Mailbag

?From: Peter Chaikin
Subject: re: Paul Anka

Hi Bob

I smiled at John Van Nest's sweet story about Paul's generosity and class. While working for JBL I had a similar experience. One day Al Schmitt phoned. "Hey Peter I wonder if you can help my friend Paul Anka straighten out his JBLs." "Of course. I'd be honored." I arrive at Paul's house where he takes me to his music room in which there's an electric piano with a set of small powered JBL speakers on top. "Paul, How can I help you?" "One speaker isn't working." I see they're both connected to power but I notice one of the audio cables is not fully inserted. I give it a nudge, feel the familiar click of a 1/4" plug finding its home in the jack. "Paul can you try it now?" Paul seats himself at the keyboard and plays a few bars, turns to me and says "Ah! Thank You!" As we walk to the driveway he asks "how much do I owe you?" "Nothing Paul." He says "please I insist." I say  "Al called me and I'm honored to be here, so really it's my pleasure." Paul asks "do you like wine? "I respond affirmatively. "Well then wait here.. " after a bit, Paul returns with a carton in his arms filled with bottles of wine, port and, liqueur. And, shaking my hand he gives me a key fob with husky gold links and a rotating medallion inscribed "My Way!" I thank him profusely.  Some weeks later we take one of the bottles to an Italian restaurant and casually hand it to our waiter for uncorking. After a long wait, a sommelier arrives eyes wide, and informs us this is a very rare bottle of wine. I'm still grateful to Al for gifting me this wonderful experience. 
______________________________________

From: Hugo Burnham
Re: Rich Robinson-This Week's Podcast

One of the most fun shows - of many - on our '25 'Long Goodbye' Tour last year was in Nashville, when all the Crowes came down and Richie sat in with us. We had quite a few sit-in guests on the tour, but all pretty obvious ones for us (Lenny Kaye, Peter Buck, Jason Narducy, Kathy Valentine, Mike Mills, etc.) - but nobody expected to see a Black Crowe onstage with us!  It was fekkin' great. He and his brother are both lovely chaps.

This is one I'll def. listen to.

Hugo
______________________________________

From: James Patrick Regan
Re: Rich Robinson-This Week's Podcast

Next to Dwight Yoakam and Peter Wolf this is the best interview you've done and I love them all!

Thank you!

Best, James
______________________________________

From: James Welby
Re: Rich Robinson-This Week's Podcast

I enjoyed the Rich Robinson interview.  I am a long-time Black Crowes fan and have heard several interviews with Chris or the brothers together over the years.  Jus the other day I heard a Chris and Rich interview on a podcast and as usual Chris ruled the roost.  I have not heard Rich by himself - it was a joy to hear him without big brother talking over him. I appreciated that he was honest about their "brotherly love," without being sensationalistic.  By the way, Rich's various solo and side projects are great. 
______________________________________

From: Jesse Lundy
Re: Rich Robinson-This Week's Podcast

I'm a huge Crowes fan from Day 1. Rich and I are practically the same age and in those early years, I felt we were learning guitar in parallel (he's better than me). Over the years, we've had every OG Black Crowe (except Johnny!) play at Ardmore Music Hall, but having Magpie Salute with Rich and Marc there was a career highlight.

A real hero, for sure. 

This was by FAR the best interview I've heard him do. So unguarded and open. Really great!
______________________________________

From: Ashley Bradley
Re: Rich Robinson-This Week's Podcast

The best line of your interview was there at the end when you said Chris seems to take up the air in the room and Rich doesn't always speak up. His oldest boy and my son were best friends here at the Waldorf school in Nashville, and that educationally philosophy doesn't get much air time so I'm glad he talked about it. career wise, was interesting to hear about his deep dive into instruments and patterns. When you know musicians here in daily life, you try not to ask about their work, just keep it about the home life but he talked shop with you that I wish I'd asked him about back then!

Ashley
______________________________________

From: Jeremy Facknitz
Re: Loud&Clear

Bob, I think the "Spotify is gonna die" headline was clickbait, and it worked.

But the point of the whole article is in the last paragraph…

"The music industry has spent a decade obsessing over how to get a million people to listen to a song once. The next decade will be defined by artists figuring out how to get 1,000 people to care forever."

Spotify will probably be fine. And I don't think it's evil. But it's already dead to me, and more and more artists like myself are abandoning it.

I invested over $20,000 USD in online promotion from 2021 through 2025. I have tried and tried and tried to monetize my music online through social media, YouTube and streaming. There are moments where I wish I had burnt that money instead, so I could have at least smelled it. I can't find the number of billions of dollars that make up the industry that bleeds money from artists online (sync coaching, streaming boosts, etc.), but I know I've paid my part. 

Now before you say "maybe you just suck" (which is a valid point)... Despite my failures online, I've earned merit for my songwriting, I've earned the respect of my peers in the industry, and I continue to make my living performing my original work all over North America. My day-job, my music - while nerdy, retro and slightly niche - is not "garbage" like Daniel Ek says it is, or people like you may presume it to be. I'm affirmed and celebrated on stages and in living rooms (house concerts) night after night. It's just never transferred to the online world. 

I firmly believe only I can bring value back to my music. So my upcoming album and accompanying live album will only be sold on physical mediums with an accompanying download. NO STREAMING. Owners (not streamers or subscribers) will have something special and unique only they can experience. Think "secret music". 

I hear you. "But it won't reach as many people!" I don't care. "But you won't make any new fans!" Yes I will. "What if someone else monetizes your work by releasing your music or A.I. versions of your music online?" That's hilarious. Good luck to them.

If someone likes what I've released in the past (which is still streaming everywhere but Spotify), they can trust they'll probably like my new album and buy it. If they don't like what I've done, they probably won't like the new album and pass on it. They don't need to HEAR my new album before purchasing it. They can buy it sight unseen (or rather "sound unheard").* 

* (You may recall this wild thinking wasn't so wild in the 1950's through the 1990's).

The album may sell 1,000 copies, or 100, or 10, or zero. I'm at peace with that. If people value me enough to make a little extra effort to "own" my music, they'll do it. If they don't, they won't. I'll have a personal, cherished relationship with those who do.

Making my album available only on physical mediums won't change my income. I earned just under $4K off CD sales alone in 2025 (yes, CD sales! In 2025!) and I made next to nothing off my streams. I make fans in person, make transactions in person. I've never monetized the people who discovered me solely online. The woman in India who was briefly obsessed with my song for 2 months in 2021 never bought a t-shirt or a ticket. Exposure is cool, but it doesn't buy groceries. This is a business; a boutique business. I am the boss and I care about getting paid and feeling valued. The online world you make fun of us "oldsters" for chastising has never - EVER - offered me either of those things.

More and more artists are waking up to idea of going small and creating their own industry. That might not kill Spotify - but it might knock it down a peg from its bullsh*t "God" status.

This is how I see it… "new", "original" music is just a Suno prompt away for the layman. The game is over. So we need a new game. 

The craftspeople are gonna have to go deep underground to get any of that value back, and hope a handful of people will join us there. 

Luckily, a handful is all we need. 

Jeremy Facknitz
______________________________________

From: John Parikhal
Re: Loud&Clear

Great post, Bob. True - and it will fall on deaf ears. The ones making music and money are too busy creating, promoting and playing. The ones not making money just blame the audience for not having good taste - which is ridiculous, of course.

Back in the day, when I had a lot more influence over recommending to radio, we would spend at least one day a week just listening to albums - looking for anything that wasn't getting airplay but was better than good. It yielded 1-2 "worth talking about" songs. Then we would network on the PHONE, talking to others who did the same deep dives and, if we were lucky we agreed on 1 "really good" every week. Most everything else was dreck, at best.

In other words, most of those "best try" songs just weren't good enough. Some artists never gave up and a few had real breakthroughs. But most accepted they weren't good enough and did something else. 

Spotify democratized the process. And a lot more musicians made more money. Unfortunately your well-reasoned and data based insights will never persuade the rigid minds - sort of like hard-core MAGA. One they decide they are right, they stop listening.

John
______________________________________

From: Mike Vial
Re: Loud&Clear (Streaming Complainers)

Bob, you must get so much hate for writing this. 

I assume you get the loudest laments from us locals with little to no audience. 

Look, I can complain about not getting paid for >1000 streams on my track a year; but my college roommate in 2001 used to dump his pennies, dimes, and nickels into the tip jar at the Kalamazoo coffee house because he didn't want to carry it in his pockets. "Not worth it, Vial."

So us local artists who sold CDs, we must accept that an audience member at the coffee house, bar, house concert, even club gig bought a cd, but it was often just a tip. 

A tough reality: People probably rarely listened to the CD the local had Discmakers press to sell at gigs. I bet many a local band has even found one of their own CDs at the Salvation Army or Goodwill in their town! (Yes! Even I have! Lol!)

It's a hard truth. It scratches one's ego. Now, the numbers are public…

And when the technology changed. Us locals feel like we are ripped off. But Why? Heck, most complaining musicians aren't going to acquaintances' gigs, buying their acquaintances CDs either, are they. 

