So I’m talking to Clem Burke…

No, no, I’m not dropping names here. He barely gave me the time of day. Why should he. But my point is…these people are my heroes. I stood in front of the stage, they were on it. They were the people I believed could make my life work, if I could just meet them. I’d say I gave my soul to rock and roll, but really it reached out and grabbed me and saved me, made my life complete.

The only reason I went to this gig was to do a favor for Larry Solters. I thought it was a b.s. exhibition he was paid to promote, I’d show my face and then go to dinner with my usual Thursday night group. But from the moment I got there, I kept running into people I knew. Learning about this restaurant on Pico with an all meat meal, run by someone akin to the Soup Nazi, with an unlisted number and a $220 tab. And the hors d’oeuvres weren’t bad, so I scarfed them up and wrote off my dinner and got into it with Rob Light. Who kept testifying about the movie, inside. I hadn’t even seen the exhibit, that’s not why I came.

But it was hard to hear Rob, because a really good Heart cover band was playing in the background. Finally, I turned my head, to check out these incredible impostors, and was stunned to find out it was the Wilson sisters themselves! Ann’s still got the pipes! And after talking about "Rock Of Ages" and the television business and validated parking I went inside, for a run-through before I departed.

My mind was blown.

My favorite picture was the one of the Yardbirds. With Jimmy Page in a quasi-military jacket and Jeff Beck in sneakers. Once upon a time these people were not heroes, just wannabe musicians. So many of these pictures were snapped at this time.

And then there was the cover of "Dressed To Kill". Gene Simmons was wearing CLOGS! This was before the exotic boots, before they became the KISS we know today.

And there’s the original cover of "Joshua Tree" and explanations of every photo but what made my night, what truly dropped my jaw, was the movie.

Henry Diltz talked about being a folk musician, buying a camera on a whim and ultimately finding his new career. There were outtakes of the "Desperado" cover.

Guy Webster told the story of capturing the iconic bathtub shot on the cover of the Mamas & the Papas’ "If You Can Believe Your Eyes And Ears". They couldn’t leave the house because they were all so stoned. Hell, Guy could barely set up his tripod.

Linda Eastman McCartney got started by accident. Being chosen to be the sole photographer from a group of shooters.

But the photographer who captured the essence was Norman Seeff. I could try and explain how he described his process, but I wouldn’t nail it.

I realized that to be a rock and roll photographer, you had to be friends with people on the way up. You couldn’t just decide to work with the famous. You had to ingratiate yourself. Opportunities came thereafter, one success led to another.

And I felt left out. Hell, whenever I’m around a famous musician I tingle. I held the album cover in my hands. I know all the credits. THAT’S YOU?

But they’re just regular people. Albeit much cooler than me.

Now they validate parking, you’ve still got to pay a little, but it’s not the $34 max. And I get no kickback. But I’ve really got to implore you to go to this exhibit. The photographers were hangers-on, but they were much closer to the musicians than us. They captured not only the visage, but the identity. They made the people in these photos three-dimensional.

You look and watch and you experience that penumbra which is never seen on TV. One great photo can be the essence of rock and roll.

And they’ve got tons of them at this exhibit.

"Who Shot Rock & Roll"

Wikipedia

"Jive Talkin’"

Four years is an eternity in popular music.

But that’s how long it was since the Bee Gees’ last hit, "How Can You Mend A Broken Heart". In the interim Jethro Tull released an album containing only one track, FM trounced AM and "Free Bird" became an anthem. But in the sporting goods store I worked in on Hollywood Boulevard, they still broadcast AM, that’s all they had.

And I lived to hear this.

It was my second sporting goods store gig. The first one was around the corner, on Highland, neither of these establishments exist anymore. And the clientele was always a trip. Talking to Jack Nicholson, H.R. Haldeman coming in for Tretorns. Never mind the delusional street people dropping in for the air conditioning.

I never had a soft spot for the Bee Gees. But when "Jive Talkin’" came out, suddenly I did. I guess we like things that connect us to the past that are not pure nostalgia. "Jive Talkin’" may be lumped into the disco camp, but really, it’s not. It’s just a hit record. With a groove and flourishes that make you wince and smile at the same time. The keyboard riff, the percussion breakdown…this is one track I’ve never burned out on, it’s the link between what once was and was yet to be.

