Saturday, July 21, 2012
Wednesday, December 14, 2011
DECEMBER 13, 2011
A woman who embraces the lion king of the Lotus Sutra need not fear any of the beasts of hell, or of the realm of hungry spirits and animals. All the offenses committed by a woman in her lifetime are like dry grass, and the single character myo of the Lotus Sutra is like a small spark. When a small spark is set to a large expanse of grass, not only the grass but also the big trees and large stones will all be consumed. Such is the power of the fire of wisdom in the single character myo.
The Writings of Nichiren Daishonin, page 949
The Drum at the Gate of Thunder
Written to the lay nun Sennichi on October 19, 1278
Faith manifests itself as wisdom. The purpose of our faith is to become wise, so that we can live wisely. The desire to save others becomes merely an abstract goal if those who practice faith cannot communicate with their own children nor build strong and happy families.
The Writings of Nichiren Daishonin, page 949
The Drum at the Gate of Thunder
Written to the lay nun Sennichi on October 19, 1278
Leaders themselves are responsible
for creating a new history through
their own prayer and actions.
When leaders are ablaze with passion
they can light the flame of courage
in the hearts of their fellow members.
for creating a new history through
their own prayer and actions.
When leaders are ablaze with passion
they can light the flame of courage
in the hearts of their fellow members.
Our exchanges at discussion meetings
are the wellspring of happiness
and victory.
Let's express our appreciation
to the families that provides
their home for meetings.
Praising one another for our valiant efforts,
let's advance along a fresh march toward
triumphant struggles.
are the wellspring of happiness
and victory.
Let's express our appreciation
to the families that provides
their home for meetings.
Praising one another for our valiant efforts,
let's advance along a fresh march toward
triumphant struggles.
DECEMBER 13, 2011
A woman who embraces the lion king of the Lotus Sutra need not fear any of the beasts of hell, or of the realm of hungry spirits and animals. All the offenses committed by a woman in her lifetime are like dry grass, and the single character myo of the Lotus Sutra is like a small spark. When a small spark is set to a large expanse of grass, not only the grass but also the big trees and large stones will all be consumed. Such is the power of the fire of wisdom in the single character myo.
The Writings of Nichiren Daishonin, page 949
The Drum at the Gate of Thunder
Written to the lay nun Sennichi on October 19, 1278
Faith manifests itself as wisdom. The purpose of our faith is to become wise, so that we can live wisely. The desire to save others becomes merely an abstract goal if those who practice faith cannot communicate with their own children nor build strong and happy families.
The Writings of Nichiren Daishonin, page 949
The Drum at the Gate of Thunder
Written to the lay nun Sennichi on October 19, 1278
Leaders themselves are responsible
for creating a new history through
their own prayer and actions.
When leaders are ablaze with passion
they can light the flame of courage
in the hearts of their fellow members.
for creating a new history through
their own prayer and actions.
When leaders are ablaze with passion
they can light the flame of courage
in the hearts of their fellow members.
Our exchanges at discussion meetings
are the wellspring of happiness
and victory.
Let's express our appreciation
to the families that provides
their home for meetings.
Praising one another for our valiant efforts,
let's advance along a fresh march toward
triumphant struggles.
are the wellspring of happiness
and victory.
Let's express our appreciation
to the families that provides
their home for meetings.
Praising one another for our valiant efforts,
let's advance along a fresh march toward
triumphant struggles.
Thursday, December 8, 2011
50. Never Show Up Empty-Handed
49. Stop It!
48. Hot Mess
47. Stain Remover
46. Sounds Painful (What The Fructose)
45. Haunted House
44. Shocking News
43. The Office
42. The Babysitter
41. Something You’re Not Telling Us, Mom?
40. I Don’t Remember That Sesame Street Character
39. Lovely Paint Color
38. Chicken Marsala Recipe
37. Snacks (Dude Naw)
36. Someone’s Fired
35. Amen
34. Mom’s Little Helper
33. Easter Dinner
32. We Got Osama
31. Chew On This
30. Worst Day Ever
29. Enjoying The Wildlife
28. Help Wanted
27. LMFAO
26. Now That’s A Bad Day
/
Tuesday, December 6, 2011
Patti Jerome
Born in 1925, Patricia Jerome began her singing career at the age of 29 when she signed with Jerry Blaine’s Jubilee Records. She recorded with the Eddie Wilcox Orchestra (who had some hits with The Bell Sisters). “Too Young To Die” backed with “Just A Friendly Hello” were released on Jubilee in July of 1954. A full-page ad was taken out in Billboard Magazine by Jubilee, proclaiming “Hits Galore in ’54,” showcasing The Orioles and introducing the public to “A New Star” in Patti Jerome.
