Subject: Go Go's
Bob
I'm not sure if I was the first or last choice as a producer, although the combination of my 60's songwriting and producing, co founding of Sire Records and involvement in the CBGB and Max's punk scene might have been a factor.
I knew Miles Copeland from my Sire days having produced two acts that he managed, Climax Blues Band and Renaissance.
I remember that when he asked me to produce the Go Go's, I was initially not interested. It was only through the persistence of Ginger Canzoneri that I actually agreed to go see them play live.
The show was at the Loeb Student Center at NYU. They were amazing, everything about them was special. The songs, energy in performance and personalities came across to the audience. Yes....the magic that comes with every great artist....you want to get to know them.
Next day I called Miles and agreed to do it and suggested that they come to New York to record. I felt that the energy of the city would add a special element that would bring even more edge to their sound. The budget was "modest" but enough to make a basic punk band recording. As recording progressed I began to see that there was more to the band and that they could actually have a "hit". When the budget was used up... I paid to complete the album myself.
"Our Lips Are Sealed" was the song I identified and put the extra effort into. But the real challenge came when I asked them to do a new version of "We Got The Beat". I had to convince them that the song could reach a much wider audience than the version already released on Stiff. We focused on slowing the tempo and simply doubling Gina's drums which were set up in the store room of the studio to get a more open sound. It worked.....
The girls went back to LA and left Rob Freeman and me to mix the album. When the finished mixes were sent to Miles and the band, they were upset and thought we lost the punk side and gave them too much of a pop identity. To me it was all the elements fusing together to show the songs at their best and the true greatness of the band.
Yes....the Go Go's were a GREAT band. And....they deserve to be in the Rock and Roll Hall Of Fame
When we made that record I was already a veteren of the music business wars. So much has happened since with the changes in how we record, market, promote and consume. It's also hard to believe it's been 25 years since Scott and I founded The Orchard. It's even harder to believe I'm still at it. But as long as there are great songs and making music is still fun....count me in.
Thanks
Richard
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From: Ben Sidran
Subject: Re: The Ballad of Tommy LiPuma
I taped hours of hanging with Tommy - some studio quality and some (like in clubs) virtually unintelligible - and then transcribed it all. When I showed the transcripts to Tommy he said "man I don't sound like that" and I said "man that's exactly how you sound. It's like the first time a singer hears their voice in the ear phones they always say the same thing 'man I don't sound like that. '". That cracked him up.
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From: Andrew Oldham
Subject: Re: The Ballad Of Tommy LiPuma
bob;
tommy was working at metric music , part of liberty records on sunset. bob krasnow took me there, not sure who he was working for apart from himself.
i was looking for songs for the stones to record.keith may have been with me.
first they tried to push a randy newman song on me that must have been written in the three minutes randy thought he may have been john & paul....
it was no tin can at my feet ...
then tommy pulled out the irma thomas imperial single " anyone who knows what love is " b/w " time is on my side " .
an important moment we remain grateful for today.
i look forward to the read.
i wanna know about claudine longet ....
everbest, o
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Subject: RE: The Ballad Of Tommy LiPuma
Hi Bob,
I loved Tommy LiPuma. It's a cliché to say that somebody was "one of kind," but Tommy was just that. Like you, I got Ben's book, started to read, and couldn't put it down, thankful for all the insight into Tommy's life.
Tommy was a rare record producer, a true musical obstetrician whose sole aim was to deliver the artist's brainchild. His records are characterized by two things: quality control and exquisite taste. Unlike Phil Spector or any of the "author" style producers, Tommy's records are all about the artist, the material and the music; they are not about him.
In 2004, when Linda Ronstadt wanted to do a jazz standards album, I called Tommy immediately, and he agreed to put it out on Verve and to act as an uncredited Executive Producer. His input was a crucial element in the success of the record, from suggesting musicians and arrangers, to being the "éminence grise" in the control room during sessions at the Clubhouse Studios in Rhinebeck, NY. George Massenburg and I simply couldn't have done as well without him.
He loved good food and wine, and after one session, he took us all to the Petit Bistro in town, ordering all the libations and regaling us with great stories. At one point during pre-production, he invited my wife, Jill, and me to his home in Connecticut for a wonderful Italian feast, which he mostly prepared himself. We spent a magic evening, co-hosted by Tommy's wife, Gill, a wonderful lady who was a large part of his success. I had known her since the late 1960s, when she and I worked together at Koppelman-Rubin Associates, a production/publishing company that was my springboard into the music industry.
Although I didn't know him well, I will miss his presence in our industry, a thoughtful gentleman instead of one of Joni Mitchell's "telephone screamers." It's another cliché, but we will not see his like again.
Best,
John Boylan
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From: Linnea Alexander
Subject: Re: WAP
This one's a real gem. I'm a 75 year old woman and have known since I was 15 that women control the sexual game. We have the jewel box :-) It's always been a mystery why more women didn't get that.
Thanks for all your insights.
Linnea
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From: Patti Martin
Subject: RE: Once In A Lifetime
Just loved your Mac piece. I've been a fan since the seventies. He played small clubs in Mobile, Alabama (Mr Buffet's hometown and mine too). I had to tell you my favorite Mac lyric. "I got a roll of ones and a car that runs and a girl that's cute from an angle" Who thinks up lines like that?? And this was from 1980. It's from my favorite Mac LP, Cuttin' Corners. I never get tired of that one. Thanks again for recognizing the greatness.
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Subject: Re: From Kathy & Jimmy
hi bob,
when I worked at aron's record store
on melrose avenue, someone one walked
in with a box of 45's. she was managing
a new band called the go-go's. a handful
of copies of the self made single "we got the beat"
was left at the shop to sell. I played it (always
curious of anything new), and I loved it
right away. I'd play it for friends when they
came by the shop and I said, this is going
to be a hit song! some thought I was crazy.
one friend of mine called me after it became
a hit and apologized for judging too quickly.
I agree with kathy valentine. Richard Gotteher was the
perfect producer for the go go's. also, his production on
the debut album by blondie put debra and the boys
on the map. both artists owe a debt of
gratitude to great gotteher.
the power of song and record making continues.
be well one and all. stay safe.
marvin etzioni
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Subject: Re: From Kathy & Jimmy
Bob
The Go Go's album came out and rocked many a high school party when I was growing up on the beach in Oceanside Ca.
There are two things that I think about when I hear the band these days.
1. Kathy's melodic bass lines were what drove the songs and in many ways were hooks for me as a young listener. I dont think she gets enough credit for that.
2. Rod Stewart told me that the Go Go's once partied him and his band under the table in Brazil making them feel like an armature party boys....
