Saturday, July 13, 2013

Gary Puckett and a random act of gracious kindness

A gift of great kindness from singer Gary Puckett and his wife to Scott Jacobs' family, including his father, who passed away two days after the very special gift of a hospital-room concert from Puckett.

During an Internet search for concert footage of the 2013 Happy Together Tour, a nice accidental discovery on YouTube featured two familiar names, musician Gary Puckett and iconic artist Scott Jacobs, of San Diego, California. Delighted to discover what is undoubtedly one of the most endearing videos across the YouTube spectrum, the location is a hospital room. The focus is on a senior gentleman on oxygen support is enjoying a noon meal, smiling quietly as he's treated to a private concert by Gary Puckett.

Puckett is currently on the 2013 Happy Together reunion tour, crossing the country for the fourth consecutive year now. The gentleman in the hospital just happened to be Scott Jacobs’ beloved father.

What’s most special, aside from the obvious delight on Jacobs’ face, is (in Scott’s own words on the video notes),

"Gary Puckett, my father’s all-time favorite musician, came up with the idea of coming to play for my dad in his hospital room. He and his wife Lorrie drove four hours over the New Year’s weekend to play a mini concert the two days before my dad passed away. My father was singing, smiling, and laughing while Gary played. In fact, my dad told Gary that meeting him and having him play was worth dying for!”

For baby boomer adults, who were once children of the 60s and 70s, every day is a blessing with our beloved seniors. As their aging process continues, you’ll find adults often acting as comforters still, to their adult children who know they are seeing final months, weeks, days and moments together with those parents. In final hours emotions run high and you hope and pray that something will happen to “make it all better” for your loved ones.

As Puckett performed, “Woman, Woman” for Jacobs’ dad (see video accompanying this story), fortunately cameraphone video captured this, as well as another, song, “Young Girl,” found here. As the camera pans, watch Scott and his whole family, along with Gary’s wife, Lorrie Puckett, singing along and you’ll catch yourself smiling as you see the love overflowing in that hospital room for Jacobs’ dad.

The videos were uploaded January 10, 2013, by Scott Jacobs Studio, a video channel managed by Jacobs, a multitalented artist who is actually Harley-Davidson’s First Official Licensed Artist, which fits into one of his passions. His work is greated admired and sought after by many well-known names including musicians (The Doobie Brothers’ Pat Simmons, Billy Joel, Big and Rich, the late Clarence E. Clemons), wine enthusiasts and motor enthusiasts (Kyle Petty, Lorenzo Lamas, the late Carroll Shelby) and more. Clearly he is one of the finest artists in the world, and he’s dually blessed with a beautiful family, his wife and two daughters.

Yet no matter your fame, none of it means anything in compensation when someone you love with all your heart is in the final stages of life. Every thought is directed towards comfort and peace for your loved one, and it was indeed one of the most precious gifts of life, just at the right time, that Gary Puckett offered the entire Jacobs family. Puckett is known as a solid-gold classic rock icon with more than 50 million albums sold worldwide.

Puckett is also a first-class performer, also known in the music industry as a man of great religious faith. You just have to smile at such a precious gift that Puckett thought up, and that he and his wife drove four hours over New Year’s weekend to make happen, at just the right time. Jacobs’ father passed away two days after Puckett’s concert gift. As Scott posted in the note on the video, “I couldn’t imagine a better send-off for my dad.”

Monday, July 1, 2013

Crushing the Facebook Candy Habit: From Curious to Crushed in One Day


It started innocently. Those little icons in the upper right-hand corner of my Facebook page showed yet another invitation to play Candy Crush Saga. Not interested. I had dutifully blocked repeated Facebook games, proud of saying "no" to Farmville and Bubble Blitz. My self-righteous superiority would soon crash with my pride and my wallet, all because of a sweet, innocent game.
The Lure
"Computers are for work and the occasional shout-out to family and friends on Facebook," I proclaimed. Yet, news feed posts showed family and friends had reached Level 14 or 22 or 38. "What was that game again?" Candy Crush. "Busy, no time," I thought. When the next invitation came from an old school friend, I thought, "Great, we'll have a chance to play each other."
Change of Heart
Curious, I accepted. The multicolored array of columns and rows of candies beckoned. I bounced through the first several levels of the game with ease. Soon, I ran out of time, and life, and was informed I could buy more chances or wait thirty minutes to try again. Buy life? No way. I'd wait.
Child's Play
Throughout Friday night and most of Saturday morning, thirty minutes passed, another thirty, waiting for life, to play again. Seemingly everyone in my Facebook world was playing CCS, so ahead of me. I was in the virtual wait "hold" zone, twenty levels behind friends and family.
The "Saga" kept me company all of Saturday. I'd switch back and forth between a work project, and my new hobby to clear my mind. Impatient, my pride overtook good sense as I ran out of life-again. Finally, I succumbed. "What would it hurt to spend $1.00 to play? You're enjoying this. Let's go!" With one click the first shot at life got me through the level of jelly, brought combinations of striped candies and cleared my path onto new worlds.
Candy Crush Crash and Burn
The new levels were old levels with more challenges but I didn't care. I zoomed forward. At Level 38, I hit the wall. No telling how many times I'd clicked for life, but just like Vegas, you have to know when to walk away. I said to Barney the dog, warily eyeing the machine occupying my attention, "I'm done." He seemed to nod approval as I deleted the Facebook application. Feelings from sorrow to stupid lingered, having spent who knows how much to play a game. Thought of gamer gurus laughing at me for having fallen into their trap made it worse.
Wakeup Call
The next morning I was pulling out of my parking space at church when my cell rang. Unknown number. I answered. "Credit card services," she said. "We're calling about a series of charges to your card yesterday." "How much?" I asked. "$43.00, but they're all in weird little amounts, $1.20, $1.00, $2.40. Did you want to pay Facebook $43.00?" I said, confessionally to the unseen authority figure, "Yes ma'am, it started with a free game of Candy Crush Saga. I reached Level 38 before realizing I had to quit. Don't worry, I've left the application." She laughed. She'd heard it all before. Holy intervention!
This week the invitations to play (again) have shown up in my news feed. My friends and family are rocking right along the Candy Crush trail, but they're smart enough to play for free. Kenny Rogers sang it right: "Know when to walk away, know when to run." Candy Crush, I'm gone," and so is $43.00.



