Americana Music Awards

The only reason I know they’re happening is I’m on Chet Flippo’s e-mail list.  But I wasn’t planning to tune in, even though another punter e-mailed me they were being broadcast on XM.

But I’m driving home from Will Rogers Park, pushing the buttons on my radio, and after sampling the 60s, 70s and 80s, I ended up on Highway 16, where James McMurtry was just finishing up a number.

Then the host started rambling, killing time before the next act set up.  He was telling the audience to thank the accounting firm that had tabulated the ballots, the company that made the awards, the person that designed them.  Then he finally introduced the musical host for the evening, Buddy Miller.

I’ve come to love Buddy.  Check out his number with his wife Julie "You Make My Heart Beat Too Fast", or, in the alternative, "Dirty Water".  But I didn’t expect much.  Then the band started up and it was like flipping a switch, inflaming every bulb in your house.  They went from zero to 60 instantly.  I’m in the groove, carried away.

Then…

Buddy had said it was an honor to tour this summer with Robert Plant and Alison Krauss.  That backstage during the tour they’d written a number, all I remember is it had "Leroy" in the title, and it was going to come out on his next album.

Why bother.

Then again, I guess if your audience is that small, you want something for them to remember you by.  If you just release a single, there’s nothing to hold on to.  So, even though word will never spread, you’re satisfying the core.

And I want the song to be good, but when Buddy starts to sing, I’m thinking it’s average.  And then, through my speakers comes the mellifluous voice of ROBERT PLANT!

Yes, mellifluous.  This isn’t the howler from Led Zeppelin, this is a crooner closer to Elvis than Screaming Lord Sutch.  But Robert’s not just adding some fills, he’s not just window dressing, he’s singing the whole verse!  To say I was mesmerized would be a disservice.  It was magic!  I melded with the sound coming out of the speakers.  I remembered all the great acts I saw in theatres before they hit the big time, before they hit arenas, if they ever did.  It was only about the music.  It was for the performers and the audience, that’s it.

And that’s where we are again today.  If you’re playing for the press, you’re missing the point.  The "New York Times" had a story wherein a seasoned strategist said that TV campaign advertising was a waste of money.

Few people watched.  Better to spend your money online.  What’s concocted with auto-tune is perfected for a medium that has little to do with music and a lot to do with money.  The soul has been surgically removed, if it was ever there at all.

And I love Led Zeppelin.  But this performance tonight was proof positive that Robert Plant would be wasting his time getting back together with that band, to run through the hits for aging hipsters.  Isn’t it more fulfilling to continue to test the boundaries, to do something new?  Even though Led Zeppelin veered into acoustic music, they never did something like this.

And I don’t know why Buddy’s going to make us wait.  I’d say to release tonight’s rendition instantly.  To capitalize on the Plant/Krauss commotion.

It’s about music.  You know the genuine article when you hear it.  It’s so rare that you do.

But tonight, in my car, I heard the real deal.  Musicians doing it not for the money, but for the love of playing, of performing.  Their passion was palpable.  My only desire was to get closer.  My only hope was that the music would never end.

Denial

I’ve been trying to understand the financial crisis.

I finally sat down with the newspapers and decided to read every article.  Surprisingly, I found the answer not in the "Wall Street Journal" but the "New York Times".  The problem is denial.  The investment banks just wouldn’t admit their assets were worth less than they thought they were.

The writer analogized it to the housing market, to the individual.  You put your house on the market at too high a price.  You think it’s worth a mil, but really, it’s only worth $900,000.  Then, when you finally drop the price to $900,000, it doesn’t sell either, because now it’s worth $750,000.  Then you drop it to $750,000, but it’s too late, it’s now worth $600,000.  But this is a real problem.  Because you owe $650,000.  Maybe having taken out equity loans against it.  You just can’t get what you need.  You walk away.  Not only from the sale, but in many cases the house.  You’re upside down, it’s the bank’s problem.  If only you’d priced your house according to the real market value in the beginning, you would have sold it at a profit and been out!

