Rock and Roll is what made America great. The music that was created in the USA back in the 1950s was the sound heard around the world. It inspired a generation of British teens who would bring it back to new heights in the 1960s and beyond, inspiring a new generation of American teens to rediscover their own roots. I was one of those American teens who heard that sound and never looked back. I started playing guitar and writing songs, while buying and listening to the greatest records ever made. It was a golden age for 20th Century music, with Rock and Roll front and center.
In 1967 it started to be called “Rock” to give it a more serious image. Sgt Pepper’s Lonely Hearts Club Band transformed the world of popular music. This wasn’t I Want To Hold Your Hand anymore. FM Radio was giving Radio a facelift with hipper DJs and cooler sounds not heard on the AM side. New publications like Rolling Stone and Creem began to cover and give voice to the artists and take them seriously, no longer fodder for the Teen magazines. The term Rock and Roll became a cliché, used to describe the Oldies shows.
Like most things retro, Rock and Roll has found its way back into the lexicon. Thanks in part to Americana artists keeping the flame alive and those ageless wonders, The Rolling Stones, Rock and Roll is alive and kicking in the 21st Century. The late great Tom Petty shared his thoughts on rock’n’roll in his Musicares Person of The Year speech in 2017. Tom said “I was collecting records—Rock and Roll records. Not rock; this was Rock and Roll. The roll designates a swing—there’s a swing in the roll.”
Yes, for those who are serious about their RnR, there’s a “feel” to playing it that differs from Rock. Some might call it a “backbeat” or a “groove” that is not found in modern rock. I’ve been at this for a while now and I’ve been recording and producing music to make my contribution to keeping the sound alive and hopefully, inspire a new generation to play Rock and Roll and make it their own. With that said, here are some tips:
TIP #1: THE PLAYERS
This is where it all starts. For me it’s about finding the right musicians who know how to play Rock and Roll. I’ve had the privilege to record and play with some great musicians like Garry Tallent and Max Weinberg from The E Street Band. (Hey I’m from Joisey!) I’ve done most of my studio work with the great rhythm section of drummer Steve Holley and bassist Paul Page. These guys know how to play RnR! I know that it’s not that simple and it took me years to get to this point. Like most, I started playing RnR by forming a band. I could probably write a book on this subject. Bands by nature are something special. There’s a certain camaraderie and excitement playing in a band. When it’s working it’s as good as it gets. When it’s not…needless to say, there are not too many RnR bands that make it to the “toppermost of the poppermost”. This doesn’t mean you can’t create classic RnR by yourself. Just check out Maybe I’m Amazed by Sir Paul.
TIP #2: KISS (not the band): Keep It Simple Stupid
Rock and Roll is a simple style of music. It’s best played with a band or group of musicians. Don’t overthink it. Let the rhythm be your guide. Try to keep it loose, allowing yourself to feel the beat with the other musicians. You’ll know it when you’re all in sync and when you are, the fun begins. When I’m tracking in the studio I try to keep the number of takes on a song to 3-4 takes at the most. You want it to sound fresh and not rehearsed to death.
TIP #3: RETRO IS WHERE IT’S AT
courtesy of @markmaryanovich
Rock and Roll is all about the electric guitar and it started in the 1950s when Leo Fender introduced the Telecaster and the Stratocaster, two of the most iconic guitars ever made. Add to that the Gibson Les Paul and ES-335T, along with the Gretsch Duo Jet and 6120 (I can’t forget Rickenbackers), and you have the beginning of the Golden Age of RnR guitars. A new Strat in 1956 cost $175. I have a 1964 Strat that I bought for $150 in 1972…ok, it’s probably worth around $10-20,000 today, but the sound is classic and that’s what you want to hear. I know the prices are crazy now, but you can still buy a good Tele or Strat at a decent price. Also, there are great new guitar makers and modern technology is always improving with plugins and effects pedals that can give you the sound of classic guitars and amps that can be very impressive sounding.
TIP #4: SuSuSTUDIO
Joe DeMaio and SG
Of course, recording on 2” analog tape on a Studer 24-track machine is a sure way to get a classic sound, but Pro Tools has pretty much made that extinct. Nevertheless, if you really want to create a classic Rock and Roll recording, then you owe it to yourself to record in a studio. I feel sorry for the younger generation of musicians today who will not have a chance at recording in the great studios that once dotted the RnR landscape. So many incredible and fabled recording studios have gone the way of the dodo, but there are still some around. Your best bet is to find a studio with a “Lifer” running it. These are the guys that will never quit and are always looking for vintage gear like an archeologist looking for that rarest of finds. They know how to get that classic sound. The early studios like Sun or Chess were primitive compared to what came later, but back in the day, they cut killer tracks. Today, vintage outboard gear like compressors and limiters are highly sought after, along with vintage mics. There’s your classic sound. They don’t make ‘em like that anymore! I’m very lucky to record at Shorefire Studios in Long Branch, NJ. It boasts the last Helios recording console ever made. This was the console used at Trident Studios in London, where all those classic records were made by The Stones, Led Zep and many others. Also, owner and engineer (“Lifer”) Joe DeMaio has all kinds of vintage amps, keyboards, and drums. It’s like working in a RnR museum! lol
TIP #5: EXPERIMENT
Some of the coolest sounds on classic records were created by experimenting. Sometimes trial and error are the way to go. The goal of any classic recording is to create a “Vibe”. That’s a certain feeling a track has that’s just undeniable and undefinable. I like trying to create magic in the studio whenever I can and sometimes that occurs by paying attention to the little things like mistakes I like to call “happy accidents”. You never know when it’s going to happen, but when it does, try to be alert and willing to go with it. Garry Tallent once told me a story that when recording with Bruce Springsteen “mistakes” would occur. Bruce would go home and listen to the recordings, and after much listening, Bruce would not hear the “mistakes” anymore. To him they were now part of the song, and Garry said, the band would have to learn the “mistakes”. 🙂
Rock and Roll has a rich tradition and I’m honored to be part of carrying it on. But this is also the 21st Century with a new generation that can take all the new technology and information at their fingertips and create something that’s never been heard before. All it takes with Rock and Roll is a little inspiration.
For years I’ve felt like the lone voice talking about rock’n’roll. That’s been changing as the term “rock’n’roll” has been making quite a comeback. People are talking about it more and it makes me feel like I might just have had some kind of effect, even if by only putting it out in the universe watching it come back like an echo. That’s cool in my book.
Since RnR is back in the collective conscience I thought it would be a perfect time to reintroduce my version of it by releasing Rock’n’Roll 4 The Soul. At the core of this album are 6 songs which were recorded just to see what would be created. Something good? Something worth pursuing further? A cool hobby to take up and have some fun with? That’s about as far as it went. I was managing and producing The Discontent, who I felt were THE perfect band for the time. I also started my record label Sha-La Music to release their music. So, I was very involved, if you follow.
Jessie, Robert, Tommy & Eric
I had released the band’s 1st album societydidit and quite frankly…it didn’t. But I knew how good it was and ahead of its time. That’s like a curse to me. I was right about it being ahead of its time, because 5 years later, to reboot the band, I remastered the lead track Bulletproof and released it at Specialty Radio, which were the Specialty shows on Alternative Radio. It was becoming the proving ground for new music at Radio. Even major bands like Radiohead and Foo Fighters released their music there first. It was highly competitive, to say the least!
