An EXCLUSIVE interview with GILBERT O'SULLIVAN!

Out Of The Question:

An EXCLUSIVE Interview with

GILBERT O’SULLIVAN

 

By Stephen SPAZ Schnee

(An edited version of this interview appears in Discussions Magazine)

     Though he is best remembered in the U.S. for his massive 1972 hit “Alone Again (Naturally)”, Irish-British singer/songwriter Gilbert O’Sullivan does not deserve the ‘one hit wonder’ tag that he has been laden with on these shores. To begin with, he actually scored THREE bona-fide hits in the U.S. in the early ‘70s (“Clair” and “Get Down” were the other two). And unlike most of his contemporaries, he’s never stopped recording and touring. He may not be as prolific as he was in the early ‘70s, but Gilbert continues to release albums every few years, none of which has seen U.S. release. In fact, apart from a few ‘best of’ collections (including a best seller on Rhino Records), Gilbert has not released an album in America since his ‘70s heyday, which is an absolute shame.

     Often said to be a mixture of the whimsical side of early solo Paul McCartney and the moody, observational style of Randy Newman, Gilbert’s unique songwriting style is probably closer to early Harry Nilsson than those two artists. Then again, Gilbert’s love of pre-Rock ‘n’ Roll songwriters like Cole Porter is evident in his material as well. He’s a mixture of music hall, Pop, Broadway, Folk and just about any other song-based genre you can imagine. The important thing to remember is that, to this day, he continues to write songs that are just as good as anything in his back catalog, if not better. His love of songwriting is apparent in everything he has recorded and he has never released anything that he doesn’t sound passionate and spirited about. Gilbert does not rest on his laurels and he refuses to live in the past. He is proud of his back catalog but remains dedicated to the craft of songwriting. And unlike almost all of his contemporaries, he hasn’t lost the ability to write great melodies and stunning lyrics.

     Over the course of 2012, Salvo/Union Square reissued remastered and expanded editions of Gilbert’s first seven albums (Himself, Back To Front, I’m A Writer Not A Fighter, A Stranger In My Own Back Yard, Southpaw, Off Centre and Life & Rhymes) as well as a career-spanning Very Best Of, which covers his entire career up through Gilbertville. Listening to songs like the gorgeous “Dear Dream” or the 9/11 tribute “All They Wanted To Say”, it’s amazing that some of the best songs here were written and recorded some 20, 30 and even 40 years after his so-called ‘heyday’. Seems that Gilbert may not have reached his peak yet!

     The album reissues are sound amazing and look great, which is a trademark of anything that Salvo/Union Square does. Each of the seven albums, which were released between 1971 and 1982, are truly stunning collections of pop confections. His hit singles only tell part of the O’Sullivan story: the albums fill in the blanks with some truly amazing musical musings. There may be a dated production gimmick here or there, but the songs withstand the test of time and each release is highly recommended.

     Stephen SPAZ Schnee was able to have a chat with Gilbert, who was gracious enough to talk about the reissues as well as his new material, his love of songwriting and more…

SPAZ: Your back catalog has been remastered and Salvo/Union Square have released your first seven albums in their Singer And His Songs reissue series. You’ve also been promoting your latest album, Gilbertville. How are you feeling about things right now?

GILBERT O’SULLIVAN: I’ve given my catalog to Union Square, who are a very good company. They will release everything worldwide. But the reason that I work, the reason I’m on the road isn’t because of my back catalog. Of course I’m very proud of it, but it’s because I release a new album every couple of years. Europe gets those, but you don’t get those in America. To me, my future depends on what I do new, but I’m conscious that it interests you because you don’t get the new material. But Union Square will release the back catalog, the early albums, in your territory so therefore, it makes sense to talk about it. But I’m very happy with it. They do a good job; they’re a very good company. It’s the firsy time I’ve given away the rights for a period of time to another company.

SPAZ: Being that you are still promoting Gilbertville, is it difficult to look back and talk about your old recordings?

GILBERT: I get offers all the time to do TV shows around the world and they just want me to do an old song. I always turn them down, but what I accept is when I can do a new song and an old song so I never mind that. For me, it has to combine the new and the old. I’m not one of those artists that is just sitting in the past. There’s nothing wrong with that. There are people that don’t make records any more, don’t write any more and they’re very happy to live with their back catalog. I’m proud of my back catalog, but I balance that with what I’m doing now. I like to think that people are interested in what I’m doing now as well as the interest they have in my past.

