In 1985 Bobby came to L.A. and told his manager he wanted to co write songs with someone and could he please have the billboard chart for that week.  I think Stevie Wonder had the number one song so he called him but did not get through.  I had the number two song, You Belong To The City, that I had co-written with Glenn Frey.  Bobby called me.  I had no idea who he was, but he was only a few blocks away so I said come on over.

I can’t think of anyone else in the world that would have found a co-writer in that bold way.

When he got to my house we smoked a joint and sat around the kitchen table.  We wrote a song called Someone That You Use To Know.  We thought it was great and Bobby said “George Jones should do this.”  Of course every songwriter thinks the greatest country singer of all should do the song they just wrote.

Years later George Jones recorded the song.

In the years we worked together Bobby told me the most amazing stories.  He told me things he was going to do.  He said he would put on a benefit concert for Ricky Nelson who was having financial problems and I would play.  He said Carl Wilson, Graham Nash, John Sebastion, Rick Danko and Chris Hillman would play.

About two months later the concert happened at the Spreckles theatre just as he said it would.

After a while I realized that every story he told me was true and everything he said he would make happen happened.

We worked together in Hollywood and I went to his wedding in Mississippi.  He took me way back in the woods to a small deserted church where he first started playing hammond B3.

We wrote a lot of songs together.

His autobiography is the best music biography I have read.

His playing and singing were like no one else, just amazing.

I was so lucky to know him.

Jack Tempchin

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Just a word on Clapton.  He is one of the most guileless people I have ever met. He was never about money or credit. Derek and the Dominoes was named that because he wanted to be out of the spotlight.

As you know, current producer agreements provide for producers to get their share of Sound Exchange royalties. Of course, back in the day, this was not anticipated and the way the laws read, you need a letter of direction from the artist in order to get Sound Exchange royalties.

I have, of course, requested these letters from all the artists I worked with as a producer. Most of them just referred to their lawyers (of course). None of them, not Dionne Warwick, Kenny Rogers, Barbra Streisand, Diana Ross, the Bee Gees, etc. agreed to give me any Sound Exchange royalties. The one exception was Eric. He was, “Sure, you deserve them.”

—albhy galuten

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Bobby Whitlock

First met him on the Layla Sessions with Duane. Tom Dowd had brought Eric and band members to an ABB concert in Miami and next thing we knew everyone was playing together back at Criteria Studios.  Duane actually came very close to ditching the ABB and accepting an offer from Eric to join him. If he had there would not have been the ABB  Live at Fillmore East album. Yikes!  Bobby later did two albums for Capricorn. He was a kind, gentle and very talented man. RIP.

Willie Perkins

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Hi Bob,

Lovely thoughts on the great Bobby Whitlock. In my opinion, the performance that really illustrates Bobby’s talent is his performance of Bell Bottom Blues with Eric Clapton on Jools Holland. Whitlock has said that it was the experience of seeing Clapton exhibit such serenity and comfort in his own skin at those sessions that motivated him to get clean. In the performance, Whitlock handles the lead vocals and inhabits the song in a profound way with his soulfully overwrought vocals making an ideal match for the lovelorn despondency described by the lyrics. This performance illustrates Whitlock’s unique gifts as a performer and his ability to make songs his own – even love laments written by former collaborators about other musicians’ wives :).

Thanks for all of the insightful and thought-provoking messages, Bob.

