New York Times OP-ED on collapse of music business

The New York Times has an Op-Ed piece online here (reg might be required) that recounts how the music business shot itself in the foot trying to stem the tide of illegal downloads. The article is an interesting read, in case you wonder why your favorite local record store disappeared from the landscape.

The provides a pretty comprehensive recent history.

A few things they missed:

part of the '90s boom was the labels reissuing (and re-issuing again) albums encouraging the comsumer to first buy a title on CD and then re-buy it when they figured out the original transfer sucked and then re-buy it again with bonus tracks, and then again on the landmark release's birthday and so on.

Over the years several new hard-goods formats (mini-disc, DAT, SACD, DVD-A) have come and gone as labels tried to replicate the gold-rush days of getting consumers to rebuy their collection. The consumer resisted, in part, because we were taught that CD sound was such a dramatic improvement over LPs that the next step up would be incremental, at best. Allow me to editorialize for a moment that my LPs sound amazing.

The labels changed hands for obscene amounts of money as large corporations looked for vertical integration and cross-selling opportunities. The bigger indies were purchased by the majors. Most of those ideas of vertical integration failed miserably, but the end result was the "record" people were pushed out and replaced with business people. Music was just the widget sold by the monolithic corporation. While labels like Warner had already started the purge of "prestige" artists, this consolidation accelerated that process and, simultaneously, left the corporations chasing the next big thing instead of developing talent. And, David Geffen got filthy rich, powerful and, by all accounts, became a bigger asshole which is just another unpleasant side-effect of thie era.

The advent of Napster shoehoned in pretty neatly with the period where reports indicated people had finished repurchasing their collection. CD sales began to flatten because that market disappeared. It didn't stop the labels from continuously repurposing old content into new and improved best of collections while failing miserably to build careers. The resentment towards buying the same title over allowed for some fuzzy personal rationalization on where the boundries of what consituted theft was calculated in an individual's head. Everyone I know has music they didn't pay for. I have boxes of mix cassettes in the basement that were traded. That's before the advent of anonymous downloading.

I've purchased London Calling five times over the years. Should I have to pay for it again if I want the album in digital form for my iPod? Like I said, it gets fuzzy very quickly.

The cost of marketing a new act also skyrocketed in this period. Record store chains began to view their shelf space in the same way a a supermarket. Those that paid for price and positioning would find their titles on end-caps, displayed above the racks, at the front of the racks, in POP displays at the register. If it was standing still, the space was for sale. This became a primary source of profit for stores. Primary, not gravy. Labels feeling the pressure to compete wanted preferable exposure for their artists.

Radio, too, became prohibitively expensive. What is talked about as a symbiotic relationship was, in fact, a one way street of cash going to the radio stations in exchange for airplay. While some of this money has dried up as folks like Elliot Spitzer expose the dirty secret, I would guess lobbying by the National Association of Broadcaster is involved in the egregious rates the Copyright Royalty Board is trying to impose on Internet Radio. That's a digression. Labels have in-house radio departments and also hired independents. Much of the efforts of both of these are legitimate and legal, but still expensive.

You want exposure in print? In-house PR and outside PR are common. Wonder why your favorite indie-band never gets a review? Because money is being spent to keep another title front and center.

An attorney friend has a client that has gone platinunm (that is, moved more than 1 million copies of a title) He said the "break even" point for the label was 700,000 units because of all of the sales and marketing costs.

While it is easy to place the bulls-eye on the back of the music business, they, at best, share responsibility for the collapse of the business of music. It has just been happening in slow motion for 20 years and there are many parties to its failure.

More analysis on the proposed Internet Radio fees

Critic Jim DeRogatis breaks down the financials and demonstrates the confusion of the proposed fees for Internet radio in his column. As the dynamics of the business change, labels are looking to survive. Radio stations are looking to grow their listener base. Terrestrial radio is looking to protect its hegemony on local listeners.

Mother Hips -- moving towards power pop ** REVIEW **

California stalwarts Mother Hips new album "The Crystal Flake" receives a nice review here. The review also provides a Cliff Notes-version recap of the band's history. Hang around long enough and your "voice" will change, just like your average teenager. The review also has mp3 links at the botom.

"It’s no secret that Kiss The Crystal Flake contains many songs that may be initially difficult to differentiate from one another, though further listening will reveal unique hooks and innovative twists that make the album a rewarding experience for new and old fans alike. "

Shaver shoots, label scores

Songwriting legend Billy Joe Shaver had an altercation with a man which resulted... allegedly... in Shaver shooting the man.

