LINDSAY PAGANO

* Your musical inspirations?  

   My mom always inspired me to sing since I was about 3 years old. As for professional singers, Mariah Carey has always been my favorite.. along with Steven Tyler and Michael Jackson.

 * Favorite CD's, songs, or musicians?

 Mariah Carey,Christina Aguilera, and Whitney Houston are a few of my favorite singers. I love the Dr. Dre 2001 album, as well as anything by Eminem. More than words by Extreme and Stairway to heaven by Led Leppelin are 2 of my fav. songs of all time.

 * Has music helped you thru a difficult time in your life?

 Definitely!! Music helps through difficult times even just by listening to it. If I'm really pissed off I use it sometimes to chill out and cool myself down. Then again, if I'm driving to a party or somwhere fun, m friends and I always get ready by putting on upbeat music in the car that we can all sing along to.

 * Your thoughts on the connection between music and healing--

 Music is very powerful. It has soo many strengths. I don't know how I would get by without it.

 
 "Our whole neighborhood would sit on my breezeway, and we would play guitar while looking up at the stars." -Lindsay Pagano

Catch even a glimpse of Lindsay Pagano's childhood, and it's no wonder her dynamic vocal range, drenched in soul and pop, began to emerge almost as soon as she could speak. "My earliest memory is sitting at the top of the stairs, listening to my mom and dad rehearse with their band," says Lindsay. Not only was she raised in Philadelphia--the city that spawned Philly soul and such modern-day chart-toppers as Pink, Will Smith, Eve and Boys II Men--but she is also the daughter of a singer and a musician.

"They really got me into a lot of music--Aerosmith, Styx, Led Zeppelin, Foreigner and later on, the Jackson 5, Shania Twain and Aretha Franklin." Indeed, the music was as much a part of Lindsay's upbringing as anything. "Our whole neighborhood would sit on my breezeway, and we would play guitar while looking up at the stars. All of these people who I called my aunts and uncles would come over, the guitars would come out and I would just sit there and take it all in," she says.

It wasn't just these domestic jam sessions that sparked Lindsay's early fascination with music. While most kids her age were watching Sesame Street, it was the sights and sounds of MTV that captured Lindsay's imagination. So drawn was she to the likes of Guns and Roses, she insisted that her parents--and everyone in her preschool--call her Axl Rose. Although the request didn't go over too well with her teachers, Lindsay's family indulged her--much to her delight. "When I was about four, I would run around the house playing air guitar and singing 'Welcome To The Jungle' at the top of my lungs, and my mom thought it was great!" laughs Lindsay.

In addition to her love for rock, Lindsay developed a passion for powerful female voices like Mariah Carey, Whitney Houston, Etta James and Aretha Franklin. "The one that really stands out for me is Aretha," she stresses. "The way she sings, it's like telling a story--she really pulls you in, and there's no mistaking who she is." Eventually, Lindsay wasn't just listening to these women, but emulating them--a budding interest that her father was more than happy to encourage. "My dad would pick up a guitar and say, 'Feel like singing?'--and we would sit for hours, playing together," recounts Lindsay.

Lindsay's parents knew their daughter had a talent, but they discovered its magnitude when they heard her, at just eight years old, singing along to a karaoke machine they'd bought her for Christmas. "I was really into Mariah Carey's range, and I was singing the song 'Someday' up in my room," Lindsay recounts. "My dad came rushing in and said, 'Linds--sing that again!' I didn''t know why at the time, but I later found out that he couldn't tell whether it was the record or me. That's when we all realized that I could actually sing."

Within a few years, Lindsay's parents encouraged her to get on stage at the local karaoke club (after they cleared the issue of her age with the owner, of course). Her mom would sing the backing vocals to Lindsay's lead, but soon Mom stepped back, letting her daughter shine. One night, "I was getting ready for bed when my dad called from the club. He sounded like he had just seen a ghost, and said, 'Linds--they have "Respect"--you have to come down and sing it!' I had school the next day, but he said "I'll let you stay up fifteen minutes later if you come down and do this." So down Lindsay went, where at least 100 people were mesmerized as this pre-adolescent girl in her sweatshirt and pajama pants belted out Aretha like the queen of soul herself. Little did Lindsay know that a videotape of her singing that song would lead to her destiny as recording artist.

