Showing posts with label Joni Mitchell. Show all posts
Showing posts with label Joni Mitchell. Show all posts

Monday, July 25, 2022

Joni Mitchell Surprises Newport Jazz Festival Audience and Everyone Else Who Loves Her Music

Welcome news appeared in Rolling Stone yesterday as Johnathan Bernstein's story that Joni Mitchell had returned to the stage just seven short years after experiencing an aneurysm that left her unable to speak or walk. On July 24, while most everyone was enjoying a lazy Sunday afternoon somewhere, history was made at the 2022 Newport Jazz Festival. Billed only as the Coyote Jam with Brandi Carlisle as lead, the surprise of the day eclipsed the preceding day's appearance by Paul Simon.

Rick Farrell's photo in What's Up Newport captured Mitchell looking as comfortable there as she has been in her own home in recent years, as guests have dropped by for informal Joni Jams.

For the first time in 20 years, since her self-imposed retirement from live performance, she held court atop a makeshift throne as those around joined her in tribute to her genius. In fact, her own website site noted: "The last time Joni performed with guitar in hand in front of a paying audience was 8,660 days ago, on her 55th birthday."

Onstage with Mitchell, sitting in an exquisite chair, sat numerous well-known musicians from Brandi Carlisle to Wynona, some of whom consider themselves Joni's Number 1 Fan. Yet, that position is held by no one person. It is not possible, because music lovers from the late 1960s forward have embraced the willowy, fierce singer-songwriter as "theirs" for likely that title belongs only to one person, David Crosby, who really is primarily responsible for making sure the rest of us knew of her gifts and helped her career ascend into the stratosphere from a nice start (and life with Graham Nash as well).

Yet, did you ever think that 20 years later, she'd be standing in front of a live audience performing a jaw-dropping instrumental on "Just Like This Train"? Check out the YouTube posted by Dale Martin:

The audience sat spellbound as they watched Joni rise from the comfortable chair on a stage that recreated the home setting where Mitchell has been hosting gatherings of LA area faithful for a long while. These informal yet limited audience gatherings have included select friends, old and new, who'd come by to sing her songs back to her. Clearly, Joni has made phenomenal progress since suffering a brain aneurysm in March 2015. The event left her unable to speak or walk Yet, having recovered her speech, at age 76, she told a reporter for The Guardian her intentions, after she'd beaten childhood polio (as noted from in the BBC story):

"And, you know, I got my speech back quickly, but the walking I'm still struggling with. But I mean, I'm a fighter. I've got Irish blood! So you know, I knew, 'Here I go again, another battle.'" Two years later, Joni brought singer Wynonna Judd to the point of "no words" as she asked Brandi Carlisle, "When we are 78..." as if can we still be like she is? Granted, many of the performers there were starstruck as much as moved by the quiet confidence of Joni's humor that filled some of the stories she told, one of which was how she came to love "Why Do Fools Fall in Love" as a teenager. Yet, few teenagers get to take their favorite artists with them on the road, but then again there's only one Joni.

Quite possibly, Joni Mitchell means more, perhaps, to singer-songwriters themselves than to any other group of individuals who can rightfully claim one musician as "theirs." Joni's willingness to break rules, barriers, cadence, and logic with each album that she released represented "This is How It's Done When You're Not Afraid to Do It" as opposed to "This is the Way We've Always Done It" in song styling.

Thanks to JoniMitchell.com we have the set list from the concert, and videos courtesy of YouTubers Amy Karibian and Dale Martin. Brandi Carlisle is the musical director, vocal coordinator, conductor, and The Guardian's Laura Snapes had the band lineup for us: Marcus Mumford, Wynonna Judd, Blake Mills, Jess Wolfe and Holly Laessig of the band Lucius, and Mitchell’s bandmates Phil and Tim Hanseroth and Celisse Henderson. Carey [2]

Come in From The Cold (Dale Martin video) features Taylor Goldsmith (of Dawes) said lead and Joni sang harmony

Taylor's dad, Lenny, was an original member of 60s band the Five Americans and eventual lead singer for the Tower of Power.

Help Me (Dale Martin video)

A Case of You

Big Yellow Taxi

Just Like This Train (Joni on Parker Fly!)

