RUMER: THE VOICE OF 2011

Whilst Adele achieved critical and commercial saturation during 2011, Rumer was also a worthy frontrunner for the Voice of 2011.

Rumer [real name: Sarah Joyce, and of Anglo-Pakistani origin] quietly released her debut long-player “Seasons Of My Soul” in late 2010, however with a voice equal parts Karen Carpenter & Dusty Springfield it didn’t take long for the music industry to recognise a major talent in the making.

Within reason, if “Seasons Of My Soul” was released 40 years ago Rumer would be a huge star in the music industry. The songs are written and recorded with real instruments, and in the main tell real stories of which music lovers can all appreciate. Rumer has “lived her life”, and she has the voice to articulate these stories to perfection.

It is interesting to note that Rumer has been endorsed by such music heavyweights as Burt Bacharach, Jools Holland and Elton John. Further to this, Rumer’s vocal tonality is a perfect fit for Bacharach’s melodic song writing style. It comes as no surprise that Rumer has recently worked with Bacharach on his new compositions.

Whilst “Seasons Of My Soul” has been critically acclaimed and sold well in Europe, it is far from perfect. The media has focussed on the songs “Slow” and “Aretha” [the latter of which sounds similar to Corrine Bailey Rae’s “Put Your Records On”], however my favourite track is the bouncy opening song, “Am I Forgiven”. Rumer’s voice can’t be faulted on any track, however the collection leans too heavily upon brooding “torch” songs. Rumer shares the writing credit of the long player’s original songs with her mentor, Steve Brown, however CD Number Two would benefit from the inclusion of some tracks from writers external to their inner circle. The three cover versions [David Gates’ “Goodbye Girl”, Cilla Black’s “Alfie” and Steven Bishop’s “It Might Be You”] all work well to a degree, noting that Rumer has now sung the definitive version of Bacharach & David’s “Alfie”.

Rumer is no overnight sensation, and “Seasons Of My Soul” is one of the better long player releases of the past 12 months, notwithstanding a very solid debut collection. Noting that Adele is suffering from media & vocal overload, it will be very interesting to see whether Rumer can attain global popularity whilst Adele stays out of the limelight. With a voice as pure as one has heard, Rumer deserves to be a success. How ironic that an extremely talented musician raises her presence in an era where marketability presides over substance…

MUSIC IS ART; ART IS MUSIC

Music is an aural and visual medium. Whilst the aural component may initially attract the consumer of the music, there is an equal debate for the visual element.

We have all been attracted to the “cover art” of recorded music on at least one occasion in our lives. It may be recorded music of an artist that you know & enjoy, or it could be an unknown artist; sometimes the “cover art” is simply very appealing, and it draws you in. It makes you listen to recorded music, of which you may never have stumbled upon in any other situation.

Great collections of recorded music [whether that be commercial and/ or critical success] invariably have great “cover art”; it simply goes with the territory. I’ll list some examples:

• “Abbey Road” – The Beatles
• “Nevermind” – Nirvana
• “Dark Side of the Moon” – Pink Floyd
• “Rumours” – Fleetwood Mac
• “Country Life” – Roxy Music

The list is endless. In each case, the “cover art” of these music recordings is instantly recognisable and synonymous with that particular recording. Whether it be the artists’ picture or a graphic, these cases will be deemed “classic” for ever and a day.

I have become concerned that the “visual” aspect of recorded music would gradually disappear in conjunction with the steady reduction in physical music sales. There is a material difference is admiring the “cover art” of a physical music recording as opposed to clicking on a thumbnail image of the “cover art” via the Internet.

This weekend’s visit to my local JB Hi-Fi shop [a prominent music retailer in Australia] has set my concerns aside. “Cover art” is alive and well.

“21” by Adele has been the highest selling CD/ mp3 et al in Australia in 2011 [and the rest of the globe]. Adele’s phenomenal success is based upon equal parts brilliant voice & memorable songs, however it comes as no surprise that “21” also features brilliant “cover art”. I had no idea of Adele or her story until April of this year, until I stumbled upon “21” on the music play list of a commercial flight. Why was I compelled to listen to the songs of “21”? The “cover art”; Adele’s black & white portrait immediately grabbed my attention.

Some music critics are claiming “21” to be the saviour of the recorded music industry, as physical sales of the release have been enormous. Maybe [just maybe], “21” has unwittingly rejuvenated the importance of “cover art” for the modern music generation.

Music is art, and art will always be music.

WHY DOES EVERYBODY HATE NICKELBACK?

Canadian corporate-rockers Nickelback have experienced a couple of very tough months in the music media.

Firstly, Nickelback were voted the band with a musical soundtrack least likely to arouse “romantic feelings” between a man and a woman.

Secondly, the good folk of Detroit, Michigan have commenced a petition [some 40,000 + people!!] to remove Nickelback as the half-time entertainment during the upcoming NFL playoff between the Green Bay Packers and the Detroit Lions.

