Abacab!

I know you’re writing about the track,  but the album is a fantastic gem and a game changer for Genesis. This was a big high school record for a bunch of us in East Lyme, CT. So many moments on that record. The title track, “No Reply At All” (that bass line!), “Dodo/Lurker”,  and possibly the greatest unsung Genesis song “Man On The Corner”. Even a couple of the B Sides are worthy! (“Paperlate”, “You Might Recall”)

Great album!

Ed Toth

PS- On the “Three Side Live” version of “Abacab”, that’s Chester at the beginning. Phil joins him at 4:19 and they take it out together.

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Love the Genesis ode, and I’m right there with you – Trick of the Tail was my entry point when I heard it playing at the local Wherehouse in Cupertino, CA. And all of the sonic alchemy you recount is on point with one notable exception: it’s Mike Rutherford playing those guitar parts on ‘Abacab’ while Daryl is holding down the 8th note bass. I saw this tour – and many since – and the interplay between Mike and Tony is extraordinary.

Saw them again in 2021 at MSG because we’d heard Phil wasn’t doing well and I just needed to see the band together (hopefully not for the last time). Watching the three 70 year olds on stage, playing with a vigor worthy of musicians decades younger, I was reminded of a quote that I think Tony Banks gave back in the early 80s, when asked in some MTV interview about the staying power of classic rock bands. He said “Well the Rolling Stones are still playing shows in their 40s now! So maybe this (touring) can continue for a bit.”

John Loken

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Stuermer played bass on the track:

Joey Sasson

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So that’s Chester Thompson starting out on the drums in Abacab with Phil just milling about the stage waiting for the vocals to start. But at that four-minute mark you noted, Phil joins Chester for one of the greatest orchestral interludes since Mahavishnu Orchestra’s “Dream” from 1973. Wagnerian in power.

Sadly missing from streaming versions of “Three Sides Live” are the original studio tunes on side 4. “Paperlate” is as good a Genesis pop tune as they wrote. And the introspective “Me and Virgil” reminds me of Rod Stewart song “Mandolin Wind” with its reference to winter and family hardship.

Peter Duray-Bito

Littleton, Colorado (just over an hour from Vail)

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Great article as usual. I think Genesis do not receive the credit they deserve, partly I think, because their last album was We Can’t Dance in 1992 (not mentioning the Calling All Stations 1998) and also they have not been that active in the ‘reissue circuit’. I have high expectations with the Lamb expanded version they will be releasing shortly. I was reminded of how great they were/are when I saw Phil Collins’ recent documentary. Loved their songs, specially the long ones. While Phil’s son is an awesome drummer, I think people are forgetting how amazing Chester Thompson was with them.

Best.

Daniel Costano

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So pleased to read this write-up Bob – as a lifelong prog rock fan. I’ve been a reader of yours forever, and while arguably a lurker most of the time I had to chime in on this one re Genesis. My favorite part of your insights on Genesis was calling out Tony Banks (!) – arguably a mostly unsung hero, and without a doubt my favorite keyboard player of all time. These guys were masters of their craft, and Tony was exceptionally flawless. For some wild throwback fun, check out this footage of early Genesis performing “The Return of the Giant Hogweed” live in a studio in 1972; it features a very young and skinny Peter Gabriel in full dramatic flair.

Kelli Richards

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They were fantastic on that tour.

Peter Mccolm

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When I was a kid and heard “Squonk” on the radio for the first time I thought it was a Led Zeppelin tune. It truly rocks.

Andy Maroney

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Good to see you talking about prog!  I’ve always believed that the birth of prog was Sgt. Peppers – a concept album with orchestration and rhythmic complexity, but with pop sensibilities.  Never paid much attention to Nice, but Court of the Crimson King and Days of Future Passed opened things up.  Yes and ELP brought prog to the mainstream and Collins Genesis -which was still pure prog through Trick of the Tail and Wind and Wuthering – opened the door to explorations of Gabriel Genesis.  And then there was Rush, which brought in the hard rockers.

If you haven’t seen Steve Hackett in the last few years doing his Genesis revisited tour, I strongly recommend it.  He is still quite brilliant and his band is fantastic.  And if the Musical Box (tribute band that tours the world recreating the early Genesis concerts) comes your way, you should catch them also.  Also, definitely try to catch Jon Anderson with the Band Geeks.  These guys play Yes the way it used to be and Jon’s voice is as beautiful as ever.

I believe, as you do, that the late 60s and 70s was a true renaissance of music, and that over the course of history, prog bands will be recognized as the true musical masters of our time.

Best,
Andrew Mehlman

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Thanks so much for bringing this album back from a dusty shelf for me.

 

I loved Genesis when I was a geeky 6th form student so was dismayed to find it wasn’t cool to listen to them when I went to university and this new band, U2, were gaining in popularity.

 

Many years later at MAMA we put on a festival called High Voltage in London which featured ELP, Steve Hackett and Marillion. Financial disaster but what a great vibe, proper musicians.

 

Listened to it in the gym this morning, thanks again.

 

Best

 

Dean

 

Dean James

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From: Vince Welsh

“The last time I remember my father showing me anything was when I was 12- or 13-years old; where there was a great drum fill on “Turn It On Again” by Genesis. There was a time change in there, and I couldn’t get this time change. My father came and he said, “Very easy. What you just do is, you clip the hi-hat, and it changes. And this is what the snare drum sounds like. We were both at these two kits playing to it. And he use to love playing to that song. It was one of his favorites to play to. And he respected Phil Collins’ drumming very much. But it was one of those songs where it really got me going, because I couldn’t figure out the little hitch in the timing. That little hi-hat part. He said, “Come on. Play it together, then.” We were there for hours and hours and hours, and we had great fun.”

Jason Bonham, 1988

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Love Genesis, but my favorite album is Seconds Out, another double live album just before Hackett left. His guitar has a distinctive sound. Squonk is great but crank up The Carpet Crawlers loud for a truly great listening experience. The live version of Supper’s Ready is amazing too.

Perry Resnick

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Great writing about Genesis.  Can we all agree now that Phil Collins got way too much hate back in the day?  Those Genesis records were terrific.  I love Abacab; the title track is great, but for me it’s all about the songs that weren’t big hits – I can always listen to “Dodo/Lurker” and “Man on the Corner.”  Even albums like Invisible Touch and We Can’t Dance, which had more of a pop sheen, were still pretty sophisticated.  “In the Glow of the Night” is so atmospheric, and I love it.  “Anything She Does” is a great pop song.  And “I Can’t Dance” is wonderfully fun.  I’m glad that enough time has passed where we can put the public backlash aside and just focus on the music.

 

Take care,

Wes R. Benash

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It’s a favorite album – as is Seconds Out, the live album with Steve Hackett still in. Can listen all day to “firth of fifth” or “suppers ready”.

Regards,

Ned Ward

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They still play “Abacab” all the time on BBC Radio 2. And even, on occasion, ELP’s “Fanfare For the Common Man,” which unbelievably made it to #2 in the summer of 1977, ironically the Queen’s Silver Jubilee year. Was in the front row for ELP’s last hurrah in London in 2010. Keith and Greg were shadows of their former selves, but the crowd was huge and adoring.

Where are the modern-day equivalents?

David Vawter

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The version of “Turn It On Again” from Three Sides Live still knocks me off my feet.  Great bit, Bob!

Paige Mann

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Thank you for taking my mind off the destruction in LA and DC.

Great song, though not anywhere to close to their best on record or live.

FYI – Rutherford played guitar on Abacab on the recording and live.  Stuermer played bass and the Moog Taurus bass pedals live.  I think they may have had a delay on the bass pedal hitting every other 1/8th note during the main groove so poor Daryl didn’t wear out his foot.

Rutherford deserves credit for his rhythm guitar playing and parts.  His leads, on the other hand, make me long for Hackett.

Stuermer is an unbelievable player (and a very nice guy per a former bandmate who took lessons from him).   But I never thought he was the right guy for Genesis because he could not match Hackett’s feel or creativity.  Stuermer is a jazz fusion guy.  Collins loved that genre (see Brand X) and wanted more of it in Genesis.  But it pushed them away from the classical influence that made Banks and Genesis truly transcendent.

Thanks again for the distraction today.
Be safe and well.

Warren Wellen
Brahms’ Third Racket

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Check out Voyage of the Acolyte by Steve Hackett if you have not already.  Collins and Rutherford play on the ‘75 album and it is considered a “lost genesis album”.  I like the first track Ace of Wands.  A Trick of the Tail is one of my favorite albums and the first Genesis Album I bought.   I enjoy your newsletter!

