The Jazz Philosopher, featured Andy Goldmark, a successful multiplatinum producer/​songwriter

As Within Without This week John Novello, The Jazz Philosopher, featured  Andy Goldmark, a successful multiplatinum producer/songwriter with a 35-year career in the music industry. Andy shared his journey from songwriting to achieving success as a singer-songwriter, highlighting key moments in his career and emphasizing the importance of persistence and serendipitous connections. The discussion covered Andy's experiences with various music projects, his approach to songwriting and collaboration, and his current music endeavors, while John shared stories and teachings about the power of intuition and inner world creation. 

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Episode Transcript

Speaker 1 (00:01):
You're listening to the Law of Attraction Radio Network.

Speaker 2 (00:06):
Welcome to manifesting your dreams. Join renowned Grammy Award winner,
jazz pianist and Amazon number one best selling author John Novello.
Each week as he uncovers the secrets of the Invisible Architect,
the quantum intelligent energy that permeates everything even us. Discover
how to tap into this inner power to use it

(00:28):
to design the perfect life you deserve. The Invisible Architect
as Within So Without is your guide to achieving your
dream life. And now here's your host, the jazz philosopher
John Novello.

Speaker 3 (00:43):
Hi everybody, John Abell, here the Jazz Philosopher. Welcome to
The Invisible Architect As Within Without weekly radio podcast, an
incredible Law of Attraction Radio network, which I'm so excited
I need to be a part of. Really, I learned
a long time ago that real enlightenment is really only
achieved through the.

Speaker 4 (01:03):
Service of others.

Speaker 3 (01:05):
The first part of this lifetime was inspiring and entertaining
others through my God given musical talents, composing and performing.
But I never figured in my twilight years, I'd be
directly helping others as a personal and sort of a
spiritual servant of the Creator, who I have named The
Invisible Architect off of my Amazon number one best selling

(01:28):
metaphysical book, The Invisible Architect How to Design Your Perfect.

Speaker 4 (01:31):
Life from Within.

Speaker 3 (01:33):
So for my story details, you could check out that
book or go to my website, Johnavelda author dot com. Nevertheless,
here we are, and so welcome back to all subscribers
and especially a big welcome to all new listeners to
this podcast, which is all about how our inner world,

(01:55):
our thoughts and beliefs, create our outer world. For more
info on this again, please check out my mentors site Now.
Each week I try to feature guests who have had
the courage to go after their dreams their inner world
and also have the discipline to follow through with those dreams,
which is not easy, especially in the business we're going

(02:18):
to discuss today, the entertainment business, and go on and
have the discipline to achieve great success and help inspire others.
All of this said, especially excited about this week's guest,
Andy Goldmark, as we have not only become music partners
and associates, but also best friends.

Speaker 4 (02:37):
Now.

Speaker 3 (02:37):
Andy, for more than thirty five years, has been a
consistent hit maker, having written and produced hundreds of songs
that have generated over hundreds of million I mean, I
should say hundreds of millions, over one hundred million units
in sales and yielded top ten, what twenty top five? Well, yeah,
top five hits in the pop, R and B, rock,

(02:58):
country and JAT charts all over the world. Now, Andy,
I didn't know this until today, but I was looking
up some info I didn't realize or maybe I forgot
that you are the son of CBS engineer doctor Peter
Goldmark and vendor of the LP record.

Speaker 4 (03:17):
Is that true? Yeah, yeah, Yeah, it's true.

Speaker 3 (03:21):
Wow. So I'm going to welcome Andy his career selling
songs on New York's Tiny Panelly at the age of thirteen,
became a staff writer for April Blackwood Music at seventeen.
He has since written million sellars for artists such as
Jeffery Osborne, Elton, John Billy Ray, Cyrus, Michael Bowden, Carly Simon,
Patty LaBelle, the Commodore is Peter Setera, Kenny g to

(03:45):
name a few. He has run his own label publishing company,
also served as VPA and R for Jive Records. And
he'll laugh at this, but as far as I'm concerned
as the biggest accomplishment, and I'm sure he'll really get
a kick out of this co producing any smooth jazz
hits for yours. Truly, Jon Mavella was good to go

(04:05):
achieving number one on a prestige Billboard jazz charge so Andy, thank.

Speaker 4 (04:10):
You for that, and welcome to the podcast. Great to
be here, John, really excited and thanks for having me.

Speaker 3 (04:18):
Oh my pleasure. So I'd love for you to tell
your story, which I briefly sort of went through on
how you discovered and followed your dreams from when you
were young, and how you stuck to those dreams and
eventually achieved great success as a songwriter and producer. But
if I'm not mistaken, you started out as a solo

(04:42):
artist and then transitioned to songwriting and now it seems
like you'd be havy come full circle. So why don't
you tell my listeners about that story. That's interesting.

Speaker 4 (04:52):
Well, I actually started out as a songwriter, and I
did that by developing my ear and passion listening to
WABC radio and pop songs back in the day. I'm
talking about the early sixties and just falling in love
with it. I mean, my biggest other passion's life. We're

(05:13):
playing hockey, baseball, soccer, tennis, you name it. On the
field was kind of where most of my life was.
But I had this inner, more secret life of writing songs.
And I was taking piano lessons anyways by force for
my parents. So I started to pick out tunes and
then I realized I could actually write tunes. And I

(05:37):
became fascinated by you know, Tim Panaley, the Brill Building,
sixteen fifty Broadway in New York, where all these records
were coming from. And I'd buy these forty five hits
and I'd look at them and I'd see the information.
I go, wow, I've got some songs here. I got
to take them into New York and see if anybody
will listen, and if anybody's interested. Where did you live

(05:58):
at the time. Lived in New Canaan, Connecticut, which is
about an hour's by train from Manhattan. And so I would,
you know, take my big bulky tape recorder and then
go into New York, specifically to sixteen fifty Broadway, which
is kind of like the sister building to the Brill Building,
and it's where a lot of publishers were and a

(06:20):
lot of writers were and I go and peddle my
wares and get people to listen to my songs. And
you know, it all came down basically going through the
motions and meeting people and getting referred and bouncing around.
And I was finally introduced to Tony Orlando of Tony
Orlando and Don who was He was running April Black

(06:42):
with Music, the publishing arm of Columbia Records and hired
by Clive Davis to be their general manager and find
new talent and new songs. And I went in and
played some songs for Tony and we hit it off
and he became my first major mentor, and after some
months of going in there learning the ropes about how

(07:02):
it all worked, he offered me a publishing deal. So
that's really where it began. And I wrote some songs
as literally just a writer, and nothing much happened with them,
but it got me going, how did you I'm.

Speaker 3 (07:14):
Curious because it takes a little stick to itiveness and
aggressiveness sometimes, as we know, and the music is to
pedal your stuff initially because they don't usually welcome non
solicited people and songs and stuff. How did you start
knocking on the doors like you said.

Speaker 1 (07:31):
In the beginning, Well, I was one of them from
a very variety of places, and one of them was
from a man named John Hammond, who I think.

