Jeff Partytime DJ

Jeff Partytime DJ 30 Years of experience in providing the best in music and fun for all ages from private parties to wedding receptions to corporate events, I can do it all.

08/26/2025
08/22/2025
These songs still live in your head rent free
07/31/2025

These songs still live in your head rent free

The ’70s were a revolutionary time for music. Hits from this decade not only put new spins on rock and R&B, but the world was also propelled into disco, which whether you liked it or not, became a sensation in itself. But while some artists made songs that become quintessential ’70s hits, unfort...

If you know someone that recently got engaged, have them reach out to me for their wedding and or reception.  30 years o...
07/08/2025

If you know someone that recently got engaged, have them reach out to me for their wedding and or reception. 30 years of experience of have a great time. I look forward to hearing from you soon

06/30/2025
06/30/2025
06/17/2025

In 1972, Billy Joel walked into the Executive Room, a small piano bar in Los Angeles, wearing a polyester suit and carrying more frustration than ambition. He had fled New York, leaving behind a failed record deal, a crumbling personal life, and the scars of a contract that had tied him to a label he now loathed. To survive, he took on the alias “Bill Martin” and played nightly at the dimly lit lounge, blending into the crowd while watching stories unfold around him. Those faces, those fragmented lives he observed night after night, became the backbone of the song that would define his career, "Piano Man."

Joel didn’t set out to write a hit. He wanted to vent, to paint a portrait of the strange emotional collision between hope and hopelessness that haunted bars like the Executive Room. He had no grand plan. Each night at the piano, he studied the lonely souls who gathered around him: the real estate agent who longed to be a novelist, the bartender drowning in his own broken dreams, the ex-sailor slipping into alcoholism, and the waitress he quietly adored. They were all trapped in the lull of 9-to-5 lives, sipping cheap whiskey and clinging to fantasies they barely believed in anymore. In them, Joel saw his own story, unfulfilled ambition, displaced identity, and a desperate yearning for something more.

The song came together piece by piece. Joel scribbled lyrics between shifts and rehearsed melodies in hotel rooms. “Sing us a song, you’re the piano man” was a line lifted directly from his nightly routine, a request shouted through cigarette smoke and clinking glasses. But he gave the line a weight it never had in real life, turning a casual phrase into a cry for meaning. Each verse of "Piano Man" sketched a character, and every character reflected the hollowness Joel had felt in that bar. These were not fictional avatars. They were real people, real emotions, real failures floating in the hazy afterglow of lost dreams.

Joel knew it was risky to turn such raw observation into a song. It was over five minutes long, filled with character sketches, carried by a waltz tempo in 3/4 time, and drenched in melancholy. Nothing about it fit the commercial mold of a 1973 radio hit. But he pushed it forward. Columbia Records, who had recently signed him after hearing his live demos, was hesitant but eventually allowed it as a single. Producer Michael Stewart helped build the arrangement with harmonica and piano lines that felt both nostalgic and intimate, echoing the timeless atmosphere of the bar that inspired it.

When "Piano Man" was released in November 1973, it didn’t explode onto the charts. It climbed slowly, peaking modestly at number 25 on the Billboard Hot 100. But its emotional resonance made it unforgettable. The audiences didn’t merely listen. They saw themselves in the characters. The song’s structure, with its chorus of longing and verses of real-life despair, felt more like a short film or a memoir than a standard pop track. Joel had given them a mirror, and for many, it reflected something painful but profoundly human.

What made the song exceptional was its refusal to glamorize. There were no fantasies of escape, no grand conclusions. Instead, it offered a dimly lit corner of truth, the kind you could only find at last call, surrounded by strangers and drowned in bittersweet melodies. It also marked the moment Joel stopped running from who he was. “Bill Martin” disappeared, and Billy Joel emerged, older, sharper, and finally ready to confront his own voice. "Piano Man" remains one of the rare songs that doesn’t simply tell a story. It traps you in one

05/27/2025

RIP Rick Derringer
Sorry to read about Rick's passing yesterday.
Rick Derringer (born Richard Dean Zehringer; August 5, 1947) was an American musician, producer, and songwriter. He gained success in the 1960s with his band, the McCoys. Their debut single, "Hang on Sloopy", became a number-one hit in 1965 and is now regarded as a classic track from the garage rock era. The McCoys had seven songs chart in the top 100, including covers of "Fever" and "Come on Let's Go".

In 1970, Derringer found further success with his song "Rock and Roll, Hoochie Koo". He also worked extensively with brothers Edgar and Johnny Winter, playing lead and rhythm guitar in their bands and producing all of their gold and platinum records, including Edgar Winter's hits "Frankenstein" and "Free Ride" (both in 1973). Derringer has also collaborated with Steely Dan, Cyndi Lauper, and "Weird Al" Yankovic, producing Yankovic's Grammy Award-winning songs "Eat It" (1984) and "Fat" (1988). Additionally, Derringer produced the World Wrestling Federation's album The Wrestling Album (1985) and its follow-up, Piledriver: The Wrestling Album II (1987). These albums featured the entrance song for Hulk Hogan, "Real American", and the theme for the Demolition tag team, "Demolition". Derringer also produced three songs from the soundtrack of the 1984 Tom Hanks film Bachelor Party.

