Review of a List of Songs.

Specifically responding to this post of 11 songs, posted by A Journal of Musical Things!  Check out their website, it’s very cool!… Allen Cross has a lot going on over there on that there website.  There’s a ton of good stuff to read about, and music to learn more about.

The Eleven Songs Listed:

ARTIST SONG ALBUM
1 Jamiroquai Automaton Automaton
2 Dan Auerbach Shine On Me Waiting on a Song
3 Flatliners Indoors Inviting Light
4 Broken Social Scene Half Way Home Single
5 Sorority Noise No Halo You’re Not As ____ As You Think
6 Fox Grin Fall Into You Dawn EP
7 Big Walnuts Yonder Sponge Bath Single
8 Imaginary Tricks Bird Skommel
9 Crown Lands Being Right Single
10 Maximo Park Get High (No, I Don’t) Risk to Exist
11 B.Miles Running B.Miles

Essentially just a list of 11 songs, as not much is said about the music other than

“Some really interesting stuff came across my desk this weekend, including an up-and-coming Canadian two-piece called Crown Lands. If you haven’t heard about them yet, you will. The other ten songs on this list are pretty cool, too.” 

So why are you here? Because I have a thing for lists… when a list of “hey check this out,” falls into my lap, I like that stuff, and I take notice.  I’ve listened to all 11 tracks from eleven to one…and it just so happens that as I’m typing this sentence I’m listening to the last song on the list…

[Note: If you’re reading this review of this list of songs, and haven’t listened to any of the songs…just stop reading right now. Go buy the songs on iTunes, and come back. Please. Seriously though, none of this is going to mean anything to you… this is just my impromptu ramblings about music…and bands that coincidentally & sometimes tragically, but probably unknowingly are repeating parts of rock and roll music history.]

Screen Shot 2017-04-08 at 2.59.00 PMThe number one track on the list, by Jamiroquai… kinda cool, but I can’t help but wonder if this number one spot has some sort of financial backing behind it? (probably the conspiracy theorist in me thinking too much) … it is Jamiroquai, and they haven’t done shit in a very long time (6+ years). And in case you’re wondering… Jamiroquai is NOT touring the new album in the USA (yet), but they are elsewhere in the world (ok.). I’m not really excited about “Automaton.” The intro starts out with a move coined by Ozric Tentacles on their album Erpland in around 2003? (Something like that)… Jumps into a robot kinda feel taken directly from Daft Punk.  The entire track sounds like it was done with a keyboard & ableton live (ok.), happy for Jamiroquai to wake up after 6 years and join the scene again… I guess? This song is not worthy of a Napoleon Dynamite dance scene…that movie ruined everything for this band… seriously… it’s sad but true…maybe that’s why they took 6 years off.

Song two on the list is Shine on Me, by Dan Auerbach… it has this ice cream cone,maxresdefault roller rink slash carousel feel, sounds exactly like Dire Straits: Walk of life, but on guitar…I almost thought it was going to be cover until vox entered! Hilarious… good times. The lyrics “shine on me,” are very original let me tell you! Basically anyone can sing along to this track.  I like the glockenspiel and clapping, it’s taken catchy to “eleven!” (Hilarious Photo!) —>>>

imgresSong three on this list is Indoors by The Flatliners,  begins exactly like a poor version of Surf Wax America by Weezer, and changes into this… uh, like a… Temple of the Dog kind of Seattle sound kinda feel, with a classic lead guitar intro, uh…puke! This is the worst type of crap that sends me running out of the grocery store! Backed by the classic, “I just started a garage band drum beat, including the whole single stroke drum build and all.”  Sorry, I had to turn this one off, I tried very hard to give this track a second listen. Nope. No way… but hip milfs in their yearly 30’s may just eat this stuff up… maybe that’s their target audience, I have no idea… this is the first time I’ve ever heard of this band.

