Tag Archives: AmeriKarma

DownTown Blog – The DownTown Demos (AmeriKarma  Demos & Final Versions)

The AmeriKarma album was released in 2023 and it became something bigger than I ever could have expected. It was a career-defining moment. My streaming numbers jumped 6-fold to over 3 million streams on Spotify! But the stage had been set a few years earlier. At that time the very idea of an AmeriKarma album was non-existent. How did it happen?

At the core of AmeriKarma are 4 songs: Live, Shadow Walk, Fly and When The Angels Sing. Back in 2013 I was working on a Sync Project for TV. I was up in New Hampshire in a private studio for 3 days and recorded 15 tracks. These were all instrumentals for about 2 minutes each. When I finished recording, I came home to listen to the results. There were a few tracks that I thought were very cool and decided to flesh them out a bit more, recording bass guitar and some extra guitars. I did this on my Tascam 8-Track Digital recorder, putting the studio mixes on Tks 1 & 2. This gave me 6 extra tracks to work with. Once I finished overdubbing the extra tracks, I mixed the 8 tracks down to 2-Tk stereo. The last song I recorded was Live and that was the only song not recorded in the studio. I did it all on the 8-Tk.

I found myself listening to these 4 tracks in particular. I could hear the potential of turning them into real songs with melodies and lyrics. I kept coming back to them off and on, trying out melodies and possible arrangements. I could make this a verse and this a chorus. But it wouldn’t be until 2018 that I finally started writing them as songs. I knew I needed to start thinking about a new album. It was already 2 years since my last one Rock’nRoll Romantic. With the competition in streaming, I was behind the eight ball. The days of putting out an album every 2 or 3 years were over. You might as well be starting from scratch every time.

I had this track called The Wish, sitting in the can since 2010. The track was done but I never finished the lyrics for it. So in January 2018 I decided I was finally going to finish it. Generally, what usually happens when I start being creative, ideas for other songs start coming in. While working on The Wish, I began to look at these other 4 tracks and finished 2 of them—Live and Shadow Walk. By October I had booked studio time at The Spa with Stevie DeAcutis. I cut 4 tracks in the 1st week of October and a couple of weeks later went for my annual physical. That did not go as well. My doctor said my blood count had dropped to 7! (This is time for a blood transfusion) He wanted me to come in for a bone marrow test…not fun!

Stephen & Rob

On Halloween 2018 my doctor called to tell me the results of a bone marrow test. The diagnosis was MDS, short for Myelodysplastic Syndrome, a pre-condition of Leukemia. When I met with the Leukemia doctor, he said my body was making irregular cells called Blasts at 12%, which is considered high because at 20% it’s full-blown leukemia. He said I had 3 months to get it under control and then get a Stem Cell Transplant to cure the MDS. He said I was good candidate for a new Drug Trial he was heading up, if I was interested. Of course I’m interested! 3 months later my Blasts fell to 2% and I was ready for the transplant. It literally saved my life.

When I came home to recover, I went back to the music I had started working on before going into the hospital. I decided I wanted to add a 3rd verse to Live. The strange thing about the song Live was that I thought I wrote the lyrics after my transplant. I had been in such a fog in the hospital that I forgot when I had written it. It wasn’t until I went into my workbook when I was finishing writing the lyrics to Shadow Walk that I saw the date for the lyrics of Live—January 2018! Talk about life imitating art!! They say that truth is stranger than fiction and here’s a case that bears that out. Somehow my subconscious was telling me I needed to have a positive frame of mind for something that was coming my way. I had written a song about wanting to live life to the fullest, 10 months before I was diagnosed with MDS!

With my hero donor Marc

It was only 6 months after my transplant that the world was hit with the Covid-19 pandemic. Now everyone would get to experience what I had just gone through—Isolation, Quarantine in their homes. It was crazy. It was also historic. Nothing would ever be the same as we knew it before. It was under these circumstances that AmeriKarma started to take shape. I went to work on my music. Fly came quickly. It was one of the last tracks I recorded in New Hampshire and something about the turn around chords reminded me of Peggy Sue by Buddy Holly, which is what I called it (Buddy Holly) before it became Fly.

After having written 2 intense kind of songs with Live and Shadow Walk, I looked at Fly as sort of “comic relief”. I kept singing “I just want to fly, I just want to fly’. Let me out of here, you know? It’s simple, why not go with it? So, I did. It came together easily enough. Now I had 3 songs finished. The 4th track that was my favorite was called Acoustic Heart. I loved the vibe of the track and its simple acoustic lines. But for some reason I could not get a melody for it. I mean I worked on this song off and on for years! I decided that I would turn it into a rocker on piano. I even had a title—Birds of A Feather.

