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Tag: ed hale and the transcendence

Rest In Peace Big Man In Black

May 28, 2023

I got the call almost a week ago, early in the morning, the sunlight just starting to poke around the towering skyscrapers. When I saw the call was from Fernando, being that early, when he lives out in Los Angeles, I answered with just three words:

“F*^k. Dude. Who?”

“John Tovar man.”

“No way man… Seriously?”

“Yeah man…. Heart attack.”

“Jeez. Dude. F*^k.”

“Only 65 man.”

“Hold on. What?”

“Yeah man. He was 65 years old.”

“Jesus. Dude how is that possible?”

“We gotta get you healthy brother.”

“Nice segue. Dick. But I’m only 63.”

“So we have time for at least 4 or 5 more albums. Hahaha…!”

“Dude, seriously, i really thought John was older than that…”

“Yeah man,” he sighed.

“God this is so sad. John is a huge part of everything we accomplished man. Even hooking the two of us up together! You know…..”

“Oh yeah! That’s right! I know how much he meant to you bro. I called you first.”

“I appreciate that man. Yeah… he was the man. And now… jeez… It’s the end of an era.”

Our conversation continued a little longer. After we hung up, I quickly sank into this deep depression. And mourning. The reality was settling in… the memories starting to leak in from the walls and ceiling… the finality of it. Truly the end of an era…. For so many of us, and in so many ways.

The saddest news of this past week, the most heartbreaking, Tina Turner notwithstanding, won’t mean a thing to most people around the world. In fact for most people who even live in Miami or South Florida, the home and stomping grounds of longtime music manager John Tovar, it won’t mean much to them either.

For anyone in the music industry on the other hand, no matter where they live, it’s devastatingly sad news. Especially for those of us in the music industry AND from Miami.

A sad quiet stillness dominated my days after i got that call. It continued into each successive day since. All week. I’m guessing it’s been that way for pretty much everyone that knew him. I still haven’t called anyone. I havent wanted to talk about it. Didn’t want to write about it. Not yet. Didn’t want to see the rush of folks trying to be the first to post it to social media or say something pithy or profound.

John would’ve hated that himself. Frankly I wish we all would have made the time to say it to his face or hell, even over the phone, when he was alive. This is a regret I’ll have for the rest of my life.

At some point though, sooner than later, i knew I’d have to let it out, release the grief and the sorrow and, more importantly, celebrate the man who was a local legend for 40+ years, and nationally…, the best thing you could say about someone in the business: they always took his calls.

John Tovar was a huge part of my life, personally and professionally, as he was to so many artists and music business folk from the South Florida music scene. During different eras, it seemed like the whole scene was balancing on his shoulders.

For longtime readers of these Transcendence Diaries, you know him as The Big Man In Black. Or oftentimes just The Big Man. Someone I’ve written about extensively. Now you know. It was and always will be John Tovar.

The man entered our lives when we were still teenagers. And he continued to be there for over 30 years. God those years have flown by, haven’t they… Those initial years, in the beginning, when we were just kids playing in bars long before we were old enough to get into those bars. Still feels like yesterday in certain ways.

To many music lovers, they may not know the name, but they know the music he was responsible for bringing to the world — most notably just in terms of cash box or coverage, The Mavericks and Marilyn Manson. Just like those artists do, we all owe John a huge debt of gratitude. Especially considering that that’s just the tip of the iceberg in terms of artists that we all know and love who HE introduced us to.

That’s one of the many things that made John such a standout person. He was responsible for escorting hundreds of notable artists to the finish line. Many you’d know of. Others you wouldn’t. From there it was up to them what they did with it, what we all did with it.

I’ve heard people say that Tovar, which is what everybody called him back in the day, was at the right place at the right time. But I’ve always thought that was bullshit. Plenty of others were in those exact “right places at the right times” and they never had the impact John Tovar had on the scene. Nor the success for so many artists.

With John it was more than that. He happened to have great ears, an impeccable eye for talent, and this relentless thirst for justice, in an industry that never cared for such a thing as justice. For John Tovar it was a mission.

