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  1. 25 points
    Hi kids, I thought I'd drop by to fill you in on a few recent events, and the progress on the new release. Sony flew me to New York, about a month ago, and it was an extremely positive meeting. Talk about "Deja Vu"!!! I found myself walking into the lobby of "Blackrock" (otherwise known as the CBS building, or "30 Rock", as they call it in the television series) and I flashed back to the first time I had set foot in that same building, with Cyrus Erie, forty-five years earlier, to meet with our first producers, Sandy Linzer and Mike Petrillo. The circumstances were quite a bit different, this time. Instead of being treated like a bunch of "know-nothing" teenagers from Ohio (Sandy Linzer was an hour late to our first meeting, IN HIS OFFICE!!!) I was brought to a meeting room at Sony's Legacy Records, where I met with six men, all probably under the age of forty, who were six of the biggest fans of my music that I have ever met. We discussed different ideas, and aspects of the "Essential" project, which was Timothy Smith's initial idea (feel free to write him "love letters" of appreciation. He's a "prince" of a guy. His email is: timothy.smith@sonymusic.com) and I got to meet Bernie, Tommy Allen and a friend of mine who used to live in Cleveland, but now lives in Jersey, for dinner that evening. The following day, I took a cab to a remastering studio to take part in the first remastering session for "The Essential", with an engineer named Mark Wilder. Mark is Sony's "go-to guy" when they want the absolute best. When my cab arrived, I realized that the studio was in the same building, same address, and same physical space that used to be The Record Plant, the studio where all four Raspberries albums were recorded! "Deja Vu, indeed"! All of the old analogue masters had been carefully converted to digital, so Mark could work his magic on them. The track we started with was "Get The Message," which I probably hadn't listened to in forty years. While I was initially a bit hesitant about GTM, because, in reality, it was a one take track, intended by the producers to be the "B" side of the single, and, in their own words, they wanted it to "suck," by the time Mark had finished, about an hour later, and I began to see what could be done when you have a genius engineer and today's technology, I was actually excited about the track. We went on to remaster maybe eight or nine more of the tracks during that session, which covered everything from Cyrus Erie, to The Quick, to the Raspberries, to my solo stuff on Arista, to a live track recorded at The Bottom Line in New York in 1976, which Tim had located in England, and even a track from the Geffen album, and my demo of "Almost Paradise." Well, I received two CD's, representing 28 of the 30 tracks yesterday, all remastered. I took them out to my car (equipped with a Bose Surround Sound system) and cranked up the volume. It was a religious experience. The difference between any previously "remastered" disc and what the original sounded like, I would estimate might be about 2% better. The difference between THIS REMASTERING and the original versions? Maybe 300% better. You might remember me talking about how I was disappointed in the recorded version of "My Girl", (I had gone into the studio thinking it might be the first single) because I heard it like "Frankenstein," and Jimmy Ienner heard it like "Tinkerbell." Well, guess what? It's now everything I heard in my head. It's "Frankenstein" all right, and so is "Last Night." In my conversations with Mark Wilder, during the remastering, it became clear that everything I've learned about the "sonics" of recording over the years, and could convey to Mark (Do you think we could add some 100 cycles to the kick drum? That's the frequency that makes the kick drum punch you in the chest. And could we add a little bit at 40 cycles to the bass? That's the frequency that makes the whole bottom end of the record warm and deep and BIG! And how about a little bit at 22,000 cycles so the strings open up and I can hear the resin on the bows?) all paid off. Mark is clearly a genius, and pretty much every single song he touched became better. Not by a little bit, but by MILES! It would be a mistake to think of this double CD release as "just another compilation." I can tell you, you have never heard most of these songs, until you've heard them on this package. I read recently about a little 3" by 3" box called The International. Bob Lefsetz raved about it in one of his columns last week. Apparently, with a really good pair of headphones, you plug this box into your sound source and it somehow converts digital recordings, which are usually squashed sounding MP3's, into ANALOGUE!!!!!! It opens them up and gives them the depth and warmth of vinyl! I guess Jimmy Iovine (former Raspberries engineer, Springsteen engineer, Stevie Nix producer, and founder of Interscope Records) decided he couldn't stand the sound quality of MP3's anymore, and decided to do something about it. Hence, The International. Bob Lefsetz described the experience of listening to a really great record through this box, with great headphones as being "like eating watermelon, and ice cream, and having sex at the same time." If you Google "The International" it should take you to their website. They're not inexpensive ( I think they retail for $599 ) but Bob sure made it sound like they're worth every penny. But, I digress. There are still some possible changes that may occur to the track list, and Sony is talking about me possibly writing and recording a NEW TRACK, maybe even TWO, but all I can tell you is this double CD is going to BLOW YOU AWAY, COMPLETELY!!!!! Not that I'm excited about hearing these songs sound the way I intended them to sound, for the first time, or anything. Tim Smith told me Sony isn't planning on marketing this record to 50 and 60 year olds ( no offense ). He heard my first solo album when his older brother brought it home and played the daylights out of it. He fell in love with it. He was seven years old, at the time. He wants to bring my music to a whole new generation of fans. 20 and 30 year-olds, who have probably never heard of me. How fun!!! Well, I think I've brought you up to date. I've written a few sentences for the liner notes about each song. Another of Tim's goals for this package is to show people who only know me as a "balladeer", that before Arista Records, I was a rocker, and I didn't stop rocking after "All By Myself." Mark Wilder did a BRILLIANT job on "It Hurts Too Much" and "Tonight you're Mine." And the "live' version of "That's Rock 'n Roll" recorded at the Bottom Line, in 1976, TOTALLY RAWKS!!!!!! A certain "iconic" record executive once told me "Once you go 'pop', you can never go back." I beg to differ, and this record will prove just how wrong he was, once and for all. Peace and love, Eric
  2. 23 points
    I've been reading the "Renaming (The) Raspberries" thread for a few days, and I think it's one of the most interesting discussions I've ever seen on ec.com. I don't have much time to respond at the moment, but I thought I'd at least begin by putting up this new topic. I started to respond a couple of days ago, didn't have enough time to finish, and when I went back, later to write more, what I had written was gone. Let me give you a little bit of insight regarding my mindset back in the late 60's and early 70's. Almost all the music I loved, in the beginning, was created by "bands." As essential as Jim/ Roger McGuinn and his Rickenbacker 12 string were to The Byrds, what "made" "Mr Tambourine Man," for me, was the harmonies. It was McGuinn's lead vocal, but without David Crosby's high harmony part, it wouldn't have even been close to being the same record. And as good as "Ticket To Ride" was as a song, it was John's lead vocal and Paul's harmony above it that "made" THAT record. I never wanted to be a "solo" artist, because all of the magic was being part of a vocal blend like John and Paul had. To this day, the stuff that got me off most, onstage, was singing the bridge of "Baby's In Black" with Wally, or Paul's part on "Ticket To Ride" while Wally sang John's part. So THAT'S where I was comin' from in those early days. The other thing you need to know, and I've talked about this before, is that "The Choir" was like "The Beatles," but on the "local" level. They played all the same music I loved (Byrds, Beatles, Hollies, Who, Stones) plus they had really long hair, and great equipment (does anyone remember how important THAT used to be?) and they were just plain cool. And then, "It's Cold Outside" was released, and they had the number one record in Cleveland , and then it charted nationally and it looked like they were REALLY going to make it. I wanted to be in The Choir more than anything in the whole world (except, maybe, being in The Beatles). So it is from that vantage point, standing in the audience, looking up at that stage, hearing the music I loved, played with the right chords, on great instruments, through big, cool amplifiers, LOUDER than anyone else's, by a bunch of skinny guys with long hair, who looked like they were having a ball, while all the eyes of the girls in the crowd were fixated on that stage, that the story of the creation of Raspberries begins. At that point in my life, I was a shy, skinny introverted kid. But I dreamed BIG dreams. And when I saw Wally playing that Rickenbacker 12 string, while chewing a big wad of gum, and just generally being a complete "badass," I recognized that he and I could be that perfect "Yin and Yang" combination, if only I could get into the band. To make a long story short, I had been rehearsing a new band that had been formed from the remnants of my high school band, and another local band, "The Rebel Kind." I had approached Kenny Margolis, the lead singer and keyboardist of the band, shortly after both of our bands had broken up, and suggested that we should form a band with two lead singers, who both played keyboards. Kenny brought his drummer, Ange LaMarco, and I brought guitarist Marty Murphy, and we rehearsed in the basement of Ange's dad's beauty salon. We added a girl singer, Karen