Robert on the Breedlove

In 2021 we moved from our home of 43 years, 90 miles down the NJ Parkway to Ocean County to be closer to the ocean. When we finally moved into our new home I was unpacking my computer and started listening to my iTunes. Acoustic Heart came up. I hadn’t heard it in quite awhile and I was pleasantly surprised to be hearing it now. And then it happened…as I was listening I suddenly realized why I hadn’t been able to write a song from it. The simple acoustic guitar lines had been in the way all along. I also realized that if I sang those acoustic lines as the melody, I could write the song!

I quickly picked up my guitar and started to try it out. YES!!! It worked!!! This would become When The Angels Sing. If AmeriKarma was going to be about the pandemic, I needed a song about Death. Like many people who lost friends and family to Covid-19, Death was something that touched everyone. I lost my cousin and my engineer of 20 years within 24 hours of each other. No funerals, no paying final respects, NOTHING. I worked with Ben Elliott for 20 years at his Showplace Studios. In his last days, his partner was selling the studio from under him. I can’t imagine the stress it must have placed on him. Ben had recorded everything by DownTown Mystic. Where would I go to record?

Ben Elliott

Having made the move to Ocean County put me within 30 minutes of Shorefire Studios in W. Long Branch, NJ. I hadn’t worked there in 35 years, when Garry Tallent was a co-owner. Garry sold his share in the 90s. The new owner was a guy named Joe DeMaio, who bought the studio in the mid 90s. I called Joe and asked him if still had that old board, which was one reason I never went back. He said he sold it and replaced it with one of the last Helios boards ever made. This was the board used at Trident Studios in London where The Beatles, Stones and the cream of the English music scene record all those classic albums. I didn’t know it at the time but I had found my new home. 😊

I had been planning to record once the pandemic had passed. I sent the demos to drummer Steve Holley and bassist Paul Page and planned on a session for January 2022. One day Steve calls me and tells me how much he’s knocked out by the songs. This is Steve Holley! He said he was blown away by the demos. He can’t stop listening to them. Now I’m blown away! I’ve never had a conversation like this with the great Steve Holley. The man’s a legend. Something is happening. I feel like I’ve arrived! On January 15, 2022, a week before my birthday, the 1st sessions for AmeriKarma take place at Shorefire Studios.

Shorefire Entrance

For most of 2022 I was in the studio overdubbing and mixing the album that would become AmeriKarma. Actually, the album had no name at this point. Every month I worked with Joe DeMaio, averaging 25-30 mixes on each song. By May I knew I had to release Fly as a single. I had not been that big a fan of the song, but Steve Holley said it was a great song. I had Steve come back to do harmonies and background vocals. He’s so talented. Probably the best all-around musician I’ve ever worked with. Once I put the 12-string Rickenbacker on the track and cut the lead vocal, I could hear that Fly was the lead track for the album. Things started to fall into place as if by magic.

Having had the incredible experience of having my life changed by the transplant to creating the album of my life fills me with gratitude. It’s so hard to put into words because the feeling and emotions go so deep. It is in this spirit that I decided to put out The DownTown Demos for the 2024 Holidays as a thank you to all who listened and streamed AmeriKarma, as a way of giving back to share my story. I’m so grateful to be alive and making the music that I want to make. I want to offer hope to those who might be facing hard times in their own lives. Stay in the moment and be positive. If I could do it, so can you. Peace. 😊

DownTown Blog – Day of Reckoning

There have only been 2 songs that I’ve heard in a dream and somehow managed to wake up and then get up and put them on tape. Day of Reckoning is one of those 2 songs. I heard this hook playing in my head. It was getting louder and I could tell that it was worth remembering. At that point I was starting to wake up. I could tell I was asleep and that I had a choice to make. Continue to sleep or wake up and try to remember what I was hearing.

I knew I had to make a decision quickly because I was becoming awake, and the song was starting to fade. I knew from experience that if I didn’t get up, I would not remember the tune. I listened one more time to try and set the melody in my mind and then woke up. It was 3am and I went to get my guitar to try and find the melody I had been dreaming. When I found the key to sing it in, I got my camcorder and went downstairs to record in my office. I placed the camera down in front of me and hit record.