The turning point came one night when legendary country songwriter Pat Bunch was among the guests in the Pagano house who witnessed Lindsay singing. Completely floored, Bunch insisted that she was going to take a videotape of Lindsay's performances and find someone special in the music industry to give it to. Within a few months, Bunch found that person: Hit recording artist/producer/manager Jude Cole. Although impressed with the first few songs, it was Lindsay's rendition of "Respect" that really captivated Cole. "She just nailed it," he raves. "I was blown away! I studied that tape about 500 times, and after that assimilated, I began writing songs that I thought were right for her--inspired by what I had seen." It wasn't long before Lindsay found herself in the studio with Cole, recording a demo of those songs.

Then, Lindsay returned home, and in an effort to further hone her craft, applied to the Creative & Performing Arts School of Philadelphia. The school loved her audition, but ultimately denied her admission because she couldn't read music, the very reason she wanted to attend the school in the first place. Ironically, within weeks of the disappointment, Lindsay got a phone call that would change her life forever. "I was at the mall when my best friend's mom got a call on her cell phone from my mom, saying to get home immediately. I thought I was in trouble," Lindsay reflects. "Then, I got out of the car in front of my house, and my dad ran out and said, 'Lindsay, you're now a Warner Bros. recording artist!' There were tears and everything...it was so dramatic. I thought, Oh my God! I'm going to make an album."

In March of 2000, Lindsay returned to Los Angeles to begin the recording of her solo debut with Cole. For Cole, whose most recent in a long string of successes is his role as manager of chart-topping alt-rockers Lifehouse, working with Lindsay was pure magic. "From our second day in the studio, it became apparent to me that she can get a strong song and take it five steps farther," he enthuses. "She's got a voice that makes a song sound like a hit."

It's what Cole refers to as Lindsay's "God-given tone" that inspired him to write the songs on her Warner Bros. debut. "Lindsay's voice is just so refreshing, and these songs really match my affection for her voice. I feel like she has one foot in the new, but she's also got the voice of an old soul."

Perhaps as magical as what Cole hears in Lindsay is the manner in which the two collaborated so seamlessly. No matter the theme or the style, Lindsay worked diligently from day one to make each track her own--to infuse every note with her own sound and understanding. Case in point: The song "Amazing High,"--one of Lindsay's favorites on the album. "That song recalls Roberta Flack--it has that sort of '70s soul about it," observes Cole. "But Lindsay immediately responded and hooked in with the lyric and made it her own." Lindsay explains, "It just feels like everything that's happened to me has been just that--an 'Amazing High.'"

Also reflecting the person Cole sees in Lindsay is "Romeo"--a track loaded with sass and attitude. Cole says, "Romeo" was just part of her personality to me. She seemed like the type of person that could very easily put a boy in his place. There's something in Lindsay's voice that works with that--she's a very wise person."

That intelligent spirit was obvious to Cole from the start. "My first attempt at writing a song for Lindsay was with "Everything U R." Underlying the lyric, 'Love can be complicated, Too often mistranslated'--is a sophisticated thought that Lindsay, who is such a smart singer, can handle perfectly.”

Perhaps because of that wisdom, Lindsay hasn't concerned herself much with how she--at just fourteen years old--might be perceived alongside the current wave of teen artists riding the charts. Although a big fan of Britney Spears, Christina Aguilera and NSYNC ("I made an NSYNC collage, which is hanging on my wall in my room!" she smiles), she sees herself as entirely separate from the pack. "I've got my own style-- I'd say it's very soulful with lots of pop flavor.

One thing it's definitely not is bubblegum," she elaborates. "I'm young, but I would prefer that people focus on my talent--not my age." Well, with a voice like this, it's going to be tough for people to focus on anything but her talent.
www.lindsaypagano.biz
www.wbr.com/lindsaypagano

DOUG DOPPLER

*Your musical inspirations?

When I was a child I remember hearing an Elton John version of Lucy in the Sky with Diamonds and consequently finding a whole stack of Beatles records in my sister's collection. I also came across a very interesting record that caught my attention called Are You Experienced. The Beatles and Jimi Hendrix remain huge inspirations.

