1 00:00:00,280 --> 00:00:03,200 Speaker 1: It's camp. I am six forty and you're listening to 2 00:00:03,240 --> 00:00:10,000 Speaker 1: The Conway Show on demand on the iHeartRadio apps. It 3 00:00:10,119 --> 00:00:12,720 Speaker 1: is The Conway Show. Mark Thompson's here on Monday Night. 4 00:00:13,000 --> 00:00:14,920 Speaker 2: Everybody, Oh, please be seated. 5 00:00:14,960 --> 00:00:19,119 Speaker 3: I'm overwhelmed by this is quite extraordinary if you recognize 6 00:00:19,160 --> 00:00:21,439 Speaker 3: that theme song is one of probably one hundred that 7 00:00:21,600 --> 00:00:24,040 Speaker 3: Charlie Fox has written, and he is with us. 8 00:00:24,079 --> 00:00:27,240 Speaker 1: Charlie, how are you, sir, Charlie Oh, I should say, 9 00:00:27,240 --> 00:00:29,479 Speaker 1: mister Fox, I'll do my entire life. 10 00:00:29,480 --> 00:00:31,440 Speaker 4: It's a great crownd righty's just two of you. I 11 00:00:31,480 --> 00:00:31,760 Speaker 4: love it. 12 00:00:32,120 --> 00:00:36,640 Speaker 1: I've known Charlie Fox, mister Fox, I should say since 13 00:00:36,720 --> 00:00:40,159 Speaker 1: I was in seventh grade, which is probably I don't know, 14 00:00:41,120 --> 00:00:43,600 Speaker 1: twelve years old or something like that. Twelve or thirteen. 15 00:00:44,840 --> 00:00:47,280 Speaker 4: Wouldn't know who you're talking about, right, Sorry. 16 00:00:47,560 --> 00:00:52,239 Speaker 1: But Robbie Fox, who's a great writer in Hollywood. He 17 00:00:52,280 --> 00:00:55,200 Speaker 1: and I became friends, and then I met Charlie Fox. 18 00:00:55,240 --> 00:00:58,640 Speaker 1: And Charlie Fox is the world's greatest composer period. 19 00:00:58,760 --> 00:00:58,960 Speaker 2: Yeah. 20 00:00:59,000 --> 00:01:02,160 Speaker 3: I mean his stuff is everywhere. Yeah, I mean he's 21 00:01:02,280 --> 00:01:05,360 Speaker 3: done some of the biggest songs you've ever heard. But 22 00:01:05,400 --> 00:01:07,800 Speaker 3: he's also done some of the greatest theme songs in 23 00:01:07,800 --> 00:01:09,199 Speaker 3: the history of television. 24 00:01:08,720 --> 00:01:11,640 Speaker 1: And the greatest movies ever as well. All right, let's 25 00:01:11,640 --> 00:01:14,040 Speaker 1: start at the beginning. You're in fifth grade, all right, 26 00:01:14,080 --> 00:01:17,040 Speaker 1: let me have to go back that far. But you know, 27 00:01:17,120 --> 00:01:21,160 Speaker 1: the theme songs that you've written are are associated with 28 00:01:21,200 --> 00:01:23,640 Speaker 1: our lives. We grew up, you know, back before there 29 00:01:23,640 --> 00:01:27,640 Speaker 1: were DVRs and you know, and and VHS machines. You 30 00:01:27,720 --> 00:01:29,919 Speaker 1: had to be home on a Tuesday night to watch 31 00:01:30,200 --> 00:01:32,960 Speaker 1: you know, Laverne and Shirley are Happy Days, or Saturday 32 00:01:33,040 --> 00:01:35,399 Speaker 1: night to watch The Love Boat. And now we don't 33 00:01:35,400 --> 00:01:38,959 Speaker 1: have those common experiences anymore. But you made those are 34 00:01:39,040 --> 00:01:40,520 Speaker 1: common experiences through music. 35 00:01:40,959 --> 00:01:43,520 Speaker 4: You know what's interesting. You just remind me. Tuesday night 36 00:01:43,680 --> 00:01:48,280 Speaker 4: was Uncle Milty Knight. Okay, all right, everything shut down 37 00:01:48,320 --> 00:01:51,040 Speaker 4: America and Uncle and I remember that. 38 00:01:51,240 --> 00:01:53,440 Speaker 1: Yeah, I was just a kid. Yeah, Tuesday for me 39 00:01:53,480 --> 00:01:54,560 Speaker 1: it was happy Days. 40 00:01:54,600 --> 00:01:56,600 Speaker 4: And you know what, there was the theme song for 41 00:01:56,720 --> 00:01:59,520 Speaker 4: Texico with the men from Texico. We were from Menton, 42 00:01:59,600 --> 00:02:04,400 Speaker 4: Mexas and they all wore like petroleum map like the 43 00:02:04,520 --> 00:02:06,800 Speaker 4: pumping gas guys with the hats. Oh that's great. Yeah, 44 00:02:06,840 --> 00:02:08,360 Speaker 4: so I guess maybe that suck with me. 45 00:02:08,600 --> 00:02:12,360 Speaker 1: Yeah, But also I think the world's greatest song. And 46 00:02:12,400 --> 00:02:14,560 Speaker 1: if you go to b M I or as CAP, 47 00:02:14,680 --> 00:02:16,840 Speaker 1: I think it's the most played song in the history 48 00:02:16,880 --> 00:02:20,520 Speaker 1: of the world. And you wrote it killing me softly 49 00:02:20,960 --> 00:02:22,359 Speaker 1: in the history of the world, it's got to be 50 00:02:22,440 --> 00:02:24,360 Speaker 1: the gotta be the most played song. I know for 51 00:02:24,400 --> 00:02:26,680 Speaker 1: twenty years. It was the most played song nationally and 52 00:02:26,760 --> 00:02:28,520 Speaker 1: internationally for twenty straight years. 53 00:02:28,600 --> 00:02:31,639 Speaker 4: Well, it's been I must say that's that's been wonderful. 54 00:02:31,720 --> 00:02:34,040 Speaker 1: Yeah, I bet are you still getting residuals for that? 55 00:02:34,880 --> 00:02:38,000 Speaker 1: Oh my god, I can't imagine what that's sample too? Right, 56 00:02:38,040 --> 00:02:41,800 Speaker 1: it wasn't the remix of it? Yeah, everyone has stolen. Yeah, 57 00:02:41,960 --> 00:02:43,000 Speaker 1: and I hope you got all the money. 58 00:02:43,120 --> 00:02:45,080 Speaker 3: Oh that's true for you too, right, Charlie. When they 59 00:02:45,240 --> 00:02:47,600 Speaker 3: use it again in another form, in a hip hop 60 00:02:47,960 --> 00:02:49,040 Speaker 3: song or whatever, you get that. 61 00:02:49,360 --> 00:02:52,560 Speaker 4: Well, when they use this song and the sales records 62 00:02:52,639 --> 00:02:54,959 Speaker 4: it's on the air or they if you're going to 63 00:02:55,040 --> 00:02:56,800 Speaker 4: sing it, I'll probably get a few pennies. You know. 64 00:02:56,840 --> 00:03:00,240 Speaker 1: It's just yeah, but it's such a beautiful song. That 65 00:03:00,320 --> 00:03:02,160 Speaker 1: Did that song come cute naturally? 66 00:03:02,240 --> 00:03:02,600 Speaker 2: Or is it? 67 00:03:02,919 --> 00:03:04,480 Speaker 1: If you ever had to fight to get a song, 68 00:03:05,160 --> 00:03:06,960 Speaker 1: you know, just something that does not coming to you 69 00:03:07,080 --> 00:03:08,440 Speaker 1: or does everything just come naturally? 70 00:03:09,639 --> 00:03:13,080 Speaker 4: So for me, really, the music doesn't stop. Okay, I 71 00:03:13,120 --> 00:03:14,240 Speaker 4: hear music all the time? 72 00:03:14,400 --> 00:03:14,760 Speaker 2: Is that right? 