It's been SIX MONTHS since this was announced and we're STILL WAITING. Whassamatta Steve, gotta get yer iTunes subscription service going first? Labels got you by the balls?
My "Open Letter to Snuffy Walden," originally posted to my blog at 49chevy.com. I also e-mailed it to the "info@" contact address on Mr. Walden's website. He has yet to respond, despite my generous offer to trade one of his autographed CDs in exchange for an autographed check…
Of course, I’ve known about Maura O’Connell almost as long as I’ve lived in Nashville, but when “Phoenix Falling” from this 2006 album rolled around on a playlist (which I started by selecting Cheryl Wheeler), I knew in a heartbeat what I want to be listening to this afternoon. No disrespect, Cheryl, but this stuff is knocking me out:
And after I listened to this album, I listened to her newest, Naked With Friends, which I’d first heard about listening to an interview with Maura on the podcast edition David Hooper’s Music Business Radio.
Demand for a subscription music service has been capped, and a mobile app won’t help drive incremental demand even if it is a good product.
I never did try Rhapsody (or the Napster subscription service), I guess I’ll have to check then out to see how well they work. I know a couple of people who’ve tried it and speak well of it. But when I read “demand… has been capped” at fewer than a million subscribers, I just have to think… somebody’s missing the boat. Hell, could just as well be me…
The European online music service Spotify offers six million tracks—a practically limitless catalog spanning Aaron Copland to ZZ Top—in an interface as polished and intuitive as Apple’s iTunes. And unlike the pay-per-song iTunes, Spotify’s entire library is free for the taking, assuming users can tolerate an occasional advertisement.
…because you have to be somebody to get it.
The question is, what sort of licenses has Spotify been able to negotiate that iTunes cannot? Is Apple beholden to the labels for the 99c/track model? If not, is iTunes the Spotify killer?
Oh, and, “an occasional adverstisement” is NOT free… and… who gets THAT money? Remember, the reason the labels wanted to kill Napster was not because Napster was ripping off the artists, but to preserve the labels’ ability to rip off the artists. If Spotify is in league with the labels, how is it any different on that score?
Last month, Nashville's Leadership Music held its annual Dale Franklin Awards Banquet at which the honorees were producer Allen Reynolds, music executive Jim Fogelsong, and some country crooner named Garth Brooks. The morning after the gala event, I learned that the esteemed Mr. Brooks had used his after dinner remarks to rail against the evils of all things digital in the music business.
During the event, I'd noticed the editor of Music Row posting to Twitter from the venue about the goings on, so I posed the question to him: "What exactly did Garth say about digital last night?" To which he replied:
To which I replied:
And there, in two 140 character statements, is the essential paradigm shift that the arrival of the Celestial Jukebox portends.
– – – – – – – –
The glimmer of a new beginning came at the end.
The movie documents how ten mostly Nashville-based musicians pooled their resources and put together an extraordinary tour. All the participants are accomplished musicians and recording artists at various stages in their careers – one or two ‘major label’ names, some coming off major label deals, mostly talented indies still forging their careers amid the ruins of the dying music “industry.”
But what is most compelling about both the movie and the tour it follows is the ‘Ten ouf of Tenn’ experience and its spirit of shared resources. Traveling individually, each of these artists would have had to book their own gigs, make their own travel arrangements, drive their own cars or rentals, and played their own shows.
By pooling their resources, the ten together could afford to hire a bus and a driver. And they all became each other’s band. The film shows them all playing in different combinations, all the accompaniment you could possibly want right there in the pool. Want to play solo acoustic? No prob. But if you need a keyboard or a bassist or even a cello, well guess what, there’s somebody already on the bus who plays what you need to embellish your sound on stage.
In the film, each of the ten principals performs one of their songs. The stage performances are interspersed with segments depicting the sort of antics you might expect of creative personalities filling their days on the road. Each of the performances is captivating, and the all of the clips in between are entertaining and engaging and offer a good sense of just what being on such a tour would be like.
But it is the penultimate scene that seals the deal and, I think, firmly places Ten Out Of Tenn — both the tour and the documentary — squarely astride the shifting paradigms of today’s music experience.
In this nearly final scene the musicians have finished their last show, but no one wants to leave the venue. Not the audience, not the musicians. And so the players come down off the stage, and with unplugged acoustic guitars lead their audience in an enthusiastic sing-along of Bob Dylan’s “I Shall Be Released.”
In that moment, the proscenium that separates the troubadours from their audience was erased. The artists became the audience and the audience became the artists. And I as I felt the chicken skin bubbling up on my arm I turned to the friend who’d invited me to the screening and said “THAT’s ‘Music three-point-oh.'”
Which statement I will now try to defend.
As I see it, “Music 3.0” is the perfect description of the tectonic shift that music — live and recorded – is now experiencing. And following the transitions from 1.0 to 2.0 gives us some idea what to expect from 3.0
The Beatles: A band so obscure you cannot find their music on iTunes.
As I type that, the remaster release of "I'll Be Back" (from "A Hard Day's Night") is playing on the speakers at a Starbucks. So far, I don't hear any difference. But then, there's quite a din in the room, and I don't recall any Espresso Machine sound effects on the original…
In October, 2006. we spent two weeks driving all over the most scenic parts of Ireland. Well, let’s just say that the parts we saw — the west and southern counties of Mayo, Galway. Kerry, Cork and whatever is in between, are among the most dramatic landscapes we’ve ever seen. We only saw SIX of the THIRTY-TWO counties in Ireland. We have been trying to get back there every since.
This slide show was delivered via flickr.com, in the days before we started using Lightroom to process and upload photos. Looking at the image quality now (January, 2010), I can see we need to go back and recreate this gallery.
Click the image to open the slideshow:
We were married on September 23, 2000. Two days later we flew off to spend week in England and and a week in Bavaria.
The first part of the week in England was spend at a bed and breakfast near the town of Oswestry, in Shropshire, in the Costwolds near the border with Wales. In fact, there was a stream on the property, and the opposite of the stream was Wales. The second week was spent in London after a stop in Stratford on Avon.
The photos here are not in precise chronological order; the locations include Stonehenge, Harlech Castle in Wales, Ludlow Castle, Brunelle Castle, Ann Hathaway’s Cottage in Stratford, and other locations in England, then the Tower in London and Hampton Palace outside of London.