Time, too, to reflect on the ongoing and depressingly familiar non-progress I’m making as a songwriter. I often wonder, you know, if it’s really worth it. The care you take to craft your work, the re-writes, the practise, the painstaking assembly. And for what?

To be told that, yes, it has something, but if you really believe in yourself and your work, you’ll INVEST in it. What? Invest WHAT? More than the blood, sweat and tears you’ve ALREADY invested in it? Yes, of course! Invest MONEY. Invest it in ME, Me, me, me, me, me ..... (echoes disappearing up into the food chain from the bottom feeder). Have it demoed PROFESSIONALLY, have it plugged PROFESSIONALLY, have it published PROFESSIONALLY. This means have it demoed profe$$iona££¥, have it plugged profe$$iona££¥, have it published profe$$iona££¥.

There are many column inches of space on these boards devoted to warnings of dire consequences if we ‘trust’ the scam artists. But how much better off are we if we play the ‘legit’ game? It seems to me that, all in all, the only difference is that you MARGINALLY shorten the odds by going ‘legit’! It’s still going to cost you money you can’t afford to have your work presented to someone who may OR PROBABLY WILL NOT even listen to it. The merits of your work are totally immaterial to the process. Your rise or fall is determined by the whim of someone who represents vested interests. No? Consider this. IF Mr A&R at Sony deigns to listen to one of your songs (how much will you have paid to get it that far, incidentally?), and actually likes it, even thinks it may be a hit, the wheels of the monolith go into motion – with a GUARANTEED result. How can this be? Because ... Sony has the wherewithal to ensure airplay, TV commercial, point of sale promotion, etc., etc., etc. Even if the track is a FLOP (in the terms that the monolith understands, at least), they will MORE than recoup the comparatively small outlay they have made. Cost to them? Zero, zilch, nada. Cost to you? Suppose you’d been asked to ‘invest’ $3000 in your demo/plugging, etc. exercise. What percentage of your income does that represent? 5%? 10%? And THAT’S only the money it’s cost you! Consider the cost in terms of loss of confidence, broken dreams, and general downheartedness and you realise that you are ALWAYS potentially on the wrong end of a severely one-sided arrangement.

Supposing, even, by some miracle you write a hit song. It sells well. You recoup your outlay and then some. Is it going to be enough to last you? For how long? Do you go through the whole process again? Will the fact that you’ve written one hit song mean that you’re more ‘acceptable’. Somehow, I doubt it. I think that there is a whole row of hoops that everyone who isn’t ‘in’ is made to go through by those who are.

And who are these people? Failed artists? Failed supermarket managers? Failed commodity brokers? Because what they are reducing music and song to ARE commodities. And what they are looking to do is ‘pile ‘em high and sell ‘em cheap’.

I wonder sometimes if I’ve just become bitter and twisted with age! But I look back at 40 years as a singer/songwriter; KNOW that my stuff has made people laugh, cry, get angry, get sentimental – but always RESPOND – and realise that if only ... something like jpf had been available to me when I set out, I’d probably be in a lot better position than I am now.

For those who’ve had the time and patience to read this rant, I thank you. Whether or not you agree with all or any of what I’ve had to say, I’m looking forward to your response.

It's an interesting point you make about spending money with scam artists versus spending money with the supposedly "legit" avenues. I actually take your side. I don't think it's often worth spending the money on song pluggers and definitely NOT worth spending a lot of money on high priced demos. I don't think it's worth the money to do most of the things you have to spend money on. The problem is that no one has found many other ways to do it. And there's a lot of people out there who, ironically, are writers/artists either trying to still make it or who have given up, who are making THEIR livings, NOT on their music, but by charging folks like you to provide services (some legit, some not) to supposedly help YOU reach the dream that obviously they either haven't or never will. It's such a desperate situation isn't it?

