I know I’m supposed to hate Luke Bryan.

BUT I LOVE THIS!

I know it’s a bit hokey, but the feel is utterly amazing, kind of like the intro to “Free Bird.”

I sometimes wonder if I’ve lost my connection to music. There’s so much I don’t understand, so much that is sound without song, and then I hear something like “Drink A Beer” and not only am I in love with music again, but my humanity is restored.

And sure, the song is about death.

But really it’s about loneliness and reflection.

I don’t know about you. But despite everybody on television reveling in the comfort of others, watching the game, ensconced with buddies at work, I’m oftentimes inside my head, amazed at what I see and wondering how I fit in and what path I should take.

Everybody on television is so good-looking. The movies are full of superheroes. Politics is worse than banking, the people pay lip service to policy, but they’re just there to get rich. And I’m not a mindless partier. Good times, sure. I like them. But it’s something I feel inside, and there doesn’t have to be anybody else around.

When I got the news today
I didn’t know what to say

That’s what happens every morning. I turn on my computer or phone and I’m confronted with information that demands I make decisions, choose this path or that. I’m fearful of making a mistake, I oftentimes just want to check out, which is what I did when I was a kid, with the door closed and my records playing.

I took a walk to clear my head
This is where the walking led

Clearing your head. It’s almost impossible today. I’ll admit I’m addicted to my smartphone. Looking to see if I’m loved. It’s hard to disconnect, to get in touch with your true feelings, gain perspective.

Can’t believe you’re really gone
Don’t feel like going home

Relationships… Once upon a time we all lived close together in villages. Now we’re all in touch online, but just because you know where the person lives, what they look like, that does not mean you want to connect. What do you say? To the girl you had a crush on in seventh grade? The one who left you? That you still think of them? That’ll freak ’em right out. And what you’re really looking for is not them, but the feeling that you’re in control, that you can solve this puzzle of life.

Funny how the good ones go
Too soon, but the good lord knows
The reasons why, I guess

I get why people believe. Because otherwise what happens is so inexplicable. The good do die young. People do get away with murder. If you don’t have more questions than answers, you haven’t lived. But I’m not the joining type. I want to figure it out for myself. And every day I gain knowledge and realize how little I know.

So I’m gonna sit right here
On the edge of this pier
And watch the sunset disappear
And drink a beer

Sometimes that’s all you need. A perch where you can scan the landscape, stare out and marvel how the world really doesn’t care, but that doesn’t matter, it’s so beautiful.

My drinking days are done.

I’m not toasting those who are gone.

But I get the sentiment. Sometimes you just want to disconnect and contemplate this confounding, confusing planet we inhabit.

And it’s not bad alone.

But with the right song, it’s marvelous.

Drink A Beer – Spotify

Drink A Beer – YouTube

Declare victory and stay home.

With an 82% drop in its second week, from 305,280 to 45,536, “Artpop” is so stiff, you could iron a shirt on it.

And everybody knows.

And nobody wants to go to a show no one else is attending.

Heat.  That’s what gets people to go, when their friends are going, when it’s the place to be and you don’t want to be left out.

But you’re not missing anything if you stay home. Hell, you’ve already seen it all on TV. That’s enough for most people.

Lady Gaga needs to reinvent herself. She needs to follow in the footsteps of Christina Aguilera, of all people. Christina’s album was dead as a doornail so she stayed home, with some lame excuse I can’t even remember, and that’s just the point. Then she burnished her image on “The Voice,” dieted down and went from being the scourge of the tabloids to their darling.

Gaga needs this transition too.

Then again, Christina Aguilera was managed by Irving Azoff, and still is, and Lady Gaga’s…got no manager. And not only does a manager run interference, he or she gives you guidance from outside the bubble. Gaga believes if she just keeps spinning faster, doing more, changing outfits multiple times a day, we’ll care. But we don’t.

POSTSCRIPT

Kanye. Is he killing his career or will he recover?

Yeezus has got an advantage over Gaga and most other acts. He was never a man of the people, never on their side. So he doesn’t have to worry about losing their trust so much as being…ignored.

I’ve yet to see Kanye kill cancer. Or create Google. But he keeps telling us on and on he’s an oppressed genius. It’s tough being a black man in America, but last time I checked the President was African-American and although racism is still rampant, is that what’s truly holding Kanye back or is it that he’s not paid his dues and demonstrated skills in areas other than music? Michael Jordan couldn’t make it in baseball, despite being a much better player than the average Joe. Why is it those who win in one sphere automatically believe they can emerge victorious in another?