In my first year in High School I had a bunch of friends who were music nuts. Through them I got turned on to bands like Mahavishnu Orchestra and Return to Forever - both of which were founded by graduates of Miles Davis' band. Collectively these bands launched the careers of John McLaughlin, Jan Hammer, Billy Cobham, Narada Michael Walden, Chick Corea, Stanley Clarke, Lenny White, Bill Connors, and Al DiMeola.

In my Junior year in High School, I started studying with Joe Satriani. The 3 1/2 years I spent studying with him was one of the most inspirational periods of my life. As a teacher and player he was and is a total inspiration. It was during this time that I ran into a young guitar player who at the time was playing in a band called Exodus. He heard me warming up backstage at a show at San Francisco's infamous Mabuhay Garndens and inquired where I learned how to do what I was playing. I gave him Joe's number and told him he wouldn't regret the call. The guitarist was of course Kirk Hammet of Metallica.

With Joe's approval I subsequently moved to L.A. to attend GIT. Before I left, Joe gave me the phone number of a former student of his named Steve Vai. I got to know Steve and actually ended up being his guitar tech for a couple of shows. At the time, Steve was playing small clubs around the L.A. area billed as Steve Vai and the Classified. The band featured Tommy Mars with whom Steve had played with Frank Zappa, Chris Frazier, and Stu Hamm. Steve did a seminar at GIT, and a recording I got of it was how Joe Satriani first heard Stu Hamm. I passed along Joe's complementary words to Stu, and ultimately Stu ended up playing with Joe for over a decade. The time I spent in L.A. around Steve was incredible, and was filled with some truly amazing memories of seeing Steve at a very unique time in his career. It was of course a very inspirational period for a young Doug Doppler.

*Favorite CD's or songs, or musicians?

Sgt. Pepper was my initiation into a love affair with the Beatles that has yet to die - a completely amazing record in terms of songs and production. I think I own every record they put out officially, plus a few bootlegs. For me, their songs speak to the essence of who I am.

Are You Experienced was a truly transitional disc for me. I was in fifth grade or so when I came across it and it had a huge impact on me. The power of a great record cover is nothing short of amazing and that disc really changed my perception of how I wanted to relate to the guitar. He looked totally cool, which for a fifth grader is highly impactful, and his music remains timeless. With the exception of re-issues and whatnot, I have the entire catalog, plus some nice bootlegs - all great.

*How has music inspired you?

As I kid, I suppose like many musicians, I felt a bit different. I was somewhat isolated not being particularly athletic, hence I had a very deep relationship with the music that I grew up listening to. Music has always served to somehow sooth the pain of whatever I was going through, and playing still does that for me.

*Has music helped you thru a difficult time in your life?

Too many times to count. Many kids don't have a connection like I did with music, which is quite sad. So many people take the pains of childhood into adulthood, and without the release valve I have through music, this world can really bottle people up in a bad way. I really felt drawn to the artists I listened to, and felt they somehow knew the healing power their music had on me. It remains a huge Blessing in my life.

*Your thoughts on the connection between healing and music--

Music is very spiritual, which means it reaches us on the deepest level. If a picture can say 1,000 words, a song can say 1,000,000. It starts in your head works it's way to your heart and finally registers in the Spirit when it truly moves you. A doctor's knife can only cut so deep, a therapists words can only go so far, but music is Spirit-filled and can provide healing on the deepest level of our being.

*Discuss the creative or songwriting process--

I teach two 10 hour days each week and have to be creative on demand. After playing so many years it has become second nature to me, and for this I am most grateful. I don't just show students scales, chords, and songs alone, I really strive to introduce them to the essence of the creative process. To do this I have to create things in front of them so they can see and in turn master the process. I also incorporate technology into this process so my students can go to the web and download a video clip of what we went over each week, so the moment is not lost. Many of my songs start as creative ideas I share with students, in a ratio of 250:1, give or take. When I am at home, I have weeks where I will write 10 or more songs in the period of a couple of days. Because my life is relatively garbage free, I am that much closer to the creative process than in the past, and I don't have a lot of the distractions that can get in the way of reaching my creative essence if you will. All that said, creativity is not limited to music or art. You can be creative in most anything if you have the right approach. That is what separates artisans from builders and pastry chefs from cake bakers.