In keeping with the fashion that all publicity is good, his label used the opportunity to issue a statement that it believed Shaver would be exonerated and, oh yeah, he has a new greatest hits album about today.

Here is a link to a story from that bastion of journalism excellence, E! Entertainment Online.

http://www.eonline.com/news/article/index.jsp?uuid=d859cbe3-65ab-4f66-a7d9-e4e8e9667c12&entry=index

Death of Internet Radio?

Here is an article that purports to demonstrate support from the artist community for the proposed revised royalty rate to be paid by Internet radio stations.

The proposed rate would force Internet radio providers to pay 400% above the fees charged to traditional or "terrestrial" radio (your average AM & FM signal).

For years I've wondered how traditional radio was going to salvage their businesses as the Internet developed (and became a rival). Station values skyrocketed after radio was deregulated in the mid '90s. Large radio groups -- none bigger than Clear Channel -- came out of the fray.

With consolidation came, streamlining (to pay the massive debt), shrinking playlists, decreased listener enthusiasm, lousier radio.

While this is happening Internet radio begins to develop. Both original content broadcasts and streaming of over-the-air shows.

You know how this cycle works. You hear or read about music you like. You seek out info and music from the artist. If it makes the cut, you look to that artist the next time music comes out. You might even go see them perform if they happen to tour near you. While my range was an hour and a half driving time, I know folks who drove five hours each way without staying the night to go see a band play.

Radio, record stores, live music venues, publications and fans all have to work in some sort of harmony for all of them to benefit. That harmonious relationship was broken long ago, even if I, the naive music fan, didn't know it. The development of the Internet has slowly begun putting some of those pieces back together even if traditional structures crumble in the process.

As a music fan no longer being served by my local choices (we have over 80 stations from which to choose, so you know local radio had deteriorated to abysmal levels), I found shows from far and wide that filled my needs. Part of it, of course, was I aged out of a lot of the local modern rock scene.

Over the last few years I've tried several music programs from around the globe. I've also subscribed to several podcasts. I return to some of the stations and make sure to listen to the podcasts that interest me.

Without these options I am certain I would have been like most other music fans who lose interest in the form. I need to hear it, read about it, see music, browse through it... all of those things.

Internet radio (and whatever fits into the broad category) is potentially one of the stool legs on which the future of the business of music will be built. But, old guard terrestrial radio is not going to stand by and let their properties devalue and market influence wane, even if they have done a terrible job over the last decade in serving their customers.

I am all for artists making more money. I want to see more artists be able to make a living doing what they love. For selfish reasons, I want them to keep making art so I can enjoy it.

"If music adds commercial value to someone's site, then there is a monetary
value due the writers and recording artists," said Jody Stephens of Big Star and
Golden Smog.

Stephens is correct. However, the rates proposed will put most Internet radio streams out of business. There are several parts to the proposed rates that stink of industry lobbying that will have a long term negative effect on the business of music.

The major labels deservedly get grief. They have persisted on pursuing a self-destructive path because none of the four remaining majors was willing to pull out of the deadly game of chicken they played with each other. Artists have long felt cheated. Customers feel cheated. I feel cheated.

Terrestrial radio should also be held accountable for the contempt they have for listeners. What was once programming with ads put around it, is now ads with content designed to keep you there long enough to justify the ad rates.

The growth and development of Internet radio is essential if the business of music is going to reinvent itself in a way that allows more artists to make a living. Establishing a royalty schedule that is not only high, but also retroactive will silence most fledgling outlets. In the long term, everyone loses.

Here is a nice recap from the UK site Digital.co.uk.

Tommy Womack's "There, I Said It"

For years Tommy Womack has been making fine music but completely unable to get any real traction. He put out a really good new album a couple of weeks ago. I found this blurb amongst the various junk I get sent to me.

John Timmons (Owner of Ear X-tacy, the very fine Louisville, KY record store) had to say about the new Tommy Womack Album:

“Getting more play than anything though, is a new one coming up by Tommy Womack entitled “There, I Said It”. Long ago and far away, there was this band from Bowling Green Kentucky called Government Cheese. Tommy was in that band and they were good. Some nights they were great. In my ears, they were brilliant, but just another band that “should have made it”. Tommy documented a lot of the bands’ history in one of my all-time favorite reads: “Cheese Chronicles: The True Story of a Rock ‘n Roll Band You Never Heard Of”. Tommy’s writing is just as brilliant as his music to me. It’s smart, funny, and sad all at the same time. He writes from his heart, he bares his soul, and like it or not, it’s nothing but the beautiful, wacky truth.