Song four on the list is Halfway Home, by Broken Social Scene.  This song opensimgres-1 like… pick any U2 anthem type song that flows, drives, builds, and adds those long extended vocals lines like on: I Still Haven’t Found What I’m Looking For, Where The Streets Have No Name, or Pride (In The Name Of Love).  But this Bono feel doesn’t stick around but for a minute or so, It fades into a sort of… no wait… it’s like that for longer than a minute… cool guitar noodle solo into the bridge… I like the bridge, and I like the build. But U2 has done this before. (sorry, I really don’t know what else to say… start a U2 cover band maybe? you’d be great!…oh wow, look! You guy’s met Stephen Colbert!…how cool is that!)

maxresdefault-1Song five on this list is No Halo, by Sorority Noise.  This song starts off like an old Blink 182 tune, followed by driving drums, and half way spoken lyrics… Good lyrics…really great lyrics!  Like this song!.. it’s really well written, and I wanna go get in my car and drive…no fly down the freeway at around sunset and blast this song on my Rockford Fosgates!!! This is a great song, and by far the best song on the list if you’re listening from one to the end… clocking in at 2:50 seconds, I could listen to this tune on repeat a few times.  I really dig Sorority Noise, and would say that it’s definitely a worthy listen. Is there a music video for this song? I’ll have to look for that.  “When god called you to fulfill a vacancy, I tried to see why it wasn’t me.” I like this Band.

Song six on this list is by Fox Grin and it’s called: Fall into You. This is a well maxresdefault-2written song. I really enjoy the voice, the singing, the harmonies… I really enjoy the way it’s put together.  Very good drums on this tune.  Everything in a great song starts from the bottom up…the bass and drums on this are locked and loaded.  The rest of this song floats upon this foundation, and in 2 minutes, 43 seconds, it’s over…bam! Very good song from beginning to end… it’s got it all: Sweet piano licks, Vocals, percussion, chord progression builds and flows, back ground vocals add & lift the song, and then there are intimate breaks for the lyrics to come in and give this really sweet message “Fall into You.”  I like it. I like it a lot, and I’d go see this band live (if that doesn’t say anything, I’m not sure what else to say.)

imgres-2Song seven is called Sponge Bath, by Big Walnuts Yonder.  There’s a lot going on in this tune… it’s very layered.  There’s this Trent Reznor thing going on with the vocals that I like…it’s in the back, it’s subtle, but it’s important.  Feels like BucketHead might have produced this track.  Most of all I like that you can hear that this is an actual band. I might like to hear the rest of this record.  Like I said…I get this sense of a sort of Faith No More, Mike Patton influence thing going on here that I appreciate. This is a cool track. I dig it, and i’m sure some day they’ll open for the R.H.C.P. if they’re lucky! Way to go!

Track eight is Bird, by Imaginary Tricks from Brooklyn NY… straight from the top,imgres the listener gets this feeling that what’s about to be laid out is coming from an inner place… of musical honesty. It doesn’t try to follow in the footsteps of everyone else… The lyrics speak directly to the listener, and tell you precisely the point from which the song was written… like a conversation.  I can’t compare the beginning of this song to other music… it’s just music.  It’s simple, and it does what it needs to do… Provides a beat you can bob your head to… to a story that is being told, and a sound scape to back the story.  There is a guitar solo that is raw, and real, and it sounds good.  “Despite what you’ve heard, I am still feeling like a little bird. flying away… despite what you’ve heard, I am still feeling like I’m not out of line for more than freedom.”  There are background vocals that just melt back there…simmering through the chorus, providing almost this faint feeling… reminiscent of Brian Wilson two part harmonies… with this rolling arpeggiated backing guitar, and another guitar track matching the vocal melody interspersed, this song has depth and intricacies. I bought the album, you should too (that says a lot)… don’t let this one get by you.

imgres-3Song nine is called Being Right, by Crown Lands.  I feel like every garage band in history has played this exact groove at one time or another… I believe I played something like this exactly the first year I learned to play bass. The catch phrase “Don’t you hate being right?” is working fantastic for me at the moment.  It’s like maybe the voice of the late 70’s… think Alice Cooper/Foghat/Ozzy but then you don’t know who those people are, so you’d compare the singer to Jack White.  I appreciate the synth keyboard nod to YES, but I’d probably skip their set altogether, and doubt they know who YES is.

