ON THE RADIO is a creative reflection on my life in music business pursuits over many years. It is loosely autobiographical and also a personal homage to my favorite New York top 40 radio station in the mid-to-late 60s, WABC 77. My love of the songs and hit records of that golden era as presented by some of the greatest rock ‘n roll DJs in the world inspired me to follow the path to becoming a songwriter and a recording artist. It is truly inspired and transcendent in it’s scope. **Click link to enlarge NYC DJs radio image.
FRANKIE FEVER’S DUBONNET tells of the death of a fictional “old L.A.” musician whose fleeting fame in the ‘60s coincided with a rising folk-rock movement in Laurel Canyon led by bands like The Byrds, The Mamas & The Papas and Buffalo Springfield.
Fever’s fictional classic “Dubonnet” became a #1 smash hit at the legendary L.A. radio station K H J. In that shimmering, jingle-jangle morning we now recall as the summer of love, “Dubonnet” perfectly captured the mood of those idyllic times as hipsters, gypsies and rockers alike reveled in the FEVER by sipping both ‘blonde’ and ‘rouge’.
I wrote The Muse’s Motherlode as a tribute to Townes Van Zandt, Guy Clark and Susanna Clark. When Combine Music, the Nashville music publishing company I was signed to as a songwriter in 1987, merged with SBK Songs Nashville in 1988 and SBK took over our building, Guy & Susanna became roster mates. I got to know Guy best over time as he happened to be around our office more in those late 80’s years writing and recording in our studio. I liked them both and although Susanna didn’t come into the office on any regular basis, she spent time there and was always very personable and pleasantly engaging. Their mutual best friend, Townes Van Zandt, was not an SBK writer but he dropped by occasionally and so I actually met him once. He appeared to be a troubled soul, but I’m glad we met. Townes, Guy and Susanna were highly regarded songwriters and were thought of as the three amigos for their closeness to one another. All 3 are dead and gone. My special tribute song, is structured to reflect the order of their respective passings. Townes Van Zandt (Jan 1, 1997) – Susanna Clark (June 27, 2012) – Guy Clark (May 17, 2016).
This song was already writing itself in my sleep. As I was slowly waking up one morning a deep Rem dream was just ending with a scene of a very detailed charcoal-sketch of Aqualung reposed in a recording studio tracking room setting. My view from the back of the room looked forward to the control room where there appeared someone seated at the controls looking out through the glass toward the tracking room. The charcoal-sketched figure of Aqualung was blocking my view, so I couldn’t make out who it was. As I stared intently to see through a glass darkly, sketchy old Aqualung literally faded away into the ether whereupon I saw, at first, an LP album cover leaned up against the control room glass. The cover art was The Sacred Heart of Jesus with the Crown of Thorns.
I had no idea what it all meant, it was just a dream after all. But it was unusually dramatic, even for a dream. Snapping suddenly to wakefulness, I realized that I was audibly repeating the title line and mulling over the first verse lyrics and tune now resonating insistently. I bolted out of bed and headed straight to my desk in order to capture the incoming gift of the Muse that was now inhabiting me in the full. My first inclination was that the song was about a Knight or a Crusader with their horses going into battle, but the lyrics insisted it was my battle and my beast was not only my steed, but God himself carrying me into the battle of conquering my own pride. It wasn’t clear, which is not unusual with initial inspiration. The Song, when it arrives, firstly demands that the writer be its servant at any rate. Songwriting is a minor gift of the Holy Spirit after all and I am always prepared as a craftsman to comply with the Holy Spirit. Saddled With Me is a bit like the biblical story of Saul of Tarsus on the road to Damascus.