Why Do Fools Fall in Love

Amelia

Love Potion #9

Shine

Summertime

Both Sides Now

and The Circle Game

In the years since her aneurysm, musicians have shared their regard and devotion for Joni and her music in performance, stories, and composition. Some are in her living room; others express it on their own stages. The impact of Mitchell's music is found in individual singers' tributes to her work around the world, from Australia to the UK to New England and Los Angeles.

As just a few examples, for the past seven years, singer-songwriter Kiki Ebsen's group, the Joni Mitchell Project, has performed a decade's worth of Mitchell's work that spans nine albums after noting that Joni's absence from performing had left a substantial musical void for two decades. Together with guitarists Grant Geissman, Terry Wollman, drummer Bernie Dresel, and Steve Lawrence on bass, and occasional guest artists, they interpret Mitchell's work with flair and authenticity by crowds who continue to appreciate annual appearances at the Laguna Festival of the Arts and upcoming Muckenthaler Cultural Arts Center date.

Multiple Grammy winner Christopher Cross could not sit quietly by as one of his heroes had suffered her aneurysm. In 2016 he released his tribute to her, "Roberta". He noted: "'Roberta' is the first [song] I have completed [on my new album], which is very much influenced by her later work 'Hejira' and beyond."

It is poignant to think that a commitment made by Joni's then manager David Geffen to appear on the Dick Cavett Show kept her from attending Woodstock, but in 1969 she wrote one of the most iconic songs that has long been considered the identity of the festival. Fitting then, that hours after the night ended and the sun came up, with great thanks to the journalists and videographers who captured time in a bottle for us one more time, we can enjoy the memories of a concert we never attended, but heard about, to perhaps be the impetus that inspired us to go forward and be creative. Thanks, one more time, to Joni for the music. Long may she rock.

Tuesday, March 8, 2016

Rediscovering the Talents and Gifts of Inspirational Musician Gigi Worth

For a long time now, too long in fact, vocalist and musician Gigi Worth has been content to reside on the other side of the spotlight, but no longer. It’s most fitting for her to be seen and known by more than just the vast community of Grammy-winning multiplatinum recording artists and concert headliners who call on her to tour with them or sing on their records.

Now, you already actually know Gigi, at least her voice, very well in fact. Even if you don’t get to many live concerts, you’ll instantly recognize the standout style of the charming brunette, who graces numerous videos on YouTube as a featured backing vocalist, master percussionist or guitarist.

You might have seen her on tour with Michael McDonald, Kenny Loggins, or years ago when she stepped forward on tour to sing a duet with Christopher Cross on “Open Up My Window.” Gigi is also featured singing with him on Cross’ 1995 CD, “Window.”

Or you’ve possibly watched Gigi playing killer percussion while singing. Yes, drummers can sing and drum at the same time, well many of them at least. Or, sometimes Gigi just brings her own (anonymous) guitar brilliance to support Christopher Cross’ angelic “Words of Wisdom” as in this video.

Ever watch Don Johnson in “Nash Bridges”? From 1996–2000, Gigi was the one singing the theme song at the show’s opening. Remember the Val Kilmer movie, “At First Sight”? The exceptional vocal on the movie theme, “Love is Where You Are” is indeed all Gigi. Others have covered the song, but the best version belongs to Gigi, unquestionably.

The soundtrack from “Mr. Holland’s Opus” also belongs to Gigi. She’s a prolific studio singer who’s been requested by so many heralded artists to sing on their records as she makes those vocals “hers.” That’s a producer’s dream to find a talent who can do that.

You know Worth’s voice even if you can’t see her, because it is “her” voice that undergirds many signature premier television and radio commercial jingles for national accounts like Toyota, IBM, and Ford, but it doesn’t even phase her. What’s more you’ll never hear her discuss it. She may speak of “working on a project” but that’s it, according to friends who know her well.

How many singers would just love being “the voice of a brand” and then be so excited to tell everyone they knew? Not Gigi. That’s part of her professionalism, though. As a working professional singer and musician, she’d almost be content to be on the sidelines just doing her job, but she really belongs out front in the spotlight, for a change, and from the looks of things, she’s on her way. Once you meet her and hear her sing, unplugged, she’s absolutely unforgettable—a gentle dichotomy of bold reticence. And just call her Gigi. That’s really all you need to identify her.