The Go Go's were for real
Stevie Salas
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Subject: Re: Priscilla Block
Hi Bob,
I know Priscilla. We are both from North Carolina. We've had coffee and talked about the music business. You're right, her success is exciting. Very exciting.
I can tell you first hand that she's winning for 3 main reasons: 1) She's very talented. That always helps. I've booked her on shows so I've heard her live. That voice is the real deal. 2) As you mentioned, she speaks to the people. She's authentic. She's confident in her approach. She knows who she is and is not afraid to be that person, and people respond to that sort of genuine approach. And 3) She's a go-getter. She books herself, promotes her own shows, puts out her own music. She hustles. This didn't happen by accident - she's a hard worker.
I love stories like this mostly because it shows that anyone with talent, a great work ethic, and an honest approach to music, has got a shot at hitting #1.
Thanks for covering a fellow North Carolinian!
Dave Rose
Deep South Entertainment
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From: Raul Gochez
Subject: Re: Queen Songs-Songs With "Queen" In The Title-SiriusXM This Week - GYSPY QUEEN!
On Black Magic Woman / Gypsy Queen...both were covers...the Gypsy Queen part was conceived by Gábor Szábo open.spotify.com/track/5og3nbiR4hZ24Ij6ue6i3n?si=mj9b6R9qRH-yVebfo1-8iA
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From: Steve Androulakis
Subject: Re: TikTok Shut Down/Sale
On Reddit today:
I just started making music but now one of my songs has over 1,000,000 views on Tik Tok
I released my first song on New Years of 2020 and the second song I ever released blew up on Tik Tok pretty much overnight. The first song barely got 300 plays on Spotify and the second song now has over 6,500. It was random as hell because I wasn't even taking music seriously at the time and now 1,500 people have used the sound. The song is Donut Shop by Luke Garcons.
www.reddit.com/r/makinghiphop/comments/i3e2zk/i_just_started_making_music_but_now_one_of_my/
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From: Michael Plen
Subject: Re: The Go-Go's Movie
Hi Bob
Didn't know if you knew this tidbit. I cut my teeth in promotion as being head of promotion for IRS Records from 1980 to 1987 when I left to be head of promotion at Virgin. IRS worked hard for their artists. What they couldn't pay in $$, we paid for with our "neshama", lust for life of the music and culture, for 48 hours a day/ 365 days a year. I lived and breathed the Go-Go's from the Urgh movie to the first recording in NY into Our Lips Are Sealed.
Travelled the country for 7 months on an American Airlines $600 for 60 days of straight travel to make noise for them. Also, lived on the road in almost all cities turning people on to them in person from the beginning til they broke up and worked the solo records
from Jane and Belinda.
Needless to say, IRS' whole team brought the heat with the girls together...a real team effort.
The Go-Go's doc I enjoyed and the ups and downs they shared. It was good to show how they evolved from their punk roots. The partying, drugs and publishing had been so over documented.
They were tireless, endless workers to succeed, complained because they could, but ALWAYS worked extra hard. Alison Ellwood has a fantastic knack for telling exceptional stories. Still friends with all the girls and they are still kind people.
IRS took a lot of acts to places no one could ever. The English Beat-General Public-Fine Young Cannibals to gold and beyond.
Wall of Voodoo's Mexican Radio took a year to break against everyone saying it was shit.
The Alarm wrote and sold significantly, and of course REM, who toiled endlessly way past gold and big live shows, and
Oingo Boingo, who were west coast superstars and launched the historic scoring careers of Danny Elfman and Steve Bartek.
IRS built real careers for these and other acts on the road and allowed them to thrive.
The Go-Go's were truly a grass roots success that blossomed, matured, exploded and burned out in a short span of time, but the girls rose to the occasion having real nurtured talents themselves....and their legacy will mean alot to further generations.
Looking back, after being part of breaking the Spice Girls in America at Virgin, I can honestly say that the Go-Go-'s really were one of the true developers of GIRL POWER, as it bounced from Richard Gottehrer's 60's roots of his girl group successes.
Stay healthy and as always, keep on trucking!
sincerely
plen
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Subject: Re: Billboard's New Chart Rules
Hi Bob -
Believe it or not, this column was the dinner topic with my two kids - 22 and 20!
They had some interesting observations -
- "Butterfly" - a song I'm not familiar with, but one that they said any person of their generation would now, not from airplay, but from it's use in memes etc.
- Hall & Oates!?! Apparently both "You Make My Dreams" and "Out of Touch" have been used in Tik-Tok and Tumblr pieces which are common?
Their point? People are not necessarily exposed to music through traditional means - even expanding the definition of "traditional" to streaming.
They do agree re: discovery, but think that the algorithms need to reflect how people consume music and what they like/don't .
Bob Flint
Springfield, VT
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From: Glen Burtnik
Subject: Re: Emitt Rhodes
I too have been a lifelong Emitt Rhodes fan. Very much like you, I've always wanted to find him and let him know how wonderful he was. But I must say, it seems he was told by many younger musicians, at the very least culminating in the making of his "Rainbow Ends" project.
And although it was good he was exposed to it, I don't think he really could accept it.
Rewatching the Italian film, "One Man Beatles", relistening to phoner interviews (drunken?) and other youtube treasures, it's pretty much revealed his heart was broken from a number of angles and he couldn't get over them.
1. Emitt Rhodes gasps "Perpetuity!" in one scene somewhere, with no further explanation. Lawyers and recording artists understand exactly what he was saying there. He was tortured by his early business deals.
2. Emitt Rhodes' early expectations were high and he was disappointed with the outcome. How do I know this? Because every young musician who records and releases their own music on what appears a "good" label has stars in their eyes. And based on the quality of Emitt's work, he deserved high expectations and disappointment.
3. Emitt Rhodes was clearly a perfectionist. Based on those I've known, perfectionists are tortured, unsatisfiable people. Hence, Emitt most likely was incapable of happiness, even if he had received all the success he deserved - at least without the therapy you hinted at in your lovely post.
4. And then there's all the trouble the rest of life brings. He was a sensitive artist, perhaps a bit emotionally challenged. Growing up ain't easy...
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Subject: Re: Emitt Rhodes
In 1976, Chuck Plotkin hired me and Emitt as staff producers at Elektra-Asylum. Emitt and I worked together on a few projects and I would go down to his house in Hawthorne periodically to work on various things. I remember being impressed that he owned his own multitrack recorder; the only other person I knew who had one was Andy Pratt in Cambridge, Mass., but he was a rich kid and Emitt definitely wasn't.
We produced one project together and developed a few others. He was a one-off, lovely guy.
