Sorry for the lack of attention here over the last few weeks. Our lives have been quite busy and something’s gotta give. Hundred of post ideas pass me during the week, but I’m usually not in a position to post it. Therefore, I thought I’d throw out the week in review (from my mind).
On the personal front, we’re starting to center life around the river and the boat. We’re readying our house to sell in order to build our dream house, so there’s plenty of work to keep us busy. More to come on the dream house, but here’s a preview….
While this has been top of mind for us, other exciting things are also happening. May is shaping up to be quite a nice month. On Monday, Mini DD fulfilled a big goal (at least one of his Mom’s) in becoming an official member of the National Honor Society.
Part of the induction ceremony is the new Junior members being “tapped” by a graduating Senior member. 5′ 6″ Mini DD was tapped by 6′ 8″ GM. It received the biggest laugh of the night.
Very nice way to start off the week and so proud of our progeny.
Cinco de Mayo — which seemingly lost it lustre this year because of Swine Flu — required travel starting at 3:00AM (that’s not a typo), with meetings/dinner until after 9:00PM. I therefore, missed Idol, but was kept informed by Shrew and KD.
On Wednesday, John Mayer posted the second video chronicling the creation of his new CD, Battle Studies.
Johnny Boy’s been particularly busy on Twitter and on Wednesday twittered right before playing this…
Since I was traveling home on Wednesday, I once again missed Idol. I was kept informed that the dudes were safe and Allison was going home, but an important detail was omitted. No-one told me of the absurd Paula Abdul “first time on TV” performance. This is wrong on so many levels, but SO telling regarding what the “judges” endorse as good music.
WARNING: Viewing this video may be hazardous to your musical health.
Along American Idol lines, Taylor “Tinks” Hicks released his country foray, Seven Mile Breakdown, complete with video. Perhaps Taylor is reading? From my March 15th, 2009 post on The Distance:
Along with Nineteen, Seven Mile Breakdown (co-penned with Hicks by Spoonful James’ guitarist and pre-Idol buddy, Wynn Christian) and the title-track, The Distance, Maybe You Should has serious Country potential, if appopriately brought to Nashville. Even the blues number, Wedding Day Blues is oddly reminiscient of Garth Brooks’ Country anthem, Friends in Low Places.
I think that Country will be much kinder to Taylor and there are even better Country songs on the current CD to be released. This might have legs. (**clapping as hard as I can**)
Taylor is also a twitterer, recently tweeting that he LOVES FEIST!!! See, all you Feist haters. Taylor thinks she’s the female Paul McCartney. I might not go that far, but do still love me some Feist.
Feel it All, Feist
Rather excited to find this morning that Janiva Magness was named Entertainer of the Year at the 2009 Blues Music Awards in Memphis last night.
….although she beat our Watermelon Slim….
Pretty cool, as the guy is left-handed — so he’s playing that dobro upside down and backwards.
All in all, a pretty solid week except for the fact that Dom Deluise died. Sure miss the great comedy of Carson and Company.
R.I.P. Captain Chaos.
I will be back to regularly scheduled programming soon….just trying to catch my breath.
Before I write another word, simply listen to this…
Poor Side of Town
THIS, is who I imagined that Taylor Hicks would be after he won American Idol. A little Wilson Pickett, a little Otis Redding, and a lot James Brown, Eli honed his skills by street performing on Harvard Square in high school, after teaching himself piano, guitar and harmonica. (Sound familiar?)
The son of a music critic who exposed his son to a vast soul record collection (again, sound familiar?), Eli ended up in Clarksdale, MS after high school, eventually ending up under the tutledge of legendary blues drummer, Sam Carr. He frequently adorned his grandpa’s chapeau, which garnered the “Paperboy” nickname.
With a cool blues moniker, a degree in Southern blues, and a HUGE passion, Eli was convinced to enroll in the University of Chicago by his concerned parents. While in Chi Town, Eli broadened his soul horizons by reaching out to Mitty Collier, who scored the 1964 hit, I Had a Talk With My Man.
Now involved in ministry, Mitty hired Eli Reed as her music minister, where he served for a year before returning to Boston with a different kind of education. There, he put together his band, The True Loves, and recorded and self-released his first collection of originals and covers entitled, Sings “Walkin’ and Talkin’ (For My Baby)” and Other Smash Hits.
After a phenomenal performance at the 2007 SXSW, Eli “Paperboy” Reed & The True Loves recorded and released Roll With You on the Boston-based, Q Division label. (Even the album art is retro boss.)