So how do you move forward? Here's a few ideas:

1. You have to get honest, no strings attached, proven valid feedback. Where do you get this? First, though people who charge for reviews/critiques may be 100% honest and offer 100% valid feedback, they still have a certain financial bias in you using their services. You have to realize that. Anyone who stands to make any money from you will always have a bias in their system which won't totally give you the honest picture. For example, if you are a totally horrid writer who shows zero talent or ability in your work, most of these services aren't going to tell you that straight out. If you give up your dream, they can't make money from you any more. Even honest companies/individuals will instinctually try and find something positive to say, and often to deluded writers with little or no talent, those tiny positive comments will be interpreted as support for their work. Lest you think these people are stupid, most people are deluded about their own work. Smart or not. It's very easy to fall under the allure of positive commentary on something we so desperately want positive comment on.

So where do you get honest feedback? From people who give advice for free? Not necessarily. That ALSO has a bias of a different kind. Those folks are free to use any criteria they want and often that criteria has no relevance to whether you might find commercial success. There have been plenty of people who have offered the free opinion that Rap music SUCKS and has no value (many people on these boards have made those comments). Many people said that Kelly Clarkson had no talent and wouldn't sell many albums but she's on her second very successful album. Perhaps their artistic opinion was correct, but their commercial opinion had no real value.

So who is left? 2 types of people.

1. People who put their money where their mouths are.

2. People who put their reputation (which has to have status in their industry) where their mouth is.

You need to find the opinions of people who make money with you, (not directly from you) and who would be willing to put some of their own money/time/resources into your work. If they are willing to do that, then you have to take their opinion seriously. If no one is ever willing to invest in you on any level and people always go to YOU to invest in YOURSELF, I strongly suggest the work you are doing isn't ready for you to do so. Another example would be booking agents and venues who PAY you to perform versus allowing you to play free or not at all. Those people see real VALUE in what you are doing. A free gig never means anything. But once they start paying YOU.. then they are giving you the type of greenlight you are looking for. Legit. Valid. Real.

You can also find a champion. These types of people might be folks in media (a good music journalist for example) or someone who isn't going to make money from you, but who has a professional relationship with the industry and who would be putting their stamp of validation on your work and risking their reputation at the same time if you aren't what they say you are. Those kinds of endorsements/feedback are quite valuable.

So: Ignore people asking you for money. Even those that are 100% honest have a built in bias that can't be denied. Listen to those peers who give feedback, but remember that even if they love something, it may have nothing to do with commercial success and even if they hate something, it also may have nothing to do with commercial success. What it DOES help with is a feeling of reaching a certain type of artistic success. That has value as an artist, but less relevance as a successful predictor of commercial success. Do listen to those who are willing to spend money on you (book you, fund a tour, invest in your album, spend money to help your success with the idea they will get a share of the future profits etc..). Do listen to those experts who won't financially benefit from you, but who WILL benefit or be hurt if their assessment isn't valid of your work.

When you have a lot of support from the right people.. you MIGHT be ready to invest some money on yourself. If no one is stepping up, you need to really step back and think before spending money. You may be an artistic genius, but you may still be commercially un-viable. So why spend money to chase commercial success you aren't likely to find?

2. Once you have a good amount of positive feedback from people who count, you need to carefully target exactly what you wish to achieve. Business people only care about what is in it for them. Your marketing efforts have to take that into consideration. If you're looking for live gigs, you need to be able to let venues know you'll help fill them up AND keep people there drinking/eating all night. If you're opening for a touring act, you need to show the promoters you will bring out the local crowd who will stay to see the headliner and become their fans as well. If you are trying to get a song cut, you need to show that you understand their marketing plan for the artist on their roster you are pitching to (for targeted pitches) or that you understand what is current and on the horizon for radio play (i.e., you music is on the front edge of what's new on radio or is already on to the next big thing). If you are trying to get signed as an artist, you should show everyone you can fill small venues in your town, create your own small passionate fan base (because all they will do is expand what you do locally to the international level.. if you don't have what it takes to bring in the locals, it won't likely work on a larger level).

Remember, very few artistic factors go into commercial success. You must understand that. You have to make the very best music YOU can.. then step back and figure out how that work fits, where it fits and how it can make others money, which you'll get a cut of. You should spend a money using this logic. You'll find that most of what you have to do involves time/effort/passion and persistence on your part more than it involves you spending much money.

