Subject: Re: Velvet Sundown

Look up the artist “Nick Hustles” on Spotify. This is clearly AI too. This person is using a 60-70’s Soul sound, but using lyrical content from today’s world. Pretty creative. 220k monthly listeners and 100k+ subscribers on YouTube.

Why are people bitching? They feel they deserve to know if it’s AI before they begin listening? Did they deserve to know Marshmello’s identity before listening to his music? There’s still a human behind all these AI creations and it takes creativity + managing several AI tools to connect everything together.

Eddie Laureno

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From: Stephen Knill

Subject: Re: One Step Ahead

After playing bass on Eric Carmen’s first solo album and realizing I wasn’t best equipped for the touring life (at 22) I went to work for PIKS Corporation who not only distributed Arista (Carmen’s label) but also Chrysalis, Splitz Enz label  As the junior promo man, I was given the tertiary markets. So I wandered off to secondary Ohio towns, western PA and and upstate NY.

What a great education. People there played new records. Tommy Nast in Syracuse, Bernie Kimble in Rochester (RIP) Tom Teuber in Buffalo, Ted Utz in Utica and Garret Hart in Erie all played the first Split Enz album for me. Like WMMS in Cleveland, they decided what went on the air.

I also got to work the Alan Parsons I Robot album for Arista. After the promising response to his previous album, Arista came up with a cool tastemaker event. They hosted listening parties with Alan and his songwriting partner, Eric Woolfsen, in small venues The album was played back in quad, (which was pretty new at the time,) to show off the album’s marvelous production. Not many people had those systems. But Eric Carmen did. So we hosted the event at his Cleveland apartment overlooking Lake Erie. The night was perfect. The sun was setting, the catering immaculate, libations flowed and the album was declared a hit. That was 49 years ago. 50 for Carmen’s first solo album.

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From: Trevor de Brauw

Subject: Re: The Pixar Flop

Both my six year old and my twelve year old have wanted to see this movie since we first saw the trailer over two years ago – but I had no idea the movie was out yet until I saw your newsletter. In fact, my eldest mentioned it just a couple of days ago saying that it feels like they’ve been advertising the movie forever now – and that’s a huge part of the issue here. The modern world moves too fast for endless marketing campaigns –  when potential audiences are marketed the same project for that long it either causes burnout and/or creates the psychic effect that the release is never really coming. Whereas a film like Sinners, which I only heard about in the month leading up to release, I saw in the theater first week.

Word of mouth will always be the most powerful driver, but marketing can work with a shorter runway since it approximates the feel of word of mouth.

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From: John Hyman

Subject: Re: The Titan Documentary

Hi Bob,

You have reminded me of a day in early September, 1974.  My folks offloaded me into Battelle and we said our goodbyes.  I was sort of stumped about what to do next, knowing that I knew absolutely no one.

I found myself in a line — maybe by Old Chapel? — to acquire sheets and towels from (do I have this right?) Foley’s Linens.

Anyway, a perfectly friendly fellow in line behind me tapped me on the shoulder and introduced himself: “Hi, I’m Court.”  I had never heard of such a name.  I thought to myself: “I don’t think I’m in Meriden anymore.”

John

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Subject: Re: Lightnin’ Strikes

Bob, Thank you for writing about Lou. I had the pleasure of playing a bunch of shows with him. I was the drummer in Jay Traynor and the Americans . Jay was the first Jay . We did a summer of oldies revival shows and we were the house band for all the acts . Lou Christie , Little Anthony , The Drifters etc. I was 19 and I have to say Lou Christie was a trip . He would do his Karate kicks and sing falsetto like nobody’s business. When I ended up moving from Albany to NYC I first lived on 48th and 9th in Hells Kitchen. I ran into Lou on the street on day only to find out he lived on the same block . I stayed in touch with him over the years and he always wanted to know about new up and coming singers and bands . He was a very interesting person. I hope all is wellBob and hope you are healthy and happy . 

All the best,

Dan McCarroll

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Subject: Mike Garson podcast

Bob,

I just had the chance to listed to your podcast with Mike Garson as the guest. I enjoy the one’s you do with people who I know but really like the ones with people I don’t. Despite having Bowie records and reading liner notes back in the day I didn’t remember his name though I had to have read it.

What an interesting story. Great job as always not asking the rote questions interviewers ask. There was so much there from his childhood to the roundtrip travel for a 10 minute piano lesson.

This should be a must listen for anyone who wants to be a musician or artist. It’s a lesson in the hardships of following a dream – the guy played with so many stars and bands and yet was forced to refinance his home to survive at times. True commitment to his art.

People like him make the world a more interesting place. Good work.

