It’s December

It’s December and time to tell everyone about my songs in my It’s December album for everyone’s December holiday, especially the song, “It’s December.” It mentions all the December holidays.  Hear it at Spotify at  And if you like it you can download the album or any song in it at, or any of your other favorite sites like iTunes, Amazon, etc. My favorite line in it is: “Some will celebrate the eight days of Hanukah.  And some will decorate their big Christmas trees.  There’ll be folks lighting candles for Kwanzas. And the prayers of one and all will be “let there be peace.”

It was  a great pleasure making this Holiday album from top to bottom.

Jingle Bell Rock is my jazz five part harmony rendition of my old songwriter friends, Jim Booth and Joe Beale.

“It’s December” is a song I always wanted to write to celebrate all the holidays in December. The lyric goes: “Hey, it’s December And high time to celebrate For gettin’ through another year. Its been a long time waiting for the months to go by. But the great days are here again with tons of good cheer In December, can’t wait for the holidays and the great ways for spending time with family and friends you wish it wouldn’t end when you hear ’em playing Auld Lang Syne.”                                                                                      

Bridge: “Some will celebrate the eight days of Hannuka and some will decorate their big Christmas trees. There’ll be folks lighting candles for Kwanzaa and the prayers of one and all will be let there be peace. In December, the days we’ve been waiting for and kids like me lovin’ snow Comes the twenty-first and wintertime, ain’t  nothing like December time and it will never grow old.”                                                                                                          

“Hallelujah Rock” (Arr. Don Meehan) is another world record overdubbing my voice 136 times and put to a rock beat, with yours truly also doing all the instruments.                                                                           

“Hallelujah Chorus” (Arr. Don Meehan) is the a Capella version of my 136 voice “Chorus of One.”                                                                                                                                            

“Silent Night Out There Somewhere” (Arr. Ray Moore) is the sound track to my music video that is at  Global probes into the far reaches of space, and especially the recent Orion Project to probe possible life on Mars has prompted me to produce this video. Thanks to some Public Domain images and videos from NASA, Hubble, and STSci, and the video from Jet Propulsion Laboratory California Institute of Technology of “Curiosity Entry/Decent and Landing celebration, this video strongly suggests a realization and belief of a possible Christmas event with the birth of Jesus on some other planet, light years away from Earth.                                                                



Is Pay Cable TV Brainwashing Us?



Outlandish and unending commercials are embedded into our brains. But I have discovered a way to beat it.

Some of the pay television channels today are really something to be avoided, as rather sickening with their TV Brainwashing. In addition to paying for the services, we all are compelled to be totally saturated with carefully crafted commercials. How often we hear, “Call now,” or “You must act now,” or “Hurry, this sale will be over so don’t wait,” or “Operators are standing by,” or “Call in the next five minutes and we’ll double your order.” This all amounts to total TV Brainwashing by the agencies and companies who spend every minute of the day scientifically researching on how to hook you or con you, I should say. And don’t think for one minute that your sub-conscience hasn’t captured every word and has firmly embedded the product in your brain for later.

They promised little or no commercials back when

The advent of cable pay television was truly a welcome event when subscribers were assured that there would be little or no commercials to endure. The Internet is full of articles pertaining to TV Brainwashing techniques and ways of agencies and broadcasters manipulating and constantly storing of propaganda into your unwary brain to stimulate sales and more sales of stuff you don’t want nor need.

Half and half?

The Tampa Bay Times recently reported that there are no rules regulating the amount of airtime a television station or network — cable or otherwise — devotes to commercials, according to a Federal Communications Commission (FCC) spokesperson. One reporter there stated that he was watching a movie on Spike, and from 9:01 to 10:02 PM there were 30 minutes of commercials and 31 minutes of movie. At least the FCC restricts children’s programming to about 10.5 minutes of commercial matter per hour on weekends, and no more than 12 minutes of commercial matter per hour on weekdays. And that is bad enough, since the kids are also programmed to beg Mommy or Daddy

I recently clocked some programming on one cable network that amounted to almost the same time of half and half. Not fair. I should send a bill for the use of my time. Not knowing about the FCC report as above, and believing it was a rule to have about forty to forty-five minutes of program in an hour, I reported it to the FCC, and of course, there was no reply. Apparently the FCC is not interested in TV Brainwashing. I wonder who is?

