The critics all said that the only listeners that ['Hee Haw'] had were country. And I said, wait a minute—I was just in New York City, and I was walking down the street and the guy yells across and says, hey, Roy, I'm a-picking. Well, I'm obligated to say, well, I'm a-grinning. | | | | Give the singing drummer some: Anderson .Paak's "Oxnard" is out today on Aftermath.
(Jeff Kravitz/FilmMagic/Getty Images) | | | | | |  | "The critics all said that the only listeners that ['Hee Haw'] had were country. And I said, wait a minute—I was just in New York City, and I was walking down the street and the guy yells across and says, hey, Roy, I'm a-picking. Well, I'm obligated to say, well, I'm a-grinning."
| | | | | | rantnrave:// If an indie-rock band who keeps banging out albums for a few thousand fans is an example of streaming music's long tail, and if DRAKE represents the, what, short tail?, then ROY CLARK was a prime tenant of what you might call the middle tail. Major music and video artist from an era before the internet existed (he was telling corny jokes and promoting good music on network TV long before BLAKE SHELTON was alive). Lengthy discography on a haphazard collection of major and indie labels. One-time CMA Entertainer of the Year, a plaque in the COUNTRY MUSIC HALL OF FAME and enough fans of a certain age who would love to click through that discography whenever the mood strikes. Like today, a day after one of the great country instrumentalists and ambassadors died at age 85. But while there's a smattering of albums and budget compilations in SPOTIFY, ITUNES and elsewhere, Clark's catalog is basically a mess, with older albums and newer compilations having gone missing. There's more not there than there. This should be easy. Clark, one of country's first big TV stars and later a fixture in LAS VEGAS and BRANSON, was neither obscure nor hard to find. How difficult would it be to track down and license those albums for digital release? Whose job was it? Someone at Spotify? Someone in publishing? Someone at a label that owns the catalog of another two or three long-gone labels? Clark himself? His fans? I'm not worried about Drake's music disappearing (yet), and I'm not worried for the indie rockers who have the hunger and digital know-how to make sure their own music doesn't go away (yet). It's the music in the middle for which I worry. Music that doesn't have champions in the right offices in LA, New York or Silicon Valley. Film fans are currently in danger of losing FILMSTRUCK and its huge catalog of classic films that no one else seems interested in streaming. There's a hell of a lot more music, some classic, some less so, all worth preserving and hearing, that we've already lost. RIP to one of country's great cultural figures... Good idea for an album, in the vein of similar efforts by PUSSY GALORE, the WALKMEN, the EASY STAR ALL-STARS, RUFUS WAINWRIGHT and LAIBACH, this time with the twist that the source album never actually existed. "All I want to do right now is go back to the music I heard when I was f***ing 15," RYLEY WALKER says. "It takes me back to a place where things were very simple and I was very happy." Not that the turn of the century was all that simple. But being 15 often is. The two songs released in advance are both keepers. It's out today... Why write and produce a two hour and twenty minute biopic when you can say pretty much the same thing in two minutes and 20 seconds? Last I checked, they're going to go ahead and finish ROCKETMAN anyway. Maybe they can use some of the material that the JOHN LEWIS (fancy British department store, for anyone who needs to know) ad didn't... JORGE DREXLER wins Song and Record of the Year at LATIN GRAMMYS; LUIS MIGUEL wins Album of the Year... It's FRIDAY and that means new music from ANDERSON .PAAK, MARIAH CAREY, TYLER THE CREATOR, RYLEY WALKER, KIRK KNIGHT, SMASHING PUMPKINS, LITTLE MIX, POWELL TILLMANS, SIMMY, DEENA ABDELWAHED, MUMFORD & SONS, MARK KNOPFLER, MIKE WILL MADE-IT, PORTRAYAL OF GUILT, THE GOOD THE BAD & THE QUEEN, CITY GIRLS, BOYZONE, AZUSA, LEIKELI47, INSÓLITO UNIVERSO, MICHAEL BUBLÉ, LOUDON WAINWRIGHT III, P.O.D., ANDREW MCMAHON, CHUCK D, BIRDMAN & JACQUEES, LENNON STELLA and EIKO ISHIBASHI... And a CHRIS CORNELL box set... And Saturday will bring new JADEN SMITH music. | | | - Matty Karas, curator | | | |  | Medium | | A timestamped play-by-play demonstrates why