John recognized talent immediately. And he would do anything he could to fight and claw his way to the top to make sure that talent got heard and got the justice they deserved. By getting them as far up the ladder as he could. This is another aspect of the man that made him one of the greats. In an industry where there are very few of those.

If you signed with Tovar, you knew he would do everything he could for you. We, and when I say “we” here I’m referring to our first band, Broken Spectacles, signed with John in our late teens. We had worked hard for it, because by the time we came on the scene, John Tovar was already a legend.

At least to us he was, back then. He was physically large, in every measure. Long black hair that was always seemingly more greasy than it needed to be, black mustache and goatee, black jeans, black button down shirt or T-shirt, big black boots and a black sports coat. And compared to our short little lanky frames, usually wearing nothing but boxer shorts and T-shirts, he was a physically huge presence.

He was just as imposing in his manner. He was generally a quiet dude if you didn’t know him. And if he didn’t know you, he didn’t care nor pretend to. He didn’t see you in a club and flash you a smile. As so many tend to do. Most of the time he wore a kind of grimace, as if he were bothered by something. It’s funny looking back at it now. But back then, it was just intimidating as hell.

You couldn’t help but notice him everywhere you went that was musically bent. Because he was everywhere. Always looking for talent. Or because he needed his nightly fix of good music.

In the beginning we would see Tovar out and about. He was one of the few somebodies in that little scene. We continued to play out every chance we got.

Then suddenly he started showing up at every show. “Look… guys, we love what you’re doing… Eddie and Matt, this two headed monster thing you guys have…. We want to work with you. What can we do?” he said over a 3 to 4 plate meal at Dennys that filled half his side of the table. He spoke these words alongside his partner back then, Rich Ulloa. A legend in his own right.

This was a big moment. Signing with Tovar or Rich was a rare occurrence back then… they were just getting their engine warmed up for what was to come. Signing with these guys was a right of passage of the Miami music scene that every artist aspired to…. It put you on the map. Said something about you.

It wasn’t just that John could possibly get you somewhere, get you that big break you’d been dreaming about since you were in diapers. It was way more than that. At least to us. Something way more important.

John knew music. Good music. Great music. At a time when the only way to even access good music was on Sunday nights on Matt Pinfield’s 120 Minutes on MTV. Hair Metal or boy bands were what dominated popular music. For a while there it seemed like good music was dead and would never return.

Of course as we all know now, a small group of guys and gals from out in the Pacific Northwest changed all that. Someone called it “Grunge” and it quickly became co-opted, over played and over-powered by big money and commerce. But it did the trick. It got us all out of the hair metal rut we were stuck in.

None of this mattered to John. Not in the big picture. Because he still believed in great music. You could talk about the last 80 years of great music with him all night and into the next day. He knew it all. And if you just sat and listened, you learned a lot from the man.

But it was more than that if you were a still-unknown up and comer. Because John knew all the great music, and dug all the great music, and didn’t mind stating loudly and unequivocally how shitty the modern music of the day was, working with him had this effect of making you start to believe that maybe you had a chance of one day being great too. Not rich or popular or famous. He never talked about those things. But you could be great. At making music. And to a lot of us that’s all we cared about.

More than that. Deeper than that. Bands like us were constantly being courted back then, but with a bunch of casually-said and tricky little caveats. They wanted to turn us into a kind of quasi “rock-n-roll boy band” in those first few years.

Or they wanted us to keep writing the songs, keep singing the songs and keep fronting the band, but “just have older, better, more experienced musicians play the instruments on the tracks.” Or they’d want only one of us to stand in the middle and sing all the songs.

These caveats were countless and endless. If we would only make these small changes, platinum records were guaranteed. But John never once wanted to change a thing. And when he heard these stories, he would become palpably angry on our behalf. “Eddie Eddie Eddie. These guys are so full of shit… they wouldn’t know good music if it….”