Nickelback appear to have become the music media’s favourite whipping boys over the past 5 years; where does all of the “anti-Nickelback” sentiment emanate from?

Is it their music? In all fairness to Nickelback, their style of music is “rock by numbers”, full of power chords, big choruses and clichéd lyrics. Then again, the same can be said about Bon Jovi, however New Jersey’s finest [sorry, Bruce] don’t get anywhere near as much bad publicity as Nickelback.

Is it their band name? According to an urban myth, bass player Mike Kroeger coined the phrase “and here is your nickel back” when working for Starbucks as a teenager…

Is it their commercial success? 2005’s “All The Right Reasons” CD sold in excess of 6 million copies in the United States of America alone, which spells big numbers in an era of regressing recorded music sales. Let’s face it, the music of Nickelback appeals to many, many people.

Is it their nationality? It’s a North American thing; USA vs. Canada. Are the people of the 50 States jealous of their Northern neighbour’s huge success?

Is it Chad Kroeger’s hairstyle? The brown goatee beard and dyed-blonde front mullet is certainly unique, and in many cases represents one’s initial visual thought of Nickelback.

It doesn’t matter which way that you analyse the situation; someone started the “anti-Nickelback” phenomena and I’m keen to identify the individual! Whilst I doubt that the boys from Nickelback are unduly perturbed by all of this “talk” [any type of publicity is good publicity], it does seem strange that the ill feeling has grown to its present state.

I’m keen to read your comments about Nickelback, and whether anyone can source the original “anti-Nickelback” instigator!!

LIVE PERFORMANCES: EARNING YOUR FEE

There is an old adage in the business world; “treat all people with respect as you climb the ladder of success, because you will see the same people as you revert down that same ladder”. I would suggest that Flo Rida and Meatloaf pay strict attention to this phrase.

Flo Rida [one assumes that he originally hails from Florida] appears to be a generic rap performer who has struck it lucky and found a massive global audience. In isolation this is fine and what every performer strives to achieve, however success comes with responsibilities in order to maintain the success. Today’s breed of music superstars are invariably challenged by the prospect of “live performances”, and it would appear that Flo Rida is the latest victim of this so-called curse.

Recent media reports indicate that Flo Rida failed to “perform” at 2 concerts in Sydney during his Australian tour in October. This is despite the fact that Flo Rida’s performance fee had been paid in full upfront and all gratuitous expenses were also absorbed by the concert promoter. The irony lay in the fact that Flo Rida was actually present at the venue of 1 of the aborted concerts, however he was deemed to be “unfit to perform”.

This media release can be interpreted in any manner as one deems to be appropriate; this being said the underlying facts remain in focus for all public performers. If you are going to accept your loyal audience’s money, you need to earn your keep!!

Which brings us to Meatloaf…

Meatloaf is a rock God, however he is 30 years past his prime. His legend is earned by way of compelling live performances, although the intensity of his act saw his voice blown out many years ago. Meatloaf was contracted to perform at the Grand Final of the Australian Football League in Melbourne in early October for circa 20 minutes for a reputed fee of $150,000.00. The warning bells should have been heard from the outset…

Granted that Meatloaf performed to a backing tape & without a sound check, his live vocal performance was appalling; some might say the worst singing effort ever by an international act in Australia. Upon leaving Australia, Meatloaf was quoted in the media as stating that the Australian Football League officials were “jerks”. Meatloaf won’t be made welcome in Australia ever again, and he should not have accepted his performance fee if he wasn’t comfortable in performing at the time.

In both cases, Flo Rida and Meatloaf may actually sell a few additional CDs/ mp3s on the back of the self-inflicted negative publicity. After all is said and done, what is more important in this case? Are both artists viewed as being “entertainers” or “musicians”? Whilst neither is technically a “musician”, can either be defined as an “entertainer” if they are incapable of entertaining?

1980’s ROCK BANDS: WHEN THE CREDIBILITY HAS DISAPPEARED FOR GOOD

Motley Crue were at their commercial peak when I was a teenager/ adolescent, way back in the late 1980’s/ early 1990’s. Whilst I wouldn’t have ever considered myself to be a “fan”, I have always been mildly fascinated by this rock group. Most people of my age read “The Dirt” in a state of awe & amazement; if Vince Neil, Nicki Sixx, Mick Mars & Tommy Lee partook in only a 1/3rd of the debauchery detailed in the book, then I tip my hat to their continued existence and health!

“The Dirt” also focuses on Motley Crue’s live performances as being an important ingredient in their immense popularity. The Crue’s songs are essentially “rock by numbers” and standard fare in comparison to the plethora of other 1980’s “Big Hair” rock bands, however Vince & the boys could historically be relied upon for above-average musicianship & plenty of energy in their live act.

That was then; but what about now?

Motley Crue toured Australia last month, and the concert reviews in general conjure up the image that the Crue’s time is well and truly over. Vince Neil was never a great singer [he is best described as an “entertainer”], however it is fairly sad when a lead singer spends the majority of a gig with his microphone in the direction of the crowd [for a sing-a-long] in an effort to mask his sub-par vocal ability. To compound his lack of singing talent, Neil is physically bloated [too much booze] and presently wearing a ridiculous fake tan.

