Subject: Re: Neil Young Returns To Spotify

Hi Bob,

Finally!

A little perspective from a Label Owner / Artist Manager…

I understand the conceptual pushback from artists.  And I won’t adress that here.  For my company, I have seen my revenue (on my 2,000 song catalog) increase as a result of streaming.  Yes.  It took a few years…

As Streaming has become the predominant way of listening, and millions have decided to pay for subscriptions, the proportional net of the “deal” is not much different from the Physical income model.  It just skews to everyone now instead of just the biggest selling albums at any given time.  The main difference is that now the fan pays a modest flat fee to enjoy practically the entire music universe on demand, and we get paid “forever.”

Simultaneously, the label no longer needs a staff to manage and sell all the physical product, nor to manufacture (ok… Vinyl for some, and a trickle of CDs), ship, maintain inventories, process returns, account for “breakage”, hope to get paid by stores like Sam Goody or Transworld (remember those clowns, who paid in returns!), pay for extortionate “programs”, create/disseminate POP, get caught up in bankruptcies (including a few one stops asking to claw back money paid for product in addition to not paying for product they bought but had not yet paid for, true story).  Plus most albums (including the Majors) were never released in foreign territories.   I could go on….

In summary, a lot less effort, for, in my case, more money and, much more important, ubiquitous world wide availablility.   The Net effect has been great for Labels.

The Label deals with their artists is another, complex, story that differs from artist to artist and from company to company.

Best Always!

Rob Gordon

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From: tres sasser

Subject: Re: The Medium Affects The Message

Bob,

That was fantastic and so on the money!   I produced an artist and sent a few tracks to a very high up blues/hip hop label friend of mine

who promptly called me back and said “this artist is phenomenal!  Best thing I’ve heard in years.”  I said, “great, let’s set up a time for you to see his live show and you guys talk.”

He stopped me and said “Man..I checked out his socials and he’s only got 200,000 monthly listeners.  His numbers aren’t high enough.”

I then said “So you’re telling me if I bring you the most AMAZING artist ever and their numbers are low you wouldn’t be interested?”   “That’s right,” he said.

I told him “that’s a huge part of what’s wrong with the music business.”

It’s so frustrating to find undiscovered talent and work on it and capture it, all the time knowing the music is secondary.

But I believe music will find a way to overcome the system, shatter the ceiling and let genuinely talented artists shine.

Again, great article!

Tres

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From: michael rosenblatt

Subject: Re: Universal Publishing Joins TikTok Takedown

My favorite line about the music business was written by Stan Cornyn in his book Exploding…”When it comes to racing into any new technology, the record business finishes just ahead of the Amish.” He wrote that 23 years ago, was true then is true now.

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Subject: RE: The Judee Sill Movie

Hey Bob,

Can’t wait to see this documentary! I knew Judee well and loved her music. I cut one of her songs, “Ridge Rider,” on a solo album by Russ Giguere of the Association. I saw her perform a number of times and even went on the road with her briefly. She was a true original, both as a writer and as a person. Although you’re right that she never had any big hits, I urge everyone to listen to her composition, “Lady-O,’ beautifully recorded by the Turtles. It’s one of Howard’s best vocals and the harmony singing is amazing. It made it onto the Billboard charts, but in the lower echelon. I’m hoping this film will help to elevate her place in the pantheon of California singer-songwriters.

Best,

John Boylan

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Subject: Re: The Judee Sill Movie

Man. Judee Sill. Her music is the truth. Nate Wood, the drummer of our band Kneebody showed Judee’s music to us about 20 years ago. (You should check out Nate too! He’s one of the most incredible musical minds out there). Nate’s from Laguna Beach and his parents are Steve Wood and Beth Fitchet Wood from the band Honk. I remember him telling us that his folks knew Judee from around in the music scene in the early 70s and that back when they met her they knew her as a bassist. At the time they had never really known that she was making such incredible music. It reminds me of the music scene now – people I’ve known for years that I know in a certain context as a sideman or side woman that have all of this music in them and when it comes out and they step away from their gig they really do blossom. Anyway Steve and Beth showed him her music that they never knew that she had been making at the time and he showed it to the rest of us. And I’d like to think we’ve all been huge Judee Sill ambassadors ever since. We did a concert of her music in brooklyn about 15 years ago and it was so much fun to get into those songs. It’s some of the most beautiful and original music I’ve ever heard. It’s such a world that she created that is so a part of the era that she was in but totally unique. She was completely on her on path. Just listening to the harmony and odd lyrics and specific twists and turns of the melodies it’s clear that she was one of the most unique and incredible artists. And bless David Geffen for putting that out. It’s also so clear why she didn’t have the commercial success or whatever was expected in that sense. You can hear that in the live recordings where she’s solo on tour on an opening slot (was it for Graham Nash…?) and she’s rambling to the crowd about the fugal line that she’s written after the guitar solo in Archetypal Man mentioning that she intended for it to be for oboe but sang it instead – and you can hear what plays as a joke for her kind of falling flat with the crowd. It’s heady nerdy stuff – and sounds like you’re listening to a chess grandmaster speak about deep strategy instead of flirtatious happy go lucky stage banter. It reminds me of what people said about Nick Drakes painfully awkward solo performances or some of the times I got to hear Elliot Smith live and watch him deal with the heaviness of expressing this beautiful thing that is coming from inside. Her music is all so deliberate and couldn’t be any other way than how she heard it. And yes her story is pretty unbelievable and tragic and sad. Thanks for writing about her. I’m so glad that a film was made and I’m looking forward to seeing it.