Best,

Christopher Cwynar

P. S. Your point about Clapton doing better with strong collaborators is spot-on. Very incisive observation.

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Hi there Bob,

I’m a “civilian” non industry insider-“just” a music fan who had met Bobby several times. Like many, the Layla LP was the first time I encountered Bobby’s name and likeness.  Layla would be the only constant in my evolving Desert Island collection. Including discs bought as gifts for others or Special Editions (Box Sets) I’ve bought Layla at least 8 times. Bobby and Coco made Austin their home around 2006 and later in the 2010s they had a semi regular gig on Saturday afternoons at a smallish club with a great sounding room in Austin where I’m from.  I wish I’d seen Bobby and Coco more but I saw them about a dozen times over a couple of years. Always wonderful performances and somewhere around my third visit, I started arriving early and when the need arose I’d approach Bobby and offer to assist loading in amps, cases etc. So that was my introduction to Bobby and afterwards when there was time and the club was still empty we’d sometimes sit at a table and drink carbonated water with lemon or lime and chat. Bobby was a storyteller extraordinaire. It’s hard not to be slack jawed when after several sessions and you know each other a bit and he’s opening up and telling you about the state of the fireplace in the kitchen (the only source of heat for a while) at George Harrison’s Friar Park estate when the place was still under restoration. Bobby was dating Patti Boyd’s sister Jenny at the time. As a total Beatles and Clapton fan, it was fascinating to share a table with a man who could count Eric Clapton and George Harrison as roommates. We shared a love for Italian cars and tales of humorous hijinks and Stax Records. I last sat with him in either 2022 or 2023 at an Art Gallery exhibit of his paintings and later at his home in Ozona Texas (pop 2500) where he’d bought a 6000 sq foot 1920s mansion originally built by a “King of the Mohair Ranchers.” I promised to gift him a “spare Hammond organ amp” that I was using as a shelf decoration but I never made it out that way again.  He was a wonderful human; funny, gregarious, kind and deeply in love with his wife. They were a refreshingly happy couple. I feel for Coco-she is quite the home decorator and loved making a house a home for the two of them.   Bobby gifted me a 3/4 sleeve Dominos Tee shirt I happened to wear a couple of weeks ago. We still have the tunes.  We still have the tunes

Steve Wuertz Austin. Texas

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Really nice remembrance of the great Robert S. Whitlock, consummate singer /musician and absolutely one of the most underrated supporting players of the entire classic rock period.

I had the amazing good fortune as 19 year old undergraduate at Syracuse University to sit front row for the infamous Derek and the Dominos show at the Onondaga County War Memorial show on 12/2/1970. Infamous because it was one of only two Dominos concerts (the other being a show in Florida two days previous) at which Duane Allman appeared with the band…& the opening act was a last minute booking: the unannounced and virtually unknown Elton John.

The War Memorial was a classic post WW 2 sports arena which held almost 10,000 people and which practically all major rock tours of the era played. But incredibly for this show there were only about 800 people in attendance & I know that for a fact because I sold tix on campus to most War Memorial shows and I had very few takers for this one because of several key factors.

First, this Dominos tour was hastily and haphazardly booked and this show was still several weeks or more BEFORE the Layla collection was even released so not many people even knew who Derek and the Dominos were. Second, Elton John had only played a few mostly West Coast US shows previous to this and I believe that the only music he had released here at that time was the Empty Sky UK import album. Third, very typically for Syracuse in December there were ominous reports of a big snowstorm on the way so there were very light “walk up”ticket sales. And fourth, absolutely nobody had any idea that Duane would be joining the band that night.

Not surprisingly show was no less than spectacular.

Elton was pure artistry and energy and Eric and the Dominos were otherworldly.

To see the two legendary guitarists playing both twin leads and counterpoints all night was great enough; but Whitlock and the legendary Carl Radle/Jim Gordon rhythm section were equally amazing. The band was just a machine.

The show was and is one of the very, very best of hundreds I’ve seen over the course of many decades in the industry.

And I’ll never forget the revelation that Bobby Whitlock was as a co-lead singer and B3 player.

He was icing on the proverbial cake.

A truly unforgettable live music experience.

For any other Whitlock fans out there, I urge them to go to YouTube and check out the “at home” interview series Bobby recorded over the past few years with his wife Coco.

The stories he tells- from Clapton and the Dominos to George Harrison to Delaney and Bonnie to Ahmet Ertegun and Tom Dowd-are remarkable vignettes of rock history, and Whitlock is a natural raconteur.

RIP Bobby Whitlock – you were an all time great artist and made huge and essential contributions to some of the very best music of the entire classic rock era.

Stephen Dessau

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Wonderful piece on Whitlock.

Writing to add Tommy Sims as a co-writer on “Change The World”.

Tommy took a rough song idea I had in ‘97 and finished it, gloriously.

Clapton has wisely surrounded himself with outer worldly talent from the start. Rest in power, Bobby Whitlock.

DAMON JOHNSON

guitarist in Lynyrd Skynyrd

founder of Brother Cane

“The Song Was a Hit 20 Years Ago. It Just Got a Video. – Decades-old tracks by artists including Clap Your Hands Say Yeah, LL Cool J and Talking Heads are finding younger fans. Record labels hope new videos will feed their interest.”

Free link: https://www.nytimes.com/2025/08/13/arts/music/music-videos-talking-heads-lucy-dacus.html?unlocked_article_code=1.eE8.tKj-.PVDYQPNwr0sA&smid=url-share

The hits of yore still are…HITS!

