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BOBBY DARIN  5/13/36 – 12/20/73

During the 50’s and early 60’s, racism divided radio just as it divided America. White people, for the most part, didn’t want to hear Black voices sing about a life style they couldn’t relate to and Black people didn’t want to hear White voices sing about a life style they were being denied.

I don’t believe there was a conspiracy to”steal’ songs and styles from black artists and give them to white artists to make pop hits. It often was the idea of many progressive, soulful white artists to sing songs they personally liked and wanted to record.

Such an artist was Bobby Darin, who who could sing and write like a Black man, (“Splish, Splash”, “Queen Of The Hop”). he could also sound like a country singer ( You’re The Reason I’m Living”, “Things”), a folk singer, (“If I Were A Carpenter”)…not to mention “Swing” like Sinatra (“Mack The Knife”, “Beyond The Sea”)

It was singing R&B flavored songs, however, that first captured the public’s attention, and brought him to the top of the charts. I met him for the first time, back stage at an Alan Freed Rock And Roll Show in 1959, when I was trying to break into the record business.

I was sitting in the rehearsal room of the Brooklyn Fox Theater, learning a few chords from my new pal, Bo Diddley who I met that morning after sneaking backstage. I remember Jackie Wilson, Jimmy Clanton and Bobby Darin coming in and asking if we would mind if they played a test pressing of Bobby’s next single. I sat there spellbound as we all listened to the record that would take his career to the next level…”Dream Lover”!

Over the next few days I sat with Bobby and played him a couple of my songs. When I told him I was going to sign a management contract with Alan Freed, he spoke to me privately and told me about a friend of his who just opened a publishing company at 1650 Broadway.

He wrote down his friend’s name in my autograph book…and the next day I went to audition for Don Kirshner.

For almost two years I was signed to Donnie and his partner Al Nevins’ company, Aldon music. Although I never got any of my songs covered or made a record while I was there, I did learn how to write songs from the best in the business, Carole King, Gerry Goffin, Howard Greenfield, Larry Kolber and Barry Mann.

It wasn’t until 1963, until I saw Bobby Darin again. I left Aldon music and was writing songs with Ben Raleigh (“Wonderful, Wonderful”, “Tell Laura I Love Her”) When Bobby asked Ben If he had any songs, for his hot new artist , Wayne Newton. Ben and I wrote one and brought it back the next day. Bobby loved, “Better Now Than Later”and a few days later recorded it with Wayne and put it on the b-side of “Danke Schoen”.

After that I became a regular visitor to Bobby’s publishing company, TM Music, where my friends Kenny Young and Artie Resnick were signed as writers. I ran into Bobby, who asked If I had any folk songs for a new album he was working on. It must’ve been one of the hottest days of the year, when I started to play a new song I wrote with Ben, “Train To The Sky”. At the end the first chorus, Bobby smiled, reached up, whipped off his toupee and threw it on the couch!

I knew I’d start laughing if I stopped singing, so I sang it over and over until the moment passed. That night he went in and recorded the song with Walter Raim and Roger McGuinn playing all the instruments.

In 1965, after I was one of the first Americans to have open heart surgery, I remember I’d sit and talk to Bobby for hours about the procedure. He wanted to know if I was afraid? Did it hurt? Would I go through it again if I had to? Then he told me that he had a similar problem with his heart since he was a kid. He said his doctors talked about open heart surgery…but he was afraid to have it!

(To Be Continued)

Copyright 2007 by Artie Wayne

Bobby Darin sings “Dream Lover” on the Ed Sullivan Show http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoID=1549762784

To see Bobbys remarkable live performance in 1959 of “Mack The Knife” http://video.google.com/videoplay?docid=582310482463733506&q=bobby+darin&total=396&start=0&num=10&so=0&type=search&plindex=0

“If I Were A Carpenter” in a live 1973 “Midnight Special” performance http://video.google.com/videoplay?docid=7940216871363353978&q=bobby+darin&total=397&start=40&num=10&so=0&type=search&plindex=5

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

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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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Trade Martin and Al Gorgoni listen to a playback.

After the impromptu interview I had with Songwriter/ Producer/ Artist Trade Martin who was a guitarist on many of Phil Spector’s legendary sessions, I realized there was much more to the story…

Although I’ve known Trade 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 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- 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!

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 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 by Artie Wayne http://artiewayne.com

Although I had some more questions I gathered from Spectropop to ask him on various aspects of his career I decided to wait for another time. I just wanted Trade to finish up the story he started telling me about Phil Spector.

Trade is currently putting the finishing touches on a four disc CD that features new material, as well as compilation of his early American Hits and Northern Soul Favorites! As soon as it becomes available, I’ll announce it on Spectropop.

To reach Trade Martin http://trademartinmusic.co

Thanks to Dave Monroe for 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/

Spectropop http://spectropop.com

Special thanks to Jeff Rubin for reconnecting me with Trade.

