EVERYTHING OLD IS “NEWS” AGAIN! #11…YOU SHALL KNOW THE TRUTH AND THE TRUTH SHALL MAKE YOU FREAK!

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
AW-Wow!


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.
TM- Exactly!
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?
TM- Yes.
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

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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

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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…

Hi, Artie.
 
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. https://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/

TRANSITIONS

Frances Preston Dies; Pioneering Former President of BMI

CONDOLENCES TO THE FAMILY AND FRIENDS OF FRANCIS PRESTON, FORMER CEO OF BMI

 
Frances Preston - P 2012
Paul Hawthorne/Getty Images
By Eric Pederson for the Hollywood Reporter

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.

The woman Kris Kristofferson once called “the songwriter’s guardian angel” led the performing rights group from 1986 to 2004. Fortune called Preston “one of the true powerhouses of the pop music business,” and she often is credited with coining the Nashvile songwriter’s creed, “It all begins with a song.”

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 artiewayne@gmail.com 

THANK YOU, ARTIE

YOU CAN BUY MY BOOK ,“I DID IT FOR A SONG” AT AMAZON or Barnes & Noble or from Smashwords

OR YOU CAN USE PAY PAL TO BUY IT DIRECTLY FROM ME FOR ONLY $9.99 AT artiewayne@gmail.com  

BACK TO ARTIE WAYNE ON THE WEB  https://artiewayne.wordpress.com
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5 Responses to “EVERYTHING OLD IS “NEWS” AGAIN! #11…YOU SHALL KNOW THE TRUTH AND THE TRUTH SHALL MAKE YOU FREAK!”

  1. Mona Essen Says:

    The comment that Elvis supposedly made about “colored people” was a statement that was talked about throughout the various black neighborhoods in the 60s. Because he was from the South, it was never disputed. I hope it wasn’t true, but, usually, if something is repeated enough times, it is eventually believed.

  2. Artie Wayne Says:

    Transcribed from an email…

    Artie: Once again thank you for another wonderful & informative article, recalling the behind the scenes facts in your “making of ” series. Thanks also to you & Trade Martin for putting me back in the engineer’s chair at MiraSound … It still fits as comfortably as it did during those Phil Spector sessions. (I was privileged then and feel equally privileged today. Not only working with Phil, but working with Trade & those amazingly talented musicians – “The Cats”).
    Warmest regards,

    Brooks Arthur

  3. Russ Titelman Says:

    Artie,
    Trade played the main guitar line on “I Never Dreamed”, a Cookies song Gerry and I wrote and co-produced in 1964 (track recorded at Olmstead). Carole did the horn and backing vocal arrangements. And he was on the Cinderellas record “Please Don’t Wake Me” which Cynthia and I wrote and Barry and I co-produced (Barry played tack piano). Brooks engineered at Mirasound. Margaret Ross sang both songs. I just saw her last night at Toni Wines birthday party.
    Best
    Russ Titelman


  4. Thanks for the great interview with Trade Martin and for the memorial piece on Frances Preston. She was a warm compassionate and concerned administrator who even took the time to phone (an unknown struggling songwriter) me about some issues I had over some songs that I had written which were plagiarized by others—She will be missed. I love your blogs Artie, don’t stop! BTW, we actually met in 1975 when I was working in East/Memphis Music (at the Union Planters Bank building in Memphis) and was recording with Joe Shamwell at STAX as Barbara & Joe (“You’re Astounding”). At this time you had written “If I Can’t Have You” on Yvonne Elliman and I was greatly impressed with your style and friendliness. God bless you!

  5. Sunny Monday Says:

    Artie,
    I can’t find the piece that you wrote on Dennis St. John. So, I’m just putting what I have here. You can move it and turn it around. I can’t seem to turn the pictures. Anyhow, I must have been at this Neil Diamond Concert in 1976. I even had a Party pass. In Loving Memory of Dennis St. John. The Program. I will have to email my pictures I can’t put them in./ Would you add them please.
    Love,
    Sunny 🙂


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