You probably don't know who Sue Mengers was. And that's just the point, entertainment is here today and very rarely tomorrow. It's evanescent, of the moment, and if you want to play, you need pluck, smarts and insight, this is one place a college degree doesn't mean much..
I recently finished Lynda Obst's new book about the movie business. Halfway through, I started to laugh. WHO CARES? As Lynda recites the various heads of Paramount I was reminded that who ran the studio once mattered. Today, movies are a joke. It's all about television.
But it started with the flicks.
That's how Sue Mengers learned how to speak English.
I thought this play was gonna be something different. A retelling of one of Sue's famous dinner parties. I did not expect it to be a discourse on the entertainment business itself. I did not expect it to be so dense with insight that I was literally on the edge of my seat, sometimes too busy paying attention to burst out laughing at the jokes, which were plentiful.
You see it's me.
I didn't have a father in the business. Fairfield, Connecticut is not a hotbed of the entertainment business. I went to college in Vermont not only pre-Netflix and pre-Internet, but pre-VCR. My only link to the entertainment grid was "Rolling Stone," which I devoured every two weeks, from cover to cover. That's how I know so much about the music business. That, and reading the liner notes.
And how does one make it?
First you've got to move to New York or L.A.
Sue hated New York. Everybody looked just like her, a zaftig Jew, she needed to emigrate to the west coast, where everybody goes to reinvent themselves, and stays for the weather and the freedom.
But this was after getting a gig at William Morris. And lying about her position there.
Everybody lies. It's how you get ahead in Hollywood.
But then she signs Julie Harris.
What did Bette Midler as Sue Mengers say? That being an agent is about the client. Julie was an intellectual, so Sue went to the library during her lunch hour to read the classics. It's a service business. And if you're not in front of the camera, or up on stage, you're in service. Get over yourself.
She also said to make friends with the spouse. No matter how delusional and problematic they are. Sue couldn't convince Ali MacGraw to make more movies unless she convinced her insecure, abusive husband Steve McQueen. And she couldn't. Because Ali was happy.
That's what some people are looking for. Happiness.
Sue Mengers was looking for action.
That's how you can tell the difference. The person with the gleam in his eye telling you about who he just met, what he's going to do, who lives to be engaged. The stars may sit at home waiting for a phone call, but not the service people.
It's all business all the time. There's nothing purely social in Hollywood. Every dinner, even the PTA meeting, is about business. And if it's not about show business, those in it don't care. Because careers are brief, and they want to stay on top, and because entertainment drives the culture.
Or at least it used to. Before Mike Ovitz and CAA. When it became about the deal more than the movie.
Kind of like the Tommy Mottola era at Sony, when it became about the executive as opposed to the artist.
And now the artists are just as bad as the execs. They can only talk about money. Spotify, Schmotify, if you make good music there's plenty of money to be had. But music is not enough. Today you've got to be a BUSINESS! What a load of crap that is. Does Obama have a clothing line? A deal with Samsung?
Maybe that's next, who knows.
I read an article two weeks ago that the rich are all about experiences. If someone's talking about their car or their house, they're not really that wealthy. Because the rich know what money can buy, which isn't everything.
Kind of like Sue leaving money on the table. Because sometimes it's about the movie, not the cash. And also being able to see not today, but the day after tomorrow. That's what the wizards of entertainment service are so good at doing. If your representation is all about squeezing out the last buck, you've got the wrong person.
And speaking of the wrong person... Sue talks about how stars leave those who brought them to the dance because they don't want to be reminded of who they once were. Once you start talking history, you're on your way out.
There were so many lessons, so many truisms.
But today's wannabes are sitting at home in front of computers. Believing if they just spam enough people, they'll win. They'd be better off saving their pennies for a ducat to this show. They'd get five years worth of knowledge dropped on them in ninety minutes, but all the kids want to believe they're inventing the world, that no one has been there before them. In our youth-centered culture age is decried, when it should be revered.
So if you want to have an experience, if you truly want to be rich, go see Bette Midler in "I'll Eat You Last."
It wore me out.
In a good way.
"I'll Eat You Last: A Chat with Sue Mengers": http://bit.ly/1gglSRD
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Saturday, 7 December 2013
Mailbag
Re: Mayer Parts With McDonald
Once again you astound me with the hard cold truth.
Where were you when I was younger and desperately needed this advice. My band had a deal at Warner Bros. in the late 90s through the early 2000s. We lost our manager just as our single was about to be released to radio over some dumb internal shit that could have been avoided. Our manager felt slighted over a money issue and my band was too prideful and self righteous to go back and make it right with him. What made it worse was our then up and coming lawyer fueled the fire against our manager and made us feel justified in not taking the high road and making peace. It was terrible advice by someone who should have known better, which is ironic considering our attorney at the time is now the manager of the _____ _______.
Shortly after our attorney abandoned us and no one wanted to manage us because any serious billable money had already come from our record advance and publishing deal which was long paid out and spent. Back then without a manager to advocate and fight for you at a major you were dead in the water. Especially if you were one of those "developing" acts on the label which we were. What people don't realize who haven't been on the inside of this scenario is that you don't just have to appease your A & R guy and his boss, they're generally already on your side because they put they're asses on the line to sign you. You have to appeal to every single department at the label that matters to your career including marketing, PR, distribution, radio promotions among others. Each one of these departments have their own agendas and pet projects. You have to have someone to rally all of those departments around you to support you at the right moment, timing is everything and without a manager
this is nearly impossible.
Long story short losing our manager killed our single for the most part. It was a mediocre success at best even with a video (back then MTV still played music). The single actually did more to help the act we'd collaborated with than us. Our record deal (which was starting to look up) lost steam and we fizzled. We managed to hang on for another year or so by the skin of our teeth but it was a slow painful decline that I will never forget.
That last year was made up of me trying to desperately find a manager and save our careers while my band unraveled, it was like grasping sand. I regret not making peace with our manager when I had the chance, it might have changed our outcome significantly. It was not just a bad decision but a career killing one for me as an artist.
Since then I've had a few minor successes, a few Billboard top 10 singles or remixes as an indie producer / writer / DJ (Mostly on the Billboard dance charts) but I'm getting older now, I'm no longer on the cutting edge and I kinda had my big break and f'd it up. To some extent I've reinvented myself and make a living working in the industry but my big break to make it as a young up and coming act is gone forever.
Maybe John Mayer, since he's still practically a household name, can do better than a developing act like ours did, but like you said he's getting older too and so is his core audience, age isn't your friend in this industry for most artists (there are few exceptions).
Anyway the point of my story is to warn younger artists to not be cavalier about their relationship with their manager. If they are lucky enough to have a manager that is loyal, hard working and honest, even if things aren't always going your way, hold on to them and foster that relationship. A great manager will make or break a band. A manager who is loyal grows with a band and keeps its dirty secrets while constantly advocating for you and navigating the complicated web of people that have to be appeased in order for you to have a shot.
Young bands may not understand that just having a good song or being the flavor of the month isn't usually enough, the business and political side is just as important and this is why a good manager is so crucial.
Mikael Johnston
www.mikaeljohnston.com
______________________________________
From: Keith Forsey
Re-E-Mail Of The Day+
Hey Billy, that feeling you want every day, I was lucky to achieve once per album.
"Rebel Yell" and "Don't You Forget About Me" come to mind .
You have to try really hard then wait for the hand of Apollo..........
______________________________________
Re: 10cc
Hello Bob,
You just made my day! Thank you so much for your kind words about the band, it is much appreciated.
10cc were a bit of a conundrum back in the day. We didn't quite fit the Rock & Roll template of the times, image-wise, but somehow managed to make enough interesting noises to cut through and mean something. I find it interesting that the ubiquity of the internet has now, to some extent, softened the elitist notions of 'hip' and 'unhip' so some artists who were once considered terminally uncool are now considered to be 'seminal' and perhaps 10cc falls into that category.
Either way, thanks for bigging us up as being more significant than a mere guilty pleasure.
Warmest regards.
Kevin Godley
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Once again you astound me with the hard cold truth.
Where were you when I was younger and desperately needed this advice. My band had a deal at Warner Bros. in the late 90s through the early 2000s. We lost our manager just as our single was about to be released to radio over some dumb internal shit that could have been avoided. Our manager felt slighted over a money issue and my band was too prideful and self righteous to go back and make it right with him. What made it worse was our then up and coming lawyer fueled the fire against our manager and made us feel justified in not taking the high road and making peace. It was terrible advice by someone who should have known better, which is ironic considering our attorney at the time is now the manager of the _____ _______.
Shortly after our attorney abandoned us and no one wanted to manage us because any serious billable money had already come from our record advance and publishing deal which was long paid out and spent. Back then without a manager to advocate and fight for you at a major you were dead in the water. Especially if you were one of those "developing" acts on the label which we were. What people don't realize who haven't been on the inside of this scenario is that you don't just have to appease your A & R guy and his boss, they're generally already on your side because they put they're asses on the line to sign you. You have to appeal to every single department at the label that matters to your career including marketing, PR, distribution, radio promotions among others. Each one of these departments have their own agendas and pet projects. You have to have someone to rally all of those departments around you to support you at the right moment, timing is everything and without a manager
this is nearly impossible.
Long story short losing our manager killed our single for the most part. It was a mediocre success at best even with a video (back then MTV still played music). The single actually did more to help the act we'd collaborated with than us. Our record deal (which was starting to look up) lost steam and we fizzled. We managed to hang on for another year or so by the skin of our teeth but it was a slow painful decline that I will never forget.
That last year was made up of me trying to desperately find a manager and save our careers while my band unraveled, it was like grasping sand. I regret not making peace with our manager when I had the chance, it might have changed our outcome significantly. It was not just a bad decision but a career killing one for me as an artist.
Since then I've had a few minor successes, a few Billboard top 10 singles or remixes as an indie producer / writer / DJ (Mostly on the Billboard dance charts) but I'm getting older now, I'm no longer on the cutting edge and I kinda had my big break and f'd it up. To some extent I've reinvented myself and make a living working in the industry but my big break to make it as a young up and coming act is gone forever.
Maybe John Mayer, since he's still practically a household name, can do better than a developing act like ours did, but like you said he's getting older too and so is his core audience, age isn't your friend in this industry for most artists (there are few exceptions).
Anyway the point of my story is to warn younger artists to not be cavalier about their relationship with their manager. If they are lucky enough to have a manager that is loyal, hard working and honest, even if things aren't always going your way, hold on to them and foster that relationship. A great manager will make or break a band. A manager who is loyal grows with a band and keeps its dirty secrets while constantly advocating for you and navigating the complicated web of people that have to be appeased in order for you to have a shot.
