Mailbag

Subject: Priceless Video

Dear Mr. Lefsetz,

We have read your recent blog about our son, Joshua, and we are honored that you chose him and his Ryan Adam's review as your topic. Thank you so much for your kind words and inspiring statements. Joshua was very excited to read it and equally thrilled with all the positive feedback he received on his YouTube as a result. You will be happy to know that in spite of all the attention he is otherwise unaffected. He will continue to review the music that moves him and only when he wants to because he does this for fun:)

What is most impressive is that you really "get it" and your understanding of what his reviews are all about were on the mark. As parents many of your words brought us to tears. It is one thing to know how special your kid is but it is quite another to have others notice and share it with the world.

It is obvious that you realize that there is more to his story than his video shows and we feel that you might be interested in the rest of the story (which we share only because we feel a connection - we are a "no agenda" family:). Joshua is our only child and he was diagnosed with Duchenne muscular dystrophy when he was 2 years old and then autism when he was 5 years old. We have always known that we had a "special" kid in a good way. Often when we tell people about his obstacles they are saddened but we say he is the happiest kid in the world and it is true. We agree that the internet is wonderful thing because it has connected him to people and things that interest him. It has truly been a tool to bring out the best in a boy that did not talk until he was 4 years old.

He is now 11 years old and he is passionate about music, cooking, and movies. One day he hopes to be chef and own a restaurant called Cafe Kirk and he already has a menu for it. He also plans to be a singer/songwriter and he has already written lyrics to about 10 songs. We have received offers for him to review music for online magazines and to have his videos previewed on other media outlets before they go on YouTube. Quite frankly we are overwhelmed by all of this and don't want deny him an opportunity that might help him in his future but at the same time we don't want to ruin it for him. Any thoughts you have on this issue would be appreciated since we are quite naive in this arena.

Thank you for taking an interest in Joshua,

Sincerely,
Diane and Steve Kirk

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My note back:

My audience LOVED Joshua! Got a ton of e-mail about his videos.

As for accepting the offers below…

1. I am not a parent.

2. The entertainment business is sleazy and treats people badly. They want your child today, for the novelty effect, and there's a good chance they will be done with him tomorrow. Can your child handle the disappointment? See the documentary on HBO about Chris Crocker:

http://connect.hbo.com/events/documentaries/chris-crocker-chat/

He got famous on the Net for a YouTube clip saying "Leave Britney Alone" (after she shaved her head), got flown to L.A., did all kinds of deals, then was forgotten and is now doing porn.

Or Rebecca Black. Who had a gigantic YouTube video and then was ridiculed and dropped out of school only to find she had no career.

Then again, Joshua is already on YouTube…

I dreamed of being a child actor (delusionally, I lived in a suburb in CT), but if I had a kid today I would never let him be one, or chase fame, because it's almost always fleeting. Get an education, reach your twenties…then, when you're more experienced and emotionally mature, take a chance.

Really, you have a special kid. Warms my heart just to watch him online.

Bob Lefsetz

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Subject: Re: Re-Heart Like A Wheel

Bob,

I totally agree with Peter, Linda is a benchmark for sure and raised the bar for everyone!

She should be in the R & R hall of Fame without a doubt.

Val Garay

PS As for Andy Gold he will be missed!

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Subject: Re: Re-Heart Like A Wheel

Bob

I had the pleasure of working with Linda on Silk Purse album. To me, aside from being a fantastic singer, she had an amazing song sense. She knew how to pick songs that would flatter her. The musicians loved working with her and I was thrilled that a few songs on that album had live vocals. She surrounded herself with talented people such as Peter Asher and John Boylan.

Elliot Mazer

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Subject: Re: Re-Heart Like A Wheel

Bob,

I'm with all of you; I sang two or three thing eye to eye, live, on one mike with Linda, (with George M. engineering on one occasion, and JD singing on another), and they were without exception exceptionally thrilling,

Craig Fuller

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From: John Boylan
Subject: Re: Re-Heart Like A Wheel

Hey Bob,

Thanks for the kind words about Linda Ronstadt. You've articulated a feeling that runs throughout the music community: why, indeed, is she not in the Hall of Fame?

