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Speaker 1: This is Alec Baldwin and you're listening to Here's the

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Speaker 1: Thing from iHeart Radio. Billy Joel's fans have gotten to

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Speaker 1: know him quite well over the past four decades.

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Speaker 2: Don't go change it.

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Speaker 1: To dry please me.

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Speaker 3: You never let me down before.

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Speaker 1: From the open hearted declarations of old fashioned love and

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Speaker 1: She's Got Away and just the way you are to

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Speaker 1: the hard rocking social commentaries we didn't start the fire

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Speaker 1: and Alentown we're living here sunny. If like me, you

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Speaker 1: grew up listening to Billy Joel's music, you can chart

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Speaker 1: phases of your life by each of his albums. Maybe

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Speaker 1: that's because Billy Joel's songs are so passionately connected to

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Speaker 1: who he was at the time he wrote them. No, No,

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Speaker 1: testing one two, testing one two three, And when you're

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Speaker 1: actually sitting in the same room as him with a

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Speaker 1: piano nearby, well you can't help yourself. I stilways. Remember

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Speaker 1: you said that to me years ago, how predictable it

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Speaker 1: was wherever you were that there was a piano. Bots like,

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Speaker 1: Billy could you eh, do you mind right? We just

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Speaker 1: a couple of songs, Yeah, that's your life.

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Speaker 4: Yes, but you know it's fun. You can't have act alongs.

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Speaker 4: You're an act you can't act along, but you can

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Speaker 4: have sing alongs. I can always sit down at a party,

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Speaker 4: play the piano and everybody starts singing.

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Speaker 1: I go to a pub in England, Hey, come on,

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Speaker 1: vinegarys and having his owns go there. You go, yes,

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Speaker 1: uptown girl up and they all sin around and sing

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Speaker 1: and everybody has a bliss. It's fun. It creates a

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Speaker 1: community instantly. Billy Joel is the third best selling solo

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Speaker 1: artist of all time in the United States. He sold

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Speaker 1: more records than The Stones, Bruce Springsteen, and Madonna, but

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Speaker 1: he admits there's still room for improvement.

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Speaker 4: I know what good piano playing is, and I'm not good.

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Speaker 4: My left hand is lame. I have a two finger

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Speaker 4: left hand piano player, as opposed to post to somebody

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Speaker 4: who knows what they're doing with their left hand. I

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Speaker 4: never practiced enough to use all my fingers on my

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Speaker 4: left hand, so I just play octaves, bass notes. My

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Speaker 4: right hand tries to compensate for my left hand being

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Speaker 4: so GIMPI, so I overplay on my right hand. My

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Speaker 4: technique is horrible. I can't read music. I never really

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Speaker 4: don't read music. I used to, but I don't anymore.

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Speaker 1: I forgot how So if I took a piece of

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Speaker 1: music that you didn't know, if I got a score,

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Speaker 1: I wouldn't. And I put in videos to play this,

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Speaker 1: I would not. It would be Chinese. It would be

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Speaker 1: Chinese too. Yeah, I don't know how did that happen.

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Speaker 1: It's like a language. If you stop speaking it often enough,

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Speaker 1: you can't forget. When did you stop?

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Speaker 4: In one Dances with Wolves, she forgot how to speak English.

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Speaker 4: I started taking lessons when I was about four or five,

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Speaker 4: and I went up till I was about sixteen, so

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Speaker 4: it was almost twelve years.

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Speaker 1: Of classical piano lessons.

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Speaker 4: I loved it, but I just when you become a teenager,

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Speaker 4: everything changes. I didn't want to read other people's dots anymore.

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Speaker 4: And I also realized early on, I'm not going to

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Speaker 4: be a concert pianist. I don't have the rockmanning Off hands,

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Speaker 4: the Horowitz hands. I had strong hands, but the short fingers.

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Speaker 1: You were Johnny Frimley's hands. Who's Johnny Frimly from on

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Speaker 1: the waterfront?

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Speaker 3: Oh?

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Speaker 1: You were a union boss doing the shape up down

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Speaker 1: to the dock and hopboken. Yeah, yeah, you're not you're not.

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Speaker 1: It was my brother. You stoildn't taken better care of me, Charlie.

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Speaker 5: He should have looked out for me, Charli, just a

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Speaker 5: little bit, a little bit. So what did I get it?

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Speaker 1: One way?

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Speaker 5: Thick of I'm a bum, Charlie. Let's face it, that's

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Speaker 5: what I am.

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Speaker 1: That's what I am. So you're a kid and you

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Speaker 1: was there an intimation in your household? There was a

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Speaker 1: classical music, right, my faical music. Yeah.

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Speaker 4: He was a classically playing trained pianist. He grew up

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Speaker 4: in Nuremberg, Germany, and he also went to school in Switzerland.

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Speaker 4: His father was quite well off. They had a mail

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Speaker 4: order textile business, Joel Mocht fabric. So he had learned

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Speaker 4: to play the piano. It was a very musical family.

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Speaker 4: He could play chopin, he could play all the great stuff.

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Speaker 4: He should have become a musician. He became an engineer.

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Speaker 4: He worked for ge and then he was in promotion.

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Speaker 4: But he was never really happy because he didn't become

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Speaker 4: a musician. We had an old, upright piano in the house,

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Speaker 4: a leicster piano, real piece of junk, and I happened

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Speaker 4: to inherit that thing and ended up being a planter

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Speaker 4: in the garden.

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Speaker 1: My mom used it to grow a honeysuckle. She sang.

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Speaker 4: Her family were all singing Gilbert and Sullivan, English music

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Speaker 4: hall people. Her family was English, so I grew up

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Speaker 4: in a very musical home. I heard music all the time.

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Speaker 4: My father was playing, my mother would sing. Radio was

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Speaker 4: always on, listening.

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Speaker 5: To Milton Cross on the Opera. On Sunday, Leonorda enters

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Speaker 5: wearing a white gum.

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Speaker 1: So I used to bang on the piano.

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Speaker 4: My mom got sick of hearing me bang, and she

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Speaker 4: dragged me down the street and I started taking lessons,

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Speaker 4: and I took to it.

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Speaker 1: You and the lester, and your mother and your father.

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Speaker 1: Where is this the Bronx. This is in Hicksville. Everybody

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Speaker 1: was in Hicksville. We were in Hicksville when my family

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Speaker 1: moved with me out of the Bronx. When I was

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Speaker 1: a baby, I think maybe a year old. Basically grew

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Speaker 1: up on the island.

