Streaming, the future is now. The country numbers aren't what rap and pop are but it's growing rapidly. Here are two acts I work with and have worked hand in hand with John Marks to help break.
"Yours" by Russell Dickerson
44,706,691 on Spotify - #25 on Country Mediabase
"Blue Tacoma" by Russell Dickerson
30,693,920 on Spotify - zero Mediabase spins
-signed to an indie label Triple Tigers, we had 20Mil streams before the deal, the majors missed it.
-----
"Ain't Always Pretty" by Logan Mize
24,525,059 on Spotify - maybe 10 spins on Mediabase
- no record deal, he got dropped in a CEO change. Hit finding indie publisher, Big Yellow Dog Muisc (Meghan Trainor, Maren Morris), is the label now.
charly salvatore
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Subject: Re: Mediabase vs. Spotify
You should really have a conversation with Dave Van Dyke there in LA at Bridge Ratings. He's been supplying us with streaming data weekly for two years now. We've adjusted our adds, spins and drops based solely on streams and downloads. Three out of the 4 FM's I'm doing this with are now #1 in their demos. You are spot on. But, it's slowly changing, and there is more than Spotify. It's one of the "big dogs", but not the sole indicator. We look at a half a billion streams a week from almost 30 sources. It works. You are correct. It's the future.
Rick Peters
Bluewater Broadcasting
In lil' ol' Montgomery, Alabama.
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From: Henry Chatfield
Subject: Re: Mediabase vs. Spotify
Streaming to download digital revenue for our clients is now 2/1. Streaming overcame download earlier this year, and then soon after it doubled.
Was talking to a friend at INgrooves last week and he said he has a lot of clients who are now even 5/1. It's not even a story any more. People can still bitch but it's doesn't matter. We're using data and the numbers speak for themselves.
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Subject: RE: Mediabase vs. Spotify
Hi Bob:
This discrepancy between the radio and streaming charts reminds me of what happened as hip-hop emerged in the 80s.
In the mid-80s, I worked as the managing editor for an urban radio syndication company. We were the first to license Billboard's Rap Singles chart for a national countdown show ("The Hip-Hop Countdown & Report"). At the time, hip-hop records were flying off the shelves with little or no radio airplay. We would talk to the programmers at the urban stations and most of them declined to take our hip-hop show – insisting that it would not be welcomed by their audience. Meanwhile, an AM(!) station in Los Angeles (1580-KDAY) achieved legendary status by not only embracing hip-hop, but breaking new independent hip-hop artists. All the while, I kept wondering "Why is this so complicated? The kids are buying more hip-hop records than anything else? Just pay attention to what the kids want!"
-Dan Stuart, music attorney
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Subject: Reply: Mediabase vs. Spotify
Bob,
Radio lives and dies by callout research. Stations judge a song's potential by playing 7 second hooks, then meticulously testing its appeal. The problem is, songs don't test well untill they're familiar - and radio lacks the courage to jump on songs and build familiarity.
So, interest in new music is exploding while radio swallows its own tail.
Beau Phillips
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Subject: Re: Hand In Hand
JJ Watt does a twitter and raises $32 million without much fanfare other than a viral awareness. These people do $44 million and that Apple $5 million might cover the production costs of their "telethon."
Thomas Augustus
Vero Beach, FL
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From: Jim Edmonston
Subject: Re: Re-Hand In Hand
One NFL player in Houston raised more money by himself than the entire crew of Hollywood elites could muster...with all of the networks pimping the event, wall-to-wall!
Our cultural icons are self-absorbed grandstanders who work for craven syophants who worship at the altar of a media complex Americans no longer believe in.
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From: Bob Ezrin
Subject: Re: Hand In Hand
Apple donating $5m is almost insulting. It should have written a check for $1Bn and made a real statement about its commitment to its home country and the customers it claims to serve. That would have gone a long way towards making up for its avoidance of corporate tax. But corporations, as we've learned, have no country, no loyalty and no absolute morality. They are devoted to "creating shareholder value" which is a benign, "right speak" way of saying they are devoted to profit above all else. ALL else.
When profit is the needle of our moral compass, then we have to turn our backs on sacrifice, loyalty, principles and patriotism all of which are typically costly and unprofitable but also essential to our social fabric. Healthy societies cannot be built on "every person for themselves". Healthy societies depend on "every person for themselves AND the greater good".
