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Digressions – The future for independent music

Nothing sums up the brutal futility of the Israel/Gaza war more succinctly than Two Brothers, a folk song by UK songwriter Pete Morton. The lyric imagines a mother, fed up with the squabbling siblings, Israel and Palestine: “I don’t care who started it, just try and get along.”

Morton’s song has been criticised as ‘condescending,’ that it trivialises a complex Middle East conflict. But the central message – a call for peace – can’t be dismissed.

The song was on the set list of Irish singer/songwriter Enda Kenny when he performed at the Maleny Music Festival on November 10-12.

Kenny was born in Dublin, but knows a bit about conflict, as he spent a year volunteering at the Glencree Reconciliation Centre in County Wicklow. There he worked with kids from Northern Ireland (Glencree was where the Good Friday Agreement was signed).

Maleny poet Irish Joe Lynch took up the theme at the festival’s Peace concert held on Remembrance Day. He pointed to the peace accord struck in Ireland in 1998 as a message to Israel and Gaza that enemies can lay down their guns and make peace.

The Goodwills (our band), also performed at the Maleny festival, our fifth appearance in a decade, which got me musing about work and music and how so many people can’t see it as the same thing.

Men my age often ruminate about relevancy once they have decided to give away working for a living. Some, particularly those whose work gave them a public profile, or who had Very Important Work, struggle with the ‘Bob Who? Syndrome. I’d have to say that leaving behind a job where my name was in the State’s newspaper every day didn’t bother me much at all. Given the decline in quality and relevance in mainstream media since I quit in 2005, I definitely do not regret leaving daily newspapers when I did. It also gave us an opportunity to tour New South Wales and Queensland with Macca and the Gumboot band.

After the tour in 2005, we set up a media consultancy business. Contacts I’d made in my professional life started steering work my way. Unlike my day job as a journalist/editor, it was anonymous work. But it paid the bills and until the Global Financial Crisis came along it served us well.

We operated our cottage music business in tandem and this too involved a degree of public exposure. If you are going to write songs, record them, tour, perform and sell CDs, you need to create a public profile – a persona if you will.

The 10^th Maleny Music Festival was our fourth major gig for 2023. Considering that some independent musicians play live at least twice a week, that’s not much to boast about. But I was reminded at the festival when in conversation with younger musicians, that not many of us persist with it into our mid-70s.

I could and will point you to legendary Australian folk jazz and blues singer Margret RoadKnight, who at 80 has just released a new CD of material recorded over the past 35 years. The splendid album, Long Time, is available online and on the ubiquitous download and streaming apps.

Roger Ilott and Penny Davies, who have been producing folk music albums from their Restless Music studio near Storm King Dam on the Granite Belt, are ‘contemporaries’ who are also still performing and recording. Roger has added his experience and polish to some of my later-life songs. Since I seem to be writing new material again, there is little reason not to continue recording and distributing heartfelt music.
Penny and Roger have produced 25 albums of mostly original material, some in collaboration with the late Bill Scott. As you will notice if you visit their website, they too have stopped producing new CDs, relying on the download model, although as Penny says, they will make one-off CDs ‘for luddites on request’.

These days you can order a physical CD or download the music from Bandcamp, currently the champion of independent musicians. If someone pays $10 to download an MP3 album, Bandcamp sends us $7, more or less. By contrast, Spotify and the like pay fractions of a cent per ‘stream.’

As a singer-songwriter duo of considerable vintage (45 years), it’s clear that people who like our music already have the albums. New punters, like our neighbours in the caravan park, point to their motor home and complain it does not have a CD player.

If I want to deliberately listen to music (as opposed to putting it on as background), I put five CDs in the refurbished Sony CD-changer I bought for $300 and crank up the volume. My new hearing aids have a ‘listen to music’ setting which enhances the experience.

After a long period in decline, CD sales are on the rise again, just as sales of vinyl albums had begun to outsell CDs. Tony Van Veen of discmakers.com wrote in a recent blog that physical music sales for the first half of 2022 were $781 million — up more than 10% from the prior year — and on track to be over $1.6 billion for the full year.

Self-funded independent musicians have no choice now but to produce music in a range of formats, including CDs. If you order a minimum of 500 copies (the industry yardstick), it’s an expensive business. A budget of between $5,000 and $10,000 is typical. Costs include time spent recording the tracks, paying musicians who contributed their talents, paying an artist to produce CD artwork and an engineer to mix and master the album. Then you have to order the CDs and pay for the replication of artwork and music.

As you have already realised, this leaves no money at all to spend on promotion and this is where most independent CDs fail..

Meanwhile, 574 million people are listening to music on Spotify every month. It’s free (with ad breaks) or subscribers pay $180 a year. That is about the price of seven independent CDs. We’re on Spotify too. But maybe not for much longer, given Spotify’s intention to stop paying royalties to musicians who tally fewer than 1000 streams in a year.

Spotify is a listed company, with its founding shareholders owning 27.30% of the company, which last traded at $US180. According to Yahoo Finance, some 800+ institutions own the rest. This Swedish audio streaming service made $12.356B in first half revenue, an 8.02% increase from 2021.

Spotify has 226 million paying subscribers. In the most recent quarter, Spotify made a $65 million euro profit.

