Posts Tagged ‘Neil Diamond’

D. Mob

Wednesday, March 14th, 2012

Listen: They Call It Acieed / D. Mob
They

While sitting in my dentist’s chair earlier today, having an unexpected root canal, nitrous oxide mask clamped to my face and a local radio station being piped into the room, I suddenly released that American Top 40 radio, when under this influence, sounds exactly like UK Top 40 from the late 80′s. Without the chemical enhancement, I’m afraid the said US format is dreadfully dated and dull. Yes, the nitrous was that good.

At one point. Neil Diamond’s ‘Cracklin’ Rosie’ began to play, and for thirty or so seconds, I got hyper excited, convinced the station was playing Bassnectar. A few minutes later, the nitrous had me believing The Small Faces ‘Itchycoo Park’ was beaming over the airwaves, but instead it was Bob Seger’s ‘Night Moves’. Tricky drug that.

House producer Dancin’ Danny D, via his alter ego, D. Mob, had the #3 UK hit in ’88 ‘They Call It Acieed’, which can easily double as the soundtrack to a nitrous afternoon at the dentist, without the help of any chemical.

Andy Kim

Tuesday, August 16th, 2011

Listen: How’d We Ever Get This Way / Andy Kim
How'd We Ever Get This Way / Andy Kim

After writing countless, seriously countless, hits with Ellie Greenwich during their Brill Building, girl group days, plus together discovering and producing Neil Diamond, Jeff Barry set out on his own. Initially producing The Monkees, then establishing Steed Records and signing Andy Kim.

As well as having later hits with some of those Brill Building classics, Andy Kim’s co-written Steed debut, ‘How’d We Ever Get This Way’ made it’s way to the US Top 30. It was omnipresent in ’68, taking years to shuck the overplayed curse.

Not to be overshadowed, the two conjured up ‘Sugar Sugar’ for The Archies, another song that brought on cringes for ages, and now sounds pretty great.

Years later, they’re part of a continuing testament to Jeff Barry’s writing and production genius, and how contributions from Andy Kim proved he was far from a parasite in the midst of it all.

Neil Diamond

Saturday, July 17th, 2010

Listen: Solitary Man / Neil Diamond NeilSolitaryMan.mp3

According to Wikipedia, Neil Diamond’s first single for Bang was released May 21, 1966. If so, then I love WOLF even that much more – they tipped it as Hit Bound on May 7 (see below). No joke, this was one hell of a radio station. I know several mid sized cities had them – the ‘other’ Top 40 that played many of the non hit RnB, British Beat and Garage records. Not only a God send, but I have a feeling, these were the stations that created the crazies like myself.

‘Solitary Man’ was a bit dark, or sad – something I still can’t quite put my finger on. It wasn’t his last to have that quality. ‘Shilo’ had it, ‘Girl, You’ll Be A Woman Soon’ did too. I hadn’t realized it fizzled out at #55 in Billboard that year, maybe because in ’70, when re-released by Bang after he’d left the label for a, by then, very successful run on UNI, ‘Solitary Man’ re-charted and peaked at #21. Bizarre, all those radio programmers that wouldn’t touch it originally now proving their stupidity by playing it a few years later. Justice.

Roberta Flack

Monday, January 4th, 2010

RobertaFirstTimeUS, Roberta Flack, Atlantic, Donny Hathaway

RobertaFirstTimeUKA, Roberta Flack, Atlantic, Donny Hathaway

Listen: The First Time Ever I Saw Your Face / Roberta Flack RobertaFirst.mp3

One of the first signs of major label desperation started to reveal itself around ’04. I worked A&R at Columbia, and it was obvious many young, debut acts were being file shared, as opposed to purchased on CD. So the making of new recordings by classic artists became the MO. Bob Dylan and Barbra Streisand were having #1 albums, after struggling to get any real sales blips for years. So Don Ienner, our chairman, suggested we find classic acts who were still relevant – even though most people had forgotten they were….still relevant. Johnny Cash, Neil Diamond, Bette Midler, Burt Bacharach and umm, Wilson Phillips.

I wanted to sign Roberta Flack.

Coincidentally, I had seen her a few weeks prior at B.B. King’s, and she was jawdropping. Voice 100% intact, beautiful and get this – hysterical. Her between song banter was a riot, more like Millie Jackson than the Roberta Flack I expected. We all blushed more than once. First rule: if she plays anywhere near you – GO. You will be knocked out.

I’m convinced I have a great idea and mention this to Vicki Wickham, figuring she may have a contact for Roberta. Sure enough she instructed me to leave it with her. A few days later, I get buzzed “Roberta Flack is on line one”. Holy shit. I pick up meagerly and she says “Kevin, this is Roberta Flack”. I apologetically put her on hold quickly, literally screamed, then went back calmly to proceed with the conversation. What a lovely lady. We talked for ages about making an album, even getting the songs Stevie Wonder had written for her and Donny Hathaway out of storage. She offered to call him, thereby inviting his voice on the potential duets now that Donny was gone. Sounded amazing.

Well Donnie Ienner passed. His gut wasn’t feeling it I suppose.

The major label world is a funny one. When you’re hot, you’re hot. Or when the boss is feeling good about you, your ideas are exciting, if not – there’s no winning. Yet the next guy down the hall can have the same idea and it flies. Who can say where Roberta and I fit in to that time line.