I CAN’T CATCH MY BREATH ON THIS MIDNIGHT TRAIN I RIDE WITH DEATH AND HE KNOWS MY NAME
HE GOT ABOARD BACK THEN AT A WHISTLE STOP HE KNOWS WHERE AND WHEN I’M BOUND TO DROP OUT IN THE DESERT AIR WHERE A STAR LIGHT SHINE FILLS A COAL BLACK NIGHT THAT’S ALL MINE I KEEP THE HOUNDS AT BAY AND MY DISTANCE CLEAR I’D RUN THE HELL AWAY ‘TIL I’M OUTA HERE
BUT I’VE BEEN BORN AGAIN IN A DESPERATE WAY AND IT KILLS THE PAIN OF ANOTHER DAY OUT IN THE DESERT AIR WHERE A STAR LIGHT SHINE FILLS A COAL BLACK NIGHT THAT’S ALL MINE NOTHIN’ HERE GOES DOWN THAT DON’T BLEED OR SCREAM SINKIN’ DEEPER NOW INTO A DEAD MAN’S DREAMI SURRENDER TO EVERY DEBT THAT’S DUE A SMALL PRICE TO PAY FOR THE TIMES I KNEW
FRANK TRAINOR TRANSFIGURED: A personal favorite project of mine from 2013. I was writing a diverse variety of songs at the time and sessions were enlivened by that spirit. The sword w/wings image was inspired by author G.K. Chesterton’s famous TV character, Father Brown, a priest who solved crimes and who was known as The Dagger With Wings.
“A Stranger To Myself is a very strong piece of work. You are, and always have been, an artist of the highest degree.” – Jody Williams, VP Writer / Publisher relations, BMI Nashville
If you were listening to Canadian country music in the mid-1980’s you might recall the string of radio hits – You Sure Didn’t Waste Any Time / The Ring I Gave You / Hard Drivin’ Hana, Everybody Wants To Dance With You – from then Toronto based singer/songwriter Frank Trainor, whose first recognition came a decade earlier in 1973 when The Mercey Brothers recorded his song, Our Lovin’ Times. Trainor has since relocated to Calgary, Alberta, where he has continued to pursue his recording career with a series of ‘Musical Chapters’ covering all stages of his music catalog. One of the latest in the series is this DNA Chains Of A Rogue’s Reputation, featuring 8 new songs. Frank Trainor has always been a crafty songwriter, and has delivered his homegrown material with a crisp, heartfelt vocal style. Those attributes are still part of Trainor’s work, although his writing now seems a little more introspective and cerebral. The selections here are highlighted by the gritty country lament, County Line Signs; and a powerful country hurtin’ ballad in A Trail That Leads You Home; while the peculiar title to the album is found in the lyrics of the song, Long Gone Glory Bound Son. The album also features some variety in the bluesy numbers California and Where’d You Leave Your Heart, some folk-tinged sound in This Mighty Ragin’ River Of Love, and a soft ballad album closer in Love Is.
Record Reviews by Larry Delaney [May 2011] Editor/Publisher Country Music News – Canada
I was discovered by chance as a songwriter by a major Canadian band when I was only 17. A few years later and for a decade of years in Toronto [“The Big Smoke”], I sold guitars on Yonge Street, gigged, wrote songs and recorded my catalog copyrights. A highly successful run of national hit records at country music radio in the mid -to- late 80’s resulted in my being signed to a publishing deal with the legendary major Nashville music publisher Combine Music, home of Kris Kristofferson. Famously known as The House Of Quill Repute, Combine merged with SBK which got sold to EMI which is now owned by SONY MUSIC.
For several reasons, I demanded release from my writer’s contract with SBK prior to the EMI sale and departed Music Row and the commercial country music business for good. Next, it was west to the Rockies, where the mountains meet the sky. Whoknows when the Muse’s transcendent trails will lead me home. My Maverick Tunesmith Duty is to share the Blood & Bounty Beauty. I’m Frank Trainor. I’m a Long Gone Glory Bound Son (The Gun)
Frank Wisdom & The Truth (Lost Horizon Archives) is a personal compilation playlist featuring 16 original songs recorded live-to-tape from a period when I regularly performed at premier Nashville songwriter/artist venues The Bluebird Café and Douglas Corner, and others, during my Music Row years. I wrote most of the songs in Nashville during a period when I was a staff-writer at a major music publisher. That gig required me to primarily focus on writing country songs for the publisher’s purposes of pitching appropriate song material to country music producers and country music acts for album cuts and hit singles airplay at country music radio. None of my “archives” compilations fit that bill in any way.
All songs are acoustic guitar/vocal performances which was my solo presentation style in this highly productive period of my writing and performing. I was in my early 30’s and not a true-bred country music guy, but the fact was that Nashville’s “Third Coast” music scene was much more diverse than country music. I was signed because I know how to write songs. Country radio songs and non-country songs. Add to this revelation the story of my deviating briefly away from music row in 1989 when a major L.A. record producer heard me and immediately arranged “live” auditions for me in Hollywood with Geffen Records and Warner/Sire Records. I killed at Warner/Sire especially so the auditions were wildly successful. I felt at home in L.A. They really got my unique songs and performance style.