Doppler, Inc. - Nu Instrumetal

Relentless, innovative, inspiring, and hip...Prepare to blast off into a new sonic dimension with Doppler, Inc. on Nu-Instrumetal (Favored Nations).

Formed in 2002, the San Francisco based group is the brainchild of lead guitarist/songwriter, Doug Doppler. With their debut release, they're forging an exciting new brand of music---Nu Instrumetal. "The goal of the record was to bridge the gap between nu metal bands like Korn, Limp Bizkit, and Saliva, old school metal acts like Metallica and Exodus and instrumental artists like Joe Satriani and Steve Vai. 'Nu Instrumetal' refers to that collision of stylistic influences."

Produced by Doug Doppler and Pete Karr (Michael Bolton/Backstreet Boys/Jennifer Love Hewitt), the record is an immaculately crafted marvel, juxtaposing savage riffery with inventive arrangements and inspired playing. As for Karr's crucial contribution to the record, Doppler reflects: "Pete put a very large steel toed boot to my posterior and kicked me out of my comfort zone into the uncharted waters of the deep end of my creative pool. He brought a distinct modern flavor into the record, adding the really cool harmonic and rhythmic loops that made it sound less like an instrumental record and much more like a nu metal disc. His vision really upped the production value, making it competitive with other nu metal acts."

Indeed, that well-seasoned sound is built on slammin' metallic riffs, guided in equal parts by a free flying virtuosity and fine tuned craftsmanship. And it's no wonder, lead guitarist and founder, Doug Doppler's musical pedigree is impeccable. He is one of music's most promising new guitar players. Doppler, a protégé of Joe Satriani, has also incorporated his teaching skills into his finely crafted Guitar 411 instructional DVD series.

On the record, Doppler employs a 7-string guitar, as if six-strings weren't enough to cause some serious damage. "Steve Vai popularized the use of a 7-string guitar and influenced other 7-string slinging bands like Korn," Doppler explains. "I love the way the bottom strings bark at your tush like a ferocious rottweiler and the treble strings sing like a three hundred pound soprano. You can go from super low and chunky with your guitar parts to soaring high notes at the drop of a beat." A prime example of the versatility of the 7-string instrument can be heard on the track, "Bumpin' Grind," earmarked by its growling rhythms and Hendrix/SRV-esque sounding melodies and leads.

Enlisting such luminaries as, Night Ranger/Ozzy Osbourne lead guitarist Brad Gillis, bass icons, Billy Sheehan and Stu Hamm and acclaimed drummer Atma Anur, Nu-Instrumetal is primed for radio airplay. Significantly, the band's first gig was broadcast live in primetime on KSAN, San Francisco's number one classic rock station. Mining classic styles with a modern slant, Doppler, Inc.'s radio accessibility is indicative of things to come.

"Fat Lip" kicks things off with a pulverizing punch, a velocity of notes and cranked aggressive thunder. "Wicked", one of the record's standout tracks, keeps the momentum rollin', hotwired to an infectious groove and kinetic kick. But make no mistake, this musical conglomeration, Doppler, Inc., ain't no one-trick metal pony. Showing off their versatility, "Fire Down Below" and "Wrecking Ball" grab you with more subtle grace, driven by rock solid, sturdy grooves, and cascading fretboard magic that rides to a thrilling climax.

Changing gears dramatically, the evocative, "Like Father Like Son", is a welcome respite from the record's innate ferocity, boasting an unforgettable melody and some of the album's most expressive seven-string wizardry. "As a melancholy backdrop to the record, my father is terminally ill with lung cancer. This song pays homage to my Dad who over the course of the record was an unyielding force of support and love. This track offers the listener an opportunity for introspection and understanding of where I was at as the disc was being recorded. It also brings forth a contrapuntal emotional time stamp if you will."

