Brief Encounters With Jimmy Webb!
April 9, 2007
Growing up in the turbulent 60’s in the Shadow of the Cold War, wasn’t easy! Growing up in New York of the 60’s, with all the drugs and violence, had an even harder edge. I was tired of writing formula pop songs about made-up experiences in a location that no longer held any fascination for me. My recording career had fizzled out and my marriage was winding down. Although my partner, Kelli Ross and I were running the publishing companies of Quincy Jones, Leslie Gore, Bobby Scott, Janis Ian, Joey Levine and Artie Resnick, my own creativity was suffering from a lack of positive stimulation.
I knew the next musical trend would be coming from the west coast, when I first heard, “Cherish” by the Association” and “California Dreaming”, by the Mamas and Papas…but when I heard “Macarthur Park” by Richard Harris I knew it had arrived!
Before I go on with my story, I’d like you listen to hear the song that kicked me into high gear. It’s Richard Harris singing his classic record, which Jimmy Webb, wrote and produced…”Macarthur Park”. This video is distracting, so personally I prefer to listen to the music and let my imagination create my own pictures. http://www.youtube.com/watch?v=N0D-boeOCG0
Although “Macarthur Park” was seven minutes long, twice the length of any song on the radio at the time, it quickly became number one! The poetry of the lyric and beautiful, psychedelic labyrinth of music gave a shot in the arm to Pop music in general, and to me particular. I took my first trip to Hollywood in the summer of 1968 to get a better understanding of the new emerging music scene …and to get a quickie Mexican divorce.
Jackie DeShannon, took me on a tour of Hollywood and introduced me to the wonders of Malibu Beach. I hung out at the Troubadour and the Whiskey with Bruce Johnston of the Beach Boys and Terry Kirkman of the Association. I went to parties up at Mike Love’s, down at Richard Baskin’s and over at Football Hall Of Famer, Jim Brown’s house. I reunited with my long time songwriting partner, Ben Raleigh ( “Love Is A Hurting Thing”, “Tell Laura I Love Her”) who had recently relocated to California. I also hooked up with my friend Bob Stone, who was once signed to me, as he celebrated his number one record with Cher, “Gypsies, Tramps and Thieves ” I also started writing with Gary Zekely and Mitch Bottler ( “Wait A Million Years”, “Sooner Or Later”), found time to go to a Phil Spector recording session…as well as fall in-and-out of love a couple of times!
It was quite an eventful two weeks, but I still hadn’t met Jimmy Webb, whose music brought me out here in the first place. As my plane took off for New York, “Up, Up and Away” kept running through my mind…I was disappointed, but I knew I’d be coming back.
Jimmy’s songs like, “Didn’t We?”,”The Worst That Can Happen”, “Wichita Lineman”, and “Galveston”, continued to inspire me as I spent my last dreary year in New York. It was two years after moving to the West Coast, however, before I finally met my inspiration!
I was working as General Professional Manager for Warner Brothers Music, when CEO, Ed Silvers, informed me that we now represented Jimmy Webb. I can’t tell you how excited I was to go out to his house in Encino with Warner Brothers Records President, Mo Ostin to hear the final mixes of his latest WB album, and finally meet my hero!
As we waited for Jimmy in his game room, I saw a Las Vegas slot machine in the corner. I put a quarter in and hit the jackpot. Mo smiled…as I hit the jackpot again…again and again! Mo, started glaring at me as I tried to push my winnings back into the machine. Now fully embarrassed, I started kicking hundreds of quarters underneath the living room rug, just as Jimmy walked in laughing…that’s when I realized I was the victim of a practical joke!
I knew I was gonna’ like working with this guy!
( To Be Continued )
Copyright 2007 by Artie Wayne
Jeff Barry- I Honestly Like Him!
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/
Stax Records And A Paranormal Connection!
January 27, 2007
The Memphis sound intrigued me so much that Stax Records became the first stop on my publishing tour of the south. When I was general manager of Warner Brothers Music in 1970, my longtime friend and sometime collaborator, Steve Cropper, who co-wrote “In The Midnight Hour”, “Dock Of The Bay”, “Knock On Wood”, etc., took me around his town, winding up at the offices and studios of the legendary record and publishing organization, East-Memphis music
The company occupied an old movie theater in the ghetto, with a markee that simply said STAX.The reception area, was the place where refreshments were sold, and the recording studio was where the second run movies were once shown.
I was humbled to be in the same studio where Booker T. & The M.G.s, Otis Redding, The Mar-Keys, Sam & Dave, Wilson Pickett, The Barkays, Eddie Floyd, Johnny Taylor and Isaac Hayes made all of those mega-hits!
I’ve always believed that every studio has its own flavor, due to the collective consciousness and spiritual vibrations from all those who have poured out their hearts and souls within its walls. This place was no exception. I walked around mesmerized with the sounds of the late Al Jackson, Jr.’s solid drumbeat from, “Hold On I’m Comin'” running through my head. I even had the urge to yell out, “Play it, Steve!”, but I restrained myself!
Before I had to leave for my next stop, Muscle Shoals, Alabama, Steve invited me into the control room to hear some remixes he was doing on the late Otis Redding. It was a spectacular ending to a day I’ll never forget.
Since I became interested in music, I always believed that more than just music is captured in the recording process. Primitive tribes correctly believed that a photographic image of them takes a piece of their soul forever…I believe a recording essentially does the same thing. More than sound and musical content are recorded, retained and reproduced…so are the inaudible vibrations, thoughts, emotions and energy of the lead performer as well as every participant in the studio.
