More shows, in support of the DVD, starting this Friday in NYC. With the exception of Philadelphia, the Q&A portion has been eliminated. Solo set, then the DVD screening.

- - - - -

Thursday, a quiet SMDF, likely due to days of much-needed rain. Friday, more rain and quiet. Saturday, breakfast with the gang, then a trip to Clarendon. Stopped by this store, then to the epicenter.

Picked up Leopard. Two things fouled up the install. First, if you have APE installed, get rid of it immediately. Second, when the "skip" radio button appears during the DVD verification, do not click it. (Why Apple gives you a choice, I don't understand.) Ah, the price one pays for being an early adopter. Back everything up completely before installing Leopard. I used SuperDuper! to create a bootable volume before starting the tomfoolery.

After all that, an evening trip to Baltimore was just what I needed! A great Halloween party, hosted by Ruphus and BigMoDaddy. Fluffy and Richie had great costumes as well.



Sunday, coffee in the 'hood, a good workout, and a lazy night at home.

Last Monday, a relaxing night off in SF. Starting at the coffee shop, I ran into out-of-town and local friends. Some dinner, shopping, then off to an art opening / release party for the new Neil Young album. Mr. Young was there, and I had a nice conversation with his manager about the upcoming tour. Pizza and a nightcap.

Tuesday was a busy birthday. More neighborhood wandering, and a decent workout. The event at Herbst Theater was quite interesting and enjoyable. Thanks to Micheal Azerrad for handling the interviewer duties. A review of the DVD and event can be found here.

Wednesday, travel delays to LAX left me no time to enjoy the nice weather. A good solid set, and a nice crowd in attendance.

Thursday, a great flight home. The Alaska Air non-stop from LAX to DCA was a pleasure. Friday was an office day, with a quick stop at WOOF.

Saturday was a long day. A lunchtime showing of the DVD at Lincoln Theater, followed by a short solo set. Thanks to the One In Ten / Reel Affirmations folks for hosting the movie. Later in the afternoon, a neighborhood art opening. The 4 PM Results posse turned out to support our pal John. That night, one of the best BLOWOFF nights ever. Great weather had everyone in fine spirits, and the vibes in the room were excellent!

Sunday was relatively quiet. A late afternoon beer bust, followed by a nice cool evening at the ranch, grilling and chatting with friends.

More shows in November. Check the performances page for more details.

At PDX, enjoying the free Wi-Fi, waiting to board my flight to SFO. A fun weekend in both Seattle and Portland. Thanks to everyone who stopped by. Also, had a great time on Saturday night at the Blow Pony party, at Eagle PDX.

A nice mention of all things Bob at P4K.

The tour marches on. Wednesday in Minneapolis was lots of fun; a special thanks to Mary Lucia for stopping by to host the Q&A. A great meal at Barbette before the show. Thursday, I stopped by Wilde Roast Cafe for some food and coffee, then headed to the new Humphrey Terminal at MSP. My first flight on Sun Country gets two thumbs up (although I haven't plugged my guitar in yet). Landed in Seattle last night, and am relaxing this morning before the press day begins.

I'll be talking and playing on KEXP around 4 PM Pacific time this afternoon. It will be nice to see my old pal Kevin Cole. There are tickets for tonight at Chop Suey, and Sunday at Doug Fir in Portland OR.

Lots of press this week. I guess the word is out on the new album. Cross marketing is good.

Idolator
Chicago Tribune
Blogcritics
Billboard
Minneapolis Star Tribune
Aversion
Filter
Seattle PI
Portland Mercury
Jackson Free Press (the press release, essentially)
DCist

I was trying to keep the Namibian mall development a secret, but that got out too. Kidding.

Your favorite caption is....
	Look Ma, no hands!
	I went to MSP Airport, but all I got was this lousy photo.
	Larry Craig is a hypocrite.
pollcode.com free polls

Thanks to everyone who showed up for last night's event in Chicago. Apologies for the problems with the DVD playback. Still baffled as to what happened. Minneapolis is sold out tonight. More when I have a day off.

