The band are taking plenty of flack for the carbon emissions from taking this gargantuan beast on the road and you can understand why. Personally though, I believe  The Edge when he says they will offset that carbon footprint in some way. They’d probably already thought about it long before all the knives came out.  Unfortunately at around the same time he bought 156 acres on a cliff in Malibu overlooking the Pacific Ocean to build an eco friendly  home. Well five in fact, his own 10,000 square foot palace and another four to flog. Nice work if you can get it! He does want to make it his main homestead though and having seen the place I think I would too! Needless to say the activists came out in force stating that to build whatever he was building they would need to flatten a part of the cliff to build an access road.

No matter what anyone says about U2, whether it’s the new album, the carbon non friendly size of the tour or anything else for that matter the one thing you can’t ignore is the experience almost every single person who attends the show takes home. For them it’s worth every penny. U2 bring them a happiness that a lot of other bands don’t and for them it’s the best night of their lives. Paul McGuinness  has been quoted as saying they don’t break even until the back end of the US tour so you cannot argue about their desire to give people an experience second to none. The Edge on the edge. Of a cliff.

I don’t think the tour will have a significant effect on their record sales either and I’m sure they know that better than anyone. Their motivation will be their desire (no pun intended) to give something back to the people who have stuck with them forever, it’ll be trying to let them experience something unique, something completely different…….to anything. Add to that the corporate, footballer world flocking to the U2 show as the place to be seen and we have ‘the event’. It’s kinda funny too, what about those who haven’t seen a live show before? Where do they go from here, anything is going to seem sub standard after Claw Wars!

And where do U2 go from here, the return of The Claw? I don’t think so , it won’t be anywhere other than rest for a while and I think we can all allow them that indulgence! But what next, where can you go. Personally I think it’ll be stripped right down and four guys will take their songs to the masses. U2 have reached such a level now that being the ‘hottest ticket’ they could do anything. They’ve earned it. They haven’t earned it because of a gigantic claw and a production of epidemic proportion, they earned it from 30 plus years on the road. They’ve earned it from playing every tiny club that wanted to book them to every fan who wanted to see them. They’ve earned it from signing every autograph for every one of those fans who believed in them enough to give them a chance to do this. And through it all they stuck at it. They posed for every picture with every fan no matter how exhausted they were after giving their all in a performance, and for many years to under a hundred people and not a hundred thousand. They stepped out front to meet and greet the fans for as long as it was safe to do so. They paid their dues, they have earned it.

For me U2, David Bowie, Bob Dylan, Bruce or Led Zeppelin don’t have to prove anything to me or anyone else. They earned it, damn right they earned it. It’s called a work ethic and it’s called graft. Blood, sweat and tears. It’s called taking chances and making mistakes and it’s called entertainment. It isn’t about any one tour, it’s about understanding why you came in to this business and giving people something they have earned. The opportunity to take their hard earned cash and spend it how they want to. And if that is on two hours of a thrill of a lifetime who are we to judge?  When entertainers get this big let’s not lose site of the fact that they are still meant to entertain. It’s what they do and it’s what they should always do.

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.

The bottom line, will it make everyone what they are used to earning from a U2 album? Many, many unanswered questions. Time will tell and it’ll give us a sure fire indication of the times ahead. Once the accountants work out what Bruce and U2 have sold it will tell us a lot. Everyone in the industry will be watching, the goalposts have changed.

And what about the tour, where will touring be when they roll out? The promoters will have forked out a fortune and paid up well in advance I would imagine. With the economy in free fall will people just be able to afford it, no matter how good a show it may be? I doubt if anyone has the answer and they’ll all be watching nervously.

Downsizing, it has to be the way forward. I don’t think anyone can realistically tour in the way they did either. Touring has to be affordable for all, not least of all the fans. If there are no bums on seats then there’s no point touring at any level but of course touring will continue and now is the time to protect the endangered species before it’s too late.

Touring has been a very lucrative income stream lately for bands. It’s also money they get to keep when they are at the top end and not in need of tour support, something the record companies would love to change. If they aren’t making on the record they need to get some return on their investment and that’s why they are exploring other income streams.

