1
"Left a good job in the city"
No one does that anymore. During Covid a bunch of high-earners decamped to their country home, taking their job with them, but the concept of telling your boss to take this job and shove it and heading out to the country, that's history. As for the great resignation, many of those jobs were not that good.
But that was the ethos back in the sixties. You wanted to go on the road, you wanted to see things, and if you went to college you wanted to spend time in Europe, maybe flying Icelandic Airlines with a stopover in Reykjavik, then again you could fly from New York to London on Pan Am and TWA for two hundred bucks. And with your Eurail Pass... The goal was to do it cheaply for as long as you could. If you lived large, stayed in hotels with bathrooms in the bedroom, you were derided. You slept in hostels, you learned the code of the road from your traveling brethren, not all Americans, and you felt alive.
Today it's no longer a dream to drive cross-country. Hell, since the deregulation of airplane travel you can jump on a jet and be where you want to soon. For bupkes. As for all the places in between.... No one seems to care about them anymore, and interestingly those who reside in the places in between have contempt for these jet-setters. Furthermore, fluidity of residence used to be a thing. An American thing. You yearned to get out of your hometown. You moved where the action was, to try and live out your dream. I'm not sure people dream the same way today, the odds are stacked against them, moving up the ladder requires more than hard work. Have you been following the Kim Kardashian kerfuffle? Her advice to women was to work hard like her, to get ahead. There's been a ton of blowback. But what interests me most is the myopia of Ms. Kardashian. She obviously doesn't know how the other half, the majority, lives, oftentimes from hand to mouth, doing two jobs.
And shelter is so expensive that moving is a huge hurdle many can't jump. But when I came of age, you got out on the road and it was a melting pot of travelers. And you learned so much. One of my ski buddies paid for his winter by working on a fishing boat off the coast of New Jersey the summer before. I didn't know you could make that much money fishing, and my father told me from day one he didn't want me working with my hands. And then there were those with little dreams. It was a shock after college. They didn't want to go anywhere, and they weren't moving fast in any regard. A job at the phone company? Yes, one of the ski bums retired to do that. IN SALT LAKE CITY?? The City of Salt is completely different today, it's got high tech and a bunch of wealthy immigrant retirees. But back in the seventies it was a backwater.
2
"Big wheel keep on turnin'
Proud Mary keep on burnin'"
Now if you rely on Wikipedia, you may get the idea that Creedence Clearwater Revival had traction on their very first album. But the truth was that whatever success it ultimately had was a result of people going back after the band's breakthrough. Then you might have heard "Susie Q" on FM radio, but not before, at least not on any station I listened to.
But the band broke with this track from their second LP, "Proud Mary," from "Bayou Country." And "Proud Mary" broke on AM radio, not FM, which was now ruling the airwaves of the metropoli. AM was for the car radio at best, assuming you were a hipster. And there was definitely a dividing line, between those in the know and those who knew nothing. Some people believe this dividing line still exists, but in truth we now live in a Tower of Babel society where no one knows everything and there are no elite hipsters, despite some people believing they are so. If you put someone down for their taste today you're ignored. It's not one coherent scene, there's a cornucopia of entertainment and no one knows everything, it's utterly impossible, there's just too much out there.
Now in truth FM radio skewed English. With a dose of San Francisco thrown in. "Proud Mary" didn't fit in. Roots music was still in the future. So we heard the song on AM radio and thought it was a novelty, I mean the band's name certainly sounded like that of a one hit wonder. But then came "Bad Moon Rising," a string of undeniable hits, and Creedence was now one of the biggest bands in the land, finally embraced by FM radio. But it was "Proud Mary" that broke the door down, that set the stage for what was to come.
3
My favorite Creedence Clearwater Revival song is the opening cut on "Bayou Country," "Born on the Bayou."
Now you have to understand it sounded like it was cut in the bayou. And since the rock press was not omnipresent and solidified, it took years until everyone learned that John Fogerty had no connection to Louisiana and the bayou. But somehow he had the feel. And the feel of "Born on the Bayou"...
"And I can remember the Fourth of July
Runnin' through the backwood bare"
You could picture it. Something like the bacchanal in "The Secret History". You have to remember, there were no cell phones. It was easy to be out of touch, and a great swath of American youth wanted to go up the country and what happened there...you had to be there to find out. There were drugs, nudity, sex...and deep discussions about life. It was the peak of experience. This was before you could Google nudity, and sex, when marijuana was still illegal, never mind hash and anything harder. The feel of "Born on the Bayou" was magic, it was the other. Today everything is nuts and bolts, zeros and ones, but in truth life is messy and when you acknowledge it you have a much better ride.
And my second favorite Creedence track is "Green River." Which in many ways is so simple, but those descending notes during the chorus...utter magic. It's like Fogerty has ripped open his chest and we can see inside. And just like in "Born on the Bayou," the lead guitar is simple, but stinging. This was long before acts saw a need to use the umpteen tracks on the recording machine to fill up the record such that listening to it was like looking through steel wool.
And, of course, "Fortunate Son" has become a political staple. It's almost bigger today than it was then. Let me explain, of course "Fortunate Son" was all over the radio, but this was back when we were all rebelling against the government, "Fortunate Son" was part of a movement, but stripped from its original context it resonates even more, especially in these days of income inequality when a president avoided the war with supposed bone spurs in his heels.
And then there's "Who'll Stop the Rain," which I didn't cotton to until I saw the movie so entitled. It could be Tuesday Weld's best performance, it was gritty and added gravitas to the title song, at least in my brain.
But none of these tracks is "Proud Mary."
4
At this late date, many consider "Proud Mary" an Ike and Tina Turner song. Their version was never a hit record, Ike and Tina hadn't yet crossed over to the white market, but when the band opened for the Rolling Stones in 1969, white rockers were exposed to a level of stage performance that was heretofore unknown by them. Tina Turner made love to the microphone and those who saw it never forgot it.
But as good as Ike and Tina's take was, it was different from the Creedence Clearwater original.
"Rollin', rollin', rollin on the river"
That was the feel of the original. Just like you can hear the gallop of the horse in the original Allman Brothers' "Midnight Rider" on "Idlewild South," you can hear the paddle wheel turning on that boat on the Mississippi.
And as the years wore on, laying back was a goal. Not taking life so seriously, slowing down and watching the river flow, Bob Dylan even wrote a song about it.
We did a lot of sitting around back then. We didn't have the world at our fingertips, handheld communicators were something from cartoons, science fiction. You didn't want to stay home, you wanted to go out, to hang, to talk to the people. And music was a big part of the experience, someone always had a guitar, and they'd strum and we'd sing along, everybody would join in on the chorus, they'd sing at the top of their lungs, with all the power they possessed, as they looked at their brethren, this was what it was all about. Sure, you needed money. But not much. Life was about experiences. Not to shoot selfies during, but to savor and store in your mental bank, so you could make context of the world at a later date.
Most of the tracks of the sixties and seventies have not survived. The boomers might remember them, but the younger generation is clueless. And then there are certain tracks that are sui generis, that are of no time and place, that exist in their own ether, locked in wax, that we can just marvel at.
One of these is "Proud Mary." It sounds as fresh as the day it was released. It's not dated whatsoever. So when you hear it today you don't worry about the way things might have been, you don't look to the past, you reside in the present. "Proud Mary" can still ride shotgun. It can still inspire. You can count on it.
John Fogerty may have been screwed financially, and I feel for him, but money pales in comparison to "Proud Mary." In years to come when newbies hear "Proud Mary" and the rest of Fogerty's canon they'll be stunned, they won't believe one guy could be responsible for so much. They won't care a whit about how much money he made. Music trumps money. John Fogerty wrote a song that's FOREVER!
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Saturday, 12 March 2022
Friday, 11 March 2022
Brandi Carlile Responds
Re: LGBTQ Protests
I'm making a statement today.
I can speak up BECAUSE of Elton… he taught me how all those years ago when I was 11 and he showed so many of us how joyful living out loud could be. There were many others like him each paving the way uniquely…and also paying the price for it.
I absolutely do remember when marriage equality was inconceivable… I was married without a license and couldn't get my wife a green card. I can see a clear possibility of losing marriage equality in this country state by state until it's no longer protecting families from the myriad of struggles that come from being "unrecognized" federally.
I hope that my kids will be allowed to learn about their family and families like ours in school… being "unrecognized" is not a burden I'd like to see carried forward and placed onto my children.
Xobc
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I'm making a statement today.
I can speak up BECAUSE of Elton… he taught me how all those years ago when I was 11 and he showed so many of us how joyful living out loud could be. There were many others like him each paving the way uniquely…and also paying the price for it.
I absolutely do remember when marriage equality was inconceivable… I was married without a license and couldn't get my wife a green card. I can see a clear possibility of losing marriage equality in this country state by state until it's no longer protecting families from the myriad of struggles that come from being "unrecognized" federally.
I hope that my kids will be allowed to learn about their family and families like ours in school… being "unrecognized" is not a burden I'd like to see carried forward and placed onto my children.
Xobc
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LGBTQ Protests
The newspapers are positively wild today.
One interesting story is Peloton's decision to go to a subscription model for both the classes AND the bikes. With the ability to cancel at anytime. Therefore the hurdle to adoption is lowered significantly. Felice was interested in a Peloton treadmill, but the cost was prohibitive. (Never mind that you can't watch TV on the screen if you choose not go to to a class. Give people options, they don't want to be locked in.) But I haven't read that the treadmill has gone on subscription too. But this speaks to music subscriptions. They represent 83% of US revenues, up from 82.8% the year before. But all the news has been about the increase in CD and vinyl sales. But streaming subscriptions represent $9.5bn in revenue, whereas physical only represent $1.6bn. Revenues increased across the board, and the physical piece of the pie actually shrunk. But don't let a good headline get in the way of the facts, which you can read here: https://bit.ly/36eQF3j As for the oldsters complaining they like to own something, they are further and further behind in the rearview mirror. Today's generations don't want to own anything, they want it all on demand, with improvements in delivery along the way.
And then there's Margaret Sullivan's article about fake fact checks in the "Washington Post." Sullivan is the authority re the analysis of the news business, both the papers and the reporting. However, she is too invested in maintaining the established local newspapers. To speak like the street, their heads up their rear ends, if you're not willing to think with a blank slate, you're doomed. Which brings me to the article about Axios. Which is now going into the local news business. We need local news reporting, but the key is to come up with another way of delivering it.
Anyway, Sullivan's article is not behind a paywall and you should read it, at least part of it:
"Russia's new control tactic is the one Hannah Arendt warned us about 50 years ago - Fake fact-checks, designed to sow confusion, are Putin's latest trick for undermining faith in media — and the truth": https://wapo.st/3J7fVa2
Let me quote the beginning, which is the essence:
"You don't need belief. All you need is confusion.
That's how authoritarian leaders manage to control the populace, the great German political philosopher Hannah Arendt once explained.
'If everybody always lies to you, the consequence is not that you believe the lies, but rather that nobody believes anything any longer,' she said in an interview nearly five decades ago.
When that happens, people lose the capacity not only to act but even to think and judge. 'And with such a people,' she concluded grimly, 'you can then do what you please.'"
This is a huge problem not only in Russia, but around the world, especially the United States. This is what the concept of alternative facts has delivered.
But it's the next article that inspired me to write:
"Businesses Assail Texas Move to Classify Care for Trans Teens as 'Child Abuse' - A new ad signed by dozens of big companies warns, 'Discrimination is bad for business.'": https://nyti.ms/3MHZwuS
Now this is where the music business, the artists themselves, can have an effect.
Like I said last night, unfortunately it's the corporations that are leading when it comes to societal issues. But this is a natural for artists. Who can't hide under the umbrella of their labels. Artists are individuals, independent contractors, they don't get benefits like health insurance, therefore they are singular, which is part of their appeal.
And music appeals to outcasts. That's its true power. The ability to speak to the disenfranchised, those misunderstood and derided, oftentimes without friends. Those who don't live in the metropolis, and feel alone. When an artist speaks their truth it gives them power, to be themselves and soldier on. Nothing has the power of music in this sphere, NOTHING!
Not to mention that so many musicians fall under the heading of LGBTQ. Some out, some not. But there is strength in numbers, and if all the musicians came out against the new anti-LGBTQ laws in Texas and Florida...
Remember when gay marriage was inconceivable? Even the legalization of marijuana? Right has traditionally triumphed in America, it's just a matter of time. But now in so many ways our country is going backward. Catholic countries like Colombia are liberalizing abortion laws and in the U.S. we're shrinking them. At some point you have to make a stand for rights or you're in jeopardy of losing them.
I cannot see why a statement can't be made by artists re these heinous new laws. And in truth, you start with headliners and then everybody else wants to come on board for fear of being left out. Elton John, Brandi Carlile. They commit, and you'll be stunned who lines up behind them. And it's got to be from every walk of music. Women and LGBTQ members have been stifled, made to be in the closet, in country music forever. Once you shine light on a subject, change can happen.
Even better, get the major labels and the big streaming outlets like Spotify to pay for ads featuring signees. Both in print and on TV, online too. Facebook, Instagram, etc. Hell, have Facebook donate the ad space. All these outlets have philanthropic programs, why can't the people they make their money from utilize them and benefit the population at large.
Do you know any trans people? I do. One person who was tortured, was on the verge of suicide living as a man. Look past the canards like bathroom utilization, these are just diversions put up to take the focus off the aggrieved.
Everybody's got a gay relative. If you don't think so, that's because they're in the closet.
This is a no-brainer.
Furthermore, additional action can be taken. Acts can refuse to tour in Texas and Florida. Hell, the superstars don't need to go there, they've got more demand than they can fulfill.
We've got to push back.
This is where artists can lead.
And they should. Right away. Time is of the essence.
And one thing is for sure, musicians can spread the word better than politicians. They make a statement and it's EVERYWHERE! That's one of music's powers, it's time to employ it.
One interesting story is Peloton's decision to go to a subscription model for both the classes AND the bikes. With the ability to cancel at anytime. Therefore the hurdle to adoption is lowered significantly. Felice was interested in a Peloton treadmill, but the cost was prohibitive. (Never mind that you can't watch TV on the screen if you choose not go to to a class. Give people options, they don't want to be locked in.) But I haven't read that the treadmill has gone on subscription too. But this speaks to music subscriptions. They represent 83% of US revenues, up from 82.8% the year before. But all the news has been about the increase in CD and vinyl sales. But streaming subscriptions represent $9.5bn in revenue, whereas physical only represent $1.6bn. Revenues increased across the board, and the physical piece of the pie actually shrunk. But don't let a good headline get in the way of the facts, which you can read here: https://bit.ly/36eQF3j As for the oldsters complaining they like to own something, they are further and further behind in the rearview mirror. Today's generations don't want to own anything, they want it all on demand, with improvements in delivery along the way.
And then there's Margaret Sullivan's article about fake fact checks in the "Washington Post." Sullivan is the authority re the analysis of the news business, both the papers and the reporting. However, she is too invested in maintaining the established local newspapers. To speak like the street, their heads up their rear ends, if you're not willing to think with a blank slate, you're doomed. Which brings me to the article about Axios. Which is now going into the local news business. We need local news reporting, but the key is to come up with another way of delivering it.
Anyway, Sullivan's article is not behind a paywall and you should read it, at least part of it:
"Russia's new control tactic is the one Hannah Arendt warned us about 50 years ago - Fake fact-checks, designed to sow confusion, are Putin's latest trick for undermining faith in media — and the truth": https://wapo.st/3J7fVa2
Let me quote the beginning, which is the essence:
"You don't need belief. All you need is confusion.
That's how authoritarian leaders manage to control the populace, the great German political philosopher Hannah Arendt once explained.
