What if I told you I knew
someone born to perform and his repertoire covers a multitude of disciplines in
the performing arts,
lead singing to spotlight dancing,
playing guitar, keyboards, and drums,
producing music to writing and composing music,
orchestrating to arranging,
sound engineering from recording to mixing,
and,
audio engineering for recording or live
performance.
Seems a bit much to absorb
or comprehend. Listen to his original songs and you will begin to understand.
Then add in the ability to
morph from rock to pop to country to gospel to Broadway to jazz to soul to hip
hop to rap and still be sane at the end of a performance.
In fact, this particular
someone, if cloned could perform every role of a Broadway musical from writing
to composing, acting to playing in the orchestra, sound mixing to choreographer,
dancing to singing, and even producing to directing. Impossible you might respond.
Then you do not know the story
behind the multi-talented renaissance man of the performing arts, one Tim
Brannigan, genetically bred for the NYC music scene, born for Broadway, trained
from birth for the stage, and lives to perform and please.
You might think someone
with all these talents and multi-tasking ability would run on high octane and
you would be right, his boundless energy is off the charts. Many aspire to the stage or movies, are
trained in voice, dancing, acting, and performing, but few ever become an
exceptional singer, actor, or dancer like Tim.
Yet he goes way beyond
disciplined training and legendary coaches when it comes to his creative energy,
which is in a league by itself. I have
watched him write songs, play the various instrumental parts, sing lead and
harmony, produce and direct himself, engineer the recording and mixing,
critique his performance, and fire himself all in the same endless night.
Once we were at the end of
a grueling sixteen hour television recording session with multiple elements and
takes, when this maniac of music said to us, "that was fun, now I'm off to
the City" (as in New York City) "to play in a club with some
friends."
Another time we were in an
all night recording session and Tim was exhausted from having worked all day so
he caught a catnap while the band worked out an arrangement. At 4:30 AM we woke Tim, handed him the sheet
music, and in spite of his exhausted and delirious state of mind, he belted out
a song he had never seen or heard before in one take.
Brannigan can hoof it like
the legendary dancers in Hollywood, think Gene
Kelly or Fred Astaire, but then
he learned to dance when he was a kid at the Kelly family studio so why not?
Are you kidding? Learned at Kelly's studio? Sure enough because the God Father to his kid
sister was no other than Gene Kelly
himself, a close family friend.
Like I mentioned, Brannigan
seemed genetically bred to be on Broadway.
His dad, Bernie Brannigan, was a stagehand just like his brothers, Bob
and John, as well as his father and Tim's grandfather, Robert, and all of his
cousins. Tim would become the 3rd
generation of Brannigan's in the theater business, and eventually he would find
his way from summer stock to Broadway.
Tim's mother, Joan Sandacz,
was a professional lead dancer who toured with summer stock musicals and danced
in the original Broadway Production of the beloved King and I, both on Broadway and in the motion picture.
She made her mark during
the Golden Age of the Broadway musical, the 1950's, and performed in every
state but Florida
on the continental United States. Along
the way, she performed with a host of stars including Celeste Holm, Betty White,
Doris Day, and many others.
Raised in the Steel City , Pittsburgh , PA ,
Joan was best friends with a neighbor Gene
Kelly. At four years old, she
attended the Kelly family dance studio with Gene and his younger brother, Fred Kelly.
When Gene became successful
the studio was renamed The Gene Kelly
Studio. Then Gene moved to New York City and began making a name on Broadway and in
movies so Fred took over the studio from his mother and moved it to Oradell , New Jersey , in Bergen County . Here he was in the shadow of NYC, not far
from the Hudson River, from New York
City and Broadway.
One of his featured instructors at the Gene Kelly Studio was Tim's
mother Joan.
Proprietor Fred Kelly, who appeared on Broadway and in movies and was one of the first directors and performers in the new medium of television, had a major advantage and a major disadvantage. Both were named Gene Kelly, a legend in the dance world and his older brother. Gene, to put it mildly, cast a big shadow.
