Subject: Re: Sober
Bob,
Thank you, for stepping up for Bad Wolves melodic, cause driven song. Not only is the band fronted by a gifted black singer. It is in the movie and soundtrack, to Sno Babies. Tommy Vext is also a sober coach and activist for recovery. As important is that he is one of four black frontmen artists Better Noise, has signed in the last few years, successfully, in a Lilly White formats of alt and rock. Our success with these artists are important for the future.
The movie is about the opioid crisis which has affected our industry, family and friends. More people died last year of opioid abuse than the Vietnam war. Yes, this song is one of the best crossover opportunities for rock in over a decade.
However, can radio get over drinking the major labels Kool Aid? Can streaming? We are just the razor blades for the streaming services razor. There platforms depend on our music. Like the majors and radio they have to look at the long tail. As you point out. Pop and hip-hop fall off a cliff shortly after consumption.
That's great for the three month reporting cycle of the DSP's, and majors. They are with Warner's IPO now all subject to the financial engineering of the Goldman's and JP Morgan's. At the expense of artist development and investment in long term artists.
Where has this landed them? They are for sale with the full knowledge they aren't building future catalogs. Tencent has bought into Spotify, Universal, and Warner's. With 70 plus percent of streaming coming from catalog this looks like a good move for Lucian and Len. That said what about Spotify/Tencent?
Tommy and Bad Wolves, have the song and engagement, to have the first rock ballad hit since Sorry, from Buckcherry, released on our label 12 years ago. We have an opportunity to save lives with Sober. Show that top forty plays the best of all formats, which is when it's strongest. To wake up DSP's to put more attention into building playlists that are wider. So they can services credit cardholders, not only the kids on Tick Tock, Youtube, and Spotify free. Independent labels for the most part, know that we are building catalogs and careers, for the long term.
Thank you, for bringing these issues up to our industry. Like our country we are at a critical point in our history. Are we going to feed financial engineering or build a future? Manufacturing artists for quarters only responds to the former. If we respond to the latter. Sober will be a hit, Sno Babies will be apart of the destigmatization, and awareness the second deadliest epidemic we are in today.its release is in national Sobriety Month September. We are already working with IHeart, Entercom, Cumulus, SiriusXM/Pandora, Live Nation, Amazon, Apple, and Spotify. Perhaps as an industry we won't loose another Prince or Tom Petty?
Let's all work together. Now is the time for change.
Allen Kovac
___________________________________________
From: Rupert Hine
Subject: Re: Neil Peart
This was in Roop's draft box not signed so I guess he didn't quite finish…thought you might like to have it.
Bests Fx
Fay Morgan Hine MCIPR
www.oneworldonevoice.co.uk
www.ruperthine.com
From: Rupert Hine
Subject: Re: Neil Peart
Having recorded many of the world's great drummers (inc Steve Gadd, Manu Katché, Simon Phillips, Jerry Marotta, Steve Ferrone, et al) producing Neil (and Geddy @ Alex) on two of Rush's finest mid-period albums - "Presto" & "Roll the Bones", I can say from first hand experience that he has been the only drummer to have played something so distractingly impossible that I had to investigate.
This involved getting out of the studio control-room and standing In front of Neil in the studio just to listen & watch - with all my visual and aural 'antennae' bristling. An illusionist of the highest order. But how does the illusion work?
Neil is legendary for his self-inflicted rule of never overdubbing on a Rush recording. That, in and of itself, is quite staggering when you focus in on his oeuvre over the last 40 years or more.
Steve Tayler and I had already solo'd the only channels on the desk that could have revealed any answers (or clues) to no avail.
Whilst he was too 'technical' for some, his expertise was breathtaking, shockingly accurate and fiendishly cunning in terms of the sub-divisions of a musical bar. Always mixing the technically challenging with dashes of humour just to keep you 'connected'.
His interest in my potential role as producer of the band was as much based on my own albums "Immunity" and "Waving not Drowning" than any more obvious commercial success at the time. He loved the made-up and found-sounds I harnessed from everyday life and the dark mood of the album grenerally.