The average royalty payment from Spotify is $0.003 to $0.005 cents per stream. It can take 280,000 streams for a musician to earn $1000 in royalties, according to industry estimates. Rival platforms like Napster or Apple Music are more generous, but even on Napster you’d need 60,000 streams to make $1000. On the fast-emerging YouTube music streaming platform, a couple of videos we made to highlight our songs have had more than 1,000 views. That’s technically not ‘streams’ but accounts for the cents and parts of cents detailed on my most recent royalty statement.

(free to view)

Seventy percent of the royalties paid by Spotify go to the major labels which place their artists’ music on the platform. As usual, the songwriters and the musicians who created the works are at the bottom of the food chain. (It rather astounds me that musicians have agreed to this egregious arrangement. Musicians- just say ‘no’! Ed)

It’s no surprise to learn that the Musicians Union is on Spotify’s case.

PS: Check out Enda Kenny’s home page for an insight into life on the road. He’s not on Spotify so this is the place to download or buy a CD.

The future for record stores

future-record-stores — Image: A selection from the B’s. How many of these do you have?

While my friends in New Zealand were still at school, I was making apprentice wages, spending almost all of it on records. Our small town didn’t have a record store as such, but the local department store stocked the latest pop records. At the time, LPs were pressed at a factory in Wellington owned by His Master’s Voice (HMV). My copy of ‘Please Please Me’ (The Beatles), for example, was issued by Parlophone in Mono. It still plays OK but it sounds thin compared to the sophisticated sounds of Pink Floyd or the Moody Blues.

New Zealand’s music fans had the jump on most other countries when the latest Beatles album became a ‘must have now’ item. The masters were shipped to Wellington and the presses were set to work. Other countries usually had to wait for a shipment of imported records.

‘Please Please Me’ was rushed out by Parlophone in March 1963 (I was 14), so maybe I bought it with money from my paper run. Parlophone was eager to cash in on the title track, the group’s first No 1 hit in the UK.

Roll forward to 2023 and my LP collection is stacked neatly in two cupboards, very rarely played. I have a good quality record player hooked up to my stereo with a pre-amp, so I’m not sure why they don’t get more of a playing. Ah yes, it’s the getting up and flipping the record over to the six or seven tracks on side two.

The big change between my teenage consumption of music and now is that, for the most part, we listened to music in one room. We would typically lie on the floor (parents were out, obviously), and crank up the volume. There may have been alcohol.

By comparison, today’s music listener can stream an endless Spotify playlist from their phone to a Bluetooth speaker at home or in the car (or through earbuds). It might be inferior quality, but it’s easy.

What set me off on this tangent was reading about the imminent closure of the Sanity record chain. Our town has one of their outlets. I didn’t shop there often but bought a few CDs – Kasey Chambers, Troy Casser-Daley. Now, as stocks starts to dwindle, I’m having a look for bargains. They sell DVDs too.

Sanity is closing all 50 stores as leases expire and moving to an online business model. Sanity is not the first retail chain to retire from shopping centres, where so many retailers have found that the foot traffic doesn’t always translate to turnover to offset higher rents.

This is not an isolated development, with a couple of Brisbane record stores closing their doors and Melbourne’s iconic Basement Discs set to do the same. Co-owner Suzanne Bennett told The Age that the impact of Covid and a drop in foot traffic reduced revenue. The CBD store was established for 28 years and famous for its in-store performances by musicians including The Teskey Brothers, Paul Kelly, Billy Bragg and Justin Townes Earle. This is not to say Basement Discs is going out of business. Suzanne and partner Rod Jacobs will continue to operate online and have a dream of opening another shop in the suburbs.

As I discovered, after chatting online with former colleague Noel Mengel, there are still some funky record stores around in Brisbane. But the independents have mostly moved to the suburbs to find cheaper rents.

Noel, who was chief music writer at The Courier-Mail for 15 years, said that most shopping centres had an independent record store. In recent years most have closed or moved to the suburbs.

“Every shopping centre had one, usually as well as Sanity or HMV, for example Sounds at Chermside, Brookside Music Centre and Toombul Music. Rockaway Records is a groovy store still going at Carindale Shopping Centre. It used to be near the Paddington shops before that.

“There are lots of Indie record stores now in Brisbane, but rents are too high in shopping centres. The independents include Sonic Sherpa at Stones Corner, Stash Records at Camp Hill, Dutch Vinyl in Paddington and Jet Black Cat in West End. So that niche market, import vinyl thing is going OK.

“But those shops really used to add something to the shopping centres.”

Rockaway, established in 1992, is one of the last indie stores in Brisbane shopping centres. Long-established Rocking Horse Records and Record Exchange continue to trade in the CBD.

As music production formats and distribution began to change, famous record stores like Harlequin and Skinny’s disappeared. Even with Sanity moving out, there are still big retail chains in shopping centres like JB Hi Fi that sell CDs and vinyl albums.

We old school music listeners grew up browsing record stores, from the days of vinyl in the 1960s, through the transition to cassettes (1970s) and CDs (the 1990s) and into the brave new world of downloading and streaming music. This arguably began with Apple Itunes in 2001, although the original Napster found a way in 1999 for users to share music through peer-to-peer file sharing.

Although it was shut down in 2002 after a plethora of legal actions, you may be aware that Napster re-emerged later under new owners and is now a legitimate alternative to Spotify.