"Stayin’ Alive"

Somehow, in the history of popular music, a taint has been placed upon this track, people dismiss it, look down their noses upon it.

That’s what success will do for you. Bring out the haters, the history rewriters. Sometimes something’s so great, you can’t say a negative thing about it, and when it comes to "Stayin’ Alive", that’s the way it should be.

Forget the disco backlash, blowing up records in Comiskey Park, everybody loved "Stayin’ Alive", not only the polyester-clad dancers but the dyed-in-the-wool rockers. Because it’s so damn good!

You’ve got to understand, it snuck up on people. It wasn’t like today, with endless movie hype. A film with John Travolta based on a Nik Cohn story in "New York", which years later turned out to be completely fabricated…there was no built-in desire.

And then you went to see it.

Travolta walking down the street with a swagger, putting one slice of pizza atop another, it was movie magic…and it wouldn’t have been half as good without the soundtrack, "Stayin’ Alive".

Movies were platformed, they didn’t open in thousands of theatres, word took months to spread, "Saturday Night Fever" was an immediate hit, but unlike today’s flicks, it played for six months, not six weeks.

And the more the movie played, the more people bought the soundtrack, the more these songs were on the radio. The Bee Gees ended up on a victory lap they still haven’t recovered from.

That’s the power of a hit song. Especially when matched with a hit movie.

And don’t you love those drums at 3:44!

"If I Can’t Have You"

My favorite non-Bee Gees song on the soundtrack was the Trammps’ "Disco Inferno"… But that was not a movie original, that was another of those disco songs we rockers secretly admitted we loved. But my second favorite was a movie original, by Yvonne Elliman, "If I Can’t Have You", written, of course, by the Bee Gees, not that many knew this at the time…

And this is one of the rare cases wherein the writers’ version is inferior, still, listen, you might not have heard it…

And talk about a hook…

If I can’t have you
I don’t want nobody baby

We all know this feeling, it’s the human condition.

"Holiday"

Despite the cheery title, this song has such a depressing feel.

Maybe that’s why it appeals to me.

We live in an upbeat world where if you’ve got problems you’re scuttled aside, unless you’re a celebrity and go on "Oprah" and confess. But that’s anything but personal. Depression is personal. As is so much of the greatest music, beamed directly from the speakers into your heart.

This was not the first Bee Gees track I heard, but it was the first one that clicked.

We had season tickets at Bromley. A ski area with a lot of character that faces south and is right upon the highway which I love with all my heart. And at the end of each ski day, the teenagers would congregate on the main floor, around the corner, where the jukebox was.

I’m gonna do a whole playlist on the tracks that emanated from that machine, that changed my life, that I had to buy. Stuff you wouldn’t expect, like "Boogaloo Down Broadway", by the Fantastic Johnny C…and this.

You see that’s what’s great about a jukebox, about the AM radio of yore…you don’t get to hear what you want to, but what others want to. And then you end up hearing these songs enough they become your favorites too.

I can still see the townies, with their Moriarty hats pushed up high. The tension between the locals and the weekenders, the way we connected as the winter months wore on, drinking our hot chocolate and eating our monster glaze donuts. That’s what’s great about life, the memories. When you’re depressed, you think back and you smile.

"New York Mining Disaster 1941"

This was the first Bee Gees song I heard. But since it was not on the Bromley jukebox, I did not know it as well.

What I love is the endless repetition of "Mr. Jones"…you think he really exists.

"Massachusetts"

I was always flummoxed by this. How a band from the U.K. via Australia could pick out such a tiny state and write a song about it.

Massachusetts was just the next state over. The one we drove through to get to Vermont, the one that contained my grandparents.

You know how you feel a special connection with a song that mentions your name? That’s how I feel about this song. Especially in the sixties, all the glamour, all the references, were based on California, the west coast. Sure, most of the people lived on the east coast, but popular culture seemed to be based out west, but not in this song.