___________________________________________
From: Michael Wynne
Subject: Re: Mailbag
Bob,
Re Today's Covers
I got a good Bowie story about the Pretty Things.
www.wikiwand.com/en/Don%27t_Bring_Me_Down_(The_Pretty_Things_song)
I used to work with a songwriter called Johnny Dee, an amazing East End of London character in Belsize Park, North London in the 90's.
Johnnie always had great 60s stories.
We were working out a song in the Richard Steeles one day (Johnny always wrote at his best in pubs, always with a pint of lager in one hand, a pen in the other) and he told me had had written Don't Bring Me Down, a UK Number 10 for the Pretty Things on the back of a cigarette packet and had never earned a penny from it.
His publisher Danny Morrison, another East Ender, had taken all the money. Allegedly.
Johnny then told me he was friends with David Bowie-them both hanging out for a while in the early 70s-and who as your other reader has mentioned, was a big Pretties fan.
He told David the story about Don't Bring Me Down and he told Johnny he had a plan to release a covers album of his favourite songs. And he winked at Johnny. And said no more.
A while later Pinups came out and Johnny got a copy.
And there it was on the record: Don't Bring Me Down (Johnny Dee). Sole credit.
That wink from David meant a lot to Johnny.
Keep on keepin us going during lockdown Bob.
Mickey Wynne
www.mick.world
___________________________________________
Subject: RE: Re-Skyhill Studios
A couple years back I went to a concert that Leon Russell did at a casino venue near St. Louis. About three quarters of the way through the show, a woman fan stood up between songs and started to talk to Leon about the importance of his music, and how his music had been a powerful effect on her life. It was sweet and heart felt and it moved the audience. But she wouldn't stop. She went on and on, and on for several minutes.
It was starting to get uncomfortable for everyone when Leon stopped her with a smile on his face and said " After years of being in the music business my hearing isn't too good. And to be honest I took my hearing aids out when I came on stage."
Charles "Max" Million
___________________________________________
From: Linda Wolf
Subject: Re: Mailbag
When you get my book from Michael Jensen (www.cockerpowerbook.com) you will see inside a photo of my copy of the tour schedule... someone wrote you that we started at the Santa Monica Civic auditorium and went east. Not so. We started from the A&M lot and headed directly to Detroit!
Linda Wolf
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From: Danny Zelisko
Subject: RE: Skyhill Studios
I loved Mad Dogs with Joe, Leon and the rest of the gang so much. I saw it 100 times, minimum. I love Joe Cocker so much, always loved putting on shows with him. Joe tried to link up with Leon towards the end of his life; sadly Leon wouldn't even talk to Joe about it.
I am happy that Tedeschi Trucks loves Mad Dogs too. They have a movie of them doing the whole album which I have yet to see but invested in out of respect to this great musical phenomena. Cannot wait to see it!!!!
One of the best live rock albums ever made.
___________________________________________
From: peter roaman
Subject: Re: Reopening
Early on I heard this one. Kinda rings true.
"If Anne Frank can live in an attic for two years existing on crumbs, how hard is it to stay at home on your couch for four months watching Netflix and having your groceries delivered. "
But I guess we live in a different world.
I'm with you Bob I'm staying at home.
Peter Roaman
___________________________________________
From: Aku Valta
Subject: Re: Reopening
This is shocking. The nation so many of us grew up adoring has gone bat shit crazy.
Slow initial response, total lack of strategy during the spreading and now this re-opening. I've haven't seen such incompetent leadership anywhere and it happens to happen in the greatest country in the world.
We closed the borders and interstate travel early. We were hiding for two months only doing groceries and take away coffees. We schooled our kids. We worked through Teams and Zoom. We didn't bloody see anyone but we didn't let anxiety to take over common sense.
We have 102 casualties and few hundred active cases. Half of the states are clean of it. We are re-opening and are soon flying interstate and to New Zealand.
Cheers from Sydney, Australia.
