While wrapping up my holiday CD, It’s December for release, my son, John Meehan in Florida, mentioned to me that he would like to have a couple of my Platinum Awards to hang on his St Augustine restaurant, Meehan’s Irish Pub, I told him about the Simon and Garfunkel situation and how great it would be if we could get the Three Time Multi-Platinum Award of Simon & Garfunkel’s Sounds of Silence. I had been ranting and raving about it all over the Internet. The next thing I knew, with no warning, I received a package containing the award as a gift from my son. Its real, no fake, and reads:
“RIAA CERTIFIED SALES AWARD – PRESENTED TO DON MEEHAN TO COMMEMORATE THE SALE OF MORE THAN 3,000,000 COPIES OF THE COLUMBIA RECORDS LONG PLAYING ALBUM ‘SOUNDS OF SILENCE.'”
When I learned about the Library of Congress adding the recording among twenty-five to the National Recording Registry “for long-term preservation due to its cultural, artistic and historic importance,” I began a campaign at my Blog to get my mixing credits known. My original mixing notes and ranting became a topic on the Internet, attracting many new fans.
I guess I told everyone, ranted here on my Blog in earlier posts about it and a lot of people came over from Steve Hoffman’s music Forum and later from the Japanese Simon & Garfunkel Web Forum. I even mentioned it to some Sony people, who remained silent on the matter, except to say that Sony was preparing albums of the singers’ old recordings. I expressed that I hoped they would get the credits straight. I could only assume that Sony was probably secretly planning a fifty year anniversary release of the pair for 2015, with the same old, same old scenario.
Since no one contacted me about it, I wondered who finally got to the Columbia Records people to give me credit and get the word to RIAA. I believe my son, John Meehan, must have gotten on the case. He knows how to get things done. He worked as an executive with Ritz Carlton management for 12 years in six locations, and was an executive consultant for a year and a half for the new Fontainebleau before he opened his highly successful Meehan’s Irish Pub, in St. Augustine. Whatever, whoever, makes no difference. Its done. Its over. I got it, but here’s another big thanks to John.
And here it is.
Had I known, I would have had them put the studio engineer, Roy Halee’s name on it also. Yeah, he took all the credit back when, but lets let bygones be bygones. We were kind of close and friends back then and he put some great sounds on a few of my Columbia singles in the studio. I even got in some hot water with my Columbia bosses around that time when I called up the company president’s office to try get them to pay Roy some more money not to leave Columbia. What did I know about Corporate BS? Not much. And I stayed in hot water for years with my boss.
To recap with some background on this credit thing, on July 26, 1965, Columbia Records producer Tom Wilson and I mixed the mono single record version of Simon and Garfunkel’s Sound of Silence, that immediately climbed the charts, calling for an album in subsequent months, whereas the all important monaural version was also mixed by Tom and me. It marked the beginning of a career for Simon and Garfunkel that will celebrate fifty years in 2015.
I must stress that the big reason why mono was most important was that records at that time were all broken on AM radio, and it required a lot of skill even with three and four track masters to sound powerful on small speakers. The secret was to make your mix as strong and powerful as the Beatles and Phil Spector’s “Wall of Sound,” to compete. Tom Wilson and the other pop producers at Columbia at that time all knew that I, and no one else at Columbia knew how to do this at that particular time.
Unfortunately, this was only about two years before engineer credits were handed out and I missed out on receiving the coveted and deserving credit “for its cultural, artistic and historic importance.”
Also at that time in 1965, I sang a cover record of The Sound of Silence for Columbia Special Products, with some of the same musicians that were on the S & G version. When I played it for Paul Simon back then, he remarked, “Wow! It sounds like us.” Since I am prohibited from airing the cover record in any way because of copyright infringement, I will be producing and legally releasing a new cover record of the song on my own Barkroom label. Al Gorgoni, who was on their record as well as mine, can’t play on it because his fingers are bad. I will be searching for a great guitarist to add sounds which overall, will speak “now and then,” or Yesterday and Today, as a fifty year tribute to one of the greatest songs ever written. If you are interested in playing on it, email me an MP3 of your work to firstname.lastname@example.org. I’ll pick the best one or two.
I just released my extended play holiday CD, It’s December, claiming a new world record for singing and overdubbing my voice 136 times on a single recording. It is at CD Baby and its twenty-seven associate distributors. The title song, It’s December, tells all about December and holidays, including Hanukkah and Kwanzaa, as well as Christmas. You can hear and play all the songs at here.
But a most unusual accomplishment on the CD is my singing all the parts of Handel’s Hallelujah Chorus; soprano, alto, tenor and bass, with 136 voices, harmonizing with myself. Topping it off, I sang it a cappella and on another cut I added a rock beat to it.
After months of form letter emails, an organization turned the world record down writing: “Given that it is impossible to prove the number of voices and that the number of sales cannot be guaranteed, we unfortunately cannot accept your claim as a new record.” That statement floored me, plus learning that their “adjudicator’s” presence to witness and to judge me would cost me a few thousand dollars, raised more questions. Apparently, it is all about money. Had I been on a top record label with an estimate of thousands of sales, or paid them the thousands, I am certain I would have received their piece of paper certification. As a New York friend and colleague has stated, “Yeah, that and $2.50 will get you on the subway.”
So I decided to start my own campaign to tell the world. I believe most people would believe the procedure, which I explained in a prior post: Overdubbing with RoughmixDon Meehan – on 26 June, 2013. It explained all about doing it on tape, but is the same for digital recording; Record a bunch of tracks and then balance them and mix them down to two. Any knowledgeable recording engineer would know this simple fact. But a simple way to prove it would be to show the doubter the individual singing tracks on a computer monitor in a program like Pro Tools or Logic ProX, play a few seconds and then compare that with my live voice. This might take every bit of a few minutes tops. But the thousands demanded by the company to send a witness raises serious questions about their credibility.
Another unusual cut is my fifty overdubbed voices on Composer, Arranger, and six time Grammy winner, Ray Moore’s arrangement of Silent Night, with harmonies in fourths. Sounds weird that way, but with the universal interest in the Mars Rover landing and the recent launch of Orion to Mars gave us the idea that there may have been a Silent Night on Mars or somewhere out in space at http://www.cdbaby.com/cd/donmeehan1