"Are you Lefsetz?"
First rule of meeting famous people...
Never introduce yourself. It never goes well. They're caught off guard, they usually have no idea who you are, and even if they do they're flummoxed, you have to start explaining yourself, it never ends up good. What you've got to do is wait for someone to introduce you. And sometimes the opportunity never arises. And believe me, I don't want to be introduced to anybody who does not know me. Then I'm just another fan, gushing. And sure, we all like to hear positive feedback.
But there's a hierarchy.
I went to the wrong bathroom. I saw Pete Townshend's name next door. And Roger Daltrey's too. So I did my business and on the way out I ran into Simon Townshend, who'd retweeted what I had to say about the new Who song "All This Music Must Fade." So I figured I'd go for it, at least we were in the inner sanctum.
Simon had no idea who I was.
So, to show I was not a nobody, I asked him which guitar he was playing last night, the one that looked like an SG, but only had one pickup. He said it was a Les Paul Junior. Explained what that was. And then testified about his blonde '68 Telecaster, and then I made my exit, somewhat gracefully, back out to the terrace, backstage.
Yes, I was backstage.
You see this was the benefit for the Teenage Cancer Trust. Roger Daltrey's charity that Pete contributes to. They do it every year. At a house in the Palisades. Four acts. Tonight it was Kenny Loggins, Pink, Foo Fighters and the Who.
And it was five thousand bucks.
That's right, for a good cause.
And I expected hitters. You know, oldsters. Who else could drop this kind of cash?
Thirty and fortysomethings. That's who comprised the audience. Threw me for a loop. You know, the skinny women with their sport-jacketed men. No one came dressed down.
This is how the elite live.
This is not the music business. You can't find a thousand people with this kind of cash, not on their own. Oh, maybe their company might buy a table for the City of Hope, but chances are it's much less per person. As for digging into your own pocket...isn't that what expense accounts are for?
Sure, it's a good cause. But how much money do you make?
And Kenny Loggins was playing, quite well, and almost no one was paying attention. You see it was more about being there, hanging out, getting a story to tell, than salivating at the stars.
This was the Fyre Festival crew.
You know, you wondered who all these youngsters were, willing to drop four figures to hang with influencers?
Well, they're the people I went to college with. You know, the strivers. Who got good grades in high school to get into a good college where they excelled to get into a good graduate school and now they're comfortable, but I didn't expect them to be THIS comfortable!
Bummed me out.
I knew nobody and didn't fit in.
Now do you know the odds of going to a party in L.A. and not knowing anybody? Essentially zilch. Hell, you're probably gonna run into somebody you know at Gelson's, or Whole Foods. But now I'm at a music-dominated evening and there's not a soul I know?
After fressing on some shrimp, the pickins' were really fine, after filling up, I sat down on a couch, alone. I didn't worry about looking like a loser, no one knew who I was.
Except for the guy who checked me in, he read the Letter.
But the valet parker?
They steered me away. My car was dirty, it's fourteen years old, there was no way I was going to this party, but I was.
And when you get that many people in one small space cell service goes down the drain. Unless you bring in a portable unit, good luck connecting.
So I'm sitting there. Looking at my watch. Was I really gonna sit alone for three hours to see the Who?
Now I was invited by the director of the organization. But I saw no hierarchy.
And as I was sinking I thought...I'll text Tom, the LD, no way he's here, when is he gonna arrive?
Eventually Tom texts back that he is there, backstage.
But the connection is so spotty, this conversation takes more than half an hour. Tom asks if I've got my laminate from the previous evening, my all access pass. I actually saved it, and a couple of years back I threw all of 'em out, I'm a hoarder, it was a breakthrough, and to tell you the truth I don't really miss them, but I am saving the all access pass to the Stones, and am gonna save this one to the Who too. They're badges of honor, that I've ascended to the mountaintop, gotten inside.
Well, not at this event. I could not convince the bouncer to let me past the velvet rope. Even though he was letting punters through because he'd gotten some signal via his earpiece. He was a beefy guy. You never want to rush by one of these guys, they're there to serve and enforce, as in picking up your ass and throwing it across the room. Yup, I've seen that. Actually, I've experienced it. But that's another story...
But finally Tom comes up with another pass and now I'm hanging backstage, with my people.
On the other side of the rope I didn't connect, but here I fit in fine.
The best conversation was with Perry Farrell, who looked like a million bucks. He knew who I was, Geiger mentioned my name. Perry told me about taking a Greyhound bus from Florida to Los Angeles at 23, he had to make it, he knew he was gonna make it.
And I was having a fine time with people completely different from those on the other side of the stage. And that felt good. Communicating. With those I knew and those I didn't.
But then, before the Foos went on, to my left, I saw Pete Townshend talking to a man and two women.
But there was no way in hell I was gonna go up to him, no way.
But Pete sauntered over to me and uttered the words at the top of this screed.
I told Pete I was, Lefsetz that is. Whereupon he said he read what I wrote about "All This Music Must Fade," and thanked me for it, and then said he does read me from time to time, and he agrees with me sometimes, but other times...
And he looked in my eyes and nearly sneered.
But he'd approached me, so I had license to continue the conversation, which I did.
And then Pete got all serious, direct, real.
He told me about the time Leonard Bernstein gave him props. Spread his arms wide, told Pete how great he was. This was the guy who wrote "West Side Story," it meant so much to Pete.
Just like Pete asking me if I was Lefsetz did to me.
And since cell coverage was so damn bad, I told him I'd written about last night's show at the Bowl but he probably hadn't seen it, but Pete said no, he'd read it.
That's the reach that means so much to me.
And now we're talking. About what Pete's reading, about what it's like getting older, how to maintain perspective, how to move forward. And I'm walking a razor's edge, I don't want to burden him, but I don't want to unnecessarily back off either.
But then Pete pulled away and I got back into it with Bill and...
It was all right.
By time the Who came on, a good percentage of the people had left. About half, maybe sixty percent.
But those remaining, most of them really wanted to see the Who.
Now it's kinda hard to explain. It was kinda like being in the garage, it was kinda like being at a high school dance, maybe a battle of the bands, the Who, the real Who, were mere feet away, doing their arena show, their stadium show, for a couple of hundred people. And it's not like they were trying to convince us, close us, instead they were just mowing us down. As if Paul McCartney opened your front door and started playing "Yesterday," not even acknowledging you. But the Beatles never hit you over the head, bulldozed you.
But the Who did, and still do.
But the set list was not the same as last night.
You know you can go to setlist.fm and see what everybody plays? Most big acts don't even change it from show to show, but I don't want to know, I want to be surprised.
And I was, when they played "The Seeker."
"I'm looking for me
You're looking for you
We're looking at each other
And we don't know what to do"
"The Seeker" was the follow-up to "Tommy." It was a two-sided single, the flip side was "Join Together," with its Jew's harp intro, imploring us to follow along, join the band, go down the road together.
But "The Seeker" was something else. It was a commentary on the times. Too sophisticated for Top Forty, "The Seeker" got some FM airplay, but was not a hit. Next came "Who's Next." But by that point, FM ruled.
Now I never owned the single. But "The Seeker" was included in Rykodisc's CD release of Pete Townshend's "Who Came First?" And that's when I got really into it.
"I asked Bobby Dylan
I asked the Beatles
I asked Timothy Leary
But he couldn't help me either"
Pete was rejecting all the gurus, he was thinking for himself, he was looking, but he did not want to get fooled again.
And tonight was Roger's evening. In a smaller environment, looser and noisier, he could let go, not have to play to the nosebleeds, just be the same guy he ever was.
And the truth is they raised almost four million for the Teen Cancer Trust. Costs were low, just about ten percent, which is pretty damn good.
But the highlight of the fundraising, the peak, which touched and titillated us all, was the performance by Ken.
Bill told me backstage. That some guy paid $250,000 to play drums on one song.
Now that's another element of the band, Zach Starkey. He doesn't nod his head like his dad, he stays focused, he leans in, nobody could be Keith Moon, but Zach is the right drummer for this band.
So they have to unwind Zach. Take off his in-ear monitors. They put headphones on Ken and he sits on the stool...
He's a nerd with glasses. Wearing a printed shirt. A bit beyond pudgy.
And Pete is not giving him the benefit of the doubt. He says it's an experiment, it's worth the money, but he isn't expecting much.
So Simon starts strumming his acoustic. Pete's on one of his red Stratocasters. They're playing "Pinball Wizard."
And Ken is just sitting behind the kit, doing nothing, looking incompetent and afraid.
And he touches a cymbal, but that's it.
And then, nearly a minute into it, Pete turns around and nods, and Ken WAILS!
They didn't want to be nerds, they wanted to be baseball players, they wanted to be musicians, but they took the straight path, and their dreams never died.
Ken is pounding, hitting the various skins, it's positively riveting. This guy knows what he's doing!
And at the end of the song, Pete gives him space to solo, to flourish.
And then it's done.
And the assembled multitude starts chanting "KEN! KEN! KEN!
But this was the end.
Now Pete doesn't talk like a rock star, he's not worried about charisma, his on stage patter is like you're sitting with him in a booth in a bar. It's conversational, with an edge baked in. But when he picks up that guitar, when Roger twirls that mic, when Zach pounds those drums...I'd say it's akin to a freight train, but it's more powerful than that, more emotional than that, a spike is driven right through your heart and then Pete and the band run right over you, and don't look back.
"The call me the seeker
I've been searching low and high
I won't get to get what I'm after
Til the day I die"
That's what I realize, we've all got our dreams, our destinations, as I said, there's a hierarchy. For Pete, it was Bernstein, for me it was Pete himself. And the closer you get, the more you know, you realize it's all about the individual, you yourself. You're in charge of your destiny. And I hope you don't hew to the straight and narrow, that you try your best to find your one true direction, because everything your parents ever told you is true. Yup, life goes by real fast, before you notice, it's more than half way over.
As Jackson Browne so eloquently put it in "Fountain of Sorrow":
"And while the future's there for anyone to change, still you know it seems
It would be easier sometimes to change the past"
You get stuck in a rut, it's comfortable.
But you don't want to feel too comfortable in this life, as Chuck Yeager said, you want to push the envelope.
"I'm just one or two years and a couple of changes behind you
In my lessons at love's pain and heartache school"
Yup, I'm just a couple of years and a couple of changes behind Pete Townshend, still hanging on for the lessons.
And Pete's from damp dank England.
Whereas Jackson Browne is from sunny L.A.
But tonight, at the edge of the continent, by the ocean, we all came together. We threw off our chains. We followed the music and we found what we were looking for...
Hope.
Resonance.
Soul.
That's the power of music. It may not be able to move mountains, but it can raise a whole bunch of money for charity. Because we all want to get closer to that flame.
First comes love, sex, relationships.
And then comes music. Music works when you're together and also when you're apart. It speaks to you, it gets through to you.
So I must ask, who are you?
I really wanna know.
But not as much as you want to know yourself.
--
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Saturday, 26 October 2019
Friday, 25 October 2019
The Who At The Hollywood Bowl
This is our classical music.
This was Pete's show. Not that Roger was not great, not that the vocals were superfluous, it's just that Pete SHINED!
You know Pete, complaining about his tinnitus, saying he's got to play behind plexiglass, has to strum an acoustic...THAT'S HISTORY!
The show began with Liam Gallagher, in a poncho on a blisteringly hot night. You can see why his brother hates him, it's the same thing that makes Liam a rock star, his ATTITUDE! He's gonna live his life, he's gonna do what he wants to do, he even spit on the stage, but he needs Noel to make it work, his version of "Wonderwall" was anemic, but if Liam and Noel were in a stadium in England you would have felt it, Oasis are superstars there, but not here.
But the Who pioneered those antics. Moon did whatever he wanted with a grin instead of a sneer. And if you interfered with Townshend...he famously kicked Abbie Hoffman off the Woodstock stage, famously punted a police officer off the boards at the Fillmore East, Pete was busy doing his thing, it was secondary to the fire burning next door, you see Pete was wrapped up in the music.
And he was last night.
Pete came out in blue coveralls, akin to the white ones he used to wear back in the day, like on the cover of "Who Comes First?" You see Pete Townshend came to WORK!
This is so different from today's acts. Eager to tie up with a clothing company, to design their own attire, trying to chase the tech billionaires.
But they'll never get there, there's just not enough money in the tunes. The playing, the audience adulation, that should be enough.
And they turn up the bass in the new music, to the point where your body might shake, but that's completely different from what the Who are trading in, which is POWER!
Now most acts play with orchestras to fill in the occasional string parts. But last night, the orchestra was an integral part of the show, which began with the "Overture" from "Tommy."
In the last few decades "Quadrophenia" has superseded "Tommy" in the public consciousness, but it was "Tommy" that was the original breakthrough. The rock opera. With one semi-hit single. Which really didn't peak until the hoi polloi saw Roger Daltrey implore them to SEE ME, FEEL ME, TOUCH ME, SQUEEZE ME in the Woodstock movie.
Yup, the Who were always pushing the limits. And unlike the hair bands, there were no ballads, no soft songs made to appeal to those who might be afraid, they were not casting a big net, either you entered the door, agreed to get caught, or you didn't.
I did. First, by "I Can See For Miles," which they even played last night, I heard it on the Bromley jukebox, I had to buy the single.
But before that, when the orchestra was still in play, they took us on an amazing journey, through music we knew by heart, but was never featured on AM radio. It was too dangerous for Top Forty, it wasn't made for Top Forty.
Except the one song that came out a few months before the "Tommy" double album. You know the one. That started with an acoustic guitar, and then...an electric EXPLODED IN THE OTHER EAR!
"Ever since I was a young boy
I played the silver ball"
Pinball machines are for museums, but they were part of our youth, as was this track, it's embedded in our brains, but the amazing thing last night was Pete strummed the intro on an acoustic, furiously, to get that exact same sound, it was a triumph!
People talk about Page. Beck. Clapton. Hendrix.
Hendrix is dead. Clapton is sick of playing God, he's emphasizing his blues side. Beck still wails, but his material is not that memorable. Page's is, but without Robert, he's lost. But Townshend?
Yup, he's never mentioned in that elite club. But last night...
He switched Telecasters. You could see him moving his fingers up and down the neck. Sometimes playing sans pick. Using the whammy bar. Running his pick down by the bridge. He was eking out all of the sounds Leo Fender baked into his axe, AND MANY MORE!
Yup, we've been so focused on the songs, we forgot about the playing. It started with a guitar. We boomers know. We all bought electrics after the Beatles broke. We wanted in on what they had, all the acts from England, they were one with their instruments, the music was all that mattered, and in its wake came money and women. That's right, rock made you grow up as you were touring the world, exposed to everything for the first time, with means, not as a JV player, but a member of the varsity, in fact you owned the game.
And after the "Tommy" portion of the program, Pete took the mic and said they were gonna rock harder. And after "Who Are You" came...
A rambling soliloquy from Pete. He was telling a story. Saying "CSI" was not his first TV sync, that, in fact, it started with "Miami Vice," back in the old days. He said they were gonna play a song...
Well, he was in the swamp, and he wandered off to an outlying building and then he said...this was a song about what happens to you when you take too much cocaine!
"Behind an eminence front
An eminence front, it's a put on"
Once again, it was the power of the delivery. Not only the band, but the whole orchestra hitting those notes, sending waves of power into the Bowl. Didn't matter that these songs were not brand new, didn't feature an 808 or a rap, it was positively present, not only because of the aforesaid power of the musicians, but Pete's DELIVERY! It seems he sat at home long enough, in truth he was a musician, he had to go out and ply the boards.
And it's not like it's not about the money. Deep into the show he said they were gonna come back next year, and then he caught himself and said they weren't, that they'd taken all the money out of the market. That cracked me up, that's insider talk, and with three shows at the Bowl with high prices, they probably did!
And "Imagine A Man" from "Who By Numbers" was a complete surprise, but I'd be lying if I didn't say I would have preferred to hear "How Many Friends" from that album, Roger's heartfelt tour-de-force.
Then Pete sent the orchestra away. It was just them.
That's when they played "I Can See For Miles." And "Substitute." Roger had us singing along with "You Better You Bet." But then came the piece-de-resistance. Pete sent the rest of the band away, now it was only the two of them. Pete on an acoustic guitar, then again, they don't have any wimpy numbers.
"We'll be fighting in the streets
With our children at our feet"
That's right, they did "Won't Get Fooled Again" totally ACOUSTIC! With Roger belting the lyrics and Pete strumming that guitar like he might destroy it. But those days are through, except for the windmills. Oh yeah, they were brought out. That's the power of an electric guitar and amp, you can make a glorious noise!