But, as we are constantly reminded in our fanatically capitalist country, corporations - especially public ones - aren't people and therefore they are exempt from many of the rules that were designed to bind us together as a society. In fact they are often rewarded in the marketplace for the results of anti-social behavior like lying (tobacco), gouging (pharma), endangering others and the environment (oil), even murder (tobacco again).
And we approve of all that because we're investors and we're not the ones dying from their products (yet - perhaps), and we have a responsibility to ourselves and our families above any we have to our neighbors or our country.
The government ought to be able to better regulate those behaviors but any suggestion of more government intervention or regulation is anathema to half the country - and the other half is a confused hodgepodge of ideologies and narrow interests. So there is no longer a broad popular base of support for govt oversight on behalf of the people. In fact, the majority of people sees the government as dangerous and incompetent.
I think we have deluded, destroyed, feared, abused and amused ourselves to death in America. Everyone for themselves and their kind - and fearful of all others - has been our battle cry since Newt Gingrich, Rush Limbaugh and the 24 hour news cycle conspired unwittingly to frighten the nation, demonize and polarize us and pit us against each other just as we were starting to address our core issues.
But thanks to the fear and hate mongers Americans don't really believe in the greater good anymore. They believe in their good above anyone else's. And consequently no one believes in the ideal of America anymore.
And Apple, the leader in everything, if it had a human heart could have led by example last night and might have galvanized the nation with a single act - one that wouldn't even dent their coffers - but they didn't.
B
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Subject: Hot Summer Thanks
Hi Bob, I wanted to say thanks for the kind words about my song Hot Summer Nights. Much appreciated.
I also wanted to invite you to my show at McCabe's on October 14, 2017. I will be doing a show that covers many of my highlights from Gram Parsons doing my song Hearts On Fire to Eminem's use of the aforementioned Hot Summer Nights and much in between. I will be joined for the last half of the show by the Malibooz.It will also serve as a CD release party for my new album True Songs.
Thanks again for keeping the music alive
yours
Walter Egan
ps: the riff is me but the solo is Lindsey
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Subject: RE: Hot Summer Nights
Hi Bob,
So great to see your piece on Walter Egan and Hot Summer Nights! This certainly would have been a Top 10 like Magnet & Steel had Columbia not decided to release it in November!
(As you know, Nicky Hopkins band, "Night" covered it the following Spring and it went Top 10.) The Malibooz, which Walter and I started in high school, then covered it on our Malibooz Rule! Album in 1981.
I'm sure Walter will respond and tell you the whole story behind this song (a true saga! )which was written the night before the last day of recording for his Not Shy album. The song is about our high school band, The Malibooz, and how we loved to play those summertime night shows. In those days they used gels over the spotlights to change colors. The combination of the warm weather and the heat of the light would sometimes start the gels melting. We really connected that aroma with playing back then and that's what the reference is about.
Walter is still making great solo albums as well as playing with me and The Malibooz. He'll be at McCabe's on Oct.14 and then with me and The Malibooz at the Canyon Club on Oct 20th.
Stay thirsty, my friend!
Best,
John Zambetti
P.S. Did you know that Dr Dre and Eminem used the structure of Hot Summer Nights for Eminem's We Made You AND they gave Walter co-writing credit? Yes, there still is integrity in the music business.
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From: John Zambetti
Subject: RE: Hot Summer Nights
Funny I just asked Harold to send you The Malibooz' version. I didn't know how public your email was and I didn't want to be too much of a schnorr.
https://www.youtube.com/watch?v=B6GIZ7Ujw38
The story behind the song is that Lindsey and Stevie had separated and Walter had moved in on her. Walter was going to record Stevie's song "Sisters Of The Moon" for the final song on his album. Walter and I went back to his place after a day in the studio and Lindsey called and said "You're definitely not recording THAT SONG!". Whether he was pissed at Stevie or knew about Walter's tryst, I don't know. So Walter was left to come up with a song for the next day. We started talking about old days performing back East with The Malibooz and those sticky nights, the smells and the aforementioned melting gels and the satisfaction of just getting the songs right. The Malibooz' version has some lyric re-writes which more directly reference The Malibooz. Also it's a bit faster as Walter's version had not been road-tested. After a year of performing on the road the tempo increased to where it felt right. That's how The Malibooz did it. Lindsey's on The Malibooz album too.
Best,
John Z
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Subject: Re: Hot Summer Nights
Hi Bob-
The missive on Walter Egan brought back a flood of memories . . .