Beating the bastards

But I have finally discovered a way to beat them in their game. I happen to subscribe to a service with a DVD recorder that is state of the art. It is actually recording a program when you first start watching and you see a red line showing the minutes since starting. You can rewind if you miss something or want an instant replay. If you tune to another channel it will generally start also recording there.  So if I am watching a one hour program, for instance, I will hit the record button and go to another channel that interests me and also start the record on that one. Or I might just tune in some good music and listen while taping the other program or programs. So what if I’m a few minutes behind?

Since I don’t have to be exactly in time with the programs, I let some time go by and then go to the top and play the program. As soon as the commercials start, usually eight or ten or so, I fast forward past all the commercials. Usually, depending on how long I wait to start watching, like fifteen minutes or so, I can avoid all the commercials, and skip all the intended brainwashing. Seasoned producers with their TV Brainwashing cleverly manipulate your brain into believing that you must have, or need, every single item presented. I sure don’t!

Setting Up & Reading Teleprompters


It Is Such A Bore to Watch Some Speakers Reading Teleprompters  – The act of Reading Teleprompters is truly an art. But it has really become obnoxious with some speakers. Most every one of them I have seen lately reading two glasses is totally unacceptable, especially amateur apprentice speaker Donald Trump. He is obviously new at it and an inexperienced amateur, who actually stares at one glass for minutes at a time. Hillary Clinton has developed a very natural way of reading, going back and forth while also genuinely connecting with an audience and with the camera.

The Prompters are usually Always Set At the Same Height as the Speaker – But the rub is that they are usually always set up at the speaker’s eye level and focused way above the audience’s heads. And there is no eye contact. The problem lies with the fact that the speaker is usually elevated on a stage about two feet or so raised. This puts a person speaking with eye level at approximately five feet, plus stage height, whereas the lower sitting audience eye level is somewhere between three and a half feet, sitting.

Reading Teleprompters With Proper Eye Contact – Addressing a crowd who are all sitting would require the speaker to have eye contact with them by looking down to their eye level. However, the person responsible for the Teleprompters placement usually always places them to each side of the speaker at his/her eye level on stage. Therefore, when the person reads with the head moving left to right, there is an obvious appearance of him/her looking out not into the eyes of the live audience, but way above them, and in fact, a good three and a half feet over their heads.

A Proper Adjustment Provides A More Sincere Approach – A simple solution appears to be to simply lower the prompter glasses about six or eight inches on each side and do a slight adjustment with its angle. This would have the speaker now looking at and through the prompter glass as if they are also having eye contact with the audience. This is not off the wall since here is copied from an ad showing the adjustment:

“VARIABLE HEIGHT/ANGLE ADJUSTMENTS – The best speech is one where the speaker can achieve direct eye contact with the most people. That is difficult to achieve when his/her head stays in one, fixed location. Every speaker who walks up to the podium is not the same height. Nor do they read best at the same angle of screen. This is why we have created the most adjustable glass for stage teleprompters on the market. Easily adjustable angles will ensure that the speaker can have great eye contact with the audience, while seeing and reading the text clearly.”

However, the ad shows Obama, but he’s always looking out over their heads in his speeches while reading teleprompters. Why can’t they get it right so the person speaking doesn’t appear so obvious and phony? And so I ask, if they may possibly be using outdated stuff that doesn’t adjust, or is it that they just don’t know any better how a speaker should be reading teleprompters?

