Satisfaction is interesting track for me because my mentor Dave Hassenger who taught me the art of engineering, recorded and mixed that song along with a number of others at RCA studios in Hollywood.
He told me great stories of the night he mixed that song and he woke up Mick & Keith at 6am to play it for them and neither of them thought it was a single.
Val Garay
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Subject: RE: Why He's Bob Dylan
A quickie re. Dylan at Newport. I was there in the fenced off section right in front of the stage...standees only...performers, press, etc. I was there playing guitar at the festival with Ian and Sylvia; and she and I were standing in maybe in the 5th row if one could say there were rows. The reports of booing? Highly over-hyped. No, the old school folkies...Pete Seeger and his crowd were not happy about Dylan so abandoning the Woodie Guthrie clone sound. And some back in the audience didn't like it. But I do not remember hearing much protest. The performance was loose, to say the least. It was chaotic. The sound system could not handle the on-stage volume. Joe Boyd and Paul Rothchild had hell on their hands re. sound. But it was exciting as hell.
Rick Turner
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From: Michael Craig
Subject: Re: Why He's Bob Dylan
Friends of mine - both Dylan fans - once went to the same Dylan concert unbeknownst to each other. Much later they met up and the topic turned to Dylan live. One guy said he had recently been to see Bob and thought it the best show he had ever attended. The other guy said he had seen Bob and thought it the worst. Only after another 10-15 minutes of banter did they figure that they were talking about the same show. Meanwhile, a covers playlist assembled by my friend Lionel - thanks for the Faces tip!
open.spotify.com/playlist/56xSZ587zFgb40SI4Qn52c?si=UgVs2B-RTDG8UfxJGiFTCw
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From: Martin Schwartz
Subject: Re: Why He's Bob Dylan
It was 1983, I was in my office at Paramount producing a TV show called Rock of the 80's. At that point we had eleven stations in the US and one in Austraila that bought the KROQ format that I was pitching. My secretary buzzed me and she sounded rattled. She said Bob Dylan was on the phone. I laughed and told her someone was messing with me and to ignore the call. She walked in my office and said she was sure it was Bob on the line. I took the call then Bob asked me if he could come over and play me his new record. I cautioned Bob and told him I don't make programming decisions for KROQ. but.he insisted. The Paramount lot was a buzz that Dylan is coming on the lot. My office was adjacent to Lucy Park named after Lucille Ball. I walked outside and saw a group of people gathering in the park including high level Paramount brass. In walked Bob and gave me the record. I told him I will listen and get back to him..the thought of listening to the record in his presence was daunting. He insisted so we put the record on and we listened..to the entire record. The record was not exactly KROQ friendly. I had pitched a lot of music by then but never had a record pitched to me by an artist…. Bob Dylan no less.
I've never told this story..who would have believed it anyway?
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Re: Bruce Hornsby In Relix
Bob.... Bruce has been a friend for a long, long time. I have always been in awe of his talents, ever since our first encounter In a club in Virginia when I had Sea Level... must have been around '76/77. He scared the crap out of me then, but was ... and has been ever since... all these years, a gracious, fun, inspiring, dynamic personal friend, for which am eternally grateful. RESPECT...
He is fearless as an artist, and I admire that so much. Everything he has done guesting with others has lifted the music a notch or ten and made things better. Bruce, Hail and Love for all you have contributed to our instrument, songwriting, rock and others genres ... not to mention the beautiful voice. Groove on...Yer Pal, Chuck Leavell
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From: Steve Lukather
Subject: Re: Bruce Hornsby In Relix
Bruce Hornsby is a huge gift.
Known him casually since the late 70's. My brother and genius engineer-producer Elliot Schiener produced his breakout album, David Foster turned me on to him when we were all so young. We all learned of him thru '
The Way It Is ' but man.... he is so much more as great as that is.
His songwriting is amongst my favorite outside of his virtuosity.
The stuff he wrote for outside artists... incredible stuff he gave to others or wrote for them,....'End of the Innocence'- I Can't make you Love Me' ...2 of the best songs ever written in my opinion.
His style is so recognizable and huge sounding.
His piano voicings alone should be studied. He is a musician you can't pin down as he could and has done everything. And one hell of a nice Man on top of it all.
He is like Bobby McFerrin, Zawinul, Corea w/ Spain etc.... although classics., Coltrane did Giant Steps different all the time , different tempos arrangements, Miles the same... Bruce is up there with those cats to me.