It was precisely because of this, his integrity, his commitment to authenticity, that artists of all ages and musical genres wanted to impress him, wanted to please him, wanted to blow his mind. And frankly John wasn’t known for being the friendliest guy around. Kind of the polar opposite of it really. He was downright grouchy if things weren’t going his way.

So if you did a good show and had John smiling ear to ear ten to fifteen minutes afterwards, it meant a lot.

We started working with John and Rich pretty quickly after hitting the scene. The two of them set up a few showcases for us, major label execs flying down all the time. I’ll never forget that first one. Nor the many that came after. Because being so young and dumb, we believed we were “too damn good to “showcase” for anyone”.

So we continuously proceeded to sabotage every showcase these two generous men set up for us for a good year or two. To put it bluntly, we were unappreciative little monsters. John and Rich, eventually just John, flew down every big-time record label exec who had a name in the industry. And we just kept deliberately screwing around, to prove to the world that we were “too good to have to showcase for anyone”. Not kidding.

We’d drop acid a few hours before the shows, or play 20 minute versions of “Heard it through the grapevine” or “Stella Blue”, or get so drunk we could barely play or fall off the stage, or sometimes just yell at the record label execs till they got up and left the table.

We obviously didn’t get any of those deals. But that didn’t stop us. We continued to pound away, growing up a little bit, growing in size and scope and staff members. Becoming as much an organization as we were a band.

The reason i recount these stories and this phase of the band is because it illustrates something really profound, important and beautiful about John Tovar.

Even after all of that, after everything we put him through by being such ungrateful little assholes, we hooked back up with Tovar again and again and again. He wasn’t just a manager. He was a mentor, an advisor, an advocate, a cheerleader… a resource, in reality more of a secret weapon. He was also a friend. And he never gave up on us.

Seeing that very first debut show of the Mavericks was a revelation for all who witnessed it. A masterpiece of a moment. It’s all anyone could talk about that week. Just like seeing The Goods or Nil Lara or Diane Ward and Voidville or Natural Causes or Amanda Green for the first time.

What a lot of people outside the music business wouldn’t know is that John and Rich took a huge gamble on this Mavericks venture.

See, the guys in The Mavericks had already been in the Miami music scene for years, working out of various other popular bands. Which meant that they were “older”. In reality they probably weren’t more than 25-26. But trying to promote a band that “old” was a death wish. Yet John and Rich did it anyway. And it was a grand slam for both of them.

John Tovar was extremely generous in that way. He didn’t let on to it very often, especially not in public, but he had a huge heart. After Broken Spectacles broke up we all went out on our own. I quickly ended up in New York, sleeping on whoever’s couch i could find and living on one McDonald’s cheeseburger a day for months.

Why? Because John was headed there for some meetings and told me to get my ass up there, he’d pay for it if that was needed (it was), and he’d shop me to some execs when he could on his downtime. That’s how Acoustic In New York came to be. He finally got me the deal that had been so elusive for so many years. We got to the point of recording a full length album on the record label’s dime, but in the end, the release date kept getting pushed back. Eventually indefinitely.

This happens to artists all the time. In fact it happened to several of us from the scene that very year. The stories were sad. And hilarious.

You’d think that would’ve stopped John at that point. Working with me at least. But Tovar was loyal. To a fault sometimes. He was coming from a different era. Back when relationships in the business mattered, when they were cherished. But the business had changed. And he hated that.

Just to prove a point or because he really was the coolest guy from the business side in the music industry, about two years later, John called me and said something to the effect of “So Mr. Ed…. what’s this I hear about you recording a new album in a bunch of different languages? And calling yourself “the ambassador”?” He laughed. Heartily.

“Well you know… just trying to keep things interesting man”, I replied.

“And you’ve got… what’s her name… Uhhh… you know… Mrs Trophy Wife….”

“Karen Feldner,”

“Yes. Now she has a beautiful voice Eddie.”

“Yeah she does. She’s awesome. And I’m telling you John… it gives things a really different sound with her…It’s special.”