The best and most popular physical record stores are those that specialise in rare and second-hand vinyl. They are not always easy to find, as they need to find a shop in the suburbs where rents are viable.

Long-time reader Franky’s Dad (aka Lyn Nuttall) is someone who has a history of browsing in such shops. These days though he confesses to preferring streaming services like Spotify.

“Platforms like this are made for me. They seem to have every track in the universe. They don’t of course, but lately my bowerbird approach is served by YouTube, where numerous collectors seem to have posted their entire collections.
“These days I can find even the most obscure or lost tracks from the 50s and 60s”.

Lyn, who hosts the website poparchives began collecting vinyl 45s via mail order in the 1980s & 1990s, mostly through record auctioneers – “I think I paid the rent of one bloke in Sydney.”
“I do miss combing through the racks for the physical object. Even at the time I used to say that half the pleasure was the hunt and the item in your hand after you’d paid for it.”

Noel Mengel, now a freelance journalist who also plays in his own band, The Trams, says Brisbane is well served by independent, suburban record stores.

As the figures below show, there has been rapid growth in demand for vinyl records. Noel welcomed the recent addition of a vinyl pressing factory in Brisbane as there were previously huge delays for those pressing vinyl.

“The community radio station 4ZZZ does a great job playing Queensland music and the independent stores sell their records.”

Figures from ARIA (Australian Recording Industry Association) show that vinyl album sales ($28.51 million) outsold CD albums ($23.90 million) for calendar year 2021. Vinyl sales have increased steadily since 2012 (then just $1.85 million) compared to CD sales in that year ($193.49 million).

All of which reminds me I promised my niece I would bring some of my old jazz records when we visit NZ next month. She and her husband only listen to vinyl. I reckon they are on to something.

Last week: It was Wirth’s Circus.

How we listen to music in 2022

cassettes-cds-streaming — Image: Technology exists to convert a cassette to MP3 – have we had a copyright ruling on that?

This week I decided to reflect on the many ways we can listen to music in this digital age. We’ve come a long way since the first recording etched on to a wax cylinder in 1860. In just 50 years, the mainstream way of listening to music has moved from vinyl LPs to cassettes to CDs and now to online streaming. It’s been quite an evolution.

This FOMM was inspired by a frustrating search for an album by Californian bluegrass singer AJ Lee and her band, Blue Summit. I was introduced to AJ at U3A Warwick’s Music Show, where presenters curate a list of YouTube clips and provide background on the tracks. This particular song was performed by the Brothers Comatose and AJ Lee, a splendid interpretation of Neil Young’s Harvest Moon.

On Monday I started packing for a week away in the caravan, part of it at the best music festival in Queensland, Neurum Creek Festival. This one has been running for 16 years at the Neurum Creek Bush Retreat, which is about 12 kms from Woodford. In preparing and packing, I decided to see if I could load new music on my Ipod, which is no longer supported by Apple. The problem is that as I now longer use ITunes, the music player I use can’t ‘talk’ to the Ipod. Mr Shiraz sent me a link to a piece of software that will mimic ITunes so you can ‘sync’ your music collection with an Ipod, a portable music player invented by Apple in 2001. Since Apple stopped supporting Ipods, many users have opted to put them in a drawer and move on. One alternative is to buy a cheap mobile phone, add a large storage card and use it as a personal music player.

I could tell how far CDs had dropped in popularity when looking to buy AJ Lee’s 2021 album, I’ll Come Back. I decided not to download it on Spotify, as the artists are paid a trifling amount when we listen to their music on that platform.

Subsequent searches found the album on streaming services, which was not what I wanted. I went direct to AJ Lee’s website and the only option was to purchase a physical CD and wait however many weeks or months it takes to arrive from the US. Then I tried Bandcamp (where you will find our music). Success, the album was there. I duly downloaded the album and now can listen to it on my computer, my phone and, once I get around to it, burn a CD for my ‘new’ 5-CD changer.

The CD player failed some months ago and I eventually established that the model was obsolete and a replacement laser could not be found. I opted for a refurbished model from a seller on Ebay. It’s a quality Sony deck and, so far, is working perfectly.

Before I went into hospital for a procedure in late August, I spent a day (dusting) and alphabetising our CD collection (450-plus). I told She Who Loves Order in her Life I had done this ‘so if I cark it, at least you’ll know the CDs are in A-Z and not filed according to ‘mood’.

As audiophiles will tell you, CD music is superior to cassette but inferior to vinyl, because the digital sound is compressed.

Vinyl music played on top line analogue systems always sounds better than both CDs and the alternative (playing or streaming MP3 quality tracks). The cassette, with its annoying hiss and tendency to become snarled in the player, is a long last.

Audio cassettes were invented by a Dutch company (Philips) and adopted by mainstream America in the mid-60s. My memory of cassettes is that people would borrow someone else’s tape and dub a cassette to play in the car. This practice was and still is illegal, even if retailers happily sold boxes of blank cassettes and high-end twin cassette decks on which one could dub to a blank tape. (The last piece of music technology I actually understood. Ed.)

Most of us have a couple of shoeboxes in the cupboard full of cassettes – legitimate ones bought in music stores, or bootleg copies. The difficulty now is that, for most people, their means of playing cassettes has evaporated. My tape deck worked for about 20 years. One deck stopped working and then the sound quality became so poor we decided to switch to another medium.

