Mr. REO Speedwagon. Kevin is open and honest, he’s your best friend. This is the entire story, from Illinois to leaving the band to “Hi Infidelity” to “Ozark.” A great listen.

https://podcasts.apple.com/us/podcast/kevin-cronin/id1316200737?i=1000621745239

https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/0a39f5ee-7deb-41f3-8cdc-019c6ff2a536/the-bob-lefsetz-podcast-kevin-cronin

https://www.stitcher.com/show/the-bob-lefsetz-podcast/episode/kevin-cronin-305424402

Focus on sales, they’re disproportionately counted on the chart.

Although you can sell CDs and files, focus on vinyl, people buy it as a souvenir and oftentimes don’t even listen to it, but the chart doesn’t care.

Make unique, multiple vinyl. So fans have to buy more than one disc.

Lie. There is no music business police. And reporters are not skilled enough nor have enough time to ferret out the truth.

Blame the ticketing company for everything. They can’t bite back, because you’re going to go on tour again and they want your business. Furthermore, they know they’re paid to take the heat.

If you need the publicity, say the gig is sold out even if it isn’t. I know this sounds counterintuitive, but if it’s a big space and/or multiple dates odds are you won’t reach sellout anyway, so you might as well get the benefit of saying it is sold out. Also, this does create a mania driving people to get tickets. And sure, they might go to secondary sites where you won’t get the uplift, but they will also go to the primary site, where seats are available. On authorized resale the the primary sits right next to the secondary, and many concertgoers don’t care or don’t know the difference.

If you can sell out quickly, turn off Ticketmaster’s resale exchange. It makes it look like tickets are hard to get, and the public can’t see how many tickets scalpers have (and how many fans have purchased multiple tickets planning to scalp tickets themselves).

Break records on a constant basis. Invent new categories if you need to. Remember the words “most” and “fastest.” Most tickets ever sold in Wyoming! Fastest sale since the Beatles! You want to beat the Beatles, that’s the ultimate goal, that gets people’s attention, even though the charts are different and you have nowhere near the impact of the Fab Four.

Come up with a name for your fans, even if they don’t call themselves that, it makes you look you’ve got a huge fan base and it is rabid.

Complain. Not about how you’ve been hurt, but how your fans have been abused. Primarily focus on ticketing, but you can come up with any way they’ve been abused.

Mobilize your fan base. It will do anything for you. The more people act, the more they’re bonded to you. Have them defend you against any perceived negative feedback.

Have your operation be mysterious, it makes it look like you’ve got geniuses working for you who can do what no other act has never done before.

Never give the press direct quotes. Nor should you put out press releases. When you’ve got something to say, say it online, where it can be amplified by your fans, so that media can hear about it from the buzz online. It makes it look like you don’t care about the media, when in truth you do!

Stay in the news on a regular basis. It’s easiest if you’re regularly breaking records, the press eats this stuff up and repeats it. And you ultimately get a cumulative effect, you must be huge because you keep breaking records!

Make people afraid of holding you accountable. This is what your rabid fan base is all about. People in the business, the hoi polloi and even media must be afraid of losing out in the future, losing access, you want them to be complicit in the game.

Reward those who come through for you. Whether it be business people or radio or the streaming outlet. Call them, text them, make them believe they have a relationship with you.

Don’t get in petty online wars, it ultimately makes you lose. You don’t want train-wreck publicity, you don’t want to be seen on TMZ, you want to be above that.

Have photos taken with other stars. Primarily musicians, who have a greater aura than actors or ballplayers. The media loves to run these pics, burnishing your image as being fabulous and knowing everybody.

Bring musical stars out on stage to perform with you, but only occasionally and only sparingly.

Never be surprised, never appear dumb. You want to appear to be in control without being controlling.

You want to put out albums on a regular basis, which you can then manipulate via sales to the top of the chart so you can get the resulting publicity. No one cares if you fall from number one the next week. Everything is about being number one, if you’re not number one, don’t publicize it.

Make it look like media is not serving you, even though that’s your goal. You want your story to be so big that they must report it as a public service.