Kaveh Rastegar

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Subject: Re: The Judee Sill Movie

Thanks so much, Bob, for the wonderful review of our film, Lost Angel: The Genius of Judee Sill. When co-director Brian Lindstrom and I began what became a nine year labor of love to tell Judee’s story, we knew that we had an excellent head start with a small but beautiful and inspiring body of work, and if we could harness that we’d be in good shape. All through the process, we met generous participants who expressed hope that Judee might soon get her due. Interviews with Judee’s close pals, like Tommy Peltier, Russ Giguere, Vicki Randall and JD Souther, helped us in our effort to portray a fun-loving, charismatic and complicated person, far different than the dark, gloomy figure that emerges from her Wikipedia profile. It’s bittersweet, of course, that she can’t be here to experience the appreciation herself, but it’s easy to imagine how thrilled she’d be by all it.

Andy Brown

co-director Lost Angel

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From: Steve Page

Subject: Re: God & Country

This is a quintessential example of how out of touch people are trying to market old media in 2024.

I’m on my phone, by pure happenstance, I opened this email and read enough of it to be interested in the project (having previously never heard of it, despite being vaguely familiar with Oscilloscope). TIME SPENT: 1 min 30 secs

I click the trailer link you provided. I watch about 30 secs of the trailer, OK, still interested. I click the link that says “Learn more about God & Country” because it’s the only thing promising to give me more info. Nowhere on this YouTube page does it tell me: when it will be released or how I will be able to watch it. TIME SPENT: 30 secs

Now I’m on the mobile iteration of the film’s site. I’m presented with the same trailer that just brought me here… a wall of text explaining the film… and a single hamburger menu top right. Still, I’ve not been informed where or when I will be able to watch it, including taking the unthinkable effort to scroll down to the bottom of the page. TIME SPENT: 30 secs

I click the hamburger menu. At this point, I’m still engaged mostly to find out if the information I’m seeking even exists, not necessarily because I still actually want to watch this project. I’m presented with site navigation, none of which says RELEASE DATE, HOW CAN I WATCH… I click on “Theaters”  as my best option… ***note, one of the navigation options is: “Share Tools & Resources” … as if I’m going to be doing their marketing for them when I can’t figure out when it will be available. LOL. TIME SPENT: 15 secs

On the “Theaters” page, I can plug in my zip code – OK great, I live in the dead middle of Los Angeles so I figure it will at least be playing at some off hours at an AMC, maybe Vidiots, or a smaller theater featuring it for promotional purposes. However, it warns me ahead of time that “if you want the film to come to your local theater, INQUIRE WITH THE THEATER DIRECTLY”… LMAO… I plug in my zip code.. scroll down beyond an empty retrograde map UI…. “No screenings found”. TIME SPENT: 15 secs

So after a grand total of ~3 mins of my precious time and a determined effort to learn more about this thing that I’m vaguely interested in watching (exclusively because I happened to read some of your personal endorsement), here’s what I’ve learned:

– it’s not streaming anywhere RIGHT NOW (I had time today, I could’ve watched it tonight! I could’ve been so blown away by the film that I actually logged back on to the site to click on “Share Tools & Resources”!)

– it’s not playing in any theaters near me (and I live in arguably one of the best zip codes in the *world* for access to seeing cinema in a physical theater)

– crucially, I did NOT learn when I might be able to see it, even if my interest carried over beyond the 3 mins it took to find out I couldn’t watch it

The entire marketing effort of this project culminated with a CTA for me personally to do the distribution leg work for them… to call/convince a local theater that they should show it. This is when I already have a never-ending list of other content I’m behind on and that came out TODAY on a platform I already pay for. I’d say I found this experience shocking… but it’s not… and instead I’ll probably just forget it even exists by tomorrow morning.

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Subject: Re: Eric Carmen

Thanks Bob for the super words on Eric Carmen.