One of the most beautiful songs from Gigi Worth's solo CD, "Skylark" is "Embraceable You." Her exquisite vocals lift the song to a new level of beauty.

Gigi’s debut solo CD, “Skylark” is quite the masterpiece and revisits the most beautiful standards ever recorded by the generation that preceded her. Songs like ‘Tenderly,” “Come Rain or Come Shine,” “Almost Like Being in Love,” “Embraceable You,” and “Moonlight in Vermont” belong to the generation of her mother, the exquisite singer and musician Gisele MacKenzie. In fact, Gigi actually recorded the album as a tribute to her mother, who appeared on television, radio, and in commercials for products in Canada and the United States.

A standout, must-hear track of all the beautiful ones, is “Stranger in Paradise,” on which Sony BMG gave their permission to use her mother’s version so that Gigi could add her harmonies on the song. The result is simply phenomenal, almost bringing tears to your eyes except that it’s so uplifting to hear the familial voices resplendent in crossing over time and space.

Gigi’s unique vocal skills remind you that one minute she can be singing “Cry Me a River,” and the next minute she can strum her guitar exactly like Joni does and sing Mitchell’s “Just Like This Train” to perfection. Her go-to bassist Steven Lawrence is on this CD and did the musical arrangement on “Embraceable You” and “Let’s Make a Go of It” (coauthored by Gigi, Catherine Beck and Steven Lawrence).

The CD, “Skylark,” has a special and poignant story behind it, and how it came to be released some ten years ago. There’s a beautiful story from 2011 shared by Susan Frances in “Jazz Review,” wherein Gigi relates how the earliest works in recording the album with her Executive Producer, arranger and keyboardist, Bobby Zee, were literally destroyed in a fire that burned his home and recording studio.

Imagine the feelings of devastation that followed. And yet, both Zee and Gigi agreed they, like the phoenix, would rise from the proverbial ashes and start over. The end result is outstanding and an important must-have for your collection. It’s available from CD Baby, but suggest you get the CD rather than the download as you will want to read the liner notes for the stories behind the songs, plus have the chance to see Gigi’s beloved horse, Miss Easy Street.

The opportunity to meet Gigi Worth came, thanks to her good friend and fellow musician, Kiki Ebsen, who invited this journalist for a behind-the-scenes look at their collaborative band, Trouble Child. Rehearsals were in progress, and the set list was taking shape for the band’s debut at Kiki’s peace.harmony concert at the Healing Equine Ranch earlier this year.

Gigi Worth sings "Free Man in Paris" in debut of Trouble Child, Joni Mitchell tribute concert.

It was a cool but sunny afternoon when the longstanding friends arrived simultaneously at the California home of fellow singer-songwriter and music professional, Guy Thomas. As Gigi unlocked the passenger door, a beautiful whippet named Tippy exited gracefully. “Tippy Whippetsworth” was there as I was, to hear the trio rehearse.

Multitalented musician Gigi Worth and her beloved Tippy Whippetsworth, who has an all-access pass and a great view of the stage.

Worth opened up her case, took out her guitar and then placed her coat inside to line the case. Tippy waited patiently while Mom did that and then curled right up in the case and Gigi covered her up. Rehearsal could begin. Thomas’ dogs Woofie and Sadie (whom Gigi insists on calling ‘Cabbagehead’ for fun) took their places and work began. Guy and Gigi have been playing music as a duo in many venues across Los Angeles recently and they work so well together.

Gigi and Kiki are longtime friends who have also worked together as the beautiful, talented bookends framing the stage with Grammy-winner Christopher Cross for several international tours. Check out some of their tour work as they perform “Alibi.”

Now, in previous rehearsals Kiki and Gigi had already carefully reviewed and considered Joni’s abundant catalog to choose 22 songs from which they would create their musical mosaic. So, this work session would determine which songs to which Guy would be bringing his brilliant guitar solos or adding in a third voice on harmonies. He loves Joni Mitchell’s songs possibly even more than Gigi or Kiki, though that’s a pretty high bar to meet.

