Published on 23 Oct 2015
Pre-order “R40 LIVE” today!
October 25, 2015
Rush | Closer to the Heart – R40 LIVE
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October 24, 2015
The (vicious) economic model of the music industry
A post by Kristine Kathryn Rusch from a few years ago, talking about the “standard” abuses musicians were subject to under 1990s-era studio contracts:
Those of us who exist on the periphery of the music industry have heard for years that new artists and even established ones can’t make money in the traditional music industry.
I didn’t understand that until I read Jacob Slichter’s So You Wanna Be A Rock ’N Roll Star several years ago. He wrote about a system in which a musician who signed a deal with a major record label could end up owing the label tens if not hundreds of thousands of dollars. He delineated it all out in a long book that showed just how the label ended up taking a naïve artist and putting him into debt.
Slichter said this was why so many rock bands disbanded — because the band itself was a legal entity and as a legal entity it was in hock to the studio. The only way the musicians could continue to perform and try to earn money from their music was to create a new legal entity and abandon the old one. Otherwise, they were working in a kind of indentured servitude.
Think this is just sour grapes from one musician who didn’t make it big? Look at a link that a reader from last week gave me. It’s from a magazine I’ve never heard of called Maximum Rock ’n’ Roll and was written by rock producer named Steve Albini. I’m not so sure how dodgy this website is that I’m sending you to — I don’t know if they violated Mr. Albini’s copyright by reproducing this piece. I’m going to trust that they didn’t, because y’all need to see these numbers.
For those of you who can’t be bothered to check the link, Albini lays out the line-by-line “costs” that the musicians agreed to when they signed their record deal. The musicians received a $250,000 advance. But by the time the album got released and the tour was completed, the advance was gone — and the musicians owed the record label $14,000.
You’re understanding me right. The “standard” contractually negotiated costs that the musicians agreed would come out of their pockets came to $264,000. The only way for the artists to recoup that loss was to sign a new deal with the label, often at lesser terms. If the label even wanted to sign them. (That part is courtesy of Slichter)
How much did the label earn — with the same costs deducted?
$710,000. In 1990s dollars.
Albini also lists how much each “player” made. He includes a producer ($90,000), a manager ($51,000), an agent, ($7500) and a lawyer ($12,000).
He writes, “The band is now ¼ of the way through its contract, has made the music industry more than 3 million dollars richer, but is in the hole $14,000 in royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour bus for a month. The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never ‘recouped,’ the band will have no leverage and will oblige.”
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October 7, 2015
Drummers
Everyone who knows musicians has heard at least a few drummer jokes. Open Culture attempts to put a bit of science into the casual abuse drummers have been subjected to over the years:
An old musician’s joke goes “there are three kinds of drummers in the world — those who can count and those who can’t.” But perhaps there is an even more global divide. Perhaps there are three kinds of people in the world — those who can drum and those who can’t. Perhaps, as the promotional video above from GE suggests, drummers have fundamentally different brains than the rest of us. Today we highlight the scientific research into drummers’ brains, an expanding area of neuroscience and psychology that disproves a host of dumb drummer jokes.
“Drummers,” writes Jordan Taylor Sloan at Mic, “can actually be smarter than their less rhythmically-focused bandmates.” This according to the findings of a Swedish study (Karolinska Institutet in Stockholm) which shows “a link between intelligence, good timing and the part of the brain used for problem-solving.” As Gary Cleland puts it in The Telegraph, drummers “might actually be natural intellectuals.”
Neuroscientist David Eagleman, a renaissance researcher The New Yorker calls “a man obsessed with time,” found this out in an experiment he conducted with various professional drummers at Brian Eno’s studio. It was Eno who theorized that drummers have a unique mental makeup, and it turns out “Eno was right: drummers do have different brains from the rest.” Eagleman’s test showed “a huge statistical difference between the drummers’ timing and that of test subjects.” Says Eagleman, “Now we know that there is something anatomically different about them.” Their ability to keep time gives them an intuitive understanding of the rhythmic patterns they perceive all around them.
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September 28, 2015
Rush | Roll The Bones – R40 Live in Toronto (OFFICIAL AUDIO)
Published on 25 Sep 2015
Jack, relax. Get busy with the facts…
Rush revealed their first offering from the forthcoming R40 Live concert film – “Roll The Bones”, a song from their fourteenth studio album Roll the Bones, that was originally released in 1991.
This R40 Live version of “Roll The Bones” was recorded in the band’s hometown of Toronto on June 17 & 19th during the sold out shows at the Air Canada Centre on the R40 Live tour and was mixed by David Botrill (Tool, Muse).
