There’s a lot going on and I’m really lucky to have a team of highly talented people around me to help me with the stuff I’m totally crap at. I just found out I’m shit at a bunch of things but it’s the more technical stuff really thats take me an eternity to get my head round. I love what it can do but I get frustrated at the time it takes to get it right. I’m amazed to watch people do ’stuff.’ Wow, cool is getting cooler. Wouldn’t it be cooler than the cool of cool if someone invented ‘non nerd voice recognition pro tools.’ Software that you can say ‘Edit the stuff out where I sound a twat’ and it does. Mmmm dangerous though, letting a machine decide your level of incompetence. Anyway I think I know what i’m trying to say. Read on and you all might get a chance.

In fact my techo slow go is why I never became a producer. The band would have written another album before I’d recorded the first. Maybe I’m good at people and not machines? That’s OK. If you get on with a computer and you work well you can’t go grab a beer together after work can you? As it happens I like people, a few have let me down over the years but that happens. You dust yourself down and move on. Another slice of life, a stab at growing up. Shit, I don’t want to do that!

You’re lucky you’re at the end of a computer screen, I’m unbearable right now. I’m so excited about where we’re going with all this, so totally fired up and the people I’m working with all are here for the ride too. They can identify my crap better than I can identify it myself. They’re crap savvy. Position people where they work best and everyone benefits. It’s what motivates us all, we are seeing it all start to take shape.

Interpersonal skills are what got me this far, I think. And if they didn’t then I’m fucked because I’ll have no one to talk to. I even want to teach people about people now. How to work with those you admire and how to tolerate those you don’t. Music schools teach students to be adept at pro tools but that’s no good if you don’t know how to interact with a human being. Who’s going to want to work with anyone who’s a plank?

It’s a bit early so I’m all over the place. I’m currently writing to do lists  but it’s a bit early for that too. I can’t read some of them and I can’t find the others.

And now the sun’s coming up.

Later.

Much as I want to promote this I want to start writing my next one, it’s a killer and the sooner I get started then the sooner I’ll be able to bleat on about it and get repetitive. All I’m saying is that it will involve a whole host of colleagues from over the years.

I will have my You Tube channel up and running by weekend, it’s registered and it’s going to be called TM TV. It’ll be full and feisty and fun at the same time. Got lots of ideas on content.

The plan was to release the book early in the New Year and set it up properly, but I don’t do properly very well so we’ve arrived at a compromise. There’s going to be a limited edition number of copies until the full launch, all signed. I sign them and send you a pencil and you write the number of copy on it. And when you go on holiday you take your book with you and you ask the person next to you on the plane what number theirs is then same again when you get to the hotel. Guests, receptionist, concierge, the lot of them. How else will you know the full value of what you own? If you find someone with the same numbered book send them both in and you get a refund, payable with 10/16  weeks.

Call it marketing. Well call it what you want, like I care?

Just look at the obscene amount of money being spent on yet another comeback. Is she running out of money? Clive should have told her she’d been making shit records for too long instead of proving yet again how artist’s careers are down to him. Wasn’t it last comeback time he recruited a bunch of people to appear on the album and sing with her. Help a Whitney time again. We’ll be having Whitneythons next.

She was the crooner and balladeer for eternity, but since when did eternity have a place on earth. There’s ballads and there are crap ballads……Dolly, I will never forgive you for letting her do that song. ‘Whitters’ made it her own and turned it in to an anthem, albeit at funerals but hey, it’s a powerful song and she sung it well. And she can sing, it’s just everything else that comes out of her mouth. Do we need  Oprah to give her the voice to tell us that Bobby Brown was a train wreck? He’d been a write off for ever, it’s his prerogative. Weird business when you can make a career out of one song. And it’s OK for her to spill out her drug addiction now to win back her fans. Are we supposed to feel sorry for here since she helped to settle Peru’s national debt?

Well there’s a suprise, she’s got a new record out. Funny how you don’t do these things when you DON”T have a record out and you’re on the front page of a newspaper looking like a char woman but less sexy. What’s the point, there’s no money to be made and you can’t let us know ‘I’m back.’ Cos you’re not, you’re slipping out the back.

Just go away, this is (was) a business about embracing new talent and unless you’re relevant (Elvis Presley, The Beatles, Led Zeppelin or The Pink Floyd and there are plenty more, just not you , luv) you’re history, and not good history at that. It’s about the great records you gave us. Step up to the table and tell me one great record you’ve plastered your name and face all over? There aren’t any, you just have a mentor who or for some reason thinks you walk on water. My cup runneth over, you suck.

