The Evolution of Devo

(Above: Rare footage from Devo’s first-ever concert in 1973.)

By Joel Francis
The Daily Record

On May 2, 1970, Bob Lewis thought he had it all figured out. In just a few weeks he would graduate from Kent State University. He would come back in the fall and start on his graduate degree in anthropology.

The National Guard arrived on campus the next day and everything changed. There had been rumblings of unrest before. The previous year there had been a skirmish over the administration allowing the Oakland police department to recruit on campus. When the students tried to protest at the disciplinary hearing of the student organizers they were locked in a building and surrounded by the police.

But that incident didn’t compare to what happened on May 4, 1970. The details of the day are well-known: four unarmed students were killed by National Guard troops trying to disperse an anti-war rally. In less than 24 hours an entire generation entered a new paradigm.

“Devo wouldn’t exist if it wasn’t for Kent,” said Lewis, one of the band’s founding members. “If it hadn’t been for May 4, I would have gotten my doctorate in anthropology and taught or gone out on digs. Jerry (Casale, Devo’s bass player) probably would have wound up as a graphic artist or art professor.”

Instead, Casale and Lewis decided to channel their outrage at the system by holding a mirror to it. Informed by professors who had become friends, visiting faculty and articles such as “Readers vs. Breeders and “Polymer Love,” the duo started creating their own agenda.

Kent State students run for cover as the National Guard open fire on May 4, 1970.

“Devo, at least partly, was a joke at first. It was a lens we turned on society,” Lewis said. “The plan wasn’t necessarily to be in a band in the beginning. There was always a multimedia, subversive element.”

In 1972, after working odd jobs in Kent, Ohio, the duo migrated to California to write for the underground newspaper the “Los Angeles Staff.” In exchange for writing legitimate articles, Lewis and Casale were allowed to insert pieces of Devo propaganda. The paper quickly folded and the two were back in Kent that fall.

“Jerry and I worked on Devo for two years before Mark (Mothersbaugh, Devo keyboardist) got involved,” Lewis said. “At the time he was in a group called Flossy Bobbit, playing Hammond B3 organ, mellotron, Moog (synthesizer) and Farfisa organ all at the same time. The first thing we told him when he joined was that everything had to be simple and stupid.”

Mothersbaugh not only brought a higher level of musicianship to the group, but several thousand dollars worth of equipment, including a PA. Like Casale and Lewis, Mothersbaugh was a Kent State alum and was also present at the protest on May 4.

“Mark was two or three years younger than us, so I didn’t really know him,” Lewis said. “I certainly recognized him from school. I think he and Jerry may have had an art class together.”

Mothersbaugh was recruited to perform at the university Creative Arts Festival in the spring of 1973. The trio of Mothersbaugh, Casale and Lewis – who played lead guitar – were joined by a drummer from town, Casale’s brother Bob on rhythm guitar and singer Fred Weber. Billed as Sextet Devo, the band promised “polyrhythmic tone exercises in de-evolution.”

In the book “We Are Devo,” authors Jade Dellinger and David Giffels described first show, also captured on amateur video. Bob Casale performed in scrubs, Jerry Casale wore a butcher’s coat, Bob Lewis was hidden under a monkey mask and Mothersbaugh sported a doctor’s robe and ape mask. The set opened with Mothersbaugh playing “Here Comes Peter Cottontail” and featured what the band called a “headache solo.” Unsurprisingly, it took the group a while to find the next gig and a stable lineup.

“At one point it was Jerry and three Mothersbaugh brothers. Jerry didn’t like that because he’d always be outvoted,” Lewis recalled. “Jerry finally tormented Jim Mothersbaugh into quitting as drummer, but it took another year before we found Alan (Meyers) to play for us.”

An early band flier.

When the group began to get more serious, Lewis knew the musicianship would have to improve. When Bob Mothersbaugh started playing lead guitar, Lewis transitioned from guitarist to manager.

“I became more of a manager than a player because we decided someone had to do it,” Lewis said. “I liked that other (managerial) stuff better anyway.”

