The music business is a tough one these days. Ask Taylor Swift. In one week she sold 1.2 million copies of her new album, called “Red.” That was after five weeks in a row of releasing new singles– all of which had to be repurchased again with “Red” on iTunes. For eight days, Swift was on top of the world. But it’sa  all over now, as the Rolling Stones might say.

The number 1 album on iTunes today is “Dreams and Nightmares” from rapper Meek Mills. Oh well. That was fast. Still, no one can take away from Swift’s accomplishment. Her marketing team built up demand and sold everything in the first week. Will “Red” have legs? Generally a second week drop would be around 50%. But since she’s already been displaced, and Hurricane Sandy is certainly playing havoc with anything other than downloads, this should be interesting.

And Swift may have overdone it with the singles. They are also receding very quickly from the top 10. The one of the five that was an actual hit was “We Will Never Ever Get Back Together.” The others are just coming and going. And gosh, it was only last Monday–eight days ago–when Swift had 19 f the top 40 entries on iTunes. That number has been whittled down to 5. Fame is fleeting in this generation of pop!

Paul McCartney continues his efforts to mend fences and seek detente with Yoko Ono. McCartney’s given David Frost (still going at it, god bless him) an hour long interview that will be shown on Al Jazeera, of all places. The UK Guardian reports that McCartney now absolves Yoko of breaking up the Beatles in 1969-70. http://www.guardian.co.uk/music/2012/oct/27/paul-mccartney-yoko-ono-beatles-david-frost?INTCMP=SRCH.

Most Beatles fans do blame Ono for the breakup. Part of the problem was that as the Beatles were breaking up, Ed Sullivan introduced a video (a music video) in March 1970 of the Beatles performing the song “Let it Be.” This mysterious, grave looking little woman was seated next to John Lennon– and looking quite ominous. http://www.youtube.com/watch?v=t6qWjnlqXaA

The “Let it Be” video speaks volumes: Ringo can’t be seen in it. George Harrison, always the diplomat, fakes a guitar solo. Lennon looks bored, is barely involved. The video is important because for the first and only time another musician appears in it: Billy Preson, playing the organ. Preston never received any royalties for any work he did with the Beatles or the Rolling Stones. But he’s the acknowledged “fifth Beatle,” the only person ever listed with them on a record label. (With the Stones, both Keith Richards and Mick Jagger have said that Preston invented the riff for “Miss You.”)

But for Yoko to be in that video was the height of audacity. It sparked worldwide hatred among Beatles fans. The acrimony between Ono and McCartney since Lennon’s death is legendary. But time heals all wounds. McCartney has softened considerably to her, and Ono has made the effort: she has been invited to all of his New York concerts, Grammy ceremonies,. etc. At first when you saw her at a McCartney event or occasion it was a shock. But people mellow over time. Ono for example was extremely cordial for the first time in print this year about Lennon’s relationship with May Pang.

As for the Beatles: they had gone as far as they could together. In retrospect, after making “Sgt. Pepper,” the white album, “Abbey Road,” and “Let it Be,” what more could they do?

However: there was a moment that tipped the group into oblivion. It involved Paul and his father in law, attorney Lee Eastman, having surreptitiously purchased a larger amount of stock in what was then Lennon and McCartney’s publishing company. Allen Klein knew this, and had it read aloud at a meeting with the main parties. Lennon became infuriated–he and Paul always had an agreement to have equal numbers of shares. When he heard that Paul had bought a huge number of shares, Lennon freaked out and left. That was the end.

In 1990 I wrote a profile of Paul and Linda McCartney, both of whom I liked and admired. I asked Paul if he could change anything, would he have told Lennon about the purchase or not even done it? He told me: “No, I was investing in myself.” I don’t know if he’s changed his mind since then but I doubt it. What was done was done. And at least financially, no one has suffered. The Beatles’ legacy has thrived. Of course, Lennon and Harrison’s deaths are the great tragedies. But it’s doubtful the Beatles would really have reunited– they could never live up the legend.

In the Frost interview apparently McCartney says he feels like retiring. But I doubt that will happen. He loves to perform live. If you’ve seen him in the last couple of years, you know how amazing his shows are. He makes zillions of dollars. But it’s his romance with the audience that propels him. Let’s hope he was just feeling wistful that day.

Sixto Rodriguez, subject of the wonderful documentary “Searching for Sugar Man,” has suddenly exploded. The two albums he made in 1970 and 1971, “Cold Fact,” and “Coming from Reality” are now at number 9 and number 21 respectively on amazon.com. The albums, originally on Sussex Records, are now with Seattle indie Light in the Attic Records. Their sales may take time to show up on Billboard and other conventional places, but the CDs are selling like crazy. Even the MP3 downloads are doing well. The Sony Legacy soundtrack to “Sugar Man” ironically is doing well but as well as Rodriguez’s original albums. Fans of the movie obviously want these mysterious, “lost” albums more than the merchandise attached to the film.

The albums are following the success of the movie– a robust $2.1 million at the boxoffice since its release on July 27th.

There’s no denying that “Sugar Man” should be an Oscar nominee for Best Documentary. The director, Malik Bendjelloul uncovered a great story which has in turn revived Rodriguez’s long dormant career. But the film — while lovely in many ways– raises many questions that are unanswered. Rodriguez was living and recording in Detroit in 1970 yet no connection is made between him and Motown or other Detroit musicians of the time. Even though his music sounds nothing like Motown–he’s Mexican, and actually recalls Don McLean or a young Dylan–it seems unlikely that Rodriguez would not have known anyone at the fabled studio.

Rodriguez recorded a song called “Inner City Blues” in 1970. A year later, Marvin Gaye had a hit off his “What’s Going On?” album with “Inner City Blues (Makes Me Wanna Holler).” It’s possible Gaye just heard or saw the title; the two songs sound nothing alike.

Also the film does little to explain where Rodriguez came from or what really happened to him after the two albums came out. His three daughters are in the film but there’s no mention of their mother or how they were raised. Rodriguez became a construction laborer and tried to run for mayor of Detroit. He seemingly built a wall between his failed music career and everything else.

I’m also trying to find out whether his unreleased material will see light from Light in the Attic. The Oscars and the Indie Spirit Awards may do something with the movie. But it would behoove the Grammys to feature him. The music is absolutely brilliant, and the fact that he vanished for decades in the US while becoming a star– unbeknownst to him–in South Africa–is one of the greatest injustices of the once – heralded record business.

Sussex Records was distributed by Buddha Records, which was also Casablanca Records, home of Kiss and Donna Summer. Sussex had a lot of hits in 1970-71, including Bill Withers, Dennis Coffey (who worked on Rodriguez’s albums) with the instrumental “Scorpio,” and one off hits like “Sweet Mary” by Wadsworth Mansion and “5-10-15-20-25 Years Love” by the Presidents. Clarence Avant, of Motown fame, owned the label until it went under in 1975. In the movie he pleads ignorance about why Rodriguez failed in the US and where all the money went from massive sales in South Africa. He’s probably right–bootleggers got the money.

So far Rodriguez has appeared on “60 Minutes” and Letterman. He has a few gigs coming up, according to his website.His life has changed, although he seems unchanged. The songs are timeless and are obviously finding a new audience. for the singer who is now 70 years old.