Speaker 4 (07:42):
Is to this day other than Barry Gordy, considered the
greatest A and R person, artist and reprotorial person in
the history of the music business. He signed Bob Dylan,
Bruce Springsteen, he signed to Rita Franklin, and I was
lucky enough to get a meeting with him, and he
gave me what I call an injection of his endorsement

(08:05):
and confidence that lasted me a long time. And he said, basically,
he said, look, kid, I'm not so sure about your voice.
I think it's good, but your writing really shows a
lot of promise and you have potential without a doubt.
So he sent me to a guy named Jerry Typer
and April Blackwood Music. Now, you know, I got to
know Jerry and I'd send him songs. But I it
was a world of publishers out there in sixteen fifty Broadway,

(08:28):
So I literally did knock on doors. And those were
the days John, when doors would open people. You know,
I didn't have to, you know, make appointment to get
attitudes or get no go away. I mean, everybody wanted
new music and it was an exciting time of growth
and people were open, so I'd get meetings and you know,

(08:50):
I eventually got to know a few people, and then
it rebounded back to Tony Orlando and I got that deal.
And then I after they dropped a bunch of writers
because it was the era of the singer songwriter. So
I thought, you know, if I'm gonna make it in this,
I'm gonna stay in it. I better become a singer
songwriter so I could sing and and I love singing

(09:14):
my own song. So over the course of time, I
developed a little bit of a back catalog and and
then literally started peddling again, but this time not just
as a writer, but as a singer and songwriter.

Speaker 3 (09:27):
Did you have a delia as a singer? I mean,
as a no, I was.

Speaker 4 (09:31):
I was just unsigned. I was out there in the
great wide ocean, uh and uh, you know, paddling along
and and through just a string of coincidences and literally,
like you know, almost god struck uh connections. I wound
up playing my tape of five songs for a man

(09:54):
named Stuart Love, who was head of A and R
in New York for Warner Brothers Music, and I swear
to god it was one of those things where I
was striking out left, right and center the whole past,
three months after months after months, and he turned around,
he said, I love these I want to sign you
to Warner Brothers Records. And that's what happened. Long story short,

(10:15):
and so that was my next phase making an album
as a singer songwriter for Warner Brothers Records. It was
produced by Gary Usher, who was well known for producing
The Birds and being Brian Wilson's collaborator. They wrote in
my Room in four oh nine, and that well I
didn't know he wrote in my room. Well he did.

(10:35):
And that was quite a journey, and that was really
learning what it meant to get in there and make
a record.

Speaker 3 (10:42):
Well, you said something very interesting that I'm a firm
believer on is whether we know it or not, when
we hook up to the universal consciousness, which I call
the invisible Architect, various orchestrations and serendipitinesses to make up
a word start to happen. And like that sounds like

(11:02):
that was one of those hookups that happened with you,
because you even said It was sort of god stricken
the way it happened like that. And I think that
when we start following our dreams and have that courage
and that belief, things like that start happening in Dora's open.

Speaker 4 (11:18):
So well, it was so much to that. I'm glad
you stuck with that, because there's a story behind us
which just totally validates and demonstrates how right you are
with that. Literally, I took I was. I was in college,
and I persuaded my parents. I said, look, instead of
me going out and working for the summer, I want
to make a deal, and that is I want to
pursue my dreams for the summer, and if it doesn't

(11:40):
work out, I promise I'll go back to college. I'll
live this straight life, you know, I'll get a regular job.
Blah blah blah.

Speaker 3 (11:48):
So that Kings, what was not to interrupt you? It's like,
what's that song that by the Kings? Oh, well respected
man about town doing things so conservatively.

Speaker 4 (11:58):
He gets up in the come on exactly.

Speaker 3 (12:01):
You were about to do that and you were trying
to leave that. Luckily you did.

Speaker 4 (12:06):
So I bounced around and met a man named Marv Goodman.
I went indebted to to this time, who was a publisher,
and he took a strong liking to me and what
I was doing as a singer songwriter. So I met
a bunch of people through him, and there were a
lot of almost people who liked it. But it just
didn't pan out. And it was down to my last

(12:29):
day in New York City making the rounds, and if
it didn't happen, I was going on a train back
to New Canaan, Connecticut, going back to college. And that
was it. Trained Why was it your last day?

Speaker 3 (12:41):
And that was your parents ultimatum or your own agreement.

Speaker 4 (12:43):
No, No, I had to I had to get back
to school. So it was like it was a real deadline.

Speaker 3 (12:51):
It was just a summer kind of hail Mayorage.

Speaker 4 (12:54):
Yeah, it was summerhill Mary. And the deal was with
my parents, if it doesn't work out, you know, all right,
I'll get it and then I'll lead the straight live,
so to speak. So the very last day, Marv says, now,
he'd been trying to get me together with Stuart Love
at Warner Brothers Music, who's very hot. He had signed
James Taylor, he had signed a bunch of very heavy

(13:16):
acts and to get me in to see him all
summer long and couldn't. It just didn't work out. And
so he Marv's walking me back to Grand Central station
where I was literally going to board the train from
one life to another, right to another train in the train,
and so he says, look on the way, I hope

(13:39):
you don't mind. I got to stop by Stuart Loves
office having nothing to do with me. I've got to
give him something that he's expecting and then we'll get
onto the Grand Central station. So we go up there
and he barges into Stuart's office and says, Okay, I
got you. I've been waiting all summer for you to

(14:00):
meet this kid. Just do me a favorite, please. I'm
walking him back to Grand Central station. Would you just
listen to his songs? That's literally John, how it happened?

Speaker 3 (14:09):
Did he did? He was that sort of a conspiracy
He didn't tell you he was going to do that?
Or was that impromptu on his.

Speaker 4 (14:15):
It was all imprompted. He thought he was just going
to drop off this package. You know. The assistant would
say thank you, goodbye, but that's all that was going
to happen. The door was open, and Marv was a
go get her aggressive, and he kind of peered in
the door and saw Stewart was sitting there alone at
his desk and said, Stuart, please, I really want you

(14:38):
to do me a huge favor. And he said, okay,
come on in, and I go in and he puts
on the tape.

Speaker 3 (14:45):
Oh so he had heard anything from.

Speaker 5 (14:46):
You, didn't know my name, my songs, knew nothing to
know me from Adam and plays all five songs, turned
around in his chair, looking at the reel to reel
and without stopping, and the five songs are over, he.

Speaker 4 (15:03):
Turns around like this and goes, welcome to Warner Brothers Records.
I want to sign you.

Speaker 3 (15:09):
Wow, that's fantastic. And were you singing all those Yeah,
I was welcoming as an artist to Warnerbugs.

Speaker 1 (15:19):
Yeah.

Speaker 4 (15:19):
They were piano vocal demos, and he was signing me
as a singer songwriter. And I was right on time.
It was the days of James Taylor and Cat Stevens
and Jackson Brown and and he loved what I did.