Derringer was born in Celina, Ohio,[1] and grew up in Fort Recovery, the son of John Otto and Janice Lavine (Thornburg) Zehringer, a section foreman on the Nickel Plate Railroad. According to Derringer, aside from his parents' extensive record collection, his first major influence was his uncle, Jim Thornburg, a popular guitarist and singer in Ohio. Derringer recalled first hearing him play guitar in the kitchen of his parents' home and knowing immediately that he wanted to learn the instrument. He was eight years old at the time, and his parents gave him his first electric guitar for his ninth birthday. Soon after, he and his brother Randy began playing music together.

After eighth grade, the family moved to Union City, Indiana, where Derringer formed a band he initially called the McCoys. He later renamed it the Rick Z Combo and then Rick and the Raiders before reverting to the original name.

In the summer of 1965, before Derringer turned 18, the McCoys were hired to back up a New York-based band called the Strangeloves in concert. The Strangeloves, who were also record producers from New York City, were looking for a band to record the song "My Girl Sloopy" and chose the McCoys. Derringer later persuaded the producers to change the title to "Hang On Sloopy". After the Strangeloves recorded the guitar and instrumental parts, Derringer and the McCoys were brought into the studio to sing on the recording, which was then released under their name. The song reached number one on the charts while The Beatles' "Yesterday" held the number two spot. "Hang On Sloopy" has since become synonymous with Derringer's home state of Ohio, as fans of the Ohio State Buckeyes often chant "O-H-I-O" during breaks in the song's chorus, and it is frequently played at home football games at Ohio Stadium. The song is also played during Cleveland Guardians home games at Progressive Field.

Derringer, along with his band, the McCoys, joined Johnny Winter in a group they called "Johnny Winter And," with the "And" referring to the McCoys. Derringer later became part of Edgar Winter's White Trash and subsequently the Edgar Winter Group.

In 1973, Derringer released his first solo album, All American Boy, which featured his hit song "Rock and Roll, Hoochie Koo".[8] By then, the song had already appeared on Johnny Winter And (1970) and the White Trash Roadwork (1972) albums. Derringer's version reached the Top 20 on the Billboard Hot 100 charts, becoming his highest-charting single. One critic described the album as a "sadly neglected album of great merit".

Derringer's later albums, both solo and with his band Derringer, included 1977's Sweet Evil, co-written with Cynthia Weil and Rolling Thunder R***e author Larry Sloman. He also released the critically acclaimed album Guitars and Women (1979), which was re-released with liner notes by Razor & Tie in 1998.

Around this time, Derringer played guitar on two Steely Dan tracks: "Show Biz Kids" on Countdown to Ecstasy (1973) and "Chain Lightning" on Katy Lied (1975). Derringer is credited with helping Donald Fagen secure a record deal in 1972.

During this period, Derringer collaborated with his neighbor Todd Rundgren, playing on four of Rundgren's solo albums. He was also a regular in Andy Warhol's circle and frequently visited Warhol's studio, The Factory.

1980s and 1990s
Derringer played guitar on "My Rival" from Steely Dan's Gaucho (1980) and also contributed to Donald Fagen's first solo album, The Nightfly (1982). In 1983, he played guitar on two hit power ballads written and produced by Jim Steinman: Air Supply's "Making Love Out of Nothing at All" and Bonnie Tyler's "Total Eclipse of the Heart". Derringer has stated that his guitar solo in "Making Love Out of Nothing at All" is his favorite of all the solos he has recorded. That same year, he recorded guitar parts for Meat Loaf's poorly received album Midnight at the Lost and Found. Both "Making Love Out of Nothing at All" and "Total Eclipse of the Heart" were originally offered to Meat Loaf by Steinman for that album, but Meat Loaf's record company refused to pay Steinman for the compositions.

In 1983, Derringer also wrote "Shake Me" for his Good Dirty Fun solo album, accompanied by a video produced by Jake Ho**er, the husband of Lorna Luft. Singer Lourett Russell Grant appeared in the video alongside Derringer.

In 1984, Derringer played guitar on Barbra Streisand's cover of Steinman's "Left in the Dark," released as the lead single from her album Emotion.

In 1985, Derringer's friendship with Cyndi Lauper led him and Steinman to collaborate again, with Derringer producing The Wrestling Album (1985) for the World Wrestling Federation, an album consisting mostly of wrestlers' theme songs. He wrote several songs for the album, including Hulk Hogan's theme song "Real American," co-written with Bernard Kenny. This song was notably used by U.S. President Barack Obama at the 2011 White House Correspondents' Dinner, where he played the song while unveiling his birth certificate. It was also used as a campaign song by Hillary Clinton, as a victory song by Newt Gingrich, and in four videos during the campaign of Donald Trump.

In 1986, Derringer returned to working with Meat Loaf for Blind Before I Stop, co-writing the song "Masculine."