There we go again, return on investment. That’s the bottom line, what you get back against what you’ve spent. Nothing more nothing less. Nothing to do with the act and building something, allowing them to develop and getting a return on their investment. In time. We used to call it careers but I’m not sure it’s a word the music industry uses anymore. Talk of careers and you’ll get a vacant look. We want it now!

I meant to write about Factory records, so what happened there?

It had been a troublesome week for Bruce after he admitted to a faux pas, his dealings with Walmart. In case you missed it he had given exclusivity to Sam’s brand for the selling of his 12 track anthology album together with a 10 bucks price tag. Bruce had become just like The Eagles and a bunch of others, ‘cept The Eagles to their credit never claimed to be anything different. I remember many years ago seeing a Rolling Stone feature on them when I think it was Glenn Frey was quoted as saying ‘The only difference between laid back and boring is a million dollars’ If you want to take the money and run then as long as you say so who can complain? You don’t like it then don’t buy their records. Looking at the sales of Hotel California and the bulk of their back catalogue everyone seemed fine with it.

The thing is Bruce didn’t used to compromise, he cared about the common man, kept it rock n roll because that’s what rock n roll was supposed to be, doing things differently, being a rebel. The bottom line is that when push comes to shove (nice Superbowl lingo!) Bruce was faced with the stark reality that no matter how good an album he released it just wasn’t going to sell in the way he was used to and I think he panicked or maybe for the first time listened to his record company. As I previously mentioned he stood up and said at this week’s press conference he was doing it because he had a new record out. And that’s what ya gotta do nowadays.

He made a mistake and said he made a rash decision, or was it a rushed decision? Bruce Springsteen and the E -Street band are perfectionists, I admire and respect them and I think they are brilliant. It moved me this week when he said that they came out of a generation where growing up their heroes were great and if they were going to be in a band they wanted to emulate that, they weanted to be great.

Bruce has been criticized now by the New York Times and others for admitting his mistake. The media have dug their teeth in because he has come out and said it. It’s good copy, it’s worth writing about and it sells newspapers and they certainly need to do that. It’s Superbowl week too and everyone is reading everything. Bruce probably didn’t expect as much of the limelight, or at least only wanted to be written about for his performance. He isn’t used to this type of publicity.

It’ll be the same for U2 when they land their new album on us as it’ll be the same for everyone. Acts are looking for ways to get their albums to the masses, new ways to promote and market. Promotion and marketing for the older acts is radically different and they are faced with younger people promoting their records and they will have to understand that maybe they know best in today’s marketplace. Or in reality maybe they just know better. The stark reality is they just have to accept the inevitablity of it all, you won’t sell what you did. Those who once sold 10/15 million must be happy with 2/3 million, their big selling days are gone.

Nevertheless it’s popular. The adds run at $3 million for a 30 second commercial and sadly they were all booked pre recession.$100,000 per second! Rhianna played the other night, The Eagles last night, there’s Fleetwood Mac, Puff Daddy, whoops P.Diddy who turned up in St Pete early this morning for a party. Snoop is snooping around, it’s all going on. Meanwhile I’m checking out Fox Soccer Channel and I think Wigan on the box will do just fine, no problem. Leave ‘em all to paaaaaaaaarty.

Oh and then of course there’s The Boss, the man who knows about as much about the game as me, Bruce Springsteen. He’s turned it down a million times but Boss times are hard and like he boldly admits, he has a new album out. There’s no fee but they’ll cover expenses, nice, him and Patti get a hotel room but then again the audience for his 12 minute half time show is a billion! No need for a sweat drenched 3 hour show. Boss move by Boss man. Nice work if you can get it.

Bruce did a press conference on Thursday and no suprise, it was all over everywhere. It was the first he’d done since 1987 and the media lapped it up. Brucey boy seemed in good spirits and I did like his honesty about not being a football fan and wanting to shamlessly plug his new album. One thing both he and Miami Steve said got me thinking. They said they came out of an era when the music was brilliant and the artists set a very high standard and they felt it their job to maintain those standards, they wanted to be great. It’s a wonderful philosophy, admire you’re peers but at the same time try and emulate them.

