By now you will have heard the news that Posterous has sold out to Twitter.
The sale has been greeted with mixed reactions at best, but most are agreed that the time to migrate their content is now. They have promised 'ample notice' before making any changes to the service as-is, but with all the former Posterous staff now working for Twitter there is only one way this service is going.
Although Posterous said in their statement that they will shortly be making it possible to export your content soon, you may be considering making your own move sooner rather than later. In my case, this blog also posts to Blogger and Wordpress anyway thanks to the Posterous tool which makes it a simple matter to cross-post, so the content will not be lost.
You can, however, already move your data to whichever alternative platform you will go to once Posterous does close, which most people are predicting will happen before 2012 is over at the latest.
Please visit this post on Lifehacker for detailed instructions on how to move your Posterous data.
I've found Posterous a pleasure to use because of its flexibility and ease of use; the ability to post via email was particularly attractive and it made adding photos or video very simple - no copying and pasting embed code, it does it all for you. However, rather than let Posterous (or Twitter, now) decide when this blog closes, I'm going to do it myself and therefore future blog posts will appear on Wordpress and possibly Blogger, if I can settle on a similarly simple method to put them on both.
Where others choose to post future blogs once Posterous goes is of course a matter of personal preference, but I understand the closest platform to this one for simplicity is Tumblr, so you may wish to check that out if you do not fancy getting your hands dirty with Wordpress. Google's Blogger is relatively simple to use too, and is worth considering in my opinion. However this site and all future music-related posts will go to my new home at mymusic.ronniesoo.com.
If you've found this post on my Wordpress blog - stick around, that's where future posts will go - otherwise, I hope you'll join me over there!
I'll leave with a song, as per tradition started when I quit MySpace (yeah, that long ago!) :D
We've all done it: a big gig comes around that lots of people want to see, assuming you cannot get the time off work at short notice to go and queue for a ticket at the venue box office, you try to purchase the tickets online only to find that as soon as the tickets are officially on sale, the site crashes and by the time you get onto the site, all the tickets have sold out.
If, like me, you've wondered why it is that within minutes of the concert selling out online, tickets magically appear on resale sites at inflated prices, you would be advised to watch the documentary shown on Channel 4 television on Thursday night. Investigators for 'Dispatches - The Great Ticket Scandal' went behind the scenes at two well-known 'secondary market' ticket sites, Viagogo and Seatwave. Working on the desks at the resellers' offices, what they found confirmed what many music fans have long suspected: ordinary fans are being pushed out of the way by 'professional resellers'.At Viagogo, one reporter working there learned that some promoters actually allocated tickets to the agency, even though the site itself claims to be a 'fan-to-fan' market; i.e. it exists to allow fans to buy tickets from other fans who cannot attend the event in question. The agency then sells the tickets on at inflated prices. Worse followed when one agent working for Viagogo was seen actually purchasing tickets online from Ticketmaster, using a book filled with different credit cards for the purpose. Explaining that because Ticketmaster's policy forbids more than six tickets per address, we then learned that the staff were actually providing addresses for their own homes and those of relatives in order to circumvent the restrictions. When you think that there are teams of staff working at these places, all of whom hit the websites at once armed with bundles of credit cards, it becomes clear why it is ordinary fans are shut out of the game.
Another reporter who had taken a job at Seatwave learned that the company was in regular contact with 'professional resellers'; these are companies whose job it is to buy up tickets for large events in bulk and then sell them on to Seatwave. With teams of professionals and the so-called 'fan-to-fan' secondary market working in such close harmony, it is easy to see why that big event always sells out in moments and why it is that the tickets appear again so soon at huge markups in some cases.
Even if you are prepared to queue at the box office, it is not always a guarantee of a ticket. One lady queued overnight for a ticket to a major event, was first in the queue when the box office opened, only to find that she still could not get the front row. She discovered that the first few rows had been reserved for Viagogo, in spite of the fact that they claim not to own any tickets themselves.
As a music fan who enjoys live concerts and has endured many scrambles for tickets, the revelations in this documentary were both unsurprising and disappointing. Granted, my own musical taste is not always with the mainstream and so I'm unlikely to be in the hunt for, say, Coldplay, but even so, I've experienced many times when it's been difficult to obtain tickets.
In 2008 I queued up for several hours in order to get tickets to see AC/DC at Manchester's MEN Arena; the band themselves were attempting to combat scalpers and so restricted sales to just two per person - even so, their concerts sold out within minutes. Needless to say, they appeared online within the hour, with suitably increased prices. It is irrelevant what your musical taste is, all fans lose out when large companies work alongside 'professional resellers' to shut fans out of the ticket sales until they can sell them on at a huge profit.