73 00:03:14,760 --> 00:03:15,120 Speaker 1: In your head? 74 00:03:15,160 --> 00:03:16,280 Speaker 4: You're hearing all the time. 75 00:03:16,400 --> 00:03:17,880 Speaker 1: So you wake up sometimes the middle of the night 76 00:03:17,919 --> 00:03:19,359 Speaker 1: and you have to write something down because you don't 77 00:03:19,360 --> 00:03:19,920 Speaker 1: want to forget it. 78 00:03:20,000 --> 00:03:23,239 Speaker 4: I will, I will, if I always feel if I 79 00:03:23,240 --> 00:03:25,080 Speaker 4: if I don't write it down, then it's probably not 80 00:03:25,120 --> 00:03:26,400 Speaker 4: worth keeping anyway, you know. 81 00:03:26,480 --> 00:03:26,799 Speaker 2: Okay? 82 00:03:26,919 --> 00:03:28,840 Speaker 1: You know I'm that way with dance. If I think 83 00:03:28,880 --> 00:03:30,639 Speaker 1: of a dance move and I'm dreaming of a dance move, 84 00:03:30,680 --> 00:03:35,080 Speaker 1: I'll get up and record it so I don't forget that, That's. 85 00:03:34,920 --> 00:03:35,480 Speaker 2: Right, I will. 86 00:03:35,680 --> 00:03:36,960 Speaker 1: And my wife will be like, what are you doing? 87 00:03:37,000 --> 00:03:38,640 Speaker 1: It's three o'clock in the morning, Like, well, I thought 88 00:03:38,640 --> 00:03:40,120 Speaker 1: of a dance move and I didn't know if I 89 00:03:40,120 --> 00:03:40,880 Speaker 1: could remember it, so. 90 00:03:40,840 --> 00:03:43,120 Speaker 2: I can't sure. Once a hoofer, always a hoofer, you know, 91 00:03:43,240 --> 00:03:44,520 Speaker 2: that's right? Yeah? 92 00:03:44,600 --> 00:03:47,600 Speaker 1: But killing Me Softly the World's greatest song? And then 93 00:03:47,760 --> 00:03:50,280 Speaker 1: you go on to write these theme songs Laverne and 94 00:03:50,320 --> 00:03:53,160 Speaker 1: surely happy Days, you know, the love Boat, and it 95 00:03:53,200 --> 00:03:56,160 Speaker 1: goes on and on and on. Did all those also 96 00:03:56,240 --> 00:03:58,160 Speaker 1: come cute naturally? I mean the Love Boat. 97 00:03:58,320 --> 00:04:01,840 Speaker 4: Well, first of all, you know I worked to a 98 00:04:01,960 --> 00:04:05,320 Speaker 4: story stories the beginning of the Love Boat. It's about 99 00:04:05,400 --> 00:04:09,080 Speaker 4: these people who are on the boat and they Happy 100 00:04:09,160 --> 00:04:12,080 Speaker 4: Days is a period story about people in the fifty 101 00:04:12,120 --> 00:04:14,840 Speaker 4: young guys. So there's always a reason that raised our 102 00:04:14,880 --> 00:04:18,200 Speaker 4: dead for the story and for the song. And I 103 00:04:18,240 --> 00:04:20,680 Speaker 4: don't write the lyrics. I work with lyricists who do. 104 00:04:21,920 --> 00:04:24,280 Speaker 4: I mean. I'll give you example Norman Gimbleo. I wrote 105 00:04:24,279 --> 00:04:27,760 Speaker 4: a lot of songs with including Healing Me Softly. We 106 00:04:27,880 --> 00:04:32,279 Speaker 4: came to Happy Days they were using Actually I did 107 00:04:32,320 --> 00:04:39,760 Speaker 4: the main title for the pilot, right, but ABC did 108 00:04:40,320 --> 00:04:42,360 Speaker 4: when they put it on the air. They were afraid 109 00:04:42,640 --> 00:04:45,680 Speaker 4: to use that song. They didn't know because American Graffiti 110 00:04:45,880 --> 00:04:48,839 Speaker 4: was about the fifties, which kind of spurned them on 111 00:04:49,000 --> 00:04:52,160 Speaker 4: for trusting that the fifties would have a home on television. Right. 112 00:04:52,600 --> 00:04:56,280 Speaker 4: They had Rock around the Clock. Oh okay, so they 113 00:04:56,400 --> 00:04:58,839 Speaker 4: used Rock around the Clock. Even though I had written 114 00:04:58,880 --> 00:05:02,080 Speaker 4: Happy Days, they used to Days is an end title. Okay, 115 00:05:02,200 --> 00:05:05,680 Speaker 4: the first year nine and when we wrote Happy Days, 116 00:05:05,680 --> 00:05:07,760 Speaker 4: Norman said was sitting around the piano saying what do 117 00:05:07,800 --> 00:05:10,479 Speaker 4: we do now? He said, well, you know, they're like 118 00:05:11,040 --> 00:05:15,400 Speaker 4: rock around the clock and you know, one o'clock, two o'clock, 119 00:05:15,440 --> 00:05:17,599 Speaker 4: three o'clock, Rock, four o'clock. We said, why don't we 120 00:05:17,600 --> 00:05:19,839 Speaker 4: do the same thing in a song Monday, Tuesday, Wednesday, 121 00:05:19,839 --> 00:05:22,640 Speaker 4: Happy Days, Thursday. So we really kind of use that 122 00:05:22,720 --> 00:05:27,000 Speaker 4: as a model. And and of course this song is new, 123 00:05:27,040 --> 00:05:30,440 Speaker 4: the melody is new, but it wasn't new news. It's 124 00:05:30,480 --> 00:05:31,440 Speaker 4: meant to sound like. 125 00:05:32,839 --> 00:05:35,440 Speaker 2: Yeah, so it sounds out the fifties, like sock cop 126 00:05:35,560 --> 00:05:36,200 Speaker 2: type thing. 127 00:05:36,400 --> 00:05:38,360 Speaker 4: Right, So believe it or not, even though I grew 128 00:05:38,400 --> 00:05:40,960 Speaker 4: up with the fifties, that was not my music, right, 129 00:05:41,080 --> 00:05:45,200 Speaker 4: I didn't care for it. I didn't dance, among other things. 130 00:05:45,000 --> 00:05:47,720 Speaker 1: Right, but we did. I mean, growing up in the seventies, 131 00:05:47,920 --> 00:05:50,040 Speaker 1: this song I'm gonna played a little for it. Kids 132 00:05:50,040 --> 00:05:52,000 Speaker 1: out there have never heard this. This song was part 133 00:05:52,080 --> 00:05:54,880 Speaker 1: of My child and then Laverne and Shirley. But they 134 00:05:54,880 --> 00:05:58,440 Speaker 1: are people today, you know. I think love Boat came 135 00:05:58,480 --> 00:06:02,039 Speaker 1: out in the seventies and there's a commercial that runs 136 00:06:02,080 --> 00:06:04,960 Speaker 1: today for the cruise line. I think it's the Princess 137 00:06:05,000 --> 00:06:08,640 Speaker 1: Cruise Line who uses that song, and they attribute that 138 00:06:08,800 --> 00:06:14,240 Speaker 1: song with the explosion of the cruise industry. Your song, you. 139 00:06:14,240 --> 00:06:17,560 Speaker 4: Know what, it could very well, have had a lot 140 00:06:17,560 --> 00:06:20,000 Speaker 4: of influence. When we did the show, there were just 141 00:06:20,080 --> 00:06:22,040 Speaker 4: two boats Princess lines. 