Young bands may not understand that just having a good song or being the flavor of the month isn't usually enough, the business and political side is just as important and this is why a good manager is so crucial.
Mikael Johnston
www.mikaeljohnston.com
______________________________________
From: Keith Forsey
Re-E-Mail Of The Day+
Hey Billy, that feeling you want every day, I was lucky to achieve once per album.
"Rebel Yell" and "Don't You Forget About Me" come to mind .
You have to try really hard then wait for the hand of Apollo..........
______________________________________
Re: 10cc
Hello Bob,
You just made my day! Thank you so much for your kind words about the band, it is much appreciated.
10cc were a bit of a conundrum back in the day. We didn't quite fit the Rock & Roll template of the times, image-wise, but somehow managed to make enough interesting noises to cut through and mean something. I find it interesting that the ubiquity of the internet has now, to some extent, softened the elitist notions of 'hip' and 'unhip' so some artists who were once considered terminally uncool are now considered to be 'seminal' and perhaps 10cc falls into that category.
Either way, thanks for bigging us up as being more significant than a mere guilty pleasure.
Warmest regards.
Kevin Godley
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Friday, 6 December 2013
Rhinofy-10cc
They're so much more than "I'm Not In Love."
1. "Rubber Bullets"
Start here, I did.
The debut album was big in the U.K., it was all over the U.S. rock press, but you could neither buy nor hear it until...the album finally appeared. "Rubber Bullets" was the hit, and what a breath of fresh air it was back in '73, when art rock and singer-songwriters were in vogue and Brian Wilson was in his sandbox and we were still yearning for that sound.
The track didn't hit in the U.S., but it was a smash in the world of anybody who heard it.
And as good as the vocals are, and the stinging guitar, it's the breakdown at 2:45 that pushes it over the top.
Pure joy.
2. "Fresh Air For My Mama"
The debut's closer.
Nobody in rock does majestic anymore, that's left for the poppiest of the poppermost. But for those of us who grew up in the sixties on orchestras and crescendos, this is the kind of the song that has us conducting with our hands, playing Leonard Bernstein.
3. "Johnny Don't Do It"
You don't really have to listen to this, not unless you're completely enraptured by the foregoing, but I list it to point out that the entire initial album was borderline parody, writing new songs in the mold of the old, on a high level, both musically and lyrically. And when the newscaster goes on about the death of Johnny Kowalski...you both smile and crack up.
4. "Somewhere In Hollywood"
The second album was a commercial disappointment. Still clever, there was less parody and there was no hit, despite the album containing one (see below). But "Somewhere In Hollywood" is my favorite, because of the aforementioned majesty, because of the lyrics...a dog up in Beverly Hills?
5. "The Worst Band In The World"
Legendary amongst those in the know. "Spinal Tap" before "Spinal Tap."
"We're the worst band in the world
But we don't give a..."
Then there's the closer...
"Here we are together on your hi-fi
A little piece of plastic with a hole, oh
Fade me, fade me, fade me, fade me..."
Which they do. As in the record fades out!
That's what they were, little pieces of plastic with a hole, that meant so much to us.
10cc was winking and toying with us, back when it was cool for musicians to be smart.
6. "The Wall Street Shuffle"
The hit that wasn't.
If Randy Newman's "Louisiana 1927" could be resurrected by the rupturing of the levee, how come "Wall Street Shuffle" can't be the anthem of the financial crash?
I don't know, because it's TOO GOOD?
7. "Art For Art's Sake"
From the fourth album, "How Dare You," which was a disappointment after
"The Original Soundtrack," with the monstrous hit.
This is the album's "Wall Street Shuffle."
"Art for art's sake
MONEY FOR GOD'S SAKE!
8. "I'm Mandy Fly Me"
Ethereal majesty. This is a sleeper, it took me years to get hooked.
It has Eric Stewart's mellifluous vocal and a stinging guitar and...
9. "For You And I"
From my favorite 10cc album, "Bloody Tourists." When there were only two, Eric Stewart and Graham Gouldman. This is a bit sappy, but the track that truly resonates, "Old Mister Time," is not on Spotify (you can hear it here, on YouTube, it's got that majesty, only written for you magic: http://bit.ly/1aBr0Ys).
10. "Dreadlock Holiday"
A reggae takeoff before the music hit in the U.S.
It was number one in the U.K., where the Jamaican sound penetrated early in the decade, but stiff in the U.S.
But over time, it's grown over here, because it's just that damn good.
I can't help but smile whenever I hear it.
11. "Feel The Benefit (Parts 1, 2 &3)"
From "Deceptive Bends." The first duo album, from '77.
It's an eleven and a half minute epic and worth every second.
12. "The Things We Do For Love"
The piece de resistance. The classic pop single that ran up the chart, deservedly so.
But what the unwashed didn't know was it was a joke! A sappy pop song written to be so. This is what Todd Rundgren did so well, before he thought it was too easy and gave up.
But it's not easy, but damn hard. To encapsulate the essence and enrapture the public.
This is anything but a trifle, anything but forgettable.
And the lyrics still go through my head on a regular basis today.
YOU THINK YOU'RE GONNA BREAK UP
THEN SHE SAYS SHE WANTS TO MAKE UP
That's love. You never really know what's going on in another person's head. Even with a contract, that does not mean you'll stay together.
There's so much wisdom in this track.
And so much JOY!
Spotify link: http://spoti.fi/p6HcZ8
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1. "Rubber Bullets"
Start here, I did.
The debut album was big in the U.K., it was all over the U.S. rock press, but you could neither buy nor hear it until...the album finally appeared. "Rubber Bullets" was the hit, and what a breath of fresh air it was back in '73, when art rock and singer-songwriters were in vogue and Brian Wilson was in his sandbox and we were still yearning for that sound.
The track didn't hit in the U.S., but it was a smash in the world of anybody who heard it.
And as good as the vocals are, and the stinging guitar, it's the breakdown at 2:45 that pushes it over the top.
Pure joy.
2. "Fresh Air For My Mama"
The debut's closer.
Nobody in rock does majestic anymore, that's left for the poppiest of the poppermost. But for those of us who grew up in the sixties on orchestras and crescendos, this is the kind of the song that has us conducting with our hands, playing Leonard Bernstein.
3. "Johnny Don't Do It"
You don't really have to listen to this, not unless you're completely enraptured by the foregoing, but I list it to point out that the entire initial album was borderline parody, writing new songs in the mold of the old, on a high level, both musically and lyrically. And when the newscaster goes on about the death of Johnny Kowalski...you both smile and crack up.
4. "Somewhere In Hollywood"
The second album was a commercial disappointment. Still clever, there was less parody and there was no hit, despite the album containing one (see below). But "Somewhere In Hollywood" is my favorite, because of the aforementioned majesty, because of the lyrics...a dog up in Beverly Hills?
5. "The Worst Band In The World"
Legendary amongst those in the know. "Spinal Tap" before "Spinal Tap."
"We're the worst band in the world
But we don't give a..."
Then there's the closer...
"Here we are together on your hi-fi
A little piece of plastic with a hole, oh
Fade me, fade me, fade me, fade me..."
Which they do. As in the record fades out!
That's what they were, little pieces of plastic with a hole, that meant so much to us.
10cc was winking and toying with us, back when it was cool for musicians to be smart.
6. "The Wall Street Shuffle"
The hit that wasn't.
If Randy Newman's "Louisiana 1927" could be resurrected by the rupturing of the levee, how come "Wall Street Shuffle" can't be the anthem of the financial crash?
I don't know, because it's TOO GOOD?
7. "Art For Art's Sake"
From the fourth album, "How Dare You," which was a disappointment after
"The Original Soundtrack," with the monstrous hit.
This is the album's "Wall Street Shuffle."
"Art for art's sake
MONEY FOR GOD'S SAKE!
8. "I'm Mandy Fly Me"
Ethereal majesty. This is a sleeper, it took me years to get hooked.
It has Eric Stewart's mellifluous vocal and a stinging guitar and...
9. "For You And I"
From my favorite 10cc album, "Bloody Tourists." When there were only two, Eric Stewart and Graham Gouldman. This is a bit sappy, but the track that truly resonates, "Old Mister Time," is not on Spotify (you can hear it here, on YouTube, it's got that majesty, only written for you magic: http://bit.ly/1aBr0Ys).
10. "Dreadlock Holiday"
A reggae takeoff before the music hit in the U.S.
It was number one in the U.K., where the Jamaican sound penetrated early in the decade, but stiff in the U.S.
But over time, it's grown over here, because it's just that damn good.
I can't help but smile whenever I hear it.
11. "Feel The Benefit (Parts 1, 2 &3)"
From "Deceptive Bends." The first duo album, from '77.
It's an eleven and a half minute epic and worth every second.
12. "The Things We Do For Love"
The piece de resistance. The classic pop single that ran up the chart, deservedly so.
But what the unwashed didn't know was it was a joke! A sappy pop song written to be so. This is what Todd Rundgren did so well, before he thought it was too easy and gave up.
But it's not easy, but damn hard. To encapsulate the essence and enrapture the public.
This is anything but a trifle, anything but forgettable.
And the lyrics still go through my head on a regular basis today.
YOU THINK YOU'RE GONNA BREAK UP
THEN SHE SAYS SHE WANTS TO MAKE UP
That's love. You never really know what's going on in another person's head. Even with a contract, that does not mean you'll stay together.
There's so much wisdom in this track.
And so much JOY!
Spotify link: http://spoti.fi/p6HcZ8
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Sometimes I Cry
http://www.youtube.com/watch?v=Lq3Av1IA8rc
He co-wrote "Drink A Beer." I know because my inbox is filling up with testimonials to Chris Stapleton. He's got a vocal fanbase exceeding that of any artist who hasn't broken through yet. To the point where I had to check him out.
And if the above video doesn't close you, you don't.
Cry, that is.
So there is hope. Although it seems to be centered in Nashville.
Yes, I know my audience hates Top Forty and wants to believe real music can still triumph. Chris Stapleton is testimony to this.
But he's not completely unknown.
He cowrote Kenny Chesney's number one single, "Never Wanted Nothing More," which ironically was the track that got me into Kenny. There's that one change...
Actually, Stapleton has had four number ones. Including George Strait's "Love's Gonna Make It All Right" and Darius Rucker's "Come Back Song." Hell, he's had over 150 covers.