I accepted the psychic fact years ago, that each of us carries with us spirits of our family, friends and ancestors…who carry with them the spirits of their family, their friends and their ancestors. Some of these entities that surround the artists, musicians, and other contributors to the process, mingle with other entities they encounter there. Some like their new environment so much, they stick around and become part the studio’s collective creative consciousness.
As a songwriter/ singer/ producer and publisher, I’ve had the chance to visit recording facilities all over the world where historic sessions have taken place…including Allegro, Associated, Bell sound, Olmstead, Sound factory, Mirasound, A+ R and Atlantic studios in New York, The Sound Factory, A+M, Gold Star, American, M-G-M studios and Cherokee studios in Hollywood, Apple, Trident, Rak studios, EMI studios in Abbey Road, London, the legendary Motown studios, The Record Plant in New York and L.A., Stax, Hi and Sun studios in Memphis, RCA and Columbia recording studios in Nashville, London, New York, and San Francisco to name a few.
Although most studios are routinely cleaned, few, if any are spiritually cleansed. Like a well – used grill at a restaurant, there is a spirit buildup over time that gives each studios end product a distinct flavor.
I’ve been asking artists, musicians, producers and engineers, if they ever experienced any paranormal phenomena in the studios where they worked. If you have any first hand experience please let me know about it.
Thanks and regards, Artie
Copyright 2007 by Artie Wayne
For another article about the paranormal click onto
https://artiewayne.wordpress.com/2006/07/13/michael-piller-from-the-other-side/
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
“I Lose It When I Hear “White Christmas” – The Story Behind The Song!
December 23, 2006
As a long time lover of pop music I’ve always been curious about the story behind the song. Knowing that many of you feel the same way, I’d like to share the story behind “I Lose it When I Hear “White Christmas”, A new song that I wrote with Toni Wine (”Groovy Kind of Love”, “Candida”) which is on the Tony Orlando and Dawn “Reunion” album.
In 1995, after 20 years of being in the music buisness as a singer, songwriter, producer, being an exec at April-Blackwood, Warner Brothers music, and running Irving/ Almo, I had become too weak to even hold a guitar. Finally, I could no longer work at Allan Rinde’s legendary Chinese restaurant in Hollywood, Genghis Cohen, (which I named and hosted off and on for ten years)
When I kept falling down in the street, I knew that something was seriously wrong with me! I was uninsured, and was facing this crisis all alone. My two closest friends, Allan Rinde, was spending more and more time in Nashville with his fiance, Toni Wine…and Patti Dahlstrom, had moved back to Houston, to teach music and critical thinking at the Art Institute of Houston. I had taken to wearing all black, as I stumbled around the back streets of Hollywood, hoping I wouldn’t see anybody that I knew. I felt, for the first time in my life, that I had reached the end of the road.
Fortunately, Patti was in town for a conference, and came over to visit. I didn’t want her to see me broke and broken…but now I’m glad I did. She convinced me to swallow my pride and seek help from social services…which saved my life! I went to the USC medical center for 2 days of tests, and they kept me for 3 weeks.
It was a few days before Christmas, I was in a ward with many who were far worse off than me…and we did our best to keep each others’ spirits up. Somehow, I lost my phone book, and the only numbers that I could remember was my Mothers’, who had moved to West Virginia, and that my long time friend Alan O’Day, who was on his way out of town.
It’s a policy of most hospitals to send as many patients home for the holidays to be with their family and friends. Soon, I was the only one left in the ward, since I had nowhere else to go. One lonely night, as I sat feeling sorry for myself, I heard a group down the hall, singing Christmas carols. I followed the voices to the the children’s ward…where I heard the joyous sounds of “Jingle Bells”. It was the Salvation Army, passing out toys and candy, and singing to the kids, who wereconfined to their beds. I joined in on “Silent Night”, “Jingle Bell Rock”, and “Rudolf the Red Nosed Reindeer”, but when they started singing “White Christmas”…tears started running down my face, and I had to sit in another room to compose myself. This song, written by Irving Berlin, always brings back memories of family and friends in a snow covered New York City…flooding me with emotions.
10 years later, I told Toni Wine (whom I’ve known since she was 14), and showed her some lyrics I had written that fateful night “I Lose it When I Hear “White Christmas”.
She loved it, but wanted to make the story more universal. Over two writing sessions, which we started on Irving Berlin’s piano, which was given to Toni many years ago, we came up with….
“I LOSE IT WHEN THEY HEAR “WHITE CHRISTMAS”
words and music by Toni Wine and Artie Wayne
They can play “Jingle Bells” all day
talk about Santa’s Sleigh
I’m alright on a very “Silent Night”
But then my tears begin
when they sing I can’t join in
‘Cause I Lose it When I Hear “White Christmas”
Bein’ without you just ain’t no fun
What kind of thrill is cookin’ for one?
Can’t deny I wanna’ cry myself out
Here’s to Holiday spirit
don’t wanna’ be anywhere near it
‘Cause I Lose it When I Hear “White Christmas”
And Baby I know…You needed to go
But why did you have to leave me now?
