Mailbag

RE: The Stax Documentary
In your review of the Stax documentary you mentioned Stax being "screwed by Jerry Wexler" such that "Atlantic ends up with all the Masters." However, technically, the latter statement is incorrect.
When Jim Stewart made the deal with Jerry Wexler, Stax (now Concord) actually retained ownership of the Masters. But that was because the deal was really a lifetime distribution deal (IN PERPETUITY) in which Atlantic (now Warner Brothers) received 50% of all income from Stax Masters as a distribution fee.
Meanwhile, the contracts Stax had with their artists (who were almost all Black) provided for a 50/50 split of income from Master use licenses (including uses of the Masters in film, television and advertisements, which are primary sources of income for the artists these days).
The result is that for every dollar that comes in today for the use of a Stax master, Warner takes 50% of that dollar (per the Wexler deal) and then sends 50 cents to Concord. Concord, under the artist's label deal, then takes 50% of that amount and sends the artist 25 cents. So Stax artists are only being paid 25 cents on the dollar - half of what most artists, even those with bad contracts from the 1960s, are being paid for income from Master use licenses.
To add insult to injury, Concord was a partner in "Soulsville USA," which showed how Jerry Wexler took advantage of Jim Stewart's trust to pull a fast one on Jim. Watching the documentary, I was struck by the fact that my client William Bell is still living with the effects of this onerous deal almost 60 years later. Of course, almost every label has voluntarily updated their record royalty rates to modern equivalencies, but this particular situation has not been remedied in spite of repeated requests over the course of years. I can personally vouch for the efforts of Zelma Redding on behalf of her late husband's estate, and my efforts on behalf of William Bell who, despite writing songs like 'You Don't Miss Your Water," "Born Under A Bad Sign," and "I Forgot To Be Your Lover" (which has over 50 million streams on Spotify), was not mentioned in the documentary.
This outdated deal is a grave injustice to Stax artists and should be corrected!
PS, It's ironic that your review came out on the same day Concord announced the release of a new John Fogerty album. In Fogerty's case, Concord 'did the right thing' and restored the song copyrights he lost under a bad deal with Fantasy Records, such that the press release touts the upcoming album as 'a personal reclamation of artistic ownership.' Would that they would do the right thing for the Black artists from Stax!
Charles Driebe
en.wikipedia.org/wiki/Charles_Driebe
blindambitionmgt.com
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Subject: Re: Swift?
"So what's forever, "Desperado" or "We Are Never Ever Getting Back Together"? "Hotel California" or "Cruel Summer"?"
Perfect!
I'm a Substitute Teacher and several ago, I asked an elementary school class what they wanted to be and several kids said "Influencer!". Nobody said "Musician".
Always enjoy your newsletter!
Jim Moulder
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Subject: Re: The Stax Documentary
I had several heartfelt and fascinating conversations with Al Bell when I interviewed him for the Library of Congress. The film “Wattstax” was added to the National Film Registry in 2020.
He is truly a passionate and caring man who supported those artists out of sheer love for the music and the community. He wanted fans to share the experiences even when most had no money. He said they found ways to charge $1 for tickets to Wattstax, most of which went to charity.
He’s also a songwriter. He wrote “I’ll Take You There,” made famous by The Staple Singers.
He told me that he wrote it after the murder of his brother. He sat crying in an abandoned school bus in his parent’s backyard. While the song only has one verse, he said it was the music that rang so clear in his head. He is soulful to his core.
I adore that man. If you get the chance to meet him or interview him, take it. It will be one of the most inspiring and uplifting conversations you will ever have.
Stacie Seifrit-Griffin
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Subject: Re: The Stax Documentary
I thought it was very good as well. However our family was very disappointed that when Steve Cropper was describing how the MGs cut “Green Onions”, he failed to mentioned that Stax house bass player, Lewie Steinberg was actually the bass player and credited co/writer on the session. To make it even worse, they showed a photo of Donald “Duck” Dunn while describing this session. Duck wouldn’t join the MGs for another year after that hit.

Lewie is my wife, Diane Steinberg’s uncle. This fact always gets swept under the rug because Duck went on to do great things in his career, while Lewie, who played on several early Stax hits, including “Last Night” by the Mar Keys, was sort of swept under the rug over time.
