At Home in Hespeler

You have a music fan on your Christmas list, 60’s and 70’s rock mostly, and you’re looking for a book. Perhaps another crappy Brian Jones biography is what he needs. Or not. In reality, the only book you want to get your music lover this Christmas is Glyn Johns’ great autobiography, Sound Man: A Life Recording Hits with The Rolling Stones, The Who, Led Zeppelin, The Eagles, Eric Clapton, The Faces . . .. I myself have purchased copies for two music fans on my list.

Johns’ started out as an Engineer in the very early days of rock and roll, engineering the earliest Stones and Who singles in London’s IBC studio, “which was without a doubt the finest independent recording studio in Europe at that time.” He got his first job at IBC out of school, strictly because his sister knew someone who worked there and he loved music. He started as a man Friday, setting up microphones, running cable and brewing tea. His first engineering job came as a result of a weekend session in 1964 by Georgie Fame, “Rhythm and Blues at the Flamingo,” and nobody else wanting to do it. It’s success, and his age, meant that he was well placed for the rock and roll revolution that was just about to sweep London.

Sound Man isn’t a great book, though, just because Johns’ is the Forrest Gump of the British Invasion: he first heard Jimmy Page at a boys club talent show when they were both about 12, saw Jeff Beck in the Tridents, his pre-Yardbirds band, and lived with original Rolling Stone Ian Stewart (in fact, he and Stewart’s rented house was a gathering point for the very early Stones). Sound Man is also a book that sticks to the music. There is no chapter, no story in Sound Man that is not directly related to Johns’ career in music. There’s no grandpa Gus took me across the river for fish and chips stories here. Childhood stories are either of the church choir, a budding singing career or summers on a uncles farm, the uncle of whom was a guitar player and American folk music fan.

Similarly, Johns, who claims to have never done any drugs, never smoked a joint, keeps the stories of the musicians he worked with to musical ones. If he has various tales of debauchery, he keeps them to himself. But what a list of musicians he did work with:

The Kinks (All Day and All of the Night/I Gotta Move, and You Really Got Me/It’s All Right)
The Rolling Stones ( from 1965’s December’s Children (And Everybody’s) to 1975’s Black and Blue)
The Pretty Things
Davy Jones
The Small Faces and The Faces
Led Zeppelin (the first album)
Manfred Mann
Marianne Faithfull
Spooky Tooth
Procol Harum
The Steve Miller Band
The Beatles
Joe Cocker
Humble Pie
The Eagles
The Who

That’s the partial list.

When I had to choose a Christmas present for music fans on my list, I chose Sound Man by Glyn Johns. It’s the best music book I’ve read in a long time.

Uncategorized Eagles, Faces, Glyn Johns, Led Zeppelin, Rolling Stones, Sound Man, The Who

No band has made more hay out of their catalogue than The Who. In their first 40-years, between 1965’s My Generation and 2006’s Endless Wire, they produced 11 studio albums and 20 compilation albums – plus another 5 compilations since. With this years Quadrophenia: Live in London, they have as many live albums as studio albums.

So if you’re Pete Townsend and Roger Daltrey, the last remnants of The Who, what better way to celebrate the bands 50th anniversary than with a greatest hits album, The Who Hits 50!?

Stretching from their pre-Who days with The High Numbers Zoot Suit and their first singles as The Who, I Can’t Explain, Anyway Anyhow Anywhere and My Generation to the post-Y2K collection of hits, 2004’s Real Good Looking Boy, 2006’s It’s Not Enough from the last Who studio album Endless Wire and Be Lucky, recorded earlier this year.

As always when you get a collection from a band has been around as long as, and have had as many hits as the Who, the 42 song set is loaded with great material and almost anyone is sure to find a number of songs they like, and one or two they are less keen on. But every significant era of The Who, the early singles, Tommy, Quadrophenia, the 70’s rock, the Kenny Jones era, is well represented here. Personal favourites that I don’t get to hear often enough, Postcard and Who Are You’s Trick of the Light are on the album, compensating for what I consider too many of the early pop singles. Those early singles, however, have never sounded better. The sound on this collection is excellent, with everything sounding clear and clean.

Overall The Who Hits 50! is a solid collection that sounds great and has enough material for everyone to enjoy. If you happened to have bought the last three Who collections, I’m not sure you really need this one. But if your looking for some Who, this is a great set.

