From: Joel Selvin
Subject: Re: Country Joe McDonald
Date: March 10, 2026 at 10:37:49?AM MDT
As Bill Graham once introduced them at Fillmore East, Country Joe and the Fish -- taking Berkeley with them wherever they go.
____________________________________
From: Marc Sedaka
Subject: Re: Neil Sedaka/Dad
Date: March 4, 2026 at 11:35:30?PM MST
I couldn't read the comments from the both of you and not weigh in. Those London years from '72-'74 were arguably the happiest of my father's life and undoubtedly his most creative. Solitaire and The Tra La Days Are Over remain the Sedaka family's favorite albums, and, till the day he died, Neil would refer to songs like "Trying to Say Goodbye", "Anywhere You're Gonna Be" and "For Peace and Love" as his hidden treasures. He revered you both and was forever grateful for your guidance and your contributions.
Elton - Thank you for saying that Neil should be in the Rock and Roll Hall of Fame. It truly is an injustice that he's not and I'm only sorry that he didn't live long enough to see it happen. I must also reference something from Bob's wonderful retrospective that bears clarification. Neil never wanted to leave Rocket Records, but rather allowed himself to be coerced by people close to him who thought they knew better. Yes, he had regrets. But only because he didn't listen to his heart and do what he knew was right. I don't know if he ever told you that, but he told me a lot. He loved you so much.
Thank you both for changing his world.
____________________________________
From: Alex Cooper
Subject: Re: The Wings Book
Date: February 5, 2026 at 7:24:49?AM MST
My lawyer in NY worked for Yoko. He said he only really understood how famous the Beatles were when he walked into a room with the President of the United States and Paul McCartney in it. The Secret Service agents were looking worried. He saw why. Nobody was talking to The President. They all wanted to talk to Paul.
____________________________________
From: Michael Moniz
Subject: Brett Guerwitz, Epitaph Records Founder Speaks About Spotify
Bob, I'm unsure if you're familiar with who Brett Gurewitz is founder of Epitaph records and legendary Los Angeles punk band Bad Religion. Listening to him on this recent podcast episode of the podcast Hardlore, I think you might want to listen and even propagate it to your readers because of his take on Spotify. It's pretty much right in line with you have been saying, and to hear it these days from a mid-level musician and indie label owner is really hard to find these days. It's a long episode, it covers the history of the band and the label, but you just have to listen at about the two hour mark for about 10 to 12 minutes where he discusses it.
"Brett Gurewitz: Bad Religion, Founding Epitaph Records, Early Punk/Hardcore & The Shift to Spotify": https://overcast.fm/+AA5US0ZH1Tg
____________________________________
From: John Van Nest
Subject: Re: Re-Paul Anka
Date: March 9, 2026 at 6:38:06?PM MDT
Hi Bob,
I recorded vocals for a project of Paul Anka's somewhere around the late 80's. During the sessions, which ran a few days, we talked about a lot of things; family, life, his career, etc. I found him to be wonderfully genuine and a truly engaging person.
On the last day, as he was leaving, I felt his hand slide into my pocket, and when I reached in, I pulled out a $100 bill he had given me. I explained that tipping wasn't really customary nor necessary for a recording engineer. He replied, "Buy something nice for that little daughter of yours."
I was always struck by that act of kindness and appreciation. I'll forever be a fan of the man and his art.
____________________________________
From: Dave Arbiter
Subject: Re: Mac McAnally At The Vilar
Date: February 21, 2026 at 5:27:22?AM MST
Loved this one!!
I've been living in one of those Jimmy Buffett 55 (and better) communities for 1-1/2 years now, in Daytona Beach. Mac plays our community once a year, and it's impossible to get a golf cart spot on those evenings!
I appreciate you comparing the Parrotheads to the Deadheads. It's not far off, except by scale. Plenty of both here.
Fins Up,
Dave Arbiter
Latitude Margaritaville
Daytona Beach, FL
____________________________________
From: Kevin Cronin
Subject: Re: Man On The Run
Date: March 2, 2026 at 12:40:26?PM MST
Hey Bob,
I came across Man on the Run the other night, and found it to be my favorite post-Beatles doc. I can't put my finger on why … and I don't really care. It simply worked for me.
On a strictly musical level, it's hard to beat the in-studio piece with Paul and Rick Ruben. And the three-part special on the drama leading up to the rooftop performance was great in its own way. But again, for my money, Man on the Run told the story best. … kc
____________________________________
From: Jim Willcox
Subject: Re: Calibration
Date: February 12, 2026 at 7:22:11?AM MST
Hi, Bob, thanks for the write-up on TV calibration. I can't tell you how many times I go to someone's house and they brag about their new, great TV, and all I see is that they have the brightness cranked too high, the image is over-sharpened, they have engaged a high level of motion smoothing, and the colors are boosted to where they look unnatural. We know many people never take their TVs out of the default settings, or won't pay for a true ISF calibration, so we started offering members the actual settings we use in our labs to get TVs as close as possible to our reference models. We also point out that consumers don't have to be afraid to play around with the individual settings; you can always easily return to the TV's default settings in the menu.
Glad this made a difference in the LG OLED TV you bought, a great choice.
The offer for a lab visit still stands when you're on the East Coast.
Best regards,
Jim
James K. Willcox
Senior Electronics Editor
Consumer Reports/Consumer Reports Online
____________________________________
From: Steven Marmalstein
Subject: Re: The Billy Preston Movie
Date: February 24, 2026 at 8:09:06?PM MST
Hi Bob,
In 1997, I was a segment producer on a TV special for ABC called "The Three Stooges Greatest Hits." It was a clip/variety show hosted by Martin Short and was seen by probably 26 people. We hired Little Richard to appear on the show and sing the accidental hit from 1984 called "The Curly Shuffle" by Jump in the Saddle.
After we handed Richard his 25 G's in a brown paper bag, we asked him if he wanted to check out the piano, the tuning and whatnot. He said, "I'm good, I have Billy coming in to play my parts for me. I'll just sing it after."
Ten minutes later, Billy Preston walks into the recording studio and sits at the piano. He tells the band to start and they play. He jumps in and plays his part perfectly. Does one more take, gets up and says hello to Richard. They hug and Richard then reaches into his bag, hands him some cash and Billy leaves. He's there for maybe ten minutes.
A few minutes later Richard says "Oh no! Billy was supposed to sing back up! I'll do it but I need some help. Can any of you boys carry a tune?" So me and another producer look at each other and say "yeah, sure" and volunteer for the gig. We grab a lyric sheet, walk into the studio and sing back-up WITH Little Richard! Okay so it wasn't Tutti Frutty, but wow!
Only in LA.
Here's the video, which we shot a few days later at the Alex Theater in Glendale.
You can hear us on the "Hey Moe's" in the bg.
"The Curly Shuffle" by Little Richard: https://www.youtube.com/watch?v=_uR92mdUILQ
____________________________________
From: David Macias
Subject: Great seeing you!
Date: February 2, 2026 at 3:51:47?PM PST
Hi Bob-
It was wonderful (as always) to see you at the Americana event the other night, and I enjoyed the conversation as well. I did want to clarify my thoughts about "the music" being regressive. It sounds like I am being critical of the music that is being made today, and that is not what I meant to say.
What I mean to say is that our algorithmically driven ecosystem tends to reward music that is stylistically similar to whatever the listener has been listening to, so how do new stylistic breakthroughs occur? If you only listen to Mozart, what chance will you ever have to hear Stravinsky, much less Schoenberg?
I'm interested in, and investing time and energy into thinking about how to build a world around music that would not be rewarded by the algorithm. If all we ever do is think about art through the framework of how algorithms will reward it, then our creative landscape becomes a self-referential closed loop. That feels creatively barren, and listeners will also tire from experiencing the same sonic textures and emotional cues, and will begin to tune out. We already see songs that reach the top of the radio charts and stream only 5m times on DSPs. It's because we're stuffed to the gills with the same formulaic tropes and that music fails to move anyone. I predict we're going to see more and more of this dynamic at play.
I also feel strongly that this is not the fault of the DSPs. They don't owe a platform to anyone. They use algorithms to do the same thing that McDonald's and Starbucks do. There is value in providing predictability to a consumer. People eat Big Macs because they're good, but also you know what a Big Mac is and you're not going to be surprised. Will you remember that meal years from now, unlike that Michelin starred restaurant you ate at on your vacation in Paris? No, but that doesn't make McDonald's bad people for offering you what they are offering you. DSPs get too much blame for things, and I don't want to make them the bad guys in this dynamic.
It's up to the music business to learn how to create worlds outside of algorithms, and the sooner that we learn to do this and team together to build communities collaboratively, then we're going to support a more creatively vibrant music ecosystem. When you asked me what I was excited about, I'm excited about thinking about and solving this problem.
Best-
David
____________________________________
From: Kenny Jacob
Subject: On bipolar and "triggers"
Date: January 27, 2026 at 2:47:36?AM PST
Bob —
I've lived with Bipolar 1 for over 50 years. One nuance worth clarifying in your excellent piece is the word "trigger." It doesn't mean cause. Bipolar is genetic; life circumstances are what activate it.
In my case, the lifestyle at Sound City studios when I worked there as a teenager — nights, chronic sleep deprivation, drugs, total disengagement from normal rhythm — flipped the switch. In my family, my father and his brother were triggered by war trauma. Different lives, same illness.
That's why origin stories matter. When people believe an external event created the illness, it feeds denial and delays treatment. Mania convinces you nothing is wrong — that everyone else is overreacting — which you describe very accurately.
Untreated mania doesn't just exaggerate personality; it can produce behavior unrecognizable to the stable self. I've done things I deeply regret, mostly to myself. When that happens publicly, at celebrity scale, the consequences don't reset with an apology. Trust takes years to rebuild.
Your writing here is unusually precise for someone who isn't bipolar. I only wanted to underline that understanding how the illness comes to life is key to preventing it from repeating.
Kenny Jacob
Biarritz, France
____________________________________
From: Martin Theander
Subject: Re: Kanye's Ad
Date: January 27, 2026 at 2:19:54?AM PST
Very spot on, Bob.
Once the medication works, you start thinking: "I'm fine really, obviously I don't need these pills".
Then it takes a while for those around you to understand that something's off, and when they do it's already too late.
So you crash, and if you're lucky you get help, you don't end it, with support you manage to climb back up.
But if you're the boss, most times you won't trust anyone to help you.
It's very lonely at the top.
Then it takes a good while before the medication is in tune again, and by that time…again you think you don't need it.
So it's an endless loop that's so hard to break out of, it can go on forever, each crash bringing you closer to the actual edge.
Anyone who manages to eventually accept and handle it, they're climbing Mount Everest.
We all have our stuff to deal with, but most of us don't climb Mount Everest.
Perhaps that's what he's done now.
Like you, I wish him good luck.
He'll need it, apart from the pills and the help and love from those around him.
____________________________________
From: Marty Bender
Subject: Re: Kanye's Ad
Date: January 26, 2026 at 8:25:46?PM PST
My brother suddenly developed bipolar disorder in his fifties.
It took a lot of trial and error, but he finally got on the right meds.
However---
In his manic phase, he felt as though he no longer needed the medication.
Stopping the medication then plunged him right into deep depression.
And down there, he convinced himself that he could not afford his prescription.
Even though he wanted to live...
There's only so much mental push and pull a human can take.
R.I.P. (with an emphasis on the peace)
Marty Bender
____________________________________
From: Jan Jankingston
Subject: Re: Kanye's Ad
Date: January 27, 2026 at 1:59:48?AM PST
Hi Bob,
I don't know about Kanye. But my dad had bipolar disorder. You are correct. When they are manic, they think they can do anything, and they don't want to stop that. And they do some amazing things when manic. He died by suicide when I was 13. He'd been suicidal for 10 years of my 13. I used to sit by his bedside and keep him awake after he took pills and drank, while my mom called around to find my brother to take him to the hospital. I don't know if there weren't ambulances or if the shame kept her from calling the ambulances. It was a long time ago.
I don't think I'd trust my Dad again. Even if he took out an ad. I'm sorry he was so sad. You are right though. There are consequences to those around the person.
You're right. It's an illness and hard to say if the person can keep a hold on it. It's tough.
I'll check out Kanye's ad.
J
____________________________________
From: Ben Dalby
Subject: Long term thanks
Date: January 23, 2026 at 9:00:30?AM PST
Dear Mr Lefsetz
Long term reader, I've gotten an awful lot from your writing over the years.
My favourite thing ever – standing on a rain swept platform at 6am in UK, waiting for a jammed commuter train to take me into central London. And opening your letter to read about some great sandwich you'd eaten in sunny California. It was a better glimpse into a better world .
Take care, sending you positive thoughts from cold and wet UK, goodness knows you get enough stick.
Ben
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Tuesday, 10 March 2026
Monday, 9 March 2026
Country Joe McDonald
1
I think the first time I heard "I-Feel-Like-I'm-Fixin'-to-Die" was on WBAI, the public radio station in New York.
You see underground FM radio was the internet of its day. Not that it was truly underground, the stations were all legal, but they were an alternative, they were subversive... Do not conflate the FM radio of the sixties with that of the seventies, when the playlist was tightened and...
Then again, Country Joe and The Fish had something to do with that. They were an indelible part of the Woodstock movie, and that flick changed the course of history.
Before that, rock music was a sideshow. But Woodstock woke up the industrialists, they saw all those people and they saw all that MONEY!
And that's what it became about. With the purchase of Warner and Elektra by Steve Ross, after the prior purchase of Atlantic. As for the consolidation today, with only three major label groups, back then new companies were popping up like flowers, there was money to be made, music SCALED! The costs of production were recouped quickly, and after that there was a ton of profit. The Warner music division paid for the Warner cable system. Movies got all the respect, and there were some great ones in the late sixties and into the seventies, but the true cultural action was all in music. And those films utilized music to set the tone, to root the action.
Now the first upheaval came from the U.K., the so-called "British Invasion." But after that came the San Francisco Sound.
But unlike the British Invasion, it was more than music, it was cultural. Sure, we had Carnaby Street in London, and there were fashions in the Haight, but there was also a mind-set. That life was about loving your brother, doing drugs and f*cking your brains out. And this was all done to a soundtrack of music, played by acts that didn't wear suits, that didn't even seem to care about the system, they were subversive.
Yes, Jefferson Airplane had hits, but Grace Slick was unpredictable. She was America's worst nightmare. She went to Finch with Tricia Nixon, but then she jumped the track. And she was not the only one. People came to San Francisco in droves, they wanted to be where it was at. Money? You could get by on the kindness of strangers. Or at least you believed you could. People were not going to work for the bank, they thought there was more in life than money. And many from that era still believe this is true.
2
Now you knew the names of the bands, but that did not mean you knew the music. Sure, the Airplane had successful singles, but the rest of the acts had nothing that could fit on AM playlists. It was all word of mouth. Until FM radio.
You knew if you were different, the credo was "question authority." This was no longer the fifties, where you cut your hair and flew straight. High school became bifurcated, like society. Football was seen as brutal and fascist. And the athletes had contempt for those who had contempt for them, and oftentimes they got physical about it.
But the script flipped with the war. By time we hit '66, '67...it was clear that Vietnam was an aberration. We'd heard for decades that America was all powerful, but we couldn't beat these lone rangers in ragged clothing.
Now if you were brain dead, you just supported the war. America, rah, rah! But for those who questioned the country's path, there was a whole ecosystem of culture on the other side of the fence.
Start with Kurt Vonnegut. After all, the Grateful Dead named their publishing company, "Ice Nine."
And there were the poets of San Francisco, not only Allen Ginsberg, but Lawrence Ferlinghetti and the City Lights bookstore and...
Off-Broadway was littered with anti-government work, like "MacBird." And "Hair" started at the Public Theatre in '67, it crossed over to Broadway the following year and became a phenomenon.
But music was the primary driver of the revolution. Music led the way. Music was all about freedom, something you could feel, and truth.
So when you heard "I-Feel-Like-I'm-Fixin'-to-Die"...
3
Actually, it was entitled "I-Feel-Like-I'm-Fixin'-to-Die Rag." And that was important. It hearkened back to the folk era of the early sixties, and there was no pretension that this was mainstream, for everybody, this was truth, with a sense of humor.
Now the world was smaller then. And there were fewer alternatives.
First you had to get a record deal, which was difficult to come by. But if you made a statement, if you rang the bell, there were people who were hungry for your music.
Now Country Joe and The Fish were on Vanguard Records, known primarily for classical music and some folk and jazz. Joan Baez recorded for Vanguard, but by time we hit '67, her heyday was over, not to return until "Diamonds and Rust" in the next decade. Most of the folk fans were gone, starting families, but some of their leaders remained...and they led the protests, whether it be Mario Savio in People's Park or Mark Rudd at Columbia or the Chicago Seven...
But really, the slate had been wiped clean. What did Jimi Hendrix say, "You'll never hear surf music again"?
These were not the denizens of the fifties...the hipsters, the thinkers, the kids who blew up the music business were younger, wet behind the ears, and they were all ears.
"Are You Experienced" came out in 1967. Actually, the Mothers of Invention's debut, "Freak Out!," came out in '66! But that was on Verve, which was not much better than Vanguard, and they were from Los Angeles and it took longer for Frank and his minions to gain traction. L.A. was seen as flash, but San Francisco had soul. And infrastructure for said soul. With the Avalon Ballroom and the Fillmore and Ken Kesey and his Merry Pranksters, with their Acid Tests.
So we were primed. We were paying attention to San Francisco.
And that's when I heard "I-Feel-Like-I'm-Fixin'-to-Die."
4
I had to buy the album, it was not like the song was in regular rotation on any radio station. Which now included multiple outlets on FM...WOR, WABC, WNEW...with AM jocks now speaking slowly in deep tones, like Scott Muni.
So I purchased the album, also called ""I-Feel-Like-I'm-Fixin'-to-Die."
So what I did, after breaking the shrinkwrap, after shutting the door to my room, was drop the needle and study the album cover.
And Country Joe was almost the most normal looking of the bunch. Barry Melton had his frizzy hair. David Cohen looked like a magician. And Chicken Hirsch? These were aliens, they didn't fit in anywhere in America, and they didn't care. They were just doing their thing.
The music was insight into another world, that of San Francisco.
And I couldn't get enough. Who could? Either you were on the bus or you were off.
This record was unlike anything I'd previously purchased. These were not tight singles made for radio play. Especially the second side. It was atmospheric, you either bought in or you didn't.
