Heartbreak Warfare

I woke up with a song in my head.

I went hiking last night long after dark, the moon was almost full and the breeze was warm.  I was planning to play Don Henley’s "End Of The Innocence", it seemed fitting after finishing the Franzen book, but my iPod was on "Half Of My Heart".

I was overhyped on John Mayer.  By his label, by independent retailers.  And when I actually heard the wimpy music he released I laughed, and winced when he was overexposed in the media.

His mixer kept telling me he was going to do a guitar record, that he was truly a slinger, but only after another wimpy album.  There’s nothing that bugs me more than playing the game, than denying who you really are in order to ensure commercial success.

And then, after hearing about bodies being wonderlands and daughters I was subjected to this same guy wincing as he squeezed out notes a la Clapton.  I wasn’t buying it.

Then I discovered "Who Says".  It had the feel of those Stephen Stills tracks, like "4+20" and "See The Changes", yet with a slightly whimsical Paul Simon vibe rather than the soul-baring of Stills.  I couldn’t stop listening to it.  This was not fake, but one guy on his guitar telling his tale about independence, about freedom, about the passing of time.

But I didn’t become a fan, one track is not enough.

Then I heard "Half Of My Heart".

I was at a dinner last week and someone remarked how John Mayer was ill-adjusted.  He’d locked himself up in his room for years learning to play the guitar, did we expect him to be an expert on human relations?  Yes, John Mayer blew himself up telling the public Jessica Simpson was sexual napalm and employing the "N" word.  Can he recover?  I’m stunned that so many women tell me they’re now off him.  His road business has suffered.  Maybe it’s just about time for me to become a fan.

Only someone who’s listened to a ton of Beatles records, someone who’s studied history more than his image in the mirror, can employ a bridge like John does in "Half Of My Heart".  It all comes down to the songs.  And in order to write and play them you’ve got to practice, which almost no one wants to do.  I could tell this track was not made by committee, that there was a bit of Mayer’s soul encased inside, and that’s what turns me on, you can miss a lot, but if you hit the bulls-eye now and again, I’m on your team.

So I decided to load "Battle Studies" into iTunes, transfer it to my iPod.

And at first, I didn’t discover anything new, I didn’t get hooked, the take of "Crossroads" was less than superfluous, why it made the album flummoxed me.  Then again, John said "Battle Studies" wasn’t as good as "Continuum", maybe the record was just substandard.

But needing to hear "Half Of My Heart" again, and again, I found my iPod slipping into other tracks, and in the process, I discovered "Heartbreak Warfare".

In retrospect, now that I know it’s the opening cut, which isn’t always so obvious when you’re listening on shuffle on your iPod, it fits that role perfectly.  Today, most people make the single first, hell, is anybody gonna listen beyond that?  But really, the opening song should be a statement, an introduction and an explanation as to where you’re going.

And "Heartbreak Warfare" tells us this is John Mayer’s break-up album.  I didn’t get that before, in all the online hype, all the dumping of girlfriends, I lumped Mayer in with the rappers, who kick their exes to the curb as opposed to vice versa…but the opposite is always more interesting.

How do you feel the pain, not deny it, yet soldier on?

You know those people who break up and tell you they’re one hundred percent, they’ve instantly recovered?  I figure they’re not in touch with their feelings, they’re heading for a fall.  Being apart after being together is so hard…one of the hardest things we have to do as human beings.

And "Heartbreak Warfare" starts like there are bombs dropping in the background, like the song was cut in the middle of battle.  You’ve seen enough war pictures, the sky is lit up, but you’ve got to soldier on…that’s what the song sounds like, with a driving beat propelling it forward.  And once this underlying beat penetrates your body, you can’t help but march along, play this song over and over and over again.

No one ever really wins in heartbreak warfare.  Maybe one person has decided to get out first, but it’s painful to leave.  As far as inflicting pain intentionally after the fact…that’s not my style, but I know that paradigm exists. I’m more of a wound-licker.  Then again, no one likes to see their ex with someone new.