Patti released a follow-up single on Jubilee’s sister label, Josie, in early 1955. “Johnny has Gone” coupled with “After The Lights Go Down Low” featured the Sid Bass Orchesta, with Sid Bass on piano. Bass conducted and orchestrated successfully for Jubilee with the Orioles, and the idea was to capture and rub off some of that hit sound for Jerome. The record went almost unnoticed and Patti found herself out of a contract, which was for two singles.
Patti found her way to Wing Records in the late summer of ’55. Wing was a subsidiary label of Mercury, based out of Chicago. The Pinelawn Music Publishing arm gave Patti the Dion McGregor/Robert Cobert composition “One” to record, along with another tune titled “All Is Well.” Patti was backed vocally on these sides by the Jack Halloran Singers, who sang behind Johnny Cash and gospel singer Mahalia Jackson, and would later sing behind Ray Charles. The orchestra was conducted by David Carroll, and the single was released in November of 1955. Patti got some bookings at night clubs and other formal occasions with the moderate success of this single.
In late 1956, Jerome signed on to George Goldner’s Rama label in New York City. With the Bob Armstrong Orchestra, she recorded “My Doggie Wag His Tail” and “Just As I Am,” released on Rama #219 in the early spring of 1957. Goldner and partner Joe Kolsky had hired Morris Levy as president of their major label, Roulette. On April 6, 1957, it was announced in Billboard Magazine that “Goldner has sold his interests in the Roulette, Rama, Gee, and Tico labels outright to Morris Levy.” Levy owned several nightclubs in mid-town Manhattan, was known to associate with the Mafia, was in business with deejay Alan Freed (who was involved in the Payola scandals) and, with Freed, helped to promote the hugely successful Rock ‘n Roll Shows at the Brooklyn Paramount Theater. Levy accumulated a vast fortune from publishing copyrights. Patti, as did other artists on the label, got some gigs singing at Morris Levy’s nightclubs around Manhattan to stay working.
Jerome would eventually meet Harry Balk, who was managing Little Willie John and Kenny Martin under the King banner. They wasted no time getting married in ’58 both of whom had daughters from previous marriages. Harry's daughter Vicki (who Harry named his music publishing company, "Vicki Music” after in September of ’58 while also creating the Twirl Records label) and Patti's daughter Sandra.
After taking a couple of years off from singing to raise Patti recorded J.B. Lenoir’s “Mojo” and the Arthur Freed / Nacio Herb Brown tune “All I Do Is Dream Of You” in the summer of ’61. Balk booked Mirasound Studios and produced the session, with arranger/conductor Bill Ramal on the floor and engineer Bill MacMeekin in the sound booth turning the knobs. “Mojo” was up-tempo and fast paced, with crashing thunder amongst layers of strings that made for a great listen! “Mojo” hailed as one of Jerome’s best recordings to date, one that anyone could really clap or dance to.
Having consistent hit-maker Del Shannon under contract, Harry Balk flew with Patti and Del Shannon to Nashville in the first week of May 1962, to look for some new songs and what’s more, a new sound. Balk, Jerome, and Shannon drove around Nashville to all of the publishing firms, to meet with singers and songwriters. They came across Willie Nelson who gave them “Lonely Little Mansion” to record, while the songwriting partners of Kent Westberry and Wayne Gray offered “Hurt O’ Clock.” A visit with Roger Miller brought “The Swiss Maid” for Shannon to record. Balk sets up two recording sessions at Columbia Recording Studio at 804 16th Avenue South in Nashville.
Balk wanted the best that Nashville had to offer, and spared no expense. On May 8th of ’62 in the late hours, Patti and Del shared a split recording session, recording “Lonely Little Mansion” and “Hurt O’ Clock” for Jerome, and Shannon’s own compositions for himself, “Cry Myself To Sleep” and “I’m Gonna Move On.” Harold Bradley and Thomas ‘Grady’ Martin played guitars, Bob Moore played bass, Murray ‘Buddy Harman played drums, Hargus ‘Pig’ Robbins played piano, organ, and harpsichord, and Homer ‘Boots’ Randolph played saxophone. Male and female vocals were supplied by the Jordanaires and the Anita Kerr Singers, both groups of which recorded behind Elvis Presley, Conway Twitty, Patsy Cline, Roy Orbison, the Everly Brothers, and many more. Harry Balk produced.