Song ten is by a band called Maximo Park, called Get High (No, I Don’t) and has imgres-4this completely reminiscent generic bass line that you can’t exactly put your finger on, but you feel like you’ve definitely heard it before on the radio, like a hundred time and had to turn the channel to something else quickly…like talk radio.  The chorus is a very tight comparison to any indie rock/post punk kind of thing, with little originality.  There is a risk to exist, and this song has rolled the dice. (Craps!) Next please…

imgres-5Song eleven is Running by B.Miles.  I like this gal.  She’s got the whole overly-produced studio track thing going on, with a Macy Gray kind of rasp to her voice, this track has an R&B quazi mainstream media, clear channel radio station feel.  I don’t exactly see how this song ended up on this list in particular… but I’m sure a lot of Erica Badu fans would enjoy this B.Miles. Cheers!

Now go see a live show, support your local music scene, tip your bartender…& most of all support your local music education programs!!!… it’s the key to a good and decent next generation of live music!!! (kinda hard to argue after listening to this list of music huh?…)

The Rise and Fall of Ziggy Stardust and the Spiders From Mars by David Bowie

PHISH IN VEGAS 2016: THE BOYS DELIVER ANOTHER MGM BLOCKBUSTER ON HALLOWEEN

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Photo: Christopher DeVargas

Phish October 31, MGM Grand Garden Arena.

Ziggy played … by Phish Let’s cut to the chase. For its Halloween night musical costume—where someone else’s album is covered in full—Phish chose widely rumored The Rise and Fall of Ziggy Stardust and the Spiders From Mars by David Bowie, and despite the fairly straightforward interpretation by the improv-rock masters, it was a no-brainer for many reasons: It’s poignant not just for Bowie’s passing last January, but its tragic narrative; it’s a tribute to the man whose name titles one of the Vermont quartet’s most revered songs; Ziggy is a benchmark album in line with previous musical costumes (Phish’s own Fuego and Disney’s Chilling, Thrilling Sounds of the Haunted House sound-effect album excepted); and it offered the band a chance to showcase talents not easily exhibited during its more jam-heavy material. For instance, each band member showcased their vocal strengths throughout the 50-minute, second-set performance (often aided by three backup singers and a six-member string section), including drummer Jon Fishman’s standout singing on “Soul Love” and “Star,” and Mike Gordon, whose confident intonation on “Star Man” held the line despite his simultaneous recreation of its prominent bass-line and the MGM Grand Garden crowd’s deafening singalong.

That being said, Phish’s signature musicianship soared during the swaggering “Hang On To Yourself,” with pianist Page McConnell particularly leveling the roughly 17,000 spectators, and a rendering of “Moonage Daydream” so outstanding, it could have closed the set if not for its early placement on the album, with credit mainly due to guitarist/singer Trey Anastasio’s Bowie-similar croon and heavenly leads, made even more celestial when paired with the backing vocalists. In all, Phish’s Ziggy may not have been as imaginative as diehards might have expected, but few could quibble with the veneration, precision, enthusiasm and care its players demonstrated. What a thing to have witnessed.

Halloween parade Phish’s Halloween show is as much about the crowd—and, specifically, what they’re wearing—as whatever the band has musically donned. And even though the “phans” always seem to exceed the quota of Dudes and Walter Sobchaks, Marios and Luigis and Hunter S. Thompsons, their costume craftsmanship and creativity still abounds. There was a Bucky Larson, the most glamorous Medusa ever, the couple that went as Phish songs (“Maze” and “Possum”), the chef that had “Fe” on his apron (think the periodic chart of elements) and the dude dressed as the Stranger Thingsalphabet wall Winona Ryder’s character uses to communicate with her missing son, Will. So how do you possibly stand out in such a vast congregation of characters? Go as stick figures, like the one couple in Section 5, wearing nothing but black bodysuits and bright green electroluminscent wire, which was visible even when the arena lights went out.