When Computers Try To Out Think Us

Its amazing how Computers try to out think us. These days of advanced technology seems to have created more circumstances for extreme frustration when “Interneting,” and  Don’t know if that’s a word or not but I guess it should be. Anyway, I think I have found a way to get stuff off my chest when something doesn’t work right at a website. As a for instance, I was doing a usual filling in the blanks routine on a well known site that was taking hours to complete, when I became so furious and upset that I threw the switch to off. As usual, the instructions are always somewhere else and not handy. Or else you go there only to find you can’t get back. Or if you do get back you find that what you have written is either erased or embedded somewhere still half done, or gone completely. I wasn’t even half way through the process but I had had enough.

The clincher was when I finally found some wording to click on that read “If you have technical issues or concerns regarding your personal account the Support Team is available 24/7 to help you.” And when I clicked finally expecting some good people contact, there was none, but pages and pages of answers to questions that I wasn’t asking. But no humans. What gives? And then, totally boiling over with rage, I selected to compose my complaint to these smart ass bastards in my word processor so I could paste it into the proper place on their forum. I’m not identifying them but here is how it went:


And then there was some more blocks to going on the forum. So there I am, all alone facing my computer screen, totally and absolutely furious up against a bricker than brick wall, (another new word?) No one to blow steam to. So I emailed it to myself. The next day I saw it in my mail and I read it. And you know what? I felt better reading it. It wasn’t sent to them, but I reflected on the fact that my opinion wouldn’t matter to them, and that I would definitely be a thorn and would never ever be in their good graces. And I got it off my chest quietly screaming it on the keyboard. But I discovered something new for me here on how to discard some bitterness and total frustration.

For what it’s worth, those words went out there, who knows where or how far and back for me to see and reflect on if I want to on what automatic really means in today’s world. It’s almost like screaming loud in a big soundproof empty room, or throwing punches at a hanging bag.

So will I try it again? Sure, may as well, since I need them more than they need me, except for the $$ they’ll be collecting from me. And who knows but what their brilliant young master mind geeks may have been doing maintenance so their computers can continue to out think us all.

Lastly, I guess I am glad for the snafu since I decided to change my wording significantly if I do follow through.

Another Donald Speaks Out re The Holidays

“Its December” is a holiday song that includes the beliefs of those other than Christian.

From this Donald to that other Donald: My new song, IT’S DECEMBER, is my answer to Thee Donald’s campaign to obliterate every December holiday celebration, every other belief system, and good times from December existence, all except Christmas. I also love Christmas time, and I also respect all the other beliefs. My new song, IT’S DECEMBER at from my new CD of the same title, may be the first song that mentions the celebration of Hannukka, Christmas and Kwanzaa. And by the way, Starbucks coffee in their red cups and all their other stuff is the best. After giving a lot of thought about the December holidays, I felt it appropriate to write a song that expressed appreciation for all the thoughts and beliefs of all others besides Christians, and their God given right to believe in other than just Christmas, and the birth of Jesus.

My It’s December album, released last December and up for sale and listening on about 28 different websites, including iTunes, Amazon, Spotify and CDBaby, features some Christmas songs and an arrangement of “Silent Night” suggests a Silent Night Christmas event on a far off planet. An Ebay video of it at drives the message home. And my song, “It’s December, I believe, may be the first holiday song ever to mention and underline the celebration of the other holidays in December, Hanukkah and Kwanzaa, the arrival of Winter on the 21st, and kids like me loving the snow, and wishing it wouldn’t end. Not just about Christmas. You can hear it at

So, please give it a listen and if you agree with my thinking, please spread the word, and maybe we can get enough ears to hear a different point of view than what that other Donald may be demanding about only celebrating s december cd photo

Credit finally right on Simon & Garfunkel’s Sound of Silence

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:




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 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