The five-piece lineup of the Casale and Mothersbaugh brothers and Meyers toured Ohio with their confrontational stage show. In 1976 they were the subject of the short film “The Truth About De-Evolution.” The combination of touring and the film set the table for the band to cut their first single. “Mongoloid”/”Jocko Homo” was released in 1976 on the band’s Booji Boy label.

“We sold 17,000 copies of that single ourselves,” Lewis said proudly. “I was trying to get us in record stores in Denmark, Germany, the Netherlands and England, which meant I either had to get up really early or stay up really late to talk to these guys and convince them to stock us. Of course now you could just send an e-mail, but back then it was an adventure.”

The first sign of the band’s cult following appeared before a show at Max’s Kansas City when a flat-black oldsmobile 98 zoomed up the street bearing the face of Booji Boy, the group mascot. After the release of another independent single and an appearance on a Stiff Records EP, Devo caught the attention of David Bowie and Iggy Pop. David Bowie suggested a production deal through Warner Brothers that he would produce, and the band went to Germany to record.  Bowie was unavailable, so his friend Brian Eno produced the first album.

“The band was in England recording while I was in the States trying to arrange for them to do some concerts in Europe on the way back home,” Lewis said. “Meanwhile, (Virgin Records president Richard) Branson takes them out on his boat on the Thames (River), gets them high and convinces them to sign with Virgin. Had I been able to, I would have told them they shouldn’t do that. Warner Bros. promptly sued them.”

Many recordings from Lewis' tenure have been released on the two "Hardcore Devo" collections.

Although Virgin and Warner Bros. amicably agreed to split distribution rights, it would not be the Devo’s final lawsuit. Lewis’ relationship with the band, and particularly Jerry Casale, had soured ever since Lewis told Casale that Devo would never be popular with him as the front man. It had to be Mark Mothersbaugh.

“From that point on I was on my way out,” Lewis said. “When Elliott Roberts, who managed Joni Mitchell and Neil Young, announced to Warner Bros. that he wanted to be manager, I knew I was gone, because then I was replaceable.”

Lewis received no credit or mention on Devo’s debut album “Q: Are We Not Men? A: We Are Devo!” The album came out in 1978 and Lewis promptly sued for theft of intellectual property. With the band now located to Los Angeles, Lewis was up against a high-powered, label-financed law firm. Help came in the unlikely form of a cassette tape from a former high school newspaper reporter.

“Word had gotten around that I was suing the band and this person called me up who had interviewed us after one of our first performances at the Akron Arts Festival,” Lewis said. “This tape contained an interview of the band where he asked who came up with the Devo concept and Mark said ‘This guy right here, Bob Lewis.’

“When I played that tape at the deposition their lawyers looked like they had been gut-shot,” Lewis continued with a smile. “Shortly thereafter we reached an equitable settlement.”

Just as Lewis discovered he liked managing better than performing, he learned he enjoyed legal work. After managing a few bands to near-success, Lewis became a paralegal.

“I have the best job in the world.  Essentially, I’ve been practicing law without a license for the last 30 years,” Lewis said. “The catch is I always have to work with a lawyer.”

The band today. Devo plays tonight as part of the Buzz Under the Stars concert at the City Market with Ben Folds and Silversun Pickups. Tickets are $34.

Lewis left Ohio for Lawrence, Kan. in 1998 where his wife was working on her doctorate. Shortly thereafter the couple moved to Kansas City, Mo. Today, Lewis works as a paralegal for the Community of Christ Church in Independence, Mo. and lives in a house filled with antiques and art and a story behind each piece.

Last month Devo released “Something For Everybody,” their ninth album and first in 20 years. In the downtime, Mark Mothersbaugh has become a highly sought film composer. Mothersbaugh wrote the music for several of Wes Anderson’s movies, including “Rushmore” and “The Royal Tenenbaums.” His brother Bob wrote the music for the “Rugrats” cartoon series. Jerry Casale, who directed most of Devo’s music videos, has also directed videos for Rush, Foo Fighters, Soundgarden and Silverchair. Myers left Devo in 1987; the drum stool is currently held by Josh Freese.

