One day in 1973, while driving down La Brea in Hollywood, I saw Jerry Moss waiting in line at Pinks hot dog stand. I leaped out of my car and introduced myself!
He was standing with Jack Daugherty (the Carpenters producer) They were both surprised and amused by my boldness…which led to both of them opening the doors of the A+M lot to me. As time went by, I became friendly with not only Jack, but with Richard Carpenter, John Bettis ( who co-wrote “Top Of The World”, “Yesterday Once More”and Paul Williams ( “We’ve Only Just Begun”, “Old Fashioned Love Song”). We would sit around Paul’s office, discuss music and play songs for each other.
About a year later, when the top position at Irving/Almo music became vacant, Paul Williams suggested to Jerry Moss that they consider me for the job.
In 1974, I left Warner Brothers Music and was asked to join the Irving/Almo publishing arm of A&M Records. The company had been run by Chuck Kaye, but Chuck had decided to take some time off. I was in the right place at the right time.
The following is the actual press release that Rondor Music (the parent company) put out to announce my hiring:
MOSS NAMES WAYNE EXECUTIVE DIRECTOR IRVING/ALMO MUSIC
Jerry Moss, president of A&M Records, has announced that effective March 15, 1974 Artie Wayne has been named executive director of publishing for Irving/Almo Music. He was formerly general professional manager and director of creative services for Warner Bros. Music.
Wayne was first discovered by Bobby Darin in 1959…who sent him to Donny Kirshner who had just formed Aldon Music with vet song man/producer Al Nevins. It was there that Wayne learned how to write songs from Carole King, Gerry Goffin, Barry Mann, Neil Sedaka and Howie Greenfield.
He went on to collaborate with Paul Vance and in 1963 co-wrote his first hit “Meet Me at Midnight Mary” with Ben Raleigh and produced Bell Record’s first hit with Joey Powers.
In 1965, Wayne went to Scepter Records with Ed Silvers, where he produced the Shirelles, the Kingsmen and the Guess Who. When Silvers moved to the coast to join Viva Records, Wayne stayed in New York.
Unable to afford to sign Nick Ashford and Valerie Simpson, whom he worked with at Scepter, he took the duo to Eddie Holland, who signed them to Motown. In the next four and a half years, Wayne and partners Sandy and Kelli Ross build Alouette Productions into the top New York administration and exploitation firm of the late sixties. They represented Quincy Jones, (Joey) Levine and (Artie) Resnick, (Gary) Geld and (Peter) Udell, Bobby Scott, Janis Ian, Ron Haffkine, Leslie Gore, Bo Gentry and Jerry Jeff Walker.
After moving to the coast in 1970, he contributed pieces to Rock and Fusion magazines and reviewed acts for Cash Box before joining Viva Music as professional manager.
For the last three years, Wayne has been general professional manager and director of creative services for Warner Bros. Music. He directed the New York, Hollywood and Nashville professional staff, which has been dubbed “The Warner Raiders.” During those years, they represented the works of America, Badfinger, Jackson Browne, Bob Dylan, the Faces, the Fifth Dimension, the Kinks, Gordon Lightfoot, Mahavishnu John McLaughlin, Joni Mitchell, Van Morrison, Graham Nash, Randy Newman, Stephen Stills, John Sebastian, Sly and the Family Stone, Jimmy Webb, Neil Young and many others.
He spearheaded campaigns that resulted in multiple recordings by Three Dog Night, the Lettermen, Bobby Sherman, the Jackson Five, Johnny Winter and Art Garfunkle. His “Raiders” were also responsible for over 50 “cover” records of “Theme From Summer ’42” before the composition received a Grammy or Academy Award nomination. In 1973 the company boasted 55 chart singles and representation in the average of 33 chart albums every week.
More recently, Wayne acted as musical consultant on Warner Bros. Films’ “Cleopatra Jones” which resulted in two top 20 records by Joe Simon and Millie Jackson.
Although his time only allows him to be an occasional song writer, over the years he had nearly 200 of his own compositions recorded, including, among others, titles by Aretha Franklin, Bobby Darin, Jose Feliciano, Chi Coltrane, Rick Nelson, the Jackson Five, Miriam Makeba, Tiny Tim, Wayne Newton, and most recently, the much-covered “Flashback” (co-written with Alan O’Day) with chart records by the Fifth Dimension and Paul Anka.