Tom Fletcher
But I had learned a few things in 5 years and hired the top alternative specialty radio plugger. I used an alternative mix by engineer Tom Fletcher. Fletch was in from LA because I hired him to produce another band I was managing named Shotgun Symphony. In fact, both bands started their projects on the same day. I was at Unique Recording in NYC and The Discontent had booked Showplace Studios in Dover, NJ. I hadn’t been there since it had become a studio. It used to be a club back in the day and my band played there, opening for Robert Gordon. So it was through The Discontent that I would meet the studio owner Ben Elliott, and I was about to start a 20-year working relationship with Ben.
Ben Elliott & Keith Richards
Fletch was staying at my house during this and I would play him what The Discontent had recorded. I played him Bulletproof and he was floored! I asked him if he would like to take a shot at mixing it and he jumped at it. To me, Fletch was one of the most talented producer/engineers I’d ever seen. A very cool guy who knew an SSL board inside and out. Watching him inspired me and got me thinking about recording some of my songs again. It was Fletch who told me to just cut it all live with guitars. Fletch was also ahead of his time and did this killer mix. This time Bulletproof went Top 5 at Specialty, going as high as #3. Instant success for an unknown indie band’s 5 yr-old recording!! 5 years later I had better connections and the right sound for the right format.
Bulletproof video – Directed By Rune Lind
It was less than a year after Fletch’s comments to me and I was in Showplace Studios getting ready to cut 6 tracks with The Discontent’s drummer Tommy Mastro and bass player Eric Hoagland. They were rehearsing in Asbury Park in a place called Wild Sound owned by a guy named Joe DeMaio, who now owns Shorefire Studios and is my engineer. Go figure! That’s where I did my 1 and only rehearsal with Tommy & Eric. I knew my stuff would be different from what they were used to, so I told them to just go with it. When I think about it now, I could see that they could have some reservations since I was their manager. My job was to critique their performances at live shows and now I’m asking them to play with me in the studio. Plus, they knew I’d played with Garry Tallent & Max Weinberg from the E Street Band. Maybe a bit of pressure?? LOL
Tommy
I knew they were cool with it and pumped to get in the studio with me. Tommy was the real deal. I saw it the 1st time I laid eyes on him playing with the band. Eric? Ummm…not so much. I kid Eric. 😊 The truth is he was in a no-win situation. Because I wanted to allow myself the space to experiment with different parts and people I was upfront about it with him, so I told E that I would probably be replacing what he played. Thanks, Eric, for being cool with that. I knew you could handle it. 😊
The Big E
Tommy attacked the songs like he did with The Discontent but he could also put a groove to it. I would compare him to another great drummer, Kenny Aronoff—muscular, hard hitting, and solid. That was Tommy. It’s a bit of a haze now but I do remember the energy from Tommy & Eric, we were committed! Add to that a great live sound that engineer Ben Elliott got and all done live to tape. ANALOG BABY!! It was a fun day. So much so I had to lay down some vocals and guitars the next day. Now I was doing this because I was bringing The Discontent into Showplace to record some demos for a 2nd album. But first I would borrow Tommy & Eric to cut some tracks of my own music. I was going into the 2nd day and starting to hear about it from the band. INGRATES!!!
So, you get the picture. It turned out when I was done and listening at home I was hooked! Here’s what I remember about these tracks:
Turn Around and Go: One of my all-time faves and I knew Tommy would kill it. He did. I think we cut it first. I added the guitar intro lines and sang one of my best RnR vocals. I wrote the song after a visit to Cheeques, one of NJ’s best Go-Go bars with my cousin Gordon. We were sitting in the middle of the bar when the next dancer was introduced by the DJ. She came out strutting her stuff in heels and wearing a top hat. Suddenly she stopped, put her high heel on edge of the bar right in front of me, leaned over and kissed me! WTF?? My cousin looked at me in amazement and said “do you know how many times I’ve come here? You come in 1 time and this happens”??!! lol I already had the music and just needed the right inspiration to write the lyrics. I knew right then I would finish the song. 🙂
Ozzie
Dead End Space: I wrote this with Jessie Hobbs and Ozzie Caccavelli from The Discontent. Yes, there was a great guitar player in the band named Ozzie. It’s Jessie’s lyrics. He was the main songwriter in the band with me and Ozzie adding musical parts. The band demoed it at Ozzie’s home studio and I think I played acoustic guitar on it. I wanted to do my own version of it after that and brought in Tommy to play drums and PJ Farley (of Trixter fame) on bass. Ozzie came in later to add his guitar. Not 1 of the core songs and definitely not a typical Discontent song. I heard it as a type of Fleetwood Mac thing which fit more with my style.
PJ
Think a Little Louder: This song has some epic stories behind it. I was working with a guy in NYC named Eddie Walker. He and his band were rehearsing in Soho near Little Italy. After listening to them a few times I approached Eddie with the music to a song of mine. I played him the song with a melody but no lyrics. I asked him to write them. The next time at rehearsal he sang to me and the band the finished song. I still remember it. That’s how good it was to hear the 1st time. A real Moment! Eddie and his band recorded a decent version, but he and the band would eventually split up and Eddie moved down to Austin. I always liked the song and wanted to cut it myself. This was the last of the core tracks recorded that day and the least successful one for me. I didn’t really like anything about it. A couple of years went by and I decided to go back to Showplace to finish recording the other 3 tracks. Now I’m managing a band called Soaked that won the WXRK Battle of The Bands! The 2 main guys Steve Brown and PJ Farley were in Trixter, which was probably the 1st young rock band to break on MTV. They were just out of high school and Trixter became a big deal.
Steve
I decided the problem with the track was the key. It’s in B and will play much better in A. Also, the song had a 3rd verse and I decided to get rid of it. In its place I wrote a bridge that took me back to the final chorus and fade out. When I got to the studio, I had Ben Elliott delete all the recorded parts except for Tommy’s drums. Remember this is analog tape. You wipe it and it’s gone forever! It was here on this track that I learned that the basic track is recorded for the drums. If the drums are all there, then you can re-record anything with them in place. Tommy is solid and he’s all there! I go in and record a new acoustic rhythm track, including a new bridge, with PJ putting down the bass next. Then Steve comes in with his monster red guitar that he saves for special occasions and plays these heavy sounding chords. Now Steve is an incredible guitarist and I know he could have shred all over the track. But he’s chill enough to just play a simple but great sounding guitar part that really carries the track. When I hear what he plays I know the track is finished. It rocks now!
And You Know Why: An important song for me. I was working with Garry Tallent and played it for him. He called Max Weinberg up to come and play on it. He did and we cut it at Shorefire. I didn’t know at the time how rare it was to have both Garry & Max playing as the rhythm section on a track. It turns out, besides backing Bruce, they’ve only done it a handful of times with other artists, and I’m one of them. A few years later I recut most of my parts and added new vocals at Showplace with Ben engineering. Not 1 of the core songs. Had I not written this song, I might have quit music altogether. No lie. That’s how important this song is to me. I had left my band The Tupelos and was burnt out. I just couldn’t bring myself to write the kind of songs we had been playing anymore. After 6 months or so, I happened to be playing guitar and came up with the chords that start the song and verse. They blew my mind. They were so different from anything I had done before, and it relit the fire in me. I HAD to finish this song! Once I did, I never looked back.