Speaker 3 (15:35):
So I was going there, the old invisible architect working
for you. That's fantastic story. I didn't even know that
the story.

Speaker 4 (15:46):
Yeah, that really, it really is true. That's so it
just shows that if you're in there and you're and
you're going for it, and you're giving it everything in
your lay and your soul out there, you know, I
really believe that the right thing appear at the right time. Yeah,
because look at your decision.

Speaker 3 (16:03):
They always say that if you really look back, life
is an accumulation of sequential decisions, whether they're bad or
good or indifferent different, there's always these decisions. So look
at that decision that you said to your parents that hey,
I'll make a deal with you if blah blah blah
it doesn't happen, I'm going to go to college. Now.

(16:24):
If you didn't make that decision, sorry, this wouldn't.

Speaker 4 (16:27):
Have happened, right, No, No, it wouldn't have happened. And
it was definitely it was the stepping stone, you know.
And except that they didn't know that I'd be on
that train arriving home with a different story, you know,
sort of like I said, I got a deal, and

(16:49):
they were like, what, well, what they think? What was
the best that they thought was going to happen? When
you think they thought the whole thing would play itself out.
Let's let Andy Polow his dream. It's really important. It's
good for him, and let's let's just support him on there.

Speaker 3 (17:07):
You had good parents, they were supporting.

Speaker 4 (17:09):
But it'll all work out. He'll he'll come back to
the fold.

Speaker 3 (17:13):
He'll come to a conclusion that he's way off pace
my parents.

Speaker 4 (17:19):
It was real interesting.

Speaker 3 (17:21):
Uh, not to do a sidebar here, but when I
graduated from college with a degree in mathematics and science
because that was what my a dean told me that
I was smart at. But on the side, I was
always in a band like a Weekend Warrior, and I
never I remember when I first got discovered what are

(17:41):
the odds in Eerie, Pennsylvania.

Speaker 4 (17:43):
We used to call it the Mistake by the Lake.

Speaker 3 (17:46):
There was not there was no arts anything there. And
there I am with a cover band playing at the
Ramada Inn and we had one of the better cover
bands in the area. And it was a blizzard like
it always is during the winter and air and make
a long story short, the manager comes up and says, hey,
there's nobody here.

Speaker 4 (18:05):
You can go home.

Speaker 3 (18:06):
And it was like a Friday night and okay, you
don't have to pack up.

Speaker 4 (18:10):
Our stuff was.

Speaker 3 (18:10):
There for all week getting ready to leave and A
big bus pulls up and the manager goes, hey, there's
a whole bunch of people coming in. Because of Route ninety,
which went from Cleveland to New York City, there was snowdrifts,
so they came in to get a room, and they
all were going to come down to get a drink. Right,
So the manager goes, hey, you got to keep playing.

(18:30):
I said, we love playing, are you kidding? So I
go on stage and we play with this band. In
the name of my band was Simon Grace and the
Tuesday Blues Band, And that was the singer's idea. He
was not Simon Grace. I was like jet Rod Tall.
That didn't exist. It was just a name, right. But
we played all this cover music and this is way

(18:51):
back and I don't know sixty eight, sixty nine to seventy,
little did I know. In the a a guy in
a Corvette named and you might know this name Roger
Karshner who was the hit producer of the Outsiders, and
they had a hit out called time Won't let Me
Remember that song. He was on the freeway and got

(19:15):
snow blizzard out, so he decides to pull in the
parking lot and just goes to show you the orchestrations
from above. So he was tired, He's gonna go to bed,
but he went to I think I'm gonna go down
and get a drink before I go to bed. So
he comes down.

Speaker 4 (19:29):
Here's my band.

Speaker 3 (19:30):
He walks up to me after our last song, and
I'm thinking it's another drunk that wants me to play. Hey, man,
can you believe me something like that? He comes up,
he goes, hey, you don't know me. You look like
the band leader. Are you guys signed? I didn't even
know what the hell that meant? Signed? What does that mean?

Speaker 4 (19:50):
Right?

Speaker 3 (19:50):
So I look, I said, well, I don't think so,
but what do you mean? He goes, well to a
record deal? I said, no, just cover band. He goes, well,
you are now just like your thing? And what's that meaning?
Goes well, and he got my information because you're going
to be getting a record contract in the mail. He
had a label which was an obsidiary of MGM called

(20:11):
Mainline Records out of Cleveland that he was producing his
artist and songwriters.

Speaker 4 (20:16):
So he signed us to.

Speaker 3 (20:17):
A deal and we drove up to Cleveland from Erie,
which was a two hour drive in those days. You
released a regional single in the Tri State area and
if it went good, then you would go on to
do the record. And he released it and was like
number three on the Tri State area and there we

(20:38):
are with it. I hit record, about to go big time.
But then the bad news, eventually good news was our
singer got drafted, and I didn't have the heart to
tell Roger about I didn't want to get dropped from
the label and everything. And I went out and he
had all these gigs booked on TV. So I became

(21:00):
the lead singer and lip synced, and finally somebody in
the staff found it and he called me up. He goes, hey, yeah,
you did a great job lip singing, John, But where
is Mike? Who's the lead singer? And the real reason
we got signed because he was like a white James Brown.
So I had to tell him. Next thing, you know,
drops us like a hot potato. We never had it out,
but that motivated me to go full time into music.

Speaker 4 (21:24):
Isn't that interesting? Wow? Yeah? Yeah, yeah, it's I.

Speaker 3 (21:28):
Mean, I don't know what would have happened if if we'd.

Speaker 4 (21:31):
Done the record and had a hit record. Who knows.

Speaker 3 (21:34):
I made it become a drug addict, rock and roll player.

Speaker 4 (21:36):
I don't know, you know, yeah, yeah, it's those little
steps along the way that the fuel of a fire.

Speaker 3 (21:44):
Well, then you still kept the songwriting career going on
on the background, but only you became a full time artist.
And how did you eventually get into writing other hits
for other people.

Speaker 4 (21:57):
Well, the album came out and I got some nice reviews,
but it didn't go far enough for Warner Brothers to
pick up my option and for me to do a
second album. So my manager at the time, you know,
he said, let's see if we can get Warner Brothers
Music Publishing, where this kind of all started. Let's see

(22:18):
if they're interested enough to get you in there as
a staff songwriter so that you can continue, you know,
your development as a songwriter. And then you know, from there,
who knows, I mean maybe, And so that's what we did.
I signed a three year contract. In three years, I
wrote just was a writer and kind of learned more
and more about the craft and started to get some

(22:41):
of my songs recorded by artists. And at the end
of three years, I actually then got an offer from
A and M Records to make an album with a
three piece blue eyed soul group I had put together
called Wonder Gap, and so we were signed and we

(23:01):
eventually made an album which which was a whole different
direction for me musically. Like I said, it was more pop,
R and B and along the lines in those days
of things that Boss Skaggs was doing the Doobie Brothers
and as opposed to my singer songwriter album which is
way more personal and introspective and and uh, you know,

(23:23):
searching for answers. Uh, this was searching for an audience
and searching for an audience that wanted to be entertained
and wanted to dance and move a little bit. So
we made that album and and that didn't take off,
but led to another stint as a as a songwriter,
and that was with Cotillion Music, which was Atlantic Records Publishing.