It looks so innocent, like child's play with little sweet candies staring back at you on the screen. Beware. Once you begin the game, you can't stop!
Credit: Albert Hsieh
Copyright: http://www.flickr.com/photos/49819646@N06/8539636524/in/photolist-e1BSqu-e6nGmg-e6nGkM-e6tk9d-e6nGne-e1wc8D-e1wc7x-e1wcbR-e6tk8h-e6nGkF-e6nGnv-e6tk7y-

Welcome to Houston, Sort Of: Shift Work Sounds like Fun, but Watch Out for Those Off Days

Moving to Houston was going to be wonderful as the 1980s ended. Couldn't wait to get started on my chemical process plant career. Years spent studying in musty college basement labs would finally pay off. I'd always loved the restaurants in Houston's Galleria and was fortunate to find a townhouse rental, just 32 miles away from my new job at the Gulf Coast plant. Gas was much cheaper then.
Newbie Blues
All new engineers were assigned to work with one of four operating shifts, four days on (5:00 am - 5:00 pm) and three days off, four graveyards on (5:00 pm to 5:00 am), three more days off. Promising a quick learning curve, they issued a blue Nomex jumpsuit, a coupon for plant-approved safety glass lenses in boring frames. The first pair of steel-toed work boots was free, but no attractive colors were available.
On Again, Off Again
The first four "nights on" went smoothly; much to learn, many wonderful people around sharing knowledge. On the first set of "off days," disaster struck. I'd parked the car outside the house because the garage of the rental house was filled with boxes still unpacked. The first "off night," I crashed and slept for 10 hours straight. Went outside to drive to breakfast, only to find the car wasn't there.
The community's hired security guard strolled by and asked what happened to my car. I thought he might know. He did not. I asked naively, "Do you think it was towed?" He laughed, "No, it was probably stolen. Happens a lot." Good to know. Called Houston's finest and gave them description of car and contents: hard hat, plant safety glasses, Christian music tape, library book on "Small Business Accounting," loose change in the ash tray. Somewhere a nearsighted thief could learn a second profession while driving (safely) through McDonald's for a coffee. Maybe he would be saved.
Car Number Two
Insurance sent a beautiful Chrysler Cordoba; off to work my first day back "on" I went, returning home hot and weary by 6 pm. Had not even removed my work boots before I heard a loud crash. A car had plowed into my rental car parked outside my house. The right car door opened; its passenger took off running as I grabbed my camera and started taking pictures.
The driver was a bit confused and tried several times to get away. Fortunately the crowd of seniors, children and dogs gathering nearby prevented his escape. A brave guy riding his bike stopped to block the driver from leaving. The police found 4 empty bottles of Bud Light (good, figure-conscious perps). As the driver grasped his Vicks inhaler, he appeared congested, confused, and ready to comply with the police.
Car Number Three
The good news was the police found my old car, but it was in need of repair as it had been in a wreck. The "other news" was my insurance company sent out a tiny Chevrolet to drive until mine was fixed. The next set of "off days" brought hurricane warnings that guaranteed disaster. I taped windows, prepared for the worst, and headed for San Antonio, to stay with an elderly relative who worried for my safety in Houston. The hurricane missed Houston but landed three miles from where my aunt's old building barely avoided getting hit.
Home, Sweet Home - Is Where the Car Is
I couldn't wait to get back to work, where it was safe, warm, and free of disasters. My "D" shift supervisor drew me a cartoon, with me in the center, wearing plant togs, and a list of my 'off days' disasters with caption: "God must know I'm an Aggie-what next?" Welcome to Houston, for the newly crowned "D-shift Darlin'." I survived that first month, but barely. I marked the days until my lease ended and moved to Kingwood.
                                                                             Sketch by Gene O'Quinn (11/24/1935-5/29 2014)

Thursday, November 1, 2012

Jazz Weekends at Veritas Promise Great Bryan-College Station Entertainment

Just another fun night at Veritas, L to R: Karan Chavis, Greg Tivis, and Steve Carr.

When you put Greg Tivis, Karan Chavis and Steve Carr together, there’s no doubt you have an evening of great jazz. Your rushed schedule simply dissolves into a distant memory as you let the music take you away. It’s hard to believe that this hidden treasured trio can be heard often at College Station’s Veritas bistro, and that there are not lines of people waiting to get in to hear them.

Great music and true musical talent for adults who prefer to have their own place is part of the atmosphere carefully cultivated at Veritas, thanks in large measure to musician Greg Tivis, who invites his friends to join him on weekends for some gentle jamming and slow, smooth jazz.

Never mind that Veritas Wine and Bistro is a national treasure, thanks in part to the Food Network’s announcement that Executive Chef Tai Lee had the best food truck in America. At least that is what the dynamo initiative of some devotees of Veritas gathered consensus to prove. And, that’s just the mobile bistro.