But the people holding the debt are in the same situation.  They’re overvaluing the asset.  Instead of selling the securities for what they’re truly worth, they’re holding on to them, waiting to get their price, as the true price keeps falling and those mortgage defaults, from people abandoning their houses, continue to rise. Merrill Lynch was saved from bankruptcy by selling some assets at 22 cents on the dollar.  Only a new CEO, appointed in 2007, could do this.  The old guys, who’ve been around forever, like Fuld at Lehman, just couldn’t believe how bad things had gotten, they expected the situation to turn around through the sheer force of their own will.

Is this getting familiar yet?  Does this sound like the record business?

What we’re going through in America replicates what happened in Japan in the 1990s.  But rather than taking the bullet, eating the loss, the government continued to try to prop up the country’s financial system, to its detriment.  It took almost a decade for it to revive.  Every analyst says this was a mistake.  They should have taken the hit immediately and started over.

The major labels refuse to believe we’re living in the twenty first century, they refuse to bite the bullet and get with the program, they want to continue to live in the glory days of the 1990’s.  Isn’t that what Warner’s failed Estelle effort was about?  Getting people to buy an overpriced CD to get the one good track?  As they said in that old 1990’s TV show, homey don’t play that no more.

The labels have to confront reality, and bite the bullet now.

1. People want ownership.

No streaming, no rental.  P2P is about neither.  IM transfer is about neither.  CD burning is about neither.  In an era where you can e-mail a track, which label employees do every day, why would anybody want to rent?

2. Music is overpriced.

That’s the perception.  To try to change it is futile.  The only option is to lower the price and get more people to buy.  Historically, most of the product was purchased by a small percentage of the public.  We have to follow the cell phone example.  Everybody must pay for and consume music.  If big consumers get a bit of a break financially, it’s made up for by all the people who weren’t buying previously.  And these new customers also go to gigs, purchase merch…

3. File-trading cannot be stopped.

Give up the ghost.  Either license what exists or come up with a pay model that delivers the essence, legally, for a very inexpensive price.

4. Record companies screw artists.

Without honest accounting, without the artists getting the lion’s share of the money, indies will continue to siphon off both the cream and the newbies.  With the labels left with wannabes who don’t sell tonnage and superstars they’re overpaying.

5. 360 deals are a land grab.

Until the labels can prove they’re giving service for those rights, no one in his right mind would make this deal.  Just because the label’s in trouble, that doesn’t mean you’re obligated to bail it out.  Just like the government refused to bail out Lehman Brothers.  Just like you refuse to buy a gas guzzler to help Detroit.

6. Diamond sales are history.

It’s almost impossible to get national attention.  The era of ubiquitous superstars selling a ton of product are gone.  It’s not about P2P, it’s about eyeballs.  You just can’t garner them.

The above are facts.  Which the labels continue to deny to this day.  Coming up with one lame, half-assed solution after another.  MySpace Music, Nokia’s "Comes With Music"…  But it’s worse, they won’t innovate, won’t license new thinkers for fear of giving away the store.  And adding insult to injury, Universal, like a Mafia family, requires a huge up front fee, irrelevant of whether you ever sell anything or make any money.  If all American business were run this way, the whole country would be bankrupt.  Furthermore, with files, people will always want to replace them.  Because their computers crash, because better quality ones infiltrate the system.  It’s like the original Napster…  Who cared if your computer crashed, you’d just log on and grab your files again.  You didn’t have to hoard, because you had access.  There is no giving away the store, people will always want to come back!

Truth is most people already own a lot of product and the labels pretend that the black market doesn’t exist. BitTorrent, Limewire…  If we don’t talk about them, if we sue some people, we can make like they’re a gnat on the ass of the business, when in truth, it’s the legal market that’s the gnat on the ass of the illegal market.

We need new blood, to take the hit now and realign the business.

It won’t be Guy Hands.  Because he broke rule number one.  He overpaid for EMI.  Doesn’t matter who he hires, what he says.  The bank would take the company back now, if it only knew what to do with it, if it could only sell it.

Warner has the best digital initiatives, but that’s like saying the Corleones are the friendliest Mafia family.

