October 3, 2012
In 1963, Ed Silvers, East Coast head of Liberty Records signs me to a singles deal. He had just produced a top 10 hit with Timi Yuro, “What’s The Matter Baby,” and I’m excited that he wants to work with me.
I’m starting to get a lot of action with releases by Wayne Newton, Gene Pitney, Bobby Darin, the Angels and Dorsey Burnette — and I know it’s just a matter of time before I hit!!
I beg him to let me do a song I just wrote with Ben Raleigh, “(Meet Me At) Midnight Mary” —Ed likes it — but he loves “Where Does a Rock and Roll Singer Go (When His Record’s Off The Charts?)”
I just sigh and produce “Midnight Mary” myself with my friend Joey Powers — which becomes Amy/Mala/Bell (now Arista) Records first Gold Record.
copyright 2012 by Artie Wayne
WHILE FIGHTING LARGE CORPORATIONS WHO ARE TRYING TO KEEP ROYALTIES AWAY ME AND THOUSANDS OF OTHER ARTISTS, SONGWRITERS AND PUBLISHERS, MY ONLY SOURCE OF INCOME IS FROM THE SALE OF MY BOOK. ” I DID IT FOR A SONG”, WITH OVER 100 STORIES FROM THE MUSIC BUSINESS OF THE ’60s, ’70s, and ’80s. I HOPE YOU’LL CONSIDER BUYING ONE DIRECTLY FROM ME THROUGH PAYPAL FOR ONLY $9.99 AT email@example.com OR BY CHECK TO…ARTIE WAYNE P.O. BOX 1105, DESERT HOT SPRINGS, CALIFORNIA 92240
THANKS AND REGARDS, ARTIE WAYNE http://artiewayne.wordpress.com/2012/04/10/celebrating-two-million-views-today-on-artie-wayne-on-the-web/
BACK TO ARTIE WAYNE ON THE WEB http://artiewayne.wordpress.com
“EVERYTHING OLD IS NEWS AGAIN!” #13 ULTIMATE MICHAEL JACKSON TRIBUTE! JIMMY WEBB…RICHARD ADLER R.I.P.
June 26, 2012
From now until the end of time millions of words will be written about him and his influence in music, dance, and fashion, but the most important gift he has given the world is everlasting hope and inspiration!
Like most of the world I was thrilled with the Jackson Five and Motown’s “”SOUND OF YOUNG AMERICA” when they hit the music scene in the late ‘60s with “I Want You Back”, “ABC”, and “The Love You Save”. When Berry Gordy, Jr. brought the group to Hollywood under the supervision of Suzanne DePasse and Skip Miller I had the rare opportunity to get close to one of the biggest acts in the world, as well as one of the biggest Superstars ever to emerge, Michael Jackson!!
HERE ARE THE GREATEST VIDEOS of MICHAEL JACKSON.
I WANT YOU BACK http://www.youtube.com/watch?v=s3Q80mk7bxE
Former Motown V.P. Skip Miller recalls, “I met The Jackson Five in Miami, Fl. in 1970 just before New Years. I was brand new to show business and thought I had died and gone to heaven. Their show was amazing and Michael was unbelievable.
As a young man, he would be playing with toys one minute and asking if they sold the show out the next. He was quite aware of everything that was going on. He had a sixth sense for the business. He was curious about record sales and asked a lot of questions everything. I was too green at the time to give good answers so I would go get the answers and then tell him. In 1975 when the Jacksons were leaving Motown, I escorted Jermaine to Nantucket, New York for their last show as Motown artists.
The brothers and us had many a pillow fight after Michael tricked you into his room. He would go from that to the eight hundred pound guerilla he was on stage. Quite the transformation! He was a truly gifted performed, a great dad, and my friend. I will miss him.”
Hal Davis (“I’ll Be There”, “Never Can Say Goodbye”, “Dancin’ Machine”) was the first Motown producer that I brought a song to for Michael Jackson to record. I was excited when he cut a track on “I Want To Be Happy”, which I updated from “No, No Nannette” in the Warner Brothers catalog. When I dropped by Motown’s recording studios unexpectedly, I saw Hal Davis putting an unknown Lionel Ritchie on the track!
When he saw me freaking out, he grabbed me and threw me across the control board almost into the lap of engineer Russ Teranna, and threatened me if I dare give the song to anyone else! Of course that prompted me to give it to everyone I knew. Although Hal was pissed off at me, I was back in his good graces when I gave him Jackson Browne’s “Doctor My Eyes”, which went Top Ten in the UK with The J5.
It’s summer of 1973 and Ed Silvers, President of Warner Brothers Music, is losing his patience with me. Although I secure songs in our catalog by some of their biggest artists, they’re only album cuts. Ed is convinced that I’ll never get a single released by Motown.
I know at this point that the only way I could have a chance for a hit and escape the wrath of Ed, is to get a cover by the Jackson 5 or little Michael. There was only one staff writer at Warner Brothers music who could write in a classic R+B style, George S. Clinton, Jr.