Speaker 3 (23:45):
Arm were still in the New York area this time.

Speaker 4 (23:48):
All this in the in the New York area, and
at various points, you know, in order to keep the
you know, the lights on and and the heat on,
I would take the stints as you know, as a
as a cab drivers, you know, selling sweaters at Bloomingdale's.
You know, things that you do things to keep you know,
the bread on the table. But this time. Now, I
was kind of getting to my last deal because I mean,

(24:10):
how long can this go on? I'm getting towards late twenties.
But this woman named Linda Wertman signed me to get
to your music, and that's really the first place that
I head on addressed the craft of being a songwriter
and writing songs that could really have some commercial potential,

(24:32):
that were really fully formulated, easy to accessible, and easy
to get.

Speaker 3 (24:38):
Cut, more natural or did you was it a combination
of all the combination of natural?

Speaker 4 (24:44):
But this this woman, Linda, I mean, she was really tough.
She's one of the toughest people ever knew in the
music business. But she she drove me. She cheat pointed out.
She said, make that chorus four lines, make it to this,
make sure that you've got a bridge. So she pointed
me to the world.

Speaker 3 (25:00):
Of structure and a little mentoring from her.

Speaker 4 (25:03):
I got some mentoring, for sure, I mean, and she
she was relentless, you know, uh, not easy to get
along with, but she was relentless, and she pushed me
more than anybody had, and it really forced me to
address the craft of writing songs more than ever. And

(25:24):
you know, two years came and I wasn't again making
enough money to justify continuing, and I got dropped and
I was for the first time, age thirty, I was
on my own. I was completely without any deals, any
source of income. Some savings saved up that would take

(25:45):
me maybe through a year if I continued my diet
of peanut butter and tacata cheeseus. You know, you know
what that's like.

Speaker 3 (25:53):
And I realize what it's like again anyway, saga.

Speaker 4 (26:00):
So, but this was a very interesting point in time.
It was the early eighties, and there was a whole
new thing happening called the synthesizer and the drum machine.
And I was used to making music in the studio
with three or four studio musicians and cutting my demos
in three hours and you know, you do the real deal.

(26:22):
And I always had a bit of a difficulty with
that because I wasn't really great yet at articulating what
I wanted, how I wanted my songs to sound, what
I want people to play, and so forth and so on.
With the advent of the synthesizer and the drum machine,
I was the master of my own domain. I was
playing everything, so there was nothing in my way from

(26:46):
hearing what I wanted to hear, and this I had
no money coming in, but this is what I had.
And I gave myself a year to make it. And
at the end of the year I didn't make it.
I was going to make the long trek back to
New Canaan again on the train and say, Okay, I'm done.

Speaker 3 (27:06):
The train was waiting for you because you've ignored it
the first.

Speaker 4 (27:10):
Time was waiting. It was there, it was old, it
was a tired train. But so that year was the
most terrifying and exhilarating year of my life. And the
way it began on October eighth, my birthday turning thirtieth,

(27:30):
was a really interesting little story. And this is again
fuel energy to take you through those tough times. I
had a friend named Ellen Sanger who was a very funny,
lovely person, and she was really a good friend of
me and knew what I was going through. And she
was the booker for Good Morning America and one of

(27:51):
her closest friends, if our closest friend, oddly enough, was
Muhammad Ali Wow. And she always talked about Mohammed and
what a great person he was, and you know, they
would their friendship was something very special, and I heard
her talk about it, and so she knew it was

(28:12):
my thirtieth birthday. She knew I was alone. I had
nothing going on except for one thing. I was taking
piano lessons. I was studying with a guy named Adolf
Sandoli because I had to get my playing up several levels.
I was throwing everything I could at my craft, and
he was. He taught jazz, and he was the most

(28:35):
demanding teacher I've ever had. He insisted that you practice
at least three, preferably eight hours a day, and when
you came into your lesson, which you could not miss
and which were conducted in front of students waiting in line,
you had to have it together or you were out
the door. He was relentless, merciless. Okay, so I'm setting

(28:56):
the story for the night I'm turning thirty, and it's
my life is falling apart, my marriage is done. I
lost my grandmother, who I loved dearly. It was just
a nay dear. And the phone rings at midnight and
I go and I pick up the phone and I think,
who is calling me? At midnight? I said hello, and

(29:17):
I hear andy, do you know who this is? And
I going, oh my god, I said, Ali, is that you?
And he said, yes, Andy, it's Muhammad Ali. And yet
I had never met him, talked to him. This was
all fed to him by Ellen, my friend Ellen Sanger,

(29:40):
who was his best friend. So that's why I kind
of knew who it was. And I said, oh my god.
And he says, Andy, I'm calling to wish you a
happy birthday, and tomorrow on your birthday, Andy, I want
to take you out to lunch, just you and me.
And I'm going, oh my god, this is mamma.

Speaker 3 (29:59):
Where was in his career at that time he had
changed to Muhammad Ali.

Speaker 4 (30:05):
He would already established himself as the greatest boxer. I'm
the most famous human being on the planet and it
was no one bigger. And he says, I want to
take you out to lunch on your birthday. Now. I said, oh, Ali,
this is so amazing. I can't thank you enough, my god.

(30:26):
But there's one problem. And he said, what's the problem, Andy,
He can't quite believe it. I said, I have a
piano lesson. And there's silence. Oh my god, And he says, Andy,
do you know who this is? And I said, yes, Ali,

(30:48):
I know. But I have a piano lesson and I
can't miss it or this guy is gonna throw me out.
I'll never get a lesson again. And I'm at the
most important part of my career. I have nothing. I've
got to do everything I can to make it. There's
dead silence and I swear it. And do you know
who this is? Hexa of Old Time. I want the

(31:10):
Thriller in Manila. I want to rope it dope in Sair.
He's going on and on and on, and I'm going
I know, I know, Ali, I know all about that
you are, I said, but you know if I go
and have lunch with you and I and I break
this piano lesson, I said, I'll never get to where
you are. You I can't do that. I have to

(31:31):
stay in training, Ali, I said, please, I hope. I don't understand.

Speaker 3 (31:35):
And John get a raincheck right or whatever?

Speaker 4 (31:38):
To this day. You know how people arrive at the
end of their life and they say, I have no regrets.
I will always have one regret. The next day, I'm
at my lesson when I could be having lunch with
Mohammad Ali and I'm doing my scales and behind me
is Adolph sand only the teacher. I can't see him,

(32:02):
but he's always doing the same thing. He's eating a
damn apple and every time he bites in there's this
in the scales and I miss one note and I
hear him go like that, and I turned around. I said,
do you know where I could be? Right now? Do
you know where I could be? So that's my that's

(32:27):
my story. That but that fueled me. John.