Let’s just say that each is equivalently versed in every nuance of Mitchell’s collective body of work. The masters working on the masterworks is basically what was observed by this writer (and Tippy, Sadie, and Woofie). The quality was exceptional and the search for perfection was inspirational that afternoon.

The three-octave range that Joni had as she originally composed so many of these songs was met effortlessly by Worth and Ebsen. Give them a song, any song; they have it down. Gigi can sing brilliantly and richly in the highest parts of Joni’s songs, or she can shift right into alto parts and blend wherever it is called for, and she makes it all look easy. Gigi also has a grand time playing all the songs she knows by virtually any artist.

Yet, despite a disarming, genuine smile, Gigi is one of the most highly demanding artists you’d ever hope to meet. Yet, it’s only of herself that she demands it, that perfection she seeks to deliver, and she’s hard on herself at times because she won’t settle when she’s called upon to sing Joni’s songs. It’s touching to see how one amazing iconic talent, Joni, has inspired such devotion and discipline for these amazing professionals to “bring it” to do her music such justice.

Kiki and Gigi cofounded this band to honor and perform the music of Joni Mitchell, whom they revere and respect as iconic, influential, trendsetting and unique, the exact same properties many agree they each have as individual artists. When you put the two singers together, musical magic and harmonies emerged that even Mitchell herself would undoubtedly approve.

The concert was already sold out, but online viewing was going to be provided courtesy of the exciting new collaborative, Alert the Globe, who was filming the event for later broadcast and for some exciting simulcasting. The actual concert day and events preceding the concert are described in related articles regarding Kiki Ebsen's peace.harmony concert series at The Healing Equine Ranch.

After the gift of being able to watch Gigi Worth rehearse and later perform in concert later in the week it must be said that she still does not see what all the fuss is about. To her, it’s just what she does. And she loves what she does. Yet, when the audiences and her music colleagues shared their praise and regard for her gifts, she seemed not to understand why they were making such a big fuss over her vocal talents.

It’s likely because, and they all had this in common, they view their voices as their gifts and instruments, they take care of them, and when they are called upon to use their talents to entertain, they are entirely focused on the work, the music, the perfection in delivering the right notes, and they forget to take the time to hear the accolades.

Fortunately, the Alert the Globe network was on hand, thanks to Gary Bergeson, Southern California radio personality at KSBR Radio (he is also affiliated with Alert the Globe), the premiere Trouble Child concert was filmed for a future broadcast and some video clips are sure to emerge. It will be then, and only then, when she hears herself sing that Gigi Worth will finally understand what all the fuss is about.

Speaking of making a fuss, it can be a challenge for Gigi, having a famous, superbly talented mother (who was a television star, host of her own shows, plus a gifted violinist and concert-caliber pianist to boot). Just ask her good friend Kiki Ebsen, who also is finally being seen as the individual talent she has long been, separate and apart from her father (who was a television star, motion picture actor, vaudeville dancer, music composer and artist) and mother (who was a gifted theatre producer and exquisite writer).

Bassist Steven Lawrence had that in common also, as his parents were well known California studio and television singers for several television programs in the 1960s. And Gisele used to favor Steve with the praise by introducing him as “the talented one.” Gigi jokes about it all the time as Lawrence is like her second brother and he does look out for his little sister, whom he fondly calls “My Geege.” Steven lost his sister, Jules, whom he called “the joy of my life,” to ovarian cancer far too soon, so it would appear that into that void in his heart, he was gifted with another soul to whom he could be brother (and allowed to pick on her just like any annoying brother is capable of doing). Life is full of grand gifts and surprises in times of the most tragic events. A special spirit is everywhere it is needed, it seems.

It’s not about whose daughter or son you are (anymore) that defines the second-generation progeny first and best. Forget their last names or the body of work of their parents. Instead, focus on the voices and faces in front of you and just know they all had great examples by which to develop a professional work ethic. That’s their big secret advantage: they show up prepared and work.