More than a generation after their lawsuit, Lewis said he is on good terms with the band. If he attends tonight’s show, however, it will be as a fan with a ticket purchased at the box office.

“It all depends on the weather,” Lewis said. “I e-mailed the guys the other day to let them know what they were facing here. I told them with as hot as it’s been it may not be a good idea for a bunch of 60-year-old guys jumping around in rubber suits. I’m sure they’ll be OK.”

Keep reading:

CSNY – “Ohio”

A Shooting Star finds home with the Young Dubliners

George Kalinsky: Painting with Light

Review: Lilith Fair

(Above: Sarah McLachlan and Emmylou Harris’ duet on “Angel” was the best musical moment of Lilith Fair 2010. The festival stopped in Kansas City on July 15.)

By Joel Francis
The Kansas City Star

The sunglasses every artist wore onstage at Thursday’s Lilith Fair were more than a fashion accessory – they were as vital as the instruments.

For five of the festival’s eight hours of music, performers played directly into the sun. Singer/songwriter Ingrid Michaelson summed up the misery.

“It’s so hot out here I felt sweat dripping down my legs, and for a second there I thought I pulled a Fergie,” she said, referring to the pop star’s onstage pee incident.

The performers had it easy compared to the fans. After their 40-minute sets they could retreat to cooler confines. Fans had fewer options. Many ditched their seats and scrambled to whatever shade they could find. This made an already undersold Sandstone Amphitheater look even emptier.

All facilities past the second section of seating were closed. Drivers expecting to park in the main lot at the top of the hill were directed to the auxiliary lot. Fans with lawn tickets were upgraded to second-tier seats, while those with second-level seats could move down. As the sun shrank the crowd grew, filling most of the seating, but it was rough going for the early bands.

Vedera fared better than most acts. Sequestered to a tiny side stage, several hundred dedicated fans crowded into the awkward space to hear the local band deliver new gems like “Greater Than” and “Satisfy” in their half-hour set. Vedera was the last of three local acts, which also included singer/songwriters Julia Othmer and Sara Swenson.

Emily Haines of Metric, looking hot and bothered.

Metric was the first band to appear on the main stage, and red flag the fact that holding an all-day event in a venue with little no cover was a poor idea. The relentless sun rendered moot any lighting or special effects. When it was finally dark enough for these tricks to emerge, the video screens captured a static image of the Lilith Fair logo, meaning fans in the back had no close-up view of events all day.

The four-piece indie band’s dark synth pop isn’t built for daylight. Sound problems plagued the first couple songs, but what the atmosphere didn’t kill the temperature did. When you’re sweating just standing still, it’s hard to be convinced to dance. Singer Emily Haines did a robotic dance to the Big Brother-esque lyrics of “Satellite Mind,” and prefaced “Gimme Sympathy” with a bit of Neil Young’s “Hey Hey, My My.” Their set was heavy on last year’s “Fantasies,” but surprisingly did not include their contribution to the latest Twilight film, “Eclipse (All Yours).”

Michaelson had better success connecting with the sparse crowd with her jangly pop. Backed by a five-piece band, Michelson bookended her set with ironic covers, incorporating Lady Gaga’s “Pokerface” into her own “Soldier” and closing with Britney Spears’ “Toxic,” which featured everyone onstage in a synchronized dance. Both moves drew big cheers. In between, she delivered her hit “The Way I Am,” which recalled Regina Spektor’s quirky vocal phrasing, the bouncy “Locked Up,” and new song “Parachute.”

Halfway through the Court Yard Hounds’ set, Emily Robison found herself in trouble.

“This is a quintessential chick song,” she said, intending to introduce Joni Mitchell’s “This Flight Tonight.” The chick the crowd knew, however, was Robison’s main gig with fellow Yard Hound and sister Martie Maguire, the Dixie Chicks. The unexpected burst of delight flummoxed Robison for a moment.

“No, no, not that chick,” she said, trying to recover. “I mean a hippie chick.”