However, Fred resisted Gene's entreaties to follow him to
But Fred never tired of teasing Gene about the special screening of "An American in Paris" in
Queen Elizabeth right, and her sister Princess Margaret as young girl guides |
"Oh, Mr. Kelly is it true you are the brother of Fred Kelly?" she asked breathlessly.
It is Fred Kelly's dance shoes that are hanging on the Wall of Fame at
Fred's imprint as a young instructor in
Young John Travolta |
He dances like Gene Kelly, sings like a cross between Robert Plant and Freddie Mercury, plays guitar like Jimmy Page, pounds the keyboards like Nicky Hopkins, beats the skins like Buddy Rich, produces like George
Martin, and arranges and orchestrates like Robert
Russell Bennett.
So how does such a child
protégée dance and sing his way from the Steel
City across the Appalachian divide at
the other end of Pennsylvania ,
to the entertainment capital of Broadway?
They don't. Broadway has never
really embraced outsiders if they did not come up through the ranks of New York
based theatrical classes, voice coaches, and dance instruction from famous
choreographers.
With the Kelly family
dance credential, Tim had just one of the three prerequisites, which normally is
not enough. Undaunted by enormous odds
against him, young Mr. Brannigan used his broad talents in the performing arts
to sidestep the institutional blockades and prejudices and still get on
Broadway through the stage door, the same one used by the stars.
However, that comes later
in his remarkable story of perseverance and his gritty survival instincts.
Just let it be said, both
sides of his family were a never-ending source of inspiration who lived by the
toughest of all standards, no matter what happens, the show must go on.
However, to achieve that demanding
standard required the toughest of all decisions. At what point in your career do you stop the
relentless pursuit of fame? For his
mother, Joan Brannigan, it was easy.
When she started having children, Tim being the first, she would
reinvent her career.
As rapidly as his mother
ascended to lead dancer in musicals and movies, she changed course giving up
the glamour of Broadway and Hollywood ,
and charted a new course into raising a family.
From that point, her role in entertainment would be secondary to her
role as a mother and her path became teaching and preparing young people like
her own children for the demands, rigors, and lifestyle for a career in show
business.
Unlike many others, Joan
had no regrets and as a result was able to teach and guide her children through
the many pitfalls of performing. Along
the way, she used her talents and "theatrical family" network to try to
keep them on the right path.
When Tim was young the
entertainment world was far different than today. Back then, particularly in the theater world,
everyone who contributed to a show was family and the unspoken rule was they
took care of each other.
With limited Broadway
opportunities, although Broadway musicals had their best decade in history in
the 1950's, many singers, dancers, and actors found work in the summer stock
theater and with road companies of Broadway shows.
Hollywood stars like Doris Day, Shirley Bassey, Dinah Shore , Imogene Coco, and the Andrew Sisters often came
from the theater, or performed with orchestras. Joan Brannigan recalls a
strong sense of family among the theater crowd, those on stage, as well as
those behind the curtain.
In fact, so tight were the theatrical
companies that Joan called Oscar Hammerstein, one of the greatest composers in
the history of Broadway, and member of the legendary Rogers and Hammerstein
team, "Uncle Oscar" while she was performing in the Broadway musical
and shooting the movie in Burbank
of the play The King and I.
Did I mention the day the
Chairman of the Board himself, Frank
Sinatra, treated Tim and his parents to dinner? It seems on their first wedding anniversary,
Joan and Bernie decided to go to an exclusive club for dinner and made
reservations.
After being seated, they noticed their friends Edie Adams and Ernie Kovacs talking to the restaurant maître d' and became aware
they did not have reservations and the place was full, so they invited them to share
their table.
A short time later there was again confusion at the
restaurant maître d' station only this time they noticed it was the legendary Frank Sinatra and several of his body
guards who did not have a table. Edie
and Ernie were friends of Sinatra and invited him to share the Brannigan table, and he did.
Later after Sinatra left and the Brannigan's asked
for the bill, the maître d' told them Mr. Sinatra paid the tab for their
anniversary celebration with no fanfare.
As for Tim, he was at the table and just a womb away from the legend, as
his mother was pregnant with him at the time.
Let us look at the very early life of Tim.
By the ripe old age of three, he was singing
harmony to songs on the radio and television.