Over the next few days I continued to work on my 3am dream song, honing the chorus and creating a verse for it. I kept recording each evolution of the song until I felt I had a complete version to work on. Now all I needed were some lyrics. Nothing seemed to spring out at me. After awhile I put the song to the side. I needed to come up with a title. A good title might trigger something but there was no title in sight. It might take years to get this written, which is usually the case with me.

I knew there was something special about this song and I didn’t want to write just anything to get it finished. No, this one had to have the right lyrics. I couldn’t settle. If only I could find a title. It’s odd, but the 1st song that I wrote from hearing it in a dream got its title from watching a movie. Something was said that caught my ear and once I realized it would make a good title for my song, I was set. As I said, it’s odd because the same thing happened with Day of Reckoning.

I was trying to find something to watch on TV and happened to come upon Tombstone with Kurt Russell as Wyatt Earp and Val Kilmer as Doc Holiday. Now I’d seen this movie quite a few times but for some reason I decided to watch a bit. The movie was towards the end when Wyatt goes after the Cowboys who killed his brother with his posse of Doc and 2 other guys. Wyatt’s just heroically fought and killed one of the leaders after being ambushed. They’ve set up camp for the night and Doc is talking with the other deputies, who can’t believe what they saw earlier. At this point Doc looks at them and says “there’s gonna be a RECKONING”.

I heard the word RECKONING and immediately thought of my dream song. It needed to be about a RECKONING!! What was a RECKONING??? Here’s one definition: “a time when somebody’s actions will be judged to be right or wrong and they may be punished. In the final reckoning truth is rewarded”. That sounds like Judgement Day to me and I started to write some lyrics with that in mind. But they sat there for a few years as I moved on to other songs. And then Covid came along. This might be the time to revisit the RECKONING song. But I knew I wasn’t going to write it.

Jay Friedman

So, I reached out to my friend Jay Friedman. I knew she had been a teacher so she might be good with words. I sent her a text and asked her if she would be interested in writing a song together. She replied “sure”. She had just started to try her hand at writing songs, so she was up for the opportunity. I told her the title was something like My Reckoning or Day of Reckoning. I wasn’t sure but the song had to be about a RECKONING. I sent her an MP3 of the music to give her something to write to and Jay jumped right in. The next day she sent me the 1st verse. I read it in disbelief…it was amazing! I didn’t need to change a word of it! The chorus…not so much. But there were ideas I could latch onto like being haunted by the past. I told her to move onto the 2nd verse, and once again, Jay delivered a bullseye!

I knew the chorus had to deliver the final payoff. In my previous lyrics I had the word “beckoning” rhyming with “reckoning” and I knew I had to keep that! It was the start of the chorus that was holding things up. I kept singing “I try and try” every time I would play it and I thought why not go with it? Once I did the chorus began to fall into place. With some of Jay’s bits and pieces, I was able to mold the chorus together and finish the song. I demoed the song and sent it to Jay to sing a harmony on it and we had Day of Reckoning ready to rock!

January 2022 I was in Shorefire Studios with drummer Steve Holley and bassist Paul Page cutting the basic track. I had sent them a Fleetwood Mac track called Say You Love Me to use as a basis for the groove I was going for. For some reason, the way I played the opening G chord reminded me of Christine McVie’s song. I added a mandolin and a 12-string and had Jay and her husband Tom Wise come down to the studio to do some work. Jay did her harmony vocals on Day of Reckoning. Then she and Tom joined me for some background oohs on another track and Tom brought his bass to play on a new track I had recently recorded. It was a fun day getting together and putting the finished touches on our song. Or so I thought.

Tony Trischka

I felt that Day of Reckoning was like the lynch-pin for what would become the AmeriKarma album. But something was bothering me about the track. It needed something else, and I wasn’t quite sure what it was. One day I came into to do some work and Shorefire owner & engineer Joe DeMaio mentioned that Tony Trischka has been in recently for a session. Joe thought he could hear a banjo on one of my songs and it wasn’t Day of Reckoning! But as soon as Joe said Tony’s name, I knew he could finish DOR for me. I had been thinking about a banjo for the song because Lindsay Buckingham had played one on Say You Love Me.

A couple of days later I called Joe to have him call Tony for me. Tony was on the road so Joe gave me his number. I called Tony and he said he would call me back in a couple of days when he was back home. But I couldn’t let him off until I told him that I’ve known him for like 50 years and yet we never met. Tony was intrigued and wanted to hear more. I mentioned the bluegrass band he was in called Country Granola in Syracuse NY. I told him I probably stayed in his room one weekend when I came up to Syracuse to record with my college band Trilogy. Tony had just left Granola to join Breakfast Special, which would be the band that would make him famous. Once I mentioned Herb-O, the leader of Country Granola, Tony was hooked. We talked for another 20 minutes before he hung up.