And most people still don't know his name.
I didn't.
So put that in your I'm ready to be famous pipe. Those with no audience and no traction who are looking for their one big break.
You'd believe Stapleton would have caught his by now. He's had multiple bands, including the SteelDrivers and the Jompson Brothers. And now he's a solo act on Universal. And I'd like to tell you that song they're pushing, "What Are You Listening To," is a stone cold smash.
But it's not.
It's good. But it's just a bit too polished, a bit too slick.
Oh, it's close. If you're a fan you'll love it.
But if you're not, you probably won't be closed.
But this live video of "Sometimes I Cry"... Wow!
They talk about autotune, everybody's trying to be perfect, but the key is to get it right.
And when it comes to music, it's about humanity.
He's picking his guitar and you feel like you're right there, even though it's on your screen.
Then he starts to sing.
Everybody thinks they're a singer. And then someone like Chris Stapleton opens his mouth and you hear the raw emotion, the rich honey, but then comes the bark with the bite.
When Stapleton sings..."sometimes I CRY"...it's like one of those moments on "Britain's Got Talent," where an unknown becomes an instant star. Imagine if Susan Boyle was a hit songwriter!
That's how powerful this presentation is.
And when you're this good, you instantly become beautiful, and desirable, because your insides shine.
You think you need to look like Rihanna and your vocal can be fixed in the studio.
And that's one path.
But the one we really want to take is the one evidenced by Stapleton.
If he wrote this song...he must have lived it! How does a bearded, bear-like man decide to reveal his inner pain, how does he become so vulnerable?
That's what we're all looking for, vulnerability.
You can go to dinner and discuss what you did, but that's only a set-up, leave it at that and it's boring. You've got to get to the heart of the matter, how do you FEEL!
"'Cause every day that I walk around like I'm all right
I pretend to wear a smile on my face"
Hiding your emotions, keeping them inside, it's the American way.
"Everybody keeps telling me to move on"
That's the second worst thing about a breakup. That your friends don't want to hear about it. Oh, they'll listen for a while, but then they want you to move on long before you're ready to.
"But I can't seem to go anywhere without you"
It's like they're sitting on your shoulder, stuffed in your back pocket, not only where you used to go, but places you know they'd like to be.
"But sometimes
Sometimes
Sometimes I CRY"
Alone in bed. Driving home. The waterworks are unexpected, and can't be turned off, you ache, you don't think you're ever gonna feel good.
This is the essence. This is what we're looking for.
And when Chris Stapleton distills this raw essence into a studio recording everybody will know his name.
"What Are You Listening To": http://www.youtube.com/watch?v=o_pPsmPFT4E
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He co-wrote "Drink A Beer." I know because my inbox is filling up with testimonials to Chris Stapleton. He's got a vocal fanbase exceeding that of any artist who hasn't broken through yet. To the point where I had to check him out.
And if the above video doesn't close you, you don't.
Cry, that is.
So there is hope. Although it seems to be centered in Nashville.
Yes, I know my audience hates Top Forty and wants to believe real music can still triumph. Chris Stapleton is testimony to this.
But he's not completely unknown.
He cowrote Kenny Chesney's number one single, "Never Wanted Nothing More," which ironically was the track that got me into Kenny. There's that one change...
Actually, Stapleton has had four number ones. Including George Strait's "Love's Gonna Make It All Right" and Darius Rucker's "Come Back Song." Hell, he's had over 150 covers.
And most people still don't know his name.
I didn't.
So put that in your I'm ready to be famous pipe. Those with no audience and no traction who are looking for their one big break.
You'd believe Stapleton would have caught his by now. He's had multiple bands, including the SteelDrivers and the Jompson Brothers. And now he's a solo act on Universal. And I'd like to tell you that song they're pushing, "What Are You Listening To," is a stone cold smash.
But it's not.
It's good. But it's just a bit too polished, a bit too slick.
Oh, it's close. If you're a fan you'll love it.
But if you're not, you probably won't be closed.
But this live video of "Sometimes I Cry"... Wow!
They talk about autotune, everybody's trying to be perfect, but the key is to get it right.
And when it comes to music, it's about humanity.
He's picking his guitar and you feel like you're right there, even though it's on your screen.
Then he starts to sing.
Everybody thinks they're a singer. And then someone like Chris Stapleton opens his mouth and you hear the raw emotion, the rich honey, but then comes the bark with the bite.
When Stapleton sings..."sometimes I CRY"...it's like one of those moments on "Britain's Got Talent," where an unknown becomes an instant star. Imagine if Susan Boyle was a hit songwriter!
That's how powerful this presentation is.
And when you're this good, you instantly become beautiful, and desirable, because your insides shine.
You think you need to look like Rihanna and your vocal can be fixed in the studio.
And that's one path.
But the one we really want to take is the one evidenced by Stapleton.
If he wrote this song...he must have lived it! How does a bearded, bear-like man decide to reveal his inner pain, how does he become so vulnerable?
That's what we're all looking for, vulnerability.
You can go to dinner and discuss what you did, but that's only a set-up, leave it at that and it's boring. You've got to get to the heart of the matter, how do you FEEL!
"'Cause every day that I walk around like I'm all right
I pretend to wear a smile on my face"
Hiding your emotions, keeping them inside, it's the American way.
"Everybody keeps telling me to move on"
That's the second worst thing about a breakup. That your friends don't want to hear about it. Oh, they'll listen for a while, but then they want you to move on long before you're ready to.
"But I can't seem to go anywhere without you"
It's like they're sitting on your shoulder, stuffed in your back pocket, not only where you used to go, but places you know they'd like to be.
"But sometimes
Sometimes
Sometimes I CRY"
Alone in bed. Driving home. The waterworks are unexpected, and can't be turned off, you ache, you don't think you're ever gonna feel good.
This is the essence. This is what we're looking for.
And when Chris Stapleton distills this raw essence into a studio recording everybody will know his name.
"What Are You Listening To": http://www.youtube.com/watch?v=o_pPsmPFT4E
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E-Mail Of The Day+
I worked at XM Radio from 2000-2008. Pat DiNizio and I received hundreds of packages a week from bands and musicians that wanted to make it in the industry.
Problem was out if 100 packages, 1 was great, 4 showed promise and 6 had potential with a lot work and dedication.
I spent 15 hours a week on the phone with bands explaining what was wrong and most wouldn't listen, of the ones that did listen, 50% had no motivation to take my advice and another 30% just took the simple road, trying to do it quickly,
But there were those artist that we featured on Unsigned like Jennifer Nettles, Stellastarr, The Kin, Shonie, Will Daily, Josh Ritter, and countless others that went on to get signed, many within a year of featuring them on The Radar Report, a weekly show of the best 13 for the week.. Jennifer Nettles was an artist of the week.... so was Will, Stellastarr and Joshua..
There was something different about them, and I tried with all my heart to put it into words to artists that needed some solid input and positive advice. Most just didn't hear it, they glazed over the work and the 10,000 hours Malcolm speaks of, and opted for a quick comeback with a subpar release...
When it comes to music the listener, now more than ever, doesn't have to settle.,, they can find the gems, those songs that transport them, those artists that actually give you chills when you listen..
that's what we crave....
that thing we can't explain, but sure as hell a few times a year I listen, lift up my arm and stare at hairs on end... I want that every day...
don't we all...?
billy zero
Dj Boy Radio
VP, Programming
________________________________________
Why do people think despising the successful will lead to success?
Joshua Hall
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Problem was out if 100 packages, 1 was great, 4 showed promise and 6 had potential with a lot work and dedication.
I spent 15 hours a week on the phone with bands explaining what was wrong and most wouldn't listen, of the ones that did listen, 50% had no motivation to take my advice and another 30% just took the simple road, trying to do it quickly,
But there were those artist that we featured on Unsigned like Jennifer Nettles, Stellastarr, The Kin, Shonie, Will Daily, Josh Ritter, and countless others that went on to get signed, many within a year of featuring them on The Radar Report, a weekly show of the best 13 for the week.. Jennifer Nettles was an artist of the week.... so was Will, Stellastarr and Joshua..
There was something different about them, and I tried with all my heart to put it into words to artists that needed some solid input and positive advice. Most just didn't hear it, they glazed over the work and the 10,000 hours Malcolm speaks of, and opted for a quick comeback with a subpar release...
When it comes to music the listener, now more than ever, doesn't have to settle.,, they can find the gems, those songs that transport them, those artists that actually give you chills when you listen..
that's what we crave....
that thing we can't explain, but sure as hell a few times a year I listen, lift up my arm and stare at hairs on end... I want that every day...
don't we all...?
billy zero
Dj Boy Radio
VP, Programming
________________________________________
Why do people think despising the successful will lead to success?
Joshua Hall
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Thursday, 5 December 2013
Mayer Parts Ways With McDonald
He alienated his core audience.
Which was sensitive females.
An hunk who could both croon and wail, it was John Mayer's crooning that delivered star status. Back when VH1 still played music and Top Forty radio wasn't the haven of producer-driven, made by committee pop.
Under the best of circumstances Mayer would have a hard time triumphing today. But having screwed everything that moves, and seemingly having no regrets about it, females don't need him anymore.
And neither do males... We like our guitar slingers unattractive with little to say. Break the mold and you've got to be legendary, and Mayer is good, but not that good.
So he fires his manager.
Someone's got to take the fall. And it's certainly not going to be the artist.
Now I'm not saying a new person doesn't bring new stuff to the table, a fresh perspective if nothing else. But will that person live and die for you? Take your midnight phone call? Bring you drugs and arrange abortions?
Probably not. You need a lifer for that. Someone who's not about the deal, but the relationship. Especially on your way down.
And that's where Mayer's headed, if he hasn't fallen all the way already.
Let's be clear, he had a good run. A decade. But the generations have changed. His audience is getting married and having babies. No one has hits forever.
So who does he want to be?
He's reinvented himself as a seventies, back to the land, no flash musician. The only problem is the two albums he released in this role had no hits. Nothing that stuck in your brain that you couldn't get out. It all comes down to the music. You want hits, you've got to write hits.
And that's okay. If you want to do it your way to ever fewer people.
But if you want to get on radio and sell out arenas, you've got to play beyond your core, reach those who are not paying attention, with your music and shenanigans.
Kind of like his girlfriend Katy Perry.
But she's a completely different animal. A studio construct. Without her helpers she's nothing. Whereas Mayer started off with just himself and a guitar.