When he reached four, he urged his mom to send him to the Kelly dance
school to learn tap, ballet, modern dance, and gymnastics.
He was staging family theater shows by age 7, with
his brother Brien, and sister Kerry who share in the wealth of Brannigan bloodline
talent. In fact, Brien had a friend
whose father was best friends with the legendary Les Paul, and whenever he
visited Brien's friend's house in Jersey, Brien would go over and jam with the
master.
As for sister Kerry, not only was she Gene Kelly's
God Daughter but she excelled in dance and became a professional dance
teacher. Like Tim, she also knew John
Travolta because she gave lessons to his girl friend, Brooke Shield, and he
would meet her at the studio.
At one point, the dance school of Tim 's
mother was competing in a national competition when an injury to the star of
the show threatened to end their bid to be national champions. It happened just days before the finals. Although not the understudy, Tim offered to
replace the star and after just three rehearsals led the school to the national
championship.
Of course, entertainment was not the only focus of
young Tim as he was a gifted baseball player and bowler.
As a reoccurring theme in the life of one Tim
Brannigan, often a strange happening or bizarre circumstance led to major
turning points in his long and winding road.
Take his professional debut on stage. No, it was not in the local theater, nor a
bit part on Broadway, that launched his career.
Fact is it had nothing to do with the ambitions of Tim or his mother.
It involved a Puppet Show in the French exhibit with live puppets at the
1964 World's Fair stage in New York
City, where a star of the show, a Midget, Dwarf, Little
Person or whatever you want to politically correct call him, got sick.
Where in the world do you find an emergency
replacement with no rehearsal time to perform, at one of the most popular
attractions in NYC? A fearless little
man who could act was required, and the seven-year old Tim Brannigan filled the
part, so to speak. According to family
members, he was a sensation.
Ironically, I was at the 1964 World's Fair in NYC,
spent several days there, and I even saw the puppet show and young Tim might
well have been on stage. The entire
World's Fair extravaganza was overwhelming.
My own experiences with Tim would come later. Still, you must admit it was a rather odd
debut of a professional career.
When he reached fifth grade young Tim discovered a
talent for writing original poetry and treated his classmates to clever and
humorous verse. About that time along
came The Beatles and The Rolling Stones, and suddenly rock 'n
roll and jazz dancing emerged to the forefront.
The world of music turned upside down while television brought an end to
the dominance of Broadway musicals and movies of the musicals.
In Tim's own words, here are some of his early
memories.
"When asked what
inspired me to become a musician, I recollect watching The Beatles and The Rolling
Stones when they performed, on the Ed
Sullivan Show. While watching The
Beatles, I told my mom, "that's what I want to be when I grow
up." She told me, "it was a fine idea."
"When I was a few
years older, around 1967, I would arrange album covers on the floor in front
of me like the snare drum and tom toms of a drum set. I would sit, cross-legged on floor, listening
to my Beatle records, and playing
along.
"I learned to sing
harmony by panning my stereo to the left or right, isolating lead vocals and
harmonies. When recordings and mixing took
place, voices and instruments were assigned to the left or right channel. I would pan the audio so all vocals were on
one side, and sing along or harmonize to the different vocal parts. I would do the same with the drum parts.
"My first big
investment came when I was thirteen and bought my first drum set with money I
saved from my summer job. My savings was
about $20 short for buying the drums so I thought I might buy a mini-bike
instead.
"Mother heard about
it and gladly gave me the $20 so I would buy the drums instead of the dangerous
mini-bike. She also bought my younger
brother an electric guitar and an amp, which was great because now I could
teach myself to play the guitar as well as the drums.
"I practiced
incessantly at both. My brother Brien,
extremely and naturally gifted at playing guitar, joined in and we worked out
together. When it came to singing, I was not bad either, since I
practiced singing my whole life.
"When I was eleven
and in fifth grade I started writing poetry and lyrics. Sometimes I would entertain the kids and
teachers at school with my compositions.
However, the reason I wanted to write music as well as sing and play, was
to accompany myself while singing original compositions.
