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–Some Things You Just Don't Wanna Miss–

Bonnie Raitt

The Pitch - Part 2

Silly Me

With the above in mind, here's my theory and the essential points of my pitch:

• Record labels invest in genuinely creative acts (like Pink Floyd and The Doors) who produce quality products, which then generate billions of dollars. This type of music becomes the industry standard for the Rock genre as well as for generations of Rock fans.

• The aforementioned "standards" so easily generates money year-after-year, that the music industry has the ability to focus on developing new artists.  However, it rarely operates outside the proven revenue generators of the past.

• In the 80's, industry returns skyrocket when formats change from LP to CD.  The lesson to the executives?  "The more I sit back and relax, the more money I make!"

• Next, major labels get fat and lazy, like well-fed pigeons in a park. They forget their core A & R values and focus only on the easy, short-term money.  In part, they accomplish this by spending money on marketing and advertising (Remember Vanilla Ice, Millie Vanilli and CMC Music Factory?)  It was easier for the business to pedal the junk they already had and jam it down the throat of the consumer.  Creatively speaking, they were only interested in music that was cheaply produced.

• In the meantime, the industry ignores bands like Dave Matthews and Phish. These bands generate millions of dollars for live performances–money that bypasses the record company and goes directly into pockets of the artists.

• This "game change" of marketing music "product" and producing cheap music may work for a while, but it will never exceed the sales of music based on the talent and cultivation of musicians and songwriters like Dylan, Elvis, Beatles, U2, Eagles, AC/DC, and other standard artists.

• This new process also stiff-arms the 30 and over audience, who've since found comfort in the "new" country music.

Hey, but I'm the guy with no business background.  Silly me.

Meat and Potatoes

The pitch I delivered seemed simple enough.  Here were my notes:

• Return to classic A & R practices by scouting and cultivating gifted artists and bands in the classic Rock ‘N Roll genre.  In other words, follow the same process that yielded The Dead, Lynard Skynard, Cream, Buffalo Springfield, YES and the like.
• This cohort would carry on the "new" standards of Rock music.
• Work to develop their music over a long period of time (think of the many albums Bonnie Raitt produced before having success).  In other words, stick with the artist and allow room for some failure.
• My proposed musical model would be Classic Rock of the 70's and 80's.  My expectations would be that songs by these newer bands would satisfy the older, say, AC/DC fan, and would be Classic Rock radio friendly. In fact, these stations could play these new songs today amongthe many other classics on currently on their playlist.

(The only band that I can think of that even came close to achieving what I describe was The Black Crows.  It was brilliant when they collaborated with Jimmy Page of Led Zeppelin.  I believe it appealed to the disenfranchised listeners that I discussed earlier, converting them into Black Crows fans forever. All they did was tap into the Classic Rock pipeline.)

• Finally, according to the design of the pitch, I would be the one to clarify the business model and implement it for the record company.

To Prove a Point

It seems like radio formats go through cycles rather quickly.  The Smooth Jazz station turns to Alternative Rock seemingly overnight.  The Lite FM station to 24 Hour Sports, and so on.  The only genre that's consistent is Classic Rock.  For example, try the following on your next road trip: As you flip through the stations notice the variety in every radio market.  Now, find the classic rock station in each market.  I guarantee that it'll be prominent on the dial and easy to tune in.  To me, this means that there are plenty of people listening and that there is a great demand.  You'll rarely hear a new song from a new band.  You may also notice that these classic rock stations play the same stuff, over and over.  In terms of my pitch, this meant that the business had abandoned a large market.  Like a grocery store selling the same line of food year after year, because the people used to like it.  Instead, why not, give them something "new and improved" and still sell the classics?  Perhaps the new line of product will even become the staple of the future!

Don't Let The Door…

In preparation for my impending meeting, I asked RCA to send me information and recent releases. Soon, a package arrived containing recordings of newly-signed bands, lists of current tours, and a breakdown of on-going projects.  I studied and listened.  Those days, RCA was rudderless and seemingly, had no interest in Rock ‘N' Roll.  I had been in an RCA band years earlier and personally felt that the company was asleep at the wheel.  The cds in the package were disappointing.  Overall, it appeared that the label was too busy following trends instead of creating them.

On the day of my meeting, I received a warm welcome from the RCA staff.  A listening session had just adjourned, and the A & R staff were mulling about.  There were Suits lingering outside the conference room in a heated discussion.  Bob Jamieson came over and introduced himself and asked me to wait a few minutes more.  About an hour later, I was escorted into his office and was left to myself for a bit.  This was when I studied the photos and memorabilia to get a sense of the man to whom I'd submit my business proposal.  Eventually, he returned and we sat down to talk.

