Nowhere, Man?

I read with interest Robert Hilburn’s article on the state of British music (“House of the Setting Sun,” Sept. 26). I largely agree with his analysis of the malaise that the English music scene has found itself in, but I would make this comment regarding the reason.

If I read Hilburn correctly, he is laying the blame on the record companies for signing the wrong acts. I would have to say categorically that because record companies tend to be followers of trends, not creators of them, that the blame must be laid elsewhere.

In my opinion, the blame lies entirely with the British music press, namely Melody Maker and New Music Express, who, since they fell into the trap of the punk era, have been anti-music and viciously cynical, putting obscure, useless bands on their front covers. When some group does show signs of promise, they belittle them without mercy.

Add to that the monopolistic power of the BBC, who have often played to death the first single of an act, watching it go to No. 1, and then refused to play the subsequent singles because they don’t meet some obscure criteria. The British media have been shooting the British music industry in the foot for the last 10 years. The result is the malaise Hilburn describes.

One comforting thought that Hilburn noted in speaking to the common man in the street is that you can’t fool the public. The British, as a population, are buying American artists instead of the bull sponsored by Melody Maker and NME.

On a happier note, I am still finding England to be a great source of talent and have signed a number of bands from there in the last 12 months that I am very excited about. One group, the Point, would fall into the category of techno-dance, but with enough depth and musical ability to actually be a longtime album-selling group. I have also signed the Ozric’s Tentacles, who are a phenomenon in England, and Kirsty MacColl, whose new LP is already receiving critical acclaim.

MILES A. COPELAND III

Universal City

Copeland, who managed the Police, currently manages Sting and Squeeze, among other British acts.

The British Invasion happened for a number of reasons. The American music scene was regurgitating shallow songs about cars and surfing. A lot of us wanted more, and the Beatles had it: emotionally charged vocals, provocative lyrics, a new sound and, yes, a new look.

Brian Epstein knew what he had, and he knew the American music market was primed for a new sound. He didn’t just read about them in NME and get them a record deal; he worked them in clubs forever.

No live music clubs left in England? Well, send the acts to Dublin or Berlin. It’s the same scene here in the States, with rave clubs and deejays taking the place of live musicians. This is what created live music outlets in “alternative” smaller markets (Seattle).

The Beatles and the Stones were influenced by the greatness of American artists, the likes of Buddy Holly, Chuck Berry and Little Richard. In turn, hundreds of American groups were influenced by the Brits (including R.E.M., Nirvana, etc.). These cross-continental influences have been going on for years and will continue to do so.

Let’s hope that insecure, bottom-line, no-risk-taking business and poor management will stay out of the way and let us hear talented musicians from all corners of the world.

BROOKE HALPIN

Malibu

My guess is that Hilburn interviewed his sources while buying them lunch, because they certainly gave him the right quotes. “Maybe Nirvana and Guns N’ Roses are just better”? C’mon.

My other guess is that he spent about a week in London researching his “Star-Spangled Banner” of an article and hardly left his hotel. Why does it take so long for him to mention Suede, the Cure and Morrissey’s Smiths? And what about the entire issue of England’s Select magazine dedicated to the theme “Yanks Go Home,” which specifically criticizes “cock-rock” as contrived and exhausted?

It takes Hilburn until the final paragraphs to suggest that some British bands don’t want the fishbowl existence of Kurt Cobain-like fame. He mentions the techno and dance scenes, which have so few commercial artists. That’s on purpose. The “rave” deejays stand philosophically opposed to people who buy Guns N’ Roses CDs in Piccadilly Circus.

Could it be that international fame is not the goal of every musician?

KEVIN STRICKE

Los Angeles

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In making the Beatles their overwhelming choice for best British rock band, your critics are just showing their age (“From the Fab Four to Throbbing Gristle,” Sept. 26). No teen-ager today would admit to listening to the Beatles, whereas many are still proud to wear Led Zeppelin T-shirts to school.

The test of time, you must remember, will not be conducted by you baby boomers but by future generations. Your omission of Pink Floyd from the Top 10 is a travesty. The group’s influence on rock music has spanned three decades, and its “Dark Side of the Moon” has been on Billboard’s top-selling album list longer than any other album ever.

Half the bands your critics listed didn’t even last more than a couple of years, while Jethro Tull, which is still going strong, didn’t earn a single point. The exclusion of David Bowie on the grounds that he’s a solo artist must have been someone’s excuse for making room for the innocuous Kinks or Who. I think you all must be jealous of true quality.

What I can’t figure out is how you couldn’t find a way to include Bruce Springsteen on your list. Doesn’t he have a Union Jack tattooed on his butt?

ARNO KEKS

El Monte

I find Led Zeppelin’s sixth-place finish in your British Top 10 list a great injustice not only to one of Britain’s great bands but to rock ‘n’ roll as well. While I have no problem with the Beatles and Stones, the others are questionable at best.

The Who’s longevity shouldn’t put them ahead of Zeppelin, and has anyone really figured out exactly what the Sex Pistols were playing? The thought of the Kinks being ahead of Zeppelin is enough to make one sick.

As for the ultimate British dream band, out with Ray Davies and in with Jimmy Page. And your putting Ringo Starr, whose only contribution to the ‘60s was a pulse, ahead of John Bonham is an insult. Relaxing in heaven or hell, Bonham probably dropped his bottle of whiskey when he heard that Ringo the Clown was sitting on his drum stool.

JAMES VALLEJOS

Diamond Bar

I kept reading and rereading the following sentence: “The Jimi Hendrix Experience was ruled ineligible because Hendrix was an American. The Pretenders, however, were declared eligible because American Chrissie Hynde makes her home in England and the rest of the original band was British.”

As a resident of London from January, 1967, to July, 1969, I hung out with Jimi, Mitch Mitchell and Noel Redding on many occasions, both social and professional. During that entire period, Jimi was in London, and Mitch and Noel were British (and of course they still are!).

Regrettably, Jimi does not live anywhere anymore, but I fail to understand the exclusion of this enormously popular trio.

SALLY STEVENS

Studio City

Letters should be brief and must include the writer’s name, address and phone number. No pseudonyms may be used. Letters are subject to editing and condensation. Mention date of publication when referring to a specific article. Mail to Calendar Letters, Los Angeles Times, Times Mirror Square, Los Angeles 90053. Letters may be faxed: (213) 237-7630.

FEIFFER

The Little Box in the Upper Right-Hand Corner

Every few months, Calendar prints a letter from a Writers Guild member (such as myself) complaining that an article about a film (such as “Short Cuts”) has explored the great contributions made by its famous--and often talented--director (such as Robert Altman), while either ignoring or downplaying the contribution made by a screenwriter (such as Frank Barhydt).

This is that letter.

MONTE MONTGOMERY

Crestline