Rock & Roll Hall Of Fame: Hurtling Toward Irrelevance?

Sorry I've been away for a while. Between the holidays, not much live music during the holidays, kids not sleeping and my grandmother passing away, I've been pretty busy. But I'm back and will hopefully get back into the swing of things.

This week's headliners are Ween at Toad's Place on Thursday. Doors at 8, show at 9. Tix are $25 in advance and $30 day of show. Ween has touched on just about every type of music during their long career and you'll probably hear it all during their show. Whether its parody or tribute or both is up to you to decide. They've done metal (It's Gonna Be A Long Night), to psychedelia (Mutilated Lips), to funk, folk and punk, all with their twisted sense of humor. As I've started to learn more about Ween, I find myself hearing one of their songs and going, "Huh? That's Ween? That sounds nothing like the other stuff I've heard." And that's a good thing.

On Saturday night at Capital Ale House Downtown, Buckwheat Zydeco brings his zydeco greatness to town. Show starts at 9 and is $20. If you wanna dance and just feel damn good about things, this is the way to do it. Good beer, Saturday night, and the hoppin' music of zydeco. Here's the blurb on the Capital Ale House site about Buckwheat:

Buckwheat Zydeco (born Stanley Dural, Jr. on November 14, 1947) is an American accordionist and Zydeco performer. He is one of the few to achieve mainstream success. In 1971, he founded Buckwheat & the Hitchhikers, a funk band that he led for five years before switching to Zydeco. He began backing Clifton Chenier, one of the most legendary Zydeco performers. He set out on his own with The Ils Sont Partis Band; they debuted with One for the Road in 1979 and were nominated for a Grammy Award for "Turning Point" and "Waitin' for My Ya Ya" (1985) after switching to the Rounder Records label. He soon signed to Island Records, the first zydeco act on a major label, and released On a Night Like This, a critically acclaimed album that was nominated for a Grammy as well. The band soon appeared in The Big Easy. Buckwheat's latest album, Jackpot!, was released on June 7, 2005 on the Tomorrow Recordings label.

An especially powerful and haunting version of the Classic "Cryin' in the Streets" appears on the Benefit album for Hurricane Katrina recovery, "Our New Orleans: A Benefit Album for the Gulf Coast".

Also at the Capital Ale House downtown this week are:
- 3 Borne on Friday at 5 PM for free.
- Virginia Coalition on Friday at 9:30 for $15. I know these guys built a large fan base but I haven't been impressed the couple times I saw them. I heard they were better when they were a four-piece.
- Dixie Power Trio on Sunday at 5 PM for $5.

At Toad's Place:
- Friday it's Badfish: A Tribute to Sublime. Show starts at 8 and tix are $18.
- As I Lay Dying on Saturday at 6 PM for $18.
- HELLYEAH on Sunday at 7 PM for $28. You may have heard their catchy little number "Alchohaulin' Ass". This band sounds like they would be a good band to get drunk to/with.

My rant this week is on the increasing irrelevance of the Rock & Roll Hall of Fame. I enjoy my rock and roll history so I've enjoyed the Rock & Roll Hall of Fame and what they do. However, the cracks started to show in 1995. As you may know, a band/artist must be 25 years past their first release to be eligible to be inducted. In 1995, Black Sabbath became eligible. Whether or not you personally like Black Sabbath, you cannot deny that they have been one of the most influential bands. They helped invent heavy metal. Every guy around my age went through an Ozzy/Sabbath phase during high school. Mine came freshman year and Ozzy was my very first concert (Feb. 1983 at Atlantic City Convention Hall). However, it took 11 years for them to be inducted. Why? The Board and voters are largely made up of baby boomers who vote in their heroes or bands that appeal to them. You can see this whenever you come to those periods in rock and roll when new sounds arose that didn't appeal to the boomers. Cases in point: Black Sabbath, and the Sex Pistols (eligible 2002, inducted 2006) who, while inducted, should have been easy first-time inductees.

What has been more apparent is some of the inductees who can't make a case as an influence at all. This year they inducted the Dave Clark Five. I have never heard a band, even a contemporary of that band, say they were influenced by the Dave Clark Five. Yes, they had some hits (8 top tens between '64 and '67) but hits aren't the only, and shouldn't be the only, decider of induction. If the British Invasion was a basketball team, the Dave Clark Five would have been second string at best (the starters = Beatles, Stones, Who, Kinks, Yardbirds) and would probably have been more like the guy who sits on the end of the bench and cheers and plays 2 minutes every other game. They also inducted John Mellencamp this year, and while I am a fan, I'm just not feeling that he has been a great influence on the history of Rock music. Another case is when Percy Sledge was inducted in 2005. A fine soul singer, sure, but he got in because he had one big song. Can anyone point to a body of work that would have justified his induction?

