'AMERICAN IDOL'...A STAGE OF ENTERTAINMENT –5/5/05
"I never called my work an 'art' It's part of show business, the business of building entertainment...We are not trying to entertain the critics. I'll take my chances with the public." -- Walt Disney
This week DISC&DAT talks to Executive VP of Promotion of the RCA Music Group, Richard Palmese, about the AMERICAN IDOL phenomenon. The show is breaking new ratings records this year with 25-30 million people watching every week, and it's been the #1 and #2 ranked show(s) every week since it started this season.
I was most fortunate to have the opportunity of working with Richard when he came to MCA Records from his job as Sr. VP of Promotion at Arista in 1983 where he worked with Clive Davis, and was one the industry's most respected promotion professionals.
Having him as my boss when I was Sr. VP of Promotion at MCA made my so much easier because Richard sat in the promotion hot seat at Arista for eight years. He understood what tools were necessary to make a label's promotion team respected at radio, and I was never turned down when I asked for the tools I needed to succeed. We worked together for eight years and during that time, under the leadership of Irving Azoff, MCA Records President and Chairman, MCA became the #1 label in market share at both radio and retail.
Richard left MCA in 1996 to return to work again with Clive Davis at BMG, who has the label rights to the AMERICAN IDOL winners.
With this season's AMERICAN IDOL garnering the biggest audience numbers ever and last season's winner, Carrie Underwood's album already at triple platinum, first season's winner Kelly Clarkson at five million and heading towards six, I thought it would be a great time to talk with Richard about AMERICAN IDOL.
SM: First of all Richard, thanks for taking time out of a busy schedule to talk to me about AMERICAN IDOL. I know how valuable time is when you're juggling a whole bunch or records at radio! To start off with, how many CDs have all the IDOL winners and contestants you've released sold so far in total? It's obviously in the millions...but do you have a number you could give us?
RP: Twenty-five million and still counting!
SM: Twenty-five million...incredible! What do you think the reason is for AMERICAN IDOL being the huge success it is...it's bigger than anyone ever predicted or anticipated, and this year the ratings are the best yet.
RP: There are a lot of good reasons. Simon Cowell is obviously a star. Talent contests are fun. Most importantly, AI tapped into the musical heart and soul of an America without an Ed Sullivan show that captured a huge audience every Sunday night and introduced the public to emerging artists by bringing them right into their homes. It's also, like the old Ed Sullivan show (and other great TV variety shows), a show that the whole family can watch and enjoy together and that's rare these days.
SM: It seems to me that in some ways, AMERICAN IDOL is doing something that radio used to do...it's actually nurturing these people in front of an audience each week and after 10-12 weeks, some basic and elementary form of artist development takes place. Radio used to nurture artists they liked years ago without them having to have huge sales in the market(s). Then, when that artist had the right song, there was a true explosion at retail...sort of like what happens now when the winner(s) of AMERICAN IDOL finally release their CDs. You agree with this at all?
RP: I grant you that consolidation has challenged radio's creativity. The fast food mentality of the Internet, Napster, and the iPod have all contributed to a world where music is nurtured less than ever before. IDOL fills a big part of that void and brings to life the thrill of discovering new talent, which is still the most exciting part of the business. And of course with IDOL, the public is participating in the eventual outcome, so that makes it all the more engaging. Once the public realized just how big a part they play in the outcome of AI, the audience continued to grow and grow.
SM: The judges on the show always talk about the songs and song choice. Isn't the lack of great songs by a lot of artists today one reason why the business today is different from the days when artist development played a part and artists continued careers by continually finding great songs (if vocalists) or writing them if songwriters/performers?
RP: Well, I'm most fortunate to work with Clive Davis, who has always been focused on finding great artists. We have great talented artists who write great songs here at the RCA Music Group. However, if someone needs hits, Clive's got them is his top draw...he's passionate about music and his passion drives the success we've enjoyed here.
SM: You said to me in an earlier discussion that in some part AMERICAN IDOL is playing a part in preserving the pop music culture. Since the show's impact has been phenomenal, why haven't more radio stations concentrated on finding great artists and songs and also had similar success?