The other thing that became clear to me was that all of this has little to do with the bands themselves - the promoters, agents and resellers all seem to be in this together. Interestingly, Viagogo attempted to obtain an injunction preventing this programme from being broadcast, which tells you all you need to know about their practices and how they would prefer the public not to know about them.
The Dispatches programme will be available to view soon on Channel 4's website (UK only);in the meantime you can read an article published last year by This Is Money makes similar allegations against Viagogo.
Perhaps the old way of applying by post was better after all!
Until a band makes a song about ticket scams, this oldie from Queen will have to do!
The Dutch symphonic band Delain are due to issue their third album this year, entitled 'We Are The Others'. They've been working on it for a long time and had previewed three new songs in their live set last year. However an interview with keyboard player and founder Martijn Westerholt and singer Charlotte Wessels revealed that the record is unlikely to come out by the time the band return to play live shows in Europe this spring. The interview in full can be read here, but the salient part is that although their label Roadrunner is ready to put the album out, their parent company Warner is not, and according to the band, it is because of a decision taken at executive level.
On the face of it, this makes no sense at all. To be honest, I'm a bit behind the times here - I always considered Roadrunner to be an independent label specialising in Metal releases; I wasn't aware that they'd been acquired by Warner (in actual fact, they'd taken a majority stake in Roadrunner back in 2006, and bought them out totally in late 2010). If what the band say is true, you have to wonder why a major would buy out a Metal label if they then decide they don't like what the bands on their roster are coming up with?
There's already a Facebook petition gathering speed to get Warner to change their mind, but you'd think that a band with a growing following (especially in Britain) and two well-received albums out already would have little problem getting their third one released, especially with a tour already booked.
The days of major record companies deciding what we all hear are over, or so I thought. The Internet took away a lot of their control over what the masses get to hear and the majors still are uncomfortable with that. An executive making a unilateral decision to bury a band's record will not be accepted in this day and age, especially when that band is extremely savvy at using the web to promote itself. Delain's singer Charlotte has a large Twitter following and a regularly-updated blog where she keeps contact with fans.
I did wonder why it was that Warner would decide to shelve this record considering that their previous one ('April Rain') broke them to a lot of new fans, and although I can only speculate, my feeling is that they've decided that the new material isn't as accessible as before. The new songs aired last year hinted at a departure from that symphonic but catchy sound, maybe they were expecting another 'April Rain'. Of course, we'll only know how different it is when we hear it for ourselves!
The other theory I have is that the major is focusing on Charlotte herself; again I can only speculate but with the massive success of Adele in the last year or so, maybe Warner see her as someone they can mould into a new star. Certainly her style of singing is unusual in Metal, sweeter than heard in many other bands of this type, and it's possible that record company executives think that if she were given more radio-friendly material she could become 'the next Adele'. Of course I've no evidence to support that theory but, if Warner did want to make a mainstream star of Charlotte then it would be better for them if she did not have a Metal 'past', as it were. Unluckily for them, with two albums under her belt, she already does!
I did say in a review of the band's show at Leeds two years ago that they'd do well to hold on to her, but I thought that if she were to go solo then it would be on her own terms. She appears committed to the band for the forseeable future but it would not be the first time a record company would try to steer a singer down a different path in order to achieve huge mainstream success.
Whatever the reasons for shelving the album, speaking as a fan I hope that the campaign does succeed and the record released for those people who want to buy it. Regardless of the album situation, the band will tour in May and intend to perform several new songs from 'We Are The Others', so it would only make sense for the record to be released.
Of course, where major record companies are concerned, common sense doesn't always apply!
Here's a trailer for the upcoming tour - if they're coming anywhere near you, go along!
After seeing Alter Bridge play a storming gig at Birmingham's o2 Academy last year I wrote on this blog that arenas beckoned for them next time around. Sure enough here we are 12 months on and Tremonti's troops have indeed made the jump to the cavernous barns of Great Britain. Along for the ride this time out were Canada's Theory of A Deadman, who I missed because of the early start (and traffic jams/ roadworks heading into Manchester, which I won't bore you with), and as special guests, Black Stone Cherry (who I did see).
Chris Robertson's gang were on the stage as I entered the enormous bowl that is the Manchester Evening News arena, and took my seat. The upper tier was curtained off all the way around, with the floor packed and most of the lower tier already filled, it appeared many were there for BSC as well as the headliners. By my reckoning the crowd there would have filled up the Echo Arena, so even though large parts of the MEN were unused, it was still a sizeable crowd which showed.