If you don’t want to chase the truck, which is always on the move in Bryan-College Station, race no more. Just glide on into the bistro, located in the beautiful University Center location just down the street from Texas A&M. Kick back and hear beautiful music, where you actually know the words to the songs, and your blood pressure is sure to drop 20 points, as you forget whatever was on your mind when you walked in.

Karan Chavis can sing the American songbook and make it look absolutely effortless. Her sultry voice exemplifies her ability to handle any song, classic rock, jazz, blues, soul, and contemporary hits and make it appear entirely effortless.

Greg Tivis and Steve Carr are such gifted musicians that they share the stage generously and know the perfect sound level to play so you actually can enjoy the music, as well as enjoy conversation with your friends when you want it.

Greg has a new CD, “I Got it Bad” that features Kelsey Taylor, part of the Greg Tivis Trio, just released last month. The trio includes Tivis, Taylor and bassist Ron White, a longtime Brazos Valley favorite. Karan Chavis is nearing completion on her next CD as well.

Veritas is a beautiful hidden secret, if you’ve never been there before. But, go there just once for evening jazz, weekends especially, and you’ll start working your schedule around their music, if you’re not already there regularly for the gourmet delicacies.

A note to those watching their wallets: you can afford to enjoy the music here, as there’s no cover charge. Even if you have dined earlier in the evening with commitments elsewhere, you can always stop in for a glass of wine, after dinner drink, or a cappuccino. Dare you to pass up a tempting dessert.

Jazz lovers should keep checking the Veritas web site or call 979-268-3251. Greg Tivis and friends will be there in style. Bon appetit!

Wednesday, May 30, 2012

Musician Marc Balzac surprises The MOB with lost tapes from The Attic

“Good evening and welcome to The Attic. We’re The MOB!” And with those words, the audio recording posted two nights ago by Marc Balzac, a Michigan native and music lover, went live, providing yet the latest in a series of surprises for members of the The MOB, Chicago natives, who’d likely thought they were permanently relegated to backup storage in long-forgotten memories among those who’d heard and seen them.

What Balzac said today, something he didn’t realize initially, was that there’s a group of devoted music lovers, 379 strong on Facebook, who not only keep the music of The MOB alive, they found the video before the band did. It should be noted that the Facebook group and page’s founder, Alan Schrank, had seen the band at least 30 times in the South Dakota area or within a few hours’ driving distance back in the day.[Editor's note, as of Jan. 8, 2017, The MOB Facebook Discussion Group (a public group) page has 740 members today. Visit and join the discussion here].

Schrank and marketing executive Ana Lord began a journey in search of The MOB, having first connected on Joe Accardi’s Club Pop House blog six (long) years ago. Prior stories describe the path to South Dakota, and the induction of The MOB into the South Dakota Music Association’s Rock and Roll Hall of Fame last April. Marc Balzac was one of those, too, who had been trying to locate Al Herrera, to share the tapes of his dynamic MOB vocals recorded at The Attic with Herrera. Balzac had been searching for Herrera for more than a decade, even checking out the now-famous “Al owns a car dealership in San Diego” myth all over the city, but to no avail. Balzac hadn’t heard of the unofficial detective team of Pytel, Schrank, Lord, and Accardi” just yet.

The Attic was a favorite Milwaukee club for young adults in the late 1960s. It was located at 2nd and Wisconsin, and Balzac had audio gold, tapes of two live shows by this beloved, but almost forgotten, band, presently in the throes of being rediscovered all over again, or so it is hoped by a core group of fans who maintain close contact on Facebook.

The Forgotten Tapes of The MOB, live at The Attic, Milwaukee, 1969 are shared in now four YouTube postings:

The MOB Live #1, opens with “Good evening and welcome to the Attic. We are the MOB,” and just let it play and set your time machine to 1969. It will all come back to you.

The MOB Live #2, begins after a set break, with Bobby Ruffino on the drums and Tony Nedza on the piano, noodling into a sizzling horn and rhythm intro to “We’re Gonna Have a Party” and “Give it to Me.”

The MOB Live #3, begins with “Open the Door to Your Heart,” a signature Al Herrera tune that has the best horn sound, even 43 years later.

The MOB Live #4, begins with Al Herrera singing his soulful, powerful best (“Our Love’s Got to Go Somewhere,” “What Does it Take?” plus “The Worst That Could Happen,” and Jimmy Soul’s own “Turn on Your Love Light” where you should wait for Bobby Ruffino’s drums to start smoking and Jimmy Ford’s triple-tongued trumpet).

Well, 41 minutes later, and some of the best horn-blowing you’ll ever hear, you’ve just had the genuine pleasure of enjoying a MOB set. In your mind, you’ve dance, stomped your feet, swayed, snapped your fingers, clapped and wondered where the time went, 43 years later.

Seems like yesterday, especially to Marc Balzac, whose wisdom at the time to record it and generosity to share it, today, really means something extra special to the band members. Most of those band members still can’t believe that one year ago, they reunited in Sioux Falls, SD, for one special night after being out of regular contact with each other for almost 30 years.

The posters advertising the show notes several facts of historical relevance to 60s music. Aside from the fact that the word “Girls” is printed on the poster six times, just in case the young teenage guys wondered if they’d meet any there, featured in the advertising is that The MOB was arriving “direct from Caesar’s Palace in Las Vegas,” then as now a major entertainment showcase for musical talent who’d really “made it” back then. You didn’t play Caesar’s unless you were top drawer, back in the day.