It seems we've been fooled again. They stole everything with meaning. Music became about the penumbra, the tunes sounded the same, melody went out the window, oftentimes you couldn't even sing along. The movies were now cartoons, not deep explorations of angst, like "Quadrophenia," the best rock movie ever made. We got great TV and smartphones, but deep in our hearts we yearn for what once was, when the sound was everything, when you went to the show not to shoot selfies but to bask in the sound, when you knew all the axes and the amplifiers and...
"Won't Get Fooled Again" is over eight minutes long in its studio incarnation, but Roger and Pete did not shorten it for public consumption, they weren't worried about burning out the audience, bathroom breaks, they seemed to almost be doing it for themselves, deep in a trance, deep in the moment. This was not a dash for cash, the band played for two hours and fifteen minutes, they gave it their all, goddamn the other twenty two hours in the day!
No one really knows what it's like to be the bad man, the sad man behind blue eyes. Although these days, we know what it's like to be hated, at least I do. Used to be musicians were adulated, now they're castigated.
We had hours only lonely, where we lay on our beds and listened to this music.
"Behind Blue Eyes" demonstrated that the Who couldn't be classified. It wasn't just mindless headbanging, as a matter of fact, the lyrics were insightful, and like in this number, delivered sweetly, at least until...
We laugh and act like a fool. That's what happiness is, letting go.
And then came the "Quadrophenia" part of the show.
But this time there were real strings, not synths.
"Can you see the real me?"
Most definitely not. We were locked up inside, afraid to reveal our truth, back in the era of singularity, before it all became groupthink. Our only release was these records, turns out the players felt what we felt, and it set us free.
Now if you bought "Deep End (Live)," and I most certainly did, I could not break free from Pete and the Who, I was in for the duration, you know the best song on the LP...
"Every year is the same
And I feel it again
I'm a loser, no chance to win
Leaves start fallin'
Comedown is callin'
Loneliness starts sinking in"
It's that time of year, the one when "Quadrophenia" first came out, when the leaves are gone from the trees, when everybody is buckled down and you feel left out. And what's next? The dreaded holidays!
"I'm one
I am one
And I can see
That this is me
And I will be
You'll all see
I'm the one"
Forget the self-help books, forget the gurus, the business geniuses telling you what to do, if you want to truly be inspired crank a record up to 11, that's why all the athletes wear headphones before the contest.
So we took a ride on the 5:15, we let love reign over us, and we thought it was done. I mean, that's how you end the show, right? It's after 10:30, this is the last number on the double album. BUT NO!
There was denouement. No music. The assembled multitude was basking in the applause. You can sense when a show is done.
I've never even watched an episode of "CSI." But I have seen the intro, which pulses with the sounds of...
"Out here in the fields
I fight for my meals"
We thought back, we remembered, we were brought back to what once was and for this evening still was, we were in TEENAGE WASTELAND!
This was back when you still had free time, before teens were scheduled, spending their summers in some foreign country burnishing their resume for college applications. We could take a break and...
Listen to our records.
Now this was not a young crowd. Everybody looked old and lumpy. Some were in their concert finery, but at this point we know we're done, or close to it.
And so does Pete Townshend.
Daltrey looks at least fifteen years younger. He's still the lead singer. But Pete looks every one of his seventy four years. What hair he's got is grey. You wonder how much longer he can do this. And then you see him perform last night and you realize FOREVER! Seventy is not the new sixty, that's what those who are afraid of aging tell themselves. The truth is you are closer to death. And you can't jump and run, but you can still play the guitar and listen to the music.
It's not that this Who show was far superior to what came before, it's not that you have to run out and buy a ticket to say farewell. No, the Who are not retiring, for all I know they'll die on stage. They're still performing with the same vigor, it's positively an inspiration.
It was pure and easy. We all know success when we find our own dream. That was the promise of the sixties, that we could be who we wanted to be, ourselves, that we didn't have to go to Wall Street, we didn't have to sell out. But most of us did. But...Pete Townshend did not. We heard the words when he played that guitar.
"There once was a note...listen
There once was a note...LISTEN!"
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
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This was Pete's show. Not that Roger was not great, not that the vocals were superfluous, it's just that Pete SHINED!
You know Pete, complaining about his tinnitus, saying he's got to play behind plexiglass, has to strum an acoustic...THAT'S HISTORY!
The show began with Liam Gallagher, in a poncho on a blisteringly hot night. You can see why his brother hates him, it's the same thing that makes Liam a rock star, his ATTITUDE! He's gonna live his life, he's gonna do what he wants to do, he even spit on the stage, but he needs Noel to make it work, his version of "Wonderwall" was anemic, but if Liam and Noel were in a stadium in England you would have felt it, Oasis are superstars there, but not here.
But the Who pioneered those antics. Moon did whatever he wanted with a grin instead of a sneer. And if you interfered with Townshend...he famously kicked Abbie Hoffman off the Woodstock stage, famously punted a police officer off the boards at the Fillmore East, Pete was busy doing his thing, it was secondary to the fire burning next door, you see Pete was wrapped up in the music.
And he was last night.
Pete came out in blue coveralls, akin to the white ones he used to wear back in the day, like on the cover of "Who Comes First?" You see Pete Townshend came to WORK!
This is so different from today's acts. Eager to tie up with a clothing company, to design their own attire, trying to chase the tech billionaires.
But they'll never get there, there's just not enough money in the tunes. The playing, the audience adulation, that should be enough.
And they turn up the bass in the new music, to the point where your body might shake, but that's completely different from what the Who are trading in, which is POWER!
Now most acts play with orchestras to fill in the occasional string parts. But last night, the orchestra was an integral part of the show, which began with the "Overture" from "Tommy."
In the last few decades "Quadrophenia" has superseded "Tommy" in the public consciousness, but it was "Tommy" that was the original breakthrough. The rock opera. With one semi-hit single. Which really didn't peak until the hoi polloi saw Roger Daltrey implore them to SEE ME, FEEL ME, TOUCH ME, SQUEEZE ME in the Woodstock movie.
Yup, the Who were always pushing the limits. And unlike the hair bands, there were no ballads, no soft songs made to appeal to those who might be afraid, they were not casting a big net, either you entered the door, agreed to get caught, or you didn't.
I did. First, by "I Can See For Miles," which they even played last night, I heard it on the Bromley jukebox, I had to buy the single.
But before that, when the orchestra was still in play, they took us on an amazing journey, through music we knew by heart, but was never featured on AM radio. It was too dangerous for Top Forty, it wasn't made for Top Forty.
Except the one song that came out a few months before the "Tommy" double album. You know the one. That started with an acoustic guitar, and then...an electric EXPLODED IN THE OTHER EAR!
"Ever since I was a young boy
I played the silver ball"
Pinball machines are for museums, but they were part of our youth, as was this track, it's embedded in our brains, but the amazing thing last night was Pete strummed the intro on an acoustic, furiously, to get that exact same sound, it was a triumph!
People talk about Page. Beck. Clapton. Hendrix.
Hendrix is dead. Clapton is sick of playing God, he's emphasizing his blues side. Beck still wails, but his material is not that memorable. Page's is, but without Robert, he's lost. But Townshend?
Yup, he's never mentioned in that elite club. But last night...
He switched Telecasters. You could see him moving his fingers up and down the neck. Sometimes playing sans pick. Using the whammy bar. Running his pick down by the bridge. He was eking out all of the sounds Leo Fender baked into his axe, AND MANY MORE!
Yup, we've been so focused on the songs, we forgot about the playing. It started with a guitar. We boomers know. We all bought electrics after the Beatles broke. We wanted in on what they had, all the acts from England, they were one with their instruments, the music was all that mattered, and in its wake came money and women. That's right, rock made you grow up as you were touring the world, exposed to everything for the first time, with means, not as a JV player, but a member of the varsity, in fact you owned the game.
And after the "Tommy" portion of the program, Pete took the mic and said they were gonna rock harder. And after "Who Are You" came...
A rambling soliloquy from Pete. He was telling a story. Saying "CSI" was not his first TV sync, that, in fact, it started with "Miami Vice," back in the old days. He said they were gonna play a song...
Well, he was in the swamp, and he wandered off to an outlying building and then he said...this was a song about what happens to you when you take too much cocaine!
"Behind an eminence front
An eminence front, it's a put on"
Once again, it was the power of the delivery. Not only the band, but the whole orchestra hitting those notes, sending waves of power into the Bowl. Didn't matter that these songs were not brand new, didn't feature an 808 or a rap, it was positively present, not only because of the aforesaid power of the musicians, but Pete's DELIVERY! It seems he sat at home long enough, in truth he was a musician, he had to go out and ply the boards.
And it's not like it's not about the money. Deep into the show he said they were gonna come back next year, and then he caught himself and said they weren't, that they'd taken all the money out of the market. That cracked me up, that's insider talk, and with three shows at the Bowl with high prices, they probably did!
And "Imagine A Man" from "Who By Numbers" was a complete surprise, but I'd be lying if I didn't say I would have preferred to hear "How Many Friends" from that album, Roger's heartfelt tour-de-force.
Then Pete sent the orchestra away. It was just them.
That's when they played "I Can See For Miles." And "Substitute." Roger had us singing along with "You Better You Bet." But then came the piece-de-resistance. Pete sent the rest of the band away, now it was only the two of them. Pete on an acoustic guitar, then again, they don't have any wimpy numbers.
"We'll be fighting in the streets
With our children at our feet"
That's right, they did "Won't Get Fooled Again" totally ACOUSTIC! With Roger belting the lyrics and Pete strumming that guitar like he might destroy it. But those days are through, except for the windmills. Oh yeah, they were brought out. That's the power of an electric guitar and amp, you can make a glorious noise!
It seems we've been fooled again. They stole everything with meaning. Music became about the penumbra, the tunes sounded the same, melody went out the window, oftentimes you couldn't even sing along. The movies were now cartoons, not deep explorations of angst, like "Quadrophenia," the best rock movie ever made. We got great TV and smartphones, but deep in our hearts we yearn for what once was, when the sound was everything, when you went to the show not to shoot selfies but to bask in the sound, when you knew all the axes and the amplifiers and...
"Won't Get Fooled Again" is over eight minutes long in its studio incarnation, but Roger and Pete did not shorten it for public consumption, they weren't worried about burning out the audience, bathroom breaks, they seemed to almost be doing it for themselves, deep in a trance, deep in the moment. This was not a dash for cash, the band played for two hours and fifteen minutes, they gave it their all, goddamn the other twenty two hours in the day!
No one really knows what it's like to be the bad man, the sad man behind blue eyes. Although these days, we know what it's like to be hated, at least I do. Used to be musicians were adulated, now they're castigated.
We had hours only lonely, where we lay on our beds and listened to this music.
"Behind Blue Eyes" demonstrated that the Who couldn't be classified. It wasn't just mindless headbanging, as a matter of fact, the lyrics were insightful, and like in this number, delivered sweetly, at least until...
We laugh and act like a fool. That's what happiness is, letting go.
And then came the "Quadrophenia" part of the show.
But this time there were real strings, not synths.
"Can you see the real me?"
Most definitely not. We were locked up inside, afraid to reveal our truth, back in the era of singularity, before it all became groupthink. Our only release was these records, turns out the players felt what we felt, and it set us free.
Now if you bought "Deep End (Live)," and I most certainly did, I could not break free from Pete and the Who, I was in for the duration, you know the best song on the LP...
"Every year is the same
And I feel it again
I'm a loser, no chance to win
Leaves start fallin'
Comedown is callin'
Loneliness starts sinking in"
It's that time of year, the one when "Quadrophenia" first came out, when the leaves are gone from the trees, when everybody is buckled down and you feel left out. And what's next? The dreaded holidays!
"I'm one
I am one
And I can see
That this is me
And I will be
You'll all see
I'm the one"
Forget the self-help books, forget the gurus, the business geniuses telling you what to do, if you want to truly be inspired crank a record up to 11, that's why all the athletes wear headphones before the contest.
So we took a ride on the 5:15, we let love reign over us, and we thought it was done. I mean, that's how you end the show, right? It's after 10:30, this is the last number on the double album. BUT NO!
There was denouement. No music. The assembled multitude was basking in the applause. You can sense when a show is done.
I've never even watched an episode of "CSI." But I have seen the intro, which pulses with the sounds of...
"Out here in the fields
I fight for my meals"
We thought back, we remembered, we were brought back to what once was and for this evening still was, we were in TEENAGE WASTELAND!
This was back when you still had free time, before teens were scheduled, spending their summers in some foreign country burnishing their resume for college applications. We could take a break and...
Listen to our records.
Now this was not a young crowd. Everybody looked old and lumpy. Some were in their concert finery, but at this point we know we're done, or close to it.
And so does Pete Townshend.
Daltrey looks at least fifteen years younger. He's still the lead singer. But Pete looks every one of his seventy four years. What hair he's got is grey. You wonder how much longer he can do this. And then you see him perform last night and you realize FOREVER! Seventy is not the new sixty, that's what those who are afraid of aging tell themselves. The truth is you are closer to death. And you can't jump and run, but you can still play the guitar and listen to the music.
It's not that this Who show was far superior to what came before, it's not that you have to run out and buy a ticket to say farewell. No, the Who are not retiring, for all I know they'll die on stage. They're still performing with the same vigor, it's positively an inspiration.
It was pure and easy. We all know success when we find our own dream. That was the promise of the sixties, that we could be who we wanted to be, ourselves, that we didn't have to go to Wall Street, we didn't have to sell out. But most of us did. But...Pete Townshend did not. We heard the words when he played that guitar.
"There once was a note...listen
There once was a note...LISTEN!"
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Thursday, 24 October 2019
Re-Ed Cherney
Bob - I first met Ed when he was Bruce Swedien's second engineer / understudy on the "Thriller" record at Westlake Audio. Quincy, who loves to give people nicknames dubbed him "Big Joolie" because Ed would affect a Chicago gangster persona when carrying out his duties of cutting and splicing tape to the amusement of all those present.. Big dude with a big heart, who endeared himself to all, who was a joy to be around..I remember seeing him the night of Bonnie and Was' Grammy victory and tears of joy flowed as we laughed and reminisced about our times together at the University of Quincy. When I think of Ed's passing my heart aches for Rose his lovey wife and a doyenne of the LA recording studio scene for so many years, Paula Salvatore of Capitol Studios and Rose's dear friend and studio counterpart, and of course the great Al Schmitt, the Dalai Lama of the mixing desk who was Ed's mentor, compadre, and studio brother. I was working at Village a few weeks ago across the hall from Ed's Room and was dead set on crashing his session to shoot the shit with him again, but he was out that day I was told, not feeling well. Since our contact had been intermittent over the last few years I did not know the severity of his condition, and I was bummed that I did not get to see him to see if I could interest him in mixing the project I was working on..
Rest in Peace Big Joolie and thanks for the great laughs, conversations and stellar music you left for us to remember you by..
Ed Eckstine
Woodland Hills, California
__________________________________
I was gutted to hear of Ed's passing. I knew he was sick.. but not HOW sick till a few days ago.
He was truly one of he most beloved guys in the biz.. EVERYONE loved Ed.
His smile and warmth beamed out to all that were lucky enough to know him and work with him.
First time I met Ed was in 1980 first day I had started on Quincy's Jones Dude album. I was 23 and he was 30 and we were the younggest guys around and he was Bruce Swediens asst-2nd engineer then. On my first day with Q and Bruce we were cutting ' Just Once' with James Ingram (His first session with Q as well) .
It was ED that saw my young nerves and he was the one that truly made me comfortable before Quincy had showed up. I was out in the studio getting my gear together and he was in setting the mics with Bruce.
We bonded day one and we worked on all of Quincy's stuff 1980-1988-ishsh till Ed moved up to1st engineer and his career skyrocketed to Producer as well. NO shock there.
He had a way of making everyone feel so comfortable. An aura.. people are born with this you cant ' learn it'.
He had it.
I have had the honor of working with the best of the best engineers in my career, Al Schmitt-Elliot Schiener-George Massenburg-Greg Ladanyi- Nico Bolas...etc.. etc.. the who's -who !
I could go on and on and one thing they ALL have in common?
They all loved Ed as one of the best of the best cause he IS one of the best of the best !
Ed also really made us Muso guys feel great too. That was part of his gift. Making people feel relaxed and good about whats going on.
You get great results this way!