After the Cheese broke up, Tommy formed another band with Will Kimbrough, as well as Mike Grimes (Grimey’s Records) and signed to John Prine’s Oh Boy records. They were called the Bis-Quits. Go find it in some used CD bin… NOW. Yet again, they “should have made it”.

Tommy’s been putting out solo records since the Bis-Quits quit. As always, it’s been quality stuff. Now he’s nailed it again with “There, I Said It”, an album (and I DO mean ALBUM, as in a cohesive piece of work) that has Tommy coming to grips in his mind that he’s “Never Gonna Be a Rock Star”. The liner notes, like all of his songwriting, come from a place that most writers can only dream of tapping into. Some of this album reminds me of James McMurtry’s writing (“Alpha Male & the Canine Mystery Blood”), but with sarcasm that can make you laugh out loud, and truth that can tear at your heart.

Yeah, I'm a fan, always have been. Albums like this make me very happy to be in the record business. I wish there was more music out there like this. There I said it. In my mind, Tommy’s ALWAYS been a rock star; he’s always “made it”. He’s always been a beautiful yet tormented human being. Once again, he proves me correct. The album streets on 2/20, so go buy it, and then go and get everything else you can by this guy.

Hey Tommy, things could ALWAYS be worse. You could be a 51 year old record store owner. It’s a “Nice Day”, pal. “

Let me clip out that uninteresting part for you

I'll admit I'm a victim/product of the "remote control" age. I'm a habitual station changer, but that's because I'm not so interested in the commercials as opposed to, say, the guitar solos in a song. If you find songs just too damn long, and artistic vision not what you are looking for, a Dallas radio veteran has solved your problem. Radio SASS, as in Short Attention Span System, gets rid of the unnecessary parts of a song so you can hear more music in an hour. Really, it is all about you. From Wired:

"...says founder George Gimarc, a veteran programmer and former DJ from Dallas. "Twelve songs per hour won't cut it." Gimarc and his team of editor-musicians use what he calls "intuitive editing" to trim pop songs to their catchiest crux, pruning seconds from a guitar solo here, lopping off a chorus there."

Now, I don't fully understand the concept of remixing, but I can see that the intent is to make something interesting from the original. Maybe I'm missing something in the concept, Radio SASS seems to want to take out all of the negative space of a creation. I don't see this as an revisiting of the original, an improvement, a new narrative. It is about creating even crappier radio (if that's possible). That will make me change the channel faster than a commercial.

Son Volt on World Cafe/NPR

Son Volt's new record The Search and intriguing new sound. Here they are live on World Cafe.

Thanks to Andrew for the link!

http://www.npr.org/templates/story/story.php?storyId=7551915&sc=emaf

Unhearalded records: I Am The Cosmos

If you read our weekly e-mail this week, you saw that you can teach an old music dog new tricks. I'm a big fan of Big Star and Alex Chilton, but I've never heard this Chris Bell solo record that The Onion's A.V. Club has added to their Hall of Fame. From the review:

Bell is often painted as a doomed pop-poet, but he was much more than some stateside Nick Drake. True, Cosmos is steeped in agony and arpeggios, but it's punctuated by stormy rockers like "Make A Scene" and "I Got Kinda Lost," songs that would've been at home on Big Star's Radio City (or even a Real Kids anthology).

Jam sans Weller to reform

Two decades ago Paul Weller walked away from The Jam, its catalog and his bandmates. He launched the Style Council and eventually went solo. He's a legend in England.

Bruce Foxton and Rick Buckler were his bandmates in The Jam. Foxton has had an uneventful solo career as well as later-day membership in Stiff Little Fingers. Buckler's post-Jam credits are almost nil, according to allmusic.com.

The Jam had an undeniable chemistry, but Weller was the star. The announcement that the Jam are forming with album and tour coming without Paul Weller is met with some suspicion.

No new frontman/songwriter was announced as Buckler and Foxton have left the door open for Weller.

"Paul is always welcome to join us for the reunion, but until then, we've got a tour and a new album to do!"

A Jam reunion tour would be a big draw in England. Maybe Buckler and Foxton are having Police-envy. Hopefully, Buckler and Foxton don't proceed with this folly of a plan without Weller. Of course, maybe they can find a Weller sound-alike, following in the steps of Judas Priest, who replaced Rob Halford with a guy from a Judas Priest cover band, and Journey so those two bands could continue their careers.



http://news.bbc.co.uk/1/hi/entertainment/6376477.stm

Townes reissues

This is good news from the folks at Fat Possum! Maybe they will get his back catalog in order, remastered. From the Fat Possum website:

We bought the original Townes Van Zandt studio masters - For the Sake of the Song, Our Mother the Mountain, Townes Van Zandt, Delta Momma Blues, Flyin' Shoes - and other previously unreleased material. We've also partnered with the Van Zandt estate to release additional live recordings. Look for them on CD and digital download soon

I'm not sure I need more live Townes material unless is has some significant historical significance. But, the overall news is exciting.