Motley Crue: you do have a deserved place in the history of 1980’s rock, however for the present day – it’s over!!


Let’s now turn our attention to INXS. Being an Australian, I was kind of proud of the fact that INXS enjoyed global popularity in the late 1980’s. It was a very sad day when Michael Hutchence suddenly passed away, however the true INXS fans would be honest in saying that the final 7 years of a Hutchence-led INXS were not their best years. In fact, the final INXS Australian tour in 1997 saw the band performing in pubs rather than stadiums.

The subsequent 14 years have seen INXS come and go in the media spotlight, throwing up various “guest” lead singers in an effort to keep the INXS brand alive. In 2005, the remaining band members foolishly participated in a reality-TV program in an effort to find a new lead singer. The winner of the program, JD Fortune, was an unoriginal Hutchence sound-a-like with too much hair gel. A CD of new material was released, flickered briefly, and Fortune was soon given his marching orders. Amazingly, Fortune came back into the INXS camp for a series of live performances in 2010, however he was subsequently relieved of his duties for a 2nd time.

One would assume that the INXS brand be embalmed at this time, with new generations of fans being allowed to enjoy their back catalogue. However, it would appear that INXS is attempting to have a crack at global stardom again, with the recruitment of Irishman Ciaran Gribbin as their new lead singer.

There is an unspoken rule in the rock n’ roll world; you can never replace a charismatic lead singer and expect the band to retain their credibility. One must assume that the INXS camp have nothing better to do, as the music world are most likely to ignore the 3rd incarnation of INXS.


This being said, there is an interesting twist to the old adage that “rock stars can’t give up their jobs”. Jeffery Hoad [a David Lee Roth-wannabe lead singer from 1980’s Australian “Big Hair” rock group Kings of the Sun] recently pleaded guilty in Court to possessing a commercial quantity of marijuana. His lawyers argued that Hoad, now 50 years of age, had resorted to dealing drugs for a living due to the fact that his future in music had faded due to changing music trends. Whilst it can’t be ignored that Hoad has committed a criminal offence, he must be applauded for having the sense to acknowledge that 1980’s rock stars can’t continue on forever!!

CLASSIC ALBUMS

I’ll state my opinion from the outset – I am a HUGE fan of the “Classic Albums” documentary series which has been broadcast on television over the past decade. This statement has much to do with the fact that I love the concept of an album per se; I’ll list my “key ingredients” of a Classic Album:

• At least 5 strong individual songs, with the balance of the album being comprised of above-average songs suitable for airplay on commercial radio
• Excellent musicianship and production skills
• A high standard of lyrical content
• The Album must still “sound fresh” when listened to in the present era.

One of the most attractive points of the “Classic Albums” series revolves around the artists and/or producers recreating the process of the album’s song writing and recording. I am a producer at heart, thus I love to view and compare each artists’ skills; it’s simply magic to observe the masters at play.

It’s important to respect all levels of music, even if you are not a fan of a particular musical genre. This being said, the “Classic Albums” series may have overdone itself in labelling particular albums as being “classic”. Let’s review some examples:

• Deep Purple’s “Machine Head”, Iron Maiden’s “The Number of the Beast”, Black Sabbath’s “Paranoid”, Motorhead’s “Ace of Spades” and Judas Priest’s “British Steel” are albums which snugly fit into the British Heavy Rock genre. Are all of these album’s “classic”? If you were to choose only one of these albums, what would be the defining qualifying criteria – commercial success or artistic merit?
• If “John Lennon/ Plastic Ono Band” is deemed to be a classic album, then why have none of The Beatles’ albums been reviewed thus far?
• “Never Mind The Bollocks” by The Sex Pistols is famous primarily due to the notoriety of the band’s image. One would assume that there are many other Punk albums of greater artistic merit than this offering.
• Has the greater listening audience ever heard Primal Scream’s “Screamdelica”?
• Duran Duran is famous for individual single releases and their accompanying music videos. “Rio” does not set the benchmark for early 1980’s pop music.

“Classic Albums” has paid homage to genuine Classic Albums such as “Dark Side of the Moon”, “Bat out of Hell”, “Rumours”, “A Night at the Opera” & “Graceland”. I don’t need to state the artists’ names for these albums, as they are all universally known by all generations of music lovers. Within reason, “Classic Albums” has cheapened itself by letting too many artists into the Classic Album club.

So, where to from here for “Classic Albums”? I love music, and I love the documentary series, however I would hate to see “Classic Albums” lose its importance.

DID YOU KNOW THAT THESE MUSICIANS ARE JEWISH?

I have always been curious about the abundance of ethnically Jewish individuals who have achieved significant success in the music industry. This phenomenon has been in train for many decades, and it displays no apparent signs of concluding.

