Hall and Oates & Tears For Fears At Staples Center

Shout, shout, let it all out

The younger generation is oblivious to MTV. Back when it was still labeled “Music Television,” when it drove the culture, when everybody knew the hits and they were bigger than ever before, even than in the sixties.

You see now there was only ONE radio station, and we were all tuned in. If anything, radio followed television, and with KROQ personnel programming, the sound on television was anything but calcified and AOR stations started dropping like flies. No one thought KMET could ever fold, rock was forever, but it flipped and became smooth jazz.

Now when MTV launched, you couldn’t get it. That’s right, in August of ’81 not everybody had cable, and not every cable system had MTV. So when you went to someone’s house and they did…

It was like going on AOL for the very first time. You couldn’t help but stare. You’d watch for hours and hours. Some bands were resuscitated by the format, but others were brand new, like Culture Club, like Duran Duran, like Tears For Fears.

Now before MTV became ubiquitous, when it was still 1983, Tears For Fears made its debut. And KROQ played “Pale Shelter.”

But when the next album came out, “Songs From The Big Chair,” in 1985, MTV was everywhere, ultimately this was the summer of Live Aid, which is remembered most as MTV’s anointment of arrival, of meaning, of even gravitas, and that year, Tears For Fears ruled.

So what you’d do back then is…

After seeing a hit or two or three on TV, you’d buy the album, and “Songs From The Big Chair” did not disappoint.

And immediately you’d make a tape. Some people would buy tapes to begin with, but anybody with any audiophile cred knew prerecorded cassettes sucked, they were duped at high speed on crummy tape and you could buy a Maxell or TDK and roll your own that sounded much better, which I did, and inserted into my Walkman as I rode my bike down to the beach.

It was still winter, it was still blustery, but “Songs From The Big Chair” kept me pedaling. It was a private experience, one I recalled instantly as these songs were played last night.

At this point the most famous song from the LP is “Everybody Wants to Rule the World,” which the band opened with.

But it was the encore that truly resonated, that had me thrusting my arm in the air and singing along.

Can you sing along to today’s music? Is it a personal anthem that makes you feel powerful? Is it a comment on society that a mass of people believe in?

Come on, I’m talking to you, come on

It was a different era. At best, the millennials were just being born. Being a silent sheep in the mass was yet to come, boomers and Gen X’ers were individuals, who had no problem speaking up for themselves.

Shout, shout, let it all out, these are the things I can do without

Alienation. Thinking for oneself. Belief you’re entitled to something better. These were the ESSENCE of our music way back when. It’s hard to believe in today’s divided era, but it used to be the youth were all on one side, against the establishment, and we felt if we kept pushing the envelope, things would work out for us.

All of this went through my head last night.

I was running on nostalgia, with quaint memories of yesteryear, and then Tears For Fears lit into “Shout” and the past and the present merged, I remembered the power of…

Rock and roll.

But Hall & Oates were a party.

Now you’ve got to understand, the upper deck was full. And many contemporary acts can’t do that. I asked Rob Light why, and he said it was fifty year old nostalgia, the audience had just reached that age and wanted to remember when.

But only a few years ago, Hall and Oates played to 1,500, never mind 15,000, as they did on this mostly arena tour.

You see their time has come.

How did this happen? Was it “Live From Daryl’s House”? Their new manager Jonathan Wolfson? Or did everybody suddenly agree, all these years later, after denigrating them for decades, that the band was great. Kinda like the Carpenters. They’re crapped on, and then Karen dies from the criticism and everyone agrees they were stupendous. Huh?

Now there aren’t many acts like Hall and Oates. I can’t think of one. White boys who straddle the line between soul and rock and roll. But experiencing them last night I thought of their R&B side, they’re from Philadelphia, home of MFSB, and when you hear that sound…

You can’t help moving your body, dancing, feeling good.

The floor at Staples was seated.

But everybody stood. They didn’t worry about aged knees. The music lifted them, literally.

And stunningly, it was half men. Hall & Oates is not a chick thing. And maybe Tears For Fears brought out guys, but I saw guys without women standing and dancing together. Kind of amazing. That something so far from the mainstream really IS the mainstream.

