Song Chronicles

Season 3 Episode 5 Carole King To Be Home Again Forest Ecosystem Preservation Carole King at the 1972 Grammys Our guest today is one of the most successful female songwriters of the latter half of the 20th century, writing or co-writing 118 pop hits in Billboard's top 100 in the US and 61 hits that charted in the UK, making her the most successful female songwriter on the UK singles charts for 43 years starting in 1962. What happens when you redirect the energy, hustle and persistence it takes to make it as a songwriter into a worthy cause? Song Chronicles is proud to present this conversation between Carole and podcast host and producer, her daughter Louise in an informative exploration that delves into King's remarkable journey from being renowned for her iconic songs to becoming a passionate advocate for environmental protection, specifically through her work on the Northern Rockies Ecosystem Protection Act (NREPA). Despite her initial lack of expertise in environmental matters, King's love for nature, cultivated since her childhood, sparked her interest in ecosystem protection. photo by Elissa Kline Forest Ecosystem Preservation In 1989, King's involvement in environmental advocacy began when she encountered a bill proposed by scientists from Montana, which laid out a comprehensive approach to protecting the Northern Rockies ecosystem. This bill, based on the concept of preserving habitat for keystone species like grizzly bears, resonated deeply with King, leading her to take action by lobbying in Congress. Over the years, King faced both rewarding and challenging experiences as a volunteer advocate for NREPA. Despite the bill's continuous presence in Congress since 1992, it has yet to become law. However, King remains steadfast in her commitment to keeping the bill alive, recognizing its significance as a crucial climate solution, especially in the face of growing environmental challenges like climate change. Carole King testifying in Congress Through her advocacy efforts, King emphasizes the importance of recognizing the interconnectedness of ecosystems and the urgent need for conservation measures. Her dedication to NREPA reflects her belief in creating a sustainable future for generations to come, highlighting the vital role of grassroots activism in addressing environmental issues. clockwise left to right: Sherry Goffin Kondor, Carole King, and Louise Goffin Laurel Canyon Overall, Carole King's journey from music legend to environmental advocate serves as an inspiring example of using one's platform and passion to drive positive change in the world, reminding us of the power of persistence and determination in the face of daunting challenges.

Welcome to Season 3, Episode 3 of Song Chronicles. Our guest today is singer and songwriter Billy Valentine, who just released a new album called "a masterclass in soul interpretation" by Record Collector. Billy Valentine & The Universal Truth was chosen as the first record for the relaunch of Flying Dutchman, the iconic imprint known for releases by Duke Ellington, Gil-Scott Heron, and Leon Thomas. Billy was born in West Virginia as one of thirteen children and later moved to Columbus, Ohio where his parents owned a nightclub. His brother Alvin introduced him to the path of professional entertainer. At 15 years old, Billy booked his first paying gig after sitting in with his brother Alvin during a performance at Leon’s Cocktail Lounge in Patterson, NJ. After a stint in the original touring company of The Wiz, Billy and his brother John formed The Valentine Brothers. Together they recorded four albums and had a breakout Reagan-era protest single "Money’s Too Tight (To Mention)." The Valentine Brothers After the duo split, Billy began a songwriting collaboration with Bob Thiele, Jr and Phil Roy. The trio’s songs were recorded by Bonnie Raitt, Pops and Mavis Staples, The Neville Brothers, and his hero Ray Charles. We talk about the "pinch me" moment of hearing Ray’s recording of his song, the title track of the album My World. Ray Charles's 1993 album My World Billy’s incredible vocal interpretations made him a sought-after demo singer for songwriting greats like Burt Bacharach & Hal David and Gerry Goffin. Bob Thiele, Jr. says it was Billy’s voice that made the songs they wrote together irresistible, making Billy "the secret weapon of nearly every songwriter in LA." We talk about how Billy came to sing on the soundtrack of Boston Legal. Burt Bacharach and Billy Valentine Recording during the COVID-19 pandemic and the Black Lives Matter protests in 2020 brought Billy back to the '60s, being brought up in Ohio during the Kent State and Vietnam War protests. He chose to reinterpret iconic protest songs by Gil-Scott Heron, Curtis Mayfield, and Stevie Wonder for his new record Billy Valentine & The Universal Truth. We talk about the permanence of protest songs in our cultural landscape. After many decades in the business, Billy says he is finally feeling good in his own skin and proud of how he made these songs sound. We talk about how hard artists are on themselves and how pleasing yourself is the hardest part. He has an ageless quality about him and describes himself as having a "young heart." Enjoy this conversation with a storied interpreter of songs.

