Today’s bizarre interview comes from the amazingly named Dick Flash from Pork magazine– who is really Eno in a wig and glasses — asks Eno exactly the kind of questions you would think of asking someone like Eno with excessive ease.
“I was going to ask you whether you thought technology had affected music very deeply,” Flash begins, “but then I thought, ‘Well, that’s a bloody stupid question to ask Brian Eno. I know you’ll agree that you just can’t imagine rock music without all the technology which goes into making it and getting it heard. How do you think that process has affected what you’re doing?”
“Well —”
“I mean, when you’re making music, what eventually comes out has almost nothing to do with performance at all. I mean, I wonder if you sometimes feel more like a painter than a composer.”
“The thing about this new record —”
“Because after all, your music is basically scenic. It’s not only that you make it more like a painter than a composer, but also, it doesn’t have a narrative. There’s no sort of teleological structure to it. It’s not goal-directed. Instead it’s a bit like a sort of emotional microclimate, a place more than an event. Does that make any sense to you?”
“Yeah, well, I —”
“I mean, I’m not trying to put words into your mouth, but the real question is, should this stuff be called music at all, or is it a new art form? Do you think that this and other media suffer from the carryover of their original names, when in fact they’ve changed into something completely different.”
“Well, I like painting, yeah. I really like it. Um…”
You talk about that being a transient time in the music industry. Obviously, things today are radically different. There’s a lot of debate over the way things have changed and whether it’s better for artists or worst for artists. What do you think?
I find it absolutely fascinating. I love it. There’s all this talk of streaming and how awful it is. And it is. As far as artists getting paid, it’s awful. But there is so much opportunity now. And it’s all swinging toward the artists. There’s still a shit ton of corruption that’s going on. These movers and shakers are set up with Spotify and this money that’s vanishing into the ether. A lot of that is rumor mongering, I guess, but some things are not right.
But I don’t care about any of that, to be honest. What’s really cool is that I think the days of the record company are numbered. That’s not a bad thing. I think they’ve screwed artists really badly for decades. They still are. Now it’s all swinging toward label services, which is a much better thing for the artist. The thing is, as an artist, I would much rather have the fan standing right there. They give me their money. Here’s my album. We have a little chat. Fantastic. A nice, close interaction. We’re talking to each other and there’s nobody in between. I think the music industry has been plagued by people getting in between artists and fans.
We’re getting into a situation now where this much closer connection between fan and artist is not only achievable but desirable. And everybody wins. Fans are getting what they want. They’re getting closer access to the bands they like. The Internet is enabling things like Pledge Music, where you can interact and you can actually see the album being made and be a part of the whole process. They’re seeing things that they never would have seen before. At the end of it, they’re getting an album and they have a much greater understanding of what it took to make it. Special versions, limited editions. Really beautiful quality packages, which nobody would have really bothered with as much before.
A lot of people say that, even as the old model collapses, there’s still a role for record labels to play. It might look very very different than it used to, but it still exists. But you’re saying: No, to hell with ’em. Why?
It was necessary for so long, but it’s becoming less and less necessary now. And I think that’s just brilliant. Years ago, I started to run my own label called Numa Records. This was the ’80s. Back when you still had your big record chains like Tower Records. They absolutely killed me. For example, I put out one album. They would order a thousand and they would only pay for one in 20 of those that they ordered. And if you didn’t accept that deal, they didn’t stock you at all. There was no Internet. No way of reaching out to people. No direct access. Because of those ridiculous deals, small labels, and probably even bigger ones would crumble. You’ve got no power. You’ve got nothing to fight them with. So you give them a thousand albums and then hope they do well enough that it gets in the chart. And then maybe someone else will stock it. And you can get your money. Nine times out of 10, that didn’t happen. You go out of business, the company folds. My record company folded fairly quickly.
