Radio is tearing up the nation


More evidence that popular radio is not worth listening to from this column by Roger Friedman on FoxNews.com (I first saw this on Steven Hart’s Opinion Mill). According to Friedman, Clear Channel has opted not to play the No. 1 album in the country — Bruce Springsteen’s Magic — on its classic rock stations.

But it’s OK to play old Springsteen tracks such as “Dancing in the Dark,” “Born to Run” and “Born in the USA.”

Just no new songs by Springsteen, even though it’s likely many radio listeners already own the album and would like to hear it mixed in with the junk offered on radio.

Why? One theory, says a longtime rock insider, “is that the audience knows those songs. Of course, they’ll never know these songs if no one plays them.”

“Magic,” by the way, has sold more than 500,000 copies since its release on Oct. 2 and likely will hit the million mark. That’s not a small achievement these days, and one that should be embraced by Clear Channel.

But what a situation: The No. 1 album is not being played on any radio stations, according to Radio & Records, which monitors such things. Nothing. The rock songs aren’t on rock radio, and the two standout “mellow” tracks — “Magic” and “Devil’s Arcade” — aren’t even on “lite” stations.

The singles-kinda hits, “Radio Nowhere” and “Living in the Future” — which would have been hits no questions asked in the ’70s, ’80s and maybe even the ’90s, also are absent from Top 40.

What to do? Columbia Records is said to be readying a remixed version of “The Girls in their Summer Clothes,” a poppy Beach Boys-type track that has such a catchy hook fans were singing along to it at live shows before they had the album. Bruce insiders are hopeful that with a push from Sony, “Girls” will triumph.

I’m not so sure.

Clear Channel seems to have sent a clear message to other radio outlets that at age 58, Springsteen simply is too old to be played on rock stations. This completely absurd notion is one of many ways Clear Channel has done more to destroy the music business than downloading over the last 10 years. It’s certainly what’s helped create satellite radio, where Springsteen is a staple and even has his own channel on Sirius.

It’s not just Springsteen. There is no sign at major radio stations of new albums by John Fogerty or Annie Lennox, either. The same stations that should be playing Santana’s new singles with Chad Kroeger or Tina Turner are avoiding them, too.

Like Springsteen, these “older” artists have been relegated to something called Triple A format stations — i.e. either college radio or small artsy stations such as WFUV in the Bronx, N.Y., which are immune from the Clear Channel virus of pre-programming and where the number of plays per song is a fraction of what it is on commercial radio.

That’s why I rarely listen to commercial radio — I tend to tune in to WXPN or the local college stations — and probably never will again.

South Brunswick Post, The Cranbury Press
The Blog of South Brunswick

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Magic: The reviews are in

My review of Bruce Springsteen’s new album, Magic, will appear as my Dispatches column tomorrow in the South Brunswick Post and Friday in The Cranbury Press.

But here are a couple of reviews from others:

  • A.O. Scott’s oddly constructed mix of interview and review was required reading this weekend.
  • David Corn picks on some of the same themes I hit on in his blog at The Nation.
  • Jay Lustig in The Star-Ledger offers this.
  • Five stars from David Fricke in Rolling Stone.
  • Four stars from Ann Powers (one of the best critics out there) in the L.A. Times.
  • This last one comes from The Village Voice — another in a long line of bad Voice reviews of The Boss that prove nothing more than the paper’s arts coverage is way too consciously trendy for its own good.

This is, as most of these say, a remarkable, mature album. Check back tomorrow for more.

South Brunswick Post, The Cranbury Press
The Blog of South Brunswick

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It was 40 years ago today

Sgt. Pepper’s Lonely Hearts Club Band — released 40 years ago today — maybe the single most overrated album in rock history.

That may sound counter-intuitive and a bit heretical, but hear me out. I’m not downplaying the album’s quality — it is a groundbreaking work with an artistic vision that remains surprisingly alive (mostly).

It’s just that the album doesn’t live up to the hype. But then, really, nothing could.

Mythologized like no other album in rock history, credited with single-handedly altering the landscape, Sgt. Pepper’s has become rock music’s version of “The Wasteland” or Ulysses.

Artistically, it remains a powerful and important work, but it is not one that stands above all else, especially when placed within the context of its time, its contemporary musical landscape and The Beatles own remarkable canon.

Historical context: The album may be the definitive psychedic soundtrack, which is both its strength and primary weakness. Connected to the Summer of Love via its exploration of Indian ragas and massive, multitracked sound, it also is incredibly selfconscious and arty, almost to a fault.

But as so many critics, if not fans, have come to realize about the album, it fosters an illusion (delusion?) of peace and love (in its sound if not in its lyrics, which mostly are about malaise), reinforcing the clichés of hippiedom at a time when the darker elements of the sixties were slowly coming into view (the band catches this in “A Day In A Life”). Because of this, the record stands in many ways as a great fake, as Devin McKinney wrote in his find book Magic Circles: The Beatles in Dream and History (my review here).

Musical context: Sgt. Peppers was a groundbreaking record, but not in isolation. It was part of an amazing continuum of change that included records by The Beatles themselves (Rubber Soul and Revolver) , Dylan (the electric trio), the Byrds and particularly The Beach Boys.

Dylan, of course, expanded the genre’s lyrical possibilities, bringing the vocabulary of literary expressionism and surrealism to popular song while simultaneously expanding the boundaries of the blues form. Highway 61 Revisited with its organ assaults and explosive wall of music opened new frontiers, while The Beatles’ two records did the same for the pop side of the rock equation.

The Beatles’ records, in particular, had an amazing impact on Brian Wilson and The Beach Boys, who released Pet Sounds a full year before Sgt. Pepper’s came out. From All Music:
The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more.

The songs were great, perfectly structured, and Paul McCartney in particular has said he viewed it as a challenge. There would have been no Sgt. Pepper’s without Pet Sounds, but no Pet Sounds without Revolver and Rubber Soul, and perhaps no Revolver and Rubber Soul without Dylan and so on. The continuum.

(One other note on this: The Beatles and the Beach Boys did not pioneer the use of violins and other “nonrock” instruments on rock records. Buddy Holly used them way back in 1958 and 1959.)

The Beatles canon: I love Sgt. Pepper’s. I do, despite what this post might seem to imply. But I don’t think it is the best Beatle record recorded — not by a long shot. Each record has a lot to recommend it, of course, but I take the two 1965 records, Rubber Soul and Revolver, mostly because they show a brooding edge and complete unity, and because they are the bridge records taking the band from early lighter days into the slow dissolution that follows Sgt. Pepper’s.

They also contain the best songs, the tightest, most well-crafted and mature music the band was to make.

But that doesn’t diminish what Sgt. Pepper’s is: a remarkable and majestical record by the greatest band in the history of popular music.

South Brunswick Post, The Cranbury Press
The Blog of South Brunswick
The Cranbury Press Blog

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