Eli is currently embarking on a European tour and is recently signed to Virgin Records, after opening for the likes of Dave Matthews recently.
Eli’s NPR interview shows his love of music and his enthusiasm to spread it around. At 24, he produces a much older and “experienced” sound. But, then again, Otis, James, Jackie and Wilson were all about his age when they came into their own. He is proficient at old soul, mixed with passion and love of music. His music is infectious and draws you in. Many critics and observers have dubbed him as the next sensation. I am definitely on board.
Paperboy, stay true to your school and you shall go far…perhaps an example for many.
First, let me say that Taylor Hicks owes me nothing. Nada. Not a thing.
I used to think that he did, but let me say here (clearly), that I was wrong. You see, four years ago when I rabidly followed Taylor on the cheese fest that is American Idol, I was envigorated by a young man who appeared to beat the odds, defy “the man” and strike a blow for the every day music lover. He was a refreshing throwback to good, “old” music that was pure, un-synthesized, and “real”. He was the everyday musical hero who came to save the day.
After AI, I expected Taylor to remain “all about the music” and continue to defy the musical ogres who control content and dole out the uninspiring pablum derived from electronic manipulation. It was evident from Taylor’s first post-AI release, Taylor Hicks, that there was more influence from those writing the checks than any of us would have preferred. Through the whole time, Taylor seemed to be impersonating some character in a play and while fans largely supported the record, it rang hollow on the charts. It seemed that the daring, soulful style and smokin’ harmonica accompniment was largely absent from the record, leaving listeners, including me, wondering just where Taylor Hicks went.
His live tour was very successful and likely garnished Taylor enough dough to break away from J Records (whether mutual or not), start his own label, and take time for the next record that, maybe…just maybe, would more closely represent what fans so desparately want to hear from the soul man. There have been some detours along the way, including the Broadway role of Teen Angel, that I simply did not agree with because it’s not my vision for the dude. But, really…what do I know?
Oddly enough, Grease appears to have been the catalyst that provided some public acceptance and a bit of a springboard for, perhaps, a redemption of “America’s pick”. Even though I still cringe at the notion of Taylor crooning out Beauty School Dropout, I can’t deny that it’s been good for his career. Hey, it’s a mean to an end, I guess. I have said all along, if the music is good, people will listen and all of the other extra-cirricular activities won’t mean a thing.
That brings us to the release of Taylor Hicks’ new CD, The Distance. I’ve been listening to it for a few days along with some other new music that I’ve been recently turned on to. I wanted to give it a few days to simmer before I commented. First, let me quench your curiosity and say that overall, this CD is MUCH better than the first release.
There’s a definite ease on this record that was absent on Taylor Hicks. While that effort was frenetic, disjointed and a bit out of control, The Distance is thoughtful, balanced and comfortable. It is very reminiscient of his pre-Idol work and shows that Taylor seems to be going “back” to his core, which is exactly what most people loved about him in the first place. This should have been his Idol release, had they been smart. The arrogance of greedy people who believe their “formula” for making a record and maximizing its profit never ceases to amaze me, but we continually see these dinosaurs take unique and genuine talent and turn them into something that is the opposite of what actually makes them appealing, and then scratching their head at its failure.
But, I digress…back to the review.
As I previously detailed, the first single, What’s Right is Right, is a simple, pleasing tune with a great video. It’s currently doing well on AC radio and seems to be a happy medium between what’s expected from fans and what’s accepted by the industry.
But what about the rest of the record? Well, I think I get Taylor. He is not just one style or one genre. Like me, he likes a lot of different types and styles of music and I think that’s what he wanted this record to be. Recently, he did a guest DJ spot on “My Turn” on 100.3 (Newport Beach, CA), no doubt as part of his promotion of this release (which I have to say is 200% better than the crack PR team at J Records and The Firm). Whoever is in charge of promotion this time is doing a fabulous job. Anyway, Taylor’s playlist for the hour long DJ stint is very telling.
St. Dominic’s Preview – Van Morrison Gasoline Alley -Rod Stewart How Long – Ace Rainy Night In Georgia – Brook Benton You Belong To Me – Carly Simon Hurricane Water – Citizen Cope Foggy Mountain Breakdown – Lester Flatt & Earl Scruggs Where I’m From (Alabama Frame Of Mind)-Shelby Lynne Life’s Been Good – Joe Walsh Lowdown in Lodi – Freddie King Something So Right – Paul Simon Arc Of A Diver – Steve Winwood Don’t Think Twice – Susan Tedeschi I’m In Love – Wilson Pickett
To hear Taylor’s DJ skillz, click on the following player.