Have most of you who pre-ordered the DVD from MusicToday received them?

A short post today, as I am preparing for the upcoming tour to promote the new DVD. Thanks for all the feedback on last week's poll.

A lot of writing this past week. I forget to eat when I get wrapped up in the work. Friday, WOOF. Saturday, breakfast with the gang, some coffee, more work. A big filet mignon grill later in the evening, and a nightcap at the Eagle.

Sunday, a great time was had in Baltimore. We met up with Ruphus and BigMoDaddy, and headed to City Cafe for a quick bite, followed by tasty 2% latte at Red Emma's. Leon's was a great time, lots of buds and friendly folks. After a bit, we were invited to partake in some moonlight swimming, in a huge stainless steel pool, on the roof of a nearby mansion. Baltimore is more fun than ever.

See you at the shows!

The poll results, after 2 days. (Poll is here.)



- - - - -

Letters from the audience. Enjoy.

- - - - -

I'm not a major Radiohead fan - as a matter of fact, I don't own any of their music - but their approach has me curious enough that I pre-ordered their album. I "donated" 5 pounds - which is about ten bucks US - about the same as one would pay for a full-length album through iTunes.

There's one option you left out when you put up ideas for "MouldTunes": What about, as part of the $40 annual option, a physical copy of the album on CD? Or would that be part of a $50 annual rate version instead (I'd still pay it.)

BOB: Agreed on the additional tactile asset.

- - - - -

I found your poll, and the answers to your poll, very interesting.  So far, most of your responders would choose the artist subsidy.  Which is also what I chose, but it was entirely personal.  For YOU, I'd choose that model because there's a consistent body of work there that I continue to support.  But, I don't know if that'd be the case with every artist I listen to.  Then, there's also the possibility of the artist not completing "promised" work within a reasonable amount of time, so one runs the risk of people wanting to withdraw the subsidy. 
Interesting concept.

BOB: If I could not complete in the period, I could waive additional annual fees until fulfillment of the previously paid "year".

- - - - -

I answered with the "album length release $10" option, but I wanted to
point out that I'd also be happy supporting you on an annual basis,
but I'd still want discrete releases. I'm much happier when musical
artists release cohesive albums than trying to compile a bunch of
"singles". It's both more artistic and easier to deal with. Plus, I
get the impression that you prefer albums. Well into the CD era, I
could still feel you having a side 1 and side 2. As to the actual
price, I cannot see paying more for a download than for an actual CD,
unless there was more content. There are certainly not any more
features.

BOB: I do prefer albums. As do most of you, it seems.

- - - - -

As a fan, I think that it never hurts for artists to explore new ways to distribute thier work.
The Radiohead campaign might be going to extreme's.
Yes, you should absolutely be paid for your work, and as a fan, I have legally purchased everything available to me, by you at the time.
Your idea of having a yearly fee, essentially subsidizing your work is extraordinarily intriguing to me, as it obviously is to others by the thus far results of your poll.
As a rabid fan of yours, I think it would be well worth the annual subsidy to be able to devle into your musical world a little bit more.
How tiring it could be year in and year out may be a different story.
As an artist myself, albeit in a different genre, I know how difficult it can be to sometimes be creative -all the time, which is what consumers nowdays demand.
 
What an interesting debate though, and I am incredibly curious to see where this all leads.... if anywhere.
Radiohead could end up being the first band to sell 20 million copies of an album..... for 10 cents a piece.

BOB: That is only 2 million dollars for Radiohead. :)

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Just my knowledge-less 2 cents.  I would be thrilled to be able to support my favorite artist for a year/month/decade etc.  How cool would it be to be doing business locally with the artists I love.  I am now in a financial place where I could support a couple of artists.