I recorded and toured with Walter during his 'hey-day', and was always mystified why he was not more successful.
The truth is the politics at the label . . . which is a long story.
Still, Walter was and is very talented and should have been far bigger.
Anyway, thanks for the memories!
Best,
Michael Huey
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From: Randall Pettersen
Subject: Re: The Mighty
Bob - recently you mentioned Deezer. Thanks. Spending lots of time there recently. It's like you said, Deezer really opens up the music. I do prefer Spoity's aesthetic and search capability. But Deezer's quality is fantastic. I'm not an audiophile, but I do like my music do sound good in the car. My iPod Classic bit the dust a while back. But with Deezer I feel that can live in the digital. In fact, I have no choice now since I took a lot of the physical to Goodwill. It had go, Can't remember that last time I put a disk in to play it. Can't remember the last time a put a disk in to burn it. Heck, I don't have CD player.
All he best,
Randy P
San Antonio
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Subject: Re: U2 Tickets At A Discount
Thanks Bob. I had unfortunately purchased $50 tickets 3 days before the show to sit in the nosebleeds. I saw your email after the opener (Beck) finished and upgraded to 10 rows from the floor for a miniscule $24 per ticket. Your email vastly improved our evening.
Rory Biller
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From: Ted Guggenheim
Subject: Re: U2 Tickets At A Discount
Look at the pricing, where there is a dollar amount and then X number of cents.
Those are the bots that bought the tickets en-mass and then are constantly adjusting the secondary market price based on supply and demand. In this case, you're right the supply was better than in the demand.
That's happened to me when I bought tickets for a "sold out" show and then tried to sell them at face value on StubHub and kept getting undercut by the bots who are monitoring the prices and adjusting them both up and down in real time. I took a bath as a regular customer trying to resell tickets to a sold out show.
In this case, it didn't work out for the bots!
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Subject: Re: U2 Tickets At A Discount
In real time! Seriously!!
That's why the tickets aren't in whole dollars, they add the cents to give it a higher ranking than someone who prices it at $28 versus $28.60.
Watch them, they literally change in real time, by pennies!
Also, look how many tickets are for sale together between 1-6 or 1–13 seats. Those are not people! Who buys 12 seats together and then resells them, as a chunk or individually?
Ted Guggenheim
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From: Brian Howell
Subject: Re: U2 Tickets At A Discount
Last few shows I've gotten tickets for have been via Spotify. They scout what I'm listening to, then send me a presale code when the act comes to town. Its always hooking me up with just the right band at just the right time. On the other hand, last time I bought from Stubhub I drove eight hours to a festival only to find out the tickets were bogus.
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From: brad auerbach
Subject: Re: U2 Tickets At A Discount
It was home to Buffalo I went the night before my first college exam. I was the only freshman in Hamilton's French Lit class. Unsure why I signed up for that class.
But three hours to Buffalo and back to see the The Who in December 1975?
You betchya.
That spring Townshend wrote an article in Rolling Stone about touring, and the mouse type included his address. I took the aerogramme I was going to use to write to my buddy studying abroad and wrote to Pete about the above story.
A few weeks later I get his response:
Dear Brad, The respect you can keep for the Pope. Its your heart I'm after. /s/ Pete Townshend
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From: Jim URIE
Subject: Re: Release Date
It's already history. Q4 as a % of the year has been shrinking since 2012. Most of that share shifting into Q1 thanks to new mobile devices given as Christmas gifts. One can only hope the industry will be quick to do away with their dependence on Q4 and understand today's
marketplace.
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From: David Rubinson
Just to say that I NEVER had new artists or music released in 4th Q. Led to many arguments with record co people who wanted the billing for bonuses.
1- We waited until the sell-in to retail at end of year, start of new year for placement in Feb/March. That's when retail was shipping back the crap and unsold inventory, and had shelf space and credit.
2- Radio, especially college and alt radio were hungry for the new, and had played the "hits" to death. Their audience the same. College kids back from vaca wanted what was new, and we tried to break new music first week in Jan on college radio, then set tours for 6-8 weeks later.
Buzz was used to help the sell-in at retail.
This is all wonderfully irrelevant, in a 24/7 on-demand world.