Whenever we saw each other it was hugs, jokes and laughter, and his work speaks for itself.
One can't leave a better legacy than that!
RIP my old friend..
Luke
__________________________________
Unequivocally one of the finest gentleman I've met in the business. Candid, caring, soulful with humor always bubbling under the surface. Always brightened the room, but also a staunch and effective advocate for those
that plied his craft/art. Immensely important in elevating the stature and recognition of the art of sound engineering.
He touched many, and will be sorely missed – appreciated your thoughts and insights
John Frankenheimer
__________________________________
Eddie. He was -everyones- big brother. Brave, scared, empathetic, sympathetic, bold, curious, tough, innovative, polite, heart on his sleeve, hysterically funny - all wrapped in his huge smile of understanding.
He made everything sound better just walking in the room, because everyone just felt better!
We are all in shock. There is a big empty broken heart in our community of "studio rats".
We love Eddie. Forever.
You were fortunate to get to know him. Bob. Good for you.
Best always - Niko Bolas
__________________________________
I am so terribly sad to hear of the death of Ed Cherney.
I saw your headline tonight and thought Ed had done a podcast.
I had no idea he was sick.
I saw Ed around L.A. studios for many years and he was always super friendly and talkative.
Ed had gravitas. He worked with the best of the best. He stood for quality.
His work with Don Was was legendary.
"I Can't make You Love Me" is one of the greatest records of all time.
I saw him a few months ago driving out of Village…
Wow.
Rick Nowels
__________________________________
You pretty much nailed who Ed was. I didn't know him as closely as you seem to have, but in my limited dealings with him (a Live DVD "Wolftrap") that he engineered for us I got to know Ed the person. He was not only a consummate professional, he treated you like a friend and would help get the mix where you wanted while hanging out and just being a pleasure to be around.
I saw him occasionally at the Village when we did some vocals on World Gone Crazy. It was as though no time had elapsed since sitting in that sound truck six years before and he had the gift of making your presence matter and you felt the same about him.
I've known a few people he worked with and I think every one of them would agree. Not only was he a great engineer/producer, he was a great guy.
Gonna miss him.
Tom Johnston
__________________________________
Hey Bob
Thanks for your kind words about our fearless leader Eddie
He obviously made an impression on you
Its hard to imagine a world without him in it
I am sure your in box is gonna blow up with an incredible out pouring of love for him
He was revered by us all
Ed had that special gift where no matter what, whenever you spent time with him,
you left feeling better about yourself and life
That gift is a lesson we all should carry forward
He was an incredible music maker but even more importantly
he was an incredible human being
Kind, honest, funny and compassionate
Hail Ed Cherney
with love and respect
Ross Hogarth
__________________________________
We all got dealt a bad hand yesterday. As I saw music trades light up with the sad news that Ed had passed, social media blew up from every which way on the stories of Ed Cherney and his kind and loving way. Blues, classic rock, country, soul, pop, it was all passion and heart that made him so special. He was a humble Teddy Bear who had a gentleness about his voice and how he touched people. There was nothing I loved more than coming to the Village and hanging with Ed. I just sat and watched a master at his craft and we would talk music and artists. He was so human and real, no pretense just a humble guy who loved finding the right mix for the music and song. He loved his wife Rose, he loved his home in Venice where he was like an honorary mayor, he loved his dogs, he loved the ocean and his boat. We dreamed of chartering boats, so he got his Captain's license. He loved golf, he loved travel, he loved to entertain, and he loved people. We cried together on the phone 3 weeks ago, he knew life was drawing short but it just didn't seem real. Another good guy bites the dust way too soon and I only pray that he realizes how great an impact he had on so many people and the way we hear the music he touched! I had great respect for his talent, but I loved the Man. RIP Ed, Tom Ross
__________________________________
Bob,
Thanks for sharing your story about everyone's friend, Ed Cherney. He was a gentle giant, generous with his knowledge and smiles. He was super-confident, expertly competent, yet soberly humble. A friend to all, he went the extra mile to passionately pursue expanded rights for content creators and took leadership roles to guide the way for future generations. All the while, he partnered in one of the deepest romances. Huge shoes to fill, he will be deeply, deeply missed.
I first met Ed while we were both working for Bob Seger. He was recording/mixing at A&M and I was doing the same at Conway. Bob would bounce back and forth between studios. Ed and I would compare notes, commiserate during rough spots, and quickly became friends.
He introduced me to the Audio-Technica 4060 tube microphone, which he had opted to use on Bob's vocals over the previous favorite, the Neumann 47fet. He turned me on to the fine folks at A-T (Roxanne Ricks, Gary Boss, Michael Edwards), which started a long relationship.
Whenever I saw him years later, he was always warm and generous, asking how I was doing. We would tag team again on the movie project for Cj Vanston, "A Mighty Wind". I to work with Bob Seger while Ed went on to work with The Rolling Stones and beyond. Bob would pull a song out of the vault that was never released that Ed had tracked and we'd work on it. It was always a pleasure to push up the faders and mix his tracks.
But I'm sure his greatest accomplishment in the industry was winning the heart of everyone's sweetheart, Rose Mann-Cherney. Rose ran Conway Studios and later the Record Plant and is a giant in the industry, in her own right. Their love affair played out on Facebook for all to see and recently clicked off some 30 years together... no minor fete in this industry.
My heart goes out to Rose and everyone who had the pleasure of being in the glow of Ed's big smile. I will miss his hugs, his leadership, and his friendship.
-David Cole
__________________________________
Bob...I was totally devastated to hear about Ed. I had not had contact with him in quite a while, and didn't even know he was ill. I'm still in shock. I've worked with Ed with the Stones and numerous other projects, including that he graciously agreed to mix my "Back To The Woods: A Tribute to the Pioneers of Blues Piano" record. Ed had the best set of ears of anyone I've worked with. He could hear around corners. We spent many hours together talking about music, recording techniques, and just life in general. He was such a joyous soul, so fun to be with, had that great smile and wonderful laugh. And as we know, he was the Best of the Best at his trade. It's hard to think that I can't call him up and hear his voice and just talk. My love and good vibes go to his sweet and beautiful wife, Rose, whom he spoke of often...always in grateful and glowing terms.
Thank you, Ed...for your amazing talent, the incredible body of work you have amassed, and above all, for your friendship and just for being you. RIP, my Brother
Chuck Leavell
__________________________________
Bob,
I met Ed Cherney by chance in a line to see a gig at SXSW. We instantly got along and we ending up spending a very late night together just sharing stories, drinking and eating.. It's always refreshing to meet people in this business who are not about bullshit and will speak honestly and Ed was definitely one of those guys.
It was heartbreaking to hear the sad news of his death, another one of the good guys gone, and more importantly a very special man.
To say ED was kind, humble, funny would not do him justice, he was one of those great people that if you are lucky, you get to meet in this lifetime. On top of that of course, Ed was an audio legend and had all the stories to go along with the records he made!
I texted Ed recently and although he told me about his illness, he was still upbeat and positive and making jokes, as Ed would. The last thing he said was 'Love you' and then 4 weeks later he was gone.
I was lucky enough to mix two of the last records that Ed recorded. One was for Jeff Goldblum, the other for Luciana Souza (the female jazz artist married to Larry Klein) Of course both of the sessions he sent were beautifully recorded and it was a joy to mix them. You don't get too many people these days who know how to record things that well, he made my job easy!
While serving as Trustees for the Academy, as you would expect, the meetings can be long but with Ed in the room, things were always brighter, he took the sting out of the long days and afterwards we would head to the bar to sit and exchange war stories.
I am grateful for all the good time we spent together, all the stories he told me, and all the advice he gave me. He really was the best of us.
I miss him so much already.
Thanks for everything Eddie.
Tim Palmer
__________________________________
Very sad to hear of Ed's passing.
Just writing to commiserate.
I knew Ed from a long time ago when I worked at The Hit Factory.
I assisted him on some projects. He loved to chill in the control Room with a joint and get into the background detail of the mix, which I never saw anyone do. We were working on a Neve VR. He would de assign the instruments from the 2 mix and listen to all the effects, all the stuff that was riding in the background and not featured, then make that sound cooler on it's own, then add it back to the mix. It was magical.
This was in 89 or 90. I saw him a few more times many years later, and he always had that cool smile. Acted like he remembered, but he didn't. But that was cool.
When I was working at Record Plant as an engineer mixer, I met Rose, and she was so great to chat with. After I told her I knew Ed from way back etc, she invited me to go on a cruise on their boat with Ed on a day off. It was really special. Was like re connecting with an old friend.
He was just as slick as a captain as he was a mixer. When we returned to port, we were in the middle of a convo, he lets go of the wheel, kills the engines, and keeps talking to me, and I'm looking around watching us glide perfectly into the slip and gently come to a perfect stop like it was nothing. I asked, how the F did you do that?? He just smiled that smile.
They were both so generous when I was at Record Plant.
A handful of years ago I saw him at an AES show, we talked, he looked like he remembered, but could tell he didn't really, so I asked. He apologized and said something like "look, I'm on all kinds of meds."
We went out for a drink and I re told him the old stories. Such a talent, and warm soul. He will be missed. My sympathies/condolences to Rose and all of their family and friends.
Paul Logus
__________________________________
Thanks for the great words about Ed. I think so many of us are trying to make sense of his passing right now. Many (most?) of those giving tributes on my Facebook feed - myself included - weren't aware of Ed's health challenges, so it was all a shock to so many of us. When I awoke yesterday morning and saw Rose's post, I was simply dumbstruck. Like, literally stopped in my tracks; I had to lean back on my couch, take a deep breath and try to come to grips with what I was reading.
You're going to get many responses to your loving email, because, like you, we ALL loved Ed Cherney. You meet people in this business, they come and they go, but Ed…he was like your best friend whenever you saw him. I mean, he was JUST THAT GUY that you instantly felt kinship with, no matter if you're Keef (who tweeted yesterday about Ed's passing) or just a runner at the studio.
Ed's passing has hit me in a "what the fuck is life all about anyway?" kind of way. I mean, he was 69, for God's sake. WTF? Life can be just so darn random. Hard to make sense of it.
Ed was JUST THAT GUY. I know this one is going to leave a mark on so many of us. And for a long, long time.
John Van Nest
__________________________________
Thank you for honoring Ed. For many years, I had the opportunity to work with Ed and his band of studio wizard pals (The META Alliance as they were officially known: Ed, Frank Filipetti, Al Schmidt, Elliot "ELS" Scheiner and of course Phil Ramone). Ed was Grammy/Recording Academy royalty, but he presented himself as "one of the guys", complete with a hearty laugh and no BS approach to all projects and conversations. Like the artists he worked with, Ed was magical and bigger than life. If I recall correctly, the sign above his studio door read "STFU" or something like that. That's appropriate, as Ed just let the music do the talking. Miss ya dude. RIP
-Greg Pedersen
__________________________________
Ed and I became friends back in 1994 when I was working for A&M and he had just finished working on the Jann Arden project "Time For Mercy". We bonded over many conversations about our love for Bonnie Raitt and continued our friendship over long distance for over 25 years. He would say to me "Listen to music with your heart not your ears" and I took his advice to heart in every project I worked on going forward. His passion for getting it right was unrivaled and he knew how to dig down deep and get the best performance possible from anyone he worked with.
When I came out of retirement to work with an artist who I thought was absolutely fantastic back in 2016,the first person I contacted and asked their opinion was Ed. I sent him her music and within a week I had an e mail from him telling me he thought she was wonderful and a once in a lifetime find and was happy that I had found her. He also said when the time was right I could call on him to be there. I had spoken to him about a month ago and let him know that she was going in the studio again with a very cool concept and he said to make sure that when I came out there in January for NAMM to make sure we had some time together as he was excited to hear her new stuff in a studio setting.
When I was driving back from Nashville to Atlanta yesterday I got a text telling me of his passing and I just had to pull to the side of the road and let the tears flow. You meet so many people in this business. It is so very rare that you meet someone like Ed that totally captures your attention and admiration because they are REAL. Ed was the real deal. WYSIWYG. I am a much better human being because I knew him. Rest In Peace Ed, you will never be forgotten.
Al Marks
__________________________________
Dear Bob,
We were lucky enough to have the honour of working with Ed in Studio D of the Village. What a big heart, almost couldn't fit in the room with a heart so big. He was real, down to earth, had this huge smile... and although we were a little nervous when Paul Broucek took us in to record with him, he just made it so... easy, such fun.
He got this sound out of Matt Chamberlain's kit that was crisp and snappy but had depth like nothing else I've ever heard; he got the music.
My favourite moment was where he came into Stevie's booth in D and asked me to play the Martin acoustic... he came right up to me, bent over, tilted his head around, went and crouched behind my chair, moving round the room whilst I was playing. I remember wondering what he was doing, if he was gonna say the guitar needed new strings, or a setup, but actually he was just figuring out where to place the mics.
Ed was amazing because he had the stories, the experience and wisdom of a genuine legend and he will always be in our hearts. He was legit, the real deal and although I said it was an honour working with him, the honour was actually just getting to hang out and be in the room with him. He came along to some of our shows which we were over the moon about - and ended up mixing some tracks for our album; I think it might have been some of the last work he did on this earth before he went up to enjoy the epic 18 hole courses in the sky.
Your piece was very touching, Bob, thank you for sharing your memories of Ed, even if they are heartbreaking.
Stay well,
Max Luck, The Luck
__________________________________
My brother emailed you about our experience meeting and working with Ed earlier - I couldn't have said it any better although I wanted to add that Ed had a profound impact on me as a developing artist. He is obviously most known for his work with the greats but his encouragement and nurturing side of two musicians from the UK, far from home and just starting out came across the moment we met him. And last night as I shed some tears I realised THAT is what I hope to do in my life, more than anything. I want to show people I care, show people they are loved, help them be the best they can be and encourage them as much as I can, as Ed did. If I can give to people even half of what he gave to those around him, I'll be doing good! He was truly a legend and I feel so privileged to have spent some time with him... Among his nuggets of wisdom, there is one thing I think of every time I get on stage or in the recording booth; don't think. Let it all go and the performance will flow. Probably some of the best advice I've ever had.
Best wishes,
Esmay Luck, The Luck
__________________________________
Hey Bob,
I got to know Ed first when our band Idle Tears recorded up at Caribou Ranch in 1983. We were also from Chicago and immediately hit it off. You described him perfectly but left out how freekin hysterical he was. Quick, whip smart, ridiculously talented and always the most humble guy in the room. Seeing him behind the board while we would record always put us at ease. His mantra was to be "open, honest and giving" and he always was. Then we moved to LA in 85 and he recorded our record for MCA. Same deal. Ed was Ed. Open honest and giving. And hysterical. And that's where we met Rose. What a perfect match. Rose is the best.
Last time I saw him was in the early 90s after his huge hits. But still same ole Eddie.
Too weird to think he's gone. It's surreal.
Will always love you Eddie!
"OK pal"
God bless.
Tommy Crowley
__________________________________
In addition to Ed's undeniable charm, his compassion and empathy was always out front.
Not just for everyone he worked with, but for nearly everyone he met.
But it was his immense Talent as an engineer and mixer that put him in the very top tier.
Certainly, as you said Bob, since Bonnie's "Luck of the Draw."
On that record, the sounds Ed captured, and the balances he mixed, were perfect.
And contributed to making a great record even greater.
Which is what the very best engineers do.
I've known Ed since about '77 in the studios in Chicago.
We were both Asst. Engineers on Ohio Players records.
We both assisted Bruce Swedien in Chicago.
Ed followed Bruce out to LA and Quincy-world.
But it wasn't long before Ed himself was a true world-class Mixer.
He put in the work of course.
But he had the chops, and that's more rare than you'd think.
At Ed's level it was his Talent, his ear, his creativity, his smarts, and his heart, that made the difference.
A big difference.
That's the only way you get to work with Bonnie, Dylan, Jackson, Seger, Willie, Clapton, the Stones, and a million more.
Ed loved Engineering and Engineers.
And devoted tons of time to making the profession better.
A Great Mixer.
Who Cared.
Hank Neuberger
__________________________________
Beautiful tribute Bob. Ed was one of the last Audio Art angels. The reason why we jumped into this magic bus. The music his fingers and ears touched will still be playing in space stations long after we are all gone. RIP Edward.
Kenny Lee Lewis
__________________________________
Amen to all of it.
Mostly, when friends die, it takes me a while to metabolize the information; I get sad over time.
This time, with Ed, it was instantaneous. I heard his voice as clear as day, he was so present.
