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Favorite Eric Carmen Album

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  1. Hey Eric Do you have a favorite city and arena that you enjoyed the most while performing in concert ? THANKS &PEACE
  2. Hey Eric I was wondering what determines when a fade out ending would be used on a song Is there a certain criteria applied or just a personal choosing ? And Thanks ! PEACE
  3. Eric Could you list 3 or 4 of your favorite songs from the Early British Invasion...Say from about '64 to '67,68... Please cyber-friends What are your faves too? Would ya mind tryin' to list mainly singles ...So most of us recognize those tunes you picked.... Only one rule.....Picking the following tune may result in a 6 month suspension from the board!- Ira.
  4. Eric i read you intended for the original title to be Desperate Fools but then decided on Change of Heart as the album title Can you tell us about it I like the way the album opens with the overture and closes with the actual song of Desperate Fools
  5. Taken from the 1988 Summer Olympics album "One Moment In Time"... I can't believe its been twenty years already. I always liked this song, continues the "Hungry Eyes/Make Me Lose Control" period.
  6. Eric what raspberries song do you feel paved the way in defining the bands sound that you built around from that point on ? And thanks Brian
  7. Eric hi You mentioned before that there was two camps of your fans Solo and raspberries Now with the recent sucess of the raspberries shows with ABM in the set Do you feel the music has been embraced finally as one? Peace Brian
  8. eric,i thought wallys voice was excellent before he quit smoking!!! can you elaborate more on what you think,in his voice,has improved??? tone,range,stronger,etc...and how did he quit?? i'm getting close to that decision too..getting old that smoking thing!! lol,chris
  9. Anybody else jonesing for a famous Eric post-game behind the scenes commentary like only Eric can do regarding the potentially significant HOF show? (thats officially a nudge
  10. Eric, how about providing us, the fans who won't be able to attend the HoF show, with the ultimate 'fly on the wall' experience: When time permits, could you give us details as to how the rehearsals are going, what songs the band is working on, and any other aspects of the planning for the show? Most of us are not likely to hear anything about this show until it's done, so allowing us to live vicariously through your eyes, would be something that I think many fans would love. Thanks in advance.
  11. Eric...How was it last night at The Rock Hall??? How was the crowd....the performance.....the food....meet anybody famous????
  12. Eric In writing your music do you ever change your approach based on the theme of the album Or do you apply the same principles each time? Thanks Brian
  13. ...magically sounding in the middle of the night... ERIC: I'm in a small town Capilla del Monte,in Cordoba province, Argentina. I use to come here every summer,on "Uritorco" Mount,a very energetic place. Last week, being here on Uritorco (very late in the night at 11:45 pm),I was getting a taxi, going to a Pub with friends. The moment I got into the taxi it suddenly began sounding your VOICE (beautiful and tender)—It was the local Radio Station playing your song "LOVE IS ALL THAT MATTERS"...sounding here, in the middle of the mountains,in a remote town in Argentina,in this strange place... I was so moved, it was so magic!!! There are no words to express my feelings Eric. I really hope you do know how special you are, your great music, your great mind… Nothing is perfect—just these instants are perfect. These moments of perfect clarity, anything else...And you must know, Eric, that sometimes when your voice or thoughts are suddenly sounding on the air, whenever you are...you make it possible. You create and re-create some of these perfect moments. THANK YOU SO MUCH! LOVE for you all from far away, Andie PS: Mount Uritorco is acknowledged as a site of unexplained phenomena ranging from lights seen at its summit to possible UFO landings, as well as metaphysical theories involving dimensional doorways and hidden underground cities...