Welcome to Season 2, Episode 12 of Song Chronicles. Our special guests today are the bewitching jazz vocalist Marley Munroe, better known as Lady Blackbird, and the award-winning producer, writer and musician Chris Seefried. Together, the two created the incredible Lady Blackbird debut album Black Acid Soul, which they describe as a genre all its own they almost invented. As Chris explains, the word "jazz" could have been limiting, but he reassured Marley "you can still wear your outfits." Lady Blackbird’s vocals are often compared to legends like Nina Simone or Billie Holiday, two vocalists she feels trained her. Chris describes what it’s like to have new audiences see Marley perform — it’s almost as if she’s a star they just haven’t heard yet. As well as being a renowned producer, writer, and musician, Chris is an artist in his own right. We talk about what it’s like for him to be a part of another artist’s project as an artist himself. There’s no conflict for him because, as he says, "We get to play everything we love and listen to the greatest singer in the world sing it." Black Acid Soul might seem like an overnight success, but many years of work have gone into it. Marley and Chris in 2014 And releasing a debut record in 2020 was no easy feat — Marley and Chris couldn’t support the record with the standard touring because of the pandemic. The project was eventually embraced first by the UK, as often happens with American artists, and Lady Blackbird was invited to play Jools Holland — which Marley and Chris pushed through not realizing they both had COVID. Listen to a most joyful conversation and hear about Marley and Chris's incredible journey writing, recording and performing this world-class, era-defying music that's worthy of becoming part of serious music fans' most loved artists.

Season 2: Episode 9 Jon Platt Welcome to Episode 9, Season 2 of Song Chronicles. Our special guest is Jon Platt, the Chairman and CEO of Sony Music Publishing – a man Jay-Z proclaimed as the “the Obama of the music industry.” Jon took a quite unusual path to becoming one of the most powerful and influential (music) publishers of the past 25 years," according to Variety. Born in Philadelphia and raised in Oakland, Jon was a high school student in Denver when he took his first step into the music industry. While working in a sporting goods store, he befriended a local DJ named Thomas Edwards, who showed Jon the deejaying basics and he soon became a popular club DJ. Jon with Chuck D. photo by Desiree Navarro/Wire Image Jon's next life-changing moment came when Jon was MC’ing a Public Enemy/Ice Cube concert. He got to talking with Public Enemy’s front-man, Chuck D, who told Jon not to settle for just being a DJ. “My music dream started the next day from that day,” Jon reveals in our conversation. with Jay-Z Inspired by Chuck D's words, Jon began managing some songwriters and producers in Los Angeles. In 1995, he got a low-rung job in EMI’s A&R department and quickly struck gold by signing Marqueze Etheridge, co-writer of the TLC’s smash, “Waterfalls,” one of the year’s – and the decade’s – mega hits. He credits his “DJ instincts” for his talent for breaking records like “Waterfalls” as well as his role behind the making of the Jay-Z/Alicia Keys smash single, “Empire State of Mind.” Jon (on the right) with Sean Combs, Jay-Z, and Clarence Avant, one of Platt's mentor figures. Photo by Kevin Mazur/Getty Image At EMI Music Publishing, Jon signed Kanye West, Jay-Z, Diddy, Beyoncè, Drake, and Usher, while working his way up to being President of North America, Creative in 2011. He later moved Warner/Chappell, where he was appointed Chairman and CEO in 2015. Then in 2019, he took the same positions at Sony Music Publishing, the world's No. 1 global music publisher with a catalog of over three million songs. Highly respected inside and outside the music business, Jon has received such honors as SESAC’s Visionary Award, Morehouse College’s Candle Award in Music, Business and Entertainment, and Black Radio Exclusive Magazine’s Man of the Year, and has been a perennial presence on Billboard’s prestigious Power 100 list. with Pharrell Williams. Photo by Frazer Harrison, Getty Images Jon’s most cherished honor, however, is the City of Hope’s Spirit of Life Award - because the event raised more than $6 million for the hospital. He wholeheartedly believes in the importance of helping people because you can help. This belief is underscored in the story he shares about assisting in getting Kanye West onto Usher’s Confession tour along with his many philanthropic endeavors – such as starting the Big Jon Platt Scholarship Program in 2005 to help Denver high school students go to college. Jon with his wife, Angie, Usher, and Rita Ora He’s extremely proud too for being able to assist songwriters during the pandemic. Jon, who has championed songwriters throughout his career, helped to have Sony’s COVID Global Relief Fund donate over $2 million to songwriters – and not just Sony Music Publishing songwriters -worldwide. We also discuss the Music Modernization Act, which he believes is a step in the right direction for songwriting compensation. It’s important, Jon says, “to do the right thing by songwriters.” Photo by Mary Beth Koeth Please enjoy this very special conversation with Jon Platt as he offers his perceptive personal insights along with talking about his unique place in the music business, and his love for music and music-makers.