Sean Dunphy

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Since I heard it on my roommate’s copy of Trick of the Tail in the early 80s I’ve loved Squonk.   So much that I now use the word as a verb… “to reduce someone to a puddle of tears”.

Adam Pressman

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Interesing that you came around to Genesis in the post-Gabriel years. I started with Nursery Cryme, Foxtrot (containing the masterpiece Supper’s Ready), Selling England by The Pound (then went backwards to the first two albums – before Hackett and Collins joined – and they weren’t very good) and then The Lamb Lies Down On Broadway.. Friends first hipped them to me on the strength of their innovative live shows and Gabriel’s charismatic performances. After seeing the Selling England and Lamb shows, I was a card-carrying fanatic. Gabriel’s departure, I thought, would be catastrophic but I still bought Trick of the Tail and Wind and Withering because I knew Phil Collins could sing, I even saw the Trick of the tail tour and enjoyed it.

In the end, I chose to follow Gabriel’s career and, as the “new” Genesis hit mainstream success, I kinda stopped paying attention to them. Then Phil Collins blew up and let’s not forget the many hits from Rutherforrd’s Mike & The Mechanics! Gabriel finally found his audience (big time) too, and Hackett is still drawing crowds to his solo shows. Hard to think of another band whose various members have had the level of success this lot have and man, can they play!

You’re right to single out Tony Banks because he’’s a generally overlooked genius, not to mention a prolific songwriter and collaborator. If you haven’t already, go back and experience Foxtrot and Selling England, you won’t regret it.

Mike Campbell
Programming Director

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This is great.  Abacab has to be in my all time top 50 songs (a list that definitely has more than 50 songs in the top 50 lol) and I really enjoyed your breakdown of it.  Can’t wait to play it myself today, the live version, for the first time in a while.  Thanks!

 

Chris Reeser

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I was 12 when it was released and listen to this album nonstop when it came out. I already loved the favs, but “Paperlate,” “Me & Sarah Jane,” “Dodo / Lurker” pushed me in deeper. Was the perfect compliment to the B side album cuts from Aqualung that I was so into…”My God-Wind Up.”

Damn, I miss that feeling of firsts…loves etc. What I’d give for some for targeted selective amnesia.

Marty Winsch

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While being the furthest from the mainstream…

Prog hangs on due to its fervent fan base.

It’s almost as if they were born wired-for-the-weird.

(A smartly programmed prog station on SiriusXM would actually attract subscribers)

Bob, you mention you were/are a completist…

Many prog people are as well.

The collectable market for progressive music has always been lucrative.

And one more thing—

While I admire their commitment…

I also know better than to ask any Rush fan about the music or the band.

I just don’t have the time and patience for another onrush of Rush erudition.

Marty Bender

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True Tony did not have commercial success . However , he did put out a classical recording which is fabulous . There are some parts of it that you know instantly that the composer indeed a member of Genesis .Check it out .

Chris Chapin

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YES!… and then there is the In The Cage medley on Side 3. Ok, it’s a medley of bits from Lamb but so compelling and with roller coaster energy and incredible varied grooves that work seamlessly. Phil’s voice was tops and his playing was better than ever, Chester kept it all grounded and groovy by showing everyone exactly where one is (plus the tight double drumming is unrivaled) with Mike, Tony and Daryl playing harder than ever yet with tons of rhythmic taste. The finale of Afterglow shows their trademark landscape grace. I remember this tour. Equally mesmerizing was the lighting and the swivel pots creating the Genesis waterfall images – hypnotic. This medley was life changing for me and to have a really great recorded performance of it to immerse myself from time to time is a musical muscle memory narcotic.

Rich Pagano, NYC

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Love it.  Some of my MOST fav music ever!!

Thanks for the reminder!  I used to play all these songs in my band in the 80s. SO FUN.

OH. and saw steve Hackett last year in Seattle. Brought me to tears.  Never thought I’d hear those tracks again “live”.

Andrew Johns

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I bought Three Sides Live on vinyl upon its June 1982 release because I was already enamored with Abacab and Duke — plus, Side 4 had studio material like “Paperlate” (with those horns!) and other songs not easily found via their original sources (like the 3×3 import EP) for us then-young U.S. buyers with limited income to spare. Three Sides Live was what I called a “two lawn” investment — as in, its SRP was the equivalent of whatever disposable, discretionary funds I had available for vinyl purchases after cutting two lawns in the summertime. In this case, I may have even had to borrow a few bucks against my allowance to buy this one — but I digress.

Selling England by the Pound is my favorite Genesis album, and I play “Firth of Fifth” every year on my birthday, like clockwork. Tony Banks’ piano intro and outro and those keyboard sequences of his, and Steve Hackett’s majestic guitar solo, which he (and many others, including me – and him!) feel is his best, signature moment in Genesis — never gets old. Viva la prog!!

Mike Mettler

Editor, Analog Planet

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Steven Wilson’s “Home Invasion” concert, recorded at the Royal Albert Hall, is available now on Prime.  Incredible show and recording.  Prog rock lives today in Steven’s work.

Best,

Kelly Yaksich

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Spot on, Bob, as per usual.  I’ve always enjoyed the music of Genesis and many other prog rock artists of the day.

You mentioned the eventual overexposure of Phil Collins…I couldn’t agree more.
His music was ubiquitous on FM radio.  Just spin the dial and there Phil was, pounding away on the drums yet again.  But he is certainly a talent.  There were songs only he could have sung.  Check out “Long Long Way to Go” from “No Jacket Required”.
Great work; one of many.

As is the art rock of Peter Gabriel, but that’s a subject for another day.

Keep doing what you’re doing,

Art Velordi

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A Trick of the Tail has always been my favorite Genesis album.  Another great live track is ‘The Carpet Crawl’ from 1977’s Seconds Out. Saw them in ’82, the best part of the show was a medley of their 70’s highlights that was a little different than the one on Three Sides Live.

Greg Miller

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As a self proclaimed prog freak/expert a couple things about this awesome email Bob.

1. Seconds Out is the better live album for me. It’s a weird thing to say but they actually performed the Peter Gabriel songs better without him – Suppers Ready, Carpet Crawlers, etc are all bigger and fuller with that line up. Chester Thompson brought a certain explosiveness to the live band. Not to mention your beloved Squonk!

2. Prog is kinda cool again. Dunno if you went to any shows from the recent BEAT tour but there were young people there. It wasn’t all fifty something prog nerds. I was surprised at how diverse the crowd almost was. Perhaps there is still an audience out there that appreciates great musicians and the magic of live music and not an over produced backing track driven “show”.

Love this and that you gave this music some love.

Zach Leary

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Genesis is one of the best bands ever in rock, with or without Peter and Steve.

 

I first saw them at a place called Kahn Auditorium on the campus of Northwestern U in Evanston.

 

The hall held about 1000 and wasn’t sold out on a freezing December, 1973 mid week evening, and I was the only one waiting to get in when the band pulled up and saved me, bringing me inside for sound check and some warmth. Score! The show didn’t sell out because ELP, who was very established already as a supergroup had sold out 2 shows in the old meat packing Amphitheatre on the south side of Chicago. Hated the place, loved the shows. This was before the Blackhawks opened the doors for rock shows, which they scorned for so long (Just stupid).

 

Years later, experiences like this drove me to promoting shows and I got to work with all of the members, as a band and solo. I love the sound, the style, and the Genesis audience. Steve Hackett has endured the best and longest with his incredible shows. If you haven’t seen him lately, it’s a must.

 

I got into Genesis as a result of my fondness for prog masters Crimson, then ELP of course and Yes – the success of the Beat tour in 2024 proves there is a great appetite for the prog music we grew up with. Odd that the young’uns don’t embrace this when they are into so much left of center music. But I’m glad it is still here for the asking.

Danny Zelisko

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Hi Bob

Only last week I started a new playlist called Prog oh no!, so named simply because my 13 year old 1977 punk loving self would be horrified!

In the UK if you liked punk, and there were only 3 of us in a school of 1,000, you could not like or listen to any prog or rock, ever.

Aided by elder brothers I bunked off school to see bands such as The Buzzcocks (with Joy Division supporting), Adam & The Ants, The Jam, The Clash, The Police, all during their punk years, whilst my school friends would go to see AC/ DC, UFO, Status Quo, Genesis, why???

Tuesday lunch music club, two teachers played a mix of Pink Floyd, Led Zeppelin, Sex Pistols, The Clash, Steel Pulse & Bob Marley.