It's always the girlfriend. Or the boyfriend. Whispering in the ear. Artists, who are inherently insecure, trust the person they sleep with most. And here's Katy having hits, with different people, and Mayer wants some of that.
But it would be laughable for a guy who made it on his chops to sing about man-power to a beat. Then again, maybe he and Max Martin could come up with a catchy ditty. But one thing Mayer had was...his audience believed it was him. He wasn't a front for other people, he was not just a face, but a soul.
It's got little to do with the "Playboy" interview. Hell, what did he say that was so wrong?
But the perception is he took advantage of Jennifer Aniston and Jessica Simpson and Taylor Swift. Going from America's sweetheart to an airhead to someone just out of adolescence. What was his type? Other than attractive and desirable?
And you could say his personal life is irrelevant, but that's only for movie stars. Who are part of ensemble casts, playing roles. Music, when done right, is about the person himself. And once upon a time, Mayer did it right.
With Michael McDonald's help.
So now he fires the one person he can count on.
Didn't work so good when Lady Gaga fired Troy Carter.
What's up with these artists?
And, once again, what does John Mayer want?
Fame?
Then get on TV. Be a "Voice" substitute host, replacing Cee-Lo or Adam Levine. But they're not going anywhere, because that's all they've got, it's the essence of their stardom. Furthermore, those singing shows are past their peak.
Where is this pot of gold that Michael McDonald couldn't deliver?
No, the fault is with John Mayer himself.
And even if he delivered a fantastic album, there's no guarantee radio would play it, that's not the sound they're featuring these days.
Then again, Mayer always had a schizophrenic career. Sensitive artist and gunslinger. You can't do both, he's found out.
And now he doesn't know what to do so he shoots the messenger. The only guy speaking the truth. Do you think any of the people bidding to manage him are gonna say any of the above? Of course not. Because they want the billing.
You want a manager who's about more than the billing.
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Which was sensitive females.
An hunk who could both croon and wail, it was John Mayer's crooning that delivered star status. Back when VH1 still played music and Top Forty radio wasn't the haven of producer-driven, made by committee pop.
Under the best of circumstances Mayer would have a hard time triumphing today. But having screwed everything that moves, and seemingly having no regrets about it, females don't need him anymore.
And neither do males... We like our guitar slingers unattractive with little to say. Break the mold and you've got to be legendary, and Mayer is good, but not that good.
So he fires his manager.
Someone's got to take the fall. And it's certainly not going to be the artist.
Now I'm not saying a new person doesn't bring new stuff to the table, a fresh perspective if nothing else. But will that person live and die for you? Take your midnight phone call? Bring you drugs and arrange abortions?
Probably not. You need a lifer for that. Someone who's not about the deal, but the relationship. Especially on your way down.
And that's where Mayer's headed, if he hasn't fallen all the way already.
Let's be clear, he had a good run. A decade. But the generations have changed. His audience is getting married and having babies. No one has hits forever.
So who does he want to be?
He's reinvented himself as a seventies, back to the land, no flash musician. The only problem is the two albums he released in this role had no hits. Nothing that stuck in your brain that you couldn't get out. It all comes down to the music. You want hits, you've got to write hits.
And that's okay. If you want to do it your way to ever fewer people.
But if you want to get on radio and sell out arenas, you've got to play beyond your core, reach those who are not paying attention, with your music and shenanigans.
Kind of like his girlfriend Katy Perry.
But she's a completely different animal. A studio construct. Without her helpers she's nothing. Whereas Mayer started off with just himself and a guitar.
It's always the girlfriend. Or the boyfriend. Whispering in the ear. Artists, who are inherently insecure, trust the person they sleep with most. And here's Katy having hits, with different people, and Mayer wants some of that.
But it would be laughable for a guy who made it on his chops to sing about man-power to a beat. Then again, maybe he and Max Martin could come up with a catchy ditty. But one thing Mayer had was...his audience believed it was him. He wasn't a front for other people, he was not just a face, but a soul.
It's got little to do with the "Playboy" interview. Hell, what did he say that was so wrong?
But the perception is he took advantage of Jennifer Aniston and Jessica Simpson and Taylor Swift. Going from America's sweetheart to an airhead to someone just out of adolescence. What was his type? Other than attractive and desirable?
And you could say his personal life is irrelevant, but that's only for movie stars. Who are part of ensemble casts, playing roles. Music, when done right, is about the person himself. And once upon a time, Mayer did it right.
With Michael McDonald's help.
So now he fires the one person he can count on.
Didn't work so good when Lady Gaga fired Troy Carter.
What's up with these artists?
And, once again, what does John Mayer want?
Fame?
Then get on TV. Be a "Voice" substitute host, replacing Cee-Lo or Adam Levine. But they're not going anywhere, because that's all they've got, it's the essence of their stardom. Furthermore, those singing shows are past their peak.
Where is this pot of gold that Michael McDonald couldn't deliver?
No, the fault is with John Mayer himself.
And even if he delivered a fantastic album, there's no guarantee radio would play it, that's not the sound they're featuring these days.
Then again, Mayer always had a schizophrenic career. Sensitive artist and gunslinger. You can't do both, he's found out.
And now he doesn't know what to do so he shoots the messenger. The only guy speaking the truth. Do you think any of the people bidding to manage him are gonna say any of the above? Of course not. Because they want the billing.
You want a manager who's about more than the billing.
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Wednesday, 4 December 2013
The Mainstream
People hate when their record is not a hit. Or the one they're working. Or the one made by their favorite artist. And what's on the radio, what's successful, sucks.
I get it. You're frustrated. You wish the world were different.
But it's not.
Now I'm not saying everything that's popular is fantastic. But I am saying it's rare that that with little traction would be loved by everybody if it just got exposure.
In other words, records are hits for a reason.
Primarily because they're good.
And god forbid you do something good in this world. Oh, that's right, I've gone on record that good is not good enough. God forbid you do something great. Then the whole world is gonna rain down on you. Both positive and negative. You'll be in the center of an unforeseen maelstrom that almost no one can understand.
Kind of like Taylor Swift. She thought she wanted to be successful. She had no idea what came along with winning. Every move, every action is scrutinized. You think since you're posting on Facebook or Twitter everybody cares, but they don't. Hell, just look at the Twitter followings. You've got to get into the hundreds of thousands to get true traction, do you think it makes a difference what you say if you've only got double or triple digits?
But you keep doing it. Not for yourself, but to get ahead. Everybody's trying to get ahead. And criticizing those above them.
The guys who run the record labels! They're idiots!
I've known all of them. They're not. In fact, they're very smart. Rawly, and they know how to play the game. That's right, if you can't get along, you're never going to make it to the top.
And staying on top? That's a skill too.
Am I saying those ruling the world are the only ones who can do so?
No.
But I am saying stars are irreplaceable.
There was only one Steve Jobs. Apple hasn't been the same since. Could end up being something great according to Jony Ive's vision, but it won't be the same. The same way Sammy Hagar Van Halen wasn't the same as David Lee Roth Van Halen, and that's one of the only bands that replaced its lead singer and continued to have recording success.
It doesn't matter that you hate the stars. Doesn't matter that you think you can do better. Because most of the people don't agree with you. Most of the people are just fine with Rihanna and Katy Perry and the aforementioned Ms. Swift. One can argue Rihanna and Perry are niche compared to the stars of yore, but certainly not Ms. Swift. She can sell out stadiums, alone. No one else in the business can do that. Is it because she's tall and attractive and has a rich father?
NO!
IT'S BECAUSE OF THE SONGS!
She's speaking about her inner life. Certainly on the first two albums, before she went off the rails a bit. And people are drawn to that. That's a hit.
You wonder why your music is not a hit and somebody else's is?
It's the je ne sais quoi, that something different that's hard to define and articulate but resonates nonetheless.
Don't ask me to explain Alanis Morissette's "Hand In Pocket." All I know is when I listen to it I feel like I'm the only one, and I'm empowered, it squeezes all the b.s. out of my mind.
And yes, I know there are Beach Boys harmonies in AC/DC's "You Shook Me All Night Long," but that doesn't account for all the magic, it's the drums...it's the way it makes me feel!
Same deal with Gnarls Barkley's "Crazy."
That's music. It's hard to explain.
Can I tell you that my favorite track of the year is Katy Perry's "Wide Awake"?
Maybe it came out last year, I don't know. But the sound, the way it makes me feel. I don't care that it was written by committee, that Dr. Luke was involved, all I know is I want to hear it again and again and again. That I only had to hear it once.
Stuff is mainstream for a reason. BECAUSE MANY PEOPLE LIKE IT!
Decry that all you want, but now, more than ever, when something breaks through and sustains...
It deserves respect.
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I get it. You're frustrated. You wish the world were different.
But it's not.
Now I'm not saying everything that's popular is fantastic. But I am saying it's rare that that with little traction would be loved by everybody if it just got exposure.
In other words, records are hits for a reason.
Primarily because they're good.
And god forbid you do something good in this world. Oh, that's right, I've gone on record that good is not good enough. God forbid you do something great. Then the whole world is gonna rain down on you. Both positive and negative. You'll be in the center of an unforeseen maelstrom that almost no one can understand.
Kind of like Taylor Swift. She thought she wanted to be successful. She had no idea what came along with winning. Every move, every action is scrutinized. You think since you're posting on Facebook or Twitter everybody cares, but they don't. Hell, just look at the Twitter followings. You've got to get into the hundreds of thousands to get true traction, do you think it makes a difference what you say if you've only got double or triple digits?
But you keep doing it. Not for yourself, but to get ahead. Everybody's trying to get ahead. And criticizing those above them.
The guys who run the record labels! They're idiots!
I've known all of them. They're not. In fact, they're very smart. Rawly, and they know how to play the game. That's right, if you can't get along, you're never going to make it to the top.
And staying on top? That's a skill too.
Am I saying those ruling the world are the only ones who can do so?
No.
But I am saying stars are irreplaceable.
There was only one Steve Jobs. Apple hasn't been the same since. Could end up being something great according to Jony Ive's vision, but it won't be the same. The same way Sammy Hagar Van Halen wasn't the same as David Lee Roth Van Halen, and that's one of the only bands that replaced its lead singer and continued to have recording success.
It doesn't matter that you hate the stars. Doesn't matter that you think you can do better. Because most of the people don't agree with you. Most of the people are just fine with Rihanna and Katy Perry and the aforementioned Ms. Swift. One can argue Rihanna and Perry are niche compared to the stars of yore, but certainly not Ms. Swift. She can sell out stadiums, alone. No one else in the business can do that. Is it because she's tall and attractive and has a rich father?
