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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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A few days ago I was apprehensive about blogging my experiences with the paranormal, today I can’t wait to start again! I’ve learned so many things in the time I’ve spent on Earth that I can’t wait to share them!

I’m not a professional psychic, documented healer, or spiritualist. I’m a writer and an artist who’s lived an extraordinary life http://artiewayne.com/ I do, however, consider myself a psychically attuned, spiritually guided, observant layman who has made remarkable discoveries. Ever since I was a child I knew I was being given information and instructions from another place. When I started writing songs and composing music, I always felt that the best ideas, lines and passages came from somewhere else…somewhere outside of my ego and my own frame of reference.

Although I currently use deep meditation techniques to receive and access information, my best and deepest songs have all come from intense emotional times in my life.

The first time that I realized that I was channeling information from the other side was in the summer of 1966. I was a staff songwriter and producer for Scepter records in New York City. I had just gotten married and like most young breadwinners needed extra cash. I made a deal with Ed Silvers, who headed Scepters publishing company, that I would get a base salary of $125 a week plus $100 general advance for every song I’d have recorded. He would usually only accept one or two songs a week, which limited my income.

When he made a two week trip to Europe I took the opportunity to convince the label owners that I could write and produce sides for the Shirrelles, the Kingsmen and the Guess Who, as well as writing 10 new songs for a patriotic and spiritual concept album…all before Silvers got back.

Just as I started writing, my grandmother, “Gooma” who helped raise me and was a big influence in my life, became seriously ill. I was beside myself and stressed out, but I had a big job to do. In between bedside visits, I knocked out the pop songs first…then I did the patriotic songs. When it came time for me to do the spiritual songs, my grandmother took a turn for the worse. I started to write…and as I wiped away my tears, from out of nowhere an entire song came through me in less than 3 minutes. It’s called,” “Daddy, Daddy What is Heaven like?” It’s a song about a little boy having a conversation with his father…

Daddy, Daddy What Is Heaven Like?
By Artie Wayne

“Daddy, Daddy What is Heaven Like?

Is it like our house so pretty and White?

It doesn’t seem right, it doesn’t seem fair…

If Mommy loved us so…why’d she go there?”

“Heaven, my child, is a beautiful place

Where there’s a smile on everyone’s face

Mommy loved us both but she had to go…

We needed her so but they needed her more”

“Daddy, Daddy is Heaven very far?

How long would it take if we go by car?

If you cross me at the corner, I can take my bike

Daddy, Please tell me what is Heaven like?”

 

“You can’t go there by a bike or a car…

But if you’re good you’ll go real far.

Maybe someday you’ll go to Heaven too

If I know your Mommy she’s saved a place for you.”

“Daddy, Daddy I can hardly wait

I’m so excited Heaven sounds great!

Can I run and tell sister goodbye?

Why is there Daddy a teardrop in your eye?”

Copyright 1966/ 2007 Wayneart music

What’s ironic about this is…I never knew my father on Earth and didn’t have any children myself! In retrospect, I look at this as an exchange with my heavenly father who was answering questions that were in my spiritually developing mind.

God let us keep “Gooma” a little bit longer and I was fortunate to have Tiny Tim record “Daddy, Daddy” on his Gold album “Tiptoe Through the Tulips”.

I was proud when Miriam Makeba performed the song to a five-minute standing ovation in Philharmonic hall at Lincoln Center…but even prouder when she sang it on Johnny Carson’s “Tonight Show” the following night and my grandmother was able to watch it.

Copyright 2007 by Artie Wayne

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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

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After returning to New York from my first trip to the UK in 1965, where I was pushing my songs and traveling on a promotion tour with the Beatles, I went to work for April-Blackwood music as a song plugger. Unfortunately, the people who hired me were fired two weeks after I started, leaving me to fend for myself. The new regime wanted to give me a chance and rushed me through all the red tape at CBS (which owned April-Blackwood).

After a routine insurance examination, the doctors asked me how long I had known about my heart condition? I had no idea what the hell they were talking about, but after getting a second opinion, I was told that I had an extra vein pumping impure blood back into my heart and possibly two years to live! That’s when I became one of the first Americans to have open heart surgery, which CBS paid for. I was grateful for their generosity…but I hated the corporate bullshit I was expected to deal with…so I never went back!