SPAZ: While there have been reissues of your albums in the past (notably in Japan), why did it take so long to finally do it properly with remastering and bonus material?

GILBERT: The Japanese did a good job over there. In America, apart from a Rhino Records ‘best of’, they did put out a limited box set (through Rhino Handmade), which was really nice. I’ve had offers from American companies to do a best of but I’ve turned them down. I’ve had offers from other parts of the world to do a best of and I’ve just resisted that. With Union Square, I talked to them and it took 2 ½ or 3 years before I agreed to it. Based on what I’ve seen, the work they’ve done with other artists, I felt comfortable that they would do a good job, so I think we’re in good hands there.

SPAZ: Were you actively involved in putting the reissues together?

GILBERT: Totally. Absolutely. Of course, talking with the journalists about the songs (for the liner notes), agreeing with what was put on it, approving the artwork… I’m very, very careful about how it’s handled and who handles it.

SPAZ: Judging by the demos on your debut album, Himself, it seems that you had worked out your sound early on. Has it been difficult to maintain your individuality in the midst of constant musical changes over the years?

GILBERT: I was never really conscious in terms of individuality: I just sounded like I sounded. In the beginning, if you listen to my demos, I was very Dylan influenced. Dylan is a vocalist and Lennon & McCartney are a catalyst for songwriting. So, if you put those two together, you get me. I don’t have a great voice: I have a distinctive voice, I have a good voice. Obviously, I’ve gotten better as a singer as the years have gone by. For example, on earlier albums, I did a lot of double tracking. It’s interesting: when you don’t have a really strong voice and you double track, it sounds really good. But when your voice starts to get better, double tracking doesn’t sound so good.

SPAZ: Each of your albums are filled with timeless songs that are just as relevant and exciting today as they were 40 years ago. Did you ever think that you’d be sitting here, talking about the album four decades later?

GILBERT: I’m very, very ambitious, very determined and very enthusiastic about songwriting. I love songwriting. Everything I do is based around songwriting. Without the song, there’s no artist. It’s a love I have for that. I’ve never sat here and wondered what makes something a big success or not. Or what makes a hit record or what is it people like about me. I just get on with it. It’s blinkers on. As long as you concentrate on what it is that has got you to where you are…

SPAZ: Do you have any particular memories of recording your debut album, Himself?

GILBERT: Some of it was recorded in Las Vegas because Gordon Mills, my manager, was with Tom Jones in Vegas. In those days, you did two songs in three hours. Everything on that album was done in three hour sessions. We’d go into Decca studios and do two songs in three hours, come back and do string arrangements and then I’d put a vocal on in another small session. There was never a period in those days where you’d have a whole day in the studio, where as now you can take a week to put the drums on.

SPAZ: Your recording career actually began a bit before your debut album. Do you remember when you first realized that something special was happening?

GILBERT: The very first session with Gordon Mills was an extremely memorable one. Up to that point, I’d been serving my apprenticeship with record companies. On CBS, the first record I made, I didn’t like it and so I got them to release the demo of “Disappear” as a single because I didn’t like the records I was making with Mike Smith, who was the producer for The Love Affair and The Tremeloes, who was usually successful. I didn’t really care much for what they were doing but I was the new kid on the block and who was I to tell them what I wanted? So, I moved from CBS to Major Minor. I had a really good song written about the death of Bobby Kennedy called “I Wish I Could Cry”. I was really proud of that song. But they ruined that for me so I left them. So, I decided that I needed a manager to help me. When Gordon came along and he liked my songs, the first session with him was a revelation. I was working with great musicians and we did were “Nothing Rhymed” and “Independent Air”, the first two songs in the three hours. Forget the fact that I had no idea if “Nothing Rhymed” was going to be a success or anything. But those two songs were the first time that I’d made a record that I really loved and felt really proud of. I didn’t even care how it was going to be received by anybody. Those are the sort of things you remember. In a sense, from there on in, working with Gordon when we were in the studio was great fun because he produced the records. He wrote songs himself, so he understood the process.

SPAZ: In many of your songs, you sing from a point of view other than your own. Have you found it difficult when critics or fans confuse the issue and assume that you are expressing your own personal feelings? When I was a kid, I truly did feel great sympathy for the singer in “Alone Again (Naturally)”….

