I gotta tell you a story about Bud. I was his product manager at A&M for Giant.  I was probably a few months into corporate life when I met him. I really liked him. Bud was full of life, and never minced words. He scared people with his largeness. But he also had a kind heart. A very kind heart.

Anyway, A&M spent a fortune trying to break Giant. JB did a brilliant job, but the dots just didn’t connect sales wise. Three singles deep and Bud wanted a billboard on Sunset Blvd. for the band. Bud believed with all his heart in the band and he wouldn’t let go. Truth was, and Bud knew it, A&M owned the billboard next to the A&M compound.  It would still cost, but a discount for A&M for sure.  Bud pressed. Senior management balked.  Bud yelled.  This was a matter of pride.  The billboard went up, with a photo of the band.  A large sunburst on the side read, What Would Bud Think?. That was A&M at the time.  They’d take it, but they’d give it too.

I’ve had the pleasure of working with some of the biggest managers.  Passion is no indication of intelligence, but passion with intelligence is an unbeatable combination in the record business.  Bud Prager had it and much more.

Celia Hirschman

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Bud was a great manager and a very sweet guy.
I had the honor of managing Felix after Bud, and after Gary Kurfirst.
"Today, Bud Prager was reunited with his old buddy in heaven."
Anyone who knew Felix and how much he loved Bud would have to smile at that thought.
Thanks Bob.

Jeff

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Bob,

Just a quick note to your subscribers who may be exposed to Rich Totoian’s name and history for the first time. He is the GREATEST living story teller in our industry rivaling Myron Cohen ( a regular on Ed Sullivan) who can dominate a room for hours and stop commerce in a restaurant when he gets started. For all the tributes to Bud who was the consummate manager, his story of Bud "meeting" former Capitol Chairman Bhaskar Menon will have your devotees peeing their pants. Get him to relate it to see the other side of Bud that no one got to see. It’s classic!

Heavy Lenny

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I am 32, and a bit younger, but Mountain is one of my favorite bands, so I really appreciated hearing about how Felix ended up producing Cream, and who was behind the scenes making it happen. The passing of Bud is a sad thing, but the music he was behind will live forever. Thank you for writing this great blog.

LC Hendricks

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I had the honor to work with Bud at the Fillmore East, then at Atlantic Records.  He was always top shelf and stood up for his acts like very few others.  He did love a good argument but that was part of the game. And we all came out better for it, he was a pleasure to have known and worked with.  RICH, we lost a good man.

Michael Klenfner

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Thanks for passing that on.  I just found out yesterday from Frank
Filipetti who found out from Frank Sullivan who had no details.  Bud managed Frank’s career for many years (that torch was passed to me several years ago) and he told me that though he has had a string of somewhat famous and infamous managers that other than myself, Bud was the best manager he ever had.  I will pass this on to Frank who had no idea that he was ill.  He will appreciate this.  Happiest of holidays.

Best, Jill Dell’Abate

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Bob,

I worked with Bud Prager in 1968 and 1969. He was in New York and I was in Toronto. We co-managed a Canadian band called Kensington Market. Felix Papalardi produced both Market albums for Warner Brothers.

I learnt a lot from Bud not the least of which was how to be a gentleman.

He was special and he will be missed.

Bernie Finkelstein

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Too young to know of or have interacted with Bud Prager
but NOT too young to have soaked up his influences.
Damn Yankees is still one of my favorite cassettes of all time.  Of course I listen to it on my ipod these days but when it came out I wore that damned cassette out!

Dan Millen

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Very moved by all the email on Bud-Evan-his son worked for me and Bud and I worked on several projects.  Loved that man!

Harvey Leeds

Bob:

I am notifying you of the passing of Bud Prager in Montauk L.I. today, Monday Dec. 22/08.
He died after a year long battle with cancer.
Announcements and press release will be forthcoming, but the family will choose a later time at which there will be a memorial for Bud. He would not have wanted to interfere with any holiday/family good times, as we all could use as much cheering up as possible these days.
However, for those of us who knew the passion and energy of this guy, he will be greatly missed…and a true believer in music and music creators has passed away.

best regards,

Marty Simon

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Bob…

I heard you already got news from Marty about the passing of my close friend and long time mentor, Bud Prager early this evening. As you know he was one of your subscribers, and occasional contributor.