I go to the two producers who love George’s writing the most, Jerry Marcellino and Mel Larson, who just had big hits with 12 year old Michael on “Rockin’ Robin” and “Little Bitty Pretty One” (which was my suggestion). They tell me that “Ben”, from the movie of the same name, is racing up the charts and Berry Gordy wants each of his producers to start recording new sides with him.
It’s the middle of summer, about 90 degrees, but we have to get in a Christmas Mood. As I tell George about my break up with my girlfriend last Christmas, I start to throw Ivory Snowflakes around the room. Soon, we have the first verse and chorus of “Little Christmas Tree”
I’m almost in tears when I hear the finished record the following week with the news that it’s being considered for the follow-up to “Ben”, which had just hit number one! You can imagine how I feel a few weeks later when Berry Gordy, Jr. decides not put out any follow up to the Oscar nominated “Ben”, until the Academy Awards are given out…which is after Christmas! A few days later I come up with a plan and present it to Motown. I suggest that the company puts a double albums worth of previously recorded Christmas songs by each of their hit artists, along with “Little Christmas Tree”.and included cuts by Stevie Wonder, The Supremes, The Temptations, Smokey Robinson and the Miracles, Diana Ross. They love the idea and release the two disk set in time for the holidays and call it, “A MOTOWN CHRISTMAS”
I stayed in touch with “Papa” Joe Jackson after the Tokyo music festival and when The Jackson Five abruptly left Motown and was short on cash, I helped get him a $25,000 advance for his world wide subpublishing rights…even though Michael and his brothers weren’t writing very much at the time…then a few years later Michael releases his first solo album…”Off The Wall”
Publicist, Bobbi Cowan remembers, “I worked with him during the period just before his first solo album, “Off The Wall” was released. I was out at the Jackson family compound several times with magazine writers. It was the first time he was allowed to give interviews without a Motown person being thee to direct both the questions and answers, so what came out were the thoughtful musings of this boy/child. He was feeling creative stirrings, as he began to be more involved with his music, the writing, the production, the business. My daughter Lori had a massive crush on Michael, so I brought her with me to the house for a couple of those interviews…He was very sweet, gracious, even shot some hoops with her, then the photographer took a photo of her with Michael…she still has the photo and cherishes it to this day.”
Up until now the world-wide subpublishing agreement I helped get “Papa” Joe Jackson get hasn’t paid off for Freddie Bienstock and he blames me for wasting his $25,000. Then when Michael explodes Bienstock claims all of the mega-songs that Michael is currently writing!
Now I also had “Papa” Joe mad at me for helping him get “a paltry $25,000.advance” for the subpublishing of one of the greatest catalogs in the world.
BEAT IT (ORIGINAL VIDEO) http://www.youtube.com/watch?v=oRdxUFDoQe0&feature=related
In 1984 I was hosting Genghis Cohen, a hot Hollywood Chinese restaurant, when then Motown A&R man Benny Medina, came in one night for dinner and told me that Motown was releasing some Michael Jackson masters from the vault to capitalize on the success of “Thriller”. You can imagine how I felt when he said that, “Touch The One You Love”, another song I’d written with George Clinton, Jr., which had been in the can for 10 years, was coming out in the “Farewell My Summer Love” love album!
FAREWELL MY SUMMER LOVE http://www.youtube.com/watch?v=YFoLya5qt1w
TOUCH THE ONE YOU LOVE http://www.youtube.com/watch?v=NA2cfUUQeJg
In 1983, I held a 6 week seminar called the Artie Wayne Songwriter motivation course. My flyers say that, “I’ll help make your package so strong, that only a fool would turn you down!’. Then I add at the bottom, “Not responsible for all the fools in the industry.”
I can’t take credit for teaching anybody how to write songs, but I’m proud of creating an environment, where novices could rub shoulders with the top artists, writers, and producers in the business.
My friend, Alan O’Day (“Undercover Angel”, “Rock and Roll Heaven”), is musical director for the sold out event. He also brings in, as his guests, several new writers, which includes Diane Warren (who eventually becomes one of the greatest songwriters of this generation) and John Barnes, who goes on to write half of the “Bad” album with Michael Jackson.
MAN IN THE MIRROR http://www.youtube.com/watch?v=PtW1O12hIBE
BLACK AND WHITE http://www.youtube.com/watch?v=PtW1O12hIBEProducer Quincy Jones who worked with Michael Jackson on numerous music and film projects, issued the following statement about the passing of the King of Pop:
“…Divinity brought our souls together on ‘The Wiz’ and allowed us to do what we were able to throughout the ’80s. To this day, the music we created together on “Off The Wall”, “Thriller”,“Bad“, and “We Are The World” is played in every corner of the world and the reason for that is because he had it all…talent, grace, professionalism and dedication. He was the consummate entertainer and his contributions and legacy will be felt upon the world forever.
Although I didn’t play much of a part in Michael Jackson’s life, he’s played a major part in mine. From now until the end of time millions of words will be written about him and his influence in music, dance, and fashion, but the most important gift he has given the world is everlasting hope and inspiration.