Speaker 3 (32:29):
It was like, Okay, I almost thought you were going
to say something crazy, like at the last minute he
called you up and canceled you lesson ye because he
was sick, and that would have been Oh my god,
you would have killed yourself.

Speaker 4 (32:44):
Yeah. Well, since then, you know, it's a divided room.
Some people say you idiot, and some people say good
for you. It's like, I have no choice but to
believe in my own story because I created it, and
it's like I did what I felt I needed to do. Well.

Speaker 3 (32:59):
That brings me back again to some of my methodology
and my mentoring where you need visible architect expresses itself.
One of the milestones that I mentor is the invisible architect,
the energy, the creator of all source, whatever you want
to call it, expresses its perfection through us, but only

(33:22):
if we invite it into our lives. And we don't
invite it into our lives because it gave us free will,
unless we start pursuing our desires. I interviewed three weeks
ago the famous author Neil Donald Walsh. Have you heard
of him? He's a Conversations of God and his story

(33:44):
is crazy. Make a long story, sure, he's short. He was,
you know, homeless, he was upset with God. Nothing was working,
he lost his wife, he was quasi paralyzed recovering, and
he kept writing on yellow paper with a pencil, these
nasty victimy type letters to God. Of course never answered them.

(34:05):
He did that for over a year and then all
of a sudden, one day he heard this voice that
was so loud off to his right. He thought it
was a person and was God saying, this is his story.
God was saying, so are you just venting or do
you want an answer to some of the questions? And
he went, well, yeah, is this who?

Speaker 4 (34:25):
Yes?

Speaker 3 (34:26):
And he started answering. So he started writing He's down
for over a year and he had all these notes.
He didn't even use a computer. They were handwritten. And
then one day and he had this hookup that happened,
and one day God said, all right, these need to
get out to the world. You need to get send
these to a publisher. And he goes, I don't know
a publisher. And we all know that most traditional publishers

(34:48):
do not accept unsolicited material. And he said that to him,
and God said, go into a bookstore and go to
the self help section and take a look at a
bunch of publishers published spirituality, personal developments, you know, self help.
And he goes, take all these notes that you had
put him in an envelope, write a cover letter and

(35:08):
send it. And one of the publishers thought it was
a novel way to promote, right, nobody sends a manila
envelope with handwritten material. Most people would throw it away,
but for some reason, this publisher thought, Wow, what a
unique promotional stunt, which it wasn't, but he thought it was.

(35:29):
And so he started reading and flipped out. But here's
the carot. He gets a hold of Neil, who's starving,
and says, listen, we're actually going to publish your work.
And Neil says, really yeah, and he goes he started talking,
and Neil realized that he didn't think it was real.

(35:50):
The publisher thought this was fiction, a novel about a
guy who thinks anyway, and Neil goes, no, you know
there's He said, this is real, and the publisher goes,
so you want me to publish your book about your
saying that you're a guy that thinks he hears God,

(36:12):
and you want me to He goes, this would be
lucky to selles twenty five books, and Neil was so
adamant and upset with the guy that the guy thought
it was fiction, and he said, sorry, man, there's no
deal unless you this is nonfiction. This is real. He
comes back a week later and says, well, I talked
it over my staff. We're going to do it.

Speaker 4 (36:31):
So they did it.

Speaker 3 (36:32):
It sold five million books and launched him, and then
he ended up nine books in Conversations with God. So
there's another example of following that connection, that hookup, and
having the courage that his inner world was as such,
and he was about willing like you were. You're willing

(36:53):
to throw Muhammad Ali under the bus for a piano lesson,
and he's willing to roll away a publishing deal because
the guy thought it was fiction. I thought that was amazing.
He's went on to sell forty million records and he
was a guest on my podcast and such an amazing guy.

Speaker 4 (37:14):
So that's incredible. Wow.

Speaker 3 (37:16):
Well, then the next part of your journey must somehow
led you out to Los Angeles, because that's eventually how
we met, and we'll talk about that in a second.
So how did you get out there?

Speaker 4 (37:27):
Well? I started writing, and I found a whole new
groove and way of writing, which involved the drum machine
and the synthesizers, and I went out in nineteen eighty two,
stayed with a friend and we wrote a song or two,

(37:49):
but got to know people out there. Had a really
good trip, nothing specifically concrete, but keeping the ball rolling.
So that was really kind of my second dose of
Los Angeles. The first was when I made my album
as a singer songwriter.

Speaker 3 (38:05):
But were you making money now? Because you were in
bad shape.

Speaker 4 (38:08):
I was still living off my savings, okay, so what
happened was but but there was enough going on that
I sort of kept going, and then I got two
of my songs recorded. One was a song I wrote
that Bette Middler recorded, and she was, you know, still
very active and a hot She was really doing well

(38:30):
in her career, and the other was Anne Murray, who
was still hot and really doing well. And both of
them really great singers and with great careers.

Speaker 3 (38:39):
So do your publishers help you place these?

Speaker 4 (38:41):
Oh? No, I was my own publisher. I was everything.
That's the whole thing. The bucks began and stopped with me.
So I was out there taking all the connections I
had made all these years and using them and sending
my songs out this one, this one, this one. And
then I get a letter back from Don Grierson, a
friend who was an A and R guy and handling

(39:02):
the Anne Murray album being produced by a guy named
Jim ed Norman. I had sent him this new song
I'd written with Phil Galston and it was called That's
Not the Way It's supposed to be, and it was
kind of a way different direction for and I gave
it to Don with saying, look, I don't even think
this is right for her, but it's new, but who knows.
And he calls back, he it's exactly what they want

(39:24):
to do, they want a new direction. They recorded it.
He did a really nice job. So I had these
two things going, which by the way, were not singles.
Yet and weren't going to make me rich, but he
kept me going, and then the Anne Murray record became
a single, So all of ad I'm saying, okay, this

(39:46):
is going to generate a little bit of an income.
I'm at the end of my year where I picked
up my own option signed to myself right my own
publishing company. At dilemma because I said, if I'm not
making it on going back to school. If I'm making it, hey,
I'm off to the races. The third train trip exactly,
I was between the stalls. I wasn't one of the others.

(40:08):
I thought, oh man, what do I do now? Well,
I had the liberty to pick up my option for
another year, and I said, okay, this is going to
be a really tight squeeze. I'm going to have to,
you know, ring everything I can everywhere I can to
have enough money to stay afloat. And I fortunately was
in a ridiculous situation with my loft in New York.