Robison and Maguire released three Dixie Chicks albums before singer Natalie Maines arrived and turned the group into superstars. When Maines bowed out of making new music, the sisters soldiered on. Their sound hews closer to Americana and roots music than the Chicks’ pop country, but suffers without Maines’ feisty spirit. “It Didn’t Make A Sound” featured a nice honky tonk piano solo, and “The Coast” was a pleasant tribute to the sister’s native Texas beaches, but it was too gentle to engage the crowd.

Sisters Nancy (left) and Ann Wilson, the heart of Heart.

Conversation ceased, however, when the sisters unleashed a furious bluegrass instrumental that had fans on their feet, clapping and stomping along. The set ended with a moment out of “O Brother, Where Art Thou?” when Maguire’s 6-year-old twin daughters joined the ensemble, tentatively playing percussion alongside their mother.

Emmylou Harris is the Mother Maybelle Carter of her generation, collaborating with everyone from Bob Dylan and Neil Young to Ryan Adams and Lyle Lovett. The artists everyone else on the bill respect as legends, she calls contemporaries. Yet even her distinct, wonderful voice wasn’t enough to sway the crowd. As with most artists during the day, the audience was divided between hardcore fans, politely curious listeners and everyone else, waiting impatiently for their act to appear. The ambitious and diverse bill ended up leaving everyone out at some point during the day.

Harris and her four-piece Red Dirt Band leaned heavily on her 1999 album “Red Dirt Girl,” mixing in the good old country of “Wheels” and “Born to Run” (a Paul Kennerly song, not a Bruce Springsteen cover). The most riveting moments were the a cappella gospel arrangement of “Calling My Children Home” and Harris’ own hymn, “The Pearl.”

Harris also shared the day’s best musical moment when she joined Sarah McLachlan on “Angel.” These multi-artist bills should have more of this synergy. Witnessing Harris and the Hounds collaborate on a Bill Monroe bluegrass number, or Haines join McLachlan on “Possession” would have been special events fans would treasure long after they had forgotten the heat and the ticket price.

Lilith Fair found Sarah McLachland closed out the day.

It wasn’t until Heart took the stage at 8:45 that the fair had its first galvanizing musical moment. The raucous blast of “Barracuda” eradicated the gentle sway of the afternoon and invigorated a crowd that had traded the sun for the moon and was finally ready to move. Sisters Ann and Nancy Wilson delivered a heavy slab of ‘70s rock that had fists pumping and hips shaking. Guitarist Nancy Wilson concluded her acoustic intro to “Crazy On You” with a scissor kick, cueing the rest of the six-piece band. Singer Ann Wilson was in top form, belting the refrain from the Rolling Stones’ “Gimme Shelter” during their own “Even It Up” and easily finessing the dynamics of “Magic Man.”

Lilith Fair founder Sarah McLachlan closed the day nearly eight hours after the first act appeared. The Vancouver native congratulated the crowd for braving the heat and rewarded them with many of her biggest hits, including “Building a Mystery,” “World On Fire” and “Adia.” She needlessly apologized before playing each of her three new songs, but the crowd responded well to those numbers as well.

Here’s a tip to established artists trying to introduce new songs: If you act proud of your new material, fans will be more likely to embrace it. Today’s new song is tomorrow’s sing-along.

The night ended with the gentle lilt of McLachlan’s “Ice Cream” before most of the day’s artists -– including Swenson, who shared a mic with the Court Yard Hounds -– joined together for a joyous romp through Patti Smith’s “Because the Night.”

Setlists:

Metric – “Twilight Galaxy,” “Satellite Minds,” “Help I’m Alive,” “Gold Guns Girls,” “Hey Hey, My My” > “Gimme Sympathy,” “Dead Disco.” Ingrid Michaelson – “Soldier” > “Pokerface,” “The Way I Am,” “Parachute,” “Maybe,” “Locked Up,” “The Way I Am,” “Toxic.”

Court Yard Hounds – “Delight (Something New Under the Sun,” “It Didn’t Make a Sound,” untitled new song, “Then Again,” “Fear of Wasted Time,” bluegrass instrumental, “The Coast,” “Ain’t No Son.”