By the rules of punk, I had to hate everything other than punk, new wave and reggae, and yet………during these Tuesday lunch music club days, the oft played albums of Pink Floyd or Led Zeppelin seeped into my system, a seed had been sown.

One that would lay dormant for decades as the 80’s saw the end of punk with The Clash clinging on for the first couple of years, pushed aside by the start of the UK club scene mixed and indie music, the birth of Ibiza, Super Clubs et al.

Fast forward to now and the excellent Rockonteurs podcast with Gary Kemp (Spandau Ballet) and Guy Pratt (Pink Floyd, David Gilmore), surprising me with their love and frequent mentions of prog rock, and in particular their Steve Hackett interview, tentatively leading to a reappraisal of all things prog.

It wasn’t easy, slowly loosening firmly held punk views, swearing my (bemused) family to secrecy if they caught me listening to “Firth of Fifth”, previously over looked in favour of “I Know What I Like (In Your Wardrobe)”.

A favourite song during this difficult period was the simply beautiful Dana Gavanski version of “I Talk to the Wind”, painful as my younger punk self wrestled deeply with my listening to and liking, no loving a King Crimson song!!!!

But I persevered, revisiting Pink Floyd via Syd Barrett albums as punk rules were ok with Syd era, culminating in going to see the Saucer Full of Secrets tour, being the Nick Mason led revisiting of the first 5x Floyd albums, with the aforementioned Gary Kemp (lead guitar & vocals) and Guy Pratt (bass & vocals) in the band. It was amazing.

All leading to my prog playlist including “Roundabout” but not “Lucky Man” (now added) and so far, only early Genesis ie well before Duke, some John Lydon approved Van der Graaf Generator, Hawkwind, ELP, Yes, Soft Machine, Caravan, Floyd, Zeppelin, Queen and some Radiohead to add a modern prog-twist/ pacify my early punk ruled self.

The playlist in true prog fashion includes so far only 20 songs, but is 2 hours+ long, over 6 minutes per track average.

I will add to it with some of your suggestions, though will I ever listen to it as to steal from your notes below, can I ever admit to listening to PROG ROCK?????

Regards

Robin Hill

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Hi Bob,

This proves how subjective life-music experiences are.  Your Genesis experience is post-Peter.

The Spring 1976 Genesis tour, with Phil on lead vocal for the first time, and Bill Bruford on drums for the only time ever, performed Trick of the Tail along with selections from their Peter years.  I saw both nights at the Beacon in Manhattan (amazingly the board mix is on Youtube!), and it was (to this day) one of the most viscerally emotional artist-audience experiences I’ve ever witnessed.  The stakes were unimaginably high for the Phil and the band after Peter had departed.  They opened with Dance on a Volcano, and their final encore was a Tony Banks genius arrangement that had Watcher of the Skies morphing into It (the closing track on The Lamb).  It was an astonishing and virtuosic night of thrilling prog rock.

And then early in 1977, Peter resurfaced after 2 and a 1/2 years with a warm-up show at the old Capitol Theater in Passiac, NJ, a month before a routed appearance at the old New York Academy of Music on East 14th Street.  And for those who were knocked out by the first Genesiis show sans Peter, yet still missed Peter leading the band, well Peter had something all his own in store for us.

That first Peter Gabriel album, while it did include Solsbury Hill, was best captured by the opening track Moribund The Burgermeister.  Gabriel embodied over the top other-worldly characters, as if the Slippermen from The Lamb were now in a twisted Dickens novel.  And that first Peter album – and those NYC area concerts in ’77 – featured no less than Robert Fripp – a most genuine progfather – bringing his Frippertronics on guitar and loops to the places Peter was exploring post-Genesis.   The only Genesis song Peter performed in those shows was the encore – Back In NYC from The Lamb – storming back on stage wearing Rael’s black leather jacket.  At the Passiac concert Peter stormed off before the song ended, because he was so upset that many fans were calling out for old Genesis songs throughout the night.  The audience at the NYC show a month later was more excited about Peter’s own new music.

Phil went on to become a pop star with Genesis and on his own, creating music far removed from the bold thrilling experimentation of Genesis from 1971-1977… and Peter went on to become a truly avant-garde rock star, hewing much closer in spirit to his early Genesis music.

Those fortunate to have been invested in Genesis’ music from 1971 to 1974 as the albums were released experienced something entirely exalted inspired and utterly original.  Yes and Crimson were utterly brilliant, but the Peter-led Genesis albums – Trespass, Nursery Crymes, Foxtrot, Selling England By The Pound, and The Lamb Lies Down On Broadway – set the bar so high by creating an incredible story and character based prog – and it was Tony Banks and Peter Gabriel who did that.

Best,
Danny Kapilian

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Three Sides Live!! Abacab! Yep!!! Wow I never thought I’d see someone laud this record because so many indeed seem to think Genesis’ creativity stuttered and/or vanished after Peter left.  I have many muzo friends that swear by “The Lamb Lies Down…” and that’s where it stops.

But I’m an age where a guy dressed as a flower wearing his wife’s dress didn’t- immediately connect.  Gabriel showed up in my “feed” when Shock the Monkey appeared on MTV.  Then I was all in, bought “Security” (as we knew it) with my allowance.

But my entry to Genesis showing their incredible musicality- and like we hear on Three Sides Live and you so eloquently point out- toughness and showing they’re here with something to prove!  As a keyboard player, Tony’s live playing was astounding.  And hearing when it goes from one drum set to two (slight flamming) was exciting for a listener like me.  I felt I was RIGHT THERE! Thick sounds- thrilling energy!!!  I’m sure Padgham was a great asset there.  Phil on fire- vocals and drums.  Then they launch into that In The Cage medley and, to me anyway, all the prog information is still right there. They plucked Chester Thompson straight from Zappa and Weather Report, for Pete’s sake!   But it wasn’t just brains like some prog hit me- it was grit and bottom!

What was to follow didn’t have this fire, to me anyway.  And I still don’t know what a “paperlate” is.  But you better believe I was there at Dodger Stadium for the Invisible Touch tour, and say what you will, but when they went into the raw stuff and Phil hopped on drums, they brought the juice.
Hearing “Misunderstanding” on my flight w my folks to Hawaii on the little armrest radio in 1980 with those odd rubber earbuds hardly prepped me for what was to come, but man Bob- I was really excited to read that this pumping live record still reaches you too. I may have to listen again tomorrow as I won’t likely be busy watching “the news.”

Jeff Babko

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And on the European issue and American issue of three sides live the 4th sides have entirely different tracks

Peter Gianakopolous

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This is missive pretty much sums up why I e been a subscriber for the last decade or two.

I’ve been evangelizing about this live version of Abacab for as long as it’s been out.

Pure

Jon Langston

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Stick to the business this superficial review really taints your rep.

David Ames

Spotify: https://shorturl.at/FufVv

YouTube: https://rb.gy/lz66x1

1

I guess prog rock began with Emerson, Lake and Palmer.

Then again, that was the spring of ’71 and King Crimson’s debut had come out in the fall of ’69. Then again, the first Nice album came out in ’68.

In any event, the first prog song most people heard was…

“Roundabout” in the winter and spring of ’72. Sure, “Lucky Man” had made inroads the previous spring, but it barely crossed over to Top 40, and it was in many ways a typical ballad, whereas Yes’s breakthrough…

Not that Yes had not been mining for gold previous to this. The band’s first LP was released in ’69. But it wasn’t until Steve Howe and then Rick Wakeman joined the band that the whole thing truly gelled.

And then the gate blew open in the U.S. We had Gentle Giant, we had Genesis, whose frontman, Peter Gabriel, left the band before it truly made it over here. The first Genesis song most people heard was “Solsbury Hill” in ’77, even though that wasn’t really Genesis at all. But the remaining members soldiered on, with Phil Collins as frontman, and released “Trick of the Tail.” Actually, that came out in ’76, as did its follow-up, “Wind and Wuthering,” which is when I came on board. They were playing it over the store system in Licorice Pizza in West L.A. and…this was the one and only time I bought what a store was playing. And I liked it, but…

Not long thereafter, I found a version of “Trick of the Tail” in the cutout bin and…that I truly loved. It’s playable, memorable from start to finish, but the opening cut on the second side, “Squonk,” is, or at least was, an unheralded masterpiece.

