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Eric Carmen

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  1. Oh, and the State Theater in 2007. That was probably right up there with Chicago. The band was tight. The acoustics were great. We tried "That's Rock n' Roll" and it rocked, big time. The audience was wonderful. And we got to hang out with everybody after the show at the hotel. Great memories.
  2. I agree with you, Billy. I think there were three really special shows. The first one at the HOB in Cleveland, just because it was the first one, the place was packed, the tension was sky high and we pulled it off after 30+ years. The second show at BB Kings in N.Y. I just love New York and Jersey, because they "got" us from the beginning, and the people at that show were just having such a great time. It reminded me of my days playing clubs with Cyrus Erie back in the 70's. But Chicago was the show where it all came together for me. The set was still fresh enough that we were really into it. We weren't sure how it was going to play outside of Cleveland. The Chicago HOB is just a beautiful, grand venue. I love the stage, the acoustics, everything. And the audience was so wonderful. It was 15 degrees outside and I was worried that nobody would come, but the crowd was warm and totally into it. I think that was my favorite show as well.
  3. Moody Blues: Definitely. Days Of Future Past was one of the definitive albums of my youth. Kiss: Yes, because they defined a generation Alice Cooper: Absolutely. Great pop songs and a complete original. I could go on and on. It's all politics, folks.
  4. Carol King isn't inducted yet?????????? That's beyond absurd!!!! "Tapestry" was only on the Billboard charts for 5 or 6 years, I think. Those people are crazy. And Kiss? Not in the rock hall yet? But Percy Sledge is? Ridiculous.
  5. Did you ever notice the similarity between the opening piano part of "Jungleland" and "Starting Over"? Same studio, same engineers. One year after the Raspberries. By the way, I LOVE Jungle land! The first time I met Bruce was backstage at a concert in Cleveland a few years ago. He was writing the song list for the night when I was ushered backstage to meet him. I realized I was very comfortable when I was the one people were coming backstage to meet, and very uncomfortable when the tables were turned. After a couple of awkward minutes, Bruce said "you know, I think I must have worn out that "Raspberries Greatest Hits album. I told him I had listened to "Born To Run" every day when I was writing the "Boats" album. We both laughed. He's the real deal. A genuine, American ICON. He deserves every bit of fame and glory he's received. Nicest guy in the world, and we totally understood each other, without talking. That's the power of music. e
  6. ...Ringo Starr! .......and many more!
  7. No, I have nothing in common with a 19 year old. I prefer mature women who I can relate to. e
  8. Everything back then was "Thou shalt not....!" I'm a firm believer in "Thou shall...." Nothing is off limits if it brings people pleasure. I don't believe in "sin." Like Nitszche, I believe sin was something that priests created to keep themselves in power. They took every natural human impulse, and made it a sin. Without "sin", who would need priests? Sex is bad, gluttony is bad, envy is bad, sloth is bad...... I love sex, I love great food, I can't help but envy my neighbor who has a beautiful wife and a big house, I like to sleep in on Sunday.....For all these natural desires, I now need the redemption of a priest. Why would God create us, and then saddle us with a plethora of natural instincts that were in direct opposition to what he wanted? I think the priests saw that they could make us feel guilty about every natural urge, and used that to their advantage for power and control. Just my two cents. e
  9. Elle, You're givin' me a case of the "vapors"! Wendy and Andrea, too! I might have to consult James on how to set up a harem! xoxo e
  10. Dunhill cigarettes and a Dunhill lighter! You guys are pretty good! "Lucky cigarette" made my day! Thanks, girls! That was cute! xoxo e
  11. Pop Trivia: Marni Nixon is Andrew gold's mother!
  12. When I played the Rock Hall in 2000, Bob Santelli, their education director, interviewed me for about an hour onstage. I remember he asked me about the music I listened to growing up that inspired me, then about specific artists ( Bob Dylan, The Beatles, The Rolling Stones etc. ) and which songs I liked. My answer was "the singles." Bob laughed, but I think he was genuinely taken aback by my answer. The truth is, the singles were almost always the best tracks on the album, back then. I'm sure there were some other good tracks on that Hollies album I bought in 1965 or 1966, but the only ones I remember were "Look Through Any Window" and "I'm Alive." As much as I love the Rolling Stones, you'd be hard pressed to find a better track than "Satisfaction" on "Out Of Our Heads." That's not to say I didn't enjoy "Play With Fire" and some of the other tracks, but they just weren't as great as "Satifaction." As a direct result of my personal taste in recordings, whenever I sat down to write, I was trying to write a hit single, not an album cut. I wanted every song I wrote to sound like a hit, because I never knew which one would turn out great or fizzle in the studio. I don't know why Capitol didn't release a third and/or fourth single from Fresh. The only thing I can think of is that "Side Three" was ready to go. We recorded all four of those albums in two years!
  13. I'm not sure precisely which chords you're referring to, but Wally used to joke about having to learn to play "piano chords" on the guitar. He really is a GREAT guitarist, and not many people could do what he did. I remember trying to teach "Go All The Way" to the Ringo Starr band, and I think Dave Edmunds said at one point "I've never seen anything like it! There's a fucking chord for every WORD!" The whole band agreed, in an interview, that my songs were, by far, the hardest to play and sing. I thought that was kind of interesting, considering I was playing with a Beatle, the bass player and lead singer of Cream, the drummer of Bad Company and Free, and lead guitarist Dave Edmunds. I always write on the piano, even when I know I'm writing for guitars. I think that's one of the things that make Raspberrries/ EC songs interesting. I THINK the guitar parts in my head, and then wait to work them out with guys who are more talented guitarists than me.