'If everybody always lies to you, the consequence is not that you believe the lies, but rather that nobody believes anything any longer,' she said in an interview nearly five decades ago.
When that happens, people lose the capacity not only to act but even to think and judge. 'And with such a people,' she concluded grimly, 'you can then do what you please.'"
This is a huge problem not only in Russia, but around the world, especially the United States. This is what the concept of alternative facts has delivered.
But it's the next article that inspired me to write:
"Businesses Assail Texas Move to Classify Care for Trans Teens as 'Child Abuse' - A new ad signed by dozens of big companies warns, 'Discrimination is bad for business.'": https://nyti.ms/3MHZwuS
Now this is where the music business, the artists themselves, can have an effect.
Like I said last night, unfortunately it's the corporations that are leading when it comes to societal issues. But this is a natural for artists. Who can't hide under the umbrella of their labels. Artists are individuals, independent contractors, they don't get benefits like health insurance, therefore they are singular, which is part of their appeal.
And music appeals to outcasts. That's its true power. The ability to speak to the disenfranchised, those misunderstood and derided, oftentimes without friends. Those who don't live in the metropolis, and feel alone. When an artist speaks their truth it gives them power, to be themselves and soldier on. Nothing has the power of music in this sphere, NOTHING!
Not to mention that so many musicians fall under the heading of LGBTQ. Some out, some not. But there is strength in numbers, and if all the musicians came out against the new anti-LGBTQ laws in Texas and Florida...
Remember when gay marriage was inconceivable? Even the legalization of marijuana? Right has traditionally triumphed in America, it's just a matter of time. But now in so many ways our country is going backward. Catholic countries like Colombia are liberalizing abortion laws and in the U.S. we're shrinking them. At some point you have to make a stand for rights or you're in jeopardy of losing them.
I cannot see why a statement can't be made by artists re these heinous new laws. And in truth, you start with headliners and then everybody else wants to come on board for fear of being left out. Elton John, Brandi Carlile. They commit, and you'll be stunned who lines up behind them. And it's got to be from every walk of music. Women and LGBTQ members have been stifled, made to be in the closet, in country music forever. Once you shine light on a subject, change can happen.
Even better, get the major labels and the big streaming outlets like Spotify to pay for ads featuring signees. Both in print and on TV, online too. Facebook, Instagram, etc. Hell, have Facebook donate the ad space. All these outlets have philanthropic programs, why can't the people they make their money from utilize them and benefit the population at large.
Do you know any trans people? I do. One person who was tortured, was on the verge of suicide living as a man. Look past the canards like bathroom utilization, these are just diversions put up to take the focus off the aggrieved.
Everybody's got a gay relative. If you don't think so, that's because they're in the closet.
This is a no-brainer.
Furthermore, additional action can be taken. Acts can refuse to tour in Texas and Florida. Hell, the superstars don't need to go there, they've got more demand than they can fulfill.
We've got to push back.
This is where artists can lead.
And they should. Right away. Time is of the essence.
And one thing is for sure, musicians can spread the word better than politicians. They make a statement and it's EVERYWHERE! That's one of music's powers, it's time to employ it.
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
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Thursday, 10 March 2022
Ukraine/Corporations/Music
In that order.
Will the war in Ukraine reset the music business? I certainly hope so, but it's highly doubtful.
People always tell me it's the same as it ever was. That I'm just too old. That music means just as much to today's younger generations, and is just as intrinsically meaningful. But that is patently untrue. Music is just one element of listeners' entertainment portfolio, and that's what music is, entertainment. For a while there, certainly back in the sixties, it used to mean so much more.
So the biggest music business story of the past month is the self-immolation of Ye. Brain dead reporters tell the story and no one stops the action. When Ye ultimately goes to the hospital, or something even worse happens, what are these same people going to say? They promoted the train-wreck, just like they promoted Donald Trump.
Trump was a symptom, not a causation. And as time goes by, he's losing his hold not only on America, but his constituency. They've seen the movie, there's not that much there. Just grandstanding. The truth is irrelevant, it's all about attention. But Trump's attention is fading, you see he's out of time, the world changed and he did not. That's one of the stories of the past month, how we've all come together, and the only people who haven't are Trump and the blowhards at Fox News. They said Putin was an admirable ally, who they could control, who had no effect on the lives of Americans. Well, have you filled your gas tank recently? But it's worse, democracy hangs in the balance. Suddenly, all of America is on the same page. Yes, there are fearmongers on both the extreme right and left who say we should mind our own business and stay out, but sometimes you have to move in.
So Ye employs the same playbook as Trump. It's all about attention. Well, you know who is the king of attention? Vladimir Putin. Illustrating that the rest of what we're spending time on is ultimately irrelevant, and an autocrat starting a war trumps everything.
Yes, Kim Kardashian. All the rest using attention to flog products and make money. It rubs us the wrong way today. But that's all they've got, they possess no credibility, you see they thought dollars trumped everything, but this is not true. Unless you've got more dollars than anybody in music can make, like a corporation.
You see in the sixties, the corporations were the enemy. And credibility was everything. What you stood for counted. And you didn't take a side without thinking it through. Brains were more important than dollars. No one on trial in Chicago was doing it to get rich. Although when the mores changed Jerry Rubin tried to go straight, he even became a stockbroker. But by that point no one cared, he was a curio to be laughed at.
So what the musical acts of the sixties realized was that the music itself had power. That the money was secondary. That the bond between act and fan was key. Fans are the lifeblood of a musical act. And if you put someone else in front of them, you sacrifice their belief, and ultimately their numbers. Used to be the act and their music were singular, and that was enough, and therefore they had so much power!
But we haven't had that spirit here since 1985, since Live Aid. Live Aid was a culmination of what had come before. Woodstock, the Concert for Bangladesh, Bob Geldof thought he could meld MTV with old school philanthropic feeling and make a difference. And it worked! We can argue all day long about whether the funds reached their intended recipients, but one thing is for sure, Live Aid raised awareness, everybody in the world was suddenly aware that there was a famine in Ethiopia. When was the last time music told us which way the wind blew? Turns out we need a weatherman for that, or an app.
Yes, that was the story of the late nineties. Tech. It blew up. And the music business was at the center of it. Because the files were small, and the desire for acquisition was through the roof. For ten years the music business was exciting. But then Spotify came along and solved the problem and...the people who are arguing about Spotify payments are missing the point. Not that anything I write here will convince them they're wrong. The ball moves, and if you don't move with it one day you wake up and are left behind. If you're complaining about Spotify payments you're on the road to irrelevance. Use the new tools of technology to make your music, reach your audience and grow it. There are plenty of avenues of monetization, to focus on recording revenue is like trying to save gasoline cars. Imagine how great it would be if America was now all electric. You've got to evolve, life is never static. If you're not willing to throw over everything you know then not only are you part of the problem as opposed to part of the solution, you're left in the dust.
So the biggest music business story of the past year was Lucian Grainge's nine figure payout. Making more than almost all of the acts. For doing exactly what? Growing a record company. He was rewarded. The acts were not. And maybe the new acts don't deserve to be, because they're not as smart as Grainge, give him credit, he knew where the puck was going, and it's all as a result of streaming, but...
Lucian Grainge is irrelevant too. He could have been the first mover. Pulling out of Russia. But he took a stand long after the fact, looking me-too as opposed to leading. It's the big corporations who led. The enemy of the sixties. And believe me, they're far from perfect, but they were willing to take a stand and lose money because it was the right thing to do. When was the last time you saw a musician do this? Essentially NEVER!
Come on, Stanley Black & Decker is gonna lose a fortune, at least by music business standards. The company did $150 million a year in Russia. It has $30 to $40 million in inventory there. And about a hundred employees. And what is Stanley Black & Decker doing? Walking away!
Yeah, unfortunately Stanley Black & Decker's products have more credibility than today's music. They do the job, they satisfy, they last. There are no seasonal tools, you build it to sell forever.
Read about companies exiting Russia here:
"No Ikea Shelves, No Levis: The Retail Exodus From Russia Is On - Since the invasion of Ukraine began, the increasing financial and reputational risks of doing business in Russia are leading Western brands to halt operations": https://nyti.ms/3MGz593
Andy Gould e-mailed me marveling that the acts haven't united and taken a stand. He implored me to make them. But what would that look like? Everybody knows the issue. And the acts are two-dimensional today, they're not musicians, they're stars. It's all about the money. Who is going to be excited to watch them? I mean give Geldof credit, he reunited Pink Floyd for Live 8, but in truth the benefit concert is so long in the tooth, has become so repetitive, that few even bother to watch.
Of course there is a solution. Not that I think it will make any difference. You reunite Led Zeppelin and Journey. Even Crosby, Stills & Nash. So you end up with event status. But what is the message? Everybody knows Ukraine is a quagmire, that Putin is out of his mind, and the money musicians can raise is a drop in the bucket. Every little bit counts, but we need a lot more zeros, and a lot more revenue streams.
As for new acts... Who has the reach and credibility to move the needle. NO ONE! At best they're caught up in petty wars online. Complaining about haters, focusing on the micro as opposed to the macro. I mean a rap beef? Seems quaint in comparison with the Ukrainian situation. Then again, we haven't been able to stop the rap killings, because if it's black on black crime, not enough white people care. But when white kids, the sons and daughters of politicians, started O.D.'ing from opiates, then there was outrage, then Purdue Pharma became a pariah.
So, there are no building blocks in music. Furthermore, the big acts that there are don't want to take a stand on anything, for fear of alienating part of their audience. But politics has been the story of the past ten years. And rust never sleeps, and neither does hatred. Music was a refuge for LGBTQ people, but now we've got states impinging on their rights. But no one stands up.
Then again, it's usually the old acts who stand up, to the point where they lose effect for doing so. I mean give Bruce Springsteen credit, he was on the right side of so much, but when it's just him and his brethren, it gets derided.
Then again, derision and hatred are the ethos of today's America. Everybody feels they're entitled to a say. We're a nation of individuals. But suddenly, the war in Ukraine has brought us all together.
And the corporations are taking the lead.
As for the music business, today's big story is TikTok is going into distribution. This may be where the three major labels ultimately lose their power. Distribution is king. And if you have the youngsters... The youngsters know it's not about radio and the mainstream media, where the aged labels have their power. But the labels do have catalogs, and they wield them, but they're losing control of new music, and this is a good thing, because they are doing nothing for music itself.
As for musicians at home creating, broke and credible... It's incumbent upon you to grow your audience and ultimately have leverage, you can't piggyback on the general industry's power.
So...
Music has had no effect, no impact on the Ukraine war whatsoever. I mean give Pussy Riot credit, they were willing to go to jail for their beliefs. Navalny was willing to go back to Russia to go to jail, after the government poisoned him. Zelenskyy is willing to die! These people have backbones, they are leaders. It's got nothing to do with their bank balances, no one is concerned with them, by taking a stand, by rising to the occasion, by doing what is right, they've gone to the head of the class. Come on, if you admire any of today's wanker musicians more than Zelenskyy you're brain dead. There's a good chance he's going to die. No one in music wants to sacrifice their life. But your gravitas is based on what you're willing to sacrifice.
Which is why corporations are now in power. Disney ultimately stood up to Florida and its anti-gay policies, albeit a day late and a dollar short. Will it make a difference? Change happens slowly, then overnight.
So when you say music is the same as it ever was, you're just plain wrong. Music has sacrificed its essence, its universality, it has followed remuneration right off the cliff. As for those who complain they're not making enough, did Woody Guthrie or Pete Seeger complain they weren't getting rich? Of course not! But we remember their names. Their songs are embedded in the fabric of American culture, none of today's songs will be.
To change the world you have to take the road less traveled, be willing to go against the grain, trust your gut. And it's these elements that blew up music fifty years ago. I'll be satisfied with a reset of values. And maybe from that can come good new music, that has a cultural impact. I mean it's astounding how TikTok has single-handedly stolen the attention of America, and it's all about letting people have their say, mostly to music. This is the kind of innovation we need. But we don't get it. Because no one is willing to risk.
So, it's a sad state of affairs.
I mean at some point Ukraine is gonna fall to Russia. But then what? Actually, we should be asking this question now. And the truth is people like Biden and the heads of the European Union countries are. They're gonna have to come up with a plan. And it's going to affect you and me. And if you think their goal is to screw you, to make bank, then you've got the former guy in mind, not the one in the White House.
So, instead of conjuring up ways to sell NFTs, worthless items that only have value because a certain number of people agree they do, why not turn to the real issues of the world. And there are plenty. Democracy. Global warming. Income inequality. It's time for Americans to stop being myopic and focus on the big issues. But the good thing is to a great degree they are! They're willing to pay higher gas prices for the cause. They're united against the threat. Maybe this will pay further dividends down the road. I certainly hope so.
Will the war in Ukraine reset the music business? I certainly hope so, but it's highly doubtful.
People always tell me it's the same as it ever was. That I'm just too old. That music means just as much to today's younger generations, and is just as intrinsically meaningful. But that is patently untrue. Music is just one element of listeners' entertainment portfolio, and that's what music is, entertainment. For a while there, certainly back in the sixties, it used to mean so much more.
So the biggest music business story of the past month is the self-immolation of Ye. Brain dead reporters tell the story and no one stops the action. When Ye ultimately goes to the hospital, or something even worse happens, what are these same people going to say? They promoted the train-wreck, just like they promoted Donald Trump.
Trump was a symptom, not a causation. And as time goes by, he's losing his hold not only on America, but his constituency. They've seen the movie, there's not that much there. Just grandstanding. The truth is irrelevant, it's all about attention. But Trump's attention is fading, you see he's out of time, the world changed and he did not. That's one of the stories of the past month, how we've all come together, and the only people who haven't are Trump and the blowhards at Fox News. They said Putin was an admirable ally, who they could control, who had no effect on the lives of Americans. Well, have you filled your gas tank recently? But it's worse, democracy hangs in the balance. Suddenly, all of America is on the same page. Yes, there are fearmongers on both the extreme right and left who say we should mind our own business and stay out, but sometimes you have to move in.
So Ye employs the same playbook as Trump. It's all about attention. Well, you know who is the king of attention? Vladimir Putin. Illustrating that the rest of what we're spending time on is ultimately irrelevant, and an autocrat starting a war trumps everything.
Yes, Kim Kardashian. All the rest using attention to flog products and make money. It rubs us the wrong way today. But that's all they've got, they possess no credibility, you see they thought dollars trumped everything, but this is not true. Unless you've got more dollars than anybody in music can make, like a corporation.
You see in the sixties, the corporations were the enemy. And credibility was everything. What you stood for counted. And you didn't take a side without thinking it through. Brains were more important than dollars. No one on trial in Chicago was doing it to get rich. Although when the mores changed Jerry Rubin tried to go straight, he even became a stockbroker. But by that point no one cared, he was a curio to be laughed at.
So what the musical acts of the sixties realized was that the music itself had power. That the money was secondary. That the bond between act and fan was key. Fans are the lifeblood of a musical act. And if you put someone else in front of them, you sacrifice their belief, and ultimately their numbers. Used to be the act and their music were singular, and that was enough, and therefore they had so much power!
But we haven't had that spirit here since 1985, since Live Aid. Live Aid was a culmination of what had come before. Woodstock, the Concert for Bangladesh, Bob Geldof thought he could meld MTV with old school philanthropic feeling and make a difference. And it worked! We can argue all day long about whether the funds reached their intended recipients, but one thing is for sure, Live Aid raised awareness, everybody in the world was suddenly aware that there was a famine in Ethiopia. When was the last time music told us which way the wind blew? Turns out we need a weatherman for that, or an app.