Now, I have to say that this was one of the most redeeming things I’ve heard from Taylor in a while. It validated that the dude still has great music taste and still true to it. Many of the songs on the new CD incorporate “sounds” from Taylor influences like Steve Winwood, Keb ‘Mo, Delbert McClinton, Van Morrison, and The Meters. He signed on a quality producer in Simon Climie, who has produced Eric Clapton and who is an accomplished keyboardist and song writer in his own right. In addition, some of Clapton’s touring band performed on the record, including Doyle Brahmall II and bassist Nathan East and was joined by Paul McCartney’s drummer, Abe Laboriel, Jr.
This is a quality record, with quality songs, musicians, and mixing. I like it. I have to say that it’s very entertaining and there are a few really good tracks on it. If I had to pick a favorite, it would be Maybe You Should. Written by Taylor and Nashville songwriter Gary Nicholson (who contributes on several songs), it is a great ballad that reminds me of Bonnie Raitt’s I Can’t Make You Love Me. That could be because songwriter Michael Reid co-wrote both of them. While I love Taylor’s raspy blues feel to this song, I could also see Keith Urban doing this song.
Along with Nineteen, Seven Mile Breakdown (co-penned with Hicks by Spoonful James’ guitarist and pre-Idol buddy, Wynn Christian) and the title-track, The Distance, Maybe You Should has serious Country potential, if appopriately brought to Nashville. Even the blues number, Wedding Day Blues is oddly reminiscient of Garth Brooks’ Country anthem, Friends in Low Places.
While there’s certainly some Country influence, this CD is not a one trick twang pony. One of my favorites, Keeping It Real, is influenced by co-author Delbert McClinton’s wily humor along with a great strider piano, New Orleans sound. It’s also the ONLY track on the CD with a harmonica accompniment. A pity, as I really dig the harp.
There’s also plenty of “soul” in the Nick Lowe cover, I Live on a Battlefield, and one of my all-time favorite tunes, Woman’s Gotta Have It, where he is accompanied by AI buddy, Elliott Yamin. Now, Woman’s Gotta Have It is one on my Music Maven “All-Time Favorite” list, but James Taylor’s 1976 version from his In the Pocket CD which is, in my opinion, one of the best albums ever made — but that’s a different subject for a different day. I really love the meshing of voices between Elliott and Taylor and especially Taylor harmonizing background vocal (fulfilling Simon’s ambition for him), but the beginning of JT’s version is more to my liking. Got me to wondering what a combined version would sound like. Hmmmm….
Once Upon a Lover and New Found Freedom are my “throw away” tracks. I didn’t like the Latino sound of West Texas Sky and I don’t care for it on Once Upon a Lover.New Found Freedom is more of an Idol “coronation” songthat just doesn’t measure up to the other songs on the CD.
The marketing plan of three “special tracks” via different store exclusives are in play for The Distance. Wal-Mart offers the Ray Charles’ cover Hide Nor Hair, Target provides Indiscriminate Act of Kindness, and iTunes has Yes We Can, Can. While I haven’t been able to sample Hide Nor Hair, Indiscriminate Act of Kindness reminds me of Taylor’s much heralded performance of the Ray classic, Georgia. It is indulgent and very non-descript. While I know this won’t be popular with the “Soul Patrol”, Indiscriminate Act of Kindnessis NOT a song that exhibits Taylor Hicks’ talent nor is it a very appealing cut. However, if you’re looking for a theme song about drug addiction and recovery, this is likely as good as it gets.
On the other hand, the iTunes “special”, Yes We Can is a veritable who’s who of funk & boogie. Written by Allen Toussaint and covered by the likes of soul man, Marc Broussard and The Pointer Sisters, Yes We Can pays homage to the soul/zydeco/funk of the Southern Gulf Coast. While Taylor may be considered the “forgotten idol”, the fact that Ivan Neville, Delbert McClinton and Stax legend, Steve Cropper provide back-up, indicates that “real” musicians “get” Taylor. Even Marc Broussard couldn’t pull that off.
Music Maven gives Taylor Hicks’ The Distance 4 of 5 stars. Buy it.
Today, the inaugural Taylor Hicks music video premieres.
Click the picture to view.
The link takes you to Jake Davis’ blog. Davis is the director of the video and I must say that I like his style. He’s managed to capture alot of what I think Taylor Hicks wants to portray. He creates that “alone” James Dean feel, complete with the overcoat walk in the snow on deserted streets…even the diner scene.