Shane, and after about three months of rehearsal we were actually sounding really good, playing songs by The Jefferson Airplane, Moby Grape, Procol Harum, and a lot of other diverse stuff. Every day, Kenny would tell me stories about The Choir, knowing how infatuated I was with them. His band had opened for them on numerous occasions, and he delighted in telling me what "stupid morons and hillbillies " they were. I would stare at him in disbelief as he ran my idols down, and I remember frequently telling him his stories couldn't possibly be true. He would just laugh. One day, I arrived at rehearsal to find Kenny packing up his gear. When I asked him what he was doing, he said "I'm joining The Choir." Dumbfounded, I asked him why he would jump ship to join the "stupid morons and hillbillies" and he replied "It's just business." And with that, he hauled his gear up the stairs, loaded it into his car and drove away, leaving the rest of us stunned, standing in that basement knowing we had just wasted three months rehearsing for nothing. I was pissed. And I was determined to do something about it. I called a cute, local "groupie" and asked her if she could get me the phone number of The Choir's manager, Ray Taylor, and she said she could. Within 24 hours she called me and gave me his number. I mustered up all my courage and called him. The phone call went something like this: "Hi Ray, you don't know me, but my name is Eric Carmen and I've been rehearsing in a band with Kenny Margolis for three months, and he just quit our band and announced he was joining yours. I've never been very good at shameless self promotion, but I think, before you make your final decision, you should let me have an audition. I play piano (with BOTH hands) and guitar, and drums, and I can sing (higher than Kenny) and I write songs, as well, and....overall I'm a better fit for The Choir than Kenny is." There was a long silence on the other end of the phone, and then he said "We're playing at the Lorain Hullaballoo this weekend. Why don't you come out and we'll give you an audition." So I drove out to the West Side and I ended up talking to Dave, Wally and Jim for a few minutes, but I kept wondering when I was going to get the chance to audition for them. It turned out that there was no keyboard there for me to play, and when the gig was over, they all just went home. I later learned that their manager had told them about this "wonder boy" who wanted to audition, and that they'd all had a pretty good laugh about it. And that was that. Kenny joined their band. In the Shindig magazine article, Wally, rather disingenuously, made some statement about me "failing the audition." In truth, their was no audition. I never got to play, or sing or do anything else. Kenny was, and still is, a talented guy, but I was a much better match for the band. In some way, however,it was actually a good thing that I didn't get the audition, because, in hindsight, had I auditioned and been hired, I would have been the "junior member" of an already successful band. "The New Guy." When they took Kenny, I made a vow that, six months from then, they would regret that choice, because I would have the best band in Cleveland, and almost six months to the day, Wally was fired from The Choir ( along with Dave Burke, their ASTONISHINGLY GREAT bass player). Wally came to see Cyrus Erie at Mentor Hullaballoo, and, after the show, he walked up to the stage and said "You were right. We should'a got you." I called the guys in the band, and the following day, I called Wally and asked him if he would like to join Cyrus Erie. He said "Yeah," and Cyrus Erie was soon the preeminent band in Cleveland, and on it's way to a recording deal with Epic Records in New York. We were eighteen years old when we signed that deal and flew to New York to record our first "professional record." With Sandy Linzer ("A Lover's Concerto") and Mike Petrillo ("Tell It To The Rain") as our producers, we headed into Columbia's Studio "C" to record three songs, "Sparrow", "It Won't Be The Same Without You" and a "B" side, that was supposed to "suck", "Get The Message." This is starting to sound like the book I will one day write, so I'm going to have to skip around a bit. Otherwise, it will end up being a thousand pages and we'll all be very old. So, to recap the story so far...I saw and heard The Choir. I imagined myself in that band, adding whatever I could add to what was already great. I started a new band with Kenny Margolis and rehearsed for three months. Kenny quit our band and joined The Choir. I asked them to let me audition before they made their final choice, but never got the chance. I went off to college, and a friend of mine met Don Ladanyi, the manager of Cyrus Erie, who was looking for a drummer so that he could bring Mike McBride, who was then the drummer, out front to do his very convincing Mick Jagger impersonation. My friend told Don he "knew a guy who played drums," and Don called me in for an audition. I had never played drums in a band before, except on a couple of songs in my high school band, but I showed up for the audition, sat down behind Mike's drum kit, and I bashed my way through a few Rolling Stones songs and got the job. Their lead guitar player was on vacation when I auditioned, and I didn't think much of their rhythm guitar player, so I quietly suggested that I knew a better guitar player, and later brought my friend Marty Murphy into the band. Cyrus Erie then fired their rhythm guitar player, and, when their lead guitarist returned from his vacation he became incensed that his buddy, Rob, had been "dismissed" during his absence. We had our first gig booked at The Agora (I think it might have been on New Year's Eve, 1969-1970.) Tim (the lead player) decided to teach us a lesson, so he came to the show, but never took the stage. He stood in the back of the room expecting us to crash and burn without his guitar playing. Mike, Bob, Marty and I sat backstage waiting for Tim to show up, and when we had delayed as long as we could, and it became apparent Tim wasn't coming, I told the guys that I could play guitar, and keyboards (a little fact I had kept to myself, until then) and that Marty and I could share guitar duty, and if Mike went back to the drums we could probably fake our way through the gig. So Mike went back behind his drum kit, and I pulled my guitar out, and we took to the stage and the "New" Cyrus Erie was born. Tim was so furious, standing in the back of the room, that he strode up to the stage and started to remove his equipment, right in the middle of a song! The whole situation had now become rather comedic, so, as Tim attempted to disassemble his amp, and the little lighting board at the front of the stage, we kicked on the strobe light, just to make everything look even more ridiculous, and Marty pulled his guitar off and pretended to smash it, Pete Townshend style, against Tim's amp. With the strobe light flashing, Tim really thought we were destroying his gear, so he leaped on stage and, in between the bright flashes, attempted to keep his balance, and find his amplifier. At some point, I remember him trying to unscrew the colored light bulbs ( which were VERY, VERY, VERY HOT by that time ) and I could literally smell his seared flesh as he furiously tried to take those light bulbs out. It was quite a scene. The "New Cyrus Erie" quickly began gaining popularity, and then there was the night Wally showed up at Mentor Hullabaloo. Fast forward to Columbia Studio "C". I'm going to skip over Cyrus Erie, recording in NY, for the moment and get to "Band Names." In hindsight, the name "Raspberries" probably didn't help our career. Although, when I think back on it, the name never seemed to hurt us when we started out, and it didn't hurt us when we played clubs all around Northeastern Ohio. The moment when the name became an issue, was when Capitol released our first album. You may or may not remember the story of how we found out that our album had been released. Dave and I lived in two different high-rise apartment buildings on Lakeshore Blvd, once affectionately labeled "The Gold Coast," because the buildings were right on the lake, and brand new, and pretty plush by 70's standards. One night, Dave called me in a panic. He said he had just received a call from a female fan of the band, and that she told him she had just purchased our new album. She went on to say it "actually wasn't the album, but the eight-track, because the guy at the record store told her the album had been delayed a bit because when you squeeze it, Raspberry jam is going to ooze out." First, Dave challenged her by asking her what songs were on the album, and when she replied correctly, he knew she indeed had purchased the eight-track. Of course, the band had no idea the album or eight track had been released. Nobody bothered to tell us. So Dave called me, and the next day I called Jimmy Ienner in New York, and he assured me raspberry jam was not going to ooze out of the record, but there WAS going to be a "scratch-and-sniff sticker" on the shrink wrap that smelled like...what else, raspberries. Initially, we all thought that was kind of hokey, but it did seem to attract a lot of attention. The problem was that Capitol had missed the meaning of the name (the Bronx cheer) and now we were forever going to be associated with the fruity smelling stickers, and fuzzy little berries. Not the image we were going for. I think the name might have been ok, but for that sticker, and the assumption we were named after fruit. Add to that the very "uneven" quality of the recording of the first album. It didn't really sound like us, at all. Everyone involved was new to the recording game, the band, Jimmy Ienner, and even our engineer, Shelly Yakus. We were all just starting out, and Shelly was the only one in the room who had a bit of experience. The fact that we had two weeks to record and mix the entire album, and a budget of $20,000 didn't help. There was no time to experiment with different microphones, or discuss why the guitars sounded thin, and the drums sounded small. In the room, they sounded anything but wimpy, but what we heard in the room wasn't making it onto tape. To be continued...