You can call her Gigi MacKenzie if you want to order the CD, “Skylark” or you can call her Gigi Worth, when she’s touring on stage with the Grammy winners like Michael McDonald or Kenny Loggins most recently. But really, this down-to-earth talent with the ethereal voice and tremendous sense of rhythm is best known by only one name.

She’s the unforgettable artist with a voice that heals by creating harmony in a time and place for audiences in search of reasons to forget their day, their past disappointments or failures, and in search of beautiful music by which their souls can simply be healed.

May her voice be heard, now and always, on records and in concerts, in the front of the stage this time, because she has such tremendous gifts to share, so much to offer music lovers. And, you can just call her Gigi.

Saturday, September 20, 2014

Leonard Cohen’s 80th Birthday Celebration is Cause for National Tributes

Perhaps no singer-songwriter has had more of an impact—of some kind—on his contemporaries, and those who came a decade or two later, than Leonard Cohen. Cohen, who turns 80 years old on Sun., Sept. 21, 2014, is being given a celebration or two (or many) in his honor across the United States simply for remaining an inspiration. 

Read the full story here.



Order Leonard Cohen's new album/CD/mp3 "Popular Problems," from Amazon.com
Official Release Date: Sept. 23, 2014.




All photos from Leonardcohen.com web site 












Artwork for new Leonard Cohen's new album, released in conjunction with his 80th birthday.

Friday, October 21, 2011

Artie Wayne vs. the music industry: Can a nice guy finish first?

Reading the Artie Wayne biography, ‘I Did it for a Song,’ readers are moved, nay compelled, to ask themselves two basic questions.

Question 1: Can nice guys finish first in business? Answer: Which business? Response: The Music business.

Question 2: Which nice guy? Answer: Artie Wayne. Response: The answer is up to you, the reader to decide.

Do you know Artie Wayne? If you love rock and roll music, chances are good you’ve heard his name at some point in the last 50 years. And it could be for a number of reasons. Among other things, Wayne is a singer, songwriter, demo guy, promoter, producer, record label executive, nurturer of creativity, messenger of great ideas, and more. He’s more than a Renaissance guy. He’s a futurist, in the best sense of the word.

Most importantly, Wayne’s best skill is having been, and still being ‘the man in the middle’ of some of the best music ever to go from ‘how about this?’ to ‘vinyl is final’ stages. And as Wayne says, ‘he did it for a song.’

Poignantly, that is the exact title of his recently released autobiography, unquestionably one of the best and fastest fun reads of 2011. Have you read ‘I Did it for a Song’ yet? Perhaps you have, if you belong to an elite group of music lovers, who lives and breathes music so much that you haunt vintage record stores and multiple garage sales for that one missing 45 or 33 to define your collection.

Or, you have read it if you’re one of those types to check in often on blogs such as ‘The Pop Culture Addict,’ ‘Forgotten Hits,’ or even ‘Artie Wayne on the Web.’ If so, then you probably scout out treasures on eBay, you have alerts set to find a copy of a song or album that means the world to you. We know you.

You’re also the music lover who reads liner notes and knows the name of the recording studio, the recording engineer, arranger, composer, publisher and who played bass on those Billboard chart hits across the country for the past 50 years, a period in which the genre of rock and roll rose, soared, and crested into the genre we now enjoy as “classic rock music.”

In a Perfect World

In a perfect world, the music industry is an assortment of vibrant personalities, creative talents, unique business and music skills and opportunities to bring all these factors together. When combined, bright people of like minds and commensurate talents find each other, join forces and create great musical works.

Creating a music product that is known and appreciated from Middletown, CT to San Jacinto, CA is usually done for the sheer joy of creation. That’s in a perfect world. But inevitably external variables creep into the equation, introducing imperfections and exceptions, advance sales, chart positions, units moved, power rotations, remainders, returns, pre-orders, gold and platinum certification, the Grammy Awards and who will be nominated for the controversial, dubious Rock and Roll Hall of Fame.

So, who is Artie Wayne? He’s a man who lives in that perfect world, believes in the basic goodness of others, and has trusted more than a few people to do the right thing by him, particularly when they said that they would in the first place. During his career, within the upper echelon of the music business, he’s found some of the faith and trust he’s placed in others to be well worth his time.