More about Simon and Garfunkel’s Sound of Silence

I know I have been promising to write more about Simon and Garfunkel’s Sound of Silence. I will have some really great news about the latest events in my favor, but I had to stop and put all my efforts into releasing my new Holiday Extended Play CD. I am really proud of it and will have what I believe is some real good and unique holiday listening for all my fans. It will be called It’s December, and will be available on CD Baby and all of its outlets internationally. I’m really grateful for all the interest and many readers at Steve Hoffman’s Music forum and now the Japanese forum,  Simon & Garfunkel Web Forum at

Meanwhile, here’s a glimpse of my new It’ December CD.

it s december cd photo

The title, It’s December, is derived from my new song which may be s first that mentions and appreciates the different belief celebrations in December, including Christmas, Hanukkah and Kwanzaa. My favorite line is, “And the prayers of one and all will be let there be peace.” Hopefully, that will happen. It even mentions snow and Auld Lang Syne.

There are a couple more surprises on the new CD that I will get into here when it is released in a couple days. Please stay tuned. More later.

Update About Simon and Garfunkel’s Sounds of Silence

For all who have tuned into my posts about the lack of credits on my Simon and Garfunkel’s 1965 original mono mix on Sound of Silence, I apologize for not posting some more sooner as I promised. But there will be some important surprising new information which I expect to reveal very soon and a lot more to share with you. I am delighted to see a recent increased record number of visitors here.

Since we are nearing the fiftieth anniversary of Sound of Silence being one of the greatest songs ever written, I will have even more interesting stuff to share with you very soon. It’s the kind of information that you want your great-great grand-kids to know about. Please pass this along to all your friends who have recently visited me here, and ask them to come on back and stay tuned.

More on the Truth About Simon and Garfunkel Sounds of Silence

This is a brief follow up to my post about who mixed or didn’t mix Simon and Garfunkel’s Sounds of Silence single and album, and to reiterate to a few who shouted sour grapes. Since there were so many people who read and responded to my post, I was compelled to continue with my research and found others who apparently cashed in on taking credit on this single and album. I was really shocked to find so many others who have stepped up and put their name on the credits. My take on this is just that I believe each and every one of us are entitled to be proud of all of our accomplishments and if nothing else, we want our grandchildren and beyond to know of our achievements, awards, and honors.

But in this case, I have missed out on the Grammys, the RIAA awards and any other hoopla that goes with the success of a person or persons. And on March 22, 2013, it was announced that the album will be preserved by the Library of Congress in the National Recording Registry, calling it “culturally, historically, or aesthetically significant.” But of at least five or six who have now claimed credit, we wonder which mix was it? And, is it important? Your damn right it is important. This is another event that my grandchildren might like to read and boast about if my name was on it. It’s just a little more history to add for any interested descendants.

More research reveals that certain writers and journalists have carelessly taken the distorted information and written about it again and again as “gospel” obviously assuming that it must be the truth if it was in print and so and so said it. In my next post I will be writing about yet another character, who stepped in attempting to set himself up by putting down everyone around him and dragging in yet, and giving another false credit to another character.

But the real shocker came last night when I surfed on YouTube and found about eight or ten audio renditions of different mixes on Sounds of Silence by S and G. No master or album numbers, nor producer-engineer credits were posted but there were two that totally shocked me about the incompetence and total lack of musicianship displayed in the mix or remix. Totally unbelievable that over fourteen million people have been subjected to a mix that features the harmony voice out in front with the lead voice buried. One, called “Original version from 1964” can be heard at HERE was heard by 10,607,164 people. Another at HERE was heard by 3,722,014 people.

Knowing that this, or any mix must come from the original tapes, I’m sorry to say that this screw-up is totally inexcusable by those who may have overstepped the line in their quest for stardom in the music-recording business. There is more to be told on this which I will continue in my nest post.

Lastly, let me say that I was the first to cover the song as an artist for the Columbia Record Club in 1965, right after Simon and Garfunkel’s record became a hit. Regretfully, it can’t be published on YouTube without the permission of the copyright holder and Sony.