Furthermore, Kanye’s lost track of the narrative. His album had very little impact and now it’s all Kim K., all the time, who may be rich but is borderline laughingstock. SNL skewered her so sharply she’s shish kebab, and almost impossible to take seriously. Oh, that’s right, we never did. Her skill was being a tabloid train-wreck, a role she plays so well.

And now we’ve got Seth Rogen and James Franco making fun of Kanye.

Used to be he was off limits. Now he’s a punching bag. Like Gaga.

Then again, who wouldn’t make fun of his inane sex on a motorcycle video with Kim’s kittenish squeals so ridiculous you can only laugh…at them, not with them.

Is this the end of Yeezus?

Like I said, the public was never on his side. If he releases great music, he can climb back up, especially in the modern era where the cycle is so fast  that what happened today is forgotten next week.

But trends have changed. Radio and the critics have embraced Lorde, who is not only not hip-hop, but rails against the trappings of blowhard, hedonistic, possessions are everything celebrities in her monster hit “Royals.” In other words, do we really care about Louis Vuitton, never mind leather jogging pants? Is Lorde ushering in an era of what’s inside as opposed to outside? One that’s no longer about surface trappings but thought?

We’re ready for it.

Not that the public will give up reading the tabloids any time soon.

But right now, that’s the only place Kanye lives, in gossipland. And that’s a hell no musician wants to endure. If you don’t lead with your music, you’re on the way out.

SNL: Waking Up With Kimye

Kanye West Bound 2

Seth Rogen & James Franco Bound

PRACTICE

Your ability to play exceeds social networking.

Your chops are more important than your social skills. Frequently the best musicians are near mute, they speak through their music, which brings adoring fans to them.

First learn how to play. Everything else comes next.

WRITE

You can make it with other people’s songs, but it’s hard to sustain. Consider writing another club in your bag, not only does it give you more options it also makes you more attractive to labels and other investors.

RECORD

A great song translates with just you and your instrument on YouTube. But if it’s someone else’s song, you’re not going to go far. We all pass around YouTube covers, but none of the acts ever stick, because imitation is the sincerest form of flattery but it’s not the way into our hearts.

RECORD 2

Yes, if you hire name people and record in a top-notch studio your track will sound better, but ultimately it’s about the song. Slick means nothing if the song sucks.

DISTRIBUTE

Put your music everywhere. Starting on SoundCloud. It’s the default home of the wannabe. If you get any traction thereafter, get it on iTunes and Spotify, et al.

YOUTUBE

Comes after SoundCloud. A lyric video is good enough assuming people want to see it.

But if someone comes to your clip and the count is low it’s going to work against you, especially if you told people to go there.

HYPE

You start with your friends. And try not to burn out your friendships. Seed them with material. Listen to their feedback. Don’t lean on them to spread the word, if they like your material they will. If you give it to them and two weeks go by and you’re not hearing from other people, especially those you barely know or don’t know at all, your track wasn’t good enough. Maybe good enough for you, but not good enough to make it.

MAILING LISTS

Retain all the contact info of anybody who contacts you about your music. You want to know who your fans are.

MAILING LISTS 2

Put yourself in the shoes of your fans, look at it from their perspective, not yours. You may be frustrated you’re not more successful, but that’s not their problem. Only contact people when you think they’ll be thrilled to hear from you, when they’re interested in what you’ve got.

MAILING LISTS 3

If you’re getting positive feedback, feed information on a regular basis. If you’re seeding people and getting nothing back, the problem is you. Back to the drawing board. Yes, you may want to tell everybody they don’t get it and you’re misunderstood, that’s your prerogative, but that won’t help you make it.

TWITTER

Almost meaningless unless you’re already a star. Then it’s purely the cherry on top. And sundaes taste quite fine without the cherry. The problem with Twitter is most tweets go unseen. But if you notice retweets and feedback feeding the system is not a bad idea, as long as it doesn’t take your focus away from your music.

FACEBOOK

A home for looky-loos before you can afford your own URL/website. But don’t expect any virality on Facebook.