Thanks,
DR
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Subject: Re: The Rachel Maddow Paradigm
I filled in for guitarist Billy Zoom, (while he was undergoing cancer treatment), for the Los Angeles punk band X on a national tour. Rachael, who is a big fan of X, came out and to the show in NYC. She hung out backstage and had drinks and charmed us beyond belief, (& I've met some charming folks in the film/music biz), & I can't say enough good things about her. The fact that she's an X fan says alot. Just goes to show....put someone really cool & very well informed in a mainstream media vehicle & the smart ones will come. May not shatter pie chart numbers for the bean counters, but it will be ALOT more meaningful than shchleping some square/safe narrative that we're all sick to death of. Same for music, film, politics, novels, art, etc. Good shit Bob. Thx, Jesse Dayton
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From: Gordon Chaffin
Subject: Re: The Mighty
I was an early backer on their Kickstarter. Love it so far. Perfect for runs and bike rides. Some minor tech problems but normal trouble for a 1.0 product from a small team. Designed and executed from an LA company. Will pre-order version 2.0 as soon as they make it.
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From: Doug Oswandel
Subject: Re: The Mighty
https://www.reddit.com/r/gadgets/comments/6ymbhs/mighty_lets_you_listen_to_spotify_on_the_go/?st=J7ADBA4R&sh=8cc35544
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From: Elliot Kleinfelder
Subject: Re: The Mighty
Totally agree about stickiness of iMessages too. Lots of my friends are in various group chats, and it works great and we use countless extra features because we're all on iPhones/iMessage. One person gets an Android in the group and the thread goes to hell, and I guarantee you, it'll be the least techy complaining about it the most. Cracks me up.
iMessage is by far the most underrated messaging platform.
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Subject: Re: 1-800-273-8255
Bob,
I'm a 74 year old diehard Dylan fan. Definitely not a rap listener. I check out most of your recommendations. Most are interesting but nothing sticks.
I don't imagine I'll be listening as a fan but this kid got to me. A gutsy song with a classy production. Honest, penetrating and respectful of the audience in my view by doing it with such class. He's been there. And he takes there and shows the way through.
Touching and Inspiring !
Thank you ,
Michael Worsfold
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From: Joe W. Halbardier
Subject: RE: 1-800-273-8255
Why isn't there a radio station that just plays the most popular tracks on Spotify? Or the most viral. Seems like a no-brainer. The "market research" is baked-in.
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Subject: Re: Ago (Sgt. Pepper)
On 'Day In The Life' the piano stool squeak in the final piano chord has gone, Mal Evans counting the bars is missing and the alarm clock that wakes Paul has vanished. It's not rubbish. It's much worse.
John Ingham
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From: Wayne Mitzen
Subject: Geoff - Ask him about Lennon stating "'coupla year in the military..."
Poor guy looks like he was beat during that interview... search Youboob for it.
"... like a dog that's been beat too much or not enough..." (MiB)
As to remix's, yea they did that with Lamb Lies Down.... not so sure that they needed to.
I recently remixed Whole Lotta Love - but if you watch this:
http://www.ajawamnet.com/ajawam2/lzcompare_0006.wmv
you'll see it needed it. And I tried to stay as true as I could to what Page and Kramer wanted without the distortion in the original mix.
My wife hates Zep. She mentioned if would have been Sabbath's War Pigs she'd have dealt with hearing it a zillion times.
Well, it doesn't need it. Sounds great as it is.
So does all the stuff that Geoff and Sir Martin did ( I think Geoff should be knighted too...)
As to the maracas - that's what happens with multi-band limiters. Watch a Discovery or any documentary. They don't realize that stuff with inherently high RMS value (crest factor) will walk all over vocal (that has a higher ration of peak to RMS) ...
And multiband limiters came about back when I was broadcast engineer in the mid 80's. Texar four bands placed in front of Orban optimod or 8100 stereo generators (they had only two bands; stereo generator is what sets up the L-R subcarrier for decoding stereo from the main L+R mono signal)
See this rant:
http://www.ajawamnet.com/ajawamnet/Turn%20it%20up%20Mudderfudder.html
links to these vids:
http://www.youtube.com/watch?v=DXZioXlbu3s - Texars and 8120's
http://www.youtube.com/watch?v=fM8l0fJfM-4 - Texar and 8100
Thing is - unlike nowadays where they use multibands to annoy people like Geoff and me, we needed to be the loudest on the dial - as per the station GM and PD - to get over road noise.
Well, for anything over 102% modulation (FM is +/- 75kHz deviation) we'd get a nasty $10,000 fine from the FCC monitoring facility (at the time in Langhorne PA)
So they were kinda needed...