I did a straw poll among people of my vintage to establish how they listen to music (if they listen to music at all). Most said they no longer had a CD player (it either died or they found the business of swapping them over tedious). Most late model cars no longer come with a CD player, so that accelerated the decline in popularity.

Some people opt for a WIFI speaker through which they can stream music from YouTube or Spotify. How this works is you turn the gadget on and say in a loud, clear voice: “OK Google, play The Goodwills.” There is a pause, a whirring sound and a disembodied voice says: “OK, playing DJ Goodwill.”

Others turn on their smart TV and then search for music videos on YouTube. Depending on your cinema surround sound system (if you have one), the sound quality is OK. The database of video clips is apparently bottomless, but the quality is uneven.

According to Gizmodo’s history of the compact disc, the first commercial CDs were available in Australia in late 1982 (about 150 titles). This was a few years before we moved to Brisbane and bought a Technics stereo system for around $1,500 (it was on sale). We started a CD collection then and even today, I prefer a CD to any other format.

What is hard to stomach is knowing I paid $25 to $30 each and sometimes more for an imported disc. Today you can go to a charity shop and buy CDs for coins. It’s not about money, though. Our CD collection is special in that at least 100 CDs were given to us either as a gift or as a swap (one of ours for one of theirs) by musicians we know.

The Australian Recording Industry Association (ARIA) said streaming accounted for 86% of $565.8 million music sales in Australia in 2021. Over the same period, physical music sales dropped from $100.5 million to $56.1 million. Vinyl albums led the way at $29.7 million, compared with $24.9 million for CD albums.

A Roy Morgan research report in 2020 said 12.7 million Australians were using a streaming service. Spotify is the clear market leader with 8m customers, almost double what it was in 2017. YouTube Music is next with 4.4m users in Australia.

The Australian Communications and Media Authority (ACMA) concurs, saying 61% of Australians used a streaming service in June 2020, up from 48% in 2019. As you’d expect, 88% of the 18-34 age group used music streaming services. Surprisingly (well, I’m surprised), the biggest growth in online music streaming was the 55-64 cohort (from 47% to 59%), 65-75 (30% to 44%) and the over-70s (17% to 26%).

I confess I’m part of that trend, although this weekend it’s all about live music, coffee and a CD shop – the way it should be.

Misheard lyrics and a sentimental playlist

Last Sunday, as we performed my only country song, Crossroads of Love, I allowed myself a sly inward chuckle at the misheard lyric (well, I mishear it): “So I look for directions in the stars high above’’.

It’s the kind of misheard line you’d expect of a 70-year-old bloke, but I’m not about to elaborate. This is a family show.

My songwriter friend Kelly Cork likes the song; he thinks it is a sin of omission that is has not caught the attention of a Kasey Chambers or a Garth Brooks. I always thought it was a bit corny, but it seems you can get away with corny in the country genre.

You will have to permit me a sentimental wallow this week, as I sit here at a bare desk with the laptop (and the dog) – literally the last things to be packed away. I dismantled all of my music-playing technology weeks ago, so now all I have is a tiny IPod with 1700 songs plugged into the car.

Music was uppermost on our minds last Sunday when, against common sense, we held a full-house farewell house concert with just two days remaining to finish packing.

We invited hinterland musician friends to perform: Jevan Cole, Karen and Murray Law, Tommy Leonard, Noel Gardner and Alex Bridge and Kelly Cork. A sumptuous afternoon tea was provided by the audience (Laurel had packed away her baking trays).

The Goodwills Trio ended the day with a set culminating in a medley of well-known travel songs. Not a dry eye in the house! Thanks to Helen Rowe for going the extra mile to get to rehearsals. Thanks also to Woodfordia Inc for sponsoring our concerts over the years.

In the fullness of time, we’ll be producing a history of our house concert series – the first one in Brisbane in 1996, when Margret RoadKnight agreed to be our guest. We held 40 or 50 concerts at Fairfield when we lived there and another 90 or so from the first one in Maleny in 2003 (Margret RoadKnight featured once again).

If you missed out leaving a comment in the guest book that was passed around, you could join the many people who have emailed us with comments about our house concerts. The plan is to print them out and paste them into the book.

This week, I decided to answer the question I get asked a lot about my (songwriting) influences. They are too many to count, although most will be appalled by the omission of Dylan, Springsteen and other mainstream songwriters from this top 20 Spotify list.

Bob’s Spotify Playlist (courtesy of Frankie’s Dad) There are Spotify instructions below, but if you’d rather, FD has also compiled a YouTube playlist

1/ White Winos – LWIII (Last Man on Earth)

Loudon Wainwright’s ever-so slightly wrong tribute to his mother with the last line of every verse left hanging;

2/ Disembodied Voices – Neil and Tim Finn (Everybody’s Here)

New Zealand’s best songwriters reminisce about their childhood growing up in a musical household.

3/ Roland the Headless Thompson Gunner – Warren Zevon (Genius), the title of the song says it all, the ultimate ballad about mercenaries.