Rock’n’Roll 4 The Soul (Part 2)
Lost and Found: This one was probably the 2nd track to be cut. I recut the bass because I heard something different that I wanted to try. There’s nothing wrong with Eric’s part and he knew going in that I would probably redo the bass at some point. It has become 1 of my most streamed tracks. It’s got this vibe and I think that’s what catches the listener’s ear. It ended up with just me and Tommy playing on it. I added a tambourine that makes it feel like a RnR Gospel type of track to me. The lyrics also seem to add to that with a kind of out of the darkness and into the light imagery. There’s something inspirational about it. At the same time, it’s 1 of my oddest songs from a musical standpoint. There’s major against minor musical things that shouldn’t work together but somehow do. Also, years after writing it, I looked at the lyrics from a new POV while recording it and it seemed like they were about something bi-polar…” the lows are high and the highs are low” Then the lyrics on the chorus are so positive. It took me years to understand how I could write them.
Think It Over: Also 1 of the core tracks with Tommy killing it, as are Steve & PJ. I wanted to focus on the guitar sound. The opening chords remind me of Pete Townsend, who is a guitar player I don’t think of right away as 1 of my influences. But every time I listen to him I find myself of 1 mind with him on how to approach guitar parts, especially from a RnR standpoint. There’s a really cool guitar sound on it. As time has gone on, I think this song has some of my best lyrics. I was probably writing it about and to myself, although I wasn’t aware of it at the time. I also think it’s 1 of Tommy’s best tracks. He plays some parts that surprise me because they’re things I wouldn’t think of him playing. His energy makes the track happen.
Martin H. Samuel
Soul’d Out: This is kind of a sleeper. My original idea for the song was in an Americana style and feel, but the lyrics that award-winning lyricist Martin Samuel sent me were so sad. The music I had sounded too upbeat. However, the lyrics fit really well with the melody and I could sing them, so I had to change the groove if I wanted it to work. It was an emotional piece. I cut a demo that I really liked, so I decided to cut it as one of the core tracks. This was the last of the 3 songs that Steve & PJ played on. Steve brought a beautiful 12-string acoustic and played another great sounding part. I had played a pulsing bass part on my demo and I had PJ play the same part but let him decide when to add passing notes and he nailed it. It’s simple but he adds these nice bass lines that help to build the tension in the track. I think it’s 1 of my best vocal performances.
Redemption: The song is built around the guitar riff that starts the song. This is the 3rd and final version of it. The very 1st time I played it with my band was at a small club on the upper East Side of NYC called JPs. Downstairs in the basement were 3 of the owner’s friends—James Taylor, Jimmy Buffet and JD Souther. JD told me he liked the song and that it sounded like a hit. That might have been the hit he had just snorted talking because a closer listen to the lyrics might have changed his mind. When I went solo, I re-wrote and recorded it as Temptation with my good bud Monte Farber playing bass. A definite improvement but I still felt I hadn’t got it right yet. On this version I overhauled the verses and re-wrote the chorus. The lyrics reflected a situation I found myself in, so they were truthful. What I finally got right was the sound of the guitars for the riff and the 12-string Rics on the chorus. That’s what I was always going for, so it was worth all those years to finally get my reward. Redemption was cut with Steve Holley on drums and Paul Page on bass and not 1 of the core 6.
Steve, Robert & Paul
Gongs of Karma: There was a gong in a corner at Showplace Studios and I made it my ritual to hit the gong every time I would start a session. Then I would hit it again before I left the studio after a session was over. One day I had Ben Elliott set up a mike to record me banging the gong, as it were. I wanted to have the sound on tape. It was at a mastering session with Larry Bentley that I decided to use what I had recorded, but listening to just the gong hits was a bit boring. I got an idea and asked Larry if he had some effects I could use on the gongs. After some experimenting Larry found what I was looking for and we created the track. I knew I was going to use it as an intro to Brian Jones. The crazy thing is that the track has been sync-licensed a few times.
Brian Jones: I could write a book about this song, and I probably have come close to it over the years. In case you don’t know who Brian Jones is, he’s the guy who started The Rolling Stones. Mick & Keith joined HIS band. The song came to be written because I was “in touch” with Brian’s spirit. This was confirmed many years later in a channeling session I had with the renowned spirit of Dr. Peebles. Google the good Dr. and you’ll get an idea of what I’m talking about. I’ll leave it at that and just talk about the song. I’ve said it took me 15 minutes to write and 15 years to finally get it right, recording-wise. This might have been the 3rd or 4th of the core tracks to be recorded. One day I was on my way to the studio to work on the track and I was trying to figure out how to approach it. Then I remembered that when my band was playing it with Garry Tallent on bass, Garry was modelling his bass part on the chorus after Bill Wyman’s bass on The Stones Paint It Black. I wasn’t sure if it fit the song, but it was a very cool idea! Thinking about Garry’s idea of using a particular Stone’s song for the basis of a part sparked the light bulb to go off. Why not do the same kind of thing throughout the song?
When I got to the studio, I went to work with The Discontent to try some of my ideas out. We modelled the chorus on Gimme Shelter with driving guitars and the way it breaks down with the drums. Then I had the thought to try the oohs from Sympathy For The Devil on the backing vocals. From there I added a piano part that plays the same pattern through the song. It’s played to Brian’s piano rhythm on Let’s Spend The Night Together. All in all, I used 7 parts from Stones songs, including The Last Time, 19th Nervous Breakdown, Jumping Jack Flash and Satisfaction. But something was still missing for me. What was it?
One weekend I was going up to Boston with The Discontent for a gig they were playing. I think it might have been on that trip that I saw this wooden stake in the median near Mystic, CT that read “next stop Downtown Mystic”. I knew it was the perfect name for my little project the second I saw it. I never saw that stake again on the return trip or subsequent trips to New England. On the way back from Boston, John Borneo (guitar) from the band asked me what I was doing later. He knew I had a beach house at the Jersey shore and would probably be going down later that night, which is what I told him. He said his sister was having a birthday party in Red Bank and invited me to drop in on my way down to the beach. John was a bit of an enigma to me. He was the heartthrob of the band but was kind of quiet. So I said “sure, give me the directions”. I get there later that night and the party seems to be winding down. John introduces me to some people. I’m sitting at a table in the backyard and one of his sister’s friends asks me if I could use a good harp player? The Discontent is not the kind of band for a harp, but as soon as she asks me, I know I have the missing piece to Brian Jones. That’s just the way my mind works. I tell her to give me the name and number of this harp player. You never know.
Jerry Fierro
When I heard the word harp, I flashed back to the 1st time I saw The Stones. It was a TV show and Brian was wailing on his harmonica. That was it—the harmonica was the missing piece to this track! I called the harp player and asked him if he would come to Showplace Studios to record something for me. His name was Jerry Fierro and as it turns out, he was a champion harp player, having won a few titles in competitions over the years! He showed up at the studio and I wasn’t quite sure what we would do. He asks me what style of harp playing do I want. Chicago? Yeah, sure. Ben mikes him up and as Jerry starts to play, I realize that the harmonica should represent Brian in the song. I tell Jerry to riff after every line, as if it was Brian responding. I coach Jerry to create the intro part that gets repeated in the song and he’s killer! When Jerry is done playing, I know I have the finishing piece I was missing.