“Roll The Bones (R40 Live)” features an array of special guests in the rap part of the song: Jay Baruchel (She’s Out Of My League), Les Claypool (Primus), Peter Dinklage (Game of Thrones), Tom Morello (Rage Against The Machine, Audioslave), Chad Smith (Red Hot Chili Peppers), The Trailer Park Boys, and Jason Segel & Paul Rudd (I Love You, Man).
It is the first time the band put the RTB song back in the setlist since the Snakes & Arrows tour in 2007/2008. During the R40 Live tour, “Roll The Bones” gained new life and became a fan-favourite with an arena sing-along to the chorus “Why are we here? Because we’re here – Roll The Bones”.
The Rush R40 Live concert film will be released on November 20th. More details to be revealed soon.
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September 24, 2015
Al Stewart – “Constantinople”
Uploaded on 24 Sep 2010
A song about the fall of Constantinople.
Al Stewart – Constantinople Lyrics
Across the western world
The fights are going down
The gypsy armies of the evening
Have lit their fires across
The nether side of town
They will not pass this way again
So here in the night
Leave your home it’s time for running
Out of the lightI see the hosts of Mohammed coming
The Holy Sister bars her doors against the East
Her house has stood too long divided
The uninvited guests are breaking up the feast
She may not bid them leave again
So here in the night
Leave your home it’s time for running
Out of the lightI see the hosts of Mohammed coming
I dreamed I stood like this before
And I’m sure the words that I heard then
Were much the same
It’s just an old Greek tragedy they’re acting here
Held over by popular acclaim
So here in the night
Leave your home it’s time for running
Out of the light
I see the hosts of Mohammed coming
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September 12, 2015
Nash The Slash – Psychotic Reaction
Published on 20 Jun 2013
From His 1984 LP American Bandages
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September 10, 2015
Rob Paravonian has a thing about Pachelbel
Uploaded on 21 Nov 2006
A comedian rants about how much it sucks to play Pachelbel’s Canon in D on a cello. Recorded live at Penn State, this piece by comedian/musician Rob Paravonian has been a favorite on the Dr. Demento Show.
H/T to Never Yet Melted for the link.
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July 30, 2015
If you listen to their music, why not drink their hooch?
At Boing Boing, David Pescovitz alerts us that The Pogues have lent their name to a new irish whiskey:
Celtic punk bank The Pogues have launched a signature brand of Irish whiskey. Made by West Cork Distillers, “it’s said to be Ireland’s highest malt-containing blended Irish whiskey, with 50% grain and 50% single malt liquid.”
The Pogues’ singer Shane MacGowan is well known for his adoration of alcohol. According to his memoir, A Drink With Shane MacGowan, he started at age five with two nightly pints of Guinness given to him by his parents, and never really stopped.
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Stary Olsa covers the Red Hot Chili Peppers on medieval instruments
Published on 29 Apr 2015
Stary Olsa performing “Californication” by Red Hot Chili Peppers for Belarusian TV-show “Legends. Live” on ONT channel.
Produced by Mediacube Production. (Minsk, Belarus)
H/T to Open Culture.
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July 26, 2015
Mark Knopfler – Tracker – A Film By Henrik Hansen
Published on 20 Feb 2015
‘Tracker’ by Mark Knopfler available now.
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July 25, 2015
Dire Straits – Tunnel of Love Music Video
Uploaded on 18 Aug 2009
Dire Straits – Tunnel of Love Music Video.
From the album “Making Movies” released in 1980.
I’d always wondered what the “Spanish City” referenced in the song was … and now I know.
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July 23, 2015
Stary Olsa cover Deep Purple on medieval instruments
Published on 14 Dec 2014
Stary Olsa performing Deep Purple – Child In Time!
Produced by Mediacube Production. (Minsk, Belarus)
H/T to Open Culture.
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July 14, 2015
Al Stewart, “Time Passage” live, 1979
Published on 7 Jul 2015
Al Stewart – Time Passages 1979
It was late in December, the sky turned to snow
All round the day was going down slow
Night like a river beginning to flow
I felt the beat of my mind go
Drifting into time passages
Years go falling in the fading light
Time passages
Buy me a ticket on the last train home tonightWell I’m not the kind to live in the past
The years run too short and the days too fast
The things you lean on are the things that don’t last
Well it’s just now and then my line gets cast into these
Time passages
There’s something back here that you left behind
Oh time passages
Buy me a ticket on the last train home tonightHear the echoes and feel yourself starting to turn
Don’t know why you should feel
That there’s something to learn
It’s just a game that you play(Instrumental)
Well the picture is changing
Now you’re part of a crowd
They’re laughing at something
And the music’s loud
A girl comes towards you
You once used to know
You reach out your hand
But you’re all alone, in these
Time passages
I know you’re in there, you’re just out of sight
Time passages
Buy me a ticket on the last train home tonight
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July 10, 2015
Al Stewart plays “Broadway Hotel” at Bridgewater Hall, Manchester
Published on 2 May 2015
Classic Album Year of the Cat Concert Tour. With Tim Renwick & Dave Nachmanoff. Bridgewater Hall, Manchester.
