Mailbag

RE: Peter, Paul & Mary

"I Dig Rock And Roll Music" was co-produced by Milt Okun who died last month. He produced many of their other records (as well as John Denver's) and remains very underrated as a sound architect. His output always had such a crisp and clean sound. He would have loved that you singled out his work.

Alan Warner

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RE: Peter, Paul & Mary

Great stuff about Peter, Paul & Mary, but I disagree they were an oldies act in 1967. Here's a little known moment. I had just moved from right next to where you lived in Connecticut to LA that year, about a mile from the Valley Music Theater in Woodland Hills. I was 14, and one night in February 1967 at the theater appeared the Byrds, the Doors, the Buffalo Springfield and PP&M. For THREE DOLLARS. Noel Paul Stookey spent the whole concert outside of his dressing room, absorbing every note and rocking out energetically to those other great bands. PP&M had top billing on the poster, in type double the size of Byrds and Doors(Springfield was equally large, at the bottom). The song "I Dig Rock & Roll Music" emerged months later that year. Not sure when Noel Paul wrote it, but you could ask him.

Preston Bealle
Darien, CT
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RE: Peter, Paul & Mary

I had the surreal experience of driving the loquacious Bob Gibson up to Albert Grossman's funeral. We left NYC in the morning, heading up the NY Thruway to Bearsville Studios just outside of Woodstock. Two of his stories still stick with me to this day.

The first was about how Albert put Peter, Paul & Mary together. Grossman was scrambling because he already had gigs booked for this amazing Trio he had recently 'discovered'. Albert already had Mary Travers and Peter Yarrow lined up, but he needed a third. He approached Bob Gibson one night at the old Cafe Wha? on MacDougal Street, but Bob was starting to gain some traction around town with his budding solo career, so after much pleading, Bob passed on the offer. Gibson told me that Albert refused to buy him one more drink.

Dejected, Albert went over to the Bitter End on Bleecker Street to pick owner Fred Weintraub's brain. It was late at night, and it was comedy night. A lanky young kid, Noel Stookey was one of the acts that night, who did monologues with a guitar slung over his shoulder onstage. Albert asked him if he wanted to be in a group and told him what he'd make, and Noel agreed.

"Oh, and kid, one last thing, your stage name is Paul..."

The second story is related to Mr. Zimmerman.

Gibson told me a story about how when Albert Grossman and Bob Dylan were parting ways, they had a contentious meeting over the disposition of Dylan's publishing. As Gibson told it, there's Dylan on one side of this big table with his lawyers, and Albert on the other with his team. And the arguing went on and on and on.

Finally, at one point, Dylan stood up to storm out of the room. Grossman chased after him, took out a silver dollar and said, "Bobby, Bobby, Bobby, calm down. I'll tell you what, I'll flip you for it..."

I've had the distinct pleasure of working with Peter Yarrow for many years with my client Guy Davis, and I've earned from him the nickname he gives his friends, "Brother Thom". It's a badge I wear with pride.

Cheers,
Thom Wolke
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RE: Peter, Paul & Mary

Great piece on Peter, Paul and Mary. The early 60's folk boom really changed the course of rock 'n roll because topical lyrics always mattered in folk songs where politics, injustice and anti-war were part of the lexicon and soon that spread when folkies picked up electric guitars. I opened for Mary Travers at the Cellar Door in Washington in the mid-70's and she was so gracious and made a point of coming to say hello to the lowly opening act in his cramped dressing room which is a rare thing for a headliner to do although it means so much to the name at the bottom of the bill. And I too remember those early long-form rock FM stations in New York where DJ's such as the recently deceased Zacherle played deep album cuts with few if any commercials and always added cool informative comments in between spins. Then DJ's gave their power to the station programmers and it was back to business as usual.

Folk always seems to come back in times of troubles be it the Civil Rights struggle or the Vietnam war so perhaps it's time for a return. Or maybe Hip-Hop is the new folk music ...

From Paris,
Elliott Murphy
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RE: Peter, Paul & Mary

Love PP&M-first real music show as a kid I ever saw live was at Forest Hills-the tickets were the prize for finding the Afikoman!! I had seen other live shows like Ethel Merman in Annie Get Your Gun but PP&M were the first music concert. I was such a fan that I walked under secuity's arms into the dressing room and wound up sitting on Mary's lap while my parents were yelling to try to get me to come out. First backstage dressing room experience! Several years ago I was working on a children's project with Peter and when they googled him the unfortunate Washington DC hotel incident popped up-but thats another era and when we discussed it he said "I will always regret that-I was an idiot and thought I was a rock star-I am now a proud grandfather and wish that never happened!" He also told me stories about turning on Bob Dylan and the Beatles!! Yes -"I Dig Rock And Roll Music!"

Harvey Leeds
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RE: Peter, Paul & Mary

The recording engineer who made those PP&M records sound so brilliant was Bill Schwartau. Apparently he died on the street, a victim of drug addiction.

Michael Fremer
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RE: Peter, Paul & Mary

Don't get me started on PP and M. They were quite simply the best. Their harmonies (and one must mention the great Milt Okun at this point) were brilliant, exquisite: always so much more than "you sing the root, I'll sing the third, you sing the five". With the exception of Jimi doing "All Along The Watchtower", their covers of the great songwriters were pre-eminent. What they got dissed for is what made them so special for me: their polish. "It's not authentic." Blow me. It's called artistry. It reminds me of a great line by Calvin Trillin. He said his friends always mystified him by dismissing certain Chinese restaurants as "not authentic". He finally decided "not authentic" meant "tastes better".

I think their version of "Too Much Of Nothing" is brilliant, terrific arrangement, terrific performance. Back when how you performed a song actually mattered. "Marion" sings better than "Vivian", and 99.9% of the listeners neither knew nor cared what T.S. Eliot's wife's first name was. The backstory may be everything to the songwriter (although I'd argue for melody and scan being a bit more crucial), but it's bupkus to the listener.

I would respectfully suggest you sample more of their wares. Check out their version of Gord's "Early Morning Rain." Also his "For Loving Me", which is also on "A Song Will Rise." Check out "Hurry Sundown", on "Late Again". Refresh your memory of Peter's "Great Mandala" on "Album 1700", and Eric Anderson's "Rolling Home", and their version of "Bob Dylan's Dream" on the same record. (Add "Leaving on a Jet Plane" and "I Dig Rock And Roll Music" and that wasn't a half bad album, was it?) "Wasn't That A Time" on "A Song Will Rise". "A Man Come In From Egypt" on "Moving". "If I Had My Way" on the first record. And, for a special treat, their cover of "And When I Die", which I believe was the first time Laura heard one of her songs recorded. The joy of Mary singing that one...