I’ve been in touch with Bud every week (often 2-3 times a week)  for the past two decades.  I heard from both his wife, Gloria, and his son, Evan, this evening.  They asked me to let you know that they are putting together an official obit/statement that they will be releasing in the very near future.  There will be a memorial service
sometime after the end of the year.  Arrangements yet to be made….details to follow.

From me:
Bud’s management history goes back as far as Leslie West, Cream, Felix Papalardi, and various other artists until he co-founded FOREIGNER with Mick Jones and managed their career to the top of the charts and 100+ million sales, setting the stage for the "corporate rock" era.

Bud was also my partner in the formation of the Damn Yankees, featuring Ted Nugent, Tommy Shaw, Jack Blades, and Michael Cartellone.

He was one of the greatest friends and smartest guys I’ve ever known. My life won’t be the same without him.

Regards,

Doug Banker
McGhee Entertainment

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Bob,

Thought you might appreciate a couple of thoughts I sent to Rich Totoian who alerted me to Bud’s passing.   Rich was very close to him — having worked for Bud for much of a few decades.   I was fortunate enough to be part of Bud’s team as an independent marketer many times.
My thoughts to Rich about this truly remarkablel man:

Rich,

So sad to hear of Bud’s passing – how old was he.  Was he recently ill?   Always liked him  –  he was very much a maverick amongst his peers – colorful and engaging in all he seemed to do.   He was like a godfather  to you and showed me only kindness.  He really had the best ears for real rock music of anyone in his age bracket (could hear hits we often couldn’t) and he was generous literally to a fault.  He loved a good joke and would even enjoy being the foil of such.  Such a great and appreciative audience for all the "schtick" you could come up with.   Remember Hageed Halibib???

He was a really good guy and unlike many others in the biz, his word was his bond — he paid and did not try to screw all of us he hired.   

There is presently little left of the industry as we knew it, lived it & prospered in it.  And now, a major player who made it so good for so long has left us.  

I can still picture that great white head of hair and that smile.  

Rest in peace, Mr. Prager

Respectfully,

Ron Farber

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Amen Bob, may Bud rest in peace.

George Ghiz

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From: Pete Anderson
Subject: Re: Bud Prager/nice job ..& true

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Thanks Bob…this is really true of Bud. I knew him some and met with him to show him some songs once, about 10 years ago at his office off Robertson by the Troub and he sat right there and listened to EVERY SONG we played (with an act I worked with) and he said, patiently and thoroughly…OK, THIS ONE’S GOOD, THIS ONE’S NOT GOOD AND THIS SONG’S GREAT AND HERE’S WHY…he gave us a lot of confidence and he was generous with his time and unusually supportive and enthusiastic and, indeed, caring. His anecdotes about the greatness of songs (he told us the story of I WANT TO KNOW WHAT LOVE IS) really stuck with me as to melody and in needing to be UTTERLY MEMORABLE and SINGABLE…I loved my meeting with him, and think about his exuberance and his supportiveness and downright FRIENDLINESS all the time. My friend and colleague Ned Shankman had made the original call to him on my behalf as a songwriter & friend to bands, but when we went in to meet with Bud, it was as if I’d known him for 30 years. He was that warm and welcoming and outgoing. I really appreciate these kind words you’ve put forth on Bud’s behalf and I could not agree with you more…Alden Marin

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Toby Mamis:

Bud was old school, in the proper (good) sense of the phrase.

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Bob,

I worked with Bud and Foreigner for 6 years at Atlantic.  My West Coast Regional Promotion territory included Los Angeles and KMET (The Mighty Met!), the first radio station in the United States to play Foreigner, followed by 1 hour as KLOS added it….. Bud became a good friend, as did Mick Jones and Lou Gramm, and I can attest that Bud was one of the most diligent & respected artist representatives I’ve ever met in my 52 years in the music/record industries.  I didn’t know of his passing until your email arrived this evening, which obviously makes it a sad day for all of us who knew and worked with him.  I knew he was having health difficulties last year, around the same time I was going through my cancer episode.  I’m so sorry he didn’t make it all the way through.  Bud has left a giant hole in our industry, but a wonderful legacy.

Barry Freeman

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A fine tribute, Bob. Bud was a goodun and will be missed.