  3. 21 points
    Here's something you don't see everyday—an Arista Records in-store poster promoting the release of Eric's Change of Heart album. What I like about this poster is that it features an alternate image from the photoshoot that produced the cover of the LP. Cool, eh? Change of Heart was released in September 1978. Bernie
  4. 21 points
    The "world weary" vocal delivery, during the verse, was on purpose. I'm not 22 anymore, and, for the same reason I love Johnny Cash's reading of Trent Reznor's "Hurt", I wanted my vocal in the verses to sound like someone who had "lived." I only did four vocal performances, back to back, on "Brand New Year." As I've said before, "believability" is the most important element of any vocal performance, to me. I've never used "auto-tune", or any of the other new, technological tricks, because I think every single one of them sucks the "humanity" out of a performance. And, to me, the only thing that "makes" a performance, is the listener's ability to feel what I feel, when I sing it. That's why the second line of the first verse, "Sometimes it felt like we might not make it," is hoarse, and raw and imperfect. It had to be that way to be "believable." Singing isn't about making a pretty sound, or hitting every note. It's about convincing the listener, you meant it. My favorite word, of my whole vocal performance on "Brand New Year" is the word "cold" in the second verse. "The world can be so COLD...." Somehow, the way I sang that word sounds as if I was shivering from the cold, when I sang it. That's why it's there. I wanted the verses to be "raw." I wanted you to feel the pain I felt. The soaring falsetto of the chorus's and the bridge, is because those two parts of the song are where the lyric turns "positive." The verse was never supposed to feel "positive." It has a sense of "foreboding," of having experienced the world....of having suffered. That's the whole point of the song. We all suffer losses, and injustices, and the pain that comes from experiencing life, but we can't, and don't give up. We hope for a better tomorrow. We somehow get through what life throws at us, and we go on, in spite of it. That is what "Brand New Year' is about. When I wrote this song, I was thinking about two people, specifically, that I know, that had both experienced the most horrific year I could ever imagine. They are two of the nicest people i have ever known, and yet, somehow, life dealt them both a terrible, terrible hand, last year. And then I began to consider the pain of my own four-and-a half year divorce, and how it has affected my children, and then I began to think about the countless millions of people in the world that had had a year at least that bad, or worse. When I write, my goal, as a songwriter, is to try to find what I call "The Universal." Something that resonates inside every human being. Something EVERYONE has felt. And that is what makes a song great. When you can capture, in music and lyrics, something everyone has felt, at some point in their life. That is why "All By Myself" is known in every, tiny corner of the world, and has been played seven or eight million times, worldwide, so far. Because everyone understands that emotion, everywhere. Not just in 1975, but in 1985, and 1995, and 2005, and, I suspect, in 2015, and beyond. As a songwriter, sometimes, you just get lucky. The night I wrote the verses and the chorus of "Brand New Year," there was a snowstorm that caused a power outage on my street, that shut off every outside distraction. No heat, no phone, no internet, not even the faint hum of electricity I can normally hear. My living room was a complete vacuum, with nothing but a roaring fire in the fireplace, casting a beautiful glow across the room. I sat there, reading a book, by flashlight, and, at some point, I glanced across the room at the piano, and I walked across the room and sat down, and put my fingers on the keys. I hadn't done that for a long, long time, but, that night, the music just spilled out of my head. I wrote the verse, "b" section, and the chorus in less than an hour, and the bridge a couple of days later. The lyric and title came a few days after that, and I wrote the lyric for the bridge the day I recorded the demo. It's one of the most "organic" songs I've ever written. Just like "Boats Against The Current."They both just kind of wrote themselves. I love when that happens! Anyway, it's late, and I've divulged far more than I probably should have about the "process" of songwriting, but if I ever discussed it with anyone, it should be you, the ones that "got me", from the beginning. Merry Christmas, and warmest wishes for a safe, healthy and happy "Brand New Year." xoxoxo e
  5. 20 points
    No, this wasn't some master scheme to get everyone to start posting again. Frankly, that came as a bit of a surprise. I had every intention of closing the Message Board because I truly believed that it had fulfilled its purpose. Thanks to everyone for all of the kind words, for your unending support and for your enthusiastic participation. Long live the EricCarmen.com Community. Happy New Year. Bernie
  6. 20 points
    FYI, I was contacted by the conductor of the Kentucky Symphony Orchestra, a couple of months ago, and we've been discussing the possibility of an "All Rachmaninoff" concert. The initial idea was that the orchestra would play Rach's Symphony No. 2, and then I would come on stage and we'd play a new arrangement of "Never Gonna Fall In Love Again" together. After the intermission, I would perform "All By Myself" with the orchestra, and then they would play Rach's Second Piano Concerto. This sounds like fun to me, as it's something I haven't done before, and it would be wildly inspiring to create new arrangements, that are better than the originals. J.R. Cassidy, their conductor is a very cool and interesting guy. We spoke last weekend, and it's down to picking one of three dates which will have to be done very soon. I'll keep you posted. e
  7. 19 points
    Thank you for voting "Go All The Way" into the number one slot on the "Guardians Of The Galaxy" poll! I'm not sure how long the contest is going to stay open, so I guess we have to keep voting! Thanks again, Eric
  8. 19 points
    Eric, Happy Anniversary, dear! This is the small greeting from us (Cayennegirl&Redd&me) on your special day. Be happy!
  9. 19 points
    ‘Brand New Year’ for songwriting legend Carmen First new release in 16 years Posted: Thursday, March 13, 2014 CARLO WOLFF CJN Staff Reporter The voice hypnotizes even by phone. It belongs to Eric Carmen, the child prodigy from Lyndhurst who became a sensation in the Raspberries, the band he and guitarist Wally Bryson led from 1970 to 1975. As identifiable as those of contemporaries Elton John and Billy Joel, it’s a voice built for lyrics of desire and vulnerability, a blend Carmen perfected in his power pop and soft rock of the 1970s and 1980s. Mellifluous and wet, it’s also just right for “Brand New Year,†Carmen’s first solo recording in 16 years. A ballad in unusual time, “Brand New Year†caps “The Essential Eric Carmen,†a two-CD, 30-track anthology set for release on Tuesday, March 25. The compilation opens with “Get the Message,†the B-side of a 45-rpm single he recorded in 1968 with Cyrus Erie, a band that also included Bryson, his chief Raspberries associate. It’s an energetic track Carmen dissects in candid, personal liner notes accompanying the anthology, noting the 2014 version is a great improvement on the original. This “Essential†features all of Carmen’s hits, from the Raspberries’ “Go All the Way†and “Overnight Sensation†to “Make Me Lose Control,†a 1988 smash that lays Meatloafian bombast over sultry Latin rhythms conjuring an old Ben E. King track. The anthology affirms Carmen’s talent for writing songs of broad appeal, including the 1974 solo hit “All by Myself†(which incorporates a melody by Sergei Rachmaninoff); the confessional, literate “Boats Against the Current†from 1977; the souped-up ’50s rock of “Hey Deanie†and “That’s Rock N’ Roll†(also late-’70s hits for teen throb Shaun Cassidy); and “Ecstasy,†a hormone-heavy Raspberries tune recorded live in 2005 during a reunion tour. Does the set signal a full-blown Carmen revival? It was hard to tell from a Feb. 27 interview with Carmen from his Gates Mills home. For now, he’s focused on spreading the word of the anthology and its stunning closing track. Though he’d love to tour with the band with which he recorded “Brand New Year†in Los Angeles in December, Carmen said that at 64, he might not have as much appetite for the road as he used to. At the same time, he said playing dates with these musicians – all close to the iconic Beach Boy Brian Wilson – would be fabulous. “I know the band would be great,†he said. “The question is, would it make enough money to afford it? It would be great fun, on a limited basis, because they’re kind of my dream band, these guys. On the other hand, I don’t see wanting to go on the road 150 days a year. It was fun in my 20s, but not so much now.†Working with three members of the Wondermints, a vocal group of remarkable versatility that animated Wilson’s “Smile†tours nine and 10 years ago, and Beach Boys musical director Jeff Foskett was great, Carmen said, noting Wilson, the head of the Beach Boys, is one of his idols. The “Brand New Year†project took seed last fall when Wilson and guitarist Jeff Beck co-headlined a date at E.J. Thomas Hall in Akron. Backstage last Oct. 27, when Carmen told Foskett he was working on the collection, Foskett said he would love to work with Carmen, who calls himself one of “Brian’s groupies.†And when Timothy J. Smith, who produced the anthology for Legacy Recordings, told Carmen he planned to launch it with the Cyrus Erie track and needed something new to bookend it, Carmen thought of the Wondermints and Foskett. But first, Carmen had to deliver his first song since the birth of his son, Clay, now 16. (He and his second wife, Susan, also have a daughter, Kathryn.) The new song seems to have dropped from the sky on the night of this winter’s first big snowstorm. To hear Carmen tell it, that chilly November night prompted the confluence of emotion and thought in “Brand New Year,†a hypnotic, ravishing tune that starts somberly and ends on a note of renewal. Not only does the song speak to Carmen’s empathy for two women he has come to know over the past several years, it also may help soften the aftershocks of a protracted divorce. “Between having babies upstairs and not being able to play at 2 o’clock in the morning and what had happened to the music business in general, there wasn't a lot of impetus for songwriting,†Carmen said. Nevertheless, he told Legacy’s Smith he’d give it a try. The night the weather knocked out the power and “I had no heat, no Internet, no anything,†so Carmen gravitated to the warmest place in the house, the living room, where he began to read by flashlight. Something about that “atmosphere, that complete vacuum†led him to put down the flashlight and “put my fingers on the piano for the first time in years,†he said. What issued astonished Carmen, a self-styled project writer, whether for an album or a soundtrack. “For the first time in at least 16 or 17 years, this song just kind of fell out,†he said of “Brand New Year.†“By the time I finished that night, I had the melody, the verse and the chorus.†Determined to craft something unmistakably different from “All by Myself†or “Go All the Way,†Carmen found himself writing in 12/8, a rhythm not common to pop music, with a major key and a minor feel, key changes, what he called “very sophisticated chords†– and, to his surprise, a falsetto this natural tenor has craved since “Day One, when all I wanted to do was sound like Brian Wilson in the Raspberries songs.†The backstory of “Brand New Year†involves a trauma nurse who served in Iraq and Afghanistan Carmen met through Facebook and a local woman who “has had an absolutely hellish year,†he said, refusing to identify either. The nurse is struggling with what he called an antibiotics-resistant illness that has sidelined her for two years. Reflecting on these women and the “four-and-a-half-year nightmare of divorce and what it inflicted on my children†informs “Brand New Year,†Carmen suggested. He thinks the tune strikes the universal note he always seeks, he said – and, in the first line, “drink a toast to all the ghosts we leave behind us,†leverages the notions of renewal and the holiday season. (The tune was released online on Dec. 31.) “It wasn’t cathartic so much as the song happened very quickly,†he said. “It was much easier than most of the things that I’ve ever written.†Part of that involved rediscovering his love for the piano, and part may have involved a “lot of stuff inside me that hadn’t expressed itself,†he said. The bottom line is that the tune conveys “the hope everyone has on New Year’s Eve.†cwolff@cjn.org
  10. 18 points
    Yes, we're going to a party, party! August 11 is Eric's Birthday! Happy Birthday, Eric! Bernie
  11. 18 points
    Thank you all for your kind wishes, and for making yesterday one of the best birthdays' ever! love, e
  12. 18 points
    Some familiar names? No doubt! Long-time Eric Carmen fans gather around Eric: (from left to right) Shoko Sakata, Yukiko Watanabe, Naomi Sugiyama and Yukiko Nemoto. This RARE photo was taken on August 20, 1982. Bernie
  13. 18 points
    My first show in Japan. Special guest star of the Yamaha World Song Festival. 1978, at The Budokan. 10,000 seats, sold out. The climax of the three day festival. Yamaha flew my band ( Davey Johnstone, Cooker LoPresti ( Elton's band ) Duane Hitchings ( Rod's band ) my singers, conductor ( Barry Fasman ) and my drummer Ross Salamone to Tokyo, to play a 35 minute show with a 55 piece orchestra. It was the most incredible experience of my life. I think we opened with "Marathon Man" and when the orchestra kicked in, it literally lifted me off my feet. The stage was incredible, the orchestra was even better, and my band was at the top of their game. We played what I would call a "Beatle set" ( thirty minutes, plus an encore ) and blew the roof off the place. When we arrived in Tokyo, we walked through a huge, underground marketplace and eventually emerged at street level. I saw 3' by 6' posters of me in every department store window, and on the side of every bus. The hotel marquis said "Welcome Eric Carmen" and then in smaller letters, "Welcome Bolshoi Ballet." We had apparently arrived at the same time, and as we walked through the underground market, we attempted to say "Hello" to the dancers. Among them was Alexander Gudenov, who was defecting from Russia, unbeknownst to us. The Bolshoi dancers were flanked by VERY serious KGB officers, and no one would even lift their heads when we said "Hello." We were staying at the same hotel, and I found it amazing that I had billing over the Bolshoi Ballet! The Japanese audience at the Budokan was the most appreciative audience I had ever played for. Somewhere, there exists a tape recording ( audio and video ) of that performance. It was a totally incredible experience that I will never forget. I got in a cab, one day, and the cab driver had Mozart on his radio. I realized I "wasn't in Kansas anymore." Here was an entire country, where classical music was taught, and listened to, not by some "elite" group, but by everyone. There was no crime. None. It was like being in New York City ( which is my favorite city in the US ) but every single person was polite, courteous, and couldn't wait to help me, in any way they could. People who had "colds" wore hospital masks over their faces, so they wouldn't infect anyone else. I have never before, or since, experienced the feeling that we Americans were complete "barbarians." I met Whitney Houston, who was accompanying her mother, Cissy, during that festival. She was fifteen, at the time, and the sweetest, most humble girl I have ever met. Just a fresh faced teenager, who no one had yet discovered. She thought meeting ME was something special! Years later, after she had signed with Arista, I heard her sing, and realized she could sing the phonebook and give you goosebumps, It didn't take a "genius" to figure out that this beautiful, talented girl was destined for stardom. I met Whitney many times over the next decade, and every time, she was as sweet, and humble as she was the very first time I met her in Tokyo. Her death was a terrible tragedy., a testimonial to what the music business can do to a sensitive, delicate soul. What a horrible, senseless loss. I spent 10 days in Tokyo, on that first trip, and I came back to America with a totally different idea about the world, in general. I have never before, or since, met a warmer, more wonderful, sensitive, and kind group of people. I have travelled to Japan numerous times, since then, and I will always cherish my experiences there. I understand that people who served in the military during World War II may have a completely different take on things than I do. All I can say is that you cannot judge a people by the acts of their government, during wartime. I love the Japanese people with all my heart, and i thank them for "getting" my music and being so kind and accepting to me.
