June 15, 2012
I’M HAPPY TO REPORT THAT THE THE LITTLE 9 YEAR OLD BOY AND HIS CARETAKER, CAME OVER AND PICKED UP THE COMPUTER, MUSIC PUBLISHER DON WILLIAMS GAVE ME TO GIVE TO HIM. I’VE KNOWN THE KID FOR ABOUT FOUR YEARS, BUT I’VE NEVER SEEN HIM SMILE THAT BIG BEFORE. I KNOW IT’S GOING TO MAKE A BIG DIFFERENCE IN HIS LIFE.
READERS ARE ALWAYS ASKING ME IF I HAVE ANY STORIES ABOUT PHIL SPECTOR? SURE I DO…BUT TODAY I’D LIKE TO TURN YOU OVER TO SOMEBODY WITH EVEN MORE, WHO WORKED WITH PHIL IN THE STUDIO ON SOME OF HIS MOST MEMORABLE SESSIONS! HERE IS MY LONG TIME FRIEND, SINGER/SONGWRITER/PRODUCER/MUSICIAN,TRADE MARTIN, AND MY EXCLUSIVE IN DEPTH INTERVIEW… PART ONE AND PART TWO…TOGETHER FOR THE FIRST TIME…AGAIN! INSIDE A PHIL SPECTOR RECORDING SESSION WITH TRADE MARTIN!
Although I’ve known Trade Martin since he was one of most in demand session guitarists in New York, I didn’t work with him very often because he was always booked up! In addition to being an excellent musician, part of why he became so popular among producers in the 60’s and 70’s was the fact that he was constantly singing and playing in Rock and Roll Bands in the tri-state area and he not only knew how the ever changing hits on top 40 radio sounded…he knew how they were constructed.
The first time I worked with Trade, was in 1964, just before I took my first trip to London. I had become bored with the American Music scene and became enamored of what I heard coming out of the UK. I had written a song with Ben Raleigh (”Tell Laura I Love Her”, “Wonderful, Wonderful”) and Danny Jordan (The Detergents) called, “When She Was What She Was”, which was more of a Gerry and the Pacemakers song than a song for Dion.
When I heard Chip Taylor and Al Gorgoni’s production of a song Trade wrote for Evie Sands, “Take Me For A Little While”, I was overwhelmed by his songwriting abilities which equaled his musical skills!. When we sat down to plan out my session and I played him my song and he added chords and changes I was only hearing on English hits. The tracks turned out great but I was disappointed in my own vocal. When I came back from England I put my vocal on again, this time with a pronounced English accent and sold the master to George Paxton, who owned Coed records where it was released under the pseudonym Terry Boyd. This was the same label where Trade was signed, that released his classic “That Stranger Used To Be My Girl”.
Although he’s written and scored films, has been nominated for “Clios” for his work in commercials, and received praise for his productions of B.B.King, including the Grammy winning, “Live at San Quentin Album”, his passion for self-expression remains at an all time high as he continues to perform regularly and write and record on a daily basis.
When we reconnected a couple of years ago, I became more accutely aware of the part he and his guitar played in the hit making process of some of greatest record producers of our time including Phil Spector, Leiber and Stoller, Bert Berns, Jeff Barry and Ellie Greenwich, Carole King and Gerry Goffin, Jerry Ross, Jerry Wexler and Burt Bacharach. I didn’t know Trade played on, “Cherry, Cherry”, By Neil Diamond, “Chapel Of Love” by the Dixie Cups, “Twist and Shout” by the Isley Brothers, as well dozens of others he casually rattled off.
As I scrambled to turn my tape recorder on, I started to ask him questions about what I thought everyone might want to know.
AW- The stories about Phil Spector working at Gold Star on Hollywood are legendary, but very little is known about his sessions in New York. How did you first get together with Phil?
TM- I was working at the time with Jeff and Ellie, Carole King and Gerry Goffin, Barry Mann and Cynthia Weil and Phil Spector’s contractor heard about me and called me up. He said Phil wanted to meet me, so I made an appointment to see him up at Liberty records. You recorded for Liberty didn’t you?AW- (Laughs) Yeah, briefly. That’s where I met Phil too…he was on the A+R staff.
TM- The contractor told me to bring my guitar to the meeting, so I brought my white fender guitar.
AW- Did you bring an amplifier…or did he have one?
TM- No…no ( laughs) You could hardly hear the sound, but if you listened close enough you could hear it. I didn’t know it at the time, but Phil was a guitar player himself and he studied with Barney Kessel.
AW- Phil played the guitar solo on the Drifters record, “On Broadway”
TM- Right! I caught him playin’ in the studio one day…you know a lot of jazzy stuff. I was a Jazz oriented guitar player myself.
AW- Tell me more about your meeting.
TM- I remember him sitting behind a big desk, and I was on a couch across from him. Our whole meeting wasn’t longer than 6 or 7 minutes. As I pulled out my guitar, he asked what kind of stuff I liked to play? I told him that I played in a night club, and I knew all the solos by Scotty Moore, Carl Perkins…guys like that. At that point he asked, If I knew the intro to “Maybelline” by Chuck Berry? I smiled, and started playing it. He said I’d be hearing from his contractor.