Never was there a time when this business needed managers of imagination, of unswerving belief in the artist, dedication to the cause and of canny marketing instincts.

And you’re right. Sheer force of personality could well be the greatest asset. Hell, you could cut movie deals on the life stories of some of these characters. How about a manager’s hall of fame? Or at least a rogue’s gallery?

Marty Melhuish

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Bob,_

Bud Prager was a MENSCH_

Neil Lasher

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thank you
……and rest well bud…. give my best to albert and brian.

Andrew Loog Oldham

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This makes me very sad.  I went to college with his son Evan and know first hand how truly great he was.

David Brinkley

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Bud Prager.

They just don’t make them like that anymore. I spoke with Bud when he was in the hospital and told him he’d be fine, he said "I hope so but you’re usually wrong."

25 years ago, at the start of my career, I had signed the most horrific deal. An all encompassing management, publishing, production deal giving away everything in exchange for 150 dollars a week. My daughter was just born, I needed the money and I need entry into the business.

After about a year my paycheck was stopped and I was discarded. Lost and destitute, somehow I got to Bud. He got me a proper lawyer, free of charge, and untangled me from the mess I was in.
Once a week I’d make the trek to NY from south Jersey to play him songs.

Man, talk about intimidating. That musty old office, him sitting behind that imposing desk with all those gold records hanging up around him and his size dwarfing me.

He would put the cassette in the machine, listen to the song until the first chorus, shut it off then throw the tape back to me across the desk saying "If you can’t get it past me, you can’t get it past anyone."

I kept going back because more than anything, I wanted to impress him. After a million tries, I did and he got me my first Top 40 hit.
My writing and producing career took off and Bud never once asked for anything, never asked for commission. He’d say "I’m not managing you, I’m your friend".

Thank God I had a great career but he never once called in the marker.

On one of my birthdays around midnight, my doorbell rang. Bud drove down from NY and he standing there and said "Here, it’s your birthday, where’s the food?"

He was tough as nails, it was always like going to see the principal or headmaster, but you knew he cared.

One time in his office I asked him "Is Foreigner Mick and Lou?". He looked at me like I was nuts and said "Foreigner is Mick and ME!"

When I transitioned to manager I was even more blessed in my career. The year we were managing India.Arie and she was nominated for the 7 Grammy awards on her first album, Bud called me after the nominations and said "Is that you managing her? You must have had a good teacher."
I did and he was.

I called him when I heard he was sick and we spoke at length about the business, about my new journey as a label owner, about life.
In the middle of it he said "I’m still waiting for you to bring me Nelson."

Back when Nelson were huge I was very close friends with them and when they were looking for management I mentioned them to Bud.
They never got together but he still remembered that call from 20 years ago.

He was the best in every way. A manager of great wisdom, knowledge and vision. A father figure who knew how to turn your screws and make you better and above all, a great man with heart and soul hidden under a tough guy exterior. The prototype.
We always use the term "We lost one of the great ones." This time we have.

He was Bud and he will be missed.

Jack Ponti

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thanks for writing about bud
bud and i were partners in mountain from 1969-1974
hope he gets to hang with fe
who also left us too early

gary kurfirst

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I interviewed Bud for my book The Grand Delusion: The Unauthorized True Story of Styx (he managed Tommy Shaw and Glen Burtnik both at one point, as well as Damn Yankees later), and really enjoyed getting to talk to him. Bud was one of those great no-bullshit characters who would just tell it straight, which is why some of the people he has managed were a bit resentful afterward. He wasn’t one to stroke some spoiled musician’s giant ego. When he took over managing Bad Company right after the Fame and Fortune record came out, he told them bluntly, "Your record is dead." They said,"What do you mean, it just came out two weeks ago," and he said,"I don’t care, it’s dead. I’m telling you, radio is resistant to you without Paul, you’ve got to change your strategy." They were upset with him for saying that, but they listened, and after that he put them with Terry Thomas (whom he had dsicovered when he hired him to produce Tommy’s Ambition album) and they had a huge multi-platinum run with Terry.