In order to have any chance of “making it” in the music industry, you require musical talent. This being said, in order to “survive” in the music industry, you require infinite levels of drive. Let’s explore this point in comparison to the last century of Jewish civilisation.

The global Jewish population was decimated during the World War II era, and in effect, has been required to re-populate itself in order to survive. In doing so, this fight against adversity appears to have generated a certain “X-Factor” in the character of Jewish people, to the extent that “failure is not an option”.

There are many musically talented individuals in the world, however the vast majority of these individuals never realise their true potential due to various factors, albeit predominantly based around a lack of commitment to their craft. This could be the single defining reason as to why so many Jewish people are successful in the music industry; it all comes down to talent and drive.

We are all very familiar with the musician superstars who are patently Jewish [e.g. Billy Joel, Simon and Garfunkel, Bob Dylan, Neil Diamond, Barbara Streisand] and the music industry chiefs [e.g. Clive Davis, David Geffen]. There are even some very successful rock groups who are almost exclusively Jewish!! [e.g. Kiss and 10CC]. Let’s have a look at some past and present Jewish music superstars who have reached the zenith on the music industry, albeit without actually promoting the fact that they are Jewish.

Dianne Warren – the most successful songwriter of the past 25 years.

Robbie Robertson [real name: Jaime Robert Klegerman] – his biological name defines his Jewish background, albeit it is interesting that Robertson has consistently promoted his mother’s Native American heritage throughout his long career.

Harry Connick Jr – his music tends more towards Sinatra and the South; Connick Jr has built a career around bringing a contemporary feel to the Swing Sound.

Melissa Manchester – her early musical years of singing backup to Barry Manilow and Bette Midler provides a link to her Jewish background.

The Cars – Ric Ocasek, Elliot Easton [real name: Elliot Steinberg] & Ben Orr [real name: Benjamin Orzechowski] were the driving force behind this Boston-based pop/ rock Group of the 1970’s & 1980’s.

Pink [real name: Alecia Beth Moore] – her mother is Jewish, and Pink has been the most successful female singer/ songwriter for the past 15 years.

There are also some famous musicians who have never confirmed nor denied their Jewish faith; Alice Cooper [real name: Vincent Furnier] comes to mind.

Either way, it’s a great achievement for the individuals of a rebuilding religious faith to command such a presence in an extremely demanding industry. I’m keen to read your thoughts about my statement, plus I look forward to your contributions to my list!!

WHEN DID THE SAXOPHONE SOLO LEAVE THE POP CHARTS?

The recent passing of ace saxophonist Clarence Clemons marked the end of an era for Bruce Springsteen’s E-Street Band, as we know it. Clemons’ distinctive playing style is irreplaceable; let’s think about his contribution to some of Springsteen’s best-known work.

• The frenetic playing during the instrumental break in “Born To Run”. Would an alternate saxophonist have been able to push the tempo of the song to the heights so famously achieved by Clemons?
• The subtle solo during the coda in “Dancing In The Dark”. It would have been sacrilege to leave Clemons’ instrumentation out of Springsteen’s pop chart zenith; a very “cool” sax break to round out a great song.

The saxophone has always been a part of modern music, whether it be playing a dominant riff [Gerry Rafferty’s “Baker Street”; George Michael’s “Careless Whisper”] or a timeless solo [Roxy Music’s “Jealous Guy”; Billy Joel’s “Just The Way You Are”]. There have even been some hit songs based predominantly around some great sax work [Kenny G’s “Songbird”; Candy Dulfer’s “Lily Was Here”]. If you check out the latest pop charts, one will find a distinct lack of saxophone work in today’s hit songs. Thus, the question that I ask is:

“When did the saxophone solo leave the pop charts?”

I don’t have the definitive answer; it’s most likely due to the fact that the modern dance music dominating the pop charts simply doesn’t gel with the saxophone sound. I would love to be proven wrong, however could it be that the saxophone has been lost to popular music forever?

Many people love the saxophone sound; the saxophone has made hit songs. Can you imagine Sade’s “Smooth Operator” without its seductive sax riff? What about the lively solo break in Bill Medley & Jennifer Warne’s “I’ve Had The Time Of My Life”? This song’s success was a contributing factor to the phenomena of the Dirty Dancing movie. The movie soundtrack’s other hit songs [Eric Carmen’s “Hungry Eyes”; Patrick Swayze’s “She’s Like The Wind”] also featured great sax solos.