AW- Which you obviously did.
TM- I played on almost every session he did in New York. He found out that I had this D28 Martin Herringbone Dreadnaught acoustic guitar and after he heard it, he always wanted me to play it on his sessions. I specifically remember one session I played it on it, it was at Mirasound with Brooks Arthur engineering. Phil usually used 2 or 3 pianos on his dates. on this one, Carole King was on an upright piano, as I remember, Paul Griffin was on a grand piano and Jerry, Phil’s contractor, was on another.
AW- And what song was this?
TM- “He Hit Me And It Felt Like A Kiss” by the Crystals
LA LA BROOKS FROM THE CRYSTALS AND PHIL SPECTOR… TO HEAR “HE HIT ME” CLICK ONTO http://www.youtube.com/watch?v=ebDCRFSJzzU
TM- Phil wanted me to play 16th notes all the way through the track, fortunately I play the drums, so I was able keep that rhythm up! I used to sit right in front of Gary Chester who played drums on most of Phil’s dates.
AW- Gary’s one of the most innovative drummers I ever worked with…you could recognize him on every record he played on!
TM- He’s the best…and what a nice guy!
AW- I’ve been to a couple of overdubbing sessions of Phils but never a tracking session. Tell me more…who were the other musicians?
TM- There was Carl Lynch and Al Gorgoni on Electric Guitar, Billy Butler on another electric and percussionist, George Devins.
AW- And on bass?
TM- Bob Bushnell was on electric and Russ Savakus or Dick Romoff was on stand up. Phil always liked to use two basses on his tracks.
AW- I worked with all those guys, but I never knew that they were the foundation of the “Wall of Sound”…Great musicians and incredible positive vibes! I heard that once a track was done, Phil would have the musicians double it…to give it his signature sound.
TM- I’ve heard he did things like that…but never on any session I’ve been on.
AW – Did you notice any unusual recording techniques?
TM- One day I walked into the studio and Phil, who could be a little off the wall, as you know (laughs), was listening to a playback the control room at full volume. Outside of the glass, Brooks had placed two Neuman mikes which he was recording on two of the master tracks, as it was playing back. They were trying to get as much sound through the glass as they could…which would later be mixed in with the basic tracks! It sounded like a “Live” digital delay. He was a very innovative guy! Sometimes he’d try something that didn’t work…but that would never stop him from always trying something new!
AW- And Brooks was there to capture it…encouraging Phil to go farther.
AW- After the basic tracks were done were you called back to do any overdubbing?
TM- No, Phil got everything he wanted from the musicians on the basics and probably only overdubbed strings and horns…maybe some little percussion things like maracas or castanets, at a later time.
AW- Yeah…They all sound so isolated…adding another dimension to his records! Another brick in the “Wall Of Sound” Did you ever do any work with him at Olmstead studios?
TM- The only place I ever worked in with Phil was Mirasound.
AW- And the engineer was always Brooks?
AW- What other of Phil’s hits did you play on?
TM- I remember playing on a lot of Crystals records…but I didn’t play on “Uptown”. Whenever he’d do a session in New York, I was on the date. Most of his biggest hits, like “Be My Baby” with the Ronnettes, were cut in California.
AW- Yes, at Gold Star. Since he was recording on both coasts at the same time, my guess is he chose the place that could best capture the mood of the songs. “He Hit Me And It Felt Like a Kiss” sounds like it needed the edginess of New York musicians.
TM- Not to mention that he could get one of the composers (Carole King) to play piano on the date! I remember there was a lot of controversy when that song came out. Most of the time I didn’t even know what song we were doing…we were handed chord sheets and just concentrated on making the tracks.
AW- That’s wild!
TM – I never even heard the finished record until it had become a hit!
AW- Trade…Thanks for this impromptu interview. I know you’ve got to run off to a session.
TM- My pleasure…anytime!
Copyright 2007/ 2012 by Artie Wayne http://artiewayne.com
to reach Trade Martin http://trademartin.com
WE GOT A LOT OF REACTION TO THE WARNING ABOUT LINKEDIN HAVING 6.5 MILLION PASSWORDS STOLEN…INCLUDING AN EMAIL FROM MY OLD FRIEND ROGER MCGUINN (THE BYRDS) …”THANKS ARTIE…I QUIT FACEBOOK TWO YEARS AGO AND LINKEDIN TODAY! FREE AT LAST…FREE AT LAST!”