Photo: The Tommy Hunter Show Nov 1986. Tommy is interviewing me about my top 10 hit records and Juno Award nomination as Country Male Vocalist of the Year.
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During my final days in the Canadian country music scene, I performed on national TV shows and showcase events. Photo at left: Performing in a concert which was also being taped for a radio broadcast. Other stars appearing in this country concert included Michelle Wright and “good” buddies, The Good Brothers, who used to perform an old song of mine years ago called “Good Times & Whiskey”. My own version of that song is on my first album, The Comfort Sound Sessions.
The Comfort Sound Sessions is my first full production album. Fidd & I recorded all vocal and acoustic guitar tracks ‘live off the floor’ with a bass player and a drummer adding only a few overdubs such as steel guitar, electric lead guitar, dobro, fiddle, sax and organ.
I was writing lots of new songs at the time and my first album project was an evolution of ongoing efforts put forth by my musical friends Bruce “Fidd” Fiddament and Dave Dolmer. Fidd and I were recording every week at Dave’s and playing live, so we were really tight.
LEVEL GROUND is a collection of 22 songs I wrote that reflect the influence of early 80’s country music radio which ultimately lead me to create The Comfort Sound Sessions and Country Music Radio Hits. The tracks are live-to-tape acoustic guitar/vocal performances featuring me and duo partner “Fidd” as recorded by our good friend, Dave Dolmer (RIP).
I became influenced by the great traditional country and neo-bluegrass artists at country music radio in the early 80’s era and began to write songs that reflected those influences. Country music radio was a rapidly growing format through those 80’s days. George Jones, Merle Haggard and Ricky Skaggs were on fire back then. Very inspiring for my songwriting.
A new tidal wave of Maritime talent is breaking over Canada’s music business.
The stardom trail broken by Maritimers Anne Murray, Gene MacLellan, Catherine MacKinnon, Stompin’ Tom Connors, Ken Tobias and John Allan Cameron is now being travelled by a fresh group of easterners.
Frank Trainor, Shirley Eikhard, Tom Gallant, Ryan’s Fancy, The Haggart Brothers, Kenzie McNeil, Bruce Murray, and Gary Weeks are all reaping national and international radio, stage, TV and recording reputations.
Frank Trainor’s first single “Thursday Morning, Five O’clock Rain” B/W “Here Comes Another Lonely Day” is selling well and showing unusual popularity on both A and B record sides. The handsome twenty-year-old has written 55 songs, four of which have been recorded by Canadian gold winners “The Mercey Brothers”.
Last summer Frank Trainor completed a demanding Canadian university concert tour. The young composer-entertainer emerged a polished performer with self confidence honed in many halls amid diverse audiences. Last August in concert at the Confed Centre as front act for superstar Gino Vanelli, Trainor delighted the capacity audience with his mix of thoughtful and bouncy ballads.
Stranded at a standstill on the edge of blue and sky The Sojourner, my spirit, whispered “fly” Beyond this Desolation where Eternal voices cry Down the highway where the dreamers go to die
My vagrant’s desperation for a better place to be Set its course to trust the dream and drive in me I got the hell out young, alive, still holdin’ 17 Charlotte’s suitcase held a poor boy’s elegy
It was on a Thursday morning, ever grateful for that day At 5 AM I wrote my heart and soul away My hope was now a ticket on a never ending train A brand new guitar and some songs about the rain
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Richard Manuel’s mother sat beside me for awhile “You in a band”? she asked, I said, “no ma’am I’m not” “I’m just going to Toronto where I hope they’ll dig my style” My sense of purpose caused her face to smile a lot
“My son is in a band” she said, “you may have heard of them” “What’s their name”? I asked, “they’re The Band” she said “The Band…?..you’re kidding me…your son is in THE BAND..?” “That’s right”, she said “he’s in The Band” and so her tale began
I can’t remember where we stopped, the station she called home It must have been in Stratford, might as well have been in Rome I only knew, as rounders do, a long and lonesome time Would pass until I’d find her in my verses and in rhyme
This train’s a conflagration now, a fire burning free It sparks the restless soul that bears the life and death of me So listen, hear my wheels race beyond this dreary grey Of shadows, long dead habits and the dust of yesterday
These tracks are harder, tougher now, much colder than the clay I’ll ride them on until the dawn when sleep might come my way Stealthy devils, dead-end proud, all hungry for the grave Invite me to be hungry too, but further on, I pray
No one lives who doesn’t die in suffering and pain Charlotte’s bitter torments were just shackles on my brain So true compassion justly now requires of a need To say at last I suffered her because I had to bleed
And suffering and blood just means that nothing will remain That hasn’t been transformed upon this sky bound mystery train We’re crossing now, the station up ahead is bathed in Light The Band is playin’ “The Shape I’m In” & everything’s just right
It’s a long tough difficult story but I had to beat the devil…
So I jumped a greyhound in ’72 and set off to find Kristofferson.