RP: Why focus on radio? I think radio has done its job well and it's still the number one platform to expose new artists to the masses. It's radio's job to build audience (and that's a hard job), and it's our job (the music companies) to provide them with HIT music that they can program for maximum results for both of us. When radio and records work together, we both win as a team and that synergy provides a great component for our mutual success.
SM: AMERICAN IDOL spikes sales for guest artists (one need only look at the charts following guest artist appearances to see the results!) and the competition to get on the show must be intense. Who chooses what artists will get the exposure and be a part of the show?
RP: The producers of AI make those decisions, we have no input on that.
SM: I noticed that albums by Rod Stewart, Barry Manilow and others took great jumps at retail after their exposure on AI. Andrea Bocelli's current album, 'Amore', jumped pack into the Top 10 on the album charts following his appearance.
RP: I think that speaks volumes and evidences again just how truly mass appeal the show is and that the audience will absolutely react at retail when they're exposed to great music and artists they like. Having an artist with such renown worldwide stature like Andrea Bocelli on AI proves the demographics in the audience are incredible. Barry Manilow's album, 'The Greatest Songs Of The '50's', which was already platinum, had huge weeks at retail following his appearance and Rod's 'Great American Songbook' CDs all showed increases as well.
SM: How did Clive and J Records/BMG get involved with AMERICAN IDOL? Was it because of Simon Cowell's relationship with Clive when he worked in the UK?
RP: When we merged J with RCA we inherited the IDOL deal, and needless to say we're thrilled we did!
SM: How much input does Clive have on the content of the albums the winners record?
RP: Clive works closely with Simon Fuller (19 Records and AI Producer),our A&R staff, and the winners in choosing the material. I think the collaborative effort from all has proven very successful thus far because we're all interested in making the best album possible for each individual. Based on the success we've had at retail, radio, and the charts (AI winners/contestants have racked up 29 number ones on the BILLBOARD charts in various formats), so far the formula has worked wonderfully.
SM: It looks like Kelly Clarkson and Carrie Underwood are HUGE successes, and congratulations on both! Did you ever expect this kind of multi-platinum success?
RP: THANK YOU. Kelly and Carrie have been incredibly success stories, but as you well know, despite extraordinary exposure, there are no guarantees in our business. We are thrilled with the success of all the IDOL winners and contestants with whom we've released albums and we look forward to working with them all on their follow-up projects.
SM: Was radio quick to embrace the AMERICAN IDOL winners when they released their albums?
RP. Radio accepts the star power of each and every IDOL, but they need to be convinced they are not just TV stars of the moment and that they are real recording stars as well. Each winner went through a different process at radio and they were not really treated as an 'event' when their albums were released, with the exception of Carrie at Country radio. Country radio embraced Carrie and she was in turn quickly embraced by the country audience. Carrie recently received two CMT Video awards and we all feel Carrie's going to be around a long time
SM: I don't think any single thing has impacted the retail record business recently like the way AMERICAN IDOL has since it hit the air. Nothing has the impact and immediacy of delivering retail like IDOL. Do you think it's possible than another TV vehicle might come along and provide the same type of exposure for singers/songwriters/musicians?
RP: I hope so and I'd love to watch something like that. It would be great to have another vehicle like that to introduce even more new talent to the public. New artists have always been the true lifeblood of the industry and anything that would help expose even more talent in the right showcase would be great. So maybe that will happen...it would be great!
SM: Thanks so much for your time Richard. Here's wishing you and the team at the RCA Music Group huge success when this year's winner's album is released.
RP: Your welcome Steve, my pleasure.
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8/28/2004
THE 'A-SIDE' - A CONVERSATION WITH RON DANTE
Commentary and One Man's Opinion
" Today as always, there are singers, songwriters, and great bands rehearsing in little rooms and garages around the world, getting ready to set the world of music on fire. We in the music business just have to listen. We just have to be open to what's new and different. " - Ron Dante
This week, I had the pleasure of talking to Ron Dante, a man with incredibly diversified talents. Ron has been honored with gold and platinum singles and albums, two Tony Awards, a Clio Award and a Grammy, but is probably best known world-wide as the voice on such hits as the Archies "Sugar Sugar" and the Cufflinks "Tracy." As one of the most influential producers of pop music, Ron has worked with Barry Manilow, Cher, Ray Charles, John Denver, Dionne Warwick, Pat Benatar, Paul Schaffer (David Letterman's musical director) and more.