Berton Averre
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RE: Peter, Paul & Mary

Bob: I forwarded your blog today to Paul Stookey of PPM. He still performs regularly and is coming out here in January or February. Very involved in a charity he set up.

I knew the group from the beginning when I was the West Coast version of Grossman (although not as powerful or influential) and met PPM in Florida and became a fan and follower.

In 1985 I got to sing We Are The World at LiveAid when Peter Yarrow pulled me on stage to join them and the huge group of artists I'd organized to do the finale of the show. That was a memorable moment for me.

Ken Kragen
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RE: Peter, Paul & Mary

Totally agree with you when it comes to P,P&M. Loved them from the time I was a little kid. "I Dig Rock And Roll Music" is just a fantastic cut. Sounds outstanding with a pair of good headphones. I am sure I own it all, or at least the albums through the early 70's. I used to work for WTTW-TV (PBS station in Chicago) and P,P&M shows were played until the oxide was falling off the tape. I can't think of a holiday pledge period when those shows didn't run at least 4 times between the mid 80's and the late 90's. That kind of thing can make you really sick of something. I gree up as a guy who couldn't get enough of The Beatles. Albums, bootlegs. I wanted it all and had all the outlets to get it all. Eventually, I had to take a break from it for a couple years or I felt I would lose appreciation for the material. That's what happened with Peter, Paul & Mary. Listening to the stuff now makes it all feel fresh again. The recordings were great. The material and choice of material phenomenal. I recentley picked up some of their concerts from the 60's and they just blew me away. Peter and Noel are good, but Mary was the sugar on top. Listening to these live shows where the are singing into one Neumann or RCA tube microphone really gives you the idea of the power that was Mary Travers. She cuts through everything and brings their sound to another level!

Gregg Schatz
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RE: Peter, Paul & Mary

Milt Okun, who passed away two weeks ago at 92 years was the musical
genius behind Peter Paul and Mary and John Denver. He was incredibly
grateful for the force and vision of Albert Grossman and Jerry Weintraub
as managers and all they did to promote the music he loved and help
create.

Milt was an extraordinary musical force. Both as a producer and a
publisher he had an extraordinary relationship with his artists. He was
first off a teacher of music and worked in the New York school system
until fate put him squarely in the folk music scene. His legacy of song
books will teach the world to sing around campfires till the end of time.

Milt was that rare combination of music talent and a brilliant business
mind. Yet even more than those traits was the simple fact that he was
perhaps the kindest man I ever met. He never gave up teaching and to be
part of a conversation with him about the music he loved was to be witness
to the brilliant effect that music has on the soul.

It was a blessing to have been his friend.

Mark Shimmel
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From: John Warden
Subject: Tony Martell Re: Final Kanye

Bob. All I can say is this. Kanye ok fine but
The record industry lost a great this weekend. Tony Martell, an A&R legend at Epic who selflessly devoted his career to a promise to his son dying of leukemia. He told his dying son TJ that he'd raise a million dollars to help fight for the cure for leukemia via the music industry. He raised more than $280 million and more when combined with aids research. Climbing towards a billion I've heard. Amazing artists like Joan Jett, Ozzy Osbourne and Michael Jackson joined in. Many others JUST as important as the STARS by the way. Everyone has heard of the T.J. Martell foundation if you're for real in the industry.

I'm his cousin. I was much much younger than Tony as we had a huge family. So Tony was Uncle Tony to me. TJ Martell, his son who succumbed to leukemia was my age. Tony devoted his life's efforts to his sons illness.
TJ, Tonys son, was an amazing drummer who played with the likes of Buddy Rich even at his young age. We'd go to the house after TJs death and the drums were still set up. Tony was beyond devastated. Legend says he sent flowers to TJs grave every day. Tony was now on a single minded mission to cure leukemia.

At 16 Tony was my idol. Imagine being a pimple faced 16 year old metal-head from NJ and knowing Tony signed Ozzy. OZZY!
Then imagine Tony saying come to my office at Epic in the City some time. Well when Ozzy was going to play the Garden that was the time. Holy shit, I was on top of the world. We're sitting in his corner office with huge windows looking down at Manhattan. Tony's in a huge chair with TM embroidered on it smoking a cigar. Not Tony Montana btw. But the same chair. His secretary comes in. Hands me tickets to Ozzy's upcoming sold out Madison Square Garden show. Fuck I'm there!! Thanks to Tony!!!
I thank him with a gift wrapped bottle of Chivas Regal that my Mom told me he loved. I put it on his home doorstep in Madison. Thanks for the Ozzy Tix!! John. Cost me more than the tix!
In the days to come Randy Rhodes dies in the plane crash. Bernie Torme dutifully fills in. Nice job. But I'm mortified, devastated, Randy's gone. But the show. Wow, I'm still psyched! It was great but honestly, I can say the very hungry Motley Crew opening stole the show with 'Shout at the Devil' as an opener. Ok, Well not completely..., Ozzy was amazing.
The music bug bit me with Alice Coopers 'Love it to Death'. I wanted in. Tony was my on ramp (along with Jonnny Z). Tony did so much good. Can we all be like Tony just a bit. Google him. You'll be amazed. Carry on his selflessness. In October Tony got to announce that leukemia is no longer the number one killing young poeples disease. Great job Tony.
With respect, and crying,
John Warden

Prove it?

https://www.google.com/amp/www.billboard.com/amp/articles/news/7595803/tj-tony-martell-remembered-ozzy-osbourne-joan-jett?client=safari&utm_source=phplist5661&utm_medium=email&utm_content=text&utm_campaign=Mailbag
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From: Paul Koidis
Subject: Re: World Domination

Follow the money. It's never been about monetizing music, per se. It's about monetizing popular culture. Whatever that may be at the time.

For a brief period of time - say the 50s to 2000 - music WAS the poplar culture. The dominate force in zeitgeist due to a confluence of factors, baby boom, car radios and Elvis.

But now, Facebook and social media technology is THE defining aspect of our current culture, that's where the action is, and that's where the money is.

Human nature is the single most strongest force in the world.

