I was sitting here navigating the social media this past week when I noticed a rockumentary I thought I had seen before— one on Ed Dougherty, who had headed up Oregon’s connection to rock music back in the sixties, booking acts both local, regional, and national in the Pacific Northwest. I was sure I had seen it, having written about it in more than one of my columns, but I was feeling nostalgic and took the plunge anyway.
You’re sitting there watching television and all of a sudden music starts seeping into your subconsciousness and you think what the hell, because some elephant has entered the room but you can’t see it, but it dawns on you that you can hear it. You think.
I know it’s true because I have just had an epiphanic weekend (and a few naps) and can see clearly now (with a nod to Johnny Nash, whose I Can See Clearly Now has indeed stayed the same for decades). It has been a flashback in more ways than one. The music, of course, for I have been handed some of the best retro I’ve heard in some time. A few thoughts came to mind too, thanks to Jaimie Vernon‘s reactivated Bullseye Canada Records and a bit of time trying to figure out exactly what happened to the old music industry paradigm, and while I see a bright future for music I see a constant morphing happening as well. The print side of music is also showing signs of life again, though not yet for writers, who will have to suffer the bread lines for awhile longer if not forever.
Bullseye Records of Canada
Segarini: Don't Believe a Word I Say 