Greg Prestopino
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From: Jon Bartlett
Subject: Re: Emitt Rhodes
Thanks so much for the Emitt piece especially. I was introduced to his music in my 20s (I'm 44) and 13 years ago, while on a business trip to LA, decided that I needed to find his place and leave him some CDs by bands that were influenced by him.
He was easy to find, still living in the same house where he made his debut album in Hawthorne. I knocked on the door and a few tries later, a bearded bewildered man answered and I introduced myself. It was a short awkward conversation, but I told him how much his music meant to some of us Canadians and thanked him.
Three mo the later I got a phone call from Emitt, thanking me for the music that he was enjoying and also saying that "he was a bit awkward that day, because (he) hadn't put his teeth in yet."
What a beautiful man. Thank you Emitt Rhodes.
PS- My wife gave birth to Emitt Bartlett in 2010. ;)
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From: Tracy Lipp
Subject: Re: WAP
Hi Bob,
I think you nailed this one.
As for 20 writers on a song... The first time I ran into this was when I "top lined" on a track with a Grammy nominated producer in New York. I was expecting the splits to go the same as in the pop or country world.
Wrong.
Here's how it was explained to me. Automatically the copyright will be split in 2. The producer gets half and the people that make the melody and lyrics get the second half. The producer will have to split his half with all the other "producers" that get added on. Here's how a song starts in this world.
Some kid makes a beat using Fruity Loops. It's probably a cracked version so FL Studio isn't making anything off of it. Now it's a song already. He's a songwriter now. Oh, and he's also a producer. The kid shows his beat to a guy that's actually more of a "producer." That guy takes the track and puts a bass line and then maybe a few other things on it. If there are a few people in the room helping with the vibe they also become song writers. The new producer has some connections though, probably a publishing deal or he knows people at a label. He will get a top liner(s) to come in and actually make a melody and a lyric. This adds at least 1 to 3 more writers easily. If none of the top liners can sing a demo singer is called in. The demo singer will probably become a songwriter too, because now they don't get paid for the session. A small argument may arise when the producer wants that share to come out of the songwriters half. Much of the demo singer's vocals will probably end up on the record. Now the producer will use his connections to get a placement. The goal is from him(or her) to keep the producer chair, ensuring better points and the pay for making the record. Usually though, when the track is placed the artist will probably have a producer of their own. They will now "buy" the track itself. The new producer will now become a songwriter too, and the artist usually takes a songwriter's share. Any additional musicians brought into the project to play on the record are also songwriters in many cases.
I was really surprised. It took some adjusting to get used to this concept. Luckily, other genres aren't using this model to this extent, but it's becoming more prevalent. I'm not saying people don't deserve to get paid for their work. It's just that a beat isn't a song. I moved from Los Angeles to Finland a number of years ago. The copyright law is different here (it's different in every country, most people don't know that). There is an arranger's share that only follows the particular version of the song that is released. A new arrangement gets a new arranger's share. So if Pat Boone does a Big Band version of WAP the original arrangers are dropped and the guy who made the horn arrangement (Probably David Siebles) will now get paid for his work. In Finland these people are arrangers, but when the copyright is filed internationally they automatically become songwriters, since there isn't an arranger's portion for individual releases.
Tracy Lipp
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From: Jerry Sharell
Subject: LiPuma/Sidran Book
Bob: Thanks much for the brilliant review of the Ben Sidran Book: "The Ballad of Tommy LiPuma". I first met Tommy in Cleveland in late '61 and proceeded to do a few club gigs with him and The DeCaro Brothers! The DeCaro group featured Tommy on tenor sax and me doing vocals ala Sinatra. After my graduation from Kent State University with a degree in broadcast journalism I started my first radio gig in Beaver Falls, PA on WBVP as a jock/newsman. The staton was on the second floor of a building where there was a men's clothing store. The off-season store manager was Tito Francona, a legendary outfielder of the Cleveland Indians! It was winter of '62 and my phone rang at my desk and it was Tommy LiPuma. He told me he was leaving his promo gig at M.S. Distributors in Cleveland for a job @ Liberty Records in LA and he invited me to come to Cleveland and hear more. I asked him when he might want to see me and his answer was a firm NOW and he hung up! It was about 2PM and I drove to Cleveland in 9 inches of snow and showed up at the M.S. Distrib office about 6PM. As I approached the front door I noticed a couple in a Karmann Ghia having intense sex in the dark. Before we had our meeting I told Tommy about the couple having sex in the car. He commented: "Oh yeah that's Pat the all night jock at WHK!" I met with Tommy and Jack Bratel for a few minutes and got the job offer to be a promotion man for Mercury Records for $100 a week. When I asked Tommy how I should go about "getting records played on the radio". He got semi-nuts and told me with my education and musical knowledge that there was "no freggin' primer/no how-to-book available! His advice was, "Hey, you go to Youngstown, find a phone booth with a directory and tear out the W's. Get the radio station phone # and address and start your promotion job!" I am proud to say I was lucky to be Tommy LiPuma's "first hire" and it was the beginning of a life filled with music memories and treasured lessons! So…in closing: "IF IT WASN'T FOR TOMMY LIPUMA, THERE WOULD BE NO JERRY SHARELL! Thank God! jfs
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From: Joey Carbone
RE: DAVID FOSTER
I saw the documentary and thought it was great. David is not afraid to speak the truth about himself or anybody else.
I had the pleasure of being in a band with him on a short concert tour with Evie Sands back in the 70s. He did the arrangements also. What you said about his mind going a million miles an hour , I thought to be true. You would be talking to him about something and you could see he was comprehending but also simultaneously thinking about 5 other things. It was easy to see that this cat was going places. He had talent, and he had BALLS!
In the 80's, when I was music director on the TV show STAR SEARCH, David was kind enough to recommend me to some TV projects as a music director&composer.
After that, I didn't see him for a long time until about eight years ago in Tokyo. I was there working on a project, and a promoter friend invited me to the David Foster and Friends concert. When David saw me at the after party he got excited , screamed my name, and seemed happy to see me again. It was a great honor as he's one of my favorite producer/composers of all times. If you have a chance you should check out his concert. Hit after hit after hit. And I'm not talking about someone who creates a hit record by just getting great sounds like an engineer/producer, or producing a record for a great band or solo artist who writes all their own material and play on the sessions. David does it all. He will compose the songs, do the arrangements for rhythm section and also horns and strings. He plays amazing keyboards on the session. He directs, coaches, encourages and challenges the artist and all musicians and backing singers to give their best performance. Quincy can't do what he does. George Martin can't do what he does. None of the engineer/producers types can do what he does. I believe he truly is a genius. Is he confident to the point of being cocky? Absolutely and rightfully so! He knows what he wants and he knows how to get it. A fucking HIT MAN, indeed!