For those of you who have not heard of Tony Trischka, he’s considered to be one of the top banjo players in the world. Not only that but he taught one of the other top banjo players, Bela Fleck. Tony’s been called “the father of modern bluegrass” by the New York Times! I did relate to Tony, in my next phone call to book him for the session, that we might have met at a gig at Indiana University in PA back in ‘73. We were opening for Country Granola and Breakfast Special and this was the 1st time that the guys in Granola had seen Tony since he left the band. It was a crazy night with a wild party after the gig, so my memory of meeting him might not be all there. 🙂

Tony Trischka with Epiphone Banjo

The following week Tony came down for the session and I even brought my banjo with me that I bought in the 70s to show him because I wanted to see if he could tell me about it. It’s an Epiphone banjo that looked like it was made by Gibson when they owned Epiphone. He played it and liked its tone and showed me a few things about the bridge. Then he proceeded to play some incredible stuff on 2 of my songs. It was his suggestion that he play double time at the end of Day of Reckoning and that really makes the track. Tony is a consummate professional and having him play on one of my sessions was a highlight on AmeriKarma. I know Jay was thrilled when she heard that Tony would be playing on our song because she’s in a bluegrass band called Blue Plate Special and everyone knows Tony.

Day of Reckoning was just a dream of a song that became reality in the most magical way possible. The rest, as they say, is history. 🙂

DownTown Blog – Live & Shadow Walk

2 years ago in September 2021 I released the DownTown Demos. The premise for this release was that I would release demos that featured the songs Live and Shadow Walk and then go in the studio and re-record new versions of them. Then listeners could compare them, like before and after photos. It was a bit unusual to do it this way but I wanted to show the natural progression of the songs going from demos to finished product.

A few months later in January 2022, I was in Shorefire Studios with drummer Steve Holley and bassist Paul Page to record the tracks that would become AmeriKarma. Included in these tracks were Live and Shadow Walk. It had been a number of years since we were in the studio together and we picked up like it was just the other day. Both Steve and Paul were very enthusiastic about recording these songs and the initial session proceeded along in a timely fashion. That is until we tried to record the basic track for Shadow Walk.

Paul, Robert & Steve

I knew in advance that Steve was knocked out by the demo because he called me about it a few days before the session. I say he was knocked out because I had never heard this kind of reaction from him for one of my demos. This blew me away. When Steve Holley talks, people listen! Lol I had very straight forward kind of rockers planned for Live and Shadow Walk because I wanted them to be different from the demos. One of the other reasons for putting out the DownTown Demos was because I didn’t think I could ever duplicate them. They were one-of-a-kind recordings. It seems that Steve had other ideas.

I had taken it for granted that Steve & Paul would listen to the demos I sent them and do their thing for the recording like they had always done in the past. Then we’d run the track down in the studio and find the right groove and tempo for it. Paul was in the pocket as usual but on Shadow Walk, Steve was intent on recreating the demo. WTF??? I really hadn’t anticipated this from him because I thought he’d hear it the same way that I did. I didn’t think there was any way a band could reproduce the demo.

Steve Holley

Steve wanted to try and try he did. There was something he was hearing but it was eluding him behind the drum kit. Paul and I looked at each other in bewilderment. Neither one of us were going to say anything to him. We plodded along until we had something on tape that we could listen to. It was the perfect point to stop for the evening and start fresh tomorrow. Let’s sleep on it and come back with fresh ears.

The next day I arrived at the studio knowing I had to take charge to get the approach I was looking for. We gathered in the control room with engineer Joe DeMaio and listened to the playback of our previous night’s work. Being the consummate pro that he is, Steve thanked me for giving him the time to try out his ideas but this was my session and he’d play what I wanted him to play on Shadow Walk. I told him the approach I was looking for and we cut the track in a couple of takes. However, Steve was not done yet.

