Karen Carpenter, Five Years, Six Seven Eight Ten Eleven Year discussed on OC Talk Radio

OC Talk Radio


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Welcome back everybody another episode of OC spotlight the one show that talks about the most incredible people doing the most amazing things right here in your own backyard and this I'm well a personal favourite of my we have somebody with us that long enjoyed his music and he's decided to come back into our backyard here in Orange Johnny he's going to be doing some concerts in San Diego and in up in Beverly Hills soon welcome if you will the one and only gene of Anneli welcome Sir good to be with you Paul Gina the Nellie take us on the ride of the last twenty or thirty years of as we were talking offline I was distracted young young disc jockey in Ann Arbor and then eventually in Virginia and loved your music all the the ounce of that era the seventies into the eighties and the music business changed dramatically I got outta radio and lost track of so many artists as times changed as tastes changed Take us through that journey what I wanNA start with you as a young boy in candidate here with a Dream Your father is a cabaret singer as I understand looking at your bio here and you get inspired by jazz drummers and cabaret singers and classical music how does that spark turn into the The big superstar that you became in the seventies and eighties here as as a child I was introduced to a lot of great music am you know I'll give this example A lot of people would say that a Steinway D. was a great sounding piano okay well when you listen to a Stein way D- whether it'd be erroll Garner playing in Oscar Peterson talking my language because I was a big jazz fan so creep going here for for me at by the time I was ten years old it's not that a dime away d sound good it's just the way channel should sound everything else was less than less than piano sound right so for me you know the the big bands the great drummers of the great singers that's the way you're supposed to think and that's the way you're supposed to play my standard was were standards were Pretty High I was lucky to have been a drummer to release them in a place called the cavs Aloma at eleven years old in Montreal oh my goodness yeah I got to meet Gene Krupa Buddy rich and Stan Kenton live and and see Duke Ellington Ella Fitzgerald Tony Bennett real up close you know and really took a good good close look at their technique how they breathe intonation pitcher eleven most kids are uh-huh playing baseball I'm watching Batman or whatever I had my share that too but but you know for me it was all it was really the the the pension for Frist Petix was just so there When I was in sixth grade seventh grade I was the only kids who got who took the free tickets to go see the Montreal symphony every Thursday I good for for any elementary school kids the the first time that I went they played Rebels Daphne employed and I said to myself I said well I don't know what it is I don't I can't I can't sure the tonics I can't hear the fundamentals and it's sounds like it's somewhere in the spheres and so it intrigued me so much rebels way right and then with Ravel's Bolero but I don't I don't remember all of his other compositions the one that they use be ten so famously yeah right yeah all all is counter compositions are just amazing but when another incident was when the first time I was introduced to Sunday mass was when I was six or seven years old and my parents wanted me to go and I was born rate Catholic Child Catholic school France schools and all we're connecting on another level I'm still a good Irish Catholic and the Church has obviously rich tradition of music going way back when I didn't want to go and when I walked in to the church in one hundred piece squires started thinking Patterson jelic the I I mean I got shivers all over my body and I get God really lives here Ya down all the harmonies Rian Chance Oriental impounded it was something you know acoustics something really visceral you know something tax how about music that really kind of this touched you in a way that most six seven eight ten eleven year olds didn't some of them just wanted to pick up a guitar and be Elvis Presley her you had a real deep connection with the music itself did and and I I I love the drums and when I was by the time I was ten or eleven I father bought me a kiss and Ludwig Kit I was lucky kid my time I was twelve I started taking piano lessons and then took guitar lessons when I was forty eighteen and and that really giddy having basic knowledge of all the rhythmic or the rhythm section instruments really started my my arranging a really helped my ranging abilities now you I was GonNa say somewhere in there you picked up a a record contract in Canada did you get a Juno award there quivalent of sort of the grammys or whatever that came later by by by the time I got out of high school I got signed to ours Victor one of the big record companies and had sort of mild hit in Canada gave me a good taste of the business and then I asked for my release and I moved to New York that was not quite eighteen I dropped out of college while I figured I'd take up my education along the way and so I read phonetically and I continued my muse to carry lessons you know with with private m where your parents supportive of this or were you following the dream that your dad had to for himself at maybe one point time or were they saying no don't go there this'll break your heart here my mother was terrified my father had his fingers crossed I like that all right so now the story that I got I'm sure you've told us a million times it's in your bio it's in your