Springsteen has worked relentlesly for several decades to be where he is. He shunned CBS’s (now Sony) hype campaign and the posters that claimed ‘I have seen the future of rock n roll and it is Bruce Springsteen’ He hated it, he demanded they take them all down. As was the case with his heroes and when he was growing up, he wanted to be judged on merit and not some overhyped record company campaign.

He was right, he was more than a commodity, he had a vision and he wasn’t prepared to compromise.The artists that have survived are the ones who had a say in their career, they too had a vision and weren’t prepared to stand back and let the record company turn them in to what they thought they should be, and create something that would make their job easier, make them marketable. They had belief and they had guts and if was going to take time then so be it. It worked then but they won’t let it work now, they all watched as everything came tumbling down. They pushed the self destruct button while blaming everyone apart from themselves.They knew it all.

January has been a fairly miserable start to the year with more job losses and more still to come and today is going to energize us all. I was pleased to see that all the music industry people and comments on Facebook are all pro Obama so let’s hope that optimism shines through our industry. The music industry could do well to practice what the new President preaches, all of us working together, rallying round to help make it happen. In an industry as fragmented as the music industry has become we need direction, we need something to inspire and motivate. Record companies used to have belief in their artists, the belief that they had what it took and with that came the hope to succeed. Politics or music it’s all the same, you have to believe in your ability to make it happen.

With hope will come opportunities and we’ll need to be ready for those opportunities, we’ll need to be prepared. I think that’s all anyone can ever hope for, to be given the opportunity and to be just given that chance. Too many have had too many disappointments for too long now. There is no consolation no matter how bad things get when you look over your shoulder and see people losing their homes, their jobs and most all their dignity. All people who were once proud have taken the slings and arrows and deserve more. So much has so little to do with them yet they suffer the injustices. Seems wrong that George Bush could drag America through so much of a mess and walk back to the safe haven that is his world, no cash flow problems, business as usual, oblivious to what we alll have to deal with. And he didn’t even get made redundant, he retired!

It’s a mad mad world where those that create the mess, whether it be politics, banking, insurance etc walk away unscathed, even with bonuses! And yet others lose so much.

Here’s to the new boss, not the same as the old boss. Not even close.

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.

U2 came on around 8-30pm and as Wah Heat had been creating a bit of a buzz there was a decent turn out. We’d already arrived by then and were downing a couple of pints at the bar. We turned round to see and there before us were a bunch of awkard looking kids doing what bands do, re tuning, a bit of a bass drum thumping away and the singer adjusting his mike stand. ‘We’re U2 and we’re from Dublin.’ Little did I know that this was the beginning of an amazing journey for all of us.

We moved down nearer to the front so we could get a good look, if we made the effort to come and see them then I don’t see the point in propping up the bar. There’s seeing a band and there’s being at the bar, hardly the same thing. They sounded like they should have done, raw but with a lot of energy and most of it coming from their singer. The guy, who even then went by the name of Bono had such a determined, almost demonic look about him you could see his sole ambition was to make sure everyone know who they were by the time they left the stage. And bad boots and haircut were helping, but not maybe in the way he had planned.

Boots aside, he did this by repeating who they were another couple more times, lauding up Wylie and his mob, telling us they had a record contract and also that their producer was Martin Hannett. This prompted a curious glance at each other from me and Mark and a certain’ tell us more?’ Hannett had produced Joy Division’s Unknown Pleasures and Radcliffe had recently recorded a session with them for his show on Piccadilly Radio  but neither of us knew he’d made a record with this lot. Mark was a big Joy Division fan, he’d even called his show ‘Transmission’ after their epic. After announcing their association with Hannett they went on to play the track he’d done with them, what was to be their forthcoming single ‘11 o’clock tick tock’

Wow this was a bit special, an extraordinary sound and particularly from this slightly gauntish, again fairly awkward guitar player, The Edge. He played an unusual Gibson Explorer guitar and moved it around his torso like he was feeling every note. His sound even back then was quite unique and we both loved what he was doing. By now we were both starting to look a lot more at what was going on up there onstage. Fairly charismatic singer, original and very impressive guitar sound, and then the rhythm section. Larry was the James Dean of the band, a real beauty that had all the girls in the audience nudging each other and a very competent drummer who was just learning with every show. And then came Adam. I don’t think I’m alone in saying that Adam was the least talented back then and to see how he has blossomed in to his look and the feel he has for his bass now is quite amazing. I don’t think anyone saw that one coming!