Welcome to Episode 7 of Season 2 of Song Chronicles. Our featured special guest is Aaron Lee Tasjan. We spoke back in February, right after the release of his fantastic new album Tasjan! Tasjan! Tasjan! Aaron's newest album Aaron has led a fascinating life. He's lived in many different corners of the country, and has worked with the New York Dolls, Lucinda Williams, Jack White, and Tony Visconti. In this conversation, Aaron shares insights he learned from the artists he's connected with along the way. While living in Ohio at age 16, a song of Aaron’s caught the attention of Peter Yarrow, who invited Tasjan onstage to perform with Peter, Paul and Mary. He learned from Yarrow how far songs can go from their intended meaning based on the projection of the listener. After earning a full scholarship to Berklee College of Music, Aaron dropped out after only one semester to get on with the business of making music. "Learning, that's a two-way street — you have to be open to it," he says. At the age of 19, he moved to New York City to start living his dream and had to figure out how to become part of the city's network of working musicians. Eventually, he got encouragement from and got to work with some of his Mount Rushmore musical heroes. We talk about the lessons he learned about creative passion and work ethic during that time and how he found community within the NYC music scene. Aaron met singer-songwriter Justin Tranter and together they formed the glam rock band Semi-Precious Weapons. Tony Visconti produced their debut album. We talk about what makes rock & roll work — Aaron’s take is that rock & roll is slightly embarrassing — and how the band’s manager BP Fallon created rock & roll moments for them, such as connecting them to Kate Moss for a hang that got them on the cover of the Daily Mail. After Aaron left Semi-Precious Weapons, he spent three years as lead guitarist for the New York Dolls. Aaron playing with the New York Dolls Since 2013, Aaron has lived in Nashville, writing songs and recording genre-defying solo work. In this time, he has released five solo albums: In The Blazes (2015), Silver Tears (2016), Karma For Cheap (2018), Karma For Cheap: Reincarnated (2019), and Tasjan! Tasjan! Tasjan! (2021). His songwriting can be heard on recordings by Pat Green, Yola, BP Fallon, and JD McPherson. We discuss the good and bad parts of the professional music culture in Nashville. BP Fallon and Aaron Lee Tasjan Aaron's fashion sense is all his own. He makes some of his own clothes, such as the sweater seen on the cover of Tasjan! Tasjan! Tasjan! We talk about what songwriting has to do with sewing and other ways he finds creative inspiration in non-musical activities. Aaron in the sweater he made Enjoy this conversation with Aaron about everything that goes in to a creative life.

