I was particularly saddened yesterday looking at The Sun (not that one, the English tabloid.) I went on line curious to see what they had to say about Manchester United’s destruction of AC Milan and there emblazoned on the front cover was a story about Take That’s Mark Owen. I read it and went back over the previous story and it took me back to some really enjoyable times working with the guys in the 90’s back in the UK. More on Mark’s demons in a future blog but for now let’s stay happy.

For me Take That started the whole boy band thing and when they reformed and came back with that song ‘Precious’ I thought, ‘Oh My God, the first all man band! ‘What an amazing song and what a triumphant return. When a band return as good, even better than the first time it’s plaudits all round, and especially when they aren’t trying to be what they were. It shows great belief in yourself to come back and not want to do what you did before, be a shadow of your former self. While the dance routines change so has the audience. Fond memories are still evoked yet people think, shit that’s real talent. Of course a lot of the well loved songs are in there but they’re not pretending to be twenty any more. For me one of the greatest ever comebacks and splitting when they did was, on reflection probably the right thing to do. Although when I was at BMG and present at the press conference they held at an hotel at Manchester Airport to announce the split to the world’s media I was thinking, what the ….

Take That proved that you can go away, do what you have to do, take time away from each other and do solo projects or just chill and then when the time is right, go for it. It’s a shame they didn’t crack America but back then it was all Justin with his N Sncys and no one was interested. And that knobhead Louis Pearlman was  doing the do and projected them in to the stratosphere. He got  a little greedy though our Louis. I wonder what he’s doing now?……N sync were OK but there were some dodgy wax chested impersonators around at the time who pale in comparison( and chest hair) to those fab boys from my home town of Manchester, England.

With the phenomenal success of Take That you can happily advocate the reforming of bands. If there is a purpose there is always a reason and Take That reforming was a purposeful reason! It made everyone sit up and become aware of a how an act can mature through years. And what’s more they didn’t need the boy Williams and were right not to recruit him especially when his career needed it. Remember how you used to slag them off Robbie?

Simon Cowell has a whole lot to thank Take That for, he didn’t find them and he never found any boy bands half as good as them..

He has never believed in careers and yet he claims that hearing Elvis was the first time he heard rock and roll?  So if he heard it then it must have made an impact, surely?  And does it not impress him that Elvis, the first artist he really heard as a kid is still an icon today, a true idol? Also ‘She loves you’ by The Beatles was the firsr record he asked his mother to buy for him, that must have had an affect to, right? You sent your mum out damn it! And the same scenario, longevity and careers. It didn’t though and maybe not even wanting to go with his mother to the store to buy the record and sense the excitement said it all, even way back then. He never cared about the music, just the functionality of it. The like, the must want and the must have.

He also says Bob Dylan wouldn’t have been chosen for American Idol, we’d have left him crying in a car park in Idaho and Simon Cowell wouldn’t have cared. But what about the rest of us? Who cares, no Mr Tamborine Man, no All Along the Watchtower and no career if that had been the make of of And R people back then. But fortunately we had people like John Hammond who cared enough to bring through the real artists, they cared about talent and not about themselves. They knew the pedigree of an artist and had the faith to allow them to develop. They helped one another, there were no puppets signed and told to do as they (the A and R people) said and if they didn’t they wouldn’t work with them. It was a collaboration, it was a democracy and a republic. There were no dictators.

So he doesn’t believe in careers, he was influenced by people who had them and still have them and somehow would have passed on Dylan? No comprehendo, Dylan was Dylan because of Dylan and going back to what I said in the previous blog about Elton John, great artists know better than anyone what they have and understand how to cultivate that. Sure they need help but they don’t need anyone doing everything, they’re not that insecure to feel it’s necessary. They are happy to develop and grow at arate that is comfortable for everyone. When you do that people notice, the artist notices and the record company notices. And grow they do, and sustain they do. Careers are born and the spoils follow, and yet we went and destroyed all that so that a few people could own an industry.

If Bob Dylan had been allowed to come through today then Simon wouldn’t have been noticed as much. Weird because Dylan and Elvis left a legacy and Taylor Hicks didn’t………….or Fantasia or Reuben etc etc. The legacy  that remains from all of this is that of Simon Cowell and the power he yields controls his destiny whether with Idol or X Factor. Power destroys everything and everyone in it’s way and for Simon it will have to be his way to work. Music changed our lives and for the better, certainly from where I’m standing and now its changed again. But this time not through a musical revolution be it  rock and roll or punk. I’m not alone in thinking it’s not in all our best interests.