Whatever you do, make fans want more. This isn’t like in the old days, where you hold back. Rather in the modern era you keep selling, people want to evidence their brand loyalty. Vinyl, for the charts, merchandise, whatever can bond the fan to you, do it. And if it is merch, it must be limited. You can only buy it NOW! Don’t limit quantity, just time frame.

You want to appear to be bigger than the system, therefore it looks like you’re not gaming it, even though you are!

They’re still doing it. Even though Jeff Hanna is 76 and Jimmie Fadden is 75. Musicians never stop, unlike civilians. Everybody I know not in the music business is talking about retiring, or is already retired, whereas musicians ten or twenty years older are still plying the boards, because they love their jobs, along with that audience hit you can only get on stage.

Greetings from Vail, Colorado, where it is not as warm as it is in the rest of the country and there’s enough name brand entertainment to have you believe you’re living in a small city. Strasburg had String Cheese in Dillon on Wednesday, Thievery Corporation on Friday and Old Crow Medicine Show on Sunday in Vail and in Beaver Creek, they had the Nitty Gritty Dirt Band on Saturday night. And the experience is much better up here in the mountains, because the venues are so much smaller. As for the economics…if you know anything about performing arts centers there are subsidies and boards and the bottom line is that the Vilar has 150 dates a year, and don’t forget that that the spring and fall, especially May and October, are shoulder season, and essentially dead.

Now if you want to see an act in the Spotify Top 50, the mountains are not the place. Acts can only play a limited number of gigs, and they focus on the metropoli, where there are more bodies and more money, then again in the mountains the locals may be struggling, but not the tourists.

So the Nitty Gritty Dirt Band has survived by pivot. Instead of just doing the same thing over and over, they went from “Mr. Bojangles” to country roots with “Will the Circle Be Unbroken” to smooth singer songwriter to country hits to…now. They’re still making albums. Is anybody paying attention?

No.

Which is why I was amazed when Jeff introduced the song “Bless the Broken Road,” as a Dirt Band original, from the overlooked album “Acoustic” from 1994. It was released by a major label, Liberty, but it wasn’t until Rascal Flatts recorded the song in 2005 that it went to number one, earning the Grammy for Best Country Song. You see a hit song is a hit song is a hit song. And that’s very different from a record. Some hit records are great songs and some are not. And a lot of today’s tracks may be hits, but no one would consider them great songs. A great song is so good that it doesn’t matter who sings it. Kind of like the Dirt Band’s opener “You Ain’t Goin’ Nowhere,” an unreleased Bob Dylan song that the Byrds used to open the groundbreaking “Sweetheart of the Rodeo” and many others have covered. It might not have appeared on the charts, but it lives strongly in people’s hearts.

Another highlight of the show was the band’s performance of “An American Dream,” the Rodney Crowell-penned opening tune from their 1979 album of the same name. You see I own that record. I went on a three album run, before the band decamped for Nashville and the country sound, when the smooth singer-songwriter sound was a revered staple as opposed to an in-joke, like yacht rock. Denigrate it all you want, this sound is still selling tickets prodigiously, keeping the creators alive.

I would have been thrilled if they’d performed “Harmony,” from 1980’s “Make a Little Magic,” but I guess I’ll have to wait for that one. Then again I’m going to give you links to the Jeff Hanna/Bob Carpenter track sung by long-standing band member Carpenter, as was “Bless the Broken Road.”

“Whether I’m right or I’m wrong

Too weak or strong

Sure seems plain to me

Too young or old

Too shy or bold

We all need help

Just to move the stone”

These are the ashes from another generation, when love was still believed to conquer all, when we still believed we were all in it together.

I don’t think a cover would make the Spotify Top 50, maybe it could make it in the country market, but one thing for sure is this was a hit back in 1980, even though you couldn’t see it on the chart. Check it out:

Spotify: https://tinyurl.com/3sp3md33

YouTube: https://tinyurl.com/mwfurfrf

But at this late date we no longer expect to hear deep album cuts live, only the hits. So when you’re in the audience and hear a song you know by heart but don’t believe anyone else is aware of it’s a special thrill, it makes your night.

Not that it was only the songs, the musicianship was notable in its own right.