Ron also co-wrote many songs performed by the Archies, Barry Manilow, Jay & the Americans, Johnny Mathis, & 8th Day to name just a few and was also musical producer for Disney's TV series "the Little Mermaid".
In addition, Ron has sung background on numerous hits by other artists as well as the Manilow hits of the '70's. His voice can also be heard on dozens of radio and TV commercials as he was the publisher for the acclaimed Paris Review and is a talent developer for RKO/Unique.
SM: I think many readers would be surprised that besides the many Gold and Platinum albums you have to your credit, you've also received two Tony Awards What were they for?
RD: I won Tonys for producing "Ain't MisBehavin" in 1978 (for 'Best Musical') and in 1980 for "Children of A Lesser God" (for 'Best Drama). I produced or co-produced over 20 shows on Broadway including Neil Simon's "Little Me," "Duet For One" with Anne Bancroft and Max Von Sydow and was the angel for "Whose Life Is It Anyway" with Mary Tyler Moore in the lead. My very first show was in partnership with my old friend, James Lipton, who of course now does the Actors Studio interviews on Bravo
SM. So you've come a long way from The Detergents and 'Leader of The Laundromat'. Tell us about how that came about?
RD: The Detergents were put together by producer/songwriters Paul Vance and Lee Pockriss. They came up with this parody of The Shangri-La's' "Leader Of The Pack."
The group was made up of Paul's nephew Danny Florio, Tommy Wynn and myself. Danny, Tommy and I were writing songs at Screen Gems Music at that time and Paul and Lee were hit song writers with hits like "Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini" and "Catch A Falling Star" among others, so I was not surprised that this one became a hit. I toured with the group for over 2 years. It was a learning experience for sure.
SM. What came next? You've won Clios (The Advertising industry award for creative excellence) as well as Grammys...tell us about those.
RD: When I returned from the road I signed with Bobby Darin's publishing company located in the Brill Building in Manhattan (the Brill Building, a legendary songwriter's landmark was also the home to others like Neil Diamond, Carole King, etc.) and proceeded to write songs for many of the top names in pop at the time. My songs were recorded by: Bobby Eve, Jay & The Americans, Gary Lewis & The Playboys, Johnny Mathis, James Darren and Gene Pitney.
During that time I also became one of the first call Jingle singers in NYC. I sang thousands of commercials from 1968 until this year. Some of my spots that won Clios were: Pepsi's You've Got A Lot To Live, McDonalds" You Deserve A Break Today," Coke's "I'd Like to Teach The World To Sing" and many many more. I also produced with Ron Frangipane the award winning "Volkswagen Auto Show of 1949" spot that showed the car's evolution through the years.
Speaking of commercials I was recently the singer on Yoplait's " Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini" TV campaign and Applebees' "Happy Together" Spots.
SM. How did you become involved in The Archies...did you think 'Sugar, Sugar' was going to be as big as it was? ('Sugar, Sugar' spent four weeks at #1 on the BILLBOARD Hot 100 Singles Chart in July 1969)
RD: Don Kirshner had gotten the rights to do the music for a new Saturday morning animated TV show based on The Archies comic book characters and he and producer Jeff Barry were looking for the singing voice of Archie. Since I had been a staff writer for Kirshner years before and had worked with Jeff on sessions and a Broadway show, I called them up and auditioned for the job. I got it the same day and started recording that night. We recorded over 100 songs in the 2 years I worked on the show.
Kirshner launched a huge publicity campaign when the first single and album came out. The first single did pretty well but nothing like the success of "Sugar, Sugar." Kirshner really knew how to promote his projects. Don Kirshner and Jeff Barry were two of the most successful music people in the business. Kirshner's publishing empire dominated the 60's with his staff of hit songwriters like Mann & Weil, Goffin & King and Sedaka & Greenfield. Jeff Barry of course had written and produced hundreds of hits all through the 60's so I knew going in we had a good chance making this all happen. He and Don teamed on The Monkees and I knew that kind of success could happen to The Archies.
SM. What brought you and Barry Manilow together? Where did 'Mandy' come from...was it something Clive Davis found?
RD: I met Barry Manilow on a commercial for some new soft drink that Pepsi was trying out. He was the writer and arranger. I was very impressed with Barry's writing and singing and we decided to make some demos together and the rest, as they say, is history. I co-produced all his hit albums from 1974 until 1981.