So, let's stop banging our heads as to why the music industry doesn't work anymore.

Instead, the smart people are looking at what's next.

If you point your finger, your dog looks at your finger tip. A smart dog looks at where you are pointing.
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From: Martin Stuart Hanlin
Subject: Re: World Domination

Hi Bob,

Miles was the manager of The Police, Ian was their Live Agent at FBI.

Ian was also The Silencers agent, the cover pic for A Blues for Buddha was taken from his back garden.

Courtney Cox was hanging around at the photo shoot as well.

Martin
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From: Bill Siddons
Subject: Re: Roadhouse Blues

That record, that sound, that feel most importantly, exist because the doors decided they had to record this album in their rehearsal hall (my office) because it felt right. They went to sunset sound and it felt to sterile for them. Rothchild essentially felt that without the technical quality of sunset sound studios, the record would inevitably be inferior so they broke up. The doors did it with Bruce Botnick, there long time engineer and made a record that felt right to them. I was there when John Sebastian came by to play harmonica, but I admit, I was a little intimidated by his wonderful catalog at that point, so I stayed out of their way.

"Roadhouse blues" happened because Jim loved to play the blues, and he came up with his own definitive version of a classic blues song. Luckily he worked with musicians who knew where to go with his passion. The guys knew they had something magic with the song, But I am sure no one really knew that it would still be viable 50 years later. That's what makes art great, and makes great art. Nice to see that you get it.

From: Bob Lefsetz
To: Bill Siddons

But they did Morrison Hotel with Rothchild and then split up, right?


From: Bill Siddons

Spent three days at sunset sound with Rothschild, and just said they couldn't get the feel that they were looking for and Paul said he couldn't get the professionalism and he wanted the in a rehearsal studio. So they decided to put the console on my desk upstairs while the band play downstairs and make a record. It worked out fine.

From: Bob Lefsetz
To: Bill Siddons

But was this for Morrison Hotel or L.A. Woman? He still gets credit for Morrison Hotel on the back of the album and John Sebastian said it was Rotchild who called him to play on "Roadhouse Blues"...

From: Bill Siddons

LA Woman. it was Rothchild who called him I believe. Probably Bruce called Paul to do it.
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From: Matthew Pryce
Subject: Roadhouse Blues

Musician here - I've played the Saratoga Springs cover-band circuit for longer than I'd like to admit (I'm 34).

This tune, obviously, is a staple. It's like 4 total chords, and the same chugging riff. There are nuances that can take it from shit band to a dazzling cover, but everybody does it. As such, I put this one alongside Brown Eyed Girl, Sweet Home Alabama, and others that are routinely on the set list of every band playing to drunk 40something women who want to dance to something familiar.

Thanks for breathing new life and giving me a better perspective on it. Next time I play it, I'll think of you and not the smell of cheap beer and perfume.
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From: Jeffrey Lorber
Subject: Billy Squire

Love your story about him.. I learned that the hard way.. if you take Clive Davis' advice and it doesn't work out.. Clive DOESNT GET FIRED!!!! Lol
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From: Owen Sloane
Subject: Re: Re-Leon Russell

I'm late to the celebration of Leon's life but I did want to share a few memories.
I was Leon's lawyer and made his shelter deal, his blue thumb deal and his capital distribution agreement. Leon in fact was my first client in the music business and I owe him for all my early experiences representing Delaney and Bonnie, Joe cocker, shelter records, Denny Cordell and many others. He talked me up to everyone he knew and most of them became clients thanks to him.
He was wonderful to work with and together we made amazing innovations in the music industry.
He was very modest and unassuming despite his talent and influence. He once suggested that I should produce a record. When I told him I had no talent, he told me that producing was easy. All you do is take things you like and put them together.
I still remember his concert with Elton and the dueling pianos. It still remains the best and most exciting concert I have ever attended.
R I P Leon and thank you!
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From: BERTON AVERRE
Subject: Re: Re-Leon Russell

"Even groups as uncool as ?the Carpenters had huge hits with Leon Russell songs..."

One fine day people are going to wake up to realize that "good" trumps "cool". When you're listening to a song, the relative "coolness" of the people playing it isn't worth shit. Whereas "good" is worth everything.
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From: Derek See
Subject: Re: Friday New Release Playlist

Tom Rush did not debut 'These Days'.

Jackson wrote it for Nico, who he was working with in 1967. Her version, from that year, was the first released.
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Subject: Re: Joanne

I love this. I'm an A&R guy for ____________. Very music and creative driven. Coming from the dance music background, my mentality has always been geared towards singles, singles, singles.

I'm such a strong critic of songs and urgency of recordings that this transparency and need for clear cut pure quality is music to my ears (…).

Let the lazy bastard oldsters who want to release an ALBUM full of FILLER fall behind into the irrelevance of the past.

Mmmmmmmmmm.
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From: Jona Koekelcoren
Subject: Re: Stranger Things

Hey Bob,

I love reading your letters, always a great way to take my mind off things and get a new perspective. Now I've actually got something to add I think.

I thought for certain you would mention S U R V I V E, the Austin, TX, synthwave outfit behind Stranger Things' amazing score. Sure, the series is spiced up with topical 80s alternative and mainstream songs like Should I Stay or Should I Go, but S U R V I V E's tracks serve like an inconspicuous extra main character.

These guys had only released a few EPs on cassette and through Bandcamp so far, apparently, but somehow they managed to catch the Duffer brothers' attention. The brothers pitched the concept for the show featuring S U R V I V E's music, without the band's knowing.

So S U R V I V E have landed one of 2016's biggest shows without any publishers, music supervisors or go-between L.A. music pitch agencies involved. The theme track has been covered countless times on YouTube, the show is so huge it gets parodied on SNL, and it just happened to these guys overnight.

Just shows how relative all the hustling and the commissions and the liaisons can be when everythings just falls into its place. Like we all at least at some point thought it should go.

I thought you'd like that story.

Have a nice day!
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From: Steve Page
Subject: Re: Stranger Things

Bob,

I'm one of the rare few in this world that makes a living writing and producing music and I do so by writing music for TV, films, and ads. Mostly reality TV, mostly cable. As you know, there are endless hours of reality cable TV programming and the music changes every 10 seconds... or less! That makes for a ton of opportunities.

