Turtle Power!
When I dreamed of becoming an A&R guy, I never thought it would start with a turtle.
I started my first major label A&R job on May 1st, 1989. I was 22 years old. I remember the exact date for a few reasons. One: it was my dream job. Two: it was only two weeks later that I would get a call that would change my life forever. My mom had been sick and no one could figure out what was wrong. On May 15th, we got the call: cancer. My dad, a heavy smoker, was actually diagnosed with cancer too, a few days later. Best of times, worst of times.
My dad passed away in July, 1989. My mom held on for a few more months before she passed away in January, 1990. I was also diagnosed with a collapsed lung from walking pneumonia that didn’t properly heal and needed surgery. Advantage: worst of times.
Yet, as there always is, there was music to be made.
After I got better and back to work, I got called into the boss’ office. His name was Charles Koppelman and he was the greatest first boss anyone could ask for. His career in music was legendary - publishing exec for Don Kirshner, head of A&R for Columbia, owner of his own production company responsible for The Lovin’ Spoonful, Tim Hardin, some huge albums for Streisand, and (with a tip from his son Brian) Tracy Chapman, among many others.
Charles told me he had a problem and needed my help (I’m sure he knew, given the year I was having, that I would appreciate the musical challenge). Our label, SBK, had the rights to a soundtrack album for a forthcoming movie but no hit single. Could I assist? He flipped me the script and as I imagined all the great movie musicals of the past, I turned it over to see the words Teenage Mutant Ninja Turtles on the cover. I didn’t know what that meant but sure, challenge accepted. I walked out of his office with the script under my arm.
Next door to Charles’ office was Arma Andon’s office. Arma was the head of SBK’s management division. He liked to sit outside seeing the action coming out of the CEO’s office. “What’s that you got,” he asked me. I told him and his eyes lit up. “My kids are obsessed with that TV show. They run around the house all day screaming ‘turtle power, turtle power.’ You should get one of your acts to write a song called ‘Turtle Power’.” Sure, why not?
Back then, if an A&R wasn’t sure if an artist was ready, they could offer a development deal: money for studio time, engineers, musicians, professional feedback, etc. The first artist I had signed at SBK was a rap duo who had met as students at Syracuse. They called themselves Partners In Kryme. Their demos were very impressive: smart sample choices, good hooks, great vocal presence.
I called them up: “how would you guys like to skip the line of the development deal? I’m sending over the script. See if you can write a song called “Turtle Power.”
The demo they sent back a day later was perfect. They had distilled the 100 page script down to a 3 1/2 minute recap. I played it for Charles. He beamed. We had our single.
The song was released as the first single from the movie soundtrack and when the movie became a hit, the song became a momentary phenomenon. It made it inside the Top 15 of the Billboard Hot 100 and was even a bigger hit in the UK where it stayed at #1 for 4 weeks.
A few months later, a replica gold single showed up. Wow. This was easy.