It reminded me of my bass playing youth, the ability, not the haircut which I will have to come back to. I was hell bent on being a rock star, not just me but all my friends and especially my bandmates. Myself our drummer Kenny, and legendary singer Sudi always came up with the band names and mighty fine they were too!  I vividly remember ‘ Dwarf Cornell’ which I’m sure was mine! Oh I have to stop and keep this blog deserving of it’s own place, too fond a memory to absorb within Adam Clayton’s haircut methinks.

Yes waiting, it’s something that you still see happen back in football in England and I’m sure it happens all over the world, and with other sports too. They have a youth policy, they sign someone with talent and allow them to develop and then when the time is right they throw them in at the higher level and watch them perform. The artists start to maximise their potential, become successful and then they see a return on their investment. Like the footballer learns his trade, plays better and more people come to see him so to does the songwriter. They begin to evolve, write better songs and become a better performer. Their doing well benefits everyone and makes for a better business. The artist becomes self sufficient, gains more artistic control and starts to make better records, maybe even ending up with a better record deal as a result of their success. Of course it doesn’t happen every time but guess what happens when it does is it allows the record company to go back and do it all over again with some other talent.

It makes for a much better record industry and that in turn allows the flow of good, successful and consistent homegrown talent and an opportunity to export that talent and become successful overseas. The UK record industry used to be a right little earner! Breaking acts overseas, especially in America was considered vital in their development, a viable export and something that helped put the ‘great’ in Britain. That is something that has started to deteriorate over the years especially in the US where you just hear the occassional successs story, Coldplay, James Blunt. It’s the safest of England, it’s OK but it’s not groundbreaking. It makes the risk of failure less likely, it appeals to the masses and it’s easy to promote, and usually you hear more about the UK acts who don’t crack America, Robbie Williams, Oasis etc

Everything else is back to doing it the same old fashioned way, by touring their asses off. Everyone who ever broke America did with blood sweat and tears, sleeping on people’s floors or driving overnight to their next show to save on hotels. It was relentless and it was ‘paying your dues’ and it left you better prepared for success, you’d earned it. Has it ever been any different? Led Zeppelin in the late 60’s and 70’s, U2 in the 80’s. Radiohead, Bush etc and we go back to not needing a record company. The only thing a record company could do is give them tour support, something again they are less likely to do today. In Led Zeppelin’s case their first ever was funded by themselves, they recouped and made money on every tour after that! They didn’t even need the weight of Atlantic Records.

The simplest, most obvious way of doing things is always the best. Long live rock and roll.

Too right the business has changed, and succeeded in what? Well it streamlined the operation, reduced the overhead, dropped a load of bands and satisfied the shareholders. They got a return on their investment, everyone else suffered, and most of all the public got bored . The record companies put themselves in a position where they couldn’t sign anyone who didn’t give them a quick return and in doing that they missed out on the very lifeblood of the industry, the one thing that gave them a job in the first place and that kept the industry afloat for so long. Back catalogue.

The record companies pissed the public off, they got bored with constant re issues, endless different mixes designed with the sole intention of forcing a record in to the charts, not through it’s popularity but by getting the same people to buy it several times so they could get the extra track or the new mix. The record companies underestimated the public thinking that if you liked Iron Maiden or whoever then you would merrily buy every version you chose to release. I was suprised the bands didn’t think more of their fans and put a stop to it. It made the charts a farce. The charts were supposed to reflect the most popular records and at times it had singles in there that some people had several copies of.

After CD’s had come along and saved the companies in the eighties now they were at the point of no return. They’d run out of ideas to squeeze every last cent out of people and they politely abstained, they had other things to spend their disposable income on that just weren’t available to them in the past.