Aku Valta
___________________________________________
Subject: Re: Everyday People
Hi Bob,
Your mention of piano lessons reminded me of my childhood. My dad used to drive me to Brooklyn College on Saturday mornings for "parent and child" piano lessons. As we didn't own a piano, I had to practice at a neighbor's house (my dad never practiced). That lasted for a semester, but I learned to read music. Then my parents bought a small upright, and found a local teacher, where I was taught classical pieces. Having never heard them performed, I had no idea how it supposed to sound, and I muddled through it (meantime, the teacher's son was playing Alvin and the Chipmunks records in his bedroom - a double standard perhaps?). After a year, my parents found another teacher, who came to our house. Supposedly I would learn to play popular music. He wore a hearing aid (my sister and I joked that he was listening to a baseball game) and he claimed that "Stardust" was a popular song. As an 11 year old in 1965, how would I have heard "Stardust"? Finally he gave me the opportunity to compose a piece of music for homework. I took out my copy of "Beatles VI" and transcribed the melody and threw in the appropriate chords for "I Don't Want to Spoil the Party" (B-side of "Eight Days a Week"). I played it for him and he had no idea what I had done. The teacher said, "Well, it's not "Stardust", but it's not bad". At the end of the school year, I was done with piano lessons forever.
Stuart Taubel
MC Mentholyptus Productions
___________________________________________
From: stuart marvin
Subject: Re: Everyday People
I saw Sly and the Family Stone at Madison Square Garden on February 13, 1970. It was a fabulous show, but also the strangest lineup of any concert I've ever attended. The evening opened w/ comedian Richard Pryor, followed by Fleetwood Mac (still a blues band but sadly w/ no Peter Greene), followed by Grand Funk Railroad and then Sly and the Family Stone. It was a multi-racial audience in an era very much still mired in considerable social strife. (Yes, we've since grown, but sadly not enough.) What I remember most about that evening? I remember a couple of black girls going positively nuts when they realized Little Anthony was in the audience rocking out by their side. I remember the whole Garden was one, and it made no difference—at least for that evening—whether you were white, black, brown or whatever, music was the great unifier. It bonded 20K people strong. That kind of magic really doesn't happen very much anymore, if at all?
Stuart K. Marvin
(Note-I was there too!)
___________________________________________
From: Amy Mantis
Subject: Re: Everyday People
Bob, last summer my mom and I went to see John Fogerty and he did a Woodstock tribute set within his show. If you were to ask us what was the best part of the night, we'd both say his Sly Stone medley of Everyday People and Dance To The Music.
My mom is 69, and I'm about to turn 30.
Hope you're doing well in the strangest days of our lives!
Cheers,
Amy
___________________________________________
From: Lee Stein
Subject: Re: Reopening
Hey Bob,
There was a great article last year in Discover Magazine titled, 'The Science of Gun Violence." The article proposes that guns be treated as a public health issue, similar to how we dealt with traffic fatalities many years ago — studies, test cases and then proposed solutions based on evidence. There has been very little research regarding what regulations and laws might work, but the article states that public health researchers agree "that suicide is typically an impulsive act, often aborted before completion." They cite studies from other countries regarding the correlation between gun availability and suicide.
In the 2000's, the Swiss army halved the number of solders, which also reduced the number of firearms in homes. The suicide rate among 18-43 year-old men dropped sharply thereafter. Similarly, around the same time, the Israeli army began requiring soldiers to leave their guns on the base during weekend leave. Afterwards, suicides among 18-21 year-old soldiers dropped by 40% annually.
There is some data we're just refusing to acknowledge it or perform any additional research.
www.discovermagazine.com/health/the-science-of-gun-violence
Best,
Lee Stein
___________________________________________
From: Steve Abramson
Subject: Re: The TikTok Generation
You nailed it with this one, Bob!
I'm 70 and tech savvy enough to at least ask my Millennial kids the right questions if I can't figure it out myself. My 29-year-old made over 300 grand last year live streaming on Twitch and he's a nobody to people my age. Most Boomers don't know what IRL means and have never even heard of Twitch, even though Amazon paid a billion bucks for it just six years ago.
Sure, Gen Z will get old and lose its cool just like we did, but right now they're calling the shots!
Love & Mercy,
Steve A
___________________________________________
From: chris stein
Subject: Re: The TikTok Generation
My 15 year old daughter got a million Tik Tok likes with a cat video and went mad with power
___________________________________________
From: Eric Howarth
Subject: Re: The TikTok Generation
I reserved my two seats at the rally with of course, zero intention of attending! It wasn't just the kids doing this. It was going around on IG too.
Trump is a fool. You'd think there'd be a point where it isn't shocking anymore. But everyday, I'm further surprised by his idiocy.