And if David Foster wants to challenge the last frontier for him ( Broadway) , I would bet the freaking farm that he will create a hit show!
Joey CARBONE
P. S. Oh, did I mention that he is also a great guy?
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From: Daniel Carlin
Subject: Re: The David Foster Documentary
Dear Bob,
As a music editor and music supervisor, I worked with David on the underscore and/or songs for over half a dozen films, including Secret of My Success, Preacher's Wife, Quest for Camelot, and The Bodyguard. We were in the studio together with some of the best co-writers, arrangers, engineers, instrumentalists, and admired singers in the world, including Barbra, Boceli, Celine, Cetera, Dolly, Whitney, and many more. During that 10-year period, I learned just about everything I now know about music production. David was smart, talented, aware, and generous. Over 2 summers, my wife, kids, and I joined him and his family in Victoria for his annual David Foster Foundation fundraising weekend that brought together celebrities from the film, television, and sports worlds to raise millions of dollars for Canadian families with children needing transplants. Spending time with some of those families was more uplifting than words can possibly describe. I don't have one bad word to say about this guy, and I'm grateful and blessed to have worked with him and his circle of talented collaborators. As for the documentary, I thought one of the most meaningful aspects was David taking responsibility for his failed marriages, which had unhappy ramifications not only on his wives and kids, but on his friends. While not a tragedy, that part of his life is less than admirable, and he knows and owns it. I certainly hope that with Katharine, David is able to find the serenity he deserves.
Best wishes, and stay safe,
Dan
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From: Jesse Lundy
Subject: Re: Re-Peter Green
I don't know if you'll run another one of these, but I posted this on my Facebook and though maybe you'd enjoy
One year, in high school, I asked my dad what he wanted for his birthday and he said "A Hard Road", which I wasn't familiar with. My mom asked, "is that the one with 'the Supernatural''?" In my quest to please my parents, I got turned on to Peter Green Summer of 1990, when I was getting ready for college, I went to Plastic Fantastic (beloved record store in Ardmore, PA) and Harold was playing "The Green Manalishi", but curiously it wasn't the Judas Priest version. The "Live in Boston" bootleg (on CD) was about $35 and I definitely didn't have that much money, but the SOUND of the recording stuck with me. About a month later, when I got to Maine, I found an abridged version of that concert on cassette for $2.99 and became a life-long devotee.
On September 8, 2000, I was lucky enough to be working for the promoter that did the John Mayall / Splinter Group bill at The Keswick Theatre, and there he was, sitting at the 8-foot table by the load-in ramp, rocking back and forth, staring into space. Peter wasn't "well" and his playing wasn't even in the ballpark of what it had been. He signed this box set for me, and minutes later they basically pushed him out on stage where he looked like a deer in the headlights with his guitar feeding back...it was ALMOST exploitative.
Anyone who knows, knows that he was as good/better than Clapton/Page/Beck (not Beck, though), but didn't get his due. Honestly, I feel the same way about Danny Kirwin, but they didn't write "Wonderful Tonight" or "Hot Dog", so for most people it's the continuous surprise of "Santana didn't write Black Magic Woman!?!?!?" (I was one of them).
Later, (2008?) I got the gift of a Larry Corsa Les Paul (essentially a modified, signature-series PG Les Paul), so I can carry on the tradition of "Look! Out of phase middle position!", and I will continue to try and convince Marc Maron that he should jam with us in Philly sometime and he can use it.
Big big loss, but I get the sense that he was well cared for at the end of his life, which is comforting.
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From: Sechman Scott
Subject: Re: Emitt Rhodes
Bob,
Thanks for telling Emitt's story one the last few years. Or longer. He loomed large in my existence and besides the Beatles, inspired me to make music my life.
My first exposure to Emitt Rhodes was in early 1967. I was living in the white ghetto in South Norfolk, VA. My little brother and I would catch the bus, go downtown and buy 45's at J.C. Penny. It was there that I bought "Live" b/w "Time Will Show The Wiser". It connected with me. I don't know if I'd heard it on WGH, the local AM radio station, first…but if not, I was lucky. Maybe it was fate. I made a mental note of the writer's name on the label: Emitt Rhodes. I wore that damn thing out. Both sides. Later, I found out Emitt was just a kid. Like me, but just a few years older.
The next time I heard Emitt was on WGH. My mom and I were driving in the snow. 1970. "Fresh As A Daisy" came on and I immediately thought it was a new Beatles single. The DJ said "The new single by Emitt Rhodes". I immediately sought out the album. Found it in the bargain bin at Kresge's or some such place. It has never left my essential albums list. Toted it from coast to coast and back again.
I first met Emitt in 1991, I think. I was gigging at a former biker bar in Yorba Linda. My drummer and I were the band. We played every Saturday and Sunday since 1988 or '89. Took this scary dive and turned it into a local "go to" place. We didn't have any other static band members, but the drummer knew some of the finest players in the Orange County/L.A. area and we would rotate in a bassist and a guitarist/singer, (or keyboard player…depending on who was available), sometimes the lineup changed nightly. Players from the Righteous Brothers touring bands past and present, primarily. Barry Rillera, Jamie Browning, Bruce Borden, Jose Silva and Hal Ratliff to name a few. And some other top drawer players like Tom Clift from the Johnny Otis Band and Tony Bellamy from Redbone and many more. Later, Don Preston of Leon Russell's Tulsa Mafia was semi-regular and eventually replaced me when the drummer and I had fallen out. Politics. We played nothing but covers. Stuff everybody with any basic knowledge of rock, blues and '60s soul/club music would know either by rote, or by osmosis.
But in 1991, we had convinced the bar owner that we were so good that it would be smart for him to spring for a mobile recording truck, let us set up what turned out to be an 8 piece band across his space where the pool table resides and play all day long. Cover songs. A 16 track recording truck parked out back and Emitt Rhodes was hired as the engineer.
After 16 hours, (we started in the morning), multiple takes of each song and when the coke ran out Emitt grabbed the tapes and we set up a schedule to fix clams, perform judicious overdubs and mix. All in the studio that Emitt's recording gear and instruments reside. That keyboard from the inside of his first album. There. My understanding is that he recorded his records across the street, at his mom's. He bought the place on the other side the street and set up his studios in the garage, behind the house. I was there. Recording in Emitt's studio.
Based on the fact that Emitt had amazing ears…the ability to hear the most minor flaws in a recording or performance, around 1996, Jamie Browning got some financial backing from a friend that also had an Emitt connection and decided Emitt would produce his first "solo" album. But it was presented as more of a band project: Jamie and the Jury. I spent a lot of time at Jamie's home studio and another place in Anaheim, near the stadium, working on that record. One of my best memories is standing next to Emitt Rhodes singing backing vocals around the same mic.
