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Bernie,

 

Waiting on your comments impatiently dear Webmaster!! :)

 

Once I have the remastered cds in my hands I will never look back - musically speaking! 

 

It just doesn't seem like 45 have passed...guess many of us are still the playful, excited kids who first saw Eric play and that feels great!

 

Mary Ellen

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Arista/Legacy Recordings Unveils The Essential Eric Carmen
Two-Disc 30-Track Collection Spans Pop Pioneer's 45 Year Career, From Raspberries To Solo Superstar, Remastered Set Includes "Brand New Year," Carmen's First New Recording In Nearly Two Decades, Alongside Previous Unreleased Live Classics
 
By Legacy Recordings
 
NEW YORK, Feb. 12, 2014 — Arista/Legacy Recordings, a division of Sony Music Entertainment, has announced the release of The Essential Eric Carmen, a 30-track retrospective of the legendary singer/songwriter's four-and-a-half decade career. The two-disc set arrives in stores on March 25th and is available now for pre-order on iTunes (iTunes.com/EricCarmen). By pre-ordering you will receive the new track "Brand New Year" instantly.  
 
Remastered carefully from the original analog recordings by Grammy Award®-winning engineer Mark Wilder at New York City's Battery Studios, The Essential Eric Carmen reaches back to the Cleveland-based artist's first recordings out of the teenage garage and then travels through his unforgettable catalogue of hits, both with power pop icons Raspberries ("Go All The Way," "Overnight Sensation (Hit Record)," "I Wanna Be With You") and as chart-dominating solo superstar ("All By Myself," "Never Gonna Fall In Love Again," "She Did It," "Hungry Eyes," "Make Me Lose Control").
 
The Essential Eric Carmen also includes the sonically inspired and lyrically optimistic "Brand New Year," Carmen's first new recording in more than 15 years.  The track, which has received over 35K plays to date since its initial offering as a free download this past Christmas Eve, is streaming now at Legacy Recordings' official SoundCloud,  https://soundcloud.com/legacyrecordings/eric-carmen-brand-new-year.
 
"It would be a mistake to think of this release as just another compilation," Carmen recently noted. "I can tell you that you have never really heard most of these songs until you've heard them on this package. It is the closest to what I envisioned for most of these 30 tracks that I have ever experienced."
 
The Essential Eric Carmen contemplates and highlights, for the first time in an engaging musically linear narrative, Carmen's entire recorded anthology, all marked by his oft-lauded pop craftsmanship as well as an instantly identifiable voice, equally capable of intimate crooning and raw-throated power. The collection gets off to an electrifying start with 1969's "Get The Message," making its very first digital debut in 45 years, one of the original three sides cut by Carmen's first signed band, Cyrus Erie, for Epic Records. Raspberries came together soon thereafter and immediately made an indelible and undoubtedly influential mark on rock 'n' roll. With Carmen at the helm, the band virtually invented the quintessentially American brand of power pop – big melodies, bounteous harmonies, and riff-driven crunch, all played with the amps turned up as far as they can go. The Essential Eric Carmen gathers some of the band's finest moments, from their million-selling debut, "Go All The Way," to a stellar take on "Ecstasy," recorded live at Los Angeles' House of Blues during 2005's sold out Raspberries Reunion Tour.
 
Carmen set off on his solo course upon Raspberries' 1975 demise, releasing Eric Carmen the same year to both critical acclaim and massive popular success. Highlighted by the chart-topping "All By Myself," the album bore witness to the scope of the classically-trained Carmen's talent, showcasing his gift for sophisticated ballads, literary lyricism, and immense vocal arrangements. Each record that followed—1977's self-produced and intensely autobiographical Boats Against The Current, 1978's Change of Heart, 1980's Tonight You're Mine—offered new facets, touching on soul, classical, and the great American songbook. Melancholic and romantic, songs like "Nowhere To Hide" and "Desperate Fools" lay the foundation for the only now fully appreciated genre of soft rock.
 
Though his symphonic ballads define mid-70's pop, Carmen remained, at his core, a true rocker through and through. This fact is clearly demonstrated here by such high-energy tracks as "It Hurts Too Much," "Hey Deanie," and "Tonight You're Mine." This collection also features two previously unreleased, electric readings of  "That's Rock N' Roll" and Raspberries' "Starting Over," recorded in 1976 with his touring band at New York City's world-renowned Bottom Line.
 
Carmen continued to sculpt his ambitious pop-rock well into the next decade. 1984's second self-titled solo collection saw him team with Bob Gaudio, best known as the genius singer/songwriter/producer behind Frankie Valli & The Four Seasons, while his recording of "Hungry Eyes"—featured on 1987's Dirty Dancing soundtrack—returned Carmen to his rightful place on the charts, reaching the top 5 on Billboard's "Hot 100," while helping propel the album to sales currently in excess of 32 million, one of the 10 biggest selling albums of all time.
 