The math changed…

In 2006, in 2012, the time it took to make that $5-15 at the merch table was quick! It was a cool time to print 1000 CDs and sell them. I made my first EP, sold enough to break even in few months. 
I felt so great! 

A streaming a fan to make $5–takes so many more minutes. It's depressing. 

But everyone is living in this same era. Who's crying for the video game developer? The complaining musician is like all of now at the gas pump. Everyone is living with the same oil crisis…what did my dad say? "You aren't special! Grow up."

I'm so tired of the local scene still complaining about streaming. Hey, are they still writing the date 2016 on their checks? 

No. They aren't: It's 2026 and they are using Venmo and Cash App and Netflix and Apple TV and living in a digital world in every other part of their lives. (Sure, it is better to use cash to psychologically budget oneself, but convenience wins over culture. I know there is a fair debate about technology in our lives, but that's for a cultural debate.)

And what have you reminded the musicians, Bob? We can't have technology only advance and change in one area of recording. Technology will affect the listener too! Making the songs on recording gear has never been more affordable. That was the counter argument that finally shut me up.

Sure, it hurts…But my local side hustle isn't part of the larger music industry. (Or is it?)  Either way, I'll complain to my wife; the 35 people who saw me at the local little gig last weekend don't need to hear me lament about streaming. They have problems of their own, and they want to escape 'em through an hour of live music, just like me. 

Mike Vial
______________________________________

From: Afriqua
Antisemitism in the dance music world

Hi Bob,

I'm Adam, a Virginia born, Berlin-based producer, pianist, and DJ. I perform as Afriqua. I was in Tel Aviv to play a Purim show when the US-Israel strikes on Iran began. Israeli airspace closed. I spent days in a hotel safe room, got driven to Eilat, crossed into Egypt, and eventually made it back to Berlin through Athens.

When I got home, I posted a video saying thank you to my hosts who took care of me:

https://www.instagram.com/p/DVjUEQfDN8z/ 

The backlash was immediate and came almost entirely from the underground dance music community — the one that still sustains much of club life in Berlin, London, and New York, even as more commercial versions take off globally. 

I'm Black and Jewish, and while my project has been more focused on the former, I've never hidden either identity. This experience made undeniable a growing issue. As dance music becomes more globally popular, underground dance music is becoming more antisemitic. 

Like most great things in popular music, it emerged from the Black and gay communities in the US, and welcomed anyone ready to dance with an open mind. The politics that define it now were retrofitted onto it later, and have become increasingly radical as it's gotten further from its roots. It's like if Studio 54 had the politics of Swedish Black Metal.

Thought you'd appreciate the story, as I've always appreciated yours. 

Adam Longman Parker (Afriqua)
______________________________________

From: Brian Allman
Re: Re-Paul Anka

Best music doc I've seen in years.  What an enjoyable piece it was with his rich history that I knew so little about and his humility, just fun to learn about.  
Thanks for the recommend.

Brian

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I Love You

Spotify: https://open.spotify.com/track/3VyJPsb2ucaaVptLSDpJNH?si=9f5a2e0eaf304ba6

YouTube: https://www.youtube.com/watch?v=Yoithw8ysjo

1

I knew it had to be a true story.

So what I like to do is choose a song in Spotify, and then see what the algorithm serves me thereafter. Oftentimes I don't even listen to what is purveyed, I just want to see what the service comes up with. And I can't remember what song I started with yesterday, but about twenty five songs in, it served me "I Love You" by the Climax Blues Band.

What do I know about the Climax Blues Band? For a while there, they were managed by Miles Copeland, and they had two hits, "Couldn't Get It Right" and "I Love You." Other than that...I never bought an album and I don't remember hearing them on the radio. But those two tracks...

Came deep in the band's career.

And the band were on a slew of labels. They were journeymen, akin to Savoy Brown. But unlike Savoy Brown, Climax Blues Band had two hits. And neither of them sounded like the blues. "Couldn't Get It Right" was a staple on FM radio in the late seventies. The change into the chorus...

"And I kept on looking for a sign in the middle of the night
But I couldn't see the light, no, I couldn't see the light
I kept on looking for a way to take me through the night
Couldn't get it right, I couldn't get it right"

I won't quite say the chorus was sotto voce... But the verse is almost a march, as in the band is strutting down the road, and the chorus is almost an aside, and that's what makes it magical.

But "I Love You"...

It broke up the band.

2

"When I was younger, man
I hadn't a care
Fooling around
Hitting the town
Growing my hair"

There's a soft intro, and then the singer stands up naked, right out front, and sings these words. He's testifying and he's not worried about how he looks, what anybody cares, he's delivering it from the heart. The instrumentation drops out almost entirely, all you've got is the words and the message.

As for the message...

Today it's different. People consider college to be a trade school. They're on a career path from puberty. But in the sixties and seventies...

Of course not everybody went to college. But those who did and did not had the same experience of being out of school, getting high, getting drunk, trying to find out who they were. That was part of life, you weren't building a résumé, you were feeling it out, changing it up, meeting new people, discarding others.

"You came along
And stole my heart
When you entered my life
Ooh, babe
You got what it takes
So I made you my wife"

This was when you still were optimistic, when you still had hope. At least we did, I'm not so sure about the younger generations today. You were looking for love, and when you found it it seemed like a revelation, it got you high, you were elated. You'd had a few misfires, but this one was gonna last, for a while anyway.

"Since then
I never looked back
It's almost like living a dream
And, ooh
I love you"

They're in it together, it's him and her against the world.

"You came along
From far away
And found me here"

I know, I know, there are people who meet their significant other in nursery school, never mind college. But back when life was fluid, when you got in your car and parked your ass in a new location...you never quite knew who you were going to run into. It seemed like pure luck that you ran into this person. There was no connection other than you were both at the bar at the same time, or you had mutual friends.

"I was playing around
Feeling down
Hitting the beer
You picked me up
From off the floor
And gave me a smile"

Wives and girlfriends don't get enough credit. It might be their husband, their significant other's name in lights, but without their support, and oftentimes their direction, their man would fall apart, not even make it. This is in all walks of life, but especially with musicians, certainly successful ones. They're the other, they need someone to root them and then connect them to society.

"You said
You're much too young
Your life ain't begun
Let's walk for a while

Wait a second, in an earlier verse it seems like they got married right away. But here we hear that she put on the brakes, slowed him down, told him she wanted to be together for a while and see what happened.

But he was in from hello.

"And as my head was spinning 'round
I gazed into your eyes
And thought, ooh
I want you"

And here comes the essence, the piece-de-resistance.

"Thank you, babe
For being a friend
And shining your light in my life
'Cause, ooh
I need you"

And he most certainly does. She energizes him, gives him direction...and he knows it, he knows her value to him.

"Thanks again for being my friend
And straightening out my life
'Cause, ooh
I need you"

That's what she did. She picked him up out of the slow lane, if not quite the gutter, then gave him direction and support.

And, once again, he knows it, and he wants her to know it.

"Since then I never looked back
It's almost like livin' a dream
Ooh
I got you

"If ever a man had it all
It would have to be me
And, ooh
I love you"

3

Now the average guy can't be soft and sensitive, open-hearted, especially if he's in a driving rock band, where this is anathema. Rock was all about machismo, tight pants showing your package. Sure, there were singer-songwriters, oftentimes considered wimpy, irrelevant of their talent, but even the Climax Blues Band had an element of cock rock. So... "I Love You" was totally out of character. But it was so honest and direct, simple. And there were touches...two guys or girls in a room couldn't come up with some of these lines. Because this guy lived it, and it's straight from the heart.

So I decided to Google and find out the real story, if it was a true story.

AND OF COURSE IT WAS!

What came up instantly was it was about Derek Holt's FIRST WIFE!

That cracked me up, that they didn't stay together. Back in our era, very few people did. As time went on there was distance, or too much anger, or third parties...and what seemed like forever turned out not to be. But when you stood up in front of your friends and family and said your vows, you thought it was.

Yup, Holt was inspired. The song came out almost instantly. I know, I know, some of the greatest songs are belabored, but so many of the great ones come in a flash, a lightning bolt from the heavens. You're almost channeling them.

So...

The rest of the guys in the group HATED IT! Didn't want to record it, never mind put it on their album, but producer John Ryan heard something and...

He called a session with Nicky Hopkins! John Cuffley, the band's drummer, performed, and Holt, the singer, who was normally not, called in group member Pete Haycock to play the solo and...

Ryan thought the song needed strings. STRINGS??? That takes you right into wimpydom, the antithesis of the Climax Blues Band. And who does he call? DAVID CAMPBELL! Who's got a list of credits a mile long, check them out in Wikipedia:

https://en.wikipedia.org/wiki/David_Campbell_(composer)

He's worked with a who's who of rockers, from the Stones to Metallica to even Garth Brooks, who's got roots in rock, he credits his inspiration to KISS. And Campbell has arranged and orchestrated music for "Dreamgirls" and "Brokeback Mountain" and...

So it's a veritable dream team...who knew Hopkins and Campbell were involved? There was no internet all those years ago.