Others have disappointed him in large measure, but he doesn’t absorb the negative energy of their misdeeds. Instead, he figures it’s just a matter of time before they do right by him. A do-right man, as the song goes.

Artie actually entered this world as Wayne Kent, a great name on two levels. One, it’s strong, to the point, and sounds like a guy who’d grow up to be an executive, doesn’t it? Two, it’s gently amusing that both names comprise portions of the alter egos of two cartoon heroes whom people are always counting on to rescue them and in fact, save the world.

Batman, as you know, was Gotham City millionaire Bruce Wayne by day; and Superman, of course, was mild-mannered reporter Clark Kent, he of the Daily Planet. Put them together and you have Wayne Kent. I doubt he ever once thought about that, yet the longer you visit with Artie Wayne, and the more you learn of his amazing abilities to make others’ dreams come true, as he introduces the world to yet undiscovered talents, the more likely you are to search him for a cape and a mask.

Just Call Him Artie

The name switch came from his being bright enough to use his real name, Wayne Kent, for songs he’d written for ASCAP publishing. His pseudonym for BMI songs was Art Wayne. It was not all that unusual back in the day to have a show biz stage name if you didn’t like the name your parents gave you. But he was savvy enough, early on, to know that he could be in both publishing organizations with a little panache and an extra non de plume. His friend and colleague, Ed Silvers, began calling him ‘Artie,’ and hence, ‘Artie Wayne’ became the bon vivant of the music business. He has not let go of the spotlight yet. He owns it. It belongs to him. That, and a few other things are due him.

How and where he’d get into the music business was never a worry. Artie seemed to have a sixth sense and proclivity for being in the right place at the right time. As a young songwriter working on future hits with a great friend, Ben Raleigh, Artie’s natural confidence and magnetic personality took them far up the ranks in short measure, all because of a positive attitude he still has to this very day. It started with Bo Diddley and Bobby Darin.

Going into Bo Diddley’s backstage dressing room before his appearance on Alan Freed’s TV show, ‘The Big Beat,’ Artie was just hoping for an autograph. Instead, Bo showed him how to get his famous ‘Hey, Bo Diddley’ riff, even tuning Artie’s guitar to an open E-chord for him. The lesson ended when (get this) Jimmy Clanton, Jackie Wilson, and Bobby Darin come through the door, interrupting the lesson to play Diddley a test pressing of Bobby’s song, ‘Dream Lover.’

Incredible Breaks, Breaking Records

Wayne and Darin became good friends, with much in common as two Bronx boys who loved music. Darin encouraged Artie in his songwriting and is responsible for not only starting Artie’s career as a songwriter, he kept it from ending. Artie shared with Darin his excitement, as he was about to sign a management contract with Alan Freed. Darin knew something that Artie (and most of the rest of America) didn’t, that Freed’s house of cards was soon about to come down with the revelation of the payola scam. Darin suggested to Artie that he go see a publishing friend of his who was officing at 1650 Broadway.

What an incredible break that was. Turned out the company was Aldon Music, and the friend was Don Kirshner. And thus began Wayne’s career. His book of 70 chapters is chock full of star-studded stories like this but the funny thing is, Artie doesn’t think of himself as a star and perhaps he’s not. He’s actually a starmaker. He perceives himself to be a regular guy, born under a lucky star, and never does seem to be affected by all the glitz and glamour that were once a part of his daily life.

Without giving the whole story away, Artie’s career went from songwriter/singer, to demo man, to producer, to (with partner Kelli Ross) running Quincy Jones’ New York publishing companies. And he didn’t stop there. At the pinnacle of his career with Warner Brothers Music, his title was General Professional Manager, and Director of Creative Services.

He ran the ‘New York, Nashville and L.A. offices out of Hollywood,’ and represented the ‘songs of Badfinger, Jackson Browne, Bob Dylan, the Faces, 5th Dimension, the Kinks, George Clinton, Gordon Lightfoot, Mahavishnu Orchestra, John McLaughlin, Joni Mitchell, Van Morrison, Graham Nash, Randy Newman, J.D.Souther, Stephen Stills, John Sebastian, Sly and the Family Stone, Carly Simon, Jimmy Webb, Allan Toussaint, Donny Hathaway, Neil Young, Glenn Frey, Don Henley, and Dick and Don Addrisi.’ He was the chief ringleader of a group of brash boys of bravado, ‘The Warner Raiders’, seven stalwart songpluggers whose mission was to know every single song in their catalog and find artists and producers to record them. Their successes were legendary.