Season 2: Episode 4 Bob Ezrin Episode 4 of Song Chronicles Season 2 presents the first of our two-part interview with the renowned producer Bob Ezrin. Since the 1970s, Bob has been the producer of some of the biggest albums in rock history. Here are some of the albums he did during his first decade as a producer: KISS’s record Destroyer, Lou Reed’s Berlin, Peter Gabriel’s solo debut, Pink Floyd’s landmark record The Wall, and seven hit albums with Alice Cooper. Bob with Alice Cooper circa 1975 A Toronto native, Bob launched his career at the age of 19 when he got a job with Jack Richardson, a top Canadian producer. In this episode, he reveals the funny circumstances involved with his first producer’s gig: Alice Cooper’s breakout record Love It To Death. The important mentorship he received from Jack was a reason behind Bob starting the Nimbus School of Recording & Media, a school he co-founded with Jack’s son, Garth. During our conversation, Bob touches on what he sees his job is as a producer, and why he feels it is vital “to keep the passion and wonder of youth for as long as you can.” Bob in the studio with Phish's Page McConnell Bob has produced albums for Deep Purple, Rod Stewart, Jane’s Addiction, The Deftones, The Catherine Wheel, Hanoi Rocks, The Jayhawks, Phish and more. Bob and Deep Purple's Roger Glover He also has made soundtrack albums, produced classical acts like 2CELLOS and the Canadian Tenors, and made opera superstar Andrea Bocelli’s first #1 album, Si. Bob at work on Andrea Bocelli's album In the 1990s, Bob helped start the computer software company 7th Level and the internet radio provider Enigma Digital. He co-produced the star-filled 2009 benefit The Clearwater Concert, which celebrated Pete Seeger’s 90th birthday and, more recently, was involved in the stage version of Berlin. The stage adaptation of Lou Reed's Berlin You will also hear some fascinating behind-the-scenes stories about the making of The Wall, including the studio technology that Bob introduced to Pink Floyd. Bob welcomes Alice Cooper, Desmond Child and Louise to his studio. Photo by Kyler Clark And this is just half of our entertaining interview with Bob Ezrin! You’ll hear more from him in the next edition of Song Chronicles. But for now, enjoy the first of our two episodes with the one and only Bob Ezrin.

Season 2: Episode 2 Robin Danar “I work in the shadows.” For over forty years, Robin has operated behind the scenes making performers sound great whether he is manning the board in the studio or handling the front-of-house sound in venues large and small around the world. The New York City native started hanging out with college DJs in Albany when he was a university student and soon found himself friends with musicians who were going places, writing their own songs. He went to NYC and introduced himself at CBGB, offering to sub for their front of house mixers and after getting the opportunity to fill-in doing freelance for them, hit it off with owner Hilly Kristal, becoming their full-time staff sound man in the late '70s. He got to mix for some iconic bands during their early days. Robin working at CBGB Robin also took a janitor job at RPM studios – a job that served as a way into learning engineering in a recording studio from mentors like engineer Jim Boyer (Billy Joel, Steve Winwood) and legendary producer Phil Ramone. Some years later, the word on the street got out that he was known for his skills at getting a whole band, and particularly vocals, to sound great — so you could hear all the emotion and lyrics. He went on tour to mix sound for the likes of Laurie Anderson, Suzanne Vega, Cyndi Lauper, The Church, The Blue Nile, The B-52's, and more. Robin's four-decade-plus career experience gave him a unique perspective where he is knowledgable in every stop along the way of an artist's career. Sometimes called to develop bands A&R wanted to sign, he also produced albums — even one of his own as artist-producer; he'd help performers focus their live performance; he understood how to tune a room, get the audience to enjoy a great mix no matter where they were seated or standing, the ins and outs of how to run a venue, the daily attitudes and devotion of a crew, how to keep performers feeling comfortable and at their best; and most of all, he's been the guy who knows what to do to make sure the artists and the audience can have fun at every gig. At work at a show for The Church “My goal is to make the performer be heard the way that they deserve to be heard so they can succeed.” When he moved to Los Angeles, Robin collaborated with Nic Harcourt and the prominent NPR station KCRW, serving as a producer on the station’s “Sessions” series and "A Sounds Eclectic Evening" fundraisers, where six bands would perform on a revolving stage. 2008's Altered States, a unique producer-as-artist album featuring vocalists like Lisa Loeb, Rachael Yamagata, Pete Yorn, and the Blue Nile’s Paul Buchanan. At McCabe's with assistant John Calacci Robin also mixes for shows he's passionate about, such as the revered McCabe’s Guitar Shop. For many years, he has been involved with the Wild Honey Foundation’s benefit concerts, where an all-star lineup of performers put on once-in-a-lifetime memorable tributes to a specific album by much loved bands like The Beatles, The Beach Boys, The Kinks, The Band, Big Star, and more. These shows raise money for autism research. Before COVID-19 venue lockdown, these shows were a yearly highlight for the Los Angeles community. With singer Skylar Gudasz for a Wild Honey concert (Photo by Steve Appleford) Since its opening in 2015, Robin has served as production manager at L.A.’s acclaimed Teragram Ballroom. After the pandemic hit, he started working with NIVA (National Independent Venue Association) and its Save Our Stages initiative, helping to compile a “bible” of production-focused protocol to help venues reopen safely and keep business flourishing. Jeff DelBello, Ken Blecher, and Robin at the Teragram Ballroom Throughout his interview, his hard-earned advice from his experiences within a diverse range of jobs he's excelled at throughout his career is invaluable for those working — or wanting to work — in the music business. Whether it's the value of keeping