Whereupon I ended up buying the entire catalog in the cutout bin except for “Selling England by the Pound,” which I was dumb enough to believe was about weight. And, of course “The Lamb Lies Down on Broadway.” I eventually bought those two, but that was after the next Genesis album, “Then There Were Three…” Sans Steve Hackett, the band finally had a hit, at least on the dominant FM band, “Follow You, Follow Me,” and there were enough fans for the band to play the Forum…when I first became aware of them, when Peter Gabriel was still appearing as a flower on stage, they’d played the Roxy, I was just a couple of years and a couple of changes behind the memo.

And the run continued. Fans thought “Follow You, Follow Me,” was an anomaly, but now “Misunderstanding,” from 1980’s “Duke” even had traction on Top 40!

And then came “Face Value.”

You’ve got to know, no one was waiting for a Phil Collins solo album. Most people didn’t even know his name! But I bought it when it came out because…I’m a completist, not that I expected much.

And all these years later, the opening cut on “Face Value,” “In the Air Tonight,” is iconic, for the drum sound and more. And I liked it back then, but it really was the second side that resonated, there was this song, “You Know What I Mean”…

“Just as I thought I’d make it

You walk back into my life, just like you never left”

I’d experienced a bad breakup.

But then there was the next song on the LP, “Thunder and Lightning.”

“‘Cause they said thunder and lightning

It would never strike twice

But if that’s true, then why can’t you tell me

How come this feels so nice”

Phil had come home from a Genesis tour to discover his wife wanted a divorce, and then he found Jill…

And that was not Phil’s last rodeo.

But the optimism in “Thunder and Lightning”…really feels nice!

2

So last night I was reading a bad rock biography. How come the people are so interesting yet the writing is so bad? And I couldn’t get into a new book, and I got a hankering to hear “Squonk.”

So I went to Qobuz, I needed the best sound possible, and what I found was…a live version by Steve Hackett? From 2021 in Manchester.

And the stunning thing is it’s the exact same guitar sound, it’s astounding, I knew Steve had been playing the old material live, but I didn’t know this package existed. And the vocal isn’t quite as good as the guitar, but I was grooving…

And there was a delicious version of “Los Endos” and…

I got a hankering to hear the original, I went back to “A Trick of the Tail.” For both these cuts. And from there, I went to “Face Value, the aforementioned numbers, and this led me to…

“Three Sides Live.”

After “Duke,” the remaining three members of Genesis decided to switch it up, they hired Hugh Padgham, hot off his work with Sting and the Police, and minimized and modernized the sound and…the end result was exactly right for the time. Disco had put a dent in classic rock, AOR was threatened by the English new wave and…

This was the beginning of Genesis’s run to the top, to being MTV darlings, to the overexposure of Phil Collins, to the hatred of everybody involved. But before that…

3

I don’t know why I delayed buying “Three Sides Live,” maybe because it hadn’t been that long since the previous live album, “Seconds Out.” But they played the live version of “Abacab” on the radio and…

There was a way it ended. All energy, bursting to an explosion, it stopped instantly.

And Freddy Moore had the cassette, whenever I went to his and Demi’s apartment I played it. Freddy had interesting taste, yes he was a new waver, but he also loved Olivia Newton-John’s “Physical” and the Pointer Sisters’ “He’s So Shy,” he played them every time we went up the street for burritos at Los Tacos, which we did multiple times a week.

And in the early nineties Joe Reichling was working for Atlantic and sent me the entire Genesis catalog on CD (Bad Company too!), back when CDs were gold, before they were eclipsed by files and then streams.

“Three Sides Live” is a great album, as long as you don’t think Genesis cratered after the exit of Peter Gabriel, as long as you can fathom less of a prog rock sound. You see there’s the aforementioned energy.

It’s like someone adjusted the speed on the turntable, made it just a bit faster, and the band had something to prove. This wasn’t just another gig on an endless tour, the band needed you to MARVEL! The music was no longer so cerebral, it had a kick, it had IMPACT!

And the album and a half starts with an Abacabed version of “Duke”‘s second side opener “Turn It On Again.” The original studio version is more anthemic, with a pulsing computerized beat. Phil’s vocals are pure. The sound is a freight train…in a vacuum, in a studio, but on stage, the entire song is humanized and that freight train…you’d better get out of the way or you’re going to get run over!

I know, I know, you’re WINCING! Genesis? Prog rock? “Abacab”? Hasn’t that been wiped from the face of the earth?

Well, Nirvana killed hair bands, but also the rock of the seventies. And everybody who writes about music for a living believes if it’s not stripped down punk, it can’t be good. Back then if it was commercially successful, you had to hate it, on principle. It was dreck. None of these people considered that if everybody listened to it maybe it could be good, and you could love both the AOR bands and the bands with no airplay whatsoever, like Wire.

There’s still a prog scene. But it’s a backwater.

The calling card of the original wave of prog was that the players could actually…PLAY! They might have been classically trained. But then that became anathema.

And in the twenty first century everything flipped, we got what has been labeled “poptimism.” All the stuff that the shoegazing critics and the AOR fans despised…was suddenly considered good! To the point today it’s solely about Top 40 hits, that’s all the major labels are interested in. Which is one reason the acolytes of yesteryear are dumbfounded by the Spotify Top 50. You’re listening to THIS?

But can I admit to listening to GENESIS??

4

The live version of “Abacab” starts off with a beat, but not from a machine, but a human. The credits don’t say whether it’s Chester Thompson or Collins or, maybe like oftentimes in instrumental periods during the show, BOTH!

And the beat is driving, there’s a sense of anticipation, there’s a bit of Mike Rutherford’s guitar…and wasn’t that the essence of prog, tasteful playing? But then just shy of a minute in, the star of the show appears, TONY BANKS!

Who unlike his still standing compatriots, Collins and Rutherford, never had any solo success, so he’s relatively unheralded, but he starts layering in keyboards, that crunchy synth sound of the eighties and a smooth organish sound. And then Rutherford and Banks go into call and response, and this alternating sound, edgy guitar and smoother keyboard, underlies the whole cut, at least while Phil Collins is still singing.

And one of the reasons people love metal is because it FEELS SO GOOD! And that’s the guitar in this recording. It’s like Daryl’s taking a buzzsaw to the world, to preconceptions. And there’s that synth along for the ride. And everything is in harmony, rolling down the track, just a bit faster than the average engineer would be comfortable with. And the astounding thing is the band KNOWS THIS! They know they’re pushing it, without a net, that  mistakes are possible, but they’ve thrown the control of the studio overboard.

And then four minutes into the number there’s a transition, from the traditional song structure anchored by Collins’s vocals to the prog of yore, instrumentalists working out. But that beat is driving. Rutherford and Banks…they’re out front, they’re the focus, everybody else is in support. And the riffs, they’re being repeated, they’re so MEMORABLE! But Banks is weaving in textures and… Rutherford is not slowing down. They’re answering each other more and more quickly.

And with just over two minutes left, Banks emits a smoother sound, and he and Rutherford are interplaying like two aliens in love. The track has left the planet, where so much of the great music resides.

And then, with just under a minute left, there’s a change that’s not in the original studio recording. They’re going down, down, down. This upbeat song is now a bit depressing, a bit dark.

And that lasts for about half a minute and then the entire band returns to the traditional riff, but only briefly, because in just a matter of seconds, the conductor of this enterprise drops his baton and the entire production stops INSTANTLY, ON A DIME, IN A WAY NO FREIGHT TRULY CAN!

And then all you can do is go back to the top and play it again.

Subject: Re: More Fires

Hi Bob,

A friend just sent me this link, it’s to a googledoc spreadsheet that lists over 400 musicians and music industry people and other creatives who lost their homes.  I thought you might want to see it, if you haven’t already.

https://docs.google.com/spreadsheets/d/1jyJ-NM2qP-iRk1LJ8l3dc7e0M3IhHlo3E7Agvo9JOAQ/edit?gid=0#gid=0

The sheer scope of it hits home harder when you read the names of the musicians and the industry folks and their jobs.

Be safe.

b.b.

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From: Mike Caren

Subject: Re: Apple Music’s Per Stream Payment

It’s funny because you lay it out perfectly here but even most who read it, will go on with the wrong understanding/explanation. Needs to be even simpler, though it can’t because it’s actually more complicated. You have to also factor in the country, and the type of account. And it’s always changing but here’s how I try to explain it. 

If the streams are coming from India (huge Spotify country), that user is paying $.10 a month for a mobile account. So his 100 streams in the month means each are worth 52% (after pub) of $.10 divided by 100. $.005 per stream. Even at the higher US rates, it’s different rates at subscription music only, premium bundle (higher rate but less than music only if heavy podcast use), family plan (even less per user), or add supported (least). 