Let’s remember the saxophone sound for what it is; an instrument capable of stellar riffs and timeless solos. I’ve jotted down some of my favourite “saxophone songs”; I’d love to read your lists of favourite saxophone songs, plus any modern “saxophone hits” for my aural pleasure…

“Just The Two Of Us” – Grover Washington Jr & Bill Withers
“The Heat Is On”; “You Belong To The City”; “The One Who Loves You” – Glenn Frey
“Who Can It Be Now?” – Men At Work
“I Can’t Go For That” – Hall & Oates
“What You Need”; “Never Tear Us Apart” – INXS
“Modern Love” – David Bowie
“Harden My Heart” – Quarterflash
“The Sad Café” – The Eagles
“Your Latest Trick” – Dire Straits
“Going Home” – Mark Knopfler
“Smoke From A Distant Fire” – Sanford Townsend Band
“Rainy Days And Mondays” – The Carpenters
“True” – Spandau Ballet
“Urgent” – Foreigner
“What Can I Say” – Boz Scaggs
“The Logical Song” – Supertramp
“I Do, I Do, I Do, I Do, I Do” – ABBA
“Money”; “Us And Them” – Pink Floyd
“Year Of The Cat”; “Time Passages” – Al Stewart
“Waiting On A Friend” – The Rolling Stones

GLEE TV & ITS POWER OVER MODERN MUSIC

I was somewhat surprised to discover that Fleetwood Mac’s classic 1977 long-play release “Rumours” is currently sitting at the Number 3 position on the Australian Album Charts.

In order for me to understand this abnormal occurrence, the usual gamut of questions ran through my head:

QUESTION: “Are Fleetwood Mac presently touring Australia?”
ANSWER: No

QUESTION: “Has Stevie Nicks passed away?”
ANSWER: No

QUESTION: “Has the music of Fleetwood Mac recently been featured in Glee?”
ANSWER: Gotcha!!!

I have barely watched an episode of Glee, albeit I have vicariously ingested a general understanding of the latest television phenomena by way of non-stop advertisements on all forms of media. Travelling to work each morning in a train carriage full of teenage school girls also helps with my general understanding of Glee…

There is no doubting that Stevie Nicks, Christine McVie & Lindsay Buckingham shall bank the song writing royalties resultant from the spike in sales of “Rumours”, without hesitation. When one creates a work of art, one is entitled to endless rewards. The concerning outcome of this event is the performance of the classic Fleetwood Mac songs in this Glee episode. Lindsay Buckingham’s classic version of “Go Your Own Way” was laced with bitterness; he was in recoil over Stevie Nicks’ departure from his private life, and the tension in his vocal and guitar solo underpinned the song’s enormous success. The Glee interpretation could not have been more sterile if it was produced in a hospital ward. “Songbird” was completely devoid of any level of emotion; Christine McVie must have been shaking her head over the cremation of her finest work.

So, is Glee good or bad for modern music?

Glee is providing a lucrative lifeline for a select range of artists and bands, of whom their music would not otherwise be returning to the mainstream media. In fact, Coldplay have agreed to license the use of their songs in Glee, after initially declining such an offer. Let’s face it; any publicity is good publicity!!

Glee is not leveraging off its immense popularity to introduce new talented songwriters to the mainstream media. Glee is the perfect media vehicle to enable Generation Y to understand & appreciate the power of the song writing craft.

Will Glee make a superstar out of one or more of its cast? The jury remains out on this question. One thing is for sure; Glee’s creators and the copyright holders of the classic songs featured in each episode shall become rich or richer. When you discover a gem, you get wealthy. Then again, that’s show business…

MAROON 5 – STRIKE 3!!

Los Angeles’ pop/ funk-rockers Maroon 5 recently graced Australia’s shores to perform and promote their third CD release “Hands All Over”. It’s hard to believe that it is seven long years since “This Love”, “She Will Be Loved” & “Sunday Morning” ruled the global airwaves, and the debut CD release “Songs About Jane” became a smash hit. 2007’s follow up CD “It Won’t Be Soon Before Long” also sold in large quantities, however Maroon 5 were swiftly becoming famous solely for the latest romantic exploits of their charismatic front man, Adam Levine.

So, how does the all-important third CD release “Hands All Over” shape up?

Whether it was an act of pure honesty or a cunning marketing strategy, Adam Levine told the media that “Hands All Over” would be Maroon 5’s final CD. I remain indifferent to this comment, as the band display enormous potential to move away from a “funk” sound into a general Adult Contemporary category, which could see Maroon 5 return to their original level of popularity.

It has to be said that Adam Levine has a weak voice, and his singing tends to get lost within the heavily produced funk songs most synomonous with the Maroon 5 “sound”. The lead single “Misery” is essentially an inferior re-write of “This Love”, and in general the CD is a case of song writing by numbers with very predictable lyrics. Not even the introduction of the mega-successful producer Robert John “Mutt” Lange can bring life to a collection of songs of this standard. The title track “Hands All Over” sounds very similar to Def Leppard’s “Pour Some Sugar On Me”, noting that Lange produced this classic 1980’s rock track.

“Hands All Over” shines brightest when focusing on the songs counter to Maroon 5’s funk brand. An acoustic version of Queen’s “Crazy Little Thing Called Love” works particularly well; it’s a great pop song and the arrangement provides space for Levine’s vocals to move to the fore. However, the stand out song is “Out Of Goodbyes”, a duet with the Nashville trio, Lady Antebellum. The whole “acoustic/ country” vibe could actually work wonders for Maroon 5’s popularity. A subtle acoustic arrangement & production tends to suit Adam Levine’s voice. Let’s face it, Maroon 5’s best song [“Sunday Morning”] is based around a simple piano riff and uncomplicated rhythm. Rock guitar doesn’t suit Maroon 5, as Levine’s voice can’t compete.