Peace, Love and Lots of Laughs, Eddie.
Greg Prestopino
__________________________________
like you and his family/friends, I'm feeling it...mostly 4 Rose.
Ed was her universe, her rock
He made us all feel good
Ed made it fun
he kept creating
making a difference
P&E wing, Met Alliance, Recording Industry Golf (benefiting 'A Place Called Home')...all his brainchildren
Ed worked w the stars but
He was our STAR
A beautiful life (though deeply missed) never dies.
Circle of Life
when my best friend died at 55 (#f***Cancer)
the chaplain said: it's her journey
lost my mom at 102 in August
doesn't matter how old our loved ones are
how long they live
we miss them when they're
Irreplaceable
Ed is
Thanks for the notes Bob
please take care,
Claris Sayadian-Dodge
__________________________________
I can't believe he's gone. Thank you for such a beautiful account of your friendship. He was this incredible light that came into our lives and made us all better just by being himself and being so present and engaged and putting that energy into the music he made as well. I've got tears running down my face reading your words. So meaningful.
Mindi Abair
__________________________________
This is so sad. I knew Ed and Rose separately before they got together. Then, completely by chance, we shared a duplex in Venice before Ed and Rose moved to the canals.
I heard the whole Bonnie Raitt album, a track at a time, through the ceiling when Ed came home from the studio every night, and did my own studio business with Rose talking from balcony to balcony. We were a music house for sure.
Everything you say here is true. Ed was (still very hard to say "was") a real talent and a warm, wonderful guy.
Rose...I dont even have words. She's a legend and my heart breaks for her even as I know she will keep the music coming...
My best wishes also to Don, and to all the rest of us sharing this loss.
As always, the music lives on.
Thank you Bob,
Bill Green
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Bob,
This is such sad news.
I grew up with Eddie in Skokie, a suburb just north of Chicago. It was the 60's. There were kids living in every house for blocks-and-blocks. No empty nesters in our neighborhood.
He was four or five years older than me and my pals but we all looked up to him. Thought he was the coolest cat in the 'hood. If we were playing a game of choose-up football in the schoolyard across from his house, he'd join us, uninvited, as the "all-time quarterback" and teach us how to run different routes and pass patterns. And he had a solid arm! He was bigger than us so it was great that he only played quarterback for both teams and we didn't have to get blocked by him. And yes, he did smoke. I have a vivid picture in my mind of him in a worn out and tattered white sweatshirt with the sleeves cut off, throwing passes with a "fag" hanging out of his mouth. Funny how when you're young and impressionable, that's part of what made a kid a few years older seem cool!
He didn't like to lose, so being quarterback for both teams always assured him of a win. I remember once when he wanted a game to go into sudden death overtime. It was 4th down. He was so pissed when I dropped a perfect pass from him...."Goddammit Ricky Cooper! Catch the fuckin' ball!" Needless to say, the game was over.
I ran into Eddie several times on trips to LA....visiting labels, at shows, etc. His personality never changed in spite of his success. He still called me "Butterfingers." He always asked about people from back home and even went as far as calling me to ask for his boyhood next door neighbor, Barry's cell number when he heard that Barry had serious cancer. That made Barry's day!
I didn't know he was sick. Had I, I'd have reached out just to know laugh about the silly memories.
I only met Rose once, in passing at a restaurant in LA. Never got to know her. My heart goes out to her, his brother Chucky (a great photojournalist!) his sis, Lesley, the rest of the family and of course to his army of friends.
Thanks for your kind words, Bob.
RIP Eddie...
Coop
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Oh damn. Ed was on an album we did early 90's with Don. A gentleman.
Berton Averre
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Am not a big fan of writing commentary, but your words resonated with me.
Yesterday, the phone, email, etc. rang and beeped all too often with the news of Ed. At first i didn't;t believe what I was hearing, then it all to rapidly became reality.
Ed,
I will miss your smile
I will miss our occasional conversation at pro audio shows (we were both regulars - he was always a joy to be with)
I will miss your ideas, your vision, your tales, your dreams, your attention to details, your amazing ability to listen carefully
but I will not miss your music - it is here to stay
and
you holding hands with Rose will make all of us smile.
Bob, thanks for putting words on paper so that people like myself who are much better with drawings and shapes can stop for a moment; read and reflect.
I will now hit Bonnie on Tidal and keep smiling
John Storyk
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What a beautiful tribute to your friend Ed Cherney. As an audio engineer myself; I have always loved Ed's work and have always looked to his mixes as a textbook for my mixing style.
I know that he won the Best Engineered Album Grammy for Bonnie's "Longing For Their Hearts." However, Ed's best mixes in my opinion are with Bonnie and Don. They were "Nick of Time" off of "Nick of Time" and "Not the Only One" off of "Luck of the Draw."
For me, those tracks are the quintessential West Coast AC sound of the late '80s to mid '90s that was heard all over FM AC radio. "The Road's My Middle Name" is a great blues mix of Ed's.
Even though I'm only 37, I do listen and collect vinyl. I am going to fire up my Pro-ject turntable and spin "Nick of Time." I will always be grateful for Ed Cherney's touch on a great album.
Thanks as always for a great newsletter and radio show.
Tommy Winder
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Ed was a gentle soul.
A nice person . A good man. A great engineer. We were friends a very long time.
The last time I saw him was at a poker game at the Goldberg's in Laurel Canyon, not that long ago.
I will miss him.
Ron Stone
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Probably his most overlooked masterpiece as a producer is "Insensitive", recorded by Jann Arden and written by Ann Loree in 1994. It's a special record.
Best,
Michael McCarty
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Thanks, Bob, we lost a really wonderful guy,
Leanne Ungar
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Ed Cherney was a such a bright light and gave so much of himself to the world.
I will miss his big smile and heart.
Angelia Bibbs-Sanders
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Amen. Amen Amen.
Ed Cherney was the first engineer I worked with as a guitarist at The Village. He listened to me play for a few minutes, adjusted the mics and somehow got my acoustic guitar to sound sweet, warm, big yet still fit in the mix. He spoiled it for me. The next engineer on the next session made sure it was about "him" and who he had worked with, not getting the best sound of my guitar. The track suffered for it.
Years later I asked him to come to my project studio near the Baked Potato to help me set up and achieve the same sound so I could record on my schedule. I asked what gear to buy to have ready for him. He said "Don't buy anything! Let me come hear what you have." I guess he assumed I would know enough to have purchased some kind of entry level quality gear. Which were 2 AT 4060's and a Jensen preamp. He said, "those AT's are what I use! Frank Fillipetti too! And that Jensen is amazingly clean. You can record a concert piano, an orchestra or a choir. Your guitar and vocal with these three pieces of gear are enough." Then he set them up, adjusted the preamp levels, the interface level and created a template in Logic. He took pictures of the mics in the studio, the levels on the preamp, told me where to sit or stand to play and sing in relationship to the mics. My entire first album that got scrapped at Warners did not sound as good. He made it sound fucking amazing. So I offer to go to lunch and he takes me to a Mexican place nearby. He liked their guac. I thanked him for helping me and asked why he was being so nice to me? My experience in LA was ego based producers/engineers. He said, "I'm from Chicago!"
I have learned that actually means something. Years later I'm driving through Chicago to LA, I get lost in downtown Chicago. In the rain. I'm slowing down. The car behind me flashes the high beams and honks at me. I pull over, put my flashers on. The guy gets out of the car, knocks on my window. In the rain! I explain I'm lost and can't make sense of the exit signs. He says he'll be right back. He runs back to his car, brings back a map with a scribble on it. He explains the directions, and says he wrote down his wife's home number to call in case I get lost again, that he left his cell phone home. Like a personal AAA visit. I laugh and say, "People from Chicago ARE the nicest in the country!" He asks me who else I know from Chicago and when I say "Ed Cherney" he laughs and says, "I went to high-school with him, he's in LA now I think."
I told Ed this at NAMM over a taco with less than amazing guac. He laughed but then pushed a little and asked me where my new album was and when I explained the frustration of the industry, labels, sales, mp3s, that I started producing others instead to maybe help them learn from what I learned, he encouraged me. "You'll be a great producer because you're a songwriter who can sing. You know the beast. AND you know how to get the sounds now so you'll put ME out of work!" Which of course was not true. I would have given anything to have him engineer it. He was waiting to do a panel about recording where, as we walked up to the escalator, he was swarmed with fans like he was McCartney. Big smile. I was proud he enjoyed it. As we said goodbye while he ascended up the escalator he pointed at me and yelled, "Finish your album! And let ME mix it!"
At that panel he spoke about what was wrong with production and shitty songwriting and nonsingers being produced in the box by "producers" who had never set foot in a real studio. He said, "I can help you all fix all of these problems. But none of you are going to do it because you're all addicted." Everyone was waiting to hear the wise words, as if he had the name of a new microphone, or preamp, or plugin that would make every record sound like k.d. Lang's, or Bonnie Raitt's, and he said, "Ready?" The audience all looked on to hear the magic. He said, "turn off your fucking computer monitors and stop looking at wave files and plugins! Use your fucking ears!" It was hysterical. Because he had nailed it. "I can promise you I can tell the difference between a record mixed with ears instead of eyes, and then you play the volume wars and turn your shit up with a compressor to hide the problems in your mixes, that's why there's so much average content out now. You guys aren't doing your homework. Everyone can afford the gear and the software but that does not mean you know how to use it. Go to a concert of baroque music, go hear an opera at Disney Hall. Listen to music, not beats, not loops. Hire a drummer, bassist and guitarist. I promise you'll have content much better than loops based music that you do yourself."
And you're right about Luck of The Draw, Bob. My favorite is All At Once, about Bonnie's mom. Every instrument on that album has a place that fills your ears with perfection. Soulful. Magical. The playing. The singing. David Cambell's string arrangements. You can hear the room ambience on the drums, the acoustic guitars breathe, the electric guitars completely separate from Bonnie's slide, David Lasley and Arnold McCuller's BV's. All audible without trashing your ears. Perfection.
He was one of the ones you knew would always return a call, even if it was after a session at the end of the night on the way home in the car.
Tragic loss.
RIP Ed. Thank you for everything.
Michael
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Ed mixed our sound in 1981-82 at Club Lingerie for a few bucks a night. Ever since then we kept in touch and seemed to find our way to working with him on different projects throughout the years including engineering and producing tracks for our records and he often used our horn section on many of the records he was working on including Bonnie Rait. Ed was always a great vibe, a sweet, warm, funny guy with a big smile.
I had a fantastic experience with him in Cuba in 1999. A fantastic bunch of great musicians, writers, producers and sound engineers went there on a musical Cultural exchange with the best Cuban musicians. We set up three recording studios in the Hotel Nacional in Havana and I was assigned to one along with Dennis Mays, Don Was and Ed Cherney. We recorded all these musicians, Cubans and Americans in foursomes after they finished collaborating on a song. On the last night we were there we all got to meet Castro one on one. I am sure there is a picture of Ed and Fidel somewhere. Ed was known as Edwardo on that trip and ever since then he was always Edwardo to me.
I am so sorry for his family and the loss that all of us who knew him are now feeling. This Sucks!
I'll always remember that big beautiful smile.
Andrew Kastner
(Jack Mack and the Heart Attack).
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If you're lucky as a session drummer you'll occasionally get to work with an engineer and or producer on Ed's level. He just had it flowing through him, he got the music, he got the tones, he got the vibes, he'd get the take! One day I'm listening to a demo from the songwriter, acoustic guitar and vocal, and I mention to Ed, "hey man, can we get a 70's sound on the drums on this one? Ya know, like an Ohio Players record?" Ed starts taping towels to my toms and says, "oh yeah, I think we can do that," and walks back into the control room. His assistant looks at me and says, "Ed recorded Ohio Players."
Loved that guy.
RIP Ed.
Michael Urbano
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Dear Bob,
We must meet someday and someplace but not yet today. You've moved me and I bet many others in the moment. You mention a few of the folks I ask for help and help me in this "whats left of biz".
I thank you for your candor and authenticity in writing about Ed. He was certainly an amazing person, engineer, husband - the whole deal.
I met Rose as a young 23 year old working at the old record plant on 3rd street with Ron Nevison. The place was buzzing with creativity! The bands, the creativity, the producers and the engineers. Many of which Rose Mann helped by giving them a job as an assistant. That's a long list.
But at this moment I'm simply happy to have been around it and to have worked with these amazing people, like Ed.
I call Ed and The MetAalliance Guys "the original seven." From Ed, to Chuck, to Elliot, to Bill, to Frank Filipetti, who I worked with a few times over the years, and onward, they're like The Gemini Astronauts they sat on the Rocket with guts and a talent not noticed at the time. To this day these killer engineers promote better engineered records They share their secrets and promote the art of engineering. They teach recording and the knowledge of how to all from the guys who paved the road for those who walked on the moon! They received recognition but I always felt it came later.
Thank you for sharing your story Bob, it's an easier time with your words to the original seven, and me.
I'd like to meet you sometime Bob. To hear your stories and share mine. I moved through the best decade plus of recording without making a fuss. I worked with amazing people without caring about anything other than those with the real talent, like Ed Cherney. We both know Kenny Aronoff, our good friend, may not be the Kenny he is today without Ed Cherney.
May you rest in calm waters and find a comfort zone Bob. You're a contributor and not a spectator and that is only a good thing. Keep contributing.
Be Well,
frankie sullivan
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Ed was such a positive force. I was lucky to be able to serve as a trustee with him. Taught me a ton and always, always made me laugh. He commanded that room with his personality and skills. What a tremendous loss. We should all strive to be a bit more like Ed. I think that's how you honor good people when they pass.
Richard Stumpf
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Ed and Rose are (2) of the coolest people I ever met. That damn "hot tub" at plant was insane. That's a Book in itself. I still have my original Plant sweat tops (black and grey) ...I still get a laugh thinking about it as I was coordinating sessions with Ja Rule and JLo and Ja running around no shirt all sweaty And the coolest book store right across the street
Ed was the man and Rose rocks
Chris Apostle
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yes, YES! Everything you say it true. About Bonnie, "Luck of the Draw," Ed.
He had the heart, the talk, but especially the wonder about who that person next to him was.
He produced incredible acts, engineered albums for the ages, but he also made magic with tiny artists most missed.
I remember running into him on the outdoor patio at Sunset Grille in, maybe, 1990. Big Cheshire grin, blond hair flopping in that wavy way -- and we caught up.
He was producing this kid -- Kevin Montgomery -- for A&M. I knew him as publisher/songwriter Bob Montgomery's son (Doroth Moore's soul sad "Misty Blue" being the big hit). You'd've thought it was Jagger's solo album from his enthusiasm for the sessions, the joy in talking about the players.
"Red Blooded American Boy" is that flicker of innocence and desire, the urgency to get on with it, the pause of not quite knowing how. Kevin had a moment, then it faltered, though he's still making his own records, still undertaking small tours, still a big deal in the UK.
And that's the fire Ed knew how to light! Even in kids who should've known better -- and did.
Here's to the ones who make us more -- Just got back from the celebration of Phran Galante, and am feeling the throb of the holes + the warmth of the blessing knowing these folks truly is.
https://www.youtube.com/watch?v=45wYAsOVXMU
Holly Gleason
Nashville, TN
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Thanks for your beautiful piece on Ed. He was truly a talent and gem of a person. Always there with a smile and a story. Frankly, I don't know anyone that didn't like and admire Ed. Having worked on a few Projects with him, I was always amazed how easy he made it seem. And, sitting with him for many years on the Los Angeles Chapter Grammy Board, his heart was always in the right place. He will truly be missed by many.
David A. Helfant
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Yes Bob,
You don't get better than Ed.
Big heart,
Big voice,
Big time!
We passed each other a few times at shows and events and talked about gear and speakers. He always entered the conversation as if he understood everything you were talking about...and he probably did. But sufficed to say he always made you feel equal.
People often wonder how one gets to the top of the heap thinking it's all luck. Ed would say there is some luck, but he embodied all the other moments that crystallize success.;
Time, Talent, Attitude, Passion, Empathy, Desire, Respect and Energy.
You'll never get better than Ed.
God rest his soul forever...
Will Eggleston
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I was a student in USC's music industry program about 15 years ago. One of my professors was close friends with Ed. He attended one of our classes and spoke about his experiences in the industry, including his time with Bonnie Raitt. I remember asking him a few questions about mixing in surround sound after class (this was around the time he was mixing the Rolling Stones, if memory serves me). He seemed genuinely interested in the students and their questions. For such a successful person, he seemed so down to earth and willing to share. I only had a moment of his time, but it made an impression on me. Every time I hear "I can't make you love me" I think of that day!
