The other day I finally got around to adding the $15 i-Tunes gift card I received for Christmas onto my i-Tunes account. I have to admit, although I do have a lot of songs in my playlist, most of which converted over from old CDs, I haven’t had much desire to purchase anything new as of late and hence my delay.
But with fifteen bucks beginning to burn a hole in my pocket I started perusing the list of what’s currently being classified as “hot” to see if anything struck my fancy. As expected, I began to become a bit discouraged.
Call me old (well, on second thought don’t) but I’m from an age where music and lyrics actually mean something. Having a robotic voice singing to a pre programmed beat and calling it music just doesn’t appeal to me.
And what’s with all these different versions of the same song? A song, and album for that matter, should always stand on it’s own. But yet I saw a listing of a current “hit” with no less than four different versions of the song to choose from: one done by the original artist, another a re-mix version with some rapper I never heard of, yet another version done for a Kidz Bop CD and finally one done by the cast of the TV show ‘Glee’… “This is Hot?” I asked myself. “More like cold. Cold as ice”.
Hmmm.
I typed “Foreigner’ into the search box and suddenly there she was again. The black and white album cover of the lady with one eye: Inside Information
I didn’t want to see the date it was released. I knew it was a long time ago. Ok, twenty-five years if you really must know. An album that sold 1.6 million copies worldwide and one that also has some history with me and suddenly I started to remember. This was just one example of an entire album that related to me.
It was a typical Friday night two dozen summers ago. High school was over and college had been delayed temporarily for me due a lack of funds. I was still living at home and spent most of my days working 9-5 for minimum wage in the receiving department of the local supermarket trying to save money and start my music education journey at community college.
Say you will. Say you won’t. Make up your mind tonight.
Once the whistle sounded that Friday night it was time to jump into my orange 1974 Ford Torino and meet my fellow musician buds Nathan and Ronnie for a night of debauchery. At least that’s what we called it. I suppose that in some countries ‘debauchery’ is still defined as hanging out at a miniature golf place making plans to become rock stars and then having cheese fries and coffee at the local diner. It worked for us.
I still don’t remember how the Inside Information cassette got into my possession. I figure it must have been one of the twelve cassettes I initially chose for a penny from Columbia House as part of my initial membership. A membership that I never completed. But that tape was the soundtrack to my life for months in the summer of 1988.
I don’t wanna live without you ~ live without your love.
The funny thing about cassettes is, it’s almost impossible to skip a song on one of them. Unless you have the patience and where withal to meticulously fast forward or rewind you were pretty much stuck having to listen to the entire album in order. Suffice to say, I had neither of those qualities so I got to know every track personally from “Heart Turns To Stone” all the way through to “A Night To Remember“.
With windows rolled down we drove up Northampton street (or “The Strip” as it was called) to the echoes of Lou Gramm singing about teen angst and young love blaring from my Kenwood stereo system. Passers by would glance at us strangely when we’d stop for traffic lights but that didn’t bother us. It was a magical time. This was freedom and we were Counting Every Minute of it that we had. And we weren’t just listening to your every day Richard Marx or Michael Bolton tune. On the contrary, this was raw, pure unfiltered rock at its finest. And the words that Lou sang defined what we had in store for the evening:
I feel mean tonight ~ One-eyed jacks and aces
Read ’em and weep tonight ~I’m gonna let all hell break loose.
For the next several hours me and my homies did just that: raised hell cruising the strip and visiting the V-7 miniature golf range. I was feeling particularly lucky that night and my play proved it. Much to Nathans chagrin I sank three hole-in-one shots that night, including one through the dreaded windmill. But during my hat trick run I noticed that Ronnie seemed to be a bit distant and I’d soon discover why.
It was on the drive to the diner that Ronnie began insisting on wanting to listen to “True” by Spandau Ballet to help heal his heart of a high school love gone wrong. Ronnie was the first of our trio to be in a serious relationship that had gone sour. Right now he wanted consolation but Nathan and I wanted nothing to do with it. A Spandau Ballet cassette would never be seen in my record collection let alone in my car. “Those days are over man and you screwed up”, I told him. How ironic it was that the words to “Heart Turns To Stone” began to play to remind Ronnie of the mistake he made:
When she was with you, all along ~ Behind you, right or wrong
She tried to hold on, hold on ~ But you went too far, and she’s gone
To this day I still have no idea what the hell it was he did that went too far and ruined the relationship. The song just seemed to fit the moment and we all got a good laugh out of it.
Eventually we ended up in the diner counting pennies in our pockets to pay for coffee and french fries covered in cheese. Even though it was well after midnight just knowing that we had no where to go and nothing to do in the morning was comforting. We could easily have stayed there all night discussing women, music and songwriting and how all three were going to be a huge part of our lives as soon as we became rocks stars. But it soon became apparent that bed was calling.
Before getting back into the car for the final drive home Nathan decided to begin singing ‘Heartache Tonight’ by the Eagles right there in the parking lot:
“Somebody’s gonna hurt some one…. before the night is through.”
Which was soon accompanied by Ronnie and I in full three part-harmony: “Somebody’s gonna come undone… there’s nothing we can do”…
Perhaps it was a good thing it was midnight and no one was around for it might have been the most horrific version ever done. But late nights and copious amounts of caffeine and cheese have a tendency to throw you off key while singing A cappella. Yeah, that was my story and I’m sticking to it.
So, two dozen years after that night to remember, Inside Information was added to my i-Tunes playlist. An album I loved but had completely forgotten about. And although the V-7 has been closed for years to golfing I think one of these nights I’m going to give Ronnie and Nathan a call.
We’ll take a ride up The Strip in my 2010 Toyota Rav-4 blasting Foreigner again and seeing if the magic is still there.
A few days ago a friend of mine asked me to go online and check out a new CD the band he was in had just released. I quickly pointed my web browser to the CD Baby website to give a listen to a buddy whose cover band has been tearing up the local watering holes around town for years. Finally getting to hear his own original music was really going to be a treat.
CD Baby is a gold mine for independent artists. A website most local and regional bands use to promote their new music. It’s a great way for unknowns to get the word out to people who may not even know who they are.
But I never would have guessed that the CD Baby platform would ever be used in the opposite way.
Case in point: While listening to my boy’s uptempo bar songs I happened upon a CD listing for a band whose name sounded familiar to me. The album for sale was called “Replay” and the band was “The Outfield”.
“The Outfield?? It couldn’t be”, I said to myself. But by checking the band description it didn’t take long to realize that yes, this “Outfield” was the exact same Outfield who had been all over radio and MTV and sold five million records thirty-two years ago. Riding a stream of hits including “Say It Isn’t So”, “For You” and “Your Love” (a song which ironically has been in the set list of my buddy’s band for years). What the hell were these guys doing on CD Baby?