The next noteworthy item included is that the group to follow The MOB was “The Big Thing.” Chicago music lovers know immediately that the band Chicago, of course, went through three name transitions before becoming the multiplatinum hitmakers. During their formative years, playing in clubs around Chicago, the group of guys, many of whom were fellow college students at DePaul University, were called “The Big Thing” and (for a time) managed by Joe DeFrancesco, the same man who would take a turn at managing The MOB and co-producing many of their early single releases.

Then, in walks music producer Jim Guercio, the same ‘kid’ who’d traveled on the same bus tour known as “Dick Clark’s Caravan of Stars Bus #2,” and takes over management of The Big Thing, renaming them “Chicago Transit Authority.” After some time and some kerfuffle, their name was shortened to simply “Chicago.” That was the “coming next” group after The MOB appeared at The Attic.

Are you hearing the music in your mind yet? The MOB had every positive thing working for them at the time. They were a performance show band to beat all show bands. But the recordings released were studio cuts and albeit “really good work,” they paled in comparison to the energy of the live show that audiences would, like Alan Shrank, go 30 times to see in person.

If that’s not enough to exemplify the caliber of the show band that once was “all that,” the next photo in the slide show notes that The MOB was then appearing, having come from Las Vegas and the famous Los Angeles club, P.J.’s, where The MOB would play three weeks at a time several times a year. Even more parenthetically, at least one of the band members would meet his future spouse at P.J.’s. Ultimately at least two band members would wind up finding inspiration to write a song that would ultimately land on Billboard’s charts. But that’s another story for another time.

By October 14, 1969, The MOB had gained an opening act, “The Mad Lads,” and the next week, appearing at The Attic would be none other than Count Basie. There was some kind of slamming music happening every week at The Attic in the middle of Milwaukee’s high life. The MOB was indeed living large and in charge at the time. Marc Balzac now lives in California, but during early days in Milwaukee, he had a fascinating career. Some of his activities include air traffic controller, and balloon pilot, which caused quite a stir more than a few times!

For those who’ve had the privilege of hearing it, there’s some funny live coverage of Marc’s piloting of a 60,000 cubic foot, hot air balloon, about seven stories high, which was sent by the Menomenee Falls’ TV6 on its “Roving Cameraman” coverage. The televised spot won a national gold medal for TV promotion. Balzac skillfully navigated that “hot air” team to victory. The news team was said to “go to any heights for a story” and mused that most people would “look up” to TV 6 news. Ultimately Balzac became an air traffic controller and spun airplanes instead of drum sticks, tape reels, or records, but one of his hobbies always remained finding the best music around, and taping it on his trusty Sony tape recorder (see photo inset).

Balzac has loved music ever since second grade. Like Alan Schrank, Balzac is a drummer who’s been playing since he was seven years old. Marc said, “my first ‘public’ band gig I played for was at a party in a garage in Oconomowoc, Wisconsin, which I recorded. I was 14 years old. It is the first and oldest recording I have.” It was also the same year that Balzac had his first night club band engagement.

“Playing in bands gave me a lot of extra cash when I was young, to do the things I wanted to do, and it’s the kind of work that permitted me to more or less choose my own hours,” he said. Some of those bands he played in included Bittersweet, The In Crowd and Civil Collision. Civil Collision was managed by Walter Daisy, who also managed Wayne Cochran and the CC Riders. Daisy offered the nine-piece band led by Luther Kent, a chance to go on the road.

And, not unlike the point at which The MOB band members had to make a decision to carry on with their music, or disband and find “day jobs,” Balzac found himself at that same crossroad. Balzac took to the skies and “got his commercial pilot’s license with instrument rating in 1970 and started the Balloon Flight Center, doing balloon promotions and flight instruction. Balzac said, “Luther Kent stayed on the road, and ultimately went on to sing with Blood, Sweat and Tears” for three years in the mid 1970s.

In 1974, Balzac found his skills a perfect fit for a career job with the FAA as an air traffic controller. He went to work in Green Bay, Wisconsin and then relocated to San Diego, California, in 1982. “I worked the control tower in the high desert next to Edwards AFB at Air Force Plant 42, and ultimately I retired after working at the Palm Springs Airport.”

Aviation fans know exactly what Air Force Plant 42 was all about; for those who don’t, two words: Lockheed Skunkworks.

Fast forward to 2012, two weeks ago. Balzac sent private links of the YouTube videos to “Big Al” Herrera, lead singer of The MOB and waited for his reaction. Balzac said that Herrera was most gracious in his response, noting that “they brought back a lot of memories” and that “he had no idea those tapes existed.” Once again, leave it to the true-blue MOB music fans to be in the know first before the band!

Joseph Pytel, who creates and produces custom MOB YouTube videos with his never-ending supply of Internet “finds” and a good number of Alan Schrank custom pictures, discovered Balzac’s first YouTube the day it was posted, six weeks ago, and shared it with the Facebook discussion group.

The group “regulars” were in heaven once again, with an infusion of new memories of the best music they’d heard in 1969. Ana Lord has been working fervently to find the band an opportunity to play in the Bahamas, and given her persuasive skills and dynamo spirit, they’d best be packing and getting their passports in order, because it’s just a matter of time before they have a new gig for the 21st century.

The music that becomes important today is often the music of youth. Now labeled “classic rock,” the music of The MOB at The Attic brings the joy of a band in 1969 to delight audiences yet again today. Music writer Artie Wayne’s favorite handle is “Everything old is news again.”