My first day at the office I found “I Honestly Love You” and sent it to Olivia Newton John https://artiewayne.wordpress.com/2006/09/13/olivia-newton-john-tries-to-squeeze-one-more-hit-out-of-jeff-barry-and-artie-wayne/
The following week I discovered and signed Rick James
https://artiewayne.wordpress.com/2006/08/26/rock-and-roll-heaven-soars-on-internet-tribute-to-croce-perren-and-james/
I had a chance to work with Brian Wilson https://artiewayne.wordpress.com/2007/03/29/brief-encounters-with-brian-wilson/
I didn’t have a chance to work with Billy Preston https://artiewayne.wordpress.com/2006/08/25/rock-and-roll-heaven-rocks-internet-special-tribute-to-cash-pitney-preston/
Got to work with my old pal Jeff Barry https://artiewayne.wordpress.com/2007/02/10/jeff-barry-i-honestly-like-him/
Became friends with Barry White https://artiewayne.wordpress.com/2006/08/28/a-very-special-tribute-to-barry-white-mickey-most-and-jimi-hendrix/
During a time when women were treated unequally in the music business, I did everything I could to give talented, qualified women a break. I promoted my Secretary, Margo Matthews, to the Head of the Copyright Department where she remained for over 30 years.
Brenda Andrews, had been a secretary for seven years before I arrived. Not only did she have a good song sense, but she was showing songs in the catalog and getting more covers than anyone on the professional staff! I doubled her salary and made her an official songplugger. I’m happy to say that she retired a few years ago after becoming senior Vice-President of the company!
Lance Freed, the son of disc jockey Alan Freed, was fairly new to publishing at the time, but had potential. He ultimately became president of the company, a position which he still holds today.
I was told by Jerry Moss when I was hired that I was in charge of the World Wide Publishing operation, only to find out from one of A+M’s lawyers on the eve of my departure to Europe, that I was only in charge of the operation in the US!
Jerry was out of the country, so I couldn’t get this “mistake” straightened out. Besides, I had a meeting in London the next day with Richard Branson to make him an offer to buy his company…Virgin Records.
(To Be Continued)
Copyright 2007 by Artie Wayne
The Academy Award For The Best Song Goes To…”Listen” From Dreamgirls”!
February 25, 2007
A last minute coat is given to the replica of the Oscar, that stands outside of the Kodak theater in Hollywood. Shouldn’t someone give it a last minute pair of pants as well?
It’s Academy Award Sunday Morning, a time I used to wake up in anticipation of the evening ceremonies. My favorite catagory has always been The Best Song In A Motion Picture, and have been right in my choices most of the time. This is one of those dismal years where there are no standouts among the nominees. Most are songs I not only don’t want to hear again, but songs I didn’t want to hear all the way through the first time!
I understand that movie songs are used to establish a time frame, a mood, to evoke a feeling that may or may not be apparent on the screen…but I expect more from an Academy Award Winning Song! Shit! Where is a “Moon River”, “Tammy” or “Raindrops Keep Fallin’ on My Head”? How many songs have the sentimentality of recent winners, “Lose It” by Emenim or “It’s Hard Out Here For A Pimp” by 36 Mafia?
Here’s a list of nominees for best original song written for a motion picture 2007
“I Need to Wake Up” from “An Inconvenient Truth”
(Paramount Classics and Participant Productions)
Music and Lyric by Melissa Etheridge
“Listen” from “Dreamgirls”
(DreamWorks and Paramount)
Music by Henry Krieger and Scott Cutler
Lyric by Anne Preven
“Love You I Do” from “Dreamgirls”
(DreamWorks and Paramount)
Music by Henry Krieger
Lyric by Siedah Garrett
“Our Town” from “Cars”
(Buena Vista)
Music and Lyric by Randy Newman
“Patience” from “Dreamgirls”
(DreamWorks and Paramount)
Music by Henry Krieger
Lyric by Willie Reale
This year, my assistants Whoppy , Streaker and I pick Beyonce and, “Listen”
http://www.youtube.com/watch?v=JRLGz4AnFYU
We’ll all find out tonight!