  14. In the case of "If You Change your Mind", I wrote most of the guitar lines in my hotel room in New York the night before we recorded it. I knew they had to be there, and I knew what I wanted them to be, but I'm such a lame guitar player it took my hours and hours to figure out the voicing and harmonies. I showed them to Wally the next day in the studio, and he learned them and could play them almost instantly. I've always been able to "think" great guitar parts, I just can't play them very well. In regards to question three, Kevin Cronin and I had talked about getting together to work on a ballad he had been having some trouble with. The day of our songwriting session he cancelled, and finished " I Can't Fight This Feeling Anymore" by himself. No hard feelings. He did a great job on it! There are a million different ways a song can have multiple writers, but for the most part, whoever writes the melody, chords and lyrics gets the writer credit.
  15. She was one of the greatest. An amazing musician, a bright inquisitive intellect, a perfectionist, a tough critic, a wonderful big heart and probably the only person I knew growing up who completely "got" me. We could ( and did ) discuss music, the composers, which pieces we liked and which ones we didn't, all the conductors of the Cleveland Orchestra from Szell on, including all the incredible guest conductors, how to say "more ice" in every language (She told me when she first went to Japan they didn't even have a word for ice...She had to order "hard, cold water") and a thousand other things from The Beatles to The Raspberries. I was very proud of her, and she was very proud of me. We understood each other on a different level than most people can. I did the eulogy at her funeral and I've got to say, the best string section I've ever heard were all sitting there. She was also a pioneer for women's rights. Not in a loud, feminist in your face kind of way, but in the quiet way she knew to conduct herself with dignity, and play better than everyone. She took her position and the trust Szell had invested in her very seriously, and she was determined never to make him feel like he made a mistake hiring a "girl." She felt a responsibility to all the female musicians, everywhere, to help pave the way for them. When she retired, there were nineteen women in the orchestra, compared to three when she first joined, and she was the orchestra's senior member. She is greatly missed. I've got one of her first violins, and a couple of her bows. I plan to mount them on my wall one day, right next to my gold records, and Ringo's signed drumhead, and my Rachmaninoff autograph. Those years, sitting on stage with the orchestra while they rehearsed, and hanging out with my wonderful Aunt had a profound impact on my life. She was one in a million. e
  16. Back when I was working with Gus, and he was getting extremely annoyed with me trying to give him input about things like guitar sounds, he told me that Elton just came in and played the piano and sang and then left the rest to him. I thought that sounded preposterous and I didn't believe him at the time. I've since read articles that basically said that's how it happened. I still find it hard to believe Elton had so little input on all those brilliant records, but it certainly would explain why Gus and I weren't getting along in the studio! I had every note of the arrangements done and had rehearsed the band for three months before we walked into the studio in London. I suppose he might have been a bit 'bored' with an artist who had done all the homework and knew how he wanted everything to sound.
  17. Songwriters release 'Dirty Dancing' demos By Whitney Matheson I'm always interested in Dirty Dancing factoids, and here's one that just came across my desk: The original demos of "(I've Had) The Time of My Life" and "Hungry Eyes" have been unearthed, along with another song intended for the 1987 film. They'll be released Sept. 8 with proceeds benefiting the Patrick Swayze Pancreas Cancer Research Fund. You can preview the tunes right now on MySpace. They're different from the finished tracks -- songwriter Franke Previte sang Hungry Eyes before Eric Carmen recorded it. Previte and singer Rachelle Cappelli duetted on "Time of My Life" (also co-written by Previte) before Bill Medley and Jennifer Warnes belted out the final version. During filming, Swayze and Jennifer Grey danced to this rendition of the song, not what we hear on the soundtrack. Dancing die-hards can hear more about the music and behind-the-scenes activity via the "Dirty Dancing: Limited Keepsake Edition" DVD box set released last month. It includes several new interviews and a tribute to Swayze. —USAToday, Jun 09, 2010 __________ Lest anyone be deceived, this is NOT the original demo of "Hungry Eyes". This is a re-recording that borrows heavily from the arrangement on the record. Perhaps the writer of the article got it wrong, but, with all due respect to Frankie and John, there are things on this "demo" that were created in my studio, not the least of which is the entire "bridge section" (where the sax solo is on my recording, the d minor section, which I created to break up the choruses). Additionally, all the guitar lines that Daris Adkins and I painstakingly worked out are suddenly part of the "original demo." I'm all for a record that raises funds for cancer research, and pays tribute to the late Patrick Swayze, but this is a lot of hooey. Maybe the original demos were edited and then they overdubbed all sorts of new guitars and stuff. I also don't remember Frankie's voice sounding anything like this on the "original.' It was much sweeter. This sounds like Frankie copying my performance, right down to the ad libs. By passing this off as "the original demo", it gives people the impression that I copied Frankie's vocal performance and arrangement. Much as I like Frankie, that just "ain't so." Why not just call the record a re-recording, by the song's writers to raise money for cancer research? Nothing wrong with that! e
  18. I think it was a drumstick. I might have been playing the infernal cowbell at some point. If you look closely, you can see the "fire bell" Mike ripped off the wall of some hotel that can be heard at the beginning of "I Don't Know What I Want."
  19. I remember when Keith sat down at the drum kit, I expected him to bash the drums at least as hard as Michael did. He certainly LOOKED like he was hitting them hard! But when he started to play, he was about 1/3 as loud as Michael. He was all wrists and grace! I was amazed at how quietly he actually played! He was three sheets to the wind, but he played great! I guess he was used to playing like that. It was a great moment! e
  20. Actually, the guys always went after Wally! I think it was all the black leather. It was mighty hot up on that stage! e
  21. I loved his work with Elton, as well! Go figure! RIP, Gus. e
  22. Oh yeah, I somehow forgot about him. e
  23. They are three of the nicest people I've ever worked with. e
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