You look at a 12-pound album, and six pounds of that went to the shop. Of the six that went to the record company, the artist ended up getting about 40 pence. We’d get the least of it than anyone! Fans hate us because they think we’re all rich and overpaid with supermodels hanging off of us on every street corner and driving around in Ferraris. And fucking record stores are killing it, making an absolute fortune. So, it started with them. The big record chains began to struggle and disappear. Aw! [Laughs] … That was such a good moment. I didn’t feel guilty at all. They ruined so many great little labels that could have done some really great things. And probably took down half the artists that struggled with them.
And then next come record companies. My first deal was for 4% of 90. And then it got improved to 8% of 90. Woooooee! Whoopie fuckin’ dookie. My early stuff is still with a label. It’s there forever. And even now it’s been raised to what the current legal minimum is. It’s still pathetic. You could not possibly earn a living, unless you’re Rihanna. Unless you’re selling in that volume. And now they’re doing these 360 deals, where they want a bit of your touring, your merchandising. They even want a share of management income, some of them. It’s the savage throws of a dying monster and the sooner it’s gone, the better. Get rid of it
There are a lot of people who are really frightened about what’s going on at the moment. I’m the opposite. I think it’s an amazing time. It’s a golden era for bands. You’ve just got to be aware. You’ve got to be savvy with the technology that’s coming and adapt it to you, or you to it, whatever it might be. I’m optimistic, because I’m sure there are other things coming that are going to be really useful. But most of it involves direct access to fans.
I guess people’s experiences are going to be different, depending on what kind of career they’ve had. I’ve been pretty much independent for decades. I went against the record company route a long time ago. I’ve been trying to find ways of improving upon that for a long time. And now, it finally feels as if we’re getting there. We really do have tools that we can use that can just cut out so much of this other stuff that interferes and doesn’t do the job it says it’s going to do. Lies to you. Steals from you.
The business model of lots of different parts of the music business—management, agents, record companies, label services—they’re changing all the time. And they need to, because everything that was there before does not work anymore. In my opinion, any band that signs to a record label is making a mistake. I’ve been through some collaborations recently with some bands that signed to labels and they’re like “Fuck.” You look at the deals they’re getting. You’re never going to make anything. And because of that, you won’t be able to afford to make more music. It’s going to hit your music, your income. You won’t be able to sustain what you’re doing.
I’m such an advocate of going your own way and using what’s around us now. I’m really passionate about it. I talk to people about it all the time. I’ve got plenty of people that agree with me—And plenty that don’t, to be fair—but I believe that where I’m going is the way to go. With the new album, I’m doing this Pledge campaign, which is the first step of an independent route. And now I’m toying with the idea of not even going through label services’ distribution. We’ve got a big Facebook presence, a big Twitter presence. I’ve got my own online store. I don’t need these people in the middle. I can tour the shit out of it. I’ve got my own marketing and promotion budgets anyway. I’m keeping everything. Keeping ownership and control. Having no interference, creatively or otherwise. I just put my arms around it and keep it.
There are so many bands out there, all looking at what’s going on and coming up with their own answers to their particular problem as a band. And they’re very different, but we can all learn from each other. Did that work, giving it away? Not really! Maybe that’s not quite the answer then. What could you do instead? And a thousand other things. It’s a genuinely fascinating time. I can’t think of a time in the business when it’s been so open-ended. There are so many ways of going about it now. And we’re all looking for the one that suits us. It’s absolutely brilliant. I’m loving it.
It sounds like a pretty exciting time, at least from your vantage point.
Talk to me in a year and I’ll be bankrupt and saying “ah, fuck it!”
Marilyn Monroe attending the Royal Command Film Performance at the Empire Theater in London on October 29,1956. The film screening was The Battle Of The River Plate.
Recorded at the Danmarks Radio Studios, Denmark for TV Byen/Denmark Broadcasting Corporation on March 17, 1969, Led Zeppelin ripped through a stunning setlist of their early favorites: “Communication Breakdown,” “Dazed and Confused,” “Babe I’m Gonna Leave You,” and “How Many More Times.”