  14. Eric hi Considering all the elements that need to fall into place during a live show to acheive the perfect balance of sound What do you feel is the most challenging aspect ? And thanks Brian
  15. I spent 2 hours last night listening the COH album.... I am intrigued as to how I get the vibe that people don't dig this album (as much as others)... Eric, I don't have the album credits in front of me, but somehow I seem to recall that you credited as the producer.... I think the musicianship on this record is awesome! Production-wise it reminds me of the BeeGees albums of the same era....Clean, great guitar licks all over the place, grooving bass lines and vocal stack-o-trax galore. The piano playing is delightful, very playful and imaginative... Eric, as an example, the guitar riffs....how does it get onto tape? Did you arrange/compose the guitar parts, or does the guitar player do that in "rehearsals" while teaching/learing the songs??? Does the producer "ask" for "a sound"???...The inter-play between the guitars on this record is clever to say the least....sometimes the album sounds so "full of sound" when in reality the "rock-band" instruments are quite minimalistic (like the BeeGees)...the interplay between the instruments makes it sound like a HUGE number of muscians are playing.... What was your process????...and why does it seem that this LP gets dissed??? bahoo
  16. Eric, You have mentionned before that there are som things that you are not "the best at"....so I suspect that teaming up with people has been an important element in your musical career. I am not sure how a producer is hired for the making of a record, (I assume the record label names one?) but I know that sometimes producers and artits just don't see eye to eye. Like most talented composers, I am sure that you have a musical vision for your songs...using your imagiation and learned arrangement skills, you can almost "hear" the way the song should be constructed...It seems to me that you teamed up pretty good with Jimmy Ienner and fared less well with others (Gus D ,etc)... What makes a winning producer/artist relationship for you? Is it with a producer who manages to capture your vision onto studio tape???...or are there more elements involved?? bahoo
  17. ira

    "The Wrestler"

    Eric...Have you seen Mickey Rourke in "The Wrestler"? Even when I was a kid I noticed that Top 40 Radio only had so many slots and that when you went cold you were doomed to purgatory. Even when I was a kid I noticed that similarly...the various "WWF" TV shows had so many slots and dropped you as your popularity waned....suddenly you're "Superfly Jimmy Snuka" and you're fighting at Lynnewood High School with the "Iron Sheik" instead of toplining at Madison Square Garden! The parallels are obvious to me between wrestling and the music business. To quote the great Bill Withers..."Just keep on usin' me...till you used me all up". I go to some "Oldies Shows" and see these groups gettin' paid nothin' and signing and hawking their own CDs much like Mickey Rourke is schleppin' his old video tapes,action figures, and Polaroid camera to these third-rate venues to make a few bucks and recapture his "Glory Days". Together with what you've told us about God-Awful Raspberries bookings in the 70's...this awesome movie made me think of the illusion versus the reality of the music business as you have described it...and how it's not much different than Mickey Rourke's wrestling reality in "The Wrestler". Have you seen this extraordinary film? If so...What did you think of it? BTW..Marissa Tomeoi looks Damn Good!-Ira.
  18. I had the pleasure of speaking with Carmine Appice a few months ago and he talked about touring Japan and recording with you. Nice guy. That got me thinking... I always wondered why you chose (or somebody chose) to put bagpipe on "Tonight You're Mine?" Don't get me wrong, I like 'em, they definitely work, but it was a very unusual choice. Was that before or after Big Country tried, and momentarily succeeded, to popularize the sound of pipes in rock music? How did it all go down?