wikipedia article yes he has a great wikipedia page here folks go check it out I never had heard this story but I'm GonNa ask you to retell quickly one more time here you come to Hollywood according to what it says you're down to your last five bucks brother and you decide to take a bold move and stand outside the gates of A. and M. Records over there of sunset and Try and meet a great famous herb Alpert talk about that well you know I have to you know precluded or at least we see did you know with with this feeling that I always felt like music was more than just a career or a job I felt like it was something that was inside and made it had to be brought out yeah sounds like Oh yeah I always you know look at it a little bit like a mission quit and after being an ally month and having all the doors slam shut my face we had to leave the next day and I I didn't want to leave so I got up early that morning and I walked on okay boulevard and I as a song says I did stop it to a church and I I rested in the pews and fell asleep this like the Mamas Papas California dreaming here right yeah and I woke up with exactly knowing what I have to do and I went back to the at that time was called the Orange Motel five bucks a day and I got up and took my guitar and I just waited in front of the gate The Charlie Chaplin Studios Wearing records was yes and of course that was worn by the guard and all that kind of stuff and finally three or four hours later I saw her come out of his office and walk across the parking lot and I said this is exactly what I thought this is the moment yep so I dropped my guitar ran through the gate was changed and a constant herb and while I was being dragged away by the guard I think that a little mercy in his heart and ask the guard let me go in and asked me what I wanted just let me sing you a couple of songs come back in thirty minutes Oh my goodness I hang him I saw him let's see Mama Koko lady people gotta move crazy she likes to songs like that yeah and all those became big hits for yeah right well at least well-known yeah you know he just turned mink what welcome to the family and I started recording Three weeks later I went back to Montreal it was Christmas Day isn't this the story that keeps everybody coming the the possible dream the down to your last buck and you literally get in front of the man and you have five minutes less than thirty seconds to make an impression and you did yep yeah and but I had worked towards it for five years Sir because you see I started really early and by by the time with eighteen I mean I was well not quite five years I've got twenty one but every breathing moment you know every waking moment I thought about it and I tried to improve myself and by the time I did perform for for her but I guess I was ready to make an impression how well you were you were prepared for that one moment from crazy left to power for people to storm at sunup and just the Jim Knight then ending up you know would brother brother you know that that six year period was tremendous growth and let's go back and look at the roster in and this is like what the late seventies somewhere in that period time here my first record was ninety seven me too and then broach that was nineteen seventy eight so if I remember correctly from my disc jockey days m was a was not what record companies are today they had a very wide sound from T- from herbs original Tijuana Brass Whatever you want to and then then Gina's Vanilla and rock and roll acts and everything in between I mean there there was a rich environment seems like well they had I mean a lot of ars that I really really admired including Cat Stevens and Joe Cocker and right carpenter and in Quincy Jones and George Harrison made a deal with them and oh king made a deal with them and so I mean they they they were really the the most famous and the best independent label you know in the world at that time and it was really an honor and privilege to be they found artists with the carpenter viewpoint I I confess I was a big carpenters fan too and and Arab when that was kind of could be seen as uncalled this kind of I mean she sang so magnificently but this kind of lush almost like throwback to the forties and fifties kind of music orchestral kinds of songs to Joe Cocker? I mean you know there's there's a wide range between those audiences in those south but they seem to be able to find artists in niches and develop that in a way that others wouldn't or couldn't they weren't just bound to offend Formula I remember the first week that I just went to the ATM studios and of course her was producing crazy? himself and Karen Carpenter's coming in and she was rolling her drums and You know I was star struck with all the great artists going in and out of you know why are you rolling your own trump and she's never stopped being Rhody I love it I love it all right so you're in this rich environment and you flourish and and described the music I don't WanNa put my own classification on it but it's not the it it was a very lush to me a very orchestral kind of sound to this it wasn't just your typical top forty pop music and yet it played on the pop charts How how would you how would you classify where does it fit I may I know artists hate to do that but for those who may be younger and they're trying to understand what that time was like what what was your music about well you have to you know give the audience the backdrop and the backdrop was in the seventies music was fee thing in people's lives and ah was exploding in the sense that music was fusing into all these new ones dial yeah combining styles calling fusion.

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