I've seen BSC on several occasions before, as support to other bands on arena tours similar to this and as headliners at the nearby Apollo theatre, and every time I've been scratching my head as to why such an obviously talented band, with good songs and a great singer, were not 'lighting my fire' in the live setting. They do everything right, performing with verve and enthusiasm, but there was always something lacking which I couldn't put my finger on. That was not the case tonight, perhaps I'm warming to these guys at last but this was finally the BSC gig where I broke out the air guitar - they were excellent. I still can't see what they're doing differently but perhaps it's just a couple more years on the road in this sort of company that's given them that finishing touch - I enjoyed this set much more than all of the previous sets I've seen BSC give. Frontman Chris Robertson looks like he's been following the Dave Wyndorf guide to Britain's pie shops, but his vocals were strong. They had the hardcore fans towards the front bouncing and clapping at will, and when they took it down for 'The Things My Father Said' the invitation to sing the chorus was enthusiastically accepted.
The only -slight- disappointment was that their set was a song or two shorter than at the other shows; no 'Iron Man' cover, nor did they do their HM rendition of Adele's 'Rolling In The Deep', which I was kind of looking forward to despite not being a fan of Ms Adkins herself. However they left us with news that they are to return to the UK for a headline tour in March, and I understand that will call at our end of the M62 so I will plan to be at that show and see the guys again.
This was one of Kennedy's better vocal performances, you can always tell when he's suffering when he 'talks' through parts of songs but tonight, there was a lot less of that and more long holding of notes. He's clearly not suffering from a cold like 12 months ago, and when he is healthy it really makes a difference.
Having seen this band climb from small university-type venues to arenas over the past few years, it is gratifying to see them attain arena status, but the step up has come at a price. The show tonight was different to a year ago in that the band seemed more detached, distant on that big stage, they didn't connect in quite the same way as they did when they were playing the likes of the Academy. Although Kennedy did make efforts to reach out to the crowd, the occasional interlude such as during 'White Knuckles' where he performed the time-honoured 'split the crowd down the middle' routine just appeared clichéd. Consequently, despite the excellent vocal performance and solid playing, it seemed just that bit soulless compared to previous tours.
As a live band, AB never disappoint and they didn't tonight - I just get the feeling they're headed down the same path as the Foo Fighters or the Chilis; where they become so big they no longer have that same connection with their dedicated fans. AB are different to Creed in many more ways than just the lead singer, and I hope that the fact they're now performing in the large venues doesn't make them just another stadium rock act.
On this day in 1991 two rock musicians died; the fact that one of them was Freddie Mercury almost totally overshadowed the sad loss of KISS drummer Eric Carr on the same day, after he lost his own long battle against cancer.
When Eric Carr (born Paul Caravello) joined KISS in 1980 it was at a low point in the band's career; original drummer Peter Criss had parted company with the band amid allegations of substance abuse and the arrival of the new drummer signalled a new character behind the kit: The Fox. His first album with the band was the ambitious concept album '(Music From) The Elder', an intended soundtrack for a film which never came about. The album's musical style completely threw the band's fans, who were expecting a return to harder rock but were instead presented with a radical departure. It would be another year before Carr really got the chance to show himself as a premier hard rock drummer, when KISS fulfilled their promise of a hard rock record a year late with 'Creatures Of The Night'. The lead-off single. 'I Love It Loud' featured the band in full make-up and with Carr, as the Fox, sat atop a drum riser shaped like a tank, pounding out the intro to the song.
The resulting tour proved a success, re-establishing the band who would shed the make-up altogether in 1983. Carr's popularity during his time with KISS was down to his powerful drum sound and his willingness to connect with the fans, and he remained with the band for eleven years.
His cancer diagnosis was in early 1991, with the drummer being given a leave of absence by frontmen Gene Simmons and Paul Stanley so that he could recover. His last appearance on a KISS record was on their cover of Argent's 'God Gave Rock 'n' Roll To You', contributing backing vocals. Carr's death hit the group hard, with drummer Eric Singer coming in to deputise for Carr on the band's next album 'Revenge' it was always intended that Carr would return to the group once fit again. However Singer remains in the band to this day, and KISS dedicated 'Revenge' to Carr with the inclusion of a 1981 studio jam on the record.
As said at the start, Freddie Mercury's death on the same day as Carr completely dominated the news, with the British media having noticed the Queen singer's declining health throughout 1991 and newspapers running increasingly-lurid headlines speculating on his condition. Mercury, as private when off stage as he was flamboyant on it, admitted to nothing until the day before his death when he released a statement confirming his illness and urging his fans to join him "in the fight against this terrible disease" (AIDS).
Mercury had long known of his illness, but had elected to keep it secret, known only to his bandmates and close friends until that statement came out. He was diagnosed about a year after he and Queen had completed their biggest and most successful tour to date, the Magic tour which culminated in a massive concert held in the grounds of Knebworth Park. The attendance that day has been estimated at anything between 150000 to 200000, as one of the fans who was there myself I can only confirm that the huge field was totally packed with people!