Episode 12 The McBroom Sisters "Did you exchange a walk-on part in the war for a lead role in a cage?" After spending years working on other people’s projects, the McBroom Sisters have just released their own album – and done so on their own terms. In this episode, we talk with Durga and Lorelei McBroom. These incredible sisters are on the shortlist when some band needs a powerhouse guest vocalist, and they each boast star-studded resumes that any musician would envy. Durga and Lorelei on stage with Steve Hackett Lorelei has done major tours with Pink Floyd, the Rolling Stones, and Rod Stewart, along with working with a diverse range of musicians, including Nile Rodgers, Mark Collie, Chris Isaak and (with her sister) Steve Hackett from Genesis. Her songs have been recorded by Sister Sledge and Earth, Wind & Fire’s Philip Bailey, and, for the past decade, Lorelei has been a featured vocalist for the acclaimed Australian Pink Floyd Show. Lorelei singing with Rod Stewart Durga also has sung with Pink Floyd – both in the studio and on tour. Her techno rock duo Blue Pearl, with Killing Joke bassist Youth, scored a hit with “Naked In The Rain” and she collaborated with Billy Idol on his Cyberpunk album. Durga has performed with numerous Pink Floyd tribute groups, and now fronts the tribute band Pink Floyd Legacy. Durga performing in the Pink Floyd Show UK In our conversation, the McBroom Sisters talk about how their busy careers resulted in their debut album taking seven years to finish and how the pandemic factored into completing it. The album’s title, Black Floyd, reflects their extensive connection with Pink Floyd’s music and also pays homage to the many black musicians who influenced rock ‘n roll. Besides putting their own stamp on several classic Floyd tunes, the sisters also showcase their own original material on Black Floyd, which includes co-writes with long-time Pink Floyd collaborators Jon Carin and Guy Pratt as well as Motörhead’s late frontman Lemmy Kilmister. Louise with Lorelei and Durga Our host and producer Louise is also one of the album’s guest performers, singing with them on “Wish You Were Here.” Durga and Lorelei candidly discuss being black women in the rock world, the image of women in society, and how they have used their sexuality in empowering ways. Please enjoy this insightful conversation with Durga and Lorelei McBroom on episode 12 of Song Chronicles.

Episode 10 Gloria Estefan Part 1 Song Chronicles is proud to present its tenth episode, part one of a two-part conversation with Gloria Estefan. The Cuban-American singer achieved worldwide stardom in the mid-80s. Her long, successful career has been recognized with the Presidential Medal of Freedom, Kennedy Center Honors, the American Music Award for Lifetime Achievement, and induction into the Songwriters Hall of Fame. Additionally, her life and musical career with her husband Emilio serve as the basis for the Broadway musical On Your Feet! I spoke with Gloria from her home in Miami Beach on August 19, the week after the release of her long-awaited album Brazil305. During our conversation for Song Chronicles, Gloria spoke on a wide range of topics, from her start in the music business to the art of songwriting and music that has influenced her. She also speaks about the importance of family — throughout her life and during the pandemic — and a mother-and-daughter theme runs through the interview. This seems quite appropriate since I got to know Gloria in 2013 when she performed at the White House as part of the Gershwin Prize ceremony honoring my mother Carole King. Gloria Estefan performs at the Gershwin Prize ceremony honoring Carole King Photo by Pete Souza. Courtesy of The White House Gloria came from a family that was full of musicians. Her mother was a born performer who actually won a Shirley Temple contest that included a trip to Hollywood. Gloria’s grandmother, whom she described as being very forward-thinking for her time, was ready to take Gloria’s mom to Hollywood; however, her grandfather forbade them from going. Gloria's mother and grandmother Gloria was two when her family arrived in America from Cuba. As a child, Gloria enjoyed singing but she was introverted and shied away from performing. Her grandmother, who was like a stage mother to her, urged Gloria to sing, telling her “you won’t be happy unless you do what you are meant to do.” Gloria shares the funny story about the first time she met Emilio Estefan in 1975 when she was 17. His accordion was covering his shorts “so it looked like he was naked” but “he had great legs.” That summer, Gloria saw Emilio’s band, the Miami Latin Boys, play at a wedding. He asked her to sing; she did and got a standing ovation. He asked her to join his band but she said no. Eventually, though, she said yes, remembering