Setlist of the full concert:
1. Midnight Sea (Dave Nachmanoff)
2. Descartes in Amsterdam (Dave Nachmanoff)
3. Conservation Law (Dave Nachmanoff)
4. House of Clocks
5. Palace of Versailles
6. Time Passages
7. Warren Harding
8. Old Admirals
9. That´s Alright Mama
10. Carol
Second Set: Year of the Cat
11. Lord Grenville
12. On the Border
13. Midas Shadow
14. Sand in your Shoes
15. If it Doesn´t Come Naturally, Leave It
16. Flying Sorcery
17. Broadway Hotel
18. One Stage Before
19. Year of the Cat
Encore:
20. Sheila Won´t Be Coming Home
21. End of the Day
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July 5, 2015
Geddy Lee and Alex Lifeson
From the recent Rolling Stone profile of Rush:
Lee has been friends with Alex Lifeson since they were nerdy teens in the Sixties; the guitarist set Lee up with Young, whom he married in 1976. Clearly, Lee has no issues with commitment, though touring strained his relationship with his family until Rush cut out European dates in the Eighties. “The worst thing you can do in marriage is to look at your partner as your wife or your husband,” says Lee. “We decided to treat each other as if we were still boyfriend and girlfriend. That subtle bit of semantics helps a lot, I think.”
Lee, born Gary Lee Weinrib, is the child of Holocaust survivors, and he traces some of his drive to his parents’ legacy. They met in a Nazi work camp in occupied Poland in around 1941, and had fallen in love by the time they were both imprisoned in Auschwitz. “They were, like, 13 years old,” Lee says over a late-night beer in a sleepy Tulsa bar, “so it was kind of surreal preteen shit. He would bribe guards to bring shoes to my mom.” As the war went on, his mother was transferred to Bergen-Belsen, and his father to Dachau.
When the Allies liberated the camps, his father set out in search of his mom. He found her at Bergen-Belsen, which had become a displaced-persons camp. They married there, and immigrated to Canada. But years of forced labor had damaged Lee’s father’s heart, and he died at age 45, when Lee was 12. Lee’s mother had to go to work, leaving her three kids in the care of their overwhelmed, elderly grandmother. “Had my dad survived,” says Lee, “I might not be sitting here talking to you — because he was a tough guy, and if he didn’t want me to do something, I may not have done it. It was a terrible blow that I lost him, but the course of my life changed because my mother couldn’t control us.”
[…]
Close to midnight, with Rush’s tour kickoff less than 24 hours away, Alex Lifeson is kneeling on a relocated couch pillow by the open window of his hotel room, exhaling pungent weed smoke into the humid Tulsa air. (If you’re in Rush and you want to get high, you do so considerately.) He breaks into a violent coughing fit. “Well, that’s the thing with this pot these days,” he says, passing the joint. “It’s so expansive in your lungs.” The streets below us are post-apocalyptically empty. “It’s busy in town tonight,” Lifeson says.
Earlier that night, over a pleasantly boozy dinner, I ask Lifeson if weed has helped him write Rush’s music. “Maybe just 80 percent of the time,” he says, roaring. “I find that smoking pot can be a really great creative agent.” (Lee quit pot in the early Eighties; Peart says, “I like marijuana, but I’m not going to be the poster child for it.”) “But when you’re in the studio and you’re playing, it’s sloppy,” Lifeson continues. “And cocaine is the worst, for everything. If you want to feel your heart pounding on your mattress at 7:00 in the morning when the birds are chirping, it’s perfect. It’s awesome. What do kids do now for drugs?”
Lifeson was a fan of Ecstasy in the early Nineties, and hadn’t heard that it’s called Molly now. “I’m glad you told me, just in case,” he jokes. “My wife is a totally nondrug person, but for some reason I talked her into it. We cranked the music and we were dancing, and then we talked for hours about deep personal stuff for what seemed like the first time, even though we’d been married for years. We were going through a bit of a difficult time in our relationship, and that opened up a lot of doors.”
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