Brian Jones is a good example of the lengths I will go to for a get a great track. It will consume me, sometimes for years, but it won’t leave me until I get it! I should be less nuts about it, but then I wouldn’t be me. 😊
Last Teardrop: There are just some songs that I write, and I feel like somebody else should sing them. This is one of them. I don’t think it fits my voice. The original track was recorded with Bruce Engler singing the lead. His voice was perfect for it and he nails it! It’s on his One More Chance album that I produced and played on. This is my version with Bruce adding acoustic guitar with mine. I wrote it at a time of great emotional upheaval in my life and I consider it one of my best. I feel that if I was ever lucky enough to write a “classic”, this would be it. It’s probably one of the lesser-known songs in my catalog and I included it on this release to try and change that. I think it’s a great album closer.
Eyes of The World: This was originally going to be on the album, but it didn’t make the cut because I was never fond of the mix. I decided to finally fix that by remixing it at Shorefire with Joe DeMaio engineering. I added some more acoustic guitars and 12-string Rics to finally get the sound I had been looking for. I had cut the lead guitar part on my 1964 Fender Strat played thru a Leslie speaker cabinet that Ben used for the B-3 organ at Showplace. Bruce Engler, who played a great slide part and sang vocals, went in the studio and would keep the rotors going on the Leslie because they would slow down. Joe featured more of the Strat in the mix to give the track that chimey sound. I was so happy with the results that I decided to release it as the advance single to promote the release of the RnR 4 The Soul album.
Ben & Robert
So there you have it. These are my best recollections of the songs and recording them. It’s amazing to me that I remembered as much as I did. Part of releasing RnR 4 The Soul is not only tell how DownTown Mystic was created, but also to honor the people that helped me to do it. My main interest was always doing the best thing possible in recording these tracks and I know that everyone who was involved felt the same way. I couldn’t have done it without them and as I look back now, it’s a bit bittersweet because 3 of the participants are no longer with us. Tommy, Ozzie and Ben have all passed since the recordings. I dedicate RnR 4 The Soul to them because we were RnR brothers and they are missed by everyone who knew them.
With the release of the 21st Century RnR album, I felt like I had made peace with the end of an era. The songs represented the best of the work I did with my engineer of 20 years, Ben Elliott. It was time to move on and I was ready to do it. The release of the 21st Century album was timed with going into the studio to record new material in a new studio with a new engineer.
For 20 years I had recorded at Ben’s Showplace Studios in Dover, NJ. The studio was gone with Ben so I had to find a new place to record. Change was in the air. I sold my house of 40+ years during the Covid Pandemic and had moved 80 miles south down the GSP. A year after Ben’s death I closed on my new house and realized I was only a half hour from Shorefire Studios in Long Branch, NJ where I had recorded the On E Street sessions with Garry Tallent and Max Weinberg.
Shorefire Entrance
Garry was a co-owner of the studio then and I hadn’t been back since he sold his interest in it. A guy named Joe DeMaio had bought the studio. I didn’t know Joe, but as it would turn out, we had many things in common, including being guitar players. What was amazing was how we had managed to never meet before I walked into the studio in January of 2022. My fellow compatriots in the enterprise were 2 old friends–Steve Holley and Paul Page. It had been a while since we had played and recorded together.
Paul, Robert & Steve
What I didn’t know was that Steve had been working with Joe at Shorefire for 20 years! As is usually the case, we picked up as if we had just seen each other yesterday. Covid had surely changed everything but some things never change, and as far as I was concerned, that was definitely a good thing. 🙂
I found out very quickly just how fast and on target Joe DeMaio is as an engineer. Setup was a breeze and Joe had the sound of the drums down with very minimal sound checks. We were recording from the word go. That was something I was not used to. But Joe knew the sound of his room. Having briefly talked beforehand, Joe told me he had set Steve’s drums up like Ringo’s kit and that was no exaggeration because they sounded great! Also, Joe had replaced the original MCI board with a classic Helios console, one of the last to be made. This was the console used in all those classic 60s and 70s recordings in the UK. It had THE sound!!
Joe DeMaio at the Helios console
I was originally planning to work on 5 songs but we ended up recording10 tracks. One of the songs had different versions. I was not a real fan of a song called Fly. I mean, I liked it but it wasn’t exciting me in its original form. What was exciting me was doing a different version of it ala Buddy Holly. Paul was very much for doing it but Steve was a bit reticent about it. He thought it was a great song and was afraid I would release the Buddy Holly version instead. However, he finally agreed to record a BH version, setting up his drums like Jerry Allison, the drummer for The Crickets.
Now you’re probably thinking, Buddy Holly?? Yes Buddy Holly. In fact, the original title of Fly was Buddy Holly. That was before I had any lyrics. For some reason, I kept hearing Buddy Holly influences in the music on the demo. So much so, that I wanted to record a version that was based on Buddy’s Peggy Sue. And we did! I still have some work left on it before I can mix it, but this track will be released someday! 🙂
Robert on the Breedlove
It was the original version of Fly that we cut that would take me by surprise. I knew exactly what acoustic guitars I was going to record on it, including the 12-string Rickenbacker. What I didn’t know was that the 12-string Ric would be recorded through an early 60s white Vox AC30 with the Blue Celestion Alnico speakers…a Beatles geek orgasm if there ever was one! The Ric sounded amazing through it! The song took on a whole new character for me after that. There’s a bit of a laid-back Tom Petty feel to it that works really well. Recording the vocals was a breeze and it would be the 1st song I ever had Steve Holley sing harmony on.
The day before he came down to record vocals, Steve had lost one of his oldest friends. He seemed to be in a sad place but I think having him come down to record vocals helped to lighten his load a bit. He had some ideas for the harmonies that made me rethink the parts of the song. One was in the main refrain which acts like a bridge in the song. I had recorded a high harmony on the demo but Steve didn’t hear it that way. He heard a lower harmony for it and I was glad he did because I wasn’t sure about the harmony on the demo.
By not singing a harmony over the lead vocal on that part, it allowed me to keep the focus on the main melody and that was helpful. But in working on the song, it took on a zen-like quality for me that I had never experienced before. The mix was one of the easiest I’ve ever done, which owes a good deal to Joe DeMaio’s engineering. But it also had a very calming effect on me, which was odd. The song somehow transformed into something I really dug and I decided I had to release it as the 1st Single from the sessions! 🙂
Fly was recorded in January and February, mixed in March, and released in May. To date, it’s getting airplay on 100+ stations in 25 countries around the world. I also decided to make it my 1st single release at AAA Radio in the US in over 6 years. That just might be too long a time to be away but I also decided to release the song When The Angels Sing as a AAA Exclusive and part of the Fly single release. Steve also sang harmony on that track, but I’ll save talking about it for another day.
Fly just seems like a song for this point in time. I wrote it during the Covid lockdown and I think it speaks to a lot of people around the world who just want to get out and about again. At the time I wrote it I was just trying to lighten up a bit from some of the more intense songs I was working on. But as I played it for people, their feedback made me look at the song in a totally different way. It’s not easy trying to put complicated ideas in a simple straightforward way, which is what Fly seems to do. It’s one of my favorite tracks now.
All in all, I’m having the time of my life working with Joe D. at Shorefire. I’m a retro-sounding artist that has to deal with “classic rock” comparisons but that’s what you’re going to sound like if you’re trying to compete with recordings made 50-60 years ago. It comes with the territory. In doing so, I don’t sound like anybody else and having the chance to work with a Helios board only enhances the sound. Also, these are much different recordings from any others I’ve done before and a challenge to me as a producer. I could not ask for more! 🙂
The One More Chance album by Bruce Engler featuring DownTown Mystic has been a pet project for some time now. It’s filled with great songs and it was a highlight of my career to work on and be a part of. Of course, I’m a bit partial since I co-wrote 2 songs with Bruce, including the title track, and Bruce was generous enough to record 2 of mine. Besides producing, I got to sing and play on every track on the album. Considering that Bruce and I have been collaborating and working together over the past 25 years, it was about time we did an album of his songs.