what her grandmother had told her. Her mom, however, was quite upset over her joining the group, so Gloria got her cousin, Mercy, to join too. That is Gloria on the right Emilio loved the first song Gloria ever wrote, “Tu Amor Conmigo,” so much that it was put on the band’s first single. Since there were now girls in the Miami Latin Boys, they needed to change their name. Gloria says that she didn’t like the name Miami Sound Machine; her idea was simply Miami, but the new name served them well. That first single was a big hit in Latin America, where they played to large crowds, but it wasn’t a hit in America, where they still played weddings. This taught her that fame “can go away as fast as it comes,” adding that “it was important that I had a good ten years before worldwide success exploded” because it allowed her to be more relaxed and honest on stage, which in turn made her a better live performer. Gloria and Emilio on their wedding Day Courtesy of Gloria and Emilio Estefan Gloria married Emilio in 1980 on the day that she turned 21. She admits that they are “a rare combo.” She says that they are two different types who “empower each other” and are “strong-willed but not (with) big egos.” She also describes Emilio as "the biggest feminist that she knows" with "no qualms with women being in positions of power." She admires his “uncanny ability to zero in on the one line or one part that I was having doubts” about in a song. This has strengthened her skills in crafting songs. Much of her songwriting is i

Episode 8 Al SchmittPart 1 Song Chronicles is proud to present the first of a two-part interview with Al Schmitt. These episodes offer a unique behind-the-scenes look - from a master of his craft – on what happens on the other side of the glass when musicians go into a recording studio. Al Schmitt is the definition of a living legend. During his unparalleled career, the 90-year-old engineer/producer has worked with an incredible list of musical giants: Frank Sinatra, Duke Ellington, Sam Cooke, Barbra Streisand, Henry Mancini, Ray Charles, Bob Dylan, Paul McCartney, Willie Nelson, Neil Young, Steely Dan, Celine Dion, Queen Latifah, and more are names that only scratch the surface of a career of the highest excellence: his knowledge and work ethic makes the greatest of greats want him at the helm. The arc spans far and wide with Frank Sinatra to Bob Dylan singing Sinatra, as well as Nat King Cole & Natalie Cole’s “Unforgettable”. Al Schmitt with Niko Bolas Now in his seventh decade at the board, Al has hardly slowed down. He has just finished mixing a new album from Diana Krall, with whom he already has earned three Grammys. In fact, Al has won more Grammys – 20 – than any other engineer and ranks among the top 15 of all-time Grammy winners. During Neil Young sessions at Capitol (Neil Young and Niko Bolas pictured) I met Al when he came to speak to the members of the Blackbird Academy’s audio engineering program that I enrolled myself in last year in Nashville. He came in with his good friend, and fellow producer/engineer, Niko Bolas, who I've been fortunate to know since I was 18, when I was recording at Record One in Sherman Oaks (a studio once owned by Allen Sides as part of Ocean Way), where Niko was working alongside producer/engineer, Val Garay. I spoke with Al recently, August 4, 2020, during the quarantine. We spoke via video on Zoom, talking about his illustrious career, innovative recording techniques, and the musicians who he’s worked with. Al Schmitt and Steve Genewick Al developed his love for the studio very early in his life. As a child, the New York City native hung out at the recording studio owned by his uncle, Harry Smith. Not the folklorist Harry Smith but the Harry Smith (née Schmitt) who ran the first independent recording studio on the east coast. He was starry-eyed with his uncle’s work and life. Les Paul was his “Uncle Les,” who took young Al to hockey games, boxing matches, and bar. Smith instilled in Al some valuable lessons about studio work, such as: “You’ve got to treat your equipment like a Swiss watch and it’ll take care of you”. Al says that’s why you’ll never see him putting coffee and stuff like that on his console. His uncle also lined up an apprenticeship for him, then 19 and just out of the Navy, at Apex Recording Studios, where he received tutelage from another of his mentors, the fabled engineer/producer Tom Dowd, who Al describes as “one of the great engineers of all time.” It was at Apex too that Al ran, quite by accident, his first recording session for none other than Duke Ellington – and a very kind Duke, who told the novice engineer: “Don’t worry son, we’re gonna get through this. It’s gonna be fine.” Al has become known for his clean, unembellished sound, which he developed early on when he only had a few microphones to work with. This taught him the importance of mic placement to get the sound right for a take, particularly because there wasn’t the technology yet to go back and fix a take. “I've always been an experimenter with microphones and how to set up things,” he reveals. “I set up a big band one day and the next day I'd set them up exactly the opposite and I'd move them around the room until I got the best place.” Al Schmitt & Niko Bolas with John McBride, visiting the students in Mark Rubel's class at The Blackbird Academy (we all wore ties in their honor) After close to a decade in New York (where he also wo

