More Chinese Democracy

Following please find an e-mail thread between Eric Garland, CEO of BigChampagne, and myself:

From: Eric Garland
Subject: Re: More Irving/Leaks
Date: September 3, 2008 11:12:17 AM PDT
To: bob@lefsetz.com

So often I hear "artists, labels, and publishers have the right…".  Well of course they have the right, both under law and in principle.  Is anyone you know really disputing that?

Let’s all agree:

1) Artists/owners have the right to control their creative works.
2) These rights will be habitually, and increasingly, violated (sometimes by your most loyal fans).
3) As these rights are violated, of course artists can avail themselves of legal remedies.
4) However, this will not impact the ongoing, chronic, and mass violation of those rights.  See #2, above.

What is there to argue about?  Your work has been illegally wrested from your control.  Hey, that’s not right!  Agreed.  Now you have a simple strategic decision to make: pursue criminal or civil relief, or don’t.

But let’s be very clear about the facts and the numbers.

Arresting the GNR leaker has had a measurable impact on GNR piracy.  It has increased it, necessarily, by drawing a lot of attention to it.  News cycles do that every time.  

All of the leaked tracks continue to be easily obtained from a wide variety of the most popular destinations on the web.  Google, for one.  Same as it ever was.

From: Bob Lefsetz
To: Eric Garland
Sent: Wed Sep 03 18:14:59 2008
Subject: Re: More Irving/Leaks

Can you provide me with statistics as to the increase after the  
leak, after the lawsuit, etc?

From: Eric Garland
Subject: Re: More Irving/Leaks
Date: September 4, 2008 12:41:13 PM PDT
To: bob@lefsetz.com

Well, only the leaker (nd now the FBI) knows for sure how many people grabbed the tracks directly from his own blog before he was shut down, but nothing like the more than 60,000 people (and counting) who have snagged it since the story of his arrest hit.

Most people learn about these leaks in the press.  The bigger the news cycle, the bigger the leak.

From: Bob Lefsetz
Sent: Thursday, September 04, 2008 1:23 PM
To: Eric Garland
Subject: Re: More Irving/Leaks

But how many downloaded it before the story about the arrest hit?

From: Eric Garland
Subject: Re: More Irving/Leaks
Date: September 4, 2008 1:39:18 PM PDT
To: bob@lefsetz.com

Sorry, should have been clearer: almost no one on torrent sites, as the initial downloading was directly from his blog.  The news story broke five days later and the torrent downloading has been going gangbusters ever since.

Guns n’ Roses’ “Chinese Democracy” Leaker Gets FBI Visit

From: Bob Lefsetz
To: Eric Garland
Sent: Fri Sep 05 11:29:02 2008
Subject: Re: More Irving/Leaks

Just so I’m clear, and maybe you have the statistics…

How big was the jump after the arrest?

Thanks.

From: Eric Garland
Subject: Re: More Irving/Leaks
Date: September 5, 2008 10:16:09 AM PDT
To: bob@lefsetz.com

Since the news cycle broke, almost all of the public (torrent) downloading has taken place, as the increased media attention created awareness. 90+% of torrent activity has been since the story broke.  But what’s more important is that people are _still_ downloading it apace and it is more public than it was when it was only on the leaker’s blog.

Do a Google search for keywords "chinese democracy torrent."

Loudon At Largo

What a magical evening.

I come back from buying a bottle of water and who’s sitting in my seat?  VAN DYKE PARKS!

Does Felice know Van Dyke?

No, but he then tells a story of eating dinner with Mo Ostin and her dad at Chasen’s…  Van Dyke’s revealing history, his tenure at Carnegie Tech, working for Mo at Warner Brothers making secretarial wages but only having to report to one guy.  Van Dyke was doing the score for "Two Jakes" and Mo thought Felice’s dad could provide some insight.

But Van Dyke Parks was only a sideman this evening.  Playing piano and accordion.

Actually, he got a solo…  He played "Orange Crate Art".  Everybody got a solo…  Joe Henry and Loudon’s daughter Lucy too.  It was that kind of evening…  Something from the seventies.  THE 1870’s!  Like we’d all rallied around the barn on a Saturday night and the local talent was going to give a show.  Back before the era of not only iPods, but ELECTRICITY!

But the performers provided their own heat, their own energy, you could have added their power to the grid.  It emanated from deep inside, who they were as opposed to what the music industry had tacked on to them.