Now in the pre-internet era it made little sense to promote ancient music, because except for a thin layer of hits, the music was unavailable at retail. However, the internet has completely changed this. All the music of recorded history is at your fingertips! (And for all you lame-o’s complaining that Spotify, et al, don’t have certain tracks, they are seemingly all available on YouTube. Gotcha is akin to internet hate…it’s irrelevant words written to make the creator feel good).

Anyway, if there’s a buzz online, people can immediately find the original track and stream it and KACHING! A payment is rendered. Which is another reason why you should never ever sell your publishing. Because you’re just one lightning strike away from its value going into the stratosphere. Queen sold its publishing rights to Sony for $1.27 billion. What would the price have been without the feature in “Wayne’s World”? Even half?

Yes, that was the paradigm of the late nineties and the first part of the twenty first century, get a sync. But now movies are dead, however, are you following the story of Huntrix, the fictional act that stars in the animated Netflix movie “KPop Demon Hunters”? Their track “Golden” just went to number one. And so far, has reached the Top 10 in 93 countries. That’s the power of Netflix. Meanwhile, all we hear about is the power of YouTube, how it eclipses other streamers. But YouTube can’t make a star, never ever. Stars, hits, are made on Netflix.

Now the great thing about a fictional act is you don’t have to pay them and they don’t complain. Not everything is so easy. Then again, have you even heard “Golden”? I have, it’s not for everybody. But those hits of yore ARE!

“Smoke on the Water”? Maybe the most iconic riff in hard rock history.

Now “Smoke on the Water” is not hidden, there are videos all over TikTok of people playing the song, or teaching you how to play the song, or video of Deep Purple. Kudos. But as far as original work? BUPKES!

The major labels survive on their catalogs. All paid for, it’s pure profit. But they also don’t put any money into them. There used to be compilations, but with streaming you can just pick the hit you want and anybody can create a playlist. Catalog is seen as a backwater, when in truth it should be FRONT LINE! If private equity bought a label they’d cancel new music production and milk the catalog. Does Primary Wave sign wannabe songwriters? OF COURSE NOT, THAT’S NOT WHERE THE MONEY IS!

The music labels are run by small-minded people, worried most about their salaries and bonuses. They never want to rock the boat. They’re loath to spend. But NOW is the time to maximize the catalog. NOW is the time to make new videos of classic hits that cannot only be seen online, but imitated…

Control is history. Obscurity rules. Let anybody do anything with your music. Otherwise it will languish. This is the era of personal creation, don’t hamstring the younger generation. Which is hungry for the hit music of yore because so much of today’s hit music is so damn lame.

Once again, it’s all about TikTok. Period. Too many hire a social media team which employs a firehose to send the same damn bland content to all platforms. That doesn’t work on TikTok. On TikTok it’s not so much about information as the essence, the riff. There are so many that young people would cotton to if they were just exposed to them.

You’ve got Matador making videos for ancient Lucy Dacus material, but nobody at Warner is promoting the iconic intro of “Wreck of the Edmund Fitzgerald,” never mind the Gordon Lightfoot song being superior to anything Dacus has never done, never mind her group boygenius.

The riff of “Purple Haze”? I think kids today know of Hendrix, do they know the material?

These are iconic hits, but there are some songs of yore that only have double digit million streams on Spotify BECAUSE NO ONE IS MARKETING THEM!

It’s kind of like the sixties, but instead of hiring a house hippie, you should hire someone young who is fluent in TikTok, maybe a student in animation at a university. They’re plugged in and looking for opportunity.

The story of the summer is how there is no song of the summer. That oldies are dominating the chart. What this definitively proves is how damn hard it is to break a record these days. But the hits of yore, they’ve already been broken, they’re certified, and people want to hear them! Hell, there was a buzz on early Dylan after the movie, but most of his greatest material was absent and is ready for promotion. Right now “It’s Alright, Ma (I’m Only Bleeding)” only has 16 million streams on Spotify. How about taking a verse and doing a “Subterranean Homesick Blues” video for it? You know, with the cards?

How about:

“While one who sings with his tongue on fire

Gargles in the rat race choir

Bent out of shape from society’s pliers

Cares not to come up any higher

But rather get you down in the hole

That he’s in”

There’s more truth and honesty in this verse than anything in the Top 10, the words still apply today, but the younger generation is mostly oblivious.

Or how about cutting just the intro to “Just the Way You Are”?