___________________________________________
From: jon topper
Subject: Re: Dave Chappelle "8:46"
Bob
For the most part it seems to me artists (at least in the world I was involved in) are afraid to speak their mind on how they feel or maybe are too lazy, and become real leaders. There are very, very, very few exceptions. Are they willing to play some music for a benefit? Sure they are. Are the artists willing to take a picture with a vote sign? Sure they are. Are they willing to put a BLM post on their socials? Sure they are. And are they willing to donate money?Sure they are. Have you seen one artist that is constantly on the top Pollstar touring charts, or even artists that have 25% of their mostly-white following compared to those artists say to their fans 'Hey meet me at 12pm in some spot and we will all march together'? No. This is a time where the people who have the influence need to step up and use their power. I think it is great that new songs and new albums are being released, but it should not be the priority right now. If Covid is keeping you from marching I understand, then how about a Facebook live event where you write a letter with all your fans to each of their individual representatives? How about stop worrying about playing a show at a drive-in and making that drive-in performance a rally instead? I hope I am wrong on what I wrote and I have just not seen it from artists. If I am, I apologize, and let me know how I can help you. We need our Joan Baez, we need our Peter Paul and Mary right now, because without radio we are most likely not going to have a Dylan.
138 days is all we have left to make a change.
Jon Topper
___________________________________________
From: Tom Rooney
Subject: Re: The Live Nation Memo
Bob,
Legendary manager of artists, Herbie Herbert, said "You only play a shed when you're dead!" Amphitheaters gave life, a Senior Tour of sorts, to acts that were well past their popular prime but that could command low price shows in low expectation venues where people tailgated in the parking lot on summer nights before straggling in to see three act shows that turned into singalongs.
Many of these amps like Great Woods in Boston, Blossom in Cleveland and the Mann Center in Philly were summer homes of the symphonies. Rock and roll paid the bills for those nonprofits and promoters, squeezed out by rising talent prices and horrible margins, learned they could four wall and make a lot of money by owning or having a piece of parking, ticket rebates, merch and concessions. These shoes were "wet"....80% of the concession sales were liquid....almost all beer. The profit margin on beer is hideously high!
So companies like Pace in Houston, where I was President of the Facilities Group with a network of some 18 venues from L.A. to London, thrived by aggressively building or privatizing existing sheds.
The concessions deals had volume retroactive rebates and our venues often booked late or flimsy shows....bands with one original member....just to hit those marks. That gave even more life to Herbie's "dead people."
No doubt, Jimmy Buffett and amphitheaters are synonymous. You couldn't have an amp without Jimmy and the Howards.....Howard Rose and Howard Kaufman knew it. Hence, the more than 100% of the deals.
There was no act like Jimmy. You could book him three nights and 50% of the fans would come all three nights. One year he took off....a European vacation for the family. Our budgets got killed.
Tom Rooney
___________________________________________
From: Martin Media
Subject: Re: The Live Nation Memo
Bob-
I'm an independent promoter whose first show was in high school in 1978 in the Bay Area. I promoted gospel music in the churches, met Bill Graham and co-promoted a few events with him when contemporary Christian music suddenly started filling arenas and Amy Grant's manager wanted to pair the gospel promoters with rock promoters. Amy got big enough to sell out the Forum in LA in 1986. Eventually I went broke because really, most small promoters back then could never survive a big hit like bidding too high on a show priced out of a small promoter's range. Anyway, I regrouped and started promoting again, also with my own money, doing mainly R&B shows and working alliances with great people at Nederlander and Concerts West, among others. The SFX's of the world weren't interested in buying people like me out, so I plodded along - again with my own money - until the 2008 Recession bit my ass again. Today, I'm fortunate to have a third life in the business some 40 years later and actually doing better than ever. I have finally learned my craft because when you make and lose your own money - not someone else's money - the lessons are learned. My gut feeling is that Live Nation is detached from the individual feeling of ever having your own money on the line for a gig. Win or lose, whoever's making their booking decisions is going to be OK. For independents like, I'm ok when I win but I'm out of business when I lose. If Live Nation were to go back to the original concept of operating under mutual consent with artists and being transparent about everything on the table, they wouldn't have to issue memos like this. Because you are absolutely right - the Frank Barsalonas of the world made sure people like me stayed in business by actually "taking care of us" the next time around.