142 00:06:22,440 --> 00:06:25,280 Speaker 1: Oh wow, and I was too built every month it's like. 143 00:06:25,240 --> 00:06:26,760 Speaker 4: Two thousands or something like that. 144 00:06:26,920 --> 00:06:29,919 Speaker 1: You know, but if you don't mind, I know that 145 00:06:30,080 --> 00:06:32,000 Speaker 1: you know we have a new audience, and I know 146 00:06:32,320 --> 00:06:34,880 Speaker 1: you know you're very respectful of not telling the same 147 00:06:34,920 --> 00:06:38,360 Speaker 1: story twice like my dad by can you tell that story? 148 00:06:38,400 --> 00:06:41,120 Speaker 1: It's one of my favorites about you writing the theme 149 00:06:41,200 --> 00:06:43,000 Speaker 1: song for the Love Boat and then having to play 150 00:06:43,000 --> 00:06:45,440 Speaker 1: it for Aaron Spelling. Sure, okay. 151 00:06:46,120 --> 00:06:50,120 Speaker 4: So when I'm when I met with Aaron Spelling and 152 00:06:50,200 --> 00:06:53,200 Speaker 4: Doug Kremer's partner, they says, so we have a show 153 00:06:53,200 --> 00:06:55,680 Speaker 4: that's like Love American Style, which is the show the 154 00:06:55,680 --> 00:06:57,360 Speaker 4: other show I did, and I work with the Kramber 155 00:06:57,440 --> 00:07:01,599 Speaker 4: in Paramount, And they said, basically, it's Loving rearkan Stall 156 00:07:01,720 --> 00:07:04,800 Speaker 4: different segments, but on a boat. And but we have 157 00:07:04,880 --> 00:07:08,839 Speaker 4: the same cast every week of people who work on 158 00:07:08,880 --> 00:07:12,800 Speaker 4: the boat, the captain and you know, the the people 159 00:07:12,840 --> 00:07:16,800 Speaker 4: who were on the ship and the entertained people. But 160 00:07:16,840 --> 00:07:18,960 Speaker 4: we have them, we have different stories, different people coming 161 00:07:19,040 --> 00:07:24,680 Speaker 4: on the boat. So I met with Aaron and when 162 00:07:24,720 --> 00:07:26,960 Speaker 4: I showed up with with a song with the love 163 00:07:27,000 --> 00:07:31,640 Speaker 4: Boat that Paul Williams wrote this wonderful lyric for he 164 00:07:31,640 --> 00:07:34,360 Speaker 4: He rubbed his two hands together like this and uh 165 00:07:34,960 --> 00:07:37,840 Speaker 4: and said, oh boy, what'd you bring me? Of course, 166 00:07:38,160 --> 00:07:41,080 Speaker 4: I was harried to write the song and and and 167 00:07:41,160 --> 00:07:44,280 Speaker 4: do the show and do the score. So I said, 168 00:07:44,320 --> 00:07:46,200 Speaker 4: I think we have a we have a good song. 169 00:07:46,280 --> 00:07:49,160 Speaker 4: I said, I made a demo with the band singers. 170 00:07:49,840 --> 00:07:52,080 Speaker 4: I said, do you have a tape ishing? This is 171 00:07:52,080 --> 00:07:56,160 Speaker 4: the seventies now, where tape machines existed, you know. And 172 00:07:56,200 --> 00:07:58,320 Speaker 4: he looked around as a usual office on the lot 173 00:07:58,320 --> 00:08:06,440 Speaker 4: of the Fox, and he said, no, no tape machine. 174 00:08:04,160 --> 00:08:04,960 Speaker 2: Real tape machine. 175 00:08:06,440 --> 00:08:08,040 Speaker 4: So and I said, all right, no problem. How about 176 00:08:08,040 --> 00:08:12,720 Speaker 4: a cassette machine. So he goes on his intercom with 177 00:08:12,800 --> 00:08:16,120 Speaker 4: his assistant says, would you bring in a cassette machine? 178 00:08:16,720 --> 00:08:19,200 Speaker 4: And she came back and mentioned, I'm sorry, mister spelling. 179 00:08:19,240 --> 00:08:20,560 Speaker 4: There's no cassette. 180 00:08:20,160 --> 00:08:22,800 Speaker 1: Machine on the whole Fox lot. There's nothing nothing. 181 00:08:23,440 --> 00:08:26,520 Speaker 4: So I said, well, well, here we are a lot 182 00:08:26,560 --> 00:08:30,000 Speaker 4: of twenty century Fox. There's lots of pianos around, you know, 183 00:08:31,280 --> 00:08:33,840 Speaker 4: let's just get a piano in one of the studios 184 00:08:34,040 --> 00:08:39,000 Speaker 4: or melt Brooks had a piano in his office. I say, sometimes, 185 00:08:39,080 --> 00:08:42,680 Speaker 4: let me use it and uh play songs for people. 186 00:08:43,480 --> 00:08:45,400 Speaker 4: And I said, how about that? And everything came back 187 00:08:45,440 --> 00:08:50,760 Speaker 4: and I'm sorry, mister starting there's no piano. So I 188 00:08:50,840 --> 00:08:54,120 Speaker 4: looked at him and kind of shrugged my shoulders and 189 00:08:54,200 --> 00:08:55,880 Speaker 4: he looks at me, like, what do we do now, 190 00:08:56,120 --> 00:08:58,880 Speaker 4: you know? And I said, all right, here goes Aaron, 191 00:09:00,040 --> 00:09:07,480 Speaker 4: and I just started singing love Exciting and new, snapping 192 00:09:07,520 --> 00:09:11,640 Speaker 4: my fingers like the love bote and he listens to 193 00:09:11,679 --> 00:09:14,120 Speaker 4: the whole thing and he said, I like it. Oh 194 00:09:14,160 --> 00:09:14,760 Speaker 4: that's great. 195 00:09:15,000 --> 00:09:17,480 Speaker 2: That's that's fantastic. That's a great story. 196 00:09:17,880 --> 00:09:21,280 Speaker 1: This is the song that cruise lines all over the 197 00:09:21,320 --> 00:09:26,240 Speaker 1: world attribute the popularity of current day cruising on the ocean. 198 00:09:26,440 --> 00:09:29,640 Speaker 1: Great to you know, to listen to that music because 199 00:09:29,640 --> 00:09:31,520 Speaker 1: you remember where you were, where at least I was 200 00:09:31,520 --> 00:09:34,439 Speaker 1: when I was a child, you know, watching these shows, 201 00:09:34,559 --> 00:09:37,439 Speaker 1: but everyone of them sounded different, like Love American Style 202 00:09:37,480 --> 00:09:40,640 Speaker 1: wouldn't be the same show without that theme song. And 203 00:09:40,720 --> 00:09:44,320 Speaker 1: because it was divided into you know, shorter pieces, it 204 00:09:44,360 --> 00:09:45,880 Speaker 1: wasn't a half hour comedy. I think it was like 205 00:09:45,920 --> 00:09:48,480 Speaker 1: ten minutes or so. You heard that theme song throughout 206 00:09:48,520 --> 00:09:51,760 Speaker 1: the show, and that again, that theme song made the show. 207 00:09:51,800 --> 00:09:53,680 Speaker 1: Without that theme song, I don't think the show lasts 208 00:09:54,679 --> 00:09:57,440 Speaker 1: so great to hear that that is true. It is 209 00:09:57,480 --> 00:10:02,320 Speaker 1: absolutely true. Love American style read the Red Butter and yeah, 210 00:10:02,360 --> 00:10:04,480 Speaker 1: we all know the lyrics from that. And I don't 211 00:10:04,520 --> 00:10:07,280 Speaker 1: think i've heard that song in thirty five years, but 212 00:10:07,320 --> 00:10:08,319 Speaker 1: I still remember. 