“Well Mr Ambassador, you know I’ve got to hear it.”

We were doing the new album, Rise and Shine, at Cliff Rawnsley’s place, Sunflower Studios. John was working with Richard Clarvit by then, both of who had a tremendous effect, and influence, on us over the next few years.

Richard had no problem informing me that I was far too old to be still making music. I was 28. For the record, Richard was being helpful. It was the first of years worth of valuable advice. He suggested I go into management or something else behind the scenes to “reflect my new maturity”. But I wasn’t ready for it.

And Tovar wasn’t hearing it. Didn’t give it a second thought. Or even a first. He never cared about age. Or how old an artist was. Or better put, he may have cared, but he never mentioned it to me. He felt like it was something the music business would grow out of. And he was right. Just ahead of his time, as with so many things.

[As an aside, just because every time I remember it, I laugh. I called Zach Ziskin to vent about all this new talk I was hearing about me being “too old” to make music. I’ll never forget it. Zach says, “dude just remember the two rules. One, you’re always 28 years old. No matter many years pass. And two, if someone asks, you’re always either in the studio working on a new album or on tour.”]

Tovar and I signed yet another agreement with each other, A very different kind of deal. With different goals.

We all realized that John had collected a ton of knowledge about the business and how it operated. What was success? Was it getting a record deal? Well obviously not, as many of us proved four years earlier where we all got deals, recorded albums and never got to see them get released.

Success was in reality a collection of successful achievements, hit records, large fan bases, great album reviews, great press, massive radio airplay, etc. With a label or without one.

This time John was signing on to be a Consultant. In all facets of our career and the business. To help us achieve those goals. And in time, we did. One by one we checked off most of those boxes. And we couldn’t have done any of it without John Tovar. He was the difference maker.

And we were just one out of many many others he did the same things for. How he found the time or the energy, no one knows… But the man was unstoppable once he put his mind to something, once he went after seeking justice for an artist he believed deserved success. The man was a legend because his actions were legendary.

Looking back over the last 5-6 days, the thing I oddly keep remembering the most about John Tovar, out of all these years, decades, that have passed, is those Saturdays or Sundays where we’d have to speak real quick about something related to business and we’d end up talking for hours about the history of great music and the great artists who made it.

Because in the end it was more just coincidence that I was an artist and he was an artist manager. What both of us really were, more than anything else, were obsessed music fans. And there was nothing more enjoyable than just sitting around for hours talking to John about music

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Remembering September 11th Eighteen Years Later

September 11, 2019

When it first happened I was at a spanish language school for a semester down in Costa Rica. With a bunch of mainly Europeans. We watched it happening live on the news like everyone. The Euros immediately jumped at the chance to make comments like “serves them right” or “it was only a matter of time”. And though I understood the sentiment, it was too horrific for me to go down that path in that moment. I was more in shock, and worried about all my friends in NYC.

The only other American at the school, a college kid named Heath, and I got called to the American Embassy in San Jose, where we stayed with a bunch of other Americans, tourists and fishermen mostly, for a number off hours. Eventually released and told it would be a few days before we could fly back to the US. Told not to go out and cause any trouble. Keep a low profile.

So off we went to a brothel where we spent the next two days passing the time trying to drink and fuck the pain away. What the Euros at our school didn’t understand was that although we were every bit as aware of and cynical about the last two-hundred years of violent American imperialism, America was still our home. Americans were still our friends family and neighbors.

When i got back to the States we hit the studio to finish working on the Sleep With You album. But we interrupted those sessions to record a song to help donate to various 9/11 charities. That songs being “Rebuild America”. What I was taken with the most back then was how resilient the country was in the face of such a horrific event. How much it unified us. We didn’t get down or depressed. We got all flagged up, amped up and proud. At the time it felt better than going dark.