After graduating from film school and moving to LA, no one told me that if you can get to know people that work in post production, or people who work at a company that specializes in synching TV underscore (Jingle Punks - my former employer where I learned the ropes, Extreme Music, Onyx West Music, and countless others), you can make a living as a musician/composer. Its one of the least glamorous gigs in the industry, can be creatively bankrupt at times, and doesn't buy you a Ferrari - but its real and its possible if you are willing to work and learn how to write for underscore.

Your thoughts on Stranger Things are dead-on. I was urged to watch by friends over the summer - if I didn't I'd be out left out of the conversation. And lo and behold, the music follows a very popular trend in film brought on by scores by guys like Trent Reznor/Atticus Ross and Cliff Martinez (The Social Network and Drive soundtracks, for example). The sound is driving, rhythmic 70s synthesizers, minimal percussion, and usually some organic elements like piano use for melodies. Its the perfect sound for an 80s nostalgia tv show. But its popping up everywhere - "synthwave" its sometimes called, or "retrowave" - in video games, film, and TV - if you listen to the music of the Serial podcast, its not far off either!

So when I watched Stranger Things and heard the near universal praise it was getting by word of mouth, I thought: this is a trend that music supervisors (typically several years behind the current trends in pop and mainstream) will be asking for sooner rather than later, if not now. Side note: working with VICE is different, the music supervisors there are my age (30) or younger and waaaaay more savvy than supervisors still asking for the sound of the Black Keys and Dr. Luke. So I pitched one of these production music libraries (Onyx West) on a set of songs that they could offer up when music supervisors start to catch on and people start asking for the sound of Stranger Things.

They were interested and I got paid a small amount of upfront to write, produce, mix, and master 10 tracks designed with syncs in mind. Budgets for these companies are so low that sometimes composers just starting out can't even get ANYTHING upfront - the value of music in this capacity is nearly nothing because there are 1000s of other composers out there, younger, with less bills to pay, living at home, whatever, that are willing to do it just for experience and hope for the royalties to pay out if the songs end up on TV... someday. Getting 1 song placed in 1 TV show for 10 secs that never airs more than once is unsustainable - you have to have 10k tracks working for you this way to earn a living.

The only way to survive in these times with this career is to be open for any kind of work, and listen to EVERYTHING! If you don't know how to make dubstep or country or hip hop, say you do, and figure it out! Theres not enough paid work to go-around to only be good at making one type of thing or only be good at writing and not mixing... I've had success because I'm a lover of all types and genres and I learned to listen critically... whats the kick drum doing? how are the guitars mixed? whats giving this song energy? I also learned that I had to excel at every aspect of production - if your tracks aren't mixed well, it doesn't matter how good the melodies are and vice versa. For every skill and genre I'm unfamiliar with, there are hundreds of others who are that are and are just as hungry, if not more so.

Sorry for the rant... in case you end up reading this far, here's a private link to the set of songs I came up with a la Stranger Things, Drive, The Social Network, etc. etc for reference. Hopefully if this sonic trend continues I will have been ahead of the curve because I was on paying attention to the zeitgeist and my tracks will end up in places that pay some small amount of royalties for years to come...

https://soundcloud.com/stevepagesmusic/sets/a-desolate-mechanized-future/s-eusVZ?utm_source=phplist5661&utm_medium=email&utm_content=text&utm_campaign=Mailbag
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From: Jeff Henle
Subject: Re: Garth Brooks/Amazon

Bob,

Great email....I recently saw Garth with my wife at the new T-Mobile Arena in Vegas. After leaving one of the best concerts I have been to, I wanted to find his music on Spotify....not there.

Then I thought to myself I'll spend roughly $20 and buy the greatest hits album on iTunes so I have it on my phone and can listen to it on demand....not on iTunes.

Then I realized that I saw some advertisement at the arena for something called "GhostTunes". I googled it and saw that his music was available there. But I already use Spotify, will go to iTunes if I absolutely HAVE to, and I refuse to use a third platform. So, after a great concert where I was ready to shell out some cash to purchase his music, I said "forget it" , I'll just go to YouTube and listen to it for free if I absolutely get the urge.
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Subject: Re: Cat Stevens At The Pantages

I was a fan of Cat Stevens from his first single "I Love My Dog" (the US B-side was Portobello Road, which was co-written by Kim Fowley - a local boy! ), and Mathew & Son......and then silence and then he came back with Mona Bone Jack and on and on....

Working for WB Music allowed me the privilege/opportunity to meet and work with nearly every musical act that ever broke the charts during most of those years........I was able to meet every act, producer, manager, agent, music publisher and record executive that I ever admired or idolized ! We (at WBMusic) printed Cat Steven's music (sheet music and song books) and his manager Barry Krost was a true music business character.

I remember seeing Cat perform at the Forum on tour promoting the Foreigner - album......I remember it as on of the best shows I have ever seen (and I have seen quite a few)....I was lucky enough to get back stage briefly meet Cat, but ended up spending most of the time that evening with Bernard Purdie, who, if you don't know, was a session monster on the drums.....and was the "Hal Blaine" of New York session drummers.

But the real treat came years later, I am no longer at Warner Music, but working with my father-in-law, the legendary music publisher Al Gallico, at his music/production company Al Gallico Music. We had recently moved the offices from Sunset Blvd to Wilshire Blvd. and one afternoon, there was a knock at the door, and in came a very familiar looking character, one, Cat Stevens, complete with his new YoYo......! Apparently Al had sub-published first hit "Here Comes My Baby", which had been recorded by the Tremolos, before Cat had ever recorded.

Cat had been walking down Wilshire Blvd, happened to stop at a building and look at the building directory and saw the name Al Gallico Music, and though it was providence, and came up to say hello !

He was so "not hollywood" - he was so "not a rock star" - he was one of the calmest and seemingly gentlest human beings I have ever met....He told us about his happiness in leaving the business, and how he was concentrating on his religious studies.

He showed Al and I all the "tricks" he could perform with his YoYo......He talked about wanting to start a school in London and perhaps teaching. He reminded Al how they met through Jonathan King at a Ready Steady Go taping and they reminisce about Jonathan and Mike Hurst (his first producer), and working with Paul Samwell-Smith...It was one of the most memorable moments of my life, as I had lived and breathed his music for so many years.......Nearly an out of body experience !

When he left, he and Al hugged and of course Al mentioned that if he ever get wanted to get back into music, to please give him a call first...