I was one of the original execs at Arista where I ran International. When ‘All By Myself’ from the EC album started climbing I wanted to bring Eric to Europe.

I begged Jimmy Ienner, my contact for Eric, (Donnie Ienner still worked for his older brother then) numerous times to get Eric to put a band together and play Europe. The answer was Eric doesn’t want to do it. So I asked for Eric to come and do some TV. Again the answer was no. ‘All By Myself’ was a hit but the album and more important Eric could have been huge.

Please note I took Barry Manilow on his first trip to Europe to do TV and he’s still a star attraction there. I then took Pattie Smith and her band on their first tour of Europe. ‘Horses’ broke huge after that and Patti can still tour the world today.

PS: Our Marketing guy at Arista then was Jon Peisinger who started Vestron Video after he left Arista. He did a deal for a film nobody wanted called ‘Dirty Dancing’. That’s how Jimmy Ienner ended up producing the soundtrack and having Eric cut ‘Hungry Eyes’.

Best,

Aaron Sixx

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From: Mario

Subject: Re: More Carmen/Wallinger

Bob,

Have you ever heard Eartha Kitt’s incredible rendition of All By Myself? A perfect piece of performance art. Man, I imagine every songwriter strives to write a classic. One so good that many others want to do it. One that generations to come will continue to visit and bring their own to. Mr. Eric Carmen did just that with this song. Here’s Eartha’s take in case you’ve noit seen it:

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Subject: Re: More Carmen/Wallinger

Hi Bob,

Where else can our community share thoughts

about Carmen and Wallinger.

Here’s a thought:

What if they were in the same band together?

All By Myself and She’s The One

both stand along side

Nilsson’s Without You

and McCartney’s Maybe I’m Amazed.

The singles by The Raspberries stand the test of time

alongside early singles by The Beatles and The Who.

I fool myself into believing there is no end in sight

so I continue writing songs. I wrote one for Carmen

on Tuesday, and one for Wallinger on Wednesday.

It was just a few months ago when I was speaking with Wayne Kramer

to let him know that Lone Justice had recorded Sister Ann

on the forthcoming album and I had invited him to the studio

to hear it. He was so exited.

On the day we were going to get together he called

and said he was moving into a new home and we’d reschedule.

We never did. I’ll never forget the joy he had in his voice

when we spoke about music.

Carry on my friends.

Marvin Etzioni

Regional Records

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Subject: Re: More Carmen/Wallinger

Bob,

 

It was the winter of 1961 when we moved to a suburb called Lyndhurst, from the Little Italy neighborhood on the east side of Cleveland.  Walking into the fifth grade class of Ridgebury elementary school after class had already begun was a bit terrifying.  Miss Hall said let’s welcome our new student and instructed me to take the open seat in the row by the windows.   Sitting in front of me was Eric Carmen.  Eric turns around in his seat and says hi, I’m Eric and immediately made me feel at ease.  We became friends at that moment and we stayed friends throughout.  

One day that summer, just before the sixth grade, for the first time, I walked over to his house thinking we’d play a board game or run around in the yard.  Instead, Eric sits at his grand piano and starts to play Bach, Chopin, I had not a clue.  And…we are twelve years old!   As Eric is pounding out a classical composition in the living room, over in the dining room, his mother is hand-painting a beautiful wall-mural landscape… free-hand!
At that moment I knew, I was way out of my league.  But it didn’t matter, we were friends and that was the only thing that truly mattered.

From Junior high and through high school I watched and listened in the school gyms and neighborhood dance halls as his talent evolved within the various musical groups he lead. 

Recently, we had been communicating, kind of reestablishing our old friendship and planning on spending time together in Scottsdale.  I had the chance to tell him, “Boats Against The Current,” which I’d not listened to since it came out, was brilliant and I agreed that the label f*cked up the sequencing.  I jabbed at him with, “where was your management!”

Losing one of us is tough; we are a community.  The lesson; tomorrow is not guaranteed.  I wanted  to spend more time with Eric, but I also wanted Eric to spend more time with us.

Talented, for sure… But also kind and caring; just what you’d expect from a friend. 

 

We miss you… RIP Eric.

 

Tom Consolo 

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Subject: Re: More Carmen/Wallinger

Hey Bob – The outpouring of love and support from Eric’s fans, friends and the music community has been overwhelming and is much appreciated by those close to Eric.