I’d heard "Dead Skunk".  Novelty track.

I’d read about Loudon Wainwright…  But how many albums could one person buy?

Then, as a result of the miracle of the Internet, I download his new album, "Recovery" and find out he’s a genius, often working in miniature, nailing the human experience.

The movies are a mother to me
There’s nothing like a good movie
To mother me back to sanity
When I have gone insane

The extravaganzas projected at multiplexes are not movies.  They’re business concoctions, carefully cast and scripted to rain coin all over the world. Making a movie isn’t about making a statement, but making money.  It’s not how good your film is, but its gross.  Whereas films used to be an escape, but not pure fantasy, rather they made you feel part of the human race, experiencing the stories of others.  The lights would go down, you might be in the theatre alone, but suddenly you were wrapped in a whole environment, peopled with characters who were now your best friends.

I’ve never heard a song about this experience.  The movies may have changed, but life hasn’t.  We all feel so alone, we need to connect.  That’s why social networking is the rage.  But prior to the Internet, we used to feel a member of the group via music, before MTV whored it out and it became just like the movies, vapid.

Loudon played all my favorites, everything I needed to hear.  "Be Careful There’s A Baby In The House", "Motel Blues", "Muse Blues" and "Say That You Love Me"…  I couldn’t help but stand and applaud when "Say That You Love Me" was done.  This is the essence of being a music fan.  Music isn’t for winners, it’s not sports.  Music is for losers.  The socially awkward.  The dreamers.  The music soothes them, makes them powerful.  Makes them take risks, like telling the object of their affection that they love them.  But that doesn’t always work.  And when you’re rejected, you come home and play your records some more.  Getting consoled by your favorite acts, gaining insight from what they’ve got to say.  Which is more than slap your booty into mine!  We’re going to the club and have a good time!  Oftentimes the most dedicated music fan CAN’T EVEN GET INTO THE CLUB!

Not that Loudon is a loser.  But his music represents all 360 degrees of life.  And if you don’t have losses, you’re delusional, you’re not telling the truth.

There was a raucous version of "Man Who Couldn’t Cry", with all six players raving up.  Maybe not quite the Who, then again, Loudon name-checked Townshend in his song about smashing his guitar, buying a replacement and then having this new instrument instantly stolen.  Karma, he said.

But the highlight was "In C".

Don’t look for it in iTunes, don’t comb Loudon’s catalog, it’s never been released.  But it’s a gem.

So by now it’s clear to hear I know
I don’t play a lot of piano
But sometimes a fella has to sit
Just to sing about the heavy shit

Loudon apologized.  Well, not really, he’s always got that mischievous look in his eye and inflection.  And said he felt embarrassed sitting at the keys, where living legend Van Dyke Parks had been residing.  And you thought this was going to be a humorous number, child’s play, banging on the keys uttering little more than nonsense.

But it was the heaviest song of the night.  Loudon started to sing truth.  About broken families.  Ones he’d been a member of.

Lucy Wainwright Roche might have been on stage with him, but Loudon’s relationship with Rufus has been notoriously strained.  You start off fresh-scrubbed, you enter the game and suddenly you’ve been married and divorced multiple times.  Even the Republican VP nominee has a pregnant teenage daughter.  Life never goes as planned.  You just try to cope.

And the great unknown’s a hurricane
With howling winds and floods and driving rain
You might make it through, but you don’t know
If right behind it there’s a tornado

Do you get married?  Do you have kids?  It’s so scary.  And after escaping injury in the gauntlet of life, suddenly you hit a brick wall, you encounter another crisis.  It doesn’t end until you do.

Playing music is not something you do on a journey to somewhere else.  It’s not a stepping stone to a clothing line, to endorsements.  Playing music is something innate, that you must do, as necessary as drinking water, as breathing.  Which is why the greats, the true believers, never give up. Forget the Stones, yesteryear’s stars.  What about those who never really broke through?  Shouldn’t they be giving up and going to law school?

Some do, but most don’t.  And some who do come back.  Because they’re just not happy.  If they must be starving artists, so be it.  Actually, if you’re not willing to starve, you’re not an artist.  You worship money more than creation, your priorities are not commensurate with the artistic temperament.