“Don’t go changin'”

That’s a viral hit just waiting to be exploited. The words fit so many situations.

All it takes is a bit of innovation and effort. This is low-hanging fruit. Do I expect everything to go viral on TikTok? Of course not, odds are low. But if you’re not playing on the service you can’t succeed.

“The Low Spark of High-Heeled Boys”? That only has 11 million streams on Spotify. That haunting sound is ready to be exploited. But the label is dominated by whiners and diners trying to exploit today’s dreck, MOSTLY UNSUCCESSFULLY!

It’s your move.

LOL.

I understood perfectly, Bob.

Spotify produces nothing.

It creates nothing.

It is software designed purely for the purpose of using the work of others to generate enormous profits for its owner.

As with most large corporate entities, its business model is an exploitative one.

Its owner has become a deca-billionaire on the backs of ACTUAL creators. If paying out 70% of its revenues to artists and writers isn’t enough for their payouts to compare to Apple, Tidal, etc, then it needs to be an even higher percentage.

Or they simply aren’t charging subscribers enough.

I’ve actually been saying since day one that a lousy ten bucks or so for unlimited 24/7/365 access to basically the entire recorded history of music is an absurdly-low fee, and is ultimately unsustainable. And the more music that gets added to the service (a staggering average of 100,000 songs per day, according to many sources), the more inadequate and unsustainable it becomes.

Not sure what your personal motivation is for pretending that Ek isn’t the enemy, and that those of us standing up for fair artist compensation are, but…

It is what it is.

Mike Froedge

Step Up to the Mike Productions, LLC

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Has Napster been forgotten already? Never mind the era of Tower Records, Peaches, King Karol, ad infinitum?

Somebody needs to distribute music. And even CBS (now Sony) realized that it couldn’t do an adequate job of this, that their focus should be production, nor retail, and the company sold Discount Records.

Oh, the acts could do it by themselves… Just like the Grateful Dead with “Wake of the Flood,” an utter disaster financially, it wasn’t long before the band went back into the system. You see there’s more to distribution and retail than just manufacturing records, never mind shipping them. There’s getting retailers to buy them and then PAY FOR THEM! Those with occasional releases had hell getting paid. You’d need a steady stream of product in order to get your invoices paid, and the retailer was always behind. To the point when they went bankrupt, which they frequently did, they owed even the major labels millions. Did the owners declare personal bankruptcy? No, most had the companies incorporated and walked away with their wealth.

Now in the old days you needed a physical space with its attendant costs of water, electricity and air-conditioning as well as employees… Which is why it was always about the margins. The difference between what you paid the distributor/wholesaler versus what you charged the customer. Same deal with Spotify.

However, Spotify has the advantage of being an internet company, with little physical space cost. Kind of like the people making the music, who can do so on their computers, costs have gone down. Also, Spotify can scale around the world relatively cheaply, as can your music. Good luck getting your music in a retail store in Uzbekistan or Chile, hell, here’s a list of the nations where Spotify operates:

https://www.spotify.com/us/select-your-country-region/

But they’re not the only ones. You’ve got Apple and Microsoft and Facebook and…the list of tech companies operating around the world is huge. And many of their creating entrepreneurs have become billionaires, some the richest people in the world. But if you make your money by distributing music, YOU’RE THE ENEMY! Never mind Daniel Ek single-handedly saved monetized music distribution, before Spotify piracy ruled. As for competing companies, none could come up with a solution, hobbled by limits from copy protection to price.

As for price… Venerated hero Steve Jobs refused to raise the price at the iTunes Store when implored to do so by the money-hungry/greedy labels. He said he was building a business and they wanted to kill it. There comes a point at which people say no. Otherwise everybody would be driving a Mercedes-Benz. The value of music is what people are willing to pay for it, not a penny more.

And here we have America in a nutshell. Everybody gets their information from a different source and believes they’re right. And if you’re Ticketmaster or Spotify or anybody dealing with the public today you know that the customer is not always right, and should be ignored. This is kind of like the Democrats…you’re better educated with greater powers of analysis, luxuriate in this instead of constantly tearing out your hair trying to convince people of the truth, enlighten them when they prefer to live in the dark.

If you want to enlighten someone, employ art, it’s the most powerful tool. It’s based on speaking truth. But where is said truth today? Other than purveyed by people who can’t sing, write or play who e-mail me their songs telling me that the public needs to hear them. No, you have to make the music so irresistible that people pull it, don’t have it pushed upon them. And in order for your message to be believed, you must be trustworthy and honest, credible, you cannot take money and be a tool of the Fortune 500. But just like with Napster, people have forgotten about the sixties and the golden era of classic rock, and how music moved the world.