Photos by Dennis Stock
The video is good. It’s just the right amount of highlighting the artist, storytelling and showcasing the song. Well done, Mr. Davis.
I have to say that Taylor has never looked better. As I mentioned in an earlier post, his new What’s Right Is Right is a pleasant-enough song that seems to be catching on a little with a #25 position on Billboard’s Hot Contemporary Chart. It also looks like he’s embracing his inner Idol with last weekend’s appearance with the other six idols to christen Disney’s “American Idol Experience”.
Taylor’s CD, The Distance, drops March 10th and again, I think we’ll see an Idol appearance around that time. Could it be that Idol #5 will finally start to gain traction?
While I was a HUGE Taylor Hicks fanwhen he was sporting that lovely paisley shirt, purple velvet jacket and getting funky on American Idol a few years ago, I lost interest after a while. His over-produced, Idol infused “debut” CD, the obvious malfunctions in his marketing and the insaneness of the online “fan wars” caused me to put some distance of my own between me and the Silver Fox.
Also, the whole Grease thing really shattered my illusions of the nitty, gritty, “real”, all about the music, soul singer. I had envisioned Taylor with the likes of Marc Broussard, Norah Jones, Widespread Panic and Grace Potter, not prancing around in a teased up pompadour singing Beauty School Drop Out. While I still don’t like the move, it appears that the Teen Angel part has kept him out in the public. In the summer, he released Early Works, full of older pre-idol material that was self-produced and had limited distribution, mainly via Target. Not sure of the exact count, but let’s just say that it didn’t storm up the Billboard charts.
Taylor has been working on a new CD, titled The Distance. It will be released via Taylor’s Modern Whomp Records and distributed via the indie-promotiong Artists2Market. While quite a challenge to go it alone, Taylor has asserted that this CD will be a true representation of his music, without interference from “others”. So, today the first single from The Distance drops — a smooth, easy tune called What’s Right is Right.
As much as I may have seen Taylor, and his music through rose colored glasses previously, the pendulum swung hard the other way over the last two years with my disappointment in the music (or lack thereof) of Taylor Hicks. Where was the John Mayer collaboration? The Ray Charles studio session? A Muscle Shoals revival? The Yabba Dabba Soul Patrol Mojo Dive Tour, for Christ’s sake?
However, lately, I have wondered if I have simply been too hard on poor Taylor. After all, his was an uphill climb out of the chute. Not really Country, not really Alternative Rock, not really any specific “genre” for the suits to throw him in. While he certainly made missteps and was, at times, lazy…did I throw the baby out with the bathwater? I decided to really give this new CD a try. So, I have started with What’s Right is Right.
While there’s nothing here that will set the world on fire, the song is good. It’s James Taylor-esque to me, with simple instrumentation and vocals I can actually hear. Not sure that he’ll get much radio play on anything other than Adult Contemporary stations, but I don’t think that’s the point. James Taylor has had VERY few “hits” over his career, yet is certainly a respected musician and singer. If you can make money pleasing a fan base, over time, you will be able to sustain yourself and leave a lasting legacy. I like What’s Right is Right and I think that I will like the rest of the CD that drops March 10th, 2009.
The track listing is promising, with a little of something for everyone.
Wedding Day Blues
Seven Mile Breakdown
What’s Right Is Right
Woman’s Gotta Have It
New Found Freedom
The Distance
Nineteen
I Live on a Battlefield
Maybe You Should
Once Upon a Lover of Mine
Keepin’ It Real
There is a potential solid Country hit in Nineteen, along with one that I have a feeling will be a Music Maven hit — Bobby Womack’s Woman Gotta Have It. I have adored this song since 1976, when my brother gave me my first LP album — James Taylor’s In the Pocket, arguably one of his best albums. But THAT, my friends, is another story for another day.
If I may — give Taylor just one more chance and try to listen to this new CD without rose colored glasses or bias from unrealized expectations. Try listening to it like any other emerging artist I might throw out there at you and then, we’ll give it a proper review. Just keepin’ it real.
It will be available on Amazon, March 10th. The single is available today on iTunes. My Libra Dragonsis predicting an American Idol appearance in mid-March. Don’t they at least owe the guy that much?
It has been 90 days since I posted my unmistaken disappointment in Taylor Hicks taking the role of Teen Angel in the Broadway production of Grease. I vowed that if this turned out to be a good thing that I would happily admit that I was wrong.