Emmylou Harris – “Here I Am,” “Orphan Girl,” “Evangeline,” “Wheels,” “Born To Run,” “Calling My Children Home,” “Red Dirt Girl,” “Get Up John,” “Bang the Drum Slowly,” “Shores of White Sand,” “The Pearl.”

Heart – “Barracuda,” “Straight On” “Even It Up/Gimme Shelter,” “WTF,” “Hey You,” “Red Velvet Car,” “Alone,” “Magic Man,” “Crazy On You.” Encore: “What Is and What Should Never Be.”

Sarah McLachlan – “Angel” (with Emmylou Harris), “Building a Mystery,” “Loving You Is Easy,” “World On Fire,” “I Will Remember You,” “Forgiveness,” “Adia,” “Out Of Tune,” “Sweet Surrender,” “Possession.” Encore: “Ice Cream,” “Because the Night” (with most of the day’s perfomers).

Keep reading:

Review: Metric

Elvis Costello – “Secret, Profane and Sugarcane”

Review: Robert Plant and Allison Krauss

Wakarusa Music Festival: A Look Back

CSNY – “Ohio”

 (Above: Neil Young leads Crosby, Still and Nash through “Ohio” during the CSNY2K tour stop in Toronto.)

By Joel Francis
The Daily Record

Several years ago, my dad and I drove out to Canton, Ohio to witness Hank Stram and Marcus Allen – two of our favorite Kansas City Chiefs – be inducted into the Pro Football Hall of Fame. Since the activities were spread out over several days, we frequently had time to kill each night. One evening we saw Quiet Riot at the local fairgrounds. Another night we decided to drive an hour or so north and walk around the Kent State University grounds.

As we strolled around the campus, the emotions of that day – 40 years ago yesterday, came flooding back to my dad. He remembered hearing the news and seeing the photos for the first time, his anguish at the senseless loss of life and anger at the government cover-up.

Although my dad hated the war in Vietnam, he easily could have been on either side of this conflict. As a college student, he had no problem seeing himself amongst the protesters. But he also joined the National Guard to avoid being drafted, and could just as easily been holding a rifle. Dad’s unit was given riot training, and he was frequently the designated heckler. He remembers a couple of his fellow soldiers nearly snapped during the simulations. That’s all it would have taken, he says.

Sadly, the shootings at Kent State were not an isolated incident. Ten days later, two more students were killed in a similar skirmish at Jackson State University.

Emotions were fresh in my dad, but I was trying to remember nearly forgotten history lessons as we walked the deserted campus at dusk. We tried to piece together where the events may have happened. We found the memorial, but it was frustratingly incomplete. The names of the fallen were absent, as was anything to place the memorial in historical perspective. Once again, good intentions had been killed in committee.

Four dead in Ohio. How many, how many more?

We were walking back to the car when we finally found the memorials. Frequently, university parking spaces are blocked off for loading, traffic flow or some other purpose. At first glance, we thought the low, lighted cement pylons scattered throughout the lot were standard parking barriers. As we approached the car, however, we noticed they outlined several low, pyramidal plaques set into the blacktop. These inconspicuous shrines marked the final steps of the fallen. And to think I almost dinged one when opening the car door.

To paraphrase Joni Mitchell, they paved a historical site, put up a parking lot. I know it was a parking lot on May 4, 1970. And, yes, I recognize the scarcity of public parking on college campuses. But the fallen deserved better and Kent State should be ashamed of trying to tiptoe around history. It’s hard to believe we’re still scared of what happened nearly two generations later.

At least back then you could get a song like “Ohio” on the radio. Neil Young penned his response to the killings after viewing photos of the incident in Life magazine. The song hit the airwaves in June, 1970, the same month Edwin Starr’s “War” topped the charts. Try to imagine either song cracking Entercom’s bland, corporate playlist today. Our corporate overlords have no problem challenging the listeners’ moral sensibilities with racy (hetro)sexual lyrics, but are petrified of offending them politically. One need only look at the list of songs banned by Clear Channel in the wake of the Sept. 11 attacks for proof.