Loudon Wainwright III has hung in there.  He never broke through.  Got lucky a few times, with "Dead Skunk", "MASH" and "Knocked Up", but he’s not a household word.

Which is probably why Largo at the Coronet was not full.

This stunned me.  I thought it would be a tight ticket.

To me it was, we got there early, having heard it was open seating.

I needed to be close.  I needed to be there.  For this one time only show.  Just after the new record came out.  When he’d play all its new/old tunes, with a full band.

It’s not about hiring a limo to drink wine with your buddies as haggard oldsters play renditions of their decrepit hits.  That’s not the live music experience.  That’s entertainment at best.  Whereas live music, when done right, is life itself.

In the 1970’s, my heart palpitated when I saw my favorite act was coming to town.  Sometimes they’d only produced one album.  But I was hooked.  I needed to go.  Often alone.  Why try to convince someone who won’t appreciate it?

And I’d sit there, as the music washed over me, telling myself there was no place I’d rather be.

There’s no place that I’d rather be than seeing Loudon Wainwright at Largo last night.  I’m hoping this Internet era will allow his magic, his might, to spread far and wide.  That people will go to see him for thirty bucks and know that you can avoid that whole TicketMaster game and have even a better time, a life-fulfilling experience.

Now if you go on YouTube, you can find a clip of "In C".  That’s what Loudon told me the name of the song was, even though here it’s listed as "Another Song In C".

And if you listen through, and you should, because you’re human and if you can’t identify with this experience already, take notes, because soon you will, you’ll hear the following lines:

And if families didn’t break apart
I suppose there’d be no need for art

Art comes out of pain.  Of change.  Of the dilemma of having more questions than answers.  If you’ve got it all down, you don’t need art.  But if you wonder sometimes how you got here, what you’re doing here, if the pain you’re feeling has ever been felt by anyone before, you’re a candidate for art.

We’ve come far from Woodstock.  We’ve got to get back to Joni Mitchell’s garden.  We now have the power.  We’ve wrested it from the old men, who never learned to type, who aren’t computer literate.

The clock has been reset.  Don’t learn to dance, don’t hire the ghostwriter, look deep down into your heart and let your truth out.  You are not alone. If you speak honestly, others will resonate.

A Apolitical Blues

I’ve been spending all day downloading live shows.

The Linda Ronstadt radio show from the Record Plant back in ’73 wasn’t as audio-exquisite as one might expect, it being broadcasted and everything.

Karla Bonoff’s show from Nashville back in ’78 was revelatory.  How do they know the essence of life so young?  I had to enter my thirties, late twenties at best, before I knew most of what Karla and Jackson Browne were singing about as young pups.

And speaking of Jackson, there’s a great show from the Main Point back in ’73.  It’s good enough to release as is.

But not as good as this radio show from ’72, broadcast on WLIR.  This is BETTER than most live shows.  It sounds like they’re playing in your living room!

Back before she became the poster child for baby boomer perseverance, getting kudos for hanging in there, through the bad relationships and alcohol to find commercial success, Bonnie Raitt was a blues mama.  An irreverent one at that.  Actually, she’s still irreverent.  In a business that takes itself way too seriously.

When she sings that you should love her as a man, she retains all the sensitivities of a woman without being subservient.  When the Republicans are focused on so-called babes like Cindy McCain, I’d much rather spend time with someone three-dimensional, with a few miles on her, who’s not afraid to give me directions.

There’s her take on "Love Has No Pride", from "Give It Up", long before Ronstadt made it a classic.  Bonnie’s not oversinging, she’s lived it.

"You Got To Know How" is better than the take on the album.  Sans the production, it’s got authenticity.

The apotheosis is "Can’t Find My Way Home".  And one of the reasons it exudes such magic is the help Bonnie receives from John Hammond and Lowell George.  Lowell’s slide is barely there, sneaking in from the sidelines, it adds a dose of reality, it adds character, it’s the plot of the song come alive.

That was one of Lowell’s specialties.  Knowing when not to play.

Subtlety’s gone out the window.  Everything’s faders up, in your face.  We revere melisma, the singers who can belt.  But turning it up to 11 only works if you know how to play at 2.

Lowell doesn’t exactly play at 2 in his own number from this set, but he’s not jamming it down your throat, he draws you TO HIM!  Or, as Bonnie says…WAIT ‘TIL YOU HEAR THIS!  The fat man in the bathtub STEALS THE SHOW!