Just a small addendum to your piece on "Heart Like A Wheel." I was fortunate enough to play on the session for "You Can Close Your Eyes," which took place at the old Clover Studio in Hollywood. As usual, Linda sang along with the musicians, a tremendous plus when you're trying to find the perfect feel for a song. I remember many sessions in the 70s where the singer wasn't even at the studio when we cut the track.

The band was a group of players that Peter and Linda had chosen that was certainly one of the most stellar assemblages I was ever part of: Andrew Gold on piano, Timothy B. Schmit on bass, Don Henley on drums, Glenn Frey and I on acoustic guitars. I learned a lot about producing records from Peter that night - he seemed to know exactly what was needed to pull the players together.

When I listen back to it now, I can recall the session as if it were yesterday. Yes, it's James Taylor's song, and yes, I love his version of it, but Linda's is just as good in a different way. That happens more often than you think, two versions of a song that both work in their own way. Think "I Heard It Through The Grapevine," originally done by Gladys Knight and then in a different way by Marvin Gaye. Both valid. Or "Respect" by Aretha and Otis.

There's a recent re-issue of "Heart Like A Wheel" that's about to come out. It's been re-mastered from a high-definition digital transfer of the original analog master tape, much closer to the vinyl record than the first CD issue. You should check it out.

Best,
JB

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From: Arny Schorr
Subject: RE: Rhinofy-Heart Like A Wheel

Bob,

As part of the major labels ceasing to offer deep catalog titles, RockBeat Records was able to license "Heart Like A Wheel" from Capitol. We were quite frankly amazed that this gem would be available and decided we wanted to do something special with the re-release.

Linda has very strong feelings about her recordings so we were thrilled she felt strongly enough about "Heart Like A Wheel" to be involved in the re-issue. We had Linda's manager, John Boylan, re-master the CD/LP from High Def masters obtained from Capitol and we added bonus tracks of the original mono singles of "You're No Good" and "When Will I Be Loved"...everything sounds better than the original mix.

We're proud of the new mix, it sounds much better than the original and it's a fitting tribute to Linda's brilliance.

Arny

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Subject: RE: Rhinofy-Heart Like A Wheel

I'll try to help frame this stream with a slightly different sheen. Linda had/has an incredible voice...an instrument like almost no other singer, yes, but she also was to me a living band instrument without ever "showing off" her chops. In 1968 Chris Darrow came to my house in Claremont (where he also lived) and suggested I call "this girl singer" he'd heard at the Troubadour. He was in the Nitty Gritty Dirt Band at the time and knew me as a guitar player, but he guessed I was still a drummer, and a drummer from Oklahoma at that. Armed with an invitation to come to her house in Santa Monica, I knocked on her door with an audition ahead. She opened and said "hey, I know you!" Indeed we met a couple of years earlier when I was in a short lived group with Levon Helm, Jesse Ed Davis, and Junior Markham that rehearsed in the house in which she lived. Somehow I never auditioned that day. For the next few years on and off I was a permanent student in the Roundie Grad School of Country Rock. She thought I was the answer to the question "where do the best country rock drummers come from?" True or not, her belief in my playing put me on a serious pathway that led to Michael Nesmith (who wrote her first radio hit) and to Emmylou Harris (who I met with Linda ), and both of those doors opened to big personal career steps. Linda is the dean of the school. Her absolutely spot-on taste made the LA music scene of the early '70's what it was. One more aside - I've always had the same mixes in my monitor onstage: kick, snare, bass guitar...except with Linda. I ALWAYS had her voice beside me. I so looked forward to every show we played...to hear that voice...truly inspirational...THE sound of LA country rock.

John Ware

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Subject: Re: Rhinofy-Heart Like A Wheel

Hi Bob,

I'd like to add to those proposing that Linda be inducted into the Rock & Roll Hall of Fame. That's a no-brainer! When my band Shiloh (me, Don Henley, Al Perkins, Jim Ed Norman & Mike Bowden) broke up, Don, Mike and I joined Linda's band along with Glenn Frey in late 1970. When Don and Glenn left to form the Eagles, Mike and I stayed with Linda and she added Mickey McGee on drums and Ed Black on steel guitar. Gib Gilbeau (fiddle) and Herb Pedersen (banjo/guitar) would also tour with us frequently. We all left Linda's band during the recording of Don't Cry Now when Linda decided to take a hiatus.