I did.
And that made me a member of the club. Because I was hip to Country Joe and The Fish.
5
Now when you had the album of a band and it became your favorite, you had to see them live.
It wasn't like today, there was nowhere else to be exposed. And it wasn't your motivation, but if you got on the bus early enough, you had bragging rights.
But I must say, my mother hipped me to the Country Joe and The Fish show at Woolsey Hall in New Haven on May 26, 1968.
Now you've got to know, my friends and I were only fifteen, we didn't have driver's licenses. Which meant...
We had to take the train. The New Haven Railroad, it got you there but it was dirty and scummy and...
The last ride back was at midnight.
Furthermore, it was Sunday night. But that didn't make a difference to my mother, when it came to culture, all limits were off. Truly..
So I went with two buddies and...
We had to walk from the train station to the hall and...at that point New Haven was dangerous, full of racial tension, most people would not even walk in this area at night.
But we got to Woolsey Hall and...
This was not the Heman's Hermits crowd, this was unlike any crowd I'd experienced previously. There was no rabidity, there was a lot of milling around, and there was marijuana in the air and...
There was an opening act, and then Country Joe and the band took the stage, started with "Rock and Soul Music," and then played for nearly an hour with no tunes recognizable to me. We were in New Haven, but they were in San Francisco. They were loose. And they left the stage saying they'd come back for a second set.
WHAT?
This was not fair!
We ultimately ran to the railroad station and made the train...and if you didn't, you had to stay in New Haven all night...but not before I bought a poster. You needed ownership, evidence of your fandom.
6
So I bought the follow-up, "Together," which was less out there, more traditional, but playable. I was a deep fan.
But that was the end. The album after that, "Here We Are Again," was substandard.
But I was still a fan of the band...it was more than the music, it was the attitude, the irony, the humor...THIS WAS THE COUNTERCULTURE!
And the counterculture had its moment in August 1969, when the general public was positively shocked that all those kids showed up at Woodstock. Today it's de rigueur, back then it was unfathomable.
But Country Joe didn't gain mainstream notoriety until the movie came out. With its "Give me an F!" cheer.
What's that spell?
A movement. And Country Joe was at the epicenter.
Not every market had an underground radio station. People may not have even heard of Country Joe and The Fish.
But now they had.
So you'd be places and someone would yell...GIVE ME AN F!
Yup, it was part of the culture, bedrock.
And then the band broke up and Country Joe put out solo albums and "Rolling Stone" wrote about them and he'd play solo here and there, but ultimately there was a long fade-out from public consciousness, until he died a few days back.
7
And that brings it all back. Not only Country Joe, but the sixties. We were optimistic, we felt we had power, we were testing limits, we were in control. And our leaders were musicians. Not selling perfume or tchotchkes...
That's the modern paradigm, become a brand and leverage it.
But Country Joe and The Fish were just a band. Making music. Sure, they wanted to get paid, but that was not the primary motivation...the experience was.
And we all joined in, wanted to be part of that experience too.
Now it's not like I ever forgot Country Joe, but I must say I always wondered what he was living on, how he made ends meet. You die young and all your problems are solved, live, and they pile up.
And he lived to 84. That's not a bad run.
But now he's in the rearview mirror, and either you were there or you were not.
And in the modern era, we find out the backstory that was unavailable in the pre-Internet era. His parents named him after Joseph Stalin. And he called himself "Country Joe" because Stalin used that moniker.
His parents were Communists. My grandfather was a member of the Workers Circle. He came from Russia, with nothing, he had a sense of equity and opportunity, two factors that are absent in today's society.
So it was a different time.
But what a time it was.
Music was not the background, it was positively foreground. If you wanted to know what was happening, what to think, you listened to FM radio. Musicians were gods, we listened to them opine. They were thinkers, they had something to say.
And Country Joe was right at the center of it.
To me he's a founding father.
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I think the first time I heard "I-Feel-Like-I'm-Fixin'-to-Die" was on WBAI, the public radio station in New York.
You see underground FM radio was the internet of its day. Not that it was truly underground, the stations were all legal, but they were an alternative, they were subversive... Do not conflate the FM radio of the sixties with that of the seventies, when the playlist was tightened and...
Then again, Country Joe and The Fish had something to do with that. They were an indelible part of the Woodstock movie, and that flick changed the course of history.
Before that, rock music was a sideshow. But Woodstock woke up the industrialists, they saw all those people and they saw all that MONEY!
And that's what it became about. With the purchase of Warner and Elektra by Steve Ross, after the prior purchase of Atlantic. As for the consolidation today, with only three major label groups, back then new companies were popping up like flowers, there was money to be made, music SCALED! The costs of production were recouped quickly, and after that there was a ton of profit. The Warner music division paid for the Warner cable system. Movies got all the respect, and there were some great ones in the late sixties and into the seventies, but the true cultural action was all in music. And those films utilized music to set the tone, to root the action.
Now the first upheaval came from the U.K., the so-called "British Invasion." But after that came the San Francisco Sound.
But unlike the British Invasion, it was more than music, it was cultural. Sure, we had Carnaby Street in London, and there were fashions in the Haight, but there was also a mind-set. That life was about loving your brother, doing drugs and f*cking your brains out. And this was all done to a soundtrack of music, played by acts that didn't wear suits, that didn't even seem to care about the system, they were subversive.
Yes, Jefferson Airplane had hits, but Grace Slick was unpredictable. She was America's worst nightmare. She went to Finch with Tricia Nixon, but then she jumped the track. And she was not the only one. People came to San Francisco in droves, they wanted to be where it was at. Money? You could get by on the kindness of strangers. Or at least you believed you could. People were not going to work for the bank, they thought there was more in life than money. And many from that era still believe this is true.
2
Now you knew the names of the bands, but that did not mean you knew the music. Sure, the Airplane had successful singles, but the rest of the acts had nothing that could fit on AM playlists. It was all word of mouth. Until FM radio.
You knew if you were different, the credo was "question authority." This was no longer the fifties, where you cut your hair and flew straight. High school became bifurcated, like society. Football was seen as brutal and fascist. And the athletes had contempt for those who had contempt for them, and oftentimes they got physical about it.
But the script flipped with the war. By time we hit '66, '67...it was clear that Vietnam was an aberration. We'd heard for decades that America was all powerful, but we couldn't beat these lone rangers in ragged clothing.
Now if you were brain dead, you just supported the war. America, rah, rah! But for those who questioned the country's path, there was a whole ecosystem of culture on the other side of the fence.
Start with Kurt Vonnegut. After all, the Grateful Dead named their publishing company, "Ice Nine."
And there were the poets of San Francisco, not only Allen Ginsberg, but Lawrence Ferlinghetti and the City Lights bookstore and...
Off-Broadway was littered with anti-government work, like "MacBird." And "Hair" started at the Public Theatre in '67, it crossed over to Broadway the following year and became a phenomenon.
But music was the primary driver of the revolution. Music led the way. Music was all about freedom, something you could feel, and truth.
So when you heard "I-Feel-Like-I'm-Fixin'-to-Die"...
3
Actually, it was entitled "I-Feel-Like-I'm-Fixin'-to-Die Rag." And that was important. It hearkened back to the folk era of the early sixties, and there was no pretension that this was mainstream, for everybody, this was truth, with a sense of humor.
Now the world was smaller then. And there were fewer alternatives.
First you had to get a record deal, which was difficult to come by. But if you made a statement, if you rang the bell, there were people who were hungry for your music.
Now Country Joe and The Fish were on Vanguard Records, known primarily for classical music and some folk and jazz. Joan Baez recorded for Vanguard, but by time we hit '67, her heyday was over, not to return until "Diamonds and Rust" in the next decade. Most of the folk fans were gone, starting families, but some of their leaders remained...and they led the protests, whether it be Mario Savio in People's Park or Mark Rudd at Columbia or the Chicago Seven...
But really, the slate had been wiped clean. What did Jimi Hendrix say, "You'll never hear surf music again"?
These were not the denizens of the fifties...the hipsters, the thinkers, the kids who blew up the music business were younger, wet behind the ears, and they were all ears.
"Are You Experienced" came out in 1967. Actually, the Mothers of Invention's debut, "Freak Out!," came out in '66! But that was on Verve, which was not much better than Vanguard, and they were from Los Angeles and it took longer for Frank and his minions to gain traction. L.A. was seen as flash, but San Francisco had soul. And infrastructure for said soul. With the Avalon Ballroom and the Fillmore and Ken Kesey and his Merry Pranksters, with their Acid Tests.
So we were primed. We were paying attention to San Francisco.
And that's when I heard "I-Feel-Like-I'm-Fixin'-to-Die."
4
I had to buy the album, it was not like the song was in regular rotation on any radio station. Which now included multiple outlets on FM...WOR, WABC, WNEW...with AM jocks now speaking slowly in deep tones, like Scott Muni.
So I purchased the album, also called ""I-Feel-Like-I'm-Fixin'-to-Die."
So what I did, after breaking the shrinkwrap, after shutting the door to my room, was drop the needle and study the album cover.
And Country Joe was almost the most normal looking of the bunch. Barry Melton had his frizzy hair. David Cohen looked like a magician. And Chicken Hirsch? These were aliens, they didn't fit in anywhere in America, and they didn't care. They were just doing their thing.
The music was insight into another world, that of San Francisco.
And I couldn't get enough. Who could? Either you were on the bus or you were off.
This record was unlike anything I'd previously purchased. These were not tight singles made for radio play. Especially the second side. It was atmospheric, you either bought in or you didn't.
I did.
And that made me a member of the club. Because I was hip to Country Joe and The Fish.
5
Now when you had the album of a band and it became your favorite, you had to see them live.
It wasn't like today, there was nowhere else to be exposed. And it wasn't your motivation, but if you got on the bus early enough, you had bragging rights.
But I must say, my mother hipped me to the Country Joe and The Fish show at Woolsey Hall in New Haven on May 26, 1968.
Now you've got to know, my friends and I were only fifteen, we didn't have driver's licenses. Which meant...
We had to take the train. The New Haven Railroad, it got you there but it was dirty and scummy and...
The last ride back was at midnight.
Furthermore, it was Sunday night. But that didn't make a difference to my mother, when it came to culture, all limits were off. Truly..
So I went with two buddies and...
We had to walk from the train station to the hall and...at that point New Haven was dangerous, full of racial tension, most people would not even walk in this area at night.
But we got to Woolsey Hall and...
This was not the Heman's Hermits crowd, this was unlike any crowd I'd experienced previously. There was no rabidity, there was a lot of milling around, and there was marijuana in the air and...
There was an opening act, and then Country Joe and the band took the stage, started with "Rock and Soul Music," and then played for nearly an hour with no tunes recognizable to me. We were in New Haven, but they were in San Francisco. They were loose. And they left the stage saying they'd come back for a second set.
WHAT?
This was not fair!
We ultimately ran to the railroad station and made the train...and if you didn't, you had to stay in New Haven all night...but not before I bought a poster. You needed ownership, evidence of your fandom.
6
So I bought the follow-up, "Together," which was less out there, more traditional, but playable. I was a deep fan.
But that was the end. The album after that, "Here We Are Again," was substandard.
But I was still a fan of the band...it was more than the music, it was the attitude, the irony, the humor...THIS WAS THE COUNTERCULTURE!
And the counterculture had its moment in August 1969, when the general public was positively shocked that all those kids showed up at Woodstock. Today it's de rigueur, back then it was unfathomable.
But Country Joe didn't gain mainstream notoriety until the movie came out. With its "Give me an F!" cheer.
What's that spell?
A movement. And Country Joe was at the epicenter.
Not every market had an underground radio station. People may not have even heard of Country Joe and The Fish.
But now they had.
So you'd be places and someone would yell...GIVE ME AN F!
Yup, it was part of the culture, bedrock.
And then the band broke up and Country Joe put out solo albums and "Rolling Stone" wrote about them and he'd play solo here and there, but ultimately there was a long fade-out from public consciousness, until he died a few days back.
7
And that brings it all back. Not only Country Joe, but the sixties. We were optimistic, we felt we had power, we were testing limits, we were in control. And our leaders were musicians. Not selling perfume or tchotchkes...
That's the modern paradigm, become a brand and leverage it.
But Country Joe and The Fish were just a band. Making music. Sure, they wanted to get paid, but that was not the primary motivation...the experience was.
And we all joined in, wanted to be part of that experience too.
Now it's not like I ever forgot Country Joe, but I must say I always wondered what he was living on, how he made ends meet. You die young and all your problems are solved, live, and they pile up.
And he lived to 84. That's not a bad run.
But now he's in the rearview mirror, and either you were there or you were not.
And in the modern era, we find out the backstory that was unavailable in the pre-Internet era. His parents named him after Joseph Stalin. And he called himself "Country Joe" because Stalin used that moniker.
His parents were Communists. My grandfather was a member of the Workers Circle. He came from Russia, with nothing, he had a sense of equity and opportunity, two factors that are absent in today's society.
So it was a different time.
But what a time it was.
Music was not the background, it was positively foreground. If you wanted to know what was happening, what to think, you listened to FM radio. Musicians were gods, we listened to them opine. They were thinkers, they had something to say.
And Country Joe was right at the center of it.
To me he's a founding father.
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Re-Paul Anka
From: Kevin Cronin
Paul Anka was a bit before my time, but of course I had heard of him. I'm not gonna lie, I saw him as a Rat Pack wanna be. I knew he was a writer, but the songs were not really my thing. Then I watched the documentary!
The first thing that got me was the sound of his voice. It was unique, almost Sting-like. At the age of sixteen, he had solid pitch and time. And a certain little quirk in his tone and phrasing that I had never noticed. The scene where he is sitting at the piano, figuring out the ubiquitous C, Am, F, G chord progression blew me away. I did that exact same thing when I was in high school. Those chords form the infrastructure of all pop songwriting … "Handy Man", "This Boy", "Rhythm of the Falling Rain" … the list goes on forever. "In Your Letter" from our Hi Infidelity album could have been written by Paul Anka. It's those same four chords.
And his pure desire and drive! He personifies the idea that to make it in music, you have to need it. Everybody wants to be a star. Everybody wants to write hits. But some people actually need it for their very survival. It is what they were put on Earth to do.
Anyway, once again I totally agree with you. Anyone who is in the entertainment business, or wants to be a professional entertainer needs to see this doc. I freaking loved it. … kc
_______________________________________
Your post is a masterclass on everything that's wrong with AI-generated music.
Craig Anderton
_______________________________________
I watched it last night. Brilliant!
Johnny couldn't screw Skitch Henderson………..UNTIL he got half the song and cowriting credit. Skitch who?
Mike Bone
_______________________________________
Couldn't agree more, Bob. Loved this biopic. As a former musician (cellist in Lighthouse and eventually a writer and associate professor of screenwriting), I've always been connected to music and film. I saw the Paul Anka film at the Toronto film festival a year and a half ago. What I left feeling was the significance of reinvention and how, in some ways, plastic surgery and externals aside, reinvention can actually be a spiritual act. So, for all the outward trappings, there is a spiritual underpinning to Anka's journey in that his actual Voice never wavers. Just so happens that his drive is as strong as his voice which doesn't hurt if you want to make money too.
When the Beatles came along his goose was cooked, even though he was an international teen Idol. But at that young and tender age he began to cultivate the art of reinvention. He learned to put his ego aside and pivot with his gift and remain on the path.
Howard Wiseman
_______________________________________
Hey Bob:
A few years back Paul Anka released a rock 'n' roll record and when I heard him interviewed by Steve Jones and they played Black Hole Sun, I had to call him and tell him how much I loved it. I've known Paul my whole life. My dad, Roy, and my godfather Norman worked with him as agents and managers from the 60s on. As a matter of fact, it was because of a tip from Paul that that they went and signed the Beatles to GAC and ended up booking their tours in the US. He is a true gentleman and icon. A couple of days later after the call, I received a package with DVDs of his interviews about the record and all the reviews. There's nobody like him. He is the most professional/CEO/ Star ever. He's also funny and immensely charming. A couple of years ago he was playing the Saban Theatre in Beverly Hills and the audience was comprised of every demographic, but they all had in common the knowledge of all the words to all his Brilliant songs and they were singing away. His daughters and sadly, deceased wife, are amazing people. He also has a son in law Jogi who is an 8 time Tour de France finisher. As you said he could teach people how to be a star. Any interview with him is a master class in superstardom, but also in the history of the entertainment business. Anybody on the road to success needs to ask what would Paul do?
Bill Gerber
_______________________________________
Interesting read Bob.
In the summer 2022 we brought Paul, in conjunction with Shuki Weiss ,to Israel.
One show at the Roman amphitheater in Caesaria. Another at the Sultan's pools in Jerusalem. Sold very well. Although he's no youngster, Paul is the quintessential old school master entertainer. He worked the crowd without effort or a hitch, was thoroughly professional to work with and has a crazy, resonant and booming voice that he uses without any effects for a 2 hour plus show. Again, he and his crew were a real pleasure you work which as most promoters will tell you -is not a a given with some artists. I look forward to watching the doc.
Hillel Wachs
2b Vibes Music
Tel Aviv - Jerusalem
_______________________________________
And, he discovered John Prine, managing him and getting him signed. For that alone he deserves love.
Bob Anthony
_______________________________________
Couldn't agree more. This is one of the best music documentaries I can remember having seen. And to add to what you've said, the guy is truly a lifer and destined to do this. He couldn't imagine doing anything else and doesn't want to stop. That level of dedication is rare and it should be celebrated. Lastly, he's not afraid to change with the times. You hear him talk about Justin Timberlake, and Drake and embracing TikTok where he's had his music trend. The guy is hip and in-tune with the culture too and he loves interacting with people. Truly a legend.
Richard Young
_______________________________________
Great perspective here. I came away from this documentary like a student reflecting on a lecture by a master. His ability to push forward, to pivot, to just show up. The harder he worked, the luckier he got. Imagine that.
Peter Barsocchini
_______________________________________
It's gotta be great. He's great. The bridge between the rat pack and Rock and Roll.
Saw him last year, the 75+ year old women love him!
Great songs great talent great stories.
C'mon Bob….he does it his way!
Av Miller
_______________________________________
Thanks for this wonderful letter about Paul Anka. He is the real deal and I have been consumed with his career, his Our Way podcast, his interviews and stories from now and back in the day! A Tour de Force and I'm so glad you wrote this lovely and loving letter in the midst of all the chaos right now.