"We also had a cheap
electric organ in the house that I had been tinkering with for several years. Suddenly all the different pieces began to
make sense. It did not occur to me a
purpose might be served in the variety of interests I was pursuing. I never even thought of what it would mean
later in life, when my songwriting ideas matured a bit and I began to branch
out.
"At the ripe old age
of fourteen I started my first band. As
for preparation, just before our first gig, the lead guitarist handed me a bass
guitar and that was to be my new instrument, so much for the years of learning
drums, guitar, and keyboards. That was my intro to playing the bass.
"One member of our band was a kid
who'd studied drums since he was five years old. He had the latest Ringo Starr Ludwig drum kit, and played like my idol Buddy Rich.
"Now with four instruments
to learn, I decided to give up my first instrument, the only one that I took professional
lessons on, the clarinet. I started
clarinet lessons when I was in second grade because my dad had played in the
Marine Corps in Korea .
"When I reached seventeen it was time to move
on and we formed The Purée Brothers
which played from 1975 to 1978. The band
consisted of:
John "Willie"
Wilson - rhythm guitar/vocals
Neil Murphy - rhythm
guitar/vocals
Mark "Doctor
Hyme" DiRado - bass guitar
Brien Brannigan - Lead
Guitar/vocals
Tim Brannigan -
drums/vocals
Greg Kearns -
percussion/drums
"The Purée Brothers band formed in high
school and we were all school buddies with a shared interest. Today, the group's genre would be called a
"Jam Band." We were too
young to play in the bars and clubs since my brother Brien, was only 15 or 16, so
we lied about our age, claiming all were at least 18 years old.
"We looked like a
bunch of loud, crazy, skinny, stinky, long-haired kids. While we only played in
less than a dozen clubs, we played loads of other shows. The band played shows at colleges and while we
were there, we might play a show outdoors in
the afternoon, then a show indoors in the evening. After that we'd go jam at these insane
parties in somebody's dorm room until five in the morning. We got no expenses
for hotel rooms so we would scatter and each of us would be off to find our own
spot to sleep.
"We knew some real musicians
who were about three years older than us, I can't
remember their original band name. In 1976 they
formed a band called The Rhythm
Method. They were a classic club band playing mostly current covers of the
time, with a handful of originals. I looked up so much to these guys.
"To me these guys
were real musicians. They were my idols! I was friends with their lighting technician,
Tommy Brendise, and their sound technician, Kevin "Kray-Z-Man"
Hilyer. So I traveled with them as a
roadie. I danced my ass off at their
shows, singing as loud as I could, hoping to be invited up to the bandstand. Eventually I sang quite a bit with them. Their
band also broke up in 1977.
"From then on players
from our two bands united as one large Jam Band that we laughingly called, The Seethers. Rhythm Method drummer, Bob "The Hammer" Hammerstein and I would
set up our two drum kits onstage and play off of each other with the band.
"When I
was eighteen, my first apartment was across the hall from his place. On Sundays
we would setup both of our kits in his living room and play together for hours,
Bwanaman and The Hammer!
The evolution
of The Seethers, 1976 - 2014:
Brien
Brannigan - guitar/ vocals
Rich Shults -
guitar/vocals
Neil Murphy -
guitar/vocals
Rich Goldberg
- guitar/vocals
Doug Goldberg
- guitar/vocals
Rick Molnar -
Keyboards
Mark DiRado -
bass guitar
Frank Murphy -
bass guitar/vocals
Chris Gilb -
bass guitar
Greg Kearns -
drums/ percussion
Bob
Hammerstein - drums
Tim Brannigan
- drums/percussion/vocals
"The Seethers is more of a collective
than a proper band. This group formed
organically, a combination of The Purée Bros and The Rhythm Method, and we played together more and more, sharing
stages and joining each others' groups onstage. In nearly forty years, The Seethers have never had a single rehearsal. We just get together and play. We do have a repertoire of a zillion songs to
choose from, and it's always growing.
"We have
always performed some of Rich and Doug Goldberg's original songs. The style, feel, and arrangements are always
subject to change on the spot. After so
much time, we know each other's playing habits and style very well. We pay attention and follow each other to
wherever our musical journey takes us that night. The
Seethers truly know how to improvise and jam.
