Posted on 05/26/2004 8:28:06 AM PDT by FilmCutter
THE WAY THE MUSIC DIED PBS Airdate: Thursday, May 27, at 9 P.M., 60 minutes
In the recording studios of Los Angeles and the boardrooms of New York, they say the record business has been hit by a perfect storm: a convergence of industry-wide consolidation, Internet theft, and artistic drought. The effect has been the loss of billions of dollars, thousands of jobs, and that indefinable quality that once characterized American pop music.
“It’s a classic example of art and commerce colliding and nobody wins,” says Nic Harcourt, music director at Los Angeles’s KCRW-FM. “It’s just a train wreck.”
In “The Way the Music Died,” airing Thursday, May 27, at 9 P.M. on PBS (check local listings), FRONTLINE® follows the trajectory of the recording industry from its post-Woodstock heyday in the 1970s and 1980s to what one observer describes as a “hysteria” of mass layoffs and bankruptcy in 2004.
“This is the story of how the pressures to perform financially have affected the ability of many pop musicians to make the art they want,” says FRONTLINE producer Michael Kirk. “The starkness of the difference between the environment that exists in the midst of this ‘perfect storm’ and the way the business once operated is nothing short of astonishing.”
The documentary tells its story through the aspirations and experiences of four artists: veteran musician David Crosby, who has seen it all in a career spanning 35 years; songwriter/producer Mark Hudson, a former member of The Hudson Brothers band; Hudson’s daughter, Sarah, who is about to release her first single and album; and a new rock band, Velvet Revolver, composed of former members of the rock groups Guns n’ Roses and Stone Temple Pilots, whose first album will be released in June. But how will these artists fare at a time when the record industry is clearly hurting?
“It’s a big moment,” says Melinda Newman, West Coast bureau chief for Billboard magazine. “There are about 30,000 albums released a year, maybe a hundred are hits. Sales have fallen from $40 billion to $28 billion in just three years.”
FRONTLINE follows the trends in the record business that led to unprecedented growth of more than 20 percent per year in the 25 years following the industry watershed at Woodstock. Crosby, for example, recalls how his new band’s album made millions after Crosby, Stills, and Nash performed at the legendary rock concert.
“It was the moment when all that generation of hippies looked at each other and said, ‘Wait a minute! We’re not a fringe element. There’s millions of us! We’re what’s happening here,’” Crosby tells FRONTLINE.
FRONTLINE follows the career of rocker Mark Hudson, whose group The Hudson Brothers began as a 1970s rock band. “It was post-Woodstock, pre-disco, pre-MTV. So it was a point when music still had truckloads of integrity,” Hudson tells FRONTLINE. “Somebody was getting ready to exploit rock and roll.”
Hudson tells his story of how the business changed him and how The Hudson Brothers ended up becoming TV stars as the summer replacement for the Sonny and Cher Comedy Hour. In the early 1980s, MTV fueled a further explosion of interest and seemed to broaden the appeal of rock music.
But surprisingly, there are those who now argue MTV was a negative force. “What it did really is make the business a one trick pony—and everything became about the three minutes, the single, the hit single,” entertainment attorney Michael Guido tells FRONTLINE. “I think the album died with MTV. The culture in the record companies in the last twenty years has been to reward artists for three minutes of music, not for forty minutes of music.”
Some critics fear that the industry’s need for quick hits has made it difficult for more adventurous artists to offer the unique sounds and challenging themes that have long been the hallmark of the best album artists.
FRONTLINE also examines the effect of consolidation of ownership on the music industry. “What you had were these people who had been tremendous entrepreneurs…bought up by a multi-conglomerate,” Billboard’s Newman says. “And it just changes the complexion. The whole way you’re having to make decisions is based on different models.”
Michael “Blue” Williams, manager of the Grammy Award-winning OutKast, agrees. “We’re run by corporations now,” he says. “We have accountants running two of four majors now, and they don’t get it. It’s a numbers game. And music has always been a feelings game.”
The consolidation of the radio industry also negatively impacted the recording industry, observers say. “Thousands of radio stations changed hands, and companies that wanted to really get on radio were able to pull up some enormous multibillion dollar mergers,” Los Angeles Times reporter Jeff Leeds tells FRONTLINE. “Suddenly a company that once owned three dozen stations could suddenly own a thousand.”
With programming decisions centralized at the corporate level, most stations follow a mandated play list. In some cases, it’s just fourteen songs per week—leaving little airtime for the introduction of new artists.