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Speaker 4: I grew up on the island in the Levittown section

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Speaker 4: of Hicksville. We had a Levett house, you know, the

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Speaker 4: cape cod on the quarter acre. Everybody's house looked the same,

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Speaker 4: started out looking the same. Now it doesn't look anything

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Speaker 4: like Levittown, right like my town.

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Speaker 1: Yeah, sixteen years old, Hicksville, Long Island, Vietnam War going on, Yes,

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Speaker 1: very very tumultuous times, and all of a sudden, what

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Speaker 1: do you decide you want to do well?

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Speaker 4: I joined a band when I was fourteen. I was

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Speaker 4: asked to be in a band, the Echoes. This was

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Speaker 4: the Echoes garage band. All guitars because there really were

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Speaker 4: no keyboards that you could amplify. I played the piano.

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Speaker 4: I never played the organ. Finally figured out how to

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Speaker 4: amplify keyboards. I think the Dave Clark five was the

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Speaker 4: first band that had an organ. You could hear a

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Speaker 4: vox organ.

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Speaker 1: It was cool, pieces, bits and pieces, and I'm feeling

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Speaker 1: it's the most unglad sounding song. He was constant you,

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Speaker 1: so you amplify the keyboard. We got an organ and

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Speaker 1: I and I was.

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Speaker 4: They decided I had the best voice in the band,

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Speaker 4: which isn't really saying much because nobody could sing all

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Speaker 4: that well in the band. We couldn't even harmonize. We're

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Speaker 4: very bad singers. But they decided you would have got

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Speaker 4: the best voice. You'll sing the songs.

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Speaker 1: Okay, how did you feel about that.

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Speaker 4: I felt a little funny about it because I'm not

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Speaker 4: a front man where you stay with Michael mc jagger.

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Speaker 4: I didn't have the mic jagger moves. I had a keyboard.

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Speaker 4: You kind of locked in. You can't move around. You

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Speaker 4: can't carry a keyboard around unless you were accordion player.

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Speaker 4: And that looks like Lawrence welk Avan. Then the two

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Speaker 4: so I stood at the piano or I sat at

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Speaker 4: the piano. But then I realized, you know, that girl

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Speaker 4: I always had a crush on, is actually looking at me.

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Speaker 4: She never looked at me twice all those years in school.

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Speaker 4: And we're playing at the Holy Family Church, the church dance.

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Speaker 4: I was about fifteen sixteen. Virginia is looking at me.

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Speaker 1: You know, come out Virginia at that Virginia she's looking

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Speaker 1: I said, my my god, she's looking at me. And

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Speaker 1: the band sounded great. I love what I was doing.

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Speaker 1: The crowd went yay.

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Speaker 4: When we finished every song, and at the end of

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Speaker 4: the night, the priest gave us each fifteen dollars, which

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Speaker 4: in nineteen sixty five was fifteen hundred dollars.

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Speaker 1: That was it.

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Speaker 4: The door locked behind me. This is what I'm going

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Speaker 4: to do. I don't want to go to Corneghill anyway,

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Speaker 4: And I ended up going to Corneghill anyway. What music

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Speaker 4: were you performing covers of other people? Jukebox bands were

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Speaker 4: playing early Beatles, Stones, Sam de Sham and.

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Speaker 1: The Finger in that time when you're seeing Tommy James

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Speaker 1: and the Chandell's and all that music. Who were you

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Speaker 1: saying to yourself, if at all, were you saying, that's

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Speaker 1: why I want to be That's why I really admire

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Speaker 1: or look up to, or I think I want to

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Speaker 1: have his career.

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Speaker 4: Well, I liked a lot of different kinds of music.

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Speaker 4: I already came out of a classical background, and I

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Speaker 4: really dug jazz when I was in my early teens.

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Speaker 4: Dave brew Beck, Scarpedison, Art Tatum, Jimmy Smith, Bill Evans.

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Speaker 4: I loved jazz. But I realized I ain't gonna be

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Speaker 4: one of those guys either. Why because I wasn't a

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Speaker 4: good enough pianist.

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Speaker 1: I mean, these guys are as virtuostick, virtuistic what virtuostic virtuostick?

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Speaker 1: They're good good, They're just really good. I mean the

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Speaker 1: top of the line, guys at the top of the

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Speaker 1: line in classical and jazz. They could have gone either way.

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Speaker 4: The top of line classical guys, how they decided to

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Speaker 4: be jazz guys could have been just as good as

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Speaker 4: the top jazz guys, and vice versa.

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Speaker 1: I wasn't good enough. I was good enough to play

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Speaker 1: rock and roll and pop.

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Speaker 4: But when I really fell in love with as a

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Speaker 4: teenager with girls and stuff was first.

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Speaker 1: I like soul music.

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Speaker 4: James Brown, Wilson, Pickett, Otis Redding, the Temptations, Marvin Gay,

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Speaker 4: Marvin Gay, Smokey Robinson, Gladys.

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Speaker 1: I mean, I just loved Did you cover that music

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Speaker 1: as well? I try to?

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Speaker 4: You know, well, it was all you know they were.

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Speaker 4: They were all white people, yeah, exactly. And there wasn't

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Speaker 4: Long Island. There wasn't anybody but white people in my school.

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Speaker 4: I think there were a couple of Jews, some Latinos.

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Speaker 4: That was sprinklings. But everybody's white. But everybody likes me

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Speaker 4: it twist and shout what everybody would do?

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Speaker 1: Come on now, shout, come on? Yeah, and Louis Louis.

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Speaker 1: I think there was the Kingsman. What I say, Ray Charles,

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Speaker 1: So you the girl all dressed in green and you'd

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Speaker 1: make up really dirty words to that. We came up

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Speaker 1: with some really good stuff.

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Speaker 4: So I love that stuff. And then the Beatles came

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Speaker 4: around and there was boom. Four working class guys from Liverpool,

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Speaker 4: which is as close to Levittown in England, I think,

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Speaker 4: and sounding anyway, then you can be okay if four

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Speaker 4: guys from Liverpool, yeah, Liverpool.

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Speaker 1: And it's possible. It's possible. They don't look like.

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Speaker 4: Frankie Avalon, they don't look like Bobby ry Dell. They

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Speaker 4: look like four working class guys from anywhere. They could

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Speaker 4: be from Ckxville, they could be from Livetown. So I said,

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Speaker 4: that's that's possible. That's what I want to do. I

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Speaker 4: want to write my own songs.

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Speaker 1: I want to play in my own band, do our

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Speaker 1: own arrangements and make our own way.

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Speaker 4: When did that start? This is before the Echoes, before

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Speaker 4: before I joined the band. The Beatles came out.

