
Beamer Baclawski is a rock ‘n ‘roller, a cool cat who appreciates the business end of things. His human companion, Nancy, is a rock ‘n ‘roller, too, although she appreciates rock ‘n ‘roll’s danceability. Curious, however, about the history behind the music she loves, she picked up Tom Cossie’s Music Business Stories.
Cossie’s picture on the back cover caught Beamer’s attention. It reminded him of an elegant party for the Cossie-produced Day of the Dead soundtrack. To get in the mood, the feline grabbed his blue bowtie and trilled his way into the right mood to enjoy Cossie’s adventures as a record collector turned “record mercenary” and ultimately, record executive.

Pawing his way through Cossie’s childhood in Pittsburgh, Beamer was surprised to learn that the city was considered one of several breakout markets for R&B and Pop. Although he knew that the 1960s and 1970s were the heyday of the ubiquitous and cheap 45 rpm single, he had no idea about the big business behind the records.
With hundreds of new releases hitting the market every week, Cossie amassed a collection of about 5,000 records that he gleaned from bargain bins. He was especially drawn to recordings by obscure artists on obscure labels. His adolescent hobby of collecting, trading, and selling records turned into a lifelong career in the industry.
Early in his career, Cossie discovered the “Hanky Panky” by Tommy James and the Shondells. Tommy told Cossie he believed it was his destiny to be a hit artist.
“Yeah,” Cosie responded, “and I think it’s my destiny that someday I’m going to own my own major record label.” He went on to become a senior vice president at RCA at 26 years old and eventually launched Saturn Records.
But Beamer was more interested in the people making the music than in the promotion, distribution, marketing, and sales practices during this era. He trilled at Cossie’s antics and anecdotes involving popular artists ranging from Ann Margaret to Ullanda.
Cossie’s familiarity with the musicians was evidenced by a Rolodex that included Elvis Presley, Harry Nilsson, Michael Nesmith, Michael Jackson, David Bowie, Don Imus, Ann and Nancy Wilson, Ringo Starr, John Lennon, John Denver, and Dolly Parton.

Beamer purred at vicariously attending posh parties and hissed at missteps and adventures. He especially liked it when David Bowie gave Cossie a few sketches he had done of his guitarist, Mick Ronson, while he was working on a song. Cossie was so careful in storing the original artwork that he forgot where he put it and never found it again.
But Beamer couldn’t stop chattering about his favorite story—the bedroom scene with Dolly Parton.
In between his blunders and successes, Cossie learned first-hand that failure isn’t merely an obstacle. After being fired from RCA, he failed at several endeavors, like launching River Records.
“Failure is a critical component in the formula for growth and eventual success,” Cossie noted. His success lay in the realization that the music business wasn’t a well-oiled machine. It’s “more a fragile, ever-shifting ecosystem.”
Cossie ends Book One of his memoir with the successful production of the soundtrack to Day of the Dead. Beamer looked once again at the photograph on the back cover that prompted him to don his elegant blue bowtie. With tail drooping, he yowled.

“That’s it?” he asked. “It’s only 1985. Rock’ n’ roll is still alive.”
He was relieved to read that Book Two—and Book Three—will complete the stories begun in Book One. Beamer was now hooked on learning more about the business end of the music industry.



