And when Warner Bros. heard the result...they knew they had a smash!

4

Which it was. But the rest of the band STILL HATED IT!

They never ever played it live.

Ultimately the band ruptured as a result of this song, Derek Holt was excised from the band. The only time "I Love You" was ever performed live was...when Holt was at a karaoke bar in Florida in 2005.

And the well went even deeper.

For a long time, the Climax Blues Band's albums were out of print.

And there is still a Climax Blues Band on the road, but there are no original members!

Now if that ain't a rock and roll story...

Everybody alive back in 1980 knows this song. But almost no one can name the players in the band, never mind the writer. To the point where they can put a fake group on the road and get away with it.

As for the original players... They run out of juice, it's hard enough if you're a superstar, it's a slog out there on the road, with guys you may know since you were a teenager, who you may hate these days.

Derek Holt? I hope he owns the publishing, but I doubt it. At best he probably gets the writer's share. You had to pay to play back then. But maybe Holt's got it, maybe he even got it in a reversion. I want to believe that.

As for the song, it's been covered a number of times, it lives on.

So, you can see it as a schmaltzy number, with "moon in June" lyrics, that appeals to women and others with soft insides...but that's not the real story. "I Love You" came straight from Derek Holt's heart, he meant every word. And you can hear it in the record, which is why it's so great, because it's TRUE!

Coda: The essence, the reason for this song, for Holt's bond to his wife, is she SUPPORTED HIM, told him NOT TO GIVE UP! If you haven't thought of giving up, you're not a real artist. The life is so hard and you get wrapped up in your own mind and what you need is direction and support, and it's not that easy to find, the world is full of naysayers. But when you find it...


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Alongside The British Invasion-2-SiriusXM This Week

The records that were hits at the same time as the British Invasion.

Tune in Saturday March 14th to Faction Talk, channel 103, at 4 PM East, 1 PM West.

If you miss the episode, you can hear it on demand on the SiriusXM app. Search: Lefsetz


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Loud&Clear

https://loudandclear.byspotify.com

1

The music business is opaque. And that's the way those inside like it. Because they can play fast and loose with the money... Isn't that what the Live Nation conversation between those two employees is all about, the company screwing the ignorant public?

Maybe you missed that story. If so, here goes:

"'Robbing Them Blind': Live Nation Employees Joked About Fees - A series of private exchanges in the messaging system Slack were revealed as exhibits in the Justice Department's antitrust lawsuit against the concert giant."

https://www.nytimes.com/2026/03/12/arts/music/live-nation-ticketmaster-trial-fees-slacks.html

Now the funny thing is it's not only Live Nation (and its competitors) who don't want the truth to come out, but the acts themselves. If breakdowns of every show were posted... The fans would still blame Ticketmaster and Live Nation, the ticketing company and the promoter. Because they just can't believe that the acts are at fault, that they bear any responsibility for high ticket prices, that without the fees, the economics don't work, there is no show. Again and again Live Nation says that the acts set ticket prices. And let's put aside club gigs... Once you grow into theatres, the artist's team might ask the promoter for its opinion on pricing and scaling, but the buck stops with the act. Then again, if an act wants a certain gross, wants to walk away from the tour with a large pot of money, inherently ticket prices will be higher. Conversely, if the act wants to charge less for tickets, then it's a field day for bots and the secondary market. But somehow the consumer doesn't want to accept any of this, people just believe they should be able to get a great seat for a low price and scalp the ticket themselves if they want to.

As for the antitrust case... Are you aware of the Apple iBooks antitrust lawsuit? Amazon was paying publishers full wholesale, but selling books for under ten bucks to build a business. But Apple was employing the agency system. Which means the publisher can set whatever price it wants, and Apple will take 30% of that. I'm not going to walk you through all the details, but the bottom line here is the antitrust case made Amazon go to the agency system as well, meaning...THE PRICE OF E-BOOKS WENT UP! FOR EVERYONE! Which is antithetical to the theory of antitrust, that it's about harm to the consumer. That's how intelligent the government is.

As for the Live Nation/Ticketmaster case... That's the true question, if you split off the company, if you change the game as per the settlement just reached, will the consumer benefit, will prices go down and will they find it easier to get a ticket? ABSOLUTELY NOT! But nobody in the government can see or accept this.

2

Word on the street is that Spotify is the devil, that it is ripping artists off, if it pays at all. I mean someone's got to be blamed for the fact that the act isn't making more money. And no matter what you tell people, you can't change their mind. It's like MAGA, doesn't matter what Trump does, they hate the LIBS.

But Spotify is a tech company. Those are the roots of the two founders, Daniel Ek and Martin Lorentzon. And tech is about digital, zeros and ones, there's no fudging, because if there was the system, the program, wouldn't work.

And the ethos of the Millennials and Gen-Z is far different from that of the Baby Boomers and Gen-X. Boomers believed music should be free, back in the SIXTIES! The younger generations don't mind people making money, as long as they can see all the evidence, be walked through the steps. These are the entrepreneurial generations. Not buying insurance by becoming a doctor or lawyer, but believing in themselves and taking risks.

And the truth is the younger generations have no problem with Spotify. It's the oldsters who do... Who want to go back to the label model of yore, before the internet. But their cries are dying out. Remember all the oldsters complaining about the audio quality of digital files? That was batted about FOR YEARS! And now hi-res is available and most people don't bother to pay for it or have the equipment to hear it.

It's kind of like politics. Did you read that 85 year old Representative Jim Clyburn is running for another term, his 18th in Congress? Man, I'd like to get him in a conversation about TikTok and social media. He's inherently out of touch. And I know this is true... I'm constantly doing podcasts with Boomers who don't know the tech, who tell me their computers broke. Bottom line...if you've got a Mac, they're almost bulletproof. Just reboot. This is not the eighties anymore. Can I tell you how many times I've fixed people's iPhones and Macs when they were ready to go to the Apple Store?

Of course, of course, there are old people who are tech-savvy, but the world is based on generalizations, except in tech.

So, Spotify has put up Loud&Clear, which answers every question people have about streaming and how the company works. Whenever anybody tells you how bad Spotify is, point them to this site. It's exhaustive. And potentially exhausting. People want it simple, bite-sized, and they prefer emotion to facts.

3

Here is the summary:

https://newsroom.spotify.com/2026-03-11/loud-and-clear-music-economics-highlights/

But the bottom line is more people are making more money.

Here's where it gets dicey. When I tell people they're not entitled to compensation if people don't stream their music. Where in business does this concept play? Does a commission salesperson get paid a big salary when they sell very little? Does everybody who can shoot a basket earn a place in the NBA? Then again, the world runs on delusion.

You should read each and every point in the above link, click on the ten Takeaways, expanding them for more information.

In addition, you should read the FAQ:

https://loudandclear.byspotify.com/faq/

My favorite is: "Why does the 'per-stream rate' appear lower for Spotify than some other streaming services?"

Of course there's no per-stream rate, and that is explained in depth in this report. But the nougat is:

"The average Spotify listener streams 3 to 4 times more music per month than the average listener of other streaming services."

I could do the math for you, but either you get it or you don't. But underneath that is the fact that Spotify is where active music listeners go. Where the fans are. You can be a king on another service but still be a pawn in the game. If you're a king on Spotify, you are truly royalty.

And the increased listening and market share and ultimate payouts are why competing platforms won't release their own reports, won't be as transparent. Then again, are the others pure music companies or is music a sideshow.

Which brings me to that inane "Death of Spotify" article that I wrote about, that people keep e-mailing me.

To think Jimmy Iovine is a seer of technology is like saying Clyburn is one too. Boomer Jimmy is all about the old world, and he's pissed someone moved his cheese.

But the bottom line is...if you think Spotify is about to die, you'd better short Apple and Nvidia too. Because the odds of the streaming company going under are as miniscule as those of the two tech giants caving.

But it makes a good story.

Then again, the labels used to run the music business, now it's the promoters, it's all about live. And those holding the short end of the stick don't like that they're no longer all-powerful.

But it gets better. One of the questions in the FAQ is:

"Would the user-centric model be fairer?"

They link to the French report and a summary from MusicAlly.

If you click through to the summary:

https://musically.com/2021/01/28/french-study-offers-new-data-on-impact-of-user-centric-payouts/

You'll find out that:

"Among the key findings: switching to a user-centric system would reduce the royalties paid out to rightsholders of the top 10 artists by 17.2% – they'd get 7.7% of the overall payouts rather than 9.3%. The result would be small percentage gains further down the pyramid: an average 1.3% increase for artists ranked 11-100; 2.2% for those ranked 101-1,000; 0.5% for those between 1,001 and 10,000; and 5.2% for those outside the top 10,000."

And you must read the following paragraph:

"'If the percentages of change seem not insignificant, the amounts in value remain in reality limited,' warned the CNM in its summary of the findings. That 5.2% average increase for artists outside the top 10,000 would be 'at most a few euros per year on average' for those musicians."

And there you have it, the user-centric model is a canard.