[instumental]
Don’t feel like spreading good cheer
Just wanna’ sleep in the New Year
‘Cause I Lose it When I Hear “White Christmas”
‘Cause I Lose it When I Hear “White Christmas”
Copyright 2005-CasmoTwine
If you want to hear the Tony Orlando and Dawn recording click http://artiewayne.com/I_Lose_It.html
If you like it, please feel to share it with a friend…if you love it, however, feel free to share it with your entire address book!
Merry Christmas, Happy Hanukka and best of holidays, from Artie Wayne On The Web…and Whoppy and Streaker on the couch! Enjoy to the world!
Copyright 2006 by Artie Wayne
If you’d like to see “Whoppy and Streaker Presents The Top Christmas Music Videos Of All Time!” Bing, Elvis, Band-Aid, Singing Reindeer, Bowie, Destiny’s Child, more! https://artiewayne.wordpress.com/2006/12/15/whoppy-and-streaker-present-the-top-christmas-videos-of-all-time/
For “Nookie’s Top Christmas And Hanukka Videos!” Adam Sandler, “Hanukkah Song”, Neil Diamond, Jingle Cats, Mariah Carey, Charlie Brown Christmas, more! https://artiewayne.wordpress.com/2006/12/22/nookies-top-holiday-video-picks/
If you’d like to see my custom pet paint sculptures called PETZROCK, created on quartz just click on http://artiewayne.com/petz1.html
For Toni Wine http://toniwine.com
For the Salvation Army http://www.salvationarmyusa.org/usn/www_usn.nsf
AHMET ERTEGUN R.I.P. ROCK N PERPETUITY!
December 15, 2006
Jerry Wexler, Neshui Ertegun, Bobby Darin, and Ahmet Ertegun
AHMET ERTEGUN 7/3/23 – 12/14/06
When I started in the music business in 1960, Ahmet Ertegun was a already a mythical figure. In 1947, he and Herb Abramson, founded Atlantic Records and soon became a threat to all the Major labels. He built a roster of African-American artists including Joe Turner, Ruth Brown, the Clovers, Ray Charles, the Drifters, and the Coasters. As the company, grew he signed white pop artists, Bobby Darin, Vanilla Fudge, The Rascals, disco artists Archie Bell and the Drells, Chic, Sister Sledge as well as rock artists J. Geils band, Led Zeppelin and the Rolling Stones.
Jerry Wexler, who as a Billboard magazine writer changed the name of the genre from “Race Records” to the more respectable Rhythm and Blues, became a partner with Ahmet and his brother Neshui. Together they turned their little record company into one of the major forces of the 20th Century! When they brought, the Muscle Shoals Sound and Stax distribution deal into the equation, Memphis Soul dominated the charts. During this period the combined the talents of Atlantic artist Wilson Pickett and Stax writer and producer Steve Cropper co-wrote and produced hits, “In The Midnight Hour” and”634-5789″. Steve also co-wrote some and produced most of the recordings of another Atlantic artist, Otis Redding, including,”(Sitting’ on the) Dock of the Bay”. Jerry Wexler and Tom Dowd produced classic records by Aretha Franklyn and Dusty Springfield at Stax studios in Memphis Muscle Shoals studios using their musicians and songs in each location.
I had a lot of respect for Ahmet because he not only was head of a successful record company, he was a songwriter, “Don’t Play That Song” by Ben E. King and a producer, “Mack the Knife” by my mentor, Bobby Darin. He also had the unique ability, not only to actually listen to what a person was saying…but to make you feel like you were the only person in the world, at that particular moment. I remember being introduced to him by Quincy Jones at a party for Duke Ellington. Although he was surrounded by people all night and we only talked for a few minutes, at the the end of the evening he shook my hand and said, “Nice meeting you, Artie”. Wow! I met my personal hero and was validated…all in the same night!
I saw him again when he sold Atlantic to WEA, the same company that owned Warner Brothers Music, whom I worked for. I had the pleasure of being in charge of getting cover records on Progressive Music titles, which Atlantic owned, and Ahmet was more than happy to turn me onto his favorites, which included, Ray Charles’, “I Got A Woman” and “Hallelujah, I Love Her So”, which he also happened to produce!
Quincy was overbooked to score films, and asked me to help him get someone to do the music for “Come Back, Charleston Blue”, which was the sequel to Sam Goldwyn, Juniors’ highly successful Blaxploitation film, “Cotton Comes To Harlem”. He got me the job and screen credit of musical consultant. The first composer to come to mind was Atlanic artist Donny Hathaway, who was riding high with his first album and single, “The Ghetto”. So Donny, in his Kongol Cap and me in my “Superfly” hat, “bop” into a screening of the film and had a commitment from both Sam, Jr. and Donny as soon as the lights came back on!
I also suggested to Sam that I go to Atlantic Records in New York and find two or three singles by other top artists on the label that were about to be released and include them in the film, as well as the soundtrack album. Sam loved the idea, but not as much as Ahmet and Jerry! Ahmet played me product they were about to release and took me to sessions in progress, including Aretha Franklyn, as she recorded,”Angel”. This was an obvious hit to me and one of my first choices! It made me feel good that Aretha remembered me as the co-writer of “Here’s Where I Came In” (Raleigh/ Wayne), which was recorded on her first session at Columbia! Then producer Joel Dorn, invited me to hear the new sides he was mixing with Chart Topper, Roberta Flack and newcomer Bette Midler. Now I had a few more contenders!