And so it goes that a Milwaukee music lover and roving reporter with a portable Sony on the table at the club those two great nights, everyone who loved the music of The MOB has one more chance to go back and hear two shows, shows of a lifetime, in fact. Ladies and gentleman, Marc Balzac presents “The MOB, live from The Attic,” and it’s 1969 all over again. Just press “Play.”

Article originally published on examiner.com where it received

Tuesday, April 24, 2012

CD Review: "The Legendary Demos" by Carole King

The beauty of Carole King’s long-awaited CD, “The Legendary Demos,” released today, is when you unwrap it and push “play,” your every expectation of anticipation and wonderment is met with pure delight and then some. At last, you hear how it was back in the day, the rough studio demo presented to other artists, producers, and label executives for their choosing. And it makes sense why so many people consider her a music genius.

Carole King’s ‘The Legendary Demos’ is a wrap around joy, exceeds expectations

Thirteen songs grace this CD, seven of them chart-topping smashes, and six of them wonderful compositions that are not as easily recognizable, yet they reflect the magic of King’s talent nonetheless. Several of the tunes on this track anchor her life’s story.

In “Pleasant Valley Sunday” I never knew the lyric was: “Creature comfort goals can only numb my soul. I need a change of scenery.” As much as I respect Micky Dolenz’ vocals, with all the musical buildup of the production behind The Monkees’ vocal tracks, I had no earthly idea that this was what he was singing, on another in a series of Carole King and Gerry Goffin compositions for the hitmaker teens of television fame.

At last the lyrics are clear, because Carole is singing them, beautifully, a song beloved for 45 years that is, in fact, the rhythmic anthem of discontent for Gerry Goffin living in a New Jersey suburb, for his family’s sake, when he’d much rather be back in Queens in the middle of the city. The song begins with a guitar, and even has a banjo sound to it. A slightly slower tempo, almost unnoticeable, is found here, vs. The Monkees’ version you’re used to hearing, more frantically paced in the group’s #1 version.

“So Goes Love” is less familiar, but a gentle and pleasant love ballad composed by King and Goffin. Had it been released as a single at the time it was written, circa 1966, it very well could have been a hit, just in how King delivers the message. As becomes clearer in King’s biography, presently at the No. 6 spot on the New York Times’ Best Sellers list, after being out for 2 weeks, for a myriad of reasons, she didn’t see herself as a recording artist, but rather as a songwriter. And that’s what she kept telling herself for the next 10+ years.

In “Take Good Care of My Baby,” sung with feeling, piano chords punctuating the song with charm, you hear the true studio sound. She’s sings “my baby” as though it were her own child. And, she even speaks the end lyrics, as if to make the message even more personal. The piano’s hollow sound in places brings to mind a multistory brick building, indiscriminately placed along rows of hundreds of other buildings in New York. Listening, you believe the only objects in the room were Carole and the piano, and that’s all. And yet, Bobby Vee took this King/Goffin tune and made it his very own. That’s what happens when the right material reaches the right artist: a big hit.

“A Natural Woman” is not only a favorite Aretha Franklin anthem, sung and repeated, wherein all women declare their devotion to their soulmate, but it has to be the highlight of all 13 songs on the CD. To be fair, though, you’ll likely feel that way about each of the tunes before you’re done listening. This song sprang to life as an idea from mega-producer Jerry Wexler, who drove down a street in his town car looking for King and Goffin, who were out walking. Don Kirshner’s Aldon Music-writing stable prizes, must have been predictable at the time. Wexler pulled over, rolled down the car window, and said, “I have an idea for a song for Aretha Franklin. The title is “A Natural Woman.” He then asked the couple a question: “Can you two write that song?”

And then he drove off. You already know the answer. An important reference book to the dynamics of that day and time of King, Goffin, Aldon Music et al. is found in Rich Podolsky’s biography, “Don Kirshner: The Man with the Golden Ear.” It’s a view from the other side of the piano that adds important color to the days when these transcendent songs were being created.

“Like Little Children” seems to have a very veiled biographical feel to it; once you read Carole’s biography, then you’ll possibly agree that it could be a Goffin/King song about their real-life relationship. Theirs was a classic love story in many ways between two kids who fell in love but grew up and apart in different displays of their passion and angst. And when they collaborated on a song, others observed and overheard that there were loud conversations and discussions/disagreements before the duo emerged with the final product.

“Crying in the Rain” was written by Carole and Howard Greenfield, a fellow collaborator in the Don Kirshner “brilliant building,” wherein you went to work and were in cubicles nearby your co-workers, most of whom were writing teams, Barry Mann and Cynthia Weil, Neil Sedaka and Howard Greenfield, Jack Keller and several people, and of course, Goffin and King.

The harmony between Carole and the other female demo singer here embodies the feel of the 60s girl groups’ blending of voices so naturally. The lyrics “...but since we’re not together, I look for stormy weather to hide the tears I hope you never see” are very close to the rhythmic feel of “Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini,” so they have an authentic early 60s feel to them. It has a strong Everly Brothers feel to it as well.

“Way Over Yonder” (Carole King) The solid piano chords, played firmly and with such feeling introduce and hold the feel of this song from the very start. It must be one of her favorites, but it’s not as well known as the others.

“Yours Until Tomorrow” (Carole King/Gerry Goffin) is also a less familiar tune, but not for lack of trying. As respected rock writer, editor and biographer, David Browne, shares in the liner notes that accompany the CD digipak, the song “was recorded by Gene Pitney, Irma Thomas and Cher, among others," and yet it is not one you know. Once you hear it, you will still see why Carole selected it.