Yes, that was the story of the late nineties. Tech. It blew up. And the music business was at the center of it. Because the files were small, and the desire for acquisition was through the roof. For ten years the music business was exciting. But then Spotify came along and solved the problem and...the people who are arguing about Spotify payments are missing the point. Not that anything I write here will convince them they're wrong. The ball moves, and if you don't move with it one day you wake up and are left behind. If you're complaining about Spotify payments you're on the road to irrelevance. Use the new tools of technology to make your music, reach your audience and grow it. There are plenty of avenues of monetization, to focus on recording revenue is like trying to save gasoline cars. Imagine how great it would be if America was now all electric. You've got to evolve, life is never static. If you're not willing to throw over everything you know then not only are you part of the problem as opposed to part of the solution, you're left in the dust.
So the biggest music business story of the past year was Lucian Grainge's nine figure payout. Making more than almost all of the acts. For doing exactly what? Growing a record company. He was rewarded. The acts were not. And maybe the new acts don't deserve to be, because they're not as smart as Grainge, give him credit, he knew where the puck was going, and it's all as a result of streaming, but...
Lucian Grainge is irrelevant too. He could have been the first mover. Pulling out of Russia. But he took a stand long after the fact, looking me-too as opposed to leading. It's the big corporations who led. The enemy of the sixties. And believe me, they're far from perfect, but they were willing to take a stand and lose money because it was the right thing to do. When was the last time you saw a musician do this? Essentially NEVER!
Come on, Stanley Black & Decker is gonna lose a fortune, at least by music business standards. The company did $150 million a year in Russia. It has $30 to $40 million in inventory there. And about a hundred employees. And what is Stanley Black & Decker doing? Walking away!
Yeah, unfortunately Stanley Black & Decker's products have more credibility than today's music. They do the job, they satisfy, they last. There are no seasonal tools, you build it to sell forever.
Read about companies exiting Russia here:
"No Ikea Shelves, No Levis: The Retail Exodus From Russia Is On - Since the invasion of Ukraine began, the increasing financial and reputational risks of doing business in Russia are leading Western brands to halt operations": https://nyti.ms/3MGz593
Andy Gould e-mailed me marveling that the acts haven't united and taken a stand. He implored me to make them. But what would that look like? Everybody knows the issue. And the acts are two-dimensional today, they're not musicians, they're stars. It's all about the money. Who is going to be excited to watch them? I mean give Geldof credit, he reunited Pink Floyd for Live 8, but in truth the benefit concert is so long in the tooth, has become so repetitive, that few even bother to watch.
Of course there is a solution. Not that I think it will make any difference. You reunite Led Zeppelin and Journey. Even Crosby, Stills & Nash. So you end up with event status. But what is the message? Everybody knows Ukraine is a quagmire, that Putin is out of his mind, and the money musicians can raise is a drop in the bucket. Every little bit counts, but we need a lot more zeros, and a lot more revenue streams.
As for new acts... Who has the reach and credibility to move the needle. NO ONE! At best they're caught up in petty wars online. Complaining about haters, focusing on the micro as opposed to the macro. I mean a rap beef? Seems quaint in comparison with the Ukrainian situation. Then again, we haven't been able to stop the rap killings, because if it's black on black crime, not enough white people care. But when white kids, the sons and daughters of politicians, started O.D.'ing from opiates, then there was outrage, then Purdue Pharma became a pariah.
So, there are no building blocks in music. Furthermore, the big acts that there are don't want to take a stand on anything, for fear of alienating part of their audience. But politics has been the story of the past ten years. And rust never sleeps, and neither does hatred. Music was a refuge for LGBTQ people, but now we've got states impinging on their rights. But no one stands up.
Then again, it's usually the old acts who stand up, to the point where they lose effect for doing so. I mean give Bruce Springsteen credit, he was on the right side of so much, but when it's just him and his brethren, it gets derided.
Then again, derision and hatred are the ethos of today's America. Everybody feels they're entitled to a say. We're a nation of individuals. But suddenly, the war in Ukraine has brought us all together.
And the corporations are taking the lead.
As for the music business, today's big story is TikTok is going into distribution. This may be where the three major labels ultimately lose their power. Distribution is king. And if you have the youngsters... The youngsters know it's not about radio and the mainstream media, where the aged labels have their power. But the labels do have catalogs, and they wield them, but they're losing control of new music, and this is a good thing, because they are doing nothing for music itself.
As for musicians at home creating, broke and credible... It's incumbent upon you to grow your audience and ultimately have leverage, you can't piggyback on the general industry's power.
So...
Music has had no effect, no impact on the Ukraine war whatsoever. I mean give Pussy Riot credit, they were willing to go to jail for their beliefs. Navalny was willing to go back to Russia to go to jail, after the government poisoned him. Zelenskyy is willing to die! These people have backbones, they are leaders. It's got nothing to do with their bank balances, no one is concerned with them, by taking a stand, by rising to the occasion, by doing what is right, they've gone to the head of the class. Come on, if you admire any of today's wanker musicians more than Zelenskyy you're brain dead. There's a good chance he's going to die. No one in music wants to sacrifice their life. But your gravitas is based on what you're willing to sacrifice.
Which is why corporations are now in power. Disney ultimately stood up to Florida and its anti-gay policies, albeit a day late and a dollar short. Will it make a difference? Change happens slowly, then overnight.
So when you say music is the same as it ever was, you're just plain wrong. Music has sacrificed its essence, its universality, it has followed remuneration right off the cliff. As for those who complain they're not making enough, did Woody Guthrie or Pete Seeger complain they weren't getting rich? Of course not! But we remember their names. Their songs are embedded in the fabric of American culture, none of today's songs will be.
To change the world you have to take the road less traveled, be willing to go against the grain, trust your gut. And it's these elements that blew up music fifty years ago. I'll be satisfied with a reset of values. And maybe from that can come good new music, that has a cultural impact. I mean it's astounding how TikTok has single-handedly stolen the attention of America, and it's all about letting people have their say, mostly to music. This is the kind of innovation we need. But we don't get it. Because no one is willing to risk.
So, it's a sad state of affairs.
I mean at some point Ukraine is gonna fall to Russia. But then what? Actually, we should be asking this question now. And the truth is people like Biden and the heads of the European Union countries are. They're gonna have to come up with a plan. And it's going to affect you and me. And if you think their goal is to screw you, to make bank, then you've got the former guy in mind, not the one in the White House.
So, instead of conjuring up ways to sell NFTs, worthless items that only have value because a certain number of people agree they do, why not turn to the real issues of the world. And there are plenty. Democracy. Global warming. Income inequality. It's time for Americans to stop being myopic and focus on the big issues. But the good thing is to a great degree they are! They're willing to pay higher gas prices for the cause. They're united against the threat. Maybe this will pay further dividends down the road. I certainly hope so.
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Felix Cavaliere-This Week's Podcast
Felix Cavaliere. The Rascal. The legend.
https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/felix-cavaliere-93952689/
https://podcasts.apple.com/us/podcast/felix-cavaliere/id1316200737?i=1000553541810
https://open.spotify.com/episode/6BhVVqxpdRTZRQAOZ4F4i7?si=5IwCODzPTCutrspV35-4HA
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/ecfea795-2d02-431e-8964-bc224ab4f4f1/the-bob-lefsetz-podcast-felix-cavaliere
https://www.stitcher.com/show/the-bob-lefsetz-podcast/episode/felix-cavaliere-201245855
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https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/felix-cavaliere-93952689/
https://podcasts.apple.com/us/podcast/felix-cavaliere/id1316200737?i=1000553541810
https://open.spotify.com/episode/6BhVVqxpdRTZRQAOZ4F4i7?si=5IwCODzPTCutrspV35-4HA
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/ecfea795-2d02-431e-8964-bc224ab4f4f1/the-bob-lefsetz-podcast-felix-cavaliere
https://www.stitcher.com/show/the-bob-lefsetz-podcast/episode/felix-cavaliere-201245855
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Wednesday, 9 March 2022
Mailbag
RE: FAVORITE STONES SONG
This week ..." waiting on a friend " . Best from BC , o
Andrew Loog Oldham
_________________________________________
Moonlight Mile!
Nancy Wilson
_________________________________________
Gotta put in Can't You Hear Me Knockin and Tumblin Dice.
Great tracks that represent some of the best the Stones put out. IMHO.
Tom Johnston
_________________________________________
I'd find space for "Tumbling Dice" and "Before They Make Me Run", but then there are tons of songs from pre '68 I'm probably missing as well. And come to think of it, how can "Street Fighting Man" not make this list?
Berton Averre
_________________________________________
Can't you hear me knocking…
Michael Des Barrres
_________________________________________
no Sympathy for the Devil?
Jeff Lorber
_________________________________________
Paul Christie bass player in Sydney AUS. I have to say we are on the same page with The Stones set list, excellent!
PS: I had Joe Walsh in my band in AUS in 1984, we were aptly named 'The Party Boys' he stayed for a year, we made a live album & he went back to LA in good form in late '84 & Eagles got rolling again.
Stevie Ray also agreed to join The Party Boys but sadly got on that chopper after the gig in the snow, broke my heart.
All the best for now, Paul
_________________________________________
WILD HORSES
Joe Walsh
_________________________________________
Who in the hell likes 'Saint of me'!
Greg Haledjian from NJ
_________________________________________
Glad to see "Saint of Me" on here! One of their best later era songs that few people know.
Mark Brut
Denver, CO
_________________________________________
SAINT OF ME !!!
Glad to see it -- probably the best ignored or celebrated Rolling Stones song ever!
Tom Werman
_________________________________________
MORE GIANT/DANN HUFF
Charlie Minor was promoting Giant. He worked them every way he could and was willing to do anything if I would recommend them. He did the same for other influencers. Then, I was at Lee Abrams at his house and he was writing a report for the record company about what the band needed to do to break through. We cranked the stereo and listened for that elusive hit that was sometimes buried in the middle of side 2. For a band that got so much passionate support from the label, I was surprised they didn't get more traction, at least for a while. But as Album Rock playlists tightened, they were never going to get that shot.
John Parikhal
_________________________________________
I worked for many years with Dann. He produced hits for me and my co-writers. We also did one co production project together.
Not only is he a huge talent but he's also a gentleman and someone who helped Nashville move beyond the good ole boys network.
Annie Roboff
_________________________________________
Very close with Bud Prager who asked me to see his new band at the Roxy. I got there early and there was this young kid by himself on stage doing comedy. I went back stage and signed him. Pauly Shore before MTV
Jerry greenberg
_________________________________________
?When I was a young kid (10-11 years old) I had a band that was managed by Bud Prager. Bud got us signed and thought of Dann to produce and write a few songs. This was in 1992 right when Giant's album Time to Burn was released. It was a mind blowing experience to say the least. But what I remember more than anything from those sessions was Dann's kindness and patience. I remember hugging Dann and crying when the final session ended-working with him was an experience that changed my life. Thanks for bringing him up.
Dan Monti
_________________________________________
RE: BORDER
Hey Bob,
Just an FYI, Mads Mikkelsen wasn't the Russian President in House Of Cards, Lars Mikkelsen, his brother was, who coincidentally was in something you recommended that was very very good called Ride Upon The Storm.
Have a good day.
Devoted reader,
Dave Hamilton,
Philadelphia, PA
_________________________________________
RE: FEE WAYBILL
Hello Bob,
?
Thank you.
?
I just finished listening to your podcast with Fee Waybill.
?
Like you, I am a big fan of the Tubes. I was fortunate to see them the first time when I was a student at Sonoma State in the way early '70's. Their original second drummer, Bob, was still in the group. I had no idea what I was in for. I never experienced such a combination of incredible musicianship and humor in a band. Another memorable show was at a club called the Lion's Share in San Rafael where they played two sets with a one hour intermission in which they screened Pink Flamingos. They are the only band that I continue to follow. Even at $6.00 a gallon I plan to make the schlep in June from Santa Monica to Agoura to catch their current show.
?
Thanks again,
Steve Ades
_________________________________________
From: Pstupar
I so enjoyed hearing Fee discussing the history of the Tubes. I arrived in SF from Washington DC in the fall of 1973. The first show I attended was the Pointer Sisters performing a week of shows at the Boarding House. I went to see what the fuss was about. The Tubes were the opening act. I had never witnessed such a performance. I went back again & again & took my Nikon. In 1975 I was hired at A&M records which thrilled me even more. I don't think I missed a Tubes show for years. People don't realize how big they were in SF. 20-30 shows a month in some clubs. I went to them all. For a while, they might have been the best rock & roll band in the world. Never a bad performance. There are so many great stories here that it's a shame Fee didn't have time to discuss them. Michael Cotton is the historian for this band. He put together a massive documentary years ago with concert footage that everyone wants to see. Unfortunately, it will take a music lawyer to get the clearance that is needed. That may never happen for financial reasons. A shame. But Michael Cotton did produce a wonderful picture book just for the fans. The Tubes Live 1973-1979. Only available on Blurb.com as far as I know but a wonderful souvenir if you were there. Peter Stupar ps...you can hear Rock & Roll Hospital on a live radio broadcast from KLRB recorded back in the day.
_________________________________________
RE: TIM CONSIDINE
Nice (if gloomy) obit. Being English, I had no idea who Tim Considine was until today. But I had to laugh at your description of your mother being a great "thrower awayer." Mine was too. Many's the time I would come home from school looking for a favorite toy, say maybe a matchbox car, only to be told "Oh that, I gave it to the neighbor's kid". We were poor, but apparently they were poorer than us. Her "piece de resistance" however, came with the comic book incident. We had an old coal fire which you had to rake the ashes out of, wrap in newspaper and throw away. One day she couldn't find any newspaper, so used one of my comic books. Amazing Spider Man. #1. Yep. In perfect condition today, worth around $300k. You have to laugh....
Mark Hudson
(Note-my mother threw out all my baseball cards.)
_________________________________________
Thanks for mentioning the passing of Tim Considine.
Tim did have a bit part in the movie Patton. He was the shell shocked guy sitting in the hospital tent that George C. Scott called a coward and smacked with his gloves.
I prefer to remember him as Spin or as Mike.
Cheers!
Gene Bonos
_________________________________________
Bummer about Tim Considine. I remember his as you do, in Spin and Marty and My Three Sons. I thought he was cool. A decade older than me, a teenager when I was an adolescent.
I'm surprised you didn't mention what I consider to be his most significant achievement, for my life at least... he shot the photo of Joni Mitchell used on the cover of Blue, one of the greatest albums of all time.
Gary Burden, who designed the cover, printed it using a Ferro cyanotype process that produces blue prints, and increased the contrast to made it look stark, edgy, and frankly rather muddy. The original is a drop dead beauty, soft and sensuous, languid and startlingly beautiful. And somehow sans the microphone that's in the cover shot. Was the mic added for the cover, or removed the "original" version? Gary Burden is gone, but I'll bet Henry Diltz knows.
I found this out three or four years ago in a boredom induced internet deep dive, and saw then that the picture was available from Tim's own website for $400. I snoozed, and ultimately, losed. A few months ago, I looked again, and it was gone. The website was down, and there was no referent to purchase the print anywhere. Bummer!
So until I find one, I hang onto my little jpeg from the web. It's a real beauty. And I'll keep looking for it out there somewhere.
RIP Tim Considine. After all you did that was prominent and cool, thanks for that one image that is burned permanently in my mind.
Dan Navarro
P.S. Found this just after I hit send, from Tim Wilson and his Sounds of '71 Tumblr blog.
https://soundsof71.tumblr.com/post/158524933545/joni-mitchell-blue-the-original-cover-photo-by
He mentioned that, though Blue is from 1971, the photo is from 1968 (while My Three Sons was still on the air), taken at the Troubadour in Los Angeles.