When Bud first met Tommy, it was right after A&M had dropped him after the What If debacle, and Tommy’s attorney, John Branca, called Bud and said Tommy was going to need new management and a fresh approach if he was going to move forward, would Bud be interested in meeting him? Bud was aware of Styx, so he said yes, and he asked Branca to send Tommy’s newest record. After listening to What If he called Branca back and said,"I’ll give you a thousand dollars right now if you can honestly tell me that this album would ever be on your listening agenda." John laughed and said no, it isn’t, and Prager said, ‘That’s because it’s atrocious. Therefore I suggest you not set up this meeting, because it’s going to be a very painful meeting for Tommy Shaw." And Branca said,"That’s exactly what Tommy needs right now, is the truth, and you’re just the man to give it to him." So they met, and Tommy brought along his assistant, and they’re chatting, and when the subject of What If came up, Prager said,"I don’t understand why someone as well-regarded as you would even make a terrible record like this," and Tommy flipped out and said,"You can’t tell me that, you can’t insult my album without specifics." So Prager made him sit there while he reached into his pocket for some notes he had taken; he made Tommy sit there while he shredded the album track by track, pointing out all of its obvious weaknesses one by one by one. Finally Tommy, crestfallen, admitted that he had been under the influence for a lot of the writing and production of What If, and Prager said,"Well, there’s a great excuse. Is that what you want me to tell the radio guys?" Whereupon Tommy’s roadie jumped up and said, "You can’t talk to Tommy like that. He’s down." And Prager – and this is why I loved the guy – said, "Shut up and sit down, or you can leave any time you want, either one of you." LOL. The next day Tommy called him up, having been so humbled, and asked him to be his manager, and he took Tommy from down and out and having been dropped, to a huge comeback with Damn Yankees.

A fond farewell to Bud Prager. There will never be another character like him.

Sterling

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I didn’t know Bud well but, in an industry of mostly forgettable characters, he was unforgettable. He was respected, loved and hated, all the things a great manager must be. I’ve got to say that when the cards got cut, he always had a great hand.

A manager’s responsibility is to treat his clients in a fiduciary modus operandi. A manager who isn’t willing to draw blood occasionally to better and help advance his artists career and life. Bud did this but, he did it with class. Remember him fondly, he earned it, even if he was skinny and had hair.

Niles Siegel

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Bud Prager was a Large Teddy Bear with a Gruff exterior and a heart of gold…I worked with him when I was at A&M with the band Giant…."Bud Prager calling" would always send a chill up my spine as I never knew whether he was going to ream me for a store not having one of his records or something positive that happened in my market…Either way another one of our trailblazers is gone and that makes me sad…

Al Marks

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Bruce Springsteen and Mike Appel
Shep Gordon and Alice Cooper
Malcolm McLaren and Sex Pistols
Chris Stamp & Kit Lambert and The Who
Bruce Allen and Bryan Adams/Loverboy/BTO
Ray Danniels and Rush
Col. Tom and Elvis (took him to the top and then took him down)
Irving and The Eagles

Michael McCarty
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Bob,

I’ve known and adored Bud for nearly 30 years. Marty Simon and I have been building a small company with Bud for the last 3 years. Even when he became ill, talking about our project seemed to energize and make him feel better. He loved to focus on how to make things work and do them better. Marty and I would squabble like little brats until Bud would invariably "see it correctly" and set us straight. He was a North Star for us and a long list of people.

We were elated when he gave us the indication he was improving.

In 1985 I was in London working with Richard Donner on the film Ladyhawke. Bud called and said he was coming to over to attend a wedding and maybe we could grab a dinner. He bitched about the wedding being an 8 hour drive from London. Coincidentally Donner had mentioned he was attending the wedding and was going in a friend’s helicopter. While Bud was on the phone I asked Dick if they had an extra seat on the chopper. Dick said jokingly "How important is Bud?" I said he’s the best and most important manager in music. Donner said "Shit, I can see the headlines now; Chopper goes down with Prager and others".

I found out Bud loved bridge. A dear friend is Jill Meyers who has a film music clearance company. She is a world champion. I asked if would like to meet her for a lunch thinking it was something inconsequential. I swear it was like my 14 year guitar playing nephew when he met Steve Vai.

Bud is an irreplaceable jewel of a person. I really cherish the fact that I knew him, laughed with him and shared a friendship with him.