We are the band that got her to learn You're No Good, Respect and some other great cover songs, on which she ALWAYS topped the original recordings with her version. When she came out of hiatus, we all had gone on to other gigs and I was replaced by Andrew Gold. She also changed producers from John Boylan and J.D. Souther to Peter Asher. Peter picked up the pieces and used several tracks that we had recorded under Boylan, one or two that J.D. produced and then Peter produced the rest of the album. Certainly You're No Good really put her on the map.

I did go back and tour with Linda on the Ronstadt/Jackson Browne tour when Andrew Gold couldn't make it. I just corresponded with Linda a couple of days ago to see if she would participate on a Jackson Browne tribute album that is being recorded soon in Austin (the producer contacted me in trying to reach Linda). Much to my dismay, Linda said she was "having a severe case of being 66 and had retired completely from singing." What a loss to the world of music. If there's any way I can help make sure Linda makes it into the Hall of Fame, please let me know.

Regards,

Richard Bowden

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From: Jeff Laufer
Subject: Re: Rhinofy-Heart Like A Wheel

Dear Bob,

The Stones were playing in Tucson and I was told to bring country radio programmers to the show and have a "sit down" with Mick regarding the track, "Far Away Eyes".
I had about 4 P.D's accept the invitation.
When it came to the actual meeting time Keith Richards walks into the dressing room with Linda Ronstadt. Tucson is her home town. Linda, in a very loquacious fashion, told them directly they better add the record if they ever wanted her to do promos anymore.
I was stunned!
As it turned out, they all added the record, giving it minimal spins.
But I will never forget their faces when Linda walked in!

As we all know Mick is very shrewd and he pulled me to the side and asked me why the station in Bakersfield didn't show.
The station, KUZZ, in Bakersfield was owned by Buck Owens and his son, Buddy, ran the place. My relationship with Buddy was friendly because I helped their F.M. rock station, KKXX with many favors. Buddy came with his family to see Foreigner when they played in town and his kids met the band.
Anyway, Buddy said, "No Way!, I don't care if it's the pope asking me to play a Rolling Stones song!"

Now, I was the lackey that had to tell Mick that Bakersfield was a "no go."
Mick's assistant asked me for Buddy's phone number so that he could call and get Linda on the phone with him.
As the story ended, KUZZ never would play the record but Mick told Buddy that he was a big Buck Owens fan.

Jeff

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Subject: Re: Fleetwood Mac On The Road

Hi Bob;

It's sad about Fleetwood Mac.

The last several tours were primarily to bail out MIck, who gets rid of money like nobody else. Christine went along twice for that reason, but she doesn't need the money, and she doesn't want to hang out with John, so she's not going.

Lindsey and Stevie have tried solo albums, but they came around too late for the real music fans of the late '60s - early '70s. By 1980 most of us had put flower power aside in order to earn a living, and our heroes were already cast.

Peter, Mick and John were among them, and Christine came along in '71, in time to be a part of the rock 'n roll heyday. It's over, and not likely to happen again, in my opinion.

Regards,

_____ ______

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From: Danny Zelisko
Subject: RE: Fleetwood Mac On The Road

FM will always tour. As long as someone puts up the dough, people will buy the tickets, and they will tour. This is what they do. And they are used to huge numbers. Overall, they make money.

Their same old thing is better than most, we just get used to it and expect fireworks like when we were kids. Bottom line, people love the music of these acts that have gotten along in life, with us, and good for them. That’s the fireworks. They are still a huge band/name/draw.