When the film was finished, score done and all the songs I found were inserted into the soundtrack. As the tapes were being mastered, Donny Hathaway, who was prone to severe mood swings, had a sudden change of heart and insisted that only his music be used on the soundtrack! I was disappointed, but encouraged at the same time, when Ahmet called me to tell me how much he appreciated what I tried to do…and how he was looking forward to working with me again.
Although It never happened, I’ll never forget the kindness and encouragement he gave me when I needed it most.
Until we meet again, R.I.P. Rock In Perpetuity!
Respectfully, Artie Wayne
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
Breaking the Motown Sound Barrier – Part III Lady Sings The Blues And Berry Gordy Too!
December 10, 2006
Diana Ross As Billie Holiday
The following is Part III of Breaking The Motown Sound Barrier Series. If you haven’t read Part I, “Ain’t No Mountain High Enough”, click on to https://artiewayne.wordpress.com/2006/08/14/breaking-the-motown-sound-barrier-aint-no-mountain-high-enough/
If you haven’t read Part II, “What’s Goin’ On?”, click on to https://artiewayne.wordpress.com/2006/09/23/breaking-the-motown-sound-barrier-part-two-in-the-series-whats-goin-on/
Part III
In 1972, Ed Silvers, President of Warner Brothers music was losing his patience with me because he thought I was spending far too much time at Motown. Although I was getting our songs covered by some of their biggest artists, they were only album cuts. Ed was convinced that I would never get a single released by them. I didn’t say much, but I had spent over a year infiltrating the company, and I knew it was just a matter of time before I scored big with them!
I started to notice a change at the company when CEO Berry Gordy, Jr. became interested in producing movies. When production costs soared, record production budgets were cut and fewer records were released. I remember hanging out at Motown one day when I ran into producer and song writer, Michael Masser. He played me a song he had written with Ron Miller and produced on Diana Ross, that was being canned again! When he played me “Touch Me In The Morning”, my mouth dropped open! I couldn’t believe such a phenomonal record could be in the can for over a year, but Berry had his own plans for Diana. He and Paramount pictures had started production on “Lady Sings The Blues” and he was determined to make Diana a movie star!
For the first time, I heard complaints from usually loyal employees about all the money that was being wasted on Diana’s film. I heard that Berry had shot a scene for the film using an integrated chorus line at the Cotton Club, which had to be reshot with only Blacks to maintain historical accuracy. This mistake cost $50,000! Athough the record company was still on top, it couldn’t keep absorbing such costs without suffering in the process.
The only new artists who were given the “Motown Push” were the Jackson 5 and Michael Jackson who now was having hits as a single artist. I knew at this point that the only way I could have a chance for a hit with this company was to get a cover by the Jacksons or Michael. There was only one staff writer at Warner Brothers music who could write in a classic R+B style, George Clinton, Jr. ( not the lead singer of Parlement, but the one who later scored the three Austin Powers movies.) The two producers who loved Georges writing the most were Jerry Marcellino and Mel Larson, who just had big hits with 12 year old Michael on “Rockin’ Robin” and “Little Bitty Pretty One”. “Ben”, from the movie of the same name was racing up the charts and Berry Gordy asked each of his producers to start recording new sides with him.
I sat with Jerry and Mel and we talked about what kind of song they should record with Michael. I suggested A Christmas song…one so commercial that it could be the follow up to, “Ben”. When I saw their eyes light up, I told them that George Clinton, Jr. and I had started such a song! When they asked to hear it, I told them we were still working on it ( when in fact we hadn’t even started! ) I couldn’t tell them the title (’cause there wasn’t any!) I did tell them, however, that it was a true story of how my girlfriend left me out in the cold like the last tree in a lot which was left unsold on Christmas eve. They freaked out and said they had to have the finished song by Monday. I said, “No problem”
I called George, who knew nothing about any of this as soon as I got back to my office. He couldn’t believe I’d told them we’d have a finished song to them by monday, when it was friday and we hadn’t even started it! Saturday morning we met at my office, which was on Hollywood Boulevard across from Grauman’s Chinese Theater. It was the middle of summer, about 90 degrees, but we had to get in a Christmas Mood. As I told George my sad story, I started throwing Ivory Snowflakes around the room…and after a few hours we had the verse and chorus of, “Little Christmas Tree”
Little Christmas Tree
words and music by George Clinton, Jr. and Artie Wayne
I watch the snowflakes fall against my window pane
and wonder if you are watching snowflakes too?
I take a walk downtown to where you used to meet me
There’s joy everywhere but all that’s waiting there…is just a
Little Christmas Tree..Lookin’ sorta’ sad and lonely just like me
No one seems to care… They just went away and left him standing there
All alone on Christmas Eve!
Copyright 1972/ 2006 by Warner Brothers Music
On Monday morning George did a piano voice demo, and I got it to Jerry and Mel that afternoon. They loved it so much that they knocked one of their own songs off the date and cut ours on thursday! I was almost in tears when I heard the finished record the following week with the news that it was being considered for the follow-up to “Ben”, which had just hit number one! You can imagine how I felt a few weeks later when Berry decided not put out any follow up to Oscar nominated “Ben”, until the Academy Awards were given out…after Christmas! A few days later I came up with a plan and presented it to Motown. Put 2 albums worth of previously recorded Christmas songs by all of their hit artists along with a new song that Marvin Gaye recorded and of course, Michael Jackson’s, “Little Christmas Tree”. I’m proud to say that “A Motown Christmas” has sold many times platinum over the years…but there was a dark cloud loomng on the horizon!