Luke
PS Longevity is key. I still practice everyday. Not get get faster or better but to expand my vocabulary. Keep the muscles loose ( I'm old now)
You will never hear a real musician say ' Well thats it, I know it all now, pass the beer please'. Not the guys I know. Pat Metheny comes to mind. His touch alone is insane + His musical vocabulary is like speaking 50 languages. Touched by God... and Bruce and him worked together so.. 'Nuff said.
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Subject: Re: Bruce Hornsby In Relix
Hi Bob,
That was a great piece on Hornsby.
I used to manage Bruce, in the early 2000s. The "management playbook", if there is such a thing, definitely got thrown out the window while working with him, and I mean that in the most positive of manners. I learned more from Bruce than I have from anyone in the business. He was never compromised by people's expectations - not once, even in the smallest of ways but certainly not with his show setlist. Even his band didn't know what was coming next from night to night, or even song to song. It made each performance exciting and special. From my perspective he played the stage like it was a basketball game. He was there for the enjoyment of it, and to win - musically speaking. Being an excellent musician was top priority for him, and it shows.
I'll forever respect him and his approach to music and I do my best to pass those principles along to the next generation of artists.
Dave Rose
Deep South Entertainment
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From: Dean Budnick
Subject: re: Bruce Hornsby In Relix
Hi Bob,
Thanks for the kind words on Relix.
The evolution you describe really began when Peter Shapiro came on board as our publisher in 2009. He certainly is a fan of the good ol' Grateful Dead but his eyes and ears are so much more expansive.
You've previously written about the struggles that print publications currently face, so you're well aware that we are fighting the good fight.
Having said that, during this particularly challenging moment, I look to the artists who continue to inspire us.
The issue of Relix with the Bruce Hornsby article you reference features a Trey Anastasio cover story. Trey just wrapped up an eight week run live from the Beacon Theatre, connecting with his community while offering free music (and no song repeats) via Friday night Twitch streams. What's more, he solicited donations for the Divided Sky Fund, which will be administered by Phish's non-profit, the WaterWheel Foundation, to assist people affected by addiction (the pandemic has taken its toll here) and also to facilitate the creation of a treatment center in Vermont.
tiltify.com/@thebeaconjams-dsf/divided-sky-fund
I also think of the band Galactic, which purchased their hometown venue, New Orleans' iconic Tipitina's at the end of 2018, with the hopes of sustaining a local cultural treasure. As a result, not only are the band members currently facing personal challenges given their loss of gigs due to COVID, but their hardships are compounded by the fact that these are dark days for venues. Meanwhile, Tip's is scrambling not only to maintain its own survival but continues to aid others in need by raising funds on their behalf (Last night Tipitinas.tv hosted a show that benefitted the Second Harvest Food Bank, which provides sustenance to folks in South Louisiana).
www.tipitinas.com/
So even as we maintain our own mission here at Relix in support of the sweet sounds, we draw inspiration not only from wonderful musicians but also from deeply admirable people…
Take care,
Dean
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From: Robert Falgiano
Subject: Re: Bruce Hornsby In Relix
Hi Bob. I've booked Hornsby multiple times and seen him live a few more. I totally understand what he says about performing what you're most passionate about. The difference got hornsby is that he has the raw talent to pull it off whereas others just can't. His piano playing is so evolved and interesting that he can improvise strongly without wasting air. I enjoyed him on and offstage. A small thrill was when he came down the hallway before a show and wondered what he should open solo with. I told him I loved the letter instrumentals like Song C and Song D, so he went out and knocked one out with gusto. Pretty awesome. I would see him repeatedly because he doesn't crank sausages. He keeps evolving. Again, not everyone can pull it off. Rob
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From: Tom Kenny
Subject: Page and Plant - Hurdy Gurdy | Gallow's Pole (Live)
Bob,
I was very fortunate to be page and plants lighting designer .
We went t, the ends of the earth and blew everyone away with a show that was like a 747 taken off .
Europe , the states ...Asia ..South America ..the eastern block
The word stunning doesn't get close to how good the shows were received ,
We used to land like an alien space ship,
They even were my wedding infamous wedding band in western ireland ,
Be safe
Tom
youtu.be/466HEu-rdf4
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From: Juan Mier
Subject: Re: Re-I Got You Babe
I am surprised no one mentioned the best version—the one with Beavis & Butthead, turning the oboe into guitar through a few distortion pedals
youtu.be/C91WgKc541s
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From: Marius de vries
Subject: Re: Re-I Got You Babe
hey bob
i couldn't read this without sharing one of the strangest and most fun sessions i've ever done.
guess the guitarist!
all best mdv
youtu.be/C91WgKc541s
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From: Jamie Kitman
Subject: Re: Tom Werman-This Week's Podcast
Tom was my next door neighbor growing up - I babysat for him and his wife's first two children — and I can credit him w both my going to Columbia as an undergrad and the idea that there was a living to be made in the music business. An inspirational fellow you might say.