What a pick me up! Thank you -
Best,
Sharon Wright
_______________________________________
Here's the early doc on Anka. They lifted some of it for a really crazy 60's movie called
"Privilege", that's about a state-sponsored rock star.
https://www.youtube.com/watch?v=yoN7WLZZx5E
https://www.youtube.com/watch?v=Bs4hDSvJvls
George Drakoulias
_______________________________________
Thank you so much for your recommendation of the Paul Anka documentary; an amazing life that is still contributing to this thing called Popular Music. Your words, along with those recently about Neil Sedaka, truly give an accurate taste of what we loved back then in addition to Elvis, Buddy, and Chuck.
Dennis Brent
_______________________________________
Bob I've done work for Paul Anka and he's someone. I wrote a lengthy bio for him in 2005 when he released his "Rock Swings" album of songs by Nirvana, Bon Jovi, and Oasis with updated arrangements. The album peaked at #2 on the Billboard Top Jazz Albums chart.
Paul was so pleased with the bio that he used it for years on his home site. After our interview he sent me by courier 3 packages. 1) A gold record of "Diana"; 2) A 24x11 photo of himself signed with remarks to me. 3) Large sheet music of "My Way" that his band used, with the dedication, "You and I Larry, we did it our way."
Over the years we have talked and met several times. I found that he has great recall memory, or exceptional recall. A subject we talked about at an event he would bring up the next time we met a year later and again a year or two afterwards. Not just recall the memory but adding to the conversation each time.
Along the way I learned how he and other '50s pop stars were influenced by the mainstream success of Bobby Darin. How he picked up James Brown's international music publishing. How he came to release albums in different languages in the '60s and tour the different international countries. Why he bought back his entire recording catalog in the early '70s, and then later sold it to Gordon Mills who managed Tom Jones and Engelbert Humperdinck.
Even 20 years after we met he still returns emails and answers his phone for me.
One of a kind.
Larry LeBlanc
_______________________________________
I saw him on Bill Maher a few weeks back and it's like he had just emerged from a cryonics capsule.
The guy's inability to age puts the late Dick Clark to shame.
Send Paul to NIH, figure out his genetic fountain of youth, and give it to us, asap.
It's cliche to call someone a Force of Nature, but does it ever fit here.
I'd love to know how much dough the Tonight Show theme made Anka over Johnny's 30-year reign.
—Emory Damron
Alexandria VA
_______________________________________
Bob nice day what a great article!!! You might remember me I started MLM an independent marketing company in the 70;s which turned out to be a very very successful venture our clients included Lionel Richie, Barbra Streisand, Dolly Parton, Billy Idol, Cher, Huey Lewis, Pointer Sisters, Al Stewart, Pretenders, Prince and Paul Anka, the list goes on….our focus was not so much radio as was rcord retailers …. Paul had just switched to Columbia Records and the album was doing very well in Europe but not much in the U.S I suggested that Paul do a tour of Europe and at that time perform live on tv stations. I'm not quite sure of the date I think it was1984. I mapped out a 30 day tour using Paris as our base and with 9 markets left at the end of the tour he asked me to be his manager, that's the part I played on this incredible tour…I told him thanks I'm flattered but I'm not the type…one of the amazing experiences was that we flew the Concorde from New York to Paris in 2 hours!! Paul was recognized wherever we went "palanka palanka" was the call ..we remained good friends for quite a while, thanks for bringing back some really good times …ciao, Macey Lipman
_______________________________________
From: Don Miggs
PA is a complete original. He's been family forever and when we finally got in a studio together you felt his magic. A turn of phrase, a lift in melody and every word mattered. That's what I was struck by. Up to that point (this is several years ago now) I was led more by gut than craft and sentence tense or a casual "but" or "and" wasn't something to belabor. PA made all of that matter.
We finished one write where he didn't dominate the room. He let it breathe and he took control when he had to but it was a true collaboration. As he's leaving he stops in the middle of the hallways, arms out a little like he was catching himself, eyes closed but seemingly looking up- I thought he was having a heart attack. I swear to God. I was a second from dialing 911. I'm sort of softly calling his name, ready for a fall, while simultaneously keeping a respectable distance and he starts to hum….
Some words, a melody starting to form. He opens his eyes like I stepped on a toe and darts to the piano and starts this thing about "Michelle" and as he's editing his thoughts in real-time he's also reminding me- AND HIM- to be careful because the Beatles already have a famous "Michelle" tune. This went on for several minutes with making little suggestions I'm about certain he heard but never really acknowledged. I was just lucky to bear witness. And then it stopped.
He got up and said "we should finish that sometime." And was gone.
He's a bundle of energy. He knows when the moment needs to be capitalized on and how to do it with an old-school flair you can't beat.
I have a few other stories with him that I cherish because he helped me feel "legitimate". A real superstar who let me in, just enough. Very thankful for that.
Thanks for the reminder.
https://miggs.com/
_______________________________________
I watched the Paul Anka documentary recently and read My Way a couple years ago. Both were Deja Vu moments for me.
Fifty one years ago I went to work for Irvin Feld after he acquired Ringling Brothers Circus. Irvin's business partner, Allen Bloom became my mentor and for 25 years we had a close personal and professional relationship. During this time I was privy to many great stories of the birth of rock and roll and Paul Anka years with Irvin, Izzy and Allen. Everything Paul says about loading up in a buss with all the other 50's musical stars is true. Super Shows (Irvin and Izzy's company) was the first Live Nation in that they toured acts nationally. Irvin was also Paul's manager at this time. He also managed a few other acts like Clyde McPhatter and the Drifters and Sister Rosetta Tharpe.
Allen used to add to the stories a few insider "extras" like the fact that there was one set of drums for the tour and the financial numbers for each tour stop. He had a small spiral notebook and it showed everything: who was on the bill, ticket gross, concessions, programs, expenses, net and how much was deposited in the bank or carried overland. Allen was the road manager for the early acts and was there the "day the music died" in Iowa with Buddy Holly and others. Allen was an incredible raconteur and an encyclopedia of 50's rock n roll history.
Allen told me a tidbit once that never made it into Paul's book or documentary but nevertheless is a bit of musical history. Paul evidently had a relationship with Annette Funicello while on tour and it ended to his disappointment. Paul lamented his broken heart story to Irvin to which he consoled and replied: "Paul, it's only Puppy Love, you will get over it."…... Which became the title to a hit song written by, of course, Paul Anka.
Irvin Feld was a genius. He was also mercurial to be around. You were either a superstar or worthless based on your performance. His mind for math and numbers was uncanny. One day not long after I went to work for Irvin he sent me to Baltimore to check in with Shirley Feld (his brother Israel's wife) at the box office. Shirley supervised Washington D.C. and Baltimore ticketing operations back in 70's. You always had to have the numbers handy if Irvin or Allen showed up unannounced (which they did often). Irvin walked up to me in the box office and wants the numbers for the weekend and I have them. He asked me a series of questions about sales trends (which I have) and remarks offhandedly that the gross was up 13.82 percent over the previous year. He thanks me and leaves to watch the first half of the show. Fixated on his percentage comment I get a calculator and run the numbers and it was exactly 13.82 percent as Irvin spontaneously calculated. He was amazing and knew everything about his business. Later that day he checked in to get the final number from the matinee and made an indelible comment to me: "Young man, If you treat my money like your money, we're going to get along just fine." I never forgot it for 45 years working for Irvin, Allen and later Kenneth Feld when he took leadership of the company."
Back to Paul, the whole shift from teen star to Vegas was Irvin and Paul repositioning his career towards away from teeny bopper to MOR. Once again amazing stories from decades of listening to Allen Bloom.
I am proud to have worked for Irvin Feld for 10 years before he passed unexpectedly of a brain aneurysm. He taught me so much about being tough but fair in business with his partners. His son Kenneth carried on this tradition and is universally respected in the industry. So many great memories.
Thanks for the post on Paul. While we never met I kinda know Paul Anka through the lens of Irvin and Allen and their history with him and the birth of rock and roll.
Bill Powell
_______________________________________
Thanks for the tip and will subscribe for a month just to watch it.
BUT... it will be tough to beat your interview with him, Bob, one of your best ever.
DG
Paul Anka was a bit before my time, but of course I had heard of him. I'm not gonna lie, I saw him as a Rat Pack wanna be. I knew he was a writer, but the songs were not really my thing. Then I watched the documentary!
The first thing that got me was the sound of his voice. It was unique, almost Sting-like. At the age of sixteen, he had solid pitch and time. And a certain little quirk in his tone and phrasing that I had never noticed. The scene where he is sitting at the piano, figuring out the ubiquitous C, Am, F, G chord progression blew me away. I did that exact same thing when I was in high school. Those chords form the infrastructure of all pop songwriting … "Handy Man", "This Boy", "Rhythm of the Falling Rain" … the list goes on forever. "In Your Letter" from our Hi Infidelity album could have been written by Paul Anka. It's those same four chords.
And his pure desire and drive! He personifies the idea that to make it in music, you have to need it. Everybody wants to be a star. Everybody wants to write hits. But some people actually need it for their very survival. It is what they were put on Earth to do.
Anyway, once again I totally agree with you. Anyone who is in the entertainment business, or wants to be a professional entertainer needs to see this doc. I freaking loved it. … kc
_______________________________________
Your post is a masterclass on everything that's wrong with AI-generated music.
Craig Anderton
_______________________________________
I watched it last night. Brilliant!
Johnny couldn't screw Skitch Henderson………..UNTIL he got half the song and cowriting credit. Skitch who?
Mike Bone
_______________________________________
Couldn't agree more, Bob. Loved this biopic. As a former musician (cellist in Lighthouse and eventually a writer and associate professor of screenwriting), I've always been connected to music and film. I saw the Paul Anka film at the Toronto film festival a year and a half ago. What I left feeling was the significance of reinvention and how, in some ways, plastic surgery and externals aside, reinvention can actually be a spiritual act. So, for all the outward trappings, there is a spiritual underpinning to Anka's journey in that his actual Voice never wavers. Just so happens that his drive is as strong as his voice which doesn't hurt if you want to make money too.
When the Beatles came along his goose was cooked, even though he was an international teen Idol. But at that young and tender age he began to cultivate the art of reinvention. He learned to put his ego aside and pivot with his gift and remain on the path.
Howard Wiseman
_______________________________________
Hey Bob:
A few years back Paul Anka released a rock 'n' roll record and when I heard him interviewed by Steve Jones and they played Black Hole Sun, I had to call him and tell him how much I loved it. I've known Paul my whole life. My dad, Roy, and my godfather Norman worked with him as agents and managers from the 60s on. As a matter of fact, it was because of a tip from Paul that that they went and signed the Beatles to GAC and ended up booking their tours in the US. He is a true gentleman and icon. A couple of days later after the call, I received a package with DVDs of his interviews about the record and all the reviews. There's nobody like him. He is the most professional/CEO/ Star ever. He's also funny and immensely charming. A couple of years ago he was playing the Saban Theatre in Beverly Hills and the audience was comprised of every demographic, but they all had in common the knowledge of all the words to all his Brilliant songs and they were singing away. His daughters and sadly, deceased wife, are amazing people. He also has a son in law Jogi who is an 8 time Tour de France finisher. As you said he could teach people how to be a star. Any interview with him is a master class in superstardom, but also in the history of the entertainment business. Anybody on the road to success needs to ask what would Paul do?
Bill Gerber
_______________________________________
Interesting read Bob.
In the summer 2022 we brought Paul, in conjunction with Shuki Weiss ,to Israel.
One show at the Roman amphitheater in Caesaria. Another at the Sultan's pools in Jerusalem. Sold very well. Although he's no youngster, Paul is the quintessential old school master entertainer. He worked the crowd without effort or a hitch, was thoroughly professional to work with and has a crazy, resonant and booming voice that he uses without any effects for a 2 hour plus show. Again, he and his crew were a real pleasure you work which as most promoters will tell you -is not a a given with some artists. I look forward to watching the doc.
Hillel Wachs
2b Vibes Music
Tel Aviv - Jerusalem
_______________________________________
And, he discovered John Prine, managing him and getting him signed. For that alone he deserves love.
Bob Anthony
_______________________________________
Couldn't agree more. This is one of the best music documentaries I can remember having seen. And to add to what you've said, the guy is truly a lifer and destined to do this. He couldn't imagine doing anything else and doesn't want to stop. That level of dedication is rare and it should be celebrated. Lastly, he's not afraid to change with the times. You hear him talk about Justin Timberlake, and Drake and embracing TikTok where he's had his music trend. The guy is hip and in-tune with the culture too and he loves interacting with people. Truly a legend.
Richard Young
_______________________________________
Great perspective here. I came away from this documentary like a student reflecting on a lecture by a master. His ability to push forward, to pivot, to just show up. The harder he worked, the luckier he got. Imagine that.
Peter Barsocchini
_______________________________________
It's gotta be great. He's great. The bridge between the rat pack and Rock and Roll.
Saw him last year, the 75+ year old women love him!
Great songs great talent great stories.
C'mon Bob….he does it his way!
Av Miller
_______________________________________
Thanks for this wonderful letter about Paul Anka. He is the real deal and I have been consumed with his career, his Our Way podcast, his interviews and stories from now and back in the day! A Tour de Force and I'm so glad you wrote this lovely and loving letter in the midst of all the chaos right now.
What a pick me up! Thank you -
Best,
Sharon Wright
_______________________________________
Here's the early doc on Anka. They lifted some of it for a really crazy 60's movie called
"Privilege", that's about a state-sponsored rock star.
https://www.youtube.com/watch?v=yoN7WLZZx5E
https://www.youtube.com/watch?v=Bs4hDSvJvls
George Drakoulias
_______________________________________
Thank you so much for your recommendation of the Paul Anka documentary; an amazing life that is still contributing to this thing called Popular Music. Your words, along with those recently about Neil Sedaka, truly give an accurate taste of what we loved back then in addition to Elvis, Buddy, and Chuck.
Dennis Brent
_______________________________________
Bob I've done work for Paul Anka and he's someone. I wrote a lengthy bio for him in 2005 when he released his "Rock Swings" album of songs by Nirvana, Bon Jovi, and Oasis with updated arrangements. The album peaked at #2 on the Billboard Top Jazz Albums chart.
Paul was so pleased with the bio that he used it for years on his home site. After our interview he sent me by courier 3 packages. 1) A gold record of "Diana"; 2) A 24x11 photo of himself signed with remarks to me. 3) Large sheet music of "My Way" that his band used, with the dedication, "You and I Larry, we did it our way."
Over the years we have talked and met several times. I found that he has great recall memory, or exceptional recall. A subject we talked about at an event he would bring up the next time we met a year later and again a year or two afterwards. Not just recall the memory but adding to the conversation each time.
Along the way I learned how he and other '50s pop stars were influenced by the mainstream success of Bobby Darin. How he picked up James Brown's international music publishing. How he came to release albums in different languages in the '60s and tour the different international countries. Why he bought back his entire recording catalog in the early '70s, and then later sold it to Gordon Mills who managed Tom Jones and Engelbert Humperdinck.
Even 20 years after we met he still returns emails and answers his phone for me.
One of a kind.
Larry LeBlanc
_______________________________________
I saw him on Bill Maher a few weeks back and it's like he had just emerged from a cryonics capsule.
The guy's inability to age puts the late Dick Clark to shame.
Send Paul to NIH, figure out his genetic fountain of youth, and give it to us, asap.
It's cliche to call someone a Force of Nature, but does it ever fit here.
I'd love to know how much dough the Tonight Show theme made Anka over Johnny's 30-year reign.
—Emory Damron
Alexandria VA
_______________________________________
Bob nice day what a great article!!! You might remember me I started MLM an independent marketing company in the 70;s which turned out to be a very very successful venture our clients included Lionel Richie, Barbra Streisand, Dolly Parton, Billy Idol, Cher, Huey Lewis, Pointer Sisters, Al Stewart, Pretenders, Prince and Paul Anka, the list goes on….our focus was not so much radio as was rcord retailers …. Paul had just switched to Columbia Records and the album was doing very well in Europe but not much in the U.S I suggested that Paul do a tour of Europe and at that time perform live on tv stations. I'm not quite sure of the date I think it was1984. I mapped out a 30 day tour using Paris as our base and with 9 markets left at the end of the tour he asked me to be his manager, that's the part I played on this incredible tour…I told him thanks I'm flattered but I'm not the type…one of the amazing experiences was that we flew the Concorde from New York to Paris in 2 hours!! Paul was recognized wherever we went "palanka palanka" was the call ..we remained good friends for quite a while, thanks for bringing back some really good times …ciao, Macey Lipman
_______________________________________
From: Don Miggs
PA is a complete original. He's been family forever and when we finally got in a studio together you felt his magic. A turn of phrase, a lift in melody and every word mattered. That's what I was struck by. Up to that point (this is several years ago now) I was led more by gut than craft and sentence tense or a casual "but" or "and" wasn't something to belabor. PA made all of that matter.
We finished one write where he didn't dominate the room. He let it breathe and he took control when he had to but it was a true collaboration. As he's leaving he stops in the middle of the hallways, arms out a little like he was catching himself, eyes closed but seemingly looking up- I thought he was having a heart attack. I swear to God. I was a second from dialing 911. I'm sort of softly calling his name, ready for a fall, while simultaneously keeping a respectable distance and he starts to hum….
Some words, a melody starting to form. He opens his eyes like I stepped on a toe and darts to the piano and starts this thing about "Michelle" and as he's editing his thoughts in real-time he's also reminding me- AND HIM- to be careful because the Beatles already have a famous "Michelle" tune. This went on for several minutes with making little suggestions I'm about certain he heard but never really acknowledged. I was just lucky to bear witness. And then it stopped.
He got up and said "we should finish that sometime." And was gone.
He's a bundle of energy. He knows when the moment needs to be capitalized on and how to do it with an old-school flair you can't beat.
I have a few other stories with him that I cherish because he helped me feel "legitimate". A real superstar who let me in, just enough. Very thankful for that.
Thanks for the reminder.
https://miggs.com/
_______________________________________
I watched the Paul Anka documentary recently and read My Way a couple years ago. Both were Deja Vu moments for me.
