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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

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When my Mother asks me what I want for Christmas, I curl my lip like Elvis and say, “A guitar ma’m…a guitar”. As usual, she gives me something that exceeds my expectations.  She sees me admiring an acoustic Kay guitar in a pawnshop by the 3rd Avenue El, and buys it for me on a lay-a-way plan.

 

I can’t afford guitar lessons, so I do the next best thing; I sit in front of the stage at an Alan Freed Rock and Roll show and watch Buddy Holly and the Crickets.

 

The show is advertised as having the biggest Stars in the Rock and Roll Galaxy. Although I enjoy Bo Diddley (“Bo Diddley”), Eddie Cochran (“Summertime Blues”), Chuck Berry “Maybeline”, The Diamonds (‘Lil Darlin’”),and The Flamingos (“I Only Have Eyes For You”), I’m here to see one group, whose song, “That’ll Be The Day”, is racing up the charts!

I remember Alan Freed comes out at the 10:00 AM show, in his trademark plaid jacket and is about to introduce Buddy Holly and the Crickets. From where I’m sitting I can see someone in the wings waving and trying to get Alan’s attention. Now he sees two-thirds of the group waiting in the wings, but makes his announcement anyway, “Now here’s Buddy Holly and The Cricket!”. Fortunately, Joe B.Mauldin runs onstage with his stand-up bass, halfway through the first song, and added the icing on the cake.

 “Well, That’ll Be The Day…when you say goodbye. That’ll be The Day…”

 

After the show, I stand in the pouring rain hoping to meet my hero at the stage door. Ritchie Valens, and Eddie Cochran, who is also on the show, comes out and graciously signs autographs for anyone who asks. Joe B. Mauldin, and Jerry Allison of the Crickets, sign my autograph book as well.

 

I wait another half an hour ’cause I can’t wait to tell Buddy how much his music means to me and how I sat in the third row for the last few days making diagrams of where he put his fingers so I can play just like him! When his bandmates return, Joe says that Buddy probably isn’t coming out.  Disappointed but inspired, I take the subway back home to the Bronx before it gets dark.

 

When your plane crashed, they said it was the “Day the music died”…but Buddy, your music has never died for me,”Rave On” and Rock In Perpetuity!   

  

 

 

JUST ADDED A MINUTE AND A HALF CLIP OF BUDDY AND ELVIS IN A 1955 HOME MOVIE!http://www.dailymotion.com/video/x8k2b_johnny-cash-elvis-presley-buddy-hol_music

 

 

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

 

TO READ A CHAPTER OR TWO FOR FREE CLICK  HERE

 

TO READ SOME OF THE COMMENTS  CLICK  HERE

 

BACK TO ARTIE WAYNE ON THE WEB! https://artiewayne.wordpress.com  

 

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The Isley Brothers

I was preparing to write an article about music in commercials, and the durability of two 40 year old songs, “Shout” and “It’s Your Thing”, both written by the Isley Brothers. I clicked onto an ominous news headline and was saddened to read about the problems the last surviving brother, Ronald Isley is facing. The ailing 65 year old has just been sentenced to three years in Federal prison for income tax evasion!

I took a break…and thought about a simpler time

I met Ronald, Rudolf and O’Kelly Isley at an Alan Freed Rock and Roll show in 1959, when they signed my high school yearbook. The next time I saw them was in London 1964, when we all were staying at the infamous Madison Hotel, right off of Hyde Park.They were in town to do “Ready, Steady, Go”…and I was there as a Songwriter/Publisher, playing my songs to whomever would listen. I would chat with them at the complimentary breakfast, along with other hotel guests at the time, that included Wayne Fontana, the Mindbenders and the Pretty Things.

Peggy, the hotel manager, had a very strict policy. If you didn’t pay the daily rate for your room by 6:00 every night, all of your belongings would be packed up and moved out. Although I was only paying a pound a night [$2.80 US] for a tiny room in the attic…I foolishly showed up late one night after the 6:00 deadline.

I had just spent the afternoon on cloud nine in the studio with my friends, Mickey Most and the Animals, as they put background vocals on “Don’t Let Me Be Misunderstood”. I quickly came down to earth when I saw my luggage and guitar waiting for me in the lobby!
Peggy demanded her pound for the night…plus payment in advance for four more nights! I searched through my pockets, but all I found was a half-crown and a blank personal check, that Peggy wouldn’t accept. My heart sank, as her manservant, who I’ll call “Igor”, started to drag my belongings down the stairs into the street. That’s when Ronald Isley, who I barely knew, came over and handed Peggy a 5 pound note. I stood there with my mouth hanging open, trying to say thank you. As he ran off to meet his limo, he smiled and said, “Don’t worry about it…you can pay me back the next time I see you.”

The next time I saw him was 30 years later, when he came in for dinner at Allan Rinde’s legendary Chinese restaurant in Hollywood, Gengis Cohen (which I named and hosted). As I took him to his table, I reintroduced myself and he laughed as I reminded him what happened all those years ago.

He was surprised, and maybe a little touched, when I sent the waiter over with a belated thank you note, a $20 bill, and a bottle of the best wine in the house!

I thought I saw a tear in his eye…but maybe it was just a little Jeri-Curl juice.

Copyright 2007 by Artie Wayne

JOHNNY CASH  2/26/32 – 9/12/03 

“Although I never met Johnny Cash, I have to count him as an important influence in my music and my life. When I was a kid I asked my mother for a phonograph player one Christmas and begged her for three LPs…the Elvis Christmas album…Clyde McPhatter and the Drifters…and the first Johnny Cash Sun album.

When I learned how to play the guitar from making diagrams of Buddy Holly’s fingers from the third row of an Alan Freed Rock n’ Roll show the first song I learned was,”Peggy Sue”, the second was, “I Walk The Line”.

As an African-American it was difficult to explain Johnny Cash to my inner-city friends, most of whom had heard the name…but not the music. Then I turned them onto his chilling, near monotone delivery of songs that had deeper meaning than most of the pop music of the day.When they listened…they understood…they knew that Johnny Cash was real!!

What amazes me about Johnny and his career,was his ability to stay relevant . I’m 62 years old and after writing songs for over 40 years I’ve wondered if I still had anything left to say…….then I saw Johnny’s video of “Hurt” and realized age can make you more relevant!

From my forthcoming book, “I Did It For A Song”
Copyright 2009 by Artie Wayne
https://artiewayne.wordpress.com


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