  19. Eric hi The arrangement with the fiddle you and Wally collaborated on is pure magic on LAST DANCE how did you guys come up with that ? WOW is an understatement And Thanks PEACE Brian
  20. For no particular reason I sat down for a few minutes yesterday to figure out the bassline to "My Girl." Holy Guacamole! THAT's what I love about your music! I know you have commented on this song on these boards before, but wow... Where did that come from? I know you were doing the Brian Wilson tibetan-mind-trick-bassline-thing, but to come up with that melody line to go with it? or vice-versa... Man! I can listen to most of your songs and hear an echo of some other pop/rock moment of days gone by. I'm perplexed with "My Girl!" It simply sounds like no other record I've ever heard. Really, Eric, what were you thinking of when you wrote the music to that song? Was there any influence other than Brian Wilson? More than any other composition of yours, that song stands out to me as your "musical signature." It's just so clever in its construction, energetic, punchy and at the same time so NICE. Good on ya! I'd be fascinated to read your recollection of the creative process that produced that song and how its realization struck you at the time. Like, did you think it would be your big single? Thanks, Drupy
  21. Eric During your successful run at ARISTA was a Live Album ever considered ? Back in the 70s Everybody seemed to trend toward it at some point Manilow enjoyed success with his first one back then AND THANKS Peace Brian
  22. Eric during the "Hippie Years" I often felt like the only one who HATED Lee Michaels and Ian Anderson and Alvin Lee's interminable solos at the "Fillmore East" and on vinyl..."Do You Know What I Mean?". All my friends were suddenly praising "Wooden Ships"..in TWO awful versions yet.. and laughing at my love for the Beach Boys,Guess Who and Raspberries. Well my good buddy GMan...I've since learned... felt much the same way back then...And I've learned that you too have a special place in your heart for the great 2 or 3 minute "singles" and hated some of those late 60's/early 70's excesses. I know Brian Wilson thinks "Be My Baby" is the greatest single ever of that genre and I myself love "This Ol' Heart Of Mine" (Isleys) "Dance Dance Danc" (Beach Boys) and many many others that are just pure "Teen Glee"! This is one of my personal favorites..,."Have I The Right" by The "Honeycombs" featuring "Honey Lantree"..a female drummer...unusual for those times...and produced by the unbelievably crazy and homicidal "Late" Joe Meek...literally England's Phil Spector in terms of lunacy. Do you like this record Eric? What are 2 or 3 of your favorite "2 or 3 minute pop" records of the 60's?-Ira.
  23. A chastened Clarkson stays true to formula Kelly Clarkson is back with her fourth album. Only three forces in the universe can never be denied: death, taxes and Clive Davis. By Jim Farber Kelly Clarkson found that out the hard way when she released her last album. The original American Idol squared off against her mentor, the great god Clive on her third CD, 2007's "My December," insisting on doing it her own way. Defying both Davis' wishes and his wisdom, she employed darker instrumentation, explored a more individual point of view, and offered fewer, hit-'em-between-the-eyes pop hooks. She even brought her beef with Clive to the press, causing a temporary rift between the two. Small wonder "My December" turned out to be her Waterloo - at least commercially. Creatively, it advanced a rare hybrid: goth-pop. Yet it sold barely a fifth of its predecessors, and its shrunken audience forced the singer to ax a planned arena tour in favor of a modest swing through the theaters. It will surprise no one, then, that this time Clarkson swings back hard in Clive's gilded direction. Her new "All I Ever Wanted" sounds like everything older fans ever desired - to an almost desperate degree. Of course, no one ever went broke lunging for the lowest common denominator. Which explains why the CD's advance single, "My Life Would Suck Without You," has become one of Clarkson's biggest hits. Not only does the song boast a big, fat chorus meant to be shouted to the sky, its title mimics the jokey, in-your-face sass of current girl-pop stars from Lily Allen to Katy Perry. In fact, Perry co-wrote two songs on the CD, including a notable one ("I Do Not Hook Up") about a talented alcoholic who's trying to get the narrator into bed. Clarkson herself did a bunch of co-writing on the CD, too, though she steered clear of the intimate disclosures she featured last time. Even if she had, the production would have run a truck over them. The general sound of the CD overwhelms everything else. It's a nonstop, pile-driving style, mulching every instrument into a uniform rush of sound. It doesn't seem as if human hands ever touched a single fret of a guitar or wielded a lone drum stick. Everything sounds like it was spat out by machine. Of course, that's the way certain radio stations like it, and since airplay seems to be the sole concern here, it's no wonder the CD ended up this way. Several songs poke through with a fetching melody, even if none of them proves as winning as the older Clarkson hits they're meant to mimic, like "Since U Been Gone" or "Miss Independent." At least the new songs make good use of Clarkson's ability to belt. If, along the way, she doesn't go anywhere near the nuance she showed on her last tour, that's by design. She wanted cynical hits. And that's surely what she'll get. —New York Daily News, March 9, 2009 __________ Eric...I believe you were the professor who taught the course "Clive Davis 101" at "Case Western University" in Cleveland. This review of Kelly Clarkson's new album and the Clive...("Whatever Clivee Wants Clivee Gets") Factor"...seemed to reflect many of your your thoughts on your Arista experience. Would you please share your reactions to this article? I believe that author Jim Farber is a former "Billboard" magazine contributor.-Ira.