3. While this process is happening, you HAVE to be out and mixing with other people in the music community. You should never be sitting at home wasting a night away in front of the TV. You should be performing every night you can (if that's what you do) and on the nights you aren't, you should be at the shows of all the hottest local artists in your town, seeing who their fans are, what they are doing right and how you can do it better. You need to make friends with everyone who is moving in your direction, because even if you don't need them today, you will tomorrow and the next day. You should take advantage of any opportunity to help others preemptively who might help you in the future with no strings attached. It's always better to have someone owing YOU a favor than the other way around. Use any idle time to boost someone else's efforts. It will come back to you big time.

Networking is so important for people to find long term success that it's amazing how back most artists and writers are at doing it when it's so easy today to do. Use the net, use email, use music websites, use organizations, use conferences, use events, use local concerts, use anything you can find that brings music people together.

4. Keep writing and making music. So many people finally get their "album" done (or worse, their collection of songs for their upcoming album) and then stop developing new material while they "work" the old stuff. Don't do that. Keep moving forward. Bring new influences into your creative approach. Don't sit on the same old songs. Everyone thinks (usually) their latest batch of songs are their best. Elton John always says that about every new album he puts out, though fans would strongly differ. Don't put all your eggs into one basket of songs. Don't rest on any laurels (like winning a contest or getting one giant gig.. etc..) but instead just build on it. You'll have time to reminisce about the good old days when you're done.

If you are doing these types of things, I truly believe you'll be making serious positive progress towards commercial goals of success. Talent is the minimal starting point. Big money can only do so much. (Sony, by the way, can't buy success. If they could.. they ALWAYS would. But they have just as many flops as anyone else). Your money can do even less. But the things above CAN and WILL help you find not only success, but a lot more happiness along the way.

That's just my opinion.. I could be right.

Thank you so much for your (as always) studied, logical and sympathetic response.

You're right, of course, in almost everything you have to say. I can tell you that over the years I've done ALL that you advise and, seriously, my BIG regret is that there wasn't an organisation like jpf around when I started out.

I suspect that HAD jpf been available, I wouldn't have the opportunity to sit and depress myself!! I'd be too busy counting royalties.

Thanks again.

Well for all intents and purpose, we still don't really exist in the UK beyond this board. Perhaps you can help us bring first hand human face to face JPF involvement to the UK?

I've found nearly the opposite is true. Usually the only negativity and backstabbing that DOES take place, happens behind the persons back. I have rarely seen full frontal attacks from even the most shallow peers unless the music in question truly does suck. I do see a lot of apathy however among both artists and music fans in general. People just don't care as much about music as they once did. When you can get a literal endless supply of it day or night on demand (legally and illegally) it's like the kid who gets a thousand gifts for christmas and is bored an hour later.

It's hard to imagine where that apathy will lead. My guess, in the short term at least, is that it will be harder than ever to get people interested in more than a single song and will become harder and harder for artists to build good attendance in concerts because let's face it, there are VERY few artists anymore that can hold our attention for more than 30 minutes or so. And that's the GREAT ones. I think the format that will work going forward is artists releasing singles throughout the year and doing a lot of shows with enormous theatrics/gimmicks and/or with multi artist lineups so you get the best 20 minutes from 6-8 different artists in one show.

Anyone else agree?

I'd be more than happy to organise a jpf 'face to face' in the UK. I have been in touch in the past with a couple of other GB jpf members - but we seem to be very thin on the ground, and MILES apart.

I do encourage everyone I come across that plays, writes or produces to join jpf, but I think the UK is a very different animal from the US when it comes to the music business. For most of us, it's a hopelessly biased situation. 'Alternative' music here includes jazz, blues, folk, country, acoustic and anything else that isn't aimed at the sub-teen and Top20 markets.

And now you have this dire situation's greatest exponent and exploiter regularly expounding his views on American Idol, how long will it be before the US goes the same way?

Have you noticed, by the way, how the execrable Simon Cowell signs up EVERY winner and runner-up? Talk about a licence to print money!