MICHAEL MAY YOU R.I.P. ROCK IN PERPETUITY! http://artiewayne.wordpress.com/2009/06/25/michael-jackson-r-i-p-rock-in-perpetuity/
Respectfully, Artie Wayne
FINALLY, HERE IS MICHAEL’S AND U.S.A. FOR AFRICA “WE ARE THE WORLD” http://www.youtube.com/watch?v=P2H6mpUnsLI
Copyright 2012 by Artie Wayne
To reach Skip Miller firstname.lastname@example.org
Bobbi Cowan http://bobbicowan.com
Quincy Jones http://www.myspace.com/quincyjones
For Alan O’Day http://alanoday.com
THE FIRST TIME I HEARD “MACARTHUR PARK” BY RICHARD HARRIS WAS THE FIRST TIME I SERIOUSLY THOUGHT ABOUT MOVING TO CALIFORNIA. I COULDN’T WAIT TO MEET SONGWRITER/ARRANGER/PRODUCER JIMMY WEBB, WHO HAD BROKEN ALL THE RULES WITH THE FIRST OVER SEVEN MINUTE POP RECORD TO HIT #1
Growing up in the turbulent 60′s in the Shadow of the Cold War, wasn’t easy! Growing up in New York of the 60′s, with all the drugs and violence, had an even harder edge. I was tired of writing formula pop songs about made-up experiences in a location that no longer held any fascination for me. My recording career had fizzled out and my marriage was winding down. Although my partner, Kelli Ross and I were running the publishing companies of Quincy Jones, Leslie Gore, Bobby Scott, Janis Ian, Joey Levine and Artie Resnick, my own creativity was suffering from a lack of positive stimulation.
I knew the next musical trend would be coming from the west coast, when I first heard, “Cherish” by the Association” and “California Dreaming”, by the Mamas and Papas…but when I heard “Macarthur Park” by Richard Harris I knew it had arrived! http://youtube.ng/watch?v=0WHx0B90FUc&feature=fvwrel
Although “Macarthur Park” was seven minutes long, twice the length of any song on the radio at the time, it quickly became number one! The poetry of the lyric and beautiful, psychedelic labyrinth of music gave a shot in the arm to Pop music in general, and to me particular. I took my first trip to Hollywood in the summer of 1968 to get a better understanding of the new emerging music scene …and to get a quickie Mexican divorce.
Jackie DeShannon, took me on a tour of Hollywood and introduced me to the wonders of Malibu Beach. I hung out at the Troubadour and the Whiskey with Bruce Johnston of the Beach Boys and Terry Kirkman of the Association. I went to parties up at Mike Love’s, down at Richard Baskin’s and over at Football Hall Of Famer, Jim Brown’s house. I reunited with my long time songwriting partner, Ben Raleigh ( “Love Is A Hurting Thing”, “Tell Laura I Love Her”) who had recently relocated to California. I also hooked up with my friend Bob Stone, who was once signed to me, as he celebrated his number one record with Cher, “Gypsies, Tramps and Thieves ” I also started writing with Gary Zekely and Mitch Bottler ( “Wait A Million Years”, “Sooner Or Later”), found time to go to a Phil Spector recording session…as well as fall in-and-out of love a couple of times!
It was quite an eventful two weeks, but I still hadn’t met Jimmy Webb, whose music brought me out here in the first place. As my plane took off for New York, “Up, Up and Away” kept running through my mind…I was disappointed, but I knew I’d be coming back.
Jimmy’s songs like, “Didn’t We?”,”The Worst That Can Happen”, “Wichita Lineman”, and “Galveston”, continued to inspire me as I spent my last dreary year in New York. It was two years after moving to the West Coast, however, before I finally met my inspiration!
I was working as General Professional Manager for Warner Brothers Music, when CEO, Ed Silvers, informed me that we now represented Jimmy Webb. I can’t tell you how excited I was to go out to his house in Encino with Warner Brothers Records President, Mo Ostin to hear the final mixes of his latest WB album, and finally meet my hero!
As we waited for Jimmy in his game room, I saw a Las Vegas slot machine in the corner. I put a quarter in and hit the jackpot. Mo smiled…as I hit the jackpot again…again and again! Mo, started glaring at me as I tried to push my winnings back into the machine. Now fully embarrassed, I started kicking hundreds of quarters underneath the living room rug, just as Jimmy walked in laughing…that’s when I realized I was the victim of a practical joke!
I knew I was gonna’ like working with this guy!
( To Be Continued )
Copyright 2007 by Artie Wayne
Photo of Jackie DeShannon by Artie Wayne
OUR PRAYERS AND GOOD THOUGHTS GO OUT TO ALAN O’DAY, GARY STROMBERG, AND SETH GREENKY. THEIR POSITIVE ATTITUDE IS AN INSPIRATION TO ALL OF US!
NOW HERE ARE THE TOP TWENTY ALL-TIME SUMMER HITS!