The microphone was in the original, and was removed later by Tim. A direct quote, from the horse's mouth...
"It was indeed a black & white photograph originally, shot with an experimental instrument film rated at the then unheard of ASA (ISO) of 6000. And, yes, it had the microphone in it. The truth is, I hated the way it was rendered on the cover, an artistic decision by the art director, who processed it as a daguerreotype, thereby, in my opinion, heightening the contrast enough to remove all the softness and subtlety of the original image. So I made my own versions, both with and without mike for prints that are sold to collectors around the world. The version on this site is without the mike, but one with the mike included is requested just as often."
Now I know. Man, I love that shot.
x
dn
_________________________________________
RE: THE STATE OF THE UNION
Hi Bob,
You've hit lots of nails on the head; I wish I could say you are being pessimistic about the body politic, but alas...
Here's the quick aside that neatly described my own experience of moving from a CT suburb (Meriden) to Middlebury:
"I mean I grew up in a suburb, only fifty miles from New York City, but until I went to college I had no idea what was going on in the rest of the country, despite watching television and reading the news. I'd never been around people SO RICH! You think you want a seat at the table, but you can't get and keep one until you know where these people are coming from, how to behave around them."
These people were a different species. I had no idea, having picked Middlebury out of the Lovejoy college guide. The first day I was waiting in line to get sheets (from Foleys, if I recall this insignificant detail correctly) and the pleasant guy behind me introduced himself: "Hi, I'm Court." Court? I had never heard of such a name.
Anyway, it's always a provocative pleasure to read you.
Best,
John Hyman
_________________________________________
RE: GARY BROOKER
Hi Bob-
As a young teen, I taught myself to play piano by figuring out "Whiter Shade Of Pale"
Fast forward a number of years and I'm writing songs with Keith Reid which leads to my role as Producer/Engineer/Musician (and co writer on a bunch of the songs) for Procol Harum's "The Prodigal Stranger". Then Keith brings me in to write and play on Robin's "In The Line Of Fire". Both projects were an amazing experience with some of the best musicians I have ever worked with...and what a thrill it was to hear Gary sing!
As you mentioned, both albums were sadly overlooked at the time. But it was really nice to get a shout out from you...made my day.
Best-
Matt Noble
_________________________________________
I got to see Procol Harum perform live twice. Both times with the Edmonton Symphony. Back in 1971 I was the Assistant Manager of the Orchestra and at the time we were looking for a follow-up to a pair of wildly successful Sold-Out performances with the Canadian band "Lighthouse" Our first with a rock group.
Although it seemed an impossible dream, Procol Harum was on the-follow-up list from the get-go. That summer the band announced a tour of Canada which included a stop in Edmonton. Through intermediaries, a meeting was set-up and on a sunny day in mid-August I showed-up at a hotel for a meeting with Gary and the band's then manager, Derek Sutton to discuss the possibility.
It was a warm, friendly and productive meeting. In the spirit of a Judy Garland/Mickey Rooney movie ("Hey! I've got a barn. You've got a band. Let's put on a show!") I headed back to the office knowing that the Procol Harum would be returning to Edmonton in November to perform a show. A sign of very different times. Three guys in a room. A done deal. Let's put on a show!
We moved forward full sail until about three weeks before the concert when we got an unexpected call from Derek. The band had decided to record the concert. Additional logistical and contractual provisions were on the table. They were accomplished with time-to-spare and without superfluous drama. Three weeks. Different times. For sure.
Now along with an additional AFM agreement, the legendary Wally Heider was involved in the process. He tore-down his Hollywood-based mobile recording truck, packed the equipment into Anvil cases, and shipped it all up to Edmonton. The Green Room was now a control room. Cables everywhere. Wally showed-up to personally engineer the recording.
It was a whirlwind. No question. When I met the band at the airport, Gary and his wife were carrying orchestral parts that he had been fine-tuning and finalizing and she had been copying on the plane. The ink was still wet. Literally! But they weren't smudged and they worked.
The whole endeavor was a marvel of collaboration. The initial mutual wariness on both sides (orchestra and band) dissipated within minutes of the first down-beat at the first rehearsal and the resulting concert was a resounding success. We have a recording to prove it.
The concert had it's moments.
The concert opened with "Conquistador". A few songs in, after the live surround-sound recorded bird "tweets" and quiet opening of "Salty Dog", in the room the Tom Tom hits from the incomparable BJ Wilson were heart-stopping. They are on the recording. Throughout the recording, throughout his career(!), BJ didn't just play beats. He played licks. There wasn't another drummer like him.
In a moment of quiet reflection early in the performances of "In Held Twas In I" (3:37 on the recording) Keith Reid emerged from the shadows to a side-stage mic to recite words that he had written. His first (and up to that point, only!) live appearance with the band.
Much to the disappointment of everyone in attendance, "A Whiter Shade of Pale" was not(!) on the Set List. As brilliant and iconic as the song is, four years after it's release Gary was determined NOT to be known as a "one hit wonder" so the song wasn't played. Maybe a good (temporary) call. The "Conquistador" recording from the concert was a "hit".
There was enough time left on the clock (and the musicians' contract provisions) for "encores". The audience was treated to a second take of "Conquistador" (the planned a single release) and another full performance of the daring and complex "In Held Twas In I"
The orchestra's then Music Director, British conductor Lawrence Leonard, was worried about his "serious music cred" and agreed to conduct the concert under the strict condition that he would not be credited, mentioned in the press or in any promotions for the album. A decision he later actually came to regret.
In 2010 I flew back to Edmonton for two Sold Out performances (willingly conducted by the orchestra's Music Director, William Eddins) celebrating the almost 40th Anniversary of the first landmark concert. The band was new. BJ was gone and the others were not there. The arrangements were reworked and extended and some additional songs were added. Gary was in phenomenal form. He sang and performed his work as powerfully and compellingly and committed has he had the first time around.
Dave Ball, who played guitar at the original concert (the youngest member of the group at the time) was also in the anniversary audience. He planned the stop-over on a trip between the UK and New Zealand/ A real reunion. Dave has unfortunately passed as well.
And yes, "A Whiter Shade of Pale" was performed. With an unexpected and astonishingly effective mid-song minor key modulation that took it into a new musical territory.\
Gary did know what he was was doing. He does, and will indeed, Shine On Brightly.
Bob Hunka
This week ..." waiting on a friend " . Best from BC , o
Andrew Loog Oldham
_________________________________________
Moonlight Mile!
Nancy Wilson
_________________________________________
Gotta put in Can't You Hear Me Knockin and Tumblin Dice.
Great tracks that represent some of the best the Stones put out. IMHO.
Tom Johnston
_________________________________________
I'd find space for "Tumbling Dice" and "Before They Make Me Run", but then there are tons of songs from pre '68 I'm probably missing as well. And come to think of it, how can "Street Fighting Man" not make this list?
Berton Averre
_________________________________________
Can't you hear me knocking…
Michael Des Barrres
_________________________________________
no Sympathy for the Devil?
Jeff Lorber
_________________________________________
Paul Christie bass player in Sydney AUS. I have to say we are on the same page with The Stones set list, excellent!
PS: I had Joe Walsh in my band in AUS in 1984, we were aptly named 'The Party Boys' he stayed for a year, we made a live album & he went back to LA in good form in late '84 & Eagles got rolling again.
Stevie Ray also agreed to join The Party Boys but sadly got on that chopper after the gig in the snow, broke my heart.
All the best for now, Paul
_________________________________________
WILD HORSES
Joe Walsh
_________________________________________
Who in the hell likes 'Saint of me'!
Greg Haledjian from NJ
_________________________________________
Glad to see "Saint of Me" on here! One of their best later era songs that few people know.
Mark Brut
Denver, CO
_________________________________________
SAINT OF ME !!!
Glad to see it -- probably the best ignored or celebrated Rolling Stones song ever!
Tom Werman
_________________________________________
MORE GIANT/DANN HUFF
Charlie Minor was promoting Giant. He worked them every way he could and was willing to do anything if I would recommend them. He did the same for other influencers. Then, I was at Lee Abrams at his house and he was writing a report for the record company about what the band needed to do to break through. We cranked the stereo and listened for that elusive hit that was sometimes buried in the middle of side 2. For a band that got so much passionate support from the label, I was surprised they didn't get more traction, at least for a while. But as Album Rock playlists tightened, they were never going to get that shot.
John Parikhal
_________________________________________
I worked for many years with Dann. He produced hits for me and my co-writers. We also did one co production project together.
Not only is he a huge talent but he's also a gentleman and someone who helped Nashville move beyond the good ole boys network.
Annie Roboff
_________________________________________
Very close with Bud Prager who asked me to see his new band at the Roxy. I got there early and there was this young kid by himself on stage doing comedy. I went back stage and signed him. Pauly Shore before MTV
Jerry greenberg
_________________________________________
?When I was a young kid (10-11 years old) I had a band that was managed by Bud Prager. Bud got us signed and thought of Dann to produce and write a few songs. This was in 1992 right when Giant's album Time to Burn was released. It was a mind blowing experience to say the least. But what I remember more than anything from those sessions was Dann's kindness and patience. I remember hugging Dann and crying when the final session ended-working with him was an experience that changed my life. Thanks for bringing him up.
Dan Monti
_________________________________________
RE: BORDER
Hey Bob,
Just an FYI, Mads Mikkelsen wasn't the Russian President in House Of Cards, Lars Mikkelsen, his brother was, who coincidentally was in something you recommended that was very very good called Ride Upon The Storm.
Have a good day.
Devoted reader,
Dave Hamilton,
Philadelphia, PA
_________________________________________
RE: FEE WAYBILL
Hello Bob,
?
Thank you.
?
I just finished listening to your podcast with Fee Waybill.
?
Like you, I am a big fan of the Tubes. I was fortunate to see them the first time when I was a student at Sonoma State in the way early '70's. Their original second drummer, Bob, was still in the group. I had no idea what I was in for. I never experienced such a combination of incredible musicianship and humor in a band. Another memorable show was at a club called the Lion's Share in San Rafael where they played two sets with a one hour intermission in which they screened Pink Flamingos. They are the only band that I continue to follow. Even at $6.00 a gallon I plan to make the schlep in June from Santa Monica to Agoura to catch their current show.
?
Thanks again,
Steve Ades
_________________________________________
From: Pstupar
I so enjoyed hearing Fee discussing the history of the Tubes. I arrived in SF from Washington DC in the fall of 1973. The first show I attended was the Pointer Sisters performing a week of shows at the Boarding House. I went to see what the fuss was about. The Tubes were the opening act. I had never witnessed such a performance. I went back again & again & took my Nikon. In 1975 I was hired at A&M records which thrilled me even more. I don't think I missed a Tubes show for years. People don't realize how big they were in SF. 20-30 shows a month in some clubs. I went to them all. For a while, they might have been the best rock & roll band in the world. Never a bad performance. There are so many great stories here that it's a shame Fee didn't have time to discuss them. Michael Cotton is the historian for this band. He put together a massive documentary years ago with concert footage that everyone wants to see. Unfortunately, it will take a music lawyer to get the clearance that is needed. That may never happen for financial reasons. A shame. But Michael Cotton did produce a wonderful picture book just for the fans. The Tubes Live 1973-1979. Only available on Blurb.com as far as I know but a wonderful souvenir if you were there. Peter Stupar ps...you can hear Rock & Roll Hospital on a live radio broadcast from KLRB recorded back in the day.
_________________________________________
RE: TIM CONSIDINE
Nice (if gloomy) obit. Being English, I had no idea who Tim Considine was until today. But I had to laugh at your description of your mother being a great "thrower awayer." Mine was too. Many's the time I would come home from school looking for a favorite toy, say maybe a matchbox car, only to be told "Oh that, I gave it to the neighbor's kid". We were poor, but apparently they were poorer than us. Her "piece de resistance" however, came with the comic book incident. We had an old coal fire which you had to rake the ashes out of, wrap in newspaper and throw away. One day she couldn't find any newspaper, so used one of my comic books. Amazing Spider Man. #1. Yep. In perfect condition today, worth around $300k. You have to laugh....
Mark Hudson
(Note-my mother threw out all my baseball cards.)
_________________________________________
Thanks for mentioning the passing of Tim Considine.
Tim did have a bit part in the movie Patton. He was the shell shocked guy sitting in the hospital tent that George C. Scott called a coward and smacked with his gloves.
I prefer to remember him as Spin or as Mike.
Cheers!
Gene Bonos
_________________________________________
Bummer about Tim Considine. I remember his as you do, in Spin and Marty and My Three Sons. I thought he was cool. A decade older than me, a teenager when I was an adolescent.
I'm surprised you didn't mention what I consider to be his most significant achievement, for my life at least... he shot the photo of Joni Mitchell used on the cover of Blue, one of the greatest albums of all time.
Gary Burden, who designed the cover, printed it using a Ferro cyanotype process that produces blue prints, and increased the contrast to made it look stark, edgy, and frankly rather muddy. The original is a drop dead beauty, soft and sensuous, languid and startlingly beautiful. And somehow sans the microphone that's in the cover shot. Was the mic added for the cover, or removed the "original" version? Gary Burden is gone, but I'll bet Henry Diltz knows.
I found this out three or four years ago in a boredom induced internet deep dive, and saw then that the picture was available from Tim's own website for $400. I snoozed, and ultimately, losed. A few months ago, I looked again, and it was gone. The website was down, and there was no referent to purchase the print anywhere. Bummer!
So until I find one, I hang onto my little jpeg from the web. It's a real beauty. And I'll keep looking for it out there somewhere.
RIP Tim Considine. After all you did that was prominent and cool, thanks for that one image that is burned permanently in my mind.
Dan Navarro
P.S. Found this just after I hit send, from Tim Wilson and his Sounds of '71 Tumblr blog.
https://soundsof71.tumblr.com/post/158524933545/joni-mitchell-blue-the-original-cover-photo-by
He mentioned that, though Blue is from 1971, the photo is from 1968 (while My Three Sons was still on the air), taken at the Troubadour in Los Angeles.
The microphone was in the original, and was removed later by Tim. A direct quote, from the horse's mouth...
"It was indeed a black & white photograph originally, shot with an experimental instrument film rated at the then unheard of ASA (ISO) of 6000. And, yes, it had the microphone in it. The truth is, I hated the way it was rendered on the cover, an artistic decision by the art director, who processed it as a daguerreotype, thereby, in my opinion, heightening the contrast enough to remove all the softness and subtlety of the original image. So I made my own versions, both with and without mike for prints that are sold to collectors around the world. The version on this site is without the mike, but one with the mike included is requested just as often."
Now I know. Man, I love that shot.
x
dn
_________________________________________
RE: THE STATE OF THE UNION
Hi Bob,
You've hit lots of nails on the head; I wish I could say you are being pessimistic about the body politic, but alas...
Here's the quick aside that neatly described my own experience of moving from a CT suburb (Meriden) to Middlebury:
"I mean I grew up in a suburb, only fifty miles from New York City, but until I went to college I had no idea what was going on in the rest of the country, despite watching television and reading the news. I'd never been around people SO RICH! You think you want a seat at the table, but you can't get and keep one until you know where these people are coming from, how to behave around them."
These people were a different species. I had no idea, having picked Middlebury out of the Lovejoy college guide. The first day I was waiting in line to get sheets (from Foleys, if I recall this insignificant detail correctly) and the pleasant guy behind me introduced himself: "Hi, I'm Court." Court? I had never heard of such a name.
Anyway, it's always a provocative pleasure to read you.
