Let’s face it—if the music industry were a spaceship, right now it might be sputtering through the void, looking for a little more rocket fuel. Algorithms are everywhere, attention spans are short, and too often, passion plays second fiddle to data. But every once in a while, someone shows up to remind us of what the industry used to be—wild, inspired, and driven by larger-than-life personalities who weren’t afraid to bet big and be bold.

Enter Paul Rappaport, or just “Rap” if you were lucky enough to know him during the golden age of rock. He wasn’t just in the room—he was the one setting the room on fire, bringing the magic of rock ‘n’ roll to life through legendary promotions, wild stunts, and a deep, unshakable belief in the power of music to move people.

In his brand-new book, Gliders Over Hollywood (Jawbone Press) Paul tells the untold stories from the trenches of Columbia Records, where he helped shape the careers of icons like Bruce Springsteen, Pink Floyd, Bob Dylan, Judas Priest, Billy Joel, and so many more. This isn’t just a backstage pass; it’s a masterclass in creativity, guts, and the human side of the music business—the kind of stories that might just help us reimagine the future by looking back at what made the past so electric.

From sword-fighting with Bruce Dickinson to floating a Pink Floyd airship, Paul’s career reads like a rock novel, but it’s all real—and it’s all heart. And as the industry asks itself what’s next, maybe it’s time to remember how it used to be done. Big ideas, crazy risks, and above all, a love for the music that seemed to make anything possible.

Taking a shot, a risk, a gamble—whether in life, in love, or in art—requires a particular blend of courage, timing, and craft. Few folks understand that better than Eddie Schwartz, the Canadian musician and songwriter whose work has left a lasting imprint on popular music. Best known for penning Pat Benatar’s iconic “Hit Me With Your Best Shot,” Schwartz has built a career on moments when he stepped forward, took creative chances, and delivered songs that struck a chord with millions.

After launching his career as a solo artist in the early 1980s with albums like No Refuge and Public Life, Schwartz quickly proved himself as more than a performer—he was a songsmith of rare precision and emotional clarity. His compositions, including “All Our Tomorrows,” “Don’t Shed a Tear” (Paul Carrack), and “The Doctor” (The Doobie Brothers), showcased his ability to blend melodic strength with lyrical insight. Many of his own recordings have since been reimagined by other artists, a testament to the enduring quality of his songwriting. Beyond the studio, Schwartz has also taken bold shots as a producer, music rights advocate, and leader in global music organizations, earning honors including the Order of Canada.

My own introduction to Eddie’s music came not through a chart-topping single, but through the serendipity of flipping through records in a thrift store—finding one of his albums on a random shopping trip and being struck by the clarity and heart in his songs. That chance moment became a deeper journey into his catalog and career. Today, he continues to write and release new music, proving that the instinct to take your best shot—to create with purpose and passion—doesn’t fade with time.

Teamwork - as they say - makes the dream work. Over the last several years, Org Music has been quietly amassing a catalog of well-produced reissues and original recordings in all genres. On the reissue front, however, the label has reached its goals by employing a select group of audio specialists all working toward the same goal: to find forgotten music deserving of a second chance to reach an audience, and to approach its restoration with straightforward respect and sincerity.

Org Music GM and COO Andrew Rossiter has assembled an A-Team for the most recent batch of reissues that includes mastering engineer, Dave Gardner - who was interviewed here at The Tracking Angle in November of 2023 - and archivist, Catherine Vericolli, who you’ll meet today.

Catherine has had much experience within the recording industry as a studio owner, engineer, and educator. Established in 2006, she created Fivethirteen recording studios in Phoenix, Arizona. She also directed the Archival Department at Nashville’s Infrasonic Sound. Catherine has also taught classes related to analog tape machine operations and maintenance at The Conservatory of Recording Arts and Sciences. Currently, she owns and operates Central Audio Archiving also based in Nashville where her archiving and digitization work led her to this current collaboration with Org.

The role of audio archivist is a curious one, maybe even a bit mysterious, but - as is the case in many fields - each link of the audio chain is as important as the ones that come before and after it. Roles of the audio archivist may include cataloging and taking inventory of tapes, restoring items that have been damaged over time, digitizing recordings, researching what is available (and discovering what might be missing) and - perhaps, most importantly, overseeing the analog tape transfers. It’s the audio archeology that takes place before final mastering is even discussed.

In the interview that follows, Catherine describes the good, the bad, and sometimes ugly world of restoration and how she and Dave forged a strong bond and friendship during their time working - in the field - digging through the Westbound catalog and bringing key parts of it back to life. She also shares some further details and hints about what listeners can expect regarding what might be Westbound’s most revered label members: Funkadelic.

Audiophiles love their audio provenance, but how far down the rabbit hole do you really want to go? That all depends on who you are; but if you’re ready for a deep dive into Org Music's Westbound reissues - or, just the reissue field in general - then read on: Catherine’s got the secrets you’ll want to learn.