- - - - -

My 2c - I very much enjoy a physical, packaged, product. I always buy
everything you release, and buying your tracks digitally just wouldn't
provide the same level of enjoyment. I've got all your releases, where
possible, on vinyl, and will continue to buy them in this medium (and a
digital format) because this is how I enjoy albums the most. There is
nothing like the commitment that comes from slapping a slab of vinyl on the
turntable.. And you get nice full size artwork too.

BOB: I sense a trend. The Feb 5 album on Anti- (US) is scheduled for vinyl.

- - - - -

I do not own an Ipod or any other digital audio player besides my computer.  My cd players still work.  Hence I have not purchased digitally delivered music very much, with a few exceptions.  One notable exception was my purchase of your album Workbook - Quite possibly my favorite record of all time.  I had already owned Workbook in three formats; 12" vinyl - not very portable, cassette - obsolete and quality goes over time,  and CD - lost it, loaned it to friend or something.  When I purchased the media from Sympatico, the songs downloaded fine but due to liscencing issues I was never able to burn a cd which was my goal in purchasing the record.  So my trouble has been in managing licenses.  Anyhow eventually I will have to get with the times which is difficult when your wife is a penny pincher and you have a toddler running around at home, but I digress. 
 
I thought the artist subsidy option was most interesting because the price seems fair and I would feel more like I am a supporter of the artist.  It's like making an investment.  I would only choose this option though if it was with an artist who I am confident will continue to make music that resonates with me.  You are an artist who continually releases good material so no worry there but I have to ask, might this kind of arrangement cause some artists to release substandard music in haste in order to keep up their end of the bargain?  That would seem a rip-off and it compromises the integrity of the music and the artist.

BOB: Absolutely. It would probably be reflected in the following year's subscription count. To the earlier point: it peeves me that you can't make a CD of something you paid for FOUR times, and so you know, I will never see a penny on your transaction. This is a perfect example of the music industry disrespecting the fan who still supports the old model. It will get better, but right now, it's frustrating for both of us.

- - - - -

I love the blog, and your recent poll concerning online music
distribution compelled me to write. I would gladly pay a yearly
subscription to have access to your work, particularly non-album
tracks from past, present, and future, but I still have an innate need
to possess the physical cd medium, complete with liner note and
packaging. The Body of Song package was fantastic, and despite being
in Australia, I sought it out and paid above retail for it.

The perfect solution for me would be an annual subscription (US$20-30)
with a discount on the purchase of the physical album releases every 2
years or so, also through an online payment.

The idea of being notified when you complete a group of 10 songs and
package as an album is an interesting one, but I feel it may dilute
the importance of 'the album', which I still value dearly, despite
being only 23 years old.

BOB: I'm very impressed and encouraged!

- - - - -

Interesting to read your views on the Radiohead release. I voted in your poll and went for the $20 option. If it's of any interest to you the subscription idea is a god model too, but I didn't pick that based on the type of venue you generally play here in the UK (or at least Scotland) i.e unreserved standing and generally easy to get tickets for.

BOB: There are other perks that can be created, when it comes to the live side of the equation.

- - - - -

I have thought long and hard about the options on the poll, I realise that nothing stays the same. I also appreciate the need for the artist to make money. I can see advantages to every option that you list, and in the future I could quite easily see my self doing any of the options. But, and this is a purely personal but, I like the hardware of an album. The way the songs evolve, the way they fit together. The artwork, how it fits in with the feel of the album. Not just the cover but the whole of the artwork.
I do download music, I love how instant that is, personally I shall be disappointed if all music sales went digital.

- - - - -

Guy, you have a pretty committed fan base, of which I am one member. I Iike what you say,and how you say it, so the public radio approach works for me with regard to your work, as well as that of a handful of other artists I’ve followed for years.
 
But I can think of many artists I enjoy whom I could comfortably slot into each choice. It’s a wise decision to experiment… and to have as many options for your fans as is comfortably manageable.