Trey attacks Ziggy was the second of three sets Monday night (which, with a single-song encore, made for a nearly five-hour show), during which Anastasio shone not only as an occasional Bowie, but as electric guitarist Mick Ronson’s stand-in. He was also the star of the preceding set, which sounded unusually muscular and strident for the early portion of a Phish show. His “Kashmir”-like riffage in opener “Carini” drew one of the loudest crowd roars of the night, his frenetic fretwork stole the show during “AC/DC Bag,” his clarion chords for “What’s the Use?” soared even with his other three bandmates contributing more downcast tones and the only thing cooling down his scorcher of a solo during “Run Like an Antelope” was the immediate gearshift into a ragga jam—one of several turn-on-a-dime transitions that made that particular song such a perfect end to a bracing first set.

Play it again, band Of the 31 songs that comprised Monday’s prodigious setlist, five overlapped with Phish’s last local Halloween show two years ago in the same venue: Set-three one-two punch “46 Days” and “Sand,” “Tube,” “Your Pet Cat” (from Chilling, Thrilling) and set-one highlight “Wolfman’s Brother,” which was also featured in Phish’s first Vegas Halloween show in 1998 at Thomas & Mack.

Other notable appearances from the Phish catalog: “What’s the Use?” from the band’s experimental and mostly instrumental album, The Siket Disc; “Ass Handed,” an interlude-like Fishman ditty that didn’t make the recently released album Big Boat, whose sole inclusion Monday night was one of its better songs, the narrative-rich opus “Petrichor”; and “Also Sprach Zarathrustra,” otherwise known as Richard Strauss’ dramatic theme from 2001: A Space Odyssey and one of Phish’s most beloved covers. During the latter song, Trey teased the chords from Bowie’s “Fame,” sealing his status as the night’s MVP.

It’s worth noting that Phish didn’t perform anything twice during its MGM weekend run. That’s 90 different songs over four nights.

Rough landing As it turned out, the third set couldn’t compete with the robustness and adventure of the first or the grandness and resonance of the second, despite “Sand” being almost as much a space opera as the entirety of Ziggy and the numerous peaking “Zarathrustra.” The latter set a high bar of fun that “Backwards Down the Number Line” couldn’t reach, though Anastasio certainly tried during a commendable end-jam. Ditto for closing chestnut “Slave to the Traffic Light,” which felt like a jog to the finish line.

However, it may have wound the crowd down for the fitting encore: a four-man a capella version of Bowie’s “Space Oddity,” which, unlike the faithful Ziggy renditions, was more characteristic of Phish, even as it sounded just as reverential and affectionate. (The song also nods to 2001, the sort of cross-association at which Phish excels.) I was hard pressed to find anyone around me not singing along with the band, and I presume those same audience members also shared my goose pimples. A stunner of an encore, an ideal capper for the night—and a sublime way to send the marathoning faithful back home.

“I Was Wrong,” He Said. “Of course I was. Who Cares?”

By |

Roger WatersFounding Pink Floyd bassist Roger Waters

left the group bitterly in 1985 and famously sued his ex-bandmates at the time for wishing to carry on with the group’s name, but some of his fans appear to have forgotten this. The singer-songwriter has issued a note on Facebook to remind his fans that, while Pink Floyd are indeed issuing their first record in 20 years – the instrumental record The Endless River – he had no role in making it.

“Some people have been asking Laurie, my wife, about a new album I have coming out in November,” Waters wrote. “Errhh? I don’t have an album coming out, they are probably confused. David Gilmour and Nick Mason have an album coming out. It’s called Endless River. David and Nick constitute the group Pink Floyd. I on the other hand, am not part of Pink Floyd. I left Pink Floyd in 1985, that’s 29 years ago. I had nothing to do with either of the Pink Floyd studio albums, Momentary Lapse of Reason and The Division Bell, nor the Pink Floyd tours of 1987 and 1994, and I have nothing to do with Endless River. Phew! This is not rocket science people, get a grip.”