Kenny Lee Lewis
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From: Doug McClement
Subject: Re: Billy Joel
Back in December 1977, Billy Joel was playing his first big Toronto arena show at Maple Leaf Gardens. I was running a recording studio downtown at the time. A student from the University of Toronto weekly newspaper interviewed him at his hotel using a portable micro cassette player, and brought the tape to my studio to transfer it to a regular cassette to make it easier to transcribe. When we hooked everything up and she pressed the play button, the tape was blank!!
She started to cry. But she gathered herself together, and phoned her contact at CPI, the local promoter, and got a call back from Billy's road manager saying that he was willing to DO THE WHOLE INTERVIEW OVER AGAIN for her. Keep in mind, this was not the Toronto Star, just a little University weekly. I don't think many artists, then or now would do something like that. A classy move. I've never forgotten it. (and my future wife and I went to see his show that night, and were blown away by Billy and his incredible band. A true showman! Such great songs. Good songwriting always wins.)
A few years later, I had to drive from Toronto to Long Island to take a Sound Workshop console back to the factory in Hauppauge for modifications. As I drove south along Hwy 87 in the Bronx the sun was setting on Manhattan on my right, and suddenly "New York State of Mind" was playing on the radio. A New York moment I'll never forget.
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Subject: Re: A Complete Unknown
10 seconds into A Complete Unknown Timothy Chalamet is riding in a car taking him into New York City for the first time. A voice on the radio in the car mentions the “NFC East New York Giants”. Dylan moved to NYC in 1961. The NFL and AFL were separate leagues until 1970, therefore there were no NFC of AFC until then, only the NFL and the AFL. I saw the movie in the theater and my first thought was “okay quit nitpicking” but again, it was 10 seconds in and turned out to be the gateway to the many other inaccuracies you mentioned. Overall it was sloppy.
youtu.be/Ciaymc1yZMk
Jim Blaney
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From: Ron Farber
Subject: GARLAND JEFFREYS
Hi Bob,
A couple of pertinent comments/corrections on Garland Jeffreys. First off, scores of people still around can verify that waaay back in the 1970's yours truly was 100% responsible for bringing him to A&M. Had been a fan since his only Atlantic lp years before. with a great track, "She Didn't Lie." The original single of "Wild In The Streets" came later. FYI, it was actually a legit hit 45 in a few markets, particularly Cleveland and Boston. Also, it received major airplay on fm album rock radio throughout the northeast! Between his Atlantic & A&M signings, Arista released a weak 7 inch single by Garland, "The Disco Kid." And it deservedly bombed. Song was an insult to his artistic integrity!
Garland's A&M debut, "Ghost Writer" had some good original songs like "35mm Dream" and "Spanish Town."
Both garnered much AOR play. "Wild..." had never been in an album and was actually then unavailable. I conspired with Garland (who owned the master) that we HAD to get it on his lp. Jerry Moss did not want this 'old song' used and initially rejected it. Finally, Garland had to reshuffle all the tracks (including "Wild") when he presented his 'final mix' in a 'one on one' meeting with Moss. Jerry gave the whole thing a yes. as he ok'd the mix. After that, Garland mentioned that "Wild" was in there! Moss smirked realizing he had been had and allowed it to happen!
BTW, without the benefit of anything near a hit single, this album did initially sell over 100,000 units. Having "Wild on the album made it sell! Song later became an anthem.
Also, as you wrote, the two later A&M releases did not do anything. Yet, this great performing talent was able to then record three albums with the giant Epic label. Throughout his A&M and Epic tenure, he toured Europe; where he became a major live draw in France, Germany and elsewhere. Yes, his 'star' actually did rise in Western Europe far more than here. Soooo Garland did indeed achieve success and was able to enjoy it!
I look forward to seeing the documentary about him.
Stay well Bob.
Ron Farber
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Subject: Re: The Zombies Documentary
I once had a very revealing conversation with Paul Atkinson when he worked with us at CBS Records. He told me that when The Zombies ended he was really in a bad way for a very long time. He was used to being a rock star, that’s how he defined himself. He said he just couldn’t stand the idea of having a real job. He just couldn’t be a regular bloke.