The following evening on May 9th, again in the wee hours, Del Shannon recorded four more sides: “The Swiss Maid,” “Dream Baby,” “She Thinks I Still Care,” and “Runaround Sue.” “Because we booked studio time in a flash,” Balk explained, “We had to book midnight sessions in order to get the studio time. Which was okay with me. I liked to book studio sessions late anyhow, when nobody else was around. This way we could have the studios to ourselves, and in my experience artists didn’t sing as well in the morning hours.”
Balk released Patti’s “Lonely Little Mansion” on his own label, Twirl Records, in September of ’62, with a full-page ad in Billboard that also shared promotion of fellow stable artists The Young Sisters with “Casanova Brown.”
The Twirl single had limited distribution and never really broke nationally. The Young Sisters achieved slightly better success, managing to break the Top 100 for one week at #94, and would soon become Del Shannon’s female vocal singers a la “Little Town Flirt” and “Two Kind of Teardrops,” among others.
Working with a folk group, The Topsiders, Balk combed catalogs of music for past hit songs to cover. They settled on “Let the Good Times Roll” and “Heartbreak Hotel.” Balk set up some recording time at United Sound Systems in Detroit, and The Topsiders split a three hour studio session with Patti Jerome. “Lazy River” was selected for Jerome, a Sidney Arodin and Hoagy Carmichael co-write from ’53. Carmichael wrote the big smash “Heart and Soul” in 1951. “Only You” was chosen as the flipside, the Buck Ram and Ande Rand tune that became a monster hit for The Platters in 1955, achieving the #1 spot on the R & B charts for seven weeks and breaking the Pop Top 10.
All four sides were leased to the Josie label, The Topsiders’ release as #45-907, and Jerome’s release as #45-908 in 1963. Both singles saw some action in pockets around the country and, in the case of The Topsiders, was successful enough to record and release a full album, titled “Rock Goes Folk” with the Josie catalog number JOZ 4000, produced by Harry Balk as a “King-Mack Production” (Balk used the pseudonym “Tom King” and his partner Irving Micahnik used the name “Ira Mack”).
In 1965, Lou Guarino, who was formerly general manager at World Artists Records, created the American Arts label, and hired Harry Balk on as the head of A & R. Balk brought with him artists to sign on with the label, namely Patti Jerome, Mickey Denton, and The Volumes. By this time, Balk had a hot songwriter named Barney “Duke” Browner. He was already writing for Mickey Denton, and embarked on a new era with The Volumes, shying away from the doo-wop sound they were known for, and re-establishing them as more of a soul act.
“Baby Let Me Be Your Baby” written by Ben Raleigh and Bob Halley was issued as the plug side on American Arts #AA-10 in ’65. Duke Browner wrote the bottom side, titled “No More Tears.” The production work by Balk on “Tears” was quite good, Jerome’s singing was urgent, and Browner’s songwriting was impeccable. It became a Detroit classic and continues to get spins by Northern Soul enthusiasts across the Atlantic Ocean.
In the late fall of 1965, Balk formed Impact Records, and Patti wrote one of her first compositions, a co-write with break-out / novelty artist Dickie Goodman, titled “Please Mr. President.” Goodman appeared on one Twirl release, and was a very good friend of Balk’s arranger, Bill Ramal, which helps to explain the connection here. “President” was released by The Boss Five on Impact #1003.
In ’67, Jerome teamed up with Mickey Denton, who was also signed to Impact. They released a single as a duo, dubbing themselves “Patti & Mickey” on Impact #1027. This 45rpm featured a cover of the Smokey Robinson hit “My Girl” reworked as “My Guy/My Girl.” The flipside was an original penned by Jerome and Denton, called “You Can’t Buy Back Yesterday.” Balk produced, John Brooks arranged.
Within a year, Balk would sell off the Impact label to Berry Gordy at Motown. Harry formed a new label called Inferno but it lived a very short life when Balk again sold the label to Gordy and came to work for him at Motown.
“In the end, just about everybody sold to Motown,” Balk admitted in a 2009 phone interview. “I kept my Gomba publishings, at least at that time, and started the Rare Earth label for Berry.” Patti Jerome followed her husband, signing on as a writer to Jobete, Motown’s publishing arm. Patti collaborated on a few songs with Joe Hinton in ’70 and ’71, including “Knock On My Door,” “A Child Is Waiting,” and “Chain Reaction.” She also hashed out some tunes with MikeValvano, such as “What You See Is What You Get,” “It Takes All Kinds Of People,” and “I’d Love To Be As Heavy As Jesus,” with Ralph Terrana.