“It’s Too Late” (Carole King/Toni Stern), marks the product of Carole’s writing in her home on Wonderland Drive in Laurel Canyon, a new step for her life, having relocated to California so her “Goffin children” as she distinguishes them from her “Larkey children” could be closer to their father.

Toni Stern proved to be an excellent co-writer for Carole, who relished working with a fresh talent during this phase of creating King’s own style of new music. Eventually, Carole would transition back to solo writing, just as she did in her earliest childhood days writing songs for Don Kirshner’s and Al Nevens' Aldon Publishing Company in New York, weekday afternoons after school. But this was the first step along the pathway to finding her own, strong solo voice again.

“Tapestry” (Carole King) represents Carole’s transition from caterpillar to butterfly, with the exceptional producer and label executive, Lou Adler, gently cradling the caterpillar along until she found her way to brilliance. Adler’s best achievement was to preserve every nuance of her songs on that album, including the title track, as Carole herself envisioned them, only better. If ever a verse was characteristic of King’s life, this is an incredibly close encapsulation.

"My life has been a tapestry of rich and royal hue An everlasting vision of the ever-changing view A wondrous woven magic in bits of blue and gold A tapestry to feel and see, impossible to hold"

“Just Once in My Life” (Carole King/Gerry Goffin/Phil Spector) is ironic, because you may well have so permanently associated the song as having “belonged” to the Righteous Brothers that it’s virtually impossible to imagine someone else having written it.

The power of that anthem of a man looking for how to hold on to the woman he’s found (“For once in my life, let me get what I want girl, don’t let me down”) just seems to have evolved out of thin air. And yet, Carole King and Gerry Goffin teamed up with Phil Spector and made it dynamic. The “Wall of Sound” feel to the production is powerful, but in fact, Carole’s demo will show, complete with the harmony of her studio singer is every inch the song you heard Bill Medley and Bobby Hatfield make it their own.

“You’ve Got a Friend” (Carole King), has become as much a signature of two artists, King and James Taylor, both great friends, both sharing history during troubled times in their lives, as well as overcoming times of despair separately. All these experiences are poured into the tune and woven together most powerfully when they did the song on their successful Troubadour tour.

“The Legendary Demos” is a dynamic, charming revelation of King’s lifelong talent, which she’s worked hard to shape into her imprimatur, a signature of a perfectionist who pours her soul and heart into each of her works until she says, “done.”

Carole King is not as much a legend as she is a young woman who fell in love as a teenager, and stayed there. Her love of Gerry Goffin, of Charlie Larkey, and of life in general because of her music, is ever much who she is, as reflected in her musical biography.

The only thing that makes this any better is to hold her biography, “A Natural Woman: A Memoir” in your hands and read along in your favorite chair, while this is on your CD player.

Comments from original story published on examiner.com

Richard Podolsky · Author of "Neil Sedaka: Rock 'N'Roll Survivor--The Inside Story of His Incredible Comeback" and "Don Kirshner; The Man With the Golden Ear" at Rich Podolsky Communications

It's a shame more demos weren't included. As it is, you can tell what a strong influence Carole KIng's presentation had on the final recordings. In the case of "One Fine Day," which is not included, they used everything but Carole's voice... By the way, Gerry Goffin was adamant that Phil Spector "didn't write a god dam thing" on "Just Once in My Life," but took a writing credit anyway for giving it his Wall of Sound production.--Rich Podolsky, author of "Don Kirshner: The Man with the Golden Ear."

Unlike · Reply · 5 · Apr 25, 2012 7:40am

Richard Podolsky · Author of "Neil Sedaka: Rock 'N'Roll Survivor--The Inside Story of His Incredible Comeback" and "Don Kirshner; The Man With the Golden Ear" at Rich Podolsky Communications

Tell him to compare her "take Good Care of My Baby" to Bobby Vee's version and he'll see why vee had a hit.

Like · Reply · May 3, 2012 8:01am

Artie Wayne · H.S. of Music and Art, NYC

I WAS FORTUNATE TO HAVE BEEN A STAFF SONGWRITER AT ALDON MUSIC DURING THESE GOLDEN MOMENTS. I HEARD DON KIRSHNER PLAY "CRYIN' IN THE RAIN" FOR PHIL EVERLY AND "EVERY STEP I TAKE" FOR PHIL SPECTOR. AND WORKED OFTEN IN THE STUDIO WITH CAROLE, WHO TAUGHT ME HOW TO MAKE DEMOS.

DAWN...YOU MAKE ME WANT TO VISIT THOSE DAYS AGAIN AND LISTEN TO THE CD. THANK YOU!

REGARDS ARTIE WAYNE.

P.S. YOU AND YOUR READERS MIGHT ENJOY AN ARTICLE I WROTE ON CAROLE AND "WILL YOU LOVE ME TOMORROW?"

"I occasionally baby sit for Carole King, while she’s in the studio doing demos. In return she plays keyboards, arranges, and sings all the background parts on my demos. I remember one day she comes in to play her new song for Donny Kirshner, but he’s still out to lunch. She asks me if I’d like to hear it while she rehearses it.

She sits down at the old upright piano and starts to sing,

“Tonight you’re mine completely, You give your love so sweetly….”.

I sit there as she goes over “Will You Still Love Me Tomorrow?” a few more times, even though I know I won’t be able to write anything of my own for weeks!

Then she’s summoned to Donny’s office. I think he likes it too…I can hear him yelling through the door, “It’s a Smash! It’s a F@#in’ Smash!”.

From Artie Wayne's book,"i DID I IT FOR A SONG" available at AMAZON.COM.

Like · Reply · 6 · Apr 26, 2012 9:19pm

Cal Jennings · Houston, Texas

At least you got to live the dream.