P.S. To amplify, this was in Leonia Nj when Tom was a junior A&R man signing as a yet unsuccessful Rupert Holmes. He taught a class in the music business in his home at night in our public alternative high school. There he introduced us to editing songs (c Quadrophenia) and Dave Marsh and Peter Knobler who edited Crawdaddy. He invited me to represent my generation, one of three, in an upcoming theme issue, with the other two writers being Studs Terkel and Muhammad Ali. I'm convinced all the august company got me into college despite an uneven pass-fail grade record. Tom also turned me on to The Byrds for which I will be forever grateful, as well as pre hit Peter Frampton, Thunderclap Newman and a bunch of other cool stuff. And he was at the very first They Might Be Giants gig in LA at the Club Lingerie (I'd stay at his house) in Studio City and was very supportive despite it being far removed from what his new life as LA's premier hair metal producer was about. I remember being at his place in Studio City when the LA Guns sent over a celebratory gift 911 coupe when their record went platinum:multi platinum something. He was on top of the world.
But I also remember c1982 when The Meat Puppets who I managed wanted him to produce what become their only gold record Too High to Die. We knew it had a hit (Backwater) but the label didn't believe it and grudgingly said he could produce it on spec; no money upfront. We were very embarrassed and saddened. Grunge had arrived and he was out and it all seemed so unfair. Ultimately Paul Leary - w the endorsement of Kurt Cobain, whose enthusiasm for the Pups helped turn the label around - got the gig and it was also fine album in the end.
I also had Tom give a speech at Columbia to a group of students and alumni about reinventing himself after his life in rock's fast lane. It was brilliant and left many, myself included, w tears between the smiles and laughs.
No one was, is or ever will be perfect, but Tom Werman has rocked my world.
___________________________________
Subject: Re: The Warren Miller Documentary
In flatland Chicago everyone would dread the onslaught of winter but the one bright spot was dressing up in our new neon ski jackets to watch Warren's films. We knew our people - those so desperate for snow and a slope that we would fly out to Copper or A basin for Thanksgiving, even with one lift open.
Years later I had tea with Warren in Montana and we discussed our shared love for the other magical place in his life, Orcas Island. He had recently broken his back skiing and he was in a lot of pain. Moreover you could tell he was realizing this was the big one, the thing that would make it almost impossible to ski like he had before.
We'd always see him on the slopes because he was such a big man. He was the ski ambassador for the Yellowstone Club, which for a long time was a haven for Midwestern powder junkies like us, with a portable trailer for a lodge, before it went bust and then became a celebrity haunt for Justin Timberlake, Cindy Crawford and Russian oligarchs with ski bunny prossies. He didn't fit in that new version of the club and was sincerely embarrassed about it. Hence the discussion about his other pure love for the water in Washington State. Nevertheless, he was a gentleman and very discrete and welcoming to everyone, despite his fame. He urged me to go to those special places in my life while I still could, and I often revisit that gentle conversation over tea. I do miss his sweet humor and the simplicity of getting amped for the season with him.
Johanna
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Subject: Re: L.A. Locks Down
Date: November 28, 2020 at 11:07:26 AM PST
Bob,
I have a NEW perspective. I live in Bedford in Westchester where it seems everyone is a Millionaire or Billionaire.
I'm not. I worked for twenty years at Lehman Brothers wher I made a lot and spent a lot. It was Ok because between the 401K and ESEP plans, I always had a fallback.
Lehman went bankrupt and unlike Bear Stearns and AIG, I guess it wasn't too big to fail.
I went into the Music Business and despite being a self admitted Music Business wannabe, I succeeded in the tween pop Business and built a boy band called Dream Street, (Signed by Flom- Malls to Madison Square Garden- Beatlemania albeit with cult like numbers....before it imploded)
I wrote and produced a Movie Musical called Drama Drama and after screening and signing with Endeavor Content and a Hot Shot Forbes 30 under 30 Agent, complete with the promise of a Netflix Original Deal- NOTHING..
And with 2 college age kids and NO INCOME, I survived until the Virus raged on.
At 61, having worked for myself for 22 years, and still shopping my movie- I needed a job -not a career- (not that anyone was offering).