-Tristan Tucker
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WHY WHY WHY?
Irving Azoff
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Thank you Bob.
I've never seen more love, coming from everywhere then I've seen for Ed.
I'm crushed, I was in the room with Rose, Leslie his sister and their niece, Maggie when he took his last breath.
The 4 Kings of the legendary producer/engineers: Chuck Ainley, Al Schmitt, George Massenberg and Elliott Shiner came from all points in the US and Canada to share the vigil with Rose.
I'm heartbroken....
I have no language for this
Thanks for your sweet words
Jeff Greenberg
Rest in Peace Big Joolie and thanks for the great laughs, conversations and stellar music you left for us to remember you by..
Ed Eckstine
Woodland Hills, California
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I was gutted to hear of Ed's passing. I knew he was sick.. but not HOW sick till a few days ago.
He was truly one of he most beloved guys in the biz.. EVERYONE loved Ed.
His smile and warmth beamed out to all that were lucky enough to know him and work with him.
First time I met Ed was in 1980 first day I had started on Quincy's Jones Dude album. I was 23 and he was 30 and we were the younggest guys around and he was Bruce Swediens asst-2nd engineer then. On my first day with Q and Bruce we were cutting ' Just Once' with James Ingram (His first session with Q as well) .
It was ED that saw my young nerves and he was the one that truly made me comfortable before Quincy had showed up. I was out in the studio getting my gear together and he was in setting the mics with Bruce.
We bonded day one and we worked on all of Quincy's stuff 1980-1988-ishsh till Ed moved up to1st engineer and his career skyrocketed to Producer as well. NO shock there.
He had a way of making everyone feel so comfortable. An aura.. people are born with this you cant ' learn it'.
He had it.
I have had the honor of working with the best of the best engineers in my career, Al Schmitt-Elliot Schiener-George Massenburg-Greg Ladanyi- Nico Bolas...etc.. etc.. the who's -who !
I could go on and on and one thing they ALL have in common?
They all loved Ed as one of the best of the best cause he IS one of the best of the best !
Ed also really made us Muso guys feel great too. That was part of his gift. Making people feel relaxed and good about whats going on.
You get great results this way!
Whenever we saw each other it was hugs, jokes and laughter, and his work speaks for itself.
One can't leave a better legacy than that!
RIP my old friend..
Luke
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Unequivocally one of the finest gentleman I've met in the business. Candid, caring, soulful with humor always bubbling under the surface. Always brightened the room, but also a staunch and effective advocate for those
that plied his craft/art. Immensely important in elevating the stature and recognition of the art of sound engineering.
He touched many, and will be sorely missed – appreciated your thoughts and insights
John Frankenheimer
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Eddie. He was -everyones- big brother. Brave, scared, empathetic, sympathetic, bold, curious, tough, innovative, polite, heart on his sleeve, hysterically funny - all wrapped in his huge smile of understanding.
He made everything sound better just walking in the room, because everyone just felt better!
We are all in shock. There is a big empty broken heart in our community of "studio rats".
We love Eddie. Forever.
You were fortunate to get to know him. Bob. Good for you.
Best always - Niko Bolas
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I am so terribly sad to hear of the death of Ed Cherney.
I saw your headline tonight and thought Ed had done a podcast.
I had no idea he was sick.
I saw Ed around L.A. studios for many years and he was always super friendly and talkative.
Ed had gravitas. He worked with the best of the best. He stood for quality.
His work with Don Was was legendary.
"I Can't make You Love Me" is one of the greatest records of all time.
I saw him a few months ago driving out of Village…
Wow.
Rick Nowels
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You pretty much nailed who Ed was. I didn't know him as closely as you seem to have, but in my limited dealings with him (a Live DVD "Wolftrap") that he engineered for us I got to know Ed the person. He was not only a consummate professional, he treated you like a friend and would help get the mix where you wanted while hanging out and just being a pleasure to be around.
I saw him occasionally at the Village when we did some vocals on World Gone Crazy. It was as though no time had elapsed since sitting in that sound truck six years before and he had the gift of making your presence matter and you felt the same about him.
I've known a few people he worked with and I think every one of them would agree. Not only was he a great engineer/producer, he was a great guy.
Gonna miss him.
Tom Johnston
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Hey Bob
Thanks for your kind words about our fearless leader Eddie
He obviously made an impression on you
Its hard to imagine a world without him in it
I am sure your in box is gonna blow up with an incredible out pouring of love for him
He was revered by us all
Ed had that special gift where no matter what, whenever you spent time with him,
you left feeling better about yourself and life
That gift is a lesson we all should carry forward
He was an incredible music maker but even more importantly
he was an incredible human being
Kind, honest, funny and compassionate
Hail Ed Cherney
with love and respect
Ross Hogarth
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We all got dealt a bad hand yesterday. As I saw music trades light up with the sad news that Ed had passed, social media blew up from every which way on the stories of Ed Cherney and his kind and loving way. Blues, classic rock, country, soul, pop, it was all passion and heart that made him so special. He was a humble Teddy Bear who had a gentleness about his voice and how he touched people. There was nothing I loved more than coming to the Village and hanging with Ed. I just sat and watched a master at his craft and we would talk music and artists. He was so human and real, no pretense just a humble guy who loved finding the right mix for the music and song. He loved his wife Rose, he loved his home in Venice where he was like an honorary mayor, he loved his dogs, he loved the ocean and his boat. We dreamed of chartering boats, so he got his Captain's license. He loved golf, he loved travel, he loved to entertain, and he loved people. We cried together on the phone 3 weeks ago, he knew life was drawing short but it just didn't seem real. Another good guy bites the dust way too soon and I only pray that he realizes how great an impact he had on so many people and the way we hear the music he touched! I had great respect for his talent, but I loved the Man. RIP Ed, Tom Ross
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Bob,
Thanks for sharing your story about everyone's friend, Ed Cherney. He was a gentle giant, generous with his knowledge and smiles. He was super-confident, expertly competent, yet soberly humble. A friend to all, he went the extra mile to passionately pursue expanded rights for content creators and took leadership roles to guide the way for future generations. All the while, he partnered in one of the deepest romances. Huge shoes to fill, he will be deeply, deeply missed.
I first met Ed while we were both working for Bob Seger. He was recording/mixing at A&M and I was doing the same at Conway. Bob would bounce back and forth between studios. Ed and I would compare notes, commiserate during rough spots, and quickly became friends.
He introduced me to the Audio-Technica 4060 tube microphone, which he had opted to use on Bob's vocals over the previous favorite, the Neumann 47fet. He turned me on to the fine folks at A-T (Roxanne Ricks, Gary Boss, Michael Edwards), which started a long relationship.
Whenever I saw him years later, he was always warm and generous, asking how I was doing. We would tag team again on the movie project for Cj Vanston, "A Mighty Wind". I to work with Bob Seger while Ed went on to work with The Rolling Stones and beyond. Bob would pull a song out of the vault that was never released that Ed had tracked and we'd work on it. It was always a pleasure to push up the faders and mix his tracks.
But I'm sure his greatest accomplishment in the industry was winning the heart of everyone's sweetheart, Rose Mann-Cherney. Rose ran Conway Studios and later the Record Plant and is a giant in the industry, in her own right. Their love affair played out on Facebook for all to see and recently clicked off some 30 years together... no minor fete in this industry.
My heart goes out to Rose and everyone who had the pleasure of being in the glow of Ed's big smile. I will miss his hugs, his leadership, and his friendship.
-David Cole
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Bob...I was totally devastated to hear about Ed. I had not had contact with him in quite a while, and didn't even know he was ill. I'm still in shock. I've worked with Ed with the Stones and numerous other projects, including that he graciously agreed to mix my "Back To The Woods: A Tribute to the Pioneers of Blues Piano" record. Ed had the best set of ears of anyone I've worked with. He could hear around corners. We spent many hours together talking about music, recording techniques, and just life in general. He was such a joyous soul, so fun to be with, had that great smile and wonderful laugh. And as we know, he was the Best of the Best at his trade. It's hard to think that I can't call him up and hear his voice and just talk. My love and good vibes go to his sweet and beautiful wife, Rose, whom he spoke of often...always in grateful and glowing terms.
Thank you, Ed...for your amazing talent, the incredible body of work you have amassed, and above all, for your friendship and just for being you. RIP, my Brother
Chuck Leavell
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Bob,
I met Ed Cherney by chance in a line to see a gig at SXSW. We instantly got along and we ending up spending a very late night together just sharing stories, drinking and eating.. It's always refreshing to meet people in this business who are not about bullshit and will speak honestly and Ed was definitely one of those guys.
It was heartbreaking to hear the sad news of his death, another one of the good guys gone, and more importantly a very special man.
To say ED was kind, humble, funny would not do him justice, he was one of those great people that if you are lucky, you get to meet in this lifetime. On top of that of course, Ed was an audio legend and had all the stories to go along with the records he made!
I texted Ed recently and although he told me about his illness, he was still upbeat and positive and making jokes, as Ed would. The last thing he said was 'Love you' and then 4 weeks later he was gone.
I was lucky enough to mix two of the last records that Ed recorded. One was for Jeff Goldblum, the other for Luciana Souza (the female jazz artist married to Larry Klein) Of course both of the sessions he sent were beautifully recorded and it was a joy to mix them. You don't get too many people these days who know how to record things that well, he made my job easy!
While serving as Trustees for the Academy, as you would expect, the meetings can be long but with Ed in the room, things were always brighter, he took the sting out of the long days and afterwards we would head to the bar to sit and exchange war stories.
I am grateful for all the good time we spent together, all the stories he told me, and all the advice he gave me. He really was the best of us.
I miss him so much already.
Thanks for everything Eddie.
Tim Palmer
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Very sad to hear of Ed's passing.
Just writing to commiserate.
I knew Ed from a long time ago when I worked at The Hit Factory.
I assisted him on some projects. He loved to chill in the control Room with a joint and get into the background detail of the mix, which I never saw anyone do. We were working on a Neve VR. He would de assign the instruments from the 2 mix and listen to all the effects, all the stuff that was riding in the background and not featured, then make that sound cooler on it's own, then add it back to the mix. It was magical.
This was in 89 or 90. I saw him a few more times many years later, and he always had that cool smile. Acted like he remembered, but he didn't. But that was cool.
When I was working at Record Plant as an engineer mixer, I met Rose, and she was so great to chat with. After I told her I knew Ed from way back etc, she invited me to go on a cruise on their boat with Ed on a day off. It was really special. Was like re connecting with an old friend.
He was just as slick as a captain as he was a mixer. When we returned to port, we were in the middle of a convo, he lets go of the wheel, kills the engines, and keeps talking to me, and I'm looking around watching us glide perfectly into the slip and gently come to a perfect stop like it was nothing. I asked, how the F did you do that?? He just smiled that smile.
They were both so generous when I was at Record Plant.
A handful of years ago I saw him at an AES show, we talked, he looked like he remembered, but could tell he didn't really, so I asked. He apologized and said something like "look, I'm on all kinds of meds."
We went out for a drink and I re told him the old stories. Such a talent, and warm soul. He will be missed. My sympathies/condolences to Rose and all of their family and friends.
Paul Logus
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Thanks for the great words about Ed. I think so many of us are trying to make sense of his passing right now. Many (most?) of those giving tributes on my Facebook feed - myself included - weren't aware of Ed's health challenges, so it was all a shock to so many of us. When I awoke yesterday morning and saw Rose's post, I was simply dumbstruck. Like, literally stopped in my tracks; I had to lean back on my couch, take a deep breath and try to come to grips with what I was reading.
You're going to get many responses to your loving email, because, like you, we ALL loved Ed Cherney. You meet people in this business, they come and they go, but Ed…he was like your best friend whenever you saw him. I mean, he was JUST THAT GUY that you instantly felt kinship with, no matter if you're Keef (who tweeted yesterday about Ed's passing) or just a runner at the studio.
Ed's passing has hit me in a "what the fuck is life all about anyway?" kind of way. I mean, he was 69, for God's sake. WTF? Life can be just so darn random. Hard to make sense of it.
Ed was JUST THAT GUY. I know this one is going to leave a mark on so many of us. And for a long, long time.
John Van Nest
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Thank you for honoring Ed. For many years, I had the opportunity to work with Ed and his band of studio wizard pals (The META Alliance as they were officially known: Ed, Frank Filipetti, Al Schmidt, Elliot "ELS" Scheiner and of course Phil Ramone). Ed was Grammy/Recording Academy royalty, but he presented himself as "one of the guys", complete with a hearty laugh and no BS approach to all projects and conversations. Like the artists he worked with, Ed was magical and bigger than life. If I recall correctly, the sign above his studio door read "STFU" or something like that. That's appropriate, as Ed just let the music do the talking. Miss ya dude. RIP
-Greg Pedersen
__________________________________
Ed and I became friends back in 1994 when I was working for A&M and he had just finished working on the Jann Arden project "Time For Mercy". We bonded over many conversations about our love for Bonnie Raitt and continued our friendship over long distance for over 25 years. He would say to me "Listen to music with your heart not your ears" and I took his advice to heart in every project I worked on going forward. His passion for getting it right was unrivaled and he knew how to dig down deep and get the best performance possible from anyone he worked with.
When I came out of retirement to work with an artist who I thought was absolutely fantastic back in 2016,the first person I contacted and asked their opinion was Ed. I sent him her music and within a week I had an e mail from him telling me he thought she was wonderful and a once in a lifetime find and was happy that I had found her. He also said when the time was right I could call on him to be there. I had spoken to him about a month ago and let him know that she was going in the studio again with a very cool concept and he said to make sure that when I came out there in January for NAMM to make sure we had some time together as he was excited to hear her new stuff in a studio setting.
When I was driving back from Nashville to Atlanta yesterday I got a text telling me of his passing and I just had to pull to the side of the road and let the tears flow. You meet so many people in this business. It is so very rare that you meet someone like Ed that totally captures your attention and admiration because they are REAL. Ed was the real deal. WYSIWYG. I am a much better human being because I knew him. Rest In Peace Ed, you will never be forgotten.
Al Marks
__________________________________
Dear Bob,
We were lucky enough to have the honour of working with Ed in Studio D of the Village. What a big heart, almost couldn't fit in the room with a heart so big. He was real, down to earth, had this huge smile... and although we were a little nervous when Paul Broucek took us in to record with him, he just made it so... easy, such fun.
He got this sound out of Matt Chamberlain's kit that was crisp and snappy but had depth like nothing else I've ever heard; he got the music.
My favourite moment was where he came into Stevie's booth in D and asked me to play the Martin acoustic... he came right up to me, bent over, tilted his head around, went and crouched behind my chair, moving round the room whilst I was playing. I remember wondering what he was doing, if he was gonna say the guitar needed new strings, or a setup, but actually he was just figuring out where to place the mics.
Ed was amazing because he had the stories, the experience and wisdom of a genuine legend and he will always be in our hearts. He was legit, the real deal and although I said it was an honour working with him, the honour was actually just getting to hang out and be in the room with him. He came along to some of our shows which we were over the moon about - and ended up mixing some tracks for our album; I think it might have been some of the last work he did on this earth before he went up to enjoy the epic 18 hole courses in the sky.
Your piece was very touching, Bob, thank you for sharing your memories of Ed, even if they are heartbreaking.
Stay well,
Max Luck, The Luck
__________________________________
My brother emailed you about our experience meeting and working with Ed earlier - I couldn't have said it any better although I wanted to add that Ed had a profound impact on me as a developing artist. He is obviously most known for his work with the greats but his encouragement and nurturing side of two musicians from the UK, far from home and just starting out came across the moment we met him. And last night as I shed some tears I realised THAT is what I hope to do in my life, more than anything. I want to show people I care, show people they are loved, help them be the best they can be and encourage them as much as I can, as Ed did. If I can give to people even half of what he gave to those around him, I'll be doing good! He was truly a legend and I feel so privileged to have spent some time with him... Among his nuggets of wisdom, there is one thing I think of every time I get on stage or in the recording booth; don't think. Let it all go and the performance will flow. Probably some of the best advice I've ever had.
