measure, PMed the video to Dion. Dion responded back to me. Dion himself. He said "WQW!!!!!" haha. When people say they don't like or "get" Facebook or social media, I just say, if you do it right, the connections you can make are amazing. You do sort of a mediated version of all that, but same general effect -- a big conversation, with people who actually know exactly what they are talking about occasionally coming out from behind the pillar a la Marshall McLuhan in Annie Hall.

Thank you.

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Subject: RE: La Super-Rica

Bob
Great story about La Super Rica
About 30 some-odd years ago, my client Russ Kunkel invited me to drive up to Santa Barbara with him, where he was going to play that evening with Jackson Browne. We left mid-afternoon, to avoid traffic, and to make sure that Russ would get there in time for the 6:00pmsound check, which we both knew to be of great import to Jackson. Around 5:30, we were on our way up the hill, when Russ spotted La Super Rica, and said "hey, let's stop in for some food"… I got a bit nervous, and mentioned being on time for the soundcheck. He said: "oh, don't worry about it"… We walked into the nearly-empty restaurant, and there, sitting alone at a quiet table near the back, was Jackson Browne…

Nick Ben-Meir

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Subject: Apple Music Thoughts

Hi Bob,

Just been reading with interest and dropping my 2 cents and pleasure to meet you.

Biggest gripe is that when listening in a playlist, you can't jump straight into an artist or the album you're currently hearing. Completely ruins the discovery element and stops me from digging deeper into the person I've just discovered without unnecessary hassle.

On top of that Connect has all the main woes – no followers, no way to really interact with fans or learn more about them and their tastes/dislikes/likes.

Would be nice to see a stream count every once in a while too! Good service so far, am enjoying my time with it but definitely places to improve.

Ps. - I manage Bob Moses the guys you referenced, glad you've heard of them!

Thanks,
?
Toby Andrews

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From: Sir Harry Cowell
Subject: Re: Rock Star CEOs

Love this Bob.

There was one guy who always stood out in the UK in the old days.....Tracy Bennett ( London Records) when he signed an act he would tell all that he would break them, he went on record when he signed All Saints, it really motivated people and it worked.

He did the same for act Simon Napier-Bell and I managed in 1992 and it worked with shops ordering the album up front all over Europe.

Kindest and keep up the great honest writing.

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Subject: Wayne Carson

Hey Bob,
Reaching out about the passing of Wayne Carson. Wayne was in my life from my early years. My dad, Si, was a pioneer in the country music industry (he started the Ozark Jubilee and got Chet Atkins, Brenda Lee, the Browns and Porter Wagoner their record deals all out of Springfield, Missouri). My dad was instrumental in the career of Red Foley convincing him to leave Nashville to do this "new thing called television" - where they garnered 15 to 20 million viewers a week. My dad knew Wayne's parents, Shorty and Sue Thompson (stage names) and they thought their son had talent and wanted my Dad to help. He began working with Wayne in the '60's.

My sisters and I would listen to Wayne's new songs anxiously awaiting what he was working on. Usually on a Wollensak tape player or live in our house. Finally in 1966 an unknown duo funded by one of the duo's parents had a top 20 pop single with Wayne's "Do It Again Just A Little Bit Slower" (Abnak Records). I remember being in the KWTO radio studio when the demo was cut. After writing 1,000 or so songs, Wayne had a hit.

My dad pitched one of his songs to Eddy Arnold that year called "Somebody Like Me." Eddy, and producer label head Chet Atkins, called Wayne and said they liked the song but wondered if Wayne would be willing to write another verse as they thought the song was too short. Wayne realized that if he hesitated, he was lost. He asked Chet's secretary if she had a pen and he dictated a new verse off the top of his head "I hoped you've listened to now to each word I've told you now these things you better now or you won't have her long..." It became a number 1 country song winning a BMI Pop Award for airplay in 1967. This was the same year he was blessed with a cut from an unknown band in Memphis Tennessee produced by Dan Penn. Cut at Chips Moman's American Studio, "The Letter" became the song of the year and highlighted the talent of lead singer Alex Chilton. Mala Records. Amy, Mala, Bell. To this day, I know of NO OTHER WRITER who has written a number one country single and number one pop
single within a year but different songs.

My dad and Wayne saw no boundries and knew no area had a monopoly on talent. They influenced the world with their efforts from the Ozarks. My dad naming Chester "Chet" and turning Springfield, Missouri into one of the biggest places of original TV programming in the '50's. Wayne writing hits like "Always on My Mind", "She's Acting Single, I'm Drinking Doubles", "Drinkin' Thing", "Neon Rainbow", "Soul Deep", "I See the Want to In Your Eyes", "Slide Off Of Your Satin Sheets" and the list goes on. Pop, country and R&B. He had no equal in his diversity.

Wayne had cuts from the Boxtops to Alabama, from Eddy Arnold to Michael Buble, from Al Hirt to Ike and Tina Turner. "You Got What You Wanted" is to this day an iconic '60's r & b cut. The original version has Wayne playing lead guitar. He was accepted into the soulful world of Memphis.

I could go on & on about Wayne - he just simply was one of the best tunesmiths of our lives. Most people don't realize that "The Letter" was inspired by the Vietnam War. Soldiers waiting for that letter from home. Wayne had received a letter from his dad that referenced "airplane" as "aero-plane." The rest is history. It was a hit in 1967 with the Boxtops, in 1968 with the Arbors and in 1969 with Joe Cocker. As the b-side of "Space Captain," radio simply flipped it over and played the Leon Russell arrangement. And Cocker finally broke big time in the US.

I had handled a lawsuit for Chips Moman against Waylon Jennings. Chips said he appreciated my standing up to Waylon and he was going to cut a couple of my dad's songs in appreciation. He cut "No Love At All" with Willie and Waylon. When Merle Haggard declined to duet with Merle, "Always on My Mind" became a single for Willie Nelson when CBS Records said enough duets, we need a Willie solo album. Chips cobbled together the tracks to make a Willie album never really cut as a Willie album. And the two time CMA Song of the Year was born dictating a change in the rules on how a song of the year was determined.

Any way you cut it, a great song is a great song. And Wayne Carson gave us lyrics and melodies that defined our lives. They still do and they still will.

Rest in peace, WC.
Scott Siman

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Subject: Re: Jerry Weintraub
To: Bob Lefsetz

Dear Bob,
It's been awhile since backstage at Staples in LA. Trust this finds you well. Certainly you are up to par. Thank you, thank you, thank you for those beautiful sentiments about my dear friend Jerry. Putting that shovel in the ground the other day and throwing dirt on that box was probably one of the most difficult moments of my life. No one like him. Throw away the mold. He was the man. Thank you again.

Respectfully,
Paul Anka



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