(40:31):
It was twenty five hundred square feet. It was six
hundred dollars a month, and half of it I rented out,
so it was three hundred. I was able to just
squeak by and that next year is when everything really
kicked in. And the one thing that did it more
than anything. I had a great friend named Nano Byrne,

(40:53):
who was writing songs for the new Pointer Sister's album
being produced by Richard Perry. Well, Richard Perry at that
time and for fifteen years previously was the hottest record producer.
I remember that, yeah, and he was my hero. My
god is a record producer. I mean the first time
I heard Without You by Harry Nielsen, I said, that's
one of the records that changed my life. And she

(41:15):
was working with Richard because he was recording one of
her songs, and she said, you know, he really is
looking for this newest direction, newish direction for them. And
I said, well, man, I'm going out there. Is there
any way you could get me a meeting? I mean,
she said, I can get you meeting with his assistant
named Jim Tract, and Jim Track was kind of going

(41:37):
through everything before Richard heard it to give him the
cream of the crop. And I got a meeting with him,
and I had a song called Telegraph Your Love and
I had written it by myself. I sung it, I'd
done everything, it was completely self contained, and I played
it for him, and he says again, John, one of
those situations. He said, this is perfect. It's exactly where

(42:02):
Richard wants to go with the girls, the Pointer sisters.
I'm going to send it right over to home. So
I'm going, oh man, he was like the gatekeeper for
rich He was the gate keeper exactly. So I'm staying
with my friend. And a day goes by, no call.
Another day goes by, no call. Another day goes by,

(42:25):
and I'm thinking, Jesus, how long do they need? And
I'm starting to get worried. And on the fourth day,
and then I have to go back to New York
as my plane tickets expiring, and I'm thinking, okay, it's
all right. This was this was a dead end. And
I go back to New York and I get a
call and Jim Track saying, hey, we're cutting your song.
When can you get in here? And I'm going, oh

(42:46):
my god, I just touched down back in New York.
But I found the cheapest flight I could, and I
got back out there, went into the studio and cut
the track, and then wrote one one, another song, and
another and another. Allowed you to produce it didn't. Richard
was the producer, but there was a new thing happening

(43:10):
where major producers like him because he was using our tracks.
I would come in and recreate the track everything I
played on the on the drum machine and the synthesizer,
which was a new world and foreign to him. So
I would come in and do that. And he was
no longer using live musicians primarily, he was using people

(43:30):
like me. So he knew this, and he's thinking, how
to reward these guys. This is way beyond. He's not
just a studio musician, he's the writer. I'll make him
an associate producer. Oh my god. Wow. So that was
a whole new paradigm change, and the songwriter became the
associate producer. I got the credit, I got another song

(43:52):
on their album. I started working with Richard on all
his projects, and this thing started fanning out and I
became known as a producer, and that started the eighties
for me, and I kind of never looked back. It
was just one thing after another, and that was the
break I'd been looking for.

Speaker 3 (44:12):
That was an amazing story, and that sort of aligns
exactly with my Invisible Architect protocol and how one hooked
up with their inner world, has faith in their inner world,
which you had to have because there were many moments
where you could have got.

Speaker 4 (44:27):
Back on that train.

Speaker 3 (44:29):
Yeah, exactly, there's a song there. I think you know
what's the song Trained to Georgia.

Speaker 4 (44:35):
Yeah, midnight train to Georgia. Midnight train to Georgia, and
your case was midnight trained back to camp, trained in
New Canaan.

Speaker 3 (44:44):
Well, that's fantastic story. Then you never looked back because
that was a perfect stepping stone. But even then, it
takes a while to to get paid in the music biz.
Royalties don't happen immediately, so you've still had to hang
in there for a while.

Speaker 4 (44:58):
I would imagine, well, that next year I started seeing
the payoffs from the Anne Murray record, which was a
top ten AC and then that that music, and that music,
those royalties from that music. It just started to sustain,
allowed me to sustain, and then from the pointers this

(45:20):
is from me, and then it was all coming in
and I didn't have to I didn't have to worry.

Speaker 3 (45:28):
Fantastic story of inner world, out of world. Now I'm
going to jump the gap here for a second. I
wanted to tell the listeners how sort of we met,
but I don't remember the exact story on who did
you get referred to me because you wanted to take
piano lessons to increase your songwriting? Or did you just

(45:50):
see an ad in the music connection? Or how did
it happen that you called me one day? Because I
remember when you called me and said you want to
do you were a songwriter. Of course you didn't have
the Mohammed Ali version of it, like I'm the greatest.
I didn't even know anything about your back round. Hi,
my name is Andy Gomark. I want to increase my
and I didn't find out a little bit later. So

(46:12):
tell the quick story and how we hooked up.

Speaker 4 (46:16):
I'm trying to remember who it was who referred me
to you, but it was through a referral. Was it Kidner?
I don't think I think I referred Kidner? Yeah, that's right,
you referred k Yeah, but I'll think of it. But
it was definitely a third party referral. And at the time,
it was again to expand my my keyboard playing. I

(46:39):
just wanted to keep growing and I'd learned a little
bit about you, and you know, pretty much immediately realized
the way you were teaching was really perfect for what
I wanted to be able to do was like, you know,
you got it instantly. I said, I need to be
able to combine what I hear and what I play.
I need a NonStop a line of communication that allows

(47:03):
me to react instantly and in perfect harmony.

Speaker 3 (47:07):
Yeah, because you already had the concept and you already
understood intuitively that ear is everything in music. But you
wanted to increase what I call it, increase your hearing
so you hear more at the same time good enough
knowledge to help support that ear if I'm not.

Speaker 4 (47:24):
Se right, Yeah, exactly, because I mean, in truth, I
mean I already knew that. You know, if I only
knew one chord, I could write a song around it,
and I had the ability to compose melodies, you know,
as long and as I wanted to. That was something
that you know, I think you're kind of born with
it or not. So I just wanted to be put

(47:44):
all the chord progressions together and expand them and make them.
You know, it's the versatility, the the the really just
adding on to what the skill sets I had.

Speaker 3 (47:55):
Yeah, you wanted more headroom as a songwriter, not to
actually become this great piano player, because I remember we
talked about that. And what's interesting the way I teach
is whether a person just wants to do it as
a hobby, get a little more headroom, or wants to
go all the way become the next Chip Korea. I
teach fundamentals which can be applied to any of those goals.

(48:19):
And I think one of the things we concentrated on
was getting into harmony and chords and things like that
so you could increase your vocabulary so you could be
a more flexible songwriter, if I recall.

Speaker 4 (48:31):
Yeah, And we did that in different genres, and I
remember the one day in particular, we took out the
Beatles Book of Songs and we zeroed in on Michelle
and it blew my mind because I had no idea
the level of sophistication of the harmonies of the chords

(48:54):
in that song. It's simple, but when you play it,
you go, oh wow, this is a whole step above
what McCartney did there. And with that, it really showed
me ways you can you can really go into what
you're doing and unearthed you know, variations of the cord
you're already using and think and start replacing things and

(49:17):
looking at them differently. So that's one of the main
things I got along with tying my ear to the
keyboard in my hands and what I'm playing.