An Endorsement from the Society for Retired Law Enforcement

The Society for Retired Law Enforcement, also known as well-healed Caucasians with lots of discretionary income, have lauded the reunion and tour announcement by '80s faux new wavers The Police.

In what will surely be not only a top grossing tour, but also an opportunity for arthritic-ridden, hair-line receeding, power suit-wearing captains of industry to relive a bit of their best college years in the Fraternity. The original Police lineup: Sting, Stewart Copeland, and Andy Summers put aside 25 years of acrimony as they prepare to invest the proceeds from the tour into a retirement fund that assures Sting will never again have to look in the eyes of his long-time "bandmates" let alone again share a stage.

After making a triumphant return on The Grammy Awards, the band announced the worst kept secret this side of Iran's efforts to enrich uranium: The Police are embarking on a world tour.

FMQB has the details here.

Robbie Fulks on Sound Opinions

Robbie and Donna Fulks appear on this week's Sound Opinions (public radio music koffee klatsch with Greg Kot and Jim DeRogatis) as the "house band" for the Valentine's Day show. The Fulks perform snippets of The Rolling Stones' "Dead Flowers," Richard & Linda Thompson's "Walking On A Wire," Smokey Robinson & The Miracles' "You Really Got A Hold On Me," Mudhoney's "If I Think," and more.

As I've mentioned before, this show has quickly become a must listen for me as two of the most respected (and cranky) music crits debate the relative merits of "stellar" bands as Fall Out Boy ( DeRogatis makes his case "for" while Kot is "against") as well as discuss love and anti-love classics with the audience.

The show is syndicated via public radio or available via podcast(!) here.

New Ian Hunter coming on Yep Roc

DJ Jeff and Your Jester are big Ian Hunter fans. Ok, DJ Jeff is a bigger Ian Hunter fan. I'm just a big fan. One of the best shows I've ever seen was Ian on the tour his mounted in support of his "Welcome To The Club" CD (reissued last week, btw). In fact, Your Jester and his friends were suck Ian geeks that we kind of freaked out a band who covered Ian's "Central Park And West" as an encore. We sang along with all the enthusiasm we could muster. The band kind of stared at us 1/2 in amazement that we knew the song and probably 1/2 in horror.

So, I pass along this news from Ian's website:

Hello all,

I know it's been a while since the last update, so I hope it was worth the wait. We've got lots of new stuff to tell you about!

-- USA Live Dates --

Ian Hunter is scheduled for four dates in March 2007 in California. Each of these four shows will be opened by The Charms, followed by Ian Hunter and The Zombies as co-headliners.

14 Mar 2007 Healdsburg CA, Raven Theater
15 Mar 2007 San Francisco CA, Fillmore
16 Mar 2007 Los Angeles CA, Music Box at Fonda
17 Mar 2007 Anaheim CA, The Grove

-- UK Live Dates --

Ian has planned three dates in the UK in May 2007. These shows will be a rare opportunity to see Ian in an acoustic setting. As each club is intimate, early booking is strongly advised to avoid disappointment.

13 May 2007 Glasgow Scotland, King Tut's
14 May 2007 Birmingham UK, Glee Club
15 May 2007 London UK, The Pigalle Club

-- New Album Due May 15 --

Ian Hunter has signed with Yep Roc Records, and his new album "Shrunken Heads" is due out on May 15, 2007. Yep Roc Records, located in North Carolina, is the home of such acclaimed artists as Paul Weller, Billy Bragg, Robyn Hitchcock, The Apples In Stereo, Sloan, Kristen Hersh and many more. Ian Hunter is represented by industry veterans Danny Goldberg and Jack Leitenberg for Gold Village Entertainment.

As always, you can check out ianhunter.com for the latest information.

(Please do not reply to this email asking about other live dates. When new dates are confirmed, they are posted to the site and we will let you know.)

Best,

Ian Hunter Dot Com

Let's hope it doesn't suck because that would bum me out. DJ Jeff will love it regardless, because that's the way he is. Ian through and through.

Dan Baird - superstar!

I'm not really sure why blogger Derek Johnson felt motivated to highlight Dan's career right now. I guess I'm used to the cycle of press begets record release which then leads to playing gigs to no one, not finding you record in the bin if, and lately it is a big IF, there is a record store in town anymore which leads to getting dropped and months of depression and therapy. Am I revealing too much?

