The most-played recording in my entire collection (which ain't tiny) is Piper at the Gates of Dawn. Sheer genius.
A few months after Barrett departed, we did a TV show with Pink Floyd, who were in the US for the Philadelphia Music Festival at JFK Stadium in July 1968. We were opening for Ray Charles and Nina Simone, they were opening for the Troggs and the Who. There was a massive downpour in the middle of Pink Floyd's set. I was really concerned someone would get electrocuted, but the promoters stopped the show. It was subsequently cancelled when lightning hit the stage (!).
In the 80s, I ran into Nick Mason in Frankfurt. He remembered the Philadelphia Floyd concert for the obvious reasons, and also remembered us from the TV show. I asked him if he had any idea where I could find the single "Point Me at the Sky," which was never released in the US. It didn't even chart in the UK, and was seemingly impossible to find. Written by Gilmour/Waters and produced by Piper alumnus Norman Smith, it was sonically very much a bridge between the Barrett era and what was to follow.
When Nick returned to England, he was kind enough to copy his record on tape, and send it to me. It was quite cool to hear the needle from his record player drop on the record. (It's so true that many times, the musicians who are highest up on the food chain will bend over backwards for fellow musicians. Joe Walsh, George Martin, and Howard Jones have all written forewords for my books. All I had to do was ask. Think that would happen in 2023?)
This was a little under 40 years ago and we didn't have smartphones back then to immortalize our existences, but IIRC in Frankfurt Mason was playing in a one-off band with David Torn and Jack Bruce. But don't quote me on that. I may have been in an altered state at the time :)
Craig Anderton
_______________________________________
Re: SAG-AFTRA Strike
As a music industry vet turned television writer, I can't stand hearing musicians complain about Daniel Ek. They have no idea how lucky they are that he is the one in charge of the big platform in their business. Imagine if it was Disney or some other corporate enterprise. Ek gives a higher percentage of profits to artists than anything else in music's entire history, and anyone can upload their material to the platform, with all the exact same advantages and tools as Taylor Swift. Watch Bob Iger say that we writers and actors are ridiculous for just asking not to be replaced by AI, all while being worth nearly half a billion dollars personally, and tell me you'd rather have him in charge of music.
Trevor Risk
_______________________________________
Re: SAG-AFTRA Strike
Spot on Bob. I've been working in media for 17 years as a programmer, in media operations, and as content strategist across linear and digital media with stints at Comedy Central, Conde Nast, and Red Bull Media to name a few. I have many friends in both SAG and WGA though I'm not I'm not in either. There is a truth about the media industry that needs to be said: there are no "liberal" owners in Hollywood. There are corporations that care about profit margins and stock price. An example of this is that mid level executive positions are being filled by people with investment banking background not by people who have experiences building audiences and developing content. Why? They are looking for acquisitions and focusing on the stock price. Audiences and content come last.
When I started at MTV Networks none of the executives had MBAs - they just had experience. Now, MBAs run the show. Why are streamers like Mr Beast killing it with eyeballs? He's grown an authentic community. Same with right wing media. Say what you will about Ben Shapiro, and I've said lots, he's built an engaged fan base over at the Daily Wire without relying on Wall Street. Don't know what it'll take to change things other than breaking the vertical integration models or investors willing to wait a bit longer to see a return on investment.
One last note. I think Netflix going into originals will go down in history as the beginning of the end. Netflix turned from being a partner (like Blockbuster was) to another competitor. It started this arms race in the streaming world and created this false reality backed by Wall Street that you needed a streaming service to survive and juice the stock. But here's the thing that anyone with experience knows yet Zaslav and Iger seem so surprised about. Streaming is f*cking expensive. As someone who has operated OTT and streaming channels, I know this, why didn't the MBAs see it? Maybe they need to get their eyes off the ticker and care about the consumer.
There are no movie moguls, only corporate stooges. Sorry for the long reply.
Regards,
Jonathan Smith
_______________________________________
Re: SAG-AFTRA Strike
You're spot on; at least in my case. I signed up for Threads specifically because I hate Musk. I won't buy his cars either.