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Speaker 1: You were a kid. I was a kid.

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Speaker 4: I was thirteen and you started writing music. Yes, started

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Speaker 4: writing Arizot's Beatles songs.

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Speaker 5: Well, I climbed the highest mountaine trying to sound Liverpolon

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Speaker 5: live Apudlian, Pudlian, Yeah, you know, she don't love me

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Speaker 5: like before my own song she Don't Love Me Anymore,

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Speaker 5: But I believed all the lad she told me.

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Speaker 1: Ah ah, you know that kind of thing, trying to

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Speaker 1: sound like the early Beatles. And it was fun.

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Speaker 4: It was a lot of fun. But I was asked

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Speaker 4: to join a band after the Beatles came out. Now

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Speaker 4: you got to remember November of sixty three, John F.

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Speaker 4: Kennedy is assassinated. The country goes into the dumps. Even

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Speaker 4: though we didn't know that much about politics or government,

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Speaker 4: he was our guy. He would the young, vigorous progressive.

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Speaker 4: He represented youth and vigor and he was booming. He

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Speaker 4: was shot taken away, and everybody just turned off, like

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Speaker 4: a switch turned off. We became very cynical to press.

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Speaker 4: The whole nation had the blues. February of sixty four,

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Speaker 4: who comes out? The Beatles come to America. We took

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Speaker 4: them in. We just embraced oxygen that they walked into

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Speaker 4: that space, hopeful, funny, it was they were warm.

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Speaker 1: Yes, everything everything that was taken away from us, great,

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Speaker 1: let's go have a party. Let's party. So you start

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Speaker 1: writing songs and you're saying, airsat's Beatles songs. What's the

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Speaker 1: first song you write that you can remember? Was called

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Speaker 1: My Journey's End. I could play it. I fil me too.

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Speaker 2: Let's it We'll climb the highest mountain, swim with Dick.

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Speaker 1: If I knew you were there at my journeys and.

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Speaker 6: Waiting for me, I can tell them the letters.

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Speaker 1: That you you said, jes I go anywhere.

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Speaker 3: If I know you were waiting at my journey, He's in.

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Speaker 1: What's the first song you wrote that was on a

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Speaker 1: record that you sold? Can you remember?

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Speaker 7: Well?

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Speaker 4: It was probably in the Hassles. The Hassles sold records

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Speaker 4: a few on Long Island, probably maybe Jersey.

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Speaker 1: At the Woodrow Wilson rest stop.

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Speaker 4: Yes, I think it was the Coffee chot Full of

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Speaker 4: Nuts in Paramus, because we opened it. We Hassles played

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Speaker 4: at the opening the first time.

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Speaker 1: I we sold anything.

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Speaker 4: So I was signed originally with the Echoes to Mercury Records,

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Speaker 4: and we changed the name to The Lost Souls. Were

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Speaker 4: the Lost For a while, we made a couple of records.

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Speaker 4: Nothing ever happened. Uh what was the other one? Though

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Speaker 4: she don't.

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Speaker 1: Love me A lot of people she don't love me

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Speaker 1: any more.

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Speaker 8: I believe all the last she told me.

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Speaker 1: Don't you know it's true that she stole me away from.

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Speaker 5: My true love and Nama lul Love doesn't love me anymore.

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Speaker 1: Almost like mister Mike. That's like the Beatles.

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Speaker 4: And then we became the Lost Souls, and it turns

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Speaker 4: out there was an English band called the Lost Soul,

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Speaker 4: so we had to change our name. So the president

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Speaker 4: of Mercury Records, brilliant guy at the time, So, okay,

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Speaker 4: we're gonna give you a new name, the Commandos Vietnamers.

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Speaker 1: Sure at the time, you're gonna be the Commandosh we

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Speaker 1: hate that name. Nobody likes or yeah, no, we likes

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Speaker 1: that stuff.

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Speaker 4: I know you're gonna be the comand it's gonna be

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Speaker 4: great and we're gonna get your outfits. And so that

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Speaker 4: lasted about fifteen minutes and we got dumped off the label.

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Speaker 1: So it's Echo Lost Souls, Lost Souls and then command

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Speaker 1: Mandos for a weekend. For a weekend. It opened up

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Speaker 1: one quick chuck full of nuts.

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Speaker 4: And then I there was a band on Long Island

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Speaker 4: which was making a lot of local noise called the Hassles.

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Speaker 4: They asked me to join the guys in my band

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Speaker 4: and the Echoes, Lost Souls Commandos Room. They were all

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Speaker 4: going on to either the military or college. None of

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Speaker 4: them were really seriously going to be musicians except the

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Speaker 4: bass player. And I said, I'll join all right, I'll

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Speaker 4: join the Hassles. They wanted me to play organ I'll

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Speaker 4: join the if I can bring my bass player with

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Speaker 4: me because they didn't have a bass player. They said okay,

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Speaker 4: So that became the Hassles. And then there was another guy.

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Speaker 4: He got a lot of Mick Jagger moves, Little John.

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Speaker 4: His name was fun, great hair, good looking guy, couldn't

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Speaker 4: sing to save his.

293
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Speaker 1: Ass, didn't matter, you can wiggle it.

294
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Speaker 4: He was gorgeous and women just went nuts and I'm

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Speaker 4: in the back door were death well, but they had eyes,

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Speaker 4: you know, they could they.

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Speaker 1: Could see the music video killed the radio absolutely glad.

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Speaker 4: I came up in an air where it wasn't that

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Speaker 4: prep record. So then I was in the Hassles. Now,

300
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Speaker 4: the Hassles were a band, blue white soul band. There

301
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Speaker 4: were a bunch of them. The Vagrants was another one.

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Speaker 3: Uh.

303
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Speaker 4: They used to play at the Action House all the

304
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Speaker 4: time on Long Island. We made two albums with the

305
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Speaker 4: United Artists and they both bombed out. That that's the

306
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Speaker 4: first time we started selling anything. Every step I take.

307
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Speaker 4: Was the first song that I wrote that actually sold something.

308
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Speaker 1: Was the vamp Everything I Do I don't know. The

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00:15:39,560 --> 00:15:43,920
Speaker 1: chorus went every step by say, every move I made.

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Speaker 1: You know, I'm trying to a knife with that, I

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Speaker 1: turned eye run, eye hid really no, deep inside, A

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Speaker 1: part of me has died. He said, like, I didn't

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Speaker 1: know you wrote that. That's great. That's how my father

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Speaker 1: used to tell it. Sounded like Pompey. Yeah.