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l to r Hank Medress, Mitch Margo, Phil Margo, and Jay Siegal
The Tokens are inducted into the Vocal Group Hall Of Fame 2005

Hank Medress, the founder of the Tokens (“The Lion Sleeps Tonight”) and producer of the Chiffons (“He’s So Fine”), Dawn ( “Candida”, “Knock Three Times”) , Tony Orlando and Dawn ( “Tie A Yellow Ribbon ( On The Old Oak Tree “) talks about his career, challenges and aspirations.

In an exclusive interview that amounts to a couple of old friends talking, Hank shares stories and experiences that make you feel like you’re there in the moment with him! He also talks about the organzation that he represents, and the gratification he receives from finding recording artists who don’t even know they are owed money.

Artie Wayne On The Web and Spectropop proudly present The Hank Medress interview http://spectropop.com/HankMedress/index.htm

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It was 1961…and it was my first day on the job at New York’s Lowe’s State Theater, yelling, “Immediate Seating for Gone With The Wind!” The most appealing part of the job was the location…it was only five blocks away from 1650 Broadway…the new Tin Pan Alley…the “hipper” Brill building! This was also the day that my Mother met me up at Aldon Music, where Al Nevins and Don Kirshner convinced her that I shouldn’t go to college but hang out in their offices , learn how to write songs and prepare myself to become a Rock and Roll Star!!!

Like Chuck Berry said, ” I studied hard hopin’to pass”. I took advantage of the chance to be around some up and coming talent who soon would become the most sucessful writers in music buisness history!

now As a wide-eyed 18 year old, I sat everyday in Aldon Music’s 1650 B’way office and became freindly with most of the writers who were signed…Neil Sedaka and Howie Greenfield (who helped me develop as a lyric writer), Cynthia Weil and Barry Mann (who taught me how to sing harmony), Gerry Goffin and Carole King (who showed me how to make demos), Jack Keller (who helped me with my chords), Larry Kolber (one of my first lyric partners), Russ Teitleman, Brooks Arthur, Billy Michelle, Al Gorgoni, Charles Koppleman, Don Rubin and a 14 year old Toni Wine.

I’d occasionally babysit for Carole King, while she was in the studio doing demos. In return she would play keyboards, arrange, and sing background when I had to put down my songs on tape. I remember one day she came in to play Don Kirshner her new song but he was still out to lunch. She asked me if I’d like to hear it while she was going over it.

She sat down at the old upright piano in the music room and started playing, “Tonight you’re mine completely…You give your love so sweetly…” I was spellbound, until the very last note of, “Will You Still Love Me Tomorrow”. I sat there as she played it a few more times, knowing I wouldn’t be able to write anything of my own for weeks!

Then she was summoned to Don’s office. I think he liked it too…I kept hearing him yelling through the door, “It’s a Smash!…It’s a Fuckin’ Smash!”

Copyright 2011 by Artie Wayne- https://artiewayne.wordpress.com/about-artie-wayne/

CLICK HERE TO READ SALLY STEVENS EXCELLENT REVIEW OF “TROUBADOURS” featuring CAROLE KING AND JAMES TAYLOR ON PBS!  http://rockphiles.typepad.com/a_life_in_the_day/2011/03/troubadours-the-movie-review.html

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

nice-phil.gif I first visited Hollywood in 1968 for a combo business trip and quicky divorce. Having lived all my life in New York, I never learned how to drive, so my friend Richard Baskin, graciously took me to my appointments. Richard (who a few years later went on to produce the music for Robert Altmans, “Nashville”, Willie Nelson’s “On the Road Again”, and several outstanding cuts with Barbra Streisand) was still in college and also one of the heirs to Baskin/Robbins ice cream empire. At his friends and family’s request I tried to talk him into staying in school…putting his music aspirations on hold and consider going into the family business. But after one particular day there was no going back!

After a morning of writing songs with Gary Zekely, and Mitch Bottler , the team who wrote “Sooner Or Later” and “Wait A Million Years”, we went over to the A&M lot to meet with Lou Adler, (who would produce Carole King’s “Tapestry”.)

After my appointment, I took Richard on an impromptu tour of the facility (which I had never seen). I introduced him to Herb Alpert ( who I didn’t know), who introduced both of us to Joan Baez. Then we checked out A&M recording studios to see who was there. That’s when I ran into Phil Spector, (who I did know from my days as an artist at Liberty Records ). I introduced him to Richard, who I knew idolized him. Phil invited us into the studio to listen to a track he was doing with the Checkmates, “Proud Mary”.

When Phil signaled to the engineer to start the tape…I was standing in front of the speaker and was literally blown away…not just by the recording itself…but by the incredible volume!!! Phil smiled enigmatically as Richard helped me maintain my balance.

As Richard was driving me back to my hotel I asked him if he had a chance to think about what we discussed earlier in the day? He looked at me, with stars in his eyes and said, “Yeah…Fuck Ice cream, I’m going into the music business!”

Pictured at top- Phil Spector