And speaking of MusicAlly, they have a great summary of Loud&Clear here:

https://musically.com/2026/03/11/80-artists-are-generating-10m-plus-of-spotify-payouts-a-year/

4

Most people can't handle the truth. Which is Spotify isn't the devil, it didn't kill the music business, IT SAVED IT!

But now everybody can play and everybody can complain. The most vociferous e-mail I receive about the system is from those not in it. That's the internet, everybody is entitled to a voice, but not every voice is worth listening to.

Streaming is here to stay. There's nothing past streaming, it's on demand. You get it when you need it, and it's available instantly. What could be better than that?

And there are other ways to make money from recordings, like Patreon and SoundCloud... Go for it! But that's marginal artists making money from fans. At least they're marginal in terms of absolute streams, compared to who is successful on Spotify.

Let me just quote the MusicAlly report above, to make it perfectly clear:

"Spotify said that more than 1,500 artists generated more than $1m in payouts in 2025, while more than 13,800 generated at least $100k. The usual caveat being that this is before rightsholders and distributors took their cuts.

"The 13,800 figure is nearly 1,400 up on last year's report, while Spotify offered another angle on the payout-millionaires stat. 'Capturing just 1% of streams from 1% of listeners is enough to earn $1 million in annual royalties from Spotify.'

"'In 2025, the 100,000th-highest-earning artist generated more than $7,300 in royalties from Spotify alone. In 2015, the artist in that same position generated about $350,' added Spotify in its summary of the trends in this year's report."

Read it and weep.

Or maybe you can see that the future's so bright you've got to wear shades.

But not for everybody, but it never was.

5

Let's hope for more of this, more transparency, but don't bet on it. This is the essence of the entertainment business, ripping people off. Just ask the actors with net profit participations in the hit films they appeared in. When I was practicing law, we represented an actor who had a net profit participation in the second biggest film of the year. He never saw a dime, it remained in a negative position. Creative accounting. If the hits don't make money, how can the studios survive? But the truth is they do make money, they just employ accounting tricks to make sure they're not sharing it.

That's not what Spotify is doing and Loud&Clear lays it all out.

I'd read it before you start pontificating how bad Spotify is.

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Rich Robinson-This Week's Podcast

The Black Crowes have a new album, "A Pound of Feathers," and have been nominated once again for the Rock & Roll Hall of Fame.

https://podcasts.apple.com/us/podcast/rich-robinson/id1316200737?i=1000754826873

https://open.spotify.com/episode/3Z95gK45tdtrAb6GLA2lAq?si=tgfkf7WARdqvT7ONlNHF_A

https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/rich-robinson-326537040?app=listen

https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/dcc1e593-2888-4657-a9d0-652185058f9f/the-bob-lefsetz-podcast-rich-robinson


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Mailbag

From: Joel Selvin
Subject: Re: Country Joe McDonald
Date: March 10, 2026 at 10:37:49?AM MDT

As Bill Graham once introduced them at Fillmore East, Country Joe and the Fish -- taking Berkeley with them wherever they go. 
____________________________________

From: Marc Sedaka
Subject: Re: Neil Sedaka/Dad
Date: March 4, 2026 at 11:35:30?PM MST

I couldn't read the comments from the both of you and not weigh in. Those London years from '72-'74 were arguably the happiest of my father's life and undoubtedly his most creative. Solitaire and The Tra La Days Are Over remain the Sedaka family's favorite albums, and, till the day he died, Neil would refer to songs like "Trying to Say Goodbye", "Anywhere You're Gonna Be" and "For Peace and Love" as his hidden treasures. He revered you both and was forever grateful for your guidance and your contributions.

Elton - Thank you for saying that Neil should be in the Rock and Roll Hall of Fame. It truly is an injustice that he's not and I'm only sorry that he didn't live long enough to see it happen. I must also reference something from Bob's wonderful retrospective that bears clarification. Neil never wanted to leave Rocket Records, but rather allowed himself to be coerced by people close to him who thought they knew better. Yes, he had regrets. But only because he didn't listen to his heart and do what he knew was right. I don't know if he ever told you that, but he told me a lot. He loved you so much.

Thank you both for changing his world.
____________________________________

From: Alex Cooper
Subject: Re: The Wings Book
Date: February 5, 2026 at 7:24:49?AM MST

My lawyer in NY worked for Yoko. He said he only really understood how famous the Beatles were when he walked into a room with the President of the United States and Paul McCartney in it. The Secret Service agents were looking worried. He saw why. Nobody was talking to The President. They all wanted to talk to Paul.
____________________________________

From: Michael Moniz
Subject: Brett Guerwitz, Epitaph Records Founder Speaks About Spotify

Bob, I'm unsure if you're familiar with who Brett Gurewitz is founder of Epitaph records and legendary Los Angeles punk band Bad Religion. Listening to him on this recent podcast episode of the podcast Hardlore, I think you might want to listen and even propagate it to your readers because of his take on Spotify. It's pretty much right in line with you have been saying, and to hear it these days from a mid-level musician and indie label owner is really hard to find these days. It's a long episode, it covers the history of the band and the label, but you just have to listen at about the two hour mark for about 10 to 12 minutes where he discusses it.

"Brett Gurewitz: Bad Religion, Founding Epitaph Records, Early Punk/Hardcore & The Shift to Spotify": https://overcast.fm/+AA5US0ZH1Tg
____________________________________

From: John Van Nest
Subject: Re: Re-Paul Anka
Date: March 9, 2026 at 6:38:06?PM MDT

Hi Bob,

I recorded vocals for a project of Paul Anka's somewhere around the late 80's.  During the sessions, which ran a few days, we talked about a lot of things; family, life, his career, etc.  I found him to be wonderfully genuine and a truly engaging person.

On the last day, as he was leaving, I felt his hand slide into my pocket, and when I reached in, I pulled out a $100 bill he had given me.  I explained that tipping wasn't really customary nor necessary for a recording engineer.  He replied, "Buy something nice for that little daughter of yours."

I was always struck by that act of kindness and appreciation.  I'll forever be a fan of the man and his art.
____________________________________

From: Dave Arbiter
Subject: Re: Mac McAnally At The Vilar
Date: February 21, 2026 at 5:27:22?AM MST

Loved this one!!

I've been living in one of those Jimmy Buffett 55 (and better) communities for 1-1/2 years now, in Daytona Beach. Mac plays our community once a year, and it's impossible to get a golf cart spot on those evenings!

I appreciate you comparing the Parrotheads to the Deadheads. It's not far off, except by scale.  Plenty of both here.

Fins Up,
Dave Arbiter
Latitude Margaritaville
Daytona Beach, FL
____________________________________

From: Kevin Cronin
Subject: Re: Man On The Run
Date: March 2, 2026 at 12:40:26?PM MST

Hey Bob,

I came across Man on the Run the other night, and found it to be my favorite post-Beatles doc. I can't put my finger on why … and I don't really care. It simply worked for me.

On a strictly musical level, it's hard to beat the in-studio piece with Paul and Rick Ruben. And the three-part special on the drama leading up to the rooftop performance was great in its own way. But again, for my money, Man on the Run told the story best. … kc
____________________________________

From: Jim Willcox
Subject: Re: Calibration
Date: February 12, 2026 at 7:22:11?AM MST

Hi, Bob, thanks for the write-up on TV calibration. I can't tell you how many times I go to someone's house and they brag about their new, great TV, and all I see is that they have the brightness cranked too high, the image is over-sharpened, they have engaged a high level of motion smoothing, and the colors are boosted to where they look unnatural. We know many people never take their TVs out of the default settings, or won't pay for a true ISF calibration, so we started offering members the actual settings we use in our labs to get TVs as close as possible to our reference models. We also point out that consumers don't have to be afraid to play around with the individual settings; you can always easily return to the TV's default settings in the menu.

Glad this made a difference in the LG OLED TV you bought, a great choice.

The offer for a lab visit still stands when you're on the East Coast.

Best regards,

Jim

James K. Willcox
Senior Electronics Editor
Consumer Reports/Consumer Reports Online
____________________________________

From: Steven Marmalstein
Subject: Re: The Billy Preston Movie
Date: February 24, 2026 at 8:09:06?PM MST

Hi Bob,

In 1997, I was a segment producer on a TV special for ABC called "The Three Stooges Greatest Hits." It was a clip/variety show hosted by Martin Short and was seen by probably 26 people. We hired Little Richard to appear on the show and sing the accidental hit from 1984 called "The Curly Shuffle" by Jump in the Saddle. 

After we handed Richard his 25 G's in a brown paper bag,  we asked him if he wanted to check out the piano, the tuning and whatnot. He said, "I'm good, I have Billy coming in to play my parts for me. I'll just sing it after." 

Ten minutes later, Billy Preston walks into the recording studio and sits at the piano. He tells the band to start and they play.  He jumps in and plays his part perfectly. Does one more take, gets up and says hello to Richard. They hug and Richard then reaches into his bag, hands him some cash and Billy leaves. He's there for maybe ten minutes.

A few minutes later Richard says "Oh no! Billy was supposed to sing back up! I'll do it but I need some help. Can any of you boys carry a tune?" So me and another producer look at each other and say "yeah, sure" and volunteer for the gig. We grab a lyric sheet, walk into the studio and sing back-up WITH Little Richard! Okay so it wasn't Tutti Frutty, but wow!
Only in LA. 