Now if half your streams are coming in from outside the US, especially India, Brazil, Philippines, etc, the “$5k per Million” stream narrative makes no sense. I’ve seen songs around $1k per Million streams that are 90% International. 

US User paying $11 for a bundle that listen to podcasts and audiobooks 25% of the time means less money for music then someone paying $9 for music only. Do you know how someone gets a music only account on Spotify? I don’t. Very hard to figure out. 

I don’t expect anyone to figure this out. At some point tech solves it. Our distro platform Www.Release.Global is one of the very few that tries to show you what your streams are worth in real time. So if you had 10,000 streams yesterday, you know if it’s worth $1 or $20 and can make decent decisions. We also do projections on it so you can figure out what you’re likely to make over the next 6 months. It’s really hard to be an independent artist working in the blind. Tech should solve this for everyone but the industry has a habit of keeping people in the dark. 

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Subject: Music Eclipses Cinema

Bob,

I always learn from your interpretation, and it’s an honour for this student to see his professor interpret his work. This line sticks with me: “Music is like the stock market. Over time it only goes up. Sure, there are dips here and there, but in the long term…”

We see this in what music made from cinema (in the US cinema pays nothing to music) when compared to what music makes from video streaming like Netflix. Not only are the tariffs higher, (in Europe cinema typically pays 1% and SVOD 2%), but there are more rights involved (performing, mechanical and sync) and growing subscribers. So cinema’s decade-long pain is the streamers gain and …the music industry looks at this and says “I’ll have a martini”.

But this is part of a wider trend. As linear dies, on-demand thrives and music gains ground. Look at how radio (which also payis US labels nothing) migrated to Pandora (where outta nowhere  SoundExchange gave birth to a billion dollar business and counting).

This is why music isn’t just a stock, it’s a hot stock – the tide is turning in its favour, and all the variables that surround it are simply putting more wind in copyright’s sails.

Will Page

Edinburgh, Scotland

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Subject: Re: Oscar Nonsense

This is the best column you have ever written. You have reported facts. FACTS. In my business – concert promoting – I have agents calling me on slow-selling shows asking me if I’ve hired a street team to put up posters and distribute flyers. As if, as you say, it’s still 1999. In 2025, the posters and flyers on your phone! Then the conversation moves into suggestions about cutting prices on tickets to fill up the hall. At which point I remind them, doing that will not only piss off people who’ve already paid tickets at full price, it will further keep me from breaking even. They don’t understand that people decide to go to a show based on being a fan of the artist, ticket price is a secondary concern. I’m not selling pizzas or tickets to the circus. I’m selling concert tickets. If you’re interested in going to the show, you’ll pay list price. If you’re not… I can send a street team to hand people $50 if they will sit through a show they don’t want to go to… And they still won’t take the money.

Only one market addresses the “papering of the house” properly: New York. I promoted a show at Carnegie Hall last year that was about 400 shy of a sellout, and the agent was obsessed about making sure those seats were filled. They have an official “papering the house” company in New York that distributes comps to people who are registered on their website on 48 hours notice. The requirements are they must show up in person to pick up their tickets, usually at a location just down the street from the box office (the Carnegie Hall box office fully cooperates), and they MUST stay in their seats the entire show, or a company rep who is a “marshal” at the show will note their departure and take them off the list. This is just brilliant!

Brian Martin

Martin Media

San Francisco

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Subject: Re: The Allee Willis Movie

Allee Willis saw me on the street in Detroit playing my cardboard box bass. She asked me to be in her music video and gave me the date to be at The Masonic Temple.

Just like that! She asked me all kinds of personal questions wanting to know who i was. AWESOME!

Chris Badynee

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Subject: Re: Apple Music’s Per Stream Payment

Years ago I was working on sponsorship programs with both Brooks & Dunn and Jeff Foxworthy. Ronnie Dunn said the same thing. They had 18 trucks on the road, a big band and crew and traveled between gigs on buses. Foxworthy flew private, got picked up at the airstrip in a limo, went to a 5 star hotel then to the gig where he talked for 90 minutes. Then limo with back to the hotel or if the gig was close enough to Nashville back home on a private jet.  And didn’t have share his performance fee with other performers.

Stephen Knill

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Subject: Re: Apple Music’s Per Stream Payment

Hi Bob,

I know a number of video, lighting, set carpenters & sound techs who tour with comics .

Trucks of gear, just like music tours

Cheers, TS

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From: Ross

Subject: Re: The Yacht Rock Dockumentary

Bob

I agree that the actual documentary was absolutely awful but I need to say something here in advance of that.

The concept of these goofballs making their mock u mentary  videos in the early 2000’s was funny for a minute and then they got traction they really didn’t deserve.

For some of us the music of The Doobie Brothers , Steely Dan, Toto, Kenny Loggins and Michael McDonald were a part of our soundtrack to our lives.

To disparage or diminish it by calling it Yacht Rock because these goofballs got traction gives them even more traction. That is my problem with this documentary.

My problem is that it was ever made in the first place as a “Yacht Rock” doc.

It should be made but not in some marginally excusable way.

The actual music is some of the most influential and important music and now its become some kind of parody.

Not cool in my book.

My pals Michael McDonald and Steve Lukather and Steve Porcaro etc .. should be in a viable and real documentary about all that music.

The fact that they were interviewed and I can only imagine the gold that was never used so Thundercat and Questlove and whomever else was given screen time makes this doc so off the mark from the get go.

Commingling quotes from the just deceased Quincy Jones, trying to give this thing credit is not cool.

It’s sad and messed up.

So I agree, after I watched it I had to watch the Stax doc to get the bad taste out of my mouth about this one. Once again not because of the music but because of the Yacht Rock premise in the first place.

The Yacht Rock premise is bullsh*t.

On one side note , I did work for years in Rumbo, The Capt and Tennille’s studio in Canoga Park thats not there anymore. It was an iconic studio for 30 years.

Rumbo did have a nautical motif inside studio A and Darryl Dragon, the Capt did wear a Yacht hat on stage. They are probably the closest thing you could call Yacht rock.

Even then, Darryl was one of the most talented keyboard players and innovators behind the scenes so to somehow disparage it all is not doing any service to the amazing talent that is being represented in this term.

So be it

A bad idea from the start … it should never have been made this way.

I only hope someone someday makes a real doc about all this music in a way that honors it like the Stax doc, Muscle Shoals, Motown , The Wrecking Crew

And the Immediate Family documentary.

Best back

Ross Hogarth

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Subject: Re: Re-Mike Pinera

So glad you gave Mike Pinera a moment he so deserved… blues image blew my mind when I saw him in la at THEE EXPERIENCE  …the owners were from miami and so was BLUES IMAGE…they were the house band….BUDDY MILES used to sit in on drums a lot … I saw them probably more than any other band in the 70s and loved every set  Shep Gordon

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From: Denny Somach

Subject: From Denny Somach.   Re: Mike Pinera

Hey, Bob

Thought you might like this story.

In the late eighties I was hired to be a consultant on what turned out to be the first music informercial. The guy who hired me was Kevin Harrington, considered the father of infomercials. We had a planning meeting in Tampa. There were about ten people in the conference room including Mike Pinera, who brought his guitar with him. At the end of the meeting Mike got his guitar out and started to play “Ride Captain Ride.” When he sang the second chorus, he substituted Ride Kevin Ride and of course everybody loved it. I’m sure it wasn’t the first time he did this. Mike really knew how to use his signature song. Kevin did pretty well, he was an original shark for two years on Shark Tank.

Regards,

Denny

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From: Chris Epting

Subject: Re: The Anita Pallenberg Documentary

Minor correction, Scott Cantrell did not kill himself “in the Catskills.” It was in South Salem, which is in Westchester county. I grew up near there as a teenager and we met Scott just a few days before he died because we always used to stake out the house in search of Keith. He was our age, just 17 years old.

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From: Bob Herman

Subject: Re: Monkey Man

Hi Bob,

That’s actually Bill Wyman playing the vibraphone that you hear in the beginning and on Monkey Man.

Best of health,

Bob

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Subject: Re: Mailbag

Bob

I would like to remind Mr Rose that Tower Records was not necessarily against the 5×5 cd package . We were pushing a 5×7 package that is what DVDs are in. 

Russ and I felt it would allow readable liner notes and better graphics.

Of course now you can download music without the pesky plastic wrapped jewel box and booklet you need a magnifying glass to read.