( To Be Continued)
Copyright 2006 by Artie Wayne
To hear a sample of Michael Jackson’s, “Little Christmas Tree” from “A Motown Christmas”, just click on to http://www.amazon.com/Motown-Christmas-Various-Artists/dp/B00000JPBZ/sr=1-1/qid=1165772884/ref=pd_bbs_sr_1/105-5725259-3053219?ie=UTF8&s=music
Grammys Are Doin’ It Right…Again!
December 9, 2006
Mary J. Blige, leading the pack with 8 nominations is applauded by Justin Timberlake who has four nominations of his own!
When I was General Professional Manager and Director of Creative Services at Warner Brothers Music, I became acutely aware of the National Academy of Recording Arts and Sciences. The organzation was looked upon as antiquated, whose membership was old with little understanding of the contemporary music They also had a tendency to vote for their peers and the same familiar names year after year. When the American Music Awards (with no industry credibility at the time) came on the scene, it trounced the Grammys in the ratings, NARAS took a long hard look at itself!
I had recently joined the organization to rub elbows with some of the greats in the industry including bandleader Billy May, critic Leonard Feather, Lawyer Jay Cooper, Composer Jim Helms, Producer Bones Howe, Keyboardist Mike Melvoin, and Producer Nik Venet. After a month or two of going to NARAS meetings at the Brown Derby in Hollywood, I came to a simple conclusion. I realized most of the membership was hip enough to recognize and reward quality recordings that they heard…they just never had the opportunity to hear the new stuff! At that point, I organized listening parties in every city that Naras had an office. After experts in each catagory narrowed the field down, the membership was able to listen again then make final choices.
I remember Nik Venet got us Capitol Studios in Hollywood, where he was producing the Beach Boys and Linda Rondstadt, to hold our listening parties. I brought my pal Allan Rinde, then head of West Coast Contemporary A&R for Columbia and “Underground Tastemaker”, to help with publicity. And finally I spearheaded a campaign to recruit new members among songwriters, artists and producers who were currently making hits! Although I’m no longer with the organization, I’m proud to have been on the Board Of Govenors for several years, and Vice-President for a few.
I’m looking forward, not only to see who gets the awards for 2006, but to the performances of the best that music has to offer. The following is a complete list of nominations from the National Academy of Recording Arts and Sciences.
December 7, 2006
Nominations for the 49th Annual GRAMMY Awards were announced today by The Recording Academy, reflecting a year in which multiple genres were represented in top categories, new up-and-comers were nominated alongside established artists and a diverse array of producers and other creative professionals garnered multiple nominations. The 49th Annual GRAMMY Awards will be held on “GRAMMY Sunday,” Feb. 11, at Staples Center in Los Angeles and once again will be broadcast live in high-definition TV and 5.1 surround sound on CBS from 8 – 11:30 p.m. (ET/PT).
The press event was held at The Music Box @ Fonda in Hollywood and was attended by national and international media, as well as key music industry executives. Artists reading nominations this morning included Mary J. Blige, James Blunt, Chris Brown, Evanescence’s Amy Lee, Ludacris, Corinne Bailey Rae, Rascal Flatts, Justin Timberlake and KT Tunstall.
Mary J. Blige tops the nominations with eight, while Red Hot Chili Peppers garner six, James Blunt, the Dixie Chicks, John Mayer, Danger Mouse, Prince, Rick Rubin, will.i.am and John Williams each earn five nods. Beyoncé, Bryan-Michael Cox, Gnarls Barkley, Israel Houghton, T.I and Justin Timberlake receive four each.
“These nominations truly reflect a diverse and vibrant community of music makers and creators who represent some of the most remarkable music of the year,” said Recording Academy President Neil Portnow. “Once again, the GRAMMY Awards process has delivered a well-rounded group of excellent nominees, which promises music lovers a spectacular show filled with dynamic performances and ‘GRAMMY Moments’ that can only be seen on the GRAMMY Awards telecast.”
In the General Field, nominees for Album Of The Year are Taking The Long Way by the Dixie Chicks, St. Elsewhere by Gnarls Barkley, Continuum by John Mayer, Stadium Arcadium by the Red Hot Chili Peppers, and FutureSex/LoveSounds by Justin Timberlake. Nominees for Record Of The Year are “Be Without You” (Mary J. Blige), “You’re Beautiful” (James Blunt), “Not Ready To Make Nice” (Dixie Chicks), “Crazy” (Gnarls Barkley) and “Put Your Records On” (Corinne Bailey Rae). The Best New Artist nominees are rock troubadour James Blunt, R&B singer Chris Brown, British singer/songwriter Imogen Heap, neo-soul singer Corinne Bailey Rae and country singer Carrie Underwood.
This year’s Song Of The Year nominees represent multiple genres from pop to R&B to country. Nominated songwriters include Johnta Austin, Mary J. Blige, Bryan-Michael Cox and Jason Perry for “Be Without You” (performed by Blige); Brett James, Hillary Lindsey and Gordie Sampson for “Jesus, Take The Wheel” (performed by Carrie Underwood); Martie Maguire, Natalie Maines, Emily Robison and Dan Wilson for “Not Ready To Make Nice” (performed by the Dixie Chicks); John Beck, Steve Chrisanthou and Corinne Bailey Rae for “Put Your Records On” (performed by Rae); and James Blunt, Amanda Ghost and Sacha Skarbek for “You’re Beautiful” (performed by Blunt).