4/ A Case of You– (k.d. lang’s version of Joni’s classic song), from Hymns of the 49th Parallel, a magnificently produced album of contemporary Canadian songs;

5/ Clare to Here (Ralph McTell) – poignant tale from Ralph’s early days as a builder’s labourer, as told here in this 2007 live performance;

6/ It’s Raining – Stephen Cummings – from the album Spiritual Bum, a beautiful album of songs from the former lead singer of The Sports (and hopefully an omen);

7/ They Thought I Was Asleep – Paul Kelly – classic story song from Australia’s best – and we’ll never know what happened!

8/ Our Sunshine – Paul Kelly – included here for its brilliant first line ‘So there came a man on a stolen horse and he rode right onto the page.’

(Ed: And as what I think is an interesting aside, Ned Kelly’s horse was named ‘Mirth’.)

9/ Who Know Where the Time Goes – Sandy Denny.

The story is that a young Sandy Denny had the words to this beautiful ballad in her guitar case and it had to be prised from her by Fairport Convention band members who immediately saw its potential;

10 Cold Kisses – Richard Thompson.

This sly story about an insecure man in a new relationship is only bettered by a guitar hook no-one I know has ever been able to reproduce;

11 Took the Children Away – Archie Roach

Seriously, this should be taught at schools;

12 Cry you a Waterfall – Kristina Olsen

Kristina Olsen typically tells a hilarious story before she sings this tribute to a friend taken in an automobile accident. It’s a fine performance technique when you catch people at their most vulnerable;

13/ Say a Prayer – Fred Smith

A tragic love story woven into a snippet of Australian history of war in the Pacific;

14/ Cat’s in the Cradle – Harry Chapin

My song Watching as You Sleep has a similar theme to Harry’s lament about not having enough time for your kids when they are growing up and then the worm turns (‘he turned out a lot like me’)

15/ Lives in the Balance – Jackson Brown

It was always a wonder to me how this stinging critique of American interference in other countries’ politics is not better-known.

16/ The Night They Drove Old Dixie Down – The Band

Robbie Robertson’s well-researched story about the American Civil War, told from a Southern family’s point of view. It has a peculiar but effective rhythmic structure, as explained in the link below.

17/ Hello in There – John Prine

The master of brevity and nuance tells a Cat’s in the Cradle type story about a lonely old couple: ‘We had an apartment in the city – me and Loretta liked living there.’

18/ Sailing to Philadelphia – Mark Knopfler and James Taylor

The story behind the Mason Dixon line, splendidly rendered by two of the world’s best songwriters;

19/ Soldiers’ Things – Tom Waits – the growling poet of life on skid row at his best here: ‘Everything’s a dollar, in this box.’

20/ Paradise – John Prine

Prine’s anti-fossil fuel anthem from a childhood in western Kentucky.

Here’s an extra song, but it’s not on Spotify. It fits well with Paradise – “If you’ve got money in your pocket and a switch on the wall, we’ll keep your dirty lights on.”. Watch and listen here:

Keep your dirty lights on – Tim O’Brien and Darrell Scott.

The refrains of both songs deserve to be sung out loud at next Friday’s Strike 4 Climate rallies.

So, while the homeless Goodwills wander off to the south-western plains, let it be known that you will never find our music on Spotify. Not until they lift the streaming royalties by a respectable margin. Despite its reputation as a music distributer that short-changes musicians, Spotify is an incredibly user-friendly, massive musical database. No wonder at last count they had 217 million subscribers (including the free accounts).

Next week: Expect FOMM late next Friday as I will be attending the Strike 4 Climate rally in Brisbane – an eyewitness report!

Planned obsolescence strikes again

On Tuesday I joined the queue of people at the local computer shop, all clutching laptops, smart phones or PC peripherals suffering from planned obsolescence syndrome. Some of these items may still have been under warranty (joy). But in the case of my four-year-old Toshiba laptop, the optical drive, the fragile looking tray that slides out to take CDs or DVDs, had carked it.

It failed just as I finished burning a 58 minute video of our choir Tapestry’s Christmas performance. “Do you want to burn another?’ the video editing programme asked. “Yes” I clicked and the optical drive then made a noise like the dentist burnishing my teeth with plaque-stripping paste.

The young chap behind the counter (they’re all young), spent some time testing then pronounced it dead. “We have plug and play drives for about $50,” he said. “But we haven’t any in stock at the moment.”

Ah, so this is a frequent event in computer repairs and replacement land. A google search of ‘CD DVD drive failed’ brought a consensus that an optical drive in a laptop will rarely last five years.

A recent article in Lifewire explained why so many desktop computers and laptops sold today do not have CD or DVD drives installed. They are being dropped to save space and also because portable flash drives and hard drives have more capacity, perform faster and are definitely cheaper than sourcing a replacement optical drive (which includes an hour of labour to remove the old and install the new).

A while ago, I gave a copy of our latest CD to someone who has been helping me retrieve my sense of perspective. Last time I saw him he confessed not to have listened to it yet, the problem being he had nothing on which to listen to a CD except his (work) laptop which, I suspect, is never used for anything other than work. CD players are becoming obsolete. If you still have one and it has started to misbehave, it probably won’t be worth repairing. Most late model cars don’t have CD players, preferring USB, WiFi and Bluetooth to extract music from the ether.

Like so many Millenials in Australia, most of my younger relatives in New Zealand have Bluetooth speakers,which play (compressed) music streamed from their phones or tablets.