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Speaker 4: So that was probably the first thing that solo was

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Speaker 4: on the first Hassle's album. I think we saw a

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Speaker 4: dozen copies and I actually heard it on the radio once.

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Speaker 4: But our big single was actually a cover of a

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Speaker 4: Sam and Dave record, You Got Me Humming.

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Speaker 1: I don't know what you got but it's good too, man.

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Speaker 1: You got Me Humming, You got Me Huming. It's a

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Speaker 1: big song by Sam and Dave.

323
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Speaker 4: Everybody was covering soul records and doing them psychedelic or

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Speaker 4: doing their own arrangements of them. That was the Hassles hit.

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Speaker 4: First time was horrible, This second hal was really horrible.

326
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Speaker 4: And then I, me and the drummers split off from

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Speaker 4: the Hassles to form a power duo like I.

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Speaker 1: Played Simon and Garfuncle. Yes, sure, we were.

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Speaker 4: Going to destroy the world with amplification. This was like

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Speaker 4: the heavy metal thing we heard Zeppelin.

331
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Speaker 9: It blew on mind Iron Butterfly, Gotta DaVita.

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Speaker 1: Don't you know that I love you? Ye went on

333
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Speaker 1: and on and on. We tried to are we listening

334
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Speaker 1: to that? Because that's what there was? A Garden of Eden?

335
00:17:43,359 --> 00:17:44,320
Speaker 1: Isn't that what someone said? There was?

336
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Speaker 3: That was?

337
00:17:44,640 --> 00:17:46,840
Speaker 1: That was like a nonsense lyric. A friend of mine

338
00:17:46,840 --> 00:17:48,240
Speaker 1: knows the guy that wrote that song. I think I

339
00:17:48,480 --> 00:17:50,760
Speaker 1: think he was trying to say, in the Garden of Eden,

340
00:17:50,840 --> 00:17:54,720
Speaker 1: you actually know the lyrics to it? Divita. Yeah, that's

341
00:17:54,760 --> 00:17:56,560
Speaker 1: all I know in a Gotta DaVita. I don't remember

342
00:17:56,560 --> 00:17:57,879
Speaker 1: the rest of it. I remember he explained that he

343
00:17:57,960 --> 00:17:59,560
Speaker 1: was at a party in La years ago that they

344
00:17:59,600 --> 00:18:06,320
Speaker 1: were really in the game. He made a gibberish version,

345
00:18:06,480 --> 00:18:10,400
Speaker 1: so their bail out lyrics. Okay. So when you get

346
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Speaker 1: to this point where you say, a couple albums the

347
00:18:14,040 --> 00:18:18,960
Speaker 1: hassles and then when is it you Well, it's what happened.

348
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Speaker 4: The band's got small and smaller and smaller. The Attila

349
00:18:21,960 --> 00:18:23,119
Speaker 4: became a two man band.

350
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Speaker 1: So when you and he went off, we went with

351
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Speaker 1: Attila was the two of you. Attila was just the

352
00:18:27,720 --> 00:18:30,000
Speaker 1: two of them. What did he play? He played drums, drums.

353
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Speaker 4: I played Hammond organ wired directly through ham We're getting closer.

354
00:18:34,119 --> 00:18:36,359
Speaker 1: To Lawrence Welk. Now the more we go, it's getting closer.

355
00:18:36,560 --> 00:18:38,399
Speaker 1: I almost got that, according but it was louder. It

356
00:18:38,480 --> 00:18:39,320
Speaker 1: was much louder.

357
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Speaker 4: And we got signed to Epic, and we were on

358
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Speaker 4: Epic for one album and it was in colossal failure.

359
00:18:45,960 --> 00:18:48,520
Speaker 4: We played one gig I think it was on Ungano's

360
00:18:48,640 --> 00:18:52,120
Speaker 4: on the West Side in Manhattan, and people went fleeing

361
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Speaker 4: from the place. We were so loud you could see

362
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Speaker 4: blood coming out of his ears, which is horrible. Thank

363
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Speaker 4: god it didn't happen, because I would have screamed myself

364
00:19:00,480 --> 00:19:01,760
Speaker 4: out of the right, out of the business.

365
00:19:01,880 --> 00:19:03,880
Speaker 1: So after you nearly kill a room full of people at.

366
00:19:03,800 --> 00:19:06,160
Speaker 4: On Commomy and then what happens then that we broke

367
00:19:06,240 --> 00:19:08,679
Speaker 4: up and I decided I no longer want to be

368
00:19:08,800 --> 00:19:11,119
Speaker 4: a rock and roll star. I got that out of

369
00:19:11,119 --> 00:19:12,760
Speaker 4: my got that out of my system. I was about

370
00:19:12,800 --> 00:19:16,160
Speaker 4: nineteen or twenty. I want to write songs now. I'd

371
00:19:16,200 --> 00:19:18,200
Speaker 4: like to explore a little bit of folk new Where

372
00:19:18,200 --> 00:19:20,600
Speaker 4: did you start to write? I started to write the

373
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Speaker 4: songs that are run Now I'm called cold Spring Harbor.

374
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Speaker 1: So give me, give me an except one of the

375
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Speaker 1: earliest ones you remember writing, baby, all the lights are

376
00:19:33,840 --> 00:19:38,960
Speaker 1: turned on you. Now you're in the center of the stage.

377
00:19:39,480 --> 00:19:43,320
Speaker 1: Everything revolves on what you do while you were in

378
00:19:43,320 --> 00:19:47,439
Speaker 1: your prime of comedy. Man, you can always have your

379
00:19:47,440 --> 00:19:53,640
Speaker 1: wears somehow, because everybody want you know, it was kind

380
00:19:53,640 --> 00:19:56,159
Speaker 1: of Dylanesque, you know. I wanted to I wanted to

381
00:19:56,200 --> 00:19:58,360
Speaker 1: go play in the village. Actually I didn't even want

382
00:19:58,359 --> 00:20:01,840
Speaker 1: to play anymore, just you, me with you and the piano.

383
00:20:01,960 --> 00:20:03,960
Speaker 4: Well, I got a band to play this stuff with me,

384
00:20:04,560 --> 00:20:08,080
Speaker 4: but I'm picturing it on guitars general maybe on a

385
00:20:08,160 --> 00:20:10,600
Speaker 4: lands ten on you.

386
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Speaker 5: You're in a center of the stage.

387
00:20:14,119 --> 00:20:15,680
Speaker 6: Everything revelves on what you do.

388
00:20:16,680 --> 00:20:18,800
Speaker 5: Hy you already primed coming.