Also in 1986, he played guitar on two songs from Cyndi Lauper's album True Colors, "Calm Inside the Storm" and "The Faraway Nearby." From 1986 to 1992, he served as a guitarist on her tours, comparing her live performances to those of Barbra Streisand by saying, "She's better live than Barbra." He played with Lauper again on her third album, A Night to Remember, which was released in 1989.

In 1987, Meat Loaf appeared on Way Off Broadway, a nationally distributed cable TV show with Derringer as the music director. The show was hosted by comedienne and interviewer Joy Behar. Other guests on the show included Larry Carlton, Robbie Dupree, and Edgar Winter.

Also in 1987, Derringer returned to the World Wrestling Federation to produce its second music album, Piledriver: The Wrestling Album II. He co-wrote the theme song for Demolition and also recorded a new version of "Rock and Roll, Hoochie Koo" as a duet with Gene Okerlund.

He worked for several New York City-based jingle houses in the 1980s. Derringer went on to produce "Weird Al" Yankovic's debut album, "Weird Al" Yankovic (1983). Between 1983 and 1989, Derringer produced six Yankovic albums, for which he received his only Grammy Award. Yankovic has expressed openness to working with Derringer again.

In April 1992 Rick's wife Diane Derringer gave birth to Rick's only child, Mallory Derringer.[citation needed]

In 1997, Derringer became an Evangelical Christian. Since then, he has consistently aligned himself with conservative causes in the United States. Derringer describes himself as a "Jesus freak".

In 2001, Derringer, Tim Bogert and Carmine Appice released the album Derringer, Bogert & Appice (DBA): Doin' Business as... on the German record label Steamhammer Records. Derringer had previously worked with Appice on an album, Party Tested by DNA (Derringer'n'Appice), and it was re-released in 2011.

In 2001, Derringer, his wife, and their children released the first two of four Christian music albums, all through Panda Studio Productions: Aiming 4 Heaven (2001), Derringer X 2 (2001), the holiday album, Winter Wonderland (2004), and We Live (2008). In 2002, Derringer was featured in a book written by Dan Muise, titled Gallagher, Marriott, Derringer & Trower – Their Lives and Music.

He released Free Ride Smooth Jazz (2002) Also included is his smooth jazz radio hit remake, "Jazzy Koo".

In May 2009, he self-released the album Knighted by the Blues and its popular song, "Sometimes," which was once again co-written with Jenda. Derringer followed up with the release of The Three Kings of the Blues (Freddie King, B.B. King, Albert King) on Mike Varney's Blues Bureau International Records.

Derringer and a range of hitmakers are part of Voices, a company that finds private events many times a year. Some of the artists involved with Voices include Tone-Loc, Wally Palmar, Kim Carnes, Belinda Carlisle, Tommy Tutone, Mark McGrath, Fastball, Skip Martin, Jakob Dylan, Natasha Bedingfield, Coolio, John Rzeznik, Martha Davis, Silverchair, Steve Augeri, John Elefante, Alex Ligertwood, Jeff Lyons, and the Rembrandts.

Derringer went on three world tours with Ringo Starr & His All-Starr Band. Rehearsals began in June 2010, and they traveled across Europe, Russia, South America, Mexico, and the USA. The tour featured Wally Palmar, Edgar Winter, Gary Wright, Richard Page, and Gregg Bissonette.

In the 1980s, he produced the Kodomo Band and toured in Asia, including with Edgar Winter, during the 1990 White Light tour.

In 2013, he and Jenda created the Asia Project after she discovered that the two largest-selling songs in history are Chinese. As Ricky Wu and Jenda Tu, the Derringers recorded and released their versions of the songs: Wang Qiwen and Yang Chengang's 2004 song "Mouse Loves Rice," and the actress Liu Shi Shi's "Season of Waiting."

In 2014, Derringer performed on Peter Frampton's Guitar Circus tour with other notable guitarists, including B.B. King, Roger McGuinn (ex-Byrds), Don Felder (ex-Eagles), Leslie West (ex-Mountain), Cheap Trick's Rick Nielsen, Toto's Steve Lukather, Los Lobos' David Hidalgo, and Pearl Jam's Mike McCready.

In 2017, Derringer was charged with carrying a loaded gun on a Delta Air Lines flight from Cancún in Mexico to Atlanta, Georgia. According to his manager, Derringer believed he was permitted to carry the gun due to his possession of a valid Florida concealed weapon permit. Derringer later pleaded guilty, agreeing to pay a $1,000 fine, and stated that it would not happen again, "not even a water pistol".

In 2017, Derringer collaborated with baseball players Tom Seaver and Gary Redus to release a version of "Take Me Out to the Ballgame," honoring his lifelong love of baseball.

In 2018, Derringer embarked on a tour with Vanilla Fudge, Mitch Ryder, and Badfinger under the name "HippieFest."

He performed the guitar solo for an anti-bullying campaign version of "Hang on Sloopy" by the Love Love Kids, released in October 2019

On May 27, 2025, it was announced that Derringer had passed away.

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