Back when record companies were trustworthy, I got turned on to Little Feat by a Warner Brothers Loss Leader, a double album of the label’s wares sold mail order for $2.

But I can’t say I loved "Dixie Chicken" from the moment I played it.  There was no context.  Lowell had played with Frank Zappa, but this didn’t sound like anything on "Weasels Ripped My Flesh".  But, then I got hooked by the penultimate number, "Juliette".

Don’t sing sad songs, Juliette

We no longer believe the words our acts sing, if we can make them out at all.  They’re written by hacks, or illiterates.  And they’re sold with such force it’s like a book hitting you in the face.  Whereas you’d prefer to turn the pages yourself, and let the story unfold.

That’s the power of Lowell George.  Occasionally he demanded attention, via a bit of bluster, but it’s the subtlety that got under your skin, that gave you the heebie-jeebies, that made you play the record again.

I can’t pick a favorite from "Dixie Chicken".  But I’d recommend the cut Bonnie ultimately covered, "Fool Yourself".

You might say you ain’t got a hold on yourself
You might say you always try your best
You might say you only need a rest
You might say you can only fool yourself
I said fool yourself
I said fool yourself

What’s fascinating is the position from which Lowell George is singing.  He’s an observer, the best friend, giving advice.  Not just telling you what you want to hear, but splicing in some truth.

Lowell drugged himself to death.  Only the good die young.  But, unless you’ve had hits, you’re usually forgotten.  Living on only in the memories of those who experienced you, there being no traction amongst the younger generation.

If Lowell George had traction amongst young ‘uns, it’d be a completely different music business.  With the focus on music.

"A Apolitical Blues" appeared originally on "Sailin’ Shoes".  An album I went back and bought after wearing out "Dixie Chicken".  It contains my favorite Feat cut, "Easy To Slip", another take on "Willin’", "Tripe Face Boogie" and the title cut, ultimately covered by Robert Palmer.  You can hear a live take of "A Apolitical Blues" as a bonus cut on "The Last Record Album".  But both commercially-available versions pale in comparison to the live take from WLIR.

Nobody is watching, and probably not a ton of people were listening, Bonnie had not broken through yet, but Lowell is playing like it’s a telethon, like he’s finally got a shot to exhibit all his wares, like people are FINALLY PAYING ATTENTION!

His voice is so sweet, that even when he’s imploring it sounds like his vocals are covered in honey.  This is a man.  The kind who’s capable of loving the woman in Bonnie Raitt’s song.  He doesn’t show up with gold jewelry.  He doesn’t exit from a Mercedes.  He doesn’t look like a movie star.  He just exudes humanity, personality, CHARISMA!

Well my telephone was ringing
They told me, told me it was Chairman Mao
Well my telephone was ringing, hear it ringing?
They told me it was Chairman Mao
I don’t care who it is
I just don’t want to talk to him now

We’d been burned by the sixties.  Baby boomers were licking their wounds in apathy.  They’d tried to change the world and ended up with Nixon and an extended war in Vietnam.

Some people maintain that with the death of hope the flame of music was extinguished, that all the great stuff expired with the sixties.

But one listen to Lowell George will tell you otherwise.

Little Feat ultimately got some radio action, even had a song resembling a hit.  But Lowell did too much dope, ultimately went solo and died.  And since his triumphs were so subtle, he’s been forgotten.  But he shouldn’t be.

JT/Harvard 1970

I spent my seventeenth birthday stoned watching "Woodstock" in Boston.

That wasn’t the plan.  I wasn’t supposed to be in Boston at all.  I was supposed to be spending the day with her.  But she never called.

Days had gone by.  She had promised.  I’d told my mother that I couldn’t drive her brother and mother back to Peabody because of our plans. Finally, at 10 a.m., I caved.

My Uncle Harvey is no longer with us.  And neither is my friend Ronnie, who I spent that weekend with in Brookline.  Medicating his back injury Harvey took too many pills and passed away half a decade later.  Twenty years after that, Ronnie succumbed to the colitis that had first badgered him the year before, that had caused him to miss a year of high school.

But this night Ronnie was healthy.

He produced a pipe, filled it with tobacco, and taught me how to inhale and hold.  Then he tamped down some marijuana, we smoked it and a couple more bowlfuls, then strode out the front door to catch the T.