389
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Speaker 1: Did you send him that song to record? I wanted

390
00:20:23,080 --> 00:20:25,119
Speaker 1: him to. But Bob writes his own stuff. He's not

391
00:20:25,160 --> 00:20:27,400
Speaker 1: gonna do covers. He doesn't buy songs from other people.

392
00:20:27,520 --> 00:20:29,639
Speaker 4: No, he does not, and he does very well with

393
00:20:29,720 --> 00:20:33,359
Speaker 4: his own right, of course. But I no longer wanted

394
00:20:33,400 --> 00:20:34,800
Speaker 4: to be the guy on stage. I wanted to be

395
00:20:34,840 --> 00:20:36,639
Speaker 4: the guy behind the scenes. It's kind of a Jimmy

396
00:20:36,680 --> 00:20:40,399
Speaker 4: Webb kind of thing. This just happened to coincide with

397
00:20:40,480 --> 00:20:46,160
Speaker 4: the era of the singer songwriter Harry Chape and Jim Crochey,

398
00:20:46,320 --> 00:20:50,879
Speaker 4: James Taylor was huge at the time, Jackson Brown, Jackson Brown,

399
00:20:51,400 --> 00:20:54,720
Speaker 4: all these singer songwriters. Even Carol King, who was a

400
00:20:54,760 --> 00:20:57,160
Speaker 4: great songwriter, became a singer songwriter.

401
00:20:57,240 --> 00:20:57,480
Speaker 1: Sure.

402
00:20:58,040 --> 00:20:59,879
Speaker 4: So the advice I got was, well, you want people

403
00:21:00,080 --> 00:21:01,840
Speaker 4: of these songs, why don't you make your own album?

404
00:21:02,520 --> 00:21:02,920
Speaker 1: Okay.

405
00:21:03,200 --> 00:21:05,720
Speaker 4: I got a record deal, and then I got traded

406
00:21:06,240 --> 00:21:08,919
Speaker 4: to a record company on the West Coast call Family.

407
00:21:08,640 --> 00:21:12,800
Speaker 1: Records, a guy named already Rip, perfect name. I was

408
00:21:12,840 --> 00:21:14,639
Speaker 1: like an Occhio. Yeah.

409
00:21:14,720 --> 00:21:17,760
Speaker 4: I fell in with the you know, Hydrid lead actor's

410
00:21:17,760 --> 00:21:20,399
Speaker 4: life for me, for those people. And I recorded an

411
00:21:20,440 --> 00:21:22,800
Speaker 4: album in La. I lived in La for a little while.

412
00:21:23,440 --> 00:21:26,000
Speaker 4: They said, Okay, you made the album. Now now you've

413
00:21:26,000 --> 00:21:27,320
Speaker 4: got an album, you need to promote it. You need

414
00:21:27,359 --> 00:21:30,200
Speaker 4: to go on the road and play and promote the album.

415
00:21:30,280 --> 00:21:33,000
Speaker 4: Is oh okay. It's kind of a strange way to

416
00:21:33,040 --> 00:21:35,840
Speaker 4: be a songwriter. But that's what other people were doing.

417
00:21:36,320 --> 00:21:38,160
Speaker 4: But you know, other people be interested in my material

418
00:21:38,200 --> 00:21:41,320
Speaker 4: if I promoted it, promote the album and we'll hear it. Well,

419
00:21:41,320 --> 00:21:44,399
Speaker 4: the album was mastered at the wrong speed.

420
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Speaker 1: So a song like this.

421
00:21:51,160 --> 00:21:57,439
Speaker 8: She's Got Away about her, I don't know what it is,

422
00:21:58,560 --> 00:22:02,600
Speaker 8: but I know that I can live without played like.

423
00:22:02,560 --> 00:22:04,920
Speaker 1: This She's Got Away.

424
00:22:07,359 --> 00:22:10,119
Speaker 5: I don't know what it is, but I know that

425
00:22:10,240 --> 00:22:11,399
Speaker 5: I can't live without it.

426
00:22:11,520 --> 00:22:13,840
Speaker 1: So if you hear that recording, I sound like the Chipmunks,

427
00:22:14,240 --> 00:22:17,720
Speaker 1: well speed it up kind of. Yeah, it's terrible. The

428
00:22:17,760 --> 00:22:18,760
Speaker 1: album never went anywhere.

429
00:22:18,880 --> 00:22:21,520
Speaker 4: Nothing happened, and I went on the road and I

430
00:22:21,560 --> 00:22:23,840
Speaker 4: promoted it and never saw it in the stores.

431
00:22:24,640 --> 00:22:26,439
Speaker 1: But that was when I was me. That was just

432
00:22:26,520 --> 00:22:29,359
Speaker 1: Billy Joel. So you when people buy that album, the

433
00:22:29,960 --> 00:22:32,040
Speaker 1: album has been re released where it's not at that speed.

434
00:22:32,520 --> 00:22:35,920
Speaker 4: It's been remastered, but it's still there's something wrong with it.

435
00:22:35,920 --> 00:22:37,920
Speaker 4: It just doesn't sound right. I would advise people don't

436
00:22:37,920 --> 00:22:40,199
Speaker 4: buy it. If you can steal it, steal it.

437
00:22:40,960 --> 00:22:45,720
Speaker 1: We're taking a break, stay with us. So then, so

438
00:22:45,800 --> 00:22:48,160
Speaker 1: Cold Spring Harbor is the first album. It's you, how

439
00:22:48,200 --> 00:22:52,400
Speaker 1: Many Get You? And it's how many band members? Guitar, bass, drums,

440
00:22:52,720 --> 00:22:54,439
Speaker 1: and there was some violins.

441
00:22:53,880 --> 00:22:56,040
Speaker 4: That were put in by Audie Rip you know he

442
00:22:56,160 --> 00:22:59,080
Speaker 4: was trying to be phil Spector. It got all glopped up.

443
00:22:59,119 --> 00:23:00,560
Speaker 4: It was supposed to be more of a folky. You

444
00:23:00,640 --> 00:23:02,840
Speaker 4: recorded that in La, recorded it in La. How long

445
00:23:02,880 --> 00:23:03,680
Speaker 4: were you in l A?

446
00:23:03,960 --> 00:23:06,760
Speaker 1: Three years? What was that like for you? Weird?

447
00:23:07,040 --> 00:23:12,320
Speaker 4: How I went there and I stayed on Santa Mia Boulevard.