Here's the video, which we shot a few days later at the Alex Theater in Glendale.

You can hear us on the "Hey Moe's" in the bg.

"The Curly Shuffle" by Little Richard: https://www.youtube.com/watch?v=_uR92mdUILQ
____________________________________

From: David Macias
Subject: Great seeing you!
Date: February 2, 2026 at 3:51:47?PM PST

Hi Bob-

It was wonderful (as always) to see you at the Americana event the other night, and I enjoyed the conversation as well. I did want to clarify my thoughts about "the music" being regressive. It sounds like I am being critical of the music that is being made today, and that is not what I meant to say.

What I mean to say is that our algorithmically driven ecosystem tends to reward music that is stylistically similar to whatever the listener has been listening to, so how do new stylistic breakthroughs occur? If you only listen to Mozart, what chance will you ever have to hear Stravinsky, much less Schoenberg?

I'm interested in, and investing time and energy into thinking about how to build a world around music that would not be rewarded by the algorithm. If all we ever do is think about art through the framework of how algorithms will reward it, then our creative landscape becomes a self-referential closed loop. That feels creatively barren, and listeners will also tire from experiencing the same sonic textures and emotional cues, and will begin to tune out. We already see songs that reach the top of the radio charts and stream only 5m times on DSPs. It's because we're stuffed to the gills with the same formulaic tropes and that music fails to move anyone. I predict we're going to see more and more of this dynamic at play.

I also feel strongly that this is not the fault of the DSPs. They don't owe a platform to anyone. They use algorithms to do the same thing that McDonald's and Starbucks do. There is value in providing predictability to a consumer. People eat Big Macs because they're good, but also you know what a Big Mac is and you're not going to be surprised. Will you remember that meal years from now, unlike that Michelin starred restaurant you ate at on your vacation in Paris? No, but that doesn't make McDonald's bad people for offering you what they are offering you. DSPs get too much blame for things, and I don't want to make them the bad guys in this dynamic.

It's up to the music business to learn how to create worlds outside of algorithms, and the sooner that we learn to do this and team together to build communities collaboratively, then we're going to support a more creatively vibrant music ecosystem. When you asked me what I was excited about, I'm excited about thinking about and solving this problem.

Best-
David
____________________________________

From: Kenny Jacob
Subject: On bipolar and "triggers"
Date: January 27, 2026 at 2:47:36?AM PST

Bob —
I've lived with Bipolar 1 for over 50 years. One nuance worth clarifying in your excellent piece is the word "trigger." It doesn't mean cause. Bipolar is genetic; life circumstances are what activate it.

In my case, the lifestyle at Sound City studios when I worked there as a teenager — nights, chronic sleep deprivation, drugs, total disengagement from normal rhythm — flipped the switch. In my family, my father and his brother were triggered by war trauma. Different lives, same illness.
That's why origin stories matter. When people believe an external event created the illness, it feeds denial and delays treatment. Mania convinces you nothing is wrong — that everyone else is overreacting — which you describe very accurately.

Untreated mania doesn't just exaggerate personality; it can produce behavior unrecognizable to the stable self. I've done things I deeply regret, mostly to myself. When that happens publicly, at celebrity scale, the consequences don't reset with an apology. Trust takes years to rebuild.

Your writing here is unusually precise for someone who isn't bipolar. I only wanted to underline that understanding how the illness comes to life is key to preventing it from repeating.

Kenny Jacob
Biarritz, France
____________________________________

From: Martin Theander
Subject: Re: Kanye's Ad
Date: January 27, 2026 at 2:19:54?AM PST

Very spot on, Bob.

Once the medication works, you start thinking: "I'm fine really, obviously I don't need these pills".

Then it takes a while for those around you to understand that something's off, and when they do it's already too late.

So you crash, and if you're lucky you get help, you don't end it, with support you manage to climb back up.

But if you're the boss, most times you won't trust anyone to help you.
It's very lonely at the top.

Then it takes a good while before the medication is in tune again, and by that time…again you think you don't need it.

So it's an endless loop that's so hard to break out of, it can go on forever, each crash bringing you closer to the actual edge.

Anyone who manages to eventually accept and handle it, they're climbing Mount Everest.

We all have our stuff to deal with, but most of us don't climb Mount Everest.

Perhaps that's what he's done now.

Like you, I wish him good luck.

He'll need it, apart from the pills and the help and love from those around him.
____________________________________

From: Marty Bender
Subject: Re: Kanye's Ad
Date: January 26, 2026 at 8:25:46?PM PST

My brother suddenly developed bipolar disorder in his fifties.  

It took a lot of trial and error, but he finally got on the right meds.

However---

In his manic phase, he felt as though he no longer needed the medication.

Stopping the medication then plunged him right into deep depression.

And down there, he convinced himself that he could not afford his prescription.

Even though he wanted to live...

There's only so much mental push and pull a human can take.

R.I.P. (with an emphasis on the peace) 

Marty Bender 
____________________________________

From: Jan Jankingston
Subject: Re: Kanye's Ad
Date: January 27, 2026 at 1:59:48?AM PST

Hi Bob,
 
I don't know about Kanye.  But my dad had bipolar disorder.  You are correct.  When they are manic, they think they can do anything, and they don't want to stop that. And they do some amazing things when manic.  He died by suicide when I was 13. He'd been suicidal for 10 years of my 13.  I used to sit by his bedside and keep him awake after he took pills and drank, while my mom called around to find my brother to take him to the hospital.  I don't know if there weren't ambulances or if the shame kept her from calling the ambulances. It was a long time ago.
 
I don't think I'd trust my Dad again. Even if he took out an ad.  I'm sorry he was so sad.  You are right though.  There are consequences to those around the person.
 
You're right. It's an illness and hard to say if the person can keep a hold on it. It's tough.
 
I'll check out Kanye's ad. 
 
J
____________________________________

From: Ben Dalby
Subject: Long term thanks
Date: January 23, 2026 at 9:00:30?AM PST

Dear Mr Lefsetz
 
Long term reader, I've gotten an awful lot from your writing over the years.
 
My favourite thing ever – standing on a rain swept platform at 6am in UK, waiting for a jammed commuter train to take me into central London. And opening your letter to read about some great sandwich you'd eaten in sunny California. It was a better glimpse into a better world .
 
Take care, sending you positive thoughts from cold and wet UK, goodness knows you get enough stick.

Ben


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Country Joe McDonald

1

I think the first time I heard "I-Feel-Like-I'm-Fixin'-to-Die" was on WBAI, the public radio station in New York.

You see underground FM radio was the internet of its day. Not that it was truly underground, the stations were all legal, but they were an alternative, they were subversive... Do not conflate the FM radio of the sixties with that of the seventies, when the playlist was tightened and...

Then again, Country Joe and The Fish had something to do with that. They were an indelible part of the Woodstock movie, and that flick changed the course of history.

Before that, rock music was a sideshow. But Woodstock woke up the industrialists, they saw all those people and they saw all that MONEY!

And that's what it became about. With the purchase of Warner and Elektra by Steve Ross, after the prior purchase of Atlantic. As for the consolidation today, with only three major label groups, back then new companies were popping up like flowers, there was money to be made, music SCALED! The costs of production were recouped quickly, and after that there was a ton of profit. The Warner music division paid for the Warner cable system. Movies got all the respect, and there were some great ones in the late sixties and into the seventies, but the true cultural action was all in music. And those films utilized music to set the tone, to root the action.

Now the first upheaval came from the U.K., the so-called "British Invasion." But after that came the San Francisco Sound.

But unlike the British Invasion, it was more than music, it was cultural. Sure, we had Carnaby Street in London, and there were fashions in the Haight, but there was also a mind-set. That life was about loving your brother, doing drugs and f*cking your brains out. And this was all done to a soundtrack of music, played by acts that didn't wear suits, that didn't even seem to care about the system, they were subversive.

Yes, Jefferson Airplane had hits, but Grace Slick was unpredictable. She was America's worst nightmare. She went to Finch with Tricia Nixon, but then she jumped the track. And she was not the only one. People came to San Francisco in droves, they wanted to be where it was at. Money? You could get by on the kindness of strangers. Or at least you believed you could. People were not going to work for the bank, they thought there was more in life than money. And many from that era still believe this is true.

2

Now you knew the names of the bands, but that did not mean you knew the music. Sure, the Airplane had successful singles, but the rest of the acts had nothing that could fit on AM playlists. It was all word of mouth. Until FM radio.

You knew if you were different, the credo was "question authority." This was no longer the fifties, where you cut your hair and flew straight. High school became bifurcated, like society. Football was seen as brutal and fascist. And the athletes had contempt for those who had contempt for them, and oftentimes they got physical about it.

But the script flipped with the war. By time we hit '66, '67...it was clear that Vietnam was an aberration. We'd heard for decades that America was all powerful, but we couldn't beat these lone rangers in ragged clothing.