Earning five of her eight nominations in the R&B Field, Mary J. Blige dominates the Field. Among her nods, in the Best Female R&B Vocal Performance category she earned a nomination for “Be Without You,” along with Beyoncé (“Ring The Alarm”), Mariah Carey (“Don’t Forget About Us”), Natalie Cole (“Day Dreaming”) and India.Arie (“I Am Not My Hair”). In the Best R&B Album category, her Breakthrough album vies with Jamie Foxx’s Unpredictable; India.Arie’s Testimony: Vol. 1, Life & Relationship; Prince’s 3121; and Lionel Richie’s Coming Home. Best R&B Performance By A Duo Or Group With Vocals nods go to George Benson & Al Jarreau for “Breezin'”; Jamie Foxx featuring Mary J. Blige for “Love Changes”; Chaka Khan, Gerald Levert, Yolanda Adams & Carl Thomas for “Everyday (Family Reunion)”; John Legend & Joss Stone with Van Hunt for “Family Affair” (Sly & The Family Stone); and Prince & Támar for “Beautiful, Loved And Blessed.”
In the Pop Field, nominations for Best Pop Performance By A Duo Or Group With Vocal went to the Black Eyed Peas for “My Humps”; Death Cab For Cutie for “I Will Follow You Into The Dark”; the Fray for “Over My Head (Cable Car)”; Keane for “Is It Any Wonder?”; and the Pussycat Dolls for “Stickwitu.” Best Pop Collaboration With Vocals nods go to Tony Bennett & Stevie Wonder for “For Once In My Life”; Mary J. Blige & U2 for “One”; Sheryl Crow & Sting for “Always On Your Side”; Nelly Furtado & Timbaland for “Promiscuous”; and Shakira & Wyclef Jean for “Hips Don’t Lie.” And the nominees for Best Pop Vocal Album include Back To Basics by Christina Aguilera, Back To Bedlam by James Blunt, The River In Reverse by Elvis Costello & Allen Toussaint, Continuum by John Mayer, and FutureSex/LoveSounds by Justin Timberlake.
Red Hot Chili Peppers, the Raconteurs, Tom Petty, Bob Dylan and Neil Young earned nominations in the Rock Field. Vying for Best Rock Album are the John Mayer Trio’s Try!; Tom Petty’s Highway Companion; the Raconteurs’ Broken Boy Soldiers; Red Hot Chili Peppers’ Stadium Arcadium; and Neil Young’s Living With War. Best Rock Performance By A Duo Or Group With Vocal nominees are Coldplay with “Talk,” the Fray for “How To Save A Life,” the Raconteurs for “Steady, As She Goes,” Red Hot Chili Peppers for “Dani California” and U2 & Green Day for “The Saints Are Coming.” And Best Rock Solo Vocal Performance nominees are Beck (“Nausea”), Bob Dylan (“Someday Baby”), John Mayer (“Route 66”), Tom Petty (“Saving Grace”) and Neil Young (“Lookin’ For A Leader”).
In the Rap Field, Missy Elliott competes with male rappers in the Best Rap Solo Performance category with “We Run This.” Other nominations in this category are “Touch It” by Busta Rhymes, “Kick, Push” by Lupe Fiasco, “Undeniable” by Mos Def and “What You Know” by T.I. In the Best Rap/Sung Collaboration, nominations go to Akon featuring Eminem (“Smack That”), Beyoncé featuring Jay-Z (“Deja Vu”), Eminem featuring Nate Dogg (“Shake That”), Jamie Foxx featuring Ludacris (“Unpredictable”) and Justin Timberlake featuring T.I. (“My Love”).
The Dixie Chicks earn two of their five nominations in the Country Field. In the Best Country Album category, their Taking The Long Way is nominated along with Like Red On A Rose by Alan Jackson, The Road To Here by Little Big Town, You Don’t Know Me: The Songs Of Cindy Walker by Willie Nelson and Your Man by Josh Turner. For Best Country Performance By A Duo Or Group With Vocal, the Dixie Chicks’ “Not Ready To Make Nice” is up against the Duhks’ “Heaven’s My Home,” Little Big Town’s “Boondocks,” Rascal Flatts’ “What Hurts The Most” and the Wreckers’ “Leave The Pieces.” Nods for Best Country Collaboration With Vocals go to Bon Jovi & Jennifer Nettles for “Who Says You Can’t Go Home,” Solomon Burke & Dolly Parton for “Tomorrow Is Forever,” Kenny Rogers & Don Henley for “Calling Me,” Rhonda Vincent & Bobby Osborne for “Midnight Angel” and Trisha Yearwood & Garth Brooks for “Love Will Always Win.”
This year’s Producer Of The Year, Non-Classical, nominations reflect established professionals across multiple genres with nods going to Howard Benson, T Bone Burnett, Danger Mouse, Rick Rubin and will.i.am.
In the newly re-named Best Contemporary Folk/Americana Album category, the nominations are Solo Acoustic Vol. 1 by Jackson Browne; Black Cadillac by Rosanne Cash; Workbench Songs by Guy Clark; Modern Times by Bob Dylan; and All The Roadrunning by Mark Knopfler & Emmylou Harris.
Best Jazz Vocal Album nominees are Footprints by Karrin Allyson, Easy To Love by Roberta Gambarini, Live At Jazz Standard With Fred Hersch by Nancy King, From This Moment On by Diana Krall and Turned To Blue by Nancy Wilson.