Having spent much of the past two decades out of the spotlight, opting instead to comfortably 'retire' and focus on raising his children, Eric Carmen's musical return is perhaps most remarkable for its timelessness. "Brand New Year" ranks among the singer/songwriter's optimistic and insightful best, backed by longtime Beach Boys guitarist Jeffrey Foskett and members of the revered L.A. pop combo, The Wondermints.
 
Indeed, Carmen has surrounded himself with brilliant collaborators throughout his career, notably a long, prolific association with Raspberries producer Jimmy Ienner that continued through 1988's top 3 smash, "Make Me Lose Control." As solo singer/songwriter, Carmen was backed by a veritable who's-who of the era's premium players, including guitarists Andrew Gold, Danny Kortchmar, Richie Zito, Steve Lukather, Davey Johnstone; bassists Leland Sklar, Bob Glaub, and Dave Wintour, drummers Jeff Porcaro, Carmine Appice, Nigel Olsson, and Russ Kunkel; keyboardists Craig Doerge and Jai Winding, saxophonists Tom Scott and Bobby Keys, percussionist Paulinho diCosta; and the legendary conductor/arranger Paul Buckminster, not to mention harmonies and backing vocals from such friends as Burton Cummings, Curt Boettcher, and The Beach Boys' Bruce Johnston.
 
The Essential Eric Carmen compilation was produced by Legacy Recordings' Timothy J. Smith and overseen and advised by Eric Carmen, who also contributed original liner notes.
 
Legacy Recordings' critically acclaimed and globally successful Essential Series has set a worldwide standard with its vast catalog of career-spanning, chronologically sequenced, fully annotated collections, available as double-CD packages or digital downloads.
 
Disc One
1. Get The Message (w/ 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 Two
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 **
 
+ Previously Unreleased Digitally * Previously Unreleased ** Previously Unreleased New Recording
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Thanks so much for putting this up for us Bernie.  :)

 

So thoughtful the long-time collaborators are mentioned and what a wonderful collaborator and friend Tim's been to Eric. 

 

Eric looks amazing in the picture, so I certainly love it.

 

p.s. I just went back and looked at the pic again and OMFG!!

It's 3 dimensional...SWOON! :heartpump:

 

Mary Ellen

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Sony  Legacy wrote the press release  =)

They should have got Bernie, Ken Sharp or one of us to do it. Just my opinion here, but if you're going to drop all those names, it would be nice to mention the members of the Raspberries and the Wondermints as well - whether the listeners/buyers know them or not.

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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!

 

So Bernie... Should we wait for the "special pre-ordering links" you mention to get involved in the contest? Or, are the amazon links the ones you were referring to?

 

Thanks,   Tim

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Arista/Legacy Recordings put together a phenomenal package, which I viewed for the first time, today. It is by far the best artwork, and package I have ever been associated with. It's as first rate as Mark Wilder's remastering, and Tim Smith's concept and production.

 

Before I began working with Darian, Nicky and Mikey in the studio, I was told that they were to be referred to as "The Brian Wilson Band," NOT The Wondermints, by Brian's management. Same with Jeffrey Foskett.

 

Last weekend, Shindig Magazine released issue no. 37, featuring an interview with Wally Bryson and Scott McCarl. It was probably six to eight pages long. Scott, as usual was a complete gentleman. Unfortunately, most of the interview was with Wally, who proceeded to trot out the same tired BS he's been harping about for forty years.

 

There were, however, some amazing new quotes from Mr Bryson, including this one: "Go All The Way is what a REAL ROCK BAND SOUNDS LIKE, right up until the singing starts." With that one sentence, Wally demonstrated that he never understood the concept of the band. Not then, and not now. In another sentence he talked about having to "coach" me "to sing like Daltrey, Marriott and Paul Rodgers." As if.

 

As you know, I have always tried to take the high road when these things have occurred in the past, but today Legacy suggested that maybe I should send a letter to the editor of Shindig, which they would undoubtedly print. I'm considering it. The whole "I wrote the intro of 'Go All The Way'" story is absolute rubbish, and I can blow holes in it six different ways. In truth of fact, not one single songwriter or musician that I have worked with in the past forty-five years has EVER accused me of "stealing anything from them," except for Wally Bryson. As a matter of fact, here is an example of how "real" songwriters work.