After that I formed my own publishing companies, had a few hundred of my own songs recorded and produced records for dozens of companies. Although I had little success with my own creative output, I went to work as a writer/ producer for Scepter records. When they sold their publishing company, I went into buisness with Kelli Ross and ran the publishing companies of Quincy Jones, Janis Ian, Bobby Scott, Leslie Gore, Joey Levine and Artie Resnick.

After I failing to become another JImi Hendrix, under the name Shadow Mann, I moved to Hollywood and had success after success when I headed up “The Warner Raiders”, my crack team of songpluggers for Warner Brothers music, and when I ran A&M’s publishing companies. When I started dealing more with politics than I was with music I went into buisness for myself, producing and selling dance records around the world. I was also an agent for a radio spot producer, winning a “Clio” myself for co-writing a Kenny Rogers spot. I also named and hosted my friend, Allan Rinde’s restaurant, Genghis Cohen, where I also established myself as a “Wearable Artist to the Stars”

After surviving open heart surgery, eleven engagements, two marriages, several attempts on my life and all of these careers…I thought it all was coming to an end 10 years ago when I inexplicably started falling down in the street! I had a spinal operation, which left me partially paralyzed, and only able to control one finger with which I type.

When Allan sold Geghis Cohen, he gave me a computer and an introduction to Spectropop, a 60’s music forum which stroked my ego and helped develop my writing and typing skills. 6 months ago I started my own blog, Artie Wayne On The Web, and I’m proud to say that I’ve had over 200,000 hits! Now every morning I wake up excited to express myself in ways I never could before, while finding new and creative ways to promote my music!

I want to thank everyone who’s come along on this crazy ride and hope you’ll continue to stop by whenever you can! I promise to keep giving you the best of “The Truth, Entertainment and Bullshit!” I wish I had a guest book that each of you can sign, but you can leave a comment or two at the end of this article which will be on display forever!

Thanks and regards, Artie Wayne

Website  https://artiewayne.wordpress.com

For Spectropop http://spectropop.com

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BARRY WHITE  9/12/44 – 7/4/03

“The first time I met Barry White he was sitting behind my desk at A&M’s publishing company, Irving/Almo music, amused at the dance floor a 12 year old Michael Jackson convinced me to put in my office. I had been trying unsuccessfully to set up a meeting with Barry to play some songs, when one of my assistants, Gloria Sequoia, got her old friend to drop by the office. From then on he dropped in whenever he could. He even spoke at one of the writers meetings I used to hold on the sound stage at A+ M. He was truly a gentleman and the more successful he became the more humble he was.

I doubt if there was any other artist who assisted in more conceptions than Barry White….but what I admired most about him was the positive way he promoted love and devotion in his music during a time of rampant promiscuity. When he talked…you listened. When he sang… you knew he was for real!!”

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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When I started writing songs and producing records in the ’60s, there wasn’t anywhere to go to learn your craft. Like many of my contemporaries, I went to the school of Top 40 radio. First I learned the ABCs of Rock and Roll in the ’50s, listening to Elvis, Fats Domino, and the Platters, then I graduated in the ’60s, where everyone in my class majored in Motown.

Although I’m an African-American, R+B music wasn’t my first love. It was Berry Gordy, Jr.the owner and guiding force behind Motown, who changed the sound of Black America into the “Sound of Young America.” The “crossover” vision soon captured my imagination as well. His formula always started with an extremely well crafted song, musically sophisticated with a strong beat, and used the best producers, musicians, arrangers as well as pool of remarkable singers.
It was, however, the competition between songwriters and producers within the company that drove the quality, commerciality and technical superiority to such a high level. Even “Smokey” Robinson ( Vice-President of Motown), had to compete with Norman Whitfield, Marvin Gaye, Holland-Dozier-Holland, Mickey Stevenson, and every other songwriter/ producer based at the Detroit label, for every single that was released!