The Best Gospel Performance category features nominees Yolanda Adams (“Victory”), Israel & New Breed (“Not Forgotten”), Donald Lawrence & The Tri-City Singers (“The Blessing Of Abraham”), Chris Tomlin (“Made To Worship”) and Tye Tribbett & G.A. (“Victory”). Vying for Best Traditional Gospel Album are An Invitation To Worship by Byron Cage, Paved The Way by the Caravans, Still Keeping It Real by the Dixie Hummingbirds, Alive In South Africa by Israel & New Breed and Finalé Act One by Donald Lawrence & The Tri-City Singers.
GRAMMY ballots for the final round of voting will be mailed to the voting members of The Recording Academy on Dec. 13. They are due back to the accounting firm of Deloitte by Jan. 10, when they will be tabulated and the results kept secret until the telecast.
The 49th Annual GRAMMY Awards are produced by John Cossette Productions in association with Ken Ehrlich Productions for The Recording Academy. Ken Ehrlich and John Cossette are executive producers, Walter C. Miller is producer/director, Tisha Fein is the coordinating producer, David Wild is the writer, and Tzvi Small is supervising producer.
For a full list of 49th GRAMMY Awards nominees, please click here. And for information on the official 49th GRAMMY Awards art and artist, please click here.
You’re In A Coma With MTV!
November 29, 2006
No, it’s not ex-Congressman Mark Foley about to turn a new Page.. it’s Howdy Doody and “Buffalo” Bob Smith!
I’ve known about the power of television since I was seven years old, and charged other kids five cents to watch “Howdy Doody” at my uncle’s, who had the only set in the neighborhood! I also remember performing in grade school every wednesday at “Show and Tell”, with jokes I learned the previous night from my other uncle, “Uncle Miltie”. In 1956, however, my whole world changed when I saw Elvis Presley on the Ed Sullivan show! Up until then I wanted to become either a nuclear physicist or a clown…now I wanted to ROCK!
Unfortunately, I was a “Rebel Without Applause”, until I performed Conway Twitty’s “It’s Only Make Believe”, at a High School talent show. Now the girls started paying attention to me. I don’t know if it was my Ed “Kookie” Byrnes cool way of talking or my red Elvis jacket, but even the neighborhood gangs started to respect me and would give me a head start before they’d chase me home from school! My role models were high school bon vivant, “Dobie Gillis” and “Love That Bob”Cummings, who portayed a photographer/ playboy. I even sucessfully used many of their characters outrageous “pick-up lines” that me got me close to some of the most beautiful girls in the world!
I was in for a big shock though when I got married and realized that real life wasn’t, “I Love Lucy”, and problems weren’t always solved in a half hour. Unfortunately, we wound up in “Divorce Court”…but fortunately for me, I lost the TV in the settlement! For the next 2 years, my creative abilities and productivity increased significantly. I no longer sat in the front of a tv set and watch negative stories on the news, or look at a sitcom, where the laugh track would tell me where to respond! I read, I bowled, I had actual conversations, and then I moved to Hollywood!
I was General Professional Manager at Viva music for two months before I learned how to drive. I guess I had too much time on my hands, and against my better judgement I bought my first color tv set. I was just like a recovering alcoholic, testing ing himself with just one drink…then craving a half dozen more! All I needed was one more game show, one more made for TV movie or one more talk show then, I’d be able to go to bed.
When it became no longer enough to watch TV…I had to Live TV! I started flirting with sitcom stars I’d run into at the Hollywood market, Anne ( “Honey West”) Francis, Denise ( “Room 222”) Nicholas, have dinner with Yvonne ( “Batgirl”) Craig, go dancing with Linda ( “Happy Days”) Purl or just hang out with Sissy ( “Love American Style”) Spacek. In case there would be trouble at some of the wild parties I went to, I made sure to be around TV tough guys like Michael ( “Streets Of San Francisco” ) Douglas, Bill ( “I Spy”) Cosby, Max ( “Beverly Hillbillies”) Baer and David ( “Kung Fu”) Carradine. It was during this time that I also became friendly with a couple of TV comedy writers who “appropriated” some of my real life stories and used them on “The Bobby Sherman Show”…the adventures of a songwriter! Instead of suing, I settled for a few of my songs to be used on the program.
Then I got bored with TV and all the bullshit that goes along with it, even relegated my set to a little used room in the house. That’s when my career started to flourish at Warner Brothers Music, which had recently bought Viva music. I didn’t pay much attention to television for the next ten years.
Then one day in 1982 I was invited to the launch of a new 24 hour cable music network, called MTV…and that’s when I saw the future! I’d been a fan of Scopitone, a european jukebox that played musical film clips, but I knew it could never succeed in the US because of the “stronghold” American jukebox operators had on the market. I looked at “this” MTV, not just as another place to promote music but as having the potential to become the primary means of delivering music to the masses!
In less than 25 years, MTV not only fufilled the prophecy, but actually helped to change the music itself. In the first few years the network played the ubiquitous videos of English artists, Duran Duran, David Bowie and Phil Collins, Austrailian artists Men At Work and whet the appetite of the American public for more of the same! In addition to music, fashion and slang started to travel around the world at a record pace, but it took Michael Jackson’s “Thriller” album and a near boycott by CBS Records to break the color barrier at the network! Soon Lionel Ritchie and Billy Ocean were being played as much as Blondie and became regular staples of MTV.