Buce & Robert
I
wrote about how the title track One More Chance came to be written
before and really started our working relationship. It’s been an interesting
journey for the two of us. Bruce has been an integral part of the DownTown Mystic project since its
inception, lending his many talents, chief of which is his excellent guitar
work. I think Bruce is one of the most expressive guitar players I’ve ever
seen, let alone worked with. His playing has a character all its own and it’s
great that he’s finally getting some of the recognition he deserves. Of course,
his slide playing brings out the best in him.
The Way To Know single is a great example of Bruce’s slide playing and technique. Aided and ably abetted by the RnR HOF rhythm section from The E Street Band, Bruce puts down layers of slide guitar parts that float on top of the track. When he solos during the instrumental break, it’s hard to tell if he’s playing slide or a synth is playing the part. Bruce is that good. Having written and produced the track, I got excited when Bruce recorded his vocal. Bruce’s vocal style is a lot like his guitar playing, where he’ll phrase something in a way that lifts the entire track.
One
of my favorite tracks on the album is Fiona. From the moment I heard
Bruce’s demo I knew I wanted to record it with harmonies not on the demo. PJ Farley (Trixter) lays down a great
bass line and Rich Scannella (Bon
Jovi) provides a cool reggae beat that brings the song to life. I came up with
a cool vocal arrangement on the chorus that Bruce, me and the lovely Jaime Della Fave sing in the
background. One of my all-time fave parts!
Bruce at Bitter End, NYC
One Step Closer is the original
version by Bruce. DownTown Mystic recorded a version for the Better
Day album. I always thought this was a breakthrough song for Bruce and
his career as a singer/songwriter. It signified something deeper in him that I
had not seen before. I love its message and the good feeling you get from it. Outside
of the She Said, She Said cover, One Step Closer is the only song
recorded but not written by DownTown Mystic.
Goodbye is a rocker with a classic riff that
provides Bruce with the opportunity to show off his guitar chops in a big way
and he doesn’t disappoint. Backed by the rhythm section from Ian Hunter’s Rant Band, drummer Steve Holley and bassist Paul Page lay down a solid track and
Bruce does the rest. Blue Moonlight shows off some more
tasty slide work from Bruce. I think it’s one of his most underrated songs. I
had just bought my Rickenbacker 360/12-string and got the chance to use it on
this track as well as singing a couple of harmony parts.
I’ve
always thought that Bruce’s whistling on Go Back made it one of his most
unique songs. Bruce and I disagree about this because he thinks I hated the
song when I first heard it because of the whistle, but he would be wrong about
that. 🙂 I first heard the song when Bruce sent me a homemade 8-tk recording
which blew my mind, so it’s very unlikely that his whistle would have turned me
off to the track. I still think that 8-tk is one of the best home recordings I’ve
ever heard. Go Back really has it
all—great guitar work, killer harmonies and a chill acoustic groove that Steve
Holley and Paul Page star on.
Read The Signs is the other co-write on the
album that I did with Bruce and it appears here as it did on the Better
Day album. It’s too good of a song to keep off this album and once
again, Steve Holley and Paul Page play a big role in its success. Letter
To My Brother is one of the first songs I ever heard by Bruce and he
shows off his acoustic guitar playing on the track. We also share the bass
duties on it. I play on everything except the chorus, as Bruce came up with the
part and it made sense to have him play it. I don’t think anyone can tell there
are 2 different players as the playing is seamless. I think this is the first
time I recorded a part with my Rickenbacker 360/6-string.
Bruce Engler
Bruce
sings my song Last Teardrop and his vocal is killer. The song has always been
a problem for me because of the key but it fit Bruce’s voice perfectly. It was
fun to do the harmony part as well as recording the acoustic guitars which I
have to credit to producer Rob Harari
for a great idea in layering them. The last track If We Believe was
recorded at the same session as Fiona and features the same
personnel—PJ on bass and Rich on drums, who lay down a solid rockin’ track for
Bruce’s cool slide parts. Once again Bruce, Jaime and myself provide stellar
background vocals as counterpoint to Bruce’s strong lead vocal. A fun track to
end the album.
I’ve
included an unreleased version of Fiona as a bonus track on the album.
This is the full unedited track and shows off more of Bruce’s lead guitar work
than on the final version. There was also an extra drum track that wasn’t used
on the final, but overall, an interesting take. Even Bruce was surprised to
hear how different it was from the final version. As I said at the start of
this blog post, the One More Chance album has been a pet project of mine and one of
my favorite albums to have worked on. I think it will help continue the roll
that Bruce has been on since his excellent release The Landing in late 2020.
Check out One More Chance.
After going 4 years between releasing albums, DownTown Mystic has released 3 in the last 3 months! Ok, technically Welcome To Sha-La Landis not a DownTown Mystic album but DownTown Mystic is featured on all the tracks and released the Test Of Time single from it. But the release of the DownTown Mystic: Used Records History 1979-1985 album in November sparked the idea for the release of DownTown Mystic On E Street Deluxe. Going through the archives and listening to the music made back in the 80s and then releasing it was somewhat liberating. All those years of silence would finally be rewarded because of the reaction that the music received from fans and especially from the airplay at Radio.
Living in New Jersey, everyone knows Bruce Springsteen and The E Street Band is the biggest thing that ever happened to the state. And that’s pretty BIG when you consider that Frank Sinatra, Tom Cruise and Bon Jovi also come from New Jersey, as well as many others like Jack Nicholson! People like to make fun of the Garden State but just look at those names!! Seriously, Thomas Edison invented the light bulb here. Come on people!! In the 80s Bruce was “The Boss” and about to release the biggest record of his career—Born In The USA. At the time, I happened to be working with his bass player, Garry Tallent.
As previously mentioned in the Used Records History blog post, I had met Garry when I was in The Tupelos, and Garry would record and play a show with us. We re-connected a couple of years after I left The Tupelos and Garry had returned from The River world tour. Garry had bought part ownership in a studio in Long Branch called Shorefire Recording. He was interested in learning to be a studio engineer, and when I asked him why he told me in part because of what he saw had happened with my band when he recorded with us in Washington D.C. That had been a disastrous situation where the engineer had sabotaged our sessions. That’s another long story but I knew what he meant. He said he never wanted that to ever happen to him. So lesson learned! 🙂
Garry & Max Photo by Danny Clinch
I sent some tapes to Garry and he picked some songs to record. Hard Enoughwas his pick and when it came time to cut the track he had contacted the E Street Band’s drummer—“Mighty” Max Weinbergto come down and play with us. I thought this was going to be interesting because even before Max had gotten the gig with Bruce, he was already well known in my town. He was a BMOC in high school because of his drumming and when he showed up at the studio while setting up to record Hard Enough, I started throwing out names of people we both went to high school with. Max had graduated the year before me but we knew some of the same people, so we started reminiscing about our alma mater—Columbia High School in Maplewood, NJ.