I gave a listen to some of the preview tracks just to verify that this was the band whose catchy hooks were a staple of the mid 1980’s. The new songs I heard were actually quite good. Just as good if not better than some of the ones I had heard from them during the Reagan administration. Music that brought back memories of blaring boom boxes, feathered hair and childhood summers. Music that, in my opinion, should now still be played on Top-40 radio and what ever the alternative is for MTV.
Sadly, there was no point in me picking up the phone and calling the local radio station to request California Sun, a track from the new record. Although it would personally be cool to request “The Outfield” again what were the odds that the DJ on the other end of the line would even know who this band was?
Now, had I said Bruno Mars, Katy Perry or Taylor Swift it would be a different story. There is a plethora of songs to choose from there. “Music” that saturates radio today. Song by artists that quite honestly are completely interchangeable with each other. All manufactured with the same chords, the same beat and the same theme. The only difference being the actual lyrics of the song and even most of those are cliché’.
I don’t know about you, but I’m tired of hearing about skies full of lighters, a drunk party or crying out in the yard at two in the morning because my boyfriend broke up with me. They only make me long more for the days of Josie being on a vacation far away.
Music isn’t created anymore, its manufactured on an assembly line. The songwriters are gathered together with ideas already in place by the suits at the record company and the music is programmed in a high-tech studio in some big city. It makes me wonder how many actual musicians are playing their instruments on these tracks. Finally, it’s all put together, packaged and backed by a gigantic marketing team with deals already in place with major suppliers.
The days of the public deciding what music is good and bad are over – companies now tell you what you should buy and price their product appropriately.
Want proof? Just check out in stores and digital downloads. Ever notice that some new digital music singles sell for 30% less than standard 99-cent rate? And new CDs, for certain popular artists, which normally sell for $13.99 at a store, sell for $7.99? Not coincidence.
It’s no longer about the music or how much money sales generate, it’s only about how many physical units are sold. Selling a million physical copies of a single or a CD offsets the loss of millions of dollars in the art that created it.
Worst of all, this manufactured stuff gets top billing in stores, radio and I-Tunes while “real” new music gets pushed to Indie web sites to be stumbled upon by accident.
To help reinforce my point about the difference between real music and today’s manufactured material let’s do a quick comparison of #1 songs in the USA from the years 1982 and 2011.
Entire month of January 1982: Physical: Olivia-Newton John Entire month of January 2011:Grenade: Bruno Mars
Entire Month of April 1982:I Love Rock and Roll: Joan Jett and The Black Hearts
Entire Month of April 2011: ET (Katy Perry w. Kanye West) – No, it’s not about the little alien guy who ironically, first appeared in 1982.
Half of the month of July and all of August 1982: Eye of The Tiger (Survivor) Entire month of July and Half of August 2011: Party Rock (LMFAO Featuring Lauren Bennett & GoonRock)
Now, armed with this knowledge, ask yourself this question:
Thirty years from now, which songs will you still remember?
It was recently announced that 75% of the original members of Van-Halen would be releasing a long-awaited new album and embarking on a new tour. In an effort to give some high level members of the media a taste of what’s to come, the band performed a set of songs in New York City at an invitation only event where new songs and classic hits were showcased.
Now I am someone who would have begged, borrowed and stolen to be part of such an experience. But since someone at VH1 dropped the ball and forgot to mail me my ticket I instead voraciously sought out any and every review of the showcase I could find. Hoping to hear not only about the new music but also tid bits of how everyone in the band was holding up physically as well. Because, let’s face it, the members of this band have been through a lot.
Eddie Van-Halen, a revolutionary guitar hero, had been diagnosed and treated for cancer and had recently completed a stint in rehab. I wanted to know how his health was. And then there’s Diamond David Lee Roth. Would he still have the crazy gymnastic moves in his arsenal? And what about the booze? Has the band finally rid itself of the alcohol demons?
So many questions and I wanted them all answered immediately. But alas, the only conclusion I drew while reading these articles was that the ones in attendance at the showcase would have been better suited wearing diapers.
Instead of focusing on one of the most influential bands in the last 35 years and whether this will be their final hurrah, many media reviews I read seemed to focus on the fact that original bassist Michael Anthony wasn’t in the group. “Micheal’s not there, it’s not the same”….was a theme I read often.
My response? “DUDE, you just saw VAN-HALEN playing in a club atmosphere and this is what you write about? Don’t you know that people would KILL to be in your shoes right now? Stop being a baby!”
Did the people who actually get into this event not know that Michael hasn’t been in that band for over a decade? Or worse still, even if they were already armed with this knowledge, why would they not focus on all the positive and instead bring up only the negative?
These are the same forty somethings who, having now attained their dream job of working as part of the entertainment media, will bitch and moan all day long that THEIR kind of music is becoming obsolete. Yet when given the golden ticket and being able to be part of a unique experience such as an intimate showcase with Van-Halen, still find reason to hate on them.
Here’s a suggestion: Next time you folks in the media get tickets to a VIP event such as this, please allow me to go in your place. At least I’d be able to report on what people really want to know and not why someone who hasn’t been in the band for years couldn’t somehow magically be there that night.
No takers? Hmmm, how about if I throw in a pacifier?
In November of 2011 guitarist Frankie Sullivan and vocalist Jimi Jamison together announced that after a long hiatus Jimi would be returning as lead vocalist of the band Survivor. The group, which has a plethora of hits including “Eye of The Tiger”, “The Search is Over” and “I Can’t Hold Back” among others, will soon embark on a tour and begin work on their first album of new material with Jamison in more than five years.
The new lineup of Survivor includes Jimi Jamison (vocals), Frankie Sullivan (guitar), Marc Droubay (drums), Billy Ozzello (bass) and Walter Tolentino (keyboards/guitar).
In the second of my two-part interview with Frankie Sullivan I ask him about his approach to songwriting, the sessions for the album Vital Signs, his take on X-Factor/American Idol and why paying your dues as a musician is so important.
We’ll also discuss the upcoming 30th anniversary of “Eye of The Tiger”, the theme song from Rocky III, which earned the band an Academy Award nomination among other accolades, and still ranks as one of the biggest songs of all time.
It truly was an honor to speak with one of my all time favorite songwriters. I’m really looking forward to what Survivor has in store for 2012. As the band themselves have said: “Here’s to a year of new beginnings, determination and more great music!”
A Conversation With Frankie Sullivan (Part Two):
gJg: You’ve written a lot of really big hit songs and one thing I’ve always wanted to ask you about was the process you use for songwriting.