And I’m not sitting here saying "Heartbreak Warfare" is a single.  It’s truly an album cut.  Something to be played at home, alone, savored.  Those are the cuts we love the best, the ones that we can own, that are not possessed by the collective consciousness.

Used to be we watched our artists, waiting for them to grow to greatness, to the point where we should pay attention.  Now we can barely afford the time to pay attention to what we love, the rest eludes us.  But if you continue to work, know it’s about a career, not a hit, and build a body of work, you never know when someone’s gonna stumble on your catalog and become enchanted, become a fan.

The album cycle is done.  Mayer’s off tour.

But my fandom is just beginning.

E-Mail Of The Day

From: Steve Poltz

Wow! You sure get a lot of action at your blog. Nice work creating a community.

I love playing at The Blue Door in Okc. One of my favorite rooms anywhere on the planet. I either go out for Oklahoma BBQ or Vietnamese Pho with Greg Johnson. We talk baseball and politics and music. He loves his Orioles. I look forward to my next gig there.  

I’m pretty lucky. I’ve got friends all over the world who own music venues.  I work 200 plus dates a year. It only comes from repetitive touring and  giving 100% each night even if you’re sick with the flu or have a broken hand. Meeting the people after every show and playing heaps of house concerts. It’s not glamorous but it works.  I travel with only one guy -Chris Modl, who records every show and we sell that show 15 minutes after the gig ends on CDs or 2 gig thumb drives.  

I love my job. I’m like a traveling salesman. If I play a good show then people usually buy my wares. T-shirts etc.  If I suck then I have no one to blame but me. I have no mgmt and only my own label 98 pounder records.  I LOVE my booking agent Roggie out of Austin at Rajiworld. She has a great understanding of what I do.  I have different agents I love in Australia and my homeland of Canada as well.

People who come to my shows aren’t coming because I co wrote a hit song with Jewel. They’re coming because there’s a trust factor involved.  That’s why your letter speaks to me. It’s a great time to be a musician. There’s  a revolution happening!

And you know it Mr Jones!

Peace be with you… And also with you.

From Istanbul,
Steve Poltz

Sent from my iPhone that forces me to use crappy AT&T as its service provider. 

Freedom-A Novel

"The most traumatic events ever to befall the longtime front man of the Traumatics had been (1) receiving a Grammy nomination, (2) hearing his music played on National Public Radio, and (3) deducing, from December sales figures, that Nameless Lake had made the perfect little Christmas gift to leave beneath tastefully trimmed trees in several hundred thousand NPR-listening households.  The Grammy nomination had been a particularly disorienting embarrassment."

Once upon a time you listened to records to know which way the wind blew.

That’s a direct reference to the Bob Dylan song.  Dylan grew up in Hibbing, Minnesota, which figures so prominently in Jonathan Franzen’s "Freedom".

I don’t think many people will read "Freedom".  Certainly nowhere near the number who buy it.  Because it’s long.  And the paragraphs can be endless.  And there are words you don’t know.  And who’s got the time to spend with a tome in a world full of instant gratification, where stimulation is a click away on the Internet.

In the fifties, the goal was to write the Great American Novel.

In the sixties, it was to make a great album.

I’m not exactly sure what the goal is today.  Probably to be a tech entrepreneur.  Create an app that is on everybody’s phone that rains down millions.  Or to make a YouTube video that goes viral.  But it’s not to make a great album.

In the days of yore, musicians were on the cover of "Time" and "Newsweek".  That’s an impossibility today. "Newsweek" is analytical, leaving the everyday news to the Net.  And even though "Time" soldiers on, it means ever less.  And why put GaGa on the cover to appeal to an audience that doesn’t want to read the magazine anyway?

And the reason musical artists were on the cover of newsweeklies was because they had something to say, honest and unfiltered.  We were drawn to them for their truth in the hope it would rub off on us and inspire us to live better lives.