While mentioning
various names of people we had in common, at one point Max stopped and asked
me, “Do you remember this girl?”—and was about to say her name, when I looked
at him and we both said her name together, which really got Max going, “YES,
you remember her??!!” LOL Garry had been slightly paying attention to our
conversation, but when Max and I both roared about this girl (who I will not
name to save her any embarrassment), he wanted to know all about her. Garry
asked us, “Who is this girl? I want to meet her!” Max began to tell Garry about
the hottest girl in our HS, and how every red-blooded male in that school would
drool over her. I added that she was like a Playboy Centerfold at 17, but
looked like 25. The irony was that the song we were about to record was
probably written using her, from my subconscious, as the model for the girl in
the song! Crazy, right?
Needless to say, the good vibes carried over to the session because Max kills on Hard Enough and Garry’s bass line reminds me a bit of the bass line he played on Springsteen’s Ramrod, which is a fave of mine. Like any good classic RnR song, there’s a double meaning that’s sexual in nature. However, I must confess that the double entendre of “it gets hard enough to love her” was more by accident than planned. The only reason I wrote hard enough was that “it gets difficult to love her” didn’t fit or sound right. The whole song is about how difficult this girl makes this guy’s life, but she’s too hot for him to say no to. Garry had a good laugh about me and Max still being able to rave about this girl so many years later. How could this song not be about her? I’m telling you she was hot!! 🙂
We also cut Sometimes Wrong that day, which I picked. The version that appears on the Deluxe album is listed as a “demo”. This is mainly due to never quite getting the track right. Garry and I would tinker with it over a 2 year period, adding parts and mixing at least 3 different versions. Going back and listening now it’s easy to hear “Mighty” Max and how bombastic he could be live. He’s the highlight on the track. It wasn’t until the Standing Still sessions with Steve Holley and Paul Page that I cut the original version the way I wrote it and it finally worked. I was probably too close to be objective because the “demo” gets rave reviews now from reviewers. But that was the great thing about working with Garry because he would try everything. He had the studio time and it didn’t matter if something worked or didn’t because we were learning as we went.
At the next session we cut And You Know Why and Way to Know. Max had just written his book called The Big Beat where he interviewed great drummers like Ringo, Charlie Watts, Levon Helm and Hal Blaine to name a few. I think he really took to heart what some of these great drummers told him so he could become a better well-rounded drummer. On And You Know Why he put that knowledge to good use. It might just be the least “Mighty” Max you’ll ever hear on a song he plays on, but he’s still solid keeping the groove against Garry’s economical bass line.
The next time I was going to the studio, I stopped at Garry’s to give him a ride and he told me to come in and sit down. He had headphones out by his stereo and told me to put them on. He then put on a record and I heard the Born In The USA album for the first time in its entirety. This was a week before the official release of the album, and as with all things Bruce, I had to swear not to tell anyone that I had heard the record until its release. The album floored me, and I understood why Garry played it for me when we got to the studio.
Up until then, Garry was not interested in using synths but after Born In The USA, it was obvious that synths were now going to be a big part of Bruce’s sound. In the studio waiting for us and already set up with his synths, was Joe Norosavage, who Garry had brought in to play on the tracks we recorded with Max. Joe immediately made a great impression when he came up with a cool lead line for And You Know Why. The rest of the session went just as smoothly and I started up a friendship with Joe, who would work on many of my projects in the coming years. I’m pleased to have been able to unearth the tracks and make them a part of the DownTown Mystic On E Street Deluxealbum.
Looking back, the thing that I find really interesting is that at the time, Garry wasn’t doing any recording for himself with the studio. I couldn’t believe it when he finally recorded and put out a solo record a few years back. I never knew he had it in him and when I asked him why now, he said “67”. He had just reached that age and felt if he didn’t do it now, he never would. It just goes to show it’s never too late, even for an “old pro” like Garry Tallent. 🙂
On December 1, 2017, UK Label Nub Music (via ADA/Warner Music) released the new DownTown Mystic EP, On E Street featuring Max Weinberg and Garry Tallent for the Holiday season in the UK & Europe. As you probably know, Max and Garry form the Rock’n’Roll Hall of Fame rhythm section for Bruce Springsteen’slegendary E Street Band. Personally, I think the rhythm guitar player should also be included as part of the rhythm section since the bass & drums won’t know what they’re playing to. 🙂
The On E Street EP contains 4 rare recordings with Max on drums and Garry on bass. Rare, because they’re playing with someone other than Bruce. There are only a few times this has happened, despite all of the studio work both men have done separately. As far as I know, other than Bruce, the only artists that Max & Garry have played together in the studio with are Ian Hunter, Gary U.S. Bonds, Ronnie Spector and me—DownTown Mystic. I know, that can’t be right, right?
I went to Columbia High School in Maplewood, NJ, the same as Max, who’s a year older. We had mutual friends and even then he was known as “the drummer”, walking the halls with his drumsticks in his hands. He played in the HS Orchestra and also the best rock band in the school. It was not surprising to me and others that he was playing in an orchestra pit on Broadway after graduation, or when we heard that he had become Springsteen‘s new drummer after auditioning for him.
I met Garry after giving his girlfriend a 45 my band had recorded and that I was handing out at a very “in” club in NYC that we were playing. She gave it to Garry and he dug it and came out to hear us play. He ended up playing bass with us in the studio for a production deal that we got from playing that same club and even did a live gig with us in Asbury Park, NJ. The band eventually broke up and I stayed in touch with him. I contacted Garry and asked him if he wanted to work together to record some songs of mine. He brought in Max to play drums. What are the odds, right?
The 1st track on the EP, Way to Know, was recently released in the UK as a single for theRage Against The Brexit Machine project by Nub Music. It’s not the version that I played for Garry. The original demo that I recorded for the song was a bit more mid-tempo and much sparser in the arrangement. It also featured a piano. Garry was the one who changed the tempo and the arrangement, so I have to blame him for this recorded version. lol As I’ve stated previously, the funniest thing I remember about cutting the track was hearing Garry tell Max to “play like Charlie Watts”. 🙂
The 2nd track, And You Know Why, features a very economical bass line from Garry and one of the most restrained drum tracks from Max that I think he’s ever played. And You Know Why has a great deal of meaning to me personally. It’s a song that came to me at a time when I was burnt out on writing and playing music. I was seriously thinking about giving up music altogether and this little tune would not let me quit. Then to have the good fortune of getting to record it with the E Street rhythm section is really quite a blessing.
The 3rd track, retro rocker Hard Enough, is an up-tempo number that owes a great deal to the great New Wave band Rockpile, which featured guitarist Dave Edmunds and bassistNick Lowe. The funny thing about this song is that I was not that thrilled to record it. I had given Garry 2 songs to listen to and decide which one he wanted to record. He picked Hard Enough, which was not the song I favored. Garry said he liked the George Harrison-type riff that I played but I think he picked it for more obvious reasons. When I hear his bass line it reminds me of his bass on Springsteen’s Ramrod from The River album, which is one of my fave songs by Bruce. So what’s not to like, right? 🙂
The last track Sometimes Wrong (Demo) was an idea that I had to rock up the song from the way I originally wrote it. Garry and Max gave it their best shot but I don’t think it really quite meshed the way I had envisioned it. I finally decided to go back to the original version when I recorded the track with Steve Holley and Paul Page(the rhythm section for Ian Hunter’s Rant Band). It leads off DownTown Nashville and I think it’s much better as I wrote it. I did keep most of the guitar parts from this demo version and the guitar solo I play on the end of the song is one of the best off the cuff solos I’ve ever put down on tape. It was a one-shot live take that I was able to pull off. I just wish I could mute the incessant vocal track singing “sometimes wrong” on the fade out! 🙂
I’ve been asked many times what it was like to play with Max & Garry and I always say it was one of the easiest sessions I ever played on. They play so intuitively together. Just a look at each other and they instinctively know what they’re going to play or where to go next. All I had to do was play my guitar. It gave me an appreciation for what Bruce has with these two anchoring his E Street Band. The other thing I get asked is why there are no photos from the studio. There are a couple of reasons. #1, the E Street Band has very strict rules as its own entity. They don’t do endorsements as a band and photos are a bit of a gray area. So #2, I didn’t want to seem like a “fanboy” taking pics and possibly creating a bad vibe in the studio. I think it’s always better to err on the side of caution in these types of situations.