Well, I have to say that I am floored that this whole Grease thing has been nothing but positive for Taylor. Somewhat magically, once he donned the sparkly blue suit and descended the ice cream cone for the first time, substantial and positive press surrounded him. Of course, this is the total opposite reaction I was anticipating from the less than kind industry press.
While I think that Taylor made chicken salad out of the proverbial chicken shit and seems to have virtually saved the production from closing early, I have to wonder about the sudden shift from cowpies continually flung in his direction (if he was even talked about at all) to the literal toast of the town (a really big one).
I don’t know if this gig was his idea or not; if he finally acquiesed to AI minions; or if he just wanted to summer in NYC, but he certainly has embraced the role and seems to be having a high time. Again, I still don’t really “get it”, as I’d prefer that he be doggedly working on a “real” CD, however I must admit that this part has given him some definite positive traction.
With the demanding schedule, I highly doubt that he’s been recording anything. So, I think it’s unlikely that we’ll see the new CD before Christmas. Particularly since the Early Works CD is being released today in an exclusive Target offering.
For $9.98 you can own re-mastered tracks from In Your Time and Under the Radar. While not the normal CD price, I think the $9.98 deal through Target is a great distribution deal that will end up saving Taylor money and ensuring that the CD is highlighted in a very effective channel. (For example, EW makes it’s debut alongside the very popular Jonas Brothers CD ^^^^). It’s also “priced to sell”, which means more people will consider buying it.
In case you’re wondering about which songs are included on the Early Works CD, here you go:
1. Soul Thing
2. The Fall
3. Hold On to Your Love
4. The Deal
5. Heart and Soul
6. In Your Time
7. West Texas Sky
8. Somehow
9. Tighten Up
10. Son of a Carpenter
11. My Friend
12. Georgia (with Billy Earl McClelland)
While these are well known to many who have followed Taylor for a while, there are many who have never heard the early stuff, i.e., the good stuff. Hopefully, this CD will show those who are unfamiliar, Taylor’s grittiness, talent and range.
It appears that some fan groups are doing a bit of guerilla marketing, as well…
by PayTheDevil661
I’ll be glad when the Grease thing is done and a new CD with new tracks hits the street. Will we finally see that collaboration with John Mayer? How about Robert Randolph? Norah Jones?
Well, yesterday I was feelin’ Jimmy. Then, Amy posted some good stuff about how Kenny is the new Jimmy. I particularly relate to Old Blue Chair:
Oddly enough (and as karma would have it), Lefsetz is in the middle of a Kenny Chesney love fest, so I thought it only appropriate to include a post on Kenny.
Now, I know somebody who knows Kenny Chesney and I hear that he is but a wisp of a fella, however he is just as Lefsetz describes — down to earth and “one of us”. Now, I have extolled how Country is the new Pop and how the genres really have changed over the years, but Lefsetz gets to the heart of the matter much more succinctly than I can.
One of the finer points that he makes that resonates with me is this:
“The rock stars tell you to keep your distance. The rappers want to say how much better they’ve got it than you, with their women and their wheels. The country acts want you to know they’re just like you. That you’re part of their family. But for a quirk of fate, a bit of talent and some extremely hard work, your roles could be reversed. Kenny Chesney doesn’t have a security guard. He cruises Vegas with his assistant. He doesn’t take an entourage to awards shows. Because his audience respects him, gives him the distance he needs, because they believe they own him.
You don’t own the audience, the audience owns you. Too many stars seem to be playing to “Entertainment Tonight” and the rest of the celebrity industry. They get caught up in their fame. They play the roles of celebrities. Whereas country acts are quick to reinforce they’re regular folk, accessible, that they’re there for you and you only.
There’s nothing on tape, just a ten piece band. At times four guitars. A full horn section. The hi-def screens above the stage and hanging from the speakers on the side insure that even those in the cheap seats can see what’s going on onstage. You feel included. In a club you paid your dues to over and over again. You listened on the radio, you bought the albums, why shouldn’t you be respected, you’re the engine driving the enterprise!”
Damn right. I’ve been struggling about how much my opinion on various matters should matter concerning artists that I enjoy. I think Lefsetz hits the proverbial nail on the head in that we should have somewhat of a say as we, as fans, do “own” the artist. And, the artists that are the most successful at packing them into huge stadiums and shows are those, like Kenny and Jimmy, who actually LIKE their fans. They like to be with them, near them, understand them, relate to them.