I suppose, had I gotten into it to get rich and famous, then I would have some cause to be bitter. But I do it because I enjoy it, not for the money. Unlike Sheila, I do not find it hard at all. I love writing, making work tapes, going into the studio to record demos. I love meeting and dealing with music industry people. I have met scores of them in Nashville and not one has been anything other than kind, helpful, encouraging and enthusiastic.

When we (my co-writer and I) have a pitch that we think is perfect for an artist, we are disappointed when that artist passes. When we get a song on hold with a major artist, we are understandably disappointed when the song does not get cut. Its natural. But, after a disappointment, you can get bitter and despondent, or you can go home and write a better song. I choose the latter because it gives me an excuse to start the process all over again.

Good to see you here. I've been wondering where you'd gotten off to lately!! Understandable rant. It's a tough business and it's probably even harder to try to get something done in Nashville when you don't live here. Espcially an ocean away. I think Brian covered the points pretty well. I have and will pay for pro critiques from time to time. I have found them to be helpful, but you have to take them for what they are worth. I am striving to get more people I trust in the industry to be able to run things by them. It takes a while and some work, but I am making progress. Since you were here and we met I have signged my first single song contract with a small publisher and just recently I have gotten permission and submitted songs to a major player (still waiting to hear back). In both cases it was someone helping me out that got me the contact. In one case it was a co-writer who contacted the publisher and the other just someone in the biz that heard a song that really jazzed him and gave me contact info for the other guy.

It's tough, but you just gotta keep writing. If you want cuts (which I haven't had yet) you need to write something that has commercial appeal. Then you have to figure out how to get the songs in the hands of people that can do things with them. I think, though, if you just enjoy writing, you have your piece of cake. If the other stuff happens, enjoy the frosting.

I'll also fall on the side of Brian & Truman on the hrlpfulness of peers and even those further up the food chain from where I am. I have yet to run into someone who hasn't been helpful and courteous. I just met two writers at a round a couple weeks ago. One who had a staff deal and didn't resign (so he said) and one who currently has a staff deal at a major publisher. I talked to the one who had a staff deal for an extended amount of time at the bar. He was very open about his deal and what a new staff writer could expect. It actually gave me hope that I might be able to do that some day and maybe...just maybe...support my family in the process (won't be easy). The other guy eyed up my guitar and I offered for him to play it. We got to chat a little (about guitars) and that was it. Both were very friendly and approachable. Of course, I wasn't shoving CD's & Lyric sheets down their throats either. .

I've met publishers, pluggers, pro writers, and hopefully soon a major A&R guy. They have all, without exception, been very kind to me. Maybe I'm just lucky?

Anyway, chin up Bernie. Keep on writing!!!

------------------
John

financially, probably not
the reality is most of us are doomed to spend more money on songwriting than we'll ever make from songwriting.

Sometimes I wish I could quit.
But then I get another song idea that I feel is worth writing.

I think it's important to have a life beyond songwriting.

Ande

quote:

---

Originally posted by bernie lamb:
It's an age since I posted here. I’ve been taking some time out since getting back home from the States late in November; getting used to the anti-climax of life in Britain.

Time, too, to reflect on the ongoing and depressingly familiar non-progress I’m making as a songwriter. I often wonder, you know, if it’s really worth it. The care you take to craft your work, the re-writes, the practise, the painstaking assembly. And for what?

To be told that, yes, it has something, but if you really believe in yourself and your work, you’ll INVEST in it. What? Invest WHAT? More than the blood, sweat and tears you’ve ALREADY invested in it? Yes, of course! Invest MONEY. Invest it in ME, Me, me, me, me, me ..... (echoes disappearing up into the food chain from the bottom feeder). Have it demoed PROFESSIONALLY, have it plugged PROFESSIONALLY, have it published PROFESSIONALLY. This means have it demoed profe$$iona££¥, have it plugged profe$$iona££¥, have it published profe$$iona££¥.