Best,
John Hyman
_________________________________________
RE: GARY BROOKER
Hi Bob-
As a young teen, I taught myself to play piano by figuring out "Whiter Shade Of Pale"
Fast forward a number of years and I'm writing songs with Keith Reid which leads to my role as Producer/Engineer/Musician (and co writer on a bunch of the songs) for Procol Harum's "The Prodigal Stranger". Then Keith brings me in to write and play on Robin's "In The Line Of Fire". Both projects were an amazing experience with some of the best musicians I have ever worked with...and what a thrill it was to hear Gary sing!
As you mentioned, both albums were sadly overlooked at the time. But it was really nice to get a shout out from you...made my day.
Best-
Matt Noble
_________________________________________
I got to see Procol Harum perform live twice. Both times with the Edmonton Symphony. Back in 1971 I was the Assistant Manager of the Orchestra and at the time we were looking for a follow-up to a pair of wildly successful Sold-Out performances with the Canadian band "Lighthouse" Our first with a rock group.
Although it seemed an impossible dream, Procol Harum was on the-follow-up list from the get-go. That summer the band announced a tour of Canada which included a stop in Edmonton. Through intermediaries, a meeting was set-up and on a sunny day in mid-August I showed-up at a hotel for a meeting with Gary and the band's then manager, Derek Sutton to discuss the possibility.
It was a warm, friendly and productive meeting. In the spirit of a Judy Garland/Mickey Rooney movie ("Hey! I've got a barn. You've got a band. Let's put on a show!") I headed back to the office knowing that the Procol Harum would be returning to Edmonton in November to perform a show. A sign of very different times. Three guys in a room. A done deal. Let's put on a show!
We moved forward full sail until about three weeks before the concert when we got an unexpected call from Derek. The band had decided to record the concert. Additional logistical and contractual provisions were on the table. They were accomplished with time-to-spare and without superfluous drama. Three weeks. Different times. For sure.
Now along with an additional AFM agreement, the legendary Wally Heider was involved in the process. He tore-down his Hollywood-based mobile recording truck, packed the equipment into Anvil cases, and shipped it all up to Edmonton. The Green Room was now a control room. Cables everywhere. Wally showed-up to personally engineer the recording.
It was a whirlwind. No question. When I met the band at the airport, Gary and his wife were carrying orchestral parts that he had been fine-tuning and finalizing and she had been copying on the plane. The ink was still wet. Literally! But they weren't smudged and they worked.
The whole endeavor was a marvel of collaboration. The initial mutual wariness on both sides (orchestra and band) dissipated within minutes of the first down-beat at the first rehearsal and the resulting concert was a resounding success. We have a recording to prove it.
The concert had it's moments.
The concert opened with "Conquistador". A few songs in, after the live surround-sound recorded bird "tweets" and quiet opening of "Salty Dog", in the room the Tom Tom hits from the incomparable BJ Wilson were heart-stopping. They are on the recording. Throughout the recording, throughout his career(!), BJ didn't just play beats. He played licks. There wasn't another drummer like him.
In a moment of quiet reflection early in the performances of "In Held Twas In I" (3:37 on the recording) Keith Reid emerged from the shadows to a side-stage mic to recite words that he had written. His first (and up to that point, only!) live appearance with the band.
Much to the disappointment of everyone in attendance, "A Whiter Shade of Pale" was not(!) on the Set List. As brilliant and iconic as the song is, four years after it's release Gary was determined NOT to be known as a "one hit wonder" so the song wasn't played. Maybe a good (temporary) call. The "Conquistador" recording from the concert was a "hit".
There was enough time left on the clock (and the musicians' contract provisions) for "encores". The audience was treated to a second take of "Conquistador" (the planned a single release) and another full performance of the daring and complex "In Held Twas In I"
The orchestra's then Music Director, British conductor Lawrence Leonard, was worried about his "serious music cred" and agreed to conduct the concert under the strict condition that he would not be credited, mentioned in the press or in any promotions for the album. A decision he later actually came to regret.
In 2010 I flew back to Edmonton for two Sold Out performances (willingly conducted by the orchestra's Music Director, William Eddins) celebrating the almost 40th Anniversary of the first landmark concert. The band was new. BJ was gone and the others were not there. The arrangements were reworked and extended and some additional songs were added. Gary was in phenomenal form. He sang and performed his work as powerfully and compellingly and committed has he had the first time around.
Dave Ball, who played guitar at the original concert (the youngest member of the group at the time) was also in the anniversary audience. He planned the stop-over on a trip between the UK and New Zealand/ A real reunion. Dave has unfortunately passed as well.
And yes, "A Whiter Shade of Pale" was performed. With an unexpected and astonishingly effective mid-song minor key modulation that took it into a new musical territory.\
Gary did know what he was was doing. He does, and will indeed, Shine On Brightly.
Bob Hunka
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Tuesday, 8 March 2022
Stones Favorites Playlist
https://spoti.fi/3Mt2nYy
Route 66
Tell Me
Around and Around
The Last Time
Under My Thumb
Ruby Tuesday
2000 Light Years From Home
The Citadel
Parachute Woman
Stray Cat Blues
Salt of the Earth
Gimmie Shelter
You Can't Always Get What You Want
Sister Morphine
Soul Survivor
Casino Boogie
Loving Cup
Ventilator Blues
Let It Loose
Doo Doo Doo Doo Doo (Heartbreaker)
Ain't Too Proud to Beg
Time Waits For No One
Hand of Fate
Memory Motel
Beast of Burden
Mixed Emotions
Hearts For Sale
Slipping Away
Love is Strong
Saint of Me
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Route 66
Tell Me
Around and Around
The Last Time
Under My Thumb
Ruby Tuesday
2000 Light Years From Home
The Citadel
Parachute Woman
Stray Cat Blues
Salt of the Earth
Gimmie Shelter
You Can't Always Get What You Want
Sister Morphine
Soul Survivor
Casino Boogie
Loving Cup
Ventilator Blues
Let It Loose
Doo Doo Doo Doo Doo (Heartbreaker)
Ain't Too Proud to Beg
Time Waits For No One
Hand of Fate
Memory Motel
Beast of Burden
Mixed Emotions
Hearts For Sale
Slipping Away
Love is Strong
Saint of Me
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
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Crying In H Mart
https://amzn.to/34uNrrW
Why are the best music memoirs always written by women?
I was overhyped. Album and book launched in the same window. Seemed more about marketing than content. And you know how the media is, they'll bite at any story. Well, not any, but if you've got a powerhouse publicity team behind you, with relationships, as well as a company with the means to push the button, you can get articles in traditional media without much effort. How many of these projects go on to success? Astonishingly few, undercutting the credibility of said media outlets. They are content factories expending little effort to separate the wheat from the chaff, the end result being that you don't trust anything they write, and this hurts everyone. I'll be honest, see a project hyped in multiple publications and one pays attention, someone is spending money, and there is a benefit to that in a world where rising above the morass is difficult, but unless you're a media junkie you probably won't even see these multiple articles, you might not ever hear of the project whatsoever.
But I pay attention. And I was turned off. Commercially middling at best musical artist now writes a book? Isn't that supposed to happen after success? There's so much you can ignore in today's world, unfortunately in that process you throw out that which deserves attention. "Crying in H Mart" deserves your attention. I heard about it from enough people to reserve it at the library. I certainly wasn't going to buy it. And while I was waiting for it to appear on Libby, it hit #1 on the "Los Angeles Times" chart.
Not that you should trust the L.A. "Times" chart. I had a friend who owned a bookstore, I was privy to the machinations, in truth certain stores have untold influence. You can trust the "New York Times" chart, even the one in the "Wall Street Journal." But the one in the L.A. "Times"? Forever Amor Towles's new book, "The Lincoln Highway," sat atop the chart. I mean there was immediate demand for the follow-up to "A Gentleman in Moscow," but I read "Lincoln Highway," and it was subpar, something a college student would write on their first try. Yes, it was an adventure...but loose ends are never tied up, and to call the book "Lincoln Highway" is a misnomer, and the ending if not quite ridiculous, is close. But still, "Crying in H Mart" went to number one? The only time this happens with a music memoir is when it's a long in the tooth rock act, for a week or two at best. And Michelle Zauner does not fit into that category.
But then I got a notification that I could jump the line, so I downloaded "Crying in H Mart" and started reading it and...
H Mart is a Korean grocery store. And there's a lot of food references and cooking in this book. And if you've never had Korean food, you're clueless. But I have had Korean food and love it, Asian is my favorite, but Korean is different from the Chinese/Thai twins. You can say Korean is similar to Japanese, but it's distinct. First and foremost there are the zillion little dishes they ply you with at the start of the meal. But having said that, I was clueless as to most of what was being talked about throughout this book. I ended up leaving the wireless connection to my Kindle on, so I could highlight the words so they would be looked up in Wikipedia, but the Kindle chip is underpowered and slow, and still there were not definitions of most of the cuisine. So I advise you just roll with it, see the unfamiliar names and keep going. One can argue they interrupt the flow of the book. But they're also part of its magic. Because food is so important to Michelle's mother and her family. Today food could be the number one entertainment source in America, even more powerful that concerts. The experience is available to everyone, you've just got to dive in.
So, bottom line, Michelle's mother is Korean, and she dies when Michelle is in her twenties.
Michelle's mother married an Anglo who she met in Korea. A former drug addict, now clean, trying to make his way in business. And after a peripatetic journey as far as Germany, the family settles down in Eugene, Oregon. A college town, but not that much more. At least according to Michelle. And her family ends up moving to the boonies, but music keeps Michelle alive, she wants to play music.
And her mother hovers. She does not work outside the house. She tries to micromanage Michelle and the sparks fly. To the point where Michelle ultimately has a nervous breakdown. But she gets into Bryn Mawr and then tries to make it as a musician in Philadelphia, which means having a day job. You plan tours where you play to few, but music is not keeping you alive, in this case your gig at the restaurant is.
And then Michelle's mother gets cancer.
Well, they have a love/hate relationship. And Michelle is keeping her distance. But it is her one and only mother, and she thought she'd be around for a long time. But she ultimately dies.
I'm revealing essentially nothing here. These facts are proffered from the very beginning. It's the details, the emotions, the stories between the facts that make "Crying in H Mart" such an impressive, satisfying read. I mean you're anything but a traditional girl, you're half Korean, and reminded of this seemingly daily, you're trying to fit in and not having an easy time of it, and now you're drawn back to the source of so much of your trauma?
And "Crying in H Mart" is personal. It doesn't try to establish big themes so the masses can identify. This is not "Tuesdays with Morrie." But it's the specific that we truly resonate with. The more bland and general, the less effect the work has on us. You see we're all individuals, looking to feel included, involved, understood. We're looking for people like us. And despite people's exterior image, we've all got questions inside, we're all debating how to play the game, how we're perceived, and when we're exposed to the interior mind of another we feel positively human and alive, like we're not the only one.
Now in truth hip-hop can be personal, although less so than in its infancy. And bombast and bluster have always been part of the equation. And in the heyday of classic rock, personal was key, especially with the singer-songwriters, who yes, were considered rock. I mean Joni Mitchell is a legend, there's nothing close today. An adult speaking adult truth, unworried about the reaction thereto. And in the heyday of classic rock, pop was a sideshow, but ever since its exaltation on MTV it's become part of the main show. The fact that Mariah Carey is lauded and imitated is confounding to those of us who lived through the classic rock era. And that's one of the turn-offs of today's music business, it's just about business. As for that which touches hearts, it's fringe, kind of like Zauner's Japanese Breakfast.
Then again, you read this book and you realize how many bands are out there, how many are trying to make it, how far the bar has been lowered.
But Michelle Zauner is smart and educated. And that separates her from so much of the dross. Each of us has our own special gift, but in truth big time music is now about creating a brand and then extending it. The content of it is secondary. And therefore, although there are a good number of street smart people involved, it's not a bastion of intellectualism. Not that you must go to college, but so many of the classic rockers were readers, big thinkers. In many cases it was books that got them started down the alternative path, like "On the Road." Today the starting point is far different, based in online, social culture. And the goal is to buy in as opposed to stand out. But how interesting is that?
"Crying in H Mart" is very interesting. Because we've all got parents. And certainly the music fans of yore felt like outsiders. And it's not really about music so much as it is about family, emotions, choices, experiences, and we can all relate to that. Which is all to say you don't have to be a music fan, don't even have to know about Japanese Breakfast to enjoy "Crying in H Mart." Now I understand why it's a best-seller, with four and a half stars and 7,073 ratings on Amazon. That's quite a lot, if you don't pay attention to the numbers.
So I heartily recommend "Crying in H Mart," dig into it after reading Kathy Valentine and Rickie Lee Jones's books. Then again, Michelle Zauner is from a different generation, we haven't had a book like this from a millennial yet. It's a great leap forward. The result of independent thinking, as well as the aforementioned intelligence and education. You see Zauner can write, which most writers of music memoirs cannot. They're ghost-written, but they're still paint by number concoctions. I did this and then I did that and I stumbled here but then I emerged victorious...it's like an episode of "Behind the Music." But not "Crying in H Mart." It will affect you.
Why are the best music memoirs always written by women?
I was overhyped. Album and book launched in the same window. Seemed more about marketing than content. And you know how the media is, they'll bite at any story. Well, not any, but if you've got a powerhouse publicity team behind you, with relationships, as well as a company with the means to push the button, you can get articles in traditional media without much effort. How many of these projects go on to success? Astonishingly few, undercutting the credibility of said media outlets. They are content factories expending little effort to separate the wheat from the chaff, the end result being that you don't trust anything they write, and this hurts everyone. I'll be honest, see a project hyped in multiple publications and one pays attention, someone is spending money, and there is a benefit to that in a world where rising above the morass is difficult, but unless you're a media junkie you probably won't even see these multiple articles, you might not ever hear of the project whatsoever.
But I pay attention. And I was turned off. Commercially middling at best musical artist now writes a book? Isn't that supposed to happen after success? There's so much you can ignore in today's world, unfortunately in that process you throw out that which deserves attention. "Crying in H Mart" deserves your attention. I heard about it from enough people to reserve it at the library. I certainly wasn't going to buy it. And while I was waiting for it to appear on Libby, it hit #1 on the "Los Angeles Times" chart.
Not that you should trust the L.A. "Times" chart. I had a friend who owned a bookstore, I was privy to the machinations, in truth certain stores have untold influence. You can trust the "New York Times" chart, even the one in the "Wall Street Journal." But the one in the L.A. "Times"? Forever Amor Towles's new book, "The Lincoln Highway," sat atop the chart. I mean there was immediate demand for the follow-up to "A Gentleman in Moscow," but I read "Lincoln Highway," and it was subpar, something a college student would write on their first try. Yes, it was an adventure...but loose ends are never tied up, and to call the book "Lincoln Highway" is a misnomer, and the ending if not quite ridiculous, is close. But still, "Crying in H Mart" went to number one? The only time this happens with a music memoir is when it's a long in the tooth rock act, for a week or two at best. And Michelle Zauner does not fit into that category.
But then I got a notification that I could jump the line, so I downloaded "Crying in H Mart" and started reading it and...
H Mart is a Korean grocery store. And there's a lot of food references and cooking in this book. And if you've never had Korean food, you're clueless. But I have had Korean food and love it, Asian is my favorite, but Korean is different from the Chinese/Thai twins. You can say Korean is similar to Japanese, but it's distinct. First and foremost there are the zillion little dishes they ply you with at the start of the meal. But having said that, I was clueless as to most of what was being talked about throughout this book. I ended up leaving the wireless connection to my Kindle on, so I could highlight the words so they would be looked up in Wikipedia, but the Kindle chip is underpowered and slow, and still there were not definitions of most of the cuisine. So I advise you just roll with it, see the unfamiliar names and keep going. One can argue they interrupt the flow of the book. But they're also part of its magic. Because food is so important to Michelle's mother and her family. Today food could be the number one entertainment source in America, even more powerful that concerts. The experience is available to everyone, you've just got to dive in.