Grammy and Brit Award winning musician Midge Ure returns to North America for leg two of the ‘Live and Electric’ Tour tonight. He’s playing with a full band for the first time since the Retro Futura Tour in 2014: with former Right the Stars drummer BC Taylor and L.A. based keyboard player Tony Solis “I have been fortunate enough to meet up with some brilliant American musicians over the last few years and will be working with a couple of them on this tour. Both are multi instrumentalists and will cover drums, bass and electronics”
This run of dates will be mosty West Coast then crossing into Texas and ultimately Nashville, TN. Last year saw Ure playing mostly East Coast dates and the year prior he toured solo acoustic on the Fragile Troubadour Tour not only playing but traveling completely solo and recording the whole experience himself for a documentary released late last year. The film highlights the realities facing the modern touring musician. Ure explains how the idea came to be: “After I was asked to do a masterclass at Paul McCartney’s Liverpool Institute of Performing Arts I realised that talking about multi album record deals and world tours would be something most of the students would never experience so I set about doing the six week tour completely alone. No crew. No tour manager. No musicians. I wanted to show the reality of what they might face, if they pursue a career in the current music industry.”
Midge will be performing Ultravox, Visage and solo material as well as playing songs from his highly acclaimed album Fragile, released in 2014. Listen here via Billboard Magazine. Very much plugged in, this tour features Ure on electric guitar and synthesizer recalling the groundbreaking, innovative sound he is known for.
Ure is constantly in the studio when breaks in touring allows working on new material with hopes for a new full-length album to be done by late next year. He has also contributed a song for the accompanying album to the movie ‘Fly’ about the Olympic ski underdog Eddie the Eagle released in the UK and US in 2016. The song Touching Hearts and Skies while contemporary is steeped in the essence of the early 80’s Ultravox/Visage sound.
Midge has also just appeared in a new highly acclaimed BBC TV show looking for ‘part time’ bands, exploring unsigned bands who perform just for the she joy of it. He travelled across Scotland, Northern Ireland and Wales with a film crew choosing artists to perform at a concert in Manchester where the audience would select their favorite band. New Order’s Peter Hook and Soul to Soul’s Jazzy B covered other parts of the UK. Unlike other ‘talent shows’ there is no record deal, music equipment or blank cheques awarded. The prize is appearing on the show and the platform it gives them.
Another recent UK happening saw Midge reunite with some old friends…After meeting up with old Rich Kids bandmate ex Sex Pistol Glen Matlock at the prestigious Q Awards the pair decided to get together with drummer Rusty Egan and do a ‘one off’ show to commemorate the 40th anniversary of the birth of UK punk. The band performed the London show with Spandau Ballets Gary Kemp helping out on guitar.
Midge Ure Tour Dates:
January 5 – Vancouver, BC – Rickshaw
January 6 – Seattle, WA – Triple Door
January 7 – Portland, OR – Doug Fir
January 9 – Sacramento, CA – Harlow’s
January 10 – Petaluma, CA – Mystic Theater
January 11 – San Francisco, CA – Social Hall
January 12 – Orange County, CA – Coach House
January 13 – Los Angeles, CA – The Roxy
January 14 – San Diego, CA – The Roxy
January 16 – Salt Lake City, UT – Grand at The Complex
January 18 – Denver, CO – Soiled Dove
January 20 – Austin, TX – 3Ten
January 21 – Denton, TX – Dan’s Silver Leaf
January 23 – Nashville, TN – City Winery
50 years ago today in 1967, The Doors broke through to the other side for the first time with its eponymous debut on Elektra Records. The Doors would go on to sell millions of copies and made stars of John Densmore, Robby Krieger, Ray Manzarek, and Jim Morrison. Today, the album is widely considered to be one of the all-time-classic rock and roll debuts.
To celebrate this landmark recording’s 50th anniversary, the band will release THE DOORS: 50TH ANNIVERSARY DELUXE EDITION. This 3CD/LP set will be available on March 31. In addition, the music will also be available digitally.