Let's take a closer look at this years inductees. Leonard Cohen certainly was an influence on a large number of artists (see the movie "Leonard Cohen: I'm Your Man"). It probably helped that his song "Hallelujah" has been covered numerous times and been in tons of movies & TV shows. Madonna is probably the most influential female artist of the last 25 years. One could certainly argue that she's not Rock & Roll. However, the Hall has already shown an inclination to include pop singers, so I have no argument against her inclusion. The Ventures surf rock was hugely influential, especially for guitarists, so again no argument. I already mentioned Mellencamp and Dave Clark.

Eligible but not getting in were the Beastie Boys. How the Dave Clark Five gets in and the Beastie Boys don't is beyond me. The Beastie Boys have been critically acclaimed and hugely popular over the last 25 years. They took sampling to a new level on the "Paul's Boutique" album. They have at least one of the greatest music videos of all time (and a damn great song) in "Sabotage". They've been politically active, setting up the Concerts for Tibet. Doesn't all of that trump "Glad All Over"?

The Rock & Roll Hall of Fame is at a turning point. The acts eligible this year had their first release in 1983. That is when most of the boomer artists began to be relegated to oldies stations or the repetition of classic rock radio. That is also two years after MTV and a new generation began to fragment the pop music/rock & roll world into rap, heavy metal, dance, alternative and the other genres that fall under the "rock/pop" music of today. At the very least, it will be harder to determine what is "rock & roll". Will the Hall begin to reach back and induct marginal artists from the 60s and 70s who may hold a fond place in boomers' hearts but have no impact on the music of today? Or will they embrace those artists who had a great influence but may not meet the 60s rock template of three guitarists and a drummer playing blues-based music? Besides the Beasties and Afrika Bamaataa (big influence on rap & dance but no hits), up for induction next year for the first time or eligible already are The Cure, Run DMC, Husker Du, Judas Priest, Los Lobos, Metallica, The Replacements, The Smiths, Sonic Youth, and Stevie Ray Vaughn. That list there shows the variety of genres in the 80s that all fall under the "rock and roll" umbrella but any one of them may have a hard time getting enough of the vote (must be voted in by more than 50% of the voters) to be in the Rock & Roll Hall of Fame.

Tony Jordan

Bye-Bye Lady Di

http://rivercityrapids.blogspot.com/2008/01/farewell-lady-di.html

A piece of Richmond history is gone. Who will the strippers have to inspire them now?

I will miss Lady Di. When we lived down in Tobacco Row, I used to see her daily and wonder why she was on the side of gentlmen's club and why her nose was so long.

There is a video on the WTVR site http://www.wtvr.com/ with the artist that answers those two questions. Look in the videos on the upper right of home page.

As for a replacement mural, since its on the side of a strip joint, go with a Mount Rushmore-esque tableau featuring Britney, Elizabeth Berkley, Demi Moore and Salma Hayek. That would motivate the strippers to move up from their surrounding from being a pole dancer to being someone who portrays a pole dancer in movies or videos.

David Byrne's Survival Strategies for Emerging Artists — and Megastars

An interesting article from David Byrne about the six ways artists can manage their affairs in the new music business: http://www.wired.com/entertainment/music/magazine/16-01/ff_byrne?currentPage=1

National Theater Web Page is Up

The web site for the National Theater in downtown Richmond is now up: http://www.thenationalva.com/. Some of the links aren't working yet and there isn't a schedule of bands yet (though some dates are posted on pollstar.com). But good to see it is that much closer to opening.

Free Bruce Hornsby album

Bruce Hornsby is giving away a free download of an album (2 discs worth) at http://www.brucehornsby.com/free_christmas2007.htm as a holiday gift. Enjoy!

MST3K Fans Unite!

For those of you who don't know what MST3K is, it was Mystery Science Theater 3000, one of the funniest shows to ever grace our nation's TV sets. The show was about a guy named Joel (later replaced by Mike) who was kidnapped by his evil employer/mad scientist, sent to an orbiting space station (The Satellite of Love) and forced to watch really bad movies. Joel creates two robot friends to watch the movies with him and you watch them watching the movie and making humourous comments. It was like watching bad movies with your three funniest friends, but they were even funnier than your funniest friends. Intelligent writing was the key and they had it in spades, which let to repeated viewings of each episode just trying to catch everything. To get a nice taste for it if you don't know what I'm talking about, here is ten minutes from one of my favorite episodes where they mock the Joe Don Baker movie, "Mitchell": http://www.youtube.com/watch?v=8K_MArL2cF4.