Episode 6 Peter CasePart I Song Chronicles is proud to present the first of a two-part interview with Peter Case. For Peter, music is an economy of energy, a spiritual economy. His career stretches out over half a century and is still going strong. Through the experiences he's had, the different band line-ups, the travels, the epiphanies, the inspiring companions, he pours vibrancy into each new musical chapter. Case, a native of Buffalo, New York, dropped out of high school when he was fifteen and traveled before replanting himself in San Francisco in 1973. You can see a young Peter in action during this period, in the documentary Nightshift, directed by Bert Deivert, where the director and subject wandered the streets looking for places to play, cash to earn, and food to eat while meeting with people anywhere on street corners and filming. In 1976, he teamed up with two other bandmates, Jack Lee and Paul Collins, to form The Nerves in San Francisco. (Jack was the sole writer of The Nerves song "Hanging On The Telephone" which was later recorded by Blondie). The band moved to Los Angeles and performed in many of LA's punk-era venues, and soon they went on a national tour opening for The Ramones and Mink Deville. They broke up in 1978. photo by Greg Allen The Nerves One Way Ticket - 1977 In 1979, Peter formed The Plimsouls, which, after the release of their debut EP Zero Hour, started building a significant live following in California. They had record deals with two major record labels (Planet/Elektra in 1981 and Geffen Records in 1983). In 1982, "A Million Miles Away" was released as a 12" single and the song was a radio hit in California and in some other regions of the U.S. The Plimsouls Live! Beg, Borrow & Steal (1981) The Plimsouls - Beach Town Confidential - 1983 "The gimmick of the band was to have high standards", says Case. The Plimsouls lasted until January 1st, 1985 and, in this interview, Peter charts the course of the musical changes he made after the band broke up, how songs, stories and words made playing solo appealing to him, despite having to carve out a new audience after losing half of The Plimsouls fans. "I love The Plimsouls, but my life took off in another way. [Playing solo] enabled me to put together a lot of things that I loved...to get away from that strict environment of the four-piece rock and roll band". Throughout his life, he'd seen performers that made deep impressions on him, such as Lightnin' Hopkins, Simon and Garfunkel (with one guitar in 1967), Arlo Guthrie, James Taylor, John Hammond Jr., Dave Van Ronk, Pete Seeger, an under-the-radar folk singer and actor, Cedric Smith (Perth County Conspiracy), Fred Neil, Memphis Slim, Mississippi John Hurt, and more. Like musicians before him, Case would at times have a band ready in different towns but once he realized that what he could do solo was more unique, less turned into more: more range in the story-telling of the songs, more potency in the groove, and it worked. Traveling light is the way to go if you're an independent musician. Even traveling light, Peter grooves heavy. The Man With The Blue Post-Modern, Fragmented, Neo-Traditionalist Guitar 1989 He made a self-titled solo album, Peter Case, released in 1986, on Geffen Records, produced by both T-Bone Burnett and Mitchell Froom. One of the songs on it, "Old Blue Car," was nominated for a Grammy Award. Robert Palmer of The New York Times chose the album as the No. 1 release for 1986 in his year-in-review wrap-up. The album had contributions from Mike Campbell (of Tom Petty and The Heartbreakers), John Hiatt, Jim Kelter, Jerry Marotta, Roger McGuinn (of The Byrds), Richard Thompson, Van Dyke Parks and included songs co-written with Victoria Williams (Peter's first wife) and T-Bone Burnett. 1986 Peter describes having record deals: "When you're on those labels, you know, as you well know, you

Episode 4. Kathy Valentine Song Chronicles is proud to present its fourth episode, a conversation with American musician, songwriter and author Kathy Valentine. Kathy was a member of the first, and to date, only all-female band that wrote their own songs and played their own instruments to top Billboard charts at #1, having one of the most successful debuts of all time. The Go-Gos sold over 7 million records. When they went on tour opening for The Police, they soon rose up the charts surpassing the headliner, with Sting breaking open a bottle of champagne for them to celebrate. The Go-Gos To be in a band of young women frought with both tension and love, who stuck together through the rigors of the road and high profile promotion, defying stereotypes, brought intense challenges. The only way its band members could survive to lead healthy and successful lives was to leave behind the band that had brought them together. Kathy’s memoir, titled All I Ever Wanted, is an inspiring and honestly told story. She’s found her way to discover her own voice as both a writer of prose and a lead vocalist, playing multi-instruments on her own songs, which she’s used to create a soundtrack to her book. The music stands on its own as a body of work. It’s a great soundtrack! She tells her story without the affectations of someone trying to sound “writerly.” Kathy and I knew one another throughout the years at a distance but became friends when we both found ourselves expecting within months of one another. We both have 17-year-olds so we’ve known each other a while and she’s awesome. I'm honored to be able to present to you the first Song Chronicles stay-at-home interview ever... with the bad-ass, magnificent Kathy Valentine.