Like · Reply · Apr 26, 2012 9:23pm

Thursday, March 8, 2012

The rock-n-roll side of Rich Podolsky: Sportswriter pens Don Kirshner biography

So, what was it that made Philadelphia-native sportswriter Rich Podolsky want to tell the story of Don Kirshner, also known as “The Man with the Golden Ear” just released by music publisher Hal Leonard Books? Before Podolsky ever thought about writing about the beloved record producer of Brill Building fame, he was waxing some kind of wonderful about the Boston Celtics.

In fact, for over 30 years of his professional career, Podolsky’s journalistic talents have taken him around the sports world—college basketball, college football, golf, and horse racing. His ability to pick winning college football teams found him, as of 2009, with his selections published by ESPN, AOL among others, and his talents didn’t just center on football.

For many years, Podolsky’s sports acumen was an integral part of CBS Sports (working with Jimmy the Greek and Beano Cook), ESPN.com, ESPN Insider, and AOL. Now you know one side to the Podolsky, the journalist.

But, it’s often said that a good writer can write about anything, particularly any subject for which there is passion. His book that was in the making for seven years, “Don Kirshner: The Man with the Golden Ear,” really originated in the mind and heart of a young teenager from Philadelphia. So, what is it that made Podolsky jump over to write about rock and roll? One reason: music empresario Don Kirshner was Podolsky’s hero.

Here was a Baby Boomer teenager like any other, listening to his beloved Philco radio in his bedroom, getting ready for school, and when he’d matured to driving age, he’d be found motoring around Philly streets, blasting out the sounds of WIBG (Wibbage) Radio, with DJs Hy Lit and Joe Niagara, New York’s WABC go-to, Cousin Brucie (Bruce Morrow), as well as Jerry Blavat (WHAT). Today, WIBBAGE FM, 94.3 plays a popular 60s and 70s format with DJs like Philly Bill Culp, Jerry Beebe, syndicated favorites including John Records Landecker on Saturday night and Dave the Rave’s Relics and Rarities. Takes you back to ...back in the day, where every song you heard in high school and college had a meaning, had a part of your heart wrapped around it, and therein was the genesis for Richard Podolsky finding a backbeat to his youth.

As he shares, teenage Podolsky was fortunate that his father was a record buyer for Sun Rae, a Philadelphia record store chain. Enthusiastic discussions between father and son led to an early opportunity for Rich to start picking hits (long before he developed a knack for picking winning football teams). In his book’s foreword, he writes that his father had brought home a “pile of 45s that were untried and untested. He didn’t know if any of them were good, and assumed he might not recognize if they were since they weren’t his style.”

Rich’s first freelance discovery was “If I Had a Hammer” by a (then) unknown Peter, Paul, and Mary. Podolsky’s dad listened, and bought copies for the racks of all his stores. Within six weeks, it was a certified Top 10 hit because others discovered it, same as Podolsky. And thus began a lifetime of immersion in the music for young Rich Podolsky. Not long after, in the Spring of 1962, Rich’s dad invited him to attend a dinner sponsored by Cameo Parkway Records where they were introducing Dee Dee Sharp (“Mashed Potato Time”). He was thrilled to meet Chubby Checker that night, never dreaming that some 45 years later, he’d be on a radio program with him, discussing the greatest days of the music. Life’s funny that way.

Podolsky continues, of that night, “And then I saw him—Don Kirshner. There he was, walking toward us, looking larger than life. Kirshner was only twenty-seven then, but his song publishing firm, Aldon Music, was the talk of the business. He had that something that made people want to be around him.”

This biography was not the result of a longtime personal friendship between Podolsky and Kirshner. In fact it would take 40 years before Podolsky would consider writing the book in the first place, and it wasn’t until a long way into researching and interviewing hitmaking, ultratalented songwriters that he could even connect with Kirshner to learn if he would be willing to cooperate in telling his story. Based on reading the book, it’s easy to see that Podolsky’s respect and regard for the “man with the golden ear” is such that he would have written it with or without Kirshner’s help.

And yet, one day, skipping past months of attempts, e-mails, phone calls and messages via friends, and friends of friends, Podolsky’s phone rang, and the voice on the other end was indeed Kirshner’s. After an initial conversation, Kirshner agreed to share his memories with Podolsky. He writes, “Every Sunday morning for six months we’d chat over coffee and bagels, 1,300 miles apart.”

In Hal Leonard Books, Podolsky found a natural publishing partner to tell the story of a beloved man of music who is held in regard, respect, and just plain loved by the luminaries of the soundtrack of your life, if you’re any kind of Baby Boomer at all. Hal Leonard is as well known for music publishing as Campbell’s is for soup.

The list of those whose careers collided and excelled is long and strong. Don Kirshner made such an impact on the music of the 60s, by giving young songwriters their first breaks, their first chances, and fair profits and a nurturing environment in which to be creative. Kirshner partnered in business with a savvy businessman and gentleman, Al Nevins, and together they built an empire of publishing that was fueled and propelled to success by teenage songwriters.

The songwriters’ list is legendary: Carole King, Gerry Goffin, Neil Sedaka, Jack Keller, Howard Greenfield, Barry Mann and Cynthia Weil, Carole Bayer Sager, on and on. The recording artists who were most impacted by Kirshner’s talents include some of Podolsky’s favorites: Connie Francis, The Monkees, The Archies, and Tony Orlando.