Fresh and forward thinking, Nu Instrumetal resonates with a distinct modern flavor, drawing together a minefield of loops, gizmos, and gadgetry. One device used to particularly strong effect on the record is the Vocoder, a human voice electronic simulator. "Pete suggested that we use a Vocoder to add a humanistic touch to a previously non-vocal genre," Doppler reveals. "We used that device on 'Wicked' to provide an extraterrestrial sonic hook not normally found in instrumental music. The Vocoder immediately pulls your ear right into the track."

Despite the instrumental nature of the record, Doppler is quick to stress that he views his band as a nu metal act, not a relic of the past. "The idea was simply to create a nu metal instrumental record. I was much more interested in appealing to young rock audiences of today rather to the shred infested waters of yesteryear."

While all the songs are instrumentals, you'll soon discover that no words were necessary on this strong collection of 11 tracks. Each song brands the listener with its own powerfully indelible imprint, creating an arresting aural story in your mind. So sit back, close your eyes, and let Doppler, Inc. take you on a "nu" mind-blowing trip of sound and fury.
www.dougdoppler.com

TARA ANGELL

my inspirations have varied over the years.  a lot of times i get inspired by writers-particularly the Southern Gothic ones, who, for me, think outside of the box.  I don't like anything too predictable or happy, and writers like William Styron and James Purdy are known for their dark themes and unexpected twists.  Musically (and as a woman), I get tons of inspiration from Patti Smith and Lucinda Williams because they don't ever give up, no matter what hell they go through in their lives. 
 
my favorite music varies from season to season.  i tend to listen to one or two CD's  for a few months, and then either find something new or go back to an old love.  Right now i am listening to the Stones, December's Children;  Low, The Great Destroyer;  and the Best of the Wipers and the last Stills record (i forget the name).  It really makes no rhyme or reason- I just get attached to random music.

having said all of that, i do not listen to music a great deal in general.  i am a talk-radio junkie, and am usually found listening to talk radio much more than music.
 
BIOGRAPHY

"I consider some of the work on this record pure magic."
- Tara Angell

Tara Angell's music is a collection of classically poignant songs - combining the Southern Gothic tradition of dark humor and years of experience studying the great North American songwriters of the 20th century.  Angell's diverse lyrical influences include literary heroes Flannery O'Connor and James Purdy.  She grew up listening to Neil Young and classic rock n' roll groups of the '70s, like Deep Purple and Creedence Clearwater Revival.   Musically, her leading inspiration is dedicated to these early years of listening.  Her songs are deeply sensitive and they come from life spent in and around New York City's underground culture, which is where she has lived for many years.

With guitar in hand, her sexy attitude and pure deter mination garnered notice within the New York City music scene.  Club owners, musicians and music-lovers found themselves drawn to her songs and her sultry voice, and simply needed to hear more. She decided to make a complete record when Joseph Arthur agreed to produce.  The dilemma of course, was finding money to make the record.  Tara decided to take a chance. She took out a bank loan and consequently faced the risk of serious debt. In 2002, her album, Come Down, was completed.  It was recorded and mixed in only five days. She took her record to Austin where she was accepted to perform at SXSW.  Ryko Disc VP of A&R, Jeff Rougvie, immediately offered her a record deal after seeing her show - a rare opportunity for any one of the thousands of performers who go to Austin, Texas each year in search of finding a home for their music.

When Tara and Joseph Arthur went into the studio to make Come Down, there was an immediate chemistry and trust.  Joe was so dedicated to producing this album within the means of the budget, that the pair worked round the clock, with a no-holds barred attack at creating a cohesive body of work with this record.  Come Down opens with a mysteriously dreamy forthright song titled, "Untrue." Other tracks like the witty  "Bitch Please," the raucous tough-girl pop of "Hollow Hope," the naked honesty of the balladic "When You Find Me," and the finality of the last track, "The Big One," are all meant to be heard sequentially. This natural progression gives the listener a dozen different reasons to want to hear Tara Angell again and again, from beginning to the end.  The songs stand up by themselves, too, but this album offers a wider experience for the listener.