448
00:23:12,400 --> 00:23:14,960
Speaker 4: It's just dun't be a little place called the Tropicana

449
00:23:15,040 --> 00:23:18,040
Speaker 4: Motel right there on Santa the Duke's where the Duke's car,

450
00:23:18,440 --> 00:23:20,480
Speaker 4: Duke's coffee shop, and they mean the huge sandwiches for

451
00:23:20,480 --> 00:23:20,760
Speaker 4: the poor.

452
00:23:20,800 --> 00:23:22,800
Speaker 1: Musicians have breakfast at Duke's. It was great.

453
00:23:22,920 --> 00:23:25,400
Speaker 4: Yeah, you know a buck, you're gonna eat like a can.

454
00:23:26,280 --> 00:23:28,919
Speaker 4: The place was a dump, but the postcards said the

455
00:23:29,080 --> 00:23:31,280
Speaker 4: Tropic Canna and it had like a palm tree on it.

456
00:23:31,320 --> 00:23:32,800
Speaker 4: So I sent postcards all my friends.

457
00:23:32,920 --> 00:23:36,440
Speaker 1: I've made it. I'm in Hollywood, coming together a cat.

458
00:23:36,840 --> 00:23:39,760
Speaker 1: I'm having omelets on Santa Monica Boulevard for a dollar.

459
00:23:41,240 --> 00:23:43,920
Speaker 1: I mean to play it my song at a Chipmunk speed. Well,

460
00:23:44,320 --> 00:23:46,760
Speaker 1: it's all going great. Yeah, if you're from Long Island,

461
00:23:46,760 --> 00:23:48,919
Speaker 1: you get a postcard with a pomp. It says the

462
00:23:49,000 --> 00:23:52,480
Speaker 1: Tropic Canas. Oh my god, he's made it because you

463
00:23:52,560 --> 00:23:54,479
Speaker 1: and I from the same background. Yes, I mean I'm

464
00:23:54,480 --> 00:23:56,280
Speaker 1: from southsho Wanga and when I when people would do

465
00:23:56,560 --> 00:23:58,399
Speaker 1: and I can see you're probably your friends. You grew

466
00:23:58,480 --> 00:24:00,119
Speaker 1: up with a propleate like mine, with a provate at

467
00:24:00,160 --> 00:24:03,000
Speaker 1: that post because like Joey come here, I got a

468
00:24:03,000 --> 00:24:08,600
Speaker 1: postcod from Billy. He's at the Tropicana here. It's unfucking believable, right, Wow,

469
00:24:08,640 --> 00:24:11,159
Speaker 1: he's on the beach with girls like the beach boys.

470
00:24:11,560 --> 00:24:13,679
Speaker 1: He's driving cars. And I would make movies like my

471
00:24:13,680 --> 00:24:15,119
Speaker 1: friends to be like they say, let me ask you

472
00:24:15,119 --> 00:24:16,960
Speaker 1: a question. Will you do a love scene with a

473
00:24:17,000 --> 00:24:19,719
Speaker 1: broad movie? Like? Do you ever get excited like yourself?

474
00:24:19,760 --> 00:24:20,200
Speaker 5: You know what I mean?

475
00:24:20,760 --> 00:24:22,760
Speaker 1: There's a weird you know, to make love to a

476
00:24:22,760 --> 00:24:24,400
Speaker 1: woman in front of all them people. Can you pick

477
00:24:24,440 --> 00:24:26,399
Speaker 1: who you make out with? Yeah? They're like, do you

478
00:24:26,520 --> 00:24:28,880
Speaker 1: enjoy that? It was a fun you mean he groupies

479
00:24:28,880 --> 00:24:30,560
Speaker 1: out there. I'm like, no, it's not fun because it's

480
00:24:30,560 --> 00:24:32,600
Speaker 1: one hundred and twenty five people staring at you like,

481
00:24:32,640 --> 00:24:34,840
Speaker 1: oh yeah, I forgot about that, Yeah, I forgot. We

482
00:24:34,920 --> 00:24:36,639
Speaker 1: got those questions. What's it like in the studio? I

483
00:24:36,640 --> 00:24:38,679
Speaker 1: mean like a lot of drugs and girls and stuff.

484
00:24:39,160 --> 00:24:42,320
Speaker 4: No, you're actually in a factory and you're surrounded by equipment,

485
00:24:42,320 --> 00:24:43,560
Speaker 4: and you know, I don't.

486
00:24:43,359 --> 00:24:46,040
Speaker 1: Have like big fish tanks full of cocaine, like chicks

487
00:24:46,040 --> 00:24:48,679
Speaker 1: coming in with bikinis and stuff from the beach rubbing

488
00:24:48,760 --> 00:24:50,600
Speaker 1: your neck and shoulders while you're playing. Yeah, and that's

489
00:24:50,600 --> 00:24:52,919
Speaker 1: what it looks like in the movies. Yeah, did you

490
00:24:52,960 --> 00:24:55,520
Speaker 1: meet the movie stars some of a musician. I'm like,

491
00:24:55,560 --> 00:24:57,359
Speaker 1: you haven't done it with all the big stars, right,

492
00:24:57,720 --> 00:24:59,280
Speaker 1: and a fish tank full of blow when chicks and

493
00:24:59,280 --> 00:25:02,159
Speaker 1: bikinis rubbing the shoulders right, day and night. That's what

494
00:25:02,240 --> 00:25:05,240
Speaker 1: people think now when you did the you did Cold

495
00:25:05,240 --> 00:25:08,000
Speaker 1: Spring Harbor? There? I did? Did you do the next album?

496
00:25:08,000 --> 00:25:11,720
Speaker 1: Out there? I did two more albums out there? So

497
00:25:11,720 --> 00:25:13,000
Speaker 1: what'd you do out there? Actually?

498
00:25:13,000 --> 00:25:15,359
Speaker 4: I got a job after I did the Cold Spring

499
00:25:15,400 --> 00:25:17,479
Speaker 4: Harbor album. I dropped that aside. I had to get

500
00:25:17,520 --> 00:25:19,639
Speaker 4: out of this horrible deal and I'd signed. I signed

501
00:25:19,640 --> 00:25:24,159
Speaker 4: away everything, copyrights, publishing, record royalties, everything, my first child

502
00:25:24,520 --> 00:25:25,359
Speaker 4: I gave away at all.

503
00:25:25,400 --> 00:25:26,760
Speaker 1: And I said that I got to get out of

504
00:25:26,760 --> 00:25:27,720
Speaker 1: this deal, and.