“I couldn’t find you on Spotify, Uncle,” said one.

Let’s examine the logic here. The average lifespan of a laptop computer ($400 to $1,800) is three to five years. Bluetooth speakers ($40 to $1,000) have not been around long enough for lifespans to be established,but there’s an amusing exchange on techguy.org about this very subject “until it stops working”, one wag offers. Two years seems to be the current guess, and that is largely based on the lifespan of the battery (some of which are replaceable, and some not). And don’t even start me on mobile phones (I’m on my third one in four years).

The trick might be to buy top quality gear in the first place. One of the five components in my Technics stereo (a top line model, circa 1985 – before planned obsolescence became widespread), is showing signs of failure. The CD changer plays OK but then inexplicably stops, or skips to another track or to the middle of another track. In the office downstairs I usually play music through computer speakers from my iTunes library. ITunes and streaming services compress music, the downside being an unavoidable degradation of audio quality. The advantage for musicians in compressing a 24MB audio file to a 2MB MP3 that can be emailed is obvious. I once emailed a demo to London at 10pm our time, to a songwriter friend who listened to it over morning coffee and sent immediate feedback.

The convenience and the speed with which music can be recorded and disseminated (and listened to on a virtual jukebox), outweighs the loss of sonic integrity.

Or you can reject planned obsolescence and go retro. One of my relatives has a quality audio system which is set up to play vinyl. There was just something so real about the velvety voice of Marlon Williams coming out of those speakers that made a mockery of my MP3 version of the same album.

Aotearoa has had a long love affair with vinyl records. EMI produced the first one from its Wellington factory in 1955 (the WinifredAtwell selection). The last vinyl record production unit closed in 1987 and EMI shipped the hardware to Australia. Many Kiwi (and Australian) artists still produce vinyl versions of their music for those who have fallen in love with or rediscovered the quality of analogue sound. A few pressing plants keep the faith, including Peter King’s King Worldwide in Ashburton (NZ) and Zenith Records in Melbourne.

As Ted Goslin writes, when explaining why vinyl is making a comeback (14m copies sold in the US alone last year); it’s become cool. Half of those buying vinyl are millennials, although 27% are over 35, buying new albums or raiding their baby boomer parents’ LP collections.

But as we established, the immediacy of digital music is its strength. Someone once emailed me the words to an amusing parody of Joni Mitchell’s Both Sides Now, “I burnt the toast on both sides now” is funny and somehow sacrilegious, the perfect foil to slide into a broader discussion about planned obsolescence.

A friend had a toaster given to her in 1971 which had spring-loaded ‘gates’ on both sides. Although she has since bought a four-slice, pop-up toaster, the old one still works and is brought out sometimes to remind us of the days when a lot of kitchen work was not automated. Some even washed dishes by hand.

According to a blog in The Spruce, a toaster should last six to eight years. When you think about it, there’s not much to a toaster and it only has to do one job. Choice Magazine said just this when handing out one of its Shonky Awards to the (RRP $189) KitchenAid2 two-slice toaster, to which Choice gave a score of 0. The testers even took it back and got a replacement with the same poor result. Choice branded it a ‘pricey paperweight’.

We’re familiar with consumer goods which don’t come up to scratch and it’s not always a case of getting what you paid for. At FOMM HQ we’re on our third microwave in five years and this one appears to be rusting on the bottom. The Spruce blog reckons a microwave will see out nine years, a slow cooker and a coffee machine six to 10 years and a vacuum cleaner eight years. Writer Lauren Abrams say much depends on the quality of the appliance, how often you use it and how well you look after it.

The toaster in our caravan, now in its third year, gets a wipe over every three months or so and, like the house toaster, the crumb tray gets emptied at least once a year! It was an impulse buy ($7 from a Goondiwindi discount department store). It works just fine so long as I adjust the timer (if She Who Toasts Gluten-Free Bread has been there first).

In the words of Canberra parodist Chris Clarke:

I’ve burnt the toast on both sides now,
Both front and back – to charcoal black,
The toasting time I don’t recall,
I really can’t make toast, after all.

More reading:

The Waste Makers: Vance Packard (1960)

Made to Break: Giles Slade (2007)

Fixing your PC with a hairdryer

Little boxes – the genre-fication of music

music-genre-CD — Old-school CD music collection by Mr Shiraz)

Yes I know it’s my fault, but early in the days of turning my music into online MP3s, I accidently chose Christian Rap as a genre for one of my songs. The song I incorrectly categorised is called 53 & Fragile, about a fellow taking stress leave to ponder his future. I guess you could rap to it, in a God-less sort of way. It only took three years to discover this error.

An enterprising blogger (Glenn McDonald) compiled a list of 1,264 micro-genres; they include goa trance, aggrotech, gabba, yellow mellow, happyhardcore, terrorcore, ghost step and Nordic house.

There are many reasons why the recorded music business is in a state of flux but I continue to believe (and I’m not alone), that the industry’s insistence on streaming music into little boxes called genres has robbed many a musician of potential fans.

As Sydney Morning Herald reviewer Bernard Zuel said of a Luke O’Shea album – it is put into a box labelled Country and as a result, a great many people will never open that box. This is likely to be the case, despite someone with Zuel’s acumen identifying all manner of pop, rock and hip hop influences in O’Shea’s music.