PLAYING LIVE

Comes last. It’s after you’ve learned how to play, practiced, written and recorded. If you put it first, you’re probably gonna be in trouble. Especially if you don’t know how to play and make mistakes. Yes, road chops are the best. But that’s assuming you’ve got somewhere to play. That’s the problem today, live music is not everywhere. Venues don’t want to pay and certainly don’t want to alienate their patrons. They’d rather spin records. So don’t beg anybody to play at their venue unless you’re going to make them money. That’s the cardinal rule. It’s your responsibility to bring people in, not theirs. Certainly if you’re completely unknown.

Having said all that, it’s not a bad idea to start out as a cover band. But use originals sparingly. And if people stop dancing and/or leave the room, pull them.

If you can get places to play, more power to you. But don’t put the cart before the horse.

BLOWING UP

It’s gonna happen slower than your wildest dreams. It’s gonna be long after your buddies have graduated from college and have careers and are starting families. If you’re not willing to risk it all and fail, music is not the business for you. And if you do fail, don’t complain, either get out or go back to the drawing board and work harder.

BLOWING UP 2

Your one big break is never the one you think it is, and is oftentimes a series of mini-breaks.

TV CONTESTS

Are about the shows, not the talent, about advertising, not music. At first, they were such a hit surprise this wasn’t completely true, but Kelly Clarkson made it a decade ago. Contests are short cuts that usually lead nowhere. They tar your resume.

MERCH

Assuming people come to see you, and like you, they’ll want to buy something from you, to evidence both their support and their identity. T-shirts are great, but make sure they’re well-designed and made with good materials, otherwise people will buy once, if that, and never again. As for CDs…this is what they’re made for, live gigs. They’re souvenirs. The music is available easily online. But personalized, signed product is not.

A MANAGER

No act makes it without one. Don’t sign a contract if you can get away with it. If you do, give up no more than twenty percent, hopefully fifteen. And hire a MUSIC BUSINESS LAWYER to negotiate the deal, not your dad’s attorney buddy. Whatever you spend will be a pittance compared to how screwed you will be if you actually make it and have signed a bad deal. The bottom line is when you start no one good wants to manage you, and chances are you’re going to leave your initial garage manager for someone more experienced. It’s gonna cost you, remember that.

AN AGENT

More important than a label these days. Agents work on commission, usually ten percent. And they don’t like to work for free. So if you’re not making any money, an agent isn’t gonna wanna represent you. I know it’s a conundrum. You need an agent to get work, but you can’t get an agent unless you’ve got work. Figure it out. Oftentimes it’s the drummer who both manages the band and gets gigs before professionals get involved. As to why it’s the drummer, we’re still trying to figure that out.

A LABEL

You might feel good you’re signed, but that don’t mean diddly-squat if it’s an indie who neither distributes nor promotes you. Give up rights commensurate with how much you’re being paid. Up front. Upon delivery. Guarantees of marketing and promotion are worthless, even if they’re in the contract. If you’re not getting any money, you want it to be a one or two album deal, with a hefty royalty rate and a return of rights upon termination of the deal or shortly thereafter.

A MAJOR LABEL

You give to get. Your deal will be lousy unless you don’t need them. If you’re pulling in thousands of people a night and tracks are flying out of the iTunes Store the major label will cut you a good deal, otherwise they won’t. And just because you have the deal don’t expect the label to break you. The hard work is just beginning. Give them tools, i.e. music. And play nice. Otherwise the label will blackball you, they don’t need troublemakers, unless they’re guaranteed revenue makers. And major labels only want acts they can easily market and profit from, i.e. radio acts. Remember that. If you’re not one of these, a major label deal is worthless, furthermore you won’t get one.

TRACTION

Comes slower than you expect once you’ve got a deal. It’s all work with very little reward for a very long time. In other words, if you’re not willing to enter the Ironman competition, don’t be a musician. Just when you’ve scaled one hill, there’s a mountain range looming in the distance.

HITS

You need more than one to sustain a career.

MONEY

Comes long after you think it should. Not only does the label take most of it, what you deserve isn’t rendered for eons, that’s the nature of royalties.

GETTING SCREWED

It goes with the territory. You’re never going to receive what you’ve earned. You just hire the best people and try to get the most you can.

SUCCESS

Won’t be as sweet as you think it’ll be. But don’t freak out in the middle of it. Because we need neither you nor your act. Do your best to be humble and sustain. Otherwise, you’ll be replaced.

EXCEPTIONS TO THE ABOVE

Exist. But they’re rare. Do you want to bank on being the exception?

