An Excellent New Read: "A Brief History Of Why Artists Are No Longer Making A Living..."

In the old days, touring was considered part of record promotion. The record companies paid for all expenses incurred, which were deducted off the top of the gross from album sales, the artist/band receiving no royalty checks until the debt had been repaid. Those expenses involved not just the tour bus, hotels, food, drugs (yes, in some cases they were provided for hard-partying bands), etc., but also all advertising and promotion for the shows. Artists/bands also paid for all the advertising done for their record, including any payola. Oh yeah, they also paid for all the recording costs, as well as record production---LP, tape, and CD. All of that was also taken off the top. The album producer is paid off the gross profit, not the net like the artist/band. That’s why Last Waltz "producer" Robbie Robertson made a fortune off the movie and album, the other four members of The Band not a dime.

Touring was always done at a loss---it cost more to tour than the amount of money ticket sales brought in. All the money an artist/band made were off record sales (and for songwriters from radio play, as miniscule as that income was). Now that album sales generate little or no income (unless you sell a LOT of them), artists/bands go on the road to eat and pay rent. Ticket prices reflect that reality! A ticket to see any show at The Fillmore, The Carousel Ballroom, or Winterland (all in San Francisco) in the late-60’s/early-70’s cost me $3.00/$3.50 (but the weed was free ;-). Hendrix, Cream, Jeff Beck, The Kinks, Elton John, Albert King, the doors, Quicksilver, Big Brother, you name it, $3.00/$3.50. No one sold merchandise at shows back then, whereas now a band may make as much (or more) from sales of merchandise as from ticket sales.

But musicians working for peanuts is nothing new. When Commander Cody had a big hit on the radio ("Hot Rod Lincoln"), his guitarist, the great Telecaster player Bill Kirchen, complained in an interview that he was making less than a Berkeley (where the band was based) garbage man. Longtime Wings drummer Denny Seiwell has said McCartney was paying him $150/wk in the early 70’s. When McCartney’s current drummer, the phenomenal Art Laboriel, Jr., is off the road, he is teaching (giving music lessons). Musicians are like priests, they take a vow of poverty. Here’s a deep, dark, not-very-well-kept secret: many musicians (even pretty successful ones) rely on their girlfriend or wife for support.

Here’s a story told by a band member whose name (and band) I have forgotten. That he and they were very well known I DO remember. The band was in the middle of recording their next album, and a record company executive visited the studio to see how things were going. The band took a break, and the executive said "Hey, let me bring in some pizzas for ya’ll". They finished the album, it was released, and when their first quarter accounting statement came in, they saw the executive had charged the pizzas to the band! One thing I liked about the early Rappers was than when they came into a meeting with record company execs, they would sit down and put their piece on the table, telling the execs that if any of them scr*wed with them (the artist), there would be dire consequences.

and Elvis didn't place an emphasis on looks and theatrics and sexuality instead of quality music? Did he not rip off black people's music for the most part and monetize their craft at a level they could never have dreamed of? I think we are being a bit too simplistic here. It's never been easy separating form from function. Things are no different today than they ever have been. You think it's ever been easy making money from music????

@onhwy61, one of the benefits of the decline (imo) of Rock ’n’ Roll music in the early-mid 70’s was that it drove many of my contemporaries and I to follow the bread crumbs of the music’s history back to it’s origins. I heard for the first time Barrett Strong’s version of "Money", which is much "tougher" than The Beatles (with a truly wicked guitar tone)---just one example.

In 1973 I joined a band that played Jump Blues (a mix of urban Blues and Swing), so I got exposed to Big Joe Turner, Joe Houston, Big Jay McNeeley, Louis Jordan, Ruth Brown, Wynonie Harris, Joe Liggins, Tiny Bradshaw, Jackie Brenston (his "Rocket 88", produced by Ike Turner at Sun Studios, is considered by some as the first Rock ’n’ Roll record), and all the rest of the post-war black artists that Elvis, Jerry Lee Lewis, Johnny Cssh, Roy Orbison, Buddy Holly, and all the other Rockabillies were listening to on the "Race" music stations.

At the same time, we traced the other main ingredient of R & R---Hillbilly, back to first Hank Williams, Lefty Frizzell (The Band does his "Long Black Veil" on Music from Big Pink), Ernest Tubb, Hank Thompson, etc., on back to the Western Swing of Bob Wills and Moon Mullican, and finally to The Carter Family, The Delmore Brothers, The Louvin Brothers, Merle Travis (a fantastic guitarist!), The Maddox Brothers and Rose (their sister), and other lesser knowns. This is the music the southern whites were hearing on The Grand Old Opry and other radio shows.

When Dylan brought The Hawks up to Woodstock in 1966, he gave them a crash course in the pre-Rock ’n’ Roll music of the 20th century, all the stuff listed above and more. They were good students ;-) . We did the same for ourselves, and having heard the sources, it was easy to understand how Rockabilly got invented in that little studio in Memphis. The reason I don’t consider it outright theft of black music (instead of appropriation) is that the Rockabillies added their Hillbilly influences to the Jump Blues, creating a hybrid music---Rockabilly.