Raise your weaping… somewhere in there is a French 18 year old kid controlling it all, he is not old enough to drink… howz that for government regulations? The Republicans would be pissed….
On a pure headcount basis, for talent Britain appears to beat America hands down. Of course, it doesn’t there is so much “undiscovered” talent in America. As a Brit’ abroad, I regularly get asked why either people or a certain style or culture seems to catch on and then move over to the US. Most recently this came up on Greg Wilsons’ blog in relation to electronic dance music and here is the answer I gave. It does though, in my opinion, apply to almost everything.
America is a very different place from the movies, and a massive country compared to the UK. Leaving aside the racial aspect to dance music, and from the 1970’s the fact it was heavily tied to the gay scene; and the disco is dead revolt of the late 1970’s, all of which made it much harder for dance music to get heard.
America is a culture, where the country is massive and they only way to succeed, largely, is to associate with established clubs/cults. You dress, think and act like them, and to succeed, you are then the best amongst them. This applys in across both geographic and societal barriers.
There are almost no national media outlets, even today, those that are have to pander to the masses, or fail. People, music etc. that are out of the norm’ are mostly excluded, even the extremes are pretty normal and/or manufactured rather than organic. News travels slow.
Compare that to the UK, the country is VERY (geographically) small, people live next to each other, on top of each other, in close proximity. All media, for the most part is national, news travels fast. Something that catches on in the UK only has to be 1/100th as popular as the USA, or even less.
In the UK, different is celebrated, not shunned. Add to that a more tolerant sexual society, a less racial society, and a more progressive music industry where change makes money, not controlling interests protecting their investment. Dance music came along, it caught on with a small crowd, it was celebrated, successful and grew in the UK, after a while each generation moves on, my daughter(29) now bemoans the state of dance music, much as I did back in the 1980’s, but it will carry on.
The same thing happens here in the USA, but they are complaining and comparing the AOR music from 1980/90’s while EDM has captured the youth market because the music business no longer controls the distribution channels in the same way.
The irony of tonight caught me off guard. I watched the 2012 Olympic Closing Ceremony over the Internet live from London via some web trickery, then I set out at 8pm here in Texas to deliver neighborhood association newsletters.
After about 50 of my 134 houses I realised as I sweated in the 95f temps that the iconic Don MacLean song had finally come home,
Back in 1972, age 14, in the UK, I had a paper round, I had one odd those cassette players with the piano style keys, I had a rack on the back of my bike I Used to strap it to and play the music.
And here I am, 40 years later delivering the news, “I can still remember how that music used to make me smile”.
In 40 years time I wonder how many of today’s generation either watching at home, or at the Olympic stadium will be inspired by tonight?
Maybe they’d be happy for a while,
But February made me shiver with every paper I’d deliver.
I really didn’t know what to expect from Ramsey Lewis, and having never been to the One World Theatre in Austin, my anicipation was high. I wasn’t disappointed.
The One World Theater is the corollary of many of Austins music venues, its small, intimate and and has great sound. The Ramsey Lewis trio, plus Lewis, barely needed amplification and were all very clear. I was in the isle seat, center left just 3-rows back. I bought my Olympus SLR camera and got it in without trouble, but based on an early experience with a woman shooting video, taking pictures was going to be difficult. Besides, I really wanted to just enjoy the music.
The whole evening was more souful than I could have imagined; given the clarity of the music, the proximity of the stage and the small audience. Lewis played a number of his well known tracks including the 60’s classics Wade in the Water and the In Crowd, he also did a fantastic solo piano of Betcha By Golly Wow, a Stylistics song and a Beatles classic, which now, almost a month later, I’ve forgotten. The theater was hushed, Lewis was in fine, lively form, and the piano sounded perfect.
Ultimately, as a true Lewis fanboy, Lewis and some of his older tracks live was the high point of my concert going experiences. Lewis’s 1970 album the Piano Player would have been fantastic to watch them record. Maurice White from Earth, Wind and Fire was the drummer for that album, and the tracks were arranged by Charles Stepney who also arranged those key influential early Earth, Wind and Fire albums. [I even added Lewis version of Golden Slumbers to the wikipedia page since it was missing!]. The other member of the Ramsey Lewis trio on the Piano Player was Cleveland Eaton, one time Count Basie Orchestra leader, who went on to record this seminal jazz/funk/disco classic, Bama Boogie Woogie.