Tracklist

1. Zoot Suit (as the High Numbers)
2. I Can’t Explain
3. Anyway Anyhow Anywhere
4. My Generation
5. Substitute
6. The Kids Are Alright
7. I’m a Boy
8. Happy Jack
9. Boris the Spider
10. Pictures of Lily
11. The Last Time
12. I Can See For Miles
13. Call Me Lightning
14. Dogs
15. Magic Bus
16. Pinball Wizard
17. I’m Free
18. The Seeker
19. Summertime Blues
20. See Me, Feel Me
21. Won’t Get Fooled Again
22. Let’s See Action
23. Bargain
24. Behind Blue Eyes
25. baba O’Riley
26. Join Together
27. Relay
28. 5: 15
29. Love Right O’er Me
30. Postcard
31. Squeeze Box
32. Slip Kid
33. Who Are You
34. Trick of The Light
35. You Better You Bet
36. Don’t Let Go The Coat
37. Athena
38. Eminence Front
39. It’s Hard
40. Real Good Looking Boy
41. It’s Not Enough
42. Be Lucky

Album release, Review Anyway Anyhow Anywhere, Be Lucky, Greatest Hits, I Can’t Explain, My Generation, Quadrophenia, The Who, The Who Hits 50, Tommy

I know where I was:

I was actually at Maple Leaf Gardens for the show the night before, which was identical to the “farewell show” that happened Dec 17, 1982.

Uncategorized The Who

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The Freedom of Music, The Mighty Zep, This Week on my I-Pod Celebration Day, Chris Dreja, Jimmy Page, Led Zeppelin, O2 arena, Queen, Rolling Stones, The Who, Yardbirds

One likes to believe in the freedom of music.

Rush – Spirit of Radio.

“Do you think you could make him a list of bands and songs from the 70’s to listen to?”

My daughter is asking on behalf of her boyfriend, who is a Stones fan, “but he’s not into Zeppelin,” and wants to expand his musical horizons. Well, besides the fact I don’t really do lists and I consider anybody who’s “not into Zeppelin” beyond hope, sure.

For starters, any fan of 70’s era Stones should check out The Faces. The two groups sound, at times, remarkably alike, yet you would never mistake one for the other. Get their greatest hits album, “a nods as good as a wink….” and check out Stay With Me, Three Button Hand Me Down and Ooh La La.

As well, never ignore the albums when talking about 60’s and 70’s music. If you are a Stones fan based on any number of their hits, know that buried on the albums are songs you have never heard but are great. Pick your favourite Stones songs, and listen to the albums they came off. Chances are you’ll find songs you’ll like, and possibly whole album sides that just seem perfect (yes sides: the artists thought in terms of sides – not songs, not albums – and they are the way to approach the music of the era)

Working backwards from the 70’s, The Stones and Yardbirds both came from the same place, The Crawdaddy Club of the early 60’s. Each went in different directions, but they started at the same place. So too shall we.

The early Yardbirds is the thing, that Clapton stuff, and moving into the Jeff Beck years. Five Live Yardbirds to start, and then a greatest hits package of some sort. Branching out, check out the individual guitarists post-Yardbirds careers: Clapton with Cream, Derek and the Dominoes and his early solo work; The Jeff Beck Group (featuring pre-Faces Rod Stewart); and of course – you knew I had to get here – Led Zeppelin.

Now I know, not a Led Zeppelin fan, he’s heard them before and found them wanting &tc. But discussing the era without discussing Led Zeppelin is like not discussing The Stones or The Who. It’s an incomplete conversation. Everybody knows some Led Zeppelin songs, and judgement can be clouded by an incomplete picture of a band that played such a variety of music. Here’s what you do. Listen to, in order, Led Zeppelin I side 2 – the blues album; Led Zeppelin II, side 1, the heavy metal album; Led Zeppelin III side 2, the acoustic album; Led Zeppelin IV, side 1, the masterpiece.

Here’s the logic. After The Yardbirds, Cream and The Jeff Beck Group, the first album is in context. It’s their blues album, but side 2 will surprise you with the almost pop sounding You Time is Gonna Come, the acoustic solo Black Mountain Side, the pre-punk Communication Breakdown, Old Willie Dixon blues on I Can’t Quit You Baby and the jam How Many More Times. It has a little of everything, and turning the album over just to hear Good Times, Bad Times and Babe I’m Gonna Leave You will be a revelation.

The second album is their road album, and if Led Zeppelin invented heavy metal (they didn’t, and it’s an awful description of them as a band), II is when they did so. That in, everything you ever wanted to know about Led Zeppelin is in the first two songs of Led Zeppelin II. Whole Lotta Love, the supposed birthplace of heavy metal and What is and What Should Never Be, sweet ballad turned hard rocker in the chorus. They may not have invented heavy metal, but they did invent the heavy metal ballad with What is… The slide solo alone is worth listening to this album for.

