The early 1980s were like a hangover from the morning after the 1970s. The really big ’snare drum from hell’ was still around the corner and out of earshot. But a lot was bubbling under the surface. Studio technology was about to bring a revolution of sound that was unprecedented. Little did we know we were still in the eye of the storm. All calm, dead ahead.
While all this was brewing, I was scratching my head and wondering how to start. I’d written a batch of tunes and it was decided that an arranger and a bunch of session musicians would be hired. It worked for Linda Ronstadt right? Right?
This old dude ( in his 40’s) with an ego the size of the world biggest pumpkin was brought in. He was a full time Ad (advertising music) guy and did a lot of session work around town.
My songs were still a bit floaty and with these 70’s kind of arrangements they sounded very dated. I was still a country girl, living in my own mind, so I didn’t know any different.
So with 5 or 6 songs cut and the obligatory photos, bio and with more front than Myers (a big department store in Melbourne that has a long frontage) I started to call around all the recording companies.
Back then it was not so hard to get though to speak directly with A&R (head of artist and repertoire). I don’t know how I did it, but I scored a couple of interviews with some of the majors (major recording companies) in Sydney.
I was on my way…
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