FS: Actually it all depends. Sometimes I’ll start with a lyric if I’m inspired by the right thing, or a person or a place or you know, some experience. “I Can’t Hold Back” was like that. But sometimes it could be a guitar lick like the beginning of “I Can’t Hold Back”. I was just goofing around with the acoustic guitar one day and (Jim) Peterik was like, “Hey, what’s that you’re playing?” and we took it from there. The next day we finished writing it. That was “I Can’t Hold Back.” It’s what ever you feel at the moment.
I like to play the guitar a lot. I jam out on a lot of riffs. And it’s not really heavy or hard all the time. Sometimes it’s on acoustic or piano. I think it’s whatever strikes your chord at the moment. But as long as you can get it out there and then maybe get with someone who can relate to and finish it, that’s what matters.
gJg: So you and Jim would just sit in a room together and start bouncing ideas off of each other? Playing and writing things down on paper?
FS: Jim Peterik and I, back in the Vital Signs days and prior, would write Monday through Friday every day from 2 o’clock until six or seven no matter what. No excuses, it was like going to work. We were practicing and honing our craft trying to do the best we could do. Some days we’d write two songs, some only one but we always had the work ethic of how we wanted to go about it. I’m proud of the fact that we always worked hard.
You know, it’s really difficult to write good songs. But Jim and I were coming from two different places. We were like night and day so the stuff we wrote together would always have that extra spark to it.
gJg: Was “Eye of The Tiger” like that as well?
FS: You know, that was the easiest of them all… (laughs).
We had a ballad that we wrote called “Ever Since The World Began” (from the “Eye of The Tiger” album) and Jim and I both loved it. We thought this song was going to be great. “Tiger” we totally down played. We thought “Eh, this is going to be like “movie music” or something.”
I think we wrote the music for it in like half an hour and it took us three days to write the lyrics only because we couldn’t come up with the punch line. But we kind of had it down in half an hour.
gJg: So there’s no big story about how it was written?
FS: No, there’s no real brilliant story behind it. Some of the stuff I’ve seen on the Internet that people have written about it and I’m like, “No, it’s not like that…that’s ridiculous!” – That’s not what happened. It was real simple.
The president of our record company was friends with (Sylvester) Stallone. They were really good friends. He had the Queen song “Another One Bites The Dust” and Stallone wasn’t happy with it. So he said “Well you know, I have this band…” It was just two social guys having dinner. That’s what started it all.
I remember Jim Peterik had pneumonia at the time so I went out alone and spent ten days working with Stallone and it was just a blast. He was totally cool. He just wanted it to slam. He wanted it to sound just like the demo but with balls. So I played it for him and took it to the limit and he loved it.
And afterwards I remember seeing it in the movie theater and thinking to myself, “Man, this sounds raw, it sounds rock. It sounds basic.” There are a lot of cool things about it. It sounds like it was on the spot. You can hear a lot of spontaneity in it.
You can hear Dave (Bickler, the singer at the time) just going for it and you can tell some of the lines are just scratch lines. There’s a lot of good stuff going on.
gJg: And thirty years later?…(laughs)
FS: Doesn’t hurt (laughs).
You know, I can’t believe it’s been that long. And there’s still a lot of cool stuff going on with it. Even today I’m hearing that Stallone wants to go LIVE and take it to Broadway among other things.
We just got a plaque from Sony, it’s something like 2.8 million downloads. I don’t have an updated official number but I know it’s the 8th most downloaded song on the Internet right now.
gJg: Amazing.
People love the tune. They can identify with it. Plus, it doesn’t hurt to be part of Rocky.
gJg: Then you had success with “Burning Heart” a few years later.
FS: Yeah, Burning Heart was after Tiger. That was in Rocky IV. That one was actually just a phone call we got. They asked us if we could do another song and we were like “Of course!” We wanted to be part of Rocky too. That sure wouldn’t hurt us. (laughs). Not with a #2 record.
Photo Courtesy of: SherylRobPhotos.com
gJg: What was the story with “Fire Makes Steel”, the song from the “Reach” album that was rumored to be on the Rocky Balboa soundtrack a few years back (2006)?
FS: You know, I just think at certain times things are either meant to be or not meant to be. Looking back now, I think this was a case where it just wasn’t meant to be and I’m ok with that.
gJg: Let’s talk a little bit about my favorite Survivor record: Vital Signs. The first album I ever bought and subsequently wore out. That album has meant so much to me that I now have it framed and hanging on my wall.
FS: That’s really an intense album. Ron Nevison (producer) really was responsible for that record. In the beginning it came down to songwriting. Then it came down to Jim’s voice changing the whole landscape of Survivor. But in the end, Ron Nevison played such a huge part.
gJg: Yes, I read a lot of interviews where you were talking about his contributions to the success of it.
FS: Well, he’s really been underrated. I mean, I met this guy and he’s telling me that he had just finished up producing Physical Graffiti (Led Zeppelin) and was getting ready to go to work on The Baby’s new album. I mean, this guy is a MAJOR cat. He did Bad Company. I was like “Holy shit, the guys he’s produced are my idols!”
Unfortunately, the first time we got him on board it didn’t work out. But the second time we got him (for Vital Signs) he was really hungry and just wanted to work again. I mean, he always works hard but on ours, he worked so hard I can’t tell you.
gJg: It paid off for sure.
FS: It absolutely did. Nevison worked so hard at making us all do the best we could do. He was very demanding with us. Not difficult, but demanding. There’s a difference. Always demanding that we did our best. And it really did pay off.
We already had the songs but Ron helped us arrange them and helped us deal with this new voice that I loved. I remember when he first committed to do the record with us that he didn’t know what to expect.
I sent him over a cassette tape of our rehearsal with some of the songs. I think “Broken Promises” was one of them. He said “That sounds great, I’ll do it”.
And the thing is, he’s very picky about what he does so we really got lucky. It’s like I said earlier, everything is always kind of either meant to be or not but at that point all of us were working together towards the same goal and that’s what mattered most.
What’s funny is that even though we worked really hard there was a lot of fun with it too. It’s true dude. People sometimes become jaded and forget that. They forget the one thing that makes it all worthwhile: It’s fun.
People sometimes ask me what I do it for and I tell them: “Because it’s fun as hell to get up there on stage and play the guitar, have people act crazy and have a good time and sing along with your songs. That’s really, really enjoying.
gJg: What do you think about those shows like “The X-factor” and “American Idol”? The ones where they get some unknown up there who wins a contest and then all of a sudden they’re famous. What are your thoughts on that?