"Guitarist
and singer Rich Goldberg was a member of The
Rhythm Method. Rich is a Seether as well. We've had a a wonderful, lifelong
friendship and an amazing musical and personal history together as friends and
as musicians. The Seethers still jam
together as often as possible and we still call each other "seething butt
holes," among other things.
"While being involved
with The Purée
Bros and The Seethers I also joined Eugene SantaMaria and the Goodlife in 1977 in my first attempt to
get paid to play drums. This was a so called "club date" band which
performed mainly weddings and corporate parties. They played top 40 songs
and classics.
"Rich Goldberg and I
auditioned for the band and were hired. We rehearsed in a gas station garage,
with oil puddles on the floor. Rich and
I drove almost an hour to and from rehearsals.
From the very beginning I
referred to Eugene SantaMaria, as Gino Venakizza, after a character in the
lyrics of a Willie Wilson song. I
changed my name to Gino Venakizza, and said I could only eat garlic bread and
pizza.
"Upon meeting the
real Gino, I introduced myself as Tim Bwanaman. During our first gig, at The Four Seasons
Country Club somewhere in New Jersey ,
Gino introduced me to the club owner as Tim Bwanaman. The look he gave me was awesome! "The first gig also ended our careers with
The Good Life.
"We rehearsed
relentlessly while avoiding the oil spills.
At one point, I kept correcting our female keyboardist when she missed
her parts on several songs. Finally, I got up from the drum kit, walked over to
her, and played her part. I was only trying
to help. She broke down in tears.
"There is a GREAT
story about outfitting the band and there is another about Gino at our first
gig. Believe me, it was hopeless, so Rich
and I quit the group. I cannot stop
laughing whenever I think of that group. That was the only club date act I have ever
played in.
"Several years later,
I tried out for a well known "society orchestra." The audition was corny, hilarious, but I still
got the job. Ape suits (tuxedos) were
required and for a moment, I actually thought about buying my own tux. That was the last time I tried to play in any
type of a club date band. I would have
been so depressed that I would hate playing music, no way, not for me.
Life goes on and along
came The Nightgang from 1978 through
1979.
John "Willie"
Wilson - rhythm guitar/vocals
Chris Marksbury - lead guitar/ vocals
Mark DiRado - bass guitar
Tim "Bwanaman"
Brannigan - drums/vocals
"Upon starting this
group, we had our first band meeting and I was ready to attempt serious
business with this new group. At that
meeting we discussed what our short term and long term goals would be. We discussed what our needs would be to move
forward toward those goals. We took a
loan to buy a small, but very decent sound system, and an old (diaper) truck. We began booking gigs whenever and wherever we
could.
"In Marksbury's parents' basement we rehearsed cover songs that were different from the existing
bands in our area. We also began writing
and rehearsing original songs. At that
time, through my membership in Local 1, I was working
with the overnight crew at the Metropolitan Opera at Lincoln Center .
People called the overnight crew at the Met the Nightgang. That is what inspired our band name.
"The band
played mostly cover songs with some
originals. The Nightgang had no particular image. However, we already had quite a definitive
sound, with three lead singers and outstanding harmonies. People liked us. Talented, funny, and different, audiences even
sang and danced to our originals.
"We got busy fast
with ever-increasing bookings. Soon we
were paying back the loan and saving for a bigger, better sound system, more
lighting, and a bigger truck. It was the
first band I joined with permanent equipment including guitar amps, drums, and PA, to
leave in our rehearsal space.
"Always adding new
originals and creating cool arrangements of unusual covers, suddenly the ratio
of covers verses originals was shifting. Now we were becoming an original band with just
a few covers in each set.
"However, it resulted
in no success at breaking into the big clubs and thriving club scene that
existed at that time. These clubs only accepted bookings from the big three management
companies in our area. It was time for a
name change and some serious upgrades to our whole entertainment package.
Along came The Metros in 1979-1983 and everything changed.