Christine McVie is old news, no one cares if she is there or not, but for only a few purists, like you or me. She is a great part of the band’s history, but all people care about is that it is FLEETWOOD MAC. I booked Christine on her solo tour in ‘84 or 85 when Tom Ross opened a new agency called CAA. It was one of the new agency’s first bookings. It stiffed so bad I had to cancel all 3 dates and pay her in full (and save money), due to her budget, expenses and a mercenary manager, what was that guy’s name? Prick. He was such a jerk about it. It’s not how much you make sometimes, but how much you avoid losing. I lost less paying her $50000 including her production to NOT sing a note. Never saw her or heard her sing on that tour, for 50k. Makes me kind of ill when I think about it.

You are right about the ticket prices. They are always out of control which explains why a lot of bands who are HUGE in our world do less than great numbers, not because people don’t care. It just gets to be “Enough already guys! We saw you when you were truly an item and paid less.” No one considers inflation because it has been somewhat of a cash grab along, hasn’t it.

Bottom line, it is a value to see these people who still come to visit with these mighty bands. Some of us have died, are broke, no longer care, whatever, but for those who are lucky enough to again go see someone do their thing in concert, for the umpteenth time, they are happy and I continue to be happy to help them see their favorites.

I hope they do a tribute to Bob Welch in the show. He deserves it. And he deserves to be in the hall of fame with FM. His albums were every bit as good/better, just not as big of sellers, as FM’s best. Without question. Bare trees? Future games? Come on!!! Heroes are hard to find, indeed!!!

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From: Kevin Donnelly
Subject: RE: Paperless In Little Rock

Bob-- further tidbit for you. I too was approached by Ticketmaster about employing paperless ticket sales, at my Arena (MTS Centre) in Winnipeg, Canada. I jumped at the chance, and independently came up with virtually the exact same application of paperless as Michael-- about 25-33% of the house, regardless of the setting. In Feb 2009, with the blessing of the management at Q Prime, a Metallica show went on sale as our 1st "paperless event".

We've hosted probably 250 shows since then-- names like Bieber, Petty, Elton, KISS, Motley, McGraw, Swift, Chesney, Lady A, Pearl Jam, Waters and many, many others... all of them with 25-30% of the house as paperless. I know the detractors will say "it's only Winnipeg" or "it's only Little Rock", but at the end of the day, it's hundreds of thousands of tickets annually, it's a real slice of the business and it works. We are able to curtail the scalping, and suppress the resale prices. They can't inflate the farther seats to the same degree as our "protected zone" of paperless seats... and no grandma has ever been unable to find a way for us to get her granddaughter in...the fact that the grand daughter is able to get the ticket at face value is the achievement we strive for.

The scalper/ Stubhub fuelled lobby that is trying is suppress the expansion of paperless by claiming that grandma's can't get tickets to their grandkids, or confusing the issue by demanding to see the inventory of available seats before they go on sale, are aggressive, and need to be defeated.

Join Michael's Fans First Coalition. Acts and venues need to utilize paperless in your prime seats. It's never cost me a show, it 's never cost any of our incoming artists a single ticket sold.

The scalpers HATE it, the fans LOVE it.

Kevin Donnelly, Sr VP, General Manager, MTS Centre

P.S. Every show (like Michael's venue) has an allocation of paperless seats since February, 2009-- always the prime seats-- 1st couple sections near the stage and first 10-15 rows on the floor, depending on overall capacity of the show. Try to hit the 25% mark for all shows. NO ISSUES.

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Subject: FW: Paperless In Little Rock

Who know it would take Arkansas to show the NY and Chicago and Hollywood titans how the business should be run. I applaud Michael and I applaud you for writing this. I am sending it to every Front Line artist. Thanks Bob. Irving. Yes you can print this.

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From: Paul Brady
Subject: Paul Brady

Hi Bob,

Thanks for the recent article on my songs and I'm glad they still hit the spot. I couldn't connect to the Spotify link as Ireland only let them in a couple of days ago, one of the last countries to do so. No one in the Irish musical fraternity is jumping around with delight, however, for the obvious reasons which you've often highlighted.