Patti would also co-write with Paul Riser and Ollie McLaughlin in the summer of ’71 “It Takes A Man To Teach A Woman How To Love.” McLaughlin, who hailed from Ann Arbor, Michigan, owned four record labels himself, and was formerly a deejay who discovered Deon Jackson, Barbara Lewis, and most notably Del Shannon. Patti would team up with Pam Sawyer and Gloria Jones and, together, they wrote “T.L.C.” (standing for “Tender Loving Care”). “T.L.C.” had hit potential, and in January 1972 it was issued as a single on the Tamla label, a sub-label to Motown. Patti went under the name “P.J.” and “It Takes A Man To Teach A Woman How To Love” became the B-side. David Van DePitte and Robert White arranged, while Pam Sawyer and Gloria Jones produced. The single was issued right after Christmas, sandwiched between two Stevie Wonder releases: “What Christmas Means To Me” from November ‘71, and April 1972’s “Superwoman.”
Motown soon shut down its Detroit operations by June 1972, and relocated to California. So ended the music career of Patti Jerome, and the dawning of a movie career as she and hubby Harry made the pilgrimage to Los Angeles with Motown, and settled in their new digs in the Hollywood Hills.
In 1975, Patti appeared in a B-movie called "White House Madness," Mark Lester's outrageous Watergate comedy that received a rating of one of five stars. This led to the film “Rancho Deluxe” released the same year, in which Patti played the nameless "Madame" directed by Frank Perry and starring Jeff Bridges.
September 1978 saw the cinema release of the Robert Stigwood critically panned big screen version of Sgt. Pepper’s, starring Peter Frampton and The Bee Gees. A Dee Anthony film, it was written by Henry Edwards. Patti landed the role of Saralinda Shears, starring with Barry, Robin, and Maurice Gibb (who played the Hendersons in the film), “The Jerk” comedian Steve Martin as Dr. Maxwell Edison, and George Burns in the role of Mr. Kite. Filmed at Universal Studios in Hollywood, the “Being For The Benefit of Mr. Kite” scenes were recorded on the courtyard that would become famous seven years later in the box office smash “Back To The Future” where the Hill Valley “Clock Tower” stood. Groups Aerosmith and Earth Wind and Fire appeared in the film, as did Del Shannon at the ending credits along with a cast of other recording stars. Shannon would sign to Stigwood’s RSO label, which folded shortly in 1979, forcing Shannon to find a new label, eventually signing to Network/Elektra for the Tom Petty produced album, “Drop Down and Get Me.”
The Sgt. Pepper’s film inspired Harry Balk to get back into music production, after having taken some time off. Balk produced the Maestro Carmen Dragon in March of ’79 with (Paul) Sabu on Orinda Records, covering the Bee Gee’s “Stayin’ Alive.” Balk would also record and produce Cynthia Black on the Orinda label. Notably, Harry Balk was again on the cutting edge while recording Carmen Dragon, as he was one of the very first producers to record digitally as early as 1979!
In 1980, Patti auditioned and got a bit role in the movie "Alligator,” which starred Robert Forster. 1981 saw Patti playing the "Matron" in "Buddy Buddy,” a Billy Wilder film, that starred Jack Lemmon and Walter Matthau, later of "Grumpy Old Men" fame. In ‘82 Patti played the "Maid" in "Rosie: The Rosemary Clooney Story," which starred Sondra Locke and Tony Orlando, directed by Jackie Cooper.
Never really landing a major film role, Patti finally decided to retire in the early 1980’s, and she and Harry lived off their old music royalties. Singer Meatloaf would record and release an album titled "Live Around The World" which featured live performances between 1987 – 1996. Featured on the album was her composition "What You See Is What You Get," written with Michael Valvano.
In the late 1990’s, Patti battled some illnesses. Patricia Jerome Balk passed away with the new millennium, having released ten singles on various labels and starring in a handful of Hollywood movies. Harry would stay in the L.A. basin for a few more years, then decided to move back to Detroit in 2007 to live with his daughter Vicki and Patti's daughter Sandra. Retired, Harry recently sold off his Gomba music publishing and tries to take it easy. He still converses regularly with artists from the past and makes a few appearances or allows the occasional interview.