One of the coolest things for me personally from On E Street is that I realized one of my deepest musical ambitions. After my band broke up so many years ago, I made a goal for myself to play with the very best musicians possible, and with On E Street that became a reality. My sincerest gratitude to Garry and Max for truly making that dream come true. 🙂
Way To Know was released as a single by Nub Music in the UK on October 20, 2017 as part of the Rage Against The Brexit Machine project. The project, spearheaded by business author/musician Peter Cook, had released 3 previous singles. What made Way To Know different was the fact that it was from an American Artist—DownTown Mystic. So how did this come about you might ask?
One day in September I was on Twitter and saw a tweet from Nub Music looking for songs for a project called Rage Against The Brexit Machine. Since I had a deal with Nub I thought I’d take a closer look. I clicked on a link that was provided and read about the project and what it was trying to accomplish. Much to my surprise, it was a campaign aimed at stopping Brexit using pop music to get the message out. I was under the impression that Brexit couldn’t be stopped, so now I was curious.
I decided to contact Mark Lee, the head of Nub, and offer Way To Know to the project. Mark thought it was a great idea and got Label Manager Guy Thompson to send the song to Peter Cook. Peter gave it a listen and liked what he heard. He gave me a call to see where I was at and to tell me more about the project. When I asked if it was possible to stop Brexit, Peter paused and said that Parliament could reverse it. He said the impetus for the Rage Against The Brexit Machine project was the effect that Brexit would have on generations to come. People were not aware how it would hit their pocketbooks until it was too late.
I told Peter that the one good thing that had happened in the US with the election of Trump was the Resistance Movement against Trump that had been started. People here in the US were truly pissed that Trump was elected despite losing the popular vote. Peter felt the people in the UK needed a bit of a push in that direction if stopping Brexit was to become a reality. And the British people should be pissed because the British Supreme Court ruled that Parliament never made a decision to stay or leave!
Peter told me that one of the reasons he really liked Way To Know was that it didn’t preach and laid out the problems in a matter of fact way. This was great to hear and I told Peter as much. I also told Peter that it wouldn’t hurt PR wise that the song features RnR Hall of Famers Max Weinberg & Garry Tallent—the rhythm section from Bruce Springsteen’s E Street Band. That info might come in handy, especially at Radio.
So that’s how I got involved with the Rage Against The Brexit Machine project and got to know Peter Cook. He’s a very decent chap (as they say) and has really put himself out there. You can feel his passion when he speaks and he’s doing the project for all the right reasons. As a fellow artist I’m proud to stand with him and help out in any way I can. The stakes are truly high as the future of the UK hangs in the balance. Check out the Article 50 Challenge for yourself and help Stop Brexit!
To quote Pete Townsend of The Who, “Rock is dead they say”…whatever. This is a tired old chestnut that “they” bring up over and over. I’m not sure who “they” are, and I’m not sure what “they” mean by “rock”. Are we talking ROCK from the 70s, 80s or 90s onward? Or since the turn of the century? It’s a very broad term for a particular kind of music. For the sake of this blog post, I’ll be talking about the original “rock”—Rock’n’Roll.
Since I’ve already made certain statements in interviews about my intention to bring RnR into the 21st century, I’ll back it up. Rock’n’Roll is a totally other animal than “Rock”. As Tom Petty said earlier this year about his discovering RnR, “Not rock; this was Rock and Roll. The roll designates a swing — there’s a swing in the roll.”That’s what I’m talking about. There’s a difference between Rock and Rock’n’Roll, and just to be clear, it’s RnR that I’m putting out there.
All that aside, I intended the Rock’n’Roll Romantic album to be my statement about RnR in the 21st century. I took over a year to build up to the release of it and when I finally did release it on CD in October 2016, it proved to be my most successful release to date. The CD starts off with 2 of 3 songs that feature RnR Hall of Famers Max Weinberg & Garry Tallent—the rhythm section from Bruce Springsteen’s E Street Band. In fact DownTown Mystic is the only artist in the world that can make that claim. Not even Garry Tallent and Little Steven can say that about their new solo records. Not too shabby! 🙂
A big part of the success of Rock’n’Roll Romantic was at Radio. The previous release of the DownTown Nashville EP at Americana Radio in the spring last year was easily DownTown Mystic’s biggest release at the format and helped to set the stage, so to speak, for Rock’n’Roll Romantic. But I also knew that Rock’n’Roll Romantic had a broader appeal to it than just Americana. The strategy of going to the AAA and College formats along with Americana garnered DownTown Mystic its largest radio audience, going from 16 to 36 Adds and more than 70 radio stations playing the music. For me, these results show that RnR in today’s marketplace is not dead, to say the least.
2017 started out by continuing the success of Rock’n’Roll Romantic when DownTown Mystic signed a deal with UK indie label Nub Music to release Rock’n’Roll Romantic in Europe. How apropos for 2017 to be the 50th anniversary of the release of The Beatles classic Sgt. Pepper’s Lonely Hearts Club Band, the 1st Concept Album. Besides the noise of “the death of rock” is the noise about “the death of the album” and “the death of the CD”. Besides being a true RnR album, Rock’n’Roll Romantic is also a true concept album.
The truth is Rock’n’Roll is here to stay…it will never die. Wait, that sounds like a song I once heard. Nevertheless, it’s true. There’s something undeniable about an electric guitar playing along to a groove that’s being put down by a real drummer and bass player. It’s an irresistible force. Sure, it might not be what’s popular on Top 40 Radio but who cares? There are millions of people who don’t listen to Top 40 Radio.
Meanwhile in the UK, Nub has already released the Side 2 EP to help set up the release of the full Rock’n’Roll Romantic album later in the year. What better place to release some new RnR than in the UK? Oasis has been the biggest band there since The Beatles and they’ve been around now for 20 years. So it’s safe to say that Rock’n’Roll is still alive and well there. This next chapter with Nub Music may turn out to be even more exciting than the success at US Radio for Rock’n’Roll Romantic! 🙂
In the last blog entry I wrote about one of the musicians involved in the making of Rock’n’Roll Romantic who I owed a debt of gratitude—Garry Tallent from The E Street Band. In this blog entry I want to talk about someone not as famous as Garry, but just as important to the making of Rock’n’Roll Romantic—Tommy Mastro.
Tommy & Robert
I first met Tommy when he was playing drums for a band called The Discontent. This was in my previous life as a Manager. It was obvious from the get-go that Tommy was clearly the best musician in the band (I don’t think any of them would disagree) and he played a big part in my decision to manage them. It wasn’t just his muscular playing with “old school” feel that impressed me like Kenny Aronoff (drummer for John Mellencamp & John Fogerty), but perhaps even more importantly, his attitude and personality. He loved to laugh and kid around and was there to be a cheerleader when necessary. His positive vibes were very contagious and many times lifted the band up whenever challenges arose. As a manager, I can’t tell you how important it is to have a guy like that in a band!