"Lonely Days"

And I love all the aforementioned records. "Massachusetts" was the follow-up to "Holiday", they were on a roll. But then came "Words", "I’ve Gotta Get A Message To You" and the execrable "I Started A Joke". Who was this music made for? Sure, I could get depressed, but this music seemed to be made for hobbits who never left the house, who never saw the sun shine, people who were perpetually under the weather. You made fun of these songs. And if you say otherwise, you weren’t there.

But then there was a last hurrah. Just when I’d written them off, the Bee Gees released my favorite song, "Lonely Days"…

The track started off like another dirge, and then…

Good morning mister sunshine, you brighten up my day
Come sit beside me in your way

The harmonies were exquisite, they made you feel all warm inside, the strings swirled underneath… And then there was the rhyme of "restaurant" and "nonchalant"…

And then the song changed completely, it became a rocker… Someone started banging on the piano, like you would at home, only with more talent, there were random horns, you felt like you were at a football game and wanted to get out on the field and march with the band.

Then the track devolved into dreaminess, something the Beatles were so good at, but the Bee Gees did well too. The track went back to the quiet verse… But when the chorus came back this time, it was truly vociferous.

LONELY DAYS
LONELY NIGHTS
WHERE WOULD I BE WITHOUT MY WOMAN!

The brass is squeezing out the notes, the boys are shouting and harmonizing, the strings are swirling…it’s a tour de force.

And I’ll bet what Barry Gibb is feeling right now is lonely. With three of his four brothers deceased. You don’t want to survive, you want to go first, otherwise it’s just too painful. You’ve got no one to share your memories with, no one to sing with…

But we the listeners are not burdened by the death of three of the brothers Gibb. For us, the songs still live. This was an act that hung in there, kept trying, for decades, experimenting, getting it right. Their only mistake was to become so successful that the public put them in a box and they became inhibited by their own legacy.

Spotify playlist

Previous Rhinofy playlists

Re: Lowery

I’m not gonna fill your inbox with the protestations and ministrations of the minions. Everyone seems to have an opinion on this week’s meme and I know most are not interested in the thoughts of anybody but themselves. And I maintain all this bloviating is not moving the needle, which was my original point.  But I’m going to direct you to this post by Jay Frank, because it contains some interesting statistics. I don’t agree with everything Jay says, but the underlying point is we live in a crowded marketplace that is overwhelming the consumer and to a great degree when you think piracy is holding you back, the real issue is demand…there’s just not enough of it. That’s not to say major artists are not affected by piracy, but despite Lowery counseling Emily White, to a great degree this is not an emotional issue, facts are important. I’ve excerpted a couple of Jay’s points, but I believe it behooves you to read his entire post:

"I just don’t think they’re stealing the music of the majority of artists bitching about thievery’s impact on their business. The statistics don’t bear it out."

"…is the fact that there are too many artists competing for shrinking dollars, largely due to the shift from albums to singles. Despite the economic number that David Lowery quoted of the number of professional musicians falling by 25%, if you took "album releases" as an indicator, it seems like the number of pros has increased. In a decade, we’ve gone from about 30,000 albums being released to over 77,000 last year. And that’s just albums going thru legit channels. The problem, as noted by Chris Muratore of Nielsen on the previously noted New Music Seminar panel, is that 94% of those releases sold less than 1,000 units. Indicators that I have examined showed those low sales aren’t because of people stealing them. They come from too many releases causing most people to not even realize they are out."

IS STEALING MUSIC REALLY THE PROBLEM?

And while you’re at it, you should also look at Jay’s most recent post, about music industry trends. Most importantly, the point that "Albums Earn Less Songs Earn More" – "Adele "Rolling In The Deep" sold over 11 million units in 2011, the most of any single song in the Soundscan era" and "Singles Take Longer To Break" – "Carly Rae Jepsen – Released September ’11, Peak June ’12", "Gotye – Released July ’11, Peak May ’12", "Fun. – Released September ’11, Peak March ’12", "One Direction – Released August ’11, Peak April ’12", "Foster The People – Released February ’10, Peak August ’11".