505
00:25:27,720 --> 00:25:30,159
Speaker 4: I hid in La and I worked in a piano

506
00:25:30,200 --> 00:25:32,280
Speaker 4: bar under the name Bill Mortin. This was down in

507
00:25:32,280 --> 00:25:35,880
Speaker 4: the Wilship District, and it was it's not a real

508
00:25:35,960 --> 00:25:39,360
Speaker 4: bar town LA. You know, Long Island is a pub

509
00:25:39,400 --> 00:25:41,480
Speaker 4: on every corner. It's a pub culture.

510
00:25:41,920 --> 00:25:43,920
Speaker 1: So when people close their eyes and they think a

511
00:25:44,000 --> 00:25:46,280
Speaker 1: piano man, I think of a guy bending over, you know,

512
00:25:46,359 --> 00:25:48,200
Speaker 1: leaning over a piano, and I think of a guy

513
00:25:48,240 --> 00:25:51,359
Speaker 1: in a place on Long Island or in New York.

514
00:25:51,560 --> 00:25:53,440
Speaker 1: But you recorded that out of Los Angeles.

515
00:25:53,520 --> 00:25:55,439
Speaker 4: I recorded in LA and that's where I worked. Some

516
00:25:55,480 --> 00:25:57,560
Speaker 4: people think I did it for years. I worked in

517
00:25:57,560 --> 00:25:59,600
Speaker 4: this piano bar for six months. I needed to make

518
00:25:59,640 --> 00:26:03,080
Speaker 4: some money. I made Union scale, I get tips. Mostly

519
00:26:03,119 --> 00:26:05,280
Speaker 4: played the you know, major seven chords.

520
00:26:13,760 --> 00:26:20,720
Speaker 1: Anything I don't, But how does piano man start? Right?

521
00:26:27,520 --> 00:26:29,760
Speaker 4: That kind of thing? That guy in the hotel lot lobby.

522
00:26:30,320 --> 00:26:32,360
Speaker 4: They would request songs I didn't even know the song.

523
00:26:32,400 --> 00:26:35,680
Speaker 4: Can you play what's that? Hogey Carmichael's song?

524
00:26:36,240 --> 00:26:46,560
Speaker 1: Startups? And I would go, sure, do you play mystery? Sure?

525
00:26:52,200 --> 00:26:55,600
Speaker 1: And everybody was drinking pretty heavy because in an l.

526
00:26:55,600 --> 00:26:58,880
Speaker 4: A bar, these were all people who lost at the track, losers.

527
00:26:59,000 --> 00:27:02,720
Speaker 4: I just like drink like fish and I got free drinks.

528
00:27:02,960 --> 00:27:05,879
Speaker 1: Oh my god. So then you do piano man. That

529
00:27:06,000 --> 00:27:07,600
Speaker 1: was the next album after that, You do in La.

530
00:27:07,840 --> 00:27:09,600
Speaker 1: We did Piano Man in La, and there was an

531
00:27:09,600 --> 00:27:12,520
Speaker 1: album that wasn't a hit album. People perceived that to

532
00:27:12,560 --> 00:27:12,960
Speaker 1: be a hit.

533
00:27:13,000 --> 00:27:15,040
Speaker 4: It was not a hit Piano Man. Piano Man was

534
00:27:15,080 --> 00:27:17,520
Speaker 4: not a hit record. It was with a turntable hit.

535
00:27:17,840 --> 00:27:20,080
Speaker 4: In other words, it didn't sell through. But this is

536
00:27:20,119 --> 00:27:22,760
Speaker 4: back in the early seventies. In those days they still

537
00:27:22,760 --> 00:27:26,080
Speaker 4: had FM, progressive radio. Disc jockeys could spend whatever they wanted.

538
00:27:26,200 --> 00:27:28,879
Speaker 1: W L I R. Dennis McNamara, that's it under him.

539
00:27:29,160 --> 00:27:31,560
Speaker 1: I was a kid home. I was smoking, you know what,

540
00:27:31,720 --> 00:27:33,560
Speaker 1: leaning out the window, so my mom didn't know. And

541
00:27:33,560 --> 00:27:35,800
Speaker 1: on the video here w L I R. This is

542
00:27:35,800 --> 00:27:39,880
Speaker 1: Dennis smack namara Jackson Brown right. I listened to this guy.

543
00:27:40,119 --> 00:27:42,439
Speaker 1: He was my childhood Dennis mc We grew up with

544
00:27:42,480 --> 00:27:45,119
Speaker 1: these dis jockeys at night. Allison steel Alis, the night Bird,

545
00:27:45,680 --> 00:27:50,000
Speaker 1: Roscoe Zacherley, was Vin Skel Vince Skels, and my favorite

546
00:27:50,040 --> 00:27:52,320
Speaker 1: guy was Scott Me and he coming at Chess got

547
00:27:52,359 --> 00:28:01,440
Speaker 1: me with a little spooky tooth from England. Spooky too.

548
00:28:01,640 --> 00:28:03,160
Speaker 4: This got me and you're coming at you right now

549
00:28:03,440 --> 00:28:05,560
Speaker 4: and it was great voices just coming out of the

550
00:28:05,600 --> 00:28:08,199
Speaker 4: air and they played whatever they wanted. They didn't have

551
00:28:08,240 --> 00:28:11,679
Speaker 4: program directors, they didn't have consultants, and people would call in.

552
00:28:11,720 --> 00:28:14,120
Speaker 4: If they got enough request they would play a track.

553
00:28:14,160 --> 00:28:17,199
Speaker 4: So Piano Man got requested all the time. It was

554
00:28:17,240 --> 00:28:19,320
Speaker 4: a five and a half minute record. I mean, he's

555
00:28:19,320 --> 00:28:22,080
Speaker 4: not an am hit an amount of time. It's too long,

556
00:28:22,480 --> 00:28:23,920
Speaker 4: and it was in three quarters time.

557
00:28:28,520 --> 00:28:33,560
Speaker 1: It's a waltz popa.

558
00:28:31,760 --> 00:28:34,639
Speaker 4: And it's and it's not really lyrics. Dilimeerates John at

559
00:28:34,680 --> 00:28:36,080
Speaker 4: the bar is a friend of mine. He gets my

560
00:28:36,160 --> 00:28:38,040
Speaker 4: drinks for free. He's quick with the joke and a

561
00:28:38,040 --> 00:28:39,760
Speaker 4: lot of you smoke with us. Somebody did he rather be?

562
00:28:39,760 --> 00:28:43,480
Speaker 4: It could be one of the girl from Nantucket. Yeah,

563
00:28:43,680 --> 00:28:46,480
Speaker 4: so it's the Limericks. And if anybody said this was

564
00:28:46,480 --> 00:28:47,760
Speaker 4: going to be a hit record, I tell him right

565
00:28:47,800 --> 00:28:49,920
Speaker 4: of their minds. But it became a trying table hit,

566
00:28:50,000 --> 00:28:51,480
Speaker 4: so people perceive it to be a sell through.