Willie "Grape
Head" Wilson
- rhythm guitar/vocals
Tim "Bongoman/Bwanaman" Brannigan - drums/guitar/vocals
Chris "Surfer
Boy/Dunes" Marksbury - guitar/drums/vocals
Mark "Doc/Doctor
Hyme" DiRado - bass guitar/vocals
"When The Nightgang changed it's name to The Metros in 1979, for no apparent
reason the big clubs gave us bookings immediately, they paid good money, and
there were no questions asked. The new name really worked! The club owners all said they knew of us.
"Somehow we received
bookings in large venues that booked acts exclusively through one of New Jersey 's "Big
Three" agencies. Each of these
management companies booked particular venues exclusively. The only way on stage was through the booking
monopoly of the big three agencies.
"We were the
exception to the rule when it came to the other big groups in the area. As the only totally original band out there, we
refused to sign exclusive deals with anyone to represent us. Our position toward the Big Three was to remain
independent, accept gigs from all if them, and pay them their percentages. The idea of being exclusive to any of them
was counterproductive. It would limit
our ability to perform where ever wanted.
"Along with our new
name we updated our sound, our image, our stage act, and our repertoire. We worked very hard at it. We had a great logo created for The Metros. It was used for club advertisements, newspaper
and magazine articles, and of course, it was on my kick drum head. We even had a huge backdrop made for our
shows.
"By 1980 we had
purchase full PA and lighting systems and a 19' box truck. We had hired our
sound technician at the end of our days as, The
Nightgang. Now we hired two roadies,
one for lights, and one for drums and guitars.
"After receiving $20
a night each for a few years and putting the rest of our take toward the band, the group and
our sound tech were actually being paid a salary. It wasn't much, but we could live on it. So now, all of our stage gear, sound, and lighting equipment lived in our truck. We
had our own totally outfitted rehearsal space. Our job now was to write songs, rehearse them,
and play shows.
"In 1980,
The Metros recorded, produced and
self-released a 45 rpm record. It was a four song EP. We sold our record at shows and in local
record shops. To show how daft we were, when we sold out all our copies of the first record, instead of ordering
more copies, we recorded and released a second record. When we sold out that one, it still never
occurred to us to reorder the first one or two for selling.
"The
first radio station to spin our EP was a small station, in Westchester , NY ,
called WRNW-FM, in Briarcliff Manor. There's nothing so exciting as hearing yourself on the radio
for the first time. We gave our first
radio interview there.
"We sent
a copy of our EP to WNEW FM dee jay, Meg Griffin. She loved it, played it often, and talked us
up on the air. In no time at all we were
being played, on WNEW, by three DJ's.
"One of
the DJ's, Dan O'Near, played my song, Get
Off The Phone, twice in a row. He
laughed about how short and fast the song was.
Meg chose The Metros to
participate in her new program called, Prisoners
Of Rock. She played unsigned bands
on the air and held a live showcase each month at New York 's premier club, The Bottom Line.
"The Bottom Line was a coveted NYC venue
that only featured acts who had a record deal, and a name people recognized, until The Metros. We held the attendance record there for
several years.
"This was
one of my favorite venues to play in NYC. Four times we played at The Bottom Line, twice for Meg's WNEW-FM Prisoners Of Rock, and twice as opening act for popular recording
artists.
"In NYC you
need a Cabaret license for people to dance. The club didn't have that license, so dancing
was strongly prohibited. "Houston , we have a
problem." Metros fans did two things
- drink (a lot) and dance like insane people.
"Our
third date at The Bottom Line and The Metros opened for one of our
favorite childhood bands, The Grass Roots.
At the first show when we opened, the
place was jammed with people dancing on tables and dancing on the bar. I tried to bet the bartender $100 that he
would run out of Budweiser that night. He
took great offense to my obnoxious bet. Then
he ran out of Bud, during our opening set, of the first show.
"After we
finished our opening set the house emptied.
Our fans simply cleared out and waited to pay again for our second show.
Willie and I sat at a table, in an
almost empty club, and watched the Grass
Roots perform. This band had like a
dozen hit songs. We loved them.
"When
they finished the first set the club owner called us together with the Grass Roots front man, Rob Grill. We told Rob how much we loved his band, and how
we grew up on it. I could see him wince a bit at the age thing. Oops! The
owner then told Grill that The Grass
Roots would open the second show for The
Metros.
