In retrospect, I now realize that Ed Goldstein was the first musician I knew personally to obtain formal permission to record another musical artist’s work. This was in 1992 — before the Internet would so much more readily facilitate this kind of information sleuthing — and I remember being somewhat impressed, and a little envious, that Ed and his musical partner, Scott Fuqua, were able to navigate this aspect of the music business.
Scott + Ed = Fuquay
Goldstein and Fuqua joined together in the early 1990s to form Fuquay, Ohio Valley practitioners of EDM – “electronic dance music” – a full two decades or more before this musical genre (and I never saw this coming) would enter the pop mainstream.
cover art by Lynn Punkari
[Pssst: Click on triangle above to play “Six Million Dollars” by Fuquay]
I think it’s safe to say that Scott and Ed were the first “pop modernists” to breathe new life into Nelson’s composition following its mid-70s heyday. Nelson, a respected jazz composer, bandleader, arranger and saxophonist, would be best remembered for The Blues and the Abstract Truth, his 1961 album with Freddie Hubbard, Eric Dolphy, Bill Evans, Paul Chambers, and Roy Haynes, .
Fuquay – like Peter Gabriel’s bagpipist, Larry Fast – would fully embrace the digital realm, as noted in the album credits:
“Scott Fuquay uses Emu-Systems, Korg, Ensoniq, Kawai, Tascam, Technics, SR&D, Charvel and Alesis equipment.
Eddie Goldstein uses Drum-Kat, Alesis, Dauz, Akai, and Vic Firth sticks. All drum and percussion tracks played digitally, live, in real time.”
Zero to 180’s one and only encounter with a Vic Firth truck
Zero to 180 is stunned to discover (thanks to Bionic: The Wiki) that Dusty Springfield sang the original theme song, which was used for the second Six Million Dollar Man “telefilm” Wine, Women & War but then replaced by Nelson’s instrumental version once the weekly series began.
one-time percussionist for LES NESSMAN & THE FINNYTOWN BRASS
We will all miss your joyful spirit, Ed.