Many years later, when Al died, I wrote Cat with the news and somehow I got an email response back, offering his condolences and wishing his best to me, Al's wife, Grace and the girls ! Always a class act.

He has always been a class act, and always one of my favorites. I still buy his music whenever it comes out and hopefully will cross paths with him some other time, either in this life or the next.

Peace,
Stephen-Craig Aristei
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Subject: Jesse Dayton

Bob,

Big fan of the blog. Truly bizarre timing with this bit on Jesse Dayton. I took a job in Houston, TX right out of college (2003) and moved down there knowing few people and relatively little about Texas as a whole. I thought I knew plenty about Texas music but quickly learned I had merely stuck a toe in the pool prior to my arrival there. What I loved and love so much about Houston on the whole and it's music is what a fascinating mix it embodies-- the Texas thing, Louisiana, Mexico, the countless nationalities and endless influence brought there by the myriad nationalities who come for work in the energy sector, etc, etc. etc. No matter what you might hear from some native Texans who don't live there (and despite the truly abysmal traffic and weather) it's a great city.

I dove pretty hard into the music scene there and saw some truly life changing shows-- seeing Drive-By Truckers for the first time soon after Isbell had joined the group. Epic. Seeing Alejandro Escovedo for the first time. Indescribable for me. Those were great moments and there were many for me, but without a doubt, the one artist I saw more than any other while living there was a Beaumont guy named Jesse Dayton. To this day, I can't say I've seen many other artists who have both his natural gift for performance and his technical prowess. The guy is a smoking guitar player (look into his resume of studio work), a true student of the game, and an amazing stage presence. I made every attempt to see him play whenever he was in Houston.

I met a girl down there, we hit it off, got serious, and I took her to a bunch of Jesse D shows. We started saying things like, "wonder if that guy would ever play a wedding?" So when we got around to getting married, we reached out and sure enough, Jesse and his band made the trek from Texas to South Carolina for a truly kick-ass wedding, prior to which we had parents saying "Who the hell is this guy, and why don't you just get a good old fashioned wedding covers band..." It took about 30 seconds into the reception for them to know why we did it. Lost track of how many times since they've said, "We thought y'all were crazy, but that guy was amazing." Wedding, honky-tonks, bars, whatever...Jesse kills them all.

That wedding was 9 years ago today, so yeah, the timing of your piece yesterday was really something and provided us a great jaunt down the ol' memory lane through South Carolina and way back down to H-Town. Thanks.

Cheers,
Nick Nichols
Chattanooga, TN
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Subject: Fwd: Release Radar Notables

Dear Bob,

I've been running around all day, getting ready to get back out on the road -- and I couldn't figure out why my phone was blowing up. A friend forwarded me your column, and I couldn't believe it.

My whole mission since releasing NEW CITY BLUES has been to try to play great shows, connect with people through these songs -- and one by one, build an audience. I am always blown away when someone like you, who knows so much about music, comes out of the blue like this! But man, when I get in the van tonight, I'm going to be smiling, because it feels like all the miles are starting to work.

All the artists I admire -- from Led Zeppelin to Ralph Stanley to Steve Earle -- did it this way. If you ever want to come to a show, let us know. I have a killer band, and I love for people to hear them do what makes all of this so special.

Thanks

Aubrie Sellers
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Subject: Re: Mailbag

A hit has many fathers.

A stiff is a stone fucking orphan.

Mike Bone
_________________________________

From: Brady Steel
Subject: Re: The ER

Tricia told me about Felice- I hope she's healed quickly!

There's a Vons where Glendale and Alvarado split. And parked on the side of that Vons is an EXCEPTIONALLY good taco truck called Taco Zone. I'd heard of it before, but didn't know quite where it was until Sunday night. When I discovered that it's a block off of the path I've been taking to get home from work for the last 15 years.

So I went into the vons and got some beers, and went out and ordered tacos al pastore and a suadero mulita. Have you ever had a mulita? I hadn't. Had never heard of one. It's a cross between a street taco and a quesadilla, filled with creamy cheese and brisket. And it's freaking AMAZING.

I'm sitting there on the tailgate of my truck at midnight on a Sunday, drinking beer from a styrofoam cup and eating these amazing tacos. I almost cried, Bob. I felt that exact feeling of belonging, of oneness, that you described. I love the opportunities this city has afforded me.

We need to go there together.
_________________________________

From: Katie Bradford
Subject: Re: Benjy's Late

Dear Bob: I have a court reporting business with 12 subcontractors. Everyone who
works for me I tell them the same thing when they start: "The only thing I care about is reliability. If you are reliable, I can teach you everything else." And the only people who don't make it with me are people who are unreliable - they don't turn in their work on time, constantly have personal problems that means they aren't working the way they should!!

Howard is right again.

Katie B. in Portlandia
_________________________________

Re: Kanye
My name is Josh Berman, and I'm the label manager at Loma Vista Recordings. While I agree with some of the sentiments the other Josh Berman wrote about, namely that Kanye brought an artistry back to hip hop that was seriously lacking in the early 00's and deserves respect, I would not have worded it quite as strongly or negatively against you ... and I know which Beatle married Yoko Ono! So many people have reached out to me in the last week to both praise and/or chastise me for my sentiments to you RE: Kanye (and fucking up the John vs Paul thing), so, I would very much appreciate you clarifying that I am not that Josh Berman who wrote you about Kanye.

Many Thanks,

Josh Berman
Loma Vista Recordings
_________________________________

Subject: Re: Final Kanye

Bob, Publishing the thoughts of people who think Kanye's music is trash is akin to publishing the thoughts of people who don't believe in climate change. Sure everyone is entitled to an opinion, but some opinions are demonstrably false. Music is obviously subjective, but Kanye has a massive fan base and is a longtime critical darling precisely because many believe his music is incredible and groundbreaking. People criticizing him in your last email are mostly criticizing hiphop itself rather than specifically critiquing Kanye. He is not the best technical rapper but people who care deeply about hiphop and are knowledgeable about it tend to think his music is important. I think he has had a string of great albums rarely matched in music history for longevity. But I think a lot of critics are also saying I don't like Kanye thus I dislike his music. That's normal but many of us are forgetting that Kanye is in mourning. Most of the things people point to as obnoxious happened when he was in mourning for a mom who he believes he had a part in killing. He's dealing with an intense personal tragedy and the lack of understanding and empathy is breathtaking. But why there's such active hatred of him is bizarre to me. If you don't like him, don't listen to his music. I, like many who love hiphop, will continue to eagerly await his next release as he remains one of the most interesting thinkers in modern music.