Waters lost his lawsuit over the band name in 1987, and that same year the band issued A Momentary Lapse of Reason. In recent years, Waters has revisited his Pink Floyd past. On July 2nd, 2005, Waters, Mason, Gilmour and keyboardist Rick Wright performed together as Pink Floyd for the first time in nearly a quarter century at the Live 8 concert at London’s Hyde park. Waters has mounted solo tours in recent years, performing the Floyd albums Dark Side of the Moon and The Wall in their entirety, and reunited again with Gilmour and Mason in London at a tour stop for the latter in 2011.

“It was really nice to be part of it and to show support for Roger, not that he really needs it,” Mason told Rolling Stone after their 2011 reunion. “I suppose it’s nice to have Roger wanting to register David and myself as part of it, in a way. It was a mutual thing: it was nice to be recognized but also very nice to lend support to Roger and make it clear that we’re not punching it out in these auditoriums. We’re not critical of him doing it.”

In 2013, Waters told the BBC he regretted his lawsuit over the band name. “I was wrong,” he said. “Of course I was. Who cares?”

In the same Facebook note, Waters also criticized the role of some countries in the Israel-Palestine conflict. “On another subject, my recent trip to Bruxelles was very moving,” he wrote. “To listen to the testimony of some of those present in Gaza during the euphemistically named Operation Protective Edge, July and August 2014 was deeply disturbing. I am still non plussed by the acquiescence of the governments of the USA, UK and EU to the policies of the current Israeli administration. Should we encourage our leaders to sue for a peaceful solution or not?”

The Endless River – which does not feature Waters – will come out on November 10th. The band decided to put out the record after discovering recordings they had made with Wright, who died in 2008, during the sessions for The Division Bell. “We listened to over 20 hours of the three of us playing together and selected the music we wanted to work on for the new album,” Gilmour said in a statement. “Over the last year we’ve added new parts, re-recorded others and generally harnessed studio technology to make a 21st century Pink Floyd album. With Rick gone, and with him the chance of ever doing it again, it feels right that these revisited and reworked tracks should be made available as part of our repertoire.”

Read more: http://www.rollingstone.com/music/news/roger-waters-reminds-curious-fans-i-am-not-part-of-pink-floyd-20141002#ixzz3IEOhuosa
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If you create digital art – Royalties & Misconceptions

This Article comes from:

Travis Dickerson

at

Travis Dickerson Recording Studios

I have been asked on many occasions what I think about music downloading, file trading and music on the internet and its effects on the music business.

I want to be clear here, I’m talking about out of print studio recordings, live recordings, videos and other art produced by working artists that are commonly traded or downloaded freely.
As long as there has been music or art there has probably been the question, how does the creator of things we all enjoy get compensated for the time and talent he or she puts into creating those things? After all, art is not something you have to have to live, it’s just something that’s hard to live without. In other words it’s not life-sustaining, it just makes living more enjoyable. I also think that since the beginning of art there have been the people who make it, the people who consume it and the people who make money off it, and these are three distinct groups of people. In the past it was the collective society or the ruling elite who were patrons of the arts. The Pharaoh, King or socialist state realized it was in their interest to patronize the arts, to show their power or status. With the coming of the digital age, the traditional roles for the players have changed.
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Phish: Faces Melt at MGM Halloween 2014

A prime Phish captures spirit of Halloween at

MGM Grand – A Show For The Ages!

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Fourand a half stars

Phish October 31, MGM Grand Garden Arena.