To me, this was thrilling shit.
After Jamie's album was released and had run it's course, I wanted to do my solo record. 1997/98, I think. I called Emitt and asked if he's produce and he said, I need to hear the songs. Bring your 3 best. I went to his studio, played the first song and he said "Are you sure you wrote this? This sounds like the Hollies". I took it as a slam, at first. But he said…"This is really good. You're a guitar player…". I played the other two tunes and he said he's produce my record. Then he said "Bring me everything. Every song you've written. Finished or not. No matter how bad you think it might be. I will help you make a record. I need money." So I had a couple of good friends give me $2000 and wrote the check to Emitt.
Understand that I was in Orange County, Emitt in Hawthorne. Long commute up the 405. For months, whenever Emitt was available. I'd drive up. It was all being recorded on ADAT machines. "You can record stuff at home. I'll edit it." He taught me how to make charts for the drummer. Everything would be mapped out. Played to a click. Able to be edited. We recorded the first four songs with Tucker Fleming on drums. Emitt thought the timing was slightly off. Bill Severence was called in and we nailed the drum tracks.
We brought in Bruce Borden on bass and he recorded two tracks. The next time I drove up we edited the bass tracks. We spent at least 16 hours editing one bass track. Well…he did. I was laying on the floor of his shag-carpeted control room, half-nodded out.
Emitt was going through a contentious divorce and custody battle. I had met his little girl once or twice. Althea? I can't remember.
It began to get crazy. I'd come up for a scheduled session and Emitt wouldn't answer his door. Or, he'd yell out "I can't do it today. Go home. Record. Try different things. Erase nothing."
So I did. I would utilize Jamie's studio when he was touring with the Righteous Brothers. Brought in Tom Clift to play bass on a tune that Emitt and I co-wrote. Had Jamie play some guitar. Did as much as I could. But I'd call Emitt and he'd beg off. He'd spiraled downward. Way down. After almost a year of working on 4 songs…Emitt became less and less available due to depression. I had to move on. He had the master tapes. I think in his heart he thought he could finish at least the 4 songs. But, to me…he was gone. One day I didn't call. I just went up to his house. Knocked on the door and told him I needed the masters. We went round and round through the closed door. He said "Look…I want to help you. I thought you wanted to help me." I was so angry I yelled "I'm not a fucking shrink, Emitt."
It broke my heart. I stood there on the verge of tears. There was silence. After about 10 minutes he said "The box of tapes is on the driveway".
Later that year or maybe early the next, I called him and we talked. He was better. No hard feelings. We talked fairly often. He would say, "We gotta finish your album". I had long given up. Finished what I could on my own. Three songs. Had to cycle through everything he told me not to erase. Made decisions. Mixed it poorly.
Around 1998/99 I had been going to the Largo for Jon Brion's Friday night shows occasion. Brion had played an Emitt song one night. I called Emitt and told him that there's a group of young players out there that revere him. Let me take you up there. I called the Largo owner and asked if he could reserve a table for us if I was to bring in Emitt Rhodes. That next Friday, Emitt, his son and myself were at the Largo. Before the show, I introduced Emitt to Jon Brian and Aimee Mann…neither of whom I knew or had met. They were so effusive and jazzed. Emitt was embarrassed, I think. Brion, during the show, had asked drummer Ethan Johns "Who has the best drum sounds ever on an album?". Johns responded "Emitt Rhodes".
Later, it was Jon Brion's circle of musical friends that graced Emitt's last album.
The last time I saw him was at his house. I don't remember . 2011 or 2012 ? Somewhere in that timeframe. We smoked a bowl. I played my mixes of the 3 songs we produced. He listened while he walked around the room. Stroking his beard. After one tune he commented, "That's a great song. I always loved that song".
He then said "Here's what I'm working on…" and played "What's A Man To Do". A sparse recording. Basic tracks, essentially. He said "I want to to sing on it. I can pay you.". I told him I'd do it for nothing. He picked up a guitar, showed me the chords and the part I was to sing. After a while it was time to gig. Beat that traffic. Gave him a hug, told him to call me when he needed the vocals. He said "Okay".
I only heard from him one more time. He left a message on my answering machine. "Hey Scott. This is Emitt. We have to finish your record."
I finished the record in 2012. Used another producer to take the mess I made and try to make sense of it.
Emitt never heard the final product. I'd been meaning to send him a copy. I've been in North Carolina since late 2015.
I had a ticket to fly back to California in mid-March. Planned on swinging by Emitt's as I know he's usually there…even if he doesn't answer the phone.
Called him every couple of months. Same canned answering machine message from the 1990s. I always left a message. He never called back.
The last time I called was May 20th. He never called back.
Scott Sechman
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Subject: Re: Emitt Rhodes
Bob...you really nailed it with your tribute to Emitt Rhodes. I played his music to my friends when I wanted to blow them away. I played his music as a DJ on WMMS in Cleveland, and I played his music for me, over and over and over. That's when it really counted. I couldn't wait for the next installment. And he never let me down. I tried to help him out over the years. I gave him an opportunity to open shows for Joe Walsh in the early 90's. He turned me down. I offered to help when he put his record out in 2015, I think it was. I spent a couple of days at his house listening to song after unreleased song, not believing my ears at what I was hearing. Again, he didn't want any help.He showed me some of his musical inventions, just amazing stuff that will remain in his garage. He had so much talent, but couldn't afford a car. He had so many songs, but no direction. It sounds like we were close friends, we weren't. But those times I spent with him in person and through the speakers meant the world to me. I hope your article gets lots of people to check out the genius that was Emitt Rhodes.
David Spero
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From: Gill Ross
Subject: Peter Green
Hi Bob,
A friend forwarded to me the lovely tributes and memories of Peter Green from your website and I felt moved to share my own personal experience of the brief time we knew him. I was very sad to read of his passing, it has affected me quite deeply as I always remember Peter for his warmth and friendship and quiet nature.
From 1963/69 my boyfriend Christie (who later became my husband) and I hung out in London music clubs, including the early Marquee in Wardour St, Soho.
We regularly followed various bands - in particular John Mayall's Bluesbreakers. John would always said hi and have a chat when he saw us, and I remember Eric Clapton well. But when Peter Green joined the band he spent his time with us during the break and that's when our friendship began.
Peter and Christie clicked right from the start - looking back I guess they were two of a kind, both being very unassuming and creative.