After finishing the track and listening to it, Steve wanted to try one more idea. There was still something gnawing at him and he wanted to try an overdub on the verses. Now he goes in and takes out his tympani sticks and uses them to lay down a part on the toms. It seems totally out of left field, but when Steve is done playing, he’s created the part that nails Shadow Walk! Like I said, Steve Holley is the consummate professional and that part he played proves it. I don’t know anyone who would have thought of playing that but that’s why he’s Steve Holley. As far as I’m concerned his overdub really put the finishing touch on Shadow Walk. I know THAT wasn’t on the demo! LOL

With the basic track out of the way, the real work could begin. There are a lot of guitars on Shadow Walk and that was by design. I wanted to make them as atmospheric as possible and I would put my Jimi Hendrix knowledge to good use with a bunch of backward guitar sounds. But I needed something for the instrumental solo. I couldn’t quite put my finger on it. Luckily, I had an ace in the hole—Joe (hold) DeMaio to be exact! I had heard that, besides being a talented engineer, Joe was also a talented guitar player.

Joe DeMaio and SG

I had to put him to good use, so I asked him if he would try putting down something for the solo. Joe was up to the task and laid down a beautiful double slide part that sounds like the guitars are melting to me. Just a perfect sound! With the solo done we moved to the out choruses and the guitar frenzy that builds in the background. I didn’t want them to be upfront over the vocals. This sets the stage for the ending solo and once again I turned to Joe. I had brought in my 1968 Gibson SG for the job. We had been talking about Clapton and Cream and his use of the SG. Joe plays a killer solo on the end of Shadow Walk that sounds like Clapton in ’68. Even Clapton doesn’t sound like that anymore, but Joe does 🙂

The recording of Live went fairly smoothly. I knew the demo had been a bit on the slow side, so we went with a bit more energy. Paul’s bass part really sets the stage for the song, so much so, that I decided to feature it at the start of the song. The tricky part with the bass is the depth of sound you get. Pushing it to the forefront, I had to make sure the listener can hear what Paul’s playing for it to work. Then there’s the mastering process to consider because the bass sound can, and probably will, change from what we already have on it. This would be my 1st time working with Leon Zervos, who’s a world-class mastering engineer, but new to me. 

I had already recorded my lead vocals when Steve came back for a day to do harmony vocals on a few songs. When it came time for Live, we stacked his vocals and then he went into the studio to add percussion where needed. He brought out an over-sized cowbell, the name of it escapes me, and proceeded to play throughout the track. Steve would have made Christopher Walken very happy with the amount of cowbell he laid down as only Steve Holley can. 🙂

The plan was now to send a track to harmonica wiz Jerry Fierro down in Florida to record a harp track on Live. It had been 25 years since Jerry had come to Showplace Studios in Dover, NJ to cut his iconic track on Brian Jones. That had been a day of destiny for me. A harp track was the final piece I needed to complete the song and on a chance meeting at someone’s birthday party a few weeks earlier, I was asked if I could ever use a harp player. As soon as I heard the word “harp” (cool slang for harmonica) I knew I had the final piece to the puzzle that was Brian Jones. That harp player turned out to be Jerry.

Jerry Fierro

Joe DeMaio sent the track to Jerry, who sent back a sizzling harp track. The only thing left was to record a guitar track to bounce off of Jerry’s harp and add to the bluesy vibe of the track. I went with my 1964 Fender Strat to play on the track. This guitar sounds so good; it will pretty much play for you. Once I had my part, it was time to mix, and I knew this mix would take some doing.

Unlike the demos, the final mixes for both Live & Shadow Walk took months before we were ready to master. Live took around 40 mixes to complete and Shadow Walk about 30, but I think the proof is in the final product. I think that we delivered great versions of the songs that really show an evolution from the demos. A big heartfelt thanks to everybody involved. U guys ROCKED it!! 🙂

DownTown Blog – Superstar (To Sir Elton With Love Mix)

The song Superstar was originally titled Ode To A Superstar. My cousin Gordon (GT Sullivan) had written the lyrics and gave them to me on a visit to his home. We grew up writing songs together in our teenage years and he would write lyrics from time to time and give me a batch when we got together. It’s kind of ironic that we wrote Superstar the way Elton John and Bernie Taupin wrote songs, with Bernie writing lyrics and then having Elton putting them to music. I say ironic because Superstar was in no way written with Elton in mind.

Elton John & Bernie Taupin

I think the song was written back in 1974 and would become part of my band’s set list, usually as an opener. I remember the drummer would play it on his toms to help drive it. It fit right in when we played it at CBGB back in 1975. The drums changed when I went out to LA in 1981 and recorded a new version of the song with drummer Greg Thomas, who had worked with Neil Young and Leon Russell. He played it with a more straight forward groove, which I really liked. The song had always been a guitar rocker. Greg had Mike Finnigan (CSNY & Bonnie Raitt) put an organ part on it but it didn’t really do much for the track.