So, bottom line, Michelle's mother is Korean, and she dies when Michelle is in her twenties.
Michelle's mother married an Anglo who she met in Korea. A former drug addict, now clean, trying to make his way in business. And after a peripatetic journey as far as Germany, the family settles down in Eugene, Oregon. A college town, but not that much more. At least according to Michelle. And her family ends up moving to the boonies, but music keeps Michelle alive, she wants to play music.
And her mother hovers. She does not work outside the house. She tries to micromanage Michelle and the sparks fly. To the point where Michelle ultimately has a nervous breakdown. But she gets into Bryn Mawr and then tries to make it as a musician in Philadelphia, which means having a day job. You plan tours where you play to few, but music is not keeping you alive, in this case your gig at the restaurant is.
And then Michelle's mother gets cancer.
Well, they have a love/hate relationship. And Michelle is keeping her distance. But it is her one and only mother, and she thought she'd be around for a long time. But she ultimately dies.
I'm revealing essentially nothing here. These facts are proffered from the very beginning. It's the details, the emotions, the stories between the facts that make "Crying in H Mart" such an impressive, satisfying read. I mean you're anything but a traditional girl, you're half Korean, and reminded of this seemingly daily, you're trying to fit in and not having an easy time of it, and now you're drawn back to the source of so much of your trauma?
And "Crying in H Mart" is personal. It doesn't try to establish big themes so the masses can identify. This is not "Tuesdays with Morrie." But it's the specific that we truly resonate with. The more bland and general, the less effect the work has on us. You see we're all individuals, looking to feel included, involved, understood. We're looking for people like us. And despite people's exterior image, we've all got questions inside, we're all debating how to play the game, how we're perceived, and when we're exposed to the interior mind of another we feel positively human and alive, like we're not the only one.
Now in truth hip-hop can be personal, although less so than in its infancy. And bombast and bluster have always been part of the equation. And in the heyday of classic rock, personal was key, especially with the singer-songwriters, who yes, were considered rock. I mean Joni Mitchell is a legend, there's nothing close today. An adult speaking adult truth, unworried about the reaction thereto. And in the heyday of classic rock, pop was a sideshow, but ever since its exaltation on MTV it's become part of the main show. The fact that Mariah Carey is lauded and imitated is confounding to those of us who lived through the classic rock era. And that's one of the turn-offs of today's music business, it's just about business. As for that which touches hearts, it's fringe, kind of like Zauner's Japanese Breakfast.
Then again, you read this book and you realize how many bands are out there, how many are trying to make it, how far the bar has been lowered.
But Michelle Zauner is smart and educated. And that separates her from so much of the dross. Each of us has our own special gift, but in truth big time music is now about creating a brand and then extending it. The content of it is secondary. And therefore, although there are a good number of street smart people involved, it's not a bastion of intellectualism. Not that you must go to college, but so many of the classic rockers were readers, big thinkers. In many cases it was books that got them started down the alternative path, like "On the Road." Today the starting point is far different, based in online, social culture. And the goal is to buy in as opposed to stand out. But how interesting is that?
"Crying in H Mart" is very interesting. Because we've all got parents. And certainly the music fans of yore felt like outsiders. And it's not really about music so much as it is about family, emotions, choices, experiences, and we can all relate to that. Which is all to say you don't have to be a music fan, don't even have to know about Japanese Breakfast to enjoy "Crying in H Mart." Now I understand why it's a best-seller, with four and a half stars and 7,073 ratings on Amazon. That's quite a lot, if you don't pay attention to the numbers.
So I heartily recommend "Crying in H Mart," dig into it after reading Kathy Valentine and Rickie Lee Jones's books. Then again, Michelle Zauner is from a different generation, we haven't had a book like this from a millennial yet. It's a great leap forward. The result of independent thinking, as well as the aforementioned intelligence and education. You see Zauner can write, which most writers of music memoirs cannot. They're ghost-written, but they're still paint by number concoctions. I did this and then I did that and I stumbled here but then I emerged victorious...it's like an episode of "Behind the Music." But not "Crying in H Mart." It will affect you.
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Your Favorite Stones Song-This Week On SiriusXM
Tune in today, March 8th, to Volume 106, 7 PM East, 4 PM West.
Phone #: 844-6-VOLUME, 844-686-5863
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Monday, 7 March 2022
Re-Giant/I'm A Believer
Hello Bob!
I was forwarded the article you wrote regarding Giant. I am the singer in those videos and I must say that you completely made my decade! I very much appreciate your kind words and taking the time to write about Giant.
Thanks again!
Bryan Cole
P.S. It was truly an honor to be a part of such a great band. Wonderful guys that still remain friends to this day
____________________________________
Every player in town that knew about this going on was flipping out; myself included. I was unfortunately on the road when they held this benefit for "Toddzilla" that gave us this reunion but saw the video the next day.
Todd (Austin), a Nashville musician fixture for decades, had lost possessions & pets in a house fire.
Nashville is pretty darn cool and our musician community is just phenomenal!!
Lee Kelley
____________________________________
I was just out of music school when Giant appeared in '89 and Dann Huff elevated rock guitar to another level. My musician friends and I were obsessed. And though we've moved on of course - some of my friends are playing professionally, while others are on the industry side, we're still as obsessed as ever with certain players - Eric Johnson, Steve Lukather, Jeff Porcaro, Dann Huff. We stay in touch by sending each other links of solos, songs, and live performances; and when we get the chance to see each other IRL, anyone in our orbit will inevitably be subjected to a deep dive on why Giant mattered.
Thank you for this and for the links - the 2017 performance, which I didn't know existed, will be a great addition to my group text collection.
And, here's one for you: from Dann Huff's instructional video which was recorded circa Time To Burn. Aside from his astonishing guitar work (see: instruction on how to play the scorching opening lick @ 8:42), the joy he exudes from playing is palpable and so fun to watch.
https://youtu.be/pWThQ0DuJr0
— Kirsten Cluthe
____________________________________
Loved Giant and have been hoping that record would be released on vinyl one of these days. I saw them at a little club in Murfreesboro TN (outside of Nashville) before the record dropped and they did an epic Jeff Beck cover. I think maybe it was Goodbye Pork Pie Hat but can't remember now.
Kevin Twit
____________________________________
You nailed this one - right down to sheepish Dan Huff, remembering the old days and then blowing away his alt-country-loving Nashville fans with incredible playing. I dove into the rabbit hole and didn't come up for a few hours.
JH Tompkins
____________________________________
The Last of the Runaways album has been a guilty pleasure of mine for so many years. It's a record filled with choruses from front to back. It's no wonder that Dann Huff went on to have the career he's had.
Thanks for the reminder on this one as it's been a while since I've listened.
Jaime Feldman
____________________________________
I love when you do this, Bob... Giant was an amazing band/album... and your description is so spot on. I feel the same way about Winger's album, Pull... so much history and media noise, that's it easy to miss how great they all sound (and play together). 1988 - 1998 had so many albums like this... I'd even argue that Bon Jovi's These Days was one of their better albums... but they had no chance facing the flannel and sounds of Seattle.
Thank you, as always, for reminding me about bands and albums that I loved... and let go by the wayside...
MITCH JOEL
____________________________________
Great to read about Dann , Giant and "I'm A Believer". Yeah, he was defiantly perceived as a "threat" or interloper (from Nash Vegas, for chrissakes!) by the more established "hired guns" in LA at the time. I know, I was there. I built all the guitar rigs for many of the best studio players of that time and was friends with most of them. In fact, I demoed to Steve Lukather Dann's rig I had just built for him at my house on 4th street in Santa Monica. At different late night "get togethers" there would be talk like "who is this Dann Huff guy coming here getting all the gigs?" ….Ha ha! But Dann was such a nice guy and certainly a great player who eventually moved back to Nashville and started an extremely lucrative career as a top producer. Fun times!
Bob Bradshaw
____________________________________
lol
I didn't roast Dann. I think he is a huge talent and a sweet guy.
Great band that had potential but no commitment. Its HARD to make it as a band !!! You gotta LOSE money to make it and hang in there. Had they had a hit record history may have changed that.
Too much money in studio work for Dann and Alan Pasqua and then I heard Mutt gave him some production gigs and poof.. he has done very very well for himself.
Alan is a massive talent who last I heard was teaching jazz at UCLA and doing lots of film work. Another great guy,.
Dann DID do a mighty good impression of me when he came to LA. hahaha Even he would admit it. He found his own voice and I still dig the guy and never had any issues as I had pretty much stopped doing lots of session s by the time he started.
I am a fan.
Luke
____________________________________
Thank for shedding some light on Dann Huff. First heard he and his drummer brother in the band Whiteheart, which was kind of an 80s Christian version of Toto when I wound up on a festival bill with them. Dann went on to a long list of high profile studio credits and was working the late 80s LA scene along with Steve Lukather, Michael Landau, et al. He copped heavily from Luke's style, for which Luke lightly roasted him in his book.
He did very well as a producer du jour upon returning to his hometown of Nashville. His father, Ron Huff, was a very busy arranger/orchestrator in Nashville for decades, so Dann inherited quite a Rolodex when he got into the biz.
Michael Gregory
____________________________________
I moved from San Diego to LA Jan 1985 for music. By Aug 85
I was homeless and sleeping on the couch at Baby O studios. They had a rehearsal room on Vine and one of my ways of earning my keep was to open, close, clean and run the rehearsal room. I was broke and had no Hollywood cred so most people ignored me there.
Once day a band was rehearsing in there and one guy kept talking to me named Dann Huff. I being a guitar player noticed him right away and at that point in my life I had never seen such an amazing guitar player up close. He was mind blowing good. I was a huge Bowie fan and so was Dann. He told me about meeting Bowie and almost getting to play on a record with him which was also mind blowing ( I would meet and hang out with Bowie 3 years later but that's a different story).
Point is Dann Huff made me feel so special at the lowest time of my life and I will never forget that. In 1990 his Giant record was out as was my first major label record called Colorcode.
Dann and I could now talk like colleagues but I had mad respect for him always remembering how he treated me when I was a no one in LA.
When he became a massive Nashville Producer my hopes were and still are that he will take one of the many Sass Jordan songs I wrote in the early 90s and get a country star to do a cover…..I could use a new house.
Stevie Salas
____________________________________
Great piece. I've been a Giant fan for a long time. Still love playing their music cranked to 11.
Thanx for reminding the world their music still exits. Steve
____________________________________
I have all 6 of the Giant albums. There are usually 4 or 5 killer cuts per disc.
There is a Live And Acoustic-Official Bootleg, released in 2003 with Dann and David Huff. It features both Live and acoustic versions of "I'm A Believer".
I would disagree that the band has broken up. There is a brand new album, Shifting Time, released on January 21, 2022. Dann Huff plays on 1 track; David Huff plays drums again.
Tony Colao
Easthampton, MA
____________________________________
Bob, I didn't know about the Giant reunion but I was a fan from the first CD and have listened to it on and on over the years. Thanks for making me aware. LOVED seeing that reunion clip. Sounded better than it should for a club gig!
Best,
Ray Palagy
ESPN Sound Design
____________________________________
This is timely - A friend of mine put on Janis Ian's Breaking Silence today - I made an offhand comment about the killer guitar parts - turns out they were played by none other than Dann Huff.
Vince Welsh
____________________________________
Great piece. I discovered, like you, that reunion club video a few years ago. I think Dan not singing at that gig was a function of no longer being able to hit those notes which was evident even in the 1980 live video (which I have also watched many times). As us singers get older, the voice tends to get deeper and in most cases (mine included) rougher and those high notes are no longer within reach.
But, damn, can that boy still play his ass off or what?
Between this and the piece about Terry Thomas and Charlie, you are putting together a great look at bands who never really broke through but were just so very crazy good. Loved both of those pieces
Bill Evans
____________________________________
Giant-
What the late great Kevin Gilbert used to call "H-T-P's" - "…highly trained professionals…"
Like so many, great at commerce and craft, really low on innovation, art and the things that make any form of popular music really matter…
See Bob, what so many of us often forget is that between 1964 and 1975 we experienced one of the few times in the history of this world that the most successful popular music being made was also the best music being made.
And back then listeners and bands were in a social contract – the bands created music and presented a lifestyle that helped us make sense of the world around us and in doing so they really mattered…
Peace and Love,
Paul ILL
MFT, MusiCares
Instructor, Jail Guitar Doors
Www.adoptthearts.org - Board Member
Www.dolphinproject.net
____________________________________
Sorry to burst your bubble, but there's a reason I've never heard this song or album before. It is terrible music! It combines all of the worst elements of 80's excess into one shiny turd. It tries to be everything to everyone: Cheesy synths, wanker guitars, BIG snare sounds and mechanized drums. If you combined Whitesnake, U2, Van Haggar and the Fixx into one horrifying algorithm, this would be it! In no way does that qualify as classic rock, classic metal, or even tasty pop music.
Don't get me wrong, I totally understand your reminiscing about the power of real rock and roll bands/concerts etc. I was there too! I just doubt many people are nostalgic for formulaic dreck like this.
Geez…
Jarrett Light
____________________________________
"And then there are those who believe punk rules, if it gets too complicated it gets too self-conscious and loses the essence."
Yeah, why bother having all those other weird chords, right? I mean, what's next, harmonies? Singing in tune?
Berton Averre
____________________________________
Man, you got me. I missed them, probably because of the very thing you mentioned, music had changed by that time. Nobody was looking for this. IF they had hit that 15 year time warp you nailed, they could have stood toe to toe with VH etc. top 70's, 80's bands. Believer has that U-2 guitar riff, and he kills it. Stay is also has a great sound and Thunder and Lightning. Huff is fantastic, he's so good it looks easy. Thanks, I got'em in my library now.
John Brodey
____________________________________
I was surprised yet so glad you recognized Giant. They were "such" a great band. Dann Huff's an incredible talent. Killer guitar player, great singer, and a kick-ass songwriter. Man, I wish Rock was back.
Regards,
Peter Kalish
____________________________________
Great to see you giving one of the most underrated and passed over bands their due recognition. Giant's second record, "Time to Burn" was even better than "Last of the Runaways". Dann teamed up with the late great Van Stephenson of Blackhawk fame to write most of the material on that second record and they found what would have been their essential sound on songs like "Chained", "Stay", and " I'll Be There When It's Over". TTB is a songwriting and production masterpiece that is very much worth the time to check out.
Last thing, and just a bit-picky niggle really, but to say Dann Huff wasn't as well known as a session guitarist as others of the era might be a little bit off. Obviously not to civilians, but if you are a musician, his name might as well be like sterling stamped on silver. Us session, touring, and production cats all know damn well he's one of the most recorded guitarists in music history. Huff, Luke, and Michael Landau were on everything back then, sometimes all three on the same record. Simply one of the most innovative and brilliantly musical players of all time. If you really want to hear what he was great at when a producer just let him have his way in the booth, check out the Patrick Leonard-produced Peter Cetera record "One More Story" or Michael W. Smith's lead track "Lamu" off his mid-80s commercial breakthrough "The Big Picture". Huff's inventive parts elevated those records to the heights of some of the most innovative sounds you'll ever hear and his signature sound still stands up to this day.
Thanks for shining a light on those guys. Incredible band and each original member (c'mon, Alan Pasqua and Mike Brignardello, too??!) was a huge piece of what made them so fantastic.
Deane Ogden
Bali
____________________________________
I hope all is well in your world!