Speaker 3 (49:26):
Yeah, we were doing some technical exercises to loosening up
your fingers as well and stuff like that. Yeah, I
had this realization happen. There's a wealthy dentist friend of
mine that comes over here and lives with me. He's
retired and he's studying, and he loves the Beatles, and

(49:47):
so he wanted to learn Yesterday. So I got the
book out with the chord changes, and Yesterday's kind of
similar as far as brilliance in my opinion of chord changes.
And it's got some two five to one jazz changes.
And it's amazing how McCartney actually to this day. I'd
love to interview him and find out what it was.
This just total hearing or does he have any headroom

(50:10):
because he wrote these incredible songs with these different changes
and stuff, and I have the ability to do chord
substitutions and play all kinds of stuff. So I played
him a little yesterday and I added these chord substitutions,
a little bit of gospel and jazz, and he's like,
oh my god, I can't believe it the Beatles wrote
is and what you're doing to.

Speaker 4 (50:29):
It, you know.

Speaker 3 (50:29):
So he had that aha moment too about how important
harmony is and how because he asked me, where's that
coming from, I says, well, a lot of I'm hearing.
But at the same time, I do have a lot
of headroom, and that's why we're doing this, you know.
So well, that's interesting because at that time I still
didn't know who you were. I didn't look you up nothing.

(50:51):
You just came. You were the guy that called me,
and we sort of become friends at coffee once in
a while and taught you. One day, my little voice
decided to look you up. And I looked you up
and I went, oh my god, this guy's been holding back.
He's not telling me he's a hit song right, and
he's writing all these hit songs. I'm just this poor
little struggling jazz teacher. And I remember calling you up

(51:12):
one day saying, hey, man, how about a crumb for
your jazz teacher?

Speaker 4 (51:15):
You laugh.

Speaker 3 (51:17):
Eventually it was really funny because I don't know how
many years later I came back to you. Hadn't talked
to you in a long time. You hadn't taken lessons,
and you told me that you just went through some
medical issues. And we got together and I played you
some stuff and you kind of went, you know, I
think there's something there. Let's maybe work together. And the

(51:37):
first thing we worked on was doing the cover of
a This was your idea, not me, because I wasn't
into it at all of the message, which was a
rap tune, and I'm looking at you, like.

Speaker 4 (51:48):
What are you talking about? So I started.

Speaker 3 (51:52):
Working with you, and I did all the synthesizer and
program stuff, and I put a nice track together, like
a Herbie Hancock funk track, and kept saying, we'll.

Speaker 4 (52:00):
Also be a derivative work.

Speaker 3 (52:02):
We'll have a little of the lyric up front, and
then you need to write a melody where the guy's
really rapping. And this is the first time I started
working with anybody outside me, because normally, as a jazz guy,
I'm the guy I do everything. So it was a
little strange for me. And we definitely had our moments
of antagonistic forces, and you'd come over and say, you

(52:25):
know that thing you did at the end, I think
it should be at the beginning. I'll never forget these
conversations and I'm going, well, if I wanted it at
the beginning, Andy, I would have put it at the beginning.
What do you talk? He goes, yeah, but this little
motif here.

Speaker 4 (52:38):
Trust me.

Speaker 3 (52:39):
We got into little goofy arguments, but we were real
friendly about it. And then I put it at the
beginning and then you say, well, you're playing too many
notes here, and it was almost like the Amadis movie
where where so, Yeah, I think it's too noty. Mozart
gets pissed off and says, what notes would you move?
There's only as many notes as I wanted, and it

(53:01):
was funny. But I started listening to you, and then
I came realized that you had this ear for radio
that I had no clue about, not a clue, and
I don't know whether you were consciously thinking of radio
friendly material or what the listener would like. I eventually

(53:24):
found out the answer. But I started doing it, and
I realized that you were the master crafter. You could
craft these things. So they had this flow. And I
don't know if you remember this, but one day said Andy,
what's going on here? How are you doing this? He says, well,
when I listened to a song, I'm in the zone.
As long as I'm in the zone. This was your

(53:46):
exact words. And anything that distracts me, I know it'll
distract the listeners. So I stopped right away and I
find out what it is. And I don't know exactly
what it is. Sometimes I have to listen to it
over over. So one night you told me that story.
We were working together on the first record, and you
loved the mix and you loved everything, and you kept

(54:07):
getting distracted by something. You didn't know what it was.
You couldn't tell me, and I'm getting like upset, like
because I really liked the song where it's called.

Speaker 4 (54:17):
You called me up at ten thirty at night.

Speaker 3 (54:19):
You're going, Mike, mate, guess what it was. This damn
tambourine is too busy and it was distracting from your
piano melody. I got rid of the tambourine and it's
now perfect, and I just about had a religious experience.

Speaker 4 (54:33):
I didn't believe it.

Speaker 3 (54:34):
I went back in, took it out of the mix,
and I went, you.

Speaker 4 (54:37):
Know what he is right? Oh my god.

Speaker 3 (54:41):
So I finally realized that you had this talent, whether
that's natural intuitiveness or a combination of listening to lots
of hit records, but talk about that.

Speaker 4 (54:52):
For a second. Well, okay, it's a combination. Really, it's
at the heart of it, it's just and I'm still
doing it today and grappling it with it every time
I create something. It's just listening to my inner gut,
as Quincy Jones used to say, listening to your tummy,

(55:16):
listening to my tummy. And if there's something first of all,
this is the most important step of all. If there's
something where I'm going, this isn't working quite the way
I'd like to hear it. And even if that's here's
the trick. If that's just a faint little echo, because
that's what it can be, and in life, that's what

(55:36):
it can be, a faint little echo that goes.

Speaker 3 (55:38):
It's I call it a whisper. God's whispering to you.

Speaker 4 (55:41):
Almost yes, dandy, this is bothering me and you're going
and you know it's so convenient. It just goes, get it,
get out of the way, let's here, keep on going.
But you know it's there, right, And there'd be times
where six months would go by and I went, why
didn't I listen to that whisper? I learn listen to

(56:03):
the whisper anything that's making you feel unfulfilled, like it's
just not right, And it's usually something that's almost physical
in this part of my body where it's just it's
just not right. And I remember that with the message
and subsequent things we did. It was like, if just

(56:25):
what do you have to lose? Just stop and isolate
it to find it, see what it is, what's the
worst that can happen? You take it out? And you
were wrong and it was fine. You know. That's the
other part. The step two is be fearless. Once you've
heard the little whisper, stop and be fearless and go
and make the incision and take it out and nothing
can hurt you because we live in a day and

(56:46):
age with through technology we can always put it back
to where it was and see how it sounds. And
this is going back to Richard Perry who always listened
that way. And what was interesting John about him and
I could tell he didn't even know he was listening
that way. He just propelled himself to the next stage

(57:08):
and something wouldn't be right, and he didn't always have
the whispering voice inside. Sometimes the whispering voice was from
across the room from somebody who just happened to be
at the session who was making a comment, and he'd go,
what did you say?

Speaker 3 (57:23):
Yeah, yeah, you have to be.

Speaker 4 (57:25):
What I call alert to this whisper. Everything's open, sensitive,
alert to the whisper. And maybe that's the title for
your next book, The Whisper, Well the architect.