There are many column inches of space on these boards devoted to warnings of dire consequences if we ‘trust’ the scam artists. But how much better off are we if we play the ‘legit’ game?
It seems to me that, all in all, the only difference is that you MARGINALLY shorten the odds by going ‘legit’!
It’s still going to cost you money you can’t afford to have your work presented to someone who may OR PROBABLY WILL NOT even listen to it. The merits of your work are totally immaterial to the process. Your rise or fall is determined by the whim of someone who represents vested interests. No? Consider this. IF Mr A&R at Sony deigns to listen to one of your songs (how much will you have paid to get it that far, incidentally?), and actually likes it, even thinks it may be a hit, the wheels of the monolith go into motion – with a GUARANTEED result. How can this be? Because ... Sony has the wherewithal to ensure airplay, TV commercial, point of sale promotion, etc., etc., etc. Even if the track is a FLOP (in the terms that the monolith understands, at least), they will MORE than recoup the comparatively small outlay they have made. Cost to them? Zero, zilch, nada. Cost to you? Suppose you’d been asked to ‘invest’ $3000 in your demo/plugging, etc. exercise. What percentage of your income does that represent? 5%? 10%? And THAT’S only the money it’s cost you! Consider the cost in terms of loss of confidence, broken dreams, and general downheartedness and you realise that you are ALWAYS potentially on the wrong end of a severely one-sided arrangement.

Supposing, even, by some miracle you write a hit song. It sells well. You recoup your outlay and then some. Is it going to be enough to last you? For how long? Do you go through the whole process again? Will the fact that you’ve written one hit song mean that you’re more ‘acceptable’. Somehow, I doubt it. I think that there is a whole row of hoops that everyone who isn’t ‘in’ is made to go through by those who are.

And who are these people? Failed artists? Failed supermarket managers? Failed commodity brokers? Because what they are reducing music and song to ARE commodities. And what they are looking to do is ‘pile ‘em high and sell ‘em cheap’.

I wonder sometimes if I’ve just become bitter and twisted with age! But I look back at 40 years as a singer/songwriter; KNOW that my stuff has made people laugh, cry, get angry, get sentimental – but always RESPOND – and realise that if only ... something like jpf had been available to me when I set out, I’d probably be in a lot better position than I am now.

For those who’ve had the time and patience to read this rant, I thank you. Whether or not you agree with all or any of what I’ve had to say, I’m looking forward to your response.

Bernie

---

------------------
Ande Rasmussen
AndeRasmussen@aol.com
http://www.AndeRasmussen.com
http://songramp.com/ande
http://www.soundclick.com/anders
http://www.MySpace.com/anders

I found Nashville to be a pretty seedy place..BUT..the songwriting community is solid and you can find people who will really help you.

Here in Chicago, onb the other hand, I find people very close to the vest with their work..in general.
People get together not so much to work and exchange ideas, but to display their own work.
The feeling is generally much less cooperative than what I dound in Nashville.

A guy said to me a long time ago"Just ask yourself..Can I hear this on the radio?"..when you're judging your work
it may be that answering THAT question is all you need to do.

I can't think of anything harder than deciding whose opinion to consider when questioning the merits of your work.

I guess I'd say "ask everybody, but listen closest to yourself"

Good luck and keep going !

Bob Young

First of all, let me say that I'm not talking about negativity coming my way. I'm talking mainly about the APATHY that comes your way from those who are 'in'.

I have personally never encountered anyone who has actively gone against me on either an artistic or a commercial basis. And, believe me, I'm not in it for the money! I'm quite content to mosey along being comfortable and happy with my domestic situation; still in love with my wife; still going out to sing; and I will ALWAYS write.

But, for me, success as a writer has to do with reaching a bigger audience than your local circuit. I see jpf as a means to do that, and as a way of getting valuable feedback on my stuff - as well as the opportunity to hear others and, hopefully, pass on opinions that are valuable to them. In other words, mutual respect.

Let's be honest and face it: none of us would be doing this if we didn't think we had what it takes. I hear and see some amazing stuff on these boards. Two of my MOST favourite are taking part in THIS discussion. They write and perform to a standard that is at least equal to anything that you hear on commercial radio. But they are BOTH still a ways from any sort of recognition by 'the industry'.