___________________________________________
Subject: Re: Everyday People
The genesis of my career arc is interwoven with this song Bob. Everything you described in your letter here was my beginnings. But instead of a rec room, we dragged a Teisco Del Ray and a Harmony elec guitar down into my next door neighbors Bomb shelter! That's right. A Cold War Bomb shelter left over from the 50s! The reverb in there was great and we bothered no one!
I learned my chords and played Secret Agent Man and Gloria and the like that summer of 67. I even started a little 3 guitar band but no bass. I had never seen or played a bass yet.
A year later I was operating the light show with friends at an 8th grade rally at my Jr High school. Earlier I had tried to get Renee Ballard a cup of punch and asked her to dance to the record player that was coming through the PA, but she wanted nothing to do with me. I was a nerd nobody.
We were backstage with the Pyrex bowls full of colored jello on the overhead projectors. My job was to scape the lime, orange and cherry jello into the Pyrex bowls when the light bulb melted the jello into a terrible brown sludge. And I was very happy with my psychedelic job. The band was also backstage with us and was about to play the student body election rally and dance. There was a Fender Precision bass and a cream Fender Bassman amp sitting there on stage. But the bass player had been grounded at home by his mom and he had not shown up.
The drummer, who I knew vaugely from home room, yells at me "Hey you play guitar don't you?!" I told him a played a little. He asks, "Know how to play bass?" I said I'd never picked one up before and didn't even know how they were tuned. He says, "well you're gonna learn now! Ricky got grounded and he can't make the gig. You gotta play! We're going on in two minutes. Pick it up!"
I was of course in shock but I always wanted to get in a band and play for a big crowd and the auditorium was packed. I put down my spatula and I picked up the bass and strapped it on. And so began my baptism by fire.
The drummer John says, "Everyday People by Sly. 1,2,3,4!"
The curtains open and 300 kids are staring at me. I start sliding up and down the neck trying to find that doggone one note. The bass line for Everyday People is one note. One! And I couldn't find it!
Eventually I found it and dig into those 8th notes with a hard pick I had in my pocket. The guys running for student body office kept talking over the groove and we played for like 8 min straight. By then I was getting pretty cocky with that one note and started dancing a little while playing. Even John was smiling at me now. We finally finished the song and the place went nuts. It's such a great song and the driving rhythm gets everybody dancing. And then something wonderful happened.
I walked up to the edge of the stage to take my bow and low and behold a pair of horn-rimmed glasses were staring up at me in awe. It was Renee Ballard looking up at me like I was a golden god. I think she even reached out and touched my foot. It was right then and there I decided that I had to do this for the rest of life. True story.
Years later I would learn that song and embrace the special meaning of the lyrics and how much of a genius Sly was. My brother in law went to high school with him in Vallejo and told many stories about Sly as a tough teen growing up in a tough naval shipyard town. He was a prominent radio DJ before he formed the Family Stone. There would be no Prince without Sly. Thanks so much for conjuring up this milestone memory.
Kenny Lee Lewis
___________________________________________
From: Jim Edwards
Subject: Re: Skyhill Studios
Bob -- What a great piece on Leon. Sorry for the slow response but it was hard to know how deep to wade in. I'll stay on the shallow end just so I can say thanks for the kind words about Leon and quickly fill you in on the next chapter in Leon's life.
As a Tulsa guy, I was a senior in high school when Leon sold that Skyhill house and moved back to Tulsa (as in "Take Me Back To Tulsa"). He was at the peak of his powers, the height of his career and he moved into the house across the street from my childhood home (!) literally.
It certain made me believe in "God, Love and Rock and Roll," to quote the huge hit of another Tulsa guy, Dave Teegarden of Teegarden & Van Winkle.
Leon was a great neighbor. He took my dad and I for a ride in that hounds-tooth Rolls Royce featured on the back cover of "Carney". I was dumbstruck in the back seat but my dad, a career salesman who could talk to anyone, carried the day. He considered it the greatest sale of his life when he talked Leon into paying ten bucks to join the historic neighborhood association that had been formed to stop an expressway threatening to come through. I also recall there was a copy of Robert Heinlein's "Stranger in a Strange Land" on the dashboard -- the book that inspired Leon's song of the same name on the Shelter People record -- and he was telling my dad and I that we ought to read it.