TOURÉ
_________________________________

Re: Steve Backer

Man this really bums me out. I randomly met Steve at Dave Grohl's Birthday show at the Forum...We happened to sit next each other...incredibly nice guy..kept in touch from time to time afterwards...Very sad news.

Jeff Fioretti
_________________________________

From: Jerry Greenberg
Re: Steve Backer

Holy shit. Saw him about a month or so ago. He was my daughters camp head at laurel woods Live every day Jer

P.S. Steve went to the same high school as myself. He called me to do a interview for the high school newspaper as I was now Pres of Atlantic Records I could tell during that interview his love for music, people and desire to get into the business. We met again when we were both at Sony and had some great times together. I saw him a few months ago and we talked about the good times we had together. A great guy who will b missed.
_________________________________

Re: Steve Backer

I'm very sorry to hear about Steve I had the pleasure of working with him several times throughout my Label Career

Mostly while I worked for CBS Records and Epic Records He was good people

Kevin F. Sutter
_________________________________

Re: Steve Backer

This one hit me hard too. Steve was truly one of us; he wasn't some rock star where their passing just marks the passage of time. You said it right, "if Steve is gone I can be gone too."Steve was a constant even if you didn't see him that often or weren't that close to him. Whenever I'd run into him on the street or at the Soho House where he basically lived for the last two years, he always bounded out of his seat with a huge embracing smile on his face as if you had just made his day. And he was truly interested on what you're doing like he got energy from hearing about it and he knew how to make you feel genuinely appreciated.

It's sad to think about never having the chance to have the experience of just being around Steve again. I didn't even realize he was ill and that makes it even worse because of course you'd have wanted to be there for him to help him if you had known. Or at least tell him how much people loved him.

Another sad reminder of Warren Zevon's advice: "Enjoy every sandwich"...

Fred Goldring
_________________________________

Re: Steve Backer

Steve was one of the good guys, we spent time together when Alice was on Epic, and occasionally afterwards. Way too soon, and that looks so trite when i type it. Bob, we can raise a glass in his memory tomorrow night in Aspen.

Toby Mamis
_________________________________

Re: Steve Backer

Look at my album of the day:

https://www.instagram.com/p/BNsJTKzDHzISM6Y6RgyKoxSTk8vS_5jM5fxz7E0/?utm_source=phplist5661&utm_medium=email&utm_content=text&utm_campaign=Mailbag

Marc Reiter
_________________________________

Re: Steve Backer

Holy shit! I am in Paris at a work dinner. He gave me my first label gig with Irving. How the fuck did he die? I am so sad! Please tell me what happened

John Boyle
_________________________________

Re: Steve Backer

wonderful tribute to a wonderful man.

he was always a pleasure to deal with.

thanks bob

halloran
_________________________________

Re: Steve Backer

That's such a great representation of the Steve Backer I knew.
Hadn't seen him for 20 years but sad he's gone.

Richard Griffiths
_________________________________

Re: Steve Backer

It was the summer of 1997 and The Enclave was being closed down by EMI. We'd blown through about 20 million in two years without much to show for it. Fluffy? Everyone was scrambling for new positions. Steve was our VP Marketing. I was the VP Business Affairs. He called me into his office. Turns out his friends at Hits had turned him on to a position on the west coast, heading up the LA office of a major publishing company, I think it was EMI, I can't remember. Anyway, he sits me down and tells me about this opportunity. Then came a question I'll never forget. "So Steven, tell me again exactly what a mechanical royalty is." I smiled. Because I knew Steve would become a fine publisher. He was a people person. People gravitated towards him. The details could come later. Can't believe he's gone so soon.

Steven Ehrlick
_________________________________

Re: Steve Backer

Thank you for writing about Backer. I have been struggling with this all day. I started with Epic Records with him. Oh did we have fights about working the Spin Doctors. Backer loved his Alt bands, but it was a hit and he had to go to MTV with the video. He went and the rest is history. As soon as he saw me coming down the hall he ran from me. It was for sure a crazy time for all of us. But I loved every minute of it. I'm so glad we stayed friends right up until this moment. I know Steve and Polly Anthony are having a great glass of wine in Heaven.

RIP BACKER

LAURA J CURTIN
_________________________________

Re: Steve Backer

I met Backer when he was working for Irving's Giant Records and I was at Billboard. What a character and good person! I wanted to work for him and made it known and finally ended up at Sire! Steve was the epitome of the yenta record rep. Oi, how you could not play this record? Have you not heard of Big Mountain?

To think about Steve and so many others passing at young ages and me getting to an age where things just aren't as easy as they used to be (and the trips to the doctor are certainly more frequent as well) disturbs in the way it's brought to light by you.

Very kind tribute to a good man!

Best wishes and to your continued good health!

Gary Nuell
_________________________________

Re: Steve Backer

When we were both at EMI Music Publishing he was in NYC 1 day.
I had a 5 pm Therapy session on
Broadway and 88th.
He met me with bagels and lox
And we sat on those benches on the
Island on Broadway that separates
The uptown and downtown sides
Talked music for 2 hours.
I'll miss him.

Neil Lasher
_________________________________

Re: Steve Backer

Well done.
He was a good soul.
Miss him.
Used to call him "Shecky" -- it fit him so well.
This getting old business is way over rated.
Steve's passing is just another reminder to stop... . open your eyes and realize the glory of life.
Oh well, back to polishing images........

Larry Solters
_________________________________

From: Michael Creamer
Re: Steve Backer

Backer was the man... I hadn't been in LA in a few years but was fortunate enough to be there in mid October for a sold out Letters To Cleo show at the Troubadour. He showed up early and we spent a good 20-30 minutes catching up on my kids and his real estate moves in Cali. He was a little itchy to see the band but they were all arriving at different times. Now I wonder if he knew he was sick. I took him up to the dressing room shortly after and the next time I saw him I was making room for him in the VIP area which he demanded HA....He skipped out before the encore and now I wish I had seen him for that 1 more minute. He promised to introduce me to a someone in the coming days and as always he delivered... He was one of the great connectors and I am sure his real estate clients would say he was a great salesman.. I am going to miss being able to see him from a far and just yelling out his name BACKAH...