  14. 17 points
    RASPBERRIES— GO ALL THE WAY (LIVE) Recorded LIVE at the House of Blues in Cleveland, Ohio 10 years ago today—on November 26, 2004. With special thanks to Tommy Allen! Who accepted my challenge when I asked if he would be interested in mixing some songs from Raspberries first reunion show in preparation for this 10th Anniversary celebration! He not only agreed, but threw his heart, mind and soul into the project. This was all done, mind you, in complete secrecy and without any involvement whatsoever from members of the band. Eric, Wally, Dave and Jim... surprise! Just a little treat for everyone who was there and who wished they could be. Thanks, Tommy! You did the boys proud! Ummm... Turn this sucker up. Wow!!! Bernie
  15. 17 points
    Eric,   What a year you’ve had! New song. New “Best Of” Collection. Your songs in commercials and on TV shows. Your song in one of the most talked about viral videos. Your song in one of the biggest summer blockbuster movies of all-time. Wow! Time to take a deep breath and take it all in. Wishing you a VERY Happy Birthday, my friend! Here’s to continued success! Put your feet up and savor the moment… you deserve all of it and more.   Bernie
  16. 17 points
    Now, over 11,000,000 hits!!! Amazing! http://www.cbc.ca/news/canada/new-brunswick/céline-dion-calls-richard-dunn-s-lip-sync-video-of-her-song-hilarious-1.2673606
  17. 17 points
    I am adding the following to the EricCarmen.com Member rules: "Please do not ask to have your account or posts deleted. Requests to do so will be refused. There is a 24-hour period in which Members can edit their own posts. Please do not post if you do not want it to become a permanent part of the EricCarmen.com Forum Archive." In accordance with that rule change, I am increasing the edit time each Member has to change their posts: from 30 minutes, to a FULL 24-hours! That way, if anyone posts something in the wee hours of the morning that they regret later, they'll have a full day to clean up the mess they may (or may not) have made themselves! I have also initiated the following changes as well: Guests can now ONLY see sections of the website with music content. That means Guests can no longer read threads in "EVERYTHING" or "CARTOON WORLD." Additionally, Guests cannot use the Search function nor see Member Profiles. In other words, Membership has its advantages. Bernie
  18. 16 points
    Disc: 1 1. Get The Message (w/ The Cyrus Erie) 2. Go All the Way (w/ Raspberries) 3. I Wanna Be With You (w/ Raspberries) 4. Let's Pretend (w/ Raspberries) 5. Tonight (w/ Raspberries) 6. Overnight Sensation (Hit Record) (w/ Raspberries) 7. Sunrise 8. My Girl 9. All By Myself 10. Never Gonna Fall in Love Again 11. Last Night 12. Starting Over (Live 1976) 13. That's Rock N Roll (Live 1976) 14. Run Away 15. Love Is All That Matters Disc: 2 1. Boats Against the Current 2. Marathon Man 3. She Did It 4. Nowhere To Hide 5. Change of Heart 6. Hey Deanie 7. Desperate Fools 8. Someday 9. It Hurts Too Much 10. Tonight You re Mine 11. The Way We Used To Be 12. Hungry Eyes 13. Make Me Lose Control 14. Ecstasy (Live 2005) (w/ Raspberries) 15. Brand New Year
  19. 16 points
    The Trifecta! "Footloose" Soundtrack / Number one on Billboard's Top 200 album chart/ Multi-platinum "Dirty Dancing" Soundtrack / Number one on Billboard's Top 200 album chart/ Multi-platinum "Guardians Of The Galaxy" Soundtrack/ Number one on Billboard's Top 200 album chart/ Gold ( so far...)
  20. 16 points
    Gene IS right, but it's not 'rock" that's dead, it's the whole music business. There's an entire generation out there that have never held a CD ( Let alone an ALBUM! ) in their collective hands. The concept of owning the CD is almost dead. There are a handful of acts, like Taylor Swift and Katy Perry, who can still sell 3,000,000 units. Their fans are so devoted they WANT to own the CD! But, just watching the charts since the release of the "Guardians Of The Galaxy" Soundtrack, it's easy to see the problem. A couple of weeks ago, some rapper named Wiz Kalifa debuted his new CD, and knocked the "Guardians" Soundtrack out of the number one slot. I think he sold approximately 90,000 units, and "Guardians' only sold 68,000 that week. The following week, Wiz's sales dropped by 85%, and his album went from number one to number eight or nine. This is how it works in "the 'new' music business. All of the fans of a particular artist rush out and buy their CD the first week, and then sales drop off precipitously in the weeks that follow. Only a few artists have the ability to put five hit singles on an album, and that's what keeps CD's at the top of the charts these days. I think I mentioned in a previous post that "All By Myself" got almost a million hits on Pandora, during a six month reporting period. That netted me $38.00. Meanwhile, the CEO of Pandora took home a $29,000,000 paycheck last year. That is what Gene is talking about, and I'm afraid he's absolutely right. Why would anyone want to spend a year writing great songs, and then all the time and money it would take to record them properly, only to have them stolen and receive no compensation for all your hard work. Sadly, if I was thinking about being singer/ songwriter today, I'd probably decide to do something else. And that's why there are very few new records being made by people like me. And that's why there are basically three major record labels left, when there used to be fifty. If you give away what you do, for free, or people just steal it, how can you make a living? The only answer is touring 300 days a year, and selling lots and lots of merchandise, and there are darn few musicians I know that find that an equitable situation.
  21. 16 points
    $160,000,000 Worldwide. I applaud Marvel for letting James Gunn make the movie he wanted to make. They took a risk, and it certainly did pay off! When you let artists do what they do, and support them, great things can happen!
  22. 16 points
    Regarding the album covers and artwork, the band never got to see any of them before they were released, until the "Starting Over" album. I'm not sure why Capitol and/or Jimmy Ienner and CAM Productions didn't care to include us in the loop, but I suspect the thinking was "They're a bunch of kids from Cleveland. What do they know?" I also believe it was a "control" issue, like so many of the other aspects of our career. They didn't want us to think we HAD any control over ANYTHING, from choosing who would be our manager , to choosing the photographers who shot the covers, to approving the "artwork," even to our "sound." On the back of every Beatles album, somewhere, rather unobtrusively, it says "Produced by George Martin." On the back of every Raspberries album, and probably, my first solo album ( I can't remember ) it says, in big, bold type "Production AND SOUND by Jimmy Ienner" and then you see Jimmy's logo, the big smile with the big teeth. We never quite understood why a simple production credit was good enough for George Martin, but not for Jimmy Ienner, but we didn't really care. We LOVED Jimmy, and we didn't understand, back then, that Jimmy was building a brand. The "Jimmy Ienner" brand. And that he was putting everyone on notice that he was responsible, not only for the production, but also for the "SOUND!" The sound of the band on the recording! Thinking back to the first Raspberries album, I'm not so sure I would have wanted to take credit for the "sound." What I remember about the photo session for "Fresh" is that we were in New York City, and it was summertime, and it was a very hot, humid day, and when we arrived at the address where the photographer was set up to shoot, there was no air conditioning. It must have been 85 or 90 degrees in that studio, and here we were wearing shirts and suits. When I see that cover shot, I've always thought we look like Madame Tussaud's wax figures. It was so hot and sticky that the makeup was running down our faces. How anyone could have chosen that photo has always been a complete mystery to me. That photo was more disastrous than the name, "Raspberries." I must confess, the white suits and black shirts and the two-tone shoes were my idea. I recently found a drawing that must have come from some magazine, that I used as the model for those suits, amidst a bunch of my songwriting notes and handwritten lyrics from that period. In all fairness, we had black suits, too, but I think we were afraid of people saying we were "Beatles copycats," so the white suits won the day. Interestingly, the black and white photo on the back cover is WAAAAAAAYYYYY better, and would not have been anywhere near as disastrous, image-wise, but, again, we never got to see any of the pictures. We saw the finished albums the same time the public did. No one wanted our input, and we weren't confident enough, at that point, to INSIST on being part of the process. Keeping in mind, those outfits were conceived and designed in 1971, it's interesting to note that John Travolta is wearing the exact same white suit, black shirt, shirt collar out, over the jacket lapel, in the most famous photo from "Saturday Night Fever",circa 1977. And one day back in 2011, I was perusing the website of Tom Ford, arguably the most important designer of mens and women's clothing in the past fifteen years, and as I was checking out his current line of men's clothing, I found the white suit. I had to laugh, and I sent the picture to Jim Bonfanti with the caption "40 years ahead of our time, again. Right down to the haircuts." To which Jim replied...."Who knew?"