NO!
IT'S BECAUSE OF THE SONGS!
She's speaking about her inner life. Certainly on the first two albums, before she went off the rails a bit. And people are drawn to that. That's a hit.
You wonder why your music is not a hit and somebody else's is?
It's the je ne sais quoi, that something different that's hard to define and articulate but resonates nonetheless.
Don't ask me to explain Alanis Morissette's "Hand In Pocket." All I know is when I listen to it I feel like I'm the only one, and I'm empowered, it squeezes all the b.s. out of my mind.
And yes, I know there are Beach Boys harmonies in AC/DC's "You Shook Me All Night Long," but that doesn't account for all the magic, it's the drums...it's the way it makes me feel!
Same deal with Gnarls Barkley's "Crazy."
That's music. It's hard to explain.
Can I tell you that my favorite track of the year is Katy Perry's "Wide Awake"?
Maybe it came out last year, I don't know. But the sound, the way it makes me feel. I don't care that it was written by committee, that Dr. Luke was involved, all I know is I want to hear it again and again and again. That I only had to hear it once.
Stuff is mainstream for a reason. BECAUSE MANY PEOPLE LIKE IT!
Decry that all you want, but now, more than ever, when something breaks through and sustains...
It deserves respect.
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Drink A Beer
I know I'm supposed to hate Luke Bryan.
BUT I LOVE THIS!
I know it's a bit hokey, but the feel is utterly amazing, kind of like the intro to "Free Bird."
I sometimes wonder if I've lost my connection to music. There's so much I don't understand, so much that is sound without song, and then I hear something like "Drink A Beer" and not only am I in love with music again, but my humanity is restored.
And sure, the song is about death.
But really it's about loneliness and reflection.
I don't know about you. But despite everybody on television reveling in the comfort of others, watching the game, ensconced with buddies at work, I'm oftentimes inside my head, amazed at what I see and wondering how I fit in and what path I should take.
Everybody on television is so good-looking. The movies are full of superheroes. Politics is worse than banking, the people pay lip service to policy, but they're just there to get rich. And I'm not a mindless partier. Good times, sure. I like them. But it's something I feel inside, and there doesn't have to be anybody else around.
"When I got the news today
I didn't know what to say"
That's what happens every morning. I turn on my computer or phone and I'm confronted with information that demands I make decisions, choose this path or that. I'm fearful of making a mistake, I oftentimes just want to check out, which is what I did when I was a kid, with the door closed and my records playing.
"I took a walk to clear my head
This is where the walking led"
Clearing your head. It's almost impossible today. I'll admit I'm addicted to my smartphone. Looking to see if I'm loved. It's hard to disconnect, to get in touch with your true feelings, gain perspective.
"Can't believe you're really gone
Don't feel like going home"
Relationships... Once upon a time we all lived close together in villages. Now we're all in touch online, but just because you know where the person lives, what they look like, that does not mean you want to connect. What do you say? To the girl you had a crush on in seventh grade? The one who left you? That you still think of them? That'll freak 'em right out. And what you're really looking for is not them, but the feeling that you're in control, that you can solve this puzzle of life.
"Funny how the good ones go
Too soon, but the good lord knows
The reasons why, I guess"
I get why people believe. Because otherwise what happens is so inexplicable. The good do die young. People do get away with murder. If you don't have more questions than answers, you haven't lived. But I'm not the joining type. I want to figure it out for myself. And every day I gain knowledge and realize how little I know.
"So I'm gonna sit right here
On the edge of this pier
And watch the sunset disappear
And drink a beer"
Sometimes that's all you need. A perch where you can scan the landscape, stare out and marvel how the world really doesn't care, but that doesn't matter, it's so beautiful.
My drinking days are done.
I'm not toasting those who are gone.
But I get the sentiment. Sometimes you just want to disconnect and contemplate this confounding, confusing planet we inhabit.
And it's not bad alone.
But with the right song, it's marvelous.
Spotify: http://spoti.fi/1dQpeul
YouTube: http://bit.ly/1bgFdgV
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BUT I LOVE THIS!
I know it's a bit hokey, but the feel is utterly amazing, kind of like the intro to "Free Bird."
I sometimes wonder if I've lost my connection to music. There's so much I don't understand, so much that is sound without song, and then I hear something like "Drink A Beer" and not only am I in love with music again, but my humanity is restored.
And sure, the song is about death.
But really it's about loneliness and reflection.
I don't know about you. But despite everybody on television reveling in the comfort of others, watching the game, ensconced with buddies at work, I'm oftentimes inside my head, amazed at what I see and wondering how I fit in and what path I should take.
Everybody on television is so good-looking. The movies are full of superheroes. Politics is worse than banking, the people pay lip service to policy, but they're just there to get rich. And I'm not a mindless partier. Good times, sure. I like them. But it's something I feel inside, and there doesn't have to be anybody else around.
"When I got the news today
I didn't know what to say"
That's what happens every morning. I turn on my computer or phone and I'm confronted with information that demands I make decisions, choose this path or that. I'm fearful of making a mistake, I oftentimes just want to check out, which is what I did when I was a kid, with the door closed and my records playing.
"I took a walk to clear my head
This is where the walking led"
Clearing your head. It's almost impossible today. I'll admit I'm addicted to my smartphone. Looking to see if I'm loved. It's hard to disconnect, to get in touch with your true feelings, gain perspective.
"Can't believe you're really gone
Don't feel like going home"
Relationships... Once upon a time we all lived close together in villages. Now we're all in touch online, but just because you know where the person lives, what they look like, that does not mean you want to connect. What do you say? To the girl you had a crush on in seventh grade? The one who left you? That you still think of them? That'll freak 'em right out. And what you're really looking for is not them, but the feeling that you're in control, that you can solve this puzzle of life.
"Funny how the good ones go
Too soon, but the good lord knows
The reasons why, I guess"
I get why people believe. Because otherwise what happens is so inexplicable. The good do die young. People do get away with murder. If you don't have more questions than answers, you haven't lived. But I'm not the joining type. I want to figure it out for myself. And every day I gain knowledge and realize how little I know.
"So I'm gonna sit right here
On the edge of this pier
And watch the sunset disappear
And drink a beer"
Sometimes that's all you need. A perch where you can scan the landscape, stare out and marvel how the world really doesn't care, but that doesn't matter, it's so beautiful.
My drinking days are done.
I'm not toasting those who are gone.
But I get the sentiment. Sometimes you just want to disconnect and contemplate this confounding, confusing planet we inhabit.
And it's not bad alone.
But with the right song, it's marvelous.
Spotify: http://spoti.fi/1dQpeul
YouTube: http://bit.ly/1bgFdgV
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Tuesday, 3 December 2013
Mailbag
From: David Ponak
Subject: RE: Gaga Tour
Bob,
Shame on your for mistaking a fun sample from Brenda Lee's "Sweet Nothin's" for "Kim's kittenish squeals so ridiculous you can only laugh."
http://www.whosampled.com/sample/211376/Kanye-West-Charlie-Wilson-Bound-2-Brenda-Lee-Sweet-Nothin%27s/
_______________________________________
Subject: Billy Joel
Date: November 25, 2013 1:51:19 PM PST
Long time reader. Wanted to share a little story with you. I have actually done well in your industry, but funny thing is I have invested in brokers business. Found them much more honorable than those on the primary. So last deal that came to me was for a Billy Joel series at MSG. Seemed like great idea. Then I heard the price..6X face value is what the BJ camp wanted. Then I got the same deal from another party...then another. I committed to my first guy. The money for the whole run had to be put in escrow. $3 million. Then word leaked, its not just 4 shows, they are just saying that...It's a 12 month run...plus a new years show in Brooklyn,,then it might be a 30 month run. After hearing all these new things I backed out, but I haven't gotten my money back yet. I see the seats all over Ticketsnow, a TM affiliate. So deal was done. So the man of the people William Joel, not only sold his tickets out at at 6X face value he isn't even letting the people know he might be doing 30
shows...Oh plus Summer stadium shows in the NYC area. Add another 120k seats! Maybe you can share with your people, don't rush to buy at crazy prices because there area a lot more tickets coming. Tweet it to the world. Please leave all my info out because I am in middle of lawsuit to get deposit back.
Jilted investor
_______________________________________
From: Gil Moore
Subject: Re: How To Make It
Bob,
I have the answer to your question:
"Oftentimes it's the drummer who both manages the band and gets gigs before professionals get involved. As to why it's the drummer, we're still trying to figure that out."
Back in my Triumph days, Allen Grubman asked me the same question - the answer ??
Drummers are always counting !!
Haha
Gil
_______________________________________
Subject: Re: How To Make It
About why it's usually the drummer who acts as agent in the beginning: in my experience, it's because he hauls the most gear and has the complicated sound check, so needs to be at the venue before the rest of the band, therefore is the logical choice to deal with club owners etc.
Mark
_______________________________________
From: Tom Rush
Subject: Re: Why The Major Label Doesn't Want Your Album
Bob,
From the trenches:
The Majors have been irrelevant to most working musicians for decades now.
Going it alone isn't really a choice that most of us have to make. I
remember being in a meeting at Columbia in the early '80s, pitching them my
latest project. Somewhere in the middle of it the A&R guy said, "We lost
$123 million last year, we have to be very careful." I thought, "Damn! In
one year alone I made $123.25 million more than these jerks -- what am I
doing here?" I haven't looked back.
For me, the advantage to working with a small label (Appleseed) is that 1)
they really do love the music, which is SO refreshing in this day and age,
and 2) they do a very good job with the promo, PR and distribution end of
things, which is stuff I'm not good at and don't have time for. I can make
more money putting stuff out on my own and selling just to the fans, but the
projects are totally invisible to anyone not on my email list or at one of
my shows. They get the word out, and it's very valuable.