Sony is lost.  And Universal are bullies.  When Jean-Bernard Levy, CEO of Vivendi, stands up and says he thinks things are turning around, he reminds me of the nitwits on Wall Street, but it’s worse, at least they’re familiar with the business, whereas Jean-Bernard Levy just parrots what Doug Morris tells him.  Doug Morris is not living on the computer, he’s so out of touch that taking advice from him is like asking your grandfather about Facebook.

Maybe you have to leave new music development to new companies, just making money off your catalog. Or, maybe you must turn yourself into a financial services company, doing the deals and paying the royalties for everybody for a small fee, with an option, exercised by the artist, of upstreaming.  There is power in market share, the majors are headed for marginalization, only interested in what sells a lot, whereas what sells a little, in aggregate, is where the lion’s share of the money is going to be.

Things are not turning around.  Things are really dire.  Arguing about iTunes prices is like debating whether windshield wipers on SUVs are overpriced.  All the companies say the digital market isn’t making up for the CD downfall.  Doesn’t that say that a new digital model is necessary?

Of course, but these guys are living in denial.

We Can’t Make It Here

We revered the musicians because they spoke the truth when nobody else would.  In an election cycle where candidates feel lies will fly, live on on the Web for the biased and uninformed to pick up on and spread, where is the picker telling the truth, for us to rally around?

Nowhere to be found.

You’ve got to sell out, you’ve got to be a whore to make it in music today.  It’s a business controlled by fat cats.  Get up in the a.m. to call the station, get the hair and makeup charged to your royalty account, that’s the only way to do it.  But it’s not.

"We Can’t Make It Here" was written for the 2004 election cycle.  But it’s just as relevant today.  It’s the third most played track in my iTunes Library.  It would be number one if I hadn’t switched  computers in the 2006 election cycle and sacrificed my play counts from my old machine.

And when I’ve got more questions than answers, I dial up the built-in playlist and shuffle my 100 most played iTunes tracks.  And, in the other room, reading the newspaper, I started hearing a familiar track.  Mr. McMurtry’s "We Can’t Make It Here".  It felt so right I was motivated to come to the computer and write.  I put it on endless repeat.  I’ve listened to it a dozen times already.

And then, when I’m referencing Bristol Palin, I hear these immortal words:

High school girl with a bourgeois dream
Just like the pictures in the magazine
She found on the floor of the laundromat
A woman with kids can forget all that
If she comes up pregnant what’ll she do
Forget the career, forget about school
Can she live on faith? Live on hope?
High on Jesus or hooked on dope
When it’s way too late to just say no
You can’t make it here anymore

Bristol Palin’s mother might become VP. But what about the seventeen year old who makes a mistake and gets pregnant in a land where you can get no abortion.  Or, even if she chooses to have her baby.  Shouldn’t she have been exposed to birth control advice?  Free condoms?  Or are she and her baby going to be a drag on society forever?  Jesus might help your attitude, but he’s not going to pay your bills.  We live in an uneducated country losing steps to India and the rest of Asia as we debate moral issues.  Or, are we supposed to believe the Rapture is imminent and it’s all irrelevant?

The billionaires get to pay less tax
The working poor get to fall through the cracks

Hedge funders get their guaranteed income taxed at capital gains rates, even though there’s only risk on the upside.  They’ve just got a better lobby than the poor.  Bear Stearns collapses, but the rich don’t suffer, they’ve already got their millions.  You’re working for a salary, schlepping boxes, and men who dreamed up derivatives backed on sub-prime mortgages, who were in denial of their firms’ financial condition, are being rescued by the government, which won’t give you a handout.  You’ve got to pull yourself up by your bootstraps.  While you go to an inferior school and the scions of Wall Street go to prep schools with every advantage.  Taxes must be lowered on the rich just in case you might become so, even though upward mobility is better in Europe than it is in the U.S.  The American Dream?  A PIPE DREAM!