FS: I’ve kind of been down on that ever since Tyler did it (current American Idol judge Steven Tyler). I don’t know why. I guess I’m a Joe Perry kind of guy (guitarist from Aerosmith).
I think it’s all kind of manufactured in a way. I think it’s seen its day. I think Simon Cowell has something to say and I think he really wants to matter. I don’t know if you can find it in a TV show and giving some kid five million dollars though. If you would have given me five million dollars I probably wouldn’t even be around. (laughs)…
Seriously though, I really think that you can’t short-cut the process. What it’s really all about, at the end of the day, for any and every artist is paying your dues.
Shows like those sure as hell try to short-cut it. Sometimes they succeed but most times they fail. Most of the time when something is manufactured, especially where music’s concerned, you can tell its been short-cutted.
gJg: I read somewhere where Brittany Spears’ last album had something like 25 songwriters on it, 10 producers or something outrageous like that.
FS: (Laughs): They’re all great songwriters but still, TEN great producers? I mean, at the end of the day, you really only want ONE….not one producer for each cut. (laughs)
I think that’s part of where things are really different now as opposed to the “old days”. It’s too manufactured. It’s like, “What is this stuff?”
Authenticity is obvious. It’s something you can’t always explain but you can feel it in your gut. That’s when I put on “Houses of The Holy”. You know what I mean? Jimmy Page and Robert Plant used to write from the heart and soul. Now that was real talent. Guys that just went in and jammed on the great tunes. Through their feel and relating to each other. Throwing down the best stuff they had to offer.
People, like Jimmy Page. I mean, the kids out there obviously know of his work but if they saw him play they would “get it” it one second .They’ll probably never get to see him play but if they did, they’d “get it” in one second.
I mean, here’s the guy who came up with “Whole Lotta Love”,”Black Dog” and all those riffs. We overlook that but man, there’s a GENIUS at work there. I mean just with guitar riffs.
gJg: It seems that contributions from artists like that are now just taken for granted.
FS: Well, I guess that’s human nature. But with music you just can’t take anything for granted.
I think you just close your eyes, put blinders on and then just go to the woodshed. You make an agreement with yourself that you’re just going to do the best you can do. You say, “I’m going to the write the best songs I can write. Put down on the table the best I have to offer.” If you do that, and really try hard you’re probably going to come close.
But if you sit around and you’re complacent and lazy and not really sure well then that’s how it’s going to come out. I really don’t have much of that in me. I really want to work.
It’s kind of a void now-a-days. I mean, except for the Chili Peppers and people like, say Dave Grohl (Foo Fighters). I really like him. They throw down. I just don’t have the stomach for a lot of this contrived new stuff.
gJg: Well I just hope you guys make it around to my neck of the woods this year.
FS: I’m sure we will man. If we get our way, both Jim and myself are gonna make it to every neck of the woods. That’s what we’d like to do.
gJg: I have to tell you the best show that I ever remember seeing was when you guys were with REO Speedwagon back in 1985 at Stabler Arena in Bethlehem, PA. Both of you were at the top of your game. You guys had “I Can’t Hold Back”, “High on You” and “The Search is Over” out and REO had just hit #1 with “Can’t Fight This Feeling”.
FS: That was THE tour man.
Photo Credit: Tim Hardgrove
gJg: That was the best show I ever saw. I say that only because the impact of it still sticks with me today. No other show has done that for me.
FS: That’s nice of you to say. We were really at our peak. We were just on the road having a good time. We realized that the harder we tried to make something happen it just wasn’t going to. So we just decided to have the best time we could. People still like spontaneity. People can tell.
gJg: How will you choose what songs you’re going to do this time around? I mean, aside from the hits.
FS: I think this time around we’ll look at around 45 or 50. I think we’ll actually look at the whole catalog. You can look at the fact that the keyboard player just doesn’t play keyboards but is also a killer guitar player. So now you say ok, now we can do “Love is On My Side”, “Take You On A Saturday” (from the “Premonition” album). You can go down the whole list.
Then you can think “Nothing Can Shake Me” and “Somewhere in America” from the first record and before you know it you’re saying “Hell, we’ve got 45 songs to learn!”
And then you can say, “Well, isn’t this fun? We don’t have to play the exact same set all the time. We can change it up every night.” And people can kind of be re inspired. It will be like playing a different show every night. I think that’s where both Jamo and my heads are at. It’s a good place to be, where we’re at right now.
gJg: I really appreciate you taking the time to talk to me Frankie.
FS: No problem James.
gJg: Back in the day, my guitar teacher thought I was crazy coming in there to learn songs from the Vital Signs record and me telling him that I wanted to learn “See You In Everyone” note for note… (laughs)
FS: (Laughs) Yeah, it’s kind of like me with “Black Dog” saying “Yeah, how do I play like this guy?” But I found it didn’t sound exactly the same. Then I realized it’s because Jimmy Page has got different fingers and a different soul.
gJg: I felt the same way playing your stuff.
FS: Well, that’s nice to hear. I’m glad you enjoyed it though. I really am. Thanks for your time. I really appreciate it.
gJg: No problem. It’s been great talking with you. Looking forward to what’s next with Survivor. Happy New Year to you.
In November of 2011 guitarist Frankie Sullivan and vocalist Jimi Jamison together announced that after a five-year hiatus Jimi would be returning as lead vocalist of the band Survivor. The group, which has a plethora of hits including “Eye of The Tiger”, “The Search is Over” and “I Can’t Hold Back” among others, has been recording and touring sporadically the past few years with vocalist Robin McAuley.
The news of McAuley’s departure and Jamison’s return also coincides with the announcement that Survivor will embark on a new tour in the summer of 2012. In addition, the band also plans to start work on their first album of new material since 2006’s “Reach”.
The new lineup of Survivor includes Jimi Jamison (vocals), Frankie Sullivan (guitar), Marc Droubay (drums), Billy Ozzello (bass) and Walter Tolentino (keyboards/guitar).
I was fortunate to be able to speak with Frankie Sullivan and get the inside scoop on the reunion with Jamison and a lot more. In the interest of space I’ve divided this interview into two parts. In part one Frankie will discuss the decision to go back to the classic voice of Survivor and talk about the group’s plans for 2012 and beyond.
As you read this interview you may discover that at times it sounds as if I’m being a bit biased and for that I apologize. You must understand that this band’s music has had a huge influence on me as both a fellow musician and as a person. What follows surely reflects that. For me, the excitement of having both the classic voice of Survivor back and the opportunity to speak with Mr. Sullivan personally is a dream come true.
Photo by M. Hanley
A Conversation With Frankie Sullivan (Part One)
goJimmygo (gJg):Hey Frankie, how are you?