Young cut the tune with his buddies David Crosby, Stephen Stills and Graham Nash. It took four years for the song to make it onto a proper album, CSNY’s stop-gap compilation “So Far.” I didn’t discover it until I picked up the two-disc Young anthology “Decade” in high school. I knew the song’s history, and respected its energy, but didn’t mean much to me beyond that until I heard it performed in concert.

The CSNY2K concert at Kemper Arena in 2000 was one of the worst shows I have attended. Our overpriced seats were a mile away. What little energy the performances had was lost long before the sound reached our little peanut gallery. Everyone seemed to be going through the motions. Stills was clearly burned out by having to play “Love the One You’re With” yet again, and Nash looked positively lost as the band tore into “Rockin’ in the Free World.”

Despite the overall malaise of the night, there were two bright spots. Young’s solo take on “After the Gold Rush” performed on a creaky pump organ while Crosby and Nash added harmony vocals was transcendent. Then there was “Ohio.” The lyrics took on new meaning as footage from the day flashed on the screens surrounding the band, but what got me was Crosby’s cries of “How many? How many more?” The pain was still fresh in his voice and his chilling refrain gave me goose bumps. Ten years later, I still can’t listen to the song without thinking of that moment.

Keep reading:

Bruce Springsteen and Tom Morello – “The Ghost of Tom Joad”

Bruce Springsteen and Tom Morello – “The Ghost of Tom Joad”

By Joel Francis

There is probably a good bromance film to be made about the relationship between male songwriters. They dynamics of a songwriting partnership mirror that of a romantic union – giddy joy at meeting a compatible soul, the steady rhythm of fruitful collaboration, independence and wanting to branch out and then either acceptance and adaptation or estrangement.

Some partnerships – like Morrissey and Johnny Marr – burn hot and bright, flaming out quickly. Others, like Mick Jagger and Keith Richards, settle into marriages of convenience. Jack White is quite promiscuous as a songwriter, flitting from the White Stripes to the Raconteurs, Loretta Lynn and Dead Weather. Some songwriting partnerships turn into real marriages, like Tom Waits and Kathleen Brennan or Barry Mann and Cynthia Weil.

Then there are the songwriters who have flown solo: Phil Ochs, Neil Young, But even the most ardent songwriting bachelors have had a subtle and unseen hands guiding their way and providing resistance to make the song better. Rivers Como had Matt Sharp, Jeff Tweedy had Jay Bennett, Stevie Wonder had Syreeta Wright. And Bruce Springsteen had Miami Steven Van Zandt.

Van Zandt made his presence in the E Street Band known immediately. He arranged the horn line in “Tenth Avenue Freeze-Out” and contributed to the signature guitar line on “Born To Run.” For the next eight years his guitar was the muscle behind Springsteen’s songs, constantly challenging the band and its leader to keep moving and top themselves.

When Van Zandt left the E Street band in 1984, he was replaced by Nils Lofgren. Lofgren had established an outstanding reputation on the basis of his solo work and his stints with Neil Young and Crazy Horse. As a musician he was a more-than-worthy replacement for Van Zandt, but was too easygoing to musically aggravate his new boss the way Van Zandt had.

In 1995 Van Zandt returned the E Street Band and Lofgren remained. The pair has now spent more time in the band together than they did apart. But during that time, Springsteen’s concerts have turned into carnivals rather than escapades. Musicians that used to labor over albums as a unit now record their parts separately. In short, the E Street Band is less a team than an all-star squad of longtime ringers.

Although Springsteen concerts remain incredible experiences and his albums are very good for the most part, Springsteen’s songwriting lacks the urgency, grit and desperation of his early work. Since Springsteen’s early ‘90s retreat from the E Street crew, he hasn’t had a foil, poking, prodding and disturbing him.

When Tom Morello joined the E Street Band onstage in April, 2008, the long absent counterpunch returned. Although his career was considerably shorter, the guitarist had been searching for his own artistic gadfly since the break-up of Rage Against the Machine and the disappointment of Audioslave.