Orlando is more than a fan of Kirshner’s; he considers he owes his career to the “man with the golden ear,” a moniker given Kirshner by Time Magazine. Orlando’s foreword for the book notes Kirshner as a gentleman who “opened the door to independent record producers, allowing young record producers to be able to create and sell their works to major record companies.” Of course, fans of Orlando know him as a young demo singer who found a tremendous career that continues today when he was paired with studio singers Joyce Vincent Wilson and Telma Hopkins, better known as Dawn.

Speaking of better known, Podolsky’s book is a compendium of all the songs, songwriters, producers and music that the young man was memorizing alongside college courses, attaining the virtual equivalent of a PhD in rock and roll along the way. In a lovely section of the book, information is shared that perhaps any true 60s fan and proud owner of virtually every song that Podolsky describes, doesn’t realize is there.

The timing of the book’s release, by sheer happenstance, is made more poignant in last week’s unexpected passing of singer Davy Jones of The Monkees. Kirshner was instrumental in selecting the body of songs that The Monkees would record and perform on their Screen Gems TV Show.

One of the most influential producers Kirshner brought in was the great Jeff Barry, who had a string of hits already to his producer credit (The Crystals, The Shangri-Las, The Ronettes), today a member of the Songwriters Hall of Fame, but even moreso, Kirshner had access, via Barry, to his friends and colleagues among the best New York studio musicians.

It was just a matter of time before Monkee magic turned into Monkeemania, given the on-camera chemistry and underlying musical talent of Davy, Mickey, Peter, and Mike, which at the onset had not even yet been tapped. Kirshner and his team of creatives provided a springboard from which this group propelled to superstardom, and they’re not alone.

But, as Podolsky describes, Kirshner was not always beloved by the performers, which is entirely understandable, as there is always a chance for newfound stardom to convince a talented person that they could have reached those heights, no matter what. The relationship between Kirshner and The Monkees was not always a lovefest, and emotions run high even this week in the blogworld as to exactly how individual and collective Monkees felt (at different times) about Kirshner as producer. Podolsky shared with me, that when Jones was appearing as the Artful Dodger in “Oliver” on Broadway in 1964, “Don Kirshner had signed Jones” and later “was very influential in choosing Jones during the national casting call for The Monkees.”

Even before there was a Monkee madness, there was much more to Don Kirshner, and his ability to pick out talent by watching performers early on in their careers, foster that talent and put them together with the best writers, producers and arrangers to create vinyl magic for the artists, while Aldon Music published all of them, hitmakers indeed.

Among all the stories Kirshner and his friends share with Podolsky, the most heartwarming surely has to be how Kirshner sat in Kurtzman’s Candy Store in New York’s Washington Heights neighborhood. Kirshner’s friend, Natalie, described a friend of hers she was bringing over to meet him, as “the most talented human being she’d ever met.” At first meeting, that friend was a frightning sight of a frail, emotionless young man, who seemed ever older than his years.

He was introduced to “Kirsh,” the new name that the young man would give him, quickly, as Walden Robert Cassotto. After a brief discussion, the three went to Natalie’s house, wherein the man they would come to call Bobby Darin would blow Kirshner off the sofa and into full alert as he watched him play “You Must Have Been a Beautiful Baby,” “I Can’t Give You Anything But Love,” and “Won’t You Come Home Bill Bailey.”

As he performed, Kirshner saw “that something special” the young man possessed. The two became enjoined in creating music history, and engendered a lifetime of goodwill and best results for other talents in the music industry, e.g., Connie Francis as a new singer and a girl who’d fall madly in love with Darin, and Artie Wayne as a young songwriter, whom Darin sent to see Kirshner about a job, the first real break of his career. Ron Dante and Toni Wine are two more talents whose voices were part of American life, but not their names, yet who remain steadfast in their acknowledgment of Kirshner as mentor and friend.

It’s all about getting those breaks, those chances, those meetings that turns potential into reality. Listening, hearing, seeing, believing. Never more clear is it, than through this compelling volume is the music industry revealed to be a family with the circle growing smaller and tighter as the intermingling of people, places, faces and spaces intersects time and again to create magic. And there was Don Kirshner in the middle.

Sadly, Kirshner died before the book was published, and he also will miss this year’s planned induction into the Rock and Roll Hall of Fame on April 14th. Life comes full circle and great music always comes back around again. The music his father listened to because son Rich suggested it as a winner has won once again, in the biography of Don Kirshner.

Joyfully, today Rich has 14-year-old twins, whose musical tastes keep him at the top of today’ pop charts. His current favorites? Says Podolsky, “Adele, Taylor Swift and Cee-lo,” but he also confesses to having seen Little Anthony and the Imperials in a perfect show (“they can still hit all the notes”) and he’s delighted Steve Lawrence cut a new album (“I’d go just about anywhere to see him because he still sings lights out”). Talk about things coming back around again, just last night, Podolsky was a guest on Jerry Blavat’s radio program, an anniversary show with Chubby Checker, something that 16-year-old Podolsky would have never imagined happening back in the day.

Good music is timeless. Classic (rock) music is forever. And forever inscribed in the history books of rock and roll will be the name of Don Kirshner, a young man with a dream who lived to make others’ dreams happen alongside his own. Surely, it was the ride of a lifetime for many. And Rich Podolsky lived out his own dream, in writing Kirshner’s story.

Just makes you feel good to think about it. Now, someone turn up that radio, and let’s have a party, up on the roof, one fine day, because we have a groovy kind of love, and love will keep us together. Thank you, Don Kirshner.

Photo: Rich Podolsky is the author of Don Kirshner, The Man with the Golden Ear, Hal Leonard Books, published March, 2012. Review originally published on examiner.com and registered