15 years later, I set my suitcase down at Combine Music.
Music City Row. To keep the chilly wind off my guitar.
Did I sign my contract in Kris Kristofferson’s office…?
Is that some kind of a trick question…?
“Everything was all right until Kristofferson came to town. They ain’t seen anybody like him. He came into town like a wildcat that he was. Flew a helicopter into Johnny Cash’s backyard, not your typical songwriter. And he went for the throat. You can look at Nashville pre-Kris and post-Kris, because he changed everything.” – Bob Dylan
“Kristofferson brought us out of the dark ages.” – Willie Nelson
Jimmy Gilmer, remembered by oldies fans as the singer of 1963’s “Sugar Shack” and known as a prominent song publisher on Music Row, died on Saturday, Sept. 7, at age 83.
Gilmer died in Amarillo, Texas while in hospice care. He had reportedly been suffering from Alzheimer’s Disease for two years.
Born in Chicago in 1940 but raised in Amarillo, Jimmy Gilmer became a session vocalist at Norman Petty’s studio in Clovis, New Mexico in 1959. The studio was the recording home of such hit makers as Buddy Knox, Roy Orbison and Buddy Holly. A local rock group called The Fireballs came to Petty’s place to record its top 40 instrumental hits “Torquay” (1959), “Bulldog” (1960) and “Quite a Party” (1961). The band’s membership changed in 1962, and Gilmer came on board as The Fireballs’ vocalist.
In 1963, Jimmy Gilmer & The Fireballs issued “Sugar Shack.” It rose to No. 1 on the pop charts and became the biggest selling single of the year. They followed that Gold record with the similar sounding “Daisy Petal Pickin,’” which rose to No. 15.
The group returned to the charts with 1968’s rocking top 10 hit “Bottle of Wine”.
At the end of the 1960s, The Fireballs called it quits. In 1970, Jimmy Gilmer relocated to Nashville. He was hired by United Artists Music, where he built a 30-year publishing career. Through a number of mergers and acquisitions, he rose to become a vice president at CBS Songs. plus successive executive positions at EMI and SBK.
Among the many songwriters he aided were Richard Leigh, Bobby Goldsboro and Pat Alger. He also signed Brad Paisley, whom he also managed through the early years of the star’s career.
Jimmy Gilmer retired in 2007, but continued to perform occasionally at oldies shows.
Jimmy Gilmer was Vice President of SBK SONGS NASHVILLE when I was a young writer with that publishing company in the late ‘80s. He was a great guy and an advocate of my work. Both videos shown above are essential contributions to the history of late 50s early 60s rock ‘n roll. I took this happy picture of Jimmy as we were headed out the door to a Nashville Sounds baseball game.
Rusty Golden, award-winning songwriter and musician and son of The Oak Ridge Boys member William Lee Golden, passed away on Monday (July 1) at his home in Hendersonville, Tennessee.
HIT CONTRACTS BMI writers Frank Trainor, who moved to Nashville from Canada, and Rusty Golden, newly-signed CBS artist and son of William Lee Golden, have both entered into publishing contracts with Combine Music Corp. BMI hosted a reception honoring both writers and Combine at the Nashville office. Pictured (l-r): BMI’s Jody Williams; Trainor; Combine’s Bob Beckham; Golden; and BMI’s Roger Sovine.
Rusty and I were the last writers signed to Combine Music before the Combine – SBK merger.
(l-r): Chris Golden, Frank Trainor, Bob Beckham and Rusty Golden. Chris Golden, Rusty’s brother, is lead vocalist in the “Peaceful Easy Feeling” video at the top of this post. Rusty sings, plays guitar and can be seen playing piano in the video cuts and Chris can also be seen playing drums. – FT