Now if you were brain dead, you just supported the war. America, rah, rah! But for those who questioned the country's path, there was a whole ecosystem of culture on the other side of the fence.

Start with Kurt Vonnegut. After all, the Grateful Dead named their publishing company, "Ice Nine."

And there were the poets of San Francisco, not only Allen Ginsberg, but Lawrence Ferlinghetti and the City Lights bookstore and...

Off-Broadway was littered with anti-government work, like "MacBird." And "Hair" started at the Public Theatre in '67, it crossed over to Broadway the following year and became a phenomenon.

But music was the primary driver of the revolution. Music led the way. Music was all about freedom, something you could feel, and truth.

So when you heard "I-Feel-Like-I'm-Fixin'-to-Die"...

3

Actually, it was entitled "I-Feel-Like-I'm-Fixin'-to-Die Rag." And that was important. It hearkened back to the folk era of the early sixties, and there was no pretension that this was mainstream, for everybody, this was truth, with a sense of humor.

Now the world was smaller then. And there were fewer alternatives.

First you had to get a record deal, which was difficult to come by. But if you made a statement, if you rang the bell, there were people who were hungry for your music.

Now Country Joe and The Fish were on Vanguard Records, known primarily for classical music and some folk and jazz. Joan Baez recorded for Vanguard, but by time we hit '67, her heyday was over, not to return until "Diamonds and Rust" in the next decade. Most of the folk fans were gone, starting families, but some of their leaders remained...and they led the protests, whether it be Mario Savio in People's Park or Mark Rudd at Columbia or the Chicago Seven...

But really, the slate had been wiped clean. What did Jimi Hendrix say, "You'll never hear surf music again"?

These were not the denizens of the fifties...the hipsters, the thinkers, the kids who blew up the music business were younger, wet behind the ears, and they were all ears.

"Are You Experienced" came out in 1967. Actually, the Mothers of Invention's debut, "Freak Out!," came out in '66! But that was on Verve, which was not much better than Vanguard, and they were from Los Angeles and it took longer for Frank and his minions to gain traction. L.A. was seen as flash, but San Francisco had soul. And infrastructure for said soul. With the Avalon Ballroom and the Fillmore and Ken Kesey and his Merry Pranksters, with their Acid Tests.

So we were primed. We were paying attention to San Francisco.

And that's when I heard "I-Feel-Like-I'm-Fixin'-to-Die."

4

I had to buy the album, it was not like the song was in regular rotation on any radio station. Which now included multiple outlets on FM...WOR, WABC, WNEW...with AM jocks now speaking slowly in deep tones, like Scott Muni.

So I purchased the album, also called ""I-Feel-Like-I'm-Fixin'-to-Die."

So what I did, after breaking the shrinkwrap, after shutting the door to my room, was drop the needle and study the album cover.

And Country Joe was almost the most normal looking of the bunch. Barry Melton had his frizzy hair. David Cohen looked like a magician. And Chicken Hirsch? These were aliens, they didn't fit in anywhere in America, and they didn't care. They were just doing their thing.

The music was insight into another world, that of San Francisco.

And I couldn't get enough. Who could? Either you were on the bus or you were off.

This record was unlike anything I'd previously purchased. These were not tight singles made for radio play. Especially the second side. It was atmospheric, you either bought in or you didn't.

I did.

And that made me a member of the club. Because I was hip to Country Joe and The Fish.

5

Now when you had the album of a band and it became your favorite, you had to see them live.

It wasn't like today, there was nowhere else to be exposed. And it wasn't your motivation, but if you got on the bus early enough, you had bragging rights.

But I must say, my mother hipped me to the Country Joe and The Fish show at Woolsey Hall in New Haven on May 26, 1968.

Now you've got to know, my friends and I were only fifteen, we didn't have driver's licenses. Which meant...

We had to take the train. The New Haven Railroad, it got you there but it was dirty and scummy and...

The last ride back was at midnight.

Furthermore, it was Sunday night. But that didn't make a difference to my mother, when it came to culture, all limits were off. Truly..

So I went with two buddies and...

We had to walk from the train station to the hall and...at that point New Haven was dangerous, full of racial tension, most people would not even walk in this area at night.

But we got to Woolsey Hall and...

This was not the Heman's Hermits crowd, this was unlike any crowd I'd experienced previously. There was no rabidity, there was a lot of milling around, and there was marijuana in the air and...

There was an opening act, and then Country Joe and the band took the stage, started with "Rock and Soul Music," and then played for nearly an hour with no tunes recognizable to me. We were in New Haven, but they were in San Francisco. They were loose. And they left the stage saying they'd come back for a second set.

WHAT?

This was not fair!

We ultimately ran to the railroad station and made the train...and if you didn't, you had to stay in New Haven all night...but not before I bought a poster. You needed ownership, evidence of your fandom.

6

So I bought the follow-up, "Together," which was less out there, more traditional, but playable. I was a deep fan.

But that was the end. The album after that, "Here We Are Again," was substandard.

But I was still a fan of the band...it was more than the music, it was the attitude, the irony, the humor...THIS WAS THE COUNTERCULTURE!

And the counterculture had its moment in August 1969, when the general public was positively shocked that all those kids showed up at Woodstock. Today it's de rigueur, back then it was unfathomable.

But Country Joe didn't gain mainstream notoriety until the movie came out. With its "Give me an F!" cheer.

What's that spell?

A movement. And Country Joe was at the epicenter.

Not every market had an underground radio station. People may not have even heard of Country Joe and The Fish.

But now they had.

So you'd be places and someone would yell...GIVE ME AN F!

Yup, it was part of the culture, bedrock.

And then the band broke up and Country Joe put out solo albums and "Rolling Stone" wrote about them and he'd play solo here and there, but ultimately there was a long fade-out from public consciousness, until he died a few days back.

7

And that brings it all back. Not only Country Joe, but the sixties. We were optimistic, we felt we had power, we were testing limits, we were in control. And our leaders were musicians. Not selling perfume or tchotchkes...

That's the modern paradigm, become a brand and leverage it.

But Country Joe and The Fish were just a band. Making music. Sure, they wanted to get paid, but that was not the primary motivation...the experience was.

And we all joined in, wanted to be part of that experience too.

Now it's not like I ever forgot Country Joe, but I must say I always wondered what he was living on, how he made ends meet. You die young and all your problems are solved, live, and they pile up.

And he lived to 84. That's not a bad run.

But now he's in the rearview mirror, and either you were there or you were not.

And in the modern era, we find out the backstory that was unavailable in the pre-Internet era. His parents named him after Joseph Stalin. And he called himself "Country Joe" because Stalin used that moniker.

His parents were Communists. My grandfather was a member of the Workers Circle. He came from Russia, with nothing, he had a sense of equity and opportunity, two factors that are absent in today's society.

So it was a different time.

But what a time it was.

Music was not the background, it was positively foreground. If you wanted to know what was happening, what to think, you listened to FM radio. Musicians were gods, we listened to them opine. They were thinkers, they had something to say.

And Country Joe was right at the center of it.

To me he's a founding father.


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Re-Paul Anka

From: Kevin Cronin

Paul Anka was a bit before my time, but of course I had heard of him. I'm not gonna lie, I saw him as a Rat Pack wanna be. I knew he was a writer, but the songs were not really my thing. Then I watched the documentary!

The first thing that got me was the sound of his voice. It was unique, almost Sting-like. At the age of sixteen, he had solid pitch and time. And a certain little quirk in his tone and phrasing that I had never noticed. The scene where he is sitting at the piano, figuring out the ubiquitous C, Am, F, G chord progression blew me away. I did that exact same thing when I was in high school. Those chords form the infrastructure of all pop songwriting … "Handy Man", "This Boy", "Rhythm of the Falling Rain" … the list goes on forever. "In Your Letter" from our Hi Infidelity album could have been written by Paul Anka. It's those same four chords.

And his pure desire and drive! He personifies the idea that to make it in music, you have to need it. Everybody wants to be a star. Everybody wants to write hits. But some people actually need it for their very survival. It is what they were put on Earth to do. 

Anyway, once again I totally agree with you. Anyone who is in the entertainment business, or  wants to be a professional entertainer needs to see this doc. I freaking loved it. … kc
_______________________________________

Your post is a masterclass on everything that's wrong with AI-generated music.

Craig Anderton
_______________________________________

I watched it last night.  Brilliant!

Johnny couldn't screw Skitch Henderson………..UNTIL he got half the song and cowriting credit.  Skitch who?

Mike Bone
_______________________________________

Couldn't agree more, Bob. Loved this biopic. As a former musician (cellist in Lighthouse and eventually a writer and associate professor of screenwriting), I've always been connected to music and film. I saw the Paul Anka film at the Toronto film festival a year and a half ago. What I left feeling was the significance of reinvention and how, in some ways, plastic surgery and externals aside, reinvention can actually be a spiritual act. So, for all the outward trappings, there is a spiritual underpinning to Anka's journey in that his actual Voice never wavers. Just so happens that his drive is as strong as his voice which doesn't hurt if you want to make money too.