Frankie Sullivan (FS): I’m just fine, how are you?
gJg: I’m doing good. It’s great to be able talk to you.
FS: You too man. What’s shakin’?
gjg: Right now, pretty much everything is actually (laughs). When I heard you guys were coming back with Jimi (Jamison) I was stoked.
FS: Yeah, that was the call of the century (laughs). It was a decision that wasn’t that hard to make. It took me about two seconds. I was like (referring to Jamison): “Dude, what are we doing here? C’mon”.
gJg: When I was out seeing concerts last summer I noticed that all of the bands that I loved from the 80’s were teaming up together on hugely successful tours. Packages like Journey, Foreigner & Night Ranger; REO Speedwagon and Styx. All of these groups out there and I’m there thinking to myself “Where’s Survivor? These are the only guys that are missing!”
FS: Yes and now we can finally team up with them.
gJg: What I thought was even cooler was that bands like Journey and Night Ranger, who both had released new albums, were mixing new songs into the set list instead of just playing all of the hits. It was nostalgic and it was new at the same time.
FS: Yes, it’s really cool because now they want us out there again.
gJg: Well, truth be told, I’ve been wanting you for years. (laughs)
FS: It actually took a while to get Jimi into it though. He was trying to do his own thing and sometimes you just have to try and give people space. Eventually, it all comes full circle and so now, here we are.
Jimi and I were actually talking on the phone a lot the past few years just keeping in touch. Then one day I just said to him “Dude, we should just do it again.” I know most of those players in those other bands and they all want to know what we’re doing because they want us to be on the dates with them. So I’m like,“Well, ok let’s go do it!”
So now we’re just waiting. You’ve just got to let things take their course. Jimi still has some obligations to fulfill and ours (Survivor) are done.
gJg: I noticed that Jimi seems to be playing a lot of dates in Europe and very select shows here in the states. Is there a reason for this?
FS: Oh yeah, Europe is a huge market for us. For both Jimi and Survivor. It’s a huge market.
gJg: I have to be honest, I was really starting to miss not having you guys come around a lot.
FS: Well, we’re going to be doing that again. Jimi and I just want to play forever you know? Now we can go and do that again. We just haven’t done it as a band. I think the last time we did was around 2006.
gJg: The last time I saw you guys was at Hershey Park (Hershey, Pennsylvania)
FS: Oh did ya?
gJg: Yeah, that’s where I got my Vital Signs record signed by you and Marc (Droubay, drummer).
FS: Oh really, at Hershey Park? (laughs). All the chocolate all over the place. That’s great. It will be great to get back out there again.
gJg: Oh man, I’m really excited for this.
FS: Right now we’re really having a lot of fun with just the idea of it. Once Jimi’s done with his obligations then we’ll really start picking things up. You have to finish all of your obligations otherwise it reflects on the whole rather than the individual you know?
He’s got about three or four weeks left and then we can get together, start rehearsing and go to work.
gJg: Do you have plans for a record after the tour? Have you been writing or anything like that?
FS: I’m always writing and Jimi’s actually become a good writer too. Plus he can sing anything. We’ll probably end up doing both. Spend the summer playing dates and getting on a tour package and then maybe recording during the fall/winter.
gJg: From the moment I first heard him back on the Vital Signs record right up until his newest album this year with Bobby Kimball he still sounds exactly the same. Not a sign of slowing down. He’s just unbelievable.
FS: He was actually the very first guy we tried out. (Survivor replaced original vocalist Dave Bickler following a vocal condition that would require extensive rest). I loved him from the start and everyone else in the band would say “Ok, that’s cool but let’s try out the next three or four singers”.
I was like, “Wh…wh…why?” (laughs)
So after the fourth guy I can remember saying “Man, I don’t want to do this anymore. Let’s just bring the first cat from Memphis back!” (Memphis, TN – Jimi Jamison’s hometown).
So I think it will work better in terms of new music with Jimi being more involved in the writing rather than just having to show him and say “Here, sing it this way.” He’s always better when left to his own devices.
gJg: It’s the singer not the song right?
FS: That’s what it is. That’s what it is man.
gJg: I’ve always loved the way yours and Jimi’s voices sounded. They blended so well together.
FS: We’ve always sang well together and had fun on stage. Again, it’s all just a matter of timing. People have to go off sometimes and do their own thing. Everyone at some point has to try something on their own. It only makes them bring more to the table when they do come back.
gJg: Do you have any plans to work with Jim Peterik or Stephan Ellis again this time around? (Peterik and Ellis were also part of the “classic “Survivor line-up in the 1980’s).
FS: Well you know, Marc (Droubay, drums) is still with us and Stephan doesn’t really play much anymore. I’ve seen him a few times over the past few months. He’s a really good guy. It looks like it’s going to be me, Marc and Jamo (nickname for Jimi Jamison, pronounced “jay-moe”).
Jim Peterik I’ll always call my partner. I call him that because we’ve written so many songs together over the years. But Jim’s always been trying to do his own thing. He really wants to do that.
gJg: Was it difficult letting Robin (McAuley) know of the decision to go back to the classic voice of Survivor?
I wanted to let Robin know right away of the situation with Jimi. I didn’t want to lead him on and have him possibly miss out on any opportunities that may be coming. But I’ve always loved working with Robin. He’s a real hard worker.
gJg: I see that he’s back with Michael Schenker now doing some tour dates.
FS: Yeah, he has some dates in February and March lined up. He always has a great time and I know he’ll do his best.
gJg: I remember reading on Survivor’s website not so long ago that you had a new single coming out called “How Do You Feel”. What’s the status of that?
FS: That’s a song we recorded with Robin. I told him not too long ago that I was thinking about releasing it on our website for New Year’s because people will flip when they hear it. It’s really good. But now with Jamo back I think it might get people confused.
gJg: Were plans ever made to record an entire album with Robin?
FS: Yeah, we actually had about six songs in the can and they’re all REALLY good. Robin is a great singer and a hard worker. He’s always been. I remember thinking that while working with him on his solo record back in the 90’s. I just think the real “voice” of the band has always been Jamison to give the fans what they really want.
They (the fans) kind of made it clear that’s what they wanted and this is exactly what I needed.
****
In Part Two:
I ask Frankie how he feels about the upcoming 30th Anniversary of “Eye of The Tiger”, the theme song from Rocky III which earned the band an Academy Award nomination, among other accolades, and still ranks as one of the biggest songs of all time.
I’ll also ask him about his approach to songwriting, the sessions for Vital Signs (one of the band’s biggest albums), his thoughts on current reality based music talent shows and why he believes paying your dues as a musician is so important. Good stuff.