Baird has been one of my favorites since I first heard the glorious Southern RAWK of "Keep Your Hands To Yourself." No guilty pleasure here. I will stand on Steve Earle's sons giant cable spindle that passes as a coffee table and a place to stick the pizza box and declare the Georgia Satellites a band I totally dug.

Here's the link to the blog. He's got soundfiles of

• Baby I Love You, The Yayhoos - Fear Not The Obvious,
• Hush, Dan Baird - Buffalo Nickel
• I Love You Period Dan Baird - Love Songs For The Hearing Impaired
• Knocked Up, Dan Baird - Love Songs For The Hearing Impaired
• Roam, The Yayhoos - Put The Hammer Down

Skylighters - Skylighters **Review**

The Skylighters get a nice review from Audiophile Audition, a web magazine for music audio and home theater. I'm suspicious when gearheads and sound purists review music because these are just the kinds of places where I would find glowing Alan Parsons Project reviews. Parsons made great sounding records, but they were lacking a certain soul. Nonetheless, I pass along this review because I think the Skylighters have made not only a fine sounding record, but a fine record.

The Skylighters – The Skylighters – Red Beet Records RBR CD001, 45:57 *****:

In their self-titled debut album, The Skylighters succeed in blowing some decidedly fresh air into some musical areas that desperately need it. That’s not to make disparaging comments about commercial country music, but it has become about as stale and sterile as it’s possible to get, where individualism is avoided. If I were conspiracy minded, it almost seems as if some secret medical facility in Nashville (maybe in a hidden basement at Vanderbilt University Medical Center?) is churning out singing clones for the big name record labels. But if you are tired of that sound and you long for unique voices and performances within the country genre, then The Skylighters will satisfy your cravings. While their music references older musical styles and genres, they manage to make it sound brand new and original. You could classify this band as alt-country, but that’s far too simplistic and limited. They combine aspects of classic country, swing, roots rock, rockabilly, bluegrass, and even jazz to create a new amalgamation.

The core of The Skylighters is made up of another Nashville band called Last Train Home, an award-winning roots rock band with its own recipe of eclectic tastes, from pop to punk. Eric Brace (lead vocals and acoustic guitar), Jim Carson Gray (bass guitar), and Martin Lynds (drums) formed the part-time band in Washington, D.C., but later they all went full-time and moved to Nashville, where they have become a favorite band in a town packed with first-rate musical talent. After recording six albums, and showing no sign of stopping, they started jamming with Mike Auldridge and Jimmy Gaudreau, long-time stars of bluegrass music. This configuration became known as The Skylighters, downplaying the rock influences and focusing on the country.

Eric Brace handles most of the lead vocals, his voice combining the worn resonant baritone of Waylon Jennings with the lyrical phrasing of Gordon Lightfoot, while at the same managing to sound completely original—not an easy or simple accomplishment. Brace has one of those voices that I just cannot get tired of. Jimmy Gaudreau (a legendary bluegrass mandolinist from groups like the Country Gentlemen, JD Crowe and the New South, and the Tony Rice Unit), steps in with his sweet and breathy tenor on several tracks, like the wonderful Louvin brothers tune, “Dear One.” Gaudreau also contributes some spot-on mandolin solos, of course. He’s always facile and so lyrical, never sacrificing tone for pyrotechnics, while not shying way from technical displays. Probably my favorite soloist on the album is Mike Auldridge, a master Dobro and pedal steel guitar player. Track after track he practically steals the show with flawless runs and cascades of notes, always in touch with the soul of the music. This is music for musicians and those who appreciate the highest levels of performance. Highly recommended.

TrackList: See What Love Can Do, My Baby’s Gone, Close the Door Lightly, Last Train From Poor Valley, Bonaparte’s Retreat, Nevertheless, Are You Missing Me, Maybe Tomorrow, Dear One, Carolina Star, Are You Wasting My Time, Guess My Heart Has a Mind of Its Own, I Wish You Knew, Going Up Home to Live in Green Pastures

- Hermon Joyner

(link to article)

Environmentalism is the new black

Call me cynical. Call me a non-believer. Call me Ishmael. Does any station change format without market testing? Don't get me wrong, I'm glad that The Globe has come into existence, but the commitment might last only as long as the next couple of ratings books.

This aircheck (Thanks Jive95.com who are kepping alive the sounds of KSAN-FM) features the legendary freeform jock Tom Donohue. At about the 3:45 mark of this 1968 aircheck (Real Audio player required) Donohue thanks Leopolds -- a Bay area record store -- for sponsoring the show and soliciting donations for the Berkeley Free Clinic.