Hey, I'm a writer, so I write. I've also, in my time, been a performer of note and I think I know a GOOD song when I hear one. Years ago, when I had my band on the road I always looked for songs that I could 'get my teeth into'. Categorically, I can say that if Shelia or John Scott material had been available to me at that time, it would have formed an essential part of my repertoire.

This is the situation that gets to me. There is great material out there, but it is being denied an audience because it is aimed at an industry that has its head up its own butt.

Anyway, before I get into ANOTHER rant, so far so good!

quote:

---

Originally posted by bernie lamb:

First of all, let me say that I'm not talking about negativity coming my way. I'm talking mainly about the APATHY that comes your way from those who are 'in'.

---

I hate to sound contrary, or to nitpick, but I would have to say that the music industry people I have met are anything but apathetic. They are always looking for a hit song. They are interested and involved. They really hope the guy coming in for the next appointment has a notebook full of hits (that's why they make the appointments). When they listen and don't "hear" a hit, it is not apathy at work, it is judgement.

It is very, very hard to face the evidence that one's work does not measure up. I know people who, rather than face that fact, will blame the industry for being deaf, instead of accepting that they are coming up short. What amazes me is how few of them use the experience as motivation to go home and get better.

It may be cyclical. Most things in human life are. We may find a new rennaisance in a few years that will swing the momentum back towards music and it's value and meaning. But it will likely be a different thing than the past because it will have to incorporate freedom of choice (i.e. even little kids will have a "recording" collection that rivals the US Copyright Office at their fingertips so the experience of having a handful of albums you had to save up to buy and pouring over them for months if not years may never exist again) and speed of release (I see artists eventually releasing much MORE music because of the lower cost to do so, and doing it on a more frequent basis for their fans who want instant gratification) and further technological influences that will more often marry visual images with the audio ones. But at some point, smart and clever people will find some magic that sparks fans in a new way that will turn things back in favor of the creators. I just don't think we are there now. In the meantime, we're using an odd combination of old school and new school and complete mystery to navigate the pursuit of professional success in making music and we're battling for an ever shrinking attention span and time availability from our fans who can choose between 30 different things to do at any moment and often don't pursue any of them with the same passion we once saw for music.

In the meantime, the good news is that the creation of music is still the same. Come up with an idea.. create a way to express.. use your skills to make it what you want and then offer it to the world. That process seems to still be intact.

My bitch is with those who merely sit in ivory towers, waiting for everyone to come to THEM, waiting to do the Nero bit with the thumb up or down. What can they know about real life, real music, or anything? They never experience it because they are permanently shielded from it. Are they surrounded by musicians, artists, writers? No, they're not. Their companions are businessmen through and through.

A friend of mine emailed me last week to tell me she'd read thet Dolly Parton had been forced into producing her own stuff, because she was 'considered' to be too old to be a Nashville star anymore! Well, there goes the theory that good music, track record, brilliant songwriting, etc. mean anything to the 'experts'.

quote:

---

Originally posted by bernie lamb:
Dolly said she'd come unstuck with the 'three men and two companies' who now own Nashville. Who's next, I wonder?

---

Anyone know who this would be?

I honestly don't know what you're talking about but I'd sure like to know. Artists can't hold fan's attention for over 30 minutes? ???

and doing a lot of shows with enormous theatrics/gimmicks

More on this, as well, if you can. Thanks.

Ironically, it's the labels themselves that created the monster. By overhyping commercial singles instead of building artist fan bases they've trained an entire generation (actually more than one) to only pay attention to the hits. There was a time period (perhaps it did literally start with the Beatles, I am not sure) where albums became more interesting than just the hits and people really became long term fans of specific artists. I wonder if some of the older folks here (I am 40..) can give us perspective on being a music fan pre-1965 and if anyone was consuming albums of music versus singles?