There was Ross Holmes on fiddle and mandolin, known for his work with Mumford and Songs and Bruce Hornsby, earning a well-deserved standing ovation for his efforts on an extended solo.

And Jeff’s son Jaime, who paid his dues with the Mavericks and Gary Allan, performed an extended acoustic guitar solo that thrilled me.

As for the bass…

I figured it was just some road guy, some Nashville cat hanging in the deep background. But it turned out to be soft rock staple Jim Photoglo, who was a staple of L.A.’s soft rock station KNX-FM, 93.1, when that sound was still a dominant force. Jim co-wrote the Dirt Band’s huge country hit “Fishin’ in the Dark” with Wendy Waldman, a number one for the band back in 1987.

Not to take anything away from drummer Jimmie Fadden. Who pounded the skins and played the harmonica simultaneously, a seemingly impossible feat. Also, Jimmie was really into it. As if it were still the sixties, when music was everything and to be a musician was to affect millions and elude the straits of standard life. We envied these people. They were anything but faceless.

And the band played a few songs from the three “Will the Circle Be Unbroken” sets, including the title cut, which as an encore bled into the Band’s “The Weight.”

That’s another song like “You Ain’t Goin’ Nowhere” that everybody knows but was never a hit. Made it all the way up number 63, which means AM radio is not where most people were exposed to it.

Nor was so much of what we were addicted to even played on FM, these records are part of our DNA, they enriched our lives, they made us who we are.

So the Nitty Gritty Dirt Band goes on to another town. Playing to believers, those who remember when our music transcended everyday life, when it was life itself.

They’re still doing it and we’re still here. Much older, a bit battered, but young at heart, because we remember.

The music keeps us alive.

Well, that’s classic rock.

There’s so much info in the pipeline today that anything important oftentimes goes unheeded, or flows down the river with the overwhelming detritus of what is called internet news and most people remain unaware of it.

I wake up every morning and read the news on my phone and am agitated and inspired, wanting to point out stories/information I fear will go unnoticed. But then as the day goes on I slink back into my life and the information recedes and then, the next day, the whole process repeats. We live in what I’ve endlessly referred to as a Tower of Babel society, where we all listen to different music, watch different TV show, are exposed to different social media and big time media keeps telling us it’s the same as it ever was. According to big time media “Succession” is a hit on the level of “M.A.S.H.,” everybody saw the finale and it’s all the country can talk about. And Taylor Swift is as dominant as the Beatles or the Stones were in their era, never mind Culture Club and Duran Duran during the eighties and Nirvana in the nineties, when this is a complete falsehood. No act has that kind of penetration today, NONE! Which is another reason to ignore the manipulated charts published in media, tools of the labels, too often skewed by the sale of vinyl. The Republicans have nothing on record labels when it comes to disinformation.

Speaking of which, Elon Musk cried yesterday that Twitter had a 50% drop in advertising revenue and that this advertising deficit and heavy debt prevented the company from being cash flow positive. Now wait just a minute, isn’t this the same guy who told us all the advertisers were back and that Twitter was about to turn the corner? That’s Musk’s idea of freedom, the right to post outright lies on Twitter. What a great service!

And then there’s that story in today’s “New York Times,” talk about horrifying…

“Trump and Allies Forge Plans to Increase Presidential Power in 2025 – The former president and his backers aim to strengthen the power of the White House and limit the independence of federal agencies.”: https://tinyurl.com/mzznjpa9

Read some of this. That’s a free link. Scared yet? Most of the country not enough. Meanwhile, if Manchin runs under the No Labels banner it’s toast for Biden. I was at a family lunch last week and I asked the assembled Democrats who wanted Biden to run, and not a single person raised their hand. How can the DNC be so out of touch?

And then I segued to Emily Nussbaum’s article about Nashville in this week’s “New Yorker”: 

“Country Music’s Culture Wars and the Remaking of Nashville – Tennessee’s government has turned hard red, but a new set of outlaw songwriters is challenging Music City’s conservative ways—and ruling bro-country sound.”: https://tinyurl.com/67sxvsxu

This demands a read too. As an antidote to the claim that Nashville is the new Los Angeles, but more harmonious with more opportunities when it comes to music. And for the politics.

And classic rock rules.