I still miss waking up on Saturday morning and spending 10 AM to noon laughing my butt off. A great way to start a weekend. And not to mention the annual Turkey Day marathon, when they would do 24 hours of MST3K on Thanksgiving. Always a fun way to blow off your relatives.

Now the MST3K guys are back with Joel at their new site, Cinematic Titanic, where it looks like they'll be doing what they do best: making fun of movies. Sign up for the email list now. Mike (the guy who took over when Joel left) also has new projects (again, making fun of movies) with The Film Crew and RiffTrax (in which they make fun of blockbuster films). I can't wait to check some of these out.

The Future of Concert Tickets

Not much going on in the Richmond music scene this week as everyone really to starts to kick in with their holiday parties, buying gifts and preparing for Christmas. So I thought I'd write a little essay on something I've been thinking about for a while.

As I sat on the John Paul Jones Arena site last week, trying my best to get through to plunk down $95 + "service charges" to see Bruce Springsteen, I began to ponder a different way to sell concert tickets. As I much as I love Bruce, he has almost hit my personal $100 list price limit for tickets. U2 went over on their last tour, and as much as I love them, I passed on buying tickets. As I look at my limited concert fund, I can spend $100+ for tickets to a big show, have to travel at least 75 minutes to C'ville's JPJ Arena (where they don't even serve beer), pay for parking and probably dinner, deal with traffic getting in and out of the venue, then drive back to Richmond late night on dark, dark I-64 or, if farther than C'Ville, pay for a hotel. Not to mention that I now have kids and would either have to get a babysitter (if my wife wanted to go) or bargain for some "time-off" away from home. For all that money, I can attend 5 - 6 shows here in Richmond at places where you can buy beer and be within 15 minutes of any venue here in town. If we had big acts come to Richmond, there may be more inclination to see those acts but with C'ville the closest venue, big acts for me are now few and far between.

We all know that the reason for the explosion in ticket prices has to do with two things: (1) baby boomer acts touring for their now well-off baby boomer fans and (2) internet auctions. When a band can see their tickets going for 3 - 4 times above list price on eBay, they have to start to think "Why am I not getting a cut of that?" And rightfully so. With album sales going down the drain, touring has become the major cash cow for many a band. The Eagles, the band that started asking for and getting these high ticket prices with their first reunion tour in the mid-90s, have toured since that time with with no new album until this year. Sure they could probably live off sales of their back catalog, but they kept the reunion tours coming because the $ was nice. Bands much less successful in album sales then the Eagles depend even more on touring.

Unfortunately, your average fan has suffered because of a few willing to pay exorbitant prices to see a band. Out of a 20,000 seat arena, 100 - 500 fans (at most) buy tickets off eBay or from a broker. But those high prices on the Internet are what the band sees. So the next time they come around, the top ticket price goes from $75 to $200. Now your average (by average meaning average income, not necessarily average fan zeal) 19,000 fans have to pay more for a seat if they wants to see the band because a few hundred people were willing to pay exorbitant amounts.

And the band can pretty much forget about having casual fans give them a try. When I was 16 years old, I decided to check out Clapton at the Philly Spectrum on his Behind the Sun tour. I liked Clapton and was a fan, but not a huge fan. I bought a ticket for less than $20 the day of the show, was amazed and have been a huge Clapton fan ever since. When I was 16, the minimum wage (which is around what I was making) was $3.35/hour. So I got a ticket for about 6 hours work. Today the minimum is $5.85. Can anyone get into an arena show for $35 now? Fugeddaboutit. That will barely buy you 1/2 a seat for most arena shows.

What needs to be done for large shows is auction all the seats for shows that have assigned seating. (Yes, those of you who read the excellent weekly football column on ESPN called TMQ will know that Gregg Easterbrook wrote about this on Tuesday but I swear I had the idea for this blog last week. I was actually kind of pissed when I saw him do the story. Even though the number of people reading his blog are astronomical compared to mine. Like there is really some competition. But I digress.)

The auction would run for two weeks or so. Ticket prices could be set as low as the minimum needed to cover the venue/artist costs. Of course, minimums could be higher than that but then the artist/venue has to weigh the risk of playing to a less than full house.

Once you place a bid, you can't cancel the bid. Seats would be ranked by how close they are to center stage. The higher the bid, the better your seat. Bids are sorted by highest bids first, and in the case of tie bids, who placed their bid first. You can raise your bid at any time which would also update the time of your bid to the time you placed your latest bid. The seating list and prices would be updated on a periodic basis (daily, hourly, instantly) so you can see where your seats are currently and what you would need to bid to sit where you want to sit.

