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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 everchanging 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 enamoured 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 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 weeks 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 every member of Spectropop might want to know.

AW- How did you first get together with Phil Spector?

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!

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 rythym 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 on Electric Guitar, Billy Butler on another electric and percussionist, George Devins.

AW- And on bass?

TM- Bob Bushnell on electric and Russ Savakus or Dick Romoff 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- No…not on any sessions I’ve been on. I’ll tell you what he did though…

(To Be Continued)

Copyright 2007 by Artie Wayne

The complete interview with Trade Martin will appear exclusively on Artie Wayne On The Web and Spectropop in about a month. I honestly didn’t plan to do any more interviews for a while, but after reconnecting with Trade, I realized how much of Pop history he’s been part of…and it would be a shame not to document it.

I’m going to be talking with him again on Tuesday at noon, If you have any questions you want me to ask him, about Phil Spector or any of the legends he’s worked with, you can e-mail me at artie_wayne@yahoo.com

To reach Trade Martin http://trademartinmusic.co

Thanks to Dave Monroe for sending Evie Sands performing ,”Take Me For A Little While” http://www.youtube.com/watch?v=XZTG-5brNII

For More On Phil Spector https://artiewayne.wordpress.com/2006/08/16/the-scoop-on-richard-baskin-and-phil-spector-with-a-cherry-on-top/

For Spectropop http://spectropop.com

To get back to Artie Wayne On The Web https://artiewayne.wordpress.com

Special thanks to Jeff Rubin for reconnecting me with Trade.

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Since the early 60’s, Burt Bacharach has been one of the most innovative and influencial figures in popular music. His unique melodies and signature rythyms also made him one of the most imitated musicians of all times. With various lyricists, he racked up an early array of hits that included, “Tower Of Strength”, “Baby It’s You”, “The Man Who Shot Liberty Valance”, “Any Day Now”, “Only Love Can Break A Heart”, “Blue On Blue”, “Anyone Who Had A Heart” and “Walk On By”.

I always felt a thrill just to be in his presence! I would see him at a party or a music business function and go over and introduce myself. This happened so often that after about the fifth or sixth time I did it, he stopped me, smiled and said, “I know…you’re Artie Wayne!” This not only made me feel good, but I felt validated!

He was not only a musical role model, but a personal one as well. He was probably one of the coolest people I’ve ever known, with his sunglasses on top of his premature white hair he always seemed to be dressed for a tennis game or a polo match! I also noticed all of the beautiful women that would fawn over him and it made me realize that you didn’t have to be a Rock Star to get that kind of attention!

In 1963, after I had my first hit as a songwriter and producer, “Meet Me At Midnight Mary” ( Raleigh/ Wayne) with Joey Powers, I called up Burt to see if he had any songs for the follow-up. I met him in his office at Famous music, in the Brill Building and he played me a new song he and Hal David had written, “Message To Martha” (which later became a smash in the UK by Adam Faith and a hit in the US by Dionne Warwick, re-titled, “Message To Michael”)

I loved the song, but I thought it was a bit too complex for Joey Power’s simple folk musical direction we were taking. I felt really weird turning down the song, but Burt was cool and said don’t worry about it. A few months later, I ran into him on my first trip to London, where he was the musical director on Marlena Dietrich’s concert tour, we had a drink and laughed about my embarrasment over turning down one of his songs.

The next time I saw him was in 1965, I was signed to Scepter records publishing company, as a songwriter and producer. I was encouraged to use the studio as often as I wanted for overdubbing and making demos of my songs to help break-in the studio. I produced or co-produced The Shirelles , The Kingsmen and the Guess Who, there which made the owner, Florence Greenberg, more confident in her new facility. At that point, she offered Burt Bacharach and Hal David, a chance to try her new, improved studio out.

I remember Burt and Hal had trouble mixing Dionne Warwick’s, “Are You There With Another Girl” at the original studio where they cut the track, and they decided to try out Scepter. I remember being in my office the day of the “Great New York City Blackout “…when the lights all over our building were dimming then getting brighter! Burt and Hal, after mixing for hours, ran out of the studio screaming, ” What the Hell’s going on ? We almost had it…We almost had the mix! Then machine started slowing down then stared speeding up!”

Tempers cooled, when we looked out the window and saw lights in the entire city dim…then go black! Florence’s son Stanley, who was head of A+R, as well as being totally blind from birth, yelled out, “Don’t worry, I’ll get us all out of here…JUST FOLLOW ME!”

About 20 of us, with Stanley leading the pack, managed to get down several flights of stairs, in total darkness, safely and without incident. It was an event that I’m sure none of us will never forget!

Copyright 2007 by Artie Wayne

A few days ago, on July 6, I wrote about a sudden medical emergency I had that made me think I was having a heart attack! Although I fellt better after I calmed myself down with deep breathing and meditation, I decided to see a doctor. After several hours of tests, he determined that I didn’t have a heart attack or a stroke. He did say that whatever I used to calm me down worked…and asked for a copy of the technique that I used.

For the last few days, I’ve had a chance to rest and reflect on my life. I woke up this morning refreshed, did a deep meditation and turned on the news. The headlines shouted, “Terrorist Bombings in India…Israel attacks Lebanon…Wildfires sweep California, Arson suspected…Suicide bombings in Iraq!” I shook my head as the song “What the World Needs Now Is Love” started running through my mind. I turned off the TV, closed my eyes and went back to another time….

I first met Jackie DeShannon back in 1964, when she was on tour with The Beatles. We had talked on the phone a few times after I cut a couple of her songs with Joey Powers (for whom I had produced “Midnight Mary”) and we arranged to get together when she got to New York.

We hit it off immediately, with our mutual love of music, dancing and art museums. I was going to show her “My New York,” but she would up showing me hers. That world included after hour jam sessions in Greenwich Village with Dave Van Ronk, John Hammond Jr. and Tom Paxton.

My first (and only) single for Liberty Records, “Where Does A Rock and Roll Singer Go (When His Record’s Off The Charts)?” had just bombed out and I was discouraged with the music business in the States. Jackie suggested that I go to London (where I had just scored a top ten hit with “Queen For Tonight” by Helen Shapiro) in November, 1964, when she would be there promoting her latest single. Once again I was swept away to her galaxy, becoming friends with one of her co-writers, Jimmy Page, watching her perform on “Ready, Steady, Go!!” and going on several stops of the Beatles promo tour for “Beatles For Sale.”

Jackie and I never dated, but we hung out a lot, until a misunderstanding (too petty to remember) threatened our relationship and we hadn’t spoken in a month. Then, the day after I had open heart surgery (back in N.Y.), she called me from a recording studio to see how I was. She had the engineer play the backing track she was working on with Burt Bacharach and Hal David….and sang “What The World Needs Now Is Love” to me over the phone. I can’t tell you how much that meant to me….but I actually made medical history by walking around 36 hours after my operation!

Thanks to Peter Lerner and the Jackie DeShannon Society

http://jackiedeshannon.tripod.com/