For years , the network thrived on it’s legitimate pop content, then something odd happened. There were fewer and fewer music shows aired in favor of reality shows. After the success of “The Real World” ten years ago, the “Reality” floodgates opened. Today when we watch MTV and it’s sister network VHI, we see endless episodes of “Laguna Beach”, where horny teens fuck with each others heads, and “Punk’ed”, where Ashton Kutcher plays practical jokes that would get him an ass kicking in real life! Then we have “Next”, “Breaking Bonaduce”, ” Road Rules”, “Made”, “The Fabulous life of…”, “Flava’ Flav”, “Best Week Ever”, and “Celebrity Deathmatch”. The most obnoxious, though, is “Sweet Sixteen”, which feature rich little bitches-in-training conning their parents out of expensive sweet sixteen parties and lavish presents. It’s a series that’s an argument for an official sanction of corporal punishment!
As far as the music goes, when you can find it, most of the groups have a sameness about them. if you don’t look at the lower left hand corner of the screen you might mistake Panic at the Disco for the Killers, or All American Rejects. It’s just about impossible to tell what rap video you’re watching, since Kanye West, “Diddy”, Lil’ Jon and “Snoop” Dogg appear in almost all of them, as either a guest or a featured artist!.
It seems like most of the artists today are conciously making music to please corporations and music directors who have narrow taste and program for an audience who prefers not to think too far outside their electronic boxes. I’ve read studies on how too much TV eventually overwhelms the viewer and diminishes productivity. I don’t want to be lulled into complacency, so I’ve decided never to watch MTV again…after I see the finale of “Laguna Beach!”
Copyright 2006 by Artie Wayne
If you want to hear a recording that Terry Mace and I wrote and perform called “You’re in a coma with EMPTY -V” click onto http://artiewayne.com/music/coma.wma
Special thanks to Alan O’Day http://alanoday.com for helping with the re-mix
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DAVID GEFFEN- MOST POWERFUL MAN IN HOLLYWOOD AND HOW HE GOT THAT WAY!
November 14, 2006
“When I was plugging songs in back in New York City, I used to wear a jacket, tie and “good pants” ( not jeans). When I moved to Hollywood in the early ’70s, it was jeans and cowboy boots all the way! Although I do admit to having my jeans tailored and chemically “aged”, and wearing highly polished Fry boots with two inch stacked heels. It was like John Wayne meets “Superfly”
I remember one night I was standing outside the Troubadour bar getting my cool on, when Glenn Frey of the Eagles, walks over to me, looks down at my feet and says, “I don’t believe this shit!” At this point he and Randy Meisner wrestle me to the ground, remove my “sissified” boots and throw them in the middle of traffic on Santa Monica Boulevard! The last thing I remember, was all of us lying there in the street drunk with hysterics…or was it hysterically drunk?
I’d been trying to break the ice with some of David Geffen’s acts for months and this was a good sign. I was General Professional Manager for Warner Brothers Music and we administered the publishing companies of all of David’s artists including, Joni Mitchell, The Eagles, Jackson Browne, Crosby, Stills and Nash, John David Souther and Neil Young.
As any good manager must be, Geffen is relentless in getting the most for his clients, and is always on my case to get more recordings on his artists songs. After the Eagles first album comes out, one my “Warner Raiders”, Bob Stabile, gets B.W. Stevenson to cut “Peaceful Easy Feeling”. B.W. just had a number one hit with “My Maria” and his cover of “Peaceful” becomes formidable competition to the original! Of course I knew why Geffen was freaking out, it’s always more important to have an artist make a hit with their own song than have somebody else do it! It broke my heart, however, when we had to stop the Hollies from recording “Witchy Woman” after they had a number one record “Long Cool Woman ( In A Black Dress)”, but there are millions at stake…not to mention my job!
After I get Michael Jackson to cut Jackson Browne’s, “Doctor My Eyes”, which goes top ten in the UK, things begin to change dramatically. Jackson talks me up to his label mates while my friend, Lita Eliscu, who runs his publicity department, talks me up to Geffen. For about a year David and I have what I like to call an “uneasy truce.”
Then one day I walk down to his office, which is only a block or so east of Warner Bros. Music. I have five copies of the not-yet-released Van Morrison “Moondance” album under my arm and Everybody in David’s office wants a copy! Off the top of my head I offer to give a copy to whoever can name 3 Van Morrison songs. First David’s assistant, Leslie, names 3 songs, she wins an album…then the mail boy names 3, and he wins one too.
At this point, Joni Mitchell walks in and asks what’s going on? I tell her about the contest, she picks up her guitar and plays 3 of Van’s songs and yes…we have another winner!
I see it’s getting late, and as much as I hate to leave, I have to get back to my own office. On the way out of the building I run into Neil Young. He sees the remaining 2 albums under my arm, says he’s a friend of Van’s and asks me to give him one. Unfortunately he’s not able to name even One of Van’s songs, so I say, “Sorry Neil”, explain the rules of the contest and quickly leave!
When I get back to Warner Brothers music, I hear Geffen on the phone yelling at my boss, Ed Silvers. When I explain “A contest is a contest”, Ed smiles, and sends a copy of Van’s album over to Neil!”
Copyright 2012 by Artie Wayne http://artiewayne.com
From Wayne’s new book, “I DID IT FOR A SONG” now available at AMAZON , Barnes & Noble or from Smashwords
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