His aim is true

There's a special running on cable right now called Elvis Costello: Mystery Dance. As you might expect, it deals with the life and career of the other Elvis.

Like most people, the first time I heard Elvis was on his album, My Aim Is True. Alison was the number one hit, and I loved it. So when Elvis came to the Santa Monica Civic Auditorium, along with Nick Lowe and Link Wray, I was in.

I don't remember much about how the music sounded. What I remember most is that after about a twenty-five minute set, Elvis kicked over one of the giant speakers and stormed offstage. Punk movement. Angry young man. You get the picture.

I've seen Elvis many, many times since. And I'm always in awe of two things: how prolific a songwriter he is, and his endless versatility. From rock, to jazz, to country to classical, Elvis attacks every genre and infuses it with originality and the uniqueness of his sound.

One of the great concerts the wife and I went to was Elvis with the Brodsky Quartet at Royce Hall. We sat sixth row center, right in front of Jackson Browne (maybe if he had some connections he could've gotten better seats). My wife used to play classical violin, and she loves Elvis. So this was the perfect concert for her.

It was perfect for everyone. It was exceptional.

A few years ago, Elvis opened for Sting at the Hollywood Bowl. During that performance, he invited the fifteen-thousand people there to a free midnight show he was doing at the El Rey Theater later that night.

I don't have many regrets, but not showing up at the El Rey at midnight that night is definitely one of them.

Anyway, just a quick post to say I love his music.

And I'm pretty confident he won't be leaving the building anytime soon.

From beautiful downtown Burbank

There are a lot of reasons I like writing radio. But I think the main one is that for the most part, people leave me alone. I'm pretty free to do what I want.

There aren't agency sleepwalkers jockeying to be at casting sessions, sneaking in to watch director reels and making comments suggestions as if they were asked.

Radio also doesn't have the glamour and excitement attached to it that television does, probably because there's no where near the money being spent on production and media.

Fine by me.

In my opinion, I'd rather be sitting in a recording studio than an editing bay any day. It's infinitely more fun. And I get to work with a caliber of talent that's unparalleled. Every time out, sometimes over many, many takes, they give it their best. (Although my theory is if you can't get what you need in ten takes, you have the wrong person on one side of the glass or the other).

The very first radio spot I ever did was for Jack In The Box. We recorded it in the big room at the long gone Wally Heider Studios in Hollywood, and the incomparable Jimmy Hite was the engineer. Since it was my first radio spot, my creative director was with me at the session. And even he couldn't believe the talent we had in the room.

Either I wasn't paying much attention to the budget, or the client wasn't. My first spot was a cast of seven legendary voice over talents. Jack Angel. Joanie Gerber. Tress MacNeille. Bob Ridgely. Brian Cummings. Frank Welker. And Gary Owens.

Gary was the consummate professional. He had the quintessential announcer's baritone and also a comedian's timing and sensibility. Between takes he'd joke about Dan Rowan and Dick Martin of Laugh In, where he'd first become a household name as the show announcer. And when it was time to get back to business, he'd look at me and ask, "Is that what you were looking for?"

That was the one and only time I ever worked with him. And I'm not gonna lie to you - I was starstruck not only with Gary, but with everyone in the booth.

Gary Owens passed away yesterday at the age of 80. So I'd just like to say thanks Gary, for taking direction from a kid who really didn't know what he was doing yet, and for making me feel that I was doing it right.

Rest in peace.