Best wishes,
Esmay Luck, The Luck
__________________________________
Hey Bob,
I got to know Ed first when our band Idle Tears recorded up at Caribou Ranch in 1983. We were also from Chicago and immediately hit it off. You described him perfectly but left out how freekin hysterical he was. Quick, whip smart, ridiculously talented and always the most humble guy in the room. Seeing him behind the board while we would record always put us at ease. His mantra was to be "open, honest and giving" and he always was. Then we moved to LA in 85 and he recorded our record for MCA. Same deal. Ed was Ed. Open honest and giving. And hysterical. And that's where we met Rose. What a perfect match. Rose is the best.
Last time I saw him was in the early 90s after his huge hits. But still same ole Eddie.
Too weird to think he's gone. It's surreal.
Will always love you Eddie!
"OK pal"
God bless.
Tommy Crowley
__________________________________
In addition to Ed's undeniable charm, his compassion and empathy was always out front.
Not just for everyone he worked with, but for nearly everyone he met.
But it was his immense Talent as an engineer and mixer that put him in the very top tier.
Certainly, as you said Bob, since Bonnie's "Luck of the Draw."
On that record, the sounds Ed captured, and the balances he mixed, were perfect.
And contributed to making a great record even greater.
Which is what the very best engineers do.
I've known Ed since about '77 in the studios in Chicago.
We were both Asst. Engineers on Ohio Players records.
We both assisted Bruce Swedien in Chicago.
Ed followed Bruce out to LA and Quincy-world.
But it wasn't long before Ed himself was a true world-class Mixer.
He put in the work of course.
But he had the chops, and that's more rare than you'd think.
At Ed's level it was his Talent, his ear, his creativity, his smarts, and his heart, that made the difference.
A big difference.
That's the only way you get to work with Bonnie, Dylan, Jackson, Seger, Willie, Clapton, the Stones, and a million more.
Ed loved Engineering and Engineers.
And devoted tons of time to making the profession better.
A Great Mixer.
Who Cared.
Hank Neuberger
__________________________________
Beautiful tribute Bob. Ed was one of the last Audio Art angels. The reason why we jumped into this magic bus. The music his fingers and ears touched will still be playing in space stations long after we are all gone. RIP Edward.
Kenny Lee Lewis
__________________________________
Amen to all of it.
Mostly, when friends die, it takes me a while to metabolize the information; I get sad over time.
This time, with Ed, it was instantaneous. I heard his voice as clear as day, he was so present.
Peace, Love and Lots of Laughs, Eddie.
Greg Prestopino
__________________________________
like you and his family/friends, I'm feeling it...mostly 4 Rose.
Ed was her universe, her rock
He made us all feel good
Ed made it fun
he kept creating
making a difference
P&E wing, Met Alliance, Recording Industry Golf (benefiting 'A Place Called Home')...all his brainchildren
Ed worked w the stars but
He was our STAR
A beautiful life (though deeply missed) never dies.
Circle of Life
when my best friend died at 55 (#f***Cancer)
the chaplain said: it's her journey
lost my mom at 102 in August
doesn't matter how old our loved ones are
how long they live
we miss them when they're
Irreplaceable
Ed is
Thanks for the notes Bob
please take care,
Claris Sayadian-Dodge
__________________________________
I can't believe he's gone. Thank you for such a beautiful account of your friendship. He was this incredible light that came into our lives and made us all better just by being himself and being so present and engaged and putting that energy into the music he made as well. I've got tears running down my face reading your words. So meaningful.
Mindi Abair
__________________________________
This is so sad. I knew Ed and Rose separately before they got together. Then, completely by chance, we shared a duplex in Venice before Ed and Rose moved to the canals.
I heard the whole Bonnie Raitt album, a track at a time, through the ceiling when Ed came home from the studio every night, and did my own studio business with Rose talking from balcony to balcony. We were a music house for sure.
Everything you say here is true. Ed was (still very hard to say "was") a real talent and a warm, wonderful guy.
Rose...I dont even have words. She's a legend and my heart breaks for her even as I know she will keep the music coming...
My best wishes also to Don, and to all the rest of us sharing this loss.
As always, the music lives on.
Thank you Bob,
Bill Green
__________________________________
Bob,
This is such sad news.
I grew up with Eddie in Skokie, a suburb just north of Chicago. It was the 60's. There were kids living in every house for blocks-and-blocks. No empty nesters in our neighborhood.
He was four or five years older than me and my pals but we all looked up to him. Thought he was the coolest cat in the 'hood. If we were playing a game of choose-up football in the schoolyard across from his house, he'd join us, uninvited, as the "all-time quarterback" and teach us how to run different routes and pass patterns. And he had a solid arm! He was bigger than us so it was great that he only played quarterback for both teams and we didn't have to get blocked by him. And yes, he did smoke. I have a vivid picture in my mind of him in a worn out and tattered white sweatshirt with the sleeves cut off, throwing passes with a "fag" hanging out of his mouth. Funny how when you're young and impressionable, that's part of what made a kid a few years older seem cool!
He didn't like to lose, so being quarterback for both teams always assured him of a win. I remember once when he wanted a game to go into sudden death overtime. It was 4th down. He was so pissed when I dropped a perfect pass from him...."Goddammit Ricky Cooper! Catch the fuckin' ball!" Needless to say, the game was over.
I ran into Eddie several times on trips to LA....visiting labels, at shows, etc. His personality never changed in spite of his success. He still called me "Butterfingers." He always asked about people from back home and even went as far as calling me to ask for his boyhood next door neighbor, Barry's cell number when he heard that Barry had serious cancer. That made Barry's day!
I didn't know he was sick. Had I, I'd have reached out just to know laugh about the silly memories.
I only met Rose once, in passing at a restaurant in LA. Never got to know her. My heart goes out to her, his brother Chucky (a great photojournalist!) his sis, Lesley, the rest of the family and of course to his army of friends.
Thanks for your kind words, Bob.
RIP Eddie...
Coop
__________________________________
Oh damn. Ed was on an album we did early 90's with Don. A gentleman.
Berton Averre
__________________________________
Am not a big fan of writing commentary, but your words resonated with me.
Yesterday, the phone, email, etc. rang and beeped all too often with the news of Ed. At first i didn't;t believe what I was hearing, then it all to rapidly became reality.
Ed,
I will miss your smile
I will miss our occasional conversation at pro audio shows (we were both regulars - he was always a joy to be with)
I will miss your ideas, your vision, your tales, your dreams, your attention to details, your amazing ability to listen carefully
but I will not miss your music - it is here to stay
and
you holding hands with Rose will make all of us smile.
Bob, thanks for putting words on paper so that people like myself who are much better with drawings and shapes can stop for a moment; read and reflect.
I will now hit Bonnie on Tidal and keep smiling
John Storyk
__________________________________
What a beautiful tribute to your friend Ed Cherney. As an audio engineer myself; I have always loved Ed's work and have always looked to his mixes as a textbook for my mixing style.
I know that he won the Best Engineered Album Grammy for Bonnie's "Longing For Their Hearts." However, Ed's best mixes in my opinion are with Bonnie and Don. They were "Nick of Time" off of "Nick of Time" and "Not the Only One" off of "Luck of the Draw."
For me, those tracks are the quintessential West Coast AC sound of the late '80s to mid '90s that was heard all over FM AC radio. "The Road's My Middle Name" is a great blues mix of Ed's.
Even though I'm only 37, I do listen and collect vinyl. I am going to fire up my Pro-ject turntable and spin "Nick of Time." I will always be grateful for Ed Cherney's touch on a great album.
Thanks as always for a great newsletter and radio show.
Tommy Winder
__________________________________
Ed was a gentle soul.
A nice person . A good man. A great engineer. We were friends a very long time.
The last time I saw him was at a poker game at the Goldberg's in Laurel Canyon, not that long ago.
I will miss him.
Ron Stone
__________________________________
Probably his most overlooked masterpiece as a producer is "Insensitive", recorded by Jann Arden and written by Ann Loree in 1994. It's a special record.
Best,
Michael McCarty
__________________________________
Thanks, Bob, we lost a really wonderful guy,
Leanne Ungar
__________________________________
Ed Cherney was a such a bright light and gave so much of himself to the world.
I will miss his big smile and heart.
Angelia Bibbs-Sanders
__________________________________
Amen. Amen Amen.
Ed Cherney was the first engineer I worked with as a guitarist at The Village. He listened to me play for a few minutes, adjusted the mics and somehow got my acoustic guitar to sound sweet, warm, big yet still fit in the mix. He spoiled it for me. The next engineer on the next session made sure it was about "him" and who he had worked with, not getting the best sound of my guitar. The track suffered for it.
Years later I asked him to come to my project studio near the Baked Potato to help me set up and achieve the same sound so I could record on my schedule. I asked what gear to buy to have ready for him. He said "Don't buy anything! Let me come hear what you have." I guess he assumed I would know enough to have purchased some kind of entry level quality gear. Which were 2 AT 4060's and a Jensen preamp. He said, "those AT's are what I use! Frank Fillipetti too! And that Jensen is amazingly clean. You can record a concert piano, an orchestra or a choir. Your guitar and vocal with these three pieces of gear are enough." Then he set them up, adjusted the preamp levels, the interface level and created a template in Logic. He took pictures of the mics in the studio, the levels on the preamp, told me where to sit or stand to play and sing in relationship to the mics. My entire first album that got scrapped at Warners did not sound as good. He made it sound fucking amazing. So I offer to go to lunch and he takes me to a Mexican place nearby. He liked their guac. I thanked him for helping me and asked why he was being so nice to me? My experience in LA was ego based producers/engineers. He said, "I'm from Chicago!"
I have learned that actually means something. Years later I'm driving through Chicago to LA, I get lost in downtown Chicago. In the rain. I'm slowing down. The car behind me flashes the high beams and honks at me. I pull over, put my flashers on. The guy gets out of the car, knocks on my window. In the rain! I explain I'm lost and can't make sense of the exit signs. He says he'll be right back. He runs back to his car, brings back a map with a scribble on it. He explains the directions, and says he wrote down his wife's home number to call in case I get lost again, that he left his cell phone home. Like a personal AAA visit. I laugh and say, "People from Chicago ARE the nicest in the country!" He asks me who else I know from Chicago and when I say "Ed Cherney" he laughs and says, "I went to high-school with him, he's in LA now I think."
I told Ed this at NAMM over a taco with less than amazing guac. He laughed but then pushed a little and asked me where my new album was and when I explained the frustration of the industry, labels, sales, mp3s, that I started producing others instead to maybe help them learn from what I learned, he encouraged me. "You'll be a great producer because you're a songwriter who can sing. You know the beast. AND you know how to get the sounds now so you'll put ME out of work!" Which of course was not true. I would have given anything to have him engineer it. He was waiting to do a panel about recording where, as we walked up to the escalator, he was swarmed with fans like he was McCartney. Big smile. I was proud he enjoyed it. As we said goodbye while he ascended up the escalator he pointed at me and yelled, "Finish your album! And let ME mix it!"
At that panel he spoke about what was wrong with production and shitty songwriting and nonsingers being produced in the box by "producers" who had never set foot in a real studio. He said, "I can help you all fix all of these problems. But none of you are going to do it because you're all addicted." Everyone was waiting to hear the wise words, as if he had the name of a new microphone, or preamp, or plugin that would make every record sound like k.d. Lang's, or Bonnie Raitt's, and he said, "Ready?" The audience all looked on to hear the magic. He said, "turn off your fucking computer monitors and stop looking at wave files and plugins! Use your fucking ears!" It was hysterical. Because he had nailed it. "I can promise you I can tell the difference between a record mixed with ears instead of eyes, and then you play the volume wars and turn your shit up with a compressor to hide the problems in your mixes, that's why there's so much average content out now. You guys aren't doing your homework. Everyone can afford the gear and the software but that does not mean you know how to use it. Go to a concert of baroque music, go hear an opera at Disney Hall. Listen to music, not beats, not loops. Hire a drummer, bassist and guitarist. I promise you'll have content much better than loops based music that you do yourself."
And you're right about Luck of The Draw, Bob. My favorite is All At Once, about Bonnie's mom. Every instrument on that album has a place that fills your ears with perfection. Soulful. Magical. The playing. The singing. David Cambell's string arrangements. You can hear the room ambience on the drums, the acoustic guitars breathe, the electric guitars completely separate from Bonnie's slide, David Lasley and Arnold McCuller's BV's. All audible without trashing your ears. Perfection.
He was one of the ones you knew would always return a call, even if it was after a session at the end of the night on the way home in the car.
Tragic loss.
RIP Ed. Thank you for everything.
Michael
__________________________________
Ed mixed our sound in 1981-82 at Club Lingerie for a few bucks a night. Ever since then we kept in touch and seemed to find our way to working with him on different projects throughout the years including engineering and producing tracks for our records and he often used our horn section on many of the records he was working on including Bonnie Rait. Ed was always a great vibe, a sweet, warm, funny guy with a big smile.
I had a fantastic experience with him in Cuba in 1999. A fantastic bunch of great musicians, writers, producers and sound engineers went there on a musical Cultural exchange with the best Cuban musicians. We set up three recording studios in the Hotel Nacional in Havana and I was assigned to one along with Dennis Mays, Don Was and Ed Cherney. We recorded all these musicians, Cubans and Americans in foursomes after they finished collaborating on a song. On the last night we were there we all got to meet Castro one on one. I am sure there is a picture of Ed and Fidel somewhere. Ed was known as Edwardo on that trip and ever since then he was always Edwardo to me.
I am so sorry for his family and the loss that all of us who knew him are now feeling. This Sucks!
I'll always remember that big beautiful smile.
Andrew Kastner
(Jack Mack and the Heart Attack).
__________________________________
If you're lucky as a session drummer you'll occasionally get to work with an engineer and or producer on Ed's level. He just had it flowing through him, he got the music, he got the tones, he got the vibes, he'd get the take! One day I'm listening to a demo from the songwriter, acoustic guitar and vocal, and I mention to Ed, "hey man, can we get a 70's sound on the drums on this one? Ya know, like an Ohio Players record?" Ed starts taping towels to my toms and says, "oh yeah, I think we can do that," and walks back into the control room. His assistant looks at me and says, "Ed recorded Ohio Players."
Loved that guy.
RIP Ed.
Michael Urbano
__________________________________
Dear Bob,
We must meet someday and someplace but not yet today. You've moved me and I bet many others in the moment. You mention a few of the folks I ask for help and help me in this "whats left of biz".
I thank you for your candor and authenticity in writing about Ed. He was certainly an amazing person, engineer, husband - the whole deal.
I met Rose as a young 23 year old working at the old record plant on 3rd street with Ron Nevison. The place was buzzing with creativity! The bands, the creativity, the producers and the engineers. Many of which Rose Mann helped by giving them a job as an assistant. That's a long list.
But at this moment I'm simply happy to have been around it and to have worked with these amazing people, like Ed.
I call Ed and The MetAalliance Guys "the original seven." From Ed, to Chuck, to Elliot, to Bill, to Frank Filipetti, who I worked with a few times over the years, and onward, they're like The Gemini Astronauts they sat on the Rocket with guts and a talent not noticed at the time. To this day these killer engineers promote better engineered records They share their secrets and promote the art of engineering. They teach recording and the knowledge of how to all from the guys who paved the road for those who walked on the moon! They received recognition but I always felt it came later.
Thank you for sharing your story Bob, it's an easier time with your words to the original seven, and me.
I'd like to meet you sometime Bob. To hear your stories and share mine. I moved through the best decade plus of recording without making a fuss. I worked with amazing people without caring about anything other than those with the real talent, like Ed Cherney. We both know Kenny Aronoff, our good friend, may not be the Kenny he is today without Ed Cherney.
May you rest in calm waters and find a comfort zone Bob. You're a contributor and not a spectator and that is only a good thing. Keep contributing.
Be Well,
frankie sullivan
__________________________________
Ed was such a positive force. I was lucky to be able to serve as a trustee with him. Taught me a ton and always, always made me laugh. He commanded that room with his personality and skills. What a tremendous loss. We should all strive to be a bit more like Ed. I think that's how you honor good people when they pass.
Richard Stumpf
__________________________________
Ed and Rose are (2) of the coolest people I ever met. That damn "hot tub" at plant was insane. That's a Book in itself. I still have my original Plant sweat tops (black and grey) ...I still get a laugh thinking about it as I was coordinating sessions with Ja Rule and JLo and Ja running around no shirt all sweaty And the coolest book store right across the street
Ed was the man and Rose rocks
Chris Apostle
__________________________________
yes, YES! Everything you say it true. About Bonnie, "Luck of the Draw," Ed.
He had the heart, the talk, but especially the wonder about who that person next to him was.