I first met him in the mid 90's when the band was being courted by a # of labels, he was the GM at Giant, we had already won over Jeff Aldridge who was the A&R guy but they sent Backer out to see the band in Boston.. The band was young and on top of their game, they had worked hard and the pieces were coming together and the payoff was in reach....But being from New England there is always that sense of we got this far but there is still time to fuck it up.....We had to get his stamp of approval to get signed. What attracted Steve to the band and vis versa was that cutting New England sarcasm that only people who have grown up in New England can understand and appreciate. Outsiders think your being a dick...We looked at him as this fancy LA guy but once we started sassing him he gave it right back, it was on from there.

I think at that point in his life he had lived in LA for a while and the edge he grew up with was mellowed by the sun in LA.... He really enjoyed the attitude and making fun of people and ourselves. He told me later on when the band had signed with Giant that our first meeting had reminded him of his friends on the east coast which he missed but was always in contact with them...pre internet.

I always busted him that Connecticut wasn't part of New England it was just that shitty stretch of land that separated the Sox/yankees fans from killing each other.

Another one of the good guys..Gone but not forgotten...

As he would say

CREMAH
_________________________________

Re: Steve Backer

Thank you for paying your respects to Steve Backer. I hope you won't mind if I do the same.

In 1994, my band Letters To Cleo signed a record deal with Irving Azoff's Giant Records. By the standards of those freewheeling days in the 90's music business, Giant was a boutique label with a small artist roster and a staff that took calls personally. It was a perfect fit for us and we landed our first (and only) Top 40 hit within 6 months of signing there.

If Irving was the evil genius of the operation, his GM Steve Backer was the enforcer. Equal parts fearsome boss man, relentless marketer, and your favorite uncle, Steve inspired confidence not only that he knew what he was doing but that he cared about what he was doing. Being kids in a band from Boston, we were pretty naive about the music business. I was unaware that the people at the label were supposed to be "THE ENEMY" and it was because of Steve and his leadership at Giant (along with our A+R man Jeff Aldrich) that our band had a significantly different experience in the 90's than that of many of our peers. Steve talked to us like grownups, listened to our songs, gave good feedback, and truly seemed to love his job.

Last month, Letters To Cleo released new music for the first time in 17 years and played a handful of US dates. 6 weeks ago, on October 22, I walked into the Troubadour in LA about an hour before our set. On my way backstage, Cleo manager Michael Creamer shouted to me, "Backer's upstairs!"

"WHAT? Steve Backer? Holy shit!"

And he was. Holy shit.

The whole band got to talk to him and catch up. I was thrilled and not the least bit surprised to learn that he'd switched careers and was killing it in the real estate world in Beverly Hills and beyond. (By the way, he didn't tell me he was "killing it" - we became FB friends the next day and I studied up.) After nearly 20 years, I instantly felt the same affection for him that I did when I was a wide eyed kid from Boston sitting in his office learning how to navigate the crazy new world I was in. I got to introduce him to my kids Zoe Mabel and Henry and fumbled for the words to explain to them how important he was to us. To me.

He gave me his card and we promised to make plans to have lunch. When I got home, i put his card on my bedside table and for a reason that I cannot explain, there it remains.

With Steve's passing, I am reminded of a million things but what stands out the most, the lesson that I never even knew he gave me, is that when you are in a position of power, as a teacher or a parent or an executive or a politician, being kind and maintaining respect do not have to be at odds.

Steve Backer was an awesome guy. I'm real happy you thought so, too.

Yours,

Kay Hanley

ps - love getting your letter even when you make me want to strangle you :)
_________________________________

Re: Steve Backer

Thank you Bob. Backer would have loved this so much.

Jody Gerson
_________________________________

Re: Steve Backer

Always, Bob, as we will do in Aspen. Great remembrance of a great man.

Mark Kates
_________________________________

Re: Steve Backer

Bob - reading this is how I found out. I'm still trying to get details. I'm absolutely stunned. Steve was the guy you just were glad to see. No mater what bullshit he was throwing at you (a truly great salesman, he was) it was the almost paternal grin he gave you, the wink, the nod that said "Don' worry, Uncle Steve will take care of it." I loved to watch him work a room - like an artist. At our Christmas party he'd greet me with "Bubbela!", hug me then ask who he needed to meet. And I never had a problem introducing him to anyone, because he just had that way of making people smile, even when they first met him. I remember him in the halls of Black Rock like a madman, and I remember going over to NEW with him to listen to stories from Vinnie. I was nobody but he was my pal and he took me wherever i asked him. And even though he moved to LA and took in a lot of what was around him, he was still that East Coast Jewish kid who loved rock 'n roll. It's very hard to think about this, that we won't have breakfast at Nate and Al's. That we won't hang out like two old Jews bullshitting about the good old days. As I prepare to say goodby to Tony Martel on Thursday, i think about all the Martel events Steve and I went to together. He was a mensch, someone who really meant it when he asked how you were doing.

He will not be forgotten. And will always be remembered with a smile.

Michael Reinert
_________________________________

Re: Steve Backer

I want to commend you for a great bit of writing on Steve. You have always written what I wished I had written, but that makes it easier for me. Like Steve, I have always been a guy behind the guy, whether he be am artist or business person. Your article articulates this perfectly. Thank you for the piece.

BILL DERN
_________________________________

Re: Steve Backer

Hey Bob, I did not hear about Backer but reading your thoughts, it just it hit me hard.

I, like you had not seen Steve in awhile, but I had an instant connection when ever I saw him due to our first interaction and our the years spent in the business. Backer had a much bigger impact on me than most of the music biz people that you have two minute chats at the ASCAP Christmas party, Music Cares or a host of other events where the old school biz people and the youngsters mingle.

Steve Backer was the first record company person I ever met on my journey. It was in October,1983 at the CMJ Conference in NYC, and my friend Dave Margulies who mentored me through the WTUL (New Orleans) promotion director gig he had help me get, came up big again and secured me a pass to attend CMJ after I graduated from Tulane.

While all of my college friends went "back packing" in Europe in the summer as their college graduation presents, I got a hot down, summer in the city job as a porter/doorman at a Park Avenue high rise to save up money to hustle up an internship. As I did not have an uncle in the business I figured I had a war chest so I could work for free to try to get into the coveted music business.