The third album, written at a rustic cabin in the Welsh countryside, is everything Led Zeppelin is not supposed to be. Side two will literally shock the person who thinks they know Led Zeppelin but have never heard this. Four acoustic songs, each one completely different, yet not an electric guitar to be found. They return to the blues on the last song but it’s probably worth skipping until you’ve listened to the first four songs enough times to a) love them and b) wonder what the hell they are about. My favourite album side as a teenager, and still one that mesmerizes me.

Finally four, the masterwork. You know the songs on side one, but hearing them in context improves them. The sound of needle on vinyl (yes, listen to the records if you can – just ask first and put the damn things away when your done) a quiet E string being played in the open position, and then, all on his own Robert Plant, bel canto, singing on of the great opening lines:

Hey hey mama said the way you move, gonna make you sweat, gonna make you groove.

How can you not like that? It’s immediately followed up with Rock and Roll, Zeppelin’s answer to critics who said they had gone soft after the second side of the third album. If you can take it up a notch from Black Dog, they do. And then, the greatest 14 minutes in rock and roll: The Battle of Evermore/Stairway to Heaven: Prelude and Masterpiece. Everybody has heard Stairway to Heaven in isolation, or at dance’s end after Play the Funky Music and Night Fever, or on the radio in a set with Hell’s Bells and Let it Be, and it loses something. But the pastural intro to Stairway in the shadow of the war ballad of Battle of Evermore gives it an entirely new feel. Oh and by the way, here’s why Led Zeppelin are the greatest band ever. That slide solo in What is…, Page gets the sweetest sound using an electric guitar and a distortion pedal yet in Battle of Evermore they convincingly create a massive sounding war song with 2 mandolins and an acoustic guitar. Nobody else can do that, and they do it while creating emotional intensity. Stairway ends side 1 ends the way Black Dog began it, Robert Plant singing a cappella – because when I tell you the artists thought in sides, I wasn’t kidding.

So that’s Led Zeppelin, and hour and a half spent investigating some of the greatest music ever. If you’ve followed the directions and still don’t really like Led Zeppelin, well then find someone else’s daughter to date, ’cause there’s not much hope for you. But at least everything else you listen to from the decade will have the appropriate context.

Moving on, but staying ever so briefly with the Stones offshoots, Aerosmith took influence from all of The Yardbirds, The Stones, Led Zeppelin and, as I’ve argued before, The Faces. Forget everything since they’ve reformed in the 1980’s, forget that Stephen Tyler loses credibility with every TMZ day, Aerosmith’s 70’s stuff is good to great. Start with the greatest hits if you must, but hit the albums too. The hits, Walk This Way, Sweet Emotion, Dream On are all excellent. But in the albums are some stellar tracks: Mama Kin, The Yardbird’s Train Kept a Rollin, Same Old Song and Dance.

In 1981 the Rolling Stones where playing locally at Buffalo. Opening that day at Ralph Wilson Stadium was a guy the rumoured to have been readied to step in and take over for Ron Wood if he was unable to continue, which seemed possible. Reportedly the only artist Bill Wyman would ask for an autograph over the Stones long career, the guys in the Stones where George Thorogood and the Delaware Destroyers fans, so shouldn’t a Rolling Stones fan be too? Start at the beginning, with One Bourbon, One Scotch, One Beer. If you can’t recite the line “I know, everybody funny, now you funny too,” with confidence, you really don’t get rock’n’roll.

Also on the act that day, Foghat. Try them out, and their British counterparts (I know, Foghat are British, but their success was in the US), Status Quo.

Leaving the Stones influence behind, there’s almost too much music, too many bands of the era. In some cases whole repertoires should be explored, in others, a song or two. In most cases, I’ll discuss and album or album side.

The Beatles: Since we are discussing the era of the late 60’s early 70’s, explore at your leisure the later Beatles. While My Guitar Gently Weeps, Revolution, Back in the USSR. There’s a lot of good rock music in there between John Lennon’s experiments in avant-garde and Paul McCartney’s soppy ballads. You’ll find stuff you like, including possibly some ballads and avand-garde.