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Subject: Re: Re-Bryan Ferry
Great to see the out pouring of love for BF. While almost everyone had sex to Bryan, what I remember most was my then 4 month old daughter who was born at only 28 weeks. She was very colic-y and nothing could calm her down, just continuous squirming and crying. But I finally happened upon quietly dancing with her in my arms to Avalon in the evening and she would go still at the first sound of his voice. Pretty amazing.
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Subject: Re: Garth Brooks At The Forum
Dear Bob,
Coming to this very late, but wanted to add to the mailbag.
I worked with Garth Brooks in 1999, when I produced the VH1 special "Behind the Life of Chris Gaines." Whether anyone liked the album or TV special or not (and I know most didn't), what I can attest to is Garth's extraordinary professionalism and commitment to his art and to his fans, and his truly welcoming and friendly ways.
The guy didn't know me from Adam, and when I arrived in Nashville to meet with him for the first time, he picked me up from the hotel himself in his truck… no assistant, no manager, no publicist. Just Garth and me, two guys talking on the drive through the city. We stopped for pizza on the way to his place, then camped out in the trailer/studio/mancave on his property for the next 10 hours, talking about the new songs, the character of Chris Gaines, what he wanted to achieve with the show, the storyline as he envisioned it, etc. When we were done with our marathon creative meeting, he drove me back to the hotel himself. Who does that?
Over the next several months of working closely with him, I saw countless displays of the same kind of patience, graciousness, intelligence, generosity, talent and drive. One example comes to mind: We arranged to stage a "Chris Gaines" show at the Bowery Ballroom in NYC, and via his management, invited hundreds of Garth's fans to attend for free. Filming the performance for the VH1 special meant doing some songs several times, stopping the band down for technical problems, etc. The hour grew very late, and we finally had what we needed for the VH1 show. I went backstage to tell Garth we were wrapped, and found him changing out of his Chris Gaines costume, putting on his cowboy hat, and strapping on his acoustic guitar. As we walked to the stage, he told me that these fans had stayed all night listening to this new music they weren't familiar with, the least he could do for them was to play some of the old stuff, the hits.
So that's what he proceeded to do. The band was sent home. We stopped shooting. Garth went back on stage, just him and his guitar and his songs, and he sang for the diehards for the next hour, taking requests and giving it everything he had. They sang along to every word. It still gives me goosebumps to think about it.
Impressive as hell, in every way.
To this day, I've never worked with another performer of any kind who was more collaborative or more generous with their time and talent. I'm still grateful I got to be in the room where it happened, at least for a little while.
Chris Meindl
P.S. That same special also gave me the opportunity to spend some time with the great Don Was, another class act and a very dry and funny rascal.
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From: Hannah Harlow
Subject: Re: Saint Motel
Bob! You solved a family mystery.
About six months ago my husband was driving around town with my two sons, running some errands, listening to the radio. A song came on they had never heard before and they were rocking out to it. But they didn't catch the name or the band. When they got home they were all singing the opening riff: bom-ba-dom-ba-dom-bom-bom...They didn't remember any lyrics to google. I started singing the riff too and I'd never even heard the song. It became the family song, we'd randomly just start singing and dancing to it. But we had no idea how to figure out what the song was.
After I received this email, I threw a couple of Saint Motel songs onto a Spotify playlist, planning to listen to them later, as I often do after I read such emails from you. I put the playlist on in the kitchen later that day, but then wandered upstairs to put some laundry away or whatever. A little later I came back down and my husband and my 5-year-old were jumping up and down. "Mama," my 5-year-old said, "we have a surprise for you! Close your eyes." He was so excited. "Dada, get the phone, get the phone!"
He hit play. It was the song!
"How'd you find it??" I asked. "It just came on," my husband shrugged. I took the phone. It was "My Type" by Saint Motel. "Bob Lefsetz!" I yelled.
And we danced around the kitchen.
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From: Jesse K
Subject: Re: Logic
Dear Bob,
Better late than never. We are writing this to you from vacation in Martha's Vineyard, but just wanted to chime in on the action regarding Logic and your reference to "WHO BOOKED THIS, the independent that no longer exists".
Nue Agency does still exist. Sure back in the day when Logic was just coming up, we were a booking agency with a reputation for finding, developing and breaking some of today's most popular acts (including; Mike Posner, Big Sean, J. Cole, Wale, Capital Cities, Pusha T/The Clipse, Action Bronson, Logic, Hoodie Allen ++ more, as well as doing Odd Future and Solange's first ever NY shows).