Neal H. Bookspan

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From: Kevin Korchinski

Subject: Re: Tyler Childers At The Hollywood Bowl

Bob,

First off, I’m a Childers fan – honest writing,  great songs.

I live in Saskatchewan,  Canada’s ultimate flyover province.  I was listening to a Childers Playlist last summer – yes Spotify –  and noticed he was playing Calgary.  I checked and the Saddledome was sold out already  – 16,000 plus. I had heard zero and there was no Canadian tour, even just the usual suspects.

I checked in with an ex-label colleague in Calgary and she commented it sold very fast.

I wish Canadian promoters would pay more attention – there are a lot of these “Americana” type artists that could so well here – at least soft seaters – rather than a bar in Billings. Maybe once the Canadian dollar gets more normal…

Kevin

Regina, SK

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From: John Hartmann

Subject: Re: Brian Wilson

Bob; Genius is not task specific. If Brian had chosen to be a cobbler, Lady Ga Ga would be sporting his boots today. I was The Beach Boys television agent, at the Morris office, from ’63 – ’66. If they did TV I would be there as part of the team.  Brian was at the height of his musical skills. He was very warm, fuzzy and huggable.

He invited me to visit him and Marilyn at their home. It was during the piano in the sandbox and Brian in the bed era. He came alive in the studio. I watched in awe as he cut a single note out of “Help Me Rhonda,” by eye with a razor blade. Computers have a hard time doing that.

We will forever bear the weight of his absence, and luckily we will have the music to soothe the pain.

As ever, Hartmann

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Subject: Re: Brian Wilson

Wonderful tribute Bob…thank you. I followed the same path through that era, and the BEACH BOYS music that you describe so well. As an Air Force family in late 1962, my Dad was stationed at Vandenburg AFB on the coast near Lompoc, CA, after living 3 years in Omaha.  I remember kids in Omaha saying “You’re gonna see the Ocean!” when we left. I got a transistor radio that Christmas, and California did have that something! At some point I borrowed a neighbor kid’s old acoustic guitar and began picking out single-note instrumental surf music we heard on local radio from the likes of Dick Dale and The Del-Tones and The Ventures and The Surfaris, but the BEACH BOYS were the top, and I loved those records along with all the other kids in Junior High! We had our own music to listen to now, beyond the Johnny Mathis, Della Reese & Patsy Cline music my folks were into, let alone Elvis and the “Frankies”! We experienced the Kennedy assassination there in California and watched Jack Ruby kill Oswald on live TV, and listened on the radio as “Cassius Clay” defeated Sonny Liston for the Heavyweight Title. And then we watched the BEATLES on the Ed Sullivan Show! These are intense memories all connected to our “life in California” at the time!

I could never have predicted that 2 years later we would be stationed in London England and I would go on to meet Gerry & Dan, who loved the BEACH BOYS as well, at an American high school and forming a band together. Graduating in 1969, our band morphed into AMERICA with vocal harmony being a key element and ultimately meeting the BEACH BOYS in person for the first time when they performed in London, including Brian who was not performing with the Boys by then, but he did travel to Holland for a short time while the Boys were recording the album “Holland” and we performed with them along with new members Blondie Chaplin & Ricky Fataar…Dennis was there but Ricky was helping out on drums as I recall. Brian was very withdrawn and shy on that first meeting, but we got closer over the years.

We returned to the U.S. in 1972 with a hit single and album, settling in California, and began a long history of touring and bonding with the Beach Boys over the next 50 years! During those decades, Brian was active of course but reclusive. We loved Carl and he and Mike kept things on track in the ensuing years with Al always being solid, along with Bruce and the fantastic band mates they put together. We had a great time with all of them, band and crew, over the years. Then when Brian did eventually return to performing with the Boys and doing his solo tours we would have some good times with everyone! The last time was a successful tour of Australia in 2016. The stories are limitless…

And at the center of that music was always the inspired mind of Brian Wilson, and we were awe-struck and privileged to be around him and that body of work during those times…and still are! Rest in Peace dear Brian.  Thanks Bob…Dewey Bunnell

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From: Laurel Fishman

Subject: You probably already know about this, re: Velvet Sundown

https://aicommission.org/2025/07/ai-band-the-velvet-sundown-used-suno-is-an-art-hoax-spokesperson-admits/

I’m reading the news all day. I get up and check my phone for twenty to forty minutes, then I read three physical newspapers and throughout the day I surf the apps and the sites.

Now in truth, there’s less and less in the physical newspaper that has not already been published online. However, you see articles in the physical paper you glance over/don’t see online. Because the layout is different and it’s easier to see what is important. The physical paper is on its last legs, yet I’m willing to sacrifice print because online news is so much better, it can accommodate more and be posted as it happens.

