Grammy Gripes

Re Geoff Boucher’s article “Selling Millions on a Sour Note” (Feb. 20):

Michael Greene comments that “when it comes to totally producer-driven acts--and I use the term ‘acts’ instead [of artist] purposely--I don’t like to see them receive a lot of Grammy nominations, honestly.” In this instance, maybe honesty wasn’t the best policy, given the source.

He’s the president of NARAS! Is he aware of what those letters stand for? Can he seriously be bemoaning the output of record producers simply because they’re the leading creative force on certain recordings? Isn’t it the resultant sound that should form any listener’s reaction to a record and not some knowledge of how these sounds came to be? I’d hate to hear what he’d have to say about Phil Spector’s body of work.

Other industry executives quoted are missing the point as well. They might not like the records topping the charts these days, but the fact that the performers aren’t writing their own songs is irrelevant.

Lastly, I couldn’t believe my eyes. Is Savage Garden’s Darren Hayes really belittling Lou Bega’s success? I think he took that shrimp off the barbie a little too soon.

JONATHAN ROSNER

Los Angeles

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If the undiscovered Beatles, Hendrix or Dylan were right in front of an industry insider today, would s/he recognize their talent? Or would they be turned away because they weren’t sexy and didn’t dance?

The answer to this dearth of musical talent is for parents to turn off the music videos and for industry insiders to stop excluding artists because of looks. In less than 20 years we should have a generation of artists that perceives popular music as the combination of music and lyrics only.

MICHAEL BASKIN

Glendora

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As an aspiring songwriter, I find it refreshing to hear that not everyone is enchanted with the slick fare being heard on the radio these days. But as Reprise Records President Howie Klein pointed out, it’s cyclical. One reason is that musical creativity is such a powerful, insistent force; those who are passionate about producing work of enduring quality will continue to do so regardless of current market conditions, and eventually public taste will again bring them back into favor.

Music combining today’s sophisticated production with songs of more lasting value could then make for an exciting future when the pendulum swings back.

WILLIAM MELLA

Simi Valley

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How hypocritical that Howie Klein should challenge the success of boy bands. He need look no further than his own roster to find the same cookie-cutter boy bands signed in an attempt to capitalize on the success of the current trend.

Perhaps if his boy-band acts had done more than “hit bottom” he’d be singing a different tune.

C.L. CASE

Redondo Beach

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I couldn’t agree more! The criteria today seems to be: Does the artist look good and can they dance? Most don’t even play an instrument.

The good news? There will be a new Steely Dan album soon. They aren’t especially good looking and, to my knowledge, don’t dance all that well. I can’t wait!

STEVEN BEHM

Burbank

Your wait is over. Check out Page 3.

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Why is pop music today in such a sad and sorry state? I blame radio for not playing artists like Eurythmics.

Today’s record-buying public would buy the best of today’s pop if they only had a chance to hear and read about it. Eurythmics’ latest release, “Peace,” is a fine example. Since it’s sadly missing from radio and neglected by the music press, those teen fans at the recent American Music Awards who came for Christina Aguilera and wound up singing along with Eurythmics will never know that.

ROBERT RAMIREZ

Oak Park

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I really loved the complaints. History certainly repeats itself. I recall complaining to Robert Hilburn (way back when) about the beginnings of rock music. I didn’t like it then and I don’t like it now.

We all grow older, and we all protest change. Perhaps the critics have come of age. Rick Rubin bemoans the loss of non-writing artists. Has he ever listened to Gershwin, Porter, Berlin, Arlen or Rodgers? Is this ignorance, arrogance or a combination of both?

ROBERT SIMON

Encino

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If we can’t find any good music in this country, perhaps it’s time to look beyond our borders, abandon our reluctance to listen to anything sung in a foreign language, and listen to what the rest of humanity has to offer. Isn’t that what you would expect of a cosmopolitan culture?

DENNIS ANTHONY

Los Angeles

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The success of Carlos Santana’s “Supernatural” isn’t an exception to the current state of pop music. It’s actually a testament of how bad things really are. Let’s get real: The record isn’t all that different from the stuff he’s been doing for the last 30 years.

For Santana to presume that the record is a “rose” among “plastic flowers,” in today’s music world, isn’t saying much.

MARK RUBALCAVA

Rancho Cucamonga

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As a devoted fan of Santana’s music for over 30 years, I must commend Robert Hilburn’s article (“You Couldn’t Write a Better Comeback Story,” Feb. 20). I am so sick and tired of reading all of the down-and-out-musician stories and “comeback” success stories. Hilburn is the first person I know who has captured the true story: Carlos never went “away”; he is a supreme and respected musician and I am extremely happy that he is finally getting his due.

MICHAEL MURPHY

Drexel Hill, Pa.

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Brava to Anne-Sophie Mutter for declining to perform at the Grammy Awards (“Playing to Her Heart’s Content,” by Kristin Hohenadel, Feb. 20). To play Beethoven as she does requires the talent, skill, training, discipline and education equivalent to that of a brain surgeon. Just about anyone with a halfway decent voice and a working pair of legs can sing and dance.

In agreement with Grammy chief Michael Greene, the majority of the nominees are really just “acts,” not “artists.” Perhaps the word “Grammy” should stand for Genuine Repugnant Acts of Mediocre Mindless Yelling!

The great classical “artists” will continue to rock long after the “acts” are gone.

MELISSA PHELPS BECKSTEAD

Westlake Village