Everyone asks about "Mandy" and how it came about. Barry and I were working on his second album and Clive Davis gave us this 45 by Scott English. The song was called "Brandy" and the arrangement was uptempo. We all decided to change the name and someone in the room, I think it was Barry. said lets call it "Mandy." That night we recorded it and as they say 'Lightning struck.'
We just had a piano, drum and bass with Barry's live vocal, but you could just tell this was something special. I mixed the final a week later after adding strings and Barry's and my background vocals with our engineer Michael Delugg, we had it. A few months after the release of Barry's second album "Mandy" was number one and with our follow-up of "It's A Miracle" and "Could It Be The Magic" Manilow was on his way big time
SM. Let's talk about others you worked with briefly. Cher?
RD: I worked on Cher's 'Take Me Home' album. She was the total professional. Very good singer, always ready to work and a sheer delight to be around.
SM: Pat Benatar?
RD: I was the first to record Pat Benatar. Chrysalis records A & R called me to come down to a local nightclub to see her. She was basically singing big ballads with a few rock songs in between. The highlight on her act was "Cryin" which I recorded with her but when she did "You Better Run" I knew this was the direction for her.
SM. Others?
RD: During my Manilow years I got to record some incredible singers for his TV specials. Dionne Warwick, Ray Charles and John Denver were especially nice to have in the studio. 'Brother Ray' was the most fun and John Denver could sing the lights out. He had one of the strongest voices I've ever recorded.
SM: What did you work with Paul Schaffer (David Letterman's musical director ) on?
RD: I met Paul Shaffer at Don Kirshner's office when we were both up for a TV show he was producing. I thought Paul was one of the best keyboard players I had ever heard and I started using him on all my sessions including Manilow, Cher, Benatar and everyone else I was producing at the time. Paul did the arrangements on Pat Benatar's very first session. He's an incredibly talented man and is obviously enjoying his stint with David Letterman. I think the band he's put together is fantastic! (Ron's third album, 'Street Angel' was also co-produced by Paul Shaffer)
SM: Who would you like to work with today and are there any artists you always wanted to work with but never got the opportunity?
RD: Well, Streisand of course. I'd still like to work with Whitney Houston. Celine Dion...Norah Jones. I wish I'd had the chance to record Sinatra and Elvis.
SM. What do you think of the music business today?
RD: I still have great hopes for the music industry today. The new technology allows instant downloads of any music that has ever been recorded. I think what Steve Jobs has done with iTunes is incredible and it will be the model for much of what comes next. Today as always, there are singers, songwriters and great bands rehearsing in little rooms and garages around the world getting ready to set the world of music on fire. We in the music business just have to listen. We just have to be open to what's new and different
I know that right at this moment the song is not the most important thing for a lot of what's going on, but that will change and the song and the artist focus will return bigger and better.
SM: What are you doing now to keep busy?
RD: I'm thankful I get to do the things I really love. I have a brand new CD coming out the end of the month called "Saturday Night Blast." It's filled with songs I've always wanted to sing. I also have some guests on it. My friend Peter Noone (Peter was lead singer in Herman's Hermits) sings on "Rockin' Robin", Andy Kim guests on his own song "Rock Me Gently" and the original girl voice on "Sugar,Sugar", Toni Wine helps me out on the Lovin' Spoonful's "Summer In The City."
If that's not enough, I've just been appointed President of a new Label called DreMak Records and we will be releasing new artists later this year. My time in the music industry has been a great ride and I'm looking forward to a great second half!
For more information about Ron, visit his website www.rondante.com <http://www.rondante.com>
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THE 'A-SIDE' - A CONVERSATION WITH AL KOOPER
Commentary and One Man's Opinion 10/1/2004
" I LIKE Apple's iTunes. It has changed my life as a fan. Every Tuesday I review the new releases and download EXACTLY the tracks I like, no filler. I don't have to build any new shelves - just buy another hard drive AND I don't have to leave my house. I am enjoying great new music I would NEVER have heard before in a record store or on the radio or MTV. And I've cut my purchasing costs by 60%. Is this a beautiful country or what? " - Al Kooper
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This week, DISC&DAT catches up with and has a brief conversation with a legendary artist, producer, writer, and outspoken industry critic, Al Kooper.
