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
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
February 10, 2007
Songwriter and Producer Jeff Barry, is always someone I’ve looked up to…and not just because he’s about a foot taller than me! Before I got into the music buisness, I remember first seeing Jeff’s name on one of my favorite records, “Tell Laura I Love Her” (Raleigh/ Barry) by Ray Peterson, and paying attention to his creative output ever since.
The first time I met him was in 1650 Broadway at the office of Paul Vance (“Itsy, Bitsy, Teenie Weenie, Yellow Polka Dot Bikini”) where I was putting the finishing touches on a song I had written with with Ellie Greenwich and Danny Jordan (the Detergents), “You Should’ve Told Me”, that the Angels were about to record. I was introduced to Jeff when he came in to pick up his Fiance Ellie, for lunch.
While Danny and I sat daydreaming of songwriting superstardom collaborating with this talented lady on dozens of future hits, Jeff had plans of his own. He and Ellie, had started writing with Phil Spector and created songs that not only would become instant classics but would define the 60’s as well, including “Be My Baby”, for the Ronettes, “Do Wah Diddy” for Manfred Mann and “River Deep, Mountain High” for Ike and Tina Turner. Jeff’s love of Doo-Wop, Ellie’s affinity towards girl groups and Phil’s ability to mold the songs they all had written into a “Wall Of Sound”, made for an unbeatable combonation!
Jeff and Ellie sang together as the Raindrops, and co-produced Neil Diamond’s first hits, “Solitary Man”, “Cherry, Cherry” and worked with Shadow Morton, on “Remember (Walkin’ In The Sand)”, and “Leader Of The Pack” by the Shangri-las and “Chapel Of Love”, by the Dixie Cups. When their marriage ended , so did their collaboration with Phil Spector and Jeff started producing on his own. After a successful string of hits with the Monkees, “I’m A Believer”, “A Little Bit You, A Little Bit Me”, and the Archies, “Sugar, Sugar”, “Bang Shang -a-Lang”…his creativity took a new turn.
I didn’t see Jeff for a couple years, then while I was visiting my friend songwriter, Paul Williams (“We’ve Only Just Begun”, “Old Fashioned Love Song”) on the A&M Records lot. Jeff, who had just signed a co-publishing deal with Irving/ Almo Music, came in and played me a song he had written, “Walking In The Sun”
Walkin’ In The Sun
Words and music by Jeff Barry
Well, things have been goin’ wrong long enough to know when everything’s just right
I’ve been walking in the dark long enough to know when I’ve finally seen the light
I’ve been losing long enough to know when I finally have won
And even the blind man can tell when he’s walking in the sun.
Well, I’ve cried enough tears to recognize this feeling of a smile
I’ve been bottom rung long enough to know when I’m doing it in style
I’ve been running long enough to know when there’s no more need to run
(O Lord) Even the blind man can tell when he’s walking in the sun.
The wind is at my back and I’m sailing on a ship long overdue
I’ve blown so many chances, I ain’t gonna blow this one with you
And I’ve seen enough bad times to know when the good times have begun
O Lord – Even the blind man can tell when he’s walking in the sun
(Oh yeah) Even the blind man can tell when he’s walking in the sun.
Copyright 1973 Irving Music/Jeff Barry International, administered by BMI.
I sat there with my mouth dropped open, fighting back a tear. I always admired and respected Jeff for his ability to tap into the teen market and realistically express their emotions…but I realized his writing had reached a new level. Although I was working for Warner Brothers Music as general Professional Manager, and it was my job to plug my companies songs, I gave a demo of “Walking In The Sun” to my friend, Bob Monoco who recorded it the following week with Chaka Kahn and her group Rufus!
It was years later that I learned that the song was written for his father, who was blind and only this morning did I read the complete story behind the song, in Jeff’s own words on his official website.
The next time I placed one of Jeff’s songs, it was in a more of an “official” capacity. I was hired to run Irving/ Almo, and on my first day on the job, I gave Olivia Newton John, “I Honestly Love You”, that Jeff wrote with the late Peter Allan, which became the record of the year in 1974!
Copyright 2007 by Artie Wayne
For Jeff Barry’s Official Website http://lpintop.tripod.com/jeffbarry/
Special thanks to Laura Pinto http://laurapinto.tripod.com/
February 3, 2007
The Thinker by Rodin
Sidney Sheldon, creator of “I Dream Of Jeannie” and novelist, “The Other Side Of Midnight”, “Rage Of Angels” advice to writers, ” Don’t talk about writing…Do It!”
A long time ago, Quncy Jones gave me a tip on how to deal effectively with Hollywood producers, “Use “fuck” in your conversation every once in a while to get their attention!”
On people who give advice and expect other people to listen. Singer and songwriter, Jim Croce (“Don’t Mess Around With Jim”, “Operator”) used to say,” You can’t tell anybody anything…people have to come to their own conclusions!”
The Paul Mc Cartney of the Present, should have listened more carefully to the Paul McCartney of the past, and signed the prenuptual agreement! “Yesterday, love was such an easy game to play…now I need a place to hide away…oh I believe in Yesterday!”
“When she started to play, Steinway himself came down personally and rubbed his name off the piano. ” — Bob Hope, on comedienne Phyllis Diller-submitted by Eddie Hodges
Patti Dahlstrom turned me on to a couple of songwriter, Paul Williams’ best quotes… “There are those who listen, and those who wait to talk.”
“Every time God closes a door, he opens another, but the time in the hallway is a bitch!”
Patti also submitted this from ‘The Lives Of Lazarus Long” by Robert Heinlein
“Before you appeal to someone’s higher nature, you better make sure that they have one.”
Copyright 2007 by Artie Wayne