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GREED, NOT RACISM, IS THE ISSUE

So, now the recording industry is racist.

As most of us already know, superstar-legend Michael Jackson has accused record labels of ripping off black artists. They give so little of the profits from album sales to black artists, he claims, that these artists are forced to travel and tour endlessly in order to earn an adequate living wage. And, although his idea of adequate is probably quite different than that of your average wage-earner, he does have a point: recording artists do earn the vast amount of their income from touring, not from album sales.

Money is not lining the retailers' pockets, either. It seems, I know, outrageous to customers that they are paying $18-$20, and, I agree, it is. However, your local retailer is paying $13-$15 per disc, on average, at wholesale prices--he is just making a living. But, at these prices, someone out there is turning a huge profit and, generally, Mr. Jackson is correct: it is not the artist. The bulk of the money turned on a release does go to the record label behind the artist, and the artist will make the majority of his share on tour supporting that release. However, two things strike me: (1) touring is part of the artist's job and (2) race has nothing to do with that fact.

It is difficult for me, or anyone who is working excessively to almost make ends meet, to sympathize with the complaints of a musician who feels he shouldn't have to continue touring to earn his keep. Touring constantly, year after year? Well, you know, most of us work at our jobs constantly, year after year, and I've no doubt that our average income is far below what these people are earning on their tours. Think that expecting an artist to perform frequently is too stringent a job requirement? Well, voice your complaints to a truck driver, a factory worker, or to the waitress on her feet all day in your local diner. Mr. Jackson feels that artists are being made to sing too often for their supper? Hrmph.

And, as far as racism is concerned in this equation, I feel there is very little to be said on the matter. Quite simply, artists of all races are touring for the bulk of their income. Making this into an issue of race is simply ludicrous and is, ironically, a racist attitude in itself.

All of this does raise some points about the music industry. The problem is not that the record labels are taking too large a piece of pie--it is that the pie is too large to begin with. Overcharging for CDs is only going to hurt the life of the music industry in the long run. During the golden age of cassettes, most people still bought the real deal instead of dubbing a copy from a friend. Why? Because the price of cassettes was still reasonable, so it still made sense to get a retail copy instead of going to the trouble of making your own. However, in this day and age, when one can burn a CD very easily for very little investment, why would anyone expect that people would prefer to purchase a retail copy for $19.99?

If the music industry is to survive, it is going to have to wholesale its CDs at a reasonable price so that retailers can offer them to the public at a reasonable price. Label artists are going to have to stop crooning their "woe-is-me" tune and realize how fortunate they are to be earning a living doing something they love. We all have problems, yes, but no one in the real world, living on a real budget, has any sympathy for the over-the-top "necessities" these people are peddling, and we just do not want to hear it.

Michael Jackson had a chance to make a significant point and, possibly, a difference in the way music is marketed. Instead, because he is upset about the failure of Invincible and his own downslide in popularity, he chose to infuriate, hurt, divide, and, as is the trend these days, spin responsibility away from himself. His album sucked, and that is why it failed--no amount of money can change that basic fact (well, okay, boy bands and Britney Spears are good arguments against that statement, but that is an article for another day).

The music industry does indeed have a problem, but that problem is not racism.

It is, quite simply, greed.

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GODFLESH: HYMNS

Earlier this week, I was updating the ol' website, when someone came in and asked me to order him the latest Godflesh; I don't believe he realized that the latest Godflesh is also, it appears, the last Godflesh.

Godflesh was the 1988 creation of vocalist/guitarist (as well as former Napalm Death drummer) Justin K. Headrick and bassist G. C. Green. Their first release, the 1989 "Godflesh," used synthetic percussion, sampling, and distorting, laying the base for a sound that would later be hailed by many as one of the heaviest on the planet. Heavy metal, industrial, techno/synth and grindcore have all been presented throughout the playing days of Godflesh, regardless of which brand of percussion--that is, human or mechanical--was employed with Green and Headrick, or who was backing them on tour--Hymns, it seems, may be one of their best.

Now, look, if you *don't* like it heavy, you are *not* gonna like Hymns, if you don't like it industrial, you are *not* gonna like Hymns, and if you don't like it cold, dark and murky, you are *not* gonna like Hymns, so don't buy it and then come back and gripe to me that you "just couldn't get into it," because I'm telling you here what you are gonna get. That having been said, this album is not quite as distorted as some earlier works, but having a real drummer on the album, in the person of Ted Parsons, does create a different sound than that of a machine. It is still minimalist, and it works very well, especially for what, I suppose, will be their farewell offering. G. C. Green left the band in October of 2001 and Justin K. Headrick decided to disband Godflesh in April of 2002, issuing the following statement posted at blabbermouth.net:

"JUSTIN BROADRICK: GODFLESH Was Not GODFLESH Anymore - May 13, 2002

GODFLESH leader Justin Broadrick has issued a statement explaining why he chose to disband the industrial pioneers he founded in 1988.

The full statement is as follows:

"GODFLESH (1988-2002) - MISSION IS TERMINATED -

"On April 10th 2002, I disbanded GODFLESH. This was something I had painfully been pondering since GC Greens' departure from the band in Oct 2001. Regrettably it took until the day of leaving for a lengthy U.S tour for the realization to finally take its toll on me.

"Unfortunately the finality of the decision and the responsibilities of making the decision proved too much for me to bare, and I collapsed under the weight. I found that without GC Green, GODFLESH is not GODFLESH, and him leaving proved to be an omen for me. I also feel that everything we originally intended or even imagined with GODFLESH we have done. My only regret has been the hurting of both remaining band members Ted Parsons and Paul Raven, and disappointing those that believe in GODFLESH worldwide... In the near future, my new rock project JESU will surface. So this is by no means the end of my songwriting/guitar/vocalizing. Simply the end of a chapter.
"Endless gratitude to all those that have believed in and supported GODFLESH throughout the 14 year history. You know who you are... Long live the new flesh...