The circle of musical life was complete for me when Lewis later came back on for an encore to play the title track from the album Sun Goddess. I’d heard this back in 1974, the harmonies, the beat, the sound changed my outlook on music and to a degree, my life. A few years after that I got a tattoo, and was a massive Earth, Wind & Fire fan.
After the concert was over I waited quietly outside hoping to get a picture with Ramsey Lewis, he came out about 30-minutes later. A woman appeared from nowhere with a stack of vinyl albums for him to sign, he seemed slightly testy. Then some other guy with an old school 35mm film camera stopped him and asked for a picture; I walked alongside him, thanked him for his great music, told him sun goddess had changed my life; after 2-complete sets, instead of the vibrant guy on stage, Lewis had taken on the demeanor of a 76 year old man, late at night. I didn’t ask for a picture, afterall I’ve got the tattoo.
It’s just over a month now until Ramsey Lewis does his Sun Goddess revisited set, up at the One World Theatre in Austin…. just how good is this, re-edited by the Late Night Tuff Guy.
Here, Ramsey Lewis himself describes “Whats going on” and the playlist has the original version. It’s the summer of 1973 all over again…
The great thing about music is it brings people together in so many great ways, the great thing about sharing love of similar music with my kids, is I get recommendations on some great stuff, I’m totally hooked on this Jamie Lidell track after a 3 a.m. skype session with Oli.
Then last night Kathleen organized line dancing lessons at the Broken Spoke, all I can tell you is there was a lot of trepidation in this house before Ronnie and I left. I got to learn the Texas 2-step with Leslie Tom and she was a great partner.
I just ran the stats on my little Sandisc Sansa MP3 player, I’ve had it for 3-years now, it was a great buy and yep, cheap, and no it doesn’t work with iTunes. I’ve done a few file reloads and am starting to think about music selection for the marathon I have to run at the end of the Challenge Roth ironman-distance triathlon in July. Yep, MP3 players are allowed on the run.
Overwhelmingly, the number one MP3 played on my sandisc is my Houston dance-music friend, Sven Neers’ “sven gets vocal again” mix from February 2010. It’s a perfect, uplifting, uptempo, happy/vocal house mix. It used to be available via Svens soundcloud page, at http://soundcloud.com/neer-music/sven-gets-vocal-again but it’s been taken down. There is a track listing here on his old blog and you can find it online here.
I’m so over paying fees for events, it’s such a rip-off. I just bought a ticket for my first ever visit to the One World Theatre here in Austin[the home of star’s from the 1970’s and 1980’s], I’m going to see Ramsey Lewis do Sungoddess Revisited. It was this track and the album, Sungoddess that introduced me to Earth Wind and Fire and a life long love of their music and harmonies, heck I even got the tattoo in 1976. So I wanted to get a decent seat and went for a “prime seat”, price $75. Yeah, I know.
Then came the sticker shock, for an entirely computerized print at home system, I paid an additional $14.50 in fees. One of the fees was listed as simply a transaction fee, maybe this is the fee they are paying to the credit card company so I could use my card, well I’ll get some of that back as I used a cashback card. Which still leaves an $11 fee for someone sitting down and typing the name of the event, a description, posting a picture and setting up the web page. Alright, maybe I could pay a small amount, say 20c towards the license of the software, and another $1 max. for the system time on the server, but at best thats’ $4.50. Since they actually use seatadvisor.com for bookings, the fees should be even lower.
I had thought about going their to see the Average White Band in October, but not $14.50 worth of fees. For the record, it’s not that I can’t afford it, it’s that it’s a ripoff and a barrier to entry to those who can’t. Enjoy Sungoddess…
NPR has an interesting blog entry on “What ‘Mastered For iTunes’ Really Means”. I hadn’t spotted this since I’ve been a life long Apple avoider. It’s not that I think Apple has bad products, it’s just they always, always look for a way to lock users into their systems. I’ve felt for a long time that the music industry would eventually find a way to strike back at MP3. In this case it makes perfect sense. Pay particular attenion to the last two paragraphs.