I could go on forever about you woman but it’s still more publicity and you don’t deserve it, you’re just one of those people that can’t stand the thought of being ignored. Well hopefully the world will realize that you’re a waste of theirs and everyone else’s money.

How can you justify what I just read in the Sun newspaper….

Her comeback could cost her a whopping £6.8million.

That’s the amount leading accountancy firm AAT has calculated it will take for the pop queen to launch a comeback in these credit crunched times. The legendary solo artist’s record label faces shelling out £675,000 for an album, £5.6million for a world tour, an image update at £16k and nearly £11k for a team of hairdressers, stylists and make-up artists.

And in the current economic situation that’s nothing short of obscene. Money that could be spent on new exciting talent that record companies no longer want to spend. Well how can they when they are to spend THAT on THIS. How many careers could you launch with that instead of habitually reigniting the dying embers from someone who should have long since faded. How many of those talents would ever be afforded two days on Oprah seeking forgiveness(record sales)

Whitney Houston never did any promo when she didn’t have to, and now she does she gets the biggest show on earth. If God had a chat show she’d be the first guest. Now the reality is that no one would give a toss whether or not she made a record, it just means that whatever they need to spend to make her feel the Queen of all Divas they will. And they do even though she KNOWS she’s the Queen of the Divas. She invented it.

Bye bye Whitney, gone and forever forgotten you’d hope. But as long as Clive Davis is around how many more Whitney Houston comebacks will we be forced to endure. If you’ve gone away, there’s a reason. Please stay away.

I had a great time earlier in the week when I went over to see my friend Paul’s band ‘Jealous’ playing in Orlando and met some really nice people. I had to laugh though, I was invited on to a panel where they were discussing everything from the current scene to how an Orlando band perceived going to the UK and vice versa. All was fine until the moderator Chris asked me a question and the tape ran out. I apologized but told him ‘You asked me what was Insights from the Engine Room all about then. Bad question!

To be frank though (Frank who?) I’m really not apologizing at all, on the contrary I’m really pleased I’m in total promo mode. I’m on the verge of a new career and I’m letting nothing slip. If people are interested to hear what I’ve done over the past thirty odd years then I’m happy to talk to them. When all is said and done, once a promo guy, always a promo guy.

I spent a huge part of my working career setting up radio, TV(and in the early days press) for up and coming acts which included multi million selling acts like U2, Matchbox Twenty etc and I know as well as anyone the importance of having the media buy in to what you’re doing. Back in the day it was very different but when it all comes down to it nothing really changes, it’s still about getting in front of the right people. Back then it may have been a TV show or on the radio, now it could be a blogger, podcast or somewhere else on the internet. It may be somewhere else altogether but one thing I know for sure, as one thing becomes popular something else comes along to replace it. You contantly need to be on the look out. What’s right for your career might be wrong for someone else’s. Let one person know and they’ll tell someone else, one becomes ten, ten comes a hundred. But you need to start somewhere.

Writing the book, telling stories and offering up advice from my side of the fence has given me an overwhelming urge( Now if there was ever a need to change my name by deed pole it should be Tony Overwhelming, it’s got that ring to it!) I digress, an overwhelming urge to help bands on the way up and to put some ideas in their head, send them away with something to think about. You can have the most talented , creative people in the world who just haven’t afforded themselves the time to think,’ right, what next?’

As the website takes on a life of it’s own and I hunt down the people who know the answers to a bunch of the questions let’s see if we can make a difference to someone and help to give them the motivation. Not just the motivation, there are plenty who have that but are sadly lack in other areas. Let’s see if we can help them to make others believe in them in the way they believe in themselves.

I remember some of the great moments at Factory and the look on their faces when their records started to take off. Tony Wilson’s look of utter amazement thinking ‘How did that happen?’ That excitement sadly was the beginning of the end. We all knew they never should have moved to an office with such an insane overhead but you couldn’t tell them anything. That was the beauty of it. It wasn’t an arrogance, Factory did what Factory did and for a while it worked wonderfully. And we all loved it. It was a time and it was a place and I loved nearly every minute of it. I say nearly because I don’t think I really loved it when the collapse came and I was owed a horrendous amount of money. My immediate concern then was how I was going to keep myself afloat and my own staff in a job. Factory went, I cashed in some insurance policies in bought a barge, went off to Bali and Lombok for a holiday (not on the barge I hasten to add), shoved some money in to my company, TMP dusted myself down and careered on for another ten amazing years. It’s the things that seem the most daunting at the time that make you stronger, more resilient. When the dust finally settled I thought if I could survive that I could survive anything.