Also, the solo Beatles is good. To me, Paul McCartney’s best work, ever, was his early Wings stuff – Band on the Run and Venus and Mars. Also his first few solo albums, including the song Maybe I’m Amazed. Lennon’s solo work is also good, sometimes great. Everyone knows Imagine, but Jealous Guy, Whatever Gets You Through The Night, Watching the Wheels and Woman are all excellent. George was the underrated Beatle, and he proves it in his solo work. His first post-Beatles work is All Things Must Pass and it has My Sweet Lord and What is Life. But pick up his greatest hits and find out how good he is. Then get Somewhere in England, or at least the song All Those Years Ago and hear his tribute to John Lennon, who was killed the year before. Most people don’t know that Ringo had a fairly good solo career, and his greatest hits album is full of fun little pop songs that are a perfect way to waste an afternoon.

The Who also fall into the must listen category. Considered one of, if not the most exciting live act of the time, the Who’s work spans the decades. From the 60’s, grab their greatest hits album, Meaty Beaty Big and Bouncy, as well as their live album Live at Leeds. For sport, imagine seeing The Who, playing as good as they do at Leeds, playing your university.

In the 70’s, check out Who’s Next. You know all the songs anyway, from the CSI intros, but listen to them in their entirety, in context. In the 80’s the post-Kieth Moon Who had former Faces drummer Kenny Jones keeping beat, and they released a couple of good albums, 1981’s Face Dances and 1982’s It’s Hard. Check them both out, including You Better You Bet, Athena, Eminence Front and John Entwistle’s ironic rocker, The Quiet One.

How’s that fro a start? There’s your homework, and there’s enough there to keep you too busy to be bothering my daughter. And when your done that, we’ll move on to individual songs you should be listening too.

The Freedom of Music, This Week on my I-Pod Beatles, Eric Clapton, Faces, Foghat, George HArrison, George Thorogood, Jeff Beck, Jeff Beck Group, Jimmy Page, John Lennon, Led Zeppelin, Paul McCartney, Ringo Starr, Rod Stewart, Rolling Stones, Slade, The Who, Yardbirds

One likes to believe in the freedom of music.

Rush – Spirit of Radio.

Gibson Guitars had a list of the top 50 front men (and women) of all time on their webpage. Actually, they had two lists: one put together by Josh Todd of Buckcherry, Chad Kroeger of Nickelback and Ric Olsen of Berlin, plus staff at Gibson.com. The other list was chosen by readers. Here’s the top 10 of each list:

Gibson

1.Mick Jagger
2. Freddie Mercury
3. Robert Plant
4. Elvis
5. James Brown
6. Jimi Hendrix
7. Michael Jackson
8. Roger Daltrey
9. Prince
10. Jim Morrison

Readers

1. Freddie Mercury
2. Bruce Dickinson (Iron Maiden)
3. Marc Bolan
4. Bon Scott
5. Robert Plant
6. Brian Johnson
7. Mick Jagger
8. Bono
9. Robin Zander
10. Elvis

We can pick and natter about the list, and ultimately that’s what these lists are for. So lets:

Really? Freddie Mercury is pretty much the undisputed best? Really?? While the “experts” pick Jagger, the readers placed him well enough down the list to make Freddie indisputable. One suspects however that too many fans think of Mick circa 2005, or 1995, when he looked like a skeletal old man refusing to acknowledge his age. Longevity has it’s curses…

There is an argument to be made that Elvis wasn’t really a front man, he was the act. And if we are allowing guys like Elvis, why not Frank Sinatra? Could you make a list of front men, and not have Sinatra on the top 25, never mind the top 50? Hell, Neil Diamond is there. And not to pick on Elvis, the same questions apply to Jackie Wilson, Otis Redding, Garth Brooks and, too a lesser degree, Chuck Berry, Little Richard and Elton John &tc….

And what’s this about Stephen Tyler being at #11 on the Gibson list and #22 on the fan list, yet Rod Stewart is #22 on the Gibson and doesn’t make the fan list? People don’t seem to realize how much Tyler copped Stewart’s Faces act. Oh, I know, I know, he copped Jagger not Stewart. Except other than looking kinda, sorta like Jagger, there is little comparison. He dresses more like an early 70’s Keith than Mick, but his stage stuff is all Stewart. The scarves hanging off the microphone, the dragging the mike stand around the stage. All Rod, before Aerosmith came along. Granted, Tyler uses silk scarves and Stewart football scarves, but that’s details. The point is, if Stephen Tyler is to be so high on the list (and don’t get me wrong, he belongs up there), then Faces era Stewart belongs in that neighbourhood.

Quibbles and Bits,however, as the dog is always saying when we argue philosophy (these discussions usually involve vodka). If Gibson readers think Freddie Mercury over Bruce Dickinson, then I’ll not argue. He wouldn’t top my list – and you know there’ll be a list – but then again, Bruce Dickinson? Not on my list.