To coincide with this, today will be declared “Day Of The Doors” in the city of Los Angeles. The proclamation will be made this afternoon by Councilmember Mike Bonin during a public event at the intersection of Pacific and Windward Avenues, the location of the iconic “Venice” sign. Founding Doors members John Densmore and Robby Krieger will be on hand at the event as will family members of the late Ray Manzarek and Jim Morrison.
Packaged in a 12 x 12 hardcover book, THE DOORS: 50TH ANNIVERSARY DELUXE EDITION includes a remastered version of the album’s original stereo mix, available on CD for the first time in a decade and remastered for the first time in nearly 30 years. The album’s original mono mix was also remastered for this set and is making its CD debut here. An LP-version of the mono mix is also included. The third disc features live performance from The Matrix in San Francisco recorded just weeks after The Doors was released. Music journalist David Fricke provides detailed liner notes for the set, which includes a selection of rare and previously unseen photographs.
THE DOORS: 50TH ANNIVERSARY DELUXE EDITION offers a rare opportunity to hear the band on the verge of superstardom with live performances recorded during a March 7, 1967 show at the Matrix in San Francisco. The Matrix recordings heard on this deluxe edition were sourced from the recently discovered, original tapes, previously thought to be lost. The Matrix recordings originally released in 2008 were from a third-generation source, so the sound quality of the versions debuting here is second to none.
Packed with electrifying performance, the disc contains live versions of eight tracks on The Doors, including “Twentieth Century Fox,” “The Crystal Ship” and “Back Door Man.”
The trailer for HBO’s highly anticipated documentary about the relationship between the late Carrie Fisher and Debbie Reynolds is here — and PEOPLE has a first look. Fisher, 60, was aboard an 11-hour flight from London to Los Angeles on Friday when she went into cardiac arrest. She died Tuesday in the hospital.
Reynolds died a day later at the age of 84.
Bright Lights: Starring Carrie Fisher and Debbie Reynolds will debut Jan. 7 (at 8 p.m. EST) on HBO.
Two of the most successful and critically-acclaimed rock bands Chicago and The Doobie Brothers – who have sold more than 150 million records combined – announced today their co-headline North American summer tour kicking off June 7, 2017 in Concord, CA. The 30+ date tour, promoted by Live Nation, will take the Grammy Award-winning and multi-platinum selling groups through amphitheatres in major cities including Los Angeles, Chicago, New York City, Toronto, Las Vegas, Atlanta and Washington, DC for a night of unforgettable live music. The tour will conclude July 30, 2017 in Virginia Beach, VA.
Tickets for the tour go on sale starting Monday, January 9 at 10 a.m. in select cities on www.livenation.com. A limited number of VIP Packages will be available including premium seating, meet & greet, exclusive merch and more. Please see below for full tour itinerary and details.
“The perfect summer line-up, playing dozens of the best-loved rockin’ pop classics. I’m happy to be hangin’ out with our ‘Doobie’ friends… a great band,” said Robert Lamm of Chicago. “We’re excited to be touring with the Doobies again. I know we’ll have lots of fun,” adds Lee Loughnane. “Come see us in a city near you.”
“We are so excited to once again be sharing the stage with our wonderful friends Chicago! They’re a great band, and musically we fit together very well,” said Tom Johnston of The Doobie Brothers. “We know from past experience what a great show this is going to be for the audience. I’m sure there will be some fun musical surprises along the way too. It’s going to be a great summer,” adds Patrick Simmons.
Chicago & The Doobie Brothers – 2017 North American Co-Headline Tour
All dates, venues and cities below subject to change.