 

During the writing sessions for the Winter Dreams album, Andy Goldmark and I got ridiculously hung up, trying to get one lyric line that we just weren't happy with. One day, Andy called Steve Kippner ("Genie In A Bottle") and asked him to come help. The song was "Every Time I Make Love To You" and Andy and I just couldn't come up with anything satisfactory for that one lyric line. Steve is FULL of positive energy, and, after a couple of hours, he came up with a line Andy and I had batted around, 24 hours before, but somehow, when it came from Steve, with his unbridled enthusiasm, it suddenly seemed "OK." We gave Steve one third of the copyright. No questions asked.

 

That's how it works when you work with "pros."

 

Perhaps the most famous example of all time is "Layla." That incredible opening lick was played, and created by Duane Allman. Did Duane get a writer credit? Ummm...no, because he did not write one note of the melody, one chord supporting the melody, or one word of the lyric. When Clapton recorded his "unplugged" version of "Layla", the opening lick was gone. Did the song still stand on its own? You bet'cha! That's because a song is comprised of the melody, the chords and the lyrics. Period.

 

I have worked with countless session guitarists (Steve Lukather, Davey Johnstone, Danny Kortchmar, Dan Huff, Hugh McCracken, Michael Landeau) and every single one of them did the same thing Wally did. They helped me find the right voicing for a guitar part I heard in my head. Not one of them was ever foolish enough to think that doing their job should translate into a writer credit. 

 

Taking Wally's logic a step further, should the cowbell player on the intro of "Honky Tonk Women" get a writer credit? Or maybe it's Charlie Watts' great drum intro. Maybe he get's a writer credit. And so on, and so forth.

 

We could discuss countless examples until the end of time. The bottom line is this "playing" the intro is not "writing" the intro, and, if you need any further proof, I would refer you to the bridge of "GATW" which uses the same chords, played in the same rhythm as the intro. Since everyone in the band knows I brought the song in "finished," how could I have written the bridge unless I already had those chords and structure? Answer: I couldn't have.

 

The reality is I played the chords on the piano (as well as the rest of the song) and then asked Wally to show me different ways they could be played. The second fret didn't work, the fifth fret didn't work. The third try was the charm.

 

And that was that. Historic guitar intro, done. Wally was fulfilling his job as the lead guitar player, just as I would have been fulfilling my job as the pianist, if I came up with an intro to one of Wally's songs. And that's that.

 

I'm tired, and I hate negative energy.  This was such a positive day, otherwise.

 

G'night kids

 

e

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Understood my dear!

 

Please know that you are LOVED and I hate to see you obviously so upset over name checking and I don't think that's what Marv meant in his suggestion.  However, you are venting in the right place!!

 

You should write your comments in a letter as suggested above. 

 

Eric, you and your voice were the Raspberries and that's all I have to say.

 

xoxoxo

M.E.

 

P.S.  VERY cool update in your writing above. ;)

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We love you E and this is happy dance time for all of us!

 

None of us would even own a Rs' record if it weren't for you and your beautiful, sexy voice and your professional drive and talent.

 

Bet everyone here is waiting to see if any of their collectibles made it into the package.  ;)   I for one would like to be forever linked to my personal muse.  :heartpump:

 

Love,

M.E.

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Jealousies hurt everyone involved, don't they. I'm surprised that a publication would go to the trouble of printing all of it. It sounds like they are after some sensationalism to shock and appall people, perhaps to get readers. I don't know. I don't know them. It has become my experience that if you do want to try to set things straight (for all to see), then you act as Scott did. You take the higher road. Then Bryson will be the one to look just as you have said; bitter, nasty and jealous. But you said it here, on your own site, where you can say anything you want!!

 

People out here know YOU. They know your body of work. Other musicians that applaud your work (Springsteen, Joel, Ringo Starr, etc., etc.) also know your musicianship. They know who wrote the songs and the intros. They know your voice. They know what you have always been capable of singing. They are not alone in that understanding. Bands have histories of disagreements and misunderstandings. It is true that only other musicians in other bands will truly appreciate the hurt, and therefore anger that you have from something like this.

 

But people will respond to YOU. Who you are, and what you have done. They will not need to hear a play by play of how you work. Most of us would only really understand a bare few of the intricacies involved anyway. People that listen to Bryson, do not know you and your work. Truth to tell, they likely barely know the name of Wally Bryson. Your work will stand out because you are . . . well . . . you. You're . . . Eric Carmen.

 

That's good enough for us.  

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 ...Jealousies hurt everyone involved, don't they. I'm surprised that a publication would go to the trouble of printing all of it. It sounds like they are after some sensationalism to shock and appall people, perhaps to get readers...

 

     People out here know YOU. They know your body of work...