Both performers were familiar with the material. Springsteen wrote “The Ghost of Tom Joad” as the title song for his 1995 solo album and Rage Against the Machine released a covered it two years later. There are several elements in the live collaboration missing on either incarnation. Morello emulates Woody Guthrie in his solo guise as the Nightwatchman, but here and Springsteen add an element of longing and loneliness Guthrie would have liked.

Five guitars are played, but only two of them matter. Springsteen rips off a blistering solo with more intensity than anything he’s recorded in years – he came closest in his appearances on Warren Zevon’s farewell album “The Wind” – and Morello soars with passionate extended solo that combines Public Enemy’s Terminator X and Eddie Van Halen to end the song.

Springsteen originally wrote “Tom Joad” for the E Street 1995 reunion project, but didn’t like the band’s arrangement and set the number aside. That it took an outsider to help the group get the song right 13 years later points the direction Springsteen’s music should head. Too comfortable with the E Streeters, he needs an album-length collaboration with obvious disciples like the Hold Steady or a partnership with more-obscure-but-still-simpatico Black Keys.

Springsteen doesn’t need anyone reverential or deferential. He needs someone like Morello kicking his ass, forcing him to be better. Hopefully these eight tantalizing minutes are the first draft of an upcoming screenplay.

Keep reading:

Review: Bruce Springsteen and the E Street Band (2008)

Review: Rage Against the Machine at Rock the Bells (2007)

Review: Springsteen’s “Dream” Needs More Work

Springsteen in the Waiting Room: Drop the Needle and Pray

Springsteen Rocks the Hall (part 1)

Springsteen Rocks the Hall (part 2)

Book Review: “Big Man” by Clarence Clemons

More Bruce Springsteen on The Daily Record

Mariah Carey sells out, or All that Glitters…

(Above: Neil Young sets the record straight with a live performance of “This Note’s For You” from 1988. Thanks to Viacom, clips for Roca Pads and Redman’s Potty Fresh were unavailable.)

By Joel Francis

Earlier this week, Billboard reported the booklet in the new Mariah Carey CD will contain “lifestyle ads.”

The 34-page “mini-magazine” will be co-produced by Elle magazine and house ads for Elizabeth Arden, Angel Champagne, Carmen Steffens, Le Métier de Beauté and the Bahamas Board of Tourism. The booklet will also contain Carey-centric articles with the enticing titles like “VIP Access to Her Sexy Love Life,” “Amazing Closet,” “Recording Rituals.”

Evidently the music wasn’t enough.

Annoying as the ad campaigns may have been, there have been no Chevy ads in Bob Seeger or John Mellencamp albums. Other artists have been less scrupulous about whoring their album space, but were never this brazen. Master P turned the booklets for all his No Limit artists into mini-catalogs, and Outkast frequently squeezed ads for their pit bulls alongside lyrics and musician credits. At least those performers had a stake in the products in question.

Carey’s move is more egregious on several levels. First, retailers have already found ways to cross-promote. According to the Billboard story, Walmart will display Carey’s album next to her Arden fragrance Forever, which has an ad on the back cover of the CD booklet. Even more disturbingly, Island-Def Jam, Carey’s label, has eyed Rihanna, Bon Jovi and Kanye West to follow suit if the initial venture is a success. Carey has never been a bastion of artistry, but if the major labels can turn a buck from this experiment, expect ads in CD booklets to become the norm.

“The idea was really simple thinking: ‘We sell millions of records, so you should advertise with us,’” Antonio “L.A.” Reid, chairman, Island Def Jam Music Group, a unit of Universal Music Group, told Billboard.

If an album is more valuable as an advertising vehicle, why not give the music away? In 2007, Prince gave away copies of his album “Planet Earth” in the Sunday edition of a London newspaper. Two years before that he included his album as a door prize at concerts. This year, fans who bought tickets for No Doubt’s summer concert tour were gifted with the band’s entire catalog.

Fans who buy the album digitally through iTunes or Amazon will also be subjected to the advertising. The ads will also be included in the electronic PDFs accompanying download sales. The only way to circumvent the booklet blights is the easiest and cheapest solution: ignore Carey or steal the music. Until the major labels start respecting the listeners, there is absolutely no reason to respect them.