Life is good. I'm writing to you from a diving holiday in Cabo Verde islands somewhere between Senegal and Brazil. Still writing songs, recording and playing live. I guess I'm one of the lucky ones. I built an audience many years ago which has kept steadily growing and I can play much anywhere on the planet where there is an Irish presence...which, since the current global financial farce, is pretty much everywhere...though I don't get over your way much these days, except for a few gigs on the east coast once every year or two or an occasional trip to Nashville. It doesn't make a lot of sense budget-wise at the level I've remained at in USA...and that won't increase hugely unless I spend months there gigging every year, which I don't want to do.

Anyway, I really enjoy your output....don't agree with everything!...but that's ok. Keep her lit, as we say in Ireland..

Best wishes

Paul Brady

http://www.facebook.com/paulbradymusic
http://www.paulbrady.com
https://twitter.com/hoobadooba

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Subject: Artist fee quote absurdity - Jackson Browne

Hey Bob,

Here's some insider info for you. Please keep my name off it. I'm the talent buyer a 2000-cap east coast room. Jackson Browne's acoustic tour just quoted me $60k for a show plus $10k for artist-carted production. All of that is bad enough b/c it means Mr. Occupy Movement's monetary needs will force us to charge patrons $50-$100.

$10k production for an acoustic show?? For what, two dozen moving lights? An LED Backdrop?? A leslie cabinet and hammond organ?? What the fuck are they talking about?

Oh, but wait, there's more! There's the $2500 catering request. And the $1500 for opening act. And the 30 comp tickets. And the request to waive any house commission on cd sales (what, are we a fucking CHARITY??), and the 200 tickets set aside for VIP sales (god only know what those tickets will cost), and best of all - they want us to pay a buyout fee on his two buses!!! Are you fucking joking? Since when did a physical cost of touring become MY expense? Haul your sorry asses here on your own dime, you cheapskate. Oh, and also the tour wants us to add $1/ticket (patron pays this) for an artist-selected charity. How about you open up your fucking wallet and pay for it yourself, douchebag?

Does anyone care about the fan anymore at all?

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From: Samuel H. Jones
Subject: RE: Advice

I played on a couple of TV shows when I was a gigging musician. A couple of local news shows. I remember after we performed for a morning show, the singer was thinking we had it made. We got some mentions from friends and acquaintances, but that was it. No increase in album sales or song downloads, no increase in audience numbers, etc. (as far as I know anyway). This was all three-four years ago. The one band I played with is now defunct and the other singer is still slogging it out.

The traditional methods of publicity don't work and they don't work because most people who play on those shows suck or the shows just don't have enough penetration. Most people with serious taste in music (at least the ones I know) don't watch these shows, and the ones who do watch them generally are not avid music followers. They're not going to spend money and travel to a show to see a band in a crappy club just because they heard them on some TV morning news show, even if the band was better than average. Gotta make great music and play it to the right people. Until then, doesn't matter how much people see your face on TV.

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Subject: Re: Everybody Knows - Some Interesting Facts

Bob,

I am sure someone has sent you some of these links, but having started doing some work in a mobile technology startup in addition to the music management stuff I do I found your post today very interesting. Some of the stats are pretty interesting when you dig down into the data, and I have included source data as some of the facts when read aloud can seem unreal.

As always, thanks for the interesting discussion.

Shawn
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TWITTER

.05% (about 20k users) of the Twitter population accounts for almost 50% of site traffic.

From Cornell / Yahoo Research Paper - http://research.yahoo.com/pub/3386

25% of users have never Tweeted (that's 50 million accounts)
81% of users have under 50 followers
6% have zero followers
10% don't follow anyone

From Another study by Beevolve

From Blog at 140 Conference in New York. "According to Betaworks CEO John Borthwick, the half-life of a tweet is four minutes. What that means is that half of the total clicks of a link within a tweet come in the first four minutes of when it is posted on Twitter. Yikes!"