GILBERT: I don’t mind. It’s not based on my experiences: it’s based on an understanding of someone in that situation. What’s the criteria for a good lyricist? What the criteria for good fiction? Situations that you believe in. I like dark subjects. They interest me. If I don’t have the experience of being stood up at a church or attempting suicide, I like to think that when I get into the lyric, I get into what somebody in that situation is going through. That’s what interests me. That’s where the love of being a lyricist comes from: the fact that you envelope yourself in those situations. I am very comfortable with people who THINK it’s me. I don’t mind that, there’s nothing wrong with that. Once the song is out there, if your take on what it’s about is very different than what mine was, I would say that you’re absolutely right because it’s your song. Once it goes out there, then its yours so whatever you think it’s about is acceptable to me. I would never criticize anybody who has a different explanation to a lyric of mine than what I actually meant it to be.

SPAZ: You’ve often been compared to Paul McCartney, Randy Newman and, to these ears, Harry Nilsson. What were the main influences that helped create your unique sound?

GILBERT: As a 17-18 year old starting to write songs, I had Ella Fitzgerald Sings Cole Porter. I had Ella Fitzgerald Sings Rodgers &Hart. I was interested in songwriting. It’s like being an artist. I was an art student for four years and when you study art, you go through the history of art: the classics and contemporary art. In musical terms, what do we do? We listen. People would say to me, “How do you write songs? You don’t read music.” Well, none of my contemporaries from 1960 onwards read music…. Maybe Goffin & King did read music… certainly Bacharach did. But Lennon & McCartney didn’t. Ray Davies doesn’t. I don’t think Billy Joel reads music. None of my contemporaries read music. Why? Our ability to write songs comes from a love of what we hear on the radio. It’s the love of music that we hear that makes it slightly different to what people hear: it seems to resonate deeper. Because we’re writing songs, what happens is, in the beginning, you write exactly like what you hear but eventually, you write something that you hope is an original idea. For me, it’s always about songwriting. There’s never a moment when I feel that ‘I love you’ is a boring subject to write about. I always feel I’m learning as a songwriter. I still think there’s loads of ways to write about the same subject that you’ve written about for 40 years. It never fails to excite me when I sit down with a blank notebook, and I haven’t got a melody that I’m going be working on. People say that “Alone Again (Naturally)” is a depressing song. OK, it might be depressing, but I was very happy when I wrote it. People say “Well, you wrote about unwanted pregnancy and getting rid of the baby.” Well, I’m not for abortion, but you put yourself in the situation of a working class family with a daughter who gets pregnant. Does she get rid of it or does she have it? It’s very easy for me to write about these things because it’s real life. As a lyricist, those kind of subjects and areas interest me.

SPAZ: Your latest album, Gilbertville, is yet another great collection of fantastic tunes. Songs like “Missing You Already”, “All They Wanted To Say” and ‘Private Eye” are just as great as anything you’ve done before. Since you don’t release albums as prolifically as you did before, how many completed songs did you have to choose from in order to come up with the songs that made the album?

GILBERT: I’m a disciplined writer. I sit down five days a week, four weeks a month. I just stay there. It’s never a waste of time. All you’re looking for is a tune, a melody. When you get something that you like, you move on, you do more. You just keep collecting melodies. And the key is this: if it’s a good melody, it will survive 5 years, 10 years, 20 years…. Never finish a lyric. If you end up finishing a lyric and not recording it, the lyric could become dated. So, what I do is I try to come up with melodies. When I sit down for the next project, I have enough melodies. There’s no lyrics, not titles, just a collection of melodies. Very important. The melody is that important to me. So, that’s how it will work: I’ll sit down with the first melody and I’ll have no idea what lyrically it is going to be about. But each album will be based around that particular approach.

SPAZ: So, that’s how Gilbertville came about?

GILBERT: For Gilbertville, I always wanted to do an album in Nashville. But I don’t like Country songs. I like Pop songs. We were working with Nashville musicians in a really good studio. It was an exciting project. I think it’s a danger, no matter how good you are, if you use the same musicians every album and you’re the same writer, no matter how different you might think the songs are, there’s going to be a certain sameness about it. The way to avoid that is to vary it, to go somewhere else to do it… to give each album a slightly different aspect to the one before it. That’s very important I think.

SPAZ: Has your routine changed over the years or is it pretty much the same?