Dickinson and Robin Zander. When I said top front men, did Bruce Dickinson and Robin Zander come to mind? Iron Maiden and Cheap Trick’s front men? Is Zander even Cheap Trick’s guy, wouldn’t Rick Neilson really qualify as Cheapest Trick? But lets face reality. A couple of fan web sites put fans on notice there was a readers poll and a “lets get Robin to the top of the list,” button. Even accounting for that, however, Marc Bolan? Who’d a thunk it?

For those who don’t know, Marc Bolan was the leader of T. Rex, although that was by no means his only band. T. Rex had a significant American hit with Bang a Gong. Bolan was their singer and guitar player, had male model good looks (in fact he did some modelling), the requisite big curly hair, and played a Les Paul on stage. He is credited with inventing Glam Rock, what we here in America tended to call Glitter. Think Ziggy Stardust era David Bowie, and you have Glam (or think Cherrie Currie dressing up as David Bowie in “The Runaway’s” and you’re there).

T. Rex released nine albums from 1970-1977, a decent output, to put it mildly. In fact, Bolan’s discography is impressive. In September 1977, however, Bolan was killed in a car crash, a passenger in a purple mini, in London. He was two weeks shy of being 30.

The thing is, I have never, ever, had somebody mention how good Marc Bolan is to me. In all the years, and all the music conversations, never once has his name even come up. It’s not a name that would have ever occurred to me. And to be clear, I’m not poo-poohing the idea that Bolan is the third best front man ever: I have no idea if he is or not. I have zero frame of reference.

Or at least I had no frame of reference. What did we do before the internet? Before YouTube?

Marc Bolan fan: Marc Bolan is the greatest.
me: Is he now?
Marc Bolan fan: Don’t argue with me, I’m telling you
me: Never seen ‘im.
Marc Bolan fan: Well you should check out… um…er…

But with YouTube, there he is, in full purple colour (the 70’s were incredible for music, but they really were a crime against fashion). He is more charismatic than athletic, all good looks and pretty smile. The physical manifestations of the job he leaves for others, the heavy Les Paul keeps him pretty rooted in spot. But for that, he’s not bad. I see what they are talking about, although he’s not about to make my list.

My list: you knew it was coming… here it is, my list of the top ten (plus some)front men (and women).

1. Roger Daltrey – he moved constantly, he had all that blonde curly hair. He had the most powerful voice in rock, and didn’t have trouble singing on stage. He would twirl his microphone by the cord sending it twenty feet in the air and during Who Are You he ran on the spot through the whole song. In Won’t Get Fooled Again he offered up the greatest scream in rock and roll, that counts here.

2. Mick Jagger – Not tired old guy circa now Mick Jagger, but the young Mick Jagger that preened and pranced. Pre 1980’s Mick who exuded sexuality out of every pore. Once he put on the knee pads it was pretty much over, but I’ll even give him the knee pads tour of 1981. Mick pretty much invented the genre and virtually everybody else is an imitator to one degree or another. He deserves to be much higher than seven.

3. Robert Plant – The best band in the world, bar none (even the dog doesn’t argue that point with me). By a long, long shot. Heads and shoulders above the next. So how low can their front man be? Not below 3, that’s how low.

4. Bruce Springsteen – Even now he fronts an energy packed band, never stopping, never seeming to breathe for two, two-and-a-half, three hours. If you’ve never seen him, it’s exhausting. And yet, those in the know will tell you he’s nothing compared to what he was in 1978.

5. Janis Joplin – Rent the DVD Festival Express and skip to Cry Baby. Those chills running up and down your spine, that’s why Janis Joplin is not just the token woman on this list.

6. Russel Mael – Every one who makes one of these lists, every critic needs their obscure, arty band to prove their bona fides: Sparks are mine.

7. Stephen Tyler – He really is good, no matter who did what first.

8. Alice Cooper – He hung himself, onstage, with mascara running down his face. He wore a boa constrictor for a necklace. He danced with a corpse, and with skeletons in top hat and tails (with walking sticks, naturally). That stuff counts for something.

9. Rod Sewart – Of the Faces, not of Do You Think I’m Sexy. He tied scarves around his mike, duct taped the mic to the stand and taught Stephen Tyler how it’s done – the tutu is a but much though.

10. Freddie Mercury – I have no frame of reference having never seen Queen live or watched any Queen concert footage, but if he’s #2 for the Gibson experts and #1 for their readers, that’s good enough for me.

10a. Elton John – The electric boots, the mohair suits: OK that technically isn’t Elton John, but he has worn both. Also, he has dressed by like Luis XIV, worn oversized glasses with windshield wipers on them and played Crocodile Rock on stage opposite a crocodile. At the end of the day, this is supposed to be entertainment.