"Rob went
apeshit! Our childhood pop idols now
hated us!
"And it
all happened again when we opened at The
Bottom Line for SVT, a trio
featuring Jack Cassidy, bassist for Jefferson
Airplane and Hot Tuna.
Jefferson Airplane |
"Doc and
I were crazy about Jack Cassidy. He was
showing us his incredible bass guitar backstage. Up comes the owner. When he told them he was reversing the order
of appearance, Jack Cassidy hated us too! He is still one of the top three bass players that
I love.
The Energy Show
Now this is a side story that took nearly two years to complete. Once upon a time when Governor Thomas Kean served the State of New Jersey one of his staff, Jim Putnam, with the blessing of Energy Commissioner Leonard Coleman, asked the Governor for permission to undertake an exciting new initiative called The Energy Show.
Putnam promised to get President Ronald Reagan's administration to fund the program through the U.S. Department of Energy. With a little nudge from the White House it happened. The result was the most successful public education program ever undertaken up until that time by the federal or state governments, with it's goal to reach teenagers with a message to help save energy. Nothing like it was ever attempted before.
Andrew Carl Wilk was recruited to help create the components, produce the various video elements, and direct The Energy Show for television broadcast. Andrew, a multiple Emmy winner as a director and orchestra conductor, had previously worked with Putnam on a PBS series they created called "Flashpoint." This undertaking would dwarf any previous production in size, scope, and budget.
Wilk, who is now Executive Producer, Live From Lincoln Center on PBS · New York , New York, was up to the challenge. The centerpiece was to be the production of a show meeting national broadcast standards consisting of a live concert, for broadcast on the prestigious A&E network, shot on location at Red Bank New Jersey High School, with on site production trucks, six miles of cable, and a massive generator.
These visionaries not only secured federal funding but it was the first government funded program ever broadcast on A&E. After a review of the script, the cable network executives were convinced the show presented a balanced view and the energy conservation message was important for public information.
The Energy Show included three elements, a stand up comedian opening the show, a twelve minute animated film called The Energy Odyssey to be shown on a 24' wide screen on stage, and a live rock band to emerge through the fog as the screen opened in the middle. To make it work and catch the attention of the teens, the band had to be MTV quality.
Now this is a side story that took nearly two years to complete. Once upon a time when Governor Thomas Kean served the State of New Jersey one of his staff, Jim Putnam, with the blessing of Energy Commissioner Leonard Coleman, asked the Governor for permission to undertake an exciting new initiative called The Energy Show.
Putnam promised to get President Ronald Reagan's administration to fund the program through the U.S. Department of Energy. With a little nudge from the White House it happened. The result was the most successful public education program ever undertaken up until that time by the federal or state governments, with it's goal to reach teenagers with a message to help save energy. Nothing like it was ever attempted before.
Andrew Carl Wilk and Willie Geist NBC News |
Dave Gellis - Energy Show |
Dave Gellis - Blood Sweat and Tears |
Brian McMahon and Tim Brannigan - Energy Show |
Jeff Young - Energy Show |
Jeff Young and Jackson Browne |
Jeff Gellis - Energy Show |
Jeff Gellis - Ranchero Allstars jam |
In 1984 auditions were held in NYC, by Andrew Carl Wilk (Producer and Director), Jim Putnam (Executive in Charge of Production), Chuck Hammer (Music Director), Mark Cordray (Energy Odyssey writer), and Jo Bonney (Art Director), for a one of a kind production called The Energy is You.
Brian McMahon - Energy Show - deceased |
Tim with Beatle George Harrison's guitar |
Harrison guitar auction reaches $400,000 |
The band State Property consisted of Dave Gellis - lead guitar, Tim Brannigan - drums and vocals, Jeff Young - keyboards and vocals, Jeff Gellis - bass guitar, and Brian McMahon, rhythm guitar and vocals.
Members of the band would later join and record with groups like Blood Sweat & Tears, Meat Loaf, Jackson Browne, Donald Fagen, Sting, Vonda Shepard, Curtis Stigers, and Bonnie Raitt.
Patti LaPone,
fresh from a best actress Tony Award while starring in the musical Evita on Broadway, provided a voice over
for an animated Energy Odyssey
encouraging teens to conserve because the energy is you!