FRONTLINE profiles Mark Hudson’s daughter singer/songwriter Sarah Hudson as she prepares to release her first album at a time when the music industry is struggling. “For any new artist, the odds are almost insurmountable. I think if they knew the odds, they would never get in the first place. You know, the vast, vast majority of records go absolutely no where,” Newman says.
Vying with Hudson for a place on the Billboard charts is Velvet Revolver, a “super band” backed by RCA Records, a label that is betting heavily on the group. FRONTLINE follows the marketing of the band as its members struggle to return to the spotlight. Velvet Revolver’s manager says success takes more than an expensive video and a marketing campaign. “It’s still all about the kids. If the kids want to request it, it gets played more and more. The more it gets played, the more people buy. The more people buy, the more records they sell. The more records they sell, shazam, you’re a rock star,” David Codikow says.
“The Way the Music Died” is a FRONTLINE co-production with the Kirk Documentary Group. The producer, writer, and director is Michael Kirk.
FRONTLINE is produced by WGBH Boston and is broadcast nationwide on PBS. Funding for FRONTLINE is provided through the support of PBS viewers. Additional support is provided by U.S. News & World Report. FRONTLINE is closed-captioned for deaf and hard-of-hearing viewers. FRONTLINE is a registered trademark of WGBH Educational Foundation. The executive producer for FRONTLINE is David Fanning.
And I don't know where Bob Seger gets his credibility from. I've heard a few singles of his from the 1960s. By the 1970s even those who wanted to give him some credibility, like Lester Bangs, were hesitant to do so.
I've seen JSBX, Kyuss, Nebula, Fu Manchu, Supagroup and some other similar bands all multiple times. Guitar rock is not dead and many who listen to "classic rock" would like some of these bands.
Gramsci would be proud!
I find the British and US (rock, soul, bluegrass and some country) music between 1965-1975 give or take a few years to have been astonishing creative, and pretty much spontaneous (if self re-inforcing) -- the hollywood moguls knew a good thing when they saw it, and have been manufacturing groups and "creative" music ever since. Unfortunately, the well has run pretty dry -- there are many technically excellent groups out there (coldplay for example) but if rap is the culmination of music from 1975 until now, yuck.
I heard part of a brief history of record technology a while back (~80 rpm was the best...45 size supposedly the sweet spot for
styli...12" single was originally a gimmick by a producer...)
Two things:
1. I think this is the same Mark Hudson who co-wrote & produced Ringo's last three albums. Don't laugh -- Ringo Rama is a really strong album, with guest spots by Clapton, Gilmour, Van Dyke Parks, and Willie Nelson.
2. You know the whole system is messed up when Brian Wilson still doesn't have a Grammy...
Speaking of Floyd. I finally sat down and for the first time really listened to The Wall straight through, no interruptions. I'm kind of glad I waited until the "dark side" of thirty-five before I did so. I don't think I really would have had the life experience to appreciate it as I did.
Sharp as obsidian that voice cuts.
Though she do seem a might depressed in just about every song... oh well.
She can't be depressed -- she's a Christian! :-)
That's hard to imagine here in Texas. I have to wade through all the
Country and Tejano stations to get to the few rock stations.
must be music day ping
Danny Carey of Tool is the best rock drummer in America today.
"Ode To Billie Joe" by Bobbie Gentry came in at 4:15..."
Well, it was a long song but I was in Vietnam at the time it was on the charts so I don't remember it very well.
You want uplifting, it's 70's R&B all the way.
Earth, Wind and Fire, Sly & The Family Stone, Staples Singers --- happy happy music.
Now I got Pointer Sisters' "Yes We Can Can" in my head...
We have a winner folks, thanks for playing!
"Radio has sucked completely...the mid-1970s..."
Yeah, from about 1956 to 1970 I hardly ever had the radio turned off. To me, top 40 AM radio was all about rock 'n roll music, great on-air personalities, and local promotions. You know, dances at the roller barn with an up and coming area band, poised to make it to the big time, mc'd by local DJ's; rockin' and racin' at the local drag strip, that sort of thing. Once FM got big, with a lot of album rock and canned programming, I stopped listening.
Me too please.
I've got a 45 that seems to run nearly 8 minuntes. It is a medley of The Who's Tommy as played by a long list of independent bands. The flip side is a cover of The Beatles' "You Know My Name, Look Up The Number" covered by a different list of bands.
I'd like to thank my parents, my brothers and sisters, the redhead from my Jr year in high school, and.. oh so many more whose names are jumbled in my head right now. Thanks. Thanks again.
Actually I think the Stones Honk Tonk Women was the first single over three minutes and four minutes. Was the single number one? That I don't know.
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