10b. Ian Hunter – The shades, the rock star hair and cockney accent. Ian Hunter was still doing Glam in 1980, and getting away with it. You couldn’t get away with Glam in 1980.

10c. J.Geils – More fun on stage than anybody you have ever seen, that has to count for something.

10d. David Lee Roth – He can jump microphone high, and do the splits. He wore yellow jumpsuits. He once said, “I’m not like this because I’m a rock star; I’m a rock star because I’m like this.” Some people are born to be front men, some have front men-ish-ness thrust upon them. Diamond Dave is of the former.

10e. Bob Seger – Since we’re allowing Bruce Springsteen…
The most fun you will ever have at a concert.

The Freedom of Music, The Mighty Zep, This Week on my I-Pod Aerosmith, Bruce Dickinson, Cerrie Currie, David Bowie, Elvis Presley, Faces, Frank SInatra, Freddie MErcury, James Brown, Kieth Richards, Marc Bolan, Mick Jagger, Neil Diamond, Queen, Robert Plant, Robin Zander, Rod Stewart, Rolling Stones, Stephen Tyler, The Runaways, The Who

One likes to believe in the freedom of music.

Rush – Spirit of Radio.

What’s going to save the music industry from itself? You know what I mean, that whole CDs, golden goose, dead thing. To hear the rockstars and industry execs tell it, sharing files – they call it pirating for Gods sake – will ruin the industry. Who’s going to make music if you can’t make obscene amounts of money doing so?

“Make a few bob and then open a hairdressing salon,” Ringo Starr answered when asked what he hoped to get out of The Beatles. It was The Beatles first trip to the United States, and the press was already asking “what next?” I’ll make enough money to start a little shop, thought Ringo. By the time I get around to writing Octopuses Garden, I’ll have no one to sing it to except my customers. They probably all thought that: A bookstore for John; a music store for George; a hat store for Nigel (Tufnel, the oft forgotten sixth Beatle).

Who indeed?

During a television interview aired worldwide before The Who’s live simulcast farewell concert from Toronto in 1982, Roger Daltry talked about the band’s habit of breaking their equipment at the end of their shows: ‘we would run into a store, grab a guitar off the wall and run out again saying over our shoulder, I’ll pay you later,’ he said. ‘We didn’t make any money until the mid-70’s.’ Yet they managed to come out with Tommy and Who’s Next, alternatively known as the greatest rock opera and the CSI soundtrack album.

Kiss would work their way to the west coast, and have to book gigs, any gig, to eat and travel their way back to New York. Ever seen those early Kiss shows? Phenomenal. They were hungry, they had attitude and they were good. They started making money around the time of the Destroyer album. They stopped making listenable music exactly around the Destroyer album. “They prostituted themselves,” a high school buddy said one day about Beth. I rather think not, think Beth was in retrospect, a reasonably heartfelt song. It was immediately after Beth that the Kiss act became red-light. “This is a great Rod Stewart song,” Paul Stanley told the band about Hard Luck Woman, hoping to sell the song to Stewart. That, my friend, is prostituting yourself.

Nobody got into the music business for the business potential until sometime in the late 70’s or early 80‘s. Before that, even the big stars figured by the time they were 30, then 40, they wouldn’t be acting like rock stars. Mick Jagger said once that he couldn’t imagine running around a stage when he’s 60. He knew then what he refuses to acknowledge now: that he’s become somewhat absurd. But somewhere late in the 70’s, early in the 80’s guys started choosing rock star as a career option. It is considered a remarkable coincidence that people stopped making rock music that was transcendental at the same time.

Who am I kidding? The moment musicians stopped thinking I’ll give it all I got until I’m 28 or so, then get a real job is the moment music changed. If you imagine music as a career, what you’re going to do for the rest of your life, then you’re not about to go out on a limb because you believe from the depths of your soul that the 3rd bar in the 2nd verse should be a C#m instead of an E. If the record company guy, the one in the charcoal suit, says it should be an E, then who are you to withhold the master tapes and risk your future until he concedes your point? And while one C#m may not matter in the grand scheme, once you concede the 3rd bar in the 2nd verse, then why not cut the solo because nobody does solos anymore? And why not rewrite the last verse to make it more radio friendly? Never mind that you talked to God on that solo, or the third verse was absolute poetry, this is about selling records. So why not let the art director from the design department design your album covers, why worry your pretty little head over artistic direction? After all, it’s not art, it’s business.