An idol is Elvis, Lennon or James Dean and we’re a long way off that. Idols’ retain their thrones , they don’t come and go. Idols aren’t popular for a while they live forever. Idol means something you worship,  are we now ‘worshiping’ talent show winners?Whatever you think of any of them an idol is ‘an image of a deity other than God. ‘ A God or  goddess, why in the hell are we creating false Gods from American Idol? Daughtry is a rocker, he’s not a God and neither is Fantasia a Goddess. And as for Taylor Hicks, curiously not quite a God.

And then there was the eagerness to get it out and get it heard. We, the pluggers would have our say and would maybe play some key people at radio a couple of songs , get their input. Everyone would run around like kids comparing new toys at Christmas. You’d create a buzz without even trying, a real buzz. Regularly we’d talk about other people’s records, I always thought it was the best form of promotion if you had someone else talking about the records you were promoting. If you gave a record plugger from another company a record you were promoting you knew the next time you saw them they’d have heard it and they’d then tell you what they thought. We all shared the same common interest, we loved music.

And the fans did too, they loved talking about it as well as listening to it and if you heard something you liked then you would want to share that with others and pass it on. It was viral marketing in it’s infancy and before the web. Chances are that if your friends liked it they would be out at the first available opportunity buying it for themselves. A tape? Bollocks to that we all wanted our own copy!

Maybe the artist wanted it so much more then, they saw creating great new music as the ultimate challenge because they knew there was an audience out there begging for it. The music industry has always been a place where you wash your dirty laundry in public. If you release an inferior product somewhere else, in fashion, a new range of kitchen appliances, new trainers etc all that happens is it  doesn’t sell. People don’t go around critiquing it and talking about it but when your next album isn’t as good as your last everyone knows. There’s an outcry. If you’re disappointed then again it only shows you care enough.

So where are we now? If the public aren’t buying and the record companies aren’t signing then have the artists given up trying? Is everyone to blame for what has happened to the music industry? Has it gone the way of shipbuilding and cotton, was it a once a great place to be and now merely a shadow of it’s former self? Have the good old days gone and do we need to accept that however it evolves in whatever way it just won’t ever recapture the excitement and give us that adrenalin rush we all got from being a spectator or an insider?

Is all we have left, memories?

Record companies were used to breaking an act and then selling records, and records meant albums. Today if you have a hit it’s because people have bought a song. It’s possible you may never sell another, and you can’t create stars least of all big selling acts when you’re peddling songs. The public is conditioned in to downloading something they might hear off the radio and even then as current statistics are showing most of them are ‘acquiring it.’ And what that means is no one is getting paid, people have something where no revenue has been created. You don’t need a Think Tank here to work out that if you can’t get paid for something why or how can you continue. Worse still where lies the future when writing songs want earn you a living wage, never mind make you a star.

We just don’t haver a generation growing up that are likely to change that. People like me can’t understand that and the people growing up don’t understand why I can’t understand it because it doesn’t matter to them. So we’ve arrived at a stalemate because you can’t educate people who don’t want to be educated, they’ll do it their way.

What made the music business exciting was it was driven by cycles, something was in and then next year something else was in.  You can leave a door open but you still need people to want to come in. They need to be curious and they’re not.

I started to think deeper though, dangerous in itself and about the future of American Idol in general which will not stand or fall by Ellen DeGenerative, successful or otherwise. Soon the Ellen novelty will have worn off and we’ll be back to all the speculation around who will replace Simon Cowell because you have to remember that Ellen is only Paula’s replacement. Fortunately Ellen has a very lucrative career independent of Idol and won’t ever be known as ‘Paula’s replacement.’ Perish the thought,  sounds like the person thrust in to the Big Brother house when a previous contestant was exposed as being an albino dwarf who ran an illicit opium den for transvestite oil sheiks.

Interestingly enough there’s been talk of Howard Stern, and while I love Howard I don’t think so. American Idol?  He’d rather judge a porn pagent, it’s more interesting for him and anyway the after show parties would be a lot more fun. He would probably be totally scathing on Idol when he saw what they had parading in front of him and how much talent there was. That would terrify possible future contestants though also, living in fear of the wrath of Howard Stern. Oh my God, he’d tear then apart limb to limb. Howard Stern’s career is built entirely on doing what the fuck he wants and he would cater to no one. Where Simon is now motivated by sustaining his vast wealth and even adding to it, Stern is still a maverick and further and further away from the establishment. Fox doing a deal with Howard Stern, I don’t think so or if he did he’d want everything Rupert Murdoch owned. You’ll never have any Grannies thinking Howard’s sweet  or funny or cute and that alone eliminates any thoughts of mass appeal. American Idol is not about taking risks, there is too much at stake now. It’s all about the ratings because the ratings give them infinite power, the power to make even more money and that is all it’s about. Don’t tell me they’re building careers because they’re not with the exception of maybe two or three out of hundreds of thousands.I think that’s called the law of averages and a mean one in the worse sense of the word! And let us not forget there is no hiding the fact that their king is abdicating.