Ironically, It was white people who made me aware of how Motown records were put together. I used to sit with Bert Berns (“Twist and Shout”, “Hang On Sloopy”), Jerry Ragavoy( “Cry, Cry Baby”, who co-wrote “Piece of Heart” with Bert) or with Ed Silvers, who ran the New York office of Metric music, and listen to Motown’s latest releases. Each of these astute, songwriter/ producers would point out something in each record that would strike a chord in me. Little did I know that this informal education would help me forge relationships with some of the greatest African-American performers, songwriters and producers of all time that included Quincy Jones, Van McCoy, Donny Hathaway, Freddie Perren, Hal Davis, Allan Toussant, Joe Simon, and Rick James.

It wasn’t until I worked with Nick Ashford and Valerie Simpson did more of the pieces of the Motown puzzle began to fit. We were all signed exclusively to write songs and produce for Scepter Records. When we weren’t creating, Nick and Val would take time to show me the chords and demonstrate the harmonies of all my favorite Motown hits.

They sang background on most of my demos and shared their studio musicians with me. I always thought it was a shame that Motown didn’t consider outsde material for their artists…I was convinced that they had two or three songs that could have topped the charts with The Four Tops or the Supremes.

Then something unexpected happened, for financial reasons, Scepter records sold off their publishing companies. Ed Silvers moved to Hollywood, to run Viva music, Nick and Val started doing more background sessions, and I who was newly married, had to scramble to find another job in publishing!

About a month later, I became a partner in Allouette productions with Sandy and Kelli Ross, and we represented the publishing interests of Quincy Jones, Bobby Scott, Joey Levine, Artie Resnick and Leslie Gore. I brought Ashford and Simpson to Quincy’s company, but at the time he couldn’t afford to sign them.

When I was approached by Jeffery Bowen and Eddie Holland (Holland/ Dozier/ Holland) to join Motown’s publishing company, Jobete music, I turned them down. I did, however, take the opportunity to introduce them to Ashford and Simpson. It wasn’t long before my friends were signed to an exclusive contract.

A few months later, Nick and Valerie call me from Associated studios, and ask me to come over and listen to the tracks they’d been cutting at Motown. I sat down and freaked out when I heard, “Ain’t No Mountain High Enough”, and “Ain’t Nothin’ Like The Real Thing”. Although their voices were on the tracks, it didn’t take much imagination to hear Marvin Gaye singing it! They said he was recording it as a duet with a new Motown discovery, Tammi Terrell.

Over the next few years, I discovered that Motown was quite a secretive place and had little to do with people outside of their organisation. There were rumors that it was really owned by the Mob…but they were only rumors.

For years, I followed Nick and Val’s careers like everybody else…on the radio. The next time I talked to them was when I moved to the west coast to join Ed Silvers at Warner Brothers music. I got a call from Nick, who told me that they were victim of Motown’s “creative accounting” and they weren’t getting the money that they deserved as songwriters. I was happy to get my former partner, Sandy Ross to represent them and help them escape…but that was just the beginning!
(To Be Continued)

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left to right- Nick Ashford and Valerie Simpson

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

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

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

Ever since I unexpectedly channeled the late Star Trek writer Michael Piller in a conversation with Pod Blogger Sebastian Prooth, many people have asked me if I’ve had other experiences with the other side.

I’m not a professional psychic, documented healer, or spiritualist. I’m a writer and an artist who’s lived an extraordinary life http://artiewayne.com I do, however, consider myself a psychically attuned, spiritually guided, observant layman who has made remarkable discoveries

The first time that I realized that I was channeling information from the other side was in the summer of 1966. I was a staff songwriter and producer for Scepter records in New York City. I had just gotten married and like most young breadwinners needed extra cash. I made a deal with Ed Silvers, who headed Scepters publishing company, that I would get a base salary of $125 a week plus $100 general advance for every song I’d have recorded. He would usually only accept one or two songs a week, which limited my Income.When he made a two week trip to Europe I took the opportunity to convince the label owners that I could write and produce sides for the Shirrelles, the Kingsmen and the Guess Who, as well as writing 10 new songs for a patriotic and spiritual concept album…all before Silvers got back.
Just as I started writing, my grandmother, “Gooma” who helped raise me and was a big influence in my life, became seriously ill. I was beside myself and stressed out, but I had a big job to do. In between bedside visits, I knocked out the pop songs first…then I did the patriotic songs. When it came time for me to do the spiritual songs, my grandmother took a turn for the worse.