While the artists were busy working for the man, the people who buy the product, the important line in the supply and demand curve, stopped buying. Instead they, ahem, stole it. Not stole as in left the store with a product, stole as in they took a bunch of 0’s and 1’s that one person voluntarily put on their computer, and moved them to your computer without removing or in any way changing them. Want to talk about the law? Here’s a basic law of economics: price = scarcity. Without scarcity, there’s no need for price. Computer files are technically an unlimited resource. They can be duplicated an infinite number of times without experiencing any degradation of the original file. And if you can duplicate something ad-infinitum, you can’t impose a price on it in the long run. Notice I said can’t, not won’t or shouldn’t, but can’t. You cannot impose a price on something that has no scarcity. And if you can’t impose a price on a music file, the business model of the career recording artist falls apart.

My favourite theory is that recording will become the incidental effort, to promote the live experience that the musician offers. Sooner or later musicians will give away files, sell records and CDs to those (say, me) who must have them, but will make their money for what they do today, or rather tonight, not what they did back in 1982. For this to happen, some things within the industry will have to change, not the least of which is the expectation that musicians should be paid in perpetuity: musicians will have to be first, and always, musicians. Brittany Spears need not apply, we need people who can step on a stage, and sing, or play their instrument; the idea that a concert should be a spectacle will have to end. If you need a ten piece band and dancers – especially if you need dancers – then you can’t be expected to turn a profit on tour. No profit, no performance, it needs to be that simple. A five man band giving it their all, ala the Stones 1972 can be profitable work. An eleven man band playing Jumping Jack Flash while Mick, Keith and Ronny prance and preen ala the Stones now, no Dice, Tumblin’ or otherwise; prices need to come down. Sure Roger Waters or Madonna can carry a circus act, tractor trailer loads full of bricks and flying pigs, then charge $150, but nobody else can. Fourty dollars to hear some band on the margins is too much, they need to be able to play, profitably, for less, maybe a lot less. The trick is get enough people in the seats for $20, and sell them shirts, ring-tones, iPhone cases and downloads of the show.

I mention this because it is, I think, the future, and it is coming sooner than most believe. Here’s an item from this weeks paper:

Christina Aquilera has announced a 20-date North American tour… in support of her upcoming album Bionic. Fans will receive a digital copy of the album with every ticket purchased before June 4.

Give away the music, sell the concert. It’s a new idea, and will take some working out, but it’s economically viable. To put it simply, performance is a scarce commodity, one that can be charged for. As it gets harder and harder to collect on the bits and bites sitting on your hard drive, it will become more viable to look to the performance of music to make a living.

What’s going to save the music industry from itself? That’s easy: musicians. And when they do, music consumers will be better off for it.

The Freedom of Music, This Week on my I-Pod Beatles, Beth, Bionic, Brittany Spears, Christina Aquilera, CSI, Destroyer, George HArrison, Hard Luck Woman, John Lennon, Jumping Jack Flash, Keith Richards, Kiss, Madonna, Mick Jagger, Nigel Tufnel, Octopuses Garden, paul stanley, Ringo Starr, Roger Daltry, Roger Waters, Rolling Stones, Ron Wood, The Who, Tommy, Toronto, Who’s Next

One likes to believe in the freedom of music.

Rush – Spirit of Radio.

A few weeks ago I was on about the resurgence of the LP, this week I’d like to take a moment to whine about an LP I can’t find. Canada’s Social Code has a new disk “Rock ’N’ Roll,” available in the usual ways, CD, iTunes, various illegal download sites. It is, however, almost the perfect disk for LP release and yet, that’s the one format I haven’t found it on yet.

Rock ‘N’ Roll. That’s the title. It used to be that meant something, something more than barre chords, 4/4 time and a shuffle rhythm. As kids we listened to rock, but we believed in rock ’n’ roll. In Kiss’s seminal live album, Kiss Alive, Paul Stanley asks the Cobo Hall audience, “Do you believe in Rock and Roll.” It wasn’t corny, and the audience cheered. “Then stand up for what you believe in,” he answers them back. As if rock ’n’ roll is freedom, or killing Nazi’s or women’s rights or peanut butter (sorry, that‘s clap your hands). The thing is, was, we did believe in rock ’n’ roll in the same way a person believes in freedom and civil rights. We believed rock ’n’ roll was more than music, it was a movement.

While it was a movement, it was also very personal. We didn’t just listen to music, we loved it. It breathed life into our being. It “moved our soul,” and as such we accepted it as important. In a world of pre-packaged disposable everything, including music, I miss that. I miss the feeling that music is important, that it can affect the world. I still listen to a fair bit of rock ’n’ roll, but in a world where the Rolling Stones have sponsored tours, the Who play the Superbowl on Prime Time TV and Bob Dylan is like a Rolling Stone only in so much as his music is also available for advertising, I miss the idea of Rock ’n’ Roll.