Wayne was also known as performer Shadow Mann, and he is a songwriter who co-wrote ‘Midnight Mary’ with friend and songwriter, Ben Raleigh and wrote ‘3000 Miles’ recorded by Brian Hyland, just to name a few. Wayne recorded on 'Tomorrow Records and worked on Morris Levy’s Roulette Records, the home of music of Tommy James and the Shondells. Now, you know who Artie Wayne is. Right?

You Don’t Know Artie Wayne at All

Artie Wayne is not some paragraph on a long-ago resume of one whose life was lived on the backs, shoulders, or coattails of a bunch of rockers. Not by a long shot. Artie is one of those guys who made magic happen.

By being in the right place at the right time, he was able to draw upon a huge catalog of songs he managed, controlled, or knew a guy who did, and make certain that the right producer, the right singer, the right instrumentalist, and the right industry bigwig heard it all and, more importantly, bought it and signed on the dotted line for it. Future security for virtually everyone but Artie himself.

It’s not much of a stretch to think that he truly believed, in his heart of hearts, that if he took care of the business, the business would take care of him. So far, it hasn’t always worked out that way. But here’s Artie Wayne, ever the optimist, certain that he can get those in charge to see the light and make things right. That remains to be seen, but after talking for an hour with Wayne, you are convinced that he’s right.

Sharing Wayne’s story is best left to him to tell. The untold story is here, and in it is the question: ‘Does the Music Industry really take care of its own?’ Artie was so busy doing deals for other people that he failed to write himself into contracts where he could have. Innocently or naively, you be the judge, he was counting on people to remember him ‘later,’ yet only a handful of people did.

Among those who he considers great friends today are songwriter Alan O’Day (‘Angie Baby,’ ‘Train of Thought,’ ‘Undercover Angel’) and Allan Rinde (of Cash Box and later Columbia Records), who have remained his lifelong friends and trusted associates. There are others but sadly, some have already passed away.

The Royalty Statement Said ‘What’?

The biggest, most important ‘do right’ question came to light this week when Wayne opened up his royalty statement and was shocked to see that: ‘This last quarter is the first time in my career that I didn’t receive one penny in royalties as a songwriter or publisher. What is even more devastating is the big Michael Jackson payoff I was expecting from having two of my songs in four different posthumous releases fizzled out. Supposedly, only a few thousand units were sold…but I don’t believe it…do you?’

The two songs Wayne co-wrote are ‘Touch the One You Love’ and ‘Little Christmas Tree’ and they’ve been re-released since 2009. You can imagine the skyrocketing numbers of posthumous sales of any recording by Michael Jackson in the past year.

So, as Wayne states, he ‘called to ask for a $5,000 advance,’ and the corporation could expect to recoup that based on Jackson’s longstanding popularity. They didn’t give him the $5,000 but they did give him $2,500. The next period, Wayne said the corporate statement, stemming ultimately from the conglomerate music entity, had not recouped the advance. Hmm. Interesting. So he waited a while and asked for another $2,500 advance. They gave him $1,500. Even more shocking as Wayne read the statement over the phone, he’d been credited with earning $40 in that quarter, and the company wasn’t going to pay out until the sum reached $50.

Let’s do the math. As cowriter Wayne would earn $.02 on each sale/download whatever. Earning $40 means that only 2,000 units were sold that quarter. The $4,000 advanced by the company to Wayne was not charity. It was an expectation of something Wayne contends is the reality, of the elevated status of any new, unreleased, rereleased items in the Michael Jackson catalog. Does that 2,000 units look right, in a quarter that hung in the precipice between the announcement of Jackson’s death and this month’s national news updates of the ongoing criminal trial for Jackson’s death being considered wrongful vs. accidental?