GILBERT: It’s exactly the same. I have lots of technology that I buy to supposedly help me to record stuff but, nah, I throw that all away and I go back and stick to the cassette. It’s a comfort zone for me. As a lyricist, I think that there is something in you that allows you to be able to use words. But I think musically, you have to be influenced. There’s a great danger for contemporaries of mine that we lose the melodic touch simply because we don’t like what we hear now and we’re not that bothered by it. I try to avoid that because I’m conscious of what could happen in that area. I try to be as melodic as I can because I feel that it is vitally important. I’d hate to think that I would be dependent on a song that had a lousy melody but a good lyric. To me, they’re equally important.

Thanks to Gilbert O’Sullivan

Special thanks to Steve Fruin, Steve Bunyan and Kevin O’Sullivan

LIKE Gilbert on Facebook HERE


Available NOW:

Himself

Back To Front

I'm A Writer, Not A Fighter

A Stranger In My Own Backyard

Southpaw

Off Centre

Life & Rhymes

The Very Best Of: A Singer & His Songs

Gilbertville

An EXCLUSIVE Interview with SETH SWIRSKY

THINGS WE SAID TODAY:

An EXCLUSIVE Interviewwith SETH SWIRSKY

By Stephen SPAZ Schnee

     The Beatleschanged the course of music history. There is no doubt about that.  From their humble beginnings in Liverpool to their massive success between 1963 and 1970, The Beatles became the most influential quartet of musicians in the world.  Though some may disagree, The Beatles have even eclipsed Elvis in terms of popularity over the years.  Elvis may have kick started Rock ‘n’ Roll, but he managed to lose the plot when he churned out loads of b-movies in the ‘60s.  The Beatles never had the opportunity to overstay their welcome.  They came, wrote some of the most amazing tunes ever, changed the world and then broke up. 

     The Beatles’ story is known by anyone with a passing interest in music.  There are hundreds (if not thousands) of books written about the Fab Four.  Their songs are played 24 hours a day somewhere in the world.  Beatles fans have taken it upon themselves to set up websites totally devoted to John, Paul George and Ringo, either together or apart.  It seems, at times, that you can’t escape their influence, whether it’s musically or in pop culture.  The Beatles are everywhere.  But have we really heard all we need to know about The Beatles?  Judging by the new documentary, Beatles Stories, there is plenty more to tell.

     Singer, songwriter and artist Seth Swirsky began piecing Beatles Stories together, almost by accident, in 2004.  Beginning with an emotional off the cuff story by a Liverpudlian tour guide, Swirsky slowly put together this rather compelling and enormously entertaining documentary, which features interviews with fellow musicians and unlikely celebrities who have had encounters with at least one of the four members of The Beatles.  With stories from a wide variety of artists, this is an extremely enjoyable documentary that delivers great story after great story. 

     From producer Jack Douglas’ hilarious tale of recording Double Fantasy with John Lennon to Henry ‘The Fonz’ Winkler’s encounter with Paul McCartney on the streets of New York, Beatles Stories is a truly unforgettable experience that will leave viewers wanting more (thankfully, there’s extra interviews included in the DVD’s bonus features).  Throw in great stories from Brian Wilson, Sir Ben Kingsley, Art Garfunkel, Susanna Hoffs, Davy Jones, Jackie De Shannon, Bob Eubanks (yes, Bob Eubanks!), Graham Nash, Peter Noone, Justin Hayward, Denny Laine and many others and you’ve got yourself a documentary that shows the human side of The Beatles that tends to be overlooked elsewhere.

     Stephen SPAZ Schnee was able to catch up with Seth Swirsky, who can now add ‘successful film maker’ to his resume, and they chatted about all things Beatles Stories…

SPAZ:  Beatles Stories is just about ready to drop.  How are you feeling about the release and the reaction you’ve received so far?

SETH SWIRSKY:  I am so pleased.  I do projects that really tap into my passion: I give them all I have and I pay for them myself.  I had no profit/loss statement on this if you know what I mean (laughs).  My biggest goal is…. I just love The Beatles so much and I wanted to share these stories. For me, it was, “How do I express that feeling?”  Well, I’m a songwriter and I’ve written many hit songs. I’ve written albums myself. I’ve won many awards… all those different kinds of things. That expresses what I learned about songwriting being a very young child in the ‘60s and the ‘70s.  But that didn’t quite express my love of The Beatles, which is very, very deep. So, I started filming these things and putting it together and it was such a joy to do.  I would show little bits to friends and I thought that I’ve got to put it together in a way where it’s not 4 hours long and you’re not looking at your watch. You’ve got to edit it in a certain way.  It was the editing that really took a lot of the time. You want it to have a certain flow. The whole first half of the movie is The Beatles of the ‘60s. I had to do a slow progression all the way up.  It’s not literally year by year.  It’s era by era.