The first article I want to hip you to I found in today’s wakeup ritual on my phone:

“The Problematic Politics of Trump’s Bill: More Lower-Income Americans Are Voting GOP – The class inversion of the two parties is making it harder for Republicans to cut the social safety net”

Free link: https://www.wsj.com/politics/the-problematic-politics-of-trumps-bill-more-lower-income-americans-are-voting-gop-0b6288d0?st=aPWk4r&reflink=desktopwebshare_permalink

On one level, the title says it all. But if you click through you’ll see bar graphs and other information.

If you’re a boomer, if you were conscious in the last century, this is utterly amazing. The script has flipped, the Democrats are the party of the rich elite. But it seems that only now is anybody acknowledging it.

Republican representatives are wary of voting against the wishes of their constituents, but if they don’t support Trump they will be primaried and…

If the Republicans don’t come through for their lower income voters will they switch to voting for Democrats in 2026? This is an interesting question, read the article for more.

The second article I want to hip you to I found in the print version of today’s “New York Times”:

“How Republican E.V. Cuts Could Put U.S. Carmakers Behind China – China’s lead in electric vehicle technology, which is already huge, could become insurmountable if incentive programs are slashed, auto experts and environmentalists say.”

Free link: https://www.nytimes.com/2025/07/02/business/ev-cars-us-china-trump.html?unlocked_article_code=1.TU8.wA3q._SL5X6wNJr02&smid=url-share

Once again, the headline tells it all, but if you dig deeper, America’s isolationist policies could come back to bite it in the ass.

Unfortunately, the above information is not contained in the rabble-rousing news on social media and other sites that are all opinion, this is what we depend on paid professionals/the derided old media for.

But you should know this information.

Has anybody listened to the music?

In case you’ve been living under a rock for the past week, this is the biggest controversy in the music business, is Velvet Sundown a fake band whose music is created by AI?

I won’t drag you through the litany of stories but I will say that at this point it appears so. Now that the media is on the “band”‘s trail there have been denials and obfuscation. And tweeting from an account that is not the band’s own.

So the story is very sexy. After all, isn’t AI the devil?

But if you listen to the music, it’s the antithesis of what the major labels are selling, it’s even different from conventional Active Rock, it sounds like nothing so much as seventies and eighties rock and roll, which major purveyors have decided no longer has mainstream appeal, even though it dominates the country charts.

But country has twangy vocals and banal, inoffensive lyrics, no self-respecting air guitar player is going to cotton to today’s country.

But Velvet Sundown?

There is nothing original about these songs, NOTHING in genre, but in terms of song construction, this is new stuff, and although it is not tearing up the streaming charts it does have a presence, people are listening to the Velvet Sundown, or are they?

Certainly no one writing about the band seems to be, they’re caught up in the discussion of AI. But if you pull up the music you will not want to immediately turn it off, it’s not like nails on a chalkboard, the singer can…actually sing, which is more than I can say for many acts plying the boards today. And the band can play. Right now I’m listening to an instrumental and I won’t say the playing is in the league of Jeff Beck, but it is catchy:

“Interlude”: https://open.spotify.com/track/5nKHziy9tcaFzLEuowQ9KX?si=77daa7ff02a1493e

So how was this music created? Obviously by scraping the greatest hits of all time. If you’re looking for something that pushes the envelope, Velvet Sundown is not it. But if you’re looking for something to tap your toe to, to put you in a mood, Velvet Sundown does the job, certainly better than any TV vocal competition.

I’m all for AI companies paying for use of original recordings. The courts are deciding whether they can scrape the music for free. Last week’s Anthropic decision said that if books are purchased, they can utilize them to train their models, if not… So, basically, that’s the same thing. They’ve got to pay. But expect more clarifying decisions to come. And certainly, if you’re making new Beatles or Beach Boys or whomever tracks you’ve got to pay a fee, but if you’re creating Velvet Sundown?

Yes, we are competing against the robots, but don’t be scared. You can beat them, you’ve just got to be original, which is too tough for many in this me-too world. Otherwise, the public is going to vote with their ears. As for me, I don’t need to hear Velvet Sundown, but I’d rather listen to their numbers than so much of the paint-by-numbers Spotify Top 50.

Now if you actually take the time to listen to this stuff, which most bloviators won’t, many of you will blow back. I’ll hear from the musicians, who’ve spent years honing their skills. And the hip-hop and punk fans will puke all over their keyboards. But this sound used to DOMINATE the airwaves, give credit to the creators of Velvet Sundown for delving into an untapped market, which is what all innovators/disrupters/those who want to make bread do.