CALIFORNIA GIRLS THE BEACH BOYS http://www.youtube.com/watch?v=0a49McFOFp0
HERE COMES SUMMER by JERRY KELLER http://www.youtube.com/watch?v=Ox1cFEwaHic
SUM-SUM-SUMMERTIME THE JAIMIES http://www.youtube.com/watch?v=xeNAgBFmJpM
HOT FUN IN THE SUMMERTIME by SLY AND THE FAMILY STONE http://www.youtube.com/watch?v=3ahhmiuyko0
SUMMERTIME by BILLY STEWART http://www.youtube.com/watch?v=K8OD56xaY_Y&feature=related
SUMMER IN THE CITY by THE LOVIN’ SPOONFUL http://www.youtube.com/watch?v=sc0F-fw3tkY
THEME FROM “SUMMER PLACE” by PERCY FAITH http://www.youtube.com/watch?v=rt7SPm7N6D8
BY THE LETTERMEN http://www.youtube.com/watch?v=OCJBuq1mYBw
SUMMERTIME BLUES by Eddie Cochran http://www.youtube.com/watch?v=MeWC59FJqGc
IN THE SUMMERTIME by MUNGO JERRY http://www.youtube.com/watch?v=wvUQcnfwUUM&feature=related
UNDER THE BOARDWALK by THE DRIFTERS http://www.youtube.com/watch?v=EPEqRMVnZNU
CALIFORNIA GIRLS by KATY PERRY http://www.youtube.com/watch?v=F57P9C4SAW4&feature=related
OK…NOW WHAT OTHER SUMMER SONGS SHOULD BE ADDED TO THE LIST? PLEASE LEAVE YOUR SUGGESTIONS IN THE PLACE FOR COMMENTS BELOW…THANKS
FACEBOOK ALERT! FACEBOOK ALERT! HUNTER GEORGE AND ALAN O’DAY GAVE ME THIS AT THE SAME TIME.
June 25th, 2012Top StoryFacebook Just Changed Your Email Without Asking—Here’s How to Fix It (Updated)
By Sam Biddle
Hey, here’s something really stupid and annoying: Facebook abruptly switched everyone’s default email address to the @facebook.com account you’ve never used. Here’s how to switch back Facebook’s obnoxious overreach right now. So people can actually, you know, contact you.
Remember long, long ago, when Facebook launched a Facebook email system and then nobody used it? That’s fine—it was always just an option you were more than welcome to completely ignore. And we did, because we already had Gmail and work inboxes, and didn’t need yet another. If our friends wanted to email us, they could just head to our profiles and have options.
Not today! If you go to your profile (or anyone else’s), you’ll see the @facebook.com email account listed—which just forwards to your Facebook messages inbox—and none of your others. They’ve all been hidden in a ham-handed attempt to make the Facebook inbox relevant.
Luckily, it’s easy to reverse this foolish move. Go to your Timeline. Click about, under your contact info. Scroll down to “Contact Info” and hit edit. Switch all of the crossed out circle symbols to a full circle for each inbox you want visible on your profile. If you don’t want @facebook.com to show up, switch it from a full circle (“Shown on Timeline”) to crossed out (“Hidden from Timeline”). This is also a good opportunity to check your privacy settings and make sure your various inboxes are visible only to friendlies. Hit save.
Facebook: don’t do this again. [Forbes]
Update: A Facebook spokesperson provided the following non-explanation to Reuters:
As we announced back in April, we’ve been updating addresses on Facebook to make them consistent across our site.
In addition to everyone receiving an address, we’re also rolling out a new setting that gives people the choice to decide which addresses they want to show on their timelines.
Ever since the launch of timeline, people have had the ability to control what posts they want to show or hide on their own timelines, and today we’re extending that to other information they post, starting with the Facebook address.
Facebook, it’s probably safe to say that the way we all had our things before was the “choice” we made about “which addresses…show on [our] timelines.” This wasn’t about choice—in fact, it was the opposite. You chose for us.
NEW YORK (AP) — Composer and lyricist Richard Adler, who won Tony Awards for co-writing snappy and infectious, songs for such hit Broadway musicals as “The Pajama Game” and “Damn Yankees” and who staged and produced President John F. Kennedy’s birthday celebration featuring a breathy Marilyn Monroe, has died. He was 90.
Adler died Thursday at his home in Southampton, N.Y., his widow, Susan A. Ivory, said. Some of Adler’s biggest songs are “You Gotta Have Heart,” ”Hey, There,” ”Hernando’s Hideaway,” ”Whatever Lola Wants,” ”Steam Heat,” ”Rags to Riches,” and “Everybody Loves a Lover.”
Adler staged and produced several shows for U.S. presidents, including the unforgettable 1962 extravaganza for Kennedy at Madison Square Garden where Monroe sang “Happy Birthday.” http://www.youtube.com/watch?v=Yl4nNlaCbqw
SPECIAL THANKS TO HUNTER GEORGE FOR HELPING TO PUT THIS ARTICLE TOGETHER
I HOPE YOU ENJOYED THIS EDITION OF “EVERYTHING OLD IS NEWS AGAIN”. CURRENTLY MY ONLY SOURCE OF INCOME IS FROM THE SALE OF MY BOOK. ” I DID IT FOR A SONG”, WHICH I RECEIVE IMMEDIATELY. IF YOU LIKE WHAT I’M WRITING I HOPE YOU’LL CONSIDER BUYING ONE DIRECTLY FROM ME THROUGH PAYPAL FOR ONLY $9.99 AT email@example.com
February 11, 2012
“In early 1964, the Beatles are making their mark on the world. Even Walter, my labrador retriever, is a fan. Every time the intro to “I Feel Fine” comes on the radio, Walter jumps up on me, and I have to dance him around the room!