One of my Film Investors owns a very large Candy Distributorship. He offered me a job on the night shift (5:00 PM to 5:00 AM) 5 days a week.
I work with amazing latin guys. They are fast, strong and grateful to have a job.
I kvetch and drink Black Iced Coffee for 12 hours 5 nights a week.
What's my point? We in the warehouse are ALL going to get Covid. It seems unavoidable, Prior to working there, I would glare if someone in the Socially Distanced Bagel Store or Whole Foods let their mask slip below their nose.
In the warehouse, masks are often, falling or removed including my own.
The business is considered an essential business and will stay open.
The job might kill me, but I need the money. Most of my co-workers are 25-30.
My point is this is how Covid spreads and this is how it's become hard to contain and this is a world that I guarantee none of the Bedford women in their Lulu Lemon wearing Designer Masks knows exits.
I feel fine today. God willing I'll dodge this bullet.
Regards,
Brian Lukow
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From: David Stopps
Subject: #ILoveLive Campaign for UK stage crew - Mark Knopfler, Nick Cave, Radiohead, Pete Townshend, Elbow participating
Hi Bob
I'm organising an #ILoveLive Stagehand Crowdfunder Prize Draw campaign to raise money for stage crew here in the UK
Here's how it's going: www.crowdfunder.co.uk/i-love-live
It's going amazingly well. Mark Knopfler is miles out-front but Elbow, Nick Cave, Eric Clapton and Liam Gallagher are moving on up. Radiohead launched today at 1.00pm and are flying.
Each band has their own prize draw and tickets are £5 each. It ends on 17 Dec and all proceeds go to helping UK stage crew. Some of the prizes are amazing
Tomorrow we launch with Pete Townshend who has put up his gold Fender Strat that he used at Wembley Stadium last year.
Surprises are 2 Glastonbury Tickets which have attracted over £20,000 and Marillion who you may not know. They're a prog band from where I live (Aylesbury in the UK) and operate completely under the radar. They have an astonishingly enthusiastic, devoted and generous worldwide fanbase. You never hear them on the radio but boy do they look after their fans.
Love peace and live music
David (Tom Bailey manager)
P.S. Don't know if you're keeping an eye on this but it's fascinating. Nick Cave & Warren Ellis stepped up a gear yesterday and went past Radiohead and 2 Glastonbury tickets.
www.crowdfunder.co.uk/i-love-live
I can't believe that the biggest bands in the world are competing with 2 Glastonbury Tickets….but hey it works for us.
Pete Townshend is moving up steadily. He went past Nile Rodgers this morning.
It's a test of which artists are in touch with their fans and which aren't.
We just went past the quarter of a million pounds mark….and Mark Knopfler went past £50K on his own.
___________________________________
From: Steve Stewart
Subject: Re: Dylan Sells
HI Bob -
This is really a question of long term vs. short term gain. Song rights are an uncorrelated asset class that is seeing a "resurgence" in value due to Merck and the big banks lining up to finance his company and the other music acquirers.
We started Vezt (www.vezt.co) to give artists the ability to hold on to their rights, while monetizing them on a fractional basis at a RETAIL level - from their fans. Basically, crowdfunded publishing.
Streaming is still in its nascent stage - sure there's penetration in most first world countries (with the exception of Japan - the world's second largest music market, where physical is still 83% of music sales), but plenty of growth potential in second and third world countries where billions live and love music, too. Ten years from now, not only will artists be paid more per stream, there will be 10X more streams, as new platforms and micro-licensing opportunities continue to expand.
Merck will make his money back and much, much more. His formula is genius - take the cream of the crop. Where other publishers have huge overhead and have catalogs where most songs are not generating huge revenue, Merck cherry-picked the best songs and has (so far) kept overhead down, focused on "managing" songs, rather then just sitting back and collecting. Remember, buying at a 15 multiple means he will break even on the purchase in 15 years if the income remains the same as it is at the point he purchases. If income goes up, that breakeven timeframe gets smaller.
It's hard to turn down hundreds of millions of dollars - Brendan O'Brien (who produced 5 records for Stone Temple Pilots when I managed them) was the biggest catalog Merck acquired - for a minute. Something like 1,400 songs - most of the big hits from the 1990's. He sold, as did some of the biggest artists, writers and producers over the last 40 years. Were they right? Only time will tell.
I've run across many artists and writers who have sold their catalogs for what seemed like a windfall at the time - and every single one of them regrets it...
-Steve Stewart
CEO Vezt
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