Copyright 2007 by Artie Wayne
SIDNEY SHELDON R.I.P. ROCK N PERPETUITY!
January 31, 2007
SIDNEY SHELDON 2/11/17 – 1/30/07
I became friendly with Sidney Sheldon in the 80’s, when I was hosting Genghis Cohen, the Chinese restaraunt I named for my friend, Allan Rinde. Although it was starting to become a trendy hangout for the “Brat Pack”, Hard Rockers, Country divas, and Pop Icons it was Sidney who started bringing “Classic Hollywood” through it’s doors!
I couldn’t help getting excited everytime Sidney made a reservation! He always was in the company of the most interesting people in the World! Among others, he introduced me to Academy Award winner Sidney Poitier, US Ambassador John Gavin and international financier Marvin Davis. He always treated me like his guest as opposed to a guy working in a restaurant. Although I acted like I owned the place, I wasn’t one of Allan’s partners. Sidney knew this and after leaving a generous tip for the staff, which I didn’t particpate in, he’d slip a fifty or a hundred dollar bill in my pocket before he left!
When he started throwing big dinner parties at the restaurant, I felt honored and flattered that he asked me to put them together for him and privately host them. When he said he’d leave the menu up to me, I had to confess that I didn’t know shit about Chinese food and it was Allan’s choice I was hawking! He laughed and said he trusted me to take care of everything…and I did!
Although I was familiar with the TV shows he created, “I Dream Of Jeannie”, and “The Patty Duke Show, I never read one of his super successful novels, “The Other Side Of Midnight”, “Master Of The Game” or “Rage Of Angels”. Just knowing, however, that he became a novelist after the age of 50 has been an inspiration to me and thousands of writers all over the world!
Although he won an Academy Award, a Tony, and A few Emmys, I’ll always remember him as one of the humblest, most genuine people I’ve ever known with an incredible work ethic. The biggest tip he ever gave me, came after his passing…and through a newscaster who quoted his philosophy, “Don’t talk about writing…Do it!”
I’m doin’ it, Sidney…Thank You! R.I.P. Rock In Perpetuity!
Respectfully, Artie
From my forthcoming book, “I Did It For A Song”
Copyright 2009 by Artie Wayne
https://artiewayne.wordpress.com
BACK TO THE R.I.P. ROCK N PERPETUITY ARCHIVES https://artiewayne.wordpress.com/2008/08/20/rip-rock-in-perpetuity-archives/
BACK TO ARTIE WAYNE ON THE WEB https://artiewayne.wordpress.com
For more of Sidney Sheldon’s philosophy, bibliography and list of credits and awards http://www.answers.com/topic/sidney-sheldon
Breaking the Motown Sound Barrier – Part III Lady Sings The Blues And Berry Gordy Too!
December 10, 2006
Diana Ross As Billie Holiday
The following is Part III of Breaking The Motown Sound Barrier Series. If you haven’t read Part I, “Ain’t No Mountain High Enough”, click on to https://artiewayne.wordpress.com/2006/08/14/breaking-the-motown-sound-barrier-aint-no-mountain-high-enough/
If you haven’t read Part II, “What’s Goin’ On?”, click on to https://artiewayne.wordpress.com/2006/09/23/breaking-the-motown-sound-barrier-part-two-in-the-series-whats-goin-on/
Part III
In 1972, Ed Silvers, President of Warner Brothers music was losing his patience with me because he thought I was spending far too much time at Motown. Although I was getting our songs covered by some of their biggest artists, they were only album cuts. Ed was convinced that I would never get a single released by them. I didn’t say much, but I had spent over a year infiltrating the company, and I knew it was just a matter of time before I scored big with them!
I started to notice a change at the company when CEO Berry Gordy, Jr. became interested in producing movies. When production costs soared, record production budgets were cut and fewer records were released. I remember hanging out at Motown one day when I ran into producer and song writer, Michael Masser. He played me a song he had written with Ron Miller and produced on Diana Ross, that was being canned again! When he played me “Touch Me In The Morning”, my mouth dropped open! I couldn’t believe such a phenomonal record could be in the can for over a year, but Berry had his own plans for Diana. He and Paramount pictures had started production on “Lady Sings The Blues” and he was determined to make Diana a movie star!