BREAKTHROUGH TRENDS IN THE MUSIC INDUSTRY

____________________________________

From: Joe Taylor
Subject: RE: The Senate Judiciary Hearing

small point but Merlin own a piece of Spotify and Cooking Vinyl are in Merlin

Joe Taylor
Record of the Day

____________________________________

From: Scott Sommer
Subject: the power of howard stern…

Smashing Pumpkins released a new album. According to the interview with Billy Corgan, he let Howard pick any song off the record to play in full. Howard chose "Violet Rays." Billy said that was not the single and was surprised Howard picked it because it was more "out there" than many other songs.

Here is in image of the popular track ratings from the album:

(Click this link: http://bit.ly/LAcbMb and then click "View in iTunes" to the right of "Oceania – iTunes LP", which is at the top of the list.)

Be afraid, be very afraid. Especially when Lucian Grainge makes Edgar Bronfman, Jr. look like a paragon of openness and reasonableness.

If you were watching this hearing, and you knew nothing about the law, were just deciding whether the Universal/EMI merger should go through on fairness, you’d say NO WAY!

Lucian Grainge was so evasive and duplicitous you’d be afraid to go to dinner with him for fear he’d steal your watch. It was so obvious that both the panel and the chairman/senator had to remark upon it, that he didn’t answer a single damn question.

Roger Faxon was eloquent. But it was hard to figure out exactly whose side he was on. What I mean by that is isn’t he up for a job at Warner? And isn’t this sale from Citi to Universal guaranteed? And he said if the merger goes through he’s gonna lose his job, but admitted with a send-off paycheck, ain’t that the American way.

At least Irving Azoff was honest. He said that Warner was blocking this merger because they didn’t want to overpay for EMI, but they still wanted to own it. Truth is always refreshing. Irving was the only one who really talked about the new music business. Still, the concept that recorded music income is going to drop off a cliff and be nonexistent in the future is just plain wrong. The majors may not control the music of all of his acts, but they can determine on which terms they engage with the public in the marketplace.

Martin Mills made you want to sign to his company. He wasn’t sleazy, he was direct, and forceful.

As for Gigi Sohn… She didn’t look the part, but she was the musicians’ friend.

And the inquisitors were quite informed. Star of the panel was Al Franken, who even corrected Azoff, putting in the record that Universal was not first on Spotify, but third, after EMI and Sony. Franken had done his homework. He cornered Grainge. But like the weasel Lucian is, he refused to respond to the inquiry, again and again and again. Hell, Grainge wouldn’t even answer Kohl’s question as to why he bought EMI. Can you imagine that, someone spending $1.9 billion and not being able to articulate why?

This hearing is meaningless.

But the proposed merger is not.

Just today I got this e-mail:

"I need you to withhold publication of my name because I still rely on UMG for some licenses. However, I can personally vouch for the validity of Pakman’s statement to the WSJ. David Ring and his jr lawyer, Aaron Harrison, pulled the same kind of shit on me when I had to cut new licenses for _______ to save the company from extinction. Word for word.

The problem is that the industry is already too concentrated. The only fair solution is to exchange extended copyright protection for mandatory statutory licensing of all known digital business models including downloads and on-demand services."

Meanwhile, you all know the name of the company this gentleman is speaking of.

You see these guys are assholes. Especially Lucian Grainge. They’re bullies who want to succeed not so much for their artists, but for themselves. It’s the American way.

As for the public.

SCREW YOU!

P.S. Bronfman made an excellent point, that the AT&T merger with T-Mobile was denied, even though the resulting entity would have equal or less market share than Universal/EMI.

P.P.S. Even indies need distribution. Did you see that Amanda Palmer made a deal with Cooking Vinyl today?

D.I.Y. Heroine Amanda Palmer Signs With Indie Label Cooking Vinyl

P.P.P.S. Cooking Vinyl does not own a piece of Spotify, MOG or Vevo. But Universal does. In other words, you can be independent but every time your music is streamed you’re enriching your competitor. It’s kind of like paying the Mafia to keep your restaurant open.

P.P.P.S. Irving screwed up. He talked about the major labels exercising "blocking rights"… Isn’t this what this hearing is all about, the concept of blocking unapproved entrants into the marketplace, whether they be music services or acts, requiring them to play by majors’ rules, if they allow them to play at all?