213 00:10:08,040 --> 00:10:10,200 Speaker 4: It, you know, talking about the love boat. When they 214 00:10:10,240 --> 00:10:13,000 Speaker 4: would have one of the inaugurate their new love boats, 215 00:10:13,800 --> 00:10:16,160 Speaker 4: they very often asked Jack Jones, who was a great 216 00:10:16,160 --> 00:10:20,000 Speaker 4: singer dead it, to come down and inaugurate the boat 217 00:10:20,000 --> 00:10:22,560 Speaker 4: and sing the song. And one time they asked me, 218 00:10:22,640 --> 00:10:25,160 Speaker 4: and I went with Jacket and I kind of played 219 00:10:25,160 --> 00:10:27,920 Speaker 4: the piano and he sang, and that was a real trip. 220 00:10:28,280 --> 00:10:30,400 Speaker 4: They used that song and all their commercials. 221 00:10:30,720 --> 00:10:33,080 Speaker 1: Yeah, yeah, that's right, Yeah, all this time. 222 00:10:32,920 --> 00:10:36,079 Speaker 4: And it denotes a happy, adventurous time. You know what 223 00:10:36,840 --> 00:10:39,040 Speaker 4: I love the most about having been part of that. 224 00:10:39,600 --> 00:10:43,360 Speaker 4: Those shows I hear from a lot of people, and 225 00:10:43,440 --> 00:10:45,480 Speaker 4: I know this is true because I had this time experience. 226 00:10:45,880 --> 00:10:48,800 Speaker 4: Go back twenty years to thirty forty years. In fact, 227 00:10:50,120 --> 00:10:52,600 Speaker 4: kids growing up with their families sitting around the living 228 00:10:52,679 --> 00:10:56,040 Speaker 4: room watching turning on their favorite show, and it's more 229 00:10:56,080 --> 00:10:58,559 Speaker 4: than just hearing the song, more than hearing watching the show. 230 00:10:59,040 --> 00:11:03,720 Speaker 4: It denotes the kind of family time people relate as 231 00:11:03,760 --> 00:11:04,800 Speaker 4: part of the growing up. 232 00:11:04,960 --> 00:11:08,360 Speaker 1: Yeah, and when we heard this, like this song, Love 233 00:11:08,360 --> 00:11:10,480 Speaker 1: American Style, we got to take a quick break here. 234 00:11:10,600 --> 00:11:12,400 Speaker 1: When we come back, we'll talk about your newest album, 235 00:11:12,520 --> 00:11:14,439 Speaker 1: great that you have out. You're like a twenty five 236 00:11:14,520 --> 00:11:16,840 Speaker 1: year old banging these albums out. It's unbelievable. 237 00:11:17,800 --> 00:11:21,520 Speaker 5: You're listening to Tim Conway Junior on demand from KFI 238 00:11:21,800 --> 00:11:22,840 Speaker 5: AM six forty. 239 00:11:24,520 --> 00:11:28,560 Speaker 1: Charlie Fox joins us the world's greatest composer, and I 240 00:11:28,600 --> 00:11:30,640 Speaker 1: think he finally admitted that during the break, So I 241 00:11:31,040 --> 00:11:31,920 Speaker 1: think we're getting somewhere. 242 00:11:32,000 --> 00:11:33,679 Speaker 2: Ru I mean, you know, killing me softly. 243 00:11:33,760 --> 00:11:37,520 Speaker 3: We talked about the Love Boat, Same Love American Style, 244 00:11:37,600 --> 00:11:39,920 Speaker 3: all of this other stuff. But I wanted to ask 245 00:11:39,920 --> 00:11:43,040 Speaker 3: you about Jim Crochey's song I got a name. You 246 00:11:43,080 --> 00:11:48,439 Speaker 3: wrote that I did not. Oh, I'm asking sorry. I 247 00:11:48,440 --> 00:11:49,080 Speaker 3: should have known that. 248 00:11:50,320 --> 00:11:52,480 Speaker 4: You know, we wrote that Norman Gimblin. I wrote that 249 00:11:52,800 --> 00:11:55,880 Speaker 4: for a picture called The Last American Hero. Oh Wow, 250 00:11:56,120 --> 00:12:00,160 Speaker 4: for Jeff Bridges. And we wrote a song for this 251 00:12:00,400 --> 00:12:02,840 Speaker 4: kind of tough character who had a kind of a 252 00:12:02,880 --> 00:12:07,280 Speaker 4: gravelly voice. He was a race car driver in the movie. 253 00:12:07,520 --> 00:12:10,439 Speaker 4: His father had been sent away for having an illegal 254 00:12:10,559 --> 00:12:14,720 Speaker 4: still and he used to drive his father's illegal booze 255 00:12:15,000 --> 00:12:17,120 Speaker 4: and the cops are always chasing after him, and so 256 00:12:17,160 --> 00:12:19,920 Speaker 4: he became his father was sent away, he became a 257 00:12:20,000 --> 00:12:24,760 Speaker 4: race car driver. So we wrote this song and we 258 00:12:24,840 --> 00:12:28,240 Speaker 4: needed a singer to sing it. And actually it was 259 00:12:28,320 --> 00:12:30,240 Speaker 4: close to the time that we had to have a 260 00:12:30,280 --> 00:12:32,640 Speaker 4: record out to promote the film and to get into 261 00:12:32,679 --> 00:12:36,679 Speaker 4: the film itself. So there was this young singer coming 262 00:12:36,760 --> 00:12:40,120 Speaker 4: up named Jim Croche. He had a song out called 263 00:12:40,240 --> 00:12:44,120 Speaker 4: Operator Oh that played. It was all over the charts, 264 00:12:44,160 --> 00:12:48,360 Speaker 4: and we thought that his voice perfectly matched the character 265 00:12:48,960 --> 00:12:51,400 Speaker 4: in the film in our song. Oh, that's great. So 266 00:12:51,440 --> 00:12:55,800 Speaker 4: we called Jim over the phone and played the song 267 00:12:55,840 --> 00:12:58,520 Speaker 4: for him right over the phone, and he said, yeah, 268 00:12:58,520 --> 00:12:59,840 Speaker 4: I'll do it. I like that song. 269 00:13:00,240 --> 00:13:02,520 Speaker 1: This is the song. This is the song. Charlie ROAs 270 00:13:02,520 --> 00:13:06,720 Speaker 1: song was this huge, unbelievable huge. Are you critical of 271 00:13:06,760 --> 00:13:08,600 Speaker 1: the equality can? 272 00:13:08,960 --> 00:13:10,120 Speaker 4: I think it sounds beautiful? 273 00:13:10,240 --> 00:13:12,160 Speaker 1: Okay, but I mean like the quality of the recording 274 00:13:12,280 --> 00:13:16,120 Speaker 1: because I remember being with you. You owned Evergreen at 275 00:13:16,120 --> 00:13:19,600 Speaker 1: the time, A recording studio in Burbank and you had 276 00:13:19,600 --> 00:13:21,840 Speaker 1: a I think it was a seventy piece orchestra you 277 00:13:21,880 --> 00:13:25,400 Speaker 1: were doing scoring some movie. And then you stopped and 278 00:13:25,440 --> 00:13:27,839 Speaker 1: you said, oh, there's just something not right. And you said, 279 00:13:27,920 --> 00:13:30,000 Speaker 1: let me hear the horns, No, it's not there. Let 280 00:13:30,000 --> 00:13:31,959 Speaker 1: me hear the brass, it's not there. Let me hear 281 00:13:31,960 --> 00:13:34,559 Speaker 1: the violin, the piano. Wait, let's go back to the violins. 