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Felix told us that he was supposed to be a classical musician. His mother had him taking piano lessons three times a week, he didn't know what rock and roll WAS! But then she died, and some kids at school asked him if he wanted to a band. Wanting to integrate, wanting new friends in the wake of the passing of his mother, he said yes. THAT'S where he learned about rock and roll. And when they took him to this club in New Rochelle, where the band featured a Hammond organ, a spark was ignited, he went to Macy's in NYC, and laid claim to his destiny.

And that destiny led him not to Syracuse, where he plied the books during his first year of college, but to the Catskills the summer thereafter, to play in a band for sixty bucks a week. He got the bug. He wanted this to be his life. Famous for being beholden to no one, and speaking the truth, Lefsetz addresses the issues that are at the core of the music business: downloading, copy protection, pricing and the music itself. Never boring, always entertaining, Mr. Lefsetz's insights are fueled by his stint as an entertainment business attorney, majordomo of Sanctuary Music's American division and consultancies to major labels.

Bob has been a weekly contributor to CelebrityAccess and Encore sinceand we plan many more years of partnership with him. While we here at CelebrityAccess and Encore do not necessarily agree with all of Bob's opinions, we are proud to help share them with you.

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But what would his father, the dentist, say? The maitre d' said not to worry, he'd take care of it. He gave Felix's dad the best seat in the dining hall, sat him right up front in the showroom, and told Mr. And Mr. Cavaliere bought it. Hell, what did he know about rock and roll?

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He gave into Felix's wishes. But Felix starved. After the mountains closed up shop for the summer, finding himself back in the city, there was no WORK! Their keyboard player had to drop out. Could Felix fly and fill in? That's where Felix saw the Beatles.

He was impressed, the mania, the girls screaming, but they couldn't play the American music as well as he could, as Americans could, it was OUR music! And back in New York, he decided to put a band together.

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David Brigati, who was singing with Joey Dee, coughed up his brother Eddie. He found drummer extraordinaire Dino Danelli, who could not only play, but create a show, twirling the sticks by his ears, throwing them high in the air, and the schooled Gene Cornish. They did not call themselves the Rascals. Soupy Sales did that. When they begged to back him up. And their manager Sid Bernstein added the "Young", which they hated, and subsequently dropped.

And they had a couple of hits. But following them up was difficult.

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For now they were writing the material themselves. But then they broke through, they found their groove. Tommy Nast has been trying to get me out to the far reaches of Burbank for a year, to view the premises of his new employer, CenterStaging. We toured the soundstages. Saw where they shot Tom Petty and Norah Jones. Took a look at the seemingly endless robotic camera workstations, where they moved sixteen units, maybe MORE, at a time, dozens of feet away. Looked at the cooled data room, with Muscular adult East Greenwich from renovegas Xserves and terabytes of storage.

And then we went back to the room where tonight's performance was taking place. And after meeting the big bosses, were introduced to the man himself. Who didn't seem that impressed that I'd stolen Dino Danelli's drumsticks after their show at Fairfield University. But maybe I needed to cut him a break. You see he'd never done this. Never told his story on stage. Solo, with no interviewer, just riffing. But about half an hour later, Felix walked out of the dressing room and took the stage in front of the assembled multitude, all thirty five people, and started banging out these notes.

It was instantly clear. And then sans mic, looking up to the heavens, with his eyes closed, Felix started to sing…. I discovered this song by myself, the radio didn't turn me on, I'd bought the Young Rascals second album "Collections" immediately upon release, loving "I Ain't Gonna Eat Out My Heart Anymore" and the rest of the tracks on their debut, which I'd gotten for my birthday from my sister's boyfriend the year before. New meaning is revealed as time goes by.

What did I know about being lonely too long just as I was entering puberty. But great songs aren't about lyrics, they're secondary to the music. I'm elated. Larry Solters is drumming in the seat next to me. You've got no idea how big the Rascals were. Unless you were alive back then, especially on the east coast. Oh, their hits eventually dried up. But for a few years there, you could COUNT on them, they always delivered, they never Muscular adult East Greenwich from renovegas, and each track was different, each had its own magic.

And Felix gets up from the piano and starts to tell his tale. Leaving nothing out. And he's no laid back Angeleno, this Marty Scorsese lookalike is pouring it all out, and we're drinking it up, positively stunned that this guy is letting us in, that he still has it. Turns out "Groovin'" was written for his girlfriend.

He almost married her, but contemplating this, he wrote "How Can I Be Sure", and ultimately convinced himself not to. They did "In The Midnight Hour" first. Wilson Pickett was pissed he could never get into the Atlantic studio, the Rascals were always working out, but he taught them a lesson, he had a big hit with their song, hearing it waiting to record himself. And Felix is playing each and every one of these s.

Telling us the parts Arif added. What was happening in the band's career. Turns out Atlantic didn't want the record to come out. They felt it was unwise for a band to take a stand. And it went one in all the countries where people are oppressed. And it might just be another ditty on the oldies station now, but when Felix banged it out, it was a reclaimed anthem. As he said, we're in it together, we children of the sixties. We lived through it, and the music holds us together. Felix said it was for the worldwide distribution.

He implored us to sing along. To the song they added to their repertoire while working the clubs, doing their job, getting people dancing so they'd drink. And then it was done. But the crowd clamored for one more.

So after contemplating for the better of part of five minutes, having believed the show was over, Felix sat down on the bench and started playing "Mustang Sally". Another track the Wicked Pickett stole from them. And we're sitting there, grooving in our seats, listening, as Felix lays down the groove, and sings atop it. This is IT! This is the experience, this is the one that hooked us forty years ago! THIS is what the show was all about!

It's not about the set.

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