  23. 15 points
    Back in 1997, I worked for an electronics company that was switching everything to a computer driven system, something I had zero interest in learning. The IT person came into my office and showed me some documents she had printed out for me from this website. She told me she always heard Eric Carmen music coming out of my office on my CD player, so she knew she had to find a way to convince me to get on board and teach me how to use the internet and she was quite correct by finding me EC info. So, without this website, I'd guessing I never learn to use the internet!!!! I cannot thank Bernie enough for the yeoman work he has put into this site, from the incredible articles and musical rarities to the message boards and so much more. I have met so many life long friends on here. When I heard about this change a little while ago from my longtime pal Kirk, I started jotting down some names that I wanted to mention that have become an integral part of my last twenty years, but I had to stop when I hit forty and still did not have them all, so I cannot go that route and risk forgetting someone. So, just let me say that some of my incredible memories from here include meeting friends from Ohio to Canada to New Zealand to Japan! Because of this site, I became part of fantasy sports leagues for the four major sports that are all named after the Raspberries or Eric Carmen, some that started thirteen years ago and are still active with Raspberries brothers and sisters. That became a major daily part of my life. Because of this site, I met my fantasy brothers Mitch, John (angelina), Beatle Jay (and his amazing wife Lisa), and Paulie Mississippi. Because of this site, I met the best guitar player in the land at a Wally Bryson solo show, my bud, Mike Miller, (MAM here) that plays on my newest record on many songs and hopefully, always will. Because of this site, I met my dear friend Seth Swirsky, who I speak to daily on the phone for the past six years about music, sports, and relationships. Because of this site, I met my long time brothers from other mothers, Marvin and Larry. Because of this site, my great pal Paulie started playing songs of mine like "Stephanie" and "One More Night" on his radio show, fulfilling a dream of mine as a musician. Because of this site, I formed magical friendships with people like Diane, Marlene, Gina (Berries Babe), Susie, and Kathy Lee. (I could go on and on, no disrespect to anyone, but I just need to streamline this to people I talk with regularly.) Because of this site, I got to see the Raspberries reunite!!!!!!! Because of this site, I got an email from Bernie in 2004 that said "Eric wants you to look over the Chicago advertising and radio spots and let him know if we are in the right places." I had to read that twice! Because of this site, Kay Bryson emailed me and thanked me for doing the legwork and invited me to the after show party to hang out with the band! Just like Kirk said above, I was at a hotel in Chicago and Jim and Eric saw me wearing a Blackhawks jacket and Jim said "you must be Blackhawkpat". If that wasn't enough, the craziest thing of all???? One very late night on here, Eric Carmen gave me songwriting advice, some things he told me that changed my writing.....and frankly, my life. WOW! I will never forget being in Cleveland on that first reunion show, meeting the band and afterwards running into Bernie and he had this glorious wide eyed look on his face and he said to me in a very loud volume, "Pat, do you believe it????? Do you believe what we ****** just saw????" Some nights, I still don't believe it, Bernie, but without you, my friend, none of the above happens, so a hearty thank you for not only being a friend, but giving us this message board, so all of the above could happen for me. I look forward to seeing what you add to the site in the future because whatever it will be, it will be great, because you are all class.
  24. 15 points
    For new Members, thought I'd revisit an EricCarmen.com exclusive: four years ago, my good pal Tommy Allen helped me turn an old demo tape of an unreleased Eric Carmen song into a dream. Not only did we get to polish one of Eric's raw gems, but I got to play rock star and strum some guitars along with Blondie guitarist Paul Carbonara and Billy Branigan on bass, augmented by Tommy's incredible drumming. If you're already familiar with the track, take a trip down memory lane. If you're new to the tune...ENJOY! ERIC CARMEN — NEVER SAY DIE Bernie
  25. 15 points
    Jim Bonfanti Bruce Hicks A Raspberries Reality "I Know that everyone doesn't have the luxury of being able to play (the drums), but I can and I really appreciate the chances to play because it's really still fun, just like it was at the beginning." Jim Bonfanti is best known as the original drummer and co-founding member or Raspberries, a powerful rock group that found significant success in the early '70s. The group, led by Eric Carmen, released four albums and eight singles, including a Gold Record Hit, "Go All the Way." Jim started the group with Eric in 1970. He met Eric while they both were active in Cleveland's late 60s music scene becoming familiar with each other from the practice of musicians seeing each others' bands. Eric saw Jim in "The Mods" (which became "The Choir"). Eric approached Jim after his last Choir show in Dec. of '69 about getting a band together. Jim was tired of bands and broke off for regular job as an accounts manager for about four months. He quickly realized that he has a huge passion for music and he contacted Eric to form Raspberries. When talking about the band name, they were somehow influenced by the fact that Eric had a publishing company called Magic Raspberries and, after getting frustrated over the topic, they just decided to use a shortened version of it and call the band Raspberries. "It's the band that makes the name, not the name that makes the band. You loved the Beatles music, so you loved the name". As it turned out, he and his bandmates created music that gave many people a reason to love Raspberries. Jim, the self-taught drummer who liked to play "just what a song needs", has been happy with the twists and turns of his musical life. HOF Nomination Jim's long-time manager, A1 Kaston, broke the news and Jim was genuinely surprised at his inclusion in Classic Drummer's 2013 Hall of Fame vote. The veteran musician was humbled to be among a nominee list of truly accomplished drummers. "Getting on the list was one thing, but to get enough votes to also get honorable mention was really quite flattering. I didn't think I had done enough to really be bothered with. That's why when it happened, it was, well, WOW! I was happily shocked!" "Well, I'm a lefty! I do things differently. It's not like I planned it out." Editor's note: Congratulations Jim on being inducted into the Classic Drummer Hall of Fame 2015. You obviously have lots of fans that love your drumming and the music you have been a part of Thanks for your contribution to classic rock and welcome to the Classic Drummer family. Jim believes what garnered recognition from fans over the years was, primarily, his playing style. "Well, I'm a lefty! I do things differently. It's not like I planned it out. I first started drumming as a kid and I didn't know that was a left- or a right-handed drum set-up ….I just played.” He saw drums set up in the conventional right-handed format and he played them in a way that felt right to him. “I didn’t play cross stick so I played totally opposite the way of a right-handed drummer (though he still used his right foot for the bass drum). “But it affected the way I played and sounded”. In fact it wasn’t until many years later, after being questioned by a friend about his style, his eyes were opened. “I realized that it was something that helped me create the patterns, styles and sounds of the fills that I do.” Jim feels his “left-hander in a right-handed drummer’s world” is what most people notice when they talk about how he plays and which generates compliments about his playing. The Rock and Roll Hall of Fame The Rock and Roll Hall of Fame and the fact that Raspberries have not been inducted, is a topic that Jim has considered both frequently and recently. His take? “It seems to me that lots of people in the hall, and I don’t mean any disrespect, are those that have sold a lot of records, way more records than we (Raspberries) did. But I don’t see where…on the timeline of music, (who) moved it. Who gave it a bump? Who made an impact? Do you hear some young man who says that this or that band influenced me? My thing is I think that the people in the hall should be ones that had an impact…that impressed people to model themselves after them.” Jim clarified his position by claiming how Raspberries, being recognized for driving the Power Pop Genre, were a group that influenced musicians. He believes that stronger consideration should be given to bands that helped shape Rock and Roll. Jim pointed out that wellknown musicians have, over the years, mentioned Raspberries as an influence. That, along with Raspberries’ solid record sales, should be factors on getting entry into the hall. “Kiss had a definite sound and look how long it took them to get into the Hall of Fame. They… definitely moved that line. I scratch my head trying to figure out what was the thought process that put this person in there. What was the criterion that makes one eligible?” Raspberries Tour The Raspberries Reunion Tour is among the most memorable events in Jim’s life and a number of factors had to fall into place to make it happen. “It was about a decade ago, in ’04. I got a phone call from the talent buyer of Cleveland’s House of Blues. He shared his plan of opening that venue and he wanted Raspberries to be part of it. I really didn’t think there was a snowball’s chance of our getting back together. But then I told him, I’d see if there was any remote possibility to make that happen.” Jim initiated phone contact with the rest of Raspberries, starting with Eric Carmen. Jim admitted he started with Eric because “…obviously, without Eric, there’d be no purpose….he was our singer.” The House of Blues opener was the biggest factor in getting everyone back together. Eric was quite particular about their sound and their shows and the House of Blues happened to have a great sound system, stage and atmosphere. It was a truly attractive opportunity. The tour turned out to be an easy sell once Eric was onboard. The group practiced for a couple of months straight before their first tour. As it was in the beginning, Eric acted as their musical director. They worked on a show that best presented the intent of the music they created. “Overall, it was great fun. It’s no secret that we had issues but, for that time, they weren’t there. Nothing, could replace the feeling of the first show…that moment right there where we thought, here we are! It was about my kids being there. They knew about Raspberries, but for them to be in the room, see the excitement and the whole thing!” Between ’04 and ’05 they performed ten shows in seven cities. During the first tour one performance was recorded. It became “Raspberries, Live on Sunset Strip” CD/Video package. Their shows from ’07 were in order to promote that package. Raspberries’ last reunion show occurred in ’09. Again, it was serendipitous. Al Kaston, Raspberries’ manager, contacted the group because, in that year, the Rock and Roll Hall of Fames induction ceremony was, for the first time, being held in Cleveland. Prior to the actual inductions, they threw a private, VIP party and Raspberries were the featured entertainment. Cleveland Music Scene Jim has a great fondness for Cleveland's music scene. "You years prior to Raspberries, it was just a Mecca for bands. I can't imagine that all cities had what we had here...there was British Invasion and Motown and Rock and all of these places to play. I remember the Cleveland Plain Dealer (newspaper) had an Action Tab that listed ... columns and columns of events and that's how it was for us when we started playing. We were focused. We wanted to write our songs and make records. We couldn't wear ourselves out playing at all