SPAZ:  Hearing people tell Beatles-related stories throughout the years obviously inspired the film, but can you pinpoint the exact conversation and moment when you decided that this movie had to be made?

SETH:  That’s a great question.  Usually, what I do with any of my work, it’s like having a big slab of clay that you put down and you know you want your hands on that clay but you don’t know where it’s going.  Then, all of a sudden, it starts appearing. You want to do a clay figure of a woman and you don’t know exactly what it’s going to look like but then it starts to appear…and that’s when you know the moment.  I was asked to play at the Cavern Club in Liverpool for my first solo album.  And I was like, “Oh my God, are you kidding me?  Play the Cavern Club?  The Beatles? Unbelievable!”  I flew over there. I had my guitar and I had a handheld camera. I wasn’t planning on making a movie. I had a break before I went on and I took that Magical Mystery Tour Bus where they show you John Lennon’s house growing up, George Harrison’s house, the Strawberry Fields gate and all that stuff.  The tour guide, Eddie Porter, he showed us the Strawberry Fields gate and I just said, “Hey, Eddie, can I just film you over here. Can you just tell me a side story?” And I’m filming just for myself and he tells that story of Sean and Yoko with the picture and he said, “I almost cried my eyes out,” and I thought that was so poignant.  So, I go back to L.A. and I get online and I somehow stumbled upon May Pang’s website and I wrote her through the contact page.  I didn’t think I’d hear back from her. She writes me back and says that she’ll be in L.A. and I asked if I could bring my video camera.  She says sure and then she shows me around the apartment where she and John lived when they landed in L.A.  So, now, I’m thinking I’ve got two of these things. And then a friend mentioned to me that he knew Peter Noone.  You’re actually inviting people to a party.  You’re not inviting Sir Ben Kingsley and Brian Wilson first because they’ll never come to your party.  Graham Nash is not going to be the first at your party. So, you’re building a mountain.  I had these three people and when I had those three, I asked Denny Laine and he said yes.  And then Justin Hayward said yes. So then it dawned on me: these stories, if I can cut them down to a minute and a half each, telling the stories with the photographs and try to reconstruct the story, then what is it really?  It’s Beatles Stories. And I thought that’s nice and simple and tidy and it tells the story of what I’m doing. Done!

SPAZ:  You’ve got a wide variety of celebrities involved, from actors and comedians to athletes and musicians.  Was it difficult to get them involved with the project?

SETH: My whole philosophy when I’m doing something artistic is: yes.  Just the word ‘yes’.  Why not?  They are people, too? Let’s talk about Art Garfunkel for instance.  I really wanted Art Garfunkel because I had heard about his story, I had read about it.  You don’t hear it very often.  I started thinking, “How am I going to get to Art Garfunkel?”  I already know that to go through his PR people, they’re never going to get it to him because it’s not money-making.  And I’m not saying anything about Art Garfunkel.  I’m just saying that he is presented projects over the years, so many of them.  So, I always try to go a different route and I try to be creative about it.  I’ve produced records, so I went to the back of the album covers that I’ve made and I thought to myself, “These guys are very good musicians.  I wonder if any of them have played with Art?” And wouldn’t you know there was one overlap: a guy who played guitar on records I produced and he had also played with Art.  So, I wrote him a long e-mail: “Hey, I haven’t seen you in a long time. What’s going on?” Then I made sure I described the project.  In three paragraphs, I described the exact project and what I had done before. I made sure that I described the project as if I was speaking to Art.  I said, “If you like this idea and can get it to Art, fantastic.”  He loved it. He e-mailed me back and said, “Yeah, I know Art.  I’ve played on his records. Can I just forward it to him?” I’m telling you, that night, I go to my answering machine.  I clicked it on and he goes, “Hey, Seth. Art Garfunkel here. Yeah, I’m in.  I love the project. That sounds amazing.  Next time you’re in New York, look me up,” and then he gives me his address. Then, I called him immediately, and he says “I read what you wrote and I’m totally in.  Next time you’re in New York….”  And I said, “Hey, I’m going to be in New York tomorrow!” Do you think I was really going to be in New York ‘tomorrow’? No.  But when somebody says ‘yes’ to you, get on a plane!  Find a way because they aren’t going to remember this conversation in 6 months.  You’ve got to lock it down. That’s how they happened.