When we released our CD, The Last Waterhole, in 2015, it was our first real engagement with online music. After labouring through the online applications (and printing out paper copies), our music was magically turned into MP3s (compressed audio files), and made available for download on CD Baby and subsequently ITunes, Amazon Music, Google Music and more.

We sold the expected number of CDs, but three years later our album has drifted out to sea as thousands of new releases come in with every second wave. Online sales are about as sporadic as our public appearances.

The indie market is cluttered with home-made CDs recorded on a laptop and flogged at markets for $10. Those with loftier ambitions engage a producer and typically spend $6,000 to $10,000, which is all very well if you can sell 500 copies at $20 each. At the high end of the game, production companies spend up to $100,000 on a CD that will jump out of the radio like a rabbit on steroids. But over a long span of time, I suspect, the listening public’s ears are getting tired of it all. There’s way too much of it, no quality control and the harsh, metallic attack of compressed digital music has taken the edge off the listening pleasure.

And, as our producer predicted, the day is coming when people won’t need to own CDs anymore – all they‘ll need is a Bluetooth speaker.

“OK, Google, play The Goodwills.”

“OK, here’s the YouTube channel for the DJ Goodwill.”

The science is imperfect, but it seems to be enough for an alarmingly large group of people, who can buy an OK-quality music-streaming speaker for a few hundred dollars. The latest research estimates the value of the global portable Bluetooth speaker market at over US$4 billion, expected to double by the end of 2025.

A few years back the grand dame of folk and blues Margret RoadKnight posted an article on Facebook from Digital Music News with the droll comment “Why I’m up for House/’Salon’ concerts!!”

The article outlined the industry’s 99 (main) problems, the key one being that musicians and artists are finding it harder to “monetize” what they do, whether performing or selling merchandise.

People have got used to free stuff and now they won’t pay unless they are very drunk and you’re giving away a t-shirt or stubby holder as well.

I asked a 20-something lad why he thought nothing of shelling out $20 for a pizza but he was reluctant to pay $20 for an album.

“Yeh, but I know what a meat lovers’ pizza is like, right? And I get garlic bread.”

“But you only get to eat the pizza once,” I reasoned. “You can play a CD over and over. A pizza won’t make you think about social issues.”

“Meh,” he said.

The Digital Music News article by Paul Resnikoff identifies issues with the method of delivering music. Streaming (subscription services which offer consumers a wide variety of music to listen to in-house but not download), continues to explode, but not enough to compensate for declines in physical CD sales and paid downloads.

We chose not to take up the offer to have our music on Spotify, a subscription streaming service, which in hindsight seems to have been a counter-productive decision. A musician friend Sarah Calderwood recently asked if we were on Spotify as she was compiling a playlist of Australian indie folk music which she planned to put on ‘repeat’.

If you have a Spotify account you can listen to Sarah’s playlist, which includes acts like Gone Molly, The Barleyshakes, Michael Fix, Women in Docs and Mark Cryle.

The independent musician, defined as a musician without financial backing, has to constantly find fresh ways of reaching new ears.

There’s a lot of indie musos around, competing with each other for gigs and CD sales. Increasingly they busk, or play for nothing at ‘walk-up’ venues which ask people to put their name on a blackboard and sing two or three songs. The artist might sell one or two CDs (if he or she is really good at making an impact and the song is up to the task). The alternative is a paid gig playing in a bar or restaurant where people go to eat, drink and talk.

Resnikoff writes that the key issue is that most consumers attribute very little value to the recording itself. They already heard the song on Spotify Soundcloud, Reverbnation, Bandcamp or YouTube.

The fractions of cents paid for streaming plays might add up to dollars eventually, but you need to keep selling ‘merch’ across all platforms.

From a financial point of view, it matters little to me that there are boxes of CDs in the hall cupboard, even if the ego grapples with the notion of relevancy.

It is a different story for people in their 20s and 30s who have decided to make music a full-time career. This involves constant touring, online management of their business and profile and (the thing nobody talks about), singing the same 10 or 12 songs every night, over and over. If you’re going for it, you have to keep churning out new material (thus consigning your older material to the remainder bin).

As one musician told me, “You have to keep putting new stuff out, even when you know it won’t pay for itself, otherwise you get forgotten about.”

House concerts, and we are long-term supporters, are a sure-fire way of giving musicians a listening audience. Even if only 20 people show up, it’s a better result financially and aesthetically than a rowdy Friday night pub gig. Audiences love the intimacy and the musical and lyrical nuances that are often lost in noisy, amplified venues. We’re hosting our 110^th house concert on June 10: check it out at

And the homemade afternoon tea on offer is guaranteed to be yummier than a meat lovers’ pizza and garlic bread.

Further reading: How Music Got Free, by Stephen Witt.

The FOMM alt-Christmas playlist

The first thing you’ll notice about my carefully curated alt-Christmas playlist is the absence of Six White Boomers and The 12 Days of Christmas. I’ll walk out of the room if someone starts on that tedious epic. I was intending to write a Grinch-like piece this week, but instead decided to share my eclectic view of the world through an alt-Christmas playlist.