  24. Eric....Your take on this,please! __________ Mike McCready CEO Platinum Blue / Music Xray "In the race to adopt new technologies, the music industry historically has finished just ahead of the Amish." —Stan Cornyn, former Warner Music Group executive What is happening to the music industry? In short, the traditional music industry has been beaten, battered and completely transformed by a perfect storm of new technologies. It actually started with the introduction of the CD back in 1982. Music was digitized and encoded on the CDs which we all bought to replace and enhance our vinyl collections. Then, along came the MP3 which enabled us to compress those CD song files down to manageable sizes and file sharing began. The next nail in the coffin of the traditional music industry was the emergence of MP3 players led by the iPod and digital retail led by iTunes. Once people became used to that, who wanted to carry around a CD case? Finally, the plummeting cost and decreasing technical knowledge required to make a decent sounding recording sounded the death knell for the major music labels, the backbone of the traditional music industry. The music labels were society's music filters. They were responsible for finding the best talent, nurturing it, promoting it and distributing it all over the world. But the labels were also incredibly inefficient. For each act they successfully promoted and on which they turned a profit, there were dozens, even hundreds of failed acts and artists in whom the labels had invested and had lost money. Few industries would have been able to operate with such numbers but the music industry had thrived under this system; mostly due to the large amounts of cash that were made with every success. With new technologies affecting almost every aspect of the ecosystem (from song creation to mass distribution) the labels could do little to prevent the demise of their business. Seeing opportunity before them, entrepreneurs emerged with ideas about how the whole industry could be run more efficiently. Today, music is increasingly sold as digital files that you download to your computer and then put on your mobile device such as your iPod. Other services are increasingly enabling you to stream music on demand. Under that arrangement, you never actually own any music. You simply have access to all of it all the time. Physical music retail stores are going out of business and soon won't exist as stand-alone shops. Anyone can record and upload a song. On the music creation side of the value chain, the cost of recording and producing a song has fallen through the floor. What used to cost tens of thousands of dollars and had to be done in a professional recording studio can now be done in a bedroom on a laptop computer. This is a great development that enables creative talent to emerge even in the absence of musical ability or even any musical knowledge. On the other hand, it has caused a veritable avalanche of new music to pour onto the web -- much of it of dubious quality. Even the largest physical music stores couldn't carry much more than 10,000 titles. That's nothing compared to what's now available at the click of a mouse. MySpace alone is said to host over 10 million acts. Other sites that cater to artists have hundreds of thousands of bands signed up to their services. It is a jungle out there! How can the fans find the needles in the haystack they want to hear? How can the artists locate their future fans? It's the fundamental problem the labels were solving but now they can't do it effectively. There's too much music for them to even try to filter effectively and nobody wants to buy their CDs anyway, so how can that work even be funded? The sale of digital files isn't even coming close to compensating for the loss of revenue on the sale of physical goods so now there's much less money to compensate for the labels' inherent inefficiencies. In fact, most insiders believe recorded music will cease to be paid for by the end consumer. It will instead either be free (built into the cost of marketing other products) or built into the cost of other services you pay for such as your Internet and cable TV bill or your mobile phone service. It will feel free and the actual revenue generated from the distribution of recorded music will be a fragment of what it has been historically. So, where does that leave us? Fortunately, it's all going to be OK. There are dozens of emerging companies that are taking on these challenges and there are some really good ideas. It's interesting to see the variety of approaches. Most agree that the currency of exchange for recorded music will be the attention of the fans instead of their money. If an artist can get attention they will be able to sell tickets to their shows, license songs to soundtracks and get money for endorsing products. The labels held the key to getting access to big opportunities but now the artists and their managers have to find other avenues. In spite of the reduced barriers to music creation and access to easily have