In this scenario, those 500 people who must sit in the front so they can spend the concert calling their friends on their cell phone to impress them with how much they spent on tickets, can go nuts trying to outbid each other. The artist/venue would get to keep the profits. Ebay and ticket brokers would be shut out from selling tickets to all but those who didn't get in on the auction. The ticket brokers would have no incentive to raise the bids up in the hopes of selling tickets later, because anyone wanting tickets would already have bid to their price level during the auction, choosing to outbid the broker (in which case they don't need broker tickets) or choosing not to go high (in which case they have decided the broker price is too rich).

So the top 500 seats may go for 3 - 5 times the "normal" ticket price, but if you are willing to sit further away you may get tickets for a more reasonable price.

Auctioning could also benefit an artist willing to try to please as many fans as possible. Let's say on the first day of an auction for a show at a 20,000 seat arena, 100,000 bids are placed. The artist could then (at the risk of lowering ticket demand/prices, but pleasing as many fans as possible) add another 3 - 4 shows. This strategy could also work in reverse. For example, on the first day of an auction for a show at a 20,000 seat arena, 1,000 bids are placed. The artist could move the venue to a 2000 seat venue, raising demand for seats (assuming additional bids will be placed) , potentially raising the bid prices and creating a more intimate show for the audience. Younger bands or bands at a certain level of popularity may also be more likely to give a big show a try, knowing they might get lower ticket prices, but getting the rush for themselves and their fans of 18,000 people going nuts.

Obviously there could be some ego strokes (in the first case or if an artist sells out a show at a high average price) or some ego blows (in the second case or if an artist sells less seats at low prices). So it will take some brave artists and/or hugely popular artists to try this first. But an artist would have a better chance of selling out a show and gaining new fans. If I have some marginal interest in an artist, I may be willing to bid $20 and get some seats that aren't the best but have a chance to check out someone new or see someone I have seen a number of times before. People might be more willing to risk a date night at a show if the tickets aren't high priced or maybe they'll take the kids.

Also, no could complain about high ticket prices or sell outs. Ticket price is set by demand. The only people you could bitch about are your fellow fans and you'll either pay the price or you won't. All those parents of Hannah Montana fans couldn't be angry and calling their local congressman if the show sells out because (1) the brokers wouldn't be able to snap up seats for reasons previously mentioned and (2) if the parents really want to get those tickets for the kids, they can bid more.

Now there is still a part of me that would lament the fact that I probably could never score close seats again for a big show by getting lucky. But between ticket brokers, corporate boxes, artist fan clubs, American Express pre-sales, etc. those chances of getting lucky are almost non-existent anyway now. There may also be ways to get lucky, for example, a random drawing of all bidders to sit in the front row or rows or good seats. As long as such a lottery was mentioned prior to on-sale so people who do want to bid high know what they are bidding on.

There is part of me that says that rock and roll should be egalitarian and salt of the earth. But arena shows have become too much of a big business to have that be really true anymore. And shows that would end up more for your average spending joe and real rocker, would do so naturally and might be better shows than the high priced ones for the impress their friends, cell phone talking, sit in their seat, rattle their jewelry type crowd.

But if you want to rock with the masses, your best bet is and would likely still be, to go to a club, where you can swap sweat, spill beer and feel the spit. The best rock 'n' roll is usually being made in a crowded bar at 1 AM on any given Saturday night anyway.

Good night, Richmond.

Tony Jordan

Olive, Eddie, Bruce, Weng Weng, Spin Doctors & The Dirty Dozen

Well, the holidays have begun and with it comes my favorite new Christmas special, "Olive the Other Reindeer". Olive will be on Cartoon Network on Thursday, 12/6 at 8 PM and Sunday, 12/16 at 3 PM. Set you TiVos now. Olive tells the story of a little, sweet, kind dog who believes she must save Christmas from being canceled. Why Olive? She mishears a news report asking for help from "all of the other reindeer" as "Olive the Other Reindeer" and thinks she must be a reindeer. With help from her con-man, penguin friend, Martini, (get it...Olive, Martini) she begins a trek to the North Pole. Olive is voiced by the perennially cute Drew Barrymore, and Martini by Joe Pantoliano. It also features Michael Stipe as a tough reindeer (Michael Stipe as a tough anything is a stretch but that's part of the joke) and a song by REM. It was produced by Matt Groening, creator of "The Simpsons". It is great for kids but also features some jokes aimed at the adults (not dirty, mind you) and some creative animation which makes it great for all ages. Along with "Robbie the Reindeer in Hooves Of Fire", this is a new Christmas classic.