I started to write…and as I wiped away my tears, from out of nowhere an entire song came through me in less than 3 minutes. It’s called,” “Daddy, Daddy What is Heaven like?” It’s a song about a little boy having a conversation with his father…

“Daddy, Daddy What is Heaven Like?

Is it like our house so pretty and White?

It doesn’t seem right, it doesn’t seem fair…

If Mommy loved us so…why’d she go there?”

“Heaven, my child, is a beautiful place

Where there’s a smile on everyone’s face

Mommy loved us both but she had to go…

We needed her so but they needed her more”

“Daddy, Daddy is Heaven very far?

How long would it take if we go by car?

If you cross me at the corner, I can take my bike

Daddy, Please tell me what is Heaven like?”

“You can’t go there by a bike or a car…

But if you’re good you’ll go real far.

Maybe someday you’ll go to Heaven too

If I know your Mommy she’s saved a place for you.”

“Daddy, Daddy I can hardly wait

I’m so excited Heaven sounds great!

Can I run and tell sister goodbye?

Why is there Daddy a teardrop in your eye?”

Copyright 1966/ 2006- words and music by Artie Wayne for Wayneart music

What’s ironic about this is…I never knew my father on Earth and didn’t have any children myself. In retrospect, I look at this as an exchange with my heavenly father who was answering questions that were in my spiritually developing mind. God let us keep “Gooma” a little bit longer and I was fortunate to have Tiny Tim record “Daddy, Daddy” on his Gold album “Tiptoe Through the Tulips”.

I was proud when Miriam Makeba performed the song to a five-minute standing ovation in Philharmonic hall at Lincoln Center…but even prouder when she sang it on Johnny Carson’s “Tonight Show” the following night and my grandmother was able to watch it.

(Part Two)

Whenever a line or idea came to me, seemingly, out of the blue I considered it a gift. It was only during times of great emotional stress, however, when I channeled entire songs. The next time this happened was when my Grandmother passed away in 1974.

When I heard the news, I flew back to New York from Hollywood, where I was general manager of Warner Brothers Music. Although for the past few years I had been concentrating on promoting other people’s songs … now I was compelled to write again.

During the three-day period, from the time she passed until her funeral …Gooma came to me in my darkened hotel room several times. She talked to me in her usual comforting tone… told me not to cry or be afraid. She smiled and said I should be happy for her…that she was finally out of pain.

She didn’t look like the 83 year old that I revered…but like the thirty year old, whose picture lived in the family album. She sat across from me slightly illuminated by what seemed to be a light coming from within. She told me that we all have guides from the other side who anonymously give us information everyday…but from now on she would be my personal guide.

She told me not to tell my Mother or my aunt Wan about these visits right now…someday they’d understand. Then I remember writing…

From The Inside

by Artie Wayne

Like a star in the midnight sky…your love was there to guide me

When I was weak, too weak to try…you’d be right there beside me

Urging me on…Makin’me strong…”you’d keep sayin’,


“Go on boy…you can do it.

It’s only life… there’s nothin’ to it…

Just the seein’ through it “From the Inside”

I spread my wings, left the nest…swearin’ nothin’ would get by me

I tasted love and I tasted life…but not enough to satisfy me.

But leading me on…makin’ me strong…I heard you sayin’,


“Go on boy…you can do it.

It’s only life… there’s nothin’ to it…

Just the seeing through it From the Inside.”


(Then I stopped writing…I couldn’t trivialize this experience and turn it into a pop song. …But when I put a rose on her casket, as they were lowering her into ground…I was given the final verse.)


Like a star in the midnight sky…that fades into the morning

Came back to show ya’ I could fly.. you were gone without a warning

But lingering on…still makin’ me strong I hear you sayin’,


“Go on boy…you can do it.

It’s only life…there’s nothin’ to it…

Just the seein’ through it…From the Inside.”


Copyright-1974/2006 Rondor music


Text- Copyright-2006 Artie Wayne
To hear “From The Inside” click onto http://artiewayne.com/inside.html to hear the original demo by Kim Carnes Read the rest of this entry »