So the song ended up being more patriotic and uplifting than our normal fare. I still find it hard to believe that a song called “Rebuild America” is associated with us/me in any way. If you would have told me five to ten years before that that I’d have a single out in the future called Rebuild America i would have asked “is it ironic? Did I lose my mind? Or go mad? Did i lose my cool?” If you would have then replied “no not at all. America got attacked. Like Pearl Harbor scale attack. You did the song in earnest.” Yeah. Perhaps I would understand.

Critics used the song as easy pickings to chastise me for a few years after. Implying that it betrayed “coolness”. Perhaps it does. But I don’t regret it. Because it was real. You had to be there. I always thought that was a cheap shot. Because that event was such a viscerally upsetting moment for many of us. And we needed the release. Regardless of where we lined up on the political fence, it hurt.

There was, looking back now, such a strong subconscious react to that kind of intense shock and violence that manifested in extreme positivity and patriotism. Even for those of us who knew the dark seedy underbelly of United States foreign policy. I had never seen anything like it, that kind of avid patriotism. Maybe Rocky IV Cold War era stuff.

Of course it all went down hill quickly from there and we turned all that patriotism into more violence and empire building. Used it as an excuse to finally take over the rest of the Middle East region of the globe sans Iran, and Saudi Arabia, where the attacks actually originated from, but as they say thou dost not shit in your own backyard and the United States has had Arabia in its backyard for fifty years. Hence allowing one little family to prop up a dictatorship and add their name “Saudi” to the name of an entire country. Disgraceful. But whatever.

further on down the road we learned about the dubious nature of the events themselves… and many now believe it to be an inside job. See the documentaries called Loose Change on youtube. But for a brief moment at least we saw potential in America. It just didn’t last. Very sad.

I saw the planes crash into us

I saw the people cry

I saw the buildings come crumbling

I saw the rescuers sigh

I saw the president weep

On national TV

I saw the volunteers sweeping

To clean the New York City streets

As we try

Yes we try

To rebuild America

The land of our fathers

The land of our mothers

America

We are not alone

“Rebuild America” by Ed Hale & the Transcendence

youtu.be/sf8W8CEJaSs

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A Classic Live Performance of “Caetano” by Ed Hale & the Transcendence

June 12, 2019

Video capturing the band Ed Hale & the Transcendence performing a rousing live version of the song “Caetano” from their Nothing Is Cohesive album at New York’s Cutting Room for a Fieldhouse/BMG Showcase. Featuring Fernando Perdomo, Ed Hale, Bill Sommer, Roger Houdaille and Ricardo Mazzi. Filmed by Robert Seoane.

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New Ryan Huckabee Surfing Video Features Two Ed Hale and the Transcendence Tracks

January 5, 2018

A cool new surfing video popped up on YouTube this week, highlighting the coolest rides of the year from surfer “Grom” Ryan Huckabee. A very cool watch, that also happens to feature 2 songs from rock band Ed Hale and the Transcendence. The compilation video uses the songs “Solaris” and “Blind Eye”, both from the All Your Heroes Become Villains album.

“Lucky 13” Ryan Huckabee from Phil Huckabee on Vimeo.

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Ed Hale & the Transcendence New Album The Great Mistake Promo Video

October 18, 2013

The Great Mistake album promo video by Ed Hale and the Transcendence

featuring the songs “Monday”, “Baby Bop”, “ManChildWoman”, “I Remember You” “Hot Down” “She Gets Me Higher” and more

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After Tomorrow

August 3, 2013

All Your Heroes Become Villains by Ed Hale and The Transcendence Promo Video

Available on Dying Van Gogh Records.

Feature tracks on this video are “Blind Eye,” “Solaris,” “Waiting For Godot,” “Here It Comes,” “Indian Princess” and “After Tomorrow.”
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Spotify, Pandora, Apple Music and iTunes

The album from Ed Hale and the Transcendence, All Your Heroes Become Villains is certainly titled appropriately for the times we live in. And from the moment “the needle hits the record” it sounds like a forgotten classic, something beautiful lost and now remembered. Ed Hale and the band worked for over a year trying to bring the mammoth project under their control, bringing in other musicians when needed as varied as a gospel singer, a second drummer, a Los Angeles DJ, and various horn players. In the process, Transcendence became more of “a musical collective” rather than a traditional five-man indie-rock band.

