THE FINGERTIPS Q&A Jill Sobule May 2009

Every month, the Fingertips Q&A sends five questions about the state of music in the digital age to one actual, working musician. I've gotten to where I'd much rather find out what someone who's out there trying to earn a living wage in the music industry thinks about all this stuff than read the bloviations of one more blogger or technology expert. This month I'm delighted to get some perspective from singer/songwriter Jill Sobule. Although she started recording albums long before anyone was even dreaming of a digital music scene (her first record came out in 1990), Sobule emerged this year at the cutting edge of music industry innovation when she released an album, California Years, that was funded entirely through fan donations. Aiming for $75,000, she ended up with $89,000. The very music industry honchos who would traditionally ignore an artist as witty and idiosyncratic as Sobule might now learn a thing or two from her. Q: After all is said and done, what's your favorite thing (if any) about digital downloads? What's your least favorite thing? A: My favorite thing, of course, is how easy it is: no getting in your car, battling LA traffic to buy music at a store that doesn't exist anymore; no getting out your credit card, once more, to order a record online. With iTtunes, say, all I have to do is type my password. The bad thing of course is how easy it is. I think it's like Monopoly money. The other bad thing is I miss, when downloading, all the liner notes and credits. I want to know who played the tambourine on track 2, or who actually wrote the song. I don't know why they can't provide that info. Q: There's an idea floating around that says that music should ideally be treated like a utility, like water and electricity-- that it'll be "on tap," everyone pays a little each month and gets unlimited access. No more paying by the song or album, in other words. What do you think about this concept? A: This sounds dumb. Everyone needs water and electricity. But music is diverse, rich and individual. It would be like one house is provided Evian, another Poland Spring, and the lower middle class still uses tap. That made no sense, but you get the idea. Q How has your life as a musician been affected--or not--by the existence of music blogs? A: Oh, for artists, as myself, who are not "stars," the blogs keep us vital and "in the news." Before, in the days of yore, one would have to rely on the big magazines or newspapers. I also like how the A&R-ing, or "curating," can be done by some guy with good taste and a computer, as opposed to a record label. Q: What are your thoughts about the album as a musical entity-- is it dying? Or are reports of its death greatly exaggerated, as the old phrase goes? A: Oh, I do lament the death of the album--if this is true. I am still suspect. Maybe I'm old, but I loved the idea of songs, as short stories, in one book. For me, just one single doesn't define an artist. I like hearing Abbey Road or OK Computer in its proper sequence. Q: A lot has been made of the assertion that in the future, people won't buy music, and artists will make a living only via performance. What are your feelings about that idea? A: My feelings? Well, it's like asking the cobbler to give his shoes for free, but you can pay to see him make them--okay, really bad analogy. I am also thinking about the songwriter here and not necessarily the performer. How does he make a living? Well, if performance is the only way, in the future, that an artist can make money, then that artist should actually know how to play his instrument. That singer cannot rely on Auto-Tune alone. That cobbler better put on a good show. Previous Fingertips Q&A interviews: David Harrell (the Layaways) (April 2009) Joey Barro (The Traditionist) (March 2009) Dave Derby (Gramercy Arms) (February 2009) Shane Nelken (The Awkward Stage) (January 2009) Mark Northfield (December 2008) Mike Reisenauer (Pale Young Gentlemen) (November 2008) Brad Armstrong (13ghosts) (October 2008) Dirk Darmstaedter (September 2008) Jonatha Brooke (August 2008) © copyright 2009 Fingertip Productions