I was either lucky or dumb to have 2 bands recording their projects at the same time in different studios. It kept me busy shuffling between the 2 and it also got my juices flowing to record my own songs again. I had always wanted to produce and make records as an artist, but I let go of that dream to start my own company Sha-La Music. However, I started working more and more in the studio with The Discontent and that’s how I met studio engineer Ben Elliott, who the band was working with at Showplace Studios in Dover, New Jersey. Funny thing, the Showplace used to be a club and my band had played there 15 years earlier opening for acts like Robert Gordon and Elliott Murphy. Now it was cut in half, divided by a wall with a GoGo Bar on one side and the recording studio on other side, where the stage used to be. I could usually find the band in the bar when there was downtime in the studio. 🙂
Besides managing The Discontent, Sha-La became the band’s label, releasing their 1st cd societydidit. When it came time to work on new material, I decided to take the band into the studio to record some demos. It was also at this time that I decided to record some of my own songs. I’d been watching Tommy play drums and I could see how solid he was. I had recorded with some real pros like “Mighty” Max Weinberg. The drummer is the engine that drives a band, especially in the studio. The basic track is really all about the drums. A great drummer can make all the difference in recording a great track.
I could see that Tommy had that ability too. I saw and heard what he had done on societydidit. The Discontentplayed punk with a metal edge and Tommy would put a groove in that you don’t usually hear in those kinds of songs. I began to wonder what he could do with my more “old school” songs and was looking forward to making that happen. So when the time came to go back to Showplace Studios to cut some demos, I asked Tommy and the bass player Eric Hoagland, if they would be interested in cutting some of my songs before their session. Both were enthusiastic and one night after a Discontent rehearsal we ran down the songs and it was off to the studio.
Tommy & Eric
It was very cool for me to be making music again and recording with Tommy and Eric made the experience even cooler. I could see Tommy was a bit of a “head case” when it came to playing in the studio. He would stress himself out. I told him not to over think it because he was a great drummer and just needed to let his intuition guide him when playing. He would start to relax and lock in the groove. When it came to playing rock’n’roll he was a natural. He kept it fairly straight but he played with such power locking in on the groove. It really allowed me to enhance the rhythm. I think the 1st track we cut was Turn Around And Go. You can hear how he attacks the track but keeps the groove together.
We cut 6 tracks in that session that I could work on at my leisure when I had some down time. I was also very impressed with what Tommy played. He knew who I had worked with and wanted to impress me. He also knew what I wanted and he knew how to make the songs rock. I started calling him “2 Take Tommy” because we would be doing the 1st take and at some point he would stop. Then he would nail the 2nd take! 🙂
Little did I know at the time that these sessions would be the start of what would become DownTown Mystic. Looking back I have Tommy (with an assist from Eric) to thank for that. As I became more involved with working on the tracks, I decided I needed a name for my project. As it would turn out, The Discontent would indirectly help me find one. On a trip up to Providence, RI for a gig with the band I saw an old wooden sign on the side of the road that read “next exit Downtown Mystic”. Presto! I had my name for the project. On all our trips up to New England I’d never seen it before. Never saw it again. 🙂
Tommy would eventually leave The Discontent, but I stayed in touch and never hesitated to call him to play on my DownTown Mystic sessions. His playing is all over Rock’n’Roll Romantic, playing on half of the album. One of the tracks, Dead End Space, was written with The Discontent after he had left the band and we cut my version with just the 2 of us in the studio. I’ll always remember that session because it was late at night and the only time I was set up with my acoustic guitar in front of the mixing board in the Showplace control room. Tommy was set up with his drums in the studio so we could see each other through the control room glass as we cut the track live to tape. After the 2nd take Tommy was beaming. I could hear him say (in true Tommy fashion) through the glass, “that was so coool”!!
It occurred to me that just about everyone involved in the making of Rock’n’Roll Romantic is, like me, a Rock’n’Roll Romantic at heart. I think that’s very cool and it certainly helped make the project come alive. Since I’ve made it my business to help promote all those kind souls who have helped me, my way of “paying it forward”, I wanted to talk about one of them who has been a big influence—Garry W. Tallent.
Garry is Bruce Springsteen’s bass player. That’s something nobody else in the world can say. He’s a quiet easy going guy and you would never figure he was the 7th son in a family of 13 kids. He’s also a great musician and has an encyclopedic knowledge of all things Rock’n’Roll. Of course, being in The E Street Band definitely has its perks. One of them is you get to play alongside Bruce Springsteen (not too shabby). His rhythm partner in time is drummer Max Weinberg, not to mention playing with the other great musicans in the band…not too shabby either. 🙂
On Rock’n’Roll Romantic, Garry and Max play on 3 songs—Way To Know, And You Know Why and Hard Enough. I can kick myself for not getting a photo of us together in the studio but I wanted it to be cool for them without walking around snapping pics like a fanboy. It was quite an experience working with them, watching how they work together. I learned a great deal in the process, and you might say, they were somewhat responsible for my creating DownTown Mystic. It’s also easy to figure out why Bruce has been so successful, particularly live. Having Garry & Max as your personal rhythm section has got to be a perk for The Boss as well. These guys can rock with the best of them. 🙂
Now, after many years of playing bass, Garry has put out a solo album called Break Time. He is now stepping up to the mic, both figuratively & literally speaking. This was not something I would have ever expected from him. Singing out in front of a band has got to be a new experience for Garry and it’s been very cool to see it happen. I asked him why now, and in typical Garry fashion, he replied “why not”? Truth be told, he said getting older was motivating him to finally get his music out there. Truth be told, it’s good having good timing too. 🙂
He’s got a built-in audience with E Street fans from around the world and he’s made a very good record for them. As far as I’m concerned, whatever was on the wax when I listened was going to surprise me, and Garry didn’t disappoint. On the other hand, it shouldn’t have been that much of a surprise, given that Garry is somewhat of a Rock Historian. Going back to the music that caught his attention as a kid, early RnR, makes perfect sense. He delivers authentic sounding old school 50s RnR in a style that recalls so many of the greats from that period, as well as show his dry sense of humor. Hearing Garry sing Ants In Her Pants is worth the price of admission! lol
Of course, playing in The E Street Band and putting out a solo record has got to be somewhat of a daunting task for everyone in the band. There’s been a very high bar that they’ve set for themselves and then there’s also that guy named Bruce. His name alone brings so much attention to anything in its orbit. That can be a double-edged sword of sorts, but for Garry it only enhances what he’s done.Break Time is a great testament to the talent (no pun intended) that Bruce has placed around himself.
Hearing Garry’s influences gives one the feeling that Bruce could throw anything at him and get 3 or 4 styles to choose from in return. That has to inspire confidence in The Boss to have a guy like Garry manning the Bass behind him. Also, I think it’s important that guys like Garry are around and still interested in putting out music that might be in danger of going extinct. He was an eyewitness to that initial Big Bang and let all that music wash over him . Putting together the crew of musicians to help bring out the authenticity of those influences is also a talent (pun intended). 🙂
If you have the chance, get yourself a copy of Break Time, and judge for yourself. Also, keep your eyes out for Garry on tour this year and if you see him, tell him DownTown sent you. 🙂