I got to know Leon a little bit in the later years. His one-time engineer and lifelong friend Steve Ripley bought the Church Studio that Denny Cordell and Leon had bought to launch Shelter Records and Leon would always call Steve up when he was driving through Tulsa on his own version of the Dylan-style Never Ending Tour. And sometimes Ripley would invite my family to join them all for dinner, where Leon would quietly entertain the group with tales of Barbara Streisand or Phil Spector or his latest breakdown on the bus. He was a kind and funny guy, with a dry sense of humor that was part of the overall "Tulsa deal" that he helped carve into the local zeitgeist before exporting into the upper echelons of the rock's greatest players.
In 2011 I was asked to interview Leon for the cover story of the 25th Anniversary Issue of a regional magazine, TulsaPeople, and with the help of his former muse, Emily Smith, I landed what at the time was a rare interview.
I've attached it here as a way of ending this already too lengthy email. There's also an interviews with Ripley I did for that issue and a Leon history, most of which you already know.
All the best to you, Bob, and thanks again. Your writing always takes me up a notch and this piece on Leon caught me on a bittersweet evening when I was missing my ol' pal Steve Ripley, who died 18 months ago. It was great to revisit the glory years as well as to grieve the losses and marvel at the passage of time with your colorful family of readers.
Warm regards,
Jim Edwards
www.tulsapeople.com/archives/leon-a-triumphant-return/article_7022e17d-40b4-5bfc-97ed-a7e5d11eb239.html
www.tulsapeople.com/my-first-real-meeting-with-leon/article_ec711ae5-d183-54a9-9ca1-38b4b7545a44.html
www.tulsapeople.com/archives/leon-mastering-space-and-time/article_60c41a86-7712-5a44-8e3f-2692617a8d4d.html
___________________________________________
From: Rob Maurer
Subject: Re: Reopening
Date: June 11, 2020 at 6:50:17 AM PDT
We live in a section of Brooklyn that has had very low levels of COVID since lockdown. Yet, every time I went out for a walk to clear my mind - masked - everyone else appeared to be not wearing a mask.
Like Howard, it infuriated me. I even went on a neighborhood FB page and voiced my frustration, only to be admonished for being unsympathetic to people who might be anxious about wearing them, or who might already have antibodies. THEY might be anxious?! Only took 3 replies to get an "OK, Boomer" (I'm Gen-X, btw)
My parents live nearby - 73 and 74, each with health issues on a good day. They got with the mask and gloves program, but still continued their normal lives shopping at the supermarket, going on the bus, the post office... We could do nothing to stop them. No illness, thankfully.
By Memorial Day, we let our guard down, had them come over figuring the worst was over. Spent a lovely day together. 4 days later, Mom loses her sense of taste and smell. Dad, apparently, had been dizzy on and off since a week prior, told no one. Getting them tested was a debacle I'll save you from, but they ultimately both tested Positive. Mom doing worse than Dad, but basically just flu-like symptoms. Almost two-weeks in.
We are on self-isolation, having been exposed. Got another week, but we're asymptomatic. Then, we get antibody tested. We were told not to bother getting swab tested unless we show symptoms.
We let our guard down. My parents, never really had theirs up.
THIS ISN'T OVER. Not by a long shot. But NYC is opening for business.
—Rob Maurer
___________________________________________
From: Bob Ezrin
Subject: Re: Bob Ezrin-Part 2-This Week's Podcast
Cool. Thanks for having me do this. I've enjoyed listening back to snippets of it. It's clear that I was enjoying myself. I felt very comfortable talking to you and you're a very good interviewer.
When's your next mailbag? Would you mind putting this in:
I forgot to mention someone really special in my Peter Gabriel "Dirty Dozen": Joey Chirowski, who played organ on the album and was a bright light throughout the entire session (and sang the high part on Excuse Me!). Aside from being a brilliant player, Joey was among the sweetest and happiest people I'd ever met. He had a sparkling and infectious smile. It was as though he had his own dedicated Klieg light. Joey added a lot and I should have mentioned him in our interview.
Thanks.
B
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