these places, so we made a nice living, supporting ourselves by staying out of bars and playing at high schools. On Thursdays we played at a local club that had a great audience and vibe. On Fridays and Saturdays we did high school dances. They started and ended earlier and paid better than most bars. On Sundays, we became regulars at Cleveland's Ago-ra and that was one of the best things that happened to Us. We played for 50% of the door. There weren't a lot of places to play on Sundays. We kept our gear up there, practiced all night on Mondays and Tuesdays, took Wednesdays off and then things started all over." At that time, the group lived together in a rented house where they honed their sound and worked on songs. "There just couldn't have Been a better place for us." "Nothing, could replace the feeling of the first show…that moment right there where we thought, here we are! Still Relevant Part of Jims pride in Raspberries is that it has maintained its relevance and was recently proven by a current movie! One of 2014 s movie hits was "Guardians of the Galaxy". The movies writer and director, James Gunn, is a huge fan of the group. Jim was told that selecting the music for the soundtrack was rigorous. According to what was told to Jim, Mr. Gunn decided to choose music from the 70s. The original song list was well over a thousand tunes which, in steps, were winnowed down to more than a hundred and then to a dozen songs. Raspberries' "Go All The Way" was among the songs making the final cut. "Okay," said Jim "here's a band from more than 40 years ago making this list! There was even a poll conducted by MTV in late August and early September 2014 to find "The Movie Song Of The Summer" from all the movies released in 2014 and our song had the most votes!" Further, the movie's soundtrack has sold more than one million copies in the US and over two million worldwide, earning Raspberries a plati-num album for their Part. "It's exciting That we are on it." "When we put this band together, before we even had a name, we talked about how we were going to sound, and how we were going to look and how we were going to dress. When we got together, we were just a band. We had.. .ideas but none of us ever thought that, some 40 years later we would be relevant!" Bonfanti Today Today, things are precisely how Jim likes it. Like Raspberries, he is relevant and in touch with drums and music. Recently, again due to the efforts of manager A1 Kaston, Jim was introduced to Brian Baron. Brian sought out Jim's expertise to help with Brian's company, "Cold Mountain Drums". The company is located in Cleveland and, besides the drums; the entire drum making equipment was also made in that city. Jim is excited about the boutique drum shop and he is heavily involved in selecting among different woods for a "Jim Bonfanti Limited" snare drum. He gushes that "All the drums, all the parts, everything's from Cleveland. I love the snare it's just, the best sounding snare I've heard. It has a real crack to it. I told Brian that, I wasn't all that into all the technical stuff I just know what I like my snare and toms to sound like. This is what I want my kick to sound like. He is going to market the snare when it's done and he's going to let me test the samples. I think it's pretty cool to have a Cleveland based maker. Brian's so passionate about his work and I'm glad to be a part of it." "... before we even had a name, we talked about how we were going to sound, and how we were going to look and how we were going to dress.. " Band wise, until 2015 Jim played regularly in The Jeff Soukup Band, and created and played all the drum tracks on Jeff's 2013 original release, "The Ride Music Project". Currently Jim is enjoying life as the drummer in "Abbey Rodeo", a long time group of local veteran musicians who all share a love and passion for the British Invasion. With a repertoire of over 100 British Invasion classics, they play with the same focus, passion and attention to quality that Jim brought to Raspberries. Besides drums and music, Jim began running in 2010. Though he had a setback after a heart attack, he recovered and resumed running. He recently ran in two half-marathons and now runs about 70 miles a month. Jim feels good about how things have turned out. He loves having been with Raspberries, enjoys being involved with local drum making and the fact that he's able to get out and still play music. "It's nice to get out, play some music, enjoy ourselves... .there's music, no drama." And he continues to evolve. "I even play around with Roland Electric Drums...it controls my sound and it's only five minutes to set-up." "Yeah, I like things and like what I'm playing....back to where my roots are." —Classic Drummer, January 6, 2016 __________ For over 15 years Classic Drummer has been chronicling the important contributions of music's great drummers. Each year a new list of nominees is announced and a new class of inductees is honored. Classic Drummer invites their readers, artists and industry colleagues to cast votes. Each inductee receives a permanent place in the Hall of Fame archives and museum for their artifacts and works, along with the respect and appreciation of music lovers everywhere. Among this year's inductees is Raspberries drummer Jim Bonfanti! Jim joins this year's inductees Terry Bozzio, Bun E Carlos, Dave Clark, Dino Danelli, Dave Grohl, Elvin Jones, Russ Kunkel, Simon Philips, Cozy Powell, Floyd Sneed and Alan White! Congratulations, Jim! You're in really good company. Bernie
  26. 15 points
  27. 15 points
    It's been a long time since I have posted here but a number of folk have been saying they miss me. Can't think why. One of the reasons I have logged in is to say thank you to everyone for your kind thoughts, prayers and concern for me (and Kiwi) following my recent event with a person who thought they could steal money from me. I am doing fairly well now and feel I am just about back to normal. (I think that's a good thing!!!!!) Something I have learned from this has been how wide is the impact of such an incident. Sure it affects me, it certainly affected Kiwi, but the impact on my children, grand children, staff at the hospital and even the community has been significant. Because of that it takes a lot longer to put it behind me as many very caring people still ask how I'm doing. If I was to identify one thing from this it is my hope that from what I have experienced and seen Kiwi go through I will offer better support to families of patients who have a loved one in our Emergency Department being treated following injuries due to trauma or even Cardiac and stroke patients. The look on Kiwi's face when she arrived in ED the day I was attacked told me just how hard it was for her to have received the phone call. I think that was something I hadn't really taken into account until that moment. Anyway... it's time to live on and enjoy the music. Muzz
  28. 15 points
    Eric Carmen goes all the way again with a hit record in 'Guardians of the Galaxy' If you're one of the seven people in North America who haven't seen last summer's blockbuster movie "Guardians of the Galaxy," then you wouldn't know why Eric Carmen is so happy. Early in the film, the lead character played by Chris Pratt is about to take off in his spaceship after exploring a new planet. Before he fires up the engines, he takes out an old cassette tape, given to him by his mother on her deathbed as a parting gift. The audience hears the opening chords of the Carmen-written 1972 hit with The Raspberries, "Go All the Way." The entire soundtrack is a marvelous jewel of incongruity as the '70s hits bump up against the science fiction, comic book fantasy narrative. "The movie soundtrack officially went gold," Carmen said on the phone from his home in Gates Mills this week. Gold means 500,000 units have been sold.. It also means a new generation of listeners are discovering the songwriting talent of Eric Carmen. Movie soundtracks have been very good to Carmen. "My song from 'Footloose,' 'Almost Paradise,' went number 1 dislodging Michael Jackson's 'Thriller' from that spot," Carmen said. "'Hungry Eyes' from 'Dirty Dancing,' which I produced and sang, went to number 7 on the Billboard chart." The record biz and the money involved is a whole new game now with the likes of downloadable music platforms such as Spotify, and Pandora. "It's really eye-opening as to what's going on," said Carmen. "Take an artist like Whiz Kalifa. At first I was like, 'What's a Whiz Kalifa?' My kids know who Whiz Kalifa is. Here's how it works on the charts with rappers like him and some popular country stars. The pattern is that they come out with a record. I still call it a record because I'm old school. Then it goes number 1 selling 90,000 in a week. Then it drops off the chart like a stone. It's as if all the fans go out right away and then the record's done. So the next week 'Guardians of the Galaxy' moves up again from 5 to 3." Carmen, 65, has fond and vivid memories of writing "Go All the Way." "I was at Brush High School and I remember seeing guys in the hallway, they're singing The Who's 'Magic Bus' and then pumping their fists in the air. I thought that I wanted to write a song like that," said Carmen. "Then one day I was in the drugstore and I saw a paperback with the title, 'Go All the Way' by Dan McGraw. That's when my antenna went up. I thought I might be able to use that. This was at the time when the Stones were on Ed Sullivan, and they made them change the lyrics from 'Let's Spend the Night Together' to 'Let's Spend Some Time Together.' I noticed that on the Beach Boys' 'Pet Sounds' record they could get away with racy lyrics like that because of how they looked and the melodic way they sang the suggestive stuff. They slid it by the censors. So my idea was to put those words in the mouth of the girl. It was a different approach. That made it more acceptable. So the song was banned in the U.K. but it got through here." Carmen took great pleasure in the record's success. He even gained a bit of notoriety for the song's sexy theme. "Our bassist Dave Smalley and I would hang out at the Mentor Headlands during that time. I remember girls coming up to me and asking, 'Are you the one who wrote that dirty song?' I would say, 'Yes I am!' very proudly." Although having a song on a movie soundtrack can bring new life to the recording and money to the artist, it's not as lucrative a proposition as it once was. New music technologies like Spotify and Pandora don't pay the way terrestrial radio once did. "I called a friend at BMI and asked her if she could go back through the computer and see how many downloads my song had gotten on Spotify or Pandora," said Carmen. "She said it had 979,000 hits in six months. Know how much I got paid for that? $38.00. Therein lays the sad reality of the music business today. You feel like, why bother? Making records is hard work. I'm just glad I was in the music business when I was. If I were starting out today I might choose another line of work." Some artists are seeking redress in the courts. But Carmen isn't encouraged. "So far the courts are finding on behalf of the tech companies. The South District court of New York recently upheld the rights of Pandora. The CEO there made $29 million last year. The artists get next to nothing." When Carmen is approached about using one of his songs for a movie or commercial he always asks to know the context in which the song will be used. "I'm sure people think, how picky can I be when I give a song ('All By Myself') for a Wendy's commercial," said Carmen. "But the way I see it there, is that it's in one ear and out the other. For a movie I always ask to see the script to get a sense of the scene." Carmen has turned movies down. "I had an hour-long phone call with Kevin Spacey once because he wanted to use 'All By Myself' in his movie 'Swimming with Sharks,'" he said. "They wanted to use it in a scene that involved torture. I told him I loved his work, admired his talent but that I worried about the song being associated with that visual. I couldn't pull the trigger on that one. I think they wound up using the Carpenters' 'Close to You.'" Carmen has seen "Guardians of the Galaxy." He was accompanied by his 17-year-old son, Clayton, and 14-year-old daughter, Kathryn. "I waited to see my name in the credits at the end of the movie," he said. "Of course, they were the very last ones you see. My kids couldn't have cared less. But I get that." Carmen remembers the music that moved his generation not exactly being embraced by his parents. "My dad called Mick Jagger, Mick Jaguar. He called the Beatles, Lemon and McCarthy. "Like I said, I'm old school," Carmen said. "It's the duty of every generation to find music their parents hate." — Cleveland Plain Dealer, October 9, 2014 __________ Bernie