It was a hot summer night almost thirty years ago when my neighbors drug my brother and I to the movies to see the third installment of the Rocky Balboa franchise. Not that we went kicking and screaming mind you. Any opportunity for teenage boys to get out of the house was most welcome. No, it’s just that we would have much preferred to see “Poltergeist” or better still, sneak into see the R-rated “Fast Times At Ridgemont High”. Looking back now though I’m glad we chose to consume large quantities of popcorn and Coke with Sly Stallone instead of Jeff Spicoli.
Rocky III was the film that first introduced me to Mr. T, the mo-hawked muscle man who would go on to pity fools for the remainder of the 1980’s and beyond. But Rocky III also introduced me to something else: something even more powerful than Mr. T’s gold chains or feathered earrings. It was also the film where I first heard the now infamous guitar riff for a song from a band that would change my life: Eye Of The Tiger by Survivor.
Written by Frankie Sullivan and Jim Peterik and sung by Dave Bickler (who would later achieve great fame as the singer on the Real Men Of Genius Bud Lite commercials), the theme from Rocky III is still as popular as ever three decades later. Along with winning a Grammy the song was also nominated for an Academy Award, became the #1 song of 1982, has to date over 2.5 million downloads on iTunes and ranks as the #3 best song to workout to according to Men’s Health magazine.
The band would strike Rocky gold again a few years later when the song “Burning Heart” was released as part of the Rocky IV soundtrack. Although this song didn’t fare quite as well as Tiger, the music from Survivor continues to be both inspirational and motivating to me. As you’ll soon discover, the seed planted with Eye of the Tiger would not only begin my admiration for the band but would ultimately become the spark that would fuel my life and music for years to come.
When I first started playing guitar in 1984 a new Survivor album was already making its way up the charts. Vital Signs was the first album to feature new singer Jimi Jamison on vocals and was the very first record I ever purchased. (Jamison would later go on to sing the infamous theme from the television show Baywatch). Songs like “I Can’t Hold Back“, “High on You” and “The Search is Over” were getting tremendous airplay on both radio and the early days of MTV(back when they used to play music videos). These were songs with melodies and lyrics that really spoke to me. Words of encouragement in my love less adolescent youth. Songs I wanted to learn how to play.
So while most other aspiring guitarists were locked away in lesson rooms with their guitar teachers learning Van-Halen and Def Leppard solos I was dragging my butt in with a menacing jet black Gibson Explorer asking my teacher to show me how to play “I See You In Everyone“, the final song on the Vital Signs album, note for note.
Now that I think about it I can still recall the puzzled look on my teacher’s face when I brought the album to lesson for the first time. And I can still picture him saying: “What, no RUSH?….No AC/DC?…No Bon Jovi?” and I’d just smile and think to myself, “Nope, even better!” For how could I possibly tell a man who grew up watching artists like The Rolling Stones and Led Zeppelin that the absolute best concert I ever saw in my life was Survivor and REO Speedwagon in 1985? But it was, and quite frankly still is, true.
By 1986 my longing for a new Survivor record was finally appeased. When Seconds Count was released and immediately consumed me. Songs like “How Much Love” and “Rebel Son” inspired a then seventeen year old boy to reach higher and the ballad “Man Against The World” made me want to track down keyboardist Jim Peterik himself and make him show me how to play its beautiful melody. By this point I think most of my friends knew that my whole Eye of The Tiger/Survivor phase wasn’t just a passing fad. In fact, one of my best memories of graduating high school was the post grad party my parents held where me and a bunch of other musician friends all set up our gear and played half of the Vital Signs record.
It wasn’t long before college came calling and once again Survivor was there with me. This time with 1988’s Too Hot To Sleep. I can’t begin to tell you how many trips across the miles of campus I made with “Didn’t Know it Was Love” and “Desperate Dreams” blaring on my Sony Walkman. Although the band themselves consider this to be their best album the fact that it didn’t achieve big commercial success didn’t bother me one bit. For me, much like them, it’s always been about the music and this one delivered the goods.
Once college life was over the job of real “work” began. While playing my part in the 9-5 crowd over the years I’d keep myself busy in the musical groove by writing and performing in various bands. All the while I’d find myself writing songs that were influenced by the amazing songs from those Survivor records. Unfortunately it would be quite a while before I would hear any new music from the band other than from compilation albums. Unless of course you count that hilarious Starbucks commercial.
Finally in 2006 a brand new album, Reach was released and listening to the first song and title track was a much welcomed slap in the face. The blaring guitars and drums told me that at long last the Tiger was back. I immediately proclaimed, to myself anyway, that this song should be the one they start every show with. This record not only featured guitarist Frankie Sullivan singing lead on few tracks but also contains the song “Fire Makes Steel”, yet another inspirational anthem which, go figure, was almost and should have been included in the film “Rocky Balboa”.
As you can see, I’m a huge fan of this band. I also know that the band has gone through several line-up changes over the years. Different singers, bass players and drummers have come and gone. There’s no need for me to know all the reasons why. I can personally attest to there being drama in every band so line-up changes are not at all that surprising. But it was unfortunate that Jimi Jamison, the voice that became synonymous with Survivor for me had left the group shortly after this record was released. Robin McAuley, most known for his work with McAuley Schenker Group would take over on lead vocals for subsequent tours over the next few years.
Flash forward to 2012: A surprise announcement was made that Jimi Jamison, who had released several well received solo albums since his departure five years ago, would once again be rejoining Survivor for a new album and tour. Having suffered for years listening to robotic voices and synthesized loops in what’s being peddled as “music” these days my prayers for real new music and songwriting from my favorite band is about to come true once again! To say that I’m excited is an understatement.
Ironically enough, it all seems to have come full circle for me. This “new” Survivor is going to happen nearly thirty years to the day since I first heard that guitar riff in the darkened movie theater. The summer night that changed everything for me. And the message of the song couldn’t be more true today:
I still remember it like it was yesterday. I was a teenage boy in 1984 perusing the twenty or so television channels and stumbled upon the then fledgling MTV. That’s when I first saw the video for “I Can’t Hold Back”. It was the first single from Survivor’s Vital Signs album and the first time I ever heard Jimi Jamison, a man I proclaim has the best voice in rock.
I begged my parents to buy me that record. The very first one I ever purchased. One I subsequently wore out and to this day now adorns a spot prominently on my office wall.
I’ve been an avid follower of Jimi’s career ever since. From Survivor to Baywatch to Empires and pretty much everything in between. Every song bringing me back to those carefree days of youth. I still remember walking to class on my college campus blasting “Desperate Dreams” and “Didn’t Know It Was Love” from Survivor’s “Too Hot To Sleep” album on my Sony Walkman, a brick compared to what’s available these days.