But now commercialization reigns.  How can I get the largest audience and make the most money instantly? Values are irrelevant.  Moral character is unspoken of, except in megachurches where the pastors live like the rock stars of yore, flying around in private jets, asking for donations while preaching that the end of the world is near, so follow me to salvation.

I didn’t love "The Corrections".  And I read not a whit of the hype on "Freedom".  But I decided to read the book because it was anointed as great, and Jonathan Franzen is such a hatable character.

I’m not saying I’d turn down dinner with the author, but I wouldn’t expect it to be good.  I wouldn’t expect him to become all warm and fuzzy, reminiscing about the past, pledging to partake in some mundane activity in the future.  It would be akin to meeting Jimmy Page.  The old Jimmy Page.  The seventies star who dripped candle wax on teenagers and had contempt for the media.

You see great art does not usually come from lovable people.  Rather it comes from the hurt, the disenfranchised, those with something to prove.  And most of these artists never make it.  And most of those who do live sullied lives of drug abuse and financial misfortune.  But wanting to be them, wannabes now take shortcuts, desiring the rewards and only tolerating the process.

GaGa’s outfits?  Been done better before.  Sure, kiddies may not be aware of Bowie and Madonna or even Alice Cooper’s theatrics, but that does not mean the latter were not innovators, did not stun us with their limit-testing that we couldn’t conceive of.  GaGa’s building her career, cementing her success.  And what is her message?  Be like me?  Sell out, change yourself, whore yourself out to get the rewards?

And I’m only focusing on GaGa because she’s successful, in the public eye.  Worse are the complete wannabes, who haven’t practiced long enough to be good and are bitter that they’ve never gotten their just rewards.  I can’t wait for these people to give up and go to law school.  That’s where they belong.  In the workaday world, earning enough cash to overpay to see their heroes in concert.

And most of these heroes are laughable.  Especially the oldsters trying to look young as they play forty year old warhorses to fans nearing retirement age and their kids who they drag to the show to illustrate what great music is.

We live in a fucked up country.  The level of ignorance is horrifying.  The rich and powerful have their agendas and the poor are just pawns in their game.  You don’t want taxes on rich people do you, one day you too might be rich!

And how exactly are you going to get rich?  Be an NBA star?  Have a role in a reality show?  How many slots for that are there?

Or go to the state school where courses have been canceled and you can’t graduate in four years while the rich go to esteemed institutions that perpetuate the ruling class.  The gulf is ever-widening.  Even the right wing paper of record recognizes this, but the poor and religious don’t read "The Wall Street Journal", they just watch buffoons like Glenn Beck on Fox News and claim that the government is ripping them off, as if the government didn’t provide roads and schools…  Oh wait, they don’t want to send their kids to the public schools, where they mingle with heathens and are exposed to left wing, delusional thinking.

Hate me yet?

Well, you don’t hate me half as much as you’ll hate Franzen after reading this book.

Grammys are a joke.  But we trumpet them in the music industry like they’re Oscars, like they mean something. But they don’t.  But it takes an author not in the business to speak this truth.  That those listening to NPR, so smug in their hybrid SUV comfort that it makes you want to turn Republican, feel they’re better than you.

Well, this hatable dude, this author, Jonathan Franzen, has nailed the American experience.  From the do-gooders and holier-than-thou to the rip-off Texan energy barons to the self-righteous Evangelicals.  But since he encapsulates his beliefs in a book, it’s irrelevant.  He should have ranted on YouTube.  Got kids to dance. Gotten Snoop to rap.  Then people would pay attention.

But attention wasn’t his only goal.  His desire was to delineate truth.  To the number who could handle it.

This used to be the desire of musicians.

Ain’t that laughable.

P.S. My inbox will be filled with people sending me their MP3s, saying I’m right, that they’re doing what I say and could I just give them a ride to the top?  They’re too ignorant to see the contradiction in their behavior.  So desirous of instant fame that they can’t reflect.