Now, In the past few couple of years, we have changed our focus to helping brands connect to culture through the power of music and technology. There are many reasons why we ultimately pivoted and since have been a part of a bunch of tent pole cultural moments that include the interaction of music, brands and technology.
Matt Adler, the young gunner that we scooped up out of college started as an intern at Nue and someone who was ultimately recognized as a hard-working, good kid, cut from the same cloth. While the pivot was occurring, it was clear to him he still wanted to be in the booking business and that was not what the future we had in store for us... he's now at Paradigm and still working hard and doing his thing!
As for us, we have a story to tell that is still being written and we believe is more than ever, on the pulse of the new music business.
And yes, we too love the Soho House and do a lot of curation there, been members and collaborators for years. Plus, there are now about 20 of them across the world. You never know who you are going to see or meet at any given time.
PPS When talking about Logic, it's hard not to reference his current powerful single that includes the Suicide Hotline in the title and has become an anthem in suicide prevention garnering a ton of attention. As song the climbs the charts Logic shows his impact and that he stands for much more. Also, hats off to Chris and Harrison for being more than just savvy managers but positive leaders of the new school. https://pbs.twimg.com/media/DEkpfr-UQAA_xhH.jpg:large
All the best,
Jesse & Alex Kirshbaum
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Subject: Re: Walter Becker
I was about to be signed by Giant Records and Irving Azoff took me out to dinner. It was 1997, I think? We were talking about music and when I made some specific, nerdy Steely Dan reference, Irving immediate took out his cell, called Walter Becker and said, "Walterrrr??? You're not going to believe this! I'm sitting across the table from someone in her 20s who actually LIKES your band!" Then he handed me his phone to tell him myself.
I always loved the Dan… even when it was desperately uncool. I always will.
- Michelle Lewis
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Subject: Re: Walter Becker
Aloha Bob..
My brother and sister lived next to Walter on the beach at Makena Maui during his off the grid stage....I hung with him a few times when I would visit....nice guy...funny as hell...and pretty spaced out...my brother had to go bail his wife out of jail more than once...he'd come over and watch Celtic games with us...very entertaining...called Dennis Johnson "Serpent"...we didn't go all Steely Dan on him but when we did he'd answer...bottom line at the time...he hated touring.
Anyway..towards the end of his time being neighbors with my brother...he gave him a plastic bag full of cassettes...outtakes...studio jams...live stuff...incredible...unfortunately WE were knuckleheads and at the time had NO clue the gold mine Walter had handed over and yes we pissed the tapes away...sun...salt air...being dopes...those tapes never had a chance...man I remember some smoking live stuff too....shit...
The Dan played Maui a few years back...the first half was fantastic...second half? I don't remember...even though I hardly smoke I decided to that night...that Maui Wowie thing? It's real...my last Steely Dan encounter and my idiot gene reared its ugly head...
Anyway...fantastic write up on Walter and Steely Dan...all this music tragedy has really brought out the best in you...like you had this extra gear... such a bummer what is happening to our music guys and gals....all gut punches...
Tom Clark
Maui
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Subject: Re: Walter Becker MY TIME IN THE STUDIO WITH WALTER
I've told this story to quite a few people because it was totally unexpected and such a treat at the same time. I was teaching at Musician's Institute and Jerry Garva's at that time the top dog there sees me in-between classes and as if I'd assist in the studio. Jerry's always been a good guy and a wealth of recording information and I enjoyed hanging around him so I said yeah without hesitation. I walk into studio A and there sitting at the console are Roger Nichols AND Walter Becker, WTF!!! Both of them as gracious as can be. Walter asks if I like the new Ice Cube CD, now this was in Ice Cube's revolutionary period. Walter starts to rip off the lyrics to the record in this white guy voice and I"m cracking up but I know immediately HE KNOWS THE WHOLD DAMN RECORD AND LIKES IT!!! I don't know the whole record!! I found out when it came out that I was actually helping them with drum samples I believed they used in TWO AGAINST NATURE. I got no credit but that day will go down as one of the best musical experiences of my life. To see three friends working, joking and getting it done, wow no words. I stood by the 2248 and did what I was there to do, assist while marveling at these two bad mofo's. I still can't believe it to this day. Walter's solo work though not as popular as the Steely Dan stuff by any means remains my favorite and I listen to 11 TRACKS OF WACK and CIRCUS MONEY all the time. I use HAT TOO FLAT to tune sound systems and people ALWAYS ask "who is that?" I tell 'em that's Walter Becker. I was waiting, hoping for another album, I guess I'll have to be content with what I have. May he rest in peace.