He produced incredible acts, engineered albums for the ages, but he also made magic with tiny artists most missed.
I remember running into him on the outdoor patio at Sunset Grille in, maybe, 1990. Big Cheshire grin, blond hair flopping in that wavy way -- and we caught up.
He was producing this kid -- Kevin Montgomery -- for A&M. I knew him as publisher/songwriter Bob Montgomery's son (Doroth Moore's soul sad "Misty Blue" being the big hit). You'd've thought it was Jagger's solo album from his enthusiasm for the sessions, the joy in talking about the players.
"Red Blooded American Boy" is that flicker of innocence and desire, the urgency to get on with it, the pause of not quite knowing how. Kevin had a moment, then it faltered, though he's still making his own records, still undertaking small tours, still a big deal in the UK.
And that's the fire Ed knew how to light! Even in kids who should've known better -- and did.
Here's to the ones who make us more -- Just got back from the celebration of Phran Galante, and am feeling the throb of the holes + the warmth of the blessing knowing these folks truly is.
https://www.youtube.com/watch?v=45wYAsOVXMU
Holly Gleason
Nashville, TN
__________________________________
Thanks for your beautiful piece on Ed. He was truly a talent and gem of a person. Always there with a smile and a story. Frankly, I don't know anyone that didn't like and admire Ed. Having worked on a few Projects with him, I was always amazed how easy he made it seem. And, sitting with him for many years on the Los Angeles Chapter Grammy Board, his heart was always in the right place. He will truly be missed by many.
David A. Helfant
__________________________________
Yes Bob,
You don't get better than Ed.
Big heart,
Big voice,
Big time!
We passed each other a few times at shows and events and talked about gear and speakers. He always entered the conversation as if he understood everything you were talking about...and he probably did. But sufficed to say he always made you feel equal.
People often wonder how one gets to the top of the heap thinking it's all luck. Ed would say there is some luck, but he embodied all the other moments that crystallize success.;
Time, Talent, Attitude, Passion, Empathy, Desire, Respect and Energy.
You'll never get better than Ed.
God rest his soul forever...
Will Eggleston
__________________________________
I was a student in USC's music industry program about 15 years ago. One of my professors was close friends with Ed. He attended one of our classes and spoke about his experiences in the industry, including his time with Bonnie Raitt. I remember asking him a few questions about mixing in surround sound after class (this was around the time he was mixing the Rolling Stones, if memory serves me). He seemed genuinely interested in the students and their questions. For such a successful person, he seemed so down to earth and willing to share. I only had a moment of his time, but it made an impression on me. Every time I hear "I can't make you love me" I think of that day!
-Tristan Tucker
__________________________________
WHY WHY WHY?
Irving Azoff
__________________________________
Thank you Bob.
I've never seen more love, coming from everywhere then I've seen for Ed.
I'm crushed, I was in the room with Rose, Leslie his sister and their niece, Maggie when he took his last breath.
The 4 Kings of the legendary producer/engineers: Chuck Ainley, Al Schmitt, George Massenberg and Elliott Shiner came from all points in the US and Canada to share the vigil with Rose.
I'm heartbroken....
I have no language for this
Thanks for your sweet words
Jeff Greenberg
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Wednesday, 23 October 2019
Ed Cherney
"It's in the luck of the draw, baby
The natural law
Forget those movies you saw, little baby
It's in the luck of the draw"
I first met Ed at Mike Greene's house on June 5, 2010, I remember because it was the date of the Belmont Stakes, Ed wanted to know how I was doing with my leukemia.
Ed cared. He asked me every time I saw him.
And I complimented him on the sound of "Luck Of The Draw."
It's rare for an act to exceed their peak later in their career, but that's what Bonnie Raitt did. Her best LP was her second, 1972's "Give It Up," she never equaled it in her run at Warner Brothers. Then she jumped to Capitol and had a massive hit with "Nick Of Time." Ed engineered that. He partnered up with producer Don Was, they were a team, they even worked with the Rolling Stones. But despite the Grammys and radio success, the follow-up, 1991's "Luck Of The Draw," was even better. The tracks most people know are the singles, "Something To Talk About" and "I Can't Make You Love Me," but as good as they are, they're not the best cuts on the album. No, those are the "One Part Be My Lover" and the title cut.
"One part be my lover, one part go away"
That was my ex-wife. The story of Bonnie and her husband Michael O'Keefe resonated with me. My ex dreamed of staying married and living apart. But then she was gone.
But I resonated even more with "Luck Of The Draw."
"You turn around and say it's last orders
You fix the ribbon in your hair
Tomorrow's letter by the hall doorway
Could be the answer to your prayers"
I played this all through the nineties, you need hope, you need to hang on to make it, this was my anthem.
But every cut on "Luck Of The Draw" sounded stupendous, like "Not The Only One." And "Slow Ride." And "Come To Me." I used to fire up the album on the big rig and luxuriate in the sound. Right now I'm listening to it on Amazon Music HD, and you should too.
Now in these days after his death you'll learn that Ed not only worked with Bonnie and the Stones, but a who's who of acts from Clapton to Dylan to... He even did the sound for the Grammy telecast.
But the Grammys and the hits won't keep you warm at night.
Your personality and your friends will.
Unlike most engineers, too many people behind the board, Ed Cherney was not afraid to speak the truth. Well, at least not to me. It's rare that you connect with people in this world, that you can be friends, but I felt this resonance with Ed. He never self-promoted, he was always interested in me, he shot straight and we talked not only about music, but...
We went to Rio together last year. Ate dinners together. Everybody would be talking, but then it would just end up us two. I got Ed's whole life story, from starting in Chicago, after college, yes, Ed was a college graduate, to working with Bruce Swedien to Q to...
Ed married Rose, they couldn't have kids, but they had a large family, of studio rats, players, all those involved in the production of music.
At first it was supposed to be a clot, something from traveling too much.
But then they drained fifteen pounds of fluid from Ed's chest and he got scared. This was back in May, June. He wanted to die. I told him life was worth hanging on to. Irving and I worked to get him the best care. Ed stayed with his Cedars-Sinai team. They weren't sure what kind of cancer it was, two rounds of chemo didn't work, Ed just went to the City of Hope, but it was too late.
Maybe it was always too late. Like in that Bonnie Raitt song, Ed was not forever, he was just for today.
But now that day has passed.
Ed's mood brightened when he started on the anti-depressants. But then he got to the point where he couldn't work. It was going in the wrong direction, he was making peace with his destiny, but not really, he was only 69, he had so much left to do. He had his room at the Village, he and Jeff were buds, he was mixing, although he'd given up producing, he told me unless you write the songs there's no money in it anymore.
Now Ed did smoke. What effect that had I do not know. But if you're lucky, you'll live long enough to want to live longer, you'll start to get concerned about your health, at least you should be. Two shining examples are David Letterman and Bill Clinton. After their heart troubles both changed their diets and adhered to the rules, they want to live.
We were going to do a podcast. But Ed was never healthy enough between rounds of chemo. Now it's too late. I wanted to get his story down. Because Ed could tell it, he was not tongue-tied, he could speak.
So for the past few days I've been in a daze, moving in the wrong direction. I'm trying to metabolize Ed's death. I can't look at the pictures in the news stories, because I know that guy, I can't believe I'm never gonna talk to him again, get an e-mail, connect in text.
Ed made an impression on me.
And he made an impression on this world. It's not only "Luck Of The Draw," Ed worked on truly classic albums, that will stand the test of time. Hell, you may not even know his name, but you know his work.
"These things we do to keep the flame burnin'
And write our fire in the sky
Another day to see the wheel turnin'
Another avenue to try"
Ed hit the end of the road. But you have not. Ed wrote his fire in the sky, I know he would want you to write yours.
https://spoti.fi/32CTHYl
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
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--
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The natural law
Forget those movies you saw, little baby
It's in the luck of the draw"
I first met Ed at Mike Greene's house on June 5, 2010, I remember because it was the date of the Belmont Stakes, Ed wanted to know how I was doing with my leukemia.
Ed cared. He asked me every time I saw him.
And I complimented him on the sound of "Luck Of The Draw."
It's rare for an act to exceed their peak later in their career, but that's what Bonnie Raitt did. Her best LP was her second, 1972's "Give It Up," she never equaled it in her run at Warner Brothers. Then she jumped to Capitol and had a massive hit with "Nick Of Time." Ed engineered that. He partnered up with producer Don Was, they were a team, they even worked with the Rolling Stones. But despite the Grammys and radio success, the follow-up, 1991's "Luck Of The Draw," was even better. The tracks most people know are the singles, "Something To Talk About" and "I Can't Make You Love Me," but as good as they are, they're not the best cuts on the album. No, those are the "One Part Be My Lover" and the title cut.
"One part be my lover, one part go away"
That was my ex-wife. The story of Bonnie and her husband Michael O'Keefe resonated with me. My ex dreamed of staying married and living apart. But then she was gone.
But I resonated even more with "Luck Of The Draw."
"You turn around and say it's last orders
You fix the ribbon in your hair
Tomorrow's letter by the hall doorway
Could be the answer to your prayers"
I played this all through the nineties, you need hope, you need to hang on to make it, this was my anthem.
But every cut on "Luck Of The Draw" sounded stupendous, like "Not The Only One." And "Slow Ride." And "Come To Me." I used to fire up the album on the big rig and luxuriate in the sound. Right now I'm listening to it on Amazon Music HD, and you should too.
Now in these days after his death you'll learn that Ed not only worked with Bonnie and the Stones, but a who's who of acts from Clapton to Dylan to... He even did the sound for the Grammy telecast.
But the Grammys and the hits won't keep you warm at night.
Your personality and your friends will.
Unlike most engineers, too many people behind the board, Ed Cherney was not afraid to speak the truth. Well, at least not to me. It's rare that you connect with people in this world, that you can be friends, but I felt this resonance with Ed. He never self-promoted, he was always interested in me, he shot straight and we talked not only about music, but...
We went to Rio together last year. Ate dinners together. Everybody would be talking, but then it would just end up us two. I got Ed's whole life story, from starting in Chicago, after college, yes, Ed was a college graduate, to working with Bruce Swedien to Q to...
Ed married Rose, they couldn't have kids, but they had a large family, of studio rats, players, all those involved in the production of music.
At first it was supposed to be a clot, something from traveling too much.
But then they drained fifteen pounds of fluid from Ed's chest and he got scared. This was back in May, June. He wanted to die. I told him life was worth hanging on to. Irving and I worked to get him the best care. Ed stayed with his Cedars-Sinai team. They weren't sure what kind of cancer it was, two rounds of chemo didn't work, Ed just went to the City of Hope, but it was too late.
Maybe it was always too late. Like in that Bonnie Raitt song, Ed was not forever, he was just for today.
But now that day has passed.
Ed's mood brightened when he started on the anti-depressants. But then he got to the point where he couldn't work. It was going in the wrong direction, he was making peace with his destiny, but not really, he was only 69, he had so much left to do. He had his room at the Village, he and Jeff were buds, he was mixing, although he'd given up producing, he told me unless you write the songs there's no money in it anymore.
Now Ed did smoke. What effect that had I do not know. But if you're lucky, you'll live long enough to want to live longer, you'll start to get concerned about your health, at least you should be. Two shining examples are David Letterman and Bill Clinton. After their heart troubles both changed their diets and adhered to the rules, they want to live.
We were going to do a podcast. But Ed was never healthy enough between rounds of chemo. Now it's too late. I wanted to get his story down. Because Ed could tell it, he was not tongue-tied, he could speak.
So for the past few days I've been in a daze, moving in the wrong direction. I'm trying to metabolize Ed's death. I can't look at the pictures in the news stories, because I know that guy, I can't believe I'm never gonna talk to him again, get an e-mail, connect in text.
Ed made an impression on me.
And he made an impression on this world. It's not only "Luck Of The Draw," Ed worked on truly classic albums, that will stand the test of time. Hell, you may not even know his name, but you know his work.
"These things we do to keep the flame burnin'
And write our fire in the sky
Another day to see the wheel turnin'
Another avenue to try"
Ed hit the end of the road. But you have not. Ed wrote his fire in the sky, I know he would want you to write yours.
https://spoti.fi/32CTHYl
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
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--
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Tuesday, 22 October 2019
How You Listen To Music-SiriusXM This Week
Earbduds, headphones, stereo, bluetooth, wired, Sonos, separates…
Tune in today, Tuesday October 22nd, to Volume 106, 7 PM East, 4 PM West.
Phone #: 844-6-VOLUME, 844-686-5863
Twitter: @lefsetz or @siriusxmvolume/#lefsetzlive
Hear the episode live on SiriusXM VOLUME: siriusxm.us/HearLefsetzLive
If you miss the episode, you can hear it on demand on the SiriusXM app: siriusxm.us/LefsetzLive
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-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
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Tune in today, Tuesday October 22nd, to Volume 106, 7 PM East, 4 PM West.
Phone #: 844-6-VOLUME, 844-686-5863
Twitter: @lefsetz or @siriusxmvolume/#lefsetzlive
Hear the episode live on SiriusXM VOLUME: siriusxm.us/HearLefsetzLive
If you miss the episode, you can hear it on demand on the SiriusXM app: siriusxm.us/LefsetzLive
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Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
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Monday, 21 October 2019
Toto-Africa Live at The Met in Philly (10-20-19)
https://bit.ly/2W1u2pG
This is why you go to the show. For the joy of the performance, for the joy of being there as music enters your soul and transfixes and transforms you.
If you talk to Steve Lukather, and I do, you believe Toto is the most hated band in the world. I'm not sure that's true, as a matter of fact I know that's not true. Their crime was knowing how to play their instruments and having a mega-successful album that was played everywhere, "Toto IV." Mega-success will put a dent in your future career, cause a backlash, can you say Christopher Cross, can you say Alanis Morissette, even Peter Frampton? Even if you can follow up your huge hit work, people have moved on, there's always a new big thing, and a bunch of people who are over the last big thing and want nothing to do with it, and if your first track from your follow-up album doesn't immediately become monstrous, the only people who still care are your fans, who will keep you alive if you let them.
Now I'll be honest, I was not a huge fan of "Hold The Line," of the first album, maybe it was too generic, too in the mold of what had come before. Then again, I knew the players' histories, I'd seen Luke's name in the credits on so many albums.
But "Hydra"... I still listen to that album today. I heard "99" on an airplane, remember when we used to put on those headphones with their plastic yokes and listen to the programming as it repeated itself over and over again? I loved "99," after hearing it two or three times, I had to purchase the LP, Toto's second, "Hydra." Unlike "Hold The Line," "99" was not like anything else, the band now had its own sound, at least in my eyes.
And I became enamored of the two previous tracks on the LP, the opening "Hydra" and then "St. George and the Dragon."
"Can you tell me where I might find the Hydra
Is he wearing a familiar face
Does he still live below 7th Avenue
With the princess dripped in lace"
You know how lines repeat in your head, at odd moments, when you're not thinking of them? I'm constantly singing "Can you tell me where I might find the Hydra" whenever I think of Toto, and sometimes when I don't.
The third Toto LP was a commercial disappointment, and I didn't buy it, as for Toto IV," I didn't have to, it was all over the airwaves, especially "Rosanna," whose inspiration was an up and coming actress, constantly in the news, part of the scuttlebutt. Then again, it was not uncommon for rock stars to date actresses.
But the Toto album I like best is "Fahrenheit," which I found in a promo bin and played over and over again. Actually, the best song on the LP, my favorite song on the LP, the first side closer, is "I'll Be Over You," which Luke co-wrote with Randy Goodrum.
"As soon as my heart stops breakin'
Anticipating
As soon as forever is through
I'll be over you"
I didn't think Luke was that sensitive, but even if Goodrum helped, he is. And this song encapsulates the heartbreak of disconnecting, and the hope they'll come back, better than almost all of the vaunted hit cuts in this vein, it's here where Toto's chops really shine.
Now Luke and I bonded after I wrote about "Make Believe," which was on the fourth album, the one I didn't buy. I criticized the lyrics, but positively marveled at the sound and the feel, as out of date as so much from that era, yet so right. You might call it yacht rock, but the truth is the acts in that genre could sing, play and write, what's the problem? Is this like politics, where we let our uneducated and unskilled rule?
So Luke is scratching it out, the only continuous member of Toto, he's keeping the act alive. And then he and the band get a gift, Weezer's cover of "Africa."
This is their "Don't Stop Believin'" moment. You forget that Journey was chastised just like Toto in their heyday. But then the aforementioned song is used in the finale of "The Sopranos" and suddenly Journey is America's band, to the point where over a decade later, they can play stadiums (albeit co-headlining with Def Leppard).
