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Liner Notes

A weekly column by pop music critic Curtis Ross

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The Tampa Tribune

Published: December 18, 2008

Updated:

Way, way back in the pre-MTV days, Blondie's Chris Stein predicted music videos would become so popular that they would eliminate the need for a band to tour.

He was right about videos becoming huge. But videos did nothing to quench the thirst of fans who want to see their favorite acts live. No album or video is ever going to replace the excitement of being in the same room - in the same instant - with a band making music.

Advances in recording technology have had a bigger influence on live performances, though, and not always a good one.

The old model went like this: You formed a band, practiced, started playing shows and saved money to go into a studio. Studio time, even in the least expensive facilities, cost a bundle. You not only had to gig a lot to make enough money to record, you had to have your set down - studios charge by the hour.

Now, recording software is relatively inexpensive and just about anyone with time and patience can make professional-sounding recordings.

This is great in that it democratizes the process - anything that puts more control in the hands of more artists had to be considered a positive. But the negatives come into play when the studio stars hit the stage.

Colbie Caillat might not have had to record at home. Her father, Ken, is a veteran producer and engineer whose credits include Fleetwood Mac's "Rumours," which presumably gave her access to top-notch recording facilities. Her debut album, 2007's "Coco," was a hit before she had any live experience.

Watching her stiff and uncomfortable performance Saturday night made me think she'd have been better off with a few years of clubs and coffeehouses under her belt.

Polish is easy in the studio. But a performer who can't create magic live is looking at a short spell in the spotlight.

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