Why is everybody such a Luddite? Why is everybody so afraid of the future? AI is here, it’s a tool. As for restricting it, the Chinese are not going to, so we probably shouldn’t.

And AI doesn’t create willy-nilly, you have to prompt it.

Listen to Velvet Sundown’s “Dust and Silence,” let it play, see what you think.

Or check out their previous album, “Floating on Echoes,” whose “Dust on the Wind has 562,897 streams…or does it?

And everybody does not know.

If everybody in the U.S. watched Sunday night’s John Oliver show, the Big Beautiful Bill would be dead on arrival.

But almost no one does.

In case you’re not a viewer of this HBO institution, once or twice a season John Oliver pulls a stunt. Recently, he offered to rebrand and market a minor league baseball team. Sunday they announced the winner. And the team took a camera into the dugout to get the players’ reactions. NO ONE WATCHES JOHN OLIVER, ONLY ONE PERSON HAD EVEN HEARD OF HIM, AND EVEN HE WASN’T SURE HE KNEW WHO HE WAS!

Now let’s get this straight. John Oliver has a show on HBO every Sunday night, which can be pulled up on demand.

But it gets better, the show is subsequently posted on YouTube, where you can watch it for free, and still “Last Week Tonight” has minimal impact.

You should watch last night’s episode here:

You’ll find it impossible to poke holes in what it says, because unlike the bloviators on social media who shoot from the hip, “Last Week Tonight” is meticulously fact-checked, for fear it will get sued. Warner Bros. Discovery has got deep pockets, and the Trump administration has sued many media companies.

The arguments are very convincing, the truth is self-evident, but it doesn’t make a difference, BECAUSE ALMOST NO ONE HAS SEEN IT!

It’s not like John Oliver and “Last Week Tonight” are unknown quantities, the show has won the Emmy for Outstanding Variety Talk Series EIGHT TIMES STRAIGHT! But still, it’s just a drop in the bucket of the endless miasma we call the modern world of information.

Now in the old days, there were only three networks, all of which reached tens of millions of people and if something was said, it penetrated the entire public. Forget that the news was more accurate back then, because of the Fairness Doctrine and the fear of lawsuits, everybody started from the same point, with the same facts, that ship sailed decades ago with Fox News and it’s far worse today.

But this is not solely about politics, this is much broader, this is about all news, especially entertainment!

If John Oliver can’t reach the majority of Americans, nowhere close, what are the odds that your little ditty in the Spotify Top 50 has nationwide penetration? NIL! But the record companies and the media keep telling us these streaming hits are ubiquitous, when nothing could be further from the truth.

As for appearances on radio and TV… Talk about narrowcasting.

John Oliver exists in his own world. He’s got no casual viewers, you either buy into his show or you don’t, there’s a plethora of alternatives, no one watches a show they don’t want to anymore and no one listens to a record they don’t want to anymore. But the machine keeps operating like they do!

Never mind not every person loves every record. That’s what we learned with cable and then streaming TV. Those network shows with astronomical ratings? Once people had options, they stopped watching those shows, their ratings cratered, their ratings were only high because viewers had no other choices.

Look at how much content Netflix makes. What are major labels doing? Putting out fewer records in fewer genres. They’re not throwing anything against the wall, they are not interested in niches, they’re interested in broad, and there is an appeal for that but the niches added up far exceed what the theoretically broad does.

As for ones and twos… This is how an industry gets disrupted. A business is crude and generates little income, then it grows and kills you. This is why the major labels buying all the indie distributors is so scary, they want to eliminate this possibility of competition, this is why IMPALA is agitating to stop Universal’s acquisition of Downtown, but even this purchase is unknown by many, because of the John Oliver problem.

But if you are selling, if you are marketing, just know that your product/message reaches a small sliver of people, don’t delude yourself otherwise. If your economics depend upon reaching everybody, give up, the economics must work with small numbers. You’ve got to readjust your vision, but despite saying how hip they are, the major labels as well as the movie studios are still executing on the same paradigm they employed in the pre-internet era, badly. If it weren’t for their catalogs/libraries, they’d be out of business.

I mean if a show on HBO every Sunday night can’t even reach most people, what are the odds your product/message will?

We’re never going back to the old days, this is the world we now live in. Endless niches. But no one in entertainment or politics or media is willing to admit this. They’re all playing by the old rules, because it’s too scary to operate in this new world. But the public is already living in this new world, and it must be catered to if you want success.

Netflix makes shows for everyone.

Universal, Sony and Warner make records for very few.

Think about that, they’re ceding so much of the market whilst telling us they dominate, which is patently untrue. Never mind all the people who would become customers if they were just catered to.

Once again, everybody is not going to like everything, and in every field today there are zillions of options, so you’d better give them to people, or else the joke is on you.