Phish on Halloween at MGM Grand

Improv act Phish gets handily dismissed for a number of reasons: its long and exploratory jams, its whimsical and largely unsentimental lyrics, its embrace of the musical fringe and rejection of the pop status quo, its easy-to-stereotype fanbase—and humankind’s general tendency to deride anything it doesn’t spend more than 10 minutes trying to understand. Phish’s expert ability to turn the skeleton of a song into a new musical journey on the spot and provide the possibility of surprise anytime during a live set highlights a spontaneity depressingly absent in modern rock and pop.

Phish on Halloween at MGM Grand

  1479439_10152347162101290_8957871965498839551_nThat said, I doubt anyone last night walking into the sold-out MGM Grand Garden Arena had expected the Vermont quartet to offer an original body of music inspired by a 1964 Disney kiddie record comprised of spooky sound effects and narration. But that’s what happened when Phish unveiled its “musical costume”—its irregular tradition of covering another artist’s entire album during its in-demand Halloween night concerts—10 feet atop its stage in a haunted-house facade, the second of three hour-plus sets Friday night.

phishbill2So many previous costumes had indicated obvious band influences of both the canonical and cult-favorite varieties—it covered Velvet Underground’s Loaded at the Thomas & Mack in 1998; in 2009, its go at the Rolling Stones’ Exile on Main Street was considered a safe choice—but never had Phish taken the spirit of the holiday and infused it into its Halloween show. That changed last night, when its mostly inspired take on an old childhood staple, Chilling, Thrilling Sounds of the Haunted House, merged its imaginative, genre-melding musical capacity with the traditional sights and sounds of All Hallows’ Eve.

images-1What began as a mysterious, under-sampled and largely uncompelling experiment—especially during the first two songs, when the band (costumed in white suits and zombie face makeup) performed shrouded by the haunted house—eventually evolved into a fully realized work with a few of the night’s standout numbers. Three songs in, a dance-worthy jam called “The Dogs” hinted at the concept’s promise, and a rollicking piano number with Chilling, Thrilling’s unnerving cat yowls (“Your Pet Cat”) delivered on it, sending the crowd into delirium. The spaghetti western-evoking “The Unsafe Bridge” saw Phish entering Ennio Morricone territory. On “Chinese Water Torture,” keyboardist Page McConnell deftly tinkled out piano effects that approximated the song title’s agonizing falling drops. “The Birds” brought back the boogie, with its Hitchcockian sound and vocal samples—“They attack!” is destined for Phish meme glory—beckoning as many cheers as the number’s recurring four-note melody. And the climactic concluding track, “Martian Monster”—with its own potentially viral slogan (the album’s “Your trip is short” sample)—had each member excelling at his instrument and some ghouled-up characters coming back out for a dance routine.

They would all end the set with a bow, which ended well before the audience’s standing ovation. If that’s any indication—to say nothing of Phish “phan” enthusiasm online, where the set (and rest of the concert) was streamed for free when the band’s for-purchase webcast option went awry—this musical costume will go down as one of the most memorable.047_141031_phish_las_vegas_rene_huemer

Phish—which performed most of the show in front of cemetery gates and ominously lit trees, and its second set in between tombstones with chuckle-inducing names like “Bono’s Humility”—even extended the holiday theme to its first and third sets, opening with its own “Buried Alive” and “Ghost” and encoring with versions of Leonard Cohen’s “Is This What You Wanted?” (chorus: “And is this what you wanted/To live in a house that is haunted/By the ghost of you and me?”) and The Edgar Winter Group’s oft-covered “Frankenstein,” the latter highlighted by some of lighting man Chris Kuroda’s best work all night and McConnell performing with a keytar. McConnell earlier evoked Wendy Carlos (who did soundtrack work on A Clockwork Orange and The Shining) during “Scent of a Mule,” with bassist Mike Gordon also dreaming up creepy ’80s horror noises with what seemed to be his effects pedals.