Episode 2. Desmond Child It is with great pleasure that Song Chronicles presents Grammy-Winning Producer, Recording Artist and Songwriter Desmond Child. *Song Chronicles is a brand new podcast series hosted by Louise Goffin. The complete 32 episodes of The Great Song Adventure podcast hosted by Louise Goffin & Paul Zollo can be found on thegreatsongadventure.com. Desmond Child, the son of Hungarian father Joseph Marfy and of Cuban songwriter Elena Casals, is a highly driven genre-defying songwriter and producer, who can easily be introduced to those not in-the-know as a "hitmaker to the stars". His credits appear on more than eighty Billboard Top 40 singles spanning five decades, including “Livin’ On A Prayer,” “You Give Love A Bad Name,” “I Was Made For Lovin’ You,” “Dude Looks Like A Lady,” “Livin’ La Vida Loca,” “Waking Up In Vegas.” and many more. February of 2020, Nashville TN, in a Charlotte Avenue storefront building filled with instruments and books, Desmond sat down with Louise Goffin and talked about some of the songs he's been a part of writing, artists he's collaborated with, and how real-life circumstances inspired some of the songs that became part of the zeitgeist of popular culture. In this engaging conversation, Child reveals his great love of his family, his passion for working towards a better future for songwriters and not least, leading the way forward toward a more open-minded world for his two sons. Desmond has no shortage of gratitude for his creative and varied life, partnered alongside his loving husband ("people like me because they like him!") and it's easy to see how his spontaneity and truthful read of those around him gifts him with a knack for drawing out the archetypal themes wanting to be written in the room, collaborating with artists who are searching to find something they truly want to sing about. A graduate of New York University, once upon a time, Child and Maria Vidal, along with Myriam Valle and Diana Grasselli, formed Desmond Child & Rouge, recording two albums for Capitol. Next moves led him to collaborate with Paul Stanley of KISS and create two of the band's most enduring hits: “I Was Made for Lovin’ You” and “Heaven’s On Fire.” A winning streak had begun. From Aerosmith to Zedd, his songs have been recorded and performed by a wide variety of both entertainers and collaborators, defying genre limits, with superstars as diverse as Bon Jovi, KISS, Cher, Joan Jett, Alice Cooper, Barbra Streisand, Michael Bolton, Ricky Martin, Katy Perry, Kelly Clarkson, Carrie Underwood, Garth Brooks, Meat Loaf, Cyndi Lauper, Christina Aguilera, Sia, Mickey Mouse and Kermit the Frog. with Joan Jett Songwriters Hall of Fame "Desmond is a slave-driving slut" - Alice Cooper with husband Curtis Shaw left to right: Jon Bon Jovi (born John Francis Bongiovi Jr.), Cher, Desmond Child, Steven Tyler "Lady Liberty" performed by Barbra Streisand Steven Tyler (Aerosmith) KISS Bob Ezrin's Studio, Nashville TN Desmond Child and Louise Goffin (reflection of Alice Cooper in glasses) photo by Kyler Clark Bob Ezrin, Alice Cooper, Desmond Child, Louise Goffin photo by Kyler Clark