-Author: Brian C. Young for Twirl Records, April 2009
Patti Jerome Label Discography
As “Patti Jerome”:Jubilee #45-5150 – Too Young To Die / Just A Friendly Hello – 1954Josie #45-774 – Johnny Has Gone / After The Lights Go Down Low – 1955Wing #90038 – One / All Is Well – 1955Rama #RR-219 – My Doggie Wag His Tail / Just As I Am – 1957Bigtop #45-3080 – Mojo / All I Do Is Dream Of You – 1961Twirl #45-2002 - Lonely Little Mansion / Hurt O’Clock – 1962Josie #45-908 – Lazy River / Only You – 1963American Arts #AA10 – Baby Let me Be Your Baby / No More Tears – 1965
As “Patti & Mickey”:Impact #1027 – My Guy-My Girl / You Can’t Buy Back Yesterday – 1967
As “P.J.”:Tamla #54215 – T.L.C. / It Takes A Man To Teach A Woman How To Love – 1971
Patti released a follow-up single on Jubilee’s sister label, Josie, in early 1955. “Johnny has Gone” coupled with “After The Lights Go Down Low” featured the Sid Bass Orchesta, with Sid Bass on piano. Bass conducted and orchestrated successfully for Jubilee with the Orioles, and the idea was to capture and rub off some of that hit sound for Jerome. The record went almost unnoticed and Patti found herself out of a contract, which was for two singles.
Patti found her way to Wing Records in the late summer of ’55. Wing was a subsidiary label of Mercury, based out of Chicago. The Pinelawn Music Publishing arm gave Patti the Dion McGregor/Robert Cobert composition “One” to record, along with another tune titled “All Is Well.” Patti was backed vocally on these sides by the Jack Halloran Singers, who sang behind Johnny Cash and gospel singer Mahalia Jackson, and would later sing behind Ray Charles. The orchestra was conducted by David Carroll, and the single was released in November of 1955. Patti got some bookings at night clubs and other formal occasions with the moderate success of this single.
In late 1956, Jerome signed on to George Goldner’s Rama label in New York City. With the Bob Armstrong Orchestra, she recorded “My Doggie Wag His Tail” and “Just As I Am,” released on Rama #219 in the early spring of 1957. Goldner and partner Joe Kolsky had hired Morris Levy as president of their major label, Roulette. On April 6, 1957, it was announced in Billboard Magazine that “Goldner has sold his interests in the Roulette, Rama, Gee, and Tico labels outright to Morris Levy.” Levy owned several nightclubs in mid-town Manhattan, was known to associate with the Mafia, was in business with deejay Alan Freed (who was involved in the Payola scandals) and, with Freed, helped to promote the hugely successful Rock ‘n Roll Shows at the Brooklyn Paramount Theater. Levy accumulated a vast fortune from publishing copyrights. Patti, as did other artists on the label, got some gigs singing at Morris Levy’s nightclubs around Manhattan to stay working.
Jerome would eventually meet Harry Balk, who was managing Little Willie John and Kenny Martin under the King banner. They wasted no time getting married in ’58 both of whom had daughters from previous marriages. Harry's daughter Vicki (who Harry named his music publishing company, "Vicki Music” after in September of ’58 while also creating the Twirl Records label) and Patti's daughter Sandra.
After taking a couple of years off from singing to raise Patti recorded J.B. Lenoir’s “Mojo” and the Arthur Freed / Nacio Herb Brown tune “All I Do Is Dream Of You” in the summer of ’61. Balk booked Mirasound Studios and produced the session, with arranger/conductor Bill Ramal on the floor and engineer Bill MacMeekin in the sound booth turning the knobs. “Mojo” was up-tempo and fast paced, with crashing thunder amongst layers of strings that made for a great listen! “Mojo” hailed as one of Jerome’s best recordings to date, one that anyone could really clap or dance to.
Having consistent hit-maker Del Shannon under contract, Harry Balk flew with Patti and Del Shannon to Nashville in the first week of May 1962, to look for some new songs and what’s more, a new sound. Balk, Jerome, and Shannon drove around Nashville to all of the publishing firms, to meet with singers and songwriters. They came across Willie Nelson who gave them “Lonely Little Mansion” to record, while the songwriting partners of Kent Westberry and Wayne Gray offered “Hurt O’ Clock.” A visit with Roger Miller brought “The Swiss Maid” for Shannon to record. Balk sets up two recording sessions at Columbia Recording Studio at 804 16th Avenue South in Nashville.
Balk wanted the best that Nashville had to offer, and spared no expense. On May 8th of ’62 in the late hours, Patti and Del shared a split recording session, recording “Lonely Little Mansion” and “Hurt O’ Clock” for Jerome, and Shannon’s own compositions for himself, “Cry Myself To Sleep” and “I’m Gonna Move On.” Harold Bradley and Thomas ‘Grady’ Martin played guitars, Bob Moore played bass, Murray ‘Buddy Harman played drums, Hargus ‘Pig’ Robbins played piano, organ, and harpsichord, and Homer ‘Boots’ Randolph played saxophone. Male and female vocals were supplied by the Jordanaires and the Anita Kerr Singers, both groups of which recorded behind Elvis Presley, Conway Twitty, Patsy Cline, Roy Orbison, the Everly Brothers, and many more. Harry Balk produced.