Jo Bonney and husband actor Eric Brogosian |
The art
director, Jo Bonney, became a Broadway director.
Gary Delena - Today |
The Einstein character, Gary DeLena, a
comedian who opened the show, became one of NYC's most successful stage and
television comedians and appeared on every major show on national television.
Music director Chuck Hammer played lead guitar with Lou
Reed and David Bowie and went on to create amazing guitar sounds. Hammer's recorded work is
known as Guitarchitecture, a process and term which he developed in 1977. The underlying thought behind
Guitarchitecture is to extend the guitar vocabulary by altering its temporal characteristics and context.
Tim played drums, composed a song, and was lead singer in the show. Five music videos were generated by the production team of the band called State Property, and the national broadcast was such a success that A&E won the CableAce award, the Emmy for cable TV at the time, for public service excellence.
Wilk cast for Company - Tim on lower left |
Wilk and the dolphins |
Time to Move On.
Lennon in Toronto |
The Runaways |
He got John Lennon and the Plastic Ono Band to play at the Toronto Rock and Roll Revival in 1969 where Fowley, the program emcee, created the iconic experience of having the audience light matches and lighters to welcome John Lennon to the stage.
Tim's mentor Kim Fowley and Joan Jett |
Fowley discovered Brannigan at the legendary Austin, Texas South by Southwest Music Festival and for over a year, Tim worked and traveled with the Madman of Rock and Pop. He co-wrote a series of songs with Fowley for major artists, songs yet to be released.
Fowley and Kiss |
The Dave Matthews Band |
As mentioned, Tim is a
third generation member of Local One, the premier stagehand union of the International Alliance of Theatrical Stage
Employees (I.A.T.S.E). This union
construct, install, maintain, and operate the lighting and sound equipment, the
scenery and special effects, which thrill and delight audiences in New York City .
Venues controlled by Local
One include Broadway shows, concerts
at Radio City
Music Hall , Madison Square
Garden and Carnegie Hall, the
magnificent, spectacular productions at The
Metropolitan Opera and throughout
Lincoln Center, and the many
entertaining broadcasts from CBS, NBC,
ABC, FOX, and PBS. In addition, numerous cable TV studios work
through the union and make possible the presentation of major corporate
industrial and special events.
While Tim
Brannigan’s talents as a multi-instrumentalist propelled him to a career as a
singer, drummer, and guitarist, it also led to the production side of music and
entertainment, and to the union responsible for building the systems that give
voice to music in NYC.
Tim began
building and recording in [analog] recording studios in the early 1980's. He
was first employed as Manager/Chief Engineer of a commercial recording
facility, in NYC, in 1988.
Broadway Show Angels in America |
Broadway show Ragtime |
Selected Live Sound Experience: On Broadway, Tim has worked as Mix
Engineer or Wireless Audio Technician for: Jersey
Boys, Avenue Q, Angels In America, Ragtime, Master Class, Miss Saigon, The Boy
From Oz, La Boheme, and several other Broadway hits. Currently, he is
working on Jersey Boys as part of the
sound production team.
Jon Bon Jovi |
Selected Mix Experience clients include Taio Cruz, Cee Lo Green, Paul Simon, James Taylor, Billy Joel, Wynton
Marsalis, Tony Bennett, Rihanna, Nas, Run DMC, Wu-Tang Clan, and Slick Rick.
Cee Lo Green |
Mariah Carey |
Rod Stewart and Stevie Nicks |
Justin Bieber |
Paul Simon |
Brannigan
penned Rays Of Hope for the national
award-winning Energy Show on PBS and
A&E Network, and he Co-Wrote, I Had
A Dream for the Martin Luther King Commission first national holiday
celebration in Atlanta.
For more
information on Tim Brannigan check out:
You can see Tim performing live at the following.
.
You can see Tim performing live at the following.
.
3 comments:
Wow! That was awesome! And I knew you then and still do know you. Onward and upward dude... A great read!
Hey Tim, impressive life. Congrats. John ( njsound.com )
Hey Tim, impressive life. John ( njsound.com )
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