TR
_______________________________________
From: Chris R
Subject: Re: Re-We Don't Want Your Record
I was playing an old tape of Slade for my daughter while driving. She liked a couple of the songs as do I but she said "Slade sucks". It took me 20 minutes to explain about albums and filler songs. She has no concept of listening to something because it's next on a list, or watching something because it's what's on TV. I downloaded the Slade song she liked and its part of her playlist. She's 12 and knows what none of these execs are willing to admit. Regards Chris
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Subject: RE: Gaga Tour
Bob,
Shame on your for mistaking a fun sample from Brenda Lee's "Sweet Nothin's" for "Kim's kittenish squeals so ridiculous you can only laugh."
http://www.whosampled.com/sample/211376/Kanye-West-Charlie-Wilson-Bound-2-Brenda-Lee-Sweet-Nothin%27s/
_______________________________________
Subject: Billy Joel
Date: November 25, 2013 1:51:19 PM PST
Long time reader. Wanted to share a little story with you. I have actually done well in your industry, but funny thing is I have invested in brokers business. Found them much more honorable than those on the primary. So last deal that came to me was for a Billy Joel series at MSG. Seemed like great idea. Then I heard the price..6X face value is what the BJ camp wanted. Then I got the same deal from another party...then another. I committed to my first guy. The money for the whole run had to be put in escrow. $3 million. Then word leaked, its not just 4 shows, they are just saying that...It's a 12 month run...plus a new years show in Brooklyn,,then it might be a 30 month run. After hearing all these new things I backed out, but I haven't gotten my money back yet. I see the seats all over Ticketsnow, a TM affiliate. So deal was done. So the man of the people William Joel, not only sold his tickets out at at 6X face value he isn't even letting the people know he might be doing 30
shows...Oh plus Summer stadium shows in the NYC area. Add another 120k seats! Maybe you can share with your people, don't rush to buy at crazy prices because there area a lot more tickets coming. Tweet it to the world. Please leave all my info out because I am in middle of lawsuit to get deposit back.
Jilted investor
_______________________________________
From: Gil Moore
Subject: Re: How To Make It
Bob,
I have the answer to your question:
"Oftentimes it's the drummer who both manages the band and gets gigs before professionals get involved. As to why it's the drummer, we're still trying to figure that out."
Back in my Triumph days, Allen Grubman asked me the same question - the answer ??
Drummers are always counting !!
Haha
Gil
_______________________________________
Subject: Re: How To Make It
About why it's usually the drummer who acts as agent in the beginning: in my experience, it's because he hauls the most gear and has the complicated sound check, so needs to be at the venue before the rest of the band, therefore is the logical choice to deal with club owners etc.
Mark
_______________________________________
From: Tom Rush
Subject: Re: Why The Major Label Doesn't Want Your Album
Bob,
From the trenches:
The Majors have been irrelevant to most working musicians for decades now.
Going it alone isn't really a choice that most of us have to make. I
remember being in a meeting at Columbia in the early '80s, pitching them my
latest project. Somewhere in the middle of it the A&R guy said, "We lost
$123 million last year, we have to be very careful." I thought, "Damn! In
one year alone I made $123.25 million more than these jerks -- what am I
doing here?" I haven't looked back.
For me, the advantage to working with a small label (Appleseed) is that 1)
they really do love the music, which is SO refreshing in this day and age,
and 2) they do a very good job with the promo, PR and distribution end of
things, which is stuff I'm not good at and don't have time for. I can make
more money putting stuff out on my own and selling just to the fans, but the
projects are totally invisible to anyone not on my email list or at one of
my shows. They get the word out, and it's very valuable.
TR
_______________________________________
From: Chris R
Subject: Re: Re-We Don't Want Your Record
I was playing an old tape of Slade for my daughter while driving. She liked a couple of the songs as do I but she said "Slade sucks". It took me 20 minutes to explain about albums and filler songs. She has no concept of listening to something because it's next on a list, or watching something because it's what's on TV. I downloaded the Slade song she liked and its part of her playlist. She's 12 and knows what none of these execs are willing to admit. Regards Chris
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Gaga Tour
Declare victory and stay home.
With an 82% drop in its second week, from 305,280 to 45,536, "Artpop" is so stiff, you could iron a shirt on it.
And everybody knows.
And nobody wants to go to a show no one else is attending.
Heat. That's what gets people to go, when their friends are going, when it's the place to be and you don't want to be left out.
But you're not missing anything if you stay home. Hell, you've already seen it all on TV. That's enough for most people.
Lady Gaga needs to reinvent herself. She needs to follow in the footsteps of Christina Aguilera, of all people. Christina's album was dead as a doornail so she stayed home, with some lame excuse I can't even remember, and that's just the point. Then she burnished her image on "The Voice," dieted down and went from being the scourge of the tabloids to their darling.
Gaga needs this transition too.
Then again, Christina Aguilera was managed by Irving Azoff, and still is, and Lady Gaga's...got no manager. And not only does a manager run interference, he or she gives you guidance from outside the bubble. Gaga believes if she just keeps spinning faster, doing more, changing outfits multiple times a day, we'll care. But we don't.
POSTSCRIPT
Kanye. Is he killing his career or will he recover?
Yeezus has got an advantage over Gaga and most other acts. He was never a man of the people, never on their side. So he doesn't have to worry about losing their trust so much as being...ignored.
I've yet to see Kanye kill cancer. Or create Google. But he keeps telling us on and on he's an oppressed genius. It's tough being a black man in America, but last time I checked the President was African-American and although racism is still rampant, is that what's truly holding Kanye back or is it that he's not paid his dues and demonstrated skills in areas other than music? Michael Jordan couldn't make it in baseball, despite being a much better player than the average Joe. Why is it those who win in one sphere automatically believe they can emerge victorious in another?
Furthermore, Kanye's lost track of the narrative. His album had very little impact and now it's all Kim K., all the time, who may be rich but is borderline laughingstock. SNL skewered her so sharply she's shish kebab, and almost impossible to take seriously. Oh, that's right, we never did. Her skill was being a tabloid train-wreck, a role she plays so well.
And now we've got Seth Rogen and James Franco making fun of Kanye.
Used to be he was off limits. Now he's a punching bag. Like Gaga.
Then again, who wouldn't make fun of his inane sex on a motorcycle video with Kim's kittenish squeals so ridiculous you can only laugh...at them, not with them.
Is this the end of Yeezus?
Like I said, the public was never on his side. If he releases great music, he can climb back up, especially in the modern era where the cycle is so fast that what happened today is forgotten next week.
But trends have changed. Radio and the critics have embraced Lorde, who is not only not hip-hop, but rails against the trappings of blowhard, hedonistic, possessions are everything celebrities in her monster hit "Royals." In other words, do we really care about Louis Vuitton, never mind leather jogging pants? Is Lorde ushering in an era of what's inside as opposed to outside? One that's no longer about surface trappings but thought?
We're ready for it.
Not that the public will give up reading the tabloids any time soon.
But right now, that's the only place Kanye lives, in gossipland. And that's a hell no musician wants to endure. If you don't lead with your music, you're on the way out.
SNL: Waking Up With Kimye: http://bit.ly/1bGH01A
Kanye West Bound 2: http://bit.ly/1be1mwg
Seth Rogen & James Franco Bound: http://bit.ly/1g3KZqK
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With an 82% drop in its second week, from 305,280 to 45,536, "Artpop" is so stiff, you could iron a shirt on it.
And everybody knows.
And nobody wants to go to a show no one else is attending.
Heat. That's what gets people to go, when their friends are going, when it's the place to be and you don't want to be left out.
But you're not missing anything if you stay home. Hell, you've already seen it all on TV. That's enough for most people.
Lady Gaga needs to reinvent herself. She needs to follow in the footsteps of Christina Aguilera, of all people. Christina's album was dead as a doornail so she stayed home, with some lame excuse I can't even remember, and that's just the point. Then she burnished her image on "The Voice," dieted down and went from being the scourge of the tabloids to their darling.
Gaga needs this transition too.
Then again, Christina Aguilera was managed by Irving Azoff, and still is, and Lady Gaga's...got no manager. And not only does a manager run interference, he or she gives you guidance from outside the bubble. Gaga believes if she just keeps spinning faster, doing more, changing outfits multiple times a day, we'll care. But we don't.
POSTSCRIPT
Kanye. Is he killing his career or will he recover?
Yeezus has got an advantage over Gaga and most other acts. He was never a man of the people, never on their side. So he doesn't have to worry about losing their trust so much as being...ignored.
I've yet to see Kanye kill cancer. Or create Google. But he keeps telling us on and on he's an oppressed genius. It's tough being a black man in America, but last time I checked the President was African-American and although racism is still rampant, is that what's truly holding Kanye back or is it that he's not paid his dues and demonstrated skills in areas other than music? Michael Jordan couldn't make it in baseball, despite being a much better player than the average Joe. Why is it those who win in one sphere automatically believe they can emerge victorious in another?
Furthermore, Kanye's lost track of the narrative. His album had very little impact and now it's all Kim K., all the time, who may be rich but is borderline laughingstock. SNL skewered her so sharply she's shish kebab, and almost impossible to take seriously. Oh, that's right, we never did. Her skill was being a tabloid train-wreck, a role she plays so well.
And now we've got Seth Rogen and James Franco making fun of Kanye.
Used to be he was off limits. Now he's a punching bag. Like Gaga.
Then again, who wouldn't make fun of his inane sex on a motorcycle video with Kim's kittenish squeals so ridiculous you can only laugh...at them, not with them.
Is this the end of Yeezus?
Like I said, the public was never on his side. If he releases great music, he can climb back up, especially in the modern era where the cycle is so fast that what happened today is forgotten next week.
But trends have changed. Radio and the critics have embraced Lorde, who is not only not hip-hop, but rails against the trappings of blowhard, hedonistic, possessions are everything celebrities in her monster hit "Royals." In other words, do we really care about Louis Vuitton, never mind leather jogging pants? Is Lorde ushering in an era of what's inside as opposed to outside? One that's no longer about surface trappings but thought?
We're ready for it.
Not that the public will give up reading the tabloids any time soon.
But right now, that's the only place Kanye lives, in gossipland. And that's a hell no musician wants to endure. If you don't lead with your music, you're on the way out.
SNL: Waking Up With Kimye: http://bit.ly/1bGH01A
Kanye West Bound 2: http://bit.ly/1be1mwg
Seth Rogen & James Franco Bound: http://bit.ly/1g3KZqK
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Monday, 2 December 2013
How To Make It
PRACTICE
Your ability to play exceeds social networking.
Your chops are more important than your social skills. Frequently the best musicians are near mute, they speak through their music, which brings adoring fans to them.
First learn how to play. Everything else comes next.
WRITE
You can make it with other people's songs, but it's hard to sustain. Consider writing another club in your bag, not only does it give you more options it also makes you more attractive to labels and other investors.
RECORD
A great song translates with just you and your instrument on YouTube. But if it's someone else's song, you're not going to go far. We all pass around YouTube covers, but none of the acts ever stick, because imitation is the sincerest form of flattery but it's not the way into our hearts.