People are clamoring for great music, great art. If they find it they tell everybody they know about it, they believe in it. How many can excite the populace? Very few, but that’s the artist’s job, not making a living…making a living comes AFTER!

One more thing… If you’ve got a problem with Spotify and Daniel Ek, create your own music distribution platform, no one is holding you back. So far, no one has been able to compete with Spotify, which keeps nimble and innovative, since there’s no royalties from other enterprises to keep the company afloat. People CHOOSE to subscribe to Spotify.

And you can choose to become a business person. And most make more money than the artists. Then again, Clive Calder, who had the biggest financial victory in the history of the music business, is unknown to youngsters today, whereas the songs he purveyed…hell, Backstreet Boys are still playing the Sphere!

You make your choice. If you want to make bank, you probably shouldn’t become a social worker. Then again, being a social worker can be extremely fulfilling.

But everybody wants what everybody else has, someone is holding them back…when the dirty little secret is you are holding yourself back.

Do you have the wherewithal to complete umpteen years of schooling? The networking ability to make things happen? I believe in a social safety net, everybody is entitled to a roof over their head and food on the table. But not everybody is entitled to be rich. That’s your responsibility. Life isn’t fair, but if you want to be wealthy just don’t sit at home and do the same thing and complain, CHANGE! Never mind work harder and sacrifice. Or be happy where you are.

But seemingly nobody is.

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You need to keep repeating your message.  There is a false narrative that needs to end.

The music industry is a popularity contest.  Always has been.  It doesn’t matter the genre, format, or monetization model.  If you are popular, you make money.

Sinatra, Elvis, Beatles, Led Zep, Pink Floyd, Bob Dylan, Neil Young, Madonna, Beyonce, Taylor Swift and on and on.  Popular = $$$

Scott Cohen

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I can’t tell you how often I’ve explained the “no-such-thing-as-a-streaming-rate” thing to songwriters and, as simple as the concept is, they can’t/won’t accept it. In their minds they are being cheated. And don’t get me started on what they think about Spotify taking a cut for operating costs.

Michael Battiston
Previously Director of Copyright and Music Usage at ASCAP.

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Seeing these responses to your articles about Spotify reminded me of something…. a few years ago I was teaching part time at a college for recording arts. I had students for music production, songwriting and engineering, some music business, etc. Every single quarter I’d ask the same question… “what do you think is the reason most artists fail in their goal to become successful in music, in this case let’s define successful as being able to quit your day job and make a living solely from music”?

I would listen as each student gave their answers….

“bad management”

“drug problems”

“couldn’t get a break”

“not enough promotion”

And on and on and on; I then gave MY answer, which was simple. They aren’t good enough. Never once did I hear that come from a student first and when I said it they all looked a little surprised and maybe even taken aback. I used the example of “if Jimi Hendrix was on the street corner outside playing guitar don’t you think a crowd would probably gather?” I’m not saying talent always wins but true exceptionalism very often does and the lack of it usually doesn’t. Not that every act currently on the pop

charts is oozing with talent, but the ones who aren’t are often working with writers and producers who are, even if the music might not be my thing. I just thought it was important to remind these kids that NOT EVERYONE IS GOOD ENOUGH. Art isn’t democracy, where one person gets one vote. Some people are just better at art than others!

Most work their asses off to be that good, some are just kinda born with it, it’s not fair, get used to it!

I will say as a guy who was a little kid in the ’60’s, my generation is pretty much responsible for this attitude because my generation was the first to grow up with that sense of entitlement… “if you can dream it you can do it!” “everyone gets a medal just for TRYING”, etc. My parents generation was a little different, I think their mantra was “if you work your ass off for your entire life then maybe you won’t starve to death or get killed by the Nazis”. I understand why people are pissed off reading what you write on this subject but the numbers don’t lie. I’m working with a completely independent artist right now, no label, no publisher, we split everything 50/50 just like I do with sync music. Several of our songs are over a million and the money coming in is cool, not like 90’s platinum record cool but cool. If she continues like this it will be amazing- but it’s happening because she’s exceptional and works her ass off and apparently people want to listen to her music.