When the Beatles came along his goose was cooked, even though he was an international teen Idol. But at that young and tender age he began to cultivate the art of reinvention. He learned to put his ego aside and pivot with his gift and remain on the path.

Howard Wiseman
_______________________________________

Hey Bob:

A few years back Paul Anka released a rock 'n' roll record and when I heard him interviewed by Steve Jones and they played Black Hole Sun, I had to call him and tell him how much I loved it. I've known Paul my whole life. My dad, Roy, and my godfather Norman worked with him as agents and managers from the 60s on. As a matter of fact, it was because of a tip from Paul that that they went and signed the Beatles to GAC and ended up booking their tours in the US. He is a true gentleman and icon. A couple of days later after the call, I received a package with DVDs of his interviews about the record and all the reviews. There's nobody like him. He is the most professional/CEO/ Star ever. He's also funny and immensely charming. A couple of years ago he was playing the Saban Theatre in Beverly Hills and the audience was comprised of every demographic, but they all had in common the knowledge of all the words to all his Brilliant songs and they were singing away.  His daughters and sadly, deceased wife, are amazing people. He also has a son in law Jogi who is an 8 time Tour de France finisher.  As you said he could teach people how to be a star. Any interview with him is a master class in superstardom, but also in the history of the entertainment business. Anybody on the road to success needs to ask what would Paul do?

Bill Gerber
_______________________________________

Interesting read Bob. 

In the summer 2022 we brought Paul, in conjunction with Shuki Weiss ,to Israel.

One show at the Roman amphitheater in Caesaria. Another at the Sultan's pools in Jerusalem. Sold very well. Although he's no youngster, Paul is the quintessential old school master entertainer. He worked the crowd without effort or a hitch, was thoroughly professional to work with  and has a crazy, resonant and  booming voice that he uses without any effects for a 2 hour plus show. Again, he and his crew were a real pleasure you work which as most promoters will tell you -is not a a given with some artists. I look forward to watching the doc. 

Hillel Wachs
2b Vibes Music
Tel Aviv - Jerusalem
_______________________________________

And, he discovered John Prine, managing him and getting him signed. For that alone he deserves love.

Bob Anthony
_______________________________________

Couldn't agree more.  This is one of the best music documentaries I can remember having seen.  And to add to what you've said, the guy is truly a lifer and destined to do this.  He couldn't imagine doing anything else and doesn't want to stop.  That level of dedication is rare and it should be celebrated.  Lastly, he's not afraid to change with the times.  You hear him talk about Justin Timberlake, and Drake and embracing TikTok where he's had his music trend.  The guy is hip and in-tune with the culture too and he loves interacting with people.  Truly a legend.

Richard Young
_______________________________________

Great perspective here. I came away from this documentary like a student reflecting on a lecture by a master. His ability to push forward, to pivot, to just show up. The harder he worked, the luckier he got. Imagine that.

Peter Barsocchini
_______________________________________

It's gotta be great. He's great. The bridge between the rat pack and Rock and Roll. 
Saw him last year, the 75+ year old women love him!
Great songs great talent great stories. 
C'mon Bob….he does it his way!
Av Miller
_______________________________________

Thanks for this wonderful letter about Paul Anka. He is the real deal and I have been consumed with his career, his  Our Way podcast, his interviews and stories from now and back in the day! A Tour de Force and I'm so glad you wrote this lovely and loving  letter in the midst of all the chaos right now. 

What a pick me up! Thank you - 

Best, 
Sharon Wright
_______________________________________

Here's the early doc on Anka. They lifted some of it for a really crazy 60's movie called
"Privilege", that's about a state-sponsored rock star. 
https://www.youtube.com/watch?v=yoN7WLZZx5E
https://www.youtube.com/watch?v=Bs4hDSvJvls

George Drakoulias
_______________________________________

Thank you so much for your recommendation of the Paul Anka documentary; an amazing life that is still contributing to this thing called Popular Music.  Your words, along with those recently about Neil Sedaka, truly give an accurate taste of what we loved back then in addition to Elvis, Buddy, and Chuck.

Dennis Brent
_______________________________________

Bob I've done work for Paul Anka and he's someone. I wrote a lengthy bio for him in 2005 when he released his "Rock Swings" album of songs by Nirvana, Bon Jovi, and Oasis with updated arrangements.  The album peaked at #2 on the Billboard Top Jazz Albums chart. 

Paul was so pleased with the bio that he used it for years on his home site. After our interview he sent me by courier 3 packages. 1) A gold record of "Diana"; 2) A 24x11 photo of himself signed with remarks to me. 3) Large sheet music of "My Way" that his band used, with the dedication, "You and I Larry, we did it our way." 

Over the years we have talked and met several times. I found that he has great recall memory, or exceptional recall. A subject we talked about at an event he would bring up the next time we met a year later and again a year or two afterwards. Not just recall the memory but adding to the conversation each time.

Along the way I learned how he and other '50s pop stars were influenced by the mainstream success of Bobby Darin. How he picked up James Brown's international music publishing. How he came to release albums in different languages in the '60s and tour the different international countries. Why he bought back his entire recording catalog in the early '70s, and then later sold it to Gordon Mills who managed Tom Jones and Engelbert Humperdinck.

Even 20 years after we met he still returns emails and answers his phone for me.

One of a kind.

Larry LeBlanc
_______________________________________

I saw him on Bill Maher a few weeks back and it's like he had just emerged from a cryonics capsule.

The guy's inability to age puts the late Dick Clark to shame.
Send Paul to NIH, figure out his genetic fountain of youth, and give it to us, asap.

It's cliche to call someone a Force of Nature, but does it ever fit here.

I'd love to know how much dough the Tonight Show theme made Anka over Johnny's 30-year reign.

—Emory Damron
   Alexandria VA
_______________________________________

Bob nice day what a great article!!! You might  remember me I started  MLM an independent marketing company in the 70;s which turned out to be a very very successful venture our clients included Lionel Richie, Barbra Streisand, Dolly Parton, Billy Idol, Cher, Huey Lewis, Pointer Sisters, Al Stewart, Pretenders, Prince and Paul Anka, the list goes on….our  focus was not so much radio as was rcord retailers …. Paul had just switched to Columbia Records and the album was doing very well in Europe but not much in the U.S I suggested that Paul do a tour of Europe and at that time perform live on tv stations. I'm not quite sure of the date I think it was1984. I mapped out a 30 day tour using Paris as our base and with 9 markets left at the end of the tour he asked me to be his manager, that's the part I played on this incredible tour…I told him thanks I'm flattered  but I'm not the type…one of the amazing experiences was that we flew the Concorde from New York to Paris in 2 hours!! Paul was recognized wherever we went "palanka palanka" was the call ..we remained good friends for quite a while, thanks for bringing back some really good times …ciao, Macey Lipman
_______________________________________

From: Don Miggs

PA is a complete original. He's been family forever and when we finally got in a studio together you felt his magic. A turn of phrase, a lift in melody and every word mattered. That's what I was struck by. Up to that point (this is several years ago now) I was led more by gut than craft and sentence tense or a casual "but" or "and" wasn't something to belabor. PA made all of that matter. 

We finished one write where he didn't dominate the room. He let it breathe and he took control when he had to but it was a true collaboration. As he's leaving he stops in the middle of the hallways, arms out a little like he was catching himself, eyes closed but seemingly looking up- I thought he was having a heart attack. I swear to God. I was a second from dialing 911. I'm sort of softly calling his name, ready for a fall, while simultaneously keeping a respectable distance and he starts to hum….

Some words, a melody starting to form. He opens his eyes like I stepped on a toe and darts to the piano and starts this thing about "Michelle" and as he's editing his thoughts in real-time he's also reminding me- AND HIM- to be careful because the Beatles already have a famous "Michelle" tune. This went on for several minutes with making little suggestions I'm about certain he heard but never really acknowledged. I was just lucky to bear witness. And then it stopped. 

He got up and said "we should finish that sometime." And was gone. 

He's a bundle of energy. He knows when the moment needs to be capitalized on and how to do it with an old-school flair you can't beat. 

I have a few other stories with him that I cherish because he helped me feel "legitimate". A real superstar who let me in, just enough. Very thankful for that. 

Thanks for the reminder. 
https://miggs.com/
_______________________________________

I watched the Paul Anka documentary recently and read My Way a couple years ago. Both were Deja Vu moments for me.

Fifty one years ago I went to work for Irvin Feld after he acquired Ringling Brothers Circus. Irvin's business partner, Allen Bloom became my mentor and for 25 years we had a close personal and professional relationship. During this time I was privy to many great stories of the birth of rock and roll and Paul Anka years with Irvin, Izzy and Allen. Everything Paul says about loading up in a buss with all the other 50's musical stars is true. Super Shows (Irvin and Izzy's company) was the first Live Nation in that they toured acts nationally. Irvin was also Paul's manager at this time. He also managed a few other acts like Clyde McPhatter and the Drifters and Sister Rosetta Tharpe. 