Fifty one years ago I went to work for Irvin Feld after he acquired Ringling Brothers Circus. Irvin's business partner, Allen Bloom became my mentor and for 25 years we had a close personal and professional relationship. During this time I was privy to many great stories of the birth of rock and roll and Paul Anka years with Irvin, Izzy and Allen. Everything Paul says about loading up in a buss with all the other 50's musical stars is true. Super Shows (Irvin and Izzy's company) was the first Live Nation in that they toured acts nationally. Irvin was also Paul's manager at this time. He also managed a few other acts like Clyde McPhatter and the Drifters and Sister Rosetta Tharpe.
Allen used to add to the stories a few insider "extras" like the fact that there was one set of drums for the tour and the financial numbers for each tour stop. He had a small spiral notebook and it showed everything: who was on the bill, ticket gross, concessions, programs, expenses, net and how much was deposited in the bank or carried overland. Allen was the road manager for the early acts and was there the "day the music died" in Iowa with Buddy Holly and others. Allen was an incredible raconteur and an encyclopedia of 50's rock n roll history.
Allen told me a tidbit once that never made it into Paul's book or documentary but nevertheless is a bit of musical history. Paul evidently had a relationship with Annette Funicello while on tour and it ended to his disappointment. Paul lamented his broken heart story to Irvin to which he consoled and replied: "Paul, it's only Puppy Love, you will get over it."…... Which became the title to a hit song written by, of course, Paul Anka.
Irvin Feld was a genius. He was also mercurial to be around. You were either a superstar or worthless based on your performance. His mind for math and numbers was uncanny. One day not long after I went to work for Irvin he sent me to Baltimore to check in with Shirley Feld (his brother Israel's wife) at the box office. Shirley supervised Washington D.C. and Baltimore ticketing operations back in 70's. You always had to have the numbers handy if Irvin or Allen showed up unannounced (which they did often). Irvin walked up to me in the box office and wants the numbers for the weekend and I have them. He asked me a series of questions about sales trends (which I have) and remarks offhandedly that the gross was up 13.82 percent over the previous year. He thanks me and leaves to watch the first half of the show. Fixated on his percentage comment I get a calculator and run the numbers and it was exactly 13.82 percent as Irvin spontaneously calculated. He was amazing and knew everything about his business. Later that day he checked in to get the final number from the matinee and made an indelible comment to me: "Young man, If you treat my money like your money, we're going to get along just fine." I never forgot it for 45 years working for Irvin, Allen and later Kenneth Feld when he took leadership of the company."
Back to Paul, the whole shift from teen star to Vegas was Irvin and Paul repositioning his career towards away from teeny bopper to MOR. Once again amazing stories from decades of listening to Allen Bloom.
I am proud to have worked for Irvin Feld for 10 years before he passed unexpectedly of a brain aneurysm. He taught me so much about being tough but fair in business with his partners. His son Kenneth carried on this tradition and is universally respected in the industry. So many great memories.
Thanks for the post on Paul. While we never met I kinda know Paul Anka through the lens of Irvin and Allen and their history with him and the birth of rock and roll.
Bill Powell
_______________________________________
Thanks for the tip and will subscribe for a month just to watch it.
BUT... it will be tough to beat your interview with him, Bob, one of your best ever.
DG
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Sunday, 8 March 2026
The Paul Anka Doc
HBO trailer: https://www.youtube.com/watch?v=tpw4EQfdMkk
This guy is DRIVEN! If for some reason his singing voice went, he could go on the road giving lectures on how to be a star, and remain a star.
First and foremost, he tips. That limo ride to the plane, he whips out a bill. This happens again and again. Maybe he learned this from the Rat Pack, but when you acknowledge someone's presence, ask their name, share the wealth, that goes a long way. This is your audience.
Anka is well-adjusted compared to many, he's got kids, family, but his career is number one. And he's thinking about it all the time.
Now the difference between Paul and his initial contemporaries, between Paul and so many of today's "stars," is he writes the songs. Turns out that's more important than name recognition, than seeing your moniker in lights on the marquee. Songs last. And they pay forever.
Where did he get this skill?
Well, first and foremost Paul was hungry. Living in Ottawa, raised by immigrant parents, his dad ran a restaurant, Paul realized the only thing he was good at was singing. Not schoolwork. His singing gained him notoriety. So he dug in deep, practiced the piano, bought the records and sheet music and traveled alone to New York City as a teenager and got a publishing deal.
That's the difference between the wannabes and those who succeed. Their talent is undeniable. The gatekeepers recognize it immediately. Today the gatekeepers, to the degree they still exist, do not have the power of yore. So the channel is filled with both quality and the lack thereof. And this confuses the public. People get overwhelmed and detach. Or else attach themselves to a star believing it will make their lives whole while the rest of us scratch our heads and wonder what this devotion is all about.
But not only could Paul write, he could SING!
What a concept! Today you've got people who can sing but not write and vice versa. The two together? Seems like a lost formula.
Just like it was in the fifties when Paul Anka broke through.
Now it was a different era, one of ubiquitous Top Forty radio and one-nighter tours. If you could break through, everybody knew your name.
But you didn't necessarily get rich. That came later, post-Beatles. Sure, there was Elvis, but that wasn't the main motivation, it was the music, the lights, the adulation.
That's what Anka needs, the people. These stars are different from you and me. Driven for attention, the love of the public. That is who Paul is married to. He sacrificed his first marriage, the mother of his kids, because she wanted him to retire and he still wanted to work, because the work is everything. Paul is better adjusted than many stars, but if you think he's normal...
That's what you get by the end of this documentary. This guy is different. He's thinking about his career all the time. Not lying watching cartoons while drunk or stoned. Certainly not complaining. Looking at the future and wondering how he's going to survive.
And taking advantage of opportunities. Not only finding and getting the rights to the melody for a French song, but turning it into "My Way" for Frank Sinatra. Sinatra told him he was going to retire, Paul always wanted to write a song for him...listen to the lyrics, they apply...I never knew this was the motivation. But all great art comes from inspiration. A light bulb goers off in your head and you have to run to the piano or your instrument of choice and lay it down. The thrill of creation...that's what an artist is seeking, knowing that he can't reach the mountaintop each and every time. But when you've got a thread, you've got to PULL IT! Paul sat down at the piano and finished "My Way" in five hours.
As for "The Tonight Show" theme... He knew Johnny Carson a bit.
If you want to make it in showbiz, you've got to know people, you've got to be nice, it goes a long way, it delivers OPPORTUNITIES! Most people are not open to these moments of luck, and they certainly don't know how to capitalize on them.
So Paul goes home and writes "The Tonight Show" theme, Johnny loves it, but can't use it, because Skitch Henderson, the bandleader...he's got the right. Paul is an outsider, not part of the show's machine. So, Paul sweetens the pot... How about if he gives Johnny half the song and cowriting credit. BINGO! Done!
You've got to give to get. If you need everything, you'll get less.
Now in the past, acts got screwed. Today acts know too much. It's a relationship business, and a leverage business, and you've got to act accordingly.
And learn.
Paul did at the feet of the Rat Pack, but he also had a great manager, Irvin Feld. No one's career grows and sustains without a great manager, who is passionate about their work and strategizes about their future. You've got to find someone who believes, who wants to do the work. And your garage manager may graduate into the big leagues, but Paul had success before Feld found him and they decided to work together.
Now I'll be honest, I'm of the rock era. This fifties stuff is a bit hazy. And it's the black and white history that is truly intriguing, I'm stunned all this footage exists. From pictures on the road to "Ed Sullivan" to... This is history, this is the way it was.
Now unlike his contemporaries, like Frankie Avalon, who actually makes an appearance in this film, Paul's career survives. But it's through acknowledgement of the landscape and hard work. The Beatles came along and wiped everybody out, Paul accepted this, and focused on the writing.
And the writing... Never forget that Paul wrote "It Doesn't Matter Anymore" for Buddy Holly.
And to see Sammy Davis, Jr... His memory has faded, that's what happens when you don't write the songs, your fans remember you, but then they age and die.
Paul was part of that world. And he ultimately had a few more hits as an artist. But it was about writing and performing. It's STILL about writing and performing.
And the goals were different back then... You worked clubs, you wanted to headline in Vegas. Which was seen as anathema by the rockers, but now everybody wants to play Vegas. Started with Celine Dion... You don't have to go on the road, you can have a life, the people come to you.
But Paul eventually went back on the road, he's still doing 150 dates a year, and he's 84!
Now unlike so many legendary rockers, Paul's still got his voice, and it's amazing. But let's be clear, he needs that love, that connection with the audience. And he's cognizant of the importance of that connection, how without it he has no career. People have to be riveted, have to love the experience, SO THEY COME BACK!
Paul diets, works out and improves his appearance at the advent of his career, he's got to look good to the audience to survive.
Paul is constantly delivering for those who write the check, the promoters, the Mafia, the people...
He's aware 24/7, scanning the landscape, seeing where he sits in it, how he will maintain his status and continue to climb.
Yes, Paul is still hungry. He wants more. Like I said above, he's DRIVEN! He can't give up, he doesn't want to give up.
Now this doc has got the usual elements, Paul's accomplishments, the peaks, the screaming girls. But somehow it's different from the run-of-the-mill efforts, because it transcends the facts. It ends up being a lesson. Akin to the books by Robert Evans and Jerry Weintraub. You watch this documentary and gain knowledge. It's a good ride, especially the history, but it's the little things that are so fascinating. Sure, there are the achievements, the songs, the stats, but more interesting is the person...how did he get here, how did he sustain. This is not "Behind the Music." That is not the arc. Not success, failure and rebirth. No, this is a guy who is sui generis, who recognized the system and rather than denying it, or decrying it, made it work for himself.
Sure, the doc is testimony to Paul Anka's greatness, but how did he do it? That is explored here, and that is what is so fascinating.
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This guy is DRIVEN! If for some reason his singing voice went, he could go on the road giving lectures on how to be a star, and remain a star.
First and foremost, he tips. That limo ride to the plane, he whips out a bill. This happens again and again. Maybe he learned this from the Rat Pack, but when you acknowledge someone's presence, ask their name, share the wealth, that goes a long way. This is your audience.
Anka is well-adjusted compared to many, he's got kids, family, but his career is number one. And he's thinking about it all the time.
Now the difference between Paul and his initial contemporaries, between Paul and so many of today's "stars," is he writes the songs. Turns out that's more important than name recognition, than seeing your moniker in lights on the marquee. Songs last. And they pay forever.
Where did he get this skill?
Well, first and foremost Paul was hungry. Living in Ottawa, raised by immigrant parents, his dad ran a restaurant, Paul realized the only thing he was good at was singing. Not schoolwork. His singing gained him notoriety. So he dug in deep, practiced the piano, bought the records and sheet music and traveled alone to New York City as a teenager and got a publishing deal.
That's the difference between the wannabes and those who succeed. Their talent is undeniable. The gatekeepers recognize it immediately. Today the gatekeepers, to the degree they still exist, do not have the power of yore. So the channel is filled with both quality and the lack thereof. And this confuses the public. People get overwhelmed and detach. Or else attach themselves to a star believing it will make their lives whole while the rest of us scratch our heads and wonder what this devotion is all about.
But not only could Paul write, he could SING!
What a concept! Today you've got people who can sing but not write and vice versa. The two together? Seems like a lost formula.
Just like it was in the fifties when Paul Anka broke through.
Now it was a different era, one of ubiquitous Top Forty radio and one-nighter tours. If you could break through, everybody knew your name.
But you didn't necessarily get rich. That came later, post-Beatles. Sure, there was Elvis, but that wasn't the main motivation, it was the music, the lights, the adulation.
That's what Anka needs, the people. These stars are different from you and me. Driven for attention, the love of the public. That is who Paul is married to. He sacrificed his first marriage, the mother of his kids, because she wanted him to retire and he still wanted to work, because the work is everything. Paul is better adjusted than many stars, but if you think he's normal...
That's what you get by the end of this documentary. This guy is different. He's thinking about his career all the time. Not lying watching cartoons while drunk or stoned. Certainly not complaining. Looking at the future and wondering how he's going to survive.
And taking advantage of opportunities. Not only finding and getting the rights to the melody for a French song, but turning it into "My Way" for Frank Sinatra. Sinatra told him he was going to retire, Paul always wanted to write a song for him...listen to the lyrics, they apply...I never knew this was the motivation. But all great art comes from inspiration. A light bulb goers off in your head and you have to run to the piano or your instrument of choice and lay it down. The thrill of creation...that's what an artist is seeking, knowing that he can't reach the mountaintop each and every time. But when you've got a thread, you've got to PULL IT! Paul sat down at the piano and finished "My Way" in five hours.
As for "The Tonight Show" theme... He knew Johnny Carson a bit.
If you want to make it in showbiz, you've got to know people, you've got to be nice, it goes a long way, it delivers OPPORTUNITIES! Most people are not open to these moments of luck, and they certainly don't know how to capitalize on them.
So Paul goes home and writes "The Tonight Show" theme, Johnny loves it, but can't use it, because Skitch Henderson, the bandleader...he's got the right. Paul is an outsider, not part of the show's machine. So, Paul sweetens the pot... How about if he gives Johnny half the song and cowriting credit. BINGO! Done!
You've got to give to get. If you need everything, you'll get less.
Now in the past, acts got screwed. Today acts know too much. It's a relationship business, and a leverage business, and you've got to act accordingly.
And learn.
Paul did at the feet of the Rat Pack, but he also had a great manager, Irvin Feld. No one's career grows and sustains without a great manager, who is passionate about their work and strategizes about their future. You've got to find someone who believes, who wants to do the work. And your garage manager may graduate into the big leagues, but Paul had success before Feld found him and they decided to work together.
Now I'll be honest, I'm of the rock era. This fifties stuff is a bit hazy. And it's the black and white history that is truly intriguing, I'm stunned all this footage exists. From pictures on the road to "Ed Sullivan" to... This is history, this is the way it was.
Now unlike his contemporaries, like Frankie Avalon, who actually makes an appearance in this film, Paul's career survives. But it's through acknowledgement of the landscape and hard work. The Beatles came along and wiped everybody out, Paul accepted this, and focused on the writing.
And the writing... Never forget that Paul wrote "It Doesn't Matter Anymore" for Buddy Holly.
And to see Sammy Davis, Jr... His memory has faded, that's what happens when you don't write the songs, your fans remember you, but then they age and die.
Paul was part of that world. And he ultimately had a few more hits as an artist. But it was about writing and performing. It's STILL about writing and performing.
And the goals were different back then... You worked clubs, you wanted to headline in Vegas. Which was seen as anathema by the rockers, but now everybody wants to play Vegas. Started with Celine Dion... You don't have to go on the road, you can have a life, the people come to you.
But Paul eventually went back on the road, he's still doing 150 dates a year, and he's 84!
Now unlike so many legendary rockers, Paul's still got his voice, and it's amazing. But let's be clear, he needs that love, that connection with the audience. And he's cognizant of the importance of that connection, how without it he has no career. People have to be riveted, have to love the experience, SO THEY COME BACK!
Paul diets, works out and improves his appearance at the advent of his career, he's got to look good to the audience to survive.
Paul is constantly delivering for those who write the check, the promoters, the Mafia, the people...
He's aware 24/7, scanning the landscape, seeing where he sits in it, how he will maintain his status and continue to climb.
Yes, Paul is still hungry. He wants more. Like I said above, he's DRIVEN! He can't give up, he doesn't want to give up.
Now this doc has got the usual elements, Paul's accomplishments, the peaks, the screaming girls. But somehow it's different from the run-of-the-mill efforts, because it transcends the facts. It ends up being a lesson. Akin to the books by Robert Evans and Jerry Weintraub. You watch this documentary and gain knowledge. It's a good ride, especially the history, but it's the little things that are so fascinating. Sure, there are the achievements, the songs, the stats, but more interesting is the person...how did he get here, how did he sustain. This is not "Behind the Music." That is not the arc. Not success, failure and rebirth. No, this is a guy who is sui generis, who recognized the system and rather than denying it, or decrying it, made it work for himself.
Sure, the doc is testimony to Paul Anka's greatness, but how did he do it? That is explored here, and that is what is so fascinating.
--
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--
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Friday, 6 March 2026
Alongside The British Invasion-SiriusXM This Week
The records that were hits at the same time as the British Invasion.
Tune in Saturday March 7th to Faction Talk, channel 103, at 4 PM East, 1 PM West.
If you miss the episode, you can hear it on demand on the SiriusXM app. Search: Lefsetz
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Tune in Saturday March 7th to Faction Talk, channel 103, at 4 PM East, 1 PM West.
If you miss the episode, you can hear it on demand on the SiriusXM app. Search: Lefsetz
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Thursday, 5 March 2026
The Joel Bernstein Podcast
I'm not writing this to toot my own horn. It's just that not a day goes by without my inbox being filled with raves for the Joel Bernstein podcast. I'm going to print a bunch below, but I must say it's a surprise. I mean Sammy Hagar blew up my inbox, but he's a star and honest and likable. Yet I post so many podcasts to crickets. I guess this is a lesson that it's all about feel. I connected with Joel, it's like I knew him even though we'd never met. His stories were everything to me. And listeners could feel that, it's palpable. You see we share common history, through these records. It can only be captured when listening to the music or speaking with a member of the tribe. And what is said may not mean much to many, but to us it's everything. Joel had to go see Joni when she was unknown. And he became friends with her, and as a result a whole career ensued. But unlike so many successful people in the music business, he was not aggressive, he was not a natural business person, he was just like you and me, not exactly Zelig, but he was involved in one experience after another. He may not have as much money as the financiers, but in many ways his life is richer.
Anyway...
_____
Great interview bob. Joel was brilliant and has an amazing memory. . Once he had Joni, Neil and graham, he was a permanent family member and always will be. Also he was a pleasure to have around.
John Hartmann
_________________________________
This was one of your best! Great stuff from Joel and that story at the end was fire.
Tom Clark
_________________________________
I'm a Lefsetz Completist. This was one of the very best episodes of the podcast ever; it was consistently surprising and revelatory and you didn't frontload anything...so each insane development (guitar tech for PRINCE? WHAT?) unfolded in this kind of Zelig-like flow where it made it's own kind of sense...as Joel says in the episode: none of these things were a result of him going and making it happen; they were a combination of kismet and his own talents and sixth sense for how to handle himself in some heavy rooms. And I like how you left in you getting a biographical detail wrong; that felt authentic and worthwhile somehow. I had never heard of Joel Bernstein before this episode, but it turns out I've encountered his work one way or another my whole life without realizing it. Fantastic episode. His humility and openness made for the best kind of interview and kudos to you for calibrating your part perfectly and letting your own enthusiasm show through at the end.