I think the album generation may have peaked in the late 70's with bands like Fleetwood Mac and the Eagles and they started to slightly diminish when styles like Disco came into vogue (and Disco was always about singles) and it has continued to erode until the 90's when naturual erosion, hyper singles marketing, a diminished focus on quality/deep albums and then the internet file sharing phenomena all combined to kill the idea of album oriented fans. Now the older artists still have album followings, but I think even hard core old timers have to acknowledge that albums are really an abandoned format. It's like people put them out as a formality and probably to increase the overall price of their wares (as Truman observed) more than really making any sort of artistic statement with them. Fortunately for us old times (i.e. anyone over 30) our favorite active older artists still release some cool full albums.. but does anyone really care about the 4th 5th or 6th tracks (let alone the 10, 11th and 12th) on a Britney Spears album? Or even a Matchbox 20 album? Most of my favorite songs from bands I loved came from album cuts that never were played on the radio.. but now I doubt anyone cares enough about most artists to even really give those deeper cuts a chance.

I think perhaps the pathway back to "albums" or a similar artist/fan relationship will be via DVD's and added value content. Instead of worshipping the 12 song album.. fans may embrace the album that includes a video tour diary and includes documentary footage of the artist in the studio.. or their complete bio (in biography channel style) that lets them see where the artist came from etc. I already believe (just my opinion here) that people overall show more interest and curiousity in seeing shows about music rather than listening to it. I think once the added value content becomes the norm, fans may embrace that format in a similar way they embraced the albums in the past. Instead of scouring over liner notes, you'll get the same info and more from the biography and documentary on the artist that is on the same disc as the songs.. I am not sure if they will be DVD's or simply digital files you request and download, but that might be the way to reconnect. It's different with a different emphasis.. but I think it may be more appealing that most of what is offered as album content today.

LPs had more "hits" on them...usually an artist had to have two or three or even 4 hit singles before a label would issue an LP.

Back then there was practically no tape recording of music by the consumer...it was the radio..or a record.
The 45s sound degraded really quickly..the LP was a way to get more good plays out of your favorite songs...we really enjoyed reading the liner notes, too.

Ahhhhh...the olden daze !

Interesting thing...one of the things that has disappeared is the impdortance of scheduling cuts on an album (read CD)
In the aforementioned olden daze, we used to agonize about playing order.
These days, most people play several cds at once in a shuttle mode, so sequence isn't the issue it used to be.

I am old enough to remember pre-Beatles, and I can tell you that rock and roll artists did not sell many lps until the Beatles. There were a bunch of reasons. Bob mentioned a few. Add to those the fact that it was hard for teenagers (remember, at that time, rock and roll was a teenage phenomenon...nobody else listened to it) to come up with 4 or 5 bucks, when a single was 69 cents. In 1964, for $4, you could eat lunch at McDonalds about 10 times (burger, fries and shake...45 cents). Nowadays, a CD costs about 3 times the cost of a McD's lunch. IN '64, you could by 12 gallons of gas for what an album cost. Now you can get about 6 gallons for what a CD costs. Music is a bargain now, compared to when I was in school.

More important is the sad fact that there were almost no rock and roll acts that could put together 12 great songs. The Beatles changed that, of course.

I see similar behavior in other non-mainstream genres like alt-country. One of the Drive-By Truckers records is a country concept album, like Pink Floyd's The Wall.

I think there are still many, many album-oriented fans and many artists who still slave away over song order and putting out complete works. You just don't see it in pop music anymore, because of the reasons Brian outlined: a focus on hit radio singles instead of great records.

I don't quite believe the album format is dead, and I don't think I agree that the "pathway back to albums" necessarily involves value-added content. Maybe the pathway back to albums is to actually focus on creating great albums instead of disposable singles.

For me songwriting is a gift, it's a passion, it's a craft and it's an art.

You'd better love the process of songwriting because at the end of the day sometimes (most of the time, actually) that's all you have. The process.

I write songs because I love to write. I can't help it. It's what I've been doing for 35 years and I'll probably keep doing it.

I always say that I have the best job in the world. I get to play music and express myself and make people happy. It's an incredible blessing to be able to do write a song that will make someone feel something in a powerful way.

Sure it's easy to get cynical about the biz, the biz sucks, let's face it. I've never had a hit song or even a cut by a major artist but I'm still hopeful that it will happen. Even if it never happens I know that I have moved people again and again with my music and that is real. That is an acheivement.

You get what you give in this world. I support the good writers out there by buying their CDs. If I hear someone who blows me away I tell them so.