I’m not only excited about the Beatles coming to play Carnegie Hall, but also because there’s a 3-foot Liberty Records publicity picture of me in photographer James Kreigsman’s permanent display case outside the venue, touting me as the artist of the month.
I buy 4 tickets for the second row, a few weeks in advance of the concert, for a ridiculously high price of $40 — $10 each! I invite Ed Silvers and his wife Maryanne, to the concert, to repay them for all the kindness they’ve shown me. I also ask Jemela, the inspiration behind “Midnight Mary” to be my date, and to bring her camera. They all laugh and are surprised to see my publicity photo while we’re waiting on line. Jemela wants to take a picture of it, but I say we’ll have plenty of time to do that after the show.
Even before the concert begins, there’s a restless rumble in the crowd, the kind of reaction that usually precedes a revolution!
As John, Paul, George, and Ringo make their way through the fans who are seated on stage, including NYC Mayor Wagner and his family, thousands of flashbulbs go off at the same time! By the time they plug their guitars into their Vox amps, everyone in Carnegie Hall is standing. I look around and see thousands of people experiencing a musical orgasm, simultaneously releasing themselves from the repression of the 50s, and embracing the promise of the 60s!
I’ve never seen an audience react to a band like I witness tonight. Although Carnegie Hall has some of the best acoustics in the world I can’t hear one word over the constant roar of the crowd. Fortunately, I’m close enough to read their lips so I can tell what song they’re singing. By the end of the night, I’m totally part of the mayhem, as I stand on my seat screaming, “I Want To Hold Your Hand,!”
After the show, a reporter from the Daily News comes over to me and asks, “Aren’t you a little old to be acting like this?” I say, “It’s the Beatles, man! It’s the bloody BEATLES!” When he asks my name, I say,”Ed Silvers.”
After the show, we all forget about taking pictures of my display, and go for a snack at the Russian Tea Room. The next morning, when I pass the display case on the way to Liberty Records, it’s completely covered in lipstick and magic marker with messages for Paul and Ringo. Oh well, at least I can say I made one brief appearance in my lifetime, at Carnegie Hall.”
Copyright 2012 by Artie Wayne.
For the last three years I’ve been writing my book about my 50 years in the music business. I was warned not to write about certain people, certain companies, and certain things which made me want to tell more.
As my blog became more popular with over 1,870,000 VIEWS, I began to get bolder and relentlessly went after large corporations and social networks until they discontinued some of their questionable practices.
I’m proud to have been the first to write about Tommy James’ shocking book, “ME, THE MOB, AND THE MUSIC” and have an exclusive no-holds barred three part interview with my pal from the past and former label mate…probably the only such event where the participants didn’t have to go into the witness protection program right after the show!
In my book, “I DID IT FOR A SONG”, I write about my first hand experiences songwriting (Aretha, Michael Jackson,Tony Orlando, Cher, etc.) producing (the Kingsmen, The Shirelles, the Guess Who) and getting hits for Warner Brothers Music (“You’re 16″, “R+R Heaven”) and Irving/ Almo music (“I Honestly Love You”, “Our Day Will Come”).
I share my private stories about, Carole King, MORRIS LEVY, Neil Bogart, The BEATLES, Jimi Hendrix, SCOTT SHANNON, Eagles, MICHAEL JACKSON, Bert Berns, THREE DOG NIGHT, Alan Freed, BOBBY DARIN, Brian Wilson, PAUL WILLIAMS, Murray The K, TOMMY JAMES and the Shondells, Olivia Newton-John, HERB ALPERT, JERRY MOSS, Don Kirshner, RICK JAMES, Rolling Stones, ELLIE GREENWICH, Clive Davis, Barry White, DAVID GEFFEN, Marvin Gaye, QUINCY JONES, The Rolling Stones, DAVID BOWIE, Phil Spector, AND DOZENS MORE!
TO READ A CHAPTER OR TWO FOR FREE CLICK HERE
TO READ SOME OF THE COMMENTS CLICK HERE
Thanks and regards, Artie Wayne http://artiewayne.com
Special thanks to Sally Stevens for the Rainbow’s End photopainting on the cover. http://sallystevens.fineartstudioonline.com/
Copyright 2011 by Artie Wayne http://artiewayne.wordpress.com/about-artie-wayne/
BACK TO ARTIE WAYNE ON THE WEB! http://artiewayne.wordpress.com
August 12, 2010
April 21, 2010
“In the ‘50s I grew up in the Bronx and worked in my aunt’s candy store after school. I was somewhat of a nerd, but I got hipper listening to what the kids were playing on the jukebox, especially “Met Him On A Sunday” and “Tonight’s The Night”. I never dreamed that one day I’d be working for the woman behind those records, Florence Greenberg, who describes herself as “a white woman in a black business who couldn’t carry a tune.”
Artie Kornfeld, “The Father Of Woodstock”, who co – wrote “Tonight You’re Gonna’ Fall In Love With Me”, for the Shirelles remembers, “Florence Greenberg was quite a gal! She was as strong as Morris Levy in business, but always kind to me. I do think that Marv Schlacter ran a lot of the company. I had no problem with Scepter Records…but I never checked my royalty statements back then either.”