"JUSTIN K BROADRICK / MAY 2002""

This, unfortunately, cancelled the about-to-begin 2002 U.S. tour, and many fans were left with a bad taste in their mouths (check out the board at blabbermouth.net if you want to know just how bad a taste). But, still, the ride was a good one while it lasted.

And, as for Hymns: worth the listen, good and cold, and a nice send off for the band.

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SHERYL CROW/C'MON C'MON/INTERSCOPE

Sheryl Crow fan? Well, this is a must-have for you. Its been a long-time since Crows third release, The Globe Sessions (yes, I am pretending that Sheryl Crow and Friends didnt exist), and it has been time well-spent, apparently. In C'mon C'mon, Crow once again gives us a taste of the, well, weird. Lets get to it: as good as The Globe Sessions was--and it was good--it still wasnt as good as her second album, Sheryl Crow, simply because it didnt have those weird little asides and cool filler tones of its predecessor. With this album, Sheryl again capitalizes on the eclectic, captivating the listener. You want to keep listening, because you know there will be something surprising just around the bend to justify the time you have spent on the album. This album is sunny, fresh, modern, and still manages to be unique in its presentation. And, with a sigh of relief, I can say that this album is not crafted to bring in the teeny-bopper dollar. It is crafted to be just what Crow wanted it to be and, if you like it, great. If not, she really doesnt appear to care. If you are a fan, get it. But, for those who are not traditionally Sheryl Crow fans, think about it this time around, because C'mon C'mon would be a great place to start.

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KEVIN DENNEY/KEVIN DENNEY/LYRIC STREET

I watched Kevin Denney on The Grand Ole Opry recently and, I must say, he has something. In a time when too much of country has gone pop, it was great to see this guy come out on stage, country voice and guitar, and do a totally country song, "That's Just Jessie." Good song, too, one currently getting a lot of airplay on country radio. He does much of the songwriting on his debut album, proving his talent reaches beyond the spotlight. I've heard a DJ or two compare this young man's vocals to Keith Whitley's and, while I don't really hear that myself, I do hear a pure country baritone with a lot of potential. Will you like the full album? Well, if you like "That's Just Jessie," I believe you will find the rest to your liking. It has some kickers, some ballads, some point-makers, and, most of all, it has the fresh country vocals of Kevin Denney. I think we'll be seeing more of him in the years to come.

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SOUNDTRACK/THE SCORPION KING/UNIVERSAL

Shrug. I like the Rock, and I'll probably see the movie sooner or later. But, I doubt the soundtrack will find its way into my personal collection. Anchored by Godsmack's "I Stand Alone," it has a lot of great names--Drowning Pool, P.O.D., Rob Zombie, Nickelback, Creed, and System of a Down, to name a few--but not a lot of great music. Most of it is "B" music or previously released works, which is fine--it's a soundtrack, after all, and they are rarely full of new, earth-shattering music. And, if you are a big fan of some of these bands, you may want to get it, as some of these songs may not be available on any of their releases currently in print. But, other than being a draw for die-hard fans, Ill pass on this one.

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WIPE OFF THE DUST. . .

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JOHN DENVER/BACK HOME AGAIN

Now, look, John Denver was the biggest thing goin' in the 70's and, whether we admit it or not, we all love his music, so I'm gonna say it now:  I love John Denver's music.  It's upbeat, it's cheery, and it's fun to sing along with--three qualities that are hard to find in music of today, and three qualities I think we could all use a lot more of.
 
This collection, released in 1974, includes some of my favorites:  "Thank God I'm a Country Boy," "Grandma's Feather Bed," and "Back Home Again."  In this day and age, the simplicity of the lyrics and the straight-ahead pickin' and fiddlin' is just what I need to get me goin' some days. . .reminds me that life really can be simple if you just get it back down to the basics.  Hard to do sometimes, I know, but Denver's music reminds me that it can be done, if a person really wants to do it.  : )
 
 
 
 

VENUES

For the concert-goers of North Georgia, here are some of the main venues of the area. I've added a link where possible. . .all venues in the Atlanta area, unless otherwise noted. : )

9 Lives Saloon

40 Watt Club

ATHFEST

Atlanta Civic Center Theatre

Athens Music Factory

Bean'ry (Athens)--No Website

Blind Willie's

Breaker's Music Hall (Jonesboro)--No Website

Caledonia (Athens)--No Website

Centennial Olympic Park

Chastain Park Ampitheatre

Clayton County International Park--"The Beach"

Club Kaya--No Website

Coca Cola Roxy Theatre

Cotton Club

Cowboys

Dekalb Atlanta Center--No Website

Earthlink Live @ Center Stage

Echo Lounge

Eddie's Attic

Fox Theatre

Front Page News

Georgia Dome

Georgia Theatre

Hi Fi Buys Amphitheatre-No Website

Lanierland Music Park

Lenox Square Mall

Luby's (Lawrenceville)--No Website

Masquerade

Nomenclature Museum--No Website

Nuci's Space (Athens)--No Website

On the Bricks (btw: concerts designated "On the Bricks" are freebies in Centennial Olympic Park:)

Philips Arena

Six Flags Over Georgia (BTW: At the time of this posting, there was no concert info on the Six Flags site. However, you can check the calendar for the day in question for open/close times and such. Concerts held in the Southern Star Amphitheatre, and concerts are free with price of admission to the park.)

Smith's Olde Bar

Swallow at the Hollow

Tabernacle

Taco Mac (Roswell Rd., Dunwoody)

Tasty World

Turner Field

Variety Playhouse

World Class (Hiram)--No Website

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