your song distributed to all of the digital outlets (see services such as TuneCore or The Orchard) it still almost always requires mass exposure in order for a song to really take hold and begin to earn some money. That means that once a song is created, it still requires enormous effort, time and resources to "push" and promote that song within the industry. Songs must still come to the attention of someone who has an opportunity. The gatekeepers, such as music supervisors in Hollywood, ad agencies, program directors and video game designers remain and will continue to remain in place playing a valuable role. So, real change will come by leveling the playing field and by giving individual artists equal access to mass-exposure opportunities. This is the challenge we're trying to solve with our new Music Xray service. (Pardon the plug but I can't describe the solutions to the industry's toughest challenges without describing our own solution since it represents our best thinking and thus my opinion). Think of Music Xray as a kind of YouTube for songs in that each Music Xray represents one song. Each Music Xray get s a unique URL (just like a YouTube video) and each Music Xray can be embedded elsewhere around the web (again, just like a YouTube video). But that's where the comparison with YouTube ends because a Music Xray is more than just an embeddable song player. Each Music Xray comes with a stack of modules that open and close (see here) and each module contains specific information about the song, such as its lyrics, how many times it is mentioned on Twitter, in blogs, how many times it is traded on peer to peer networks, what it's market potential is, what kind of license under which the song is available, what other songs it sounds like, among much other information. In addition to providing all of this information to the song owner (and anyone else they want to share it with), having so much information on each song allows us to provide a free filtering engine to the entire song buying music industry. Imagine you're an advertising executive and you want to license a song for your next ad campaign. You want something that sounds like "Brown Sugar" by Rolling Stones, which has 130 beats per minute, has the words "Russian roulette" in the lyrics, that has at least a 50% chance of becoming successful in a particular market, that already has a growing number of fans and an available license. The filtering system at Music Xray will soon provide that level of detail and that level of filtering ability. It will be a revolution in how that part of the business operates. The important thing for artists is to have their music in databases of this sort. The one at Music Xray is particularly attractive because it will be open to anyone in the industry who wants to leverage Music Xray's search capabilities. For a song owner, having their song in the Music Xray database will make it discoverable by anyone and reduces the work artists must do to promote their music within the industry once they've recorded it. It also reduces the work that music supervisors have to do when filtering hundreds of songs for each opportunity. How will music consumption work? From the music fan's perspective, music recommendation engines will become a ubiquitous part of our lives, and not just for music and entertainment products but for many consumer goods and services. You've seen the ads for Angie's List which compiles and features customer reviews of household and professional services. Amazon has been recommending books and other products for years based on what others with consumption habits similar to yours have purchased. This is just the beginning of where recommendations and "relevancy filtering" is going. The best recommendation systems will be very sophisticated. They will expose you to enough of the "familiar" for you to feel like the system "gets" you and understands your tastes. They will expose you to enough of the "new" for you to feel like you are growing and evolving in your own unique direction. They will also keep you sufficiently in tune with your peers and with those who are like you for you to feel like you belong to a larger collective. They will know the difference between you at age 25 and you at age 45 and they will know which products you buy for yourself and which you purchase as gifts for others -- an important distinction for companies when making future recommendations. There are a number of problems for the music industry to sort out but things are taking shape. One thing for certain is that the fans will not suffer. There is now and there will continue to be more music available than ever before and it will become easier to find and enjoy. It will cost less and more artists will earn a living making it.
  25. Eric Singers often mention certain songs that provide a daunting challenge in performing Would you consider SHE DID IT as one ? You demonstrated your exceptional vocal range with some soaring high notes PEACE and Thanks
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