Q. First off, I'm sure many readers would like to know what you've been up to recently...what have you been doing?
AK: I've been 'DJ'ing a bit on 'Radio Caroline' in the UK and I've been getting my first solo album since 1975's 'Act Like Nothing's Wrong' assembled for release in the spring of '05. I've also been assembling a Mike Bloomfield box set for SONY, which with it's enormity of detail and legalities, should see the light in '06. I remixed 'Super Session' and 'Child is Father To The Man' (the first Blood, Sweat & Tears album) in 5.1 SACD Surround Sound in 2003, but haven't heard a peep about it's release from SONY. They came out amazing by the way...now if they just come out at all!
I've been performing live as much as possible and will continue to do so until my dying day. I've been recording me reading my out of print autobiography (Backstage Passes & Backstabbing Bastards) in hopes of releasing an audiobook in '05 so they can stop selling old print copies on Ebay for $100.
Q. Do you think the industry will ever support SACD (Super Audio CD) 5.1 as "the next audio experience"...having worked with it, is the difference really dramatic? Would people listening on iPods and other digital players be able to hear a difference?
AK: The two albums I remixed last year were my first in 5.1. It was an amazing experience. I had sage advice from my good friend, engineer Steve Rosenthal, and the assistance of the staff of the SACD organization. After that mixing, I truly believe in the validity of 5.1. You need six sound sources (speakers) and current headphones won't do that job.
Prior to my mixing experience, I had not enjoyed the then-current spate of 5.1 releases. For the most part they were too conservatively mixed and there was no adventure or daring use of the space provided. They just sounded like stereo mixes on HDTV. I went berserk on the CHILD IS FATHER TO THE MAN album. Guitars flying over your head like helicopters in 'APOCALYPSE NOW.' A string section divided into four sections filling the entire room, stuff like that. Hell, stereo only gives you a 180 degree playing field while 5.1 gives you 360 degrees plus height. If you use that space propitiously, one can hear the little nuances of each instrument gratuitously. As a fan, I wanna' hear the envelope being pushed on 5.1 mixes, so that is what I did. There are all kinds of problems with getting the new standard out to the audience, however. Homey don't play that stuff though, so I have to just sit around and wait and see if they (SONY) release my work and then see if anyone knows its been released. For me, the usual.
Q. With all the great stuff in your book, I'm surprised that some radio station or syndication company hasn't thought of making you a guest DJ here...there's so many great stories you could tell. Have those possibilities ever been brought to you?
AK: Recently my dear friend, Andrew Loog Oldham (the Rolling Stones original producer/manager), started DJing on Sirius. He's got quite a few stories to tell himself! By the way his second book, '2 Stoned,' an autobiography of the Stones years, is bloody amazing. As a writer, he's one of my heroes. Anyhow, he asked Sirius if they'd have a whack with me, but there is a playlist involved and my favorite thing is playing music I perceive people missed that they would enjoy. A playlist is too close-ended for me to have fun, so I'm afraid I just let it go. Otherwise, not a peep from radio except for 'Radio Caroline' which I certainly support spiritually.
Q. Tell us about 'Radio Caroline'...what is it all about, and how did you get involved with it?
AK: Ron Leighton, one of their DJs, emailed me and asked if I wanted to have a blow. We decided a one hour trial show was appropriate so I cut "Obscuritiva One" in my home studio and sent it along to him. They aired it a week ago and are deciding if they can put it into their 2005 schedule. 'Radio Caroline' in case you don't know, was the originator of 'Pirate Radio' 40 years ago. They put a functioning radio station on a boat, floated it offshore while broadcasting, and did not have to adhere to any of Britain's broadcasting laws because technically (and legally) they weren't in Britain. It caught on because of no commercials and adventurous programming and forty years later it's still afloat. God bless 'em!
Q. Having read BACKSTAGE PASSES & BACKSTABBING BASTARDS, I found it to be one of the most enjoyable books ever about rock and roll in the '60's and the music business...it's a great read. What books have you read about the business or other artists that you liked? Are you looking forward to Dylan's upcoming autobiography?