P.P.S. "Somewhere there had been a failure of imagination." Shawn Fanning can imagine the future, but the labels and artists who decried his efforts and their aftermath can’t.

P.P.P.S. "it’s a lot easier to turn a few billionaires than to educate American voters who are perfectly happy with their cable and their Xboxes and their broadband."  So I’m at this music education dinner last Monday night. And the powerful Chairman says there’s plenty of money for music education.  This has us all scratching our heads, so we ask this gentleman to explain and he tells us if we just get our house in order, our ducks in a row, create a simplified message, he can take it to Bill Gates and Eli Broad and they’ll rain money down on the problem.  On one hand great, but isn’t it fascinating that the public can’t do this on its own, it in its own way? Oh, that’s right, we should pay no taxes, the government just wastes the money.  So, it’s better to give it all to rich pricks like Meg Whitman and Carly Fiorina so they can buy power and truly rule us?

P.P.P.P.S. "Fighting had become their only portal to sex, almost the only way it ever happened anymore." Bruce Springsteen used to reveal truths like this, now he’s papering gigs and complaining about scalpers… Hey Bruce!  Maybe if you created great new music the problems would evaporate, you could play to sold-out stadiums once again!  As for scalpers…  I don’t see you going to paperless tickets so fast.  And I’m only singling out the Boss because he was great once, and on the covers of "Time" and "Newsweek" too.  But that was thirty five years ago…

P.P.P.P.P.S. "It really was a lot like the deep shit that got stirred up when a married couple fought: once certain things had been said how could they ever be forgotten again?"  Like that old girlfriend who made an anti-semitic remark.  There’s no coming back from that.

P.P.P.P.P.P.S. "Never been a washcloth user, no."  It’s the little things that bond us, that make our hearts sigh and leave us pledging fealty to artists.  I remember using a washcloth with my mother in the tub as a child, but since then I find them useless.

P.P.P.P.P.P.P.S. About the people who come to New York City: "’The girls all come for publishing and art and nonprofits,’ he said.  ‘The guys come for money and music.  There’s a self-selection bias there.  The girls are good and interesting, the guys are all assholes like me.’"

P.P.P.P.P.P.P.P.S. "yes, he had a fatal weakness for a certain smart depressive kind of chick,"  No, this is not me.  But I’ve got a friend who married the same woman three times.  Only worse-looking and more of an asshole.  And another friend who rejected a compassionate mate to marry a shrew just like his mother.  How to explain this?  By reading stuff like this in a book.

P.P.P.P.P.P.P.P.P.S. "You can Nexis me all night without finding one direct quote from my forty-seven years in business"  It’s only the shameless wannabes who want press, accolades and fame.  The truly rich, those who truly run our country, they like their anonymity.  Hell how often do Jimmy Iovine and Doug Morris go on the record?  And if you think they’re powerful, you don’t know who truly runs this country.

P.P.P.P.P.P.P.P.P.P.S. "She needed to feel extraordinary, and becoming an Emerson reinforced her feeling that she was, and when she started having children she needed to feel that they, too, were extraordinary, so as to make up for what was lacking at her center."  If you’re well-adjusted, you’re not an artist.  An artist is not captain of the football team, not class valedictorian, he’s not the most popular cat in school.  He’s the guy or girl many deride…yet want to grab the coattails of when they finally make it.

P.P.P.P.P.P.P.P.P.P.P.S. "even a horrible marriage was less lonely than no marriage at all."  Loneliness, the scourge of humanity.  But never mention it in public, you’ll become an instant outcast.  Think twice before you get divorced.

P.P.P.P.P.P.P.P.P.P.P.P.S.  And now the piece-de-resistance.  Slap your own back if you made it this far, I’m gonna provide a nugget that’ll make the effort worth it.  You’re one of those people who persevere, who endure the bad times to get to the good, who don’t give up as soon as the going gets rough, even though the rewards may not be visible ahead.  Anything not worked for is not worth having.  And drumroll please…  "People came to this country for either money or freedom.  If you don’t have money, you cling to your freedoms all the more angrily."  This explains the current political environment better than any of the bloviators on either Fox News or MSNBC.  That’s what artists have conventionally provided, insight.  Tell me again what insight GaGa is providing?  Case closed.