Regards,
Mark Feldman
_______________________________________
Re: The Wham! Movie
Hi Bob
I absolutely loved the movie !!!
I was lucky enough to be in the top of the pops audience at 15 with my best friend Sophie whose Dad worked at the BBC.
We stood right at the foot of the stage and were blown away by this new band Wham singing their song Young Guns and we fell in love with George immediately!!!!
It was a perfect moment in time I'll never forget it.
I still think "everything she wants" is one of the best pop songs ever written .
God Bless George and his incredible talent !
Lauren Christy
Re: The Wham! Movie
As someone who worked for CBS Records UK in the early 80s I found this movie delightful, bringing back loads of memories of being a 20 year old A&R guy.
However, before I joined the record company I worked as a writer for the Daily Mirror at a time that tabloids were just beginning to cover "pop music." My boss wanted me to identify the new acts that were on the cusp of breaking big. I identified Wham and interviewed George and their label, Innerrvision Records.
Imagine my surprise when I was watching the movie to see my article had made it to Andrew Ridgley's Mum's scrapbook and I could just see my name at the bottom of the page.
The smile I already had on my face watching this film grew even wider. Glad you liked it too Bob.
Gordon Charlton
_______________________________________
Re: The Wham! Movie
That movie was amazing but for me what was the MOST amazing was Andrew Ridgeley!
For a partner to not have a massive ego and to allow and support his friend to grow and leave him behind is unheard of.
In 1987 when the great Jamie Cohen was at Columbia he called me to talk about working with Andrew and I thought whaaaat??
Andrew he said was wanting to make a funk rock style record but I wasn't too excited. We all thought Andrew was Fredo from The Godfather BUT was I wrong. After I watched that film I had so much respect for him that I wanted to write him a letter telling him so.
As for George this is a story most don't know. I was on the set of Top Of The Pops with Was (Not Was) in 1987 ( I played on Top Of The Pops many times or should I say lip synched on…with Was (Not Was) and Terrence Trent Darby) but one day on set at sound check a stage manager said out loud in front of everyone…Stevie Salas there is a call for you from George Michael's office. I was like Whaaat? Don Was pulled me aside and encouraged me to get back in touch with them which I did.
That's my Wham connection…and truth be told I hated Wham in the 80s but I fell in love with them after seeing this film.
Stevie Salas
_______________________________________
Re: The Wham! Movie
Young women never felt so confident, clever and shining as in London in the eighties. It was probably like the 20s for sheer fabulous girl drive. Never mind all that feminist griping- we were going places and insisting on it! Maggie Thatcher wasn't one of us - not even like our mums - she was practically a housewife herself locked into a ancient stale class-ridden world and horrendous tan tights. We were going to invent a whole new Britain (ha Tony Blair!) and the gorgeous, forthright American goddesses like Tina Turner and Farrah Fawcett were our guides. We didn't care what school you went to or what your accent was, just what you were wearing, what you were drinking or snorting, and your record collection (a first date must was perusing their vinyl for egregious LPs like Crystal Gayle or Joan Baez).
I worked for J17, Smash Hits, and Looks magazine and wore long Amish style Laura Ashley dresses with a massive petticoat billowing out and a picnic hamper handbag one day, and what would be considered deep goth today. All the blokes stole our makeup and you could never find your black eyeliner. No one really talked about being gay, because people mixed it up a lot, but if you were 100% you kept it mostly quiet from your bosses.
And Young hip London was small and very accessible. For example, of my best friends from university one worked in PR for Peter Gabriel and the other married a fine artist whose main client was Simon Le Bon. We even wangled a pass to pose on Simon's sailing yacht right after the Live Aid Marathon. We were professionals not groupies but still - it was hard not to plant a huge kiss right on the back of Sting's still sweaty neck. We thought about Trudy even though she seemed ancient and weird. Everybody was part of the same club and we all belonged so long as you dressed up, were interesting and entertaining, and mostly upbeat and alive. It was the opposite of Morrisey and his wingeing.