Well, not exactly, but it’s experiencing a renaissance, rock’s streaming percentage is going UP!

“Why Is Rock So Big

“Overall, rock has grown most of any genre year over year in consumption units, with 11.2 million more units in 2023 over 2022. That growth, however, is almost entirely from catalog — 10.3 million of it, compared to 900,000 units of growth from current releases.”

That’s from the “Billboard,” behind a paywall. Once again, you’ve got to pay for news in 2023. The twenty five year old conception that everything is free online was and still is completely wrong.

R&B/Hip-Hop is still the number one genre, but rock is #2, and R&B/Hip-Hop’s numbers are going down, and rock’s are going up.

And as you can see in the above quote, the rock consumption is not being driven by new music, but old.

Wait just a second, wasn’t this old fart music in the rearview mirror with its creators in the grave or close to it, on their farewell tours?

Needless to say, you won’t get the idea that classic rock is so prevalent from the news media, populated by young writers who hate the past, make fun of the classic rockers and want to promote new music. But could it be that the new music is not as good, not as appealing as the old music?

Despite all the blather about Frank Sinatra today, he was the enemy until the late eighties and then the nineties. Sure, he had a couple of hits in the sixties, which we knew as a result of the all-dominant AM radio, but boomers gave him no respect and didn’t listen to him.

Bette Midler covered the Andrews Sisters’ “Boogie Woogie Bugle Boy” in 1972, but almost no boomer could sing another song from 1941.

The past was anathema, truly history.

But today…

The funny little thing is that the classic rockers bitching about streaming payouts are the same ones who are benefiting from streaming, it’s keeping their music alive! This didn’t happen in the past, records went out of production, they were not stocked by retailers, they faded away. But not today!

Today’s customers can sample/listen to anything, all they need is a hankering.

And, once again, rock’s resurgence is not based on new music:

“Consider the rankings in terms of current share: rock (10.32%) slides to third place, behind pop (10.69%) and barely ahead of country (10.16%), with Latin coming in fifth at 7.84%. And its current unit growth year over year of 900,000 is significantly behind country (4.5 million), world music (3.3 million) and Latin (2.5 million), although at least it’s still growing, while R&B/hip-hop and pop are not. ”

“Billboard”

Wow, new country music is nearly as big as new rock music! Because, as Tom Petty said in concert, today’s country music is the rock music of the seventies. Tom was decrying the marginalization of the classic country sound, but ultimately the melodies and changes and memorable choruses of today’s country, lifted straight from old rock, are what so many in the public cotton to.

This is not pop with one chord and literally no changes.

And it’s certainly not today’s rock. Hard-edged and marginal, cult music for the brain dead and those living in an alternative universe where the 21st century never happened.

Now I’m all for evolution, that’s what made rock so great. But if you were starting today, I’d begin with three chords and the truth. Melodies, bridges, singable choruses…all sung by someone with a palatable voice. It’s just like in politics, rock has gotten so far from the center that the whole world is distorted.

And you wonder why music gets no respect.

It’s a backwater of people creating brands. Afraid of their customers. Not willing to go on record about anything unless it’s the essence of their image.

But you won’t hear any of this in boardrooms.

At the labels, they scour social media to look for those who’ve already got a base who they can make stars, whereas in the heyday of classic rock the labels led, found new and different talent and promoted it. Steve Jobs said the public doesn’t know what it wants and it’s Apple’s obligation to deliver it. The labels have abdicated that power.

Quick, who runs the record company?

You don’t know and you don’t need to know. Sure, you’ve got Lucian Grainge and his triple-digit million payout and the successful Monte, but after that? There is no Jimmy Iovine, never mind Mo and Joe.

So…

Everything I’ve said here goes unreported in big media and the public has a skewed view of the music landscape.

Furthermore, rock is seen as dead. And it’s true, new rock is dead, because it skewed too far from the garden.

But if you get back there…

Is it any wonder Joni Mitchell is singing and triumphing again?

We’re not going back to Woodstock, then again a lot of those values built the modern music business, pay heed.

P.S. You can get a lot of this “Billboard” information as part of your Apple News+ subscription. Don’t be cheap, lay down the $9.99 a month.