(I have noticed over the years when musicians who don't know each other meet in a room there's not much social conversation, until they talk about music....and if they have instruments with them, very soon they are playing rather than talking....my husband was a drummer back then, he played in various semi-pro bands, mostly blues, some jazz)
So we felt sad on the night Peter told us he was leaving The Bluesbreakers to form a new band with John McVie, but he kept in touch with us and later we were invited to their first gig in an upstairs room at The Nags Head in Battersea.
Peter and John were pleased when they saw our familiar faces, we arrived just in time as the set was due to start. They did a great gig that night, receiving a warm response from the audience even though Peter and John performed only as a duo.
Afterwards they explained that after auditioning 12 potential drummers for the job, no one had proved suitable. Peter then asked Christie if he would join the band as their drummer, with no need to audition as he already played blues.
Sheer disbelief, joy and excitement showed clearly on my husband's face.
Then he declined! I couldn't believe what I heard and I think Peter and John felt the same too...Christie explained that he was already settled with the band he was with and he would hate to let them down as they'd been good to him.
I was dumbfounded when I heard this and feeling confused I quietly walked away to think, leaving them talking together. I realised their offer was Christie's all time dream, but there was probably no way he would ever consider joining a professional band at that time. For Peter and John had plans to tour the world but we had just had our first baby......
After that gig the guys soon found Mick Fleetwood. The band took off so brilliantly, the rest is music history.
Christie continued in music too. He gave up drumming at the age of 23 when he learnt to play guitar and began writing songs. He toured the folk clubs over a few years under the stage name Christie Hennessy, but as time passed his writing became more contemporary.Much like Peter, he also suffered a mental breakdown and withdrew from performing, though in his heart he never left music behind. Around 1989/90 he was tempted to return to the music scene.
Then in his mid 40's he became a regular performer particularly in his home country of Ireland. He belatedly achieved success until his death in 2007.
(On his gigs Christie would often tell the tale of being asked to join Fleetwood Mac as their drummer - though as he said, of course they wouldn't have been called Fleetwood Mac .... the audience listened, some laughed - but I don't think anyone really believed him!)
RIP our friend Peter Green - thanks for great gigs and memories of happy times.
Gill (Ross)
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From: Nick Myers
Subject: Wiley (UK) Anti Semitism
Hi Bob
I hope you're well.
I am writing to see if you would comment in your newsletter on the abhorrent anti semitic abuse from the British artist/rapper Wiley over the weekend to raise awareness of it amongst your readers and the appalling and palpable lack of outrage at it from the wider music community. Wiley has nearly 1 million followers across his platforms and has been and remains a prominent figure in UK music over the last 20 years as the self-proclaimed 'godfather of grime'. He had a global hit last year 'Boasty' featuring Idris Elba, Stefflon Don and Sean Paul.
Between Friday and Sunday he made over 200 tweets (many which are still live on his twitter account twitter.com/wileyceo?lang=en ) including comparing Jews to the KKK, calling jews cowards, slippery, snakes, and messages to the effect that jews should be shot. He then took to instagram where many of his video messages of hate are still live too. There have been thousands of comments, likes, retweets, shares of this material showing support and further poisonous messages of hate. Support for Wiley and his hateful messages has sadly even come from other artists and members of the music industry.
I was sent the tweets as he was live tweeting them on Friday and brushed it off to myself as WIley (who is often called the UK Kanye) just going on yet another mad rant that will soon be cut off by Twitter's hate speech moderators and be called out and denounced by the wider community. Sadly neither of those two things happened and he was allowed to use those platforms to spread his hate messages for 48 hours.
What has hurt more than his words though is that his hateful and racist diatribe has not been met with the same energy and outrage as has the other forms of racism that have reared their ugly heads in recent times. There has been widespread silence from the swathes of anti-racist campaigners who have done an amazing job tirelessly posting, protesting and keeping up the pressure on tackling other very valid areas of racism. However, many of the same people who have been preaching 'silence is violence' have thus far remained silent in this instance. The weak and apathetic response is particularly noted from the artist community in the UK, many of whom have been hugely vocal in tackling the issues around systemic racism and unconscious bias towards the BAME community yet seemingly have been unable to find a way to speak up and defend Jews against probably what is the most vicious and direct verbal attack on any community I have seen from a prominent figure with real cultural influence in my lifetime.
There needs to be an understanding that all forms of hatred and racism towards any groups of people needs to be met with the same level of indignation and outrage no matter who it is coming from and who it is directed towards. It's clear that there are some dark forces out there that are trying to divide us rather than unite us. Particularly between the black community and jewish community which sadly have so much commonality in their histories of oppression and persecution and now more than ever need to stand united in combating racism on all fronts.
Over the weekend I was sharing my thoughts and feelings on the issue on my social media and what has become evident to me from many non-Jewish friends and colleagues who reached out, is that there is a serious lack of awareness of how very real and rife anti-semitism is in the world today. Too many of them, very educated and liberal minded, thought that anti-semitism had largely ended after WWII and is not really a current issue, not being aware that there are still thousands of violent attacks directed towards Jews every year. We need to do better and that means we need to educate others. And that means we can't stay silent.
Nick
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From: tepnomusic
Subject: Re: Re-Spotify
Hi Bob,
Just saw the newsletter about people bitching when it comes to streams. In the past few years, with my artist project (Tep No), I've made 250k usd per year, and this year because of my renewed contract with Sony Atv, I'll be making about 400k (and since I have a good accountant and a good manager, being incorporated etc, you get to keep so much). I haven't toured at all in 3 years!
With Spotify, Apple music, Amazon streaming, including terrestrial radio, Soundexchange money (Sirius Xm), Socan here in Canada, exposure because of Ryan Seacrest, what can I say, like you said, you're in the sidelines or you're right in the thick of it. As an artist I listen to so much music, I study it a lot (I have a masters degree in French). I basically took my learning skills, translated them into the music industry, and paved my way (Also, Jay Frank Futurehit DNA was a very important book for me, read it 10 times, sad he died last year).
All the people playing the victim etc, it's bullshit, if they'd work the hours I work on my music AND take care of a family w. a toddler and 10 year old with epilepsy, most of them would be in their graves right now.
How I see it is, most people don't have what it takes to succeed in the industry (including other industries). I've ran this project for 6 years now, I've seen artists come and go. So many.
Both my parents are from Greece, and I'm a first born Canadian, and my mom never allowed me to play the victim, and whine that life didn't swing my way, she barely escaped from the Congo during the apartheid, so anything I've faced is pretty tame compared to her.
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From: Robert Heiblim
Subject: Re: The Go-Go's Movie
Thanks Bob, those were heady and exciting days indeed. And I went out, every night it seemed. And I saw those bands as soon as possible. Of course, I was based in the Bay Area and often that was not the birth spot so we had some early warning of what was coming. The raw excitement of seeing what was new often overpowered less than great skill, performance or material because you were out. The sweat, the smell and the electricity of the room was beyond compare. I certainly can still feel that from the first moments with Elvis Costello at the Old Waldorf.