However, a very small moment stays with me for its incongruity in that time. Top down motoring across Piccadilly one day in my sweet white golf cabriolet ( a convertible which was rare then in London) I pulled up next to Andrew Ridgley and wouldn't you know he was driving his convertible red Ferrari at the traffic we were side by side at the long light outside Simpsons and could practically touch each other with our tops down.
He didn't even take a glance and I was crushed - not that he didn't fancy me, even peripherally, or that girls weren't his thing, just that he was so serious and unlike his playful image which was so rendolent of the times. As with Starsky and Hutch all my friends were either in one camp or the other - super hairy wide boy rough masculine true 'men' (George) or sweet wimpy cute semi posh 'boys' like Andrew Ridgeley, Rick Astley, and even Hugh Grant wannabe Rupert Everett. And everyone came to play.
Johanna Santer
_______________________________________
Re: My Hometown
Bob,
My band formed in 1981 in Jamestown, NY - western, western, NY State. Thirty miles from the shores of Lake Erie. We started with local shows to small crowds most of whom had no idea what we were doing (neither did we!), then we finally played the Big Town, Buffalo, NY and kept going from there. We've been everywhere, man, including Fairfield, CT at FTC. What a cool town and a great venue!
My family arrived in Jamestown in 1875. Furniture makers and undertakers from the motherland, Sweden. My great grandfather had a band called The Ideal Mandolin Orchestra. I have a photo of them from 1903. I grew up in the house my paternal grandfather build. I walked to the same schools my mother did. Like many rustbelt towns, Jamestown fell on hard times during the 70s urban renewal. They built a mall 3 miles out of town in 1970 and that was the death of downtown. Now the Mall is kaput and it's a constant struggle for business downtown but we're doing okay. It's my town. I love it. The worst weather disaster we get is 3 yards of snowfall over a weekend in January. But it's beautiful, quiet and you can ski! 4x4 baby.
I own 70 acres of mostly wooden land 15 miles outside of town that I paid $450 per acre in 1992. I built my house on that land and it's heaven except for deer season when the shooting starts. Freaks my dogs out something terrible.
I enjoy visiting LA, SF, NYC, Boston, Chicago, Cleveland, Atlanta, Denver, Honolulu, Seattle, Sao Paulo, London for gigs, but would never want to live anywhere but in my hometown.
Steven Gustafson
10,000 Maniacs
_______________________________________
Re: Bridgeport
Bob, I grew up in Bridgeport, lived there until I was 18, then New York for a decade, now have been in CA for 10 years.
I had to stop and start while reading your dispatch because I found it brought up so much for me - such complicated feelings about my hometown! My grandparents owned a liquor store on the West Side for 47 years. I went to Notre Dame in Fairfield. I, too, just went back east for two weeks (the humidity was real) and every time I'm there I try to imagine moving back east, roll it around in my brain for a bit, feel the pull from both coasts. But then I get back to CA and get back to work and feel like this is home, too.
Thanks for your thoughts on this. Going to go back and read it in full and absorb.
Lauren Goode
@laurengoode
_______________________________________
Re: Mailbag
The podcast with Dwight! Just immense! His empathy for all things is palpable and kudos to you for letting him find his way in sharing the stories about his family and his music-discovering youth. Not sure if folks can fully appreciate the mind blowing event of a kid from eastern Kentucky / southern Ohio betting all his chips on moving to California and then achieving the level of success that Dwight has. I listened to all 4 hours TWICE. Awaiting the follow up…
Damon
DAMON JOHNSON
(Brother Cane / Lynyrd Skynyrd)
_______________________________________
Subject: RE: Mailbag
James Montgomery the real deal.
Duke and the Drivers simply your average bar band.
"Check Your Bucket" indeed. Why punk happened.
Oedipus
--
Visit the archive: lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: ihr.fm/2Gi5PFj
-Apple: apple.co/2ndmpvp
--
www.twitter.com/lefsetz
--
If you would like to subscribe to the LefsetzLetter,
www.lefsetz.com/lists/?p=subscribe&id=1
If you do not want to receive any more LefsetzLetters, Unsubscribe
To change your email address this link
No comments:
Post a Comment