282 00:13:34,960 --> 00:13:37,720 Speaker 1: The four violins. Now you two, now you and you 283 00:13:37,760 --> 00:13:40,920 Speaker 1: picked out one string and one violin that was off, 284 00:13:41,360 --> 00:13:44,640 Speaker 1: and you stopped and she said, you're exactly right. I 285 00:13:44,679 --> 00:13:48,160 Speaker 1: don't know where that comes from. That means that that's 286 00:13:48,200 --> 00:13:50,160 Speaker 1: not a party trick too, because I saw you do 287 00:13:50,240 --> 00:13:52,360 Speaker 1: it in person. It's crazy. 288 00:13:52,600 --> 00:13:53,760 Speaker 4: What a story that is. 289 00:13:53,880 --> 00:13:57,640 Speaker 2: Yeah, right, I was going to ask you, I never 290 00:13:57,679 --> 00:14:00,800 Speaker 2: heard a story like that. It's a true story. I 291 00:14:00,920 --> 00:14:01,120 Speaker 2: was in. 292 00:14:01,240 --> 00:14:03,520 Speaker 1: I was with Robbie Fox in the studio when you 293 00:14:03,559 --> 00:14:06,520 Speaker 1: said there's something something on one of the violins. The 294 00:14:06,559 --> 00:14:10,280 Speaker 1: single of that one person you single out a violin player. 295 00:14:10,640 --> 00:14:13,520 Speaker 4: Don't tell me who that was. That's great, But let 296 00:14:13,559 --> 00:14:16,840 Speaker 4: me tell you about Jim Croaching. So when I heard 297 00:14:16,840 --> 00:14:19,640 Speaker 4: his voice and when he's agreed to do it. I 298 00:14:19,720 --> 00:14:21,760 Speaker 4: listened to his record, I got an idea of his 299 00:14:21,880 --> 00:14:24,400 Speaker 4: range of his voice, what notes, and I wrote a 300 00:14:24,400 --> 00:14:26,720 Speaker 4: full arrangement and I went to the studio twentieth century 301 00:14:26,800 --> 00:14:29,800 Speaker 4: Fox with an orchestra, strings and everything. I made a 302 00:14:29,840 --> 00:14:33,280 Speaker 4: track and I brought it uh to work with Jim, 303 00:14:34,200 --> 00:14:36,920 Speaker 4: and I came to his office and we said hello, hello, 304 00:14:36,960 --> 00:14:39,080 Speaker 4: and he said, let me have that song again. And 305 00:14:39,600 --> 00:14:42,360 Speaker 4: because I only heard over the phone, so I sat 306 00:14:42,440 --> 00:14:45,280 Speaker 4: on the piano and I played it for him, and 307 00:14:45,320 --> 00:14:47,400 Speaker 4: he said to me, I knew I'd have to sing 308 00:14:47,480 --> 00:14:49,280 Speaker 4: this song because I knew it would make me feel 309 00:14:49,280 --> 00:14:54,120 Speaker 4: closer to my father, Wow, who died before really his 310 00:14:55,520 --> 00:14:58,000 Speaker 4: important years, you know, and he was just he was 311 00:14:58,040 --> 00:15:03,320 Speaker 4: a young young child. Tragically happened to Jim. Jim died, 312 00:15:03,880 --> 00:15:06,920 Speaker 4: Actually he was just His record of my song was 313 00:15:07,000 --> 00:15:10,760 Speaker 4: just released and he was in the small plane that 314 00:15:10,840 --> 00:15:14,880 Speaker 4: went Wow. He is a nice little part of the 315 00:15:15,280 --> 00:15:19,400 Speaker 4: news story now. Aj his son is a great guitarist, 316 00:15:19,520 --> 00:15:22,440 Speaker 4: oh that's great, and a great singer. And it took 317 00:15:22,520 --> 00:15:24,880 Speaker 4: him years to come around to wanting to sing his 318 00:15:25,000 --> 00:15:27,600 Speaker 4: death song because of all the emotional aspect of it. 319 00:15:28,360 --> 00:15:31,280 Speaker 4: And he does an evening crow che sings crowch A 320 00:15:32,360 --> 00:15:35,080 Speaker 4: and uh, he'll ask me to play with him sometimes. 321 00:15:35,640 --> 00:15:37,520 Speaker 1: Is your son, Robbie Fox gonna do the same with 322 00:15:37,600 --> 00:15:40,120 Speaker 1: the Love Boat and Lavernon Shirley, he does it. 323 00:15:40,240 --> 00:15:41,040 Speaker 4: Yes, he's gonna run. 324 00:15:41,080 --> 00:15:43,440 Speaker 1: He's gonna come with his own album in his own way. 325 00:15:43,520 --> 00:15:45,160 Speaker 2: That's all right. 326 00:15:45,280 --> 00:15:46,840 Speaker 1: Charlie Fox's whether as we got to take a small 327 00:15:46,840 --> 00:15:48,960 Speaker 1: bright don't come back seriously? Talk about your new album, 328 00:15:49,160 --> 00:15:52,160 Speaker 1: A brand new album that's out now, and it's you're 329 00:15:52,160 --> 00:15:54,480 Speaker 1: gonna love it. We play some tracksmen, all right. It's 330 00:15:54,520 --> 00:15:57,080 Speaker 1: Conway and Thompson. Charlie Fox is whether it's the world's 331 00:15:57,080 --> 00:15:57,840 Speaker 1: greatest composer. 332 00:15:58,880 --> 00:16:02,600 Speaker 5: You're listening to Kim Conway Junior on demand from KFI 333 00:16:02,880 --> 00:16:03,920 Speaker 5: AM six forty. 334 00:16:05,680 --> 00:16:08,720 Speaker 1: Mark Thompson's here, Charlie Fox's brand new album. 335 00:16:08,920 --> 00:16:10,800 Speaker 2: That's the music from it, right, that's the music from it. 336 00:16:10,880 --> 00:16:11,040 Speaker 4: Yeah. 337 00:16:11,040 --> 00:16:14,000 Speaker 1: You might remember killing Me Softly, the theme song to 338 00:16:14,200 --> 00:16:18,920 Speaker 1: Laverne and Shirley, Love Boat, Happy Days, Wonder Woman, Paper Chase, 339 00:16:19,080 --> 00:16:21,160 Speaker 1: and of course the long Shot that you did with 340 00:16:21,400 --> 00:16:23,320 Speaker 1: Iced Tea and Tim Conway. I think that was your 341 00:16:23,360 --> 00:16:25,200 Speaker 1: only rap song you've ever the only rap. 342 00:16:25,080 --> 00:16:27,480 Speaker 4: Song Tim and I wrote a song again. He sang 343 00:16:27,640 --> 00:16:29,760 Speaker 4: yes with iced one of my great moments. 344 00:16:29,840 --> 00:16:31,440 Speaker 1: Huge it. I'm gonna play and we'll talk about the 345 00:16:31,440 --> 00:16:36,040 Speaker 1: Solid Solids album. Here is Tim Conway iced Tea singing 346 00:16:36,080 --> 00:16:38,720 Speaker 1: a song that Charlie Fox wrote for a movie called 347 00:16:38,720 --> 00:16:43,280 Speaker 1: The Long Shot, wrote with Okay, there we go, The 348 00:16:43,360 --> 00:16:45,920 Speaker 1: long Shot. I remember that like it was yesterday, Charlie. 349 00:16:45,960 --> 00:16:48,720 Speaker 4: When was I had fun doing that? I'll be honest, 350 00:16:48,840 --> 00:16:50,280 Speaker 4: See it sounds fun to hear it again. 351 00:16:50,680 --> 00:16:53,560 Speaker 1: Yeah, that had to be late eighties, early nineties. Oh really, Okay, 352 00:16:53,560 --> 00:16:57,960 Speaker 1: it's all right, your brand new album is taking off. 353 00:16:59,400 --> 00:16:59,720 Speaker 2: Huge. 354 00:17:00,160 --> 00:17:02,240 Speaker 1: It's huge, sixcess. 