Joel Sill

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Bob,

I’m so sorry to hear this.  I got to know Bud when I was the Atlantic Records label manager for Warner Canada in Foreigner’s late 70’s – mid 80’s heyday.  We sold a pile of those records in Canada and throughout it all Bud was attentive to the market – where some managers thought that life stopped north of the 49th parallel -  always efficient and a true gentleman to boot.  too soon.

Kim Cooke

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I was a young dj in Memphis when I first met Bud and Rich Totorian. What great people and they knew we were serious about breaking Mountain. Played Mississippi Queen ten times in a row. …Bud never forgot about us and the four hundred thousand watt station. RIP BUD

Jon Scott former WMC FM DJ

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Hello Bob,

I couldn’t agree more that a manager far outweighs the label in contributing to an artist’s success.  I represented Albert Grossman for many years and was constantly amazed by his resourcefulness in negotiations.  If a label didn’t accept Albert’s first offer, the terms went up, not down!  Even as a lawyer, I learned a lot from him.

Bob Gordon

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Bob: Colonel Tom Parker told me that the object of personal management was to build duration into the act. Bud was a creator of time honored careers for artists who will never be forgotten. His legend will fade as those who understand what he brought to the game join him on the big back stage in the sky. But, the music that was born of his meticulous pursuit of perfection, cradled in the protection of his endless charm, will endure forever.  Rest in peace Bud Prager, I remember you. Pax. Hartmann

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Well written…better said…thanks.  Bud was a leader…a bright…all-around "good guy" and one tuff SOB (when he had to be).  He is already missed…big time.

Jerry F. Sharell

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Bob thanks for that beautiful tribute to Bud. What I most admire about your writing is with brevity of words you say so much. Here is my response to Joel Denver last night. Perhaps you could cut and paste it in a future column. It would mean a lot to me and get to your vast readership, and to people that I know, but have lost touch with. Felix said when Bell Records fire you, and they will because you care to much about our band, and are not playing the company game. You have a job with me for life. I got canned and walked into Bud’s office. His first words were oh no, now we have to pay you? What a ride. Two and one half years on the road with Mountain.

Thank you.

Richard Totoian

—–Original Message—–
From: Richard Totoian
To: Joel Denver
Subject: Re: Bud Prager

He was diagnosed, with cancer of the esophagus . He went through the usual treatment at Sloan Kettering both in NYC and Long Island closer to his home in Montauk. He told us a couple weeks ago that the doctor gave him six months to live. We knew he didn’t have much time but didn’t expect his six months would be more like one. Very sad. One of the finest men I every worked for. Felix Pappalardi told Bud to hire me back in The Mountain era, as I was working for Bell Records and they didn’t get the potential of this band even as" Mississippi Queen" was inching its way on radio playlists. Felix and Bud both knew that I had a passion for this band. I was traveling with the band setting up interviews while calling others for an add. That’s when Felix became partners with Bud  and named their company "Windfall Management." Later after my days at A&M and Epic,  I worked for him at ESP Mgmt. for ten years. Foreigner, Bad Company, Giant ,Glen Burtnick, Tall Stories, Megadeth, COC. and many other groups got the "Bud treatment" of going over their songs, and suggesting certain changes. "What do I know you are the artist, he would say, but if you can come up with a different chorus etc. I think you have something." Most responded in a positive way. Bud cared about people and he respected talent. He had a sharp mind for a put-down but was easy to break into his famous laugh when you gave it back to him. The "silver fox" shall be missed.
Rich T.

On Dec 23, 2008, at 4:15 AM, Joel Denver wrote:

Hey Rich …

Sorry to hear of Bud’s passing.  My condolences.  He was a great man  and loved music, and the bands he managed.  What happened?

Thanks — Joel

—–Original Message—–
From: Richard Totoian
Sent: Monday, December 22, 2008 5:50 PM
To: Joel Denver
Subject: Bud Prager

Hi Joel just wanted to let you know that my old boss at ESP Mgmt.
and Felix Pappalardi’s partner at Windfall Music passed away about an  hour ago. Montauk LI.

Rich Totoian

Bud told me he cut the Scotti Brothers in on Foreigner, gave them a percentage from record one.

He recited how he rescued the uber-talented Terry Thomas from a life of drudgery by selecting him to produce the reconstituted Bad Company.