THANKS TO KAREN A.BROWN FOR THE HEADS UP ON THAT ON THAT ONE. IF YOU’R E SUSPICIOUS OF ANY EMAIL SOMEBODY SENDS YOU…DON’T OPEN IT UP. CONTACT THE SENDER BY SEPERATE EMAIL TO SEE IF THEY REALLY SENT IT. REMEMBER, IF A VIRUS GETS INTO YOUR COMPUTER…IT COULD COST YOU HUNDREDS OF DOLLARS TO GET IT FIXED
I’VE BEEN GETTING A LOT OF RESPONSES TO MY ARTICLE ABOUT ELVIS PRESLEY, “ALLEGEDLY SAYING, “ALL COLORED PEOPLE CAN DO FOR ME IS SHINE MY SHOES AND BUY MY RECORDS”…HERE’S ONE OF THOSE RESPONSES! FROM GARY THEROUX…
A lot of crap has been written about Elvis over the years and I am surprised that you actually ever believed Presley said that “all colored people” line. I have conducted exhaustive research into Elvis’ life and career (resuling in multiple broadcast specials, books, etc.) and have uncovered absolutely no evidence of Elvis ever uttering a single racist comment. Some of the most absurd rumors invented early in Presley’s career were quoted to “the most controversial name in show business” by Hy Gardner in their famous July 1, 1956 TV interview (“what about the rumor that you once shot your mother…”). Elvis was incredulous but patient with the sneering, condescending (and now almost otaaly forgotten) newspaper columnist. See the interview here: http://www.youtube.com/watch?v=gtn_4gRS7Rg
By the way, you mention Elvis performing multiple shows in Raleigh, NC on February 6, 1956. According to Lee Cotton’s 1985 book “Elvis Day By Day,” Presley was actually about 80 miles away in Greenboro. NC on that date, performing one show at 8 PM in the National Theatre.
GARY…I’M EMBARRASSED THAT IT TOOK ME SO LONG TO REALIZE THE TRUTH, BU T THAT STATEMENT WAS CONSIDERED FAC T IN THE GHETTO WHERE I GREW UP. ON THE DAY ELVIS DIED, MY FRIEND, SCOTT SHANNON (TRUE OLDIES CHANNEL) CAME OVER TO THE HOUSE AND EXPLAINED TO ME WHAT I SHOULD’VE KNOWN ALL ALONG. http://artiewayne.wordpress.com/tag/elvis-rock-in-perpetuity/
YOU WERE CORRECT AS FAR THE DATES OF THE ELVIS SHOWS. THE SHOWS THAT HUNTER GEORGE MENTIONED HAPPENED TWO DAYS LATER…CLICK ON TO VERIFY http://www.elvis.net/live/liv56.html
WE’RE VERY FORTUNATE TO BE AMONG T HE FIRST TO SEE THE TEN MINUTE DOCUMENTARY “WIMOWEH; THE JAY SIEGEL STORY (THE TOKENS)” DIRECTED BY SEAN GALLAGHER http://www.youtube.com/watch?v=SsZuQZ5IFOg&hd=1
“At concerts, some women toss undergarments at heartthrob singers, but when Jay Siegel performs, they toss stuffed lions. Known more by his voice than by his name, Siegel and his group, The Tokens, topped the charts 50 years ago with his distinct falsetto on the classic mega-hit, ‘The Lion Sleeps Tonight’. Now at the age of 72, Jay resides in Rockland County, NY, where he has turned his garage into a make-shift museum of his career. He loves the work he does as he’s still touring today and yes, he can still sing in the same key as he did when he was just a teenager.”
To reach Jay Siegal www.jaysiegelandthetokens.com
To reach Sean Gallagher http://www.seanhasawebsite.com/
Frances Preston Dies; Pioneering Former President of BMI
CONDOLENCES TO THE FAMILY AND FRIENDS OF FRANCIS PRESTON, FORMER CEO OF BMI
UPDATED: The Country Music Hall of Famer spent more than half a century with the performing rights group, leading it for 18 years, and was a force in Washington and tireless humanitarian…
Frances Preston, a member of the Country Music Hall of Fame and former president and CEO of BMI, died June 13 of congestive heart failure at her home in Nashville. She was 83.
Born on Aug. 27, 1928, in Nashville, Preston began her career as a receptionist at WSM-AM Nashville. She rose quickly through the station’s ranks, eventually hosting her own fashion show.
She joined BMI in 1958, when she was hired to launch a Southern regional office in Nashville. She was named vp in 1964, reportedly becoming the first female corporate executive in Tennessee. In 1985, she rose to senior vp performing rights and moved to offices in New York before taking the top post at BMI the following year.
Preston also had a strong presence on Capitol Hill. She lobbied for songwriters’ rights, championing such initiatives as the Copyright Amendments Act of 1992, which extended copyright protection to older compositions, and the extension of the copyright term to the life of the composer plus 70 years. Earlier, she served on the Panama Canal Study Committee and on the commission for the White House Record Library during the Carter administration. And during the mid-’90s, she was a member of Vice President Al Gore’s National Information Infrastructure Advisory Council.
FOR THE ENTIRE ARTICLE BY ERIC PEDERSON OF THE HOLLYWOOD REPORTER, CLICK ONTO http://www.hollywoodreporter.com/news/frances-preston-dies-BMI-country-music-336998
WHILE TRYING TO FIGURE OUT HOW TO GET AN HONEST ACCOUNTING FOR SONGS OF MINE THAT MICHAEL JACKSON RECORDED, 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
THANK YOU, ARTIE
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
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://126.96.36.199/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