Jason Cilo
_________________________________
Hi Bob, just wanted to say what an awesome interview with Joel !! I knew of him from his photography and archival work with CSN but had no idea he was an in demand guitar tech ! Would love to have heard more about his time with Prince … his storytelling was riveting. And of course the last story, are u sh*tting me !!! The way he said his Dads name and introduction was killer … and your enthusiasm was infectious!
Cheers
Craig Eagleson
_________________________________
I've been listening to Your podcasts & reading Your newsletter for Years & Years.
First time I've written you, but just had to because I enjoyed the Joel podcast more than anything else, so far. Not sure why it had such an impact, but I really, really enjoyed it, & thought I should let You know.
Thanks for All You Do!
Mark Niederhauser
_________________________________
You are correct, his stories are amazing.
I learned plenty in your chat, and thought I knew a lot.
I consequently made some updates.
https://outtakegallery.com/collections/joel-bernstein
Brad Auerbach
_________________________________
Loved Joel Bernstein—especially the riffing at the end.
Harold Bronson
_________________________________
Joel is a friend and a fellow member of the Class of 1970 from Cheltenham High School, Jewish northern Philly suburb. Glad to see you interviewing him.
Jeff Lorber
_________________________________
That was the best!
Len Cater
_________________________________
Wow! Fantastic interview. Joel has great stories, and you really brought them out. Just need to hear a whole lot more about Neil Young's ranch.
Bernstein was a major character in Jimmy McDonough's brilliant Neil bio "Shakey." Really enjoyed hearing him in his own words.
Dave Arbiter
Margaritaville, FL
_________________________________
I remember ….
the first teacher Joel spoke of was George Britton we were both in this class together learning the uke
Around 3rd grade years old.
the next guitar teacher was Tossi Aaron folk singer / protest labor song singer / album the real folkie who introduced him to Kenny Abramson who started the folklore dept at Penn that no longer exists.
… it was Tossi who drove underage Joel to the 2nd fret concerts. A fantastic person and teacher!!!
Tossi was my friend, an accomplished Orff-Schulwerk teacher in the U.S. and passed a few years ago.
She was also one of the original founders of the Philadelphia Folk Festival, friends with Gene Shay, and Kenny.
All thanks to fantastic teachers!!! Beautiful people!!!
We were both very shy, and there together at Wingdings and hootenannys, all those years & friends in High School too. Joel really can play !! Always could.
I remember there was a great story about an Owl that was on Joel's bedroom desk….. he has to tell it.
Karen
_________________________________
Wow. Your best work yet Bob! Please do a Part 2. Take care, brother. Wow!
Steve Yanek
_________________________________
In addition to being at the right place at the right time, talented and knowing how to behave on the private plane, I can bet that Joel is ALSO a great hang.
And that's not be underestimated in my few experiences with rockstars.
All the best,
Shawn Berkeley
Kyoto, Japan
_________________________________
_________________________________
https://podcasts.apple.com/us/podcast/joel-bernstein/id1316200737?i=1000751733399
https://open.spotify.com/episode/6CVynjJiJkSlsMNHuRQDz5?si=bd7jqwpNStm2IwDIYK2Lqg
https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/joel-bernstein-324905335?app=listen
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/3d8eb756-c4ee-4c46-bceb-b6ec17f9151a/the-bob-lefsetz-podcast-joel-bernstein
Anyway...
_____
Great interview bob. Joel was brilliant and has an amazing memory. . Once he had Joni, Neil and graham, he was a permanent family member and always will be. Also he was a pleasure to have around.
John Hartmann
_________________________________
This was one of your best! Great stuff from Joel and that story at the end was fire.
Tom Clark
_________________________________
I'm a Lefsetz Completist. This was one of the very best episodes of the podcast ever; it was consistently surprising and revelatory and you didn't frontload anything...so each insane development (guitar tech for PRINCE? WHAT?) unfolded in this kind of Zelig-like flow where it made it's own kind of sense...as Joel says in the episode: none of these things were a result of him going and making it happen; they were a combination of kismet and his own talents and sixth sense for how to handle himself in some heavy rooms. And I like how you left in you getting a biographical detail wrong; that felt authentic and worthwhile somehow. I had never heard of Joel Bernstein before this episode, but it turns out I've encountered his work one way or another my whole life without realizing it. Fantastic episode. His humility and openness made for the best kind of interview and kudos to you for calibrating your part perfectly and letting your own enthusiasm show through at the end.
Jason Cilo
_________________________________
Hi Bob, just wanted to say what an awesome interview with Joel !! I knew of him from his photography and archival work with CSN but had no idea he was an in demand guitar tech ! Would love to have heard more about his time with Prince … his storytelling was riveting. And of course the last story, are u sh*tting me !!! The way he said his Dads name and introduction was killer … and your enthusiasm was infectious!
Cheers
Craig Eagleson
_________________________________
I've been listening to Your podcasts & reading Your newsletter for Years & Years.
First time I've written you, but just had to because I enjoyed the Joel podcast more than anything else, so far. Not sure why it had such an impact, but I really, really enjoyed it, & thought I should let You know.
Thanks for All You Do!
Mark Niederhauser
_________________________________
You are correct, his stories are amazing.
I learned plenty in your chat, and thought I knew a lot.
I consequently made some updates.
https://outtakegallery.com/collections/joel-bernstein
Brad Auerbach
_________________________________
Loved Joel Bernstein—especially the riffing at the end.
Harold Bronson
_________________________________
Joel is a friend and a fellow member of the Class of 1970 from Cheltenham High School, Jewish northern Philly suburb. Glad to see you interviewing him.
Jeff Lorber
_________________________________
That was the best!
Len Cater
_________________________________
Wow! Fantastic interview. Joel has great stories, and you really brought them out. Just need to hear a whole lot more about Neil Young's ranch.
Bernstein was a major character in Jimmy McDonough's brilliant Neil bio "Shakey." Really enjoyed hearing him in his own words.
Dave Arbiter
Margaritaville, FL
_________________________________
I remember ….
the first teacher Joel spoke of was George Britton we were both in this class together learning the uke
Around 3rd grade years old.
the next guitar teacher was Tossi Aaron folk singer / protest labor song singer / album the real folkie who introduced him to Kenny Abramson who started the folklore dept at Penn that no longer exists.
… it was Tossi who drove underage Joel to the 2nd fret concerts. A fantastic person and teacher!!!
Tossi was my friend, an accomplished Orff-Schulwerk teacher in the U.S. and passed a few years ago.
She was also one of the original founders of the Philadelphia Folk Festival, friends with Gene Shay, and Kenny.
All thanks to fantastic teachers!!! Beautiful people!!!
We were both very shy, and there together at Wingdings and hootenannys, all those years & friends in High School too. Joel really can play !! Always could.
I remember there was a great story about an Owl that was on Joel's bedroom desk….. he has to tell it.
Karen
_________________________________
Wow. Your best work yet Bob! Please do a Part 2. Take care, brother. Wow!
Steve Yanek
_________________________________
In addition to being at the right place at the right time, talented and knowing how to behave on the private plane, I can bet that Joel is ALSO a great hang.
And that's not be underestimated in my few experiences with rockstars.
All the best,
Shawn Berkeley
Kyoto, Japan
_________________________________
_________________________________
https://podcasts.apple.com/us/podcast/joel-bernstein/id1316200737?i=1000751733399
https://open.spotify.com/episode/6CVynjJiJkSlsMNHuRQDz5?si=bd7jqwpNStm2IwDIYK2Lqg
https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/joel-bernstein-324905335?app=listen
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/3d8eb756-c4ee-4c46-bceb-b6ec17f9151a/the-bob-lefsetz-podcast-joel-bernstein
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John Zogby-This Week's Podcast
The legendary pollster talks about the war in Iran and more.
https://podcasts.apple.com/us/podcast/john-zogby/id1316200737?i=1000753320394
https://open.spotify.com/episode/3aOZEjzcDXncBv93mqVCWm?si=V2Ibw3qYS3OkWM-d33tJ6g
https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/john-zogby-325700849?app=listen
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/0544db6a-d7a1-44eb-9a42-dbb228618290/the-bob-lefsetz-podcast-john-zogby
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https://podcasts.apple.com/us/podcast/john-zogby/id1316200737?i=1000753320394
https://open.spotify.com/episode/3aOZEjzcDXncBv93mqVCWm?si=V2Ibw3qYS3OkWM-d33tJ6g
https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/john-zogby-325700849?app=listen
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/0544db6a-d7a1-44eb-9a42-dbb228618290/the-bob-lefsetz-podcast-john-zogby
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Wednesday, 4 March 2026
Today's Testimony
I don't see how Live Nation wins this, how Ticketmaster is not separated from the concert promotion division.
Now there was no jury involved in the government's approval of the merger of Live Nation and Ticketmaster. It was only a matter of law. But if you're sitting in the box and you're hearing what the Barclays and Wild guys have to say...
The Live Nation attorneys look like nitpickers. It comes down to math, Barclays lost shows and the Wild was afraid of doing so. How exactly is Live Nation going to explain this away? Especially in light of the Rapino phone call.
And unlike twice before, don't expect a consent decree. Been there, tried that, didn't work. Human nature tells us that Live Nation is going to dangle the prospect of concerts or the lack thereof to whether a building has a Ticketmaster contract or not. This is classic leverage. As for the consent decree...yeah, right. Negotiation is always about leverage and the Live Nation employee couldn't help herself in the e-mal to the Barclays guy, with the wink.
Now I've got to say that if this could have been settled on any reasonable terms, Live Nation would have done it. But obviously, the government wasn't really going to negotiate, for it thought it would win, furthermore, it knew it had the benefit of public opinion on its side.
Of course there are going to be more witnesses, the trial is going to go on for weeks. But what exactly are they going to say? They're going to go on about market share and competitors and there will be testimony as to what a great company Live Nation is and how Ticketmaster is a superior product, but this trial is about tying...tickets for concerts. And from the get-go, we see evidence of that.
Of course Live Nation doesn't believe that. But all their arguments are dispassionate. Who cares if the Barclays guy did not have completely clean hands in his relationship with SeatGeek. The bottom line is he made a deal with SeatGeek and Barclays got fewer concerts. Forget the hogwash about their being a new UBS building on Long Island. Do you really think the jury is going to believe that argument?
And SeatGeek said it would make up for any loss of concert revenue for what is now called the Grand Casino building in Minnesota, offering retaliation insurance, but buildings are more than revenue, they are vibrant operations that glean benefits by hosting events, especially concerts.
So Live Nation couldn't settle on reasonable terms. So its lawyers said to take it to trial. I hope those lawyers didn't blow smoke, talking about the law as opposed to emotions and the jury. Live Nation rolled the dice.
And when they lose... Like I said, the government ain't gonna offer no consent decree, it's going to insist upon breakup.
Of course the trial will last weeks, and there will be additional testimony...but how are you going to undercut these examples, and more that come down the pike?
You never know until the jury makes a decision. But right now, after today's testimony, I'd say Live Nation is f*cked.
Today's testimony:
"New York Times": https://www.nytimes.com/2026/03/04/arts/music/live-nation-trial-barclays-center.html
"The Verge": https://apple.news/A8uOddvKqSzeq9G3H0gUoTQ
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Now there was no jury involved in the government's approval of the merger of Live Nation and Ticketmaster. It was only a matter of law. But if you're sitting in the box and you're hearing what the Barclays and Wild guys have to say...
The Live Nation attorneys look like nitpickers. It comes down to math, Barclays lost shows and the Wild was afraid of doing so. How exactly is Live Nation going to explain this away? Especially in light of the Rapino phone call.
And unlike twice before, don't expect a consent decree. Been there, tried that, didn't work. Human nature tells us that Live Nation is going to dangle the prospect of concerts or the lack thereof to whether a building has a Ticketmaster contract or not. This is classic leverage. As for the consent decree...yeah, right. Negotiation is always about leverage and the Live Nation employee couldn't help herself in the e-mal to the Barclays guy, with the wink.
Now I've got to say that if this could have been settled on any reasonable terms, Live Nation would have done it. But obviously, the government wasn't really going to negotiate, for it thought it would win, furthermore, it knew it had the benefit of public opinion on its side.
Of course there are going to be more witnesses, the trial is going to go on for weeks. But what exactly are they going to say? They're going to go on about market share and competitors and there will be testimony as to what a great company Live Nation is and how Ticketmaster is a superior product, but this trial is about tying...tickets for concerts. And from the get-go, we see evidence of that.
Of course Live Nation doesn't believe that. But all their arguments are dispassionate. Who cares if the Barclays guy did not have completely clean hands in his relationship with SeatGeek. The bottom line is he made a deal with SeatGeek and Barclays got fewer concerts. Forget the hogwash about their being a new UBS building on Long Island. Do you really think the jury is going to believe that argument?
And SeatGeek said it would make up for any loss of concert revenue for what is now called the Grand Casino building in Minnesota, offering retaliation insurance, but buildings are more than revenue, they are vibrant operations that glean benefits by hosting events, especially concerts.
So Live Nation couldn't settle on reasonable terms. So its lawyers said to take it to trial. I hope those lawyers didn't blow smoke, talking about the law as opposed to emotions and the jury. Live Nation rolled the dice.
And when they lose... Like I said, the government ain't gonna offer no consent decree, it's going to insist upon breakup.
Of course the trial will last weeks, and there will be additional testimony...but how are you going to undercut these examples, and more that come down the pike?
You never know until the jury makes a decision. But right now, after today's testimony, I'd say Live Nation is f*cked.
Today's testimony:
"New York Times": https://www.nytimes.com/2026/03/04/arts/music/live-nation-trial-barclays-center.html
"The Verge": https://apple.news/A8uOddvKqSzeq9G3H0gUoTQ
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Tuesday, 3 March 2026
More Neil Sedaka
Dear Bob,
You are absolutely right. Neil should have been inducted into the Rock and Roll Hall of Fame decades ago.
Thank-you for writing such lovely things about him.
Much love,
Elton
________________________________________
Hi Bob,
I'm sorry to be late getting this to you.
I first met Neil in 1972 prior to us (we weren't yet 10cc) recording the Solitaire album with him at our Strawberry Studios.
Neil was working at the Batley Variety Club (The Las Vegas Of The North) at the time and I met him at his hotel in Leeds to listen to and make a recording of the songs that he proposed recording with us.
He was an absolute pleasure to work with, always well prepared and professional.
He would often sing the lead vocal live at the piano as we were recording the backing track with him and very rarely made a mistake.
He enjoyed working with us so much that he recorded another album, The Tra-La Days Are Over, after we had become 10cc in 1973.
It was an honour to know and work with him.
God rest his soul.
Graham Gouldman
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You are absolutely right. Neil should have been inducted into the Rock and Roll Hall of Fame decades ago.
Thank-you for writing such lovely things about him.
Much love,
Elton
________________________________________
Hi Bob,
I'm sorry to be late getting this to you.
I first met Neil in 1972 prior to us (we weren't yet 10cc) recording the Solitaire album with him at our Strawberry Studios.
Neil was working at the Batley Variety Club (The Las Vegas Of The North) at the time and I met him at his hotel in Leeds to listen to and make a recording of the songs that he proposed recording with us.
He was an absolute pleasure to work with, always well prepared and professional.
He would often sing the lead vocal live at the piano as we were recording the backing track with him and very rarely made a mistake.
He enjoyed working with us so much that he recorded another album, The Tra-La Days Are Over, after we had become 10cc in 1973.
It was an honour to know and work with him.
God rest his soul.
Graham Gouldman
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The Live Nation Trial
"Mr. Hatch said fans paid $1.56 to $1.72 more for every ticket as a result of Live Nation's 'overcharge.'
'We are talking,' Mr. Hatch said, 'about real money coming out of people's wallets.'"
https://www.nytimes.com/2026/03/03/arts/music/live-nation-antitrust-trial.html
If you're not laughing hysterically, you're not in the music business, or you're so invested in your anti-Live Nation viewpoint that you have no perspective.
Ticketmaster is the most hated company in America. Used to be the cable companies, but competition made them clean up their act. From Fios and T-Mobile, even Starlink... You don't have to get your internet, never mind your television programs, from your cable company anymore. Will competition make Ticketmaster provide a better product?
Now let's be clear, the cable companies' product didn't improve, its customer service did. So it begs the question, can Ticketmaster's product be improved?
Newer platforms are designed from scratch, whereas Ticketmaster's platform is built on spaghetti code, just like Microsoft Windows. Steve Jobs famously returned to Apple and built a whole new operating system based on Unix. As a result, it's less creaky. But the truth is, despite all the artists and your friends using Macs, Windows machines dominate in the world, by far. Yes, what is seen as an inferior product, what is an inferior product, is established in the marketplace, never mind all the software written for Windows.
Now could one of Ticketmaster's newer competitors deliver a superior product to venues?
Well, first and foremost they'd have to pay for the privilege. That's how ticketing works. Kind of like slotting fees at the supermarket...yes, even the biggest companies pay to have their products on the shelves. So far, none of these fledgling outfits has ponied up monies in the big leagues of arenas and stadiums. For two reasons...they don't have said money and they don't have the capacity.
It's not like AXS can do a significantly better job. The demand is just that great. Between rabid fans and secondary market bots, good luck getting a ticket.
Then again, fans believe they're entitled to a ticket, even though we know this is impossible. For some of these acts demand outstrips supply by a multiple of double digits.
But could Ticketmaster's product be improved? Everything can be improved. The question is whether it's worth laying out all that money for a minor increment in quality.
And the dirty little secret is it comes down to business, and business is money. Nvidia just reported margins in excess of 70%! Whereas concert promotion has a margin of less than 5%.
To be specific, Live Nation's concert promotion division has a margin of 3.3%. However, Ticketmaster has a margin of 37%. But the question is, if the playing field were leveled, would a new player enter the ticketing field? Is the margin high enough, is the upside high enough?
Like Live Nation, AEG promotes concerts and has its own ticketing outfit, the above-referenced AXS. However, not all AEG shows employ AXS, because buildings have contracts with Ticketmaster and...
Now I'm getting too far into the weeds.
The bottom line is everyone is blaming Ticketmaster for its fees, saying they raise concert prices. I could walk you through the economics, without the fees there is no show, but the government just let the cat out of the bag. No matter what happens, no matter what the result of this trial, even if Live Nation's concert division and Ticketmaster are separated, TICKET PRICES WILL NOT GO DOWN!
