cdm

cdm

May 132009
 

Early poll results, as of 11:05 am EST on 5/13/09.

This is a tough one so I thought I’d create a post to work this thorny issue out in public. I’d need someone with good writing and organizational skills and an eye for detail. They would also have to be reliable.

Springsteen and Buckingham both strike me as control freaks musically. This could be a big benefit if channeled properly. I would imagine that they would really turn in good work product when they were done, and Springsteen in particular has a way with words. My concern with both of them is that they might let Great become the enemy of Good. Seldom are things perfect in life and I can’t be waiting around on a project while they continually revamp it in search of perfection. So, I’ll bring them in for interviews and hang on to their resumes but they wouldn’t be my first choices.

Sheryl Crow and Chrissie Hynde are appealing because they both strike me as team players, notwithstanding Chrissie’s past association with the punks. Also, as women, I could get away with paying them 33% less than a man, and in this economy I have to keep an eye on the bottom line. However, over the years I’ve heard a lot statements that Chrissie has made in support of various causes and I can’t risk her blurting that kind of stuff out during meetings when we are trying to close a deal. As for Sheryl, I suspect there is very little chance that she would pass the drug screening.

Peter Gabriel is out because he bailed on Genesis right as they were on the cusp of getting big. To me, this shows that he will put his own interests before that of the team. Also, I’m uncertain if he’s charmingly eccentric or just plain weird. In either event, I have a business to run and I don’t want to have to revise my office dress code to include the phrase “no fox head hats”.

That leaves us with Seger and Petty. Both seem very dependable. Seger is the ultimate “C curve” guy. He would punch in right at 9 and leave right at 5. He would meet every deadline. He would be a real asset to the company softball team. But I wouldn’t expect any extra effort from him no matter what the circumstances. And there might be union problems.

There’s no question that Petty’s work product is much higher quality than Seger’s. I often tend to underestimate Petty (perhaps it’s the lethargic speaking voice), but he is extremely reliable. You’re rarely going to get “A” quality work with him but you will always have a steady stream of “B’s” and “B pluses”. His loyalty is well demonstrated by the fact that he stuck with his second bass player through his addiction and after Howie died, he hired the original guy back. He’s constantly progressing but in a steadfast way. He seems like he’d put in the extra hours if need be but he wouldn’t let the job take over his life. I don’t want my staff to burn out.

So I’m going with Petty. I’ll offer the low range of the salaries and two weeks vacation but I’ll let him talk me up 10% on the salary and up to 3 weeks’ vacation so he can feel like he’s getting a deal. I’ll need him to start ASAP.

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May 062009
 


How many instances of real musicians/bands appearing on a prime-time television shows (variety shows excluded) primarily as an excuse to promote a new song can we recall? Pure acting gigs by musicians do not count, but we’ll accept acting/performing appearances as characters other than themselves, provided that their performing characters are not too different than their usual performing selves. For instance, there’s an episode of Columbo in which Johnny Cash acts and performs as a character, Tommy Brown. That would count because, as you can see in the following clip from that episode, Tommy Brown has just enough of a resemblance to Johnny Cash.
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May 012009
 

Name a rocker who has recorded a show tune.

It must be a genuine rocker covering a bona fide show tune. For instance, Donny Osmond recording “Joseph’s Amazing Technicolor Rain Coat” doesn’t count.

Once again, I think this will be a short one because I can only think of two instances, but you guys never cease to amaze me.

I’ll lead off with Tom Waits doing “Somewhere” from West Side Story.

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Mar 272009
 


Someone put a sign up here at work which says they are selling four tickets for the Billy Joel/Elton John tour. The tickets are $250 a pop.

I’ve become numb to high ticket prices over the years because I don’t go to “big” shows anymore. It’s like hearing numbers about the federal deficit: on a certain level it registers that it’s a lot of money but it doesn’t affect my daily life. I have been obsessed with music since about 7th grade but $1,000 for four seats in a baseball stadium struck me as pretty outrageous, and I can’t think of anyone that I would pay that kind of money to see. I suspect that there is an inversely proportional relationship between the level of rock snobbery and the amount one is willing to pay for a show.

So the question is this: What is the most you would pay to see a show and who would you pay to see?

A couple of qualifications:

  • It has to be a possibility (No “Clash in ‘79” or “Who at the Marquee” answers).
  • We just talking about the price that you pay for admittance. You can’t factor in transportation, beer, concert tees, etc.

Me? I might go as high as $100 for a Replacements reunion tour depending on the venue, or a Tom Waits show if he had Marc Ribot with him. But I might not.

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Dugout Chatter

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Feb 272009
 

Tinted Windows is the new supergroup featuring Taylor Hansen, James Iha from Smashing Pumpkins, Adam Schlesinger from Fountains of Wayne, and Bun E. Carlos.

Based purely on the concept of this group and the history of its members, and not on any actual music you may have heard by them, what do think of this group?

What do you think each band member is contributing aside from playing their instruments?

Where do they will rank in the hierarchy of supergroups (ie, above GTR but below the Continental Drifters)?

Who would you say is the greatest supergroup on paper?

Who would you say is the greatest supergroup in reality?

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Feb 022009
 

RIP, indeed. Billy Powell was Great.

On One From the Road, Ronnie gives up a “Billy Powell on the piano” at the beginning of the piano solo on (I think) “Call Me the Breeze.” And I’m pretty sure that he introduced Billy’s solos on more than one occasion. (I don’t recall him introducing anyone else, I wonder if that was cause for inter-band tensions.)

What I’m looking for is other shout-outs that have been captured on an official release.

Please confine the shout-out to those which take place during the song, not in between. So, Mick’s introduction of the band in between songs on Love You Live does not count.

I’ll open with what I consider to be the gold standard: “Bob Mayo… Bob Mayo on the keyboards,” from Frampton Comes Alive.

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