  29. 15 points
    P.S. Van Gogh sold TWO paintings before his death. Go figure. I've had some "great moments" in my career. One of them came at a BMI awards dinner, when this great big guy with a short beard came up to me and said "Boats Against The Current. That's a hell of a GREAT SONG!" I thanked him, and asked his name, and he said "Steve Cropper." And I said "Steve..."Dock Of The Bay"...Cropper?" and he nodded "yes." Those are the moments that make it all worthwhile. I had a "Sir George Martin Moment" like that one, as well. The recognition by my peers, the writers and artists I ADMIRED, has always been more important than the "official recognition" of The Rock Hall. Bruce Springsteen's approval trumps most others. Same for all the artists that wrote lovely things for the liner notes of "The Essential."\ A little statue is always nice, but I'd rather have the approval of someone I really admire.
  30. 15 points
    I have to find out whether I would bring some musicians of my own to the party.
  31. 15 points
    As a new generation of music fans becomes "Carmenized", I wish you the best on your birthday! Have a good one!! Kirk
  32. 15 points
    Have you ever met someone who always thinks they're being slighted, or disrespected? Someone who always thinks he's getting the short end of the stick, and that life has conspired against him, and dealt him a bad hand? In my experience, people who feel and think this way inevitably walk around with a chip on their shoulder. They're suspicious of everyone else's motives, and actions, and, as such, bring an oppressively negative attitude with them, wherever they go. In that way, they become a self-fulfilling prophesy, which serves to reinforce their view that everybody is out to get them. Positive people attract positive energy. Negative people attract ( and THRIVE ON ) negative energy. When the "House of Blues's" booking agent for the Cleveland club, contacted Jim and asked about a Raspberries reunion, Jim called me afterwards and asked "What should I say to Wally?" I answered, "Just tell him to play his guitar and have fun." What other possible reason could there be for committing to such an undertaking? Four guys who hadn't been in the same room together for 32 years, getting back together and having an opportunity, maybe the ONLY opportunity, EVER, to forget the past, shake hands and be friends, and walk out onstage and blow away an audience that loves us, while having a ball doing it! Unfortunately, for some, their baggage will always get in the way, as it did in 1974, and again in 2004-2005. When I first met Wally, he was already a "rock star." I was just a "wannabe." I imagine it must have been hard for him when "the new guy" started writing all the hits. And it must have been an especially bitter pill to swallow when my first solo record became a smash hit. I remember Wally and his whole band coming to one of my shows at The Roxy in L.A., in 1976, and apparently, Wally was heckling me from the audience. I was unaware of it, but I was later told that people all around him told him to "shut up or get out." Wally ( with a little help from Jeff Sutton, Raspberries' sideman ) wrote a song that was recorded by their band, "Tatoo." Here are the lyrics: __________ Yer Stale W. Bryson/J. Hutton Yer sox are up and yer pants are tight Yer hair's fluffed up and you look all right Yer ten is hung and yer song is sung Yer curl is shot and fresh you're not Yer moves are all gone Yer close friends are all pawns Brother yer day has just dawned Lord how you make me yawn, yawn __________ About the same time, I wrote this: We was young And still believed in " A Hard Day's Night" But no one seemed to understand And there was no relief in sight The comp'ny man He's got his nose glued to the charts He says the record's doin' fine, But now the group is fallin' apart I hope there's no hard feelings 'Cause there isn't any one to blame I hope there's no hard feelings 'Cause nothin' ever stays the same While we was locked in image prison Waitin' for that break We was raped, re-shaped, just tryin' to escape Caught in a rock 'n roll time warp Tryin' to find a way to get out Four years on And things were really getting too intense Critics ravin 'bout our album But we're makin' fifty cents And in the end We were facin' the hard, cold truth So tomorrow, come what may Looks like it's Ricky and the Tooth Chorus We gave it everything we had to give But it was getting so tough Too much frustration makes it hard to live I think enough is enough I said enough is enough..... I hope there's no hard feelings 'Cause there isn't any one to blame I hope there's no hard feelings 'Cause nothin' ever stays the same While we was locked in image prison Waitin' for that break We was raped, re-shaped, just tryin' to escape Caught in a rock 'n roll time warp Tryin' to find a way to get out Caught in a rock n' roll time warp Tryin' to find a way to get out Let me out Let me out Let me out Let me out Let me out.... Eric Carmen/1975 __________ I love the guy, but he's always been his own worst enemy. Danny Klawon once said to me ( in 1969 ) and I quote: "Wally's a great guy, as long as you don't have to play in a band with him." And that's the truth. I watched the video of "Live On Sunset Strip" a couple days ago, and it just made me so sad. All I could think about was how incredibly talented Wally is, and how he was the perfect guitarist for me, and how effortless he made incredibly complicated guitar parts look, when he played them, and how much fun it was to work with a guitarist who could realize my "piano chords" on his guitar, and how awesome it was to hear "Tonight" and "Go All The Way" come together, the way I heard them in my head, and then to see and feel the disconnect and discord and bitterness on that stage. Believe me when I tell you, Jim and I have had this conversation a THOUSAND TIMES, and it breaks both of our hearts. To see and hear what "could have been" and realize it will never be, is very difficult for both of us. If only Wally had been a "team player," we could have accomplished so much. Honestly, it kills me. e
  33. 15 points
      Guys,   Get ready for the "Essential Eric Carmen" Release Event!   Prior to its official street date of March 25, EricCarmen.com Members will be able to pre-order the new CD and sign up for a contest where they can win a really awesome collectible.   When I was at the recording studio where Eric laid down tracks for "Brand New Year," I noticed sheet music for the song that was printed up for the musicians playing on the new tune. I asked Darian Sahanaja (who sang and helped produce the track) if I could have a few. I shipped them off to Eric who added his autograph.   Details coming soon on how you can enter to win as well as special pre-ordering links for the new CD!   I hope you'll agree that this is one helluva way to start this "Brand New Year!"   Bernie
  34. 14 points
    Who Won The Raspberries Rollswagen Contest by Ryan Richardson In early 1973, Capitol Records embarked on a Raspberries promotional campaign aimed squarely at the lucrative youth market, girls in particular. In conjunction with Star, the Raspberries Rollswagen sweepstakes was announced in the magazine's debut issue and was promoted through its fourth issue with entries accepted through the end of May. The Rollswagen was yet another over-the-top Barris Kustom creation, complete with "foxy fur" upholstery and a Quadrasonic 8-track player (natch). One issue later in June 1973, Petersen abruptly ceased publication of Star. I couldn't help but wonder... whatever happened to the Rollswagen? Dedicated dozens of Eric Carmen fans wanted to know, too. In November 2014, while looking for Star ads in another teen mag issued by Petersen, a piece of the puzzle popped forth: A cursory Google search turned up a Billboard announcement that the winner was from Florida and that there'd been 31,000 contest entries. Having logged many years sleuthing for long-lost band members, I felt confident I could find Teena — and maybe the Rollswagen. The uncommon spelling and surname helped narrow the search in a hurry, though experience told me maiden names often go by the wayside. Eventually a search by family name and the tiny Florida hometown led to a newspaper piece where Teena's married name was mentioned. A few minutes later, I jumped onto this era's one-stop-shop for people finding, Facebook, and sent off a message. That evening a reply appeared: "I will give a call tomorrow." For a town with fewer than 4000 residents, Teena's big win was a big deal. There was a parade. The mayor presented a key to the city to Jim Bonfanti, the Raspberries member Teena deemed "foxiest" and who'd flown in along with Capitol execs for the hand-off. With Teena being three years shy of driving age, the Rollswagen wound up with an older cousin, though she did wind up learning how to drive a stick-shift in it! And so I had to ask: where's the Rollswagen now? Her answer was nothing short of thrilling: "it may still be in my aunt's backyard." With four decades elapsed in the coastal outdoors, the best case scenario would be a rusted-out Rollswagen, a shadow of its former glam glory. Still, I was already imagining a roadtrip to see the thing. After no word from her cousin and a month gone by since we'd first spoken, Teena decided to drive the half hour to her aunt's place. A look around revealed no sign of the mythic vehicle, inevitably vanished in the gulf between way back when and way too late. Her cousin later confirmed the Rollswagen had been junked long ago. Could it have really turned out differently? Probably not. But, hey, a little dreaming never hurt. In fact it's almost required for some things — like morphing a Volkswagen Beetle into a souped-up Rolls Royce or, well, sending off a sweepstakes entry. Just ask those guys who sang Let's Pretend. __________ The most often asked Raspberries question... What happened to the Rollswagen... All of the answers here (in full color!)—Wow! Bernie
  35. 14 points
    New Joan Jett interview in this month's Guitar World in honor of her Rock and Roll Hall of Fame Induction: "I was looking for a lighter guitar because my Les Paul was heavy and it was starting to hurt my shoulder. They heard that Eric Carmen, who played in this great power pop band called the Raspberries, was selling his Melody Maker and thought it would be perfect for me and they were right. I put a Velvet Hammer pickup in it, and it became my number-one guitar and the Les Paul became my backup. I didn't really know the history of the guitar and I started wondering whether it was the one Eric used on their classic songs like "Go All The Way." Much later I found out it was. "I used that Melody Maker on "I Love Rock 'N' Roll," "Crimson and Clover," "Do You Wanna Touch Me" and "Bad Reputation," so it has quite a history. Not only was it on all our hits, but it was used on all the Raspberries hits as well. I recently took it off the road, because I was afraid something was going to happen to it. The white paint is all cracked and it's sort of yellowing, but in an awesome way. That's my baby." The "they" Joan is referring to in the second sentence is her roadies. In particular, a guy lots of us have come to know—Kevin Dugan. Dougie was an original Raspberries roadie who worked with the Runaways after Raspberries called it quits. He helped get the guitar for Joan from Eric. And the rest is history. Bernie
  36. 14 points
    Challenge: remain seated throughout this video. It can't be done! Bernie PS: Turn the volume up LOUD! PPS: Wally Bryson!!!