And the Go-Go's were part of that. They were cute. The tunes made the crowd move and everyone was into it. I met them, and like you came away certain they would do whatever it took to make it. That was in the air everywhere.
It was the same time as my first trip to Japan with Sony. I too wanted to make it and I sold a ridiculous amount of pro gear, microphones and was invited.
While there I had tea with Akio Morita the founder. He had the same energy too. He spoke perfect American English and after the tea ceremony he wondered how it was I could make those sales.
I was nervous, this was an icon and I was a young punk. So I answered that 1) my brother was in Japan and I wanted a free trip 2) I wanted to stand out and make it in the industry and 3) I needed the money. He smiled and said, "ah greed and ambition, a very clear answer. I want you to know how much I appreciate that since no one here would every tell me that". The Go-Go's told me that.
Lot's has changed for sure as you comment and document regularly, but having that drive is one thing that has not. The obstacle course to get there has morphed beyond recognition and for the music market has taken some of the joy and experience with it. We can hope that magic can return.
Keep it up.
Robert
_______________________________________
Subject: RE: The Twelve
Hello Bob,
Glad you enjoyed "The twelve"; The series is from Belgium more accurately, the Flemish part of Belgium. The language spoken is Flemish (which is like Dutch comparable to British English & American English).
That's the curse of a small bi-lingual country. Our icons from the French speaking part of Belgium are wrongly attributed to France & the French : TinTin, Jacques Brel, Stromae, Hercule Poirot fries.
And the ones from the Flemish part (Rubens, Van Eyck, Eddy Merckx Matthias Schoenaerts) to the Dutch;
Keep up the good work, I enjoy your newsletter every day.
Kind Regards,
Dirk Van der Auwera
Marketing & Sales Director
Universal Music Belgium
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From: Garrett Gravley
Subject: Re: November
I'm a journalist who covered the first George Floyd march in Dallas that turned into a riot. The police were armed to the teeth with tear gas, rubber bullets and the whole shebang. From a purely objective view, they started the altercation.
Since I was reporting, I didn't kneel or participate in the protest or anything since that would obviously be unethical, but I didn't have credentials that indicated that, so people could have easily misconstrued it as me not caring about it. Still, the protesters treated me with respect. The police, on the other hand, treated me (a 5'8" white guy with a notepad and tape recorder) like I was about to attack them at any second. Me and my girlfriend (a photographer who was there on assignment for a different publication) got teargassed twice, and she breathed so much of it that she started vomiting profusely. I'm not usually dramatic when it comes to medical emergencies, but she looked super pale and weak because of how dehydrated she was, so I told police we were journalists and that she was in desperate need of water. They ignored us and looked the other way, while some protesters within earshot gave her all the water they had on them.
I always think about that whenever conversations about these protests/riots come up.
Also, I saw an article last month that ran under the headline, "Police Seek 3 Looters Who Allegedly Took $60k in Drugs From Midtown Pharmacy". I used to work in the pharmaceutical industry, and it wasn't uncommon at all for some medicines to sell wholesale for $3k-$25k/bottle. Pharmacies spend $60k on drugs for breakfast, so I have it on good authority that such pieces are shameless propaganda.
_______________________________________
Subject: Re: Mailbag (A story about Benny Mardones for you)
Bob –
.
After reading your latest mailbag, I had to pass along a quick story about Benny Mardones.
I only was with Benny for one day – but what a day! A pal of mine was talking about a friend of his who wanted to visit his ailing mother in the East and needed to travel from California – but was hoping to book a gig along the way to handle some of the expense. He told me the guy was a great singer and super person. But when he told me it was Benny Mardones, the old disc jockey in me was blown away.
I didn't want to insult him – but I could come up with some cash if he was willing to sing at my wedding -- which was approaching in about a month. Benny was thrilled to get the gig.
We invited him to play golf with us the morning of the wedding and he became part of our wedding party. At the reception, he performed several songs…obviously including "Into the Night." (Which, as my wife is a few years younger, caused me significant grief that Benny encouraged from the stage.)
However, there were two aspects I will never forget. When the audience jumped up to give him a standing ovation, Benny broke into sobs on stage. He told the crowd, "You don't know how much this means. It has been years since any audience stood up for me." That broke our hearts.
Then, he took me aside and told me a story. He talked about when "Into the Night" was the hottest song in the nation. He – and hangers on – were partying at Chateau Marmont. Also at the pool was another performer who happened to be there getting sun and reading the "Wall St. Journal." Bennie told me that he went over and made fun of the guy, asking him if he was a musician or a businessman. The guy responded, "You gotta be both."
Benny said that he was too busy partying to listen. Then he told me that was Bruce Springsteen. Benny said, "Never forget that your art is also your business. Maybe things would've turned out better for me if I would've sat down and talked to Bruce rather than running out with those who wanted to bask in my momentary fame."
Benny was an amazing man – and sharing that special day with him is something I'll never forget.
Scott McKain
_______________________________________
Subject: Re: King Songs-Songs With "King" In The Title-SiriusXM This Week
Well!
Thanks for that, Bob; I feel oddly important.
But, mostly, I feel oddly.
Cheers!
King Williams
_______________________________________
From: Phil Stanley
Subject: Re: Covid-19
Hi Bob,
The way the U.S. has responded to the crisis, as well as the attitude and behavior of many Americans, has been appalling. We have lost so much credibility in the eyes of most of the world, giving fodder to our enemies and embarrassing our friends. It's a disgrace how this pandemic is being approached politically, rather than medically with science.
Thailand has handled the situation quite well. We've had a total of only 3,236 cases out of a total population of 69 million, and fatalities of only 58 out of the 3,236 cases. This translates to an infection rate of less than 0.005% and a mortality rate of 1.8%. In contrast, the U.S.has an infection rate of 1.1% and a mortality rate of 3.9%. And I thought Thailand was supposed to be the lesser developed country!!
Thailand was relatively early with the lockdown, and it was quite effective. In addition to closing the airports for international travel, they also closed down the domestic airports. In Phuket, not only was the airport closed, but they closed the bridge separating this island from the rest of the country. In addition, they also put up barriers around the various districts of Phuket, which meant you couldn't travel outside of the district where you lived. They also instituted a curfew and banned the sale of alcohol, not only in restaurants but also at stores. The rationale was that alcohol invites social gathering, and they wanted to prevent this from happening. Wearing masks is mandatory when in public, and the entrances to all stores, shopping malls, etc are manned with staff who take a thermal check of your temperature, offer hand sanitizer, and require you to fill out a form with your contact details for tracing purposes. They even used drones to fly over neighborhoods and check to make sure people weren't gathering in groups.