- - - - -

Bob.  I want your next album in a jewelcase on a hard copy CD, as I have always purchased your album. I've been a fan it seems forever (or at least since Zen Arcade).  The Limited Body of Song box was beautiful. I don't mind dropping a twenty dollar bill to help support your work, it's a reasonable request.

NOW, MY take on the Music Industry.  I have many times borrowed CD's from other people of other artists and burned them. WHY?  Because the Industry itself is GREEDY.   I don't believe any artist from 30 years ago ( Zeppelin, Who, Jethro Tull, etc etc ) should have Discs with stickers from  15.99 to 18.99 in the few remaining record stores.  I would buy twice as many discs on record store visits if I were paying 6.99 or 7.99 for OLD albums on disc.  It would be different if the record company were more fair with sharing their profits with the artist, but you and I both know that doesn't happen.

THE ROLLING STONES just Grossed 500 Million,  just on touring.  Now they are putting out a DVD of the tour.  In my opinion,  anyone who grossly put out 250 dollars for a concert ticket,  should be given one of these DVD's for free!!!    And don't even get me started on 35 dollars for a T Shirt.
 
NOW IF YOU made some shirts, it cost you more money, because I know you had to put up for the Artwork expense, the shirt expense, etc.  and you would be only making X amount of shirts.  But these Arena Touring bands had 500,000 or more shirts made, and I'm sure in BULK it didn't cost them much to have them made.  I can't tell you the last time I purchased a concert shirt.  It's been quite a while.

BOB: I hear what you're saying.

It's never good to piss people off, but if you're a guitarist, do NOT piss off your guitar tech. Ouch. My head hurts. First spotted at Stereogum.

Much easier to digest is this clip from, oh, about mid-1985 WWF television. Gene Okerlund was a great straight man in the business; Don Muraco is one of my all-time favorites, and Bobby Heenan and Ken Patera can barely keep from busting a gut as well. Great stuff. I worked with Okerlund and Heenan at WCW in 1999 and 2000, and they are as funny and witty off the camera as they are on.

The poll results, after 1 day. (Poll is here.)



60% prefer an "annual fee" model. It's an annuity! Of those who prefer the annual fee, roughly 3 of 5 would pay $40. Some sites have commented that my $40 suggestion is too low, given the expenses involved in running an indie music cottage industry. Perhaps so; I have not truly crunched numbers.

33% prefer the existing pricing structure. No real surprise there. The industry standard appears to be a fair price for established artists' work.

7% would pay an above-market premium direct to the artist. Maybe we shouldn't think about increasing the price of an album again. There appears to be a portion of the public who would pay more, knowing it all goes directly to the artist.

The biggest surprise (to me) so far: the preference of album over song!!! As most of you know, I am a firm believer in the power of the album. It is the traditional vehicle for deep storytelling: this is where I've been for the past 18 months, the people and places, the colors and sounds, the unedited photo collection.

There are plenty of days, when finishing a new song, where I want everyone to hear it immediately. There is nothing quite like the rush of completing a new work, the joy and sweat and pain and vulnerability still visible on the surface. I was surprised to find my audience prefers the work to age a bit, to be presented in the larger and longer format.

Tomorrow, some well thought out e-mail responses from the fans.

Off topic: the video for Pyramid Song by Radiohead. A haunting piece of music.

If you're visiting for the first time, welcome! Thanks to Idolator and Coolfer for the mentions on this morning's post. The poll is down the page a bit. It's a preliminary attempt at tyring to figure out what might work in the future.

As we (artists and patrons) move ahead, our relationship is changing. Like any relationship, there's going to be disagreements, bumps in the road, all that stuff. I don't think the music business is inherently bad, or excessively greedy. Some people at big labels are real fans, and truly believe in music, and the emotional resonance it can conjure in the soul of the listener. Most people at indie labels are bigger fans than most of us; why would they continue to work in the business, given its' current sad state? Technology has changed the way we acquire all forms of entertainment and culture. FCC laws have changed the rules over the past 15 years, and not always for the better of either artist or fan. Competition for limited disposable cash is fierce.