  37. 14 points
  38. 14 points
    Muzza and I are coming State Side again in 3 weeks time. We arrive in LA then fly direct to Newark on Aug 26th where we'll be staying with Ira for a few days. We then drive up through Pennsylvania staying in an Amish B&B, then continue on to Niagara Falls. From there we come down to Cleveland for a week, then fly to San Diego for a few days before flying home on Sept 17th. It's hard to believe that it's been 8 years since that MOMENTOUS trip to WAB!! We have been very privileged to make 3 more trips (including this one) since then and met some of the most amazing people on the planet!!!!!
  39. 14 points
    Crimean flower fields are for you, Eric! Happy Birthday from Mary Ellen, Redd and Larisa---P
  40. 14 points
    I thought it might fun to revisit some of Eric's entertaining and informative posts from the past. Eric has a talent for telling tales! Here's one about his favorite popular song: Back in the early 90's when I was living in California, I was invited to a 4th of July party at my friend Diane Warren's beach house in Malibu. It was a fairly small gathering (and house) of perhaps 25 people. Everyone there was somehow involved in the entertainment industry, producer, engineer, agent, songwriter, etc. At some point late in the afternoon Joni Mitchell wandered in and we were all just sitting around Diane's piano singing songs and someone asked me what I thought the best pop song of all time was I thought about it for a minute or so and then told them my pick would be "Some Enchanted Evening" from the musical "South Pacific" by Rodgers and Hammerstein. There are a few things that happen in that song that are just so incredible melodically that it makes the hair on my arms stand up every time I hear it. Anyway, Diane thought about if for a minute and she agreed. I just checked the link and, as fate would have it, that song just happened to be number one on August 11th, 1949. That just blew me away!
  41. 14 points
    A nice place to live....
  42. 14 points
    Sorry it took me so long to reply to this post. First, I have a shock for you. DAVID IS NOT PLAYING A FRETLESS BASS!!!!!! Yes, you heard me right. He was playing a Fender Precision or Fender Jazz bass, WITH FRETS! He just happens to be such an unbelievably brilliant, melodic and smooth bass player that it SOUNDS as if there aren't any frets. I must now confess that you are now talking to the president of the David Wintour Fan Club. His playing on the "Boats Against The Current Album" amazes me to this day, every time I hear it. David and I became really great friends over the course of recording that album, and he is an absolutely lovely person, as well as a great bassist. The two of us were so "locked" at the end of "Nowhere To Hide" that the left hand of my piano literally disappears beneath his bass notes because they were played together, down to the nanosecond. And the beautiful "sixths" he played on those three last chords were improvised, on the spot, during the final take. It was soooo perfect, I seem to remember looking over at him, and giggling, after the last note had finally ended. Genius, that! And his playing on "Run Away" and "Boats" was every bit as perfect. In the midst of the hell that Gus Dudgeon brought to that recording, David's brilliance and sensitivity made it all bearable I always thought if Paul McCartney listened to those tracks, HE would have been knocked out!
  43. 14 points
    HAPPY HAPPY BIRTHDAY, ERIC! I've always told you "the best is yet to come," and it looks like it's raining an avalanche of success on you! Sending BIG congratulations on all you've achieved this year and birthday wishes for love, joy, peace, happiness and all the success in the world, because you truly deserve it all. Your music has been an inspiration throughout my life and it always will be, so I'm sending these wishes in complete gratitude. Your musical gifts are world class, your talent legendary, and genius will always eventually be given the honor and accolades it rightly deserves so-----------------hold on! INDEED, the very best is yet to come! - Love, Dar
  44. 14 points
    I sent a note to James Gunn, the brilliant writer and director Of "Guardians Of The Galaxy" thanking him for including my song in the film and on the soundtrack. He had previously used "It Hurts Too Much" in his film, "Super." Here is his return reply: "Wow!! I am beyond a huge fan of your work, Eric - as you might imagine by my use of your songs. You are more than welcome. Glad to turn more people onto your music!" Life is cool! e
  45. 14 points
    Happy Birthday, Eric! You're one of the best singers in popular music, and you have been for many years now. I hope your career brings you even more recognition for your talents as time goes by. I'd also hope that you'd be nominated and inducted as an artist into the Rock and Roll Hall of Fame one day. You're the best.
  46. 14 points
    Happy, happy birthday, Eric! I could not be more thrilled that you're getting the recognition you so richly deserve. Hope you have a truly special day that's filled with love and wonderful surprises. Cheryl P.S. Thank you for keeping me out of the unemployment line and jail. Your music has been a calming influence in the midst of a sea of upheaval and uncertainty. Thank you for your magnificent talents and gifts that have given so many of us joy and inner peace. Now go celebrate you!
  47. 14 points
    Hello, ec.com members! At 3:00 P.M. Eastern Standard Time ( High noon Pacific ) Legacy Records, ERICCARMEN.COM, and I, would like to start off Christmas with a special present. Use this link https://soundcloud.com/legacyrecordings/eric-carmen-brand-new-year/s-bUov9 to go to Legacy's website, and you will be able to download ​"Brand New Year," ( the WHOLE record ) free! That's only about fifteen minutes from right now!!!! Have a wonderful Holiday, wishing you all a happy "Brand New Year"! xoxoxo Eric
  48. 13 points
    A most noteworthy celebration! Bernie
  49. 13 points
    I find experiencing 2014 MUCH more interesting, and fun than re-experiencing 1974. Back to the future!
  50. 13 points
    The weirdest part of Kay's little tirade, is that her interpretation of the Shindig piece is that it was "good press" for Wally! I don't believe that "sour grapes" translates into "good press." And I'd give worlds to know what kind of "games" Kay keeps talking about. She's not very specific, and I have no idea what she could be referring to. In any case, in the end, it all boils down to this: Shindig Magazine interviewed Wally and Scott. Wally could have taken the interview in a positive direction. He chose not to. No one "made" him say the stupid things he said. He did it of his own free will. In so doing, he simply continued to drive a few more unnecessary nails into a coffin that he nailed shut for good in 2009. Scott, as usual, was thoughtful with his answers, showed great insight, and was a gentleman. Kay's paranoid rant, like Wally's, is a reflection of who she is. All that she and Wally accomplish with this stuff, is to make themselves look small, bitter and mean-spirited. Wally's right to "tell the truth, as he sees it" is his prerogative. It's just unfortunate that he and Kay continue to spew their "vitriol " ( as Kay put it ) every time they're given an opportunity. Instead of taking a step back, and trying to see what happened, with the perspective of 40 years, it's as if they are still experiencing everything in 1974. I find this pathetic. When Wally said, in the Shindig piece, that "Go All The Way is what a REAL rock band sounds like......right up until the singing starts..." he demonstrated that he never really "got it," because what made our songs special was the combination of power guitars and great melodies and harmonies. The intro of "GATW" is terrific, but the song can exist without it. The Killers', covered "GATW" for Tim Burton's "Dark Shadows", and didn't even play the intro! In any case, nothing will ever come of all this, except more negativity, and I, for one, am moving on to more positive thoughts.
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