Eric always wished his music could be heard by the masses as he heard it in his head, and he never felt the sound recreated on his band and solo releases quite captured the sound he wanted others to hear. Then in 2014 “The Essential Eric Carmen” was released, and thanks to the brilliant work of Timothy J. Smith at Sony Legacy and Mark Wilder’s amazing mastering, Eric felt these tracks finally could be experienced as Eric wanted them to sound. The same goes for 2017’s Raspberries’ “Pop Art Live”, released on digital, CD and vinyl by Brad Rosenberger and the great team at Omnivore Recordings. This was the very first reunion concert on November 26, 2004, and Eric felt that Tommy Allen’s production and mixing perfectly captured the raw emotion, adrenaline and power of that first reunion concert, and that this release was as close as it gets to how Eric always wanted those songs to sound live. If anyone wants to discover or re-discover Eric’s body of work, I know for a fact that these two releases are where he’d like people to start with. 

Please know Bob that Eric always appreciated your support and loved reading your takes.

Best,

Al Kaston

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Subject: Re: More Carmen/Wallinger

Bob –

The insanely potent and compositionally creative run the great Eric Carmen had between 1972 – 1977 is absolutely remarkable – go back and listen again – it’s mind-blowing.

The man was a true power pop maestro who wrote hooks so universally relatable – they were impossible to shake. Nor would you ever want to.

What an honor and career-high it was to be gifted the opportunity to partner with the Artist on 2014’s ‘Essential’ compilation. I mean – this was with the dude who forever impacted this young kid right smack in the middle of that above mentioned run. Then being able to help him record his first new track in nearly 20 years – and sadly now his final – the gloriously optimistic ‘Brand New Year’.

And then to develop and continue a true friendship after that project.

I’ll miss that guy. Forever to me will be – The Essential EC.

Thanks,

TJS

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Timothy J. Smith

Director of A&R

Digital Catalog Research & Development

Legacy Recordings

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Subject: Re: More Carmen/Wallinger

The first time I heard Eric sing is same time that I realized I can’t sing

Kerry Brown

Licorice Pizza Records

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Subject: Re: More Carmen/Wallinger

Hey Bob – The Seatrain album produced by George Martin was not done in the UK; it was recorded at Seaweed Studios North of Boston in Marblehead, Massachusetts. Thus the name of the album, “Marblehead Messenger.” I had the honor of sitting at the board next to George Martin during a couple of the sessions. He was laid back yet created significant nuance with his  masterful direction.

John Garabedian

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From: John Lobel

Subject: Re: Speaking Of Disruption

I’m in China now and the cars are way ahead of the American ones. 

License plates for evs are green, blue for gas, so it’s easy to see how many are evs. Not so many in the rural areas, but they still have charging stations all over. Even the gas ones are modern and cool and have more features than most American cars. 

I’ve ridden in several of both gas and electric, they’re all good and comfy. No idea how they’ll age, but all the ones I’ve been in are good to great. 

There are some tiny ones that look perfect for many tasks. You’ll see a few large vehicles too, but most vehicles seem appropriate for the job rather than for making a statement. I’ll forward a photo of a tiny electric one that was way out in the countryside far from a city. 

The other day we were in one that had screens on the front pillar between the windshield and the front window. Yes, they replaced the mirrors. Pretty cool, and probably aerodynamically efficient. 

We’ve also been in a few older vehicles and they are pretty funky so it’s obvious that they are making rapid progress.

What’s even more advanced are the airports! Some of the ones in cities I’ve never even heard of are enormous, efficient, attractive, and way better than most any airport in the US. Impressive. 

Having said all this I’m still glad I live in the US!

Cheers,

John

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Subject: Re: Caitlin Clark

I graduated from Iowa and played basketball in high school so my level of excitement is off the chart!

I just bought 2 floor tickets for $7,000 for the Final Four in Cleveland assuming we make it lol!! Worse case scenario I can sell the tickets for more than I bought them.

Ticket prices are already insane and there’s no way I could afford good seats if I waited to find out who made the final four.

So I’m gambling!!

Who would have thought the next Michael Jordan is a white girl from Iowa?! She breaks an NCAA record every game. Watching her play is mind blowing!! Never seen anything like it. Her passes and assists are equally as impressive as her half court 3 point shots lol!! It’s poetry in motion.

Kami Knake

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From: Fritz Manger

Subject: Re: Perseverance -Magical parking lot snow

I have to tell you I went to CU Boulder for school and everyone always talked about the “magical lighter than air snow” and I didn’t even know what that meant being from Seattle. But one night my Junior year, it started snowing around 4pm and a few of us were at the library until about 9pm, and then we went back to someone’s dorm and had a couple of beers and by 11 we thought it was a good idea to walk to TacoBell. I remember walking across the business school parking lot in almost chest deep powder and it just sort of parted for you as you walked through it. I turned to a friend and said “watch this” and proceeded to fall backward like a trust fall to make a snow angel, and unbelievably I smacked the back of my head on the blacktop of the parking lot so hard I thought I had a concussion. There was zero resistance from the snow to catch me.  I didn’t even make to 🌮 it hurt so badly. Unreal. Never seen it since. It was magical. Painful, but magical!