I began with my theory of a "New" Rock ‘N' Roll, satisfying a disenfranchised and older market.  I spared no detail and spoke from the heart as if we were at a Happy Hour on our third round.  As my pitch progressed, Bob became distracted by phone calls, impromptu meetings and paperwork.  He also went out and spoke to his secretary for several minutes.  When he came back, he had a copy of the original letter I had sent them, and was skimming through it.  It was obvious that he hadn't read it.  It also became apparent that he had no idea who I was and why I so desperately wanted to meet with him.  In addition, I didn't get the sense that this guy knew much about music.  I'd refer to bands or songs to demonstrate a point and was waiting for the "Yeah!  I know what you mean!" type of response.  Instead, Bob grew restless and fidgety.  At the end of ten minutes or so, he made a polite excuse and called our meeting to an end.  He looked like a man who had been tortured by mindless talk about music–by a musician no less.  The horror!

…Hit You On The Way Out!

As he escorted me out of his office, I could see the red face of his secretary, Claudette, as I walked by her desk.  She diverted her eyes when I thanked her for inviting me.  The look on her face told me that she got a royal reaming from her boss for setting up this meeting.  She was in deep shit.  I felt like Jerry Maguire in the movie, the morning after the delivery of his infamous Mission Statement.  Embarrassed for misdirected passions and humiliated for my naivete.  I was treading water in another world and realizing that I had no idea how it operated.  "You know, you'd be a great A & R guy" he said as I waited for the elevator.  "It's just that we're not hiring anyone at the moment." "Gee," I thought, "thanks for offering me the hypothetical job."  I walked in wanting to reinstate Rock ‘N' Roll to its rightful throne.  I walked out in search of my dignity.

The After Story

Bob Jamieson contacted me some time later and asked me to meet with one of his A & R guys.  Maybe he had a chance to reflect on our meeting and my ideas.  I took the meeting.  I forget the guy's name, but I remember that every few minutes, he'd supress a yawn.  After that, there were no more discussions or meetings with RCA.

In hindsight, I think things could have gone either way for me.  Going out on a limb for my "pitch" was well worth it, and I've done it again since.  From an early age, I believed that you had to be the best at what you do.  That's what really matters.  This is a noble mission, but there's a lot left out of that statement.  There's your roomate at Yale or NYU, the personal connections with your neighbors in Great Neck or Scarsdale, the charity your family supports, your handicap on the golf course, the size of your trust fund, your fraternity brothers, your dad's Wall Street associates, your wife the banker, or the Board that your mother chairs.  I've never had any of these "assets."  Instead, after my RCA meeting, I could feel the loafer heel on my forehead as I was repelled from the party boat.

A Valuable Lesson

The lesson I learned was this: Assess, acknowledge, move on.  Sometimes things work out, sometimes they don't.  Sometimes you're handed your station in life on a platter, and other times, no matter how hard you try, you'll never achieve your dreams and goals.  If that's the case, don't make a big deal about it, just move on to the next endeavour.  However, it is important that you continue to assert yourself.  Do the hard work and don't worry too much about the outcome.  Two years later, in a strange twist, I became an elementary teacher in the NYC Public School system.  In a way, I felt like I had answered a calling.  Teaching and I fit like hand in glove.  In another way, because of my teaching job, my music career was never better.  Finally, I was able to say "no" to sub-standard or underpaying gigs.  In addition, my schedule was suddenly full, which made my time more valuable to me and my clients.  Surprisingly, leaving my old lifestyle was as easy as dropping a hot coal.  Assess, acknowledge, move on.

About the Author

Brian Doherty is best known as a drummer for groups like They Might Be Giants, XTC, M2M, Freedy Johnston, and Ben Folds. He grew up in Randolph, NJ and earned a Master of Music degree from the Manhattan School of Music. Brian also holds a Master of Teaching degree from The City College of New York. He is currently a music teacher in the Bronx and remains professionally active in the NYC area. Read my story, see rare video, pics and more on my website www.briandoherty.net

During the credits of which movie does the Bonnie Raitt song "Have a Heart" play?

I know that Have a Heart plays during the credits to some movie, but I could never remember which movie. Please end my suffering.

Looked it up on imdb.com and it is in the Johnny Depp movie Nick of Time. Not sure if it plays during the credits. Haven't seen it in awhile.

Bonnie Raitt "Pride And Joy"