So the story of Hall and Oates is they put out a single that didn’t hit until years later, i.e. “She’s Gone,” and then labored in the wilderness until they switched labels, from Atlantic to RCA, and broke through with “Sara Smile.”

Both of which they performed last night. It was an all hits revue. With one track from “War Babies,” which was a welcome respite, for leavening.

How many other acts can play a headlining show where each and every number is a certified hit?

You can count them on few fingers, my friend.

And the last couple of times I’ve seen Hall and Oates it was outside.

But they belong inside. Because of the nighttime party atmosphere. The sound is trapped, you start to sweat, you’ve got the music in you.

And they played ’em all. From their cover of “You’ve Lost That Lovin’ Feelin'” to the track that made me rush out and buy their album immediately, “Rich Girl.” Now that’s a hit, something that drives you to listen to it incessantly.

And “Rich Girl” was as fresh as ever last night.

But what put the show over the top, what had me grinning like a goose, was the finale…


You see Hall and Oates could not follow their hits. They went fallow. Within years they were playing clubs, I saw them at the Roxy! And then, when they looked completely done, toast, they released an album in the summer of 1980, pre-MTV, produced by themselves, that slowly went NUCLEAR!

At this point they were playing it safe, with the Cynthia Weil/Barry Mann/Phil Spector classic. Once an act resorts to covers, you know they’re lost.

But there are exceptions to every rule. “You’ve Lost That Lovin’ Feelin” stalled at number 11, but within a few months the wholly original “Kiss On My List” went to number one.

And then they were off to the races.

It was the following album with the MTV video, “Private Eyes,” the single was everywhere.

But not as much as “I Can’t Go For That,” which became a cultural staple. NO CAN DO!

And last night Daryl broke in the middle and said everybody had a line.

And I knew exactly what he was talking about. At some point you’ve got to say no. Which in today’s world is taboo. But that’s what got Trump elected, too many left behind people who the elites shun who said I CAN’T GO FOR THAT!

Oh, of course it was more complicated than that, with racism and delusion but…never forget, the elites rule the world but they’re out of touch.

And that was a hit on 1984’s “Big Bam Boom,” along with “Method of Modern Love.” And in between came “H20,” with “Maneater,” “One on One” and “Family Man.” Whew! It was a MACHINE!

Which engendered a label switch to Arista, which put the band in the ground.

But the public was through, the backlash had begun, and Hall and Oates were in the wilderness.

But why? Why is it when you’ve got so many hits the cognoscenti turn against you? It’s happening right now with Ed Sheeran, it’s like they want you to be less talented, just like them.

And Daryl Hall has paid his dues. He’s gonna be 71.

And Oates played music long before the Beatles broke.

They were not chasing fame, they were chasing the SOUND!

And it took them years of effort and experimentation to break through, and then they came back, AND NOW THEY’VE COME BACK AGAIN!

They got a new agent. A young ‘un who wasn’t around the first time. He said they needed to play Madison Square Garden.

No promoter would buy the show. Finally, a west coast outfit stepped in. The band made concessions.

And almost half the house sold immediately.

Now when I used to go to shows, it was a religious experience. We’d sit in chairs and marvel at the band, hearing the records we knew so well, kind of like watching Tears For Fears.

But Hall and Oates is something different. It’s a celebration. Of life.

You are alive, right? You can move, right? You do want to feel good, right?

So the fourth single from 1980’s “Voices,” the one released after “Kiss On My List” went to number one…

Starts with this funky keyboard intro, that sounds like the synthesized 80s married to the soul of the sixties, that’s got you up and twitching like a Mexican jumping bean.

And the verses resonate and the chorus is catchy, but the magic is in the break…

Well listen to this…

And the chords drop down, the song completely changes and then…

I’m down on my daydream
Oh, that sleepwalk should be over by now
I know


It’s that exclamation that puts it over the top. Because unlike too many pretenders Daryl Hall has the music in him, it’s not only about the pipes, but the HUMANITY!