Hopefully, The Globe proves my cynicism needs to be pointed elsewhere.

DC Classic Rocker Flips To "94.7 The Globe"
Taking on a new, pro-environmental image that includes station promos that offer tips on how to care for the environment, CBS Radio's WARW-FM/Washington flipped on Friday from Classic Rock 94.7 to 94.7 The Globe.

On the station's new website, 947theglobe.com, the station asserts that it wants to be "part of the solution" in protecting the environment, but also promises to also stay focused on the music.

"Music is our priority," the station says on a list of mission statements posted on the website. "That's why we're here. Our DeeJays know the music and have a say in what they play."

It also promises to keep listeners involved. "This is your radio station. You will co-create it and author its evolution," the site proclaims, adding, "As we all know, there are songs worth playing that are not just the Hit Singles."

While the station hasn't abandoned Classic Rock - it's still playing Pink Floyd and Neil Young - some of the artists heard just after it flipped on Friday included Green Day, REM and Red Hot Chili Peppers. As a Classic Rocker, the station has struggled to gain a solid foothold in the nation's capital.

Pre-date that record contract for 2025

In February of 2025, Jefferson Texas 'Tex" Hammond, the offspring of the talented and unbelievably sweet Old 97's bassist Murry Hammond and recording artist/voice-over goddess Grey DeLisle, will turn 18 and begin hearing offers from whatever is left of the major label music business. Or maybe he will join Mom and Dad in the Hammond Family Band. Or, he'll replace the ready to retire Ken Bethea on guitar in a "Really Old 97's."

As a man, I will stick to the sexist stereotype and not provide any adequate birth-related details other than to say everyone is home, happy, healthy and a little tired.

Son Volt - The Search preview

Here's some marketing copy for new Son Volt (available March 6). It is a departure! It is growth. Grandma Edith used to say, "What's there to complain about, I'm still here" This is better than Son Volt making the same record over and over, right? Right? You are with me on this. I can feel it! Seriously, the record is really interesting on first listen. There are some links for streaming purposes below. Stream away. We'll have the pre-sale link up next week.


The Search, the intriguing new album from Son Volt, is set for release on March 6 on Transmit Sound/Legacy, and it's by far the band's most daring and diverse album yet. The follow-up to 2005's acclaimed 'Okemah and the Melody of Riot, 'The Search is a startlingly powerful and inspiring departure from the band's alt-country laden records, employing an exceptional variety of sounds, melodies, and arrangements. Laced with Eastern-style electric guitar and Farrar's signature vocals, the tune fades out to silence only to dive into 'The Picture,' a track that features an upbeat Memphis-style horn section combined with stirring lyrics that reflect on the current and future state of things, "when war is profit and profit is war." There's the buzzing, Zeppelin-esque guitar of "Action"; the hypnotic, other-worldly riff of "Circadian Rhythm"; the vocal harmonizing of chanteuse Shannon McNally on "Highways and Cigarettes"; and the Big Brother commentary of title track “The Search,” a solid rock song delivered as only Son Volt can.

The Picture
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QuickTime

Circadian Rhythm
Windows Media (Lo-Fi)
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The Search
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Xavier Rudd is a healer and he didn't know it

Australian Xavier Rudd's new release Food In The Belly, might be the perfect compliment to help you get a good night sleep? Is it dreadfully boring? No. But, he plays the didgeridoo.

This "report" seems to indicate playing a didgeridoo helps those that have a snoring and sleep apnea problem. (A wild guess, but knowing the geek culture I came from, I'm guessing many of our readers share that experience. It also seems that geek=snoring. Just an observation on my part). Call me a little skeptical of the idea that playing a didgeridoo solves that problem. If it does, I know what The Queen is buying me for my next birthday.

More info on Xavier Rudd from Australian Music Online.

Patti Smith and the RRHOF

A couple of weeks ago Your Jester and his inner circle of Wiseman/Snake Oil Traders discussed the 2007 Class of the Rock n Roll Hall of Fame. The subjects ranged from the validity of the RRHOF as an institution, the inclusion of non-RAWK artists like Grandmaster Flash, whether the voters should have voted in Van Halen for the David Lee Roth years only (and whether VH belonged at all). The most conversation, though, was saved for Patti Smith.

Smith seems like a safe critics choice. but caused the ire of others. I was on the fence. I've heard every one of Smith's releases but was never wowed by any of them. I "appreciated" their importance. I asked of influence and was given names like Chrissie Hynde, Rrrriot Girls, Fiona Apple.... there are more but it is early and the coffee hasn't quite kicked in.