355 00:17:02,840 --> 00:17:07,160 Speaker 4: So this is an album of salsa Latin music. 356 00:17:07,280 --> 00:17:08,800 Speaker 1: Is this your first salt album? 357 00:17:09,040 --> 00:17:11,280 Speaker 4: No, it's my first album fifty years though. 358 00:17:11,400 --> 00:17:12,480 Speaker 1: Oh really is that right? 359 00:17:12,560 --> 00:17:16,119 Speaker 4: Wow? The very first album, when I was twenty two, okay, 360 00:17:16,400 --> 00:17:17,960 Speaker 4: was a salsa album. Wow? 361 00:17:18,080 --> 00:17:18,439 Speaker 2: Is that right? 362 00:17:18,440 --> 00:17:20,920 Speaker 4: I didn't know that. I had been old Spanish, didn't 363 00:17:20,920 --> 00:17:24,080 Speaker 4: speak Spanish. But the guy that got the beat, that's great, 364 00:17:24,200 --> 00:17:29,760 Speaker 4: And that record is what spurned me on to do 365 00:17:29,840 --> 00:17:34,040 Speaker 4: a new album. And that was in nineteen sixty two. 366 00:17:34,080 --> 00:17:36,320 Speaker 4: I had to say, it was a long ago, sixty years. 367 00:17:36,320 --> 00:17:39,359 Speaker 4: What am I saying? Wow? Oh my god? Yeah, almost 368 00:17:39,720 --> 00:17:41,920 Speaker 4: for me. I released a record in nineteen sixty two 369 00:17:42,080 --> 00:17:44,280 Speaker 4: and it was I don't know who was listening to it. 370 00:17:44,320 --> 00:17:46,439 Speaker 4: I was, but I was into Latin music. 371 00:17:46,600 --> 00:17:47,840 Speaker 1: How did you get into Latin music? 372 00:17:48,560 --> 00:17:50,800 Speaker 4: When I was about fifteen or sixteen years old, I 373 00:17:50,840 --> 00:17:54,480 Speaker 4: had my first band in the Castle Mountains and the band, 374 00:17:54,760 --> 00:17:57,080 Speaker 4: a couple of guys came up with one of the 375 00:17:57,080 --> 00:18:00,320 Speaker 4: big Latin bands. They came through our hotel there for 376 00:18:00,359 --> 00:18:03,239 Speaker 4: the summer, and the band was Randy call Us. They 377 00:18:03,240 --> 00:18:05,639 Speaker 4: invited us to hear Randy Callers. He was kind of 378 00:18:05,640 --> 00:18:08,480 Speaker 4: a big deal those days, right, and we went back 379 00:18:08,520 --> 00:18:10,600 Speaker 4: to hear him in his hotel was a big hotel, 380 00:18:10,680 --> 00:18:14,480 Speaker 4: and I saw these gorgeous women dancing the cool guys 381 00:18:14,560 --> 00:18:17,359 Speaker 4: was sweeping them off the feet and the rhythm of 382 00:18:17,400 --> 00:18:21,120 Speaker 4: the congachrome and the bongos and Latin music, and I said, 383 00:18:21,160 --> 00:18:23,240 Speaker 4: oh my god, I want to do this. This is 384 00:18:23,280 --> 00:18:26,520 Speaker 4: what I want to do music. So as crazy as 385 00:18:26,520 --> 00:18:29,600 Speaker 4: it sounds, I devoted myself to Latin music and I 386 00:18:29,720 --> 00:18:33,600 Speaker 4: spent the next few years buying records, listening, learning, and 387 00:18:34,160 --> 00:18:36,680 Speaker 4: eventually I got to play with some of the great 388 00:18:36,760 --> 00:18:41,639 Speaker 4: Latin Latin bands. A ride from Wow, Oh Yes, I 389 00:18:41,680 --> 00:18:42,600 Speaker 4: really got into that. 390 00:18:42,640 --> 00:18:45,080 Speaker 1: By the way, that's the sound of Mark opening the album. 391 00:18:47,680 --> 00:18:51,600 Speaker 4: Death. Anyway, So I made my first record nineteen sixty 392 00:18:51,640 --> 00:18:54,600 Speaker 4: two with what they call the Chattanga Band, which the 393 00:18:54,640 --> 00:18:58,520 Speaker 4: band you see a lot in Cuba that violins and flute, 394 00:18:58,560 --> 00:19:03,640 Speaker 4: no trumpets or saxophone. About four or five years ago 395 00:19:03,720 --> 00:19:07,480 Speaker 4: i'd put my name and the word salsa right into 396 00:19:07,640 --> 00:19:11,880 Speaker 4: the computer and it came up with all these young 397 00:19:11,920 --> 00:19:14,320 Speaker 4: people dancing to my record I made all those years 398 00:19:14,359 --> 00:19:15,920 Speaker 4: ago in thirty countries. 399 00:19:16,040 --> 00:19:16,960 Speaker 2: Oh that's wild. 400 00:19:17,119 --> 00:19:21,439 Speaker 4: Yeah, So the same record just kept alive. 401 00:19:21,600 --> 00:19:24,919 Speaker 1: So people for last thirty years have been dancing to 402 00:19:25,160 --> 00:19:28,800 Speaker 1: and playing your record that you released in nineteen sixty two. 403 00:19:28,880 --> 00:19:32,080 Speaker 1: Exactly right. Wow, I don't know that. Your son tells 404 00:19:32,080 --> 00:19:33,280 Speaker 1: me nothing about your life. 405 00:19:33,320 --> 00:19:35,040 Speaker 4: I didn't know that either, to be honest with you, 406 00:19:35,080 --> 00:19:38,080 Speaker 4: I really didn't. Why would I think so that is one. 407 00:19:38,160 --> 00:19:39,399 Speaker 4: So I said, you know what I want to do 408 00:19:39,760 --> 00:19:42,000 Speaker 4: a new Latin record. That's what I want to do. 409 00:19:42,160 --> 00:19:44,600 Speaker 1: So if you were if you went to you know, 410 00:19:44,880 --> 00:19:47,879 Speaker 1: you know, Brazil or you know, maybe Central America or 411 00:19:47,960 --> 00:19:50,280 Speaker 1: South America, and you and you said, well, I'm gonna 412 00:19:50,280 --> 00:19:52,440 Speaker 1: do a concert Charlie Fox playing this album, it'll probably 413 00:19:52,520 --> 00:19:53,480 Speaker 1: sold out. 414 00:19:54,200 --> 00:19:55,119 Speaker 4: That's a nice thought. 415 00:19:55,280 --> 00:19:57,280 Speaker 1: Yeah, I mean it's you know, been listening for thirty 416 00:19:57,359 --> 00:19:59,040 Speaker 1: years and the guy who wrote it is in town. 417 00:19:59,640 --> 00:20:02,040 Speaker 4: So this record I made in Havana. I did a 418 00:20:02,040 --> 00:20:06,760 Speaker 4: concert in Havanna. Is that righted live in Havana. And 419 00:20:06,800 --> 00:20:08,920 Speaker 4: actually what happened was I had a very good friend 420 00:20:09,200 --> 00:20:12,760 Speaker 4: tragically passed away recently. I gest to Alejandro, who was 421 00:20:12,760 --> 00:20:16,320 Speaker 4: one of the leading guys composers in Cuba, and I 422 00:20:16,400 --> 00:20:19,040 Speaker 4: told him I want to make a new record. And 423 00:20:19,040 --> 00:20:22,160 Speaker 4: the next thing I thought, I'd record maybe New York 424 00:20:22,200 --> 00:20:25,240 Speaker 4: and Puerto Rico with the great players. I just loved 425 00:20:25,240 --> 00:20:27,080 Speaker 4: playing them. If you want to know the truth, I 426 00:20:27,160 --> 00:20:30,159 Speaker 4: just love playing the piano and Latin band. That's my 427 00:20:30,280 --> 00:20:33,040 Speaker 4: sole reason for doing it. If someone called me and 428 00:20:33,080 --> 00:20:35,399 Speaker 4: asked me to play on Saturday night, I may have 429 00:20:35,560 --> 00:20:36,639 Speaker 4: never made a record. 