Now it wasn't Rivers Cuomo who picked out "Africa," it was a fan who implored the band to do it over and over again to where, almost as a joke, Weezer covered it.
And it blew up.
Can I say why? Not definitively. Except to say all these years later, like the Carpenters, like so many chided bands of their era, people looked back and said the music Toto made was great.
And now "Africa" is not quite "Don't Stop Believin'," but it's close.
So, band members have died, come and gone, but Luke soldiers on, especially overseas, where Toto's career never waned, and...
He now wants a break from the act. Oh, don't get him wrong, Luke's got a huge number of projects, he's always working, but it's time to give Toto a bit of a rest.
I knew all this.
But I did not know David Paich would come out and sing at the final date, in Philly no less. I mean in L.A...
So I read about this surprise and I pull up the video and...
I can't turn it off.
Now usually you get a few seconds of the link and you move on, but on this one...
The groove was set, the band was movin' and then they locked into the riff and it was...AFRICA!
Not that it was my favorite cut back then, but if you were alive in the eighties, you know it, it's in your DNA, whether you like it or not.
And David Paich...that's the sound! And sure, all these years later, it's not perfect, but very little is, one thing's for sure, it's alive, it's present and so are you!
And when everybody steps up to the mic for the chorus, you feel the joy. And then the audience sings along at the top of their lungs and you just wish you were there.
And then the tinkly keyboard solo you know so well. But this take has more energy, it's more upbeat, it's a celebration!
And then, just when the song is fading, when you think it should be over, there's a percussion solo? I'm on another webpage at this point, I click back to the video and learn this is a twelve minute version! But instead of turning it off, I'm still in the arc of the groove, it's still there, underneath it all, after all, like classic Toto, Lenny Castro is a virtuoso, the kind who used to play sessions all day, who was too busy to go on the road back in the day.
And after about four minutes, Joseph Williams picks up the mic, goes into call and response with the audience, and Paich is dancing in his top hat like he's 25 instead of 65, and then the audience sings the groove and everybody's having a peak experience, no one cares what the critics have to say, this is the essence, this is it!
And then it all comes to a close and you're clapping as loudly as you can, in tribute to the band and yourself, and when it all goes quiet, you're completely drained and...
Can't wait until you can do it again.
--
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--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
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This is why you go to the show. For the joy of the performance, for the joy of being there as music enters your soul and transfixes and transforms you.
If you talk to Steve Lukather, and I do, you believe Toto is the most hated band in the world. I'm not sure that's true, as a matter of fact I know that's not true. Their crime was knowing how to play their instruments and having a mega-successful album that was played everywhere, "Toto IV." Mega-success will put a dent in your future career, cause a backlash, can you say Christopher Cross, can you say Alanis Morissette, even Peter Frampton? Even if you can follow up your huge hit work, people have moved on, there's always a new big thing, and a bunch of people who are over the last big thing and want nothing to do with it, and if your first track from your follow-up album doesn't immediately become monstrous, the only people who still care are your fans, who will keep you alive if you let them.
Now I'll be honest, I was not a huge fan of "Hold The Line," of the first album, maybe it was too generic, too in the mold of what had come before. Then again, I knew the players' histories, I'd seen Luke's name in the credits on so many albums.
But "Hydra"... I still listen to that album today. I heard "99" on an airplane, remember when we used to put on those headphones with their plastic yokes and listen to the programming as it repeated itself over and over again? I loved "99," after hearing it two or three times, I had to purchase the LP, Toto's second, "Hydra." Unlike "Hold The Line," "99" was not like anything else, the band now had its own sound, at least in my eyes.
And I became enamored of the two previous tracks on the LP, the opening "Hydra" and then "St. George and the Dragon."
"Can you tell me where I might find the Hydra
Is he wearing a familiar face
Does he still live below 7th Avenue
With the princess dripped in lace"
You know how lines repeat in your head, at odd moments, when you're not thinking of them? I'm constantly singing "Can you tell me where I might find the Hydra" whenever I think of Toto, and sometimes when I don't.
The third Toto LP was a commercial disappointment, and I didn't buy it, as for Toto IV," I didn't have to, it was all over the airwaves, especially "Rosanna," whose inspiration was an up and coming actress, constantly in the news, part of the scuttlebutt. Then again, it was not uncommon for rock stars to date actresses.
But the Toto album I like best is "Fahrenheit," which I found in a promo bin and played over and over again. Actually, the best song on the LP, my favorite song on the LP, the first side closer, is "I'll Be Over You," which Luke co-wrote with Randy Goodrum.
"As soon as my heart stops breakin'
Anticipating
As soon as forever is through
I'll be over you"
I didn't think Luke was that sensitive, but even if Goodrum helped, he is. And this song encapsulates the heartbreak of disconnecting, and the hope they'll come back, better than almost all of the vaunted hit cuts in this vein, it's here where Toto's chops really shine.
Now Luke and I bonded after I wrote about "Make Believe," which was on the fourth album, the one I didn't buy. I criticized the lyrics, but positively marveled at the sound and the feel, as out of date as so much from that era, yet so right. You might call it yacht rock, but the truth is the acts in that genre could sing, play and write, what's the problem? Is this like politics, where we let our uneducated and unskilled rule?
So Luke is scratching it out, the only continuous member of Toto, he's keeping the act alive. And then he and the band get a gift, Weezer's cover of "Africa."
This is their "Don't Stop Believin'" moment. You forget that Journey was chastised just like Toto in their heyday. But then the aforementioned song is used in the finale of "The Sopranos" and suddenly Journey is America's band, to the point where over a decade later, they can play stadiums (albeit co-headlining with Def Leppard).
Now it wasn't Rivers Cuomo who picked out "Africa," it was a fan who implored the band to do it over and over again to where, almost as a joke, Weezer covered it.
And it blew up.
Can I say why? Not definitively. Except to say all these years later, like the Carpenters, like so many chided bands of their era, people looked back and said the music Toto made was great.
And now "Africa" is not quite "Don't Stop Believin'," but it's close.
So, band members have died, come and gone, but Luke soldiers on, especially overseas, where Toto's career never waned, and...
He now wants a break from the act. Oh, don't get him wrong, Luke's got a huge number of projects, he's always working, but it's time to give Toto a bit of a rest.
I knew all this.
But I did not know David Paich would come out and sing at the final date, in Philly no less. I mean in L.A...
So I read about this surprise and I pull up the video and...
I can't turn it off.
Now usually you get a few seconds of the link and you move on, but on this one...
The groove was set, the band was movin' and then they locked into the riff and it was...AFRICA!
Not that it was my favorite cut back then, but if you were alive in the eighties, you know it, it's in your DNA, whether you like it or not.
And David Paich...that's the sound! And sure, all these years later, it's not perfect, but very little is, one thing's for sure, it's alive, it's present and so are you!
And when everybody steps up to the mic for the chorus, you feel the joy. And then the audience sings along at the top of their lungs and you just wish you were there.
And then the tinkly keyboard solo you know so well. But this take has more energy, it's more upbeat, it's a celebration!
And then, just when the song is fading, when you think it should be over, there's a percussion solo? I'm on another webpage at this point, I click back to the video and learn this is a twelve minute version! But instead of turning it off, I'm still in the arc of the groove, it's still there, underneath it all, after all, like classic Toto, Lenny Castro is a virtuoso, the kind who used to play sessions all day, who was too busy to go on the road back in the day.
And after about four minutes, Joseph Williams picks up the mic, goes into call and response with the audience, and Paich is dancing in his top hat like he's 25 instead of 65, and then the audience sings the groove and everybody's having a peak experience, no one cares what the critics have to say, this is the essence, this is it!
And then it all comes to a close and you're clapping as loudly as you can, in tribute to the band and yourself, and when it all goes quiet, you're completely drained and...
Can't wait until you can do it again.
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
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--
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David Byrne's American Utopia On Broadway
Is this the white "Homecoming"?
Yes, Beyonce stunned Coachella with a huge production featuring the ethos and activities of historically black colleges.
David Byrne stuns Broadway with a big production featuring the ethos of the Caucasian art school experience of the last century.
Now the Byrne story is not new, he's been trooping this show around the world for over a year now, hell, he even did it at Coachella.
Now Coachella is the dominant festival in the U.S., and it leads the summer festival circuit but...it has now switched generations, it has gone pop/hip-hop (of course with EDM, a constant, in the Sahara tent). The days of reuniting old rock bands that even most baby boomers don't care about are gone. Now it's all today, every day.
But David Byrne is positively yesterday. I remember going to KROQ's Almost Acoustic Christmas in 1992 and the girls in front of me wondering who this guy was on stage.
But Byrne kept pontificating and making music and art instead of becoming defeated and stopping, or going on tour as an oldies act. He's kinda like Robert Plant, but with a whole lot less attention. Yes, Byrne's a critic's darling, the "New York Times" and other sophisticated outlets keep featuring his words and reviews of his art, but it's been for an ever-dwindling audience until this.
While his contemporaries are going on the road in a final dash for cash, Byrne has reinvented what once was and is adding in new flavor to boot. Furthermore, unlike the music of yore, like the music today, the show is an experience, you cannot get it on wax, not even a streaming service, you have to be there!
But, for some reason they did not include Yondr sleeves at previous shows, so you can see what it's actually like.
Then again, Byrne isn't Springsteen. Byrne is cold whereas Springsteen is hot. Springsteen wants to shake your hand and get in your blood whereas Byrne wants to keep you at a distance, marveling. You could talk about your life if you met Bruce, about Asbury Park, guitars and cars, if you met David...you'd probably keep your distance, you appreciate his art, but you're not sure you've got anything in common.
Now Beyonce batted you over the head to convince you. She was about domination.
Byrne believes if he just does his act, you'll come closer, you'll have to see it, like a moth comes to a flame. It's like Byrne is inside a snow globe, and Beyonce is working out with you at the gym. They're both performances from their world, but they're very different.
Now if you go to Byrne's site and click to buy tickets, you'll be stunned that there seem to be ones available for nearly every show:
https://bit.ly/2N8q8ZQ
Then you click through and you see there are singles, not two together. Or just seats available here and there. This show is a success (although it's hard to make money on Broadway). Furthermore, tickets are reasonably priced, at least by Broadway standards. Sure, you can go on Saturday night and pay $329 to be up close and personal, but after the first ten rows the tickets on the side are all under $200, and to sit that close at the show of a baby boomer superstar in a typical venue, you'd probably pay even more.
But still, most people don't know.
Beyonce is one of the biggest stars in the world, she gets blanket coverage in all media. But David Byrne? It's slow, baby boomer word of mouth. Furthermore, people have to overcome their bias, believing they've seen it all before.
But they haven't. "American Utopia" is a great leap forward, kinda like "Stop Making Sense."
And this could be the only way to sell new music. If you're not in the Spotify Top 50, it's almost like you don't exist at all. People are overwhelmed, they won't even find you even if they're interested. But chances are they're not, interested in your new music, that is.
So you take it on the road, to where people can see it.
Word of mouth is gonna be incredible. As the shows play, the story will get bigger and bigger. This is the opposite of dropping it, hoovering up cash and moving on. This is about long term. Everything's about long term these days, even "new" stuff, how long did it take Lizzo to break?
But what is most fascinating about the Byrne show is the conception, as in how did he come up with this?
That's the essence of art. People think it's all about execution, but that is wrong. The Ramones were a concept, that pushed music in a whole new direction. Even better is the abstract impressionist painters, you say you could do that, but you didn't and couldn't come up with it!
Byrne's visual art background seeded this show. He's demonstrating his roots, where he comes from.
And that's just as important as where Beyonce comes from.
Then again, if you're white...
Oh, don't get me wrong, but with the self-cancellation of whites, with everybody talking about "white privilege," many don't want to acknowledge the breakthroughs of those not of color.
But this is one.
"I Zimbra": https://bit.ly/35WNaJZ
"Burning Down The House": https://bit.ly/2W065z6
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
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Yes, Beyonce stunned Coachella with a huge production featuring the ethos and activities of historically black colleges.
David Byrne stuns Broadway with a big production featuring the ethos of the Caucasian art school experience of the last century.
Now the Byrne story is not new, he's been trooping this show around the world for over a year now, hell, he even did it at Coachella.
Now Coachella is the dominant festival in the U.S., and it leads the summer festival circuit but...it has now switched generations, it has gone pop/hip-hop (of course with EDM, a constant, in the Sahara tent). The days of reuniting old rock bands that even most baby boomers don't care about are gone. Now it's all today, every day.
But David Byrne is positively yesterday. I remember going to KROQ's Almost Acoustic Christmas in 1992 and the girls in front of me wondering who this guy was on stage.
But Byrne kept pontificating and making music and art instead of becoming defeated and stopping, or going on tour as an oldies act. He's kinda like Robert Plant, but with a whole lot less attention. Yes, Byrne's a critic's darling, the "New York Times" and other sophisticated outlets keep featuring his words and reviews of his art, but it's been for an ever-dwindling audience until this.
While his contemporaries are going on the road in a final dash for cash, Byrne has reinvented what once was and is adding in new flavor to boot. Furthermore, unlike the music of yore, like the music today, the show is an experience, you cannot get it on wax, not even a streaming service, you have to be there!
But, for some reason they did not include Yondr sleeves at previous shows, so you can see what it's actually like.
Then again, Byrne isn't Springsteen. Byrne is cold whereas Springsteen is hot. Springsteen wants to shake your hand and get in your blood whereas Byrne wants to keep you at a distance, marveling. You could talk about your life if you met Bruce, about Asbury Park, guitars and cars, if you met David...you'd probably keep your distance, you appreciate his art, but you're not sure you've got anything in common.
Now Beyonce batted you over the head to convince you. She was about domination.
Byrne believes if he just does his act, you'll come closer, you'll have to see it, like a moth comes to a flame. It's like Byrne is inside a snow globe, and Beyonce is working out with you at the gym. They're both performances from their world, but they're very different.
Now if you go to Byrne's site and click to buy tickets, you'll be stunned that there seem to be ones available for nearly every show:
https://bit.ly/2N8q8ZQ
Then you click through and you see there are singles, not two together. Or just seats available here and there. This show is a success (although it's hard to make money on Broadway). Furthermore, tickets are reasonably priced, at least by Broadway standards. Sure, you can go on Saturday night and pay $329 to be up close and personal, but after the first ten rows the tickets on the side are all under $200, and to sit that close at the show of a baby boomer superstar in a typical venue, you'd probably pay even more.
But still, most people don't know.
Beyonce is one of the biggest stars in the world, she gets blanket coverage in all media. But David Byrne? It's slow, baby boomer word of mouth. Furthermore, people have to overcome their bias, believing they've seen it all before.
But they haven't. "American Utopia" is a great leap forward, kinda like "Stop Making Sense."
And this could be the only way to sell new music. If you're not in the Spotify Top 50, it's almost like you don't exist at all. People are overwhelmed, they won't even find you even if they're interested. But chances are they're not, interested in your new music, that is.
So you take it on the road, to where people can see it.
Word of mouth is gonna be incredible. As the shows play, the story will get bigger and bigger. This is the opposite of dropping it, hoovering up cash and moving on. This is about long term. Everything's about long term these days, even "new" stuff, how long did it take Lizzo to break?
But what is most fascinating about the Byrne show is the conception, as in how did he come up with this?
That's the essence of art. People think it's all about execution, but that is wrong. The Ramones were a concept, that pushed music in a whole new direction. Even better is the abstract impressionist painters, you say you could do that, but you didn't and couldn't come up with it!
Byrne's visual art background seeded this show. He's demonstrating his roots, where he comes from.
And that's just as important as where Beyonce comes from.
Then again, if you're white...
Oh, don't get me wrong, but with the self-cancellation of whites, with everybody talking about "white privilege," many don't want to acknowledge the breakthroughs of those not of color.
But this is one.
"I Zimbra": https://bit.ly/35WNaJZ
"Burning Down The House": https://bit.ly/2W065z6
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
http://www.twitter.com/lefsetz
--
If you would like to subscribe to the LefsetzLetter,
http://www.lefsetz.com/lists/?p=subscribe&id=1
If you do not want to receive any more LefsetzLetters, http://lefsetz.com/lists/?p=unsubscribe&uid=0eecea7b60b461717065cbde887c8e25
To change your email address http://lefsetz.com/lists/?p=preferences&uid=0eecea7b60b461717065cbde887c8e25
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