Speaker 3 (57:38):
It operates a high frequency, and our lives are full
distracted with noise that unless you pay attention. I remember
the story that's in the front of my book where
I saved my late wife's life. My first wife, Gloria,
who you know, had passed away, was about a year
later and I got an email from bar my wife

(58:01):
that I ended up marrying, that said, hey, John, it's
Barb Simpton. Do you remember me? And we started hitting
it off. I was at the end of grieving and
all of a sudden she wants to see me, so
she books a flight. And I had already had this
little whisper connection. And I didn't have the name in
this architect I just operated on it. Thought everybody had

(58:21):
this intuition. I called it higher self intuition whatever, and
I like this whisper concept, and it said.

Speaker 4 (58:28):
John, something to drop what that flight, tell Barb.

Speaker 3 (58:31):
To change it, and it was like out of the blue,
and I went, what are you talking about? And it
wouldn't give me anything more. So I called Barb up.
I said, you know we haven't you haven't seen me
thirty six years since you were my first girlfriend when
I was fifteen. But something's wrong with this flight. It
sounds woo woo, but please check to another day. She

(58:52):
argued with me. I said, I'll pay for the change.
I don't care. So she ended up changing. And this
is a good place to almost wrap up where we
are and what do you think happened? I think you
know the story that she was on flight seventy seven
nine to eleven out of Dulles and had I not
followed it, now, in this case, like.

Speaker 4 (59:10):
You said earlier, what do you got to lose?

Speaker 3 (59:12):
Well, in this case, it was a life I had
to lose and my potential wife. Had I not followed
that whisper, So it's just interesting. One little quick sidebar
one little thing that we were working together. We were
covering a song. Who's the band that covered that wrote apologize?

Speaker 4 (59:35):
Oh? That was one Republic and it.

Speaker 3 (59:38):
Was one Republic and we were working yeah, And I
counted eighty eight I'll never forget it. Eighty eight different
mixes you put me through. This is after we had
the song done, and I would submit you a mix,
per your advice, and take this out, add this, lower this, whatever,
And I really thought we had it. Next day you

(01:00:01):
text you emailed me and said, John, I'm going back
to some of our earlier mixes.

Speaker 4 (01:00:08):
The snare. You changed the snare.

Speaker 3 (01:00:10):
Now, I didn't consciously change the snare, but you do
mixes and sometimes you don't whatever, and you're being really adamant.
I'm listening to the snare and it sounds like a
good snare, and it's hitting right, the groove is fine.
You're really being a stickler on this snare. So I
go back to all these different mixes and I find
one that my own ears agreed with you. I said,

(01:00:33):
you know what, this snare sounds better. So I isolated
what the snare was and I stuck it in our
new mix. And why that's the snare. That's it, And
that was the I'll never forget like you were so
tenacious about the snare sound. All of the snares sounded great,
but you had it in your tummy as you say
that it wasn't the right one.

Speaker 4 (01:00:55):
This is amazing. So that's a perfect because the name.

Speaker 3 (01:01:00):
Of the podcast is as within so without, And that's
perfect because you apply that in your craft and in
your art religiously and tenaciously and in life. It's the
same thing. I think we all have, this whisper. We
don't pay attention to it, or we don't agree with it,

(01:01:23):
or we get distracted. And part of living a life
is that hookup with that intuition, the higher self, whatever
you want to call it, a whisper. And I implore
people to start paying attention to their intuition, their higher self,
because it indeed can help you all find a better

(01:01:44):
life because our inner world, in my opinion, truly does
create our outer world. So Andy, thanks so much.

Speaker 4 (01:01:52):
Do you have.

Speaker 3 (01:01:54):
I'll put it down for people if they want to
contact you or go to a website. You have a
website that you would like to say for people that might.

Speaker 4 (01:02:03):
I actually don't. I have an Instagram at Andy gold Mark,
but I'm pretty light on the social media, you know.

Speaker 3 (01:02:15):
After beating me up every single day, I'm on social media,
So there you go. He used to beat me up
every day. We're working together because we have a label together.
We released the record. He's going, John, I go, I
hate social media. I'm not the kind of guy that
says I had pizza last night.

Speaker 4 (01:02:31):
I don't care.

Speaker 3 (01:02:32):
I hate it.

Speaker 4 (01:02:33):
You were really getting on me about the social media.
There's yeah, it's uh, there's two things. I mean, I
don't mind giving out my email. My email is agold
Market mac dot com. Okay, so that's that's fine. And
then you know, if you want to check out some
of my new music, my artist's name these days is
Ando's Record Shop, right.

Speaker 3 (01:02:56):
Because you went full circle. Now you're writing your own
music again and release in all your stuff with its
new kind of it's not really record label concepts anymore.
It's like doing your own stuff and downloading and you
know what platforms and whatever.

Speaker 4 (01:03:10):
Right, Yeah, yeah, So I mean I'm there on Apple
Music and Spotify. You know, you can check me out there.
And yeah, so it's been great. So that's fantastic.

Speaker 3 (01:03:21):
Andy, So good to hook up with you again, and
thanks for all your input over the years. And again
to the listener out there, there's another whisper because I
remember one day I hadn't seen Andy in a long time,
so I didn't know he was going through any medical issues.
But my little voice said, hey, why don't you call
Andy Goldmark up and see what's up? And I emailed

(01:03:43):
you or called you, and you called me back and
told me you had some operation and blah blah blah.
And then next thing, you know, that little intuition, that
little inner voice that said, why don't you call Andy?
Had I not done that? We went to work together.
It had a bunch of smooth jazz as hits, one
of them good to Go, that went all the way

(01:04:04):
and became my first hit, and that it was really interesting.
So it was fun working together with you. And thanks
so much for your input and being my friend all
these years, and thanks for spreading the word that our
inner world truly does create our outer world.

Speaker 4 (01:04:20):
Thanks Andy, thank you, thank you, John, appreciate great.

Speaker 3 (01:04:23):
Yep, all right, everybody, thanks to Andy. And remember I
really enjoy your feedback. So you can email me at
John at johnmavillaauthor dot com or text me at eight
one eight seven four at zero three seven two eight
or get the details of my one on one mentor program.

(01:04:45):
I highly advise you to check it out because almost
everybody in life.

Speaker 4 (01:04:51):
Think about it.

Speaker 3 (01:04:52):
All athletes have coaches and mentors, and it's hard to
mentor yourself. It's good to have objective expert in in
your area. So I specialize in helping people discover and
create their inner world and try to get that inner
world to become their outer world. So if you want

(01:05:12):
to get a hold of that mentor program, go to
go dot johndovelloauthor dot com, slash register. Okay, in the meantime,
thoughts do create reality. Have a fantastic godspeed lifeow.

Speaker 2 (01:05:29):
This concludes this week's podcast with the jazz philosopher John Novello.
To learn more about John, visit his website at johnnovelloauthor
dot com. Or to schedule a one on one consultation
with John, visit go dot johnnovelloauthor dot com, Forward slash Register.

(01:05:49):
See you next week.