Elton John has been mentioned too, I think he’d be good but again it’s probably everything he despises and he certainly doesn’t need it. Elton broke because he had more than every ‘idol’ put together and then some. He didn’t need a Simon manufactured makeover that’s for sure, he mastered his own class and he has survived because he’s as far away from being manipulated by this industry as anyone. Elton knows what makes Elton become known, and remembered. He considered himself a writer but not a lyricist and got a very good one in Bernie Taupin. It’s a collaboration that has lasted to this day. Will that be Simon Cowell and Westlife in forty years?  Mmm somehow I think not. That’s the thing we don’t have nowadays, artists having the creative flair for knowing who to work with rather than being told who you ARE working with. Artists even knowing who they are and ultimately what they want. American Idol contestants are there because they want someone to do it all for them and then when they don’t get selected their world subsides.

Do the lottery it’s a safer bet.

It would be great to see an artists definition of this, ‘What does make a great album’? I’m thinking belief, talent, commitment with a dash of reality and an understanding that no matter how good you think it is you need to leave it at the mercy of others to make that final decision. If your manager, should you have one doesn’t like it then if he doesn’t say so what’s the point of having them as your manager? The record company then would be the first to stand up and offer their opinions and here’s where it’s changed, would of!  There were times an A and R person could be driven to tears going down to a studio to hear the end result from a band they’d signed, and feeling visibly moved. And more than likely they’d matched the producer with that artist. Had it worked? He/she was the proudest person on earth, all the hard work to get to this stage and now the anticipation of finally hearing it. More often than not they’d be down the studio intermittently during recordings to see how things were developing and eagerly awaiting the final playback. And the artist couldn’t wait to show them what they’d come up with. THAT”S what made a great album, people sensing greatness, always wanting it but never knowing if or when it might come. But it was enough to keep them striving for it. Part of being great is knowing you can be great.

I’d love to have the opportunity to ask people like Roger Waters or Dave Gilmour from The Pink Floyd, ‘What did it feel like when you were recording Dark Side of the Moon?’ Did they know they were creating history or did that come later? Was there any time in the studio they thought, ‘Oh my God!’ Maybe one day I’ll get the chance to ask them, I’d love to know. Was there that moment in the studio when they were listening back to it when they thought, ‘Fuck!’

Likely they’d all be together at the studio listening back to it, band , record company, manager and maybe even their publisher. I know how I felt as a kid just waiting for a new album by some of my heroes. I’m thinking as an artist you cared, you took pride in your work, you didn’t want to let people down. After all it’s your audience that put you there and they have a right to judge you on merit, you set your own standards. Was it as good as your last album and if it wasn’t could it be that maybe it’s just a change of direction, would it grow on you? If you’d made a great record were you really great, could you sustain that greatness or had you had your moment? Whatever it was it still kept you hungry and wanting whether you recorded it or you bought it.

As we discussed before and we’ll ponder over again no doubt, where is the drive and the ambition? Do you make a record knowing that not many people will buy it, does it affect how you go about making it? If that’s the case then give it away, just make sure you give it away to enough people to find out what they think of you. That’s if you care, because if you don’t care then don’t expect anyone else to. So many basic human ingredients are infectious, they rub off on you. If you’re passionate enough about something and are sincere people buy in to it. It’s easy and you know why? It’s because you’re not trying to convince people, it’s there and it’s natural. And you mean it. You’re exposed for what you are, just someone being themselves, behaving naturally. People feel comfortable and relaxed about you and interested.  Be real to see for yourself if you are real and let others decide for themselves if you are real. Real artists can believe they can make great records. Do we have enough?

Wal-Mart = Record store killer

You admired those artists and what they had and if you had a bit of that talent you thought you stood a chance. It was worth giving it a go and at least if it didn’t happen it wasn’t the end of the world, you’d given it your best shot. You never needed to look back and think, ‘what if’? What if I hadn’t tried, I might have never known if I could have made it. Hope came from inspiration and even if you were down on your luck something might trigger that dream and you’d go and spend your last thirty  pounds or dollars on a guitar. It was worth it. Do people do that anymore, do they  believe enough or have they been so brainwashed by  an industry that doesn’t believe enough in itself?  The industry is accepting of the fact that music doesn’t sell anymore and they’re looking for new revenue streams to claw on to anything they can. And yet they chose their own burial grave, they even bought up all the lots as year after year they didn’t seem concerned that independent records stores were closing. The first port of call for their new artists was disappearing around them and instead of reaching out to help they increased their discounts to Walmart and anyone else who’d buy in bulk. Never mind that they only bought a few titles, it was quick cash. Talk about biting off the hand that fed them for decades, they didn’t given a toss about the independent retailers who’d done as much as anyone to break their biggest selling artists. Where did they think they came from, Walmart?