Some have maxed out all their credit cards
Some are working two jobs and living in cars
Minimum wage won’t pay for a roof, won’t pay for a drink
If you gotta have proof just try it yourself Mr. CEO
See how far $5.15 an hour will go
Take a part time job at one of your stores
Bet you can’t make it here anymore

The record business is not immune. The CEO makes millions, his coterie lives high on the hog and the worker bee gets laid off.  We end up with a brain drain in the music industry as a result.  Fault the consumer?  Fault the CEOs driving this business towards a cliff.  But the fundamentals are sound?  Tell that to someone paying $4.00 a gallon for gas, paying fees to credit card companies they couldn’t foresee and can barely comprehend.  Our country has got problems but neither candidate will speak English.  McCain is living in an alternative universe and Obama is speaking in platitudes, waiting for the country to wake up and see the fallacy of his opponent.

It takes just one surgical strike.  Just one hit record to make all the difference.

We’ve got a radio industry that only knows how to say no.  TV too.  Cowered by the candidates, they’re afraid to speak English, afraid to play "We Can’t Make It Here", as relevant today, as fresh today as the day it was cut.

Country radio plays platitudes about home and church, but no amount of praying is going to solve the credit crisis.  That’s our country, focus on the irrelevant as the robber barons rip us off behind the curtain.

It may be four years old, but it’s time for radio stations to play James McMurtry’s "We Can’t Make It Here".  It’s today’s "Eve Of Destruction".

Re-Metallica

Hi Bob,

It’s interesting to see how my local daily newspaper, Sydsvenskan (Swedish for "the south Swedish"), gets worldwide recognition. The canceled Metallica interview was commented by the editor-in-chief and legally responsible in his weekend editorial:

"I can understand the record company’s anger, but it would at the same time be odd if the reviewers should pretend that internet did  not exist – and the reflections in the Metallica review are completely relevant. In reality nothing strange."

http://blogg.sydsvenskan.se/danielsandstrom/ (full column in Swedish)

Btw. the mentioned editor-in-chief, Daniel Sandstrom, was once guitarist in Swedish band "Beagle" and label mates at Polar (distributed by Universal) with ABBA;)

Cheers,
Morten D.
Malmo, Sweden

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I was at that Metallica 02 show; I wrote that NME story you quoted. I was also at the tiny shows they did at the BBC on Sunday and Tuesday and watching Metallica three times in three nights only one thing became clear: they are a hungry, hungry band.

James wasn’t appealing specifically against YouTube, he was trying to whip up the fervour and excitement he and his band obviously feel after being re-energised by ‘Death Magnetic’. Like they’ve been quoted as saying, Rick Rubin wanted to get them back to the days of ‘Master Of Puppets’ – when shows weren’t characterised by thousands of luminated screens popping up around you every few seconds – and to imagine they’re still trying to impress and win new fans rather than consolidating the ones they already have.

They’re a band reborn. I don’t think anyone expected ‘Death Magnetic’ to be this good or their live shows to be this ferocious. I for one welcome them back.

Ben Patashnik

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I ordered two tickets to see Metallica at the Forum after their fan club sent me the info that the tickets had gone one sale. After paying for the tickets, I got two more emails from Metallica, one giving me two vouchers to have the new album mailed directly to my  house, yes on CD, for no charge. The second email was from Metallica LIVE (best live music band site EVER) sending me two vouchers to download the show that I AM GOING TO SEE AT THE FORUM! Well, Like em or not, like the new record or not, this is about the coolest thing I have EVER seen a band do for their fans. It wasn’t part of the sales pitch and I had NO IDEA they were going to send me these two free-b’s. I am extremely excited to get a copy of the very show that I am going to see at the LA Forum. SOMEONE is paying attention in the Metallica camp as this is something I have never seen anyone else do. YOu can buy ACC files that come with set lists, ticket stubs, videos, etc. at http://www.livemetallica.com/ for shows going back to the beginning of their career. They are Metallica and are still doing things their way – right or wrong.

Chris Johnson

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http://blog.wired.com/music/2008/09/does-metallicas.html

http://mastering-media.blogspot.com/2008/09/metallica-death-magnetic-sounds-better.html