For the first time, I heard complaints from usually loyal employees about all the money that was being wasted on Diana’s film. I heard that Berry had shot a scene for the film using an integrated chorus line at the Cotton Club, which had to be reshot with only Blacks to maintain historical accuracy. This mistake cost $50,000! Athough the record company was still on top, it couldn’t keep absorbing such costs without suffering in the process.
The only new artists who were given the “Motown Push” were the Jackson 5 and Michael Jackson who now was having hits as a single artist. I knew at this point that the only way I could have a chance for a hit with this company was to get a cover by the Jacksons or Michael. There was only one staff writer at Warner Brothers music who could write in a classic R+B style, George Clinton, Jr. ( not the lead singer of Parlement, but the one who later scored the three Austin Powers movies.) The two producers who loved Georges writing the most were Jerry Marcellino and Mel Larson, who just had big hits with 12 year old Michael on “Rockin’ Robin” and “Little Bitty Pretty One”. “Ben”, from the movie of the same name was racing up the charts and Berry Gordy asked each of his producers to start recording new sides with him.
I sat with Jerry and Mel and we talked about what kind of song they should record with Michael. I suggested A Christmas song…one so commercial that it could be the follow up to, “Ben”. When I saw their eyes light up, I told them that George Clinton, Jr. and I had started such a song! When they asked to hear it, I told them we were still working on it ( when in fact we hadn’t even started! ) I couldn’t tell them the title (’cause there wasn’t any!) I did tell them, however, that it was a true story of how my girlfriend left me out in the cold like the last tree in a lot which was left unsold on Christmas eve. They freaked out and said they had to have the finished song by Monday. I said, “No problem”
I called George, who knew nothing about any of this as soon as I got back to my office. He couldn’t believe I’d told them we’d have a finished song to them by monday, when it was friday and we hadn’t even started it! Saturday morning we met at my office, which was on Hollywood Boulevard across from Grauman’s Chinese Theater. It was the middle of summer, about 90 degrees, but we had to get in a Christmas Mood. As I told George my sad story, I started throwing Ivory Snowflakes around the room…and after a few hours we had the verse and chorus of, “Little Christmas Tree”
Little Christmas Tree
words and music by George Clinton, Jr. and Artie Wayne
I watch the snowflakes fall against my window pane
and wonder if you are watching snowflakes too?
I take a walk downtown to where you used to meet me
There’s joy everywhere but all that’s waiting there…is just a
Little Christmas Tree..Lookin’ sorta’ sad and lonely just like me
No one seems to care… They just went away and left him standing there
All alone on Christmas Eve!
Copyright 1972/ 2006 by Warner Brothers Music
On Monday morning George did a piano voice demo, and I got it to Jerry and Mel that afternoon. They loved it so much that they knocked one of their own songs off the date and cut ours on thursday! I was almost in tears when I heard the finished record the following week with the news that it was being considered for the follow-up to “Ben”, which had just hit number one! You can imagine how I felt a few weeks later when Berry decided not put out any follow up to Oscar nominated “Ben”, until the Academy Awards were given out…after Christmas! A few days later I came up with a plan and presented it to Motown. Put 2 albums worth of previously recorded Christmas songs by all of their hit artists along with a new song that Marvin Gaye recorded and of course, Michael Jackson’s, “Little Christmas Tree”. I’m proud to say that “A Motown Christmas” has sold many times platinum over the years…but there was a dark cloud loomng on the horizon!
( To Be Continued)
Copyright 2006 by Artie Wayne
To hear a sample of Michael Jackson’s, “Little Christmas Tree” from “A Motown Christmas”, just click on to http://www.amazon.com/Motown-Christmas-Various-Artists/dp/B00000JPBZ/sr=1-1/qid=1165772884/ref=pd_bbs_sr_1/105-5725259-3053219?ie=UTF8&s=music
Artie Wayne On The Web 