I’m not sure what my dreams are anymore. Get old enough and not only does the brass ring become hazy, you’re not sure grabbing it will satisfy you if you grip it anyway. We live in a dissipated culture with no center, overwhelmed with input with no variation based on veracity or worth, and we end up beaten down and disoriented.

But then I was singing along with a nearly forty year old cut which sounded fresher than what’s on the radio today and all I could think was…

Hall and Oates were making my dream come true.


Mediabase vs. Spotify


“Attention,” by Charlie Puth

“Attention” is #33 on Spotify, with 569,897 daily plays and a cume of 401,425,057.

The reason “Attention” is not higher on the Spotify chart is because it’s already peaked. The track was released on April 21, 2017. Not only have the tastemakers moved on, but the fans have too. In other words, radio comes last.


“1-800-273-8255” by Logic

1,500,267 daily streams, with a cume of 216,841,306.

“1-800-273-8255” is number 17 on the Mediabase Top 40. Up from #18. The VMA breakout appearance was nearly a month ago, the track reacted instantly on Spotify, where it was released on April 28, 2017, they’re still deciding if it’s a hit on radio. What are they waiting for? It’s the obvious #1 in America, it’s killing everything in its wake!


“Slow Hands” by Niall Horan

It’s not even in the Spotify Top 50, that’s right.

Not because it’s a turntable hit, but because the track was released on May 4, 2017, and it’s already peaked on Spotify, with 217,240,139 streams…

So, if you think Top 40 is driving consumption, think again. And we live in a streaming world, that’s where the money is, and the public has already moved on.

Now “Slow Hands” is on the soon to die iTunes sales chart at #9, where it’s priced at 69 cents. So, maybe radio is driving those who did not get the memo that streaming is the game and they’re paying a discounted price too!


“Too Good At Goodbyes” by Sam Smith

It’s got daily streams of 1,263,556 with a cume of 28,575,654 and it only came out a week ago!

It’s #25 on Mediabase. Why? The public has already decided it’s a hit. Oh, right, it hasn’t been out that long, but this shows you how radio charts are dated, whereas Spotify (and iTunes!) are INSTANT!


“Bank Account,” by 21 Savage

1,174,084 streams with a cume of 111,005,968

It was released on August 8, 2017, it reacted on Spotify.

But it’s not even on the Mediabase Top 40, and it’s moving up the chart slowly, from 12 to 10, on Mediabase’s Urban chart. Do stations need any more confirmation it’s a hit?


“Highway Tune,” by Greta Van Fleet

It’s not in the Spotify US Top 50, and it’s only got a cume of 4,391,074, proving that…ACTIVE ROCK RADIO IS MEANINGLESS!

It’s not in the iTunes Top 200, it’s like it doesn’t even exist.

So what we’ve learned is all the action is on streaming services, that’s where you go to find out something is reacting, and so far Greta Van Fleet is not, because most people are completely unaware of it! Radio didn’t get the word out. Active Rock is an echo chamber of the aged.


“The Man,” by the Killers.

It’s not in the Spotify Top 50, but is reacting on the streaming service, it’s got 15,349,275 streams. But it has been out since June 14th. You mean there hasn’t been a AAA record this good in three months?

This is the new paradigm. A track launches and active listeners know right away and passive listeners…

Don’t count.

That’s what Spotify has turned people into, active listeners, fans, and this is good for music. We want people to LISTEN, because when they do they bond to the act and go to the show and purchase merchandise…


“Lay It On Me,” by Vance Joy

This track has been out since June 12, 2017. It’s got 13,812,979 streams on Spotify.

But the truth is Vance is a much bigger act than AAA. His song “Riptide” has 511,946,552 streams on Spotify. He’s got two more tracks in the neighborhood of 150 million streams. Doesn’t look like AAA is driving consumption. The power of radio..?


“Jocelyn Flores” by XXXTENTACION

It’s got 1,074,174 daily streams with a cume of 46,124,906.

It’s not on the Mediabase Top 40, or the Urban chart. Maybe because the track only came out on August 25, 2017 and radio is just too slow to react.