Oh well….

Stan Goman

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From: Robert Margouleff

Subject: Re: Alice Brock

Hi Bob,

This is a fascinating article on Arlo Guthrie and Alice’s Restaurant.  I attended the Stockbridge School and graduated in 1958. Ray Brock was my shop teacher. Arlo was a few grades behind me. The first rumblings of Vietnam and Kent State are in my memories!

The Stockbridge motto was “All Human Beings are Equal in Dignity and Rights,” based on the UN charter. I live by those values to this day, and Stockbridge changed my life forever.

My book “Standing On The Edge” is dedicated to the memory of Hans Maeder, the school’s founder and headmaster.

Robert

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Subject: Tate McRae

Bob,

As someone who regularly reads your emails, I thought you’d find this interesting. I receive a regular email from my local arena (Kia Center in Orlando). Playing two nights there is someone I’ve never heard of, Tate McRae. Out of curiosity I looked her up on Spotify. Two songs with over a billion streams each! In addition, she has nearly as many monthly streams as Chappel Roan. (Who I’m well aware of) 

I know you sometimes write about artists today who garner a lot of listens yet the average person doesn’t know. Maybe this is a good example?

Chris Adams

Orlando FL

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Subject: Re: Snapshot

Bob,

As an owner of a 600 cap room its even worse for us promoters.  The artists this year revolted against merch cuts.  They are asking for no promoter profit, as if we don’t do that.  No cut of VIP, even though they setup a rent-free popup store in our room to sell merch and do a mini show that requires additional time and overhead.  Crazy times!

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From: Kristy Carruba

Subject: Re: Entitlement

Well said, Bob!

I do everything I can in my daily life to be NICE to everyone and I got to my breaking point a few months ago in my tiny NY suburban town where the sense of entitlement has gotten out of control.

I have a theory…you can tell a lot about a town when you go to the supermarket and notice if there are shopping carts all over the place or if people put their carts away. In my town, nobody puts their carts away. A few months ago I was in a smaller parking lot and I watched a women leave her cart about 10 feet away from the cart area. I literally said “Are you really not going to put your cart away?” She looked at me like I was insane and left. I never say anything on the town FB page but I just had to vent about it and the responses were so insane that it was finally clear I NEED TO MOVE! I mean there isn’t any excuse. Small child…you can see the car from where you need to go put the carts away, in a rush, need to make a call or get somewhere…we are talking about 30 seconds…a minute maybe if you’re in a massive lot…I don’t get it.  I spent a month in Alpharetta Georgia and a month in Nashville and while I’m sure the entitlement situation stretches to these parts as well…all carts were put away…every time. I found people generally nicer and more aware of their fellow man. Of course I’m just one person and it’s just my observation but I will lead by example and do what I can in all ways to PUT MY CART AWAY! We have to do better.

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From: John Lyndon

Subject: RE: Hit Records

Excellent point about the hit record, Bob.  My brother Twiggs Lyndon was the original road manager for the Allman Brothers Band.  He told me that after Fillmore East was released, the band thought they were huge, then Ramblin’ Man hit top 40 radio, and they found out what huge was all about.

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Subject: Re: The Eve Babitz Book

I lived across the street from Eve Babitz on Formosa between sunset and fountain in 1965 and 66 and in the same building with me downstairs was Neil Young and Dickie Davis and one of the apartments and that’s where I met Richie Furay. 

She was a ton of laughs. 

Val Garay

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Subject: Re: Justin Baldoni Sues The New York Times

Bob:

 

There is an obvious solution to fact-based content.  Repeal the portion of Sec 230 of the 1996 Communications Act that shields platforms like X and Truth Social from libel claims.  This antiquated law from almost 30 years ago might have made sense in the infancy of the internet.   But today when social media platforms dwarf traditional media?  We’ve given tech an unfair advantage.

 

It’s perverse that people can sue The NY Times with a readership of 11 million or the Washington Post with 2.6 million or The Wall Street Journal of 4.3 million for libel but Musk with 200 million followers or Trump with 87 million can say whatever they want and have it go unchallenged.  I get it for the small timers, for people with modest reach, say under 1000.  But once you get to scale, you’re publishing and you should be responsible for your words.  You think these platforms don’t have the money to have content moderators for large accounts?  Last I checked Facebook and X were doing pretty well and way better than the traditional media that have to do fact-checking.

 

Repeal this shield and restore fact-based content online.

 

Proud to use my name,

 

/JMR

_______________________________

Jon Michael Richter

Chief Operating Officer & General Counsel

Nugs.net Enterprises, Inc.

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From: Richard Wissak

Subject: Sedaka

Another great interview. Neil’s dad ( Max Sedace ) drove a taxi for my father and was a very sweet man. Somedays he would pick up the cab in Queens and drive back to Brooklyn to drive  young Neil to Juilliard. When Neil had his first taste of success he offered to buy Max a medallion instead of him having to lease one. Max was a modest and humble man and said no thanks. Later on I saw Neil give a great performance in ’75 at the BL. He’s written so many great songs from a time gone by and is still a mensch. Thanks for putting him on.

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Re: Neil Sedaka-This Week’s Podcast

You’ll get a kick out of this. When I was in 4th grade (9 YO) I wrote fan letters to Neil Sedaka and a few other music stars of the late 50s era.  While I got some autographed, generic photos back from most, Neil is the only one who wrote a personal response and autographed photo that I still have. It made me a fan for life. Never met him but kept them and figured one day I’d meet him and we’d have a moment. Or at least I would. Ha!

Jim McKeon

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From: Harvey Lisberg

Re: Neil Sedaka-This Week’s Podcast

I enjoyedthe episode but was surprised tat  Is this the way to Amarillo wasn’t in Neil’s radar it was his biggest ever record in uk 9weeks at no 1. It was Neil’s first hit for tony.  Christie before Rocket Records even heard of his resurgence. Regards Harvey

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Re: Neil Sedaka-This Week’s Podcast

Listened in one go. Breathtaking. What a legend. And I’m not even that familiar with his work, yet! (Born in 1975, Holland.)

But it only took one question, and one answer. Epic. His voice. His stories, histories.

These kind of conversations are priceless. Belong in a library or something, you know what I mean.

Keep it up, Bob. Stay healthy, take care.

Bert van Kalker

Groningen, Hollan

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Re: Neil Sedaka-This Week’s Podcast

Thank you so much for this. I’m 51 and wasn’t all that familiar with Neil Sedaka. How enjoyable to hear his story, and you did a great job of pulling it out of him. You always do.

Love your podcast.

Best Regards,

Jay Luttrull

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From: paulmlanning

Re: Neil Sedaka-This Week’s Podcast

So good!  His odd career stands apart from that of his contemporaries.  You opened him up.

 

By leaving Rocket, he became another artist who exited a fruitful nurturing setup for a payday but nothing more.   Like Mary Wells, Roy Orbison, and the Righteous Brothers.

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Re: Neil Sedaka-This Week’s Podcast

One of your best

David Littauer

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Re: Neil Sedaka-This Week’s Podcast

Good show
Neil is often overlooked
He is an amazing artist.
Thanks

Ray D’Ariano

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From: Tom Clark

Re: Neil Sedaka-This Week’s Podcast

Man I REALLY enjoyed that one Bob!

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From: Jeff Baker

Re: Neil Sedaka-This Week’s Podcast

Absolutely loved this interview……………

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From: Audrey Joy

Re: Neil Sedaka-This Week’s Podcast

Regarding your Neil Sedaka podcast: I enjoyed it very much.

I never met Neil, but I knew Esther (his mother-in-law) and his daughter Dara; I grew up in Monticello, N.Y. Dara and I went to the same orthodontist. My parents and I used to “bump into” Esther at various social events–she was quite a character, but a nice lady. She told me that she would introduce me to Neil at some point, but it never happened.

The Sedakas’s summer home was located in the gated community across the street from our housing development on the outskirts of Monticello (the town of Forestburgh).

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Re: Neil Sedaka-This Week’s Podcast

Amazing interview with Sedaka, a look into how it used to be done…knock on a door, play your songs and (maybe) sign a deal.
At 85 the guy is totally together, what a a great memory and career.
I remember at 9 or 10 years old waiting for ‘Breaking Up is Hard to Do’ to play on the radio because it sounded very different from everything else to my young ears…. and it was done in an hour !