Bud told me how he convinced Atlantic to let his best friend Felix Pappalardi produce Cream.

Today, Bud Prager was reunited with his old buddy in heaven.

A great manager can’t work for anybody else, he’s sui generis, he cares.  Through sheer force of personality, he bends wills, he gets his act a slot, he schemes until his proteges break through.

Conventional wisdom is labels break acts.  This is untrue.  Behind every legendary performer is a great manager.  Bob Dylan would still be little Bobby Zimmerman without Albert Grossman’s direction.  The Beatles wouldn’t have become icons without Brian Epstein. Aerosmith wouldn’t have broken through without David Krebs.  Rather than study the label legends, dig deeper and discover the managers, who believed, oftentimes when no one else did, and shepherded their charges to greatness.

Bud Prager cared.  He was compassionate.  He could argue minutiae with you til dawn.  No detail was too small for his attention. He may be gone, but the acts and records he brought into the marketplace will live forever.

I can still remember the first time I heard "Feels Like The First Time" on the radio.  I drove straight to Music Odyssey on Wilshire and bought the album.  Good isn’t good enough, we’re truly only interested in great.  Bud Prager was a great manager.

Are today’s bands any good?

The business is focused on these young "prodigies", like Britney Spears.  The acts are getting ever younger, and the rationalization is that kids buy music, and that anyone over thirty, maybe even twenty five, is too old for the target demo to relate to.  If you don’t believe the Jonas Brothers are a great act, then you’re an old fart.

But can anyone that young truly be great?

Maybe they’ve got innate talent, but has it been developed, are these young kids truly ready to bless us with their gifts?

According to Malcolm Gladwell’s "Outliers", no.  Innate talent, pure desire, they’re not enough.  Sure, Mozart started writing music when he was six, but he didn’t compose a masterwork until he was twenty one, after he’d put in 10,000 hours of practice.

How can you have accumulated 10,000 hours worth of practice if you’re not even close to twenty one?

Turns out that’s the rule.  You’ve got to have 10,000 hours of practice under your belt to be truly great, to be world class.  How many of today’s acts have this  kind of history?  No wonder today’s live acts rely on production, they’ve barely been on stage, never mind performing for 10,000 hours.  Like the Beatles.

The Beatles went to Hamburg five times between 1960 and 1962.  They played eight hours a night, seven days a week.  Winning over an audience that didn’t speak their language, that was more interested at first in the strippers.  The Beatles gigged 270 nights total in Hamburg.  By time "I Want To Hold Your Hand" broke in America, in January of 1964, the Beatles had performed live over 1,200 times.  That’s more times than many of our so-called stars have ever gigged.

Greatest guitarists of all time?  How about Duane Allman.  Not only did he practice while watching television, he even brought his guitar to the bathroom!  Sure, you’ve got to have talent, but you’ve got to PRACTICE!  How much practicing have today’s musicians done?

Maybe that’s why jam bands do so well on the road.  You might not like their material, but they can play.  Going to a Widespread Panic show is not like seeing Miley Cyrus.  The band may not look pretty, but their music can stand alone.  It draws people in.  They developed over all those years, all those gigs.

How about Elton John?  He didn’t dream of being a star, he just wanted to be in the business.  But he cut demos and wrote incessantly.  To the point where he became incredibly good.

You might not like Diane Warren’s songs, but the reason she has so much success is because of how dogged she’s been. Knocking on doors when she was new and not that good, and working at her craft incessantly, year after year.  Max Martin wrote "…Baby One More Time", Britney Spears just sang it.  Michael Jackson’s an incredible performer, but his great records were done with Quincy Jones, who’d spent so much time in the studio, never mind composing himself.

So, when you e-mail me the music of some new act and I don’t respond, am I hearing something, or should I put that NOT hearing something?  Kind of like Gladwell’s book "Blink", I’ve been listening to music incessantly for years, I know what’s great.  And what you’re sending me isn’t.  Because those acts want stardom, but they just haven’t invested in their careers by practicing enough.

By time the Beatles left Hamburg they were so good, so tight, they could hold any audience.  That’s a skill you learn on stage, it can’t be perfected in front of a mirror, not even in a garage with your buddies.  There’s a different charge at a gig, the energy, the distractions, the adrenaline, you’ve got to DELIVER!  How many of today’s acts truly deliver?

