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STILL UNABLE TO USE MY HANDS I WANTED TO PAY TRIBUTE TO PHIL RAMONE, AN ALL AROUND GOOD GUY WHO I ONCE CONVINCED THE RAMONES DIDN’T NAME THEMSELVES AFTER HIM!

HERE IS WHAT MIKE BARNES AT THE HOLLYWOOD REPORTER WROTE

A former violin prodigy and expert engineer, he worked with Dylan, Sinatra, McCartney, Bennett, Charles, Streisand, Simon, Joel and Bacharach and spent more than 50 years in the business.

Phil Ramone, the instinctive music producer whose mixing mastery for Frank SinatraBarbra StreisandBob DylanRay CharlesPaul Simon and Billy Joel helped fashion some of the most sumptuous and top-selling albums of his era, has died. He was 79.

The 14-time Grammy winner and 33-time nominee once dubbed “The Pope of Pop” was hospitalized in late February with an aortic aneurysm in New York and died Saturday morning at New York Presbyterian Hospital, according to Ramone’s son Matt.

A native of South Africa who at age 10 performed as a violinist forQueen Elizabeth II, Ramone spent years working as a songwriter, engineer and acoustics expert in New York before charting a path that would make him a trusted studio partner in the eyes (and ears) of the industry’s biggest stars.

STORY: Music Industry Reacts to Death of Producer Phil Ramone

Among the albums on which he worked were Streisand’s 1967 liveA Happening in Central ParkPaul & Linda McCartney’s Ram(1971), sandwiched between the Beatles and Wings eras; Dylan’s aching Blood on the Tracks (1975); Simon’s pop classic Still Crazy After All These Years (1975); Joel’s critical and commercial breakthrough The Stranger (1977); Sinatra’s last-gaspDuets (1993), a model of technical wizardry; and Charles’ final album, the mega-selling Genius Loves Company (2004).

Ramone served as a songwriter in New York’s famed Brill Building music factory and worked early on with Quincy JonesTom DowdCreed TaylorJerry Leiber & Mike Stoller and Burt Bacharach & Hal David, among others. In 1959, he launched the A&R Recording studios on Seventh Avenue in New York, where Blood on the Tracks and so many other classics were recorded.

TO READ THE ENTIRE ARTICLE IN THE HOLLYWOOD REPORTER CLICK ONTO http://www.hollywoodreporter.com/news/music-producer-phil-ramone-ray-charles-frank-sinatra-425444

PHIL, I’LL MISS YOUR BRILLIANT WORK IN THE STUDIO AS WELL AS OUR LIVELY CONVERSATIONS WHENEVER WE’D RUN INTO EACH OTHER AT THE MUSEUM OF MODERN ART

MAY YOUR LEGEND CONTINUE TO GROW, AND MAY YOU ROCK IN PERPETUITY!

Respectfully, your friend Artie Wayne https://artiewayne.wordpress.com/2012/04/10/celebrating-two-million-views-today-on-artie-wayne-on-the-web..

HERE ARE SOME MUSICIANS REACTING TO THE PASSING OF PHIL RAMONE ON TWITTER   http://ultimateclassicrock.com/musicians-react-to-the-death-of-phil-ramone-on-twitter/

 

Artie:
I cannot imagine losing two of my closest pals in the same week. It’s a
shock to my nervous system and they leave a hole in my heart the size of:
“all the years we’ve been colleagues and friends” …
These are not words I’m writing, these are my tears which mystically create
the text in this e-mail to you.

Brooks Arthur
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Although Artie Kornfeld “The Father Of Woodstock” and I have been friends since the ’60s, until recently I never asked him about the story behind some of his biggest hits as a songwriter. In 1966, he had “The Pied Piper” which made it to  number four on Billboard’s Charts, which was one the most optimistic protest songs of the era…now here’s the story behind it.

“The song, “The Pied Piper” was the result of my being an avid reader since pre-natal period.”, says songwriter / producer Artie Kornfeld (“Dead Man’s Curve, “The Rain The Park, and Other Things”).

“I remember Paul Simon telling me how he wrote the “59th St. Bridge Song (“Feelin’ Groovy)” while driving into the city. I was heading into Manhattan to write with my dear friend and co-writer Steve Duboff. I was the Director of A and R at Mercury and had a 3 hour demo session booked for a young folk rocker named Jonathan.  We were scheduled to cut 3 songs.

I made my way to the city in my “Dead Mans Curve” Corvette that Donny Kirshner gave me an advance to buy, when DMC  went top 5.  I kept a tape recorder in the car.  As I drove towards the 59th Street Bridge I thought of the Fable about a mythical Pied piper who through music, rid his Nation of the Bad Rats that had the children living in fear. There were no freedoms and no expression allowed.  The lyric and skeleton song came 1, 2, 3, so fast.

By the time I reached the office-studio Duboff had a dynamo melody on the way.  We sat, as my production session was an hour away. I turned the lyric almost anarchistic saying follow me as I promise to rid the earth of The Rats that had us going into Viet Nam.  I had the sort of vision I knew the way out.

The Pied Piper by playing his flute had the bad guys (the RATS) follow him into the Sea and freed the land. Music and the right to free expression were returned!

The only reason the song was recorded, as you Artie Wayne know, we were masters at recording.   I finished the three demos for Jonathan in two and a half hours and took out chord sheet and 3 hour old lyric, handed it to Hugh McCracken.  Then I had Artie Kaplan get his flute out and in 1 hour had cut the demo to complete record status.

At the time, I did not realize this was premonition of the role I would play seven years later creating Woodstock and really freeing the children.

Charles Koppelman and Don Rubin, professional managers at Screen-Gems Columbia music, had without my knowledge been approached by Phillips Records, and had put out the Pied Piper we cut, and called us The Changing Times.  I knew nothing about it until it hit the charts and Steve and I were booked for the 1st Sonny and Cher Tour.

I disliked the Crispian St. Peter version since it knocked us off the charts.  Recently I heard a Del Shannon version on YouTube, the song had become the motto for my political and musical agenda free the kids and bring back to this cold world the right to express yourself.

The Pipers Wail is still working it’s magic in all my projects including my book, “The Pied Piper of Woodstock”.  It tells about the life of us who are chosen to bring the music to the World. The Book could have been called “THE PIED PIPER”, without Woodstock in the title since the message has always been in the song. Free the children to create music.

I would be remiss if I did not acknowledge my late Dear Friend and writing Partner, Steven Duboff. The two of us, based on a bond of love and pure fun, writing together and even touring for 20 cities doing the original version as The Changing Times.  We stayed great pals until his death in the late 90s..We had an incredible over 60 songs released as a team.

I often wish my buddy Steve was here today as I miss him and the way we collaborated very much.”

Artie Kornfeld

Photo at top…L to R Steve Duboff, Artie Kornfeld, Sonny and Cher

To reach Artie Kornfeld http://www.artiekornfeld-woodstock.com/

Copyright 2009 by Artie Wayne https://artiewayne.wordpress.com/2009/07/12/thank-you-for-one-million-hits/

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