Frank Vilardi

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Re: Neil Sedaka-This Week’s Podcast

My favorite part of this episode:

Neil mentions that his Mom took a job at ‘A&S Department Store’ and I thought, as an East Coast / CT latchkey kid of limited means in the  70’’s and 80’s, ‘Abraham & Straus’!….and then when you picked up the story a little later in the episode you just say ‘So your Mom was working at Abraham & Straus…’

Jason Cilo
President
Meetinghouse Productions, Inc

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Re: Neil Sedaka-This Week’s Podcast

Loved your Neil Sedaka interview, but what I most loved about it was that from the outset, your enthusiasm for this interview was palpable, even more than usual. It was infectious and I could hear it in your voice with every question. I got the sense that you were thrilled to have the opportunity to pick the brain of a “student of the game” with a legendary career, who has done it all by now. There was this great heartwarming sense that you love what you do so much, like “holy crap, I can’t believe this is my job!” and it was nice to hear. Oh yeah, and Neil was a joy to listen to as well! Love your work, Bob, thank you!

Steve Zahradnik

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Subject: Re: Astral Weeks: A Secret History Of 1968

Hi Bob,

It is a good book about a magical time in Boston. As the book describes, Van played a lot of pick up gigs at high school dances and other less than glamorous venues in ‘68. One of them was at  the Scituate Yacht Club, to about 300 preppy teens and a sliver of 10-15 slightly hip suburban druggies, of which I was one.

 

I thought he sounded great and after the break went over to talk to him. He was barely talkative and didn’t have the patience to feign interest, but he blurted out “Christ, can you find me a girl to talk to?”  “I can do better than that that, hold on” and brought over a couple of friends of mine who were gorgeous twins, and Van broke out a huge smile. I don’t think I have ever seen him smile, in concerts or even in pictures, but I think the twins made his night!

Barry Marshall

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Subject: Re: Astral Weeks: A Secret History Of 1968

Thanks for expanding awareness of this phenomenal book by introducing it to your readers.

I read it when it came out, and your review is a fine summary of the highlights.

As you may recall it was about at the time of this book release that Van released — for one day only — the “Catacombs” live recording, on iTunes, likely to keep the copyright.  He then pulled it immediately.

True Van fans snapped this up and it has been widely shared on the grayer parts of the internet ever since — it is a fascinating recording of many of the Astral Weeks songs long before they were waxed.  I’m hoping for his legacy’s sake (which he has worked hard to tarnish in recent years) that he makes this an official release before he departs this realm.

jimeddy

Ann Arbor

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Subject: Re: Astral Weeks: A Secret History Of 1968

I was there to do some recording with Kweskin and Lyman. I’m not sure why they called me to come up from New York. Reading the book, which I just finished, it seemed like there were plenty of bass players available in Boston already in their orbit. In ’67 I stopped playing upright and went solely to electric bass which would have been unusual for those guys in 1968. But maybe that’s what they were looking for.

I had been good friends with Terry Bernhard, the pianist and later, failed bank robber. We both lived for a time in a brownstone on W. 76th, between the park and Columbus. In UK this would be described as a “bed sit”. Several other musicians also lived there.

Terry was an extraordinary jazz pianist in the Bill Evans tradition and I, a wanna be Scott LaFaro. He had an upright piano in his room and we spent many hours daily jamming. This was mid ‘60s. After a while we all moved and lost touch. I don’t remember who it was that actually contacted me. But the unexpected call to Fort Hill Boston years later had to come through Terry. I knew a little about the Mel Lyman community from a friend whose ex wife had moved there- with Terry!

So, up I went, Fender Bass in hand. I stayed with Terry and Susan in their house on Fort Hill in the community. It seemed like a normal home at first except that there were a number of people moving around the house, coming in and going out. OK a commune I thought. (that’s not what they called it) There was definitely a weird vibe.

I met Jim Kweskin at the studio in Mel’s house the first night. We set up, did sound checks. There was a music stand for me with some lead sheets. We waited. Then word came that the session was cancelled. Mel didn’t feel right, or wasn’t well or… don’t know. And there was that weird vibe again. Everyone was sort of “looking over their shoulder”.

Second night, Mel did come in, said hello, didn’t play, sat in the booth for a while and left. We did put down a couple of tracks. And that was it. I never found out what they did with them, never saw my name on any of the records. It might have been an electric experiment.

 

All I can say is that during my brief encounter with Mel Lyman I did sense a vey strong aura or vibe about him; very high energy. It was not a positive vibe though, nothing like I felt when I had been in the presence of any of the Indian Swamis I sought out in those days. The whole scene felt heavy and dark and I couldn’t wait to get back home to NYC the next day.

Bob, thanks for the post. The book filled in so much that I didn’t know and had wondered about, especially the bank heist and my friend Terry Bernhard. This guy was a sweetheart, a sensitive and soulful musician. Wow!

Andy Muson

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From: Craig Anderton

Subject: Re: Apple Music’s Per Stream Payment

Here’s the problem. You and I want groundbreaking art, something new that speaks truth to power. Here’s why I think it’s not going to happen: because musicians just getting started can’t develop a fanbase simply by playing (although playing can maintain a fanbase). They have to develop it with marketing expertise that relates to social media and the web. And if they’re starting out, they won’t have the money to pay for serious marketing chops, any more than the Beatles could have hired a web designer and marketing guru when they played clubs in Hamburg. And today, you have to stand out in a fragmented, siloed sea of hundreds of millions of songs.

The first year I was a full-time musician I made the equivalent of $450,000 in today’s dollars simply by playing live around the east coast and being on one album. That money bought me time to become a better musician, buy better gear, practice my guitar and keyboard playing (do people still spend untold hours practicing their instruments?), and develop as a songwriter. It bought me time to build my own synthesizers and bring unique sounds to our music, which progressed over three albums to the point where Seiji Ozawa heaped praise on our final album.

Would my career have followed that arc if I had instead spent my time working the social media world, seeking our every possible opportunity for self-promotion, and analyzing playlists so I could design music that fit the requirements of algorithms and playlists? I doubt it.

Spotify is not the villain. Spotify saw a need and filled it. That’s the way things work. But Spotify and streaming services can’t provide the same kind of climate that allowed music to flourish in the 60s. They called Dylan “Hammond’s folly” at CBS, but Hammond provided a climate where Dylan ultimately became, if not a top album seller, massively influential. Spotify will never do that. It’s not their gig.

Today, a musician has to decide whether to build a fanbase on today’s terms, or become an artist. That artist may very well be producing the kind of music you and I would love so much to hear, but we’ll probably never hear it. Sure, Rick Beato makes money doing YouTube videos. But have you ever heard a Rick Beato album or single? He’s working on the periphery of music. He won’t give you music that’s raw emotion and speaks truth to power. The best he can do is find people who can, and enhance it. Of course, that’s valid for its own reasons, but it’s not the droid you’re looking for.

“But you’re unsuccessful. Sorry. We’re all struggling. It’s every person for themselves these days.”

Success wears many faces. After graduating from being in a touring band, to a studio musician in New York, to doing a string of successful new age and classical productions, to having a fling with the DJ scene in Europe, I realized that my (highly subjective) definition of success was evolving as a musician so I could write music with more emotional impact. The irony is that by making that decision, I discovered aspects of the music-making, compositional, and recording process that translated into books that do in fact provide significant income. Yet they don’t prevent me from developing as a musician. Instead, they encourage me to dive even deeper so the books can be a corollary artform.

If I ever write music that could be that elusive unicorn we all seek, only a few thousand people will hear it because I won’t spend time promoting it. I don’t have enough time left in my life to waste it trying to get the attention of others. If they find it, great. But to me that’s not success, that’s popularity. Success is what happens when I come up with something musical I’ve never done before that gives me chills.

I’ve never been a big fan of ars est pecunia. But being on the wrong end of the mortality curve, I’m less of a fan than ever. As long as the measure of musical success is money, art will take a back seat, and we won’t get that groundbreaking music we crave.

Craig

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Subject: Addressing Antisemitism and Cancel Culture in Music

Dear Bob,

Recently, my scheduled event at Harbin Hot Springs was canceled due to complaints rooted in antisemitism and hateful rhetoric, targeting me as a Jewish musician and Zionist. Since this incident I spoke with the FBI, filed a police report, and submitted a cse to the ADL. This cancellation is part of a broader campaign of harassment I’ve faced since October 7th, including antisemitic hate speech, threats of violence, and coordinated efforts by some members of the New Age and spiritual community to prevent me from performing at festivals and events.