Kevin Bowe

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Living wage or better is for those who actually work in the music business and many do well. I co-own a booking agency here in Florida and we book 300+ shows a month in our area. It’s mainly singles and duo’s, but these guys and girls are making a good living and the market is healthy here for the most part. The other problem is most of these complainers don’t even know how to get their money even if they are getting decent streams. I talk with artists all the time who haven’t registered their songs with a PRO and don’t have a clue about the MLC or SoundExchange. We are flooded with Hobbyists. I have a number of friends in known bands that work other jobs when they are off the road. Look, all the great songs have been written, all the great movies have been done. Not to say that someone might get lucky once in a while, but everything is a retread. We saw it, we lived it, we’re lucky. Onward.

B Chapin

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Thank you for continuing to fact check these ridiculous, never ending, claims that Spotify pays a worse “per stream rate” than Apple or Tidal.  Same conversation for 20 years now – in spite of Spotify’s efforts to explain their model, most people have no idea how a shared pool model works.

Michael Abbatista

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Hi Bob — I truly do not have much sympathy for musicians who complain that they are not getting paid much for streams.

Back in the “old days,” when a top 40 station, say, WLS, added a record, it would get played, maybe, 12-15 times a day.  Each play reached an audience of, say, 800,000 or more listeners. A chart record would be played on, say, 200 top 40 stations around the country.

Today, one stream on Spotify or any other service, reaches one listener.

Even a spin on a juke box in a tavern or teen club, reached more listeners than one stream on Spotify.

Do the math.

Jim Charne

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Spot on Bob

Again  you hit all the basic data points

that it’s more emotion than fact. That people not only don’t know basic math, but they hate it because it’s neutral to feelings

You also remind us that in this “imaginary golden age”, Mythologized by rock ‘n’ roll movies and stories of trashed hotel rooms, the majority of artists never got royalties and tons of them were ripped off so badly It’s not funny.

The big difference however was the record companies were not yet grabbing touring revenue -360 deals were not even a thought- so many acts that were excellent live (or even just decent), made fortunes, bought their houses & jets , had the rockstar life, but it was touring money they made.

The biggest thing…. You brought this up the other day, there was a time when going to a studio was absolutely Unreachable for the vast majority of Musicians, the expense to just lay down a little 4-song demo was a huge amount of money and inaccessible to most.

What a lot of musicians refuse to acknowledge is that in any other economic venture, for any other commodity, even in any other art; if the costs of production dropped as far as they have for Musicians, while the number of people now creating that commodity exploded —- the remuneration for said commodity would approach zero.

Today with a $200 Mac from a pawnshop, a 10-year-old interface and a couple microphones, you have more studio power than artists During most of the last century. And there are top ten hits done on GarageBand, like it or not

With free synthesizer plug-ins, free compressors and reverb units, free effects processor, free mastering software, free, free, free, free free. Free storage & distro online. Free word processing & spreadsheet software. These were all costs of doing business not long ago. Free Gmail and Instagram to promote with.

Bandcamp Is essentially free, some would argue that taking the percentage is a cost, but that is a debatable concept.

We have all this FREE stuff and yet no one wants to admit that that means the COST of production has shrunk astronomically. Meaning the entry point bar is low, so there are infinitely more people creating the product we are trying to sell, vs “the golden age” of 1975. But people HATE THE MATH.

Basically, if everyone had a brick oven in their house, every single person…. and a cheap or free supply of flour, spices, cheese and tomato sauce……Slices of pizza would be worth a nickel. If that!! Pizzeria owners will understand that the math is the math, but Musicians would complain that somebody moved their cheese

Thank you
Andre´Cholmondeley

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Alright Bob, that was an excellent rant!  I have been reading your blog for years… but this one you spelled it out so clearly…particularly the Spotify math concept… I’m grateful to understand it now.  Thanks!

Cheers,
– Brett Currie

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Good God, Bob, that you have to explain this SIMPLE TRUTH ad nauseum to imbeciles, is truly pathetic.

You have incredible patience, not to mention balls of steel to put up with the blowback.

WAKE UP, PEOPLE.

DG

Carl Stubner runs the management company Shelter Music. He personally manages ZZ Top and Crowded House and has been involved with Fleetwood Mac and other acts. This is his story as well as the story of the management group he is growing.

Apple: https://podcasts.apple.com/us/podcast/carl-stubner/id1316200737?i=1000721934253

https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/7235742a-56fd-47da-bb9d-03fc30986669/the-bob-lefsetz-podcast-carl-stubner