What set me off on this tangent, dear reader, was making visits to three different shopping centres in the past three weeks. It wasn’t so much the crowds, the noise, the proliferation of tattoos or the inappropriate wardrobe choices that got me down. It was being assailed, or should that be wassailed on all sides by different streams of Christmas music. It ranged from Bing and that tired old northern hemisphere trope to Jose Feliciano wishing us a merry one from the heart of his bottom.

For someone whose preferred background music is Bach or Riley Lee playing the shakuhachi, it is an assault on the senses. It seemed to me, though, that most people were oblivious to Rudolph and Frosty the Snowman, as they trudged around shopping centres at Carindale, North Lakes and Morayfield. In fact, as their laden trolleys would indicate, they seemed intent upon spending.

A survey this week by finder.com.au reckons Australian shoppers will spend $492 (each) on Christmas gifts alone. Women will apparently spend $58 more than men. Finder’s Bessie Hassan said the 2017 spending estimate was slightly lower than 2016, when Australians spent on average $539 on Christmas presents.

The shopping swarms were probably to be expected, given the 3.6% rise in the consumer confidence index between November and December. The Westpac Melbourne Institute’s Index is 5% above the average for the September quarter, which saw a ‘disturbing’ slump in consumer spending.

While consumer confidence may have bounced back at a critical time for retailers and their landlords, the keepers of the index are circumspect.

“…with ongoing weak income growth, a low savings rate and high debt levels, we cannot be confident that consumers have the capacity to sharply lift spending, despite higher confidence.”

The irony of my three visits to large shopping centres is, had I planned ahead to buy the small but well-chosen gifts, I could have done it online and saved myself the grief.

So to the FOMM alt-Christmas playlist; they’re not all leftie, anti-Christmas rants and there’s a thread of peace and love running through all of them.

There are a couple of genuine carols, a peace anthem or two, some Australian content and more.

My music correspondent Franky’s Dad offered to create a Spotify alt-Christmas play list for me. Until he did that, I had not subscribed to Spotify. (Hands up who else has no idea what ‘Spotify’ is. Ed.) Unlike many list stories you will find on the Internet, these songs are not in order of preference. I happen to like all of them, but feel free to disagree or tell me which alt-Christmas song I should have included instead.

All of the links here are to YouTube videos. Just dip into them as the spirit moves you. For those who have Spotify, here’s the link:

1/ The Little Drummer Boy, interpreted here by my favourite acapella group, Pentatonix. If you like the group and this genre of music, they do a splendid version of Jolene with songwriter Dolly Parton.

2/ River, by Joni Mitchell. Ah, what a wistful, sad song. They’re cutting down trees and putting up reindeer, singing songs of joy and peace. But Joni just wants a river to skate away on (as you do if you live in Canada).

3/ Fairytale of New York, The Pogues and Kirsty MacColl, a bawdy anti-Christmas ballad of drunkenness and fractious relationships. I like the bit where the boys from the NYPD sing Galway Bay. A classic.

4/ I’m growing a beard downstairs for Christmas, Kate Miller-Heidke and The Beards. This quirky, M-rated Christmas satire won the best Comedy/Novelty song category in the 2015 International Songwriting Competition.

5/ 7 O’Clock News/Silent Night, Simon & Garfunkel, 1966. Half a century later, this timeless carol’s theme of peace and goodwill is still being drowned out by the negativity of global news.

6/ Suddenly it’s Christmas – Loudon Wainwright III. Yep, it starts with Halloween (forget about Thanksgiving, that’s just a buffet in between). As Loudo sings – it’s not over till it’s over and they throw away the tree.” The Spotify version is a remix, but the impudent tone is still there.

7/ Happy Xmas (War is Over). One of John Lennon and Yoko Ono’s many pleas for world peace.

8/ Getting Ready for Christmas Day, Paul Simon. From early in November to the last day of December, he’s got money matter weighing him down. Simon cleverly intersperses the lyric with a 1941 sermon, voiced by black American preacher, Rev J.M Gates.

9/ The Silver Stars, Brisbane Birralee Voices. This is an Australian carol by William James which has also been sung by our Maleny chamber choir, Tapestry.

10/ Little Saint Nick, the Beach Boys. I’ve got Macca from Australia all Over to thank for this as he played this merry tune to close out his show last week. It sounds a bit like a rebadged Little Deuce Coupe, but who’s complaining.

11/ How to Make Gravy, Paul Kelly. Where would we be in Australia without the letter to Dan from Joe, who’ll be spending Christmas in jail? Kiss my kids on Christmas Eve and make sure you add a dollop of tomato sauce to the gravy.

The Christians and the Pagans, Dar Williams. The definitive song about disaffected families and how they come together at Christmas and try to find common ground.

(Our friend Rebecca Wright does a cracker version of this one).

Meanwhile, people, there are only 2+ days more shopping days to spend your quota. The Australian Securities and Investment Commission’s Money Smart tells us that the average credit card debt after the holiday season is $1,666. While 82% of Australians will pay this off in up to 6 months, 11% will take six to 24 months; 4% will take two years or more and 3% believe they will never pay it off.

If you are worried about waking up with a debt hangover, go here, where you’ll find helpful tips, It’s probably too late for this year, but as Loudon Wainwright observes, of all such holidays, ‘it’s not over till it’s over’.

Season’s Greetings and take care on the roads – Bob and Laurel.

Flashback to Christmas 2015