430 00:20:36,800 --> 00:20:39,480 Speaker 1: Whose idea was it to do the concert in Havana? 431 00:20:39,560 --> 00:20:40,119 Speaker 1: Was that yours? 432 00:20:40,600 --> 00:20:43,320 Speaker 4: I got a call from the Minister of Culture of Cuba, 433 00:20:43,680 --> 00:20:46,240 Speaker 4: Oh Wow, asking me if I come to Cuba and 434 00:20:46,320 --> 00:20:47,360 Speaker 4: do some concerts. 435 00:20:47,760 --> 00:20:49,960 Speaker 1: And then then the record label said, can you pick 436 00:20:50,040 --> 00:20:52,720 Speaker 1: something more complicated than playing in Havana. 437 00:20:53,600 --> 00:20:57,000 Speaker 4: So they made it all. They put the fantastic band, 438 00:20:57,080 --> 00:21:00,440 Speaker 4: all the great players, had a big band, five singers, 439 00:21:00,520 --> 00:21:03,040 Speaker 4: and I did two kronstas at the opera. 440 00:21:03,160 --> 00:21:04,800 Speaker 1: Wow, did they? Did they tape those on me? Are 441 00:21:04,840 --> 00:21:05,960 Speaker 1: those on video somewhere? 442 00:21:06,640 --> 00:21:09,720 Speaker 4: Well? Yes? And actually some of the scenes were in 443 00:21:09,760 --> 00:21:11,520 Speaker 4: the documentary film of My Life. 444 00:21:11,520 --> 00:21:13,240 Speaker 1: Oh that's right, yes, yes, I remember that. 445 00:21:13,720 --> 00:21:15,320 Speaker 4: Cool killing me softly with the song. 446 00:21:15,440 --> 00:21:17,040 Speaker 1: Yeah, that was a great documentary. 447 00:21:17,080 --> 00:21:17,720 Speaker 4: You could see. 448 00:21:17,720 --> 00:21:20,960 Speaker 2: It's on It's on Amazon, right, yeah. 449 00:21:20,720 --> 00:21:23,600 Speaker 1: And Apple and right we got take break? Can you 450 00:21:23,600 --> 00:21:24,760 Speaker 1: come back? I mean, can you stay by this? 451 00:21:25,440 --> 00:21:25,720 Speaker 2: Okay? 452 00:21:25,800 --> 00:21:28,600 Speaker 1: Charlie Fox is here, He's not going anywhere. It's Conway Show. 453 00:21:28,600 --> 00:21:32,399 Speaker 1: Mark Thompson's here every Monday, and Charlie Fox, the world's 454 00:21:32,400 --> 00:21:34,919 Speaker 1: greatest composer. We'll talk more about his South album how 455 00:21:34,960 --> 00:21:37,520 Speaker 1: you can get it also, and uh maybe where he'll 456 00:21:37,520 --> 00:21:39,600 Speaker 1: be playing locally. You can go out and check them out. 457 00:21:40,480 --> 00:21:44,080 Speaker 5: You're listening to Tim conwaytun you're on demand from kf 458 00:21:44,119 --> 00:21:45,520 Speaker 5: I am six forty. 459 00:21:48,920 --> 00:21:50,919 Speaker 4: A lot of people say that he had my Latin 460 00:21:51,000 --> 00:21:54,280 Speaker 4: music in my American music because of the syncopatis, and 461 00:21:54,600 --> 00:21:58,520 Speaker 4: it's just become part of my language, you know. But 462 00:21:58,600 --> 00:22:01,439 Speaker 4: I'll tell you this. When I wrote a song, I 463 00:22:01,440 --> 00:22:04,520 Speaker 4: got a call when I late at night, maybe midnight, 464 00:22:04,560 --> 00:22:08,639 Speaker 4: from Doug, from Doug Kramer, who was the producer, and 465 00:22:08,680 --> 00:22:11,200 Speaker 4: he said, how's the song coming? I said great? He said, 466 00:22:11,240 --> 00:22:14,440 Speaker 4: can I hear it? I said yeah, but I'm hearing 467 00:22:14,520 --> 00:22:17,440 Speaker 4: music playing in the background. That's pretty loudy. He says, yeah, 468 00:22:17,440 --> 00:22:20,840 Speaker 4: I'm at a party. I said, well, how are you 469 00:22:20,880 --> 00:22:23,560 Speaker 4: going to hear it? Play it? He said, I'll hear it. 470 00:22:24,119 --> 00:22:24,760 Speaker 2: Oh, that's great. 471 00:22:24,840 --> 00:22:27,240 Speaker 4: So I played it and sang it into the phone 472 00:22:27,240 --> 00:22:29,440 Speaker 4: and he said, I love it. It's great, Okay, goodbye. 473 00:22:29,680 --> 00:22:32,359 Speaker 1: Wow, that's great. What a history of you just, you know, 474 00:22:32,680 --> 00:22:35,119 Speaker 1: playing there, you know, having to sing the theme songs 475 00:22:35,160 --> 00:22:37,080 Speaker 1: to people. You know, that's great. 476 00:22:37,320 --> 00:22:39,720 Speaker 4: It's stories you. 477 00:22:39,359 --> 00:22:42,520 Speaker 1: You have so many great stories. You knew you work. 478 00:22:42,600 --> 00:22:44,439 Speaker 1: You did nine to five? Right, the music for nine 479 00:22:44,480 --> 00:22:44,760 Speaker 1: to five? 480 00:22:44,840 --> 00:22:45,840 Speaker 4: I did? Yeah? 481 00:22:45,880 --> 00:22:48,280 Speaker 1: And did you meet Dolly Partons? Did do anything with her? 482 00:22:48,280 --> 00:22:48,959 Speaker 1: Did you work with her? 483 00:22:49,280 --> 00:22:51,240 Speaker 4: I did not work with I met her, I've met her, 484 00:22:51,240 --> 00:22:53,400 Speaker 4: but I did not work with her. She wrote the song, 485 00:22:53,600 --> 00:22:55,400 Speaker 4: she wrote a wonderful song, nine to five? 486 00:22:55,560 --> 00:22:56,080 Speaker 2: You wrote that? 487 00:22:56,400 --> 00:22:57,280 Speaker 4: No, she wrote that. 488 00:22:57,400 --> 00:22:59,320 Speaker 2: He wrote that song, but he did discord. I did 489 00:22:59,359 --> 00:23:00,440 Speaker 2: discord the radio. 490 00:23:00,520 --> 00:23:04,760 Speaker 1: Let's just say you wrote, so you wrote nine to five. 491 00:23:04,800 --> 00:23:10,000 Speaker 1: That's great, you wrote somebody wrote that, But also you 492 00:23:10,040 --> 00:23:11,840 Speaker 1: wrote you worked with Barry Manilow as well. 493 00:23:12,320 --> 00:23:14,679 Speaker 4: But probably we have to say this though, Dolly and 494 00:23:14,840 --> 00:23:16,800 Speaker 4: I did the score from nine to five. She did 495 00:23:16,840 --> 00:23:20,240 Speaker 4: the song, and we were nominated together. Oh that's great 496 00:23:20,400 --> 00:23:21,240 Speaker 4: for a Grammy award. 497 00:23:21,440 --> 00:23:22,240 Speaker 1: Oh, that's awesome. 498 00:23:22,320 --> 00:23:24,679 Speaker 3: You also were nominated for the Oscar. Weren't you for 499 00:23:24,720 --> 00:23:28,760 Speaker 3: the the theme from the movie that Tim's talking about? 500 00:23:28,880 --> 00:23:29,359 Speaker 2: Am I wrong? 501 00:23:29,480 --> 00:23:31,200 Speaker 1: The long shot? Wasn't that an Oscar winner? 