As I was washing my hands in bathroom at CMJ, Backer powered through the door in a suit and loafers. As he pulled up to the sink to wash his hands he said "how you doing kid." We struck up a conversation at the sink and I found myself not intimidated by him at all. Backer came across as a total mensch and when I told him I had just graduated and wanted to get into the record business he pulled out his card and invited me to come up to his office at Black Rock (Sony) to meet. I didn't think people in the business actually did that with wanna' be's.

As I was standing outside the bathroom, card in hand, I thought to myself, he will never take the call. It turned out with Backer I was dead wrong as when I called his office later on that day, his assistant puts me on hold and comes back on a minute later (one of the longer minutes of my early biz life) and told me to come see Steve later the next morning.

My first visit to any record company, let alone Sony in the salad days of the business! It was an eye opener that made me realize that, MAYBE I could be one of the chosen people with the right drive and a few hook ups.

My time spent with Backer was my light bulb moment, a great lesson in who and what I wanted to do/be in the business. Backer was funny, charming and he gave me great insight into how hard I would have to have to work in the business. Some of the same life lessons I teach my students as an Adjunct at American University. He told me it wasn't a job but a lifestyle that you had to choose to live.

After the meeting I went back to CMJ and walked into an elevator to go upstairs. While in that elevator I met a woman named Gayle Miller who worked with the BBC Radio in America (thank you Gayle.) After chatting for awhile she gave me her card and and when I followed up and she offered me an internship at Radio Wavelength, the company she worked at in Bronxville, N.Y. Living at home in Staten Island, I realized I would have to commute two hours by mass transit, each way, every day to get there. I called Steve right away and asked him about it. Of course Backer knew Gayle and he said she was great and grab the internship.

I think his quote was something like "what's four hours a day commuting if for the other eight, you are blessed to talk about music"
I never forgot those words to live by! So on my birthday Nov, 3, 1983 I started interning in the music biz and in January 1984 they hired me, and I have somehow been making a living between record companies, music supervision, producing films and now directing ever since. As I sit here editing my first film, thinking back I remember meeting Backer like it was yesterday (and today you know how hard it can be to even remember what you did yesterday)

As I teach/ mentor my students, I always reference Backer as one of the first guys who ever gave me the time of day and how important that is for people to do so, to complete the circle of life in this biz where giving back is not always the first priority.

RIP Backer! Thanks for the early assist in putting me on the road. You will be missed!

Jonathan McHugh
_________________________________

Re: Steve Backer

Hi, Bob:

I too was shocked and saddened by Steve's passing. He was a friend. We were the same age, so yeah, the sadness bumps into my own self-centered realization about mortality. But that's not the main/first thing that triggered me when I heard about Steve's passing. There's something that happened between Steve and I that I will never forget.

When I was a struggling manager, trying to (re)start my career in the '90s, I happened to randomly luck into being invited to a private music industry poker game that was originally started by Andy Gershon, Ton Sturges, Chuck Lavallee and Mark Williams. I became a regular player, and it was through this game that I was able to form and establish many of the key relationships in the the music business, as well as real friendships, that helped me grow as a human and as an entertainment professional. Guys like Andy Gould, Rick Sales, Richard Bishop, Marc Pollack, Michael Oppenheim, and especially Jeff Kwatinetz and Dennis Lavinthal, without whose direct intercession and help I would not have the career that I have today.

But in my eyes, Steve Backer made it all possible, by dint of one event that transpired one evening during one of our regular poker games.

Back in those days, the labels and publishers were still flush, minting money, the execs were often taking limos, and, occasionally, joining us as guests at our game. It was our unwritten rule that the guest exec would pick up the tab for dinner at the game, and if we didn't have a visiting exec, we'd take turns picking up the check. The total was usually two to three hundred dollars, which, for me, was literally my life savings. I was barely hanging on financially, trying to get my start, here I was, playing with the "big boys", but it was kinda ok because one could play in this game all night for less than a hundred bucks as long as you were fairly judicious. AND as long as I didn't get stuck with the dinner check too often, as three hundred dollars could literally be the difference between eating or starving that month. I was definitely playing on a level way over my pay grade, as it were, I was starting to form meaningful connections and relationships, and it was very important to me (well, my fear-driven ego, anyway) that I be seen as a "player", an equal, and be able to (appear to) carry my own weight. The room was heavy, the testosterone ran rampant, and was definitively not cuddles 'n puppies. I was scared, I was in over my head, I was nervous, but I thought it critical to my career that I be perceived as an equal by that group.

One night our regular place was booked, and we had to find an alternate location for the game that would also be able to serve us dinner. A now-defunct restaurant on Robertson called Luna Park was chosen. That night, we had no visiting exec, and the guys decided it was my turn to buy, as I'd managed to evade the check for a good while. As the end of the night approached, the check was placed on the table, it was nonchalantly pushed toward me, I opened the folder and.....the total was over $1,100.00.

These guys were definitely NOT going to take mercy on me - maybe my own self-centered fear told me that, or maybe I just thought my whole charade about being a "player", and a professional equal, was about to get blown to smithereens. I went white, blanched, then turned, I'm sure, a bright red. I had maybe four hundred bucks to my name, one maxed-out credit card, and absolutely no way to pay the bill or explain my way out of it. Point, set, match, and career stature over. I was literally shaking.

Steve Backer was sitting next to me, noticed my gut reaction (which I was desperately trying to contain) and saw the panic in my eyes and now-slightly-trembling hands. Very nonchalantly, Steve reached over, slammed the folder shut, grabbed it out of my hands, and said, "Tonight's on me, boys, I'm Exec VP of EMI and some important business was discussed here tonight."

Steve knew I was in over my head, his company published my then-only client Tal Bachman, he knew what was at stake for me, he knew I didn't have that kind of dough, and he completely saved me from a very embarrassing, awkward and potentially career-damaging situation, one for which I had no out.

He never said a word to any of the other guys, played it off completely as if I'd never seen the check, and never mentioned a word about it to a soul. In fact, up until this moment I've never shared that story except with a few intimate friends, and of course, with Steve, repeatedly. I never forgot it, never forgot what he did for me, how he so quickly and instantly took decisive action to help me, with absolutely no ulterior motive or angle for himself.

I loved Steve Backer for that, and for a hundred other times he helped me, advised me, took me into his confidence and many other acts of kindness - I will never forget that kindness, and what he did for me that night. It's a great bar to shoot for in my own dealings with others, and probably the best I can do to help carry on Steve's legacy in my own small way.

Jeff Jampol

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