Onto my usual music happenings. The Dirty Dozen Brass Band plays at the Canal Club on Wednesday night. Doors are at 8 and tix are $17. Dirty Dozen took the New Orleans brass band concept and moved it forward with elements of jazz, funk and hip-hop. They are a blast to see live. They've played with people like Dizzy Gillespie, Elvis Costello, Widespread Panic, David Bowie, Dr. John, The Black Crowes and Modest Mouse. Check 'em out if you can.

Friday night at Toad's, Eddie From Ohio is playing. Eddie is a group, not a guy. They call themselves neo-folk which means mainly acoustic instruments, great harmonies and intelligent, often witty, lyrics. If you are one of those people that can't stand standing at a concert (as compared to me, who can't stand sitting, at least at a rock show), this show will be all seated. Doors at 7 PM, show at 8 PM with an opener, tickets are $25. These guys and a lady are kind of local too, hailing from Northern VA.

On Friday at 10 AM, tickets go on sale for Bruce Springsteen & The E Street Band at John Paul Jones Arena in C'ville. Ticket limit is 4. Price is something like $67 for general admission on the floor (with a chance to get in the pit in front of the stage) and $97 for seats. Bruce is troubling me as he rises toward the $100 tickets range. If you throw in the $13 or so in added charges from the ticket service, you're looking at $110. Bruce is probably the last and only band that I will pay that much for, but if the price creeps up too much more, there may have to be some reconsideration. I guess he can do it because he has such a rabid fan base, but when bands start to price tickets that high they are basically conceding that the casual fan will no longer be attending. I begin to look at spending $100 on one show or $100 for 5 shows at the local clubs at a place that serves beer and that I don't have to drive an hour to. But its Bruce and as one of his faithful minions I will be on the computer at 10 AM on Friday in the hopes of getting tickets and finally seeing him play "Kitty's Back".

Saturday at Capital Ale House Downtown, Chris Barron, vocalist of the Spin Doctors, brings his solo band in. Doors are at 9 PM and tix are $10. I always liked the Spin Doctors, even before they got famous. They put on fun shows and were pretty good musicians and you could bring a girl who didn't like deep spacey jams but loved to dance but still get some good improv jams at the show. They were poised to become the next big jam band after Blues Traveler and then had the fortune or misfortune of writing a really catchy song, "Two Princes". They became completely overexposed on MTV, bringing in new fans and causing the fan base they had spent a few years building to leave in disgust, through no fault of the band. By the time the next album came out, the new fans had moved onto the next one-hit wonder and their jam band fan base had moved onto Phish and Dave Matthews Band. Then Chris Barron got vocal cord paralysis killing any chance they had of a big comeback. To their credit, they have continued to play together, and apart, because they are musicians and its what they do. I suspect this will be a fun show on a Saturday night in a place where you can get good beer. And what more could you really ask for.

Finally, on Sunday at Toad's is Cake's Unlimited Sunshine Festival, with quirky alternative band, Cake, and four other new bands. Doors are at 7 PM, show starts at 7:30 and you get to see five bands for just $35. What a bargain!

Finally, some of you have already seen it, but those of you haven't, I bring you the biggest, small detective in the world and my new hero, Weng Weng: http://www.funnyordie.com/videos/2620. This gets better every time I watch it.

Have a great weekend and stay classy, Richmond!

Tony Jordan

DMB w/Robert Randolph - Watchtower

The highlight of the Dave Matthews Band webcast from West Point a few weeks ago was Robert Randolph joining them for "All Along The Watchtower". More proof of Robert Randolph's greatness. Check it out at: http://www.attblueroom.com/music/mediaplayer.php?pid=115927

Major Rock Fest coming to NJ

"Promoter C3 Presents, of Austin, Texas, announced yesterday that the three-day rock festival originally proposed for Philadelphia's Fairmount Park will instead be held Aug. 8 to 10 on a 550-acre farm in Vineland, in South Jersey's Cumberland County.
Over three days, a crowd of 150,000 or more is expected at what C3 partner Charlie Jones called "a camping festival," similar to the Bonnaroo Music Festival held each June in Manchester, Tenn.
The camp-out concert at Menantico Colony, site of a former home for people with disabilities, would be the biggest rock festival New Jersey has ever seen and the biggest multiday music festival currently on the East Coast."

For more, see http://www.philly.com/philly/hp/news_update/20071128_City_loses_rockfest__Vineland_gains_it.html