RECORD 2
Yes, if you hire name people and record in a top-notch studio your track will sound better, but ultimately it's about the song. Slick means nothing if the song sucks.
DISTRIBUTE
Put your music everywhere. Starting on SoundCloud. It's the default home of the wannabe. If you get any traction thereafter, get it on iTunes and Spotify, et al.
YOUTUBE
Comes after SoundCloud. A lyric video is good enough assuming people want to see it.
But if someone comes to your clip and the count is low it's going to work against you, especially if you told people to go there.
HYPE
You start with your friends. And try not to burn out your friendships. Seed them with material. Listen to their feedback. Don't lean on them to spread the word, if they like your material they will. If you give it to them and two weeks go by and you're not hearing from other people, especially those you barely know or don't know at all, your track wasn't good enough. Maybe good enough for you, but not good enough to make it.
MAILING LISTS
Retain all the contact info of anybody who contacts you about your music. You want to know who your fans are.
MAILING LISTS 2
Put yourself in the shoes of your fans, look at it from their perspective, not yours. You may be frustrated you're not more successful, but that's not their problem. Only contact people when you think they'll be thrilled to hear from you, when they're interested in what you've got.
MAILING LISTS 3
If you're getting positive feedback, feed information on a regular basis. If you're seeding people and getting nothing back, the problem is you. Back to the drawing board. Yes, you may want to tell everybody they don't get it and you're misunderstood, that's your prerogative, but that won't help you make it.
TWITTER
Almost meaningless unless you're already a star. Then it's purely the cherry on top. And sundaes taste quite fine without the cherry. The problem with Twitter is most tweets go unseen. But if you notice retweets and feedback feeding the system is not a bad idea, as long as it doesn't take your focus away from your music.
FACEBOOK
A home for looky-loos before you can afford your own URL/website. But don't expect any virality on Facebook.
PLAYING LIVE
Comes last. It's after you've learned how to play, practiced, written and recorded. If you put it first, you're probably gonna be in trouble. Especially if you don't know how to play and make mistakes. Yes, road chops are the best. But that's assuming you've got somewhere to play. That's the problem today, live music is not everywhere. Venues don't want to pay and certainly don't want to alienate their patrons. They'd rather spin records. So don't beg anybody to play at their venue unless you're going to make them money. That's the cardinal rule. It's your responsibility to bring people in, not theirs. Certainly if you're completely unknown.
Having said all that, it's not a bad idea to start out as a cover band. But use originals sparingly. And if people stop dancing and/or leave the room, pull them.
If you can get places to play, more power to you. But don't put the cart before the horse.
BLOWING UP
It's gonna happen slower than your wildest dreams. It's gonna be long after your buddies have graduated from college and have careers and are starting families. If you're not willing to risk it all and fail, music is not the business for you. And if you do fail, don't complain, either get out or go back to the drawing board and work harder.
BLOWING UP 2
Your one big break is never the one you think it is, and is oftentimes a series of mini-breaks.
TV CONTESTS
Are about the shows, not the talent, about advertising, not music. At first, they were such a hit surprise this wasn't completely true, but Kelly Clarkson made it a decade ago. Contests are short cuts that usually lead nowhere. They tar your resume.
MERCH
Assuming people come to see you, and like you, they'll want to buy something from you, to evidence both their support and their identity. T-shirts are great, but make sure they're well-designed and made with good materials, otherwise people will buy once, if that, and never again. As for CDs...this is what they're made for, live gigs. They're souvenirs. The music is available easily online. But personalized, signed product is not.
A MANAGER
No act makes it without one. Don't sign a contract if you can get away with it. If you do, give up no more than twenty percent, hopefully fifteen. And hire a MUSIC BUSINESS LAWYER to negotiate the deal, not your dad's attorney buddy. Whatever you spend will be a pittance compared to how screwed you will be if you actually make it and have signed a bad deal. The bottom line is when you start no one good wants to manage you, and chances are you're going to leave your initial garage manager for someone more experienced. It's gonna cost you, remember that.
AN AGENT
More important than a label these days. Agents work on commission, usually ten percent. And they don't like to work for free. So if you're not making any money, an agent isn't gonna wanna represent you. I know it's a conundrum. You need an agent to get work, but you can't get an agent unless you've got work. Figure it out. Oftentimes it's the drummer who both manages the band and gets gigs before professionals get involved. As to why it's the drummer, we're still trying to figure that out.
A LABEL
You might feel good you're signed, but that don't mean diddly-squat if it's an indie who neither distributes nor promotes you. Give up rights commensurate with how much you're being paid. Up front. Upon delivery. Guarantees of marketing and promotion are worthless, even if they're in the contract. If you're not getting any money, you want it to be a one or two album deal, with a hefty royalty rate and a return of rights upon termination of the deal or shortly thereafter.
A MAJOR LABEL
You give to get. Your deal will be lousy unless you don't need them. If you're pulling in thousands of people a night and tracks are flying out of the iTunes Store the major label will cut you a good deal, otherwise they won't. And just because you have the deal don't expect the label to break you. The hard work is just beginning. Give them tools, i.e. music. And play nice. Otherwise the label will blackball you, they don't need troublemakers, unless they're guaranteed revenue makers. And major labels only want acts they can easily market and profit from, i.e. radio acts. Remember that. If you're not one of these, a major label deal is worthless, furthermore you won't get one.
TRACTION
Comes slower than you expect once you've got a deal. It's all work with very little reward for a very long time. In other words, if you're not willing to enter the Ironman competition, don't be a musician. Just when you've scaled one hill, there's a mountain range looming in the distance.
HITS
You need more than one to sustain a career.
MONEY
Comes long after you think it should. Not only does the label take most of it, what you deserve isn't rendered for eons, that's the nature of royalties.
GETTING SCREWED
It goes with the territory. You're never going to receive what you've earned. You just hire the best people and try to get the most you can.
SUCCESS
Won't be as sweet as you think it'll be. But don't freak out in the middle of it. Because we need neither you nor your act. Do your best to be humble and sustain. Otherwise, you'll be replaced.
EXCEPTIONS TO THE ABOVE
Exist. But they're rare. Do you want to bank on being the exception?
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Your ability to play exceeds social networking.
Your chops are more important than your social skills. Frequently the best musicians are near mute, they speak through their music, which brings adoring fans to them.
First learn how to play. Everything else comes next.
WRITE
You can make it with other people's songs, but it's hard to sustain. Consider writing another club in your bag, not only does it give you more options it also makes you more attractive to labels and other investors.
RECORD
A great song translates with just you and your instrument on YouTube. But if it's someone else's song, you're not going to go far. We all pass around YouTube covers, but none of the acts ever stick, because imitation is the sincerest form of flattery but it's not the way into our hearts.
RECORD 2
Yes, if you hire name people and record in a top-notch studio your track will sound better, but ultimately it's about the song. Slick means nothing if the song sucks.
DISTRIBUTE
Put your music everywhere. Starting on SoundCloud. It's the default home of the wannabe. If you get any traction thereafter, get it on iTunes and Spotify, et al.
YOUTUBE
Comes after SoundCloud. A lyric video is good enough assuming people want to see it.
But if someone comes to your clip and the count is low it's going to work against you, especially if you told people to go there.
HYPE
You start with your friends. And try not to burn out your friendships. Seed them with material. Listen to their feedback. Don't lean on them to spread the word, if they like your material they will. If you give it to them and two weeks go by and you're not hearing from other people, especially those you barely know or don't know at all, your track wasn't good enough. Maybe good enough for you, but not good enough to make it.
MAILING LISTS
Retain all the contact info of anybody who contacts you about your music. You want to know who your fans are.
MAILING LISTS 2
Put yourself in the shoes of your fans, look at it from their perspective, not yours. You may be frustrated you're not more successful, but that's not their problem. Only contact people when you think they'll be thrilled to hear from you, when they're interested in what you've got.
MAILING LISTS 3
If you're getting positive feedback, feed information on a regular basis. If you're seeding people and getting nothing back, the problem is you. Back to the drawing board. Yes, you may want to tell everybody they don't get it and you're misunderstood, that's your prerogative, but that won't help you make it.
Almost meaningless unless you're already a star. Then it's purely the cherry on top. And sundaes taste quite fine without the cherry. The problem with Twitter is most tweets go unseen. But if you notice retweets and feedback feeding the system is not a bad idea, as long as it doesn't take your focus away from your music.
A home for looky-loos before you can afford your own URL/website. But don't expect any virality on Facebook.
PLAYING LIVE
Comes last. It's after you've learned how to play, practiced, written and recorded. If you put it first, you're probably gonna be in trouble. Especially if you don't know how to play and make mistakes. Yes, road chops are the best. But that's assuming you've got somewhere to play. That's the problem today, live music is not everywhere. Venues don't want to pay and certainly don't want to alienate their patrons. They'd rather spin records. So don't beg anybody to play at their venue unless you're going to make them money. That's the cardinal rule. It's your responsibility to bring people in, not theirs. Certainly if you're completely unknown.
Having said all that, it's not a bad idea to start out as a cover band. But use originals sparingly. And if people stop dancing and/or leave the room, pull them.
If you can get places to play, more power to you. But don't put the cart before the horse.
BLOWING UP
It's gonna happen slower than your wildest dreams. It's gonna be long after your buddies have graduated from college and have careers and are starting families. If you're not willing to risk it all and fail, music is not the business for you. And if you do fail, don't complain, either get out or go back to the drawing board and work harder.
BLOWING UP 2
Your one big break is never the one you think it is, and is oftentimes a series of mini-breaks.
TV CONTESTS
Are about the shows, not the talent, about advertising, not music. At first, they were such a hit surprise this wasn't completely true, but Kelly Clarkson made it a decade ago. Contests are short cuts that usually lead nowhere. They tar your resume.
MERCH
Assuming people come to see you, and like you, they'll want to buy something from you, to evidence both their support and their identity. T-shirts are great, but make sure they're well-designed and made with good materials, otherwise people will buy once, if that, and never again. As for CDs...this is what they're made for, live gigs. They're souvenirs. The music is available easily online. But personalized, signed product is not.
A MANAGER
No act makes it without one. Don't sign a contract if you can get away with it. If you do, give up no more than twenty percent, hopefully fifteen. And hire a MUSIC BUSINESS LAWYER to negotiate the deal, not your dad's attorney buddy. Whatever you spend will be a pittance compared to how screwed you will be if you actually make it and have signed a bad deal. The bottom line is when you start no one good wants to manage you, and chances are you're going to leave your initial garage manager for someone more experienced. It's gonna cost you, remember that.
