Tuesday, January 24, 2012

"...Upon Review, The Opinion Seems To Indicate That I'm Too Critical..."

Never have made much of a secret of the fact that I don't care much for consultants.

In the interest of both full disclosure and fairness, though, I should clarify the cause of my contempt.

It's not the concept of consulting that I reject as much as the playing that gets done fast and loose with the definition of it.

Simply put, it's about knowledge as opposed to opinion.

It's one thing to become an expert on a subject, ideally as a result of years of being educated diligently on said subject, and then sharing that knowledge with those less educated on the subject.

It's another thing to offer up what amounts to nothing more than an opinion and try to drape it in a cloak of legitimacy with nothing more than a personal point of view and a business card that often includes, somewhere in the text, the term "...and associates".

Teachers, for example, who have advanced degrees in their chosen field, are, in my humble o, more than qualified to tell me what is, what was, what might be, what should be and what I might want to do about it.

The electrician who has gone to electrician school and understands, without having to check or recheck the schematics, whether the job calls for 110 or 220 is, in my view, somebody whose point of view is going to trump mine every single kilowatt hour of the day.

On the other hand, the layman who offers me counsel, perspective and/or advice without the benefit of any specific education and/or certification is, when you discount the drapery, offering me nothing more than their personal opinion.

And let's not let an opener even get close to the can of worms we could unleash on the subject of the silliness of being offered opinion, et al on subjects that are surely subjective.

Food. Politics. Anything and everything that might find its way into any given issue of People Magazine, Rolling Stone, TV Guide and/or Entertainment Weekly.

Subject list of subjective subjects subject to change, of course.

Despite any appearance that this rhetoric/rant might have been inspired by a lack of fiber in the morning's diet, it was, in fact, inspired by yet another piece I read online this morning from yet another "critic" who was "reviewing" the new Bob Dylan tribute album.

In the spirit of brevity, I'll spare you the text and just offer up the link, should you care to partake of this particular perspective for yourself.

http://www.ew.com/ew/article/0,,20562450,00.html?cnn=yes

Okay, first things first.

While this piece began as a little diatribe on the subject of "consultants", the focus here is on a different, but just as knotty,  branch of that same family tree.

Critics.

And their first cousins, reviewers.

Although, upon review, I really don't know how to criticize the difference between the two.

Because I don't think there really is a difference.

Second, I don't know, and have never met, Melissa Maerz.

A little Google here and there and I learned this much about her.

LA Times staffer Melissa Maerz is to become Entertainment Weekly's lead music critic and will also contribute features to the TV department. One has to wonder whether Maerz didn’t see much potential for upward mobility at the Times after Randall Roberts recently took over the highly coveted pop music critic gig from Ann Powers.

Maerz has a pretty impressive resume. She was a senior editor at Rolling Stone as well as a senior editor at New York magazine, where she created and launched the mag’s now wildly popular blog Vulture.


Now, props being props, I'm sincerely respectful of Ms. Maerz's resume'. I am totally down with a righteous resume'.

I got a little of my own and wouldn't take kindly to being dissed about it.

But, in the context of what Ms. Maerz is offering here, resume matters less than zero.

Because music, like any art form, is....wait for it...subjective.

One's man's musical masterpiece is another's migraine.

And, not to put too fine a point on it, but as big a phenomenon as, say, Lady Gaga has become, I assure you that you can find, in any reasonable cross section of humanity, at least a few folks who would choose root canal over one more presentation of "p-p-p-poker face....".

The point of all this is this.

"Reviews" from "critics" are, from inception, foundationally flawed.

Because the "review" the "critic" offers is, by its nature, a matter of opinion.

Due respect to a depth of knowledge on any one singer or another, but there really is no such thing as an advanced degree in the songs of Lady Gaga.

Or Bob Dylan, for that matter.

The holder of the PhD. in Mayan culture can tell me that there's a pretty good chance we're going to be toast later this year and, while I might not like hearing it, I'm gonna have to give the thought some legitimate consideration.

The music "critic" who tells me that Carly Simon sounds like she's telling Bob Dylan to "man up" is, first, giving me nothing more than her personal reaction to hearing it.

And, second, for all intents and purposes, putting words in Carly Simon's mouth.

Of course, that's just my opinion.

Friday, January 20, 2012

"...Kenny and Larry and Me...."

Another tough time passage week for music lovers.

Etta James.

Johnny Otis.

Larry Butler.

Songwriter and musician Larry Butler, who produced several of Kenny Rogers' biggest hits, died Friday (Jan. 20) of natural causes at his home in Pensacola, Fla., at age 69. A Pensacola native, Butler began playing piano at age 4 and performed in a band in Florida before moving to Memphis to become a member of the Gentrys, who scored a Top 10 pop hit in 1965 with "Keep on Dancin'." In Nashville, Butler was a top session musician, playing piano on hits such as Conway Twitty's "Hello Darlin'" and Bobby Goldsboro's "Honey." He produced records for Capitol and CBS before being named head of United Artists Records' Nashville division in 1973. At United Artists, he signed Dottie West and Crystal Gayle to the label and played a major role in launching Kenny Rogers' solo career by producing hits such as "Lucille," "She Believes in Me," "The Gambler," "Love or Something Like It," "You Decorated My Life" and "Coward of the County." He and co-writer Chips Moman won a Grammy in 1975 for best country song for "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song," a major hit for B.J. Thomas. Butler won another Grammy in 1979 for overall producer of the year in the nonclassical division. After leaving United Artists, he formed an independent production company and worked with acts such as Charlie Rich, Mac Davis, Don McLean and John Denver. In recent years, Butler continued his work as a producer in Pensacola.

In the course of twenty odd years (as opposed to an odd twenty years)knocking around Nashville in search of fame, fortune and a "regular" status at Pancake Pantry, I had the privilege of being a paragraph or two in Larry Butler's life story.

Paragraph one occurred when a song that Cyril Rawson and I had written was taken to Larry via our publisher Micki Foster who, like us, believed said song was a proverbial "out of the box" smash for Kenny Rogers, still working with Larry at the time. Low and behold, Larry was of the same mind and played the song for Kenny smack in the middle of a recording session. Kenny, consummate artist that he was, listened to the song and totally agreed with Larry, that the song was a monster. One little variation on the theme, though. Kenny just didn't see it as a monster for him. Larry did his best to talk Kenny into it, to no avail. Truth be told, that was one of the first signs of the beginning of the end of my own songwriting days as I realized that if the guy who found, and produced, "Lucille", "The Gambler", "Coward Of The County" and a half dozen other Kenny megahits couldn't convince Mr. Rogers that the song belonged in his neighborhood then I had to face the very real probability that mega hit song success simply wasn't in my own deck of cards.

And it was time to know when to fold them.

The second paragraph was written when I had the pleasure of doing a freelance interview (some time prior to the Kenny adventure) with Larry for a Nashville based songwriter trade magazine. Mr. Butler was cordial and comedic, offering wonderful anecdotes along with a healthy dollop of sage songwriting advice.

One pearl he offered up was the notion that young songwriters needed to be aware of a basic, and key, truth when it came to pitching their wares to producers, publishers, the assorted movers and shakers who can move or shake in such a way as to put a young songwriter into a higher tax bracket, sometimes overnight.

"When pitching", Larry said with a wise smile, "remember that the producer, artist, publisher, as the case may be, isn't looking for a reason to say yes...

...they're looking for a reason to say no".

"So don't give them one."

Kenny Rogers peeing in my Cheerios notwithstanding, advice well heeded.

Thanks for the chat, Larry.

And your best effort to convince Kenny of the error of his ways.

Godspeed, music man.