Wendy Waldman and Her Minions Weigh In

Bob

Oh man, I want to thank you for your very generous comments about How Do I, and really much more beyond that, for 'getting' what I have always tried to do with my music. Because of your blog, I have been reconnected with many old friends and artists, as well as making quite a few new ones. This is such a valuable gift, I will never be able to repay you in kind.
But if there's anything I can ever do, let me know!

You have referred, so sweetly, several times over the years about my 'disappearance' from your radar--and I always smile when you mention, with some small amazement, my continuing enthusiasm for music and work. I've been thinking about this quite a lot, and wanted to give you my perspective on it. Guess I'm a little long winded but I've wanted to say this for some time.

To me, it's all in how one defines the word ARTIST.

The definition often promoted in biographical commentary about artists from my generation goes something like this: an artist is someone who recorded for a major record label, who toured, competed in the world of radio, concerts, print, advertising, record and radio promotion, charts and record sales, backed by the mighty dollars of the company. Some of these artists became major or even moderate public figures, some fell by the wayside. However, all but the most public of these folks are considered 'among the disappeared,' if they failed to continue to swim in the waters of the major record company world or made enough impact to be played as an oldie. If you look at these standards as your measuring stick, indeed many artists (including me) from that era have disappeared.

HOWEVER if you recognize the major label experience as an interesting chapter in the history of popular music starting probably in the 40s, and petering out around the late 90s, and compare this particular chapter to the ongoing histories of far more working musicians than the labels ever signed, you find a very different story indeed. We only need to look at the profoundly brilliant jazz musicians like McCoy Tyner (the absolute greatest living jazz musician IM not so humble O) or the fine contemporary (and traditional) classical, Americana, world, jazz and studio musicians who have worked their entire lives without having that level of acclaim. They don't consider themselves disappeared, nor do their fans, nor will history.

Removing that yard stick, in my case, was one of the best things I ever did in my life. I have been an independent artist for far more years than I ever spent as a major label artist. My last 'major' deal was in 87, Cypress/Polygram, which album I toured extensively and expensively opening with my own band for Dan Fogelberg in all the sheds--great fun, a total blast, a great experience. After that, when Cypress folded, I couldn't find another label deal, and at the same time, I got into the old Jerry Brown-ism 'lower your expectations and broaden your horizons.'

I've had, and continue to have, a roller coaster journey as a working musician, songwriter (with the occasional 'hit' and a huge uncut catalog) performing artist, collaborator, band member, teacher, singer, musical traveler, student, film composer, who helped found one of the early and best writers' nights in LA when I came back from Nashville--and lots of other weird and wonderful things I can't even remember. I've been so lucky to work with many of the greatest studio musicians of my time from LA, Nashville, New York, and even in Europe--these guys taught me so much. I wrote hit songs for other folks, I broke barriers as a chick record producer :):):), I got the blessed opportunity to work with my 2 dream bands: Bryndle, (RIP) 3 albums and extensive touriing) and the Refugees, (2 albums and a new one ready to mix) with a shitload of touring. I worked in gospel music, rock, folk, film, Jewish music, Christian music (!) jazz, alternative--you name it. And have done a hell of a lot
of performing as well, surprise! Along the way, there was good money and there have also been some truly horrible financial years.

I released, beside the 25+ albums I produced for various other folks in the last 30 years, my own archival collections starting with Seeds and Orphans 1 and 2, where you and I met (!) and then the Back By Fall compilation which covered material that was not included on the Warner Brothers repackage. Plus I released my first studio cd in decades in 2007, with another one on the way this year. I've hosted filming at my studio, edited video, and played a buttload of house concerts. I learned in the years after Cypress, first Studio Vision as a recording platform, then Digital Performer, and finally Protools, with the incredibly generous help of several marvelous producer/engineers, notably Rob Hoffman, Mark Nubar, Mike Sawitzke, Andrzej Wazocha and others--these patient dudes have guided me and put up with my dumb questions, silly mistakes and madness for years now, to my great joy.

The other thing is that I've worked far more for free than I have for money, to the point that I've taken a lot of shit from friends and family. If I could tell you how many amazing contacts and friends I've made, wonderful musicians I've met because of my propensity to work free or offer my studio--it's too much to describe but it's quite an eye opener.

So, yeah, my life as a recording artist for major labels was extremely fortunate and wonderful - the fact that critics liked my work on balance a bit more than they hated it--this stood me in such stead that I've been able to work my ass off for the last 30 years literally around the world, and take on some really scary new challenges a few times. It's been a busy 30 years and I sure hope for more because I'm just getting the hang of some things.

The thing is that this is the most FUN SHIT I could ever imagine doing with my life. Part of that musical journey was being on a major, but it was by NO means the highlight of my life as an artist. I'm doing the best work of my life now, and have made a handful of albums that I would be proud to have on my epitaph--among them, New Grass Revival, Bryndle, Mietek Szczesniak, the Refugees, --and who knows what's coming. I'm in school to learn some skills I overlooked while I was busy being a musician (my father is having the last laugh in heaven for sure) and it's kicking my ass, by the way......and I write/record most days of the week. There are some interesting projects coming out of here in the next year and in fact, I'm about to embark on creating a bigger studio with space for filming.