We’ve Already Been Down This Road Once Before

Just like Steve Popovich, the late industry promo genius of Columbia Records, had to do, it seems like Wayne is destined to don his cape and mask one more time and see if he can’t win it for the little guy, the good guy, and the guy by himself. Popovich created a web site that hundreds spent more than a few hours reading a few short years ago. The web URL, inactive today, was, ironically, onemansfightagainstsony.com. The industry lost Steve Popovich earlier this year and not only did grateful musicians write their own Internet tributes upon his passing, so, too, did Artie Wayne remember Steve in his ultra popular blog, ‘Artie Wayne on the Web’.

Popovich is another of those names that more insiders than record consumers know. He was the guy, to read what Clive Davis said in his biography years ago, who lived on Tab soda (remember that?) and bags of chips, slept on his couch at Black Rock headquarters in New York, and was on the phone working records 24/7 across the country. He’d be the button puncher with his car radio dial preset every where he went, listening to hear where and when his songs were played.

Good-natured Steve worked records into a frenzy and created buzz, wrote the buzz, kept the buzz going and was a licensed hitmaker. The man turned good little songs into solid gold pieces of history. And he’s gone now. He won his fight with Sony, and now he’s gone. It’s a crying shame but he’s almost forgotten, except by those who remembered where they came from and the names of all the ‘little people’ who he made their path of gold for, all without ever singing a note or playing a piano.

Is Artie Wayne destined to become another Steve Popovich? They have a lot in common: indefatigable, wide-eyed lovers of life, who live, breathe, love, consume any air filled with music. Plus, they were raised by their families to do the right thing. When Popovich won, in the settlement over ‘bookkeeping’ for his sales at his own Cleveland International Records (rereleasing Meat Loaf’s Bat out of Hell on CD was the centerpiece of the issue), it took all his energy to fight that fight. No one knew publicly what he made off the settlement, and the records were apparently sealed.

For Artie Wayne, it’s déjà vu, all over again. And who knows, his big label conglomerate might surprise everyone, and decide to do the right thing...eventually. Artie Wayne, at age 69, isn’t getting any younger. He still thinks and talks like he’s 25 years old, but you know how long things like this can drag on. And, let’s face it. It’s just not right.

You Decide Whether or Not a Nice Guy Can Finish First

So how can every reader decide whether nice guy Artie Wayne can finish first? The answer is right on your computer. Buy his book. For $9.95 you can get his e-book in any format you want: iPad, Kindle, e-Book, Word doc, it’s there. More than just buying his book, you’re sending him an affirmation that you support his efforts to go back to the mountain one more time to see if corporate conglomerates can rediscover their lost bookkeeping.

If you are a singer, songwriter, entertainer, producer, DJ, blogger, or music lover, even if you haven’t met Artie Wayne, send him your message that he’s not alone. It’s a pretty isolating business when you’re no longer in powerful positions. A lot of the friends who you think will remember you...may not. If you go up against a behemoth, you find out who your real friends are, another hard lesson to accept while you’re fighting a bigger one. The e-book is the best, fastest reading you’d ever hope to enjoy. In his you-are-there style of writing, you really are under the strobe lights, the spot lights, and the stage lights of the best days in the music business ever. They’re gone now. Sadly. Today's big music labels overflow with executives, lawyers, and folks who have gone to Wharton who tell you how many units you need to sell before they’ll sign you. It's taken all the fun out of making music for some.

We don’t any longer have those independent hustlers who moved records out of the backs of their cars. We don’t have the guy who will give you $20 cash because he knows you haven’t had a hot meal in a week while you try to get your band a gig somewhere. You have YouTube videos to showcase your work instead of being able to go live to prove yourself and develop a following. It's convoluted, confusing, and there's plenty of room for change available to bright minds willing to get in there and be a part of the solution and the future of music creation and delivery.

Classic rock lives. Artie Wayne has faith in humanity. Show him that you appreciate his spending 50 years in a business trying to help musicians achieve their dreams. At least post on his blog (http://artiewayne.wordpress.com/) and let him know he’s not the only one who cares about this. He asked for nothing for himself so many times that he helped others. For the love of music and love of people, he did it for a song. Rock on, Artie. Rock on.