“Hands All Over” won’t be a mega-platinum selling CD, however this could be a blessing in disguise. Maroon 5 have pushed their “funk” edge within an inch of its life. A change in music direction could just be the trick to spark the band’s popularity & longevity.

MUSIC COPYRIGHT LICENSING: ART OVER COMMERCE, OR A LITTLE BIT OF BOTH?

Recent media reports indicate that David Byrne [of Talking Heads fame] sued former Florida governor Charlie Crist for $1 million on the basis that Crist did not seek permission to use Byrne’s “Road To Nowhere” in his US Senate campaign against Marco Rubio.

The matter appears to have now amicably reached closure, however it warrants discussion as to how Byrne may have reacted to a formal request to license the song in question:

1. If formally approached, would David Byrne have agreed to license “Road To Nowhere” for Charlie Crist’s political campaign?
2. If the answer was “Yes”, what would Byrne have sought in dollar terms for his license fee?
3. If the answer was “No’, what was Byrne’s rationale for the license rejection?

I have always viewed the art of writing songs in the same perspective as that of an inventor of a new machine, patent et al. It only makes sense that if you invent “something”, and it is party to public consumption, then you are entitled to seek some form of compensation for the ongoing use of your invention.

Let’s analyse David Byrne’s song writing career for one moment. “Road To Nowhere” was one of a handful of “commercial” songs released by Talking Heads in the mid-1980’s. Byrne’s solo career is a tad more esoteric these days, thus one would assume that his song writing royalties from Talking Heads’ halcyon days would represent the bulk of his present annual royalty statements. From a financial perspective, one would assume that it is in Byrne’s best interests to exploit his Talking Heads back catalogue.

Asides from having a staunch objection to Charlie Crist’s government policies, is there any meaningful rationale as to why Byrne would have rejected a license? “Road To Nowhere” has been public property since 1985. The song has a different meaning to each and every listener [and most likely a different meaning to the writer’s inspiration for the song], however this is what writing, recording & releasing songs to the general public is all about. Whilst legal ownership of the song remains with its creator [or to be legally precise, the song’s publisher], the song in itself lends itself to the public the moment that it is released. In general, the positive aspects of this point are multiple, including financial rewards and critical adulation!!

In an ironic sense, Crist’s illegal use of “Road To Nowhere” [and the subsequent media coverage of the incident] has most likely worked to Byrne’s favour. It is unknown as to whether Crist paid Byrne a financial settlement for closure of the matter, however publicity of this event shall generate a spike in mp3 and CD sales of “Road To Nowhere” and Talking Heads CDs in general.

If Crist had legally paid “market rates” for the song license, would the flow-on effect of song writer royalties to Byrne have been as large as they will be on the back of the subsequent media coverage? I guess not!!

DIGITAL RADIO – MANY STATIONS, FEW OPPORTUNITIES

Digital radio is a relatively new phenomenon within Australia, and after much prompting from television and newspaper advertising, I have plucked up the courage to experience this promising new aural media. Before we get too far into this article, it would be best to outline my “grand vision” of digital radio. It remains clear to my mind as to when FM radio was introduced to Australia in 1980. The listening public were promised a greater clarity of sound, multiple new radio stations and open-ended opportunities for new artists to discovered by a large audience. To be fair, FM radio delivered on all fronts. No longer were radio stations restricted in playing “just the hits”; we heard album cuts from our favourite artists. Sometimes, album cuts were played from unknown artists, who in turn became our favourite artists. The reaction to FM radio was healthy; it created jobs and kept the music industry alive and evolving. During the 1990’s and new millennium, our familiar radio stations were changed forever by the advent of the Internet. Radio stations were transformed from a source of creativity and opportunity into profit machines. Corporate ownership of radio stations made the medium a lucrative vehicle, however play lists were essentially set to “auto pilot” [i.e. classic hits] in order to keep the general public tuned in. Even those non-corporate owned radio stations [we call them community radio stations in Australia] couldn’t resist temptation. A quick scan of a community radio station play list will resemble something akin to your vanilla corporate owned radio station; maybe 1-2 hours a day of programs devoted to new and/ or unsigned artists. The balance of the daily play list revolves around “classic hits” and corporate overseas news programs. With analogue radio in Australia, New Zealand & Asia being so bland [I am certain that it is the same in the USA & Europe], I have viewed digital radio as being the last vestige in discovering new artistic talent. I have been sadly misled… I don’t want multiple digital radio stations featuring “just the hits”; I can hear this format on analogue radio. I don’t want to listen to digital channels featuring live concert performances from “classic artists”; again, I can hear this on analogue radio. I want to be able to listen to new digital radio stations devoted to unsigned and/ or undiscovered artistic talent, covering the entire spectrum of musical genres. Digital radio could realistically be the saviour of the music industry. In Australia, the live music venue scene is dying and record labels are consolidating with one another in order to remain solvent. There simply doesn’t seem to be any other form of medium available to enable undiscovered artists to make the break to general public awareness. Has digital radio saved the music industry in other territories? I’m keen to read your opinions!!