Singer/Songwriter Larry Weiss (“Rhinestone Cowboy”, “Bend Me, Shape Me”) adds, “I REMEMBER FLORENCE GREENBERG WAS A DYNAMIC INDEPENDENT RECORD COMPANY OWNER, WHO PEOPLE HAD TO CHASE FOR AN HONEST ACCOUNTING..INCLUDING BACHARACH & DAVID..BUT SHE WAS A STRONG FORCE IN NYC FOR MANY YEARS WITH THE SHIRELLE’S, B.J. THOMAS, AND A NUMBER OF OTHER R&B ACTS.”
Russ Regan, former CEO of UNI Records and 20th Century Records adds, “I loved Florence Greenberg!! I worked for her for 3 happy years. She loved the music business; she had great Instincts for hit songs!! She loved her artists!! She was passionate about her employees!! She was truly a great human being!! They don’t make them like her anymore!!”
Ed Silvers, former president of Warner Brothers Music, fondly remembers, “Florence gave me a great opportunity, when she and Marv Schlacter offered me a job to run the publishing arm of Scepter Records, and co-own all new copyrights I could bring to the company. During my time at Scepter, I signed Nick Ashford and Valerie Simpson, along with their pal Joshie Armstead. Florence was a source of information on how record companies functioned in the 60′s. She had a great feel for talent–Luther Dixon, the hot producer, Hal and Burt doing Dionne, and signing The Kingsmen from a deal she had engineered with a Seattle producer.
Florencealso knew how to deal with promotion of her releases–DJ’s came to Scepter often to receive encouragement!!! I miss her to this day.”
After being unceremoniously fired from a song plugging job four days after I got married, my old friend Ed Silvers hired me to write and produce for Scepter. I got a chance to work with some of the most talented people in the world. I did demos with Nick, Valerie and Joshie, and even co-wrote a couple of songs with Nick.
Florence was very sensitive to her employees. When Ed went on a 2 week business trip to the UK, I’ll never forget that Florence gave me a chance to write and produce some sides on the Shirelles, the Kingsmen, and the Guess Who, as well as gave me unlimited time to experiment in her new 8-track state of the art studio. If only Ed had stayed away another week, I’m sure would’ve gotten Florence to let me cut Dionne Warwick and B.J.Thomas!”
(TO BE CONTINUED)
photo at top l-r Luther Dixon, Florence Greenberg, Chuck Jackson, and Marv Schlacter
photo in the middle l to r Joshie Armstead, Nick Ashford, Artie Wayne, Valerie Simpson, bottom- Ed Silvers
thanks to Brian Gari for the middle picture from his collection
Regards, Artie Wayne http://artiewayne.com
Copyright 2011 by Artie Wayne http://artiewayne.wordpress.com/about-artie-wayne/
BACK TO ARTIE WAYNE ON THE WEB! http://artiewayne.wordpress.com
March 25, 2010
In 1970, although I was a partner in a successful music publishing firm, Alouette productions, in New York I was ready to trade in New York Canyons for California fields. When I went to work as professional Manager of VIVA music in Hollywood the first record session I went after was teen idol, Bobby Sherman (“Julie, Julie, Julie Do You Love Me”) produced by Jackie Mills.
As I was going through the VIVA catalog, I heard a song by new writer Alan O’Day called “The Drum”, which sounded to me like it could be made into a number one record for Bobby Sherman. The only problem was I didn’t know Jackie Mills or anyone else connected with Bobby.
I hadn’t learned how to drive yet, so I had our office boy drop me off at Metromedia Records and I waited for a few hours until I was able to corner CEO Artie Vallando. Although we’d never met, I knew his reputation as a well respected music publisher, and fortunately he knew who I was.
Artie loved the song and a few weeks later got Jackie Mills, to cut it. Artie asked me to come over to the office to hear it. Halfway through the record I screamed, “It’s a smash! It’s a F#@*in’ Smash!”
Artie looked disappointed as he said, “Everybody at the label thinks so too! But the producer wants to put something else out.”
When I ask if he can give me a copy of our song I tell him maybe Ed Silvers (The President of the company) and Mel Bly (the VP) can do something, Artie says, He can’t officially give me a copy. Then he slides a copy of “The Drum” across the desk to me, excuses himself and leaves the room.I get back to the office as fast as I can, and play the record for Ed and Mel. They’re even more enthusiastic than I am about it. We all know that Bobby Sherman is due out for a new single, and we want it to be ours! Mel is a great record promotion man and on a Friday he has 50 acetates made of “The Drum”, and he sends it out to the top program directors in the country. The record is added to all of their playlists on Monday before anyone at Metromedia finds out what’s going on.
Songwriter Alan O’Day Adds, “1969 was an exciting time when I found out that Bobby Sherman recorded my song “The Drum”, produced by Jackie Mills! The combination seemed to work, as “The Drum” became a hit, & Mills went on to produce two more of my songs with Sherman, “Caress Me Pretty Music”, and “Everybody Wants To Sing A Goodtime Song”, co-written with Artie Wayne.”