I am by birth and by trade a working musician, and therefore, I define myself not by the first definition, but the second--an artist is someone who can't help but commit his or her life to making art, enduring whatever the hell is going to come, because that person knows there is no choice and no greater joy. In this life, many many failures and disappointments are bound to happen, especially to those of us upon whom the narrow crown of record company/radio stardom was not bestowed. What did the Eagles say--I don't know why fortune smiles on some and lets the rest go free --or was it Henley... Anyhow, an artist is totally separate from the major label experience that we have had briefly in this period of time. Most of my heroes are still remembered and their music played, and they worked long before there was a major label with a record promoter and a guy deciding who got the button and who didn't

The possibility to keep learning new skills, and to find new ways to apply one's art, and the lifelong marvelous friends and fans one encounters just doing one's everyday job--this is gold, man. Hey, had I not done the little independent archival cd you stumbled across, we wouldn't be friends today!

thanks for listening. really wanted to say this stuff. Also very glad you took the chance to listen to one of the new songs, and I totally get why that would not be a lightly taken decision, having been there myself.

my love, best wishes to your family, Felice and you. and take care of yourself!!!!!!!!!!!!! did I say take care of yourself?

much love and thanks again.

XXWW

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So I was producing Randy Meisner's solo record and I hired Wendy Waldman to sing on his hit single "Hearts on Fire" (Co-Authored by Eric Kaz) and then become part of his band in early 1980. She was my secret weapon.

Val Garay

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Wendy Waldman is the real deal. Nice story about a pro.

thanks,

Mike Gormley

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Saw her not that long ago live at Boulevard Music. Forthright, honest, resonant, as you said. Also strong and real.

Jeffrey Fiskin

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Thanks for the alert, Bob. In my case you're preaching to the
long-converted and a lifelong fan of Wendy's.

When her WB lps were reissued a few years ago I ordered them all from her
website along with a few of the independents she released. She sent an
acknowledging email for the order thanking me for it, and when the goods
arrived they were personally signed and annotated. All in all a class act
from someone whose songs are fairly resident earworms in my head - Wind in
NY City, The One Who Loved, Pirate Ships, Western Lullaby, Mad Mad Me,
Back By Fall among many others.

The challenge for me, and I'm sure others, is to be kept up to date via
artists' mailing list updates. I subscribe to many in order to get info
about new material only to hear of their new work from others; such is the
case today.

Thanks again but I, like many others, never stopped paying attention to
WW.

Steven Ferguson

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Bob-thanks for the heads-up on the new Wendy Waldman song, like a welcome note from an old friend. I have to disagree with you regarding her tenure at WarnerBros. It is unfortunate Wendy didn't find a wider audience but "Love Has Got Me" is as fine a collection of songs as anything to come out of SoCal in that time period and that includes Joni Mitchell's "Blue". The fact that she did her best work early in her career is missing the point; the important thing is that she had the opportunity to produce something so enduring and came through in spades.

Paul Kalenak

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In my alternate reality, Wendy Waldman wins the Grammy in 1975 for Album Of the Year for "The Main Refrain." All the same country/Los Angeles characters stay the same so that there is no major future rip.

Thanks to the internet, I had a chance to share this vision with her once. Sweet.

Woody Firm

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Good article. Hits to the bone. Good for Wendy Waldman. Good for all of us.

Steven Anders
Anders of Hollywood

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Thanks, Bob
Sometimes it just doesn't happen…
I shared office space with two manager people:
Peter Asher had James and Linda.
Norman Epstein had Karla and Andrew…
There was (is) so much talent there, I suppose it's the luck

Nick Ben-Meir

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"The Crossroads" on the Cypress release is Wendy's cut that's stayed with me all this time.

Alex Novielli

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Thanx for mentioning Wendy Waldman's "Mad Mad Me" - I can hear that beautiful string arrangement in my head right now!

packman

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I'm a fan as well.
Well said

Chip Franklin

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As good as she was/is, it just wasn't music for them asses/the masses.

I saw her at the Shabo in Willimantic CT during the "Strange Company" tour.

Captivating.

PS: I was a Cretones fan too.

CB

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I worked with Wendy back in the Norm Epstein,Chuck Plotkin days, when she was just starting to Bloom. I am happy to read in your letter what happened to Wendy. She was such a diamond in the rough.This is why I read every letter you send, I want to know. You always do your homework.

Thanks
Dennis Rubenstein

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I'm my early days as a session player and producer in WV and Nashville I was hip to Wendy, Karla, Leah Kunkel Etc. The Main Refrain knocked me out selling high end audio gear in WV , MD and DC in the 80s.

I met Kenny Edwards and Waddy touring with Linda in 77 through Liv Taylor who I did some regional gigs with in those years.

In 2005 Wendy did an in store concert for Taylor Guitars with Happy Traum at the Guitar Center I managed here in Mpls. In those years I also was in touch with Karla and have all the Bryndle CDs from that era.

In recent years I have also produced Lee Sklar and Waddy on a few occasions including LA sessions with Russ Kunkel. What a legendary musical family of sorts! Like Wendy I have worked in the periphery for decades but long ago recognized her talent as a monster. Thanks for resurrecting interest in a truly amazing writer artist. On my shelf nearby I have a CD Wendy gave me around 11 years ago that has a handwritten jacket in black ink on a generic white cover ... About 20 songs ... I treasure it and her artistry for sure..

Cheers!

Chris "Zannman" Zann

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Damn nice tune, Wendy all over. I discovered her in the 70s — loved Gypsy Symphony and then REALLY loved The Main Refrain — and then I went to see her at the Armadillo — and she came out with a Strat and tried to rock out. I hated it. That album with the black & white cover had just come out, and I didn't like it either. I mean, of course she is allowed to change however she pleases, but it felt to me pretty calculated.

But your email made me go back and listen to a slew of my faves…My Prayer For You, Mad Mad Me, The Main Refrain, Back By Fall. Such a great writer. That she and Karla were in the same band was a mindblower back when I found that out, because they are each SO good at what they do.

Ever onward!
Rob Meurer


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