THREE LONELY CASSETTE TAPES…

The Sydney Morning Herald recently featured an article which detailed published data of music sales in Australia for the 2010 year.

In the past couple of years, there has been plenty of commentary [both written & verbal] about the steady decline in sales of recorded media in all major territories, thus I am not attempting to break new ground in the context of what follows beneath.

The most intriguing element of the music sales data relates to the fact that the Australian Record Industry Association has confirmed that only three [3] long playing recordings were sold on cassette tape in 2010.

When put into context [23.5 million CD sales, 3.3 million digital download sales, 40,000 vinyl sales], this is an amazing statistic.

Although it is nigh impossible to identify the actual cassette tape buyers, it is widely believed that the sales occurred at truck stops in outback Australia. Most trucks in Australia were assembled in an age when cassette tape players were “part of the furniture”, thus there is at least one truck driver in Australia who spends his or her long hours on the road enjoying music on the cassette medium.

So what does this mean in the context of the music industry, as we have historically known it?

Cassette tape manufacturers effectively cease to exist. For all we know, those 3 lonely cassette tapes may have been manufactured many years ago. In all likelihood, the cassette tapes were sitting in a “bargain bin” alongside the service counter, gathering dust and screaming out to be purchased.

What other aspects of the “old” music industry cease to exist?

1. Staff songwriters and producers of “album tracks” or “B-sides”. Historically speaking, a songwriter or a producer who landed their work on a long-playing recording or “B-side” of a single could earn a lucrative [and recurring] royalty if that long-playing recording or single was a big seller. Freddie Mercury was long incensed by the fact that Queen drummer Roger Taylor earned the same royalty on single sales of “Bohemian Rhapsody”, due to the fact that Taylor wrote the “B-side” of the single. Will the coming generations remember Taylor’s “I’m In Love With My Car”, or the timeless “Bohemian Rhapsody”? The answer is “Bohemian Rhapsody”, as the song shall continue to sell as a single mp3 download.

2. Designers of artwork cover for recorded media. Yes, there are sufficient sales of CD media to warrant the demand for specialist artwork, however this is a steadily dying trend. Historically, an album jacket “defined” the recording. What would Fleetwood Mac’s “Rumours” be without the seminal black & white photo of Stevie Nicks and Mick Fleetwood? What would Nirvana’s “Nevermind” be without the underwater baby chasing the American currency? An mp3 download provides aural stimulation only…

WHAT MAKES A LOVE SONG “MORE ROMANTIC” THAN THE NEXT LOVE SONG?

Radiohead’s Thom Yorke once famously stated that Carly Simon’s “Nobody Does It Better” is the “sexiest song of all time”. I’m not going to argue against this point. I was 5 years old when the song was released, and I distinctly recall that there was something “different” about the emotions conjured up by this tune as it played through the opening credits of “The Spy Who Loved Me”. You can call me an emotionally-advanced 5 year old if you wish, however what is it that makes “Nobody Does It Better” more romantic than the millions of other love songs released since time began?

Is it the song title itself? No comment required; the title can reflect what the listener of the song desires it to mean.

Is it Carly Simon’s vocal delivery? Her phrasing is so tender during the introduction, so praising during the verses, and so euphoric during the outro.

Is it the arrangement and production? Marvin Hamlisch’s seminal piano introduction sets the tone for the recording; followed by a great combination of rock guitar and strings that keeps the verses contemporary. The song continues to build right through to the outro, when the strings and trumpets really hit home that Simon is praising her lover, above all others.

I have played the song to myself on piano and guitar countless times over the years, and even in the simplest context of raw acoustic instruments and vocals, the song is a classic. However, when you bring together Simon’s vocal delivery and the superb arrangement and production skills of the recorded version, one can sense immediately that it is these ingredients that help take the song to a higher plane.

Are there any other love songs in the history of recorded music to challenge “Nobody Does It Better” as the most romantic of all time?

Each to their own in answering this question; I’ll list a handful that “hit the spot” for me:

“Woman” – John Lennon. A beautifully recorded song; the lyrics take on a heightened level of meaning in light of Lennon’s murder so soon after the song’s release.

“Time In A Bottle” – Jim Croce. The chorus lyrics say it all; “there’s not enough time to say/ the things that I want to say to you”. Croce’s unexpected death brought a renewed focus on the song’s lyrics, a la “Woman” [see above].

“Sentimental Lady” – Bob Welsh. The song was originally recorded by Fleetwood Mac [Welsh was a band member briefly in the 1970’s], however this subsequent solo release is the definitive version. Welsh’s longing for his wife whilst he was travelling the world on tour is captured so touchingly in the written lyrics [and his vocal delivery]. The recording builds to a crescendo, and upon reaching the chorus Welsh expresses his feelings so well. A “lost classic”; “Sentimental Lady” seems to have been forgotten about over the years. Check it out, and rediscover a truly great love song.