 

...It is true that only other musicians in other bands will truly appreciate the hurt, and therefore anger that you have from something like this...

 

...But people will respond to YOU... Who you are, and what you have done...

 

     That's good enough for us.  

Kathy,

 

My writing here to E is from the heart but also tends to be rather short and to the point because I was trained in "legal writing."

 

I just read the intro. for Shindig mag. online and it has initial ominous overtones.  Certainly wasn't going to purchase the damned thing. 

 

Clearly a jealousy issue, and a most unfortunate one on Mr. Bryson's part. 

 

M.E.

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Kathy,

 

..."I just read the intro. for Shindig mag. online and it has initial ominous overtones.  Certainly wasn't going to purchase the damned thing."

 

Clearly a jealousy issue, and a most unfortunate one on Mr. Bryson's part. 

 

M.E.

 

      Yes, I read the magazine's promo paragraph too. I thought the same as you did about not buying. I wish I knew the sound of the article though. So, I go back to the question of "why" Brian Greene found this 'old news' interview worth doing to begin with, and also, why publish such a long article.

      Greene has been in the journalism game for a long time (he is 64), not to mention his own primary interest in musicians. Greene already knew of the issues that Wally Bryson claimed against Eric Carmen.Those things have been out there for years. He knew what he was looking for before that interview ever took place. He writes articles for lots of magazines. He is associated with "Shindig", but he also freelances. It seems that he is usually going for a "different angle" in the other articles I found.

      I wonder if he had any personal reason (other than sales) to do this kind of article shortly before the new Eric Carmen CD release. For example, did he already know Bryson? Was he a fan of the "Raspberries" to the exclusion of Eric Carmen's solo work? Maybe he just likes to be contrary and "stir the pot". One thing is certain, he did know what he was doing. He pushed the right key and Wally Bryson spewed forth.

      Maybe Legacy has a point about sending a letter to the editor of Shindig Magazine. Some of their work is solid journalism, and they have a credibility with their readers. I really liked the way E.C. detailed in his edited post, what "writer credit" is. What a person has to do to be given that, vs. what constitutes a band or sessions guitarist "doing their job". Also, his clarity in describing how "a song is comprised of the melody, the chords and the lyrics", and his examples of such. The examples are great! The difference about a song coming in "finished" or in  need of something that would get copyright.

      That much, that part, and that professional musician's understanding (without Bryson's emotional content) could make the article look like a travesty on Greene's part too. Brian Greene should have thought this through.  

 

~Kathy   

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The issue here really comes down to appropriateness. The legacy release represents a very special and deserved time for Eric reflecting his music and career. Regardless of how Wally feels about these, frankly, irrelevant GATW issues, why would he "take the bait" and go off about it, once again, at Eric's party? Just really inappropriate. I tell my divorce clients all the time not to let the other person live rent free in their head - easier said than done, I know. We all know GATW's bridge had those chords already there before Wally helped voice them in the intro.

 

A fellow divorce attorney in Athens, John Lyndon, who is the brother of Twiggs Lyndon, the manager of the Allman brothers, often reminisces with me about Duane and his work with Clapton. I sit in his office and just let him talk. Indeed, Duane actually came up with the opening riff for Layla, but he never griped about or frankly brought up a credit. Duane was excited and pleased that he could help. Here, much less, the intro. needed some work and Wally pitched in, maybe to a good extent, but geez, it's Eric's song. From Lyndon - Clapton was having trouble deciding how to record his new song "Why Does Love Have To Be So Sad" and Duane said "let's play it like a chariot race" - and off they went with Duane playing like he we was possessed and adding licks that added enhanced everything about the song. Was it still Clapton's song? Why of course. 

 

I have met and chatted with Wally Bryson and he strikes me as a good and talented person. In his work, he has helped the mentally challenged and has a certain charisma that people are drawn to. Granted, I've never been on the receiving end of something like this but I think this can be ignored into a non-issue. Writing the magazine would just bring more attention to it. When I suggest that you don't waste your time, Eric, I don't mean it as putting down Wally. Just don't waste your time.

 
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So I see two somewhat opposing views above from Kathy and Raspathens, and you both have very good points.

 

I do wonder what motivation Greene had in approaching Wally and the timing of the article is curious.  As I said to someone here earlier today, Wally's comments are harsh in any light, but to put that crap out there again right before Eric's CD release, is suspect. 

 

I don't know Wally, and I'm certain he has some very good qualities as a person.  Of course he did contribute positively to the Raspberries' music in some ways, but nothing said in the article could be properly justified. 

 

Perhaps Legacy's suggestion of a rebuttal from Eric is based on some understanding of the music business I don't have. 

 

M.E.

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