Smith has an essence that plays an important role in the creative process. She embodies the part of music that isn't about making hit records. She chose to strive for creating something more ambitious. In its wake, she inspired others to be more than limo-riding, coke snorting, groupie groping "musicians" even if most turn into that once they find commercial success.


Not that my vote matters, but if there has to be a RRHOF, I agree that Patti belongs in it. Her notebooks won't make the same compelling display as Elton John's Duck costume (pic courtesy of the BBC) but the thoughts on the pages are every bit as important.

Coachella and Stagecoach

The annual music pilgrimage to the Southern California desert has added a weekend this year. The Coachella festival now has a new little buddy, the Stagecoach Festival.

Coachella is decidedly hipster, but seems to be aging a bit with top of the marquee bands Bjork, Red Hot Chili Peppers and the reforming-for-one-night-only Rage Against The Machine. Other big news is the reforming Jesus & Mary Chain and the reforming Happy Mondays.

The main stage at Stagecoach features country stars George Strait, Brooks and Dunn, Kenny Chesney (the new Jimmy Buffett). The real action, though, is the Palomino Stage (a nice nod to the historic and long gone club). Check out the bills at the links above.

Alex Needham, a blogger at the Guardian in the UK wrote this about the festival, citing all of the reasons he will not be attending again.

Based on his comments Alex doesn't really understand American culture. Long lines, beer tents, overly aggressive security, a need for more personal space, and a concern over consuming too much liquor are all very American. Blame it on the threat of terrorism, the threat of being sued, and not accepting a low-level beating as causes for the cultural divide that Needham doesn't understand.

Both lineups look inviting. A note, only Willie Nelson has enough cool factor to play both weekends.

http://blogs.guardian.co.uk/music/2007/01/would_you_like_fries_with_your.html

http://stagecoachfestival.com/

http://www.coachella.com/

Lucinda Williams - West - first single

Lucinda's West comes out Feb 13. A new Lucinda album is always good news.

Here is a stream of "Are You Alright?" for Windows Media player and Real Audio

XM's Request To Dismiss Music Label Suit Denied By Court

Below is the wire report on the ongoing suit between the XM Radio and :: key Darth Vader theme music :: The Recording Industry.

I am not a legal expert and I understand that the law and common sense are sometimes at odds. Putting aside legality, I want to discuss the idea of how recording a radio show actually benefits :: key Darth Vadar music :: The Recording Industry.

It doesn't take a scholar to figure out that crappy radio, in general, does nothing to inspire the listener to purchase music. All crappy radio does is diminish the radio experience and cause disillusionment.

When I was a young 'un (and, yes, we had television) radio was the window to the world. Even then it was the tail end of the free-form radio era. Nonetheless, the Radio Shack portable cassette player was at the ready, not only to capture the latest single by a favorite band (a new Beatles song!) but to also tape blocks of programs.

My older brother taped the "Stones Beatles Battle" on one of the local stations. As the name implies, a Stones song was followed by a Beatles song and so on. Two of biggest bands in the world, at the time, were put head to head on the radio. To this day my brother expects specific Stones songs to be followed by a Beatles song because he played that tape to its demagnetized death, memorizing it like you do an album sequence.

For me, Jim Ladd's nightly show on KMET-FM was essential listening as he weaved songs together.

The end result was both my brother and I looked at music in a different way. We both had stacks of cassettes of shows we had recorded (or collection of songs we taped off the radio complete with the first moments of the song clipped off because we had to rush to start the recorder). We took the money we earned from chores, allowance, and "borrowed" from mom's wallet to buy music.

The 45s and LPs section at the local department store eventually gave way to the local mom and pop record stores.

It is a lifelong addiction for both of my brothers and me.

The Record Industry has a long history of trying to suppress copying (remember "Home Taping Is Killing the business" add campaign?). The prevailing opinion is they are constantly shooting themselves in the foot.

The peak year of music sales was, coincidental or not, the last year of free Napster's wild run.

I understand they feel the need to protect copyrights. I also understand that radio, in general has been terrible for years, unless you owned radio stations and benefited from the inflated prices paid when the industry consolidated in the 90s (and began to offer even worse programming).

Recording a radio show enhances the likelihood that a listener is going to want to further explore music. If your worry is that your Fergie track is getting copied illegally then you shouldn't be in the music business.

Hopefully, common sense prevails. Satellite radio, with real people making musical choices, is an exciting development in an industry that has done everything to ignore the listener as they chase a higher profit margin.