You gave me that warm, fuzzy feeling today with your words about Giant. Years before I was fortunate enough to meet "The Late, Great Bud Prager," whom I regularly credit with saving my business and possibly my life . . . (everyone needs a solid mentor & friend, and Bud, may be the best of both that's ever been) . . . I got turned onto Giant. Their "Last of the Runaways" album, which featured "I'm A Believer" and the hit ballad "I'll See You In My Dreams" was a favorite of mine for years. The guitar layering and spacial riffing on the title track is absolutely sick . . . check out Dann Huff creating an "Edge-like" soundscape with intermittent lead lines that I've only heard from the likes of Dann, Steve Lukather, Larry Carlton, or Jay Graydon.
I met Dann at Bud's memorial service, and later became friends with his brother and drummer David Huff through mutual acquaintances. In addition to both being immensely talented musicians who have played with everyone, Dann and David are two of the nicest music industry guys I've ever met . . . great DNA! Giant's bass player, Mike Brignardello and keyboardist Alan Pasqua have also toured and recorded with the "Who's Who" of pop and rock music from the 80's and 90's; and Mike, in particular has had a major presence on the CCM scene. There were no weak links in that band, and yes "I'm A Believer" really launches the whole album in a big way.
Thanks for the nice memory . . . I still can't believe that the album is a few decades old. It still holds up.
Be well, God bless, & GOGETEM Bob . . . You ROCK!!!
Pat O'Connor
____________________________________
So excited to read your missive today on Giant. I am possibly the only Giant fan in Australia, bar the late night DJ on KixFM that used to play Believer religiously each Sunday night. Interesting their ties to Foreigner, you could hear that musical tie in their music. Their music represented to me - a young aspiring musician at the time - impeccable songwriting and execution, perhaps too polished. It just made me dream of what was possible if you got your chops up. Years later while on a soul-searching sojourn through America in a GMC truck, I discover Keith Urban and see Dann Huff's name on it, and I can hear the connection. You can hear a Dann Huff record. Now his impeccable quality is on so many records, and I still get excited when I see his name on something. I'll unlikely ever meet or work with him, but he truly is a hero of mine. Anyone that rips a 1-minute guitar solo as an intro to their single should be applauded, I think it's gutsy.
Well done digging this one out of the crate, gave me goosebumps.
Matt Aitchison (Aus)
____________________________________
Thanks for writing about Dann Huff & Giant. I saw them open for Heart in 1990 at Poplar Creek Music Theater just outside of Chicago. The two things I remember about that evening were...
1) Several dudes making no effort to hide the fact they were drooling over my date.
2) Giant stole the show.
I'm no longer with that woman but I still have my Giant CDs.
Thanks for jogging my memory,
Ken Misch
Grumpy Dingo Radio
____________________________________
Your kind words
Hi Bob, this is Dann Huff. I wanted to thank you from the bottom of my heart for what you wrote about me in your blog today. Means the word coming from you. All the best, Dann
I was forwarded the article you wrote regarding Giant. I am the singer in those videos and I must say that you completely made my decade! I very much appreciate your kind words and taking the time to write about Giant.
Thanks again!
Bryan Cole
P.S. It was truly an honor to be a part of such a great band. Wonderful guys that still remain friends to this day
____________________________________
Every player in town that knew about this going on was flipping out; myself included. I was unfortunately on the road when they held this benefit for "Toddzilla" that gave us this reunion but saw the video the next day.
Todd (Austin), a Nashville musician fixture for decades, had lost possessions & pets in a house fire.
Nashville is pretty darn cool and our musician community is just phenomenal!!
Lee Kelley
____________________________________
I was just out of music school when Giant appeared in '89 and Dann Huff elevated rock guitar to another level. My musician friends and I were obsessed. And though we've moved on of course - some of my friends are playing professionally, while others are on the industry side, we're still as obsessed as ever with certain players - Eric Johnson, Steve Lukather, Jeff Porcaro, Dann Huff. We stay in touch by sending each other links of solos, songs, and live performances; and when we get the chance to see each other IRL, anyone in our orbit will inevitably be subjected to a deep dive on why Giant mattered.
Thank you for this and for the links - the 2017 performance, which I didn't know existed, will be a great addition to my group text collection.
And, here's one for you: from Dann Huff's instructional video which was recorded circa Time To Burn. Aside from his astonishing guitar work (see: instruction on how to play the scorching opening lick @ 8:42), the joy he exudes from playing is palpable and so fun to watch.
https://youtu.be/pWThQ0DuJr0
— Kirsten Cluthe
____________________________________
Loved Giant and have been hoping that record would be released on vinyl one of these days. I saw them at a little club in Murfreesboro TN (outside of Nashville) before the record dropped and they did an epic Jeff Beck cover. I think maybe it was Goodbye Pork Pie Hat but can't remember now.
Kevin Twit
____________________________________
You nailed this one - right down to sheepish Dan Huff, remembering the old days and then blowing away his alt-country-loving Nashville fans with incredible playing. I dove into the rabbit hole and didn't come up for a few hours.
JH Tompkins
____________________________________
The Last of the Runaways album has been a guilty pleasure of mine for so many years. It's a record filled with choruses from front to back. It's no wonder that Dann Huff went on to have the career he's had.
Thanks for the reminder on this one as it's been a while since I've listened.
Jaime Feldman
____________________________________
I love when you do this, Bob... Giant was an amazing band/album... and your description is so spot on. I feel the same way about Winger's album, Pull... so much history and media noise, that's it easy to miss how great they all sound (and play together). 1988 - 1998 had so many albums like this... I'd even argue that Bon Jovi's These Days was one of their better albums... but they had no chance facing the flannel and sounds of Seattle.
Thank you, as always, for reminding me about bands and albums that I loved... and let go by the wayside...
MITCH JOEL
____________________________________
Great to read about Dann , Giant and "I'm A Believer". Yeah, he was defiantly perceived as a "threat" or interloper (from Nash Vegas, for chrissakes!) by the more established "hired guns" in LA at the time. I know, I was there. I built all the guitar rigs for many of the best studio players of that time and was friends with most of them. In fact, I demoed to Steve Lukather Dann's rig I had just built for him at my house on 4th street in Santa Monica. At different late night "get togethers" there would be talk like "who is this Dann Huff guy coming here getting all the gigs?" ….Ha ha! But Dann was such a nice guy and certainly a great player who eventually moved back to Nashville and started an extremely lucrative career as a top producer. Fun times!
Bob Bradshaw
____________________________________
lol
I didn't roast Dann. I think he is a huge talent and a sweet guy.
Great band that had potential but no commitment. Its HARD to make it as a band !!! You gotta LOSE money to make it and hang in there. Had they had a hit record history may have changed that.
Too much money in studio work for Dann and Alan Pasqua and then I heard Mutt gave him some production gigs and poof.. he has done very very well for himself.
Alan is a massive talent who last I heard was teaching jazz at UCLA and doing lots of film work. Another great guy,.
Dann DID do a mighty good impression of me when he came to LA. hahaha Even he would admit it. He found his own voice and I still dig the guy and never had any issues as I had pretty much stopped doing lots of session s by the time he started.
I am a fan.
Luke
____________________________________
Thank for shedding some light on Dann Huff. First heard he and his drummer brother in the band Whiteheart, which was kind of an 80s Christian version of Toto when I wound up on a festival bill with them. Dann went on to a long list of high profile studio credits and was working the late 80s LA scene along with Steve Lukather, Michael Landau, et al. He copped heavily from Luke's style, for which Luke lightly roasted him in his book.
He did very well as a producer du jour upon returning to his hometown of Nashville. His father, Ron Huff, was a very busy arranger/orchestrator in Nashville for decades, so Dann inherited quite a Rolodex when he got into the biz.
Michael Gregory
____________________________________
I moved from San Diego to LA Jan 1985 for music. By Aug 85
I was homeless and sleeping on the couch at Baby O studios. They had a rehearsal room on Vine and one of my ways of earning my keep was to open, close, clean and run the rehearsal room. I was broke and had no Hollywood cred so most people ignored me there.
Once day a band was rehearsing in there and one guy kept talking to me named Dann Huff. I being a guitar player noticed him right away and at that point in my life I had never seen such an amazing guitar player up close. He was mind blowing good. I was a huge Bowie fan and so was Dann. He told me about meeting Bowie and almost getting to play on a record with him which was also mind blowing ( I would meet and hang out with Bowie 3 years later but that's a different story).
Point is Dann Huff made me feel so special at the lowest time of my life and I will never forget that. In 1990 his Giant record was out as was my first major label record called Colorcode.
Dann and I could now talk like colleagues but I had mad respect for him always remembering how he treated me when I was a no one in LA.
When he became a massive Nashville Producer my hopes were and still are that he will take one of the many Sass Jordan songs I wrote in the early 90s and get a country star to do a cover…..I could use a new house.
Stevie Salas
____________________________________
Great piece. I've been a Giant fan for a long time. Still love playing their music cranked to 11.
Thanx for reminding the world their music still exits. Steve
____________________________________
I have all 6 of the Giant albums. There are usually 4 or 5 killer cuts per disc.
There is a Live And Acoustic-Official Bootleg, released in 2003 with Dann and David Huff. It features both Live and acoustic versions of "I'm A Believer".
I would disagree that the band has broken up. There is a brand new album, Shifting Time, released on January 21, 2022. Dann Huff plays on 1 track; David Huff plays drums again.
Tony Colao
Easthampton, MA
____________________________________
Bob, I didn't know about the Giant reunion but I was a fan from the first CD and have listened to it on and on over the years. Thanks for making me aware. LOVED seeing that reunion clip. Sounded better than it should for a club gig!
Best,
Ray Palagy
ESPN Sound Design
____________________________________
This is timely - A friend of mine put on Janis Ian's Breaking Silence today - I made an offhand comment about the killer guitar parts - turns out they were played by none other than Dann Huff.
Vince Welsh
____________________________________
Great piece. I discovered, like you, that reunion club video a few years ago. I think Dan not singing at that gig was a function of no longer being able to hit those notes which was evident even in the 1980 live video (which I have also watched many times). As us singers get older, the voice tends to get deeper and in most cases (mine included) rougher and those high notes are no longer within reach.
But, damn, can that boy still play his ass off or what?
Between this and the piece about Terry Thomas and Charlie, you are putting together a great look at bands who never really broke through but were just so very crazy good. Loved both of those pieces
Bill Evans
____________________________________
Giant-
What the late great Kevin Gilbert used to call "H-T-P's" - "…highly trained professionals…"
Like so many, great at commerce and craft, really low on innovation, art and the things that make any form of popular music really matter…
See Bob, what so many of us often forget is that between 1964 and 1975 we experienced one of the few times in the history of this world that the most successful popular music being made was also the best music being made.
And back then listeners and bands were in a social contract – the bands created music and presented a lifestyle that helped us make sense of the world around us and in doing so they really mattered…
Peace and Love,
Paul ILL
MFT, MusiCares
Instructor, Jail Guitar Doors
Www.adoptthearts.org - Board Member
Www.dolphinproject.net
____________________________________
Sorry to burst your bubble, but there's a reason I've never heard this song or album before. It is terrible music! It combines all of the worst elements of 80's excess into one shiny turd. It tries to be everything to everyone: Cheesy synths, wanker guitars, BIG snare sounds and mechanized drums. If you combined Whitesnake, U2, Van Haggar and the Fixx into one horrifying algorithm, this would be it! In no way does that qualify as classic rock, classic metal, or even tasty pop music.
Don't get me wrong, I totally understand your reminiscing about the power of real rock and roll bands/concerts etc. I was there too! I just doubt many people are nostalgic for formulaic dreck like this.
Geez…
Jarrett Light
____________________________________
"And then there are those who believe punk rules, if it gets too complicated it gets too self-conscious and loses the essence."
Yeah, why bother having all those other weird chords, right? I mean, what's next, harmonies? Singing in tune?
Berton Averre
____________________________________
Man, you got me. I missed them, probably because of the very thing you mentioned, music had changed by that time. Nobody was looking for this. IF they had hit that 15 year time warp you nailed, they could have stood toe to toe with VH etc. top 70's, 80's bands. Believer has that U-2 guitar riff, and he kills it. Stay is also has a great sound and Thunder and Lightning. Huff is fantastic, he's so good it looks easy. Thanks, I got'em in my library now.
John Brodey
____________________________________
I was surprised yet so glad you recognized Giant. They were "such" a great band. Dann Huff's an incredible talent. Killer guitar player, great singer, and a kick-ass songwriter. Man, I wish Rock was back.
Regards,
Peter Kalish
____________________________________
Great to see you giving one of the most underrated and passed over bands their due recognition. Giant's second record, "Time to Burn" was even better than "Last of the Runaways". Dann teamed up with the late great Van Stephenson of Blackhawk fame to write most of the material on that second record and they found what would have been their essential sound on songs like "Chained", "Stay", and " I'll Be There When It's Over". TTB is a songwriting and production masterpiece that is very much worth the time to check out.
Last thing, and just a bit-picky niggle really, but to say Dann Huff wasn't as well known as a session guitarist as others of the era might be a little bit off. Obviously not to civilians, but if you are a musician, his name might as well be like sterling stamped on silver. Us session, touring, and production cats all know damn well he's one of the most recorded guitarists in music history. Huff, Luke, and Michael Landau were on everything back then, sometimes all three on the same record. Simply one of the most innovative and brilliantly musical players of all time. If you really want to hear what he was great at when a producer just let him have his way in the booth, check out the Patrick Leonard-produced Peter Cetera record "One More Story" or Michael W. Smith's lead track "Lamu" off his mid-80s commercial breakthrough "The Big Picture". Huff's inventive parts elevated those records to the heights of some of the most innovative sounds you'll ever hear and his signature sound still stands up to this day.
Thanks for shining a light on those guys. Incredible band and each original member (c'mon, Alan Pasqua and Mike Brignardello, too??!) was a huge piece of what made them so fantastic.
Deane Ogden
Bali
____________________________________
I hope all is well in your world!
You gave me that warm, fuzzy feeling today with your words about Giant. Years before I was fortunate enough to meet "The Late, Great Bud Prager," whom I regularly credit with saving my business and possibly my life . . . (everyone needs a solid mentor & friend, and Bud, may be the best of both that's ever been) . . . I got turned onto Giant. Their "Last of the Runaways" album, which featured "I'm A Believer" and the hit ballad "I'll See You In My Dreams" was a favorite of mine for years. The guitar layering and spacial riffing on the title track is absolutely sick . . . check out Dann Huff creating an "Edge-like" soundscape with intermittent lead lines that I've only heard from the likes of Dann, Steve Lukather, Larry Carlton, or Jay Graydon.
I met Dann at Bud's memorial service, and later became friends with his brother and drummer David Huff through mutual acquaintances. In addition to both being immensely talented musicians who have played with everyone, Dann and David are two of the nicest music industry guys I've ever met . . . great DNA! Giant's bass player, Mike Brignardello and keyboardist Alan Pasqua have also toured and recorded with the "Who's Who" of pop and rock music from the 80's and 90's; and Mike, in particular has had a major presence on the CCM scene. There were no weak links in that band, and yes "I'm A Believer" really launches the whole album in a big way.
Thanks for the nice memory . . . I still can't believe that the album is a few decades old. It still holds up.
Be well, God bless, & GOGETEM Bob . . . You ROCK!!!
Pat O'Connor
____________________________________
So excited to read your missive today on Giant. I am possibly the only Giant fan in Australia, bar the late night DJ on KixFM that used to play Believer religiously each Sunday night. Interesting their ties to Foreigner, you could hear that musical tie in their music. Their music represented to me - a young aspiring musician at the time - impeccable songwriting and execution, perhaps too polished. It just made me dream of what was possible if you got your chops up. Years later while on a soul-searching sojourn through America in a GMC truck, I discover Keith Urban and see Dann Huff's name on it, and I can hear the connection. You can hear a Dann Huff record. Now his impeccable quality is on so many records, and I still get excited when I see his name on something. I'll unlikely ever meet or work with him, but he truly is a hero of mine. Anyone that rips a 1-minute guitar solo as an intro to their single should be applauded, I think it's gutsy.