With regard to her live show, Tara Angell likes to mix it up.  She performs solo/acoustic, as a trio, with a full band, and sometimes with an electric guitar in hand. Recent collaborators include Tony Shanahan (GE Smith, Patti Smith), Eric Della Penna (Natalie Merchant, Joan Osborne), Brian Geltner (Johnny Society, Joseph Arthur, Dave Pirner), Jason Darling (Leona Naess), Brett Falcon (Gaunt, Servotron, Bad Wizard), Rene Lopez (Joseph Arthur, The Quick).   She's supported several artists including Joseph Arthur, David Poe, Robin Guthrie, and Jesse Malin.   She's performed shows with Rebecca Hall, Craig Wedren, Laura Cantrell, Duncan Sheik, Fastball, Josh Rouse, Martha Wainwright, Frank Bango and Jeff Klein.

While Tara has been compared to other acclaimed female artists, she has a comfortably classic alt/rock edge that sets her apart from everybody else. NY's Newsday called Tara Angell, "unstoppable" Angell sounds like a mix of Lucinda Williams and P.J. Harvey." Producer/artist extraordinaire, Daniel Lanois, claims, "Come Down is the darkest and truest record I've heard since early Black Sabbath."  And as Ron Sexsmith said, "Come Down is a beautiful record that is dark, heartbreaking and tough at the same time."
www.taraangell.com

JOHN KALODNER

Musical inspirations:
The Beatles, of course.

Favorite albums:
Court & Spark, Joni Mitchell; 4, Led Zeppelin; Get A Grip, Aerosmith.

Favorite songs:
 
"Runnin with the Devil", Van Halen; "Highway to Hell", ACDC;
"Spoonman", Soundgarden; "Interstate Love Song", Stone Temple Pilots,
 "Livin on a Prayer", Bon Jovi.

Musicians:
 John Lennon, Steven Tyler, Steve Perry, Jon Bon Jovi, Jimmy Page,
David Coverdale, Billy Joel, Barry Gibb.

Has music helped you through difficult times in your life?

No, it MADE the difficult times in my life.


JOHN KALODNER : JOHN KALODNER

by Laurel Fishman

It's all about the magic. It's always been about the magic. The magic was there the first time he ever heard the Beatles, when the song "I Wanna Hold Your Hand" took him somewhere else. Somewhere he never wanted to come back from.

The magic was there when he signed his first act, Foreigner. When he heard the final version of Aerosmith's Pump album as it was being mastered, he felt the magic again. It's there every time he turns on the radio and hears a song he was involved with becoming a hit.  The magic happens whenever he stands in front of the stage at a huge concert, right there with the fans. All along the way, the magic has been there.  John Kalodner not only finds the magic, he also helps to make the magic happen.

From his signature white suit and John Lennon glasses to his signature record-album credit which reads "John Kalodner : John Kalodner," he is one of a kind. The "John Kalodner : John Kalodner" credit printed on albums by everyone from Aerosmith to Shawn Colvin to Cher to Foreigner to Iron Maiden sums it up. He is his own one-man act when it comes to Artists & Repertoire.

His track record is second to none. It's said that he has a talent for talent, and Kalodner's expertise covers selecting the songs, producers, video directors and additional musicians. He supervises song arrangements, mixing, mastering, album artwork, marketing, promotion and merchandising. He approves the final masters. He determines the whys and wherefores of touring. He guides and counsels.

Kalodner's m.o. is a far cry from the "sign 'em and turn 'em over to someone else" mentality prevalent in his profession. Business-as-usual is never business-as-usual. If he's not in his office, he's out on the road, or at a concert, rehearsal or video shoot.  Kalodner means it literally when he says he does everything from signing a band for two million dollars to taking medicine to the artist who's sick in bed.

His unwavering dedication to helping artists get great songs out to the world and to sustaining long musical careers means he won't pursue a flash-in-the-pan clone band or get into a bidding war against other record labels for the Next Big Thing. John Kalodner works -- and works hard -- with his chosen artists because he feels the magic in their music, believes in their potential for longevity, and knows a great song when he hears it. Period.

"He's completely different from other A & R men," says guitar virtuoso and solo artist Steve Vai. "John's got staying power, musical integrity, and a great ear." Vai is known for his perfectionism and rigorous standards in the studio, and he freely acknowledges, "When it comes to what I create, John is one of the few people I'll listen to. Vai affirms that Kalodner has genuine instincts when it comes to talent. "He has the ability to distinguish greatness from crap," says Vai, "and he's been able to pull a lot of crap out of what I do!"