It was a show. It was entertaining. You got your money’s worth.

I oftentimes don’t want to go anymore. Because it’s an endurance test. Unless you know the songs by heart, it can be positively brutal as you sit there, too often stand there, as the act plays its music at a deafening volume one song after the other. There’s no show in this show business.

Or else it’s all show. As in an assault. Believing if you just throw enough production at the audience it will be satiated.

But Buble is something different.

Let’s start with the material. I’m a rocker, who graduated from Broadway musicals. It’s all about the song. Decades past I would see Buble as middle of the road schlock. But all these years later, when songcraft has gone out the window, too often replaced by beats sans melody, it’s positively refreshing to hear Buble sing. Without special aural effects on hard drive. Backed up by a big band that went to college to learn how to play.

Oh, that’s one of the highlights of the show. When each horn player is paraded on the big screen like the NFL on Fox. With the twirling visage and the stats. In this case, blue chip music schools like Julliard and the Manhattan School of Music. In an era where fame trumps everything, it thrills one to see these dudes with chops who earned their positions over time and can deliver unselfconsciously.

Yes, there is a big screen. There is production.

But it doesn’t overwhelm the show. And it enters gradually.

It all starts with Buble.

You know what he did that endeared me to him?

Not even ten minutes into the show he stopped and talked…for what seemed like eons, really, longer than it took to sing the couple of songs he started out with. I’ve never seen anybody do this at a rock show. They’re afraid. Of losing the audience, of not delivering expectations. But a true pro, which Buble is, knows it’s about endearing yourself, creating a bond. And Buble does this without pandering, without going lowest common denominator mainstream. Sure, he picks the birthday girl out of the audience, but it’s almost as if…let’s get this out of the way, so we can do the real show.

And what a show it is.

This is not rock concert seedy. Nor tweenybopper mindless. It’s like an evening out for something you could never get in.

That’s the problem today. With movies and too often concerts.

It’s better at home.

Sure, you can’t feel the crowd at home, which you oftentimes would not want to, but there’s nothing special about being there other than being there. Whereas at a Buble show you get the feeling it’s one moment in time, an escape from the modern day world of too many screens.

So you enjoy yourself.

I enjoyed myself.

P.S. Paul Anka told me he owes the success of his book to Howard Stern.

P.P.S. Buble is nothing without his team. Of label, manager, promoter and producer, all of whom were there. David Foster got it started. He brought on fellow Canadian Bruce Allen as manager. Diarmuid Quinn and his team no longer at Warner, because the acts remain and the execs get fired, pushed the record. And Don Fox sold the tickets. At the first show in Arizona, the count was in the single digits. Barely into doubles in Salt Lake City. You start off slow. And you build. If you believe. If you deliver.

P.P.P.S. Staples was sold out. And if you go regularly, you know it’s nearly impossible to sell the upper deck, above the three levels of skyboxes. But Buble did. Not instantly. As a matter of fact, the first day numbers were less than half of what they were for the previous tour. But Don said “We’ll get there.” Which they did, via advertising, marketing, promotion. In other words, the job of the promoter is not to rent the hall and pay the act, but SELL THE TICKETS! That’s something the oldsters know how to do and the youngsters, operating behind the corporate wall, too often do not.

P.P.P.P.S. Oldsters… Not the audience, Buble appeals to everybody, but white hair was not predominant. But it was backstage. You see everybody involved with building Buble is a lifer. Who was bitten by the bug back when music drove the culture, when not only was it the Facebook of its day, but Twitter, iPhone and HBO too. This generation will not live forever. It’s not sure who their replacements will be. Because too many oldsters have not allowed youngsters to thrive and too many youngsters find other businesses appealing, whereas in the sixties and seventies everybody wanted to work in music. We’re ripe for revolution and reinvention. And it won’t be about sponsorships and other corporate connections, but the show itself. Back to basics.

P.P.P.P.P.S. Buble is so normal. And he walks a fine line between hip and not so. You want to be part of your audience’s life, yet just a little above it. It’s a skill, learned over time.

P.P.P.P.P.P.S. The climax is the end, when Buble appears in front of the curtain and sings Leon Russell’s “A Song For You” a cappella, without a mic. It’s positively thrilling. My body is shivering as I type. Because that’s what it’s all about. The song and the performance. Everything else is just window dressing.