502 00:23:31,600 --> 00:23:32,800 Speaker 4: That would have been nice to think? So? 503 00:23:32,960 --> 00:23:34,480 Speaker 3: Was it a Grammy or an Oscar? The one for 504 00:23:34,520 --> 00:23:36,880 Speaker 3: out of was it foul Play? What was well play? 505 00:23:37,000 --> 00:23:39,080 Speaker 4: Well? I was nominated for an Oscar? That was for 506 00:23:39,240 --> 00:23:41,440 Speaker 4: Barry Manilow Ready to Take a Chance Again? 507 00:23:41,720 --> 00:23:43,840 Speaker 1: Oh ready, that's one of the great songs of all time. 508 00:23:44,320 --> 00:23:48,359 Speaker 1: Ready to Take a Chance Again. You wrote that that's 509 00:23:48,400 --> 00:23:50,280 Speaker 1: one of the only very Manilo songs I know. 510 00:23:50,440 --> 00:23:51,840 Speaker 2: So that was a nice rendition. 511 00:23:51,880 --> 00:23:56,320 Speaker 1: I still have my Masculine card was great. He's a 512 00:23:56,320 --> 00:24:00,679 Speaker 1: great What about this man? How many Grammys do you have? 513 00:24:01,200 --> 00:24:03,320 Speaker 1: Just one for Killing Me Softly? 514 00:24:03,440 --> 00:24:05,320 Speaker 4: Yeah? For the best song of the year. 515 00:24:05,480 --> 00:24:07,840 Speaker 1: They've ripped you often. You should have twelve, you should 516 00:24:07,840 --> 00:24:08,360 Speaker 1: have twenty. 517 00:24:08,520 --> 00:24:10,600 Speaker 3: It does feel like you should have Well, you have 518 00:24:10,640 --> 00:24:12,720 Speaker 3: a lot of awards, but it feels like you should 519 00:24:12,760 --> 00:24:13,480 Speaker 3: have more Grammys. 520 00:24:13,920 --> 00:24:15,280 Speaker 4: Well, maybe you could speak. 521 00:24:15,320 --> 00:24:17,920 Speaker 1: I'll talk to somebody about that, maybe maybe the maybe 522 00:24:18,480 --> 00:24:22,000 Speaker 1: the Grammy. You know, the nominating board is pissed that 523 00:24:22,040 --> 00:24:24,720 Speaker 1: you ripped off Vin Scully's luggage. Is that true? 524 00:24:24,720 --> 00:24:25,040 Speaker 2: Story? 525 00:24:25,119 --> 00:24:27,720 Speaker 4: He did mine? He took my suit. 526 00:24:27,800 --> 00:24:31,080 Speaker 1: Wait, Vin Scully took your suit from the airport. 527 00:24:31,240 --> 00:24:33,959 Speaker 4: Yes, that's cue. I don't think it did on purpose, 528 00:24:33,960 --> 00:24:37,320 Speaker 4: you get even or anything. It's just accidental. But I'm 529 00:24:37,320 --> 00:24:38,120 Speaker 4: got to get it back. 530 00:24:38,640 --> 00:24:40,920 Speaker 1: Are you be performing anywhere locally? Can people come out 531 00:24:40,920 --> 00:24:41,240 Speaker 1: and see you? 532 00:24:41,280 --> 00:24:43,120 Speaker 4: And you know what I do from time to time, 533 00:24:43,160 --> 00:24:47,480 Speaker 4: I do an evening at Vibrato. That's right, Oh, Beverly Glenn. 534 00:24:47,240 --> 00:24:50,800 Speaker 1: Yeah, I saw you up there. Yeah, that was there. 535 00:24:51,119 --> 00:24:53,760 Speaker 4: But I feel like playing the piano with the Latin 536 00:24:53,800 --> 00:24:56,399 Speaker 4: band and you know, did my songs and bring in 537 00:24:56,440 --> 00:24:59,840 Speaker 4: too many singers into too big a band for the state. 538 00:25:00,359 --> 00:25:00,719 Speaker 2: Charlie. 539 00:25:00,880 --> 00:25:04,159 Speaker 1: I love that you came in when you called me 540 00:25:04,240 --> 00:25:07,280 Speaker 1: the other day, you personally called me the other day, 541 00:25:07,480 --> 00:25:10,640 Speaker 1: I felt like my dad was called me. I really did. 542 00:25:10,880 --> 00:25:13,200 Speaker 1: I felt like, wow, you know, Charlie Fox has called me. 543 00:25:13,240 --> 00:25:15,120 Speaker 1: And I saw the number light up. I'm like, that's 544 00:25:15,200 --> 00:25:18,560 Speaker 1: exactly like like it's close to my dad's number. You're 545 00:25:18,640 --> 00:25:23,160 Speaker 1: very close in age and and just you know, likability 546 00:25:23,320 --> 00:25:25,440 Speaker 1: and talent like my dad. And I felt like, this 547 00:25:25,480 --> 00:25:27,240 Speaker 1: is a guy I've known my entire life, and I 548 00:25:27,280 --> 00:25:28,840 Speaker 1: felt like my dad was that's the nicest thing. 549 00:25:29,320 --> 00:25:31,920 Speaker 4: It's really true. I loved you, and I'll tell you this. 550 00:25:32,000 --> 00:25:34,720 Speaker 4: I used to call him from time to time, and 551 00:25:35,600 --> 00:25:37,160 Speaker 4: I used to hope he didn't pick up the phone 552 00:25:38,240 --> 00:25:42,560 Speaker 4: because his messing machine. It was the greatest message ever, right, 553 00:25:42,720 --> 00:25:45,600 Speaker 4: he whispered into the phone. I can't talk very loud 554 00:25:46,400 --> 00:25:49,280 Speaker 4: because Charlene is singing. 555 00:25:52,320 --> 00:25:54,600 Speaker 1: Thank you for coming in, Charlie. I really appreciate it. 556 00:25:55,240 --> 00:25:58,639 Speaker 1: People can buy the album on Amazon. I give us 557 00:25:58,680 --> 00:26:02,920 Speaker 1: the title again for the album Salsa Till Dawn Salsa 558 00:26:03,320 --> 00:26:08,840 Speaker 1: Till Dawn, And you can go purchase that and some 559 00:26:09,160 --> 00:26:12,560 Speaker 1: in all the usual places and you can download it 560 00:26:12,680 --> 00:26:14,760 Speaker 1: or old fashioned like me, you can get the CD 561 00:26:15,600 --> 00:26:17,520 Speaker 1: and you have a CD player in your car. 562 00:26:17,920 --> 00:26:19,840 Speaker 4: I do I do, I do? Well? You have a 563 00:26:19,880 --> 00:26:20,760 Speaker 4: twenty year old car. 564 00:26:20,960 --> 00:26:23,200 Speaker 1: I have a Lincoln Navigator, and we have the CD player. 565 00:26:23,240 --> 00:26:24,800 Speaker 4: So you know what, when I need to hear a 566 00:26:24,920 --> 00:26:25,800 Speaker 4: CD coming. 567 00:26:25,680 --> 00:26:28,880 Speaker 1: Up, I'll come over to your house and bleave the car. 568 00:26:29,600 --> 00:26:30,960 Speaker 1: Thank you so much for coming in. 569 00:26:31,080 --> 00:26:33,840 Speaker 4: A good pleasure. You guys have wonderful Carlo Fox. 570 00:26:33,880 --> 00:26:38,560 Speaker 1: Everybody. We're live on KIM six forty Conway Show, on 571 00:26:38,680 --> 00:26:42,120 Speaker 1: demand on the iHeart Radio app. Now you can always 572 00:26:42,119 --> 00:26:44,960 Speaker 1: hear us live on kf I am six forty four 573 00:26:45,000 --> 00:26:49,160 Speaker 1: to seven pm Monday through Friday, and anytime on demand 574 00:26:49,440 --> 00:26:51,159 Speaker 1: on the iHeart Radio app