6/7/2017 – Concord, CA @ Concord Pavilion
6/9/2017 – Las Vegas, NV @ Park Theater at the Monte Carlo
6/10/2017 – Los Angeles, CA @ The Forum
6/11/2017 – Phoenix, AZ @ AK-Chin Pavilion
6/13/2017 – Morrison, CO @ Red Rocks Amphitheatre
6/16/2017 – Dallas, TX @ Gexa Energy Pavilion
6/17/2017 – Austin, TX @ Austin360 Amphitheatre
6/18/2017 – Houston, TX @ Cynthia Woods Mitchell Pavilion
6/20/2017 – Kansas City, MO @ Starlight Theatre
6/21/2017 – St Louis, MO @ Hollywood Casino Amphitheatre
6/23/2017 – Alpharetta, GA @ Verizon Amphitheater
6/24/2017 – Charlotte, NC @ PNC Music Pavilion
6/25/2017 – Raleigh, NC @ Coastal Credit Union Music Park at Walnut Creek
6/27/2017 – Nashville, TN @ Ascend Amphitheater
6/29/2017 – Tampa, FL @ MidFlorida Credit Union Amphitheatre
6/30/2017 – West Palm Beach, FL @ Perfect Vodka Amphitheatre
7/12/2017 – Chicago, IL @ Huntington Bank Pavilion at Northerly Island
7/14/2017 – Noblesville, IN @ Klipsch Music Center
7/15/2017 – Cincinnati, OH @ Riverbend Music Center
7/16/2017 – Clarkston, MI @ DTE Energy Music Theatre
7/18/2017 – Darien Center, NY @ Darien Lake Performing Arts Center
7/19/2017 – Toronto, ON @ Molson Canadian Amphitheatre
7/21/2017 – Camden, NJ @ BB&T Pavilion
7/22/2017 – Bethel, NY @ Bethel Woods Center for the Arts
7/23/2017 – Holmdel, NJ @ PNC Bank Arts Center
7/25/2017 – Saratoga Springs, NY @ Saratoga Performing Arts Center
7/26/2017 – Boston, MA @ Blue Hills Bank Pavilion
7/28/2017 – Wantagh, NY @ Nikon At Jones Beach Theater
7/29/2017 – Bristow, VA @ Jiffy Lube Live
7/30/2017 – Virginia Beach, VA @ Veterans United Home Loans Amphitheater
Thomas Morgan Robertson, known by the stage name Thomas Dolby, is an English producer, and one of the most influential musicians of our era. His hit singles include “She Blinded Me with Science” from 1982, and 1984 single “Hyperactive!”. He has also worked in production and as a session musician, as a technology entrepreneur in Silicon Valley, and as the Music Director for the TED Conference, and is now a Professor of the Arts at Johns Hopkins University.
Tell me about working with Mutt Lange and Foreigner on the 4 album. You spent a month with them, which had to be quite an interesting experience, spending that length of time in the trenches with one of the bands that was really at the top of the “corporate rock” heap at that point.
Thomas Dolby: Up until that point, I’d never spent more than about 10 hours at a stretch in a professional recording studio, and then I was watching the clock because I was paying for it. So to have the luxury of being up all night at Electric Lady most nights of the week with any keyboard that I chose to hire from S.I.R., that was certainly a real thrill. I think especially the band themselves didn’t really know what I was putting on their records. During the day, they were doing vocals with Lou Gramm, and they would leave me at night or put me in the other studio working on my own with a relief engineer. And then they would come in and they would say yay or nay to the stuff that I’d done. I remember specifically, when I created the intro to “Waiting for a Girl Like You,” I’d done it with a technique that I’d long been hoping to try out, which was basically just to sort of build yourself a Mellotron by recording a sustained note on each track of the multi-track and manipulating them in a wave to create combinations of harmonies. I’d been longing to do that for years, and I actually got to do that one night at Electric Lady and put it on the intro of “Waiting for a Girl Like You.” The band came in in the morning and I played it for them, and there was sort of a silence and then the bass player said, “It’s a bit like massage music, isn’t it?” [Laughs] But to their credit, Mutt Lange and Mick Jones got it and it was very un-Foreigner-like in a certain way. It was certainly unlike anything Foreigner were famous for up to that point. I got a big thrill when, six months later, I’d be driving and there’d be an AOR radio station and on would come my “massage music,” 15 seconds of it before the groove kicked in.
Saturday Night Live posted a video showing how a set is dismantled during the opening credits. They should do a whole show on how this is done throughout the program.