It's true that when Kalodner enters the sanctity of the recording studio while his artists with whom he works are making their music, it’s in his capacity as a trusted advisor.  Listening to his acts’ newest material as it is being created is still a magical experience for him, and hearing “Jaded” from Aerosmith’s Just Push Play album for the first time brought tears of joy to his eyes.  Kalodner's passion for live shows never diminishes, either. At concerts, he shares the excitement of the fans -- because to this day, he is the ultimate fan himself.

Earlier in Kalodner's life, his love of music motivated him to take pictures of bands, manage a record store, and then land a job as pop music critic for the Philadelphia Bulletin. After two years at the newspaper, he joined the staff of the Atlantic Records New York publicity department in 1974.

As he does now, Kalodner wore many hats in those days. Whatever the record company asked him to do, whether during business hours, after-hours, or on the weekends, Kalodner was there. He wrote promotional materials, took photos -- even at producer Arif Mardin’s daughter's wedding, when asked to do so.  And he performed the endless nuts-and-bolts tasks of Atlantic’s busy publicity department.

His eyes and ears were always open. A year later, he moved to Atlantic's A & R department, where he worked on the careers of Genesis and Yes, among others. Kalodner relished going on tour with these bands and encountering the magic of life on the road. In 1976, he was promoted to be Atlantic's first West Coast Director of A & R. In that position, he was key in bringing Foreigner, AC/DC, Peter Gabriel and Phil Collins to the label.

Although the A & R department at Atlantic had already passed on Foreigner, Kalodner believed in the band. When other industry insiders were discouraging Phil Collins from going solo, Kalodner was certain Collins could be a huge star and brought Collins to the label. AC/DC had been signed to Atlantic in the U.K., but there was resistance to picking up the band for the States. Kalodner was behind AC/DC and knew they could make it. He even physically cut and edited the band's recorded tapes together for them.

David Geffen became interested in him in 1980, after Kalodner had been instrumental in signing Survivor to Scotti Brothers. Geffen Records was a new business venture back then, and Geffen asked Kalodner to come on board as the label's first A & R executive -- before the record company had opened its offices. Kalodner agreed.

Kalodner continued working his magic at Geffen. He put together the supergroup Asia, and built the careers of acts including White Zombie, Madness, Wang Chung, XTC, Whitesnake and Aerosmith. He brought Jimmy Page and Sammy Hagar success as solo artists, discovered Berlin, and masterminded the musical collaboration of Jimmy Page and David Coverdale. Kalodner also placed songs on soundtracks of such films as To Live and Die in L.A., Top Gun and Footloose.

He had always wanted to work with Columbia Records, and Kalodner got his chance in 1994, when he was named the West Coast Senior VP of A & R for the label. Since then, Kalodner has worked with Santana, Journey, Manowar, Chicago, Shawn Colvin, Heart, Kenny Loggins, Iron Maiden, Joe Satriani, Steve Vai, Ted Nugent, REO Speedwagon and the Black Crowes, among many, many others.

Kalodner's determination brought success with Cher when no one else seemed to think she would, could or should sing again -- including Cher herself. He worked on the Runaway Bride,  and Armageddon soundtracks. Continuing with Aerosmith, Kalodner helped them bring their magic back. With his support and skill, the band grows year after year in popularity and acclaim.

Since 1987, when Kalodner first became friends with the band Bon Jovi, he has also been a guiding force in their hugely successful career.  Starting with their 1988 New Jersey release on Mercury Records, throughout their hit records of the 1990s, and up to this very day with Bon Jovi’s Crush album, Kalodner has always had great influence on the band – so much so, that today Jon Bon Jovi says Kalodner “has meant more to me as an A & R guy than anyone at my own label.”

Jon Bon Jovi also credits Kalodner as the one who originally convinced producer Bruce Fairbairn to take a chance on the group, as well as discovering “Always” sitting on a shelf in Jon’s basement.  Kalodner’s intuition was correct about the song, and it became the band’s biggest single, ever.