AN AGENT
More important than a label these days. Agents work on commission, usually ten percent. And they don't like to work for free. So if you're not making any money, an agent isn't gonna wanna represent you. I know it's a conundrum. You need an agent to get work, but you can't get an agent unless you've got work. Figure it out. Oftentimes it's the drummer who both manages the band and gets gigs before professionals get involved. As to why it's the drummer, we're still trying to figure that out.
A LABEL
You might feel good you're signed, but that don't mean diddly-squat if it's an indie who neither distributes nor promotes you. Give up rights commensurate with how much you're being paid. Up front. Upon delivery. Guarantees of marketing and promotion are worthless, even if they're in the contract. If you're not getting any money, you want it to be a one or two album deal, with a hefty royalty rate and a return of rights upon termination of the deal or shortly thereafter.
A MAJOR LABEL
You give to get. Your deal will be lousy unless you don't need them. If you're pulling in thousands of people a night and tracks are flying out of the iTunes Store the major label will cut you a good deal, otherwise they won't. And just because you have the deal don't expect the label to break you. The hard work is just beginning. Give them tools, i.e. music. And play nice. Otherwise the label will blackball you, they don't need troublemakers, unless they're guaranteed revenue makers. And major labels only want acts they can easily market and profit from, i.e. radio acts. Remember that. If you're not one of these, a major label deal is worthless, furthermore you won't get one.
TRACTION
Comes slower than you expect once you've got a deal. It's all work with very little reward for a very long time. In other words, if you're not willing to enter the Ironman competition, don't be a musician. Just when you've scaled one hill, there's a mountain range looming in the distance.
HITS
You need more than one to sustain a career.
MONEY
Comes long after you think it should. Not only does the label take most of it, what you deserve isn't rendered for eons, that's the nature of royalties.
GETTING SCREWED
It goes with the territory. You're never going to receive what you've earned. You just hire the best people and try to get the most you can.
SUCCESS
Won't be as sweet as you think it'll be. But don't freak out in the middle of it. Because we need neither you nor your act. Do your best to be humble and sustain. Otherwise, you'll be replaced.
EXCEPTIONS TO THE ABOVE
Exist. But they're rare. Do you want to bank on being the exception?
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Sunday, 1 December 2013
Buble At Staples
It was a show. It was entertaining. You got your money's worth.
I oftentimes don't want to go anymore. Because it's an endurance test. Unless you know the songs by heart, it can be positively brutal as you sit there, too often stand there, as the act plays its music at a deafening volume one song after the other. There's no show in this show business.
Or else it's all show. As in an assault. Believing if you just throw enough production at the audience it will be satiated.
But Buble is something different.
Let's start with the material. I'm a rocker, who graduated from Broadway musicals. It's all about the song. Decades past I would see Buble as middle of the road schlock. But all these years later, when songcraft has gone out the window, too often replaced by beats sans melody, it's positively refreshing to hear Buble sing. Without special aural effects on hard drive. Backed up by a big band that went to college to learn how to play.
Oh, that's one of the highlights of the show. When each horn player is paraded on the big screen like the NFL on Fox. With the twirling visage and the stats. In this case, blue chip music schools like Julliard and the Manhattan School of Music. In an era where fame trumps everything, it thrills one to see these dudes with chops who earned their positions over time and can deliver unselfconsciously.
Yes, there is a big screen. There is production.
But it doesn't overwhelm the show. And it enters gradually.
It all starts with Buble.
You know what he did that endeared me to him?
Not even ten minutes into the show he stopped and talked...for what seemed like eons, really, longer than it took to sing the couple of songs he started out with. I've never seen anybody do this at a rock show. They're afraid. Of losing the audience, of not delivering expectations. But a true pro, which Buble is, knows it's about endearing yourself, creating a bond. And Buble does this without pandering, without going lowest common denominator mainstream. Sure, he picks the birthday girl out of the audience, but it's almost as if...let's get this out of the way, so we can do the real show.
And what a show it is.
This is not rock concert seedy. Nor tweenybopper mindless. It's like an evening out for something you could never get in.
That's the problem today. With movies and too often concerts.
It's better at home.
Sure, you can't feel the crowd at home, which you oftentimes would not want to, but there's nothing special about being there other than being there. Whereas at a Buble show you get the feeling it's one moment in time, an escape from the modern day world of too many screens.
So you enjoy yourself.
I enjoyed myself.
P.S. Paul Anka told me he owes the success of his book to Howard Stern.
P.P.S. Buble is nothing without his team. Of label, manager, promoter and producer, all of whom were there. David Foster got it started. He brought on fellow Canadian Bruce Allen as manager. Diarmuid Quinn and his team no longer at Warner, because the acts remain and the execs get fired, pushed the record. And Don Fox sold the tickets. At the first show in Arizona, the count was in the single digits. Barely into doubles in Salt Lake City. You start off slow. And you build. If you believe. If you deliver.
P.P.P.S. Staples was sold out. And if you go regularly, you know it's nearly impossible to sell the upper deck, above the three levels of skyboxes. But Buble did. Not instantly. As a matter of fact, the first day numbers were less than half of what they were for the previous tour. But Don said "We'll get there." Which they did, via advertising, marketing, promotion. In other words, the job of the promoter is not to rent the hall and pay the act, but SELL THE TICKETS! That's something the oldsters know how to do and the youngsters, operating behind the corporate wall, too often do not.
P.P.P.P.S. Oldsters... Not the audience, Buble appeals to everybody, but white hair was not predominant. But it was backstage. You see everybody involved with building Buble is a lifer. Who was bitten by the bug back when music drove the culture, when not only was it the Facebook of its day, but Twitter, iPhone and HBO too. This generation will not live forever. It's not sure who their replacements will be. Because too many oldsters have not allowed youngsters to thrive and too many youngsters find other businesses appealing, whereas in the sixties and seventies everybody wanted to work in music. We're ripe for revolution and reinvention. And it won't be about sponsorships and other corporate connections, but the show itself. Back to basics.
P.P.P.P.P.S. Buble is so normal. And he walks a fine line between hip and not so. You want to be part of your audience's life, yet just a little above it. It's a skill, learned over time.
P.P.P.P.P.P.S. The climax is the end, when Buble appears in front of the curtain and sings Leon Russell's "A Song For You" a cappella, without a mic. It's positively thrilling. My body is shivering as I type. Because that's what it's all about. The song and the performance. Everything else is just window dressing.
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I oftentimes don't want to go anymore. Because it's an endurance test. Unless you know the songs by heart, it can be positively brutal as you sit there, too often stand there, as the act plays its music at a deafening volume one song after the other. There's no show in this show business.
Or else it's all show. As in an assault. Believing if you just throw enough production at the audience it will be satiated.
But Buble is something different.
Let's start with the material. I'm a rocker, who graduated from Broadway musicals. It's all about the song. Decades past I would see Buble as middle of the road schlock. But all these years later, when songcraft has gone out the window, too often replaced by beats sans melody, it's positively refreshing to hear Buble sing. Without special aural effects on hard drive. Backed up by a big band that went to college to learn how to play.
Oh, that's one of the highlights of the show. When each horn player is paraded on the big screen like the NFL on Fox. With the twirling visage and the stats. In this case, blue chip music schools like Julliard and the Manhattan School of Music. In an era where fame trumps everything, it thrills one to see these dudes with chops who earned their positions over time and can deliver unselfconsciously.
Yes, there is a big screen. There is production.
But it doesn't overwhelm the show. And it enters gradually.
It all starts with Buble.
You know what he did that endeared me to him?
Not even ten minutes into the show he stopped and talked...for what seemed like eons, really, longer than it took to sing the couple of songs he started out with. I've never seen anybody do this at a rock show. They're afraid. Of losing the audience, of not delivering expectations. But a true pro, which Buble is, knows it's about endearing yourself, creating a bond. And Buble does this without pandering, without going lowest common denominator mainstream. Sure, he picks the birthday girl out of the audience, but it's almost as if...let's get this out of the way, so we can do the real show.
And what a show it is.
This is not rock concert seedy. Nor tweenybopper mindless. It's like an evening out for something you could never get in.
That's the problem today. With movies and too often concerts.
It's better at home.
Sure, you can't feel the crowd at home, which you oftentimes would not want to, but there's nothing special about being there other than being there. Whereas at a Buble show you get the feeling it's one moment in time, an escape from the modern day world of too many screens.
So you enjoy yourself.
I enjoyed myself.
P.S. Paul Anka told me he owes the success of his book to Howard Stern.
P.P.S. Buble is nothing without his team. Of label, manager, promoter and producer, all of whom were there. David Foster got it started. He brought on fellow Canadian Bruce Allen as manager. Diarmuid Quinn and his team no longer at Warner, because the acts remain and the execs get fired, pushed the record. And Don Fox sold the tickets. At the first show in Arizona, the count was in the single digits. Barely into doubles in Salt Lake City. You start off slow. And you build. If you believe. If you deliver.
P.P.P.S. Staples was sold out. And if you go regularly, you know it's nearly impossible to sell the upper deck, above the three levels of skyboxes. But Buble did. Not instantly. As a matter of fact, the first day numbers were less than half of what they were for the previous tour. But Don said "We'll get there." Which they did, via advertising, marketing, promotion. In other words, the job of the promoter is not to rent the hall and pay the act, but SELL THE TICKETS! That's something the oldsters know how to do and the youngsters, operating behind the corporate wall, too often do not.
P.P.P.P.S. Oldsters... Not the audience, Buble appeals to everybody, but white hair was not predominant. But it was backstage. You see everybody involved with building Buble is a lifer. Who was bitten by the bug back when music drove the culture, when not only was it the Facebook of its day, but Twitter, iPhone and HBO too. This generation will not live forever. It's not sure who their replacements will be. Because too many oldsters have not allowed youngsters to thrive and too many youngsters find other businesses appealing, whereas in the sixties and seventies everybody wanted to work in music. We're ripe for revolution and reinvention. And it won't be about sponsorships and other corporate connections, but the show itself. Back to basics.
P.P.P.P.P.S. Buble is so normal. And he walks a fine line between hip and not so. You want to be part of your audience's life, yet just a little above it. It's a skill, learned over time.
P.P.P.P.P.P.S. The climax is the end, when Buble appears in front of the curtain and sings Leon Russell's "A Song For You" a cappella, without a mic. It's positively thrilling. My body is shivering as I type. Because that's what it's all about. The song and the performance. Everything else is just window dressing.
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