AK: Well, I've already mentioned Andrew Loog Oldham's book already. What a wonderful writer with an amazing tale to tell. We were born within days of each other and have an organic understanding about the vagaries of the mess we're in. A good lad and a good read. Dave Barry's books make me laugh out loud. I've seen some of Bob's book and it's pretty unexpected. Should be fun.
Q. The music industry is in a state of transition today unlike any other in its history and it faces many problems but many artists don't think the Internet and downloading is the primary reason...what are your thoughts about some of the other problems today?
AK: Same as it ever was in my opinion ...greedy, over-staffed major labels with a split of 90-10 in favor of the record companies. The artists get reamed and the companies complain about how bad the business is. If you took an average record deal and ran it through the courts without politics, it would be deemed unconscionable and thrown out. Don't get me started.
Q: One of the changes at labels is there are no longer artist development departments, why do you think that happened?
AK: I don't really know...They didn't need any onsite drugstores anymore??? (Grinning)
Q. As an artist, do you agree with Jeff Tweedy (Wilco's lead singer/songwriter) that the people downloading online "are not the enemy"?
AK: I don't sell as many records as Jeff Tweedy or get as much money for performing live as he does, so P2P (peer-to-peer) does take food out of my mouth. Apple's iTunes at least makes the effort to pay me before the record company grabs it out of my hand. I LIKE iTunes. It has changed my life as a fan. Every Tuesday I review the new releases and download EXACTLY the tracks I like, no filler. I don't have to build any new shelves - just buy another hard drive AND I don't have to leave my house. I am enjoying great new music I would NEVER have heard before in a record store or on the radio or MTV. And I've cut my purchasing costs by 60%. Is this a beautiful country or what?
Q. Rock veterans Peter Gabriel and Brian Eno are launching a provocative new musicians' alliance that would cut against the industry grain by letting artists sell their music online instead of only through record labels. They say that with the Internet transforming how people buy and listen to songs, musicians need to act now to claim digital music's future. Do you see the same potential for artists?
AK: Oh, absolutely. It's a no brainer. No advertising, manufacturing or marketing costs. No vapid videos. Who needs the record companies? But first the CD must die a commercial death in the same fashion the LP did. That is, it will still be manufactured and sold, but the download will move into first place. A hierarchy shift, as it were. Then the cost of getting the media out there will be slashed almost entirely, negating the need for most record companies. Especially ones that keep 90% for themselves.
Q. Do you see any downside for artists with all the technology in place and being developed?
AK: Yeah, the technology allows one person to make a whole record single-handedly. There are high-rated engineers today who have never miked a viola or a French horn. Solo acts who have never recorded with a roomful of real musicians. That's a big mofo downside in my humble opinion.
Q. The technology available today also allows artists to make albums that sound pretty good in home studios for a mere fraction of what it used to cost years ago...that's an upside isn't it?
AK: Oh absolutely - but it's also a possible destruction of camaraderie and interaction and sometimes that's an integral part of making great music.
Q. With so much emphasis on marketing these days in the business and "the look" in videos, it's always been my belief that nothing fosters an artist's long-term career as much as relentless touring behind every release. What are your thoughts about that?
AK: Relentless by virtue of its meaning transcends "behind every release." Bands like Phish and Wilco didn't wait specifically for CDs to be released. They went out and played everywhere all the time because they loved to play and it supported them as a band, something record companies don't like to do. Relentless touring for an up and coming band is like a fraternity hazing. Ya' gotta do it if ya' wanna join the organization. The Blues Project had their share of station wagons and seedy motels, believe me. It's a ritual. If you don't do it you're not a true rock'n'roller. It's for the young ' uns, though. At age 60. the only thing I do relentlessly is sit at the computer or complain. (Laughing)
Q. Who are your biggest musical influences ?
AK: Ray Charles, Horace Silver, Hank Crawford, James Burton, Scotty Moore, Cliff Gallup, Jimmy Smith, Jimmy McGriff, Joey DeFrancesco, Elvis, Gene Vincent, Eddie Cochran, Timi Yuro, Lorraine Ellison, Mavis Staples, Otis Spann, Muddy Waters, BB King, Rev. Claude Jeter, Sam Cooke, Otis Redding, Al Green, Twinkie Clark, Tracy Nelson, Ed King, Bill Spooner, Sam Bush, Charlie Calello, Burt Bachrach and Jimmy Vivino......whew !!!!!!!!!