Mailbag

From: Billy F. Gibbons

B,

My fave email incoming…  "I don’t know how you managed the NYT piece but I wanna a learn how"…

B

If reviews meant anything, ZZ Top would be getting a Kennedy Center Honor and appearing at the Super Bowl.

Wait a minute, rumor is they are going to be playing the Super Bowl!

You’ve got to read this review:

The money quote?

"If you are the kind of person who likes to use a suspect and imprecise and maybe impossible term about music, then go ahead, because this was, more or less, a perfect concert."

And as long as you’re still reading:

"Mr. Gibbons, who is one of the finest living guitar players – say his name, fold your arms and stand your ground next time you are faced with an Eric Clapton idolater – never tuned between songs, and for the most part played only one instrument: a black GretschBilly-Bo Jupiter Thunderbird, which he designed with Bo Diddley. He used a plastic pick – not a coin, as he has done in the past with his 1959 Gibson Les Paul – but his picking, expressed through a warm, overdriven tone, still sounded heavy and metallic, lumbering and lovely."

You’ve got to know…  Back in the day, when ZZ Top was still on London, they were a joke in NYC.  Touring with livestock playing that damn boogie music.

But sometimes it takes a while for the critics to come around.  Kind of like with the Carpenters.  Hated by the hipsters, adored today.

No one O.D.’ed, the band didn’t change and the music barely did either, except for the addition of synthesizers in the eighties.

I’ll admit, I didn’t get it the first time around.  Maybe because I’d never been to that little old whorehouse they sang about in "La Grange".  But the humor of "I’m Bad, I’m Nationwide", caught me.  And the power of "I Thank You" instantly infected me.

As for "Gimme All Your Lovin’", "Legs" and "Sharp Dressed Man"…they’re just irresistible.

And rather than complaining about how the Net has ruined their business, how no one is interested in their new music, ZZ Top is going on the road and playing the oldies.  Giving the people what they want.  And you might say it’s basic and repetitive, but that’s just the point.  The blues were never about flash, they were about simplicity, about roots.  Which is why the aforementioned Eric Clapton abdicated his throne, dismissed being a deity and went simple with Delaney Bramlett.  Hell, the really powerful, intricate licks on "Layla" were played by Duane Allman.  Who didn’t sing and spoke solely through his instrument, and was not about flash so much as fluidity.

I know Billy.  And what I like about him is he’s not the guy in the image.  He’s like a guy you went to high school with, who took a different path, but you can still connect like the buddies you once were.

He e-mails me pictures of Canadian mountains they’re seeing outside the train, he tells me about restaurants he’s visited in Barcelona.  It’s like his life is one big travelogue and he’s enjoying the ride.  And sharing the experience.

Real artists are not celebrities.  That’s just a hard coating like the dip at Dairy Queen.  Inside, they’re soft. They’re the art kids sitting in the back of the classroom, who could get A’s but are fine with B’s, because they know it’s all bullshit.  They know greatness is not really quantifiable, it’s something you FEEL!

I don’t know if Ben Ratliff is a closet ZZ Top fan or whether he was converted by this show, but I haven’t seen a rave review like this in the "New York Times" in memory.

Like I said, it doesn’t mean much.  The average person is not reading.  Then again, other media outlets are. And maybe the word of ZZ’s greatness will spread, they’ll get more opportunities for exposure.

And that’s the life of an artist, a musician.  It’s long.  It’s got twists and turns.  It’s got ups and downs.

Maybe ZZ Top’s album with Rick Rubin will be fantastic, after all Rick gets people in touch with their roots, who they really are, but even if it stiffs…expect Billy and the boys to be plying the boards from city to city until they drop, like all the great bluesmen before them.  That’s what a musician does, PLAY!