Today's Music... Digital... what about the rest of it?

So what does drive the people making the music nowadays? Are they too accepting that there is a depressing reality in how many records they can sell? I suppose so, records and selling don’t go hand in hand anymore. Physical product doesn’t sell whoever you are with the odd one off exceptions to the rule like Susan Boyle and we all know where she came from. And furthermore will she be selling records in five years? Somehow I think not  and quite probably the novelty will have worn thin. There have been opera singers since before Elvis, they have always been there. So X Factor found a woman who sang opera OK, so what? They found an ordinary person singing opera, does that makes her extraordinary? She didn’t invent it, where’s the X for factors sake?  And all the Italians in flowing robes learned to sing mighty fine,  they didn’t need a talent show. And in the UK Russell Watson became big a decade ago so still nothing remotely novel or Xy about Susie girl. Funny how we used to do OK for talent before we had talent shows. We had a way to discover music but it started with an interest in it in the first place. Artists were interested in being heard and the public was keen to listen. Today they just don’t care and interest doesn’t even compare to passion. When did we last hear people being passionate about music. They have more passion for a pair of shoes!

Digressed a little there so more to come but that’ll do for today’s episode.

Like a dream sized Circus

U2 360 Tour…. an amazing live experience.

Touring cannot go on at this level.  We’ll have to see but a change is gonna come, of that I am sure. The few that care are more scarce than ever and Bruce and U2 must hope that when they take their new record to the masses and hit thecannot go on at this level. road they will come out and see them play,but again at what price?

Can they and they afford to? Again a stark reality, who has the money. Will ticket prices come down? I think they have to, I don’t think we the public can support a huge production take to the road in the way it did. Touring through the 80’s and significantly in the 90’s and up to the present has become like a circus coming to town, the sheer scale of the behemoth. The Eagles just came to Tampa and the top ticket price was $188. That’s a lot of money to find presuming you want to know the person you are sat next to. We’re looking at $500 for a night out if you stretch it beyond the 2 hour show and include a beer or two, not even enough for a bite to eat if you’re considering buying a programme. You have to wonder how the acts are thinking, will the shows be downsized, will the production suffer. How can they take the army of people out on the road that they are used to. What’s going to give, while I doubt it they will be expected to cart their own gear in to arenas will they be staying in cheaper hotels, traveling to the next shows in a sleeper bus. And then maybe not the bells and whistle buses of old.

We’ll have to see but a change is gonna come, of that I am sure.Touring cannot go on at this level.

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.

Here’s a snippet..

In 1980 I was working with U2, I’d been taking them in and out of radio stations prior to the release of their first single, ‘11 o’ clock tick tock’ and trying to get them in for interviews wherever I could. They released 3 singles in the six months from May to October and we had been working relentlessly driving up and down the motorways to talk to whoever would have them. And then more of the same upfront of the release of their debut album, ‘Boy.’

You hoped all the hard work would pay off and that opportunities would come your way, you’d take some risks, take a chance on something. It might go pear shaped but you’d never know if you didn’t give it a go. It’s the reason you try it in the first place.

If you believe it enough you won’t need convincing and you won’t need to convince others.

November that year was incredible. There were a few of us at Island Records who believed in the band and we were all convinced they could be huge. Rob and Neil in the press department had done an unbelievable job getting journalists along to see them play and were starting to get some really good feedback. All their efforts culminated in an NME (New Musical Express) front cover at the start of the year.

At that time there had still been no significant breakthrough with any national radio or television exposure and we all knew we would struggle to survive on press alone. In order to maintain the great press coverage they (the press) would need to see others pick up on the band, and to get radio and television interested you needed the press, it was catch 22. We were at the crossroads, something needed to give. We needed to get that break otherwise it would be impossible to keep the momentum going.

I received some amazing news. Tony Hale the Radio One producer who was based in Manchester and therefore a contact of mine, loved the band. Were they available to record a session for the Peter Powell show? WERE THEY AVAILABLE……Damn right they were available! Around the same time, maybe a week or so sooner I got confirmation that Granada TV’s network kids show ‘Get it together’ wanted to book them. I couldn’t believe my luck….all my Christmas’s had come at once. I say luck but in all honesty I had been working hard on the band for most of the year, we all had and felt we deserved this break. This was the most significant result we’d had up until now from national radio and TV in the UK and now we were really starting to get others to believe in them. At this point we were starting to think, just maybe?