Although Jackie was mad at me initially, when “The Drum” went Top Ten all was forgiven. And from then on he kept a door for me to get material straight to him. Not only did he have a great ear for a song, he was an excellent producer, a consummate musician, and always a gentleman.
Jackie Mills R.I.P. ROCK IN PERPETUITY!
Respectfully, Artie Wayne
Copyright 2010 by Artie Wayne http://artiewayne.wordpress.com/about-artie-wayne/
To reach Alan O’Day http://alanoday.com
BACK TO ARTIE WAYNE ON THE WEB http://artiewayne.wordpress.com
August 28, 2009
ELLIE GREENWICH 10/23/4o – 8/26/09
When Andy Caploe and his wife Susan e-mailed me about the passing of Ellie Greenwich, I was devastated. She was one of the first people I worked with after I left Aldon Music as a staff writer…and one of the few people I could talk to about almost anything. She was everybody’s home girl. One of the most talented and down to earth people I’ve ever met. I was so happy to reconnect with her on FACEBOOK!
“I was hanging out at Paul Vance’s (“Catch A Falling Star”, “Itsy Bitsy Bikini”) office where Ellie and Tony Powers who wrote “Today I Met The Boy I’m Gonna’ Marry” for Darlene Love and “Why Do Lovers Break Each Other’s Hearts” for Bobbi Soxx and the Blue Jeans, would come in and play their new songs for Paul’s opinion. If I was lucky enough to be there at the time, I’d be invited to come in and listen as well.
One day I’m starting a new song with Paul’s nephew Danny Jordan (The Detergents). Not only do we write with each other, but everybody we can corner who comes into the office. One day Ellie walks in. She asks us if we mind if is waits for her fiancé, Jeff Barry (“Tell Laura I Love Her”) who’s picking her up for lunch. About a half hour later the three of us have finished “You Should’ve Told Me”
We play it for Jeff when he arrives and he seems to like it, but doesn’t say very much. A few days later, Paul Vance gets The Angels (“Til”) to record it.
While Danny and I sit daydreaming of songwriting super stardom, collaborating with this talented young lady on dozens of future hits, Jeff has plans of his own. He and Ellie start writing with Phil Spector and create songs that not only become classics, but songs that define the ‘60s as well.”*
Copyright 2009 by Artie Wayne from the forthcoming book “I Did It For A Song”
Thank You Ellie for all the joy, passion, and music you’ve given the world…and the friendship and support you’ve given me when I most needed it.
Ellie Greenwich R.I.P. ROCK IN PERPETUITY!
Ellie “at home” L to R…Lesley Miller, Ellie Greenwich and Mickie Harris Photo courtesy of John Madera
TOP L-R Artie Ripp, Jeff Barry, Phil Spector, Paul Case, Ellie Greenwich, Jerry Leiber, and Ed Silvers.
OFFICIAL ELLIE GREENWICH WEBSITE http://www.elliegreenwich.com/
HERE”S A SPECIAL TRIBUTE TO ELLIE FROM HER FRIENDS SONGWRITER/PRODUCER , and FATHER OF WOODSTOCK ARTIE KORNFELD, AND HIS SPECIAL GUEST PRODUCER BROOKS ARTHUR ON HIS WEEKLY RADIO SHOW @ Artist First Radio http://220.127.116.11/ArtistFirst_Artie_Kornfeld_Show_2009-09-01_Brooks_Arthur.mp3
TO HEAR ELLIE”S GREATEST HITS…CLICK ONTO BRIAN FERRARI’S TRIBUTE ON 60 DEGREES @ www.eastvillageradio.com. here is the link: :http://www.eastvillageradio.com/shows/nowplaying.aspx?contentid=1206&showid=16782 The program is from September 7th – the complete track list will appear if you click on the date.
MY FRIEND BRIAN IBBOTT AT COVERVILLE HAS PUT TOGETHER A SPECIAL EPISODE FEATURING ALL OF ELLIE”S BEST SONGS! http://coverville.com/archives/2009/09/coverville-607-the-ellie-greenwich-tribute-and-cover-story/
When I announced Ellie’s passing I was flooded with e-mails, some of which I had transcribed to the comments below. If you haven’t made a comment yet please feel free to do so…I’ll make sure her family gets each one.
BACK TO THE R.I.P. ROCK N PERPETUITY ARCHIVES http://artiewayne.wordpress.com/2008/08/20/rip-rock-in-perpetuity-archives/
BACK TO ARTIE WAYNE ON THE WEB http://artiewayne.wordpress.com
April 15, 2009
L to R: Artie Ripp, Jeff Barry, Phil Spector, Paul Case, Ellie Greenwich, Jerry Leiber, and Ed Silvers at BMI award dinner in 1964
Yesterday I was talking to a pal from the past, Ira Howard, the former editor of Cashbox Magazine, who ran the music division of Readers Digest for 28 years. He was telling me about a new super website he’s about to launch especially for our generation, who never lost our love for the ‘50s, ‘60s, and ‘70s. As we talked about old times, the conversation turned to the headlines and Phil Spector, and our encounters over the years with him.