20141031_Sun_Phish_Concert_MGM_LE3_t1000If the night belonged to any one Phish member, it was McConnell. Standing behind a formidable mission control that included a piano and several synthesizers, he injected a wide variety of sounds and tones that added texture and depth during verses and choruses and leads from other band members, and transported onlookers when the spotlight was on him. He (and his clavinet keyboard) especially contributed to the night’s heavy infusion of funk, complimenting Gordon’s versatile—and frequently melodic—grooves, especially during the particularly punchy first set (see “Big Black Furry Creature From Mars” and “Wolfman’s Brother,” both also Halloween-appropriate inclusions).

Frontman Trey Anastasio rose to the occasion as well with several inspired and well-executed guitar solos, evidenced during “Reba,” where he assumed his signature face-up/mouth-agape position, lost in a moment he otherwise musically commandeered, and leaving no fret untouched during a wonderfully shifty “Guyute.” Both McConnell and Anastasio shone during an epic version of “Sand,” the former playing exquisite organ arpeggios and the latter picking out a spacewalk of a solo ahead of the song’s umpteen transitions and a surprise reprise of “Tweezer,” a highlight during the third set’s uninterrupted, four-song opening that also featured a jubilant cover of TV on the Radio’s “Golden Age.”

phish-halloween-setAs for the colorful capacity throng, which filled the seat-less GA floor and the seats behind the stage, about two-thirds of its members dressed up in costumes for the occasion. Some of the most notable getups included: a Neil Young (complete with guitar, harmonica holder and sideburns), a dude with a fence around the lower half of his head in homage to Home Improvement neighbor Wilson, Beaker the Muppet, someone adorn in a Twister-mat robe (with the spinner worn like a graduation cap), a David Byrne wearing his oversized Stop Making Sense suit and the CD cover for Remain in Light (a former Phish musical costume), several folks adorned in electroluminescent-wire bodysuits glowing in the darkened arena and, from The Big Lebowski, a few spot-on Walters and way too many half-hearted Dudes. It was a night to remember musically and visually.

The End of the Swing Era

Miller_Glenn The swing era was killed by a number of factors, World War  2 being  one of them. Although swing music was popular among the  sailors  and soldiers off at war, the war drafted many of the band  members  forcing the remainder of the band to hire unskilled  performers.  Glenn Miller broke up his band and joined the Army  Air Corpse  (which later split from the Army to become the Air  Force) where  Glenn Miller was lost. Fuel rationing also hurt swing  bands – band  tours became next to impossible.

 Another factor can be blamed on the Musicians Union which went  on strike on August 1, 1942. No agreement was made until  September of 1943 when Decca Records made an agreement. Blue  Note followed in November, and other record labels later that year. However, most swing bands were signed to Columbia and Victor Records. These two record labels would not settle until November 1944, a full 27 months; that’s over 2 years in which no swing bands from these two labels were published.

Fred+Astaire++Ginger+Rogers However, singers were not part of the Musicians Union, and thus they were not on  strike and could be recorded. The result of this was that singers became popular and the  bands, particularly swing bands, diminished in status.

 Additional factor was a cabaret tax in 1941 causing clubs to pay 30% of their ticket sales  in taxes. This meant that bands that were hired by the clubs had to be smaller and  cheaper, something swing bands – especially swing jazz big bands – could not easily  adjusted to.

 A new jazz sound, Bebop, began to grow in popularity as did the inexpensive rhythm &  blues bands.

iwantworkdepressiondetnews Finally, with the end of the what became known as World War 2 and of what became  known as the Great Depression, people did not want to be reminded of either of them. Swing, which became popular during the depression and was so popular when the war started, became a reminder of those bad years. With the bad memories and the bad emotions that swing music brought back to mind, people simply  stopped listening.

With that the Swing Era was dead.

 Very soon, partner dancing in general would be dead, too. East coast swing, the dance that  replaced  Lindy Hop at the end of the Swing Era, as well as dances like the Waltz, Foxtrot, and  others would die  off when in the early 1960s, Chubby Checker’s “The Twist” killed partner  dancing.

     http://history.just-the-swing.com/swing-history/end-of-swing-era