I totally understood it. In the 50’s everyone wanted to write the great American novel, From the late 60’s through the 80’s everyone wanted to be a rock star. It was just so big and beautiful, held so much gravitas. So, once you are that how can you just allow yourself to be folded into the mainstream?
For some reason he wanted, or needed, to share with me just how much pain he was in for so long, like his soul was being ripped from him. Eventually he found his way through being a great A&R man and as time passed realized that life had more to offer than just being that rock star. Finding a great wife really helped. He finally made it to another side where he could be equally proud of himself. But it was a long time getting to that place. It was a heavy life’s story that I was honored to hear.
Paul Rappaport
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From: Kenny Lee Lewis
Subject: Re: The Zombies Documentary
It’s a common story. When Steve Miller took has break in 2001 for 4 years disgruntled with Napster, SFX Live Venue management, his label Capitol, and about a dozen other factors, the band had to all go find work.
I ended up at Guitar Center Hollywood as an Artist Relations sales manager working with Dave Weiderman and helping with the Rock Walk inductions.
The ironic part is that many of my so called “celebrity” clients had also had to get other jobs to support their music “habit”. One former pop star I recall had become a sheriff out in Riverside and would actually come buy recording gear from me wearing his uniform after getting off work. Whatever pays the bills man.
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From: Jane Millan
Subject: Re: Tegan And Sara At Departure
Re Tegan and Sara and Canadian bands
My daughter and son in law are in two Canadian bands. Stars (you are stars.com) and Broken Social Scene (see their history in recent award winning Canadian documentary It’s All Gonna to Break if you enjoy watching commitment and love of the art blossom into love for and of the artists).
They make a living enough to support their family with two kids and their own home in Montreal at a comfortable if not lavish lifestyle. They’ve been doing it for twenty years and love it in spite of tough challenges and their own ups and downs with the industry.
They play at festivals and they still sell out clubs doing what they love in Canada, USA, and Europe and more. They once toured with Tegan and Sara as opening act and were impressed with not only their talent and but also their ethics.
It can be difficult to hold on to one’s ethics in the music business but I think you’ll find many Canadian bands (e g The Tragically Hip) hold on well to theirs and gain respect and loyalty from and yes they talk to their fans.
My daughter Amy Millan went to a public high school for the arts determined to be on a stage for her life and a wise teacher once said to me. “Don’t tell her to get a back up career. You’re telling her she’ll fail. “ That teacher said the hard work obtaining and sustaining success in the arts is understated.
Hard for a parent to not advise their kid to get a back up income to being in a band but I have a feeling Tegan and Sara’s parents had similar advice.
If a parent is fully supporting their kid in the arts they are also supporting him or her or whatever pronoun used in their own core values.
J.Millan
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From: Thomas Cussins
Subject: Re: Tegan And Sara At Departure
I was promoting a Tegan and Sara show in Santa Cruz in 2008 and they were in the green room stuffing their own CDs into sleeves. Manufacturing the sleeves separately had gotten them a better deal and then putting them together themselves before shows saved even more. I will always remember that hustle, the kind that keeps a band viable for over 20 years.
Keep telling it like it is thanks Bob
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From: noah bailin
Subject: Re: Dave Chappelle At Queen Elizabeth Theatre
I was once working on a Chappelle tour years ago (for YONDR, which I believe he is an investor in..) and afterward he invited me and 5 others to the movie theatre next door (at 12:30 am) to watch a private screening of GET OUT. He talked about it in his show that night and is a huge fan of the movie. During the movie he set up a mic and did commentary throughout the movie (mystery science theatre style!) for this small group of us. He then passed the mic around and asked for our comments/jokes. For the first time in my life I was speechless (if you know me, it's rare) and I definitely regret freezing up..sigh. Super special sh*t though. He is always performing, simply because he loves it. I also just adore his true love of music. He always has to have bluetooth speakers with him and DJ whenever he can.