One particularly disturbing example is an email I received from an individual named Derek Cyr, which reads:

“Winner winner canceled dinner! Keep your psychotic Zionist genocidal sh*t out of our peaceful communities!!! I am watching you and will have canceled anywhere you go. Maybe you should just get the f*ck out of here and go to ‘Israel.’ You are so proud of your ‘country’ and its genocidal war crimes why not go take part in them coward!!!”

This individual has also sent threatening messages via Instagram, stating that he is “watching me” and intends to target me at performances. His language, along with that of others who have joined this campaign, reflects a troubling and dangerous pattern of antisemitic hate speech.

As a Rabbinical and Cantorial student and an artist dedicated to interfaith dialogue, my mission has always been to build bridges between communities through music, including fostering understanding between Jews and Muslims. My work is rooted in love, compassion, and peace, and I categorically condemn violence in any form.

Unfortunately, misinformation and a misunderstanding of Zionism—intrinsic to my Jewish faith—have been weaponized against me. Zionism, as I embody it, represents a spiritual and historical connection to the land of Israel, as reflected in over 90% of Jewish scripture, prayer liturgy, and theology. Yet my commitment to this deeply personal and religious belief has been mischaracterized as political extremism, fueling this backlash.

I believe this issue transcends my personal experience and speaks to a larger cultural reckoning in the music and spiritual communities. Cancel culture, driven by misinformation, has created an environment where Jewish artists are increasingly silenced or vilified for expressing their identity.

Blessings

Mikey Pauker

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From: David Terry

Subject: Re: Apple Music’s Per Stream Payment

Like you said…

“People may not know this, but I publish the same STEM videos on both YouTube and Pornhub. While YouTube generally generates more views, the ad revenue per 1 million views on Pornhub is nearly three times higher.”

Zara Dar (Darcy)

https://www.linkedin.com/posts/zaradar_people-may-not-know-this-but-i-publish-the-activity-7283930698137141250-50_U?utm_medium=ios_app&utm_source=social_share_send&utm_campaign=copy_link

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From: Kevin Cronin

Subject: Re: The Allee Willis Movie

Hey Bob,

I met Allee twice, both on the set of an AXS TV game show. I found her to be quite warm and fuzzy, and supportive, and funny, and odd, and cool … and that haircut, and those outfits. You definitely knew Allee was in the building … in the best of ways. My great friend and fellow songwriter, Shelly Peiken was close to Allee, and always sang her praises. That is a strong endorsement.

But I am responding here to applaud you for capturing the essence of what drove Allee, and me, and so many others whose careers were driven by an insatiable need for acceptance. Being famous is great, but there is more to it than meets the eye. …”fame never makes you happy, never in and of itself. But those with a deep hole inside pursue it, they believe it’s the only way out of their internal hell. And it’s not always hell, but you just don’t feel like everybody else, you just don’t feel accepted, but if you’re famous…people will love you, right?”

You nailed it Bob. You understand it. And it feels good to be understood. Thanks … kc

Trailer: https://rb.gy/wljb0c

I really liked watching this, especially after the second seasons of “Silo” and “Bad Sisters.” “Silo” had a couple of episodes that were so slow, with lame dialogue, that I only hung in there to find out what ultimately happened with Juliette. As for “Bad Sisters”…same deal, a few very slow episodes. This definitely should have ended after one season.

But “Sugar”…

These streaming series come out on Apple and you never know how good they are, because they drop one episode at a time, even the reviewers are not privy to the entire series, so you get an impression, and the impression from the reviews was good, no cigar, so I skipped it. But subscribing to Apple TV+ at the moment (I don’t need no application telling me when to cancel, I hate paying for what I don’t use), I decided we should watch “Sugar,” after checking out the RottenTomatoes numbers, which were 81/79, and you know my threshold is 81 on the Tomatometer (the critics’ number), so we dove in.

In other words, now that the entire series has played, those who did watch it felt the experience was worth it. But this is so long after the initial episode aired…

I know, I know, Apple has no product, and that’s why they drip it out week by week, but good shows end up being lost in the shuffle, “The Morning Show” has not recovered from its initial blah reviews. The first season ultimately played out and there was a re-evaluation, but at that point most people had moved on. What do they say, you only get one chance to make a first impression? People are overloaded with choices. You’ve got to make it easy for them. And if you miss your opportunity, if people are turned off once, the odds of getting them back are insignificant. Many series I’ve watched the first episode wasn’t fantastic, but I let it ride into the second and got hooked. But when there’s only one…

Well, all of “Sugar” is available now.

Now “Sugar” would work just fine sans the twist in the plot which is foreshadowed from the beginning and becomes fully evident with a few episodes left. “Sugar” works perfectly well as your standard private eye show, sans this extra layer.

And this extra layer is so whacked, that I thought “Sugar” must be an adaptation from a book, who would come up with such a plot twist, completely unnecessary, but it appears to be wholly original.

Now the star is Colin Farrell. In an understated role. But those clothes! It almost made me want to buy a bunch of Savile Row suits. Clothes make the man. And if you’re willing to drop 10k on a suit, people will notice. (Then again, maybe you need the body for it. And in the book on Babitz and Didion it’s stated that  Tom Wolfe came to the west coast in his white suit early in his career and the cognoscenti laughed at him.)

Although understated, Colin’s performance rings wholly true. And I’ve got to mention his wheels, a sixties Corvette convertible. I’d want to buy one if the air wasn’t so bad in the city, and convertibles are hell in traffic, especially on the freeway.

Amy Ryan as a faded rock star? I’m not sure I buy the rock star bit, but she’s down to earth in a passé way… For all the women on TMZ with plastic surgery looking like zombies, there are a ton of famous people past their peak living in the Valley who have aged gracefully, like Ryan.

Dennis Boutsikaris as Bernie Siegel almost steals the show. Not by overacting, but being totally subsumed by the character. You’ve seen Boutsikaris, he’s been everywhere, even if you don’t know his name. He was great in “Better Call Saul” and he has this ability to radiate intensity, without sacrificing intellect…I know people like this.

And I must mention Eric Lange as Stallings, another guy you know but can’t name. Lange inhabits the Stallings character, he’s a gangster without going over the top.

And sure, the other actors are very good, but the star of the show is…

The cinematography.

Now I don’t know if it will look as good on a non-OLED set, but it’s positively mesmerizing. L.A. is so vivid. Sure, it’s weird to watch after the fires, but this is L.A., definitely. Sunny, easy-living, suburban-like, yet with grit and danger underneath.

And then there’s the intercutting of old film clips. This is especially distracting in the first few episodes, jarring, if not totally superfluous. We haven’t seen this trope exercised to this extent since “Dream On.” As the episodes play out you find out that Farrell’s character Sugar is a film buff, and the scenes make more sense, but I can’t say they add much to the story, or even the viewing experience.

So Sugar is in search of Olivia. This is not “Bosch,” “Sugar” is much more stylized. But there’s the hotel rooms of “Goliath” and…unlike “Silo” and “Bad Sisters” you want to watch the next episode, your mind doesn’t drift, and it’s not an endless slog, there are only eight episodes, none of them an hour long, many not even close.

“Sugar” played out last spring, from April into May. There was a bit of talk about it for a minute there, but I did not get the vibe it is was as good as it is, worth the watch.

Art in today’s world is a time bomb. In many cases, it takes years for a project to resonate with the public. It all comes down to word of mouth, and after you hear about a show, a record, a movie from a bunch of people you trust, you check it out, and in most cases it’s just a touch away on your device of choice. And if you like it, you tell everybody about it.

Sure, they overhype the new projects of the stars, but if you’re starting from scratch, you’ve got to be in it for the long haul. Don’t expect immediate accolades. What you’re desirous of is a knowing acceptance of your place in the firmament. And there are so many variables, that almost all you can control is the work. But you want to make it easy for people to partake of. Hell, Peter Gabriel wouldn’t do a podcast with me because I criticized him for dripping out his new album track by trac k. People want to marinate in a Gabriel album, it’s an experience, one cut is not enough, and when all the tracks were available…there was no buzz, more of a whimper than excitement.

Which is the same thing with “Sugar”… By time the last episode played, very few people were still hooked.

I keep hearing people have a short attention span. Nothing could be further from the truth, they just have an incredible sh*t detector. They’re dying to marinate in the long form, and if they like something they’ll tell everybody about it. Young people have got short attention spans? Then why do they spend weekends watching episode after episode of “Friends” or “Sex in the City”?

In any event, I recommend you watch “Sugar.” It’s far from the best show you’ll ever see, but you can tell they’re trying, and there’s this visceral element…

I’m sad it’s over.