Radio was once magic, even when it was in the grasp of an increasingly commercialized business. I'm not bemoaning an era gone by because public stations like KCRW have proved that if you provide compelling music programming the listeners respond with record setting support.

Of course, common sense and the business of entertainment rarely go hand-in-hand.


XM's Request To Dismiss Music Label Suit Denied By Court

According to court documents obtained by Reuters, a federal court Friday denied XM Satellite Holding Inc.'s motion to dismiss the recording industry's copyright infringement lawsuit against XM.

The case alleged that XM's portable "Inno" device -- which can store music -- infringes on copyrights and transforms a passive radio experience into the equivalent of a digital download service like iTunes.

XM argued that the 1992 Home Recording Audio Act protected it from being sued, saying that the law shields equipment makers and consumers who make digital music recordings for private use.

An XM spokesman said the basis of the court's ruling was "the false characterizations set forth in the plaintiff's complaint." He added, "XM remains confident that the lawsuit filed by the record industry is without merit and that we will prevail."

Randy Newman on the State of Our Union

Reprinted From the NY Times. Here is the original link.

Op-Ed Contributor

State of the Union: Another Take

By RANDY NEWMAN

Published: January 24, 2007

Randy Newman, the singer, songwriter and composer, performed this song at Carnegie Hall in 2006. It will be released soon online. This is an abridged version.

A Few Words in Defense of Our Country

By Randy Newman

I’d like to say a few words
In defense of our country
Whose people aren’t bad nor are they mean
Now the leaders we have
While they’re the worst that we’ve had
Are hardly the worst this poor world has seen

Let’s turn history’s pages, shall we?

Take the Caesars for example
Why within the first few of them
They had split Gaul into three parts
Fed the Christians to the lions
And burned down the City
And one of ’em
Appointed his own horse Consul of the Empire
That’s like vice president or something
That’s not a very good example, is it?
But wait, here’s one, the Spanish Inquisition
They put people in a terrible position

I don’t even like to think about it
Well, sometimes I like to think about it

Just a few words in defense of our country
Whose time at the top
Could be coming to an end
Now we don’t want their love
And respect at this point is pretty much out of the question
But in times like these
We sure could use a friend

Hitler. Stalin.
Men who need no introduction
King Leopold of Belgium. That’s right.
Everyone thinks he’s so great
Well he owned The Congo
He tore it up too
He took the diamonds, he took the gold
He took the silver
Know what he left them with?
Malaria

A president once said,
“The only thing we have to fear is fear itself”
Now it seems like we’re supposed to be afraid
It’s patriotic in fact and color coded
And what are we supposed to be afraid of?
Why, of being afraid
That’s what terror means, doesn’t it?
That’s what it used to mean

The end of an empire is messy at best
And this empire is ending
Like all the rest
Like the Spanish Armada adrift on the sea
We’re adrift in the land of the brave
And the home of the free
Goodbye. Goodbye. Goodbye.

( Thanks to Bay Area Darrell for the link!)

Joe Strummer: The Future Is Unwritten

Julien Temple, perhaps best known for directing the shambling Sex Pistols documentary "The Great Rock 'n' Roll Swindle," premiers his Joe Strummer documentary, "The Future is Unwritten" at the 2007 Sundance Film Festival. Jay Hamburger recaps Temple and Strummer here. (Thanks to Consigliore Eric for the link!)

Little Diesel spawned big music

Every other bit of pop music debris gets hauled out for examination, why not the recordings of a high school band that spawned the Sneakers, dB's, Let's Active, The Continental Drifters and a slew of solo work.

The band was Little Diesel. Bill Sherman reviews "No Lie" here. It sounds interesting from an archival standpoint. Given the renewed interest in the dB's with the band's reformation, this might be worth a listen just to see from whence they came.

We're back

The lengthy holiday layoff resulted in a fresh perspective and a new address. We moved our offices. The upside is a shorter commute. The downside is a dearth of taco stands.

The move was difficult, even if the distance wasn't far. The minus is we lost a few good folks along the way. The plus is we have a renewed sense of purpose. I can spend more time focusing on music and less on managing people.

If early 2007 is any indication, it will be a fertile year for good music. Here is a list of self-releases that get our hearty thumbs-up.

Greil Marcus on Harry Smith

Here is a lengthy article by Greil Marcus on the influence of folk archivist Harry Smith, The Anthology of American Folk. Surprisingly, for once Marcus has written in a way that mere fans can understand him.

A big part of the article recounts a faculty seminar he headed on the subject of the legendary Anthology. His frustration in dealing with academics who were not "music people" is enjoyable, if only we've all experienced conversations where the "wrong" reference is made.