“The Look Of Love” – Dusty Springfield. I make no secret of the fact that I am a huge fan of Bacharach & David’s compositions, and this theme from “Casino Royale” is one of their best recordings. Springfield’s smoky vocal delivery is absolutely spot-on; the arrangement and production of the song [wonderful use of the saxophone] makes this one of the best “romantic” songs ever.

I could write on for ever and ever, thus I’ll list a few more songs [without detail]:

“How Deep Is Your Love” – The Bee Gees.

“My Love” – Paul McCartney & Wings.

“The Way That I Want To Touch You” – The Captain & Tenille.

“Love Me” – Yvonne Elliman.

“Never Never Gonna Give You Up” – Barry White.


The forum is now open, let’s hear your choices for the “most romantic” love songs of all time!!

The Vows of Music: Art Presiding Over Relationships

In almost every work place in the world, the prospect of a husband and wife [or to be politically correct, long-term partners] working together conjures up all sorts of dilemmas:



How can we live AND work together?



How can we be together 24 HOURS A DAY/ 7 DAYS A WEEK?



As we all know, artists and musicians operate to the beat of a different drum when compared to the rest of us mere mortals. Let's delve through the recent decades of popular music to identify some successful Pop and Rock bands containing committed life partners, who:



a) saw the break down of at least one personal relationship during the band's tenure; and

b) continued to work as a band, despite the failure of the relationship



FLEETWOOD MAC - it is almost unimaginable to contemplate the personal conflict facing Fleetwood Mac in 1976. John & Christine McVie's marriage had failed, whilst Lindsay Buckingham and Stevie Nick's long-term relationship also concluded. Despite each individual barely having the pride to acknowledge one another in the recording studio, the band soldiered on the release "Rumours", a commercial phenomenon and one of the most important albums in the history of modern music. The core component of Fleetwood Mac continues to tour the world today; whilst there have been many years of fighting and tears between band members, this group is the most widely known example of art presiding over relationships.


ABBA – at face value, this Swedish pop supergroup of the 1970’s and early 1980’s had it all. Consisting of 2 photogenic couples [Bjorn Ulvaeus/ Agnetha Faltskog and Benny Andersson/ Frida Lyngstad] and superb song writing skills, Abba literally introduced Sweden to the mainstream music market. Sales of their singles and albums were so strong that Abba were actually their nation’s 2nd largest world export [behind Volvo] in the 1970’s. Abba was the daily focus of Bjorn and Benny, whilst Agnetha and Frida struggled to cope with the pressure of the media spotlight plus maintaining a “normal” family life. In time, both marriages failed [with Bjorn and Benny promptly re-marrying new partners], however in a macabre sense this brought out the best in Abba. Whilst it is widely acknowledged that their pop songs are timeless [“Dancing Queen”; “Mama Mia”], “The Winner Takes It All” [written about the failure of Bjorn and Agnetha’s marriage] may just be the most moving break-up song of all time. The group remain on civil terms and they have not performed together since the early 1980’s, wisely preserving their special place in pop music history.

THE MAMAS AND THE PAPAS – depending upon which version of events that you deem to be the truth, John Phillips and Michelle Phillips’ marriage may have been over prior to this folk-pop group becoming an international success in 1966. The combination of John Phillips’ timeless pop classics [“California Dreaming”; “Monday Monday”; “I Saw Her Again”] and the band’s unique visual appeal and personalities saw huge success come very quickly; too quickly to handle. The Phillips' "open" marriage was kept a secret from their adoring fans. Even the birth of their daughter Chynna [a future pop star in all-girl group Wilson Phillips] couldn’t save their matrimonial and musical union. By 1968, The Mamas and The Papas were no more. The group’s flame flickered for only 2 years, however their songs stand the test of time 45 years on.

EURYTHMICS – whilst David Stewart and Annie Lennox were never formally married, they were a committed couple in their erstwhile band [The Tourists – 1977 to 1980] and during the early years of Eurythmics [1981-1982]. Their personal relationship ended at this time, however the critical acclaim generated via their 1st album “In The Garden” provided sufficient motivation to continue with their artistic union. The rest is history, as Eurythmics was one of the most successful male/ female pop duos for the balance of the 1980’s. Visually interesting [both Stewart and Lennox changed their image for each album release] and musically adroit, Eurythmics conquered the international pop charts with “Sweet Dreams”; “Here Comes The Rain Again”; “Would I Lie To You”; “Sisters Are Doing It For Themselves” and “Thorn In My Side”. Committed to their craft, there was little hint of any personal chemistry between Stewart & Lennox [watch their music videos again and judge for yourself!].

It has been said that the best lyrical ideas are borne out of extremes in emotions: happiness and sadness. If you are artistically inclined and your personal relationship fails, history would suggest that you are about to write a hit song…