Many people, particularly expats/foreigners, thought these actions were draconian at first, but all went along with the plan. It has proved to be very effective. So regardless, of what the Trumpsters say, masks and social distancing is effective.
Stay well,
Phil
_______________________________________
From: Al Marks
Subject: Re: Covid-19
So far since March I have lost 8 friends to this F***ing virus. 3 in NY,2 in NO,2 in Fla and yesterday 1 in DC...The first 7 came on very quickly and we did not really have an understanding as to how this thing works, but yesterday's loss was totally preventable if he had only listened to his wife and friends about going out to demonstrate using social distancing and wear a G*ddamn mask.
We should be smarter than this.You see we were the ones that figured out that people needed music to be happy..How hard could wearing a freaking mask be.To all your readers out there a mask can save your life...Wear it.
Al
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From: Ben Sussman
Subject: Re: Covid-19
Bob,
Both my parents retired years ago to Arizona to escape the "liberal stupidity" of California. Two weeks ago, both of them got COVID after attending a Father's Day celebration held under barely-there state safety guidelines. Last week, my father - who was a proud Trump supporter a Fox News-loving conservative - went into the hospital with a 104 degree temperature and trouble breathing. He's now on a bypass breathing machine because he can't breathe on his own, and the outlook is not positive.
Did Trump, his lackey AZ Governor Ducey and all their right-wing minions kill him? Fuck yes they did.
But he bought into their bullshit gladly. He's paying for it, most likely, with his life.
You are right that this will now start happening to people we know.
I hate to to be the first among my friends, but I for sure I won't be the last.
Fight on,
Ben
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From: John French
Subject: Re: Covid-19
To those who stupidly refuse to understand the the importance of wearing a facemask, I can only assume that your motto is:
Give me liberty or give me death!
I can assure you that if you don't wear one you will accomplish both goals!
The reason why New York City residents reacted with such total commitment with facemasks and distancing is because, in April & May, the sound of ambulances was our soundtrack. All day, all night.
I have personally lost 4 and have many other friends who have had the virus in it's many forms from totally asymptomatic to loss of sense of taste and smell to flat out sick as a dog for 3- 6 weeks in total isolation with the knowledge that if they went to the hospital there was a good chance that they would never survive. What also came with that experience was huge weight loss as well.
Trump's total politization of this crises is responsible for the deaths of possibly hundreds of thousands.
That will be his legacy.
And he thought it was going to be a wall!!
The only wall he successfully built is the wall of ignorance...
Jay Jay French
_______________________________________
From: Jamie Minotti
Subject: Re: Covid-19
Hey Bob,
My Ninny, from CT, died from Covid related complications on May 20th. Honestly, it's taken me a bit to speak about this publicly because along with being very thankful that I had my grandmother in my life for as long as I did, I've also been bitter as fuck about the way she passed. My Ninny and Poppy were huge parts of my life and identity. She was 106yo, as healthy as you could expect, and a sharp Italian firecracker. Before you put her death off because she was "old", as it seems in a culture that doesn't respect elders anyway, it makes us feel better about who is dying from the virus. Just know my Ninny was completely on point until the day before she died when she spoke to my daughter, her great granddaughter, via FaceTime, and understood exactly what was happening to her. It took this pandemic to take my Ninny down. My Ninny died alone in a hospital room with people in hazmat suits. This was not a lack of people wanting to be there for her and this isn't the way she should have died. She deserved better. Everyone who is dying this way deserves better. So before you decide the virus is bullshit or some conspiracy, are inconvenienced by not being able to do your recreational activities, opt not to wear masks because they are uncomfortable or "don't work", disregard social distancing, and actually party because you don't know anyone that's been affected so its not your issue, think of my Ninny and others like her, as she knowingly suffocated while dying alone in a hospital room in front of people in hazmat suits that she did not know. But you know, she was old anyway, right? I went all in on a business that took 3 years and $3M to come to fruition. We opened its doors less than a year ago. It has been demolished by the shutdown and candidly I don't know if it will ultimately survive.
So I "get it". This all sucks. You know what sucks more? People suffering and dying alone and not doing your part to at least try to help. So if you are "woke" or have any respect for fellow human lives, regardless of their age, do your part so no one else needs to suffer and die alone like my Ninny.
Jamie Minotti
_______________________________________
Subject: Re: Covid-19
I lost my good friend Mike Chaffee, a notable warm spirit filled with the love of music and great sounding audio systems.
I likened him to the Happy Hercules; strong willed, open hearted, with a massive consideration for others.
At a muscular 240lbs Mike considered his almost 20 year battle with Parkinson's a "slight inconvenience ". But CoVid got the upper hand after going in and out of ICU, responding to plasma treatments, the turnaround was swift and heartless. His last voicemail message was soft and shallow. Nothing like the Mike I remembered.
I find this whole mask/no mask thing an unbelievable joke. You put the mask on and just leave it on. You keep your hands clean, sanitize surfaces and don't go anywhere you don't need to. Wake up every day like you care about your fellow man. Anything less is just stupid.
Stay safe.
Will Eggleston.
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From: Chris Moore
Subject: RE: Covid-19
I am sorry for your friend. It is rough. My aunt died Friday morning. Just stupid.
Covid related series of strokes. 2 small ones during the week and then a big one Thursday. Much discussion about taking her off life support. Not conversations I want to be in again. But good she died so fast.
_______________________________________
From: sleboff
Subject: Re: Covid-19
Millennial here, Bob. Been a reader for years. You hit the nail on its head with this one and you are probably the only boomer who has the balls to tell it like it is. The news just peddles what ever is juicy, not what is right. And our politicians only do what is best for them *cough re-election cough cough*. We are living in a broke system right now where my generation will be forced to fix it. We were left a world worse than how our parents had it, and I'm not talking about ease of use and how we have everything readily available at our fingertips. I'm speaking as an ethos, most of my generation will not be able to afford a house, most can't afford healthcare on their own. You have corporate CEOs making 10s of millions of dollars (I'm it opposed to capitalism) but when you pay the guy at the top 9 out of the 10 dollars you have. You only have one to split for the hundreds. The balance is wrong and that's what needs to start changing, but I'm not saying anything you don't already know... anyways tangent over.
Thank you for addressing what needs to be said and sorry for your loss, I too just had a family friend pass at 39. The virus is real no matter what the reds say.
Keep 'em coming.
_______________________________________
Subject: Thank You.
Bob, thank you for the kind insightful words about my song. I have been a long time fan and it's an honor.
Sincerely
Joe Bonamassa
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