That’s right, “Jocelyn Flores” is a certified hit, the public found it, with no radio push, proving that…






Om On Apple

Steve Jobs’ legacy & The iPhone X

Read this. If you want the most insightful writing on yesterday’s Apple presentation.

And maybe you don’t want to, don’t care, and that’s fine, although kind of funny since everybody owns a smartphone, but the truth is I used to read “Rolling Stone” cover to cover when musicians had something to say, but now that mag is better on politics.

Roger McNamee made this point in Santa Barbara. The hoi polloi are too caught up in the exterior, whereas all the action is inside. The speed increase of these phones is positively staggering.

And that’s why you need a new one. And you should buy one, especially if you’re part of the iPhone faithful. The offers are piling up. You can get $300 for your old phone, or get one free if you buy one at AT&T (and subscribe to DirectTV). You see unlike its competitors iPhones retain their value, for a while anyway, and I’m not saying a thousand bucks is a fair price point, but once again we’re focusing on marketing, everything but the product.

Om tells us it’s about custom chips. Vertical integration. And I don’t want to get into an Apple/Android war here, it’s fruitless, but if you want to survive in tech you’ve got to be one step ahead, and it’s best to vertically integrate, like Apple.

Now there are good writers in the mainstream media. I’ll point out David Pogue, who’s been marginalized since he went to Yahoo, and Christopher Mims at the “Wall Street Journal,” but too many just report, unlike Om they don’t analyze.

I want to know what it all means, where it’s going. I want to be stimulated. I’m looking for trusted filters, writers as opposed to stenographers.

I depend upon Om.

You should too.

Apple’s Fail

David Pogue – “What really happened with Apple’s Face ID ‘fail’ onstage”

Irving told me the monitor mix was off. As a result, the vocal wasn’t perfect.

I thought the act was nitpicking, I didn’t think the audience could tell, although I’d noticed it.

And Irving said it was the little things that made all the difference. The 1%.

This resonated with me, because my shrink says the same thing. That you change 1% and sometimes the whole picture changes.

I’ve found this to be true.

Yesterday, the facial recognition at the Apple presentation failed. It was quite noticeable. Craig Federighi picked up an iPhone X, tried twice, and then had to shift to backup.

This happened occasionally with Steve Jobs. VERY occasionally. And when it did, all hell broke loose. He excoriated the team, the show had to be PERFECT!

Just like that act that was complaining to Irving.

We live in a country where good is good enough. Where everybody gets a pass. And if you’re striving for excellence, you’re a pariah.

Hell, I’ve invested six figures in psychotherapy trying to overcome this. I don’t know whether it’s OCD or my personality, but I want to get it right, and when it’s wrong I don’t get over it, but I end up having to work for myself, because no one else cares that much, at least not about my stuff.

So the vibe after yesterday’s presentation is facial recognition does not work.

I know someone spending double digit millions based on it functioning seamlessly, his whole business is built upon it.

And one thing about Touch ID, it doesn’t work well when the temperature drops. I have five prints stored, three with the same finger, but when I was in Alaska, damned if I could get the phone to open. Same deal on the ski slope. And Samsung’s fingerprint recognition is even worse. So I figured facial recognition was doomed.

Like MySpace, which allowed you to customize your page to the point it crashed others’ computers.

Now yesterday’s presentation had no zing because it held no surprise. Every major element was leaked to the press beforehand. That never would have happened under Jobs, remember the iPhone 4 fiasco? It’s only a reveal if no one’s seen it before. And Jobs proved you can withhold information, have secrecy.

Now getting it perfect does not mean it must be belabored. Sometimes perfection emanates from your fingertips and if you mess with it you screw it up. That’s why so many sixties hits were so magical, they’re riddled with errors, but they’re just so right.

And one of the problems with today’s music is it’s often too perfect, it doesn’t breathe, it’s got no humanity.

But if you’ve got a goal in mind, if you want to dominate, if you want to make an impression, you’d better get it right, the little things count.

How much traction will David Pogue’s story get vis a vis the original Apple broadcast?

Not much.

In a world where there’s endless information you’re lucky if you can get the public’s attention at all, and if you do…

You’d better get it right.