The following evening on May 9th, again in the wee hours, Del Shannon recorded four more sides: “The Swiss Maid,” “Dream Baby,” “She Thinks I Still Care,” and “Runaround Sue.” “Because we booked studio time in a flash,” Balk explained, “We had to book midnight sessions in order to get the studio time. Which was okay with me. I liked to book studio sessions late anyhow, when nobody else was around. This way we could have the studios to ourselves, and in my experience artists didn’t sing as well in the morning hours.”
Balk released Patti’s “Lonely Little Mansion” on his own label, Twirl Records, in September of ’62, with a full-page ad in Billboard that also shared promotion of fellow stable artists The Young Sisters with “Casanova Brown.”
The Twirl single had limited distribution and never really broke nationally. The Young Sisters achieved slightly better success, managing to break the Top 100 for one week at #94, and would soon become Del Shannon’s female vocal singers a la “Little Town Flirt” and “Two Kind of Teardrops,” among others.
Working with a folk group, The Topsiders, Balk combed catalogs of music for past hit songs to cover. They settled on “Let the Good Times Roll” and “Heartbreak Hotel.” Balk set up some recording time at United Sound Systems in Detroit, and The Topsiders split a three hour studio session with Patti Jerome. “Lazy River” was selected for Jerome, a Sidney Arodin and Hoagy Carmichael co-write from ’53. Carmichael wrote the big smash “Heart and Soul” in 1951. “Only You” was chosen as the flipside, the Buck Ram and Ande Rand tune that became a monster hit for The Platters in 1955, achieving the #1 spot on the R & B charts for seven weeks and breaking the Pop Top 10.
All four sides were leased to the Josie label, The Topsiders’ release as #45-907, and Jerome’s release as #45-908 in 1963. Both singles saw some action in pockets around the country and, in the case of The Topsiders, was successful enough to record and release a full album, titled “Rock Goes Folk” with the Josie catalog number JOZ 4000, produced by Harry Balk as a “King-Mack Production” (Balk used the pseudonym “Tom King” and his partner Irving Micahnik used the name “Ira Mack”).
In 1965, Lou Guarino, who was formerly general manager at World Artists Records, created the American Arts label, and hired Harry Balk on as the head of A & R. Balk brought with him artists to sign on with the label, namely Patti Jerome, Mickey Denton, and The Volumes. By this time, Balk had a hot songwriter named Barney “Duke” Browner. He was already writing for Mickey Denton, and embarked on a new era with The Volumes, shying away from the doo-wop sound they were known for, and re-establishing them as more of a soul act.
“Baby Let Me Be Your Baby” written by Ben Raleigh and Bob Halley was issued as the plug side on American Arts #AA-10 in ’65. Duke Browner wrote the bottom side, titled “No More Tears.” The production work by Balk on “Tears” was quite good, Jerome’s singing was urgent, and Browner’s songwriting was impeccable. It became a Detroit classic and continues to get spins by Northern Soul enthusiasts across the Atlantic Ocean.
In the late fall of 1965, Balk formed Impact Records, and Patti wrote one of her first compositions, a co-write with break-out / novelty artist Dickie Goodman, titled “Please Mr. President.” Goodman appeared on one Twirl release, and was a very good friend of Balk’s arranger, Bill Ramal, which helps to explain the connection here. “President” was released by The Boss Five on Impact #1003.
In ’67, Jerome teamed up with Mickey Denton, who was also signed to Impact. They released a single as a duo, dubbing themselves “Patti & Mickey” on Impact #1027. This 45rpm featured a cover of the Smokey Robinson hit “My Girl” reworked as “My Guy/My Girl.” The flipside was an original penned by Jerome and Denton, called “You Can’t Buy Back Yesterday.” Balk produced, John Brooks arranged.
Within a year, Balk would sell off the Impact label to Berry Gordy at Motown. Harry formed a new label called Inferno but it lived a very short life when Balk again sold the label to Gordy and came to work for him at Motown.
“In the end, just about everybody sold to Motown,” Balk admitted in a 2009 phone interview. “I kept my Gomba publishings, at least at that time, and started the Rare Earth label for Berry.” Patti Jerome followed her husband, signing on as a writer to Jobete, Motown’s publishing arm. Patti collaborated on a few songs with Joe Hinton in ’70 and ’71, including “Knock On My Door,” “A Child Is Waiting,” and “Chain Reaction.” She also hashed out some tunes with MikeValvano, such as “What You See Is What You Get,” “It Takes All Kinds Of People,” and “I’d Love To Be As Heavy As Jesus,” with Ralph Terrana.