Note the quotes above. Rock ’n’ roll “moved our soul.” The quotes are from the title track to Social Codes Rock ’n’ Roll album. It’s a ballad in the old style, acoustic guitar with a running bass line melody, a cello, and one guy singing his heart out. Not in the academy style of a well trained voice, but a from the testicles, gut it out style of singing from rock ’n’ roll’s old school. And it speaks volume about what’s missing, what’s wrong with today’s music.

I like it stripped down raw and naked,
A Little Peace of your Heart I’ll take it
Turn it as loud as it will go

I don’t want it packaged neat
I don’t want it bought and sold
Don’t play it safe it’s time to lose control

I’m Gonna’ kill my television
Nad burn my radio
I want something that will move my soul
I want rock ’n’ roll

Let’s set these city streets on fire
Strike a match and start a riot
Burn it to the ground with rock ‘n’ roll

The battle stopped my ears still ringing
I miss the sound of sirens singing
The tattoo on my heart says rock ‘n’ roll

Wonderful stuff. And at the end, when he quietly moans “Where did you go” a couple of times between choruses, it‘s spine tingling. Somebody out there, somebody with a guitar, a microphone and a record deal gets it.

The Freedom of Music, This Week on my I-Pod Bob Dylan, Kiss, Kiss Alive!, paul stanley, piece of my heart, rock 'n' roll, Rolling Stones, social code, Superbowl, The Who

All the fluffy news about those nutty celebrities

Twilight: New Moon, the movie that was given numerous zero and one star reviews, topped last weekends box office with a $258.8M worldwide weekend. It also set a new opening day high when it took $72.2M. This isn’t shocking, when movie prices increase the same number of people bring in more money. However, it can’t be comfortable being a critic in an industry that’s in deep decline, knowing the value a large swath of the population puts on your opinion is zero, or even negative.

Taylor Swift won four awards at last weekends American Music Awards, including Artist of the Year. Swift thanked God, her mother and Kanye West when receiving the award.

West, who’s career has taken a bit of a hit after interrupting Swift’s acceptance speech for femal video of the year at the MTV video awards, again interrupted her speech, asking three giggling girls coming home from Twilight: New Moon if they would like fries with that.

The other big winner at the |AMAs was Michael Jackson, who released no new music but did release his mortal coil to great success.

The controversy of the show was Adam Lambert’s homo-erotic dance routine. Many fans complained about the routine, others complained that the complainers are really homo-phobic. Lambert’s problem is, however, that he’s not Madonna – he came to success on family friendly American Idol, not as a skanky-ho who fished the bottom of the moral barrel. In short, the homo-phobes he offended are his fans.

Review in Brief – Twilight: New Moon: It was better than the first Twilight movie, dad.

The NFL announced this week that his years Superbowl half time show will be headlined by the Who, with Pete Townsend, Roger Daltrey and a bunch of guys not named Keith Moon and John Entwistle (or even Kenny Jones)

Canada lost one of it’s treasures this past week when singer/songwriter Haydain Neale passed away, age 39. Neale, who is, is variously reported to be from Hamilton and Guelph, died of lung cancer last Sunday.

Here is Haidain Neale, and his band Jacksoul, with Sleepless.

Fluffernutter Adam Lambert, AMAs. American Music Awards, Haydain Neale, Jacksoul, John Entwistle, Kanye West, Kenny Jones, Kieth Moon, Michael Jackson, Pete Townsend, Roger Daltry, Sleepless, Superbowl, Taylor Swift, The Who, Twilight: NEw Moon

It’s easy enough to find reasons to celebrate Roger Daltry. As the vocalist/front-man for The Who, his strong voice has led the rock ‘n’ roll charge for almost 45 years. The voice of My Generation, Squeeze Box and Pinball Wizard, Daltry has few peers as a singer.

But at the end of the day it’s that one moment, after the synthesizer section of Won’t Get Fooled Again, when Daltry and the band kick the song back in with, literally, a scream.  The finest scream in rock ‘n’ roll, a genre that can be defined by it’s screamers.

So Happy 65th Birthday Roger Daltry, leather lunged belter extraordinaire.

Birthday Wishes, Rockin' and Rollin' and Never Forgettin', The Kids are Alright Box, Daltry, My Generation, Roger, Squeeze, The Who, WOn't Get Fooled Again