I'm not into bashing either side. In time, we will all settle into a system that benefits us all. The struggle between creator and distributor will never end, but some sort of balance will eventually be reached. New artists need help; labels can offer that support. There is always a price to the artist. The Radiohead scenario is unlikely to work for new artists. Radiohead are a worldwide brand, and have built an intimate relationship with their fans. It has taken them years of hard work, and lots of financial and promotional support from the big machine. I applaud their decision to try a new delivery method.

While I have your eyeballs, I have a new DVD coming out next Tuesday. I'm really proud of it. You can pre-order a copy here, or come to one of the "screening party / solo performance / Q&A / autograph events" in the next few months. There's a sample clip at the Trixie web site. It sorta rocks.

- - - - -

Billboard makes mention of the poll.

Radiohead's approach to the release of their new album has the entire music business talking. My quick take: it's great that everyone hears the music at the same time. The two main reasons albums are available prior to street date: long lead press (who are serviced up to three months in advance) lets a copy out of their possession, and musicians who give copies to their friends (who either upload it, or leave it lying around). This model eliminates that scenario. How much will people pay? I'm not thrilled to say this, but I say an average somewhere around 4. $4 US, $4 CAN, 4 EU, 4 UK. This model is not for everyone. The skeptic in me says the next big band to try something like this will be silently, and invisibly, financed and marketed by a major label. A good analysis, and comments, at Coolfer. Another similar take at PopMatters.

My next album is scheduled for a US release on February 5, 2008 through Anti, with other major world territories to coincide through Beggars Banquet. So, I will not be trying a new model with the upcoming album. But, if I were to abandon the traditional model, would you support my work? And if so, what model would be acceptable? Here's three that I have long thought are reasonable. Please be mindful of the following expenditures: studio cost, musician fees, equipment upgrades, rent and utilities, web site maintenance, management, publicist, other professional services. My parts and labor.

Individual songs, $1 - 2

When I finish a song, you are notified by e-mail. You are directed to a secure site, some sort of unique password is generated, and you download the DRM-free file.

Album length release, $10 - 20

When I finish a group of 10 songs, you are notified by e-mail. You are directed to a secure site, some sort of unique password is generated, and you download the DRM-free files.

Annual fee, $20 - 40

Artist subsidy. In return for underwriting my work, you receive all music as it is completed, as well as exclusive content (video, artwork, stuff from my storage space). When tours are scheduled, additional consideration at each venue (VIP seating, etc.).

Take a moment to choose.

What model would you support?
	Individual songs, $1
	Individual songs, $2
	Album length release, $10
	Album length release, $20
	Annual fee, $20
	Annual fee, $40
Free polls from Pollhost.com

- - - - -

Idolator makes mention of the poll.

Coolfer makes mention of the poll.

- - - - -

A nice mention of the upcoming DVD / solo / Q&A shows at P4K. And, as a bonus, a nice interview with Daft Punk. Check out their top 5 "make me want to dance" songs at the end of the interview! (You all should know the love and respect I have for this crew.) Thanks, Thomas. You rock.

- - - - -

Last week, the DC weather was amazing. I am thrilled to announce that the left ankle is functioning at 85%. Perfect scooter weather. Monday and Tuesday nights, walks in the hood, and coffee with buds. I am tired of getting hassled by seemingly (well, certainly) homeless people when trying to unwind after an honest day's work. A long interview for an upcoming career-spanning piece in Filter Magazine. Wednesday, reviewing potential publicity and packaging portraits, and an evening with the Procedure folks at Gate 54. Thursday, SMDF. Friday, WOOF.

Saturday, lots of coffee and walking, a good workout, and a late night at the Eagle. Sunday brunch, followed by more wandering on foot, a big grill at the ranch, and a late night coffee / leather shopping stroll.