After all, these guys weren’t born to success. They worked hard for it toiling in dives and bars so that we would spend our hard earned cash to come and see them and support their acts. Then, they relied on us to support them by buying their “records” and paying to see their concerts, maybe even buying a T-shirt that we won’t throw out for 12 years or paying to join some stupid fan club that sends you useless trinkets for the priviledge of better than average concert seats.
Again, it’s all about the kun-NECK-shun. People want to be a part of something. A family. A group. The in-crowd. The rebel crowd. The winning team. There is a basic need that seems particularly true of music lovers, to be a part of all. That’s why word of mouth marketing works so well among “music heads”. We want to know what others in our “group” enjoys and we try it based on the fact that one or more members likes a particular song or artist.
Today, I’m feelin’ Kenny, so NOW HEAR THIS:
Taylor Hicks,
Taking the part of Teen Angel sucks. It is beneath your talent and potential. Take a page out of the Kenny and Jimmy playbooks. Get out there with the fans who really dig your music. Listen to what they have to say. Buy them a beer. Hell, buy me a beer.
Sing THEM a song; something that makes THEM feel good. But, realize that you don’t own the audience. Rather, they own you…they bought what you were selling in 2006. NOT AI, but Under The Radar, Workplay and all the Florabama Mp3s. And, you owe them. Everything.
You owe them more than singing Beauty School Drop Out for five minutes each night this summer. That is lazy. Give them On & On. Give them The Right Place. Give them a song recorded at the Ray Charles studio or FAME Studios in Muscle Shoals. Give them a CD recorded on the Stax label. Give them a “Live from Sun Studios” performance. Give them something of substance from a guy who is supposed to be of substance. You worked hard to establish some credibility with those fans who “bought” you…news flash…you have to work TWICE as hard to keep us, your fans. Kenny and Jimmy get it. You know what? So do Steely Dan, Bon Jovi and Radiohead. C’mon, Taylor, make us proud.
For the record, my favorite Kenny Chesney tune is a toss up between:
I’ve tried to be supportive. I’ve tried to be patient. But this morning, my Yahoo! News had a proclamation that made me wince….
Taylor Hicks to play Teen Angel in Broadway’s ‘Grease’
Now, I will preface my remarks with the statement that I am a substantiated Taylor Hicks’ fan. I think the dude has talent in spades, and I sincerely want him to prove the critics wrong and show that he’s not your average ‘idol’.
But Broadway? Really? Why? Kat McPhee, yes…Taylor, absolutely not.
I can’t help but think that this is some kind of AI commitment, because I really can’t explain it. When I think of Idols on Broadway, I think of Rueben as Fats Waller, Fantasia as Ms. Ceely, Diana DiGarmo as Penny Pingleton, Jennifer Hudson as Effie (yes, I know it was the movie version of Dreamgirls) and sadly, Clay Aiken in Spamalot.
In my narrow little mind, I simply don’t see Taylor in the same bucket. I mean, his whole appeal was as the anti-idol, stickin’ it to the man, rebel without a cause….and now he’s Teen Angel? I mean Danny Zuko or even Kinicky, but Teen Angel? So now Taylor will forever be associated with Frankie Avalon and Beauty School Drop Out?
Think about it. How is this good for his career? Will Warren Haynes, Snoop Dogg, and Keb ‘Mo be attending his debut? I don’t think so.
I cannot accept that Taylor is doing this of his own volition. Given the pipeline from Idol to Broadway, I can’t help but think that this is some kind of attempt by AI to further emasculate Taylor. Who knows exactly what’s in the original iron-clad AI contracts…Perhaps he had no other choice. In my heart of hearts, I hope that is the case, because I cannot explain how this role at this point in his career will help. All this does is further entrench him as just another idol “production” and further distance him from the street cred he so desperately needs to re-capture. Is a stint in Grease pandering to the older, nostalgic crowd? Lord, I hope he’s not that transparent.
Personally, I think small-venue tours, sporting events and private gigs are better than this “opportunity”. I love Taylor, but he’s either doing this out of servitude to a legal commitment or he’s succumbed to the lure of celebrity and the magnetic heat of the spotlight.
Either way, I’m disappointed.
Disclosure: I don’t need a history lesson on Taylor and his prowess, as I have been there since the beginning, so please…you have a right to disagree with my opinions but please keep comments on a civil level. I really DON’T want the wrath of The Soul Patrol. And, just for the record, I don’t want or need hits to my blog by mentioning Taylor. I would like to get hits to my blog for writing about The Midnight Special, however. (See previous post.)
Music Maven 