Greg Thomas

Fast forward 40 years…I had recently moved and was putting my computer together and listening to my iTunes library. One of the songs I came across was the 1981 recording of Superstar. I was pleasantly surprised to hear that great groove from Greg and I made it part of a playlist I put together of songs I was planning to record. The more I heard the song the more I seriously thought about recording it with drummer Steve Holley and bassist Paul Page. My wife commented to me what a cool song it was and I should record it. So I decided to include it as part of the demos I sent to Steve and Paul when I was planning to go into the studio.

Paul, Robert & Steve

So it’s January 2022 and I’m cutting tracks with Steve and Paul at Shorefire Studios for what will become the AmeriKarma album. When it comes time to track Superstar, Steve, as he always does, tells me the tempo of the demo. It’s really fast and I say I could do it a bit slower which Steve seems to be more comfortable with. So we try it at a few different speeds and settle on one that feels good to me. It’s a straight ahead punk rocker, the way it was written. I haven’t changed a thing to the song in over 40 years.

Elton John

It’s not until I’m listening to a playback and it comes to the breakdown part after the first chorus, for some reason, Elton John pops into my head. I can see him getting up from behind his piano and strutting across the stage to the groove like I’d seen him do on many occasions in concert. Elton John? Really?? Now I start thinking about Elton and his music. I’m a huge Elton John fan, having been there at the start when he hit in 1970 and seeing him at The Fillmore East in NYC opening for Leon Russell. Superstar is not an Elton John song but the more I hear the track, the more I’m thinking about how Elton would play it.

Jeff Levine

I had keyboard wiz Jeff Levine coming in for a session and told him to think of Elton’s song Saturday Night’s Alright For Fighting as an approach for Superstar. Both songs are guitar based and I believe Elton didn’t even want to play piano on his track. He had to be talked into it! Jeff got into it right away and laid down a piano track very fitting of Elton. Jeff’s playing is as close to Elton’s style as you can get. It made me have to think about how I could make the track more like Elton. I hadn’t changed my guitar parts one iota, so I needed something else.

Elton John at Dodger Stadium

It happened when I was laying down my vocals. As I was listening to the playbacks I started to think about Elton’s vocals. It occurred to me that he always had harmonies and background parts that were like hooks in themselves. That was it! I needed to come up with a background part on the chorus. So I told my engineer Joe DeMaio I wanted to try a background vocal and went into the studio and basically came up with a part on the spot. I added a harmony to it and when it was mixed together with the lead vocal I had my Elton John track.

Elton

One of the weirdest things that ever happened to me in a recording studio happened to me as I was overdubbing a lead guitar part on my 1960s Gretsch Tennessean (the one that George Harrison used with The Beatles at Shea Stadium). I was almost finished with the part when the bridge of the guitar started to slip under the strings. I thought it was because of the Bigsby tailpiece but I wasn’t using it. Joe came rushing into the studio to try and help me get the bridge back under the strings and we came very close to doing it. I decided to put the guitar in its case and let guitar tech extraordinaire Billy Penn work his magic on it.

George Harrison at Shea Stadium

I figured it was my 1964 Strat that had sabotaged the Gretsch so that I would have to use it since I had it on hand that day. 🙂 It was very weird! After laying down some more tracks with the Strat, Superstar was finished. Listening back in the control room I could hear flashes of Mark Bolan (T-Rex) and even David Bowie. How odd I thought. Back in the early 70s, Bolan was the king of Glam Rock in the UK, playing with both Elton and Bowie. Nearly 50 years after writing the song I could hear all 3 influences in the track!

Elton John with T-Rex at at BBC Top of the Pops London 1971

I started doing 3 different mixes but it was obvious I had to focus on Elton as the main mix. Besides the piano I really focused on Steve’s snare. I always felt that the drum sound was a key element to the song like the guitars, so I made sure the drums were slamming. Besides writing the song like Elton and Bernie would, the other irony was that Steve Holley had recorded with Elton in the early 80s. So the stage was set. I would release Superstar as a single in October of 2022 with the To Sir Elton With Love Mix as the Radio single and for the release I added the Guitar Mix to show the way the song was played in 1975.

Steve Holley

The song received a great reaction from Radio with over 150 stations around the world playing it. Superstar (To Sir Elton With Love Mix) has also become the most streamed song in the DownTown Mystic catalog. I think part of the reason is that it has a vibe that hasn’t been around in a long time. So Elton, if you’re out there and read this, please know that the track was created out of love for a musical hero of mine. I tried to make it as close to one of your songs as possible and I think you’re the only one who could do it better. 🙂