Unless you consider less than two bucks to be a meaningful amount. You can't even buy a soda, never mind merch for that amount. You can't even take the subway to the gig.
So what this trial boils down to is what happens behind the scenes. Can Live Nation's competitors gain a leg up. That's all that's being debated here. Bringing big bad Live Nation to its knees and making concert tickets cheaper is a fantasy, as is the concept that any result will make it easier for a citizen to get a ticket.
Now there are legal issues involved in this case. If there was a bench trial, I'd have more faith in the outcome. But when you have a jury...you never know what the result will be. And Live Nation looks bad to the jury, everybody knows the company and has an opinion. Now the judge gives instructions, making it more difficult to come up with a result that does not reflect the facts, but really...the jury could say anything, and if it rules against Live Nation...
This is what Live Nation is trying to avoid, they know a jury trial is a toss-up. That's why they've been trying to settle.
And even if the jury rules against Live Nation, that does not necessarily mean the end of the case. There can be appeals. Possibly all the way to the Supreme Court if the judges decide to hear the case. Time can go by...but it costs a ton to appeal, which is why even if a judgment comes down against them Live Nation may settle with the government on better terms, promising not to appeal.
Live Nation pays venues to be its exclusive ticketing partner. The dirty little secret is other than possibly AXS, no other company truly has the capacity to do the job. As for the Taylor Swift "fiasco," it's her fault. Then again, Ticketmaster said yes to this fakokta decision to put all the tickets up at once for all the shows on the tour. Swift wanted the buzz, the momentum, and she got it. But in truth, NO COMPANY could have done a better job. The most desirable ticket in the world? This is a secondary market field day!
If we could start all over and not pay venues fees... But under what law do we make this happen? This may make it more fair for concert promoters, but removing money from the building? That's a taking for no good reason.
As for Live Nation elbowing venues to use Ticketmaster so they get shows... This is a reason why this merger shouldn't have been allowed in the first place. I don't care what anybody says, it's an unspoken element, especially when Live Nation has an alternative Ticketmaster building to play in.
So, there are issues of law and fact. But the ultimate decision will be made by a jury composed of people unfamiliar with both the law and the business, they are not experts.
Expect some heinous testimony to come out.
Expect Live Nation to argue the law.
Expect the jury to be swayed by emotion.
But don't expect concert prices to come down in any meaningful way, not gonna happen. It's supply and demand, the basic rule of business. The hotter the act, the more demand and the higher the price. And if the tickets don't reflect value in the primary market, the secondary market will swoop in and gain the uplift, by charging what the tickets are really worth...which the public will pay, because people want to go to the show that much.
But people hate Ticketmaster anyway.
But if it is separated from Live Nation and a new competitor comes along...
Pete Townshend made the definitive statement back in 1971:
"Meet the new boss, same as the old boss."
As long as people want to go to the show, prices will be expensive.
Then again, there are many shows few want to see... Buy a ticket for that one, won't you? No, you want to see the superstars. And get a good ticket for under a hundred bucks. But the bottom line is YOU'RE DREAMIN'!
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'We are talking,' Mr. Hatch said, 'about real money coming out of people's wallets.'"
https://www.nytimes.com/2026/03/03/arts/music/live-nation-antitrust-trial.html
If you're not laughing hysterically, you're not in the music business, or you're so invested in your anti-Live Nation viewpoint that you have no perspective.
Ticketmaster is the most hated company in America. Used to be the cable companies, but competition made them clean up their act. From Fios and T-Mobile, even Starlink... You don't have to get your internet, never mind your television programs, from your cable company anymore. Will competition make Ticketmaster provide a better product?
Now let's be clear, the cable companies' product didn't improve, its customer service did. So it begs the question, can Ticketmaster's product be improved?
Newer platforms are designed from scratch, whereas Ticketmaster's platform is built on spaghetti code, just like Microsoft Windows. Steve Jobs famously returned to Apple and built a whole new operating system based on Unix. As a result, it's less creaky. But the truth is, despite all the artists and your friends using Macs, Windows machines dominate in the world, by far. Yes, what is seen as an inferior product, what is an inferior product, is established in the marketplace, never mind all the software written for Windows.
Now could one of Ticketmaster's newer competitors deliver a superior product to venues?
Well, first and foremost they'd have to pay for the privilege. That's how ticketing works. Kind of like slotting fees at the supermarket...yes, even the biggest companies pay to have their products on the shelves. So far, none of these fledgling outfits has ponied up monies in the big leagues of arenas and stadiums. For two reasons...they don't have said money and they don't have the capacity.
It's not like AXS can do a significantly better job. The demand is just that great. Between rabid fans and secondary market bots, good luck getting a ticket.
Then again, fans believe they're entitled to a ticket, even though we know this is impossible. For some of these acts demand outstrips supply by a multiple of double digits.
But could Ticketmaster's product be improved? Everything can be improved. The question is whether it's worth laying out all that money for a minor increment in quality.
And the dirty little secret is it comes down to business, and business is money. Nvidia just reported margins in excess of 70%! Whereas concert promotion has a margin of less than 5%.
To be specific, Live Nation's concert promotion division has a margin of 3.3%. However, Ticketmaster has a margin of 37%. But the question is, if the playing field were leveled, would a new player enter the ticketing field? Is the margin high enough, is the upside high enough?
Like Live Nation, AEG promotes concerts and has its own ticketing outfit, the above-referenced AXS. However, not all AEG shows employ AXS, because buildings have contracts with Ticketmaster and...
Now I'm getting too far into the weeds.
The bottom line is everyone is blaming Ticketmaster for its fees, saying they raise concert prices. I could walk you through the economics, without the fees there is no show, but the government just let the cat out of the bag. No matter what happens, no matter what the result of this trial, even if Live Nation's concert division and Ticketmaster are separated, TICKET PRICES WILL NOT GO DOWN!
Unless you consider less than two bucks to be a meaningful amount. You can't even buy a soda, never mind merch for that amount. You can't even take the subway to the gig.
So what this trial boils down to is what happens behind the scenes. Can Live Nation's competitors gain a leg up. That's all that's being debated here. Bringing big bad Live Nation to its knees and making concert tickets cheaper is a fantasy, as is the concept that any result will make it easier for a citizen to get a ticket.
Now there are legal issues involved in this case. If there was a bench trial, I'd have more faith in the outcome. But when you have a jury...you never know what the result will be. And Live Nation looks bad to the jury, everybody knows the company and has an opinion. Now the judge gives instructions, making it more difficult to come up with a result that does not reflect the facts, but really...the jury could say anything, and if it rules against Live Nation...
This is what Live Nation is trying to avoid, they know a jury trial is a toss-up. That's why they've been trying to settle.
And even if the jury rules against Live Nation, that does not necessarily mean the end of the case. There can be appeals. Possibly all the way to the Supreme Court if the judges decide to hear the case. Time can go by...but it costs a ton to appeal, which is why even if a judgment comes down against them Live Nation may settle with the government on better terms, promising not to appeal.
Live Nation pays venues to be its exclusive ticketing partner. The dirty little secret is other than possibly AXS, no other company truly has the capacity to do the job. As for the Taylor Swift "fiasco," it's her fault. Then again, Ticketmaster said yes to this fakokta decision to put all the tickets up at once for all the shows on the tour. Swift wanted the buzz, the momentum, and she got it. But in truth, NO COMPANY could have done a better job. The most desirable ticket in the world? This is a secondary market field day!
If we could start all over and not pay venues fees... But under what law do we make this happen? This may make it more fair for concert promoters, but removing money from the building? That's a taking for no good reason.
As for Live Nation elbowing venues to use Ticketmaster so they get shows... This is a reason why this merger shouldn't have been allowed in the first place. I don't care what anybody says, it's an unspoken element, especially when Live Nation has an alternative Ticketmaster building to play in.
So, there are issues of law and fact. But the ultimate decision will be made by a jury composed of people unfamiliar with both the law and the business, they are not experts.
Expect some heinous testimony to come out.
Expect Live Nation to argue the law.
Expect the jury to be swayed by emotion.
But don't expect concert prices to come down in any meaningful way, not gonna happen. It's supply and demand, the basic rule of business. The hotter the act, the more demand and the higher the price. And if the tickets don't reflect value in the primary market, the secondary market will swoop in and gain the uplift, by charging what the tickets are really worth...which the public will pay, because people want to go to the show that much.
But people hate Ticketmaster anyway.
But if it is separated from Live Nation and a new competitor comes along...
Pete Townshend made the definitive statement back in 1971:
"Meet the new boss, same as the old boss."
As long as people want to go to the show, prices will be expensive.
Then again, there are many shows few want to see... Buy a ticket for that one, won't you? No, you want to see the superstars. And get a good ticket for under a hundred bucks. But the bottom line is YOU'RE DREAMIN'!
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Monday, 2 March 2026
Re-Neil Sedaka
No R&R HOF for him as well as Connie Francis, Tommy James, and many deserving other artists. All wrong!
Ron Alexenburg
___________________________________
Hi Bob. We all have our pet artist (and pet peeve) who hasn't made it into the RRHOF and number one on my list is Neil Sedaka. How is Percy Sledge in the Hall and Sedaka isn't? Not that it really matters who's in and who's left out. My very first album, before The Beatles onslaught, was a Neil Sedaka album. Recently I've been enjoying his Tik Tok videos. What a great writer. RIP Neil.
Regards,
Steven Ehrlick
___________________________________
Neil Sedaka is gone, and the Rock and Roll Hall of Fame should be ashamed of themselves for deliberately excluding him all these years. But they won't feel anything, because they are a sham of an organization.
Neil Sedaka and Howard Greenfield were famously snubbed in 2010 when the RRHOF inducted all the great songwriters of their era. Burt Bacharach and Hal David were also snubbed that year, yet Dionne Warwick gets inducted years later - make that make sense! Just like how they induct Randy Rhoads before Ozzy's solo career (I could go on…)
Neil should have been inducted both as a songwriter AND performer. Carole King is in twice this same way, and as a performer she's basically a one-album-wonder. But that album turned 50 in 2021 and somebody paid somebody to time that induction for marketing purposes…
Neil was one of the first true singer-songwriters, but he wasn't cool. He didn't wear a cool hat like Dion. He didn't play guitar. He wrote his own hits AND those for Connie Francis, who also should be in. Lots of acts from his era are in the hall and never wrote one song, and had less hits!
I hope he gets his induction someday, but it will be too little too late. Just like Jimmy Buffett and so many other missteps the RRHOF has made over the years.
God bless you Neil Sedaka, thank you for the music.
Vincent Innocente
Musician - Staten Island, NY
___________________________________
Hi Bob,
Like you, I'm terribly saddened by Neil's passing. I thought I'd share my experience with Neil Sedaka….
"Laughter in the rain" was starting to climb the charts in the US; continuing a comeback that had started in the UK.
Neil was about to do "The Midnight Special" and the guitar player who played on the record wasn't available. I got a call from Robert Appere (Neil's Producer) to fill in. I was a year and a half out of Brooklyn and that call changed my life!
I spent the next 2 years, up until Neil's departure from Rocket Records, as a member of Neil's band. Sedaka was Back!
RIP Neil
Richie Zito
___________________________________
I obviously always respected the songs, but as you say - they were before my time.
But when he started posting his playing and singing on TikTok (up until this week!) - I became a fan. Timeless songs never go out of style.
Adam Lewis
___________________________________
His greatest little-known composition was the haunting, heart-rending "Solitaire." His rendition was terrific, as was Karen Carpenter's.
Jim Rowbotham
Manhattan
___________________________________
As I'm sure many have said, writing two UK no 1's in Stupid Cupid and Amarillo can't be too bad!
All the best
JC Reid
___________________________________
40 years ago, one of my first gigs was a short tour with Neil Sedaka. He was past his 70's resurgence and playing small performing arts centres. He had the best Nashville sideman in tow and treated us really well - we flew to all gigs, everyone had their own rooms in nice hotels. I doubt he made any money. But I don't think that was the purpose - he just wanted to get out there and hear the applause. Tons of hits and standing ovations. And some hilarious stories behind the scenes. RIP to one of the great pop songwriters.
Iain Taylor
___________________________________
Thanks for the remembrance of Neil.
Twenty years back, I was incredibly lucky and got to work with him. When I was at Razor & TIe, I helped compile a new greatest hits compilation. I met with Neil at his Upper East side apartment and got to listen to a pile of acetates of unreleased recordings. We dug out an incredible demo versions of "Where The Boys Are", as well as "It Hurts to Be in Love". Neil wrote the latter but was blocked from releasing by his label at the time, RCA Records, because it wasn't recorded at their studio. Gene Pitney took the same song(with the original backing track from Neil's version) and it went number one.
Later that same year I asked Neil to do a run of shows at Joe's Pub, his first in a NYC club in decades. I invited Chris and Adam from Fountains of Wayne to sing Neil's "Calendar Girl" with him on stage since I knew the FOW guys had covered it previously. We filmed the performance and Stereogum even posted about it. My parents came to the show, the first and only time they knew who an artist I worked was. My folks were NY Jews of a similar age; Neil couldn't have been nicer, and my parents talked about meeting him for years.
RIP Neil Sedaka. A true mensch.
"Neil Sedaka w/Fountains of Wayne - Calendar Girl - Joe's Pub - May 2007"
https://www.youtube.com/watch?v=vtdbw4vCnDo
Michael Krumper
___________________________________
Thank you so very much for your beautiful remembrance of Neil Sedaka. One of his earliest tunes to get on the radio was, "I Go Ape", and it rocked my little seventh grade world. I was so moved by your statement that his death "was kind of personal". My wife and I felt exactly that way on a New Year's Eve years ago when we heard of the death of Rick Nelson.
In one his songs, singer-songwriter Al Stewart states, " Don't some people just affect you that way?". Yes, they do, and Neil Sedaka was one of them.
Dennis Brent
___________________________________
A beautiful sentiment. Sedaka was a wonderful writer; however. His production quality was almost on par with Brian Wilson. Layered harmonies, chord and temp changes. A great writer. I will miss the FB concerts from his living room that started during the pandemic and continued almost until his final breath.
Steve Mednick
New Haven, CT
___________________________________
He was a bit before my time, so initially I dismissed him. But I ended up discovering and really liking the ballads. Laughter in the Rain, the ballad version of Breaking up is hard to do, and especially the Hungry Years. Which grows in meaning as I look back and reflect. Yes, a nice man. RIP.
Bob Morelli
___________________________________
For me (born in '75) I was familiar with Neil Sedaka due to my time in major market Radio at an Oldies format station in Portland, OR to growing up in the music industry by way of my Father's success. However, it was in August 2021 while visiting LA, my wife & I made a usual lunch stop at Mel's Diner on Sunset. Mimosas and their Club Sandwich.
I glanced over and saw a familiar face, and then I realized it was Neil Sedaka. Of course, he's a regular at Mel's. I said to my wife I've got to say "Hello" and let him know I've enjoyed his contributions to music. Well, he invited me to sit across in his booth. We had a pleasant interchange. Upon leaving I said to the hostess, "I want to pick up Mr. Sedaka's lunch today." Tuna salad and a glass of Chardonnay. I thought, "Wow, I just treated Neil Sedaka to lunch." As we departed the parking lot I looked to my right to see him sitting in the booth where I left him, with a glass of Chardonnay, and taking a bite of tuna salad. It's a good memory.
Alex Hart
___________________________________
I just entered high school when 'Laughter in the Rain' came out, with 'Love Will Keep Us Together' the following summer.
The Music was, and still is, Everything.
Even me, with zippo music education, but with parents who taught me the fundamentals of music appreciation, saw this guy was a tremendous talent. This admiration had to be concealed from my peers, as only the long-hair and R&B stuff was to be applauded among the general population. Man, they took such pleasure in making fun of that Fedora. However, all the musicians I knew, across all genres, admired and respected him. Yes, the Brill Building crew was passe', but he managed to endure.
In later years, I listened to interviews with him, and his talent and decency shone through.
Regards,
Edward Bryan
___________________________________
Neil Sedaka popped up on my fyp on TikTok one day and I was like, wow he's still singing at his piano and it's still pure joy to listen. So of course I clicked "follow." He'd have his grandson sing along sometimes and the two of them were so fun to watch/hear. Neil was always sweet and engaging and kind to his audience, and like you said, seemed so real. I was a huge fan as a kid, belting it out when his songs came on the radio. I was so sad to hear he'd passed.
Ellie Shapiro
___________________________________
Very good Bob. I felt queasy too. I think because he was SO alive, losing him so quickly without fanfare, was jarring and seemed wrong. I got a recent picture with him at Dan Tanas and will remember him with love and in his element… he loved us. I felt it.
Steven McClintock
37 Records
___________________________________
Fortunately I had a long career with many artists as a Lighting Director then Production Manager. I never had the opportunity to work with Neil but I did see him perform at the Grand Palace in Branson Missouri around 1995. At the time I was employed by Glen Campbell at his venue not far from where Neil played. I had a night off so I went to see Neil. I had no idea of how engaging he would be. I knew he was an outstanding singer, musician and song writer. To this day I remember his show. I have worked on over 3,000 live performances worldwide with a number of legendary Grammy winning artist. In early retirement I reflect on 15 or 20 performances that I remember like it was yesterday. Neil Sedaka's performance was one of them. He had that magic that made you feel like you were sitting on his piano bench while he played a song for you while explaining how he felt while writing it.
Only a few artist can do that. I'm glad I went to see him. I witnessed Neil Sedaka take the audience with him. Many artists can duplicate that. But there is a fine line in a performance where the sincerity cuts through and you become a part of the artist in front of you. Like you have been friends for years.
Rest in Peace Neil, thank you for sharing your soul with me that night at the Grand Palace.
Thanks Bob,
Tony TL Leverett
___________________________________
Loved your recent interview with him. He reminded me a bit of Glen Campbell in that he was kind of in awe of his talent and (huge) success, but in a way that just made you smile.
Very few pop songs of that era top "Where The Boys Are;" the chord progressions are epic. And the way he refashioned "Breaking Up is Hard to Do" as a late-night croon in the 70s just underlined what a great tune it is. He was definitely one of a kind.
David Vawter
___________________________________
Thak you Bob. Staring at 80, with memories of the Catskills and of Neil, that was beautiful.
arnold brower
___________________________________
Great testimony Bob. I'm sure you know this but he was something of a classical prodigy at an early age and attended Juilliard. Saw him in Vegas in the 90's at the Orleans and he still sounded great! Really knew how to relate to a crowd. He will be missed. Thanks for remembering him.