Patti would also co-write with Paul Riser and Ollie McLaughlin in the summer of ’71 “It Takes A Man To Teach A Woman How To Love.” McLaughlin, who hailed from Ann Arbor, Michigan, owned four record labels himself, and was formerly a deejay who discovered Deon Jackson, Barbara Lewis, and most notably Del Shannon. Patti would team up with Pam Sawyer and Gloria Jones and, together, they wrote “T.L.C.” (standing for “Tender Loving Care”). “T.L.C.” had hit potential, and in January 1972 it was issued as a single on the Tamla label, a sub-label to Motown. Patti went under the name “P.J.” and “It Takes A Man To Teach A Woman How To Love” became the B-side. David Van DePitte and Robert White arranged, while Pam Sawyer and Gloria Jones produced. The single was issued right after Christmas, sandwiched between two Stevie Wonder releases: “What Christmas Means To Me” from November ‘71, and April 1972’s “Superwoman.”
Motown soon shut down its Detroit operations by June 1972, and relocated to California. So ended the music career of Patti Jerome, and the dawning of a movie career as she and hubby Harry made the pilgrimage to Los Angeles with Motown, and settled in their new digs in the Hollywood Hills.
In 1975, Patti appeared in a B-movie called "White House Madness," Mark Lester's outrageous Watergate comedy that received a rating of one of five stars. This led to the film “Rancho Deluxe” released the same year, in which Patti played the nameless "Madame" directed by Frank Perry and starring Jeff Bridges.
September 1978 saw the cinema release of the Robert Stigwood critically panned big screen version of Sgt. Pepper’s, starring Peter Frampton and The Bee Gees. A Dee Anthony film, it was written by Henry Edwards. Patti landed the role of Saralinda Shears, starring with Barry, Robin, and Maurice Gibb (who played the Hendersons in the film), “The Jerk” comedian Steve Martin as Dr. Maxwell Edison, and George Burns in the role of Mr. Kite. Filmed at Universal Studios in Hollywood, the “Being For The Benefit of Mr. Kite” scenes were recorded on the courtyard that would become famous seven years later in the box office smash “Back To The Future” where the Hill Valley “Clock Tower” stood. Groups Aerosmith and Earth Wind and Fire appeared in the film, as did Del Shannon at the ending credits along with a cast of other recording stars. Shannon would sign to Stigwood’s RSO label, which folded shortly in 1979, forcing Shannon to find a new label, eventually signing to Network/Elektra for the Tom Petty produced album, “Drop Down and Get Me.”
The Sgt. Pepper’s film inspired Harry Balk to get back into music production, after having taken some time off. Balk produced the Maestro Carmen Dragon in March of ’79 with (Paul) Sabu on Orinda Records, covering the Bee Gee’s “Stayin’ Alive.” Balk would also record and produce Cynthia Black on the Orinda label. Notably, Harry Balk was again on the cutting edge while recording Carmen Dragon, as he was one of the very first producers to record digitally as early as 1979!
In 1980, Patti auditioned and got a bit role in the movie "Alligator,” which starred Robert Forster. 1981 saw Patti playing the "Matron" in "Buddy Buddy,” a Billy Wilder film, that starred Jack Lemmon and Walter Matthau, later of "Grumpy Old Men" fame. In ‘82 Patti played the "Maid" in "Rosie: The Rosemary Clooney Story," which starred Sondra Locke and Tony Orlando, directed by Jackie Cooper.
Never really landing a major film role, Patti finally decided to retire in the early 1980’s, and she and Harry lived off their old music royalties. Singer Meatloaf would record and release an album titled "Live Around The World" which featured live performances between 1987 – 1996. Featured on the album was her composition "What You See Is What You Get," written with Michael Valvano.
In the late 1990’s, Patti battled some illnesses. Patricia Jerome Balk passed away with the new millennium, having released ten singles on various labels and starring in a handful of Hollywood movies. Harry would stay in the L.A. basin for a few more years, then decided to move back to Detroit in 2007 to live with his daughter Vicki and Patti's daughter Sandra. Retired, Harry recently sold off his Gomba music publishing and tries to take it easy. He still converses regularly with artists from the past and makes a few appearances or allows the occasional interview.