1986 was a monumental year for Queen, coming off the back of their now-legendary performance at Live Aid, seen by billions worldwide, interest in the group had rocketed from merely very popular to stratospheric. Nobody knew it at that time, but Knebworth would be Freddie's final live performance with Queen. Anyone who has seen the Live Aid performance, or was lucky enough to see Queen live during that period will know just what a giant of a rock star he was. He bestrode the biggest stages and could enthrall hundreds of thousands of people. With a flamboyant image, a voice that could handle anything from hard rock to ragtime and a neat, self-deprecating line in camp humour, he had the lot. It's difficult to overstate Queen's popularity at that time, although still considered a rock band they had a huge fanbase and extremely broad range of appeal. Mercury was regarded in the same echelon as other high-flyers like Elton John or Rod Stewart, all of whom had began as rock singers but had broadened their appeal to reach almost everyone.
The tribute concert which was held at the old Wembley stadium in 1992, the scene of his greatest triumph, really brought home what the music world had lost. The remaining members of Queen performed a selection of their best-loved songs with a diverse range of singers - it took over a dozen people ranging from George Michael to Axl Rose to perform what one Freddie used to do.
Although I personally did not get to see Queen live until 1984, a whole generation has grown up knowing the band's music and never having seen them at all, so those who did see them must consider themselves very fortunate. There's been nobody who even comes close to taking his crown as the ultimate rock star - there are great singers out there, very good frontmen (or women), and some very showy, flamboyant stars still, but none put it all together the way Freddie did and none have managed to succeed him as the total, complete rock star.
I'll close this by posting a trio of songs that reflect Freddie in different eras; many still think of that bright yellow jacket when they think of Freddie but his look changed radically during the 1970s before he settled on that slicked hair and moustache image remembered today.
The first shows how the band handled 'Bohemian Rhapsody' live when it was first out; from the famous Hammersmith Odeon show filmed by the BBC, here they turn it into a medley incorporating 'Killer Queen' and 'The March Of The Black Queen':
Taken from the 'We Will Rock you' live concert DVD, filmed in Canada, this is 'Crazy Little Thing Called Love' which took on a whole new dimension performed live:
Finally - from the seminal 1986 Wembley DVD, yellow jacket and all, this is 'In The Lap Of The Gods (Revisited)' - which was put back in the set partly for the band's older fans at that point:
I expect that we will still be remembering Freddie Mercury in another 20 years' time!
Been a bit fallow on the gigs front for me lately, but I thought I'd write about this charity calendar which features... a cat!
Not just any cat though; Daisy Buttons is the moggy in question and she is owned - sorry she owns, highly-regarded rock photographer Ash Newell. Ash has put together this calendar featuring his beloved feline in a variety of poses, with all proceeds going towards the Fur & Feather Animal Sanctuary. It's a project with extra special meaning to Ash (and to Daisy, naturally!) since Daisy Buttons was a rescued cat.
If you've not heard of Ash Newell before, he's a Texas-based photographer originally from Yorkshire, England. He has taken portraits of many big-name stars from the music world, including Whitesnake, Black Label Society, Steve Lukather of Toto, Taylor Swift, Nickelback, and legendary figures such as Duane Eddy and Kris Kristofferson. In 2008-9 Ash was Def Leppard's tour photographer, with the band issuing two coffee table books featuring his photos, and he enjoys a close working relationship with the Leppards still.
For more on Ash's work please see his Facebook page at:
For further details on the Daisy Buttons 2012 Calendar and how to order please visit the Fur & feather page:
Daisy Buttons 2012 Calendar Fur & Feather Animal Sanctuary
Miaow!
Another test autopost for my forthcoming new music site - this should also appear on mymusic.ronniesoo.com - if I've set it up properly!
All music-related content will still appear on Posterous and Blogger; this is merely an alternative place for the blogs to go. So what to put up? What else, but Delain! Embedded are three clips I shot from their concert at Leamington Spa earlier this year. The band are currently working on their third album and you can follow their progress (including several video blogs) at lead singer Charlotte's own site.
Milk and Honey
April Rain
Pristine
The site is still being constructed at the moment - more details when it is fully ready!
Been setting up a new site on Wordpress which will be an alternative home for these music blogs. (They will still appear here). It's not ready yet but to test the autopost is working, I'm going to put up a few videos I found from the Mr Big concert last week. Hope you like them! :)
The Drill Song (Daddy Brother Lover Little Boy)
Undertow
Take Cover
Smoke On The water