Well done digging this one out of the crate, gave me goosebumps.
Matt Aitchison (Aus)
____________________________________
Thanks for writing about Dann Huff & Giant. I saw them open for Heart in 1990 at Poplar Creek Music Theater just outside of Chicago. The two things I remember about that evening were...
1) Several dudes making no effort to hide the fact they were drooling over my date.
2) Giant stole the show.
I'm no longer with that woman but I still have my Giant CDs.
Thanks for jogging my memory,
Ken Misch
Grumpy Dingo Radio
____________________________________
Your kind words
Hi Bob, this is Dann Huff. I wanted to thank you from the bottom of my heart for what you wrote about me in your blog today. Means the word coming from you. All the best, Dann
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Sunday, 6 March 2022
I'm A Believer
"But one thing you can be sure of
You know that I'm a believer"
Giant was a band out of time. AOR was on its last legs, we just didn't know it yet. Giant was perfect for the fifteen years before, but was now out of step with America's changing tastes. After a decade of MTV pop now ruled, And hip-hop was growing. Sure, we were on the last legs of hair band ballads, and Guns N' Roses was something different, something dangerous, yet Giant was more akin to a seventies act, just great players playing straight ahead rock. That sound is still dead, but there were years where it was the biggest in the land.
I don't do much mindless surfing these days. I remember telling my shrink twenty-odd years ago that I'd seen it all, I was on repeats. Then I went into my tab cycle, it would take me about an hour to go through all of mine on Safari, and by time I got back to the beginning, hopefully there'd be new news. But then there wasn't, and then the news exploded, sometime in the late aughts, and then we got to the point where there was no way anybody could get a grasp on what was going on, you could surf new stuff endlessly. End result was the loss of truth, and in many cases credibility, and it's been overwhelming. And sometime in the last ten years surfing was eclipsed by apps.
I must say I never got into the Facebook thing. I'd already heard from most everybody I ever knew, and the people I went to high school with, there was a reason I left my hometown. But recently, years late, I find myself on Instagram, turns out you've got to surf or you lose your name, which happened and having reclaimed it I don't want to lose it again. And Reddit is an endless rabbit hole. But the funny thing is all these outlets have a window, it opens and you're fascinated, you spend time and then the novelty wears off, and suddenly you've got little interest in going back. Doesn't matter how much the platforms shuffle the deck, you're done. Other than Twitter, which most people never pay attention to, it's for information junkies, it's more up to date than any news site, as a matter of fact all the reporters are on Twitter, but it turns out most people are more concerned with their image, becoming influencers, than the news.
But every once in a while, when I'm really relaxed, I find myself surfing once again.
I was listening to music on my iPad via headphones, the big ones, not the portable ones, and when I get the urge certain go-to songs come to mind, and about two weeks ago, it was "I'm a Believer."
For a long time "I'm a Believer" was unavailable online. Took a long time for a lot of non-hit music to resurface. But I had a CD anyway. Which for a long time sat in my car, I'd like to fire it up when I was driving, especially on the freeway, when I could put the pedal to the metal.
And I'm listening to "I'm a Believer" and I'm wondering if there's a live version.
Giant broke up long ago. There's still a band with that name, playing some of the old music, but the key members have long gone. The most key being the lead guitarist and vocalist Dann Huff, who reinvented himself as a hit country music producer, one of the best, to some degree unchallenged until Dave Cobb emerged with his earthier sound.
And I'm on YouTube and I find a Giant reunion, it's already five years old, and it's in a club, so my expectations are low.
And Dann Huff has got that latter day Eric Clapton look, you know, cleaned-up with short hair, as if when he's done he's got to pick up the kids at school. He's smiling like he's embarrassed, like he never does this anymore. He resembles nothing so much as one of those players at your high school reunion. Have you been to one of those, where all the boomer players come out of the woodwork and get together and play, dividing the reunion in half, the players going down the rabbit hole together? I have, not my own, but Felice's.
And then Dann starts to play.
I expect the sound to be lousy, it almost always is on these YouTube live clips. And sure, it's not perfect, but Dann certainly is. I mean I'm bugging out, staring, it sounds like the record, are they playing the record or is it really him?
It's him.
And then some guy in torn jeans and a vest takes the stage and...who is this? He's the singer, why is it not Dann?
Well, doing research I found somewhere on Facebook that Dann didn't want to. But this guy, who looks jive, opens his pipes, and wow, he's like Arnel in Journey, he doesn't look like Dann but he certainly sounds like him, maybe even better.
And now the band is firing on all cylinders and...
You forget that the sound used to be imperfect. Back before all the acts went to hard drive, never mind being synched with untold production. It sounded like the original, but different. The studio take was always slick, the edges were sanded off, but live the music breathed, the edges were back. And that's what made it so immediate and relatable. That's something that's been lost, along with the humanity.
I don't think non-boomers get this. Maybe Gen-X'ers understand. We formed bands, we went to hear bands. A great band built a rep, you had to hear them. Even the local ones, never mind those that played the Fillmore, which you knew about from being immersed in the culture, FM radio, the rock press, you had your ear to the ground, it was a whole culture which is now dead.
Now there are some that say bands like Giant killed it. There are those who believe music died in the sixties. And then there are those who believe punk rules, if it gets too complicated it gets too self-conscious and loses the essence. And then Nirvana came along and wiped this music off the map anyway. But it survives on classic rock, and yacht rock channels. But Giant doesn't really fit in either category. Oh, they've got a ballad, but they were never classic, most people have never heard of them, but there was some airplay on the dying AOR.
And last night I went down the rabbit hole once again. I watched this 2017 reunion video and got the same feeling, I wondered if there were any live videos from the band's "heyday." Turned out there were. I started watching one from London, in 1990. I never knew the band went overseas, but in truth their manager, Bud Prager, was always a big picture guy. With these big picture bands, like Foreigner, although his paradigm was already long in the tooth.
And the video, after some labeling that's depressing, the images are shiny and bright in a way that Giant was not, you see a throng of cheering rock fans. Which doesn't square with the rest of the footage, maybe that scene was staged, because when the music starts the audience is quiet, but still on its feet. This is definitely a rock audience, no other one compares. These are not casual fans, they need the music. How they look is secondary to how they feel. They go to the show to be transported, to bond with the band, to be taken to another level.
And here's Dann Huff once again. Playing the instrumental into to "I'm a Believer" impeccably. But now his hair is long, it had to be to be accepted in the scene, even though by this time it was an affectation. But boy is he wailing. And you're brought back to the era when being an ace guitar player was key. Maybe Slash was the last one.
And this is a live track, but it's so perfect you're wondering if this is a typical video, you know with the studio version providing the audio. But then Dann steps up to the mic to sing and you're reassured that this is truly live. And you're brought right back, there's an energy without the dross that's been laid on in decades since, without the fakery, the imagery, it's just the music.
And I can't believe how great a guitarist Dann Huff is. I go to his Wikipedia page, even though I've been there a zillion times before. And they've got a list of some of his studio gigs. Yes, he was a hired gun. Before he tried to break out on his own with his own band, before he went back to being a player, before he worked behind the board.
I mean that was the rap, that Huff was a studio guitarist, that was part of the hype. But Dann didn't have the fame some of the others did, maybe because he played on so many pop records, maybe because the world had changed and people were less interested in the musicians than the package. But one thing is for sure, Dann could wail effortlessly. Watching it's hard to believe, how did he ever get this good, he's an elite player, member of a small group.
And I'm watching this 2017 reunion show and I'm shattered. I can't believe it. This is the magic, this is the sound, this is the essence, and it's from an era when most people thought the dream was over, furthermore it's being recreated effortlessly long after its time. And it's just as powerful. And the audience understands what is on stage. And it matters not a whit that no one else is aware. It's not about shooting selfies, it's about bathing in the glorious sound, transcending your earthly problems for as long as the amplifiers are turned on and this mellifluous sound emerges.
Studio version: https://spoti.fi/3sJMQvM or https://bit.ly/3MpkXRt
7/1/2017 live version: https://bit.ly/3vOy0Gl
1990 live in London version: https://bit.ly/35TuPls
Dann Huff Wikipedia page: https://bit.ly/35xx1iM
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You know that I'm a believer"
Giant was a band out of time. AOR was on its last legs, we just didn't know it yet. Giant was perfect for the fifteen years before, but was now out of step with America's changing tastes. After a decade of MTV pop now ruled, And hip-hop was growing. Sure, we were on the last legs of hair band ballads, and Guns N' Roses was something different, something dangerous, yet Giant was more akin to a seventies act, just great players playing straight ahead rock. That sound is still dead, but there were years where it was the biggest in the land.
I don't do much mindless surfing these days. I remember telling my shrink twenty-odd years ago that I'd seen it all, I was on repeats. Then I went into my tab cycle, it would take me about an hour to go through all of mine on Safari, and by time I got back to the beginning, hopefully there'd be new news. But then there wasn't, and then the news exploded, sometime in the late aughts, and then we got to the point where there was no way anybody could get a grasp on what was going on, you could surf new stuff endlessly. End result was the loss of truth, and in many cases credibility, and it's been overwhelming. And sometime in the last ten years surfing was eclipsed by apps.
I must say I never got into the Facebook thing. I'd already heard from most everybody I ever knew, and the people I went to high school with, there was a reason I left my hometown. But recently, years late, I find myself on Instagram, turns out you've got to surf or you lose your name, which happened and having reclaimed it I don't want to lose it again. And Reddit is an endless rabbit hole. But the funny thing is all these outlets have a window, it opens and you're fascinated, you spend time and then the novelty wears off, and suddenly you've got little interest in going back. Doesn't matter how much the platforms shuffle the deck, you're done. Other than Twitter, which most people never pay attention to, it's for information junkies, it's more up to date than any news site, as a matter of fact all the reporters are on Twitter, but it turns out most people are more concerned with their image, becoming influencers, than the news.
But every once in a while, when I'm really relaxed, I find myself surfing once again.
I was listening to music on my iPad via headphones, the big ones, not the portable ones, and when I get the urge certain go-to songs come to mind, and about two weeks ago, it was "I'm a Believer."
For a long time "I'm a Believer" was unavailable online. Took a long time for a lot of non-hit music to resurface. But I had a CD anyway. Which for a long time sat in my car, I'd like to fire it up when I was driving, especially on the freeway, when I could put the pedal to the metal.
And I'm listening to "I'm a Believer" and I'm wondering if there's a live version.
Giant broke up long ago. There's still a band with that name, playing some of the old music, but the key members have long gone. The most key being the lead guitarist and vocalist Dann Huff, who reinvented himself as a hit country music producer, one of the best, to some degree unchallenged until Dave Cobb emerged with his earthier sound.
And I'm on YouTube and I find a Giant reunion, it's already five years old, and it's in a club, so my expectations are low.
And Dann Huff has got that latter day Eric Clapton look, you know, cleaned-up with short hair, as if when he's done he's got to pick up the kids at school. He's smiling like he's embarrassed, like he never does this anymore. He resembles nothing so much as one of those players at your high school reunion. Have you been to one of those, where all the boomer players come out of the woodwork and get together and play, dividing the reunion in half, the players going down the rabbit hole together? I have, not my own, but Felice's.
And then Dann starts to play.
I expect the sound to be lousy, it almost always is on these YouTube live clips. And sure, it's not perfect, but Dann certainly is. I mean I'm bugging out, staring, it sounds like the record, are they playing the record or is it really him?
It's him.
And then some guy in torn jeans and a vest takes the stage and...who is this? He's the singer, why is it not Dann?
Well, doing research I found somewhere on Facebook that Dann didn't want to. But this guy, who looks jive, opens his pipes, and wow, he's like Arnel in Journey, he doesn't look like Dann but he certainly sounds like him, maybe even better.
And now the band is firing on all cylinders and...
You forget that the sound used to be imperfect. Back before all the acts went to hard drive, never mind being synched with untold production. It sounded like the original, but different. The studio take was always slick, the edges were sanded off, but live the music breathed, the edges were back. And that's what made it so immediate and relatable. That's something that's been lost, along with the humanity.
I don't think non-boomers get this. Maybe Gen-X'ers understand. We formed bands, we went to hear bands. A great band built a rep, you had to hear them. Even the local ones, never mind those that played the Fillmore, which you knew about from being immersed in the culture, FM radio, the rock press, you had your ear to the ground, it was a whole culture which is now dead.
Now there are some that say bands like Giant killed it. There are those who believe music died in the sixties. And then there are those who believe punk rules, if it gets too complicated it gets too self-conscious and loses the essence. And then Nirvana came along and wiped this music off the map anyway. But it survives on classic rock, and yacht rock channels. But Giant doesn't really fit in either category. Oh, they've got a ballad, but they were never classic, most people have never heard of them, but there was some airplay on the dying AOR.
And last night I went down the rabbit hole once again. I watched this 2017 reunion video and got the same feeling, I wondered if there were any live videos from the band's "heyday." Turned out there were. I started watching one from London, in 1990. I never knew the band went overseas, but in truth their manager, Bud Prager, was always a big picture guy. With these big picture bands, like Foreigner, although his paradigm was already long in the tooth.
And the video, after some labeling that's depressing, the images are shiny and bright in a way that Giant was not, you see a throng of cheering rock fans. Which doesn't square with the rest of the footage, maybe that scene was staged, because when the music starts the audience is quiet, but still on its feet. This is definitely a rock audience, no other one compares. These are not casual fans, they need the music. How they look is secondary to how they feel. They go to the show to be transported, to bond with the band, to be taken to another level.
And here's Dann Huff once again. Playing the instrumental into to "I'm a Believer" impeccably. But now his hair is long, it had to be to be accepted in the scene, even though by this time it was an affectation. But boy is he wailing. And you're brought back to the era when being an ace guitar player was key. Maybe Slash was the last one.
And this is a live track, but it's so perfect you're wondering if this is a typical video, you know with the studio version providing the audio. But then Dann steps up to the mic to sing and you're reassured that this is truly live. And you're brought right back, there's an energy without the dross that's been laid on in decades since, without the fakery, the imagery, it's just the music.
And I can't believe how great a guitarist Dann Huff is. I go to his Wikipedia page, even though I've been there a zillion times before. And they've got a list of some of his studio gigs. Yes, he was a hired gun. Before he tried to break out on his own with his own band, before he went back to being a player, before he worked behind the board.
I mean that was the rap, that Huff was a studio guitarist, that was part of the hype. But Dann didn't have the fame some of the others did, maybe because he played on so many pop records, maybe because the world had changed and people were less interested in the musicians than the package. But one thing is for sure, Dann could wail effortlessly. Watching it's hard to believe, how did he ever get this good, he's an elite player, member of a small group.
And I'm watching this 2017 reunion show and I'm shattered. I can't believe it. This is the magic, this is the sound, this is the essence, and it's from an era when most people thought the dream was over, furthermore it's being recreated effortlessly long after its time. And it's just as powerful. And the audience understands what is on stage. And it matters not a whit that no one else is aware. It's not about shooting selfies, it's about bathing in the glorious sound, transcending your earthly problems for as long as the amplifiers are turned on and this mellifluous sound emerges.
Studio version: https://spoti.fi/3sJMQvM or https://bit.ly/3MpkXRt
7/1/2017 live version: https://bit.ly/3vOy0Gl
1990 live in London version: https://bit.ly/35TuPls
Dann Huff Wikipedia page: https://bit.ly/35xx1iM
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