Keith Bishop
___________________________________
My father was an eclectic music fan, from Tomita, to Elvis, to Johnny Cash, to Perry Como, to the Carpenters, to Glenn Campbell, to Dire Straights and Pink Floyd. He had a couple of Neil Sedaka albums and so as result I heard many of Neil's song as I was growing up. 'Laughter in the Rain' was a personal favourite, listening to that on a turn table, lyrics painted the entire picture of a rainy day date getting caught on a country road as the heavens open, all in under 3 minutes. You could hear his smile in his voice. Rest In Peace Dad and Neil.
Dan Waite
___________________________________
Also, regarding Neil, I want to say his retake on, "Breaking Up Is Hard To Do" is GREAT. I was a young radio DJ when he made his comeback. I made the transition to FM by the early 70s. But, there was so much music to be had and heard, as you've documented so many times. But RADIO. It was staffed mainly by men. Many of the guys in radio had no clue or reference to what radio had brought or could bring to the masses, it was just a job to them. They looked at the charts and what other stations added that week as they chose their new single playlist adds, week to week as just a function of their P.D./M.D.position. I was a frustrated musician who gave up the garage band I was a part of as their drummer to instead work full time as a disc jockey doing the overnight show (12am-6am) to instead bring recorded music to the local audience I was passionate about what it was that I heard across the FM dial in the Tampa Bay area of Florida. I was into so many artists of all genres. And I was a lunatic fan of 10cc by 1975. I heard "Rubber Bullets" on WFSO-AM out of Pinellas Park FL along with Iron Butterfly's "Scorching Beauty" and Scorpions, "Fly To The Rainbow" (when the group was in their teens) and so much more until they'd sign-off at sunset. Bottom line, a lot of radio guys didn't know sh*t about music because they never picked up an instrument. And what we have today are pretenders running the radio business without the, "art meets commerce" ingredient. They don't hire guys and gals that truly know music or are inspired by music to know what the hell they are doing. They just want "content providers" to ring the cash register and stack some dollars, because they lack the knowledge. Good luck with that. American radio was once the standard barrer that led to many countries across the globe to design their radio operations after us. Can you say, "93 KHJ!" or "WNEW, Where Rock Lives".
Regards,
Guy "G. Michael" Keating
___________________________________
Sad to see Neil Sedaka pass. I remember seeing him around town in Monticello on a few occasions as his mother lived near me and even attempted to teach his daughter Dara to ski at Holiday Mountain and if I recall arriving in a Rolls Royce. My mother was from the same area in Brooklyn and Barbra Streisand lived in the same building, Neil Diamond down the street and Neil Sedaka nearby. Carole King was a bit farther away. What an era.
These are the Gold record frames my father made from today's NY Times.
https://www.nytimes.com/2026/02/27/arts/music/neil-sedaka-dead.html
Barry Levinson
___________________________________
Listening to Neil on your podcast was the first thing I thought of when I heard that he died. It was such a great interview. My second thought was that you would likely take it kinda hard. Again, because it was such a great interview and because you seemed to really connect with him. But also because it is yet another reminder that our time is limited and that no one here gets out alive. Not that we need to be reminded, mind you. The older you get the more you feel it in your bones and in every ache and creak. It's sad, but in Neil's case he did leave us with his music which we can listen to and enjoy as we think of a bygone time when we were young.
David Kuswanto
Toronto CANADA
___________________________________
I loved Neil Sedaka from the first song. And never stopped. Saw him live twice, years apart and both shows were 110%. He loved to sing.
He made an album in 1975 that never got big but had a loyal fan following. Worth a listen. "The Hungry Years". The title song says it all - about him and his career and what he really loves.
John Parikhal
___________________________________
Well said, Bob. The podcast you did with him was wonderful. What sticks with me is that during the Pandemic, Neil did these impromptu shows on Facebook. So casual, just him and his piano for maybe 20 minutes. He was so upbeat and sunny and talked as if it was a private little show in his living room. He made you feel confident we would get through it. He had nothing to prove. He was just a really nice guy calming a lot of people with his gift of music.
Regards,
Karl Woitach
___________________________________
Bob, I was a teenager during the early Neil Sedaka hits and bought quite a few of his 45's. Growing up in Canada, we were gyped out of the 45 picture sleeves that U.S. teens bought. We simply had generic RCA Victor sleeves.
Decades later in the late 1980s, I spent several hours interviewing him at his New York pad while his wife Leba and daughter were shopping. Neil had a sore throat that day, but every time I asked him if he wanted to stop, he said he wanted to go on, so I have well over an hour of his memories.
One important thing, although Neil wrote exceptionally catchy melodies, his lyrics (as least his main hits) were written by first, his teen neighbor Howie Greenfield and later on Phil Cody.
Doug Thompson
Toronto
___________________________________
My dad, Sammy, had two cousins, one was Eydie Gormezano who lived nearby, the other were the Sedaka's from Brooklyn. All were Sephardic (Spanish) Jews from Turkey, as was Louie Nigro (who's daughter I had a crush on when we were teens) Sam's pal.
Unlike the rest of them, who were short, dark and swarthy, I was the big blonde lifeguard who fronted a band, and was a lifeguard at the Bronx's version of Malibu - Orchard Beach on the LI sound.
I didn't know any of Sammy's relatives as I went to school in Boston for 5 years - but I did learn Spanish, just in case.
As I recall, Neil was always a big draw at Palisades Park during the summer, and I even saw him once there. My childhood friend was Ilene Goldner, who's dad Sam and Uncle George started Roulette, Gee and others until they ran out of money and gave it up to Morris, who I'd meet years later when I was VP Finance at Boardwalk.
Six degrees.
Rick Pardo
___________________________________
Mid-80's I end up at a party in his NYC apartment with a friend who knew him well. He greeted me as if he knew me forever.
Neil played the piano and sung a few of his amazing hits -and never stopped smiling.
I was awestruck.
He was Mensch Personified.
May his memory be a blessing.
PS My parents and their "group" spent a weekend each year for many years at The Concord. Somewhere in my stuff are the group and couples photos in white folders with The Concord logo on the front sleeve.
Us kids were left home with a sitter.
Janie Hoffman
___________________________________
Before Elton John "rescued" him, Neil Sedaka was working with the guys who would become 10cc (they were his band while recording at their Strawberry Studios), and completed three albums that were not released in the US. Elton chose 12 songs from those three albums, and called it "Sedaka's Back", and released it in the US.
Thanks,
Stuart Taubel
___________________________________
It was sometime in the early 1960s. I was either 10 or 12 years old when I visited my grandmother in Brighton Beach, Brooklyn. My uncle Irwin arrives to visit his mother (my grandmother) with another person. Warmly, he introduced his friend, saying, "Say hi to Neil Sedaka." I immediately exclaimed, "Calendar Girl!" Neil's face lit up with a big smile. Ever since that day, whenever I hear "Calendar Girl," I can't help but think of that time at my grandmother's house when I met Neil Sedaka—a regular guy!
Roy Liemer
___________________________________
I'm "young" enough (born 1960) that Neil Sedaka first came to my attention with "Laughter in the Rain" off his "Sedaka's Back" album. Though, when I first heard the song, I was thinking it was a female singer -- maybe someone like the Carpenters or Anne Murray. I'd probably heard at least "Calendar Girl", and maybe one or two of his other earlier hits (but decidedly not "Breaking Up is Hard to Do" yet), on my parents' AM clock radio before that. But, if so, I never registered who the singer was.
When "Sedaka's Back" came out, though, that initial hit, then "The Immigrant", really grabbed my attention. I bought the album, then the songbook, and I learned to play all the songs. By that time, I had my own band, and we ended up playing not only those two songs, but also some of the album tracks like "Little Brother" and "Our Last Song Together". (Maybe also "Love Will Keep Us Together" and/or "That's When the Music Takes Me".) Even songs we didn't play in the band, though, especially "Solitaire" (which I remember the Carpenters covering) and "The Other Side of Me", were ones I'd play quite a bit on my own.
Then came "The Hungry Years", and we added "Bad Blood" -- I sang the Elton part and another guy in the band sang Sedaka's part -- and "Breaking Up is Hard to Do", on which we mashed up the 70s slow version with the earlier "before our time" version at the suggestion of my parents, who'd heard another local (adult) band do the same. Oh yeah, our band wasn't exactly cool with the kids, playing Sedaka, Bread, Bee Gees, Elton, and other mellower stuff, so we mostly got booked for adult dances at firehalls, VFW halls, and the like. But Sedaka's songs of that era were great, and those drove me to getting an earlier greatest hits album, which made me an even bigger fan of his songwriting, even if I didn't end up playing any of those songs.
I did see him live once, probably mid-to-late 70s at the New York State Fair in Syracuse. I have to say, though, I was somewhat disappointed, because the set was pretty short (45 minutes?), and I'd wanted more.
By the time his "Steppin' Out" album came out, though I think we at least tried the title song, I was much less enthusiastic about the songs on that album. It felt like he was repeating himself musically, and the lyrics largely didn't have the bite of the best cuts from the two previous albums. I still play through the songbooks of those two albums at least a couple of times a year. Some truly great songs that hold up even with just a piano/vocal interpretation (which is most of what I do these days).
It was sad to hear of his sudden passing. I get that he's at that age, where we can't expect our favorite songwriters and musicians to last much longer -- he was born a year before my father and two before my mother, who passed away suddenly a little over a month at the age of 84. But, as you say, the music will live on.
Rick Paul
___________________________________
My dad made me listen to his hits in the 1990s, as a teen consuming the Beatles and the Doors and Nirvaba and Metallic..
My dad said, "You need to know this, too." He was right; for the standard of great songs was set.
Do young song writers working in their bedrooms even know of the Brill Buildkng anymore?
Mike Vial
___________________________________
In 1980, I was working in a Pharmacy on Madison Ave, NYC.
We had a lot of celebs with fancy apartments on the upper east side as customers.
Most of them sent their housekeeper to run their errands and they remained anonymous that way.
Neil Sedaka and his wife often came to the store in person. They were very friendly and kind to us and never had any condescending attitudes. I remember him fondly.
Mitchell Horowitz
___________________________________
Thank you Bob.
This gave me goosebumps and yes I feel as sad as you do!
Like someone I knew well has passed.
I met him when I was a kid in Australia and he was doing the club runs! Mum was a huge fan!
The Aussies loved him too!
He was so kind and the songs live were as good as the records!
Years later, a few of my friends were his band when he came out to Oz and they all spoke so highly of him, as a singer, a musician and an extremely kind human!
Those songs will live on forever in our hearts!
What a legend and a beautiful soul.
I miss the hungry years and
if it was raining where I am, I don't think I'd be able to laugh, cause breaking up is hard to do, especially when it's a ballad
Much love and respect
Dannielle De Andrea
___________________________________
Loved him, still do but I'm 87. My generation. Thanks for the memory.
Joanne Miller
___________________________________
Thank you for this, and for recognizing Neil's humanity in addition to his talent. He's been my favorite singer-songwriter for 52+ years now. He even stated publicly that I was his biggest fan in the world, and that I have the largest collection of Sedaka recordings and memorabilia in the world. A hugely influential and important part of my life died yesterday. This is what I posted on Facebook:
"In Neil Sedaka's music, I find songs to match every possible mood, save one. Whether expressing the highest highs or the deepest lows; the thrill of a new-found love, the sadness when losing a long-time love; whether in like, in love, or in lust; songs about society's failings; songs about the sheer joy of being alive. There are songs to commiserate with you when you're down; songs that embrace you and say 'I've been there before you, and I can assure you it does get better.' Songs that share your most ecstatic, earth-shaking joys. Songs when you need a laugh, songs when your tears won't stop. There's a Sedaka song for every mood except one: when needing someone to wrap their arms around you and hold you when nothing else will do — unfortunately, the mood I'm in now that Neil has died.
"My life would be much worse if I had never found his music; with his music in my life, everything is improved. It's not the time for one-upmanship, for saying 'He loved me more than you.' Now is the time to say how thankful we each are for having this man and his love in our lives at all. The world will never see his like again — it is such a better world for him having been a part of it and gracing us with his talent and his love."
I would only slightly quibble with your statement that after leaving Rocket Records, he had no more hits. His 1980 duet with his daughter Dara, "Should've Never Let You Go," reached #19 on the Billboard Hot 100, and #3 on Billboard's Adult Contemporary chart. And, as a songwriter, his "(Is This the Way to) Amarillo" by Tony Christie (featuring Peter Kay on video, but not on the recording) reached #1 in the UK in 2005, and stayed there for seven weeks, making it the best-selling UK single for 2005. This 2005 version was issue to raise funds for Comic Relief. It was a re-release of Christie's 1971 recording, which reached #18 in the UK, but #1 in Germany, Spain, Austria and Belgium.
While Neil was with Rocket Records, I believe he could've had some bigger hits if some other songs had been released instead of the singles that were, especially from his last original album of new material, 1976's "Steppin' Out." They tried to recreate the magic of "Bad Blood" (#1 in 1975, with Elton on backing vocals). But, even with Elton again on backing vocals, the title track only reached #36. I thought, released at the right time of year, "Summer Nights" was far superior to "You Gotta Make Your Own Sunshine," at least in terms of what I believe would've gotten more radio play. We'll never know, of course.
I'm left completely bereft since his passing.
Best regards,
Betty Latvala-Soininen
___________________________________
I hate is when your newsletters are titled simply with a name cos it means that another one has bitten the dust. Your podcast with Sedaka was a peach and I liked him all the more. I wish I'd seen him in concert. So many great songs.
Mike Howard
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Loved the Concord story re Sedaka.
It was a bit of a challenge to explain "the knockers" to my gentile clients!
(I don't think Grossinger's had knockers)
Jim Morey
Ron Alexenburg
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Hi Bob. We all have our pet artist (and pet peeve) who hasn't made it into the RRHOF and number one on my list is Neil Sedaka. How is Percy Sledge in the Hall and Sedaka isn't? Not that it really matters who's in and who's left out. My very first album, before The Beatles onslaught, was a Neil Sedaka album. Recently I've been enjoying his Tik Tok videos. What a great writer. RIP Neil.
Regards,
Steven Ehrlick
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Neil Sedaka is gone, and the Rock and Roll Hall of Fame should be ashamed of themselves for deliberately excluding him all these years. But they won't feel anything, because they are a sham of an organization.
Neil Sedaka and Howard Greenfield were famously snubbed in 2010 when the RRHOF inducted all the great songwriters of their era. Burt Bacharach and Hal David were also snubbed that year, yet Dionne Warwick gets inducted years later - make that make sense! Just like how they induct Randy Rhoads before Ozzy's solo career (I could go on…)
Neil should have been inducted both as a songwriter AND performer. Carole King is in twice this same way, and as a performer she's basically a one-album-wonder. But that album turned 50 in 2021 and somebody paid somebody to time that induction for marketing purposes…
Neil was one of the first true singer-songwriters, but he wasn't cool. He didn't wear a cool hat like Dion. He didn't play guitar. He wrote his own hits AND those for Connie Francis, who also should be in. Lots of acts from his era are in the hall and never wrote one song, and had less hits!
I hope he gets his induction someday, but it will be too little too late. Just like Jimmy Buffett and so many other missteps the RRHOF has made over the years.
God bless you Neil Sedaka, thank you for the music.
Vincent Innocente
Musician - Staten Island, NY
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Hi Bob,
Like you, I'm terribly saddened by Neil's passing. I thought I'd share my experience with Neil Sedaka….
"Laughter in the rain" was starting to climb the charts in the US; continuing a comeback that had started in the UK.
Neil was about to do "The Midnight Special" and the guitar player who played on the record wasn't available. I got a call from Robert Appere (Neil's Producer) to fill in. I was a year and a half out of Brooklyn and that call changed my life!
I spent the next 2 years, up until Neil's departure from Rocket Records, as a member of Neil's band. Sedaka was Back!
RIP Neil
Richie Zito
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I obviously always respected the songs, but as you say - they were before my time.
But when he started posting his playing and singing on TikTok (up until this week!) - I became a fan. Timeless songs never go out of style.
Adam Lewis
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His greatest little-known composition was the haunting, heart-rending "Solitaire." His rendition was terrific, as was Karen Carpenter's.
Jim Rowbotham
Manhattan
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As I'm sure many have said, writing two UK no 1's in Stupid Cupid and Amarillo can't be too bad!
All the best
JC Reid
___________________________________
40 years ago, one of my first gigs was a short tour with Neil Sedaka. He was past his 70's resurgence and playing small performing arts centres. He had the best Nashville sideman in tow and treated us really well - we flew to all gigs, everyone had their own rooms in nice hotels. I doubt he made any money. But I don't think that was the purpose - he just wanted to get out there and hear the applause. Tons of hits and standing ovations. And some hilarious stories behind the scenes. RIP to one of the great pop songwriters.
Iain Taylor
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Thanks for the remembrance of Neil.
Twenty years back, I was incredibly lucky and got to work with him. When I was at Razor & TIe, I helped compile a new greatest hits compilation. I met with Neil at his Upper East side apartment and got to listen to a pile of acetates of unreleased recordings. We dug out an incredible demo versions of "Where The Boys Are", as well as "It Hurts to Be in Love". Neil wrote the latter but was blocked from releasing by his label at the time, RCA Records, because it wasn't recorded at their studio. Gene Pitney took the same song(with the original backing track from Neil's version) and it went number one.
Later that same year I asked Neil to do a run of shows at Joe's Pub, his first in a NYC club in decades. I invited Chris and Adam from Fountains of Wayne to sing Neil's "Calendar Girl" with him on stage since I knew the FOW guys had covered it previously. We filmed the performance and Stereogum even posted about it. My parents came to the show, the first and only time they knew who an artist I worked was. My folks were NY Jews of a similar age; Neil couldn't have been nicer, and my parents talked about meeting him for years.
RIP Neil Sedaka. A true mensch.
"Neil Sedaka w/Fountains of Wayne - Calendar Girl - Joe's Pub - May 2007"
https://www.youtube.com/watch?v=vtdbw4vCnDo
Michael Krumper
___________________________________
Thank you so very much for your beautiful remembrance of Neil Sedaka. One of his earliest tunes to get on the radio was, "I Go Ape", and it rocked my little seventh grade world. I was so moved by your statement that his death "was kind of personal". My wife and I felt exactly that way on a New Year's Eve years ago when we heard of the death of Rick Nelson.