Similarly, Bobby Kimball’s vocals abound all over my youth. From Toto’s biggest hits including “Hold The Line” and “Rosanna”, his vocals also hold a special place in my own personal musical journey.
Combine these two forces together and you get Kimball-Jamison, a Mat Sinner produced album featuring twelve new tracks from two of the greatest vocalists in rock.
From the soaring vocals and guitars of the intro Worth Fighting For to the angelic sound of Your Photograph, this CD has everything the melodic rock fan could want.
“It’s my heart you’re breaking. It’s my soul you tear apart.” Worth Fighting For
I have to say that there’s really something special when you listen to this record. Something that I’ve found to have previously been lacking in music that’s synthetically released to the masses these days: great songwriting and musicianship. In a world where the robot voice and auto-tune has become the norm it’s refreshing to hear true vocalists do what they do best: sing great songs.
Any fan of 70’s and 80’s bands can appreciate the influences on this record. Forget Kevin Bacon. Within one degree of Kimball-Jamison you get contributions from: Ides of March, Survivor, Toto, Mister-Mister, Cobra, The Baby’s, Bad English and more.
“We won’t get far pretending in this house of cards.”
“Can’t Wait For Love
Included with the CD is a DVD containing a thirty minute “making of” documentary as well as video clips for the songs Worth Fighting For and Can’t Wait For Love.
You may not find me trolling college campuses these days but this album will surely find a place on my i-Pod. And if you’re a fan of melodic rock like I am, I suggest it be on yours as well.
Track Listing:
· Worth Fighting For
· Can’t Wait For Love
· Sail Away
· Chasing Euphoria
· Find Another Way
· Get Back In The Game
· I Did Everything Wrong
· Shadows Of Love
· Hearts Beat Again
· We Gotta Believe
· Kicking And Screaming
· Your Photograph
Musicians:
Lead & Background Vocals: Bobby Kimball & Jimi Jamison
Guitars: Alex Beyrodt
Bass Guitar: Mat Sinner
Keyboards: Jimmy Kresic
Drums & Percussion: Martin Schmidt
I still remember the first time I ever heard Night Ranger. My neighbor Mike, who lived next door to me growing up, called me up one Friday night and asked me if I wanted to go to the Palmer Mall. Back in the early 1980’s, having your parents drive you to the mall was all the rage. I suppose it still sort of is today but not like it was back then.
On the drive over in his parents big blue station wagon Mike asked his Mom to put in this beat up white cassette tape that he had. Mike had copied the tape from someone else and it was old school music piracy at it’s finest. “Jim, Wait until you listen to this band” he said. And from the time the first sounds of “You Can Still Rock in America” started coming over the scratchy speakers I was hooked.
“Who is this?” I asked Mike. I had no idea who this group was but it was different from anything the two of us had ever heard before. We had always been more of a Cars, REO Speedwagon and Rod Stewart type of fan that never let anything “new” enter our musical world. But this was different…and exciting.
“They’re called Night Ranger and they are friggin awesome!” Mike responded and I couldn’t agree more. All the way from our homes on South Side to Palmer Township we listened to that bootlegged tape. Hearing “Sister Christian”, “When You Close Your Eyes” and “Rumors in the Air” for the first time was thirteen year old male audio euphoria.
Upon arriving to the mall our first stop was to the Listening Booth, the only place in town to buy records. That’s where Mike redeemed himself and purchased the full on copy of the vinyl “Midnight Madness” record for us to enjoy as we played video games in his basement.
A year or so later I made one of my own very first vinyl album purchases. A copy of “Seven Wishes”, which was the follow-up to “Midnight Madness”. I remember Mike and I wearing that album out as well. We were so hooked on this band and were fortunate enough to see them live in concert at Stabler Arena. One of the best shows ever.
So now fast forward a few decades. Adult life has taken over for me and I’ve become the one listening to my daughter’s music as I drive her to the mall. As for Night Ranger? Well, they are still touring on occasion and releasing albums every so often. Some of it really great music although sadly, nothing on par with the success of the ones I mentioned earlier. The music industry has changed so much they’re just not welcome in the mainstream any more.
In March of this year, I discovered they had released another new record and were coming to my hometown for the first time in twenty some odd years and knew I had to be a part of it.
Additionally, they were offering ticket packages that included an awesome seat and a meet and greet with the band. In 1985, I probably couldn’t get anywhere near these guys. And now, for a C-note, you could get up close and personal. Which was right up my alley.
Seeing Night Ranger perform this past Wednesday night in Allentown was surreal. Most people today would have no idea who these guys are. Unless you play them a few bars of “Sister Christian” which has become they’re trademark. I found myself being taken back in the 80’s watching them perform those songs. I thought about Mike and that Friday night drive. Listening to this music for the first time. We were young, and everything was new.
Suffice to say, I was ecstatic to be ushered back to meet the band. Even though they had no idea who the hell I was, it was an emotional experience to shake hands with the guys that were indirectly a part of my teenage years.
I still had my “Seven Wishes” album that I managed to dig up from an old box in the basement. The album had sat in silence for years collecting dust. But now it too has become new as the three original members who played on it autographed it for me. The album will now be framed and adorn my wall to always remind me of that night.
The meet and greet also included one photo opportunity with the band and it was at that point that I made an odd request. I didn’t want the photograph to just be a pic of me smiling with the guys in the band. That would be too typical. No, I wanted it to be different. Something to remind me of my childhood. So in the end I brought along an empty box of Count Chocula, my favorite cereal growing up.
The band was very receptive to having the box in the picture with us. In reality though, I suspect they probably thought I was crazy because everyone I’ve shown the picture to tells me so. But the more I think about it, it’s probably a good thing if they think that way.
Because somewhere down the road, someone is going to interview them about their long, stoic career and ask them what was the oddest experience they’ve ever had with fans. And I can just picture them laughing and saying to each other:
“Hey, do you remember that guy that wanted his picture taken with a box of Count Chocula?”.
August 14th, 2011. I’ve written it down because it’s not often you are privy to the beginning of music history.
You see, I wasn’t even a twinkle in my father’s eye when The Beatles were an up and coming act. And I was just a child and never got to see when guitar greats Jimi Hendrix, Eddie Van-Halen and Randy Rhoads began and all took it up a notch.
Alas, I was starting to feel that being part of the beginning of something special just wasn’t in the cards for me. Last night though, I finally got that chance when I saw the very first Adrenaline Mob performance in Allentown, Pennsylvania.