Those English musicians played American blues records again and again.  Jimmy Page wasn’t only in the Yardbirds, he’d played a ton of sessions before Led Zeppelin.  And speaking of sessions, John Paul Jones was legendary for his work.  Is it any wonder Zeppelin was so great?  Or the Eagles…  Glenn Frey and Don Henley played in bands before they backed up Linda Ronstadt on the road, they honed their chops in Aspen, they didn’t compose their magnum opus "Hotel California" until five albums into their career!

Maybe today’s acts just aren’t good enough.  Not because they lack talent, but they lack practice.  That’s what Gladwell says.

He quotes the study of K. Anders Ericsson of students at Berlin’s Academy of Music in the 1990’s.  He found the world class soloists had practiced 10,000 hours by the age of twenty.  But what is even more fascinating is that Ericsson couldn’t find any "naturals", who were world class without practice, and he didn’t find any "grinds", people who practiced yet weren’t superior.

There are some amazing producers in today’s music business.  As well as great songwriters.  They’ve honed their chops for decades.  It’s no wonder their compositions rule the charts.  Because the acts they’re writing for are relative newbies, they don’t have the chops because they haven’t put in the time.

But, it gets worse.  Clive Davis has famously said he doesn’t want his proteges to write.  The business has focused on good-looking people, who might be able to sing.  Then again, with today’s studio wizardry/trickery, ANYBODY can sing.  So, no one focuses on getting it perfect, even Mariah Carey doesn’t sing live, and few focus on writing their own songs.  Therefore it becomes a self-fulfilling prophecy…today’s acts don’t write their own material because it’s not treasured by the industry and therefore it’s the so-called hacks who have all the talent.

The public was rabid, for a sustained period of time, for the Beatles.  People recognized greatness, developed over years of practice.  Whereas today everybody’s just a flash in the pan, because after their momentary hit written and produced by the usual suspects, there’s nothing left.  You go to hear the hit, you don’t go to see the act.  Maybe the public is much smarter than we give it credit for.

As for punk rock…  The Ramones didn’t rise from nowhere.  They were one of the giggingest bands of all time.  Most people didn’t even know who they were until they’d recorded four albums.  You learn a lot going back to the studio.  How can we expect today’s acts to be comfortable when they’ve barely ever recorded in professional circumstances, and furthermore the sessions weren’t in their control!

Brian Wilson didn’t write "Good Vibrations" for the first Beach Boys album.

Aretha Franklin sang gospel and had a string of albums on Columbia before she broke through on Atlantic.

The lasting successes, the ones cleaning up on the classic rock circuit, the acts people want to see over and over again, didn’t arise overnight, they paid years of dues before they ever broke through.

I’m not saying you’ve got to be old to make it, maybe you just have to be doggedly focused.  Not only on making it, but rehearsing, getting it right.  The music industry has lobbied against this.  It has not encouraged its stars to practice.  It just wants people who are willing to be manipulated, who are willing to do anything to make it.  This has nothing to do with musical talent.

Maybe the conventional wisdom is right, today’s kids do have a short attention span.  Then again, they play videogames for hours, they surf online for days on end.  That’s why your teenager is a computer expert, why he can run your machine at what appears to be light speed.  Because it’s second-nature to him.

But working hard, practicing playing music to make it is not second-nature.  It has not been encouraged by our industry.  We don’t reward practice, we just reward desire and good genes.  And Gladwell posits again and again that genes are not good enough.

What’s the old saw?  That Bruce Springsteen would have been dropped after his first album today?  Same deal with Bonnie Raitt and so many of the legends?  It took them years to hone their skills, to not only write and record great music, but perform it too. Actually, both of those acts developed on the road.  Where are developing musicians supposed to play today?

The audience knows something the industry does not.  That today’s music just ain’t got the same soul.  Rather than being heartfelt confessions by professionals beholden to no one, tracks are cookie-cutter confections created by cynical journeymen beholden to the dollar.

Maybe the Net will allow acts to grow and develop on their own.

But don’t ever confuse greatness with the kid who used his Mac to write songs and then post them on MySpace.  MySpace is a great wasteland.  Everybody can write, few do it well.  What makes people think anyone with a computer can compose great music overnight?