In one his songs, singer-songwriter Al Stewart states, " Don't some people just affect you that way?". Yes, they do, and Neil Sedaka was one of them.
Dennis Brent
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A beautiful sentiment. Sedaka was a wonderful writer; however. His production quality was almost on par with Brian Wilson. Layered harmonies, chord and temp changes. A great writer. I will miss the FB concerts from his living room that started during the pandemic and continued almost until his final breath.
Steve Mednick
New Haven, CT
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He was a bit before my time, so initially I dismissed him. But I ended up discovering and really liking the ballads. Laughter in the Rain, the ballad version of Breaking up is hard to do, and especially the Hungry Years. Which grows in meaning as I look back and reflect. Yes, a nice man. RIP.
Bob Morelli
___________________________________
For me (born in '75) I was familiar with Neil Sedaka due to my time in major market Radio at an Oldies format station in Portland, OR to growing up in the music industry by way of my Father's success. However, it was in August 2021 while visiting LA, my wife & I made a usual lunch stop at Mel's Diner on Sunset. Mimosas and their Club Sandwich.
I glanced over and saw a familiar face, and then I realized it was Neil Sedaka. Of course, he's a regular at Mel's. I said to my wife I've got to say "Hello" and let him know I've enjoyed his contributions to music. Well, he invited me to sit across in his booth. We had a pleasant interchange. Upon leaving I said to the hostess, "I want to pick up Mr. Sedaka's lunch today." Tuna salad and a glass of Chardonnay. I thought, "Wow, I just treated Neil Sedaka to lunch." As we departed the parking lot I looked to my right to see him sitting in the booth where I left him, with a glass of Chardonnay, and taking a bite of tuna salad. It's a good memory.
Alex Hart
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I just entered high school when 'Laughter in the Rain' came out, with 'Love Will Keep Us Together' the following summer.
The Music was, and still is, Everything.
Even me, with zippo music education, but with parents who taught me the fundamentals of music appreciation, saw this guy was a tremendous talent. This admiration had to be concealed from my peers, as only the long-hair and R&B stuff was to be applauded among the general population. Man, they took such pleasure in making fun of that Fedora. However, all the musicians I knew, across all genres, admired and respected him. Yes, the Brill Building crew was passe', but he managed to endure.
In later years, I listened to interviews with him, and his talent and decency shone through.
Regards,
Edward Bryan
___________________________________
Neil Sedaka popped up on my fyp on TikTok one day and I was like, wow he's still singing at his piano and it's still pure joy to listen. So of course I clicked "follow." He'd have his grandson sing along sometimes and the two of them were so fun to watch/hear. Neil was always sweet and engaging and kind to his audience, and like you said, seemed so real. I was a huge fan as a kid, belting it out when his songs came on the radio. I was so sad to hear he'd passed.
Ellie Shapiro
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Very good Bob. I felt queasy too. I think because he was SO alive, losing him so quickly without fanfare, was jarring and seemed wrong. I got a recent picture with him at Dan Tanas and will remember him with love and in his element… he loved us. I felt it.
Steven McClintock
37 Records
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Fortunately I had a long career with many artists as a Lighting Director then Production Manager. I never had the opportunity to work with Neil but I did see him perform at the Grand Palace in Branson Missouri around 1995. At the time I was employed by Glen Campbell at his venue not far from where Neil played. I had a night off so I went to see Neil. I had no idea of how engaging he would be. I knew he was an outstanding singer, musician and song writer. To this day I remember his show. I have worked on over 3,000 live performances worldwide with a number of legendary Grammy winning artist. In early retirement I reflect on 15 or 20 performances that I remember like it was yesterday. Neil Sedaka's performance was one of them. He had that magic that made you feel like you were sitting on his piano bench while he played a song for you while explaining how he felt while writing it.
Only a few artist can do that. I'm glad I went to see him. I witnessed Neil Sedaka take the audience with him. Many artists can duplicate that. But there is a fine line in a performance where the sincerity cuts through and you become a part of the artist in front of you. Like you have been friends for years.
Rest in Peace Neil, thank you for sharing your soul with me that night at the Grand Palace.
Thanks Bob,
Tony TL Leverett
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Loved your recent interview with him. He reminded me a bit of Glen Campbell in that he was kind of in awe of his talent and (huge) success, but in a way that just made you smile.
Very few pop songs of that era top "Where The Boys Are;" the chord progressions are epic. And the way he refashioned "Breaking Up is Hard to Do" as a late-night croon in the 70s just underlined what a great tune it is. He was definitely one of a kind.
David Vawter
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Thak you Bob. Staring at 80, with memories of the Catskills and of Neil, that was beautiful.
arnold brower
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Great testimony Bob. I'm sure you know this but he was something of a classical prodigy at an early age and attended Juilliard. Saw him in Vegas in the 90's at the Orleans and he still sounded great! Really knew how to relate to a crowd. He will be missed. Thanks for remembering him.
Keith Bishop
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My father was an eclectic music fan, from Tomita, to Elvis, to Johnny Cash, to Perry Como, to the Carpenters, to Glenn Campbell, to Dire Straights and Pink Floyd. He had a couple of Neil Sedaka albums and so as result I heard many of Neil's song as I was growing up. 'Laughter in the Rain' was a personal favourite, listening to that on a turn table, lyrics painted the entire picture of a rainy day date getting caught on a country road as the heavens open, all in under 3 minutes. You could hear his smile in his voice. Rest In Peace Dad and Neil.
Dan Waite
___________________________________
Also, regarding Neil, I want to say his retake on, "Breaking Up Is Hard To Do" is GREAT. I was a young radio DJ when he made his comeback. I made the transition to FM by the early 70s. But, there was so much music to be had and heard, as you've documented so many times. But RADIO. It was staffed mainly by men. Many of the guys in radio had no clue or reference to what radio had brought or could bring to the masses, it was just a job to them. They looked at the charts and what other stations added that week as they chose their new single playlist adds, week to week as just a function of their P.D./M.D.position. I was a frustrated musician who gave up the garage band I was a part of as their drummer to instead work full time as a disc jockey doing the overnight show (12am-6am) to instead bring recorded music to the local audience I was passionate about what it was that I heard across the FM dial in the Tampa Bay area of Florida. I was into so many artists of all genres. And I was a lunatic fan of 10cc by 1975. I heard "Rubber Bullets" on WFSO-AM out of Pinellas Park FL along with Iron Butterfly's "Scorching Beauty" and Scorpions, "Fly To The Rainbow" (when the group was in their teens) and so much more until they'd sign-off at sunset. Bottom line, a lot of radio guys didn't know sh*t about music because they never picked up an instrument. And what we have today are pretenders running the radio business without the, "art meets commerce" ingredient. They don't hire guys and gals that truly know music or are inspired by music to know what the hell they are doing. They just want "content providers" to ring the cash register and stack some dollars, because they lack the knowledge. Good luck with that. American radio was once the standard barrer that led to many countries across the globe to design their radio operations after us. Can you say, "93 KHJ!" or "WNEW, Where Rock Lives".
Regards,
Guy "G. Michael" Keating
___________________________________
Sad to see Neil Sedaka pass. I remember seeing him around town in Monticello on a few occasions as his mother lived near me and even attempted to teach his daughter Dara to ski at Holiday Mountain and if I recall arriving in a Rolls Royce. My mother was from the same area in Brooklyn and Barbra Streisand lived in the same building, Neil Diamond down the street and Neil Sedaka nearby. Carole King was a bit farther away. What an era.
These are the Gold record frames my father made from today's NY Times.
https://www.nytimes.com/2026/02/27/arts/music/neil-sedaka-dead.html
Barry Levinson
___________________________________
Listening to Neil on your podcast was the first thing I thought of when I heard that he died. It was such a great interview. My second thought was that you would likely take it kinda hard. Again, because it was such a great interview and because you seemed to really connect with him. But also because it is yet another reminder that our time is limited and that no one here gets out alive. Not that we need to be reminded, mind you. The older you get the more you feel it in your bones and in every ache and creak. It's sad, but in Neil's case he did leave us with his music which we can listen to and enjoy as we think of a bygone time when we were young.
David Kuswanto
Toronto CANADA
___________________________________
I loved Neil Sedaka from the first song. And never stopped. Saw him live twice, years apart and both shows were 110%. He loved to sing.
He made an album in 1975 that never got big but had a loyal fan following. Worth a listen. "The Hungry Years". The title song says it all - about him and his career and what he really loves.
John Parikhal
___________________________________
Well said, Bob. The podcast you did with him was wonderful. What sticks with me is that during the Pandemic, Neil did these impromptu shows on Facebook. So casual, just him and his piano for maybe 20 minutes. He was so upbeat and sunny and talked as if it was a private little show in his living room. He made you feel confident we would get through it. He had nothing to prove. He was just a really nice guy calming a lot of people with his gift of music.
Regards,
Karl Woitach
___________________________________
Bob, I was a teenager during the early Neil Sedaka hits and bought quite a few of his 45's. Growing up in Canada, we were gyped out of the 45 picture sleeves that U.S. teens bought. We simply had generic RCA Victor sleeves.
Decades later in the late 1980s, I spent several hours interviewing him at his New York pad while his wife Leba and daughter were shopping. Neil had a sore throat that day, but every time I asked him if he wanted to stop, he said he wanted to go on, so I have well over an hour of his memories.
One important thing, although Neil wrote exceptionally catchy melodies, his lyrics (as least his main hits) were written by first, his teen neighbor Howie Greenfield and later on Phil Cody.
Doug Thompson
Toronto
___________________________________
My dad, Sammy, had two cousins, one was Eydie Gormezano who lived nearby, the other were the Sedaka's from Brooklyn. All were Sephardic (Spanish) Jews from Turkey, as was Louie Nigro (who's daughter I had a crush on when we were teens) Sam's pal.
Unlike the rest of them, who were short, dark and swarthy, I was the big blonde lifeguard who fronted a band, and was a lifeguard at the Bronx's version of Malibu - Orchard Beach on the LI sound.
I didn't know any of Sammy's relatives as I went to school in Boston for 5 years - but I did learn Spanish, just in case.
As I recall, Neil was always a big draw at Palisades Park during the summer, and I even saw him once there. My childhood friend was Ilene Goldner, who's dad Sam and Uncle George started Roulette, Gee and others until they ran out of money and gave it up to Morris, who I'd meet years later when I was VP Finance at Boardwalk.
Six degrees.
Rick Pardo
___________________________________
Mid-80's I end up at a party in his NYC apartment with a friend who knew him well. He greeted me as if he knew me forever.
Neil played the piano and sung a few of his amazing hits -and never stopped smiling.
I was awestruck.
He was Mensch Personified.
May his memory be a blessing.
PS My parents and their "group" spent a weekend each year for many years at The Concord. Somewhere in my stuff are the group and couples photos in white folders with The Concord logo on the front sleeve.
Us kids were left home with a sitter.
Janie Hoffman
___________________________________
Before Elton John "rescued" him, Neil Sedaka was working with the guys who would become 10cc (they were his band while recording at their Strawberry Studios), and completed three albums that were not released in the US. Elton chose 12 songs from those three albums, and called it "Sedaka's Back", and released it in the US.
Thanks,
Stuart Taubel
___________________________________
It was sometime in the early 1960s. I was either 10 or 12 years old when I visited my grandmother in Brighton Beach, Brooklyn. My uncle Irwin arrives to visit his mother (my grandmother) with another person. Warmly, he introduced his friend, saying, "Say hi to Neil Sedaka." I immediately exclaimed, "Calendar Girl!" Neil's face lit up with a big smile. Ever since that day, whenever I hear "Calendar Girl," I can't help but think of that time at my grandmother's house when I met Neil Sedaka—a regular guy!
Roy Liemer
___________________________________
I'm "young" enough (born 1960) that Neil Sedaka first came to my attention with "Laughter in the Rain" off his "Sedaka's Back" album. Though, when I first heard the song, I was thinking it was a female singer -- maybe someone like the Carpenters or Anne Murray. I'd probably heard at least "Calendar Girl", and maybe one or two of his other earlier hits (but decidedly not "Breaking Up is Hard to Do" yet), on my parents' AM clock radio before that. But, if so, I never registered who the singer was.
When "Sedaka's Back" came out, though, that initial hit, then "The Immigrant", really grabbed my attention. I bought the album, then the songbook, and I learned to play all the songs. By that time, I had my own band, and we ended up playing not only those two songs, but also some of the album tracks like "Little Brother" and "Our Last Song Together". (Maybe also "Love Will Keep Us Together" and/or "That's When the Music Takes Me".) Even songs we didn't play in the band, though, especially "Solitaire" (which I remember the Carpenters covering) and "The Other Side of Me", were ones I'd play quite a bit on my own.
Then came "The Hungry Years", and we added "Bad Blood" -- I sang the Elton part and another guy in the band sang Sedaka's part -- and "Breaking Up is Hard to Do", on which we mashed up the 70s slow version with the earlier "before our time" version at the suggestion of my parents, who'd heard another local (adult) band do the same. Oh yeah, our band wasn't exactly cool with the kids, playing Sedaka, Bread, Bee Gees, Elton, and other mellower stuff, so we mostly got booked for adult dances at firehalls, VFW halls, and the like. But Sedaka's songs of that era were great, and those drove me to getting an earlier greatest hits album, which made me an even bigger fan of his songwriting, even if I didn't end up playing any of those songs.
I did see him live once, probably mid-to-late 70s at the New York State Fair in Syracuse. I have to say, though, I was somewhat disappointed, because the set was pretty short (45 minutes?), and I'd wanted more.
By the time his "Steppin' Out" album came out, though I think we at least tried the title song, I was much less enthusiastic about the songs on that album. It felt like he was repeating himself musically, and the lyrics largely didn't have the bite of the best cuts from the two previous albums. I still play through the songbooks of those two albums at least a couple of times a year. Some truly great songs that hold up even with just a piano/vocal interpretation (which is most of what I do these days).
It was sad to hear of his sudden passing. I get that he's at that age, where we can't expect our favorite songwriters and musicians to last much longer -- he was born a year before my father and two before my mother, who passed away suddenly a little over a month at the age of 84. But, as you say, the music will live on.
Rick Paul
___________________________________
My dad made me listen to his hits in the 1990s, as a teen consuming the Beatles and the Doors and Nirvaba and Metallic..
My dad said, "You need to know this, too." He was right; for the standard of great songs was set.
Do young song writers working in their bedrooms even know of the Brill Buildkng anymore?
Mike Vial
___________________________________
In 1980, I was working in a Pharmacy on Madison Ave, NYC.
We had a lot of celebs with fancy apartments on the upper east side as customers.
Most of them sent their housekeeper to run their errands and they remained anonymous that way.
Neil Sedaka and his wife often came to the store in person. They were very friendly and kind to us and never had any condescending attitudes. I remember him fondly.
Mitchell Horowitz
___________________________________
Thank you Bob.
This gave me goosebumps and yes I feel as sad as you do!
Like someone I knew well has passed.
I met him when I was a kid in Australia and he was doing the club runs! Mum was a huge fan!
The Aussies loved him too!
He was so kind and the songs live were as good as the records!
Years later, a few of my friends were his band when he came out to Oz and they all spoke so highly of him, as a singer, a musician and an extremely kind human!
Those songs will live on forever in our hearts!
What a legend and a beautiful soul.
I miss the hungry years and
if it was raining where I am, I don't think I'd be able to laugh, cause breaking up is hard to do, especially when it's a ballad
Much love and respect
Dannielle De Andrea
___________________________________
Loved him, still do but I'm 87. My generation. Thanks for the memory.
Joanne Miller
___________________________________
Thank you for this, and for recognizing Neil's humanity in addition to his talent. He's been my favorite singer-songwriter for 52+ years now. He even stated publicly that I was his biggest fan in the world, and that I have the largest collection of Sedaka recordings and memorabilia in the world. A hugely influential and important part of my life died yesterday. This is what I posted on Facebook:
"In Neil Sedaka's music, I find songs to match every possible mood, save one. Whether expressing the highest highs or the deepest lows; the thrill of a new-found love, the sadness when losing a long-time love; whether in like, in love, or in lust; songs about society's failings; songs about the sheer joy of being alive. There are songs to commiserate with you when you're down; songs that embrace you and say 'I've been there before you, and I can assure you it does get better.' Songs that share your most ecstatic, earth-shaking joys. Songs when you need a laugh, songs when your tears won't stop. There's a Sedaka song for every mood except one: when needing someone to wrap their arms around you and hold you when nothing else will do — unfortunately, the mood I'm in now that Neil has died.
"My life would be much worse if I had never found his music; with his music in my life, everything is improved. It's not the time for one-upmanship, for saying 'He loved me more than you.' Now is the time to say how thankful we each are for having this man and his love in our lives at all. The world will never see his like again — it is such a better world for him having been a part of it and gracing us with his talent and his love."
I would only slightly quibble with your statement that after leaving Rocket Records, he had no more hits. His 1980 duet with his daughter Dara, "Should've Never Let You Go," reached #19 on the Billboard Hot 100, and #3 on Billboard's Adult Contemporary chart. And, as a songwriter, his "(Is This the Way to) Amarillo" by Tony Christie (featuring Peter Kay on video, but not on the recording) reached #1 in the UK in 2005, and stayed there for seven weeks, making it the best-selling UK single for 2005. This 2005 version was issue to raise funds for Comic Relief. It was a re-release of Christie's 1971 recording, which reached #18 in the UK, but #1 in Germany, Spain, Austria and Belgium.
While Neil was with Rocket Records, I believe he could've had some bigger hits if some other songs had been released instead of the singles that were, especially from his last original album of new material, 1976's "Steppin' Out." They tried to recreate the magic of "Bad Blood" (#1 in 1975, with Elton on backing vocals). But, even with Elton again on backing vocals, the title track only reached #36. I thought, released at the right time of year, "Summer Nights" was far superior to "You Gotta Make Your Own Sunshine," at least in terms of what I believe would've gotten more radio play. We'll never know, of course.
I'm left completely bereft since his passing.
Best regards,
Betty Latvala-Soininen
___________________________________
I hate is when your newsletters are titled simply with a name cos it means that another one has bitten the dust. Your podcast with Sedaka was a peach and I liked him all the more. I wish I'd seen him in concert. So many great songs.
Mike Howard
___________________________________
Loved the Concord story re Sedaka.
It was a bit of a challenge to explain "the knockers" to my gentile clients!
(I don't think Grossinger's had knockers)
Jim Morey
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