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Subject: Ron Delsener
Bob:
A couple of Delsner stories. In 1993 I was VP Of Music and Movies at The Wiz and one of our owners asked why no one was selling CDs or videos of the bands performing at all of the venues around town. I called around and got an introduction to Ron and Mitch. We met a couple of times and eventually worked out a deal to sell product at Jones Beach. The first show we did was Poison. I get to venue and find that Ron wouldn't be there because he had to be at a little Paul McCartney show he was promoting at The Meadowlands that same evening. His assistant met me and told me we had a big problem. Poison's management would not give us permission to sell at the show because they thought it would cut into their merchandise sales. They shot down any argument I'd make and insisted we shut the booth down. End of story...Until Ron and I spoke on the following Monday and he told me problem solved and I would never have that problem again. I have no idea what he said or did but from that point on we sold CDs at every show without any problem.
Our deal also included access to a VIP Area where we would entertain our vendors and friends. The one rule was no liquor was to be consumed in the open. That was pretty tough to enforce and one evening the state troopers shut us down and confiscated all the liquor on site which Ron had actually supplied. Ron calls me and tells me to meet him backstage before the next show. He has two milk crates full of bottles of liquor. He covers them with a blanket and the two of us proceed to carry them past a bevy of state troopers to our reserved area. Ron had one comment.."Don't get caught."
We eventually expanded our deal to include a couple of clubs that Ron operated in the city and events like Simon and Garfunkle's run at The Felt Forum, Johnny Mathis at Carnegie Hall, ect.
I once asked Ron and Mitch the secret to their succesful relationship. The answer was simple. Trust...Ron didn't trust Mitch and Mitch didn't trust Ron....
Jay Rosenberg
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Subject: Jill Sobule
Bob—
I’m surprised you haven’t written about the tragic passing of Jill Sobule in a house fire.
Unfortunately, to many she was best known for “Supermodel” and the real, original “I Kissed a Girl.” But there was so much more to Jill—she was a truly gifted songwriter and performer. Her catalog explored depression, teen angst, war, lost love, and so many other deeply personal and social topics—often through intimate, character-driven stories that somehow felt both specific and universal.
Her Jewish identity and LGBTQ themes were often at the core of her work, but she never hit you over the head with any of it. More often, her songs invited you to see the world through someone else’s eyes.
During COVID, I had the chance to take two hands-on songwriting workshops with Jill and got to know her a bit personally. The small classes included musicians of all skill levels, and I’ll never forget how Jill treated everyone with kindness, humor, and thoughtful encouragement. When something wasn’t great (trust me, I had my moments), she’d always find something positive to say first—then gently guide us with questions like:
“Could you make that line more personal?”?“Does the melody really match the emotion of the lyric?”
It was actually amazing how much of a mentor she became to this group when clearly few of us would ever go on to make a living as a songwriter.
I was lucky enough to see her perform live many times—once with Lloyd Cole’s short-lived band The Negatives—but more often solo, strumming an amped-up travel guitar. (She was actually a pretty great guitarist.) Jill had this rare ability to command a room, to get the audience to really listen and hang on every word and nuance.
Years ago, when she was still workshopping “Mary Kay” (yes, a song about that Mary Kay Letourneau—so perfectly Jill), she invited my son onstage to hold her laptop because she hadn’t memorized the lyrics yet. It was a vulnerable, human moment. And classic Jill.
She was only 66 (hey, that’s my age!), and it breaks my heart to know there were so many more songs in her. She deserves far more recognition than she ever received.
Rich Madow?
Baltimore, MD
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From: russ wilson
Subject: Re: Cauliflower Pizza
Hi Bob, I wanted to comment on your comments on medical testing. I had a friend who's father-in-law had prostate cancer. They caught it and he recovered fine. He reached seventy and they told him that he didn't need testing anymore. About five years later he died a painful death from the cancer returning in it's virulent form. My doctor tried the same approach with me about my age and not needing it. This is after a scarce three years before when my number was almost eleven! It came down and we believe it was an infection but, after I told her to include the test or I would go back to the urologist she conceded. You are right. Don't let them talk you out of a test!
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Subject: Re: More When Did An Artist Peak?-SiriusXM This Week
There should be a companion episode, Bob, about When Did The Audience Peak?

When did they stop listening to anything but their favorites?
Is there a general growth of Attention Deficit Disorder in the listeners?
When did they stop caring who wrote/performed their new favorite song?
Why is it harder than ever in the past 50 years for a musician to build an audience?
Why are brilliant musicians/showmen who should be playing stadiums instead finding work as Tom Rush’s accompanists?

Stuff like that.
Tom Rush
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