SPAZ:  How long, from beginning to end, did it take to put the project together?

SETH: It started with Eddie Porter, the Magical Mystery Tour guide.  I filmed him in October, 2004. I didn’t know I had a movie until the next year as I continued with Justin Hayward, May Pang and Denny Laine... I knew I had a movie around the middle of 2005.  I stopped shooting around 2009, 2010.  2010 was really about finishing the editing and then getting it into film festivals. There were a lot of film festivals in 2011: it played in Paris, it played in London…  And it’s coming out now in 2012.  So, it’s been eight years from since I filmed the first person until now. 

SPAZ: Was there a lot of research involved with the project?  I don’t think anyone would link Sir Ben Kingsley with the Beatles, but there’s a very logical connection there…

SETH: You know, the word ‘research’ sounds like you’re going to the library and you’re writing a 15 page paper.  Those are days I think most of us want to forget, right? (laughs) But for me, I do like doing research when it’s something that is so totally enjoyable. I go to look up certain Beatles stores to get different ideas.  I think, “I wonder, when The Beatles first came to the United States, if there was a 16 year old girl that screamed her head off and loved The Beatles so much… one that would really stand out.”  That started me thinking about somebody who ended up being Lucy Baines Johnson, the daughter of the President Of The United States! They lived in the White House, she’s 16 years old and The Beatles come over and wouldn’t you know, she tells me this story about wanting to invite The Beatles to the White House!

SPAZ: Jim Irsay, the owner of the Indianapolis Colts owns one of George Harrison’s guitars.  Wasn’t this the same one George gave to Badfinger member Pete Ham?

SETH: Yes. It was originally given to Pete Ham.  George was always giving guitars away.  He kept a lot himself, but he was always giving things away to people.

SPAZ: Do you have any personal Beatles stories yourself?

SETH:  I was at my gym in late 2009.  I’m on the treadmill and guess who is right next to me? Paul McCartney!  And Paul gives me a look as if to say, “OK, you’ve got a Beatle haircut.  I can see you’re a Beatle person.  I am going go give you 1/10^thof a second to ask a question. Go ahead, I’m waiting.” So, I turn around and said, “Sir Paul, I’m doing this movie, Beatles Stories, and I interviewed Norman Smith (Beatles engineer up to 1965),” and I hit the jackpot.  He goes, “Norman Smith? You interviewed Norman Smith?” I said, “Yes, I did.” And he said, “Ah, we loved him. When we all were young lads…,” and I’m thinking he keeps saying ‘we’… he’s talking about The Beatles. Paul McCartney is talking about The Beatles to Seth Swirsky! I mean, come on! We’re talking and a crowd is starting to gather around us and he’s telling Beatles stories and talking about Norman.  Then he takes my hand and says, “You gave me a great gift today. By reminding me about Norman, you’ve given me a great gift.” I just got an e-mail from Nancy Shevell (Paul’s wife) telling me that she and Paul watched the film. She said, “My husband and I loved the movie”. The fact that he loved it is amazing to me.

SPAZ: What’s next for Seth Swirsky?

SETH: Well, I’ve been painting a lot.  I’d like to maybe do a show of my paintings.  That’s going to be in the near future.  I’m also getting my masters in clinical psychotherapy. And I’m making a brand new record that’s coming out next year.

SPAZ: What’s currently spinning on your CD, DVD or record players?

SETH: I have a mix of things.  On my current playlist in my car, I’ve got “Pumped Up Kicks” (Foster The People), “You Never Give Me Your Money” (The Beatles), “Black Or White” (Michael Jackson), “Empire State Of Mind” (Alicia Keys), “Sowing The Seeds Of Love” (Tears For Fears), “No One’s Gonna Love You” (Band Of Horses), “The Game Of Love” (Santana with Michelle Branch), “True Faith” (New Order), “Dreams Of Leaving” (The Clientele), “Marlena” by Frankie Valli & The Four Seasons, “I Saw Her Again” (The Mamas & The Papas) and then a new song that I’m writing for my next record so I can hear it in a mix.

Thanks to Seth Swirsky

Special thanks to Mike Schnee and Rick Reiger

BEATLES STORIES

10.2.12