EMAIL
Most studies put open rates somewhere between 11% and 19% so in a best case scenario 80 of every 100 emails go into space….

http://www.mailermailer.com/resources/metrics/2012/open-rates.rwp
http://mailchimp.com/resources/research/email-marketing-benchmarks-by-industry/ - 2010 study

In September 2012 75% of all email sent was Spam, which explains why most of it is tuned out.

http://www.symantec.com/security_response/landing/spam/

APPS
According to most sources about 35% of Apps are used 2 or less times then discarded.

http://www.localytics.com/blog/2011/26percent-of-mobile-app-users-are-either-fickle-or-loyal/

Take a look at 90 day retention rates for Music and Entertainment apps. Somewhat Low Frequency of Use, and under 35% retention for entertainment, and 20% for music.
But Streaming shoots up to 8+ uses per week, but also with a low retention rate

http://blog.flurry.com/bid/90743/App-Engagement-The-Matrix-Reloaded

MOBILE

With people 25 and under Texting has become Primary Communication mode. Email as those under 25 tend to say "is for old people" and in a recent study College students viewed texting as their "#1 form of writing and cell phones as their "primary writing tools"

http://wide.msu.edu/special/writinglives/

18-24 year olds average 3,200 texts per month

According to Pew Internet Study http://pewinternet.org/Commentary/2012/February/Pew-Internet-Mobile.aspx

14 year old girls shoot up to 4,700

In the US we send almost as many texts per month in 2012 as we did for the entire year of 2007, about 200 BILLION and in 2013 Text messages sent will likely eclipse voice minutes used in the US in 2013 at about 2.35 TRILLION
___

Shawn Radley
Developing Artist Management and Booking

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Subject: Re: Jimmie Walker On Maron

Bob -

Jimmie and I went to DeWitt Clinton HS in the Bronx in the early 60's, although he graduated from another one because of too many absences. He was fast friends with a neighborhood buddy, Marty Nadler, who later became a writer, stand up comic and executive story editor for Laverne & Shirley, Happy Days and Mork & Mindy. We all grew up in Garry and Penny Marshall's neighborhood, so Marty was introduced to Garry by a mutual friend, Richie LeBost ,who was Garry and Penny's first cousin.

Jimmie was at his funniest in those days as he was already honing his skills in Manhattan doing standup at 16 when we were chasing girls (Clinton was all boys). A truly nice guy, with a big heart, Jimmie endeared himself to anyone who ever met him, including the teachers who had to give him bad grades.

Many years later, during my time with PolyGram and BoardWalk, Marty would come visit the office when in from LA and Jimmie would sometimes tag along. Through Marty, one of the funniest people on earth, I secured a deal for Casablanca (which I was in the midst of acquiring) for Robin Williams first album..."Reality, what a Concept".

By the way, aside from the Marshall's and Marty, the neighborhood spawned Calvin Klein, Robert Klein, Ralph Lifshitz (Lauren) and Roy Drillick....the real "Fonz".

Happy Days indeed.

Regards,

Rick Pardo

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From: Raj Bahadur
Subject: Re: Jimmie Walker On Maron

"...Lou Adler. Who is now known as the guy who sits next to Jack Nicholson at Laker games, but once was the arbiter of what was cool and hip, who not only worked with Jan & Dean, the Mamas and the Papas, Monterey Pop and ultimately Carole King, but signed Cheech & Chong..."

SO WHY ISN'T LOU ADLER IN THE ROCK AND ROLL HALL OF FAME???!!! This is a travesty. I've been trumpeting Adler's absence for years to anyone who'd listen, including a couple of voters whom I know on the nominating committee. I get no argument from them. But it takes more than just a couple of voters. Peruse the list of non-performers in the Hall. Arguably, they have the credentials. But how many of them have Lou Adler's credentials? When you read his Wikipedia résumé, it makes his absence all the more ridiculous. Maybe you can highlight the situation.

http://en.wikipedia.org/wiki/Lou_Adler

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From: Seymour Stein
Subject: RE: Rhinofy-Heart Like A Wheel

I could not agree more that Linda Ronstadt belongs in the Rock and Roll of Fame. I do believe her admission is inevitable, too bad it's so long overdue.

Feel the same about the Moody Blues, Chuck Willis, Joe Tex, The Searchers, Carly Simon, Chicago and many others.

Thanks for your mention of "Tainted Love". So proud to have had Soft Cell on Sire. Thought it was a natural, took so long to work its way up the chart and it spent a total of 43 weeks on the hot 100 as it broke from city to city. "Tainted Love" was written by Ed Cobb, leader of the 1950's group, the Four Preps; most famous for hits "Twenty Six Miles" and "Big Man". I loved their spoof on groups "More Money for You and Me", not quite as big a hit but memorable.