-Author: Brian C. Young for Twirl Records, April 2009
Patti Jerome Label Discography
As “Patti Jerome”:Jubilee #45-5150 – Too Young To Die / Just A Friendly Hello – 1954Josie #45-774 – Johnny Has Gone / After The Lights Go Down Low – 1955Wing #90038 – One / All Is Well – 1955Rama #RR-219 – My Doggie Wag His Tail / Just As I Am – 1957Bigtop #45-3080 – Mojo / All I Do Is Dream Of You – 1961Twirl #45-2002 - Lonely Little Mansion / Hurt O’Clock – 1962Josie #45-908 – Lazy River / Only You – 1963American Arts #AA10 – Baby Let me Be Your Baby / No More Tears – 1965
As “Patti & Mickey”:Impact #1027 – My Guy-My Girl / You Can’t Buy Back Yesterday – 1967
As “P.J.”:Tamla #54215 – T.L.C. / It Takes A Man To Teach A Woman How To Love – 1971
Nicolle
Nicolle’s Mother Judy and my Mother Sandra were best friends before we were born, therefore Nicolle and I were friends before we were born, but my first memory of Nicolle was when she made fun of me for wearing a diaper since she was already potty trained. I got back at her a few years later when I pretended I knew how to read and changed all of the stories I read to her making them about little brown haired girls getting killed by monsters!
As the years went by we spent so much time together we were like sisters. And we fought like sisters. I yelled at her for cutting her Barbie’s hair and I confiscated her Holly Hobby dolls because she was an unfit parent. She never stopped asking me for the next 40 years to give me back those dolls but I still have them.
One year for Christmas I wanted to take my new doll house to Nicolle’s house so we could play with it together. So my father put it in our trunk and tied rope to hold it but it didn’t seem sturdy. We had to drive down a narrow road on the canyon from my Grandmother’s house. My father was such a psycho driver, Nicolle and I stared at that trunk to make sure that doll house didn’t fall. We both became terrified of canyons after that night but we had fun playing with that doll house for the next two weeks, so it was worth it.
Nicolle had a firmer grasp on reality than I did so she preferred saving animals rather than playing with dolls. When we were adults she helped her cat give birth. She had to nurse the kittens herself and she loved it. I called her Dr. Doolittle. I always made fun of her for her love of animals. I told her “what the hell are you doing with all those birds!” She was more accepting of me than I was of her.
Nicolle taught me how to make macaroni and cheese and let everyone know it. In fact it was the only thing I knew how to make for years and it is now my signature dish!!
Nicolle and I went through everything together, including the time our Mothers drove the car through the dining room. They stopped by the bar on the way to the grocery store and mistook the gas pedal for the brake pedal. But Nicolle handled everything with grace. She just shook her head and went into the kitchen to make macaroni and cheese since she assumed they had forgotten the groceries.
Nicolle knew how to get what she wanted. She wanted gum one day but we had no money. She didn’t believe in stealing so she talked some boy we met at the liquor store into buying her some. Years later when we were 17 she talked the gas station attendant into selling her red wine with her dad’s gas card. She was resourceful.
Nicolle understood people and she knew how to be a friend, better than anyone I’ve ever known. Everywhere she went she knew someone. She even knew people in the valley and that was rare for a girl from Beverly Hills. I was so painfully shy when we were kids so the only way I could make friends is if Nicolle introduced them to me. It seemed like the only time I could be myself was around Nicolle.
She was there with me when my daughter was born. She gave Leila her first bath. She was with me when I forgot her bottle nipples were boiling on the stove. We forgot they were on the stove until the neighbors were knocking on my door asking what the burning rubber smell was.
She wrote a note to me in our 1985 yearbook, “no matter what just remember everything that we’ve gone through. I always remember you and the Holly Hobby dolls, the Barbie Dolls, doll houses…etc. I love you a lot, you’re my best friend and my sister. We’re life long friends and we’re always going to be here for each other! No one will ever come between us and we will definitely find our guys! (Peper and Mario)!!!
Nicolle was there with me for my recent surgery even if it was over the phone. She gave me my sanity back when I was sure I had lost it for good. Nicolle never took anyone for granted. I know I took her for granted many times. I never thought I would be writing these words. I never thought there would be a day I would have to live without her…somewhere…on the other end of the phone line…on Facebook…somewhere….
A friend of mine sent me the following quote by an unknown author,
“If you were once connected with someone, does it make sense that the connection is broken just because of a physical death? No, the connection stays. You may just have to listen differently. You may just have to talk differently. The truth is: the connection is never broken. As long as you exist, the connection stays." - Unknown
I will never let anything come between us Nicolle...we will always be connected.
Love Laura
Sunday, December 4, 2011
Subscribe to:
Posts (Atom)