Just like yesteryear’s marijuana was mild, in the early seventies movies only opened in big cities, oftentimes only New York and L.A., and spread from there.  You couldn’t see "Woodstock" in Connecticut.  It was an exotic experience, with Sly Stone wanting to take us higher, with the now superstar CSNY scared shitless.

The next evening we got stoned again.  And went to the supermarket.  Potato chips never looked so appetizing.  And then we went back to Ronnie’s friend’s house and listened to music.  "Led Zeppelin II" and the Guess Who’s "American Woman".  I’d been told that everything sounded great high. This turned out to be incorrect.  The Zeppelin album had been overplayed the previous fall, I could barely endure it.  I enjoyed the long version of "American Woman" more…

I’m not sure what we did the next night.

But the night after that, we went to see James Taylor at the Sanders Theatre at Harvard.

My sister had bought me JT’s debut for my birthday.  I’d listened to "Carolina In My Mind" every morning thereafter (she’d given it to me early…) Ronnie bought the just-released "Sweet Baby James" in anticipation.  I didn’t know its cuts that well.

But the concert didn’t feature only James’ new material.  I remember him playing Joni Mitchell’s "For Free" most.  I forgot he started with "With A Little Help From My Friends".

There was no simulcast on the Internet.  This was before they were even doing this on the radio.  The concert experience transpired in an intimate hall, in this case a semi-circular one, it was only for the people there.  Then it evaporated into thin air, only to live on, imperfectly, in your brain.

And then it’s thirty eight years later, and you find out that there’s a tape.  And you download the MP3s from the Internet and are jetted right back to who you used to be.

He opened with "With A Little Help From My Friends".  A counter-cultural anthem long before classic rockers sold out their music for commercials.  It was rare to even hear our music on TV.

From there, he went to "Anywhere Like Heaven", a "Sweet Baby James" track you never hear about, but radiates in its simplicity.

Covers include "Mannish Boy", "Okie From Muskogee" and "Greensleeves", which had been featured on that initial Apple album.

There’s even a rendition of "Riding On A Railroad"…

We are riding on a railroad
Singing someone else’s song

That’s what JT was doing.  He wasn’t shy material, but this was before concerts were rote replications of the album.  They were unique events.

We are standing, standing at the crossroads
Take your side and step along

"Riding On A Railroad" didn’t see release until a year later, on "Mud Slide Slim".  It’s part of an exquisite trilogy I dialed up immediately upon owning the programmable CD.  I matched it up with "Machine Gun Kelly" and "You Can Close Your Eyes", which originated on the other side.

Well the sun is surely sinking down
But the moon is slowly rising

It’s September.  I hate the heat, but how come the months go by so fast?  I can feel myself getting closer to the end.  I’m not about to buy a burial plot, but I can envision a time when I’m no longer here.

It won’t be long before another day
We gonna have a good time
And no one’s gonna take that time away

That’s what it’s about.  Rich or poor.  Privileged or not.  Waking up to the light and embracing the day.  It’s yours to cast, to mold into your heart’s desire.  And when you get it right, the memory stays with you forever.

James didn’t do "You Can Close Your Eyes" that April night.  It might not even have been written.  I guess that proves that greatness is always in front of you, if you can hang in there.

Used to be our past was truly history.  But now, as a result of the Internet, we hear from seemingly everyone we ever knew.  And there’s a cornucopia of evidence, droppings left behind that delineate our path to here.

JT hasn’t quite developed his MOR voice.  His audience didn’t yet have babies, they were still in college, they were squatters in the land of opportunity.  They had their whole lives in front of them.  Now, most of their living is behind them.

Who are we?  Why did we make these choices?  How did we get here?

Listening to the music it comes clear.  The music was owned solely by us.  It wasn’t made for the machine, it was pure artistic expression.  There were no lasers and few lights.  The tunes were enough.  Honest, pure, and in JT’s case, swallowed easily.

That girl gave me her copies of "Surfer Girl" and "All Summer Long" as presents on Monday, when we were finally back in school.  She said she’d called to go bike-riding just minutes after I’d left.

I went to see James Taylor not even a month later at the Capitol Theatre in Port Chester.  He played to a three-quarters empty house.  Word wasn’t out yet.

But soon it was.

James’ material, his impact, was so rich and to the heart that he can still tour today.  You see, we want to remember…