For most of my life I've been busy doing my own thing, writing songs, playing gigs, promoting myself, but a few years ago after talking with Brian one evening after a JPF event in Brattleboro, VT, I decided to help promote other artists by setting up a songwriter's circle which I ran for a year. Then I started a songwriter showcase which ran for another year. I took a break for a year for health reasons mostly and now I'm starting a songwriting workshop. I'll do it as long as there is interest.

Who knows what is next? I know that in doing the above events I created a lot of value for regional performers in giving them a venue for their music. Have I gotten anything out of it for myself? Yes, I helped promote music in my area and became known as a cultural booster. I think I may have even inspired others to start showcases.

You get what you give in this world

Amen, brother. You have very succinctly expressed everything I wanted to say without the frustration coming through!

The only departure point for me would be that, until I have some RECOGNISED success, I wouldn't feel right organising an event or gathering where I would be setting myself up as any sort of 'expert'.

All the rest I do. I've been organising Open Mics and showcases for as long as I can remember. And that, believe me, is a tough uphill task in the UK!

A bad day playing music is better than a good day flipping burgers.

Thank you and good night.

Given the way the nature and content of many pop videos have developed, I'd also say some things are better left to a teenager's imagination...but that's another rant.

Radio was the way we heard our music initially... not television. Somewhere along the way that line of distinction was lost.
I worry now about a new technology I saw on tv the other day....one which is said to be the thing which will destroy CDs, much like CDs did records. It's a chip, about the size of a quarter that plugs into your playing device. How freaking exciting is that?
It's so bland it makes me want to puke.
And I'll bet it won't save anyone a single dime..in fact it will cost MORE to have records you can lose down the floor registers or suck up into a vacuum cleaner.
I suppose they will have the song lyrics printed on each side, though.. LOL

The addition of video isn't a big deal to me. The way people used to listen to music was sitting in a room with them as they performed. That was bypassed by sheet music so folks could repeat the writers work themselves. Player piano rolls, radio and records continued the technological advance. Recordable media (tapes) and CD's and files and videos and mp3's are all just part of the progress. I think the key is remembering how to capture and duplicate that personal relationship that fans have with music and the artists and writers who make it using whatever new technology exists. In some ways, the latest technology may be one of the best to make a direct connection with your fans. You can actually email new songs as files quickly, cheaply and easily to your fans. You can post regular blog updates and even video performance and messages to them via your website or email as well for that matter. Anywhere around the world that has internet you can directly connect to fans in ways that releasing an album never could. That said, technology has already created challenges, one of which today happens to be that people are only patient enough to check out 30-60 seconds of most songs before moving on. My niece has a couple thousand songs but most of them she's either never actually listened to, or only listened to part of them once. Kids have so much music now that it has no value and unless the song really hits them upfront, they aren't all that likely to listen to the entire thing and even more rarely ever bother to listen to it again because they are downloading the next 10 songs to check out.

After the thirties, when Bing Crosby helped bust the musician's union ban on the broadcasting of recorded music, people all over the country could respond to the same song as fast as a record could be shipped. And today you can release music globally in a matter of seconds.

It seems now, in music, the song is king, but the image married to the song is emperor. I would guess that more people can identify Britney Spears by looks rather than by sound (at least, I can), but this happens mostly in the higher levels of the music business.

Getting to the rant. There are amateurs, hobbyists, pros and cons in the songwriting business. Amateurs may be truly gifted writers of quality music who only share them with family and friends. Hobbyists may sell a song or two (I consider myself a hobbyist at songwriting. Even though I've had some medium level cuts, I only write when the muse strikes and very rarely put any energy into pitching. I put my energy into recording and playing the bass.) Pros are gifted in many ways, not only must they write high quality songs, they must be able to market them. And cons try to convince amateurs and hobbyists to spend more than they need or want to. Unless something really major happens, as in cataclysmic or biblical proportion, it will always be this way. The important thing for us to do is to recognize this and learn to use our time, energy, and resources wisely. If I ever learn to do this, look out!

All the Best,
Mike

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You have to practice improvisation. -Art Tatum