In your discussion of songwriters who are also artists. Please remember that Bobby Darin wrote "Early in the Morning", recorded under the name the Rinkidinks on ATCO which was also a hit for Buddy Holly.

Hall of Famer, Gene Pitney actually started as a songwriter, writing hits like "Hello Mary Lou" for Ricky Nelson, "Rubber Ball" for Bobby Vee and "He's a Rebel" for the Crystals. All this came before his first
solo hit, "The Man who Shot Liberty Valance". Gene is best remembered for "Only Love can Break a Heart" and "It Hurts to be in Love".

Country great Don Gibson wrote "I Can't Stop Loving You" and stuck it on the b side of his country/pop smash "Oh Lonesome Me". He actually wrote it for Kitty Wells, "Queen of country music" who took it to number three on the country charts in 1958. Other versions in country included Faron Young in 1956, Patsy Cline in 1963 and Emmy Lou Harris in 1976.

"Oh Lonesome Me" was recorded by Neil Young on "After the Gold Rush" LP.

"I Can't Stop Loving You" changed the life and career of Ray Charles as it was the prime track on his "Modern Sounds" in Country and Western music. The single was Ray Charles biggest ever, same with the album.

Joe South, country singer songwriter most famous for "Games People Play" back in 1969 is also the writer of "Down in the Boondocks" by Billie Joe Royal. "Hush" by Deep Purple and Billie Joe Royal, "I never Promised You a Rose Garden" by Lynn Anderson and "Birds of a feather" by Paul Revere and the Raiders.

The great Ivory Joe Hunter who surely belongs in the Rock and Roll Hall of Fame is perhaps best known for "Since I Met You Baby" which he wrote and recorded for Atlantic back in 1956. The song became a number one country hit years later by Sonny James. Hunter also wrote, "Out of Sight, Out of Mind" for doo wop group, the 5 Keys and three Elvis Presley songs "Ain't That Loving You Baby", "My Wish Came True" and "I Need You So".

When I first heard Tim Hardin, I thought he would have an incredible career as singer songwriter. Tragically, his life was cut short but not before writing some of the great songs of the 1960's and 70's including, "Reasons to Believe", "If I Were a Carpenter", "The Lady Came from Baltimore", "Misty Roses", "Don't Make Promises" and also "How Nice We Hang on to a Dream", recorded by Echo and the Bunnymen on Sire.

The songwriter is the key to everything. So great you spent so much
time outlining this in your recent blog post.

Glad you made mention of Hank Williams, my all-time favorite. I'm sure you're familiar with songs he wrote and recorded under the name Luke the Drifter like "Pictures from Life's other Side" and "Be Careful of the Stones That you Throw", a hit years later for Dion (DiMucci)

Pat Boone who I feel is somewhat underrated because of his pop cover versions of songs by Fats Domino, Little Richard and others recorded "I Almost Lost My Mind", in my opinion Hunter's best ever song and Boone's best ever recording. Was not technically a cover because Hunter's recording was from 1950, Boone's from 1956 when it spent four weeks at number one. . . . . . same year Elvis was at number 1 with "Heartbreak Hotel", "I Want You, I Need You, I Love You", "Don't be Cruel"/"Hound Dog" and "Love Me Tender".

Dion, who gave up his seat to Buddy Holly on that an ill-fated plane. Buddy was anxious to get back to his bride, Maria Elena.

Finally, can't leave out of the list J.D Souther, whose songs like "New
Kid in Town" and "Best of my Love" are classics, but was a damn good artist as well.

All the best,

Seymour

P.S Hardly ever write responses although I am an avid reader. Feeling quite sentimental this past week. The passing of several friends, some unexpected like Pete Bennett and Mickey 'Guitar' Baker. Others who have been sick for a very long time like legendary live agent Frank Barsalona and Broadway producer, Marty Richards. Please see link below and attached email.

http://bit.ly/Y1JFNa


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