Adrenaline Mob is the new project from some of the most talented musicians around. Featuring drummer Mike Portnoy (Dream Theater, Avenged Sevenfold), lead vocalist Russell Allen (Symphony-X), guitarists Mike Orlando (Sonic Stomp) and Rich Ward (Stuck Mojo/Fozzy) and bassist Paul DiLeo (Nena).
Having never seen an arsenal of musicians of this caliber come together before I didn’t quite know what to expect. But as the band took the stage to the familiar sounds from The Godfather movie and tore into Psychosane, the first song from its debut self-titled EP, any doubt I had as to whether or not they could pull it off was gone.
It truly was a headbangers paradise as the band wooed the audience with songs like Hit The Wall, Believe Me and the Black Sabbath/Dio classic (and very appropriate) Mob Rules.
Mixing in a few songs from their soon to be released full length album, Russell Allen told the audience “This next one’s our ballad” and I found myself wondering if this would be just another gratuitous throw away song. I was pleasantly surprised to find that their “ballad’ was actually on par with all of the other songs and Mr. Allen’s vocals were both smooth and powerful.
I felt like part of a brotherhood listening to Paul DiLeo’s killer bass grooves and sonic euphoria while shaking his head along with the rest of us.
I’ve never seen Mike Orlando perform before and as a guitarist myself I stood there in awe as I watched him shred. He is one of the most phenomenal players around and makes it look so easy. Afterwards I asked him how long he had been playing and he told me “About a week”. Very down to Earth guy. What I should have asked him was if he was available next week to give me lessons.
Rich Ward played to the crowd showcasing his amazing talent and at one point allowing members of the audience to play his guitar while he held it over them. I wished I was down front so I could have also been a member of The Mob for just one night.
As for Mr. Portnoy, well what can be said that hasn’t already? The man is a genius, one of the greatest drummers ever and also one of the nicest guys you’ll ever meet. Just a year out of leaving the mega band Dream Theater, Mike is back with a vengeance.
After a thrilling 75 minute performance, the band exited the stage once again to The Godfather theme along with intentional feedback from Mr. Ward’s guitar. Indeed, there was no better way to end the beginning.
If you haven’t done so already, I highly recommend picking up a copy of the Adrenaline Mob EP and seeing this band on their current tour so one day, like me, you’ll be able to say: “I was there when it all began”.
It’s funny how some dates just stick out in your mind. I’m not talking about the usual ones like birthdays, anniversaries, graduation dates and the like. I’m talking about ridiculous days that you never seem to forget.
For example: July 21st, 1979 is a day that sticks in my head. It was the day my father came home with this big black electric box and said “Hey family, there’s this new thing called HBO. Check it out! All we have to do is hook up this contraption to our television, turn it to channel 3 and then twist the dial on it. We’ll get to see all of these new movies they never show on TV”.
Why that particular day sticks out in my head is still a mystery to me but I’d really like to focus this blog entry on another ridiculous date two years later: August 10th, 1981. I recall that it was a beautiful sunny day just a few weeks before I started 7th grade.
The summer of 1981 was one for the books. Days were spent in our swimming pool with my cousin and having picnics. Nights were spent by the fire and chasing lightning bugs through the backyards in bare feet.
Music was also a big part of that summer. Casey Kasem’s Weekly Top 40 always filled the airwaves almost every weekend (although as a child, every day in the summer is like the weekend).
The song “Celebration” by Kool and The Gang had just come out and I remember many a night listening to its soulful lyric “We’re gonna have a good time tonight. Let’s celebrate. It’s alright!”…pumping from our little AM/FM radio that sat on the picnic table on our patio. Some nights, we’d sneak into the house and watch Smokey and the Bandit on HBO. Jackie Gleason’s “That some-bitch!” line always cracked me up.
The summer of 1981 was also the summer I got my first tape recorder. You know, one of those Panasonic job-ees. The ones with the big red button to alert you that you were actually “recording”. Ones where children with nimble fingers could press the record and play buttons with just their thumb. For something thirty years ago this was high-tech and I used to spend countless hours that summer recording anything and everything. Usually it would wind up being me interviewing myself using different voices.
On this particular day though, after listening to another “Long Distance Dedication” portion of Casey’s radio show, I had an epiphany. Why couldn’t me and my cousin do our OWN show? We could tape record it and mix in the songs we heard on the radio! That little idea turned into the one thing I remember most about that day: The Weekly Top 20.
We found out quickly that in order to stay relevant we had to record hit songs on the radio that were current. So we spent a few hours doing the prep work of recording songs off the radio (in retrospect, we were probably one of the first kids guilty of piracy). The idea of actually getting 20 songs to play in full quickly became unrealistic. Mostly because my attention span for doing this wasn’t going to last and soon the swimming pool would be calling me. So I had to get the show on the road. I think in the end we were able to get three or four songs recorded in pre-production. (I loved using technical terms as a young boy)
My cousin and I spent most of that afternoon recording The Weekly Top 20. In between songs we did little interviews with each other and talked about the music. Our number one song the week of August 10th, 1981 was “The One That You Love” by Air Supply (one that actually was the #1 song just two weeks before). We also had Foreigner’s “Dirty White Boy”, Kool and the Gangs “Celebration” and Styx’s “Come Sail Away” as part of our line up.
The moment we wrapped, I remember writing the title of our show and the date, August 10th, 1981 on the cassette tape and then making a bee line straight to the patio where my Mom and Dad were to let them listen to the finished product. I couldn’t wait to see the look on their faces as they listened to The Weekly Top 20. Seeing them smile and get a chuckle out of what we accomplished was the greatest feeling an eleven year old could have.
It sure was an exciting day. My cousin and I talked about what we would do for next week’s show and how we would spend our money once the show went into syndication. The possibilities were endless. And to celebrate our success, we went swimming.
So here I am thirty years later sitting at my computer and thinking about that day again. Technology sure has come a long way since I pressed record and play simultaneously and HBO is bigger then ever.
I sometimes wonder how we would do that show now with all the new fangled equipment available. I suppose it would be much better but in the end I wouldn’t change a thing.
But the best part of all is when ever I hear that Kool and The Gang song on the radio now or at a wedding. I get to recall all the innocence of childhood from one of the best summers ever.
The other day I finally got around to adding the $15 i-Tunes gift card I received for Christmas onto my i-Tunes account. I have to admit, although I do have a lot of songs in my playlist, most of which converted over from old CDs, I haven’t had much desire to purchase anything new as of late and hence my delay.
It’s funny how some dates just stick out in your mind. I’m not talking about the usual ones like birthdays, anniversaries, graduation dates and the like. I’m talking about ridiculous days that you never seem to forget.
go.Jimmy.go 