Q. You've played with so many rock icons like Dylan, the Stones, The Who, Hendrix, Simon & Garfunkel...the list goes on and on. Was there anyone you really wanted to work to work with and never got the chance to back in the "glory days" ?
AK: Well, I prayed Ray Charles would record "I Love You More Than You'll Ever Know" to no avail. I still wish I could sit in a room with Scotty Moore, Bill Black, DJ Fontana, Elvis and Sam Phillips. That would have been quite unforgettable
Q. What artists are out there today that you like...and what artists would you like to work with today if given the opportunity?
AK: I'd love to work in a studio with Hella, Ollabelle, Unbunny, Keb Mo, Guster, Deerhoof, Mario Winans, Madeleine Peyroux, Paul Thorn, and quite a few others. I'd like to work with Britney Spears....but not in a studio. I'd like to work with Courtney Love....in therapy. I'd like to work with Madonna..... in temple. (Laughs)
Q. What albums would be in your "must have" stack...you know, your "desert island list" ?
AK: The Beach Boy's 'Pet Sounds,' 'Focus' by Stan Getz and Eddie Sauter, 'More Soul' by Hank Crawford, The Bulgaraian Womens Choir directed by Phillip Koutev, Eddie Hinton bootlegs, That Burt Bacharach boxset, and if on that island I'd like a case of Diet Apple Snapple!
Q. Who have you been listening to lately?
AK: It changes every week All the good artists' new releases on the iTunes Music Store on Tuesdays. My favorite song this month is "Flaw" by Todd Rundgren
Q. Billy Joel said, "Videos destroyed the vitality of rock 'n' roll. Before that, music said, 'Listen to me.' Now it says, 'Look at me." With artists like Norah Jones, Alicia Keys, Dave Matthews, John Mayer breaking through and reaching large audiences, do you think there's a possibility that at some point the music consumers will spend more time LISTENING again instead of being fed the steady diet of trend/fashion/disposable videos?
AK: Yeah. Look what happens to Billy Joel now when he turns his car radio on!!! (Laughs) Do they still show videos on MTV? I heard it was all reality shows, game shows, and awards now.
This is a country that manufactures stuff. Burgers, teen idols, hell....even Presidents. Kids are basically raised with all that manufactured stuff shoved in their faces in their formative years. They can't escape it. It's on TV, the radio, in magazines and of course, more than ever, the newspapers. With the help of their older friends, parents and intuition, they may get to discover unmanufactured music and wouldn't that be great? But the odds are against them far as I can see. Playlists? Set 'em on fucking fire. Burn 'em off the face of the Earth. Let the MUSIC play.
Q. What advice would you give today to any new unsigned artist out there looking for guidance?
AK: Any unsigned artist today should not listen to the ravings of a sixty year old man unless of course he was trying to sign them. To tell you the truth, I quit the record biz in 1989. In the music biz we all have our windows of opportunity. Mine remained open for an amazing amount of time. But during my time I watched others bang their heads against the wall because they couldn't tell when their window had closed. So I always watched carefully to make sure I didn't overstay my welcome so I could depart with what was left of my dignity intact.
In 1989, I saw and heard the window close. Some of the dreaded record companies were hiring three and four different producers to do albums and they were turning into messes. On top of that, they were taking the mixing privileges away from the producers which was a complete dealbreaker for me. I produced records because in many ways it was fun to do. In 1989, they took the fun out of it for me. I haven't really looked for work since then and because my window assumption was correct, they ain't calling out for me. After I quit, I moved to Nashville to retire until I got bored. That took seven years. I think its better to retire early, then come back and play as many gigs as you can until they literally bury you. My heroes did/do that. Muddy Waters, BB King, Luther Allison. So in a roundabout way, that is the best advice I can give anyone: a) watch for your window closing AND; b) live by my mantra "If you don't expect anything, you're never disappointed." That's gotten ME through 46 years in the music business so far.
Q. Any closing thoughts?
AK: Yeah. I want to personally be at the closings of all the major record companies, unless they start splitting the percentages 75-25 in the artists' favor, and stop manufacturing CDs and shooting extinct $250k videos which are all charged back to the artists totally. Those are the closing thoughts I have. Don't get me started again
If you want to read a whole lot more about Al or contact him, visit his website: www.alkooper.com