The result is a mash of sounds but an album still recognizable as having “that Transcendence sound.” Haunting melodies, bold sonic experimentation and Hale’s richly layered and impassioned vocals all come together to create a highly memorable and moving listening experience. It’s also easily the band’s most mature and cohesive album to date. It is a stylistically and lyrically unified and thematic work of musical art that critics are calling their most ambitious to date. Like a shadow of the chaotic world we live in today, All Your Heroes Become Villains is dark, moody, heavy and yet, every now and then, it glimmers with hope.

The band’s new label Dying Van Gogh Records announced that Hale and the Transcendence would release their full length new album to the public in 2011. Sounding more like a rock musical or a concept album, the songs both musically and lyrically tie into one another seamlessly in one cohesively bold brash and powerful listen more akin to Pink Floyd or David Bowie’s Diamond Dogs. All Your Heroes Become Villains greets fans with a new path charted into new territories, only this time more dark, more heavy and more mysterious.

Ed Hale and the Transcendence first caught national attention in 2002 with their debut album, Rise and Shine by combining world music themes with an eclectic modern rock approach. Hale’s consciousness raising lyrics and the fact that he sang them in five different languages added to the group’s unique appeal. The album was a potpourri of musical styles that fans and critics found difficult to pigeon hole. Their second album, Sleep With You offered the world exposure to the band’s music through songs being featured in films and TV like MTV, VH1, and the three major television networks. Their third album, Nothing Is Cohesive jumped onto the CMJ Top 100 and the Alt-Rock Specialty Show Charts reaching number 24. They performed at numerous music festivals, such as the CMJ Music Marathon, SXSW and the Florida Music Festival.

Transcendence had changed internally; founding bassist Stro Stroman was replaced by 18-year-old Roger Houdaille and founding drummer Ricardo Mazzi was replaced by 21-year-old Bill Sommer. Each member released a solo album. Hale recorded the aforementioned Ballad On Third Avenue featuring the single, “New Orleans Dreams” which hit the top 40 on the AC charts. Perdomo formed the prog-pop group Dreaming In Stereo and Houdaille released an album by a side group he formed called Ex Norwegian. All three albums made the Top Ten Best Albums of the Year list by New Times magazine.

During the nine years since their debut, they have released four albums and toured the United States, Europe and South America, gaining a reputation as “musical shape-shifters” for their inventiveness and willingness to assume whatever form and go in whatever direction their music demands of them.

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Everything Is Cohesive — The Documentary Featuring Ed Hale and the Transcendence

October 12, 2005

 

Everything Is Cohesive — The Documentary
Journey of Dreams documentary about the musical group Ed Hale and the Transcendence that follows the band around on tour and in the studio that aired on public television in 2004 just before the release of their new CD Nothing is cohesive. Takes a look at past albums and individual band members share stories. Featuring interviews with the band and live footage.

Features band members Ed Hale – vocals and guitar, Fernando Perdomo – lead guitar, Roger Houdaille – bass, Allan Gabay – keyboards, Bill Sommer – drums, Ricardo Mazzi – drums.

Featuring the songs Dreams, Caetano, Sleep With You, You and Me, Jelly Roll, Veronica, Beautiful One, I’m not the only one, I wanna know ya and more.

 

 

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Ed Hale & the Transcendence Perform Song “Junkie” Live Concert Footage

October 18, 2003

ED HALE AND THE TRANSCENDENCE perform the song “Junkie” from the album Sleep With You Live In Concert 2003 Miami, FL

Featuring Ed Hale on vocals and guitar, Fernando Perdomo on lead guitar, Roger Houdaille on bass and Ben Belin on drums

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A private little world for me… a private little world for you. The online journals and musings of singer-songwriter author and activist Ed Hale. The Transcendence Diaries have been posting regularly online since 2001. Comments are always welcomed. And so are YOU.

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