Factory was more a way of life, not to dissimilar to Island Records in some ways in that it was a bunch of people putting records out they liked, records they’d be proud to have in their own record collection. They thrived on loving what they did. It wasn’t a job, music and records was their hobby. Everything was so very different back then where  the media would respond to quality and respect what those pioneer labels were trying to do. They would join in their success. They weren’t hell bent on creating trends for people to follow they just loved it when they heard something original, something that moved them enough to write about it.

And we went from that to journalists trying to make a name for themselves by being controversial and writing reviews that would get them noticed rather than the music. And quite often reviews that you couldn’t understand. I’d find myself reading stuff and thinking ‘Does he like this’ ( I say he because it always seemed to be guys writing all the ‘look at me, aren’t I great’ pieces.’

And so change started to happen and the music business began to change. And my God did it change! What did happen seems to be a daily conversation with the people I talk to. We are all older and more reflective, we look back and think ‘Wow what a roller coaster of a ride.’ Over the coming weeks I’ll share some of those thoughts and look back. Should be fun. Main thing is I”M BACK!

Take That are very smart, they listen and they learn. In the early days they were masterminded by an excellent manager in Nigel Martin Smith. He was a mini Brian Epstein, he built the band from nothing, had the right ideas and worked very well with the record company, RCA. He worked the band hard with plenty of public appearances where they would perfect their dance routines and build a fan base and he got the record company to support all of that.

Has it really been any different, getting out there and finding out who your fans are? It worked very well, they got their break and they had earned it. All the time the band were listening to others. They were learning and showing a great deal of interest in their own careers yet they understood they were young, had no experience and needed guidance. Now they are able to use that knowledge and experience and are getting it right the first time of coming back !

I’m very impressed and delighted for them, they are on the verge of selling a million copies of their new album. It would seem like their career is doing better than his and that’s why he wants in. Take That could end up with the best comeback of all time and could do that quite easily without ‘The Robster.’ That would be very hard for him and his ego to handle, he really thought they’d struggle without him.

He hated Gary being singled out as the only one capable of a sustaining a solo career. When Take That split up Gary’s label BMG mounted a huge promotional campaign for him, one that was aimed at showing the world how successful they could be with the band’s main songwriter. They wanted to turn Gary Barlow in to the new George Michael and I don’t that was fair to Gary. It’s something that’s typical of record companies, they fail to realize the public is quite happy with one George Michael. In the past did they ever try to give us the new Frank Sinatra, the next Freddie Mercury, Elton John? No, they’d be out there searching for the next big thing and not replicating the last.

Don’t get me started on that, well not until next time at least.

I was pleased to see that U2 , Tom Waits and a multitude of others had made the effort to show how much they loved and respected him. It seemed like every journalist of any note was there too, a symbol of just what an important figure Rob was to all of them, and someone they all knew personally. That’s what made him so very special. You could never call Rob Partidge faceless in the music business, he believed in relationships and he nurtured them with both artists, colleagues and journalists. He encouraged others to do the same, an wonderful mentor to so many. Another legend from the engine room sadly departed, gone but never forgotten.

After reading Neil’s blog I thought of how he must have felt after such an emotional rollercoaster of a day, how so many memories must have come flooding back, those wonderful times at Island Records and when they made the decision to set up on their own. They had done as much as they could at Island and without Chris Blackwell as the figurehead how it wasn’t really Island anymore.I wasn’t there at that time,  I just know I would have been right behind them.

Neil and Rob made a formidable team in their time at Island Records and helped all of us do our jobs. If the acts you are promoting to radio and TV are being written about in the press then your job becomes easier. It’s weird but sometimes people needed to know they wouldn’t be the first to champion a band or artist, don’t ask me why, I never understood that one either! I suppose in commercial radio they needed the comfort factor that if people were paying attention then it might just be a hit. It also made me appreciate doing my own show and being allowed to play exactly what I wanted with no interference from Piccadilly Radio who were brave(or stupid!) enough to let me loose on the airwaves all those years ago.

Every time I write about events back then, whether radio or the record industry in general I keep saying how glorious it was, but it was. It was so exciting, so much fun, something I never want to apologize for. I can understand how and why it has changed but could never argue it was for the better. No way! As was the case with Rob it helped created the people I always want to write about.T

The legends from the Engine Room.They are immortal.