Allen used to add to the stories a few insider "extras" like the fact that there was one set of drums for the tour and the financial numbers for each tour stop. He had a small spiral notebook and it showed everything: who was on the bill,  ticket gross, concessions, programs, expenses, net and how much was deposited in the bank or carried overland. Allen was the road manager for the early acts and was there the "day the music died" in Iowa with Buddy Holly and others. Allen was an incredible raconteur and an encyclopedia of 50's rock n roll history. 

Allen told me a tidbit once that never made it into Paul's book or documentary but nevertheless is a bit of musical history. Paul evidently had a relationship with Annette Funicello while on tour and it ended to his disappointment. Paul lamented his broken heart story to Irvin to which he consoled and replied: "Paul, it's only Puppy Love, you will get over it."…... Which became the title to a hit song written by, of course, Paul Anka. 

Irvin Feld was a genius. He was also mercurial to be around. You were either a superstar or worthless based on your performance. His mind for math and numbers was uncanny. One day not long after I went to work for Irvin he sent me to Baltimore to check in with Shirley Feld (his brother Israel's wife) at the box office. Shirley supervised Washington D.C. and Baltimore ticketing operations back in 70's. You always had to have the numbers handy if Irvin or Allen showed up unannounced (which they did often). Irvin walked up to me in the box office and wants the numbers for the weekend and I have them. He asked me a series of questions about sales trends (which I have) and remarks offhandedly that the gross was up 13.82 percent over the previous year. He thanks me and leaves to watch the first half of the show. Fixated on his percentage comment I get a calculator and run the numbers and it was exactly 13.82 percent as Irvin spontaneously calculated. He was amazing and knew everything about his business. Later that day he checked in to get the final number from the matinee and made an indelible comment to me: "Young man, If you treat my money like your money, we're going to get along just fine." I never forgot it for 45 years working for Irvin, Allen and later Kenneth Feld when he took leadership of the company." 

Back to Paul, the whole shift from teen star to Vegas was Irvin and Paul repositioning his career towards away from teeny bopper to MOR. Once again amazing stories from decades of listening to Allen Bloom. 

I am proud to have worked for Irvin Feld for 10 years before he passed unexpectedly of a brain aneurysm. He taught me so much about being tough but fair in business with his partners. His son Kenneth carried on this tradition and is universally respected in the industry. So many great memories.

Thanks for the post on Paul. While we never met I kinda know Paul Anka through the lens of Irvin and Allen and their history with him and the birth of rock and roll. 

Bill Powell
_______________________________________

Thanks for the tip and will subscribe for a month just to watch it.

BUT... it will be tough to beat your interview with him, Bob, one of your best ever.

DG

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The Paul Anka Doc

HBO trailer: https://www.youtube.com/watch?v=tpw4EQfdMkk

This guy is DRIVEN! If for some reason his singing voice went, he could go on the road giving lectures on how to be a star, and remain a star.

First and foremost, he tips. That limo ride to the plane, he whips out a bill. This happens again and again. Maybe he learned this from the Rat Pack, but when you acknowledge someone's presence, ask their name, share the wealth, that goes a long way. This is your audience.

Anka is well-adjusted compared to many, he's got kids, family, but his career is number one. And he's thinking about it all the time.

Now the difference between Paul and his initial contemporaries, between Paul and so many of today's "stars," is he writes the songs. Turns out that's more important than name recognition, than seeing your moniker in lights on the marquee. Songs last. And they pay forever.

Where did he get this skill?

Well, first and foremost Paul was hungry. Living in Ottawa, raised by immigrant parents, his dad ran a restaurant, Paul realized the only thing he was good at was singing. Not schoolwork. His singing gained him notoriety. So he dug in deep, practiced the piano, bought the records and sheet music and traveled alone to New York City as a teenager and got a publishing deal.

That's the difference between the wannabes and those who succeed. Their talent is undeniable. The gatekeepers recognize it immediately. Today the gatekeepers, to the degree they still exist, do not have the power of yore. So the channel is filled with both quality and the lack thereof. And this confuses the public. People get overwhelmed and detach. Or else attach themselves to a star believing it will make their lives whole while the rest of us scratch our heads and wonder what this devotion is all about.

But not only could Paul write, he could SING!

What a concept! Today you've got people who can sing but not write and vice versa. The two together? Seems like a lost formula.

Just like it was in the fifties when Paul Anka broke through.

Now it was a different era, one of ubiquitous Top Forty radio and one-nighter tours. If you could break through, everybody knew your name.

But you didn't necessarily get rich. That came later, post-Beatles. Sure, there was Elvis, but that wasn't the main motivation, it was the music, the lights, the adulation.

That's what Anka needs, the people. These stars are different from you and me. Driven for attention, the love of the public. That is who Paul is married to. He sacrificed his first marriage, the mother of his kids, because she wanted him to retire and he still wanted to work, because the work is everything. Paul is better adjusted than many stars, but if you think he's normal...

That's what you get by the end of this documentary. This guy is different. He's thinking about his career all the time. Not lying watching cartoons while drunk or stoned. Certainly not complaining. Looking at the future and wondering how he's going to survive.

And taking advantage of opportunities. Not only finding and getting the rights to the melody for a French song, but turning it into "My Way" for Frank Sinatra. Sinatra told him he was going to retire, Paul always wanted to write a song for him...listen to the lyrics, they apply...I never knew this was the motivation. But all great art comes from inspiration. A light bulb goers off in your head and you have to run to the piano or your instrument of choice and lay it down. The thrill of creation...that's what an artist is seeking, knowing that he can't reach the mountaintop each and every time. But when you've got a thread, you've got to PULL IT! Paul sat down at the piano and finished "My Way" in five hours.

As for "The Tonight Show" theme... He knew Johnny Carson a bit.

If you want to make it in showbiz, you've got to know people, you've got to be nice, it goes a long way, it delivers OPPORTUNITIES! Most people are not open to these moments of luck, and they certainly don't know how to capitalize on them.

So Paul goes home and writes "The Tonight Show" theme, Johnny loves it, but can't use it, because Skitch Henderson, the bandleader...he's got the right. Paul is an outsider, not part of the show's machine. So, Paul sweetens the pot... How about if he gives Johnny half the song and cowriting credit. BINGO! Done!

You've got to give to get. If you need everything, you'll get less.

Now in the past, acts got screwed. Today acts know too much. It's a relationship business, and a leverage business, and you've got to act accordingly.

And learn.

Paul did at the feet of the Rat Pack, but he also had a great manager, Irvin Feld. No one's career grows and sustains without a great manager, who is passionate about their work and strategizes about their future. You've got to find someone who believes, who wants to do the work. And your garage manager may graduate into the big leagues, but Paul had success before Feld found him and they decided to work together.

Now I'll be honest, I'm of the rock era. This fifties stuff is a bit hazy. And it's the black and white history that is truly intriguing, I'm stunned all this footage exists. From pictures on the road to "Ed Sullivan" to... This is history, this is the way it was.

Now unlike his contemporaries, like Frankie Avalon, who actually makes an appearance in this film, Paul's career survives. But it's through acknowledgement of the landscape and hard work. The Beatles came along and wiped everybody out, Paul accepted this, and focused on the writing.

And the writing... Never forget that Paul wrote "It Doesn't Matter Anymore" for Buddy Holly.

And to see Sammy Davis, Jr... His memory has faded, that's what happens when you don't write the songs, your fans remember you, but then they age and die.

Paul was part of that world. And he ultimately had a few more hits as an artist. But it was about writing and performing. It's STILL about writing and performing.

And the goals were different back then... You worked clubs, you wanted to headline in Vegas. Which was seen as anathema by the rockers, but now everybody wants to play Vegas. Started with Celine Dion... You don't have to go on the road, you can have a life, the people come to you.

But Paul eventually went back on the road, he's still doing 150 dates a year, and he's 84!

Now unlike so many legendary rockers, Paul's still got his voice, and it's amazing. But let's be clear, he needs that love, that connection with the audience. And he's cognizant of the importance of that connection, how without it he has no career. People have to be riveted, have to love the experience, SO THEY COME BACK!

Paul diets, works out and improves his appearance at the advent of his career, he's got to look good to the audience to survive.

Paul is constantly delivering for those who write the check, the promoters, the Mafia, the people...

He's aware 24/7, scanning the landscape, seeing where he sits in it, how he will maintain his status and continue to climb.

Yes, Paul is still hungry. He wants more. Like I said above, he's DRIVEN! He can't give up, he doesn't want to give up.

Now this doc has got the usual elements, Paul's accomplishments, the peaks, the screaming girls. But somehow it's different from the run-of-the-mill efforts, because it transcends the facts. It ends up being a lesson. Akin to the books by Robert Evans and Jerry Weintraub. You watch this documentary and gain knowledge. It's a good ride, especially the history, but it's the little things that are so fascinating. Sure, there are the achievements, the songs, the stats, but more interesting is the person...how did he get here, how did he sustain. This is not "Behind the Music." That is not the arc. Not success, failure and rebirth. No, this is a guy who is sui generis, who recognized the system and rather than denying it, or decrying it, made it work for himself.

Sure, the doc is testimony to Paul Anka's greatness, but how did he do it? That is explored here, and that is what is so fascinating.


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