With Aerosmith and Bon Jovi, as he does with all of his artists and projects, Kalodner unfailingly trusts his legendary instincts. He never consciously considers whether a song has commercial potential. If the magic is there for him, he trusts it will be there for the public, too. And Kalodner really listens to the fans' honest opinions when he's on the road. It's a formula that works.

Kalodner's mastery as an A & R executive lives on not only with Columbia, but with Epic and Portrait acts as well. He is working with new bands such as The Union Underground and Spike 1000, and his multiple roles with so many artists spanning so many diverse genres are harder than ever to distill down to a single description.

 So just what is the true story behind this multifaceted man's defining credit of "John Kalodner : John Kalodner"? The phrase originated with Foreigner's 1978 Double Vision album, when the album's producer, Keith Olsen, was wondering just how to credit Kalodner's involvement with the band and the album. In keeping with the double vision theme, Foreigner guitarist Mick Jones came up with idea of doubling Kalodner's name.

It set a perfect precedent for the credit that follows John Kalodner from one hit record to another, keeping the magic alive.

www.johnkalodner.com

LENNON

* Your musical inspirations?  

Songwriters. Harry Chapin, Jim Croce, NIN   

* Favorite CD's, songs, or musicians?

Ziggy Stardust

* Has music helped you thru a difficult time in your life?

Music has created all the difficult times in my life.

Lennon

  How does one sum up the life of 20-year-old female rock artist Lennon Murphy? Do you start with the death of her only parent at the age of 18, the two year successful battle for adoption of her 10 year old sister, the release of her debut album on tragic Sept. 11, 2001 her departure from Arista Records due to internal problems, and give into the poor little girl tale that every article in her press book leaves you pondering; or do you look past the story, look past the sexual imagery, and discover Lennon in the honesty of her music. On Lennon’s sophomore album I Am, honesty is exactly what you’ll find. In an industry of disposable artists and catchy jingles, Lennon’s latest release reminds one of a time when it used to be about the songs and nothing more.

After a year and an half of extended touring for her Arista debut album 5:30 Saturday Morning, Lennon decided in the summer of 2002 to go back to work on a follow up disc, this time without the backing of a major label. “I wanted a career as a rock act, an album I could be proud of” she says, “staying with Arista I really didn’t see that happening”. Enlisting the help of famed Kid Rock producer, Al Sutton, Lennon set upon the work of making an album in Orlando, FL with the intention of releasing it herself. “In an industry where you have four weeks to hit and then they move on to the next thing, a career is the last thing corporate America is considering. By putting this new album out through my own company, I want to give myself the chance of still being around in 10 years” she states.

From self-proclamations in such songs as “Rain” and “Nothing Out of Me”, one can’t ignore the lies Lennon so candidly preaches about or the truth so many hide. A more guitar driven album than the first “Down the Line” and “Reason” still incorporate haunting loops of industrial heritage; as well as, remaining a storyteller in “Another for Another”. Lennon did not stray from the originality of 5:30 Saturday Morning but advanced her sound to the next level with I Am.

After two years of extensive touring with such acts as The Cult, Alice Cooper, Drowning Pool, Otep, Mushroomhead, as well as many others, Lennon’s goal is to release her latest album on her own terms and her own dime. “While building a devoted fan base on the road I’ve talked to the consumers, I’ve talked to radio, I’ve been out there and know what people want; most record execs never leave their office” she remarks. From playing small clubs to arenas, over 250 shows later Lennon still sites “that playing live is still her one true love”. Lennon finished the end of last year with a headlining tour of the entire United States without tour support or industry help; just another sign of determination which in the end brought her into a lot of contact with radio stations as well as new Lennon fans all offering support towards her forthcoming album. “I just want to play; I’m not trying to prove a point as a female rock artist, I want people to take the music for what it is and nothing else”.

I Am is exactly what Lennon is all about: no sugar coated image, no industry approved context, just a pure unadulterated rock album. 5:30 Saturday Morning woke people up to an artist that wasn’t afraid to say or be herself in a male dominated industry.
I Am will without a doubt confirm this self proclaimed anthem.

From Nashville to a bus, from major to her own indie, Lennon is definitely headed down the road less traveled by but with I Am in her and everyone’s future the destination will definitely be worth the journey.

www.lennononline.com

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 2003-2005