I told Ira, “After I left Aldon music, I started hanging out at Paul Vance’s (“Itsy, Bitsy, Teeny Weeny, Yellow Polka Dot Bikini”) office at 1650 Broadway. Ellie Greenwich (“Hanky Panky”) dropped in one day to see Paul who wasn’t there, and wound up writing a song with me and Danny Jordan (The Detergents), “You Should’ve Told Me”, which the Angels recorded. As Danny and I were dreaming of further collaborations with this talented young lady, Ellie, her fiance Jeff Barry (“Tell Laura I Love Her”) had other plans.
The two of them had started writing songs with 21 year-old producer, Phil Spector (“To Know Him Is To Love Him”). ..songs that defined a generation. “Be My Baby” by The Ronettes, “Da Doo Run Run” by the Crystals, and “River Deep Mountain High” by Ike and Tina Turner.”
Ira Howard recalls, “I was at Cashbox in the early ’60s when Phil came in and immediately blurted out “I got a hit record and I need a name for this new group I’m producing.” (the group, by the way, included Bobby Sheen, Darlene Love and Fanita James, who recorded under many group names back them.) We began throwing around some ideas, when, out of left field, I mentioned that we could possibly name them after the clothes the kids were wearing. I then said “how about dungarees…or blue jeans?’ Phil’s eyes lit up and said “bingo…it’s The Blue Jeans.” He followed it by saying, “now how about a lead singer?” I then followed with “how about bobby sox?” Phil had a grin from ear to ear and said “great…it’s Bob B. Soxx and The Blue Jeans.” The recording was “Zip-a-Dee-Doo-Dah” and it went Top Ten in November of ’62. Ira went on to mention that Phil had an amazing memory. The two didn’t meet until 40 years later at a songwriters awards dinner in New York. Ira got past Phil’s bodyguards and went up to him and just smiled. Phil then said “Bob B. Soxx & The Blue Jeans as his hello.”
Copyright 2009 by Artie Wayne http://artiewayne.wordpress.com/about-artie-wayne/
For more personal encounters with Phil Spector click onto
To see and hear Phil’s brilliant recordings with the Beatles as well as EVERY BEATLE VIDEO EVER MADE! http://artiewayne.wordpress.com/2009/04/11/every-beatle-video-ever-made-for-free/
September 3, 2006
top l-r Ed Silvers, Tony Byrne, Mel Bly… bottom l-r Artie Wayne and Stephen – Craig Aristei
Back in 1972, I moved to Hollywood, became General Professional Manager and Director of Creative Services at Warner Brothers Music. I headed up a group of seven relentless songpluggers, I named “The Warner Raiders”, who would go to any lengths to get one of our companies songs recorded.
There was a kid in the mailroom that had the same fire in his eye as David Geffen had, when he was in a similar position at the William Morris agency. Stephen Craig Aristei would work hard, ask questions of everybody and stay late in the office listening to songs in the vast catalog. Ed Silvers, president of the company, and I welcomed him to our staff meetings where he would make astute casting suggestions and be treated like one of the “Warner Raiders”.
We all knew that he had the potential, but I didn’t have the budget, to hire another “Raider”. One day, Ed called me into his office and told me that we had to get cover records from the show that was just revived on Broadway, “No, No Nanette”. I looked at him like he was crazy … and asked if that meant I should try to get Michael Jackson to cut “Tea For Two”? He glare and said, “You’re the Director of Creative Services … be creative!”
Craig and I listened to the score over and over, and we decided that I should update the song “I Want To Be Happy” and submit it to Motown. I gave my piano voice demo to the late Hal Davis at Motown, who cut the track for Michael Jackson.
A week later, when I went to Mowest studios, found him putting an unknown Lionel Ritchie on the track!! Hal, an imposing bear of a man, saw that I was freaking out over the “switch”, grabbed me and threw me across the recording console, warned me that if I got anyone else to record the song, I would have to answer to him!!
I quietly got up, brushed myself off and went back and locked myself in my office. That night, Craig and I sent out dozens of copies of “I Want To Be Happy” to everyone I could possibly think of!! Nobody Fucks with the Warner Raiders!!
A few days later, I hired a dancer, the actress Teri Garr, to join Tony, Craig (who would carry a boombox, playing “Tea For Two” and “Happy”), a limo and a camera-bearing limo driver, who would capture us promoting “No, No Nanette” in the offices of Mo Ostin, Joe Smith, Jerry Moss, Artie Vallando, Mike Curb and Jimmy Bowen.
On the morning of the promotion, Teri Garr, the dancer, is a no-show, at which point Stephen Craig Aristei jumps in and says, “I can dance!!”. I got down from the window ledge and said, “If you dance today …you’ll be a “Warner Raider” tomorrow!!
Well, Craig became a “Warner Raider”…and “I Want To Be Happy” was cut by Sammy Davis, Jr. and wound up on the b-side of his million selling, “Candy Man”! Over the years Craig has become one of “Unsung Heroes” of our business, and one of the best song men I’ve ever known!
Copyright 2012 by Artie Wayne
To reach Stephen -Craig Aristei https://www.facebook.com/stephencraig.aristei?fref=ts#