Kenneth H. Williams
WNP/Management Group
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From: Ron Fierstein
Subject: Re: Walter Becker
Bob
Just want to add a minor personal note to your well done piece on Walter Becker.
In my home room class in 1965 at Stuyvesant High School in NYC, I started talking music to the guy sitting next to me. It was immediately apparent that he was so far cooler and informed than I was. He was talking Muddy Waters and the Stones' Out of Our Heads, while my references were The Beatles, but mostly the Rascals and Lovin Spoonful.
When he learned I played keyboards, he suggested we find some other guys and start a band. I asked him what instrument he played, and he said - "Well, I can sing a little, and play a mean harmonica." That was it.
Fine. Although I was already in a band with friends in Brooklyn, where I lived, I got my mother to start driving me and my equipment out to Forest Hills in Queens so I could rehearse with this other combo and my new friend. Because of the logistics (I was 15!), it was tough to keep going, but we did. We'd show up at Battle of the Bands where others were playing Gerry and the Pacemakers, and blow them away with Dylan and Blues Project…
Walter was hip before hip was hip. He sort of taught me how to be cool, how to look at deeper, more complex music.
Of course, our paths separated upon graduation. I went to Stony Brook. He went to Bard. You know the rest of the story.
We had our 50th Stuyvesant reunion a few weeks ago, and I was disappointed Walter didn't show up. Some would think - oh, he was was a big star and would never go to such an event.
Well, I'm not sure about Walter - he had a great sense of ironic humor, and was a decent man - at least in my experience. A few years ago, my wife and I were wandering through LAX waiting for a flight. I spied Walter walking in the opposite direction, and was paralyzed for a moment, wondering whether I should approach him. No need to wonder. Walter saw me, walked directly over, and a warm reunion ensued. We reminisced about our band mates, and shared a few sincere minutes together.
I appreciated that, but was not totally surprised.
RIP
______________________________________
Subject: RE: Walter Becker
Hi Bob,
Walter Becker was an immediate standout when he arrived at Bard College. Already a very good guitarist who also played bass, he immediately became part of the group of musical types playing around campus: Chevy Chase, a good keyboardist and drummer who played jazz, Donald Fagen, whose jazz chops were already pretty scary, Rick Smith, who played killer blues harmonica, Skip Stahl, the only rock drummer we knew, Peter McKeel, a really quiet guy who worked tirelessly on becoming an excellent guitar stylist, my brother, Terence who played bass and guitar and was already making strides as a songwriter, and me, starting to realize that I was not going to become a virtuoso musician and was probably destined for some organizational job in the music industry. We had a floating campus band called the Disciples, and we practiced in Sottery Hall and played wherever they'd let us. There were other members of the group, including Donald's future wife, Libby Titus, who didn't play, but who sang beautifully and was beginning to write songs - she later co-wrote "Love Has No Pride," which I recorded with Linda Ronstadt in 1972. I played acoustic guitar behind her while she sang, mostly Dylan and Judy Collins songs. A lot of the names have faded from my memory, but not the ambience of that campus. For me, Bard was a magic place then, and Walter was part of why it was so magical.
Walter was younger than everybody when he got to Bard. He was put in a dorm called Warden's Hall, which was actually more than one building. Donald was already there as I remember, so it was easy for them to get together. A few of us, led by my roommates Jim Fine and Steve Tremper, had claimed an unused building and turned it into a coffeehouse called "The Red Balloon," after the French film. It immediately became a campus musical hangout. We all played there at various times, and I've heard that Fagen and Becker originally met at the Balloon. It didn't take long for word to spread around that Fagen and Becker had something interesting going on. I heard some of their early songwriting and I remember thinking that they were incredibly original, especially at a time when everyone else was following the folk-rock bandwagon after Bob Dylan famously "plugged in" at Newport.
Walter and Donald were always different, original, imaginative, frankly better than all of us. I missed Walter's presence when Steely Dan played at Dodger Stadium a few weeks ago. It's very sad to think he won't play with "The Dan" again.
John Boylan
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