the intersection of music and esports is one of the biggest entertainment business trends of the year. | | | |  | Slate | | The single's chart-topping success is the culmination of years of resilience in the face of tragedy and heartbreak. | | | |  | The New York Times | | He and Buck Owens were hosts of a long-running prime-time TV variety show that helped bring country music into mainstream American pop culture. | | | |  | The Outline | | A rare gaffe for the hugely popular band says something about the role of K-pop idols in transnational politics. | | | |  | Vulture | | One summer night years ago, I wandered, with no context, into the erstwhile Williamsburg avant-haven called Zebulon. A single man was on stage holding an instrument no larger than his hand. But the sound coming from the house PA was larger than life: swirls of electronics, disembodied and stacked voices, echoes and reverbs of shadows of percussion. | | | |  | The New Yorker | | The band's collective anger and disillusionment are as potent as ever in the new thirtieth-anniversary box set of ". . . And Justice for All." | | | |  | The Fader | | With an iconic debut, Tierra Whack proved she can build her own kooky universe. What will she do next? | | | |  | The Music Business Journal | | In a not too distant future, we see robot musicians topping the charts in all genres. Music awards are no longer given to creative artists, but machines and their makers who create smash hit after smash hit. These producer robots listen to millions of songs a minute, analyzing music trends endlessly to stay ten steps ahead of the game. | | | |  | Afropunk | | One of the foremost curators of the creative Black American experience discusses his animated Cinemax show whose new season runs on Funk. | | | |  | The Ringer | | How Billy Corgan and Co. came together after 17 years for a massive tour and their first new album in two decades-and whether they've really healed the wounds that have kept them apart for so long. | | | | | The New York Times | | They both speak the language of the outcast made good. | | | |  | Afropop Worldwide | | Flamenco as we know it was "born" in Spain in the mid-19 th century. But for centuries before that, Roma (Gitanos, Gypsies) had been living in Spanish cities, often rubbing shoulders with the descendants of Africans (Moors), who had been there as both citizens and slaves going back to Medieval times and earlier. | | | |  | The Bitter Southerner | | Twenty-eight years ago, after scoring 11 No. 1 country singles, Johnny Cash's daughter left Nashville behind, tired of the industry's limitations. Now in her 60s, Cash has a new album of deeply personal songs - and a clear vision of what she wants her life to be. | | | | | The Fader | | L.A-based duo, THEY., talks about their transition from behind-the-scenes to the forefront. | | | |  | Variety | | In a situation unique to the United States among the world's major countries, terrestrial radio stations have never paid royalties to record labels, artists and producers, although they do to songwriters and music publishers. A2IM CEO Richard James Burgess, formerly a music producer and head of Smithsonian Folkways Records, weighs in on that situation below. | | | |  | Billboard | | Jorge Drexler, the Uruguayan artist known for his introspective, finely-crafted music, was the big winner at the 2018 Latin Grammys, taking home the song and record of the year awards for his single "Telefonía" and the best singer/songwriter album for "Salvavidas de hielo." | | | |  | Pitchfork | | One year after the rapper's death, a conversation with the person who knew him best. | | | |  | Rolling Stone | | The 26-year-old superstar was at his creative peak when he accidentally overdosed. His friends and collaborators are still reeling. | | | |  | Popula | | The return of the Pistol Annies calls attention to a troubling gender imbalance in the country music industry. | | | |  | Bloomberg | | T-Series Pvt., one of India's largest record labels, will become the most-subscribed channel on the world's most popular video site in the next couple weeks. | | | | |  | | YouTube | | | | | | | | | | | From "The Lillywhite Sessions," Walker's song-by-song cover of the Dave Matthews Band's unreleased album of the same name, out today on Dead Oceans. | | | | | | | | © Copyright 2018, The REDEF Group | | |
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