567
00:28:51,520 --> 00:28:51,880
Speaker 1: It wasn't.

568
00:28:52,160 --> 00:28:55,080
Speaker 4: The next album comes out Street Live Serenade, it's the

569
00:28:55,120 --> 00:28:58,760
Speaker 4: sophomore Jenks I did not have enough time to write

570
00:28:58,880 --> 00:29:00,560
Speaker 4: new material after the Piano Man.

571
00:29:00,480 --> 00:29:00,960
Speaker 1: Alm came out.

572
00:29:00,960 --> 00:29:03,120
Speaker 4: Piano Man made a lot of noise, got a lot

573
00:29:03,160 --> 00:29:05,200
Speaker 4: of attention paid to it, record company wanted another follow

574
00:29:05,280 --> 00:29:08,840
Speaker 4: up right away. Okay, new album now, But I've been

575
00:29:08,840 --> 00:29:10,480
Speaker 4: on the road. I haven't had a chance to write.

576
00:29:10,720 --> 00:29:13,280
Speaker 4: I need it now. I didn't have any material and.

577
00:29:13,240 --> 00:29:14,760
Speaker 1: You can hear it. So what do you do? What

578
00:29:14,760 --> 00:29:16,320
Speaker 1: do you do when you got nothing? What do you play?

579
00:29:16,440 --> 00:29:18,800
Speaker 1: I had nothing. I was empty. I was running on empty.

580
00:29:18,840 --> 00:29:21,040
Speaker 1: But there's not nothing on the album. Where'd that come from? Well?

581
00:29:21,040 --> 00:29:23,680
Speaker 1: I had one song that I thought, which was the Entertainer.

582
00:29:24,280 --> 00:29:34,360
Speaker 1: Which is that? Another folks on I am the Entertainer.

583
00:29:35,200 --> 00:29:39,920
Speaker 1: I know just where I was done. Another surtinator. I

584
00:29:39,920 --> 00:29:44,280
Speaker 1: had another long haired band today, I am the Champion.

585
00:29:45,160 --> 00:29:48,520
Speaker 1: I made one your hearts, but I know the game.

586
00:29:48,640 --> 00:29:49,720
Speaker 1: You're forgetting my name.

587
00:29:50,000 --> 00:29:52,720
Speaker 4: I won't be here in another year if I don't

588
00:29:52,760 --> 00:29:56,000
Speaker 4: stay on the charm. I wrote it on the guitar, actually,

589
00:29:56,360 --> 00:29:58,280
Speaker 4: but that was it. That was probably the one song

590
00:29:58,360 --> 00:30:00,640
Speaker 4: that I had finished. And the boom in the studio

591
00:30:00,760 --> 00:30:04,400
Speaker 4: the clock is ticking. So there's two instrumentals on that album,

592
00:30:04,400 --> 00:30:07,000
Speaker 4: the root beer rag, which is just a piano rag

593
00:30:07,040 --> 00:30:11,560
Speaker 4: time thing, and this air zots Western movie theme called

594
00:30:11,600 --> 00:30:13,920
Speaker 4: the Mexican Connection. Because I was living in LA was

595
00:30:14,160 --> 00:30:15,680
Speaker 4: fascinated with westerns.

596
00:30:16,960 --> 00:30:21,800
Speaker 1: That's it. There's a song actually on the piano.

597
00:30:21,800 --> 00:30:24,440
Speaker 4: Man, I'm called the Ballot of Billy the Kids historically

598
00:30:24,640 --> 00:30:28,400
Speaker 4: completely inaccurate. I just used Western sounding things from a

599
00:30:28,440 --> 00:30:30,520
Speaker 4: town known as Wheeling, West Virginia.

600
00:30:31,000 --> 00:30:33,320
Speaker 1: It wasn't from Willie, West Virginia. He was actually from Brooklyn.

601
00:30:33,920 --> 00:30:36,320
Speaker 4: Boy with a six gun in his hand, and then

602
00:30:36,360 --> 00:30:38,280
Speaker 4: he robbed his way from Utah to Oklahoma.

603
00:30:38,360 --> 00:30:41,040
Speaker 1: He never got out of New Mexico. You're ruining the

604
00:30:41,080 --> 00:30:42,479
Speaker 1: song for me now. I don't want to know how

605
00:30:42,600 --> 00:30:45,080
Speaker 1: Saua made East and West Pallida. Billy the Kid is

606
00:30:45,120 --> 00:30:46,720
Speaker 1: fine by me the way it is. Don't screw it

607
00:30:46,760 --> 00:30:48,200
Speaker 1: up for me. No, But I think it's funny.

608
00:30:48,200 --> 00:30:50,760
Speaker 4: The fact it was just Western sounding things east and

609
00:30:50,760 --> 00:30:52,880
Speaker 4: west of the Rio Grant. Well, it can't be eastern west,

610
00:30:52,880 --> 00:30:54,760
Speaker 4: because the real Grand runs.

611
00:30:54,480 --> 00:30:56,720
Speaker 1: East and west of the Rio Grand. God damn it.

612
00:30:56,800 --> 00:30:59,240
Speaker 1: I know which way the Rio Grand runs. And the

613
00:30:59,280 --> 00:31:02,080
Speaker 1: crab poured in to watch the hanging of Billy the Kid. Well,

614
00:31:02,120 --> 00:31:04,120
Speaker 1: Billy the Kid wasn't hung. He was shot, of course,

615
00:31:04,160 --> 00:31:06,160
Speaker 1: we don't know if he was. Okay, now now you win.

616
00:31:06,200 --> 00:31:07,920
Speaker 1: Now I hate the song. Okay, I hate it. It's

617
00:31:07,960 --> 00:31:10,560
Speaker 1: a fraud. What are the songs came off of Street

618
00:31:10,600 --> 00:31:13,680
Speaker 1: Life that were nothing, that were memorable? Nothing that We're

619
00:31:13,680 --> 00:31:14,960
Speaker 1: pretty is the only one.

620
00:31:15,120 --> 00:31:15,239
Speaker 3: Uh.

621
00:31:15,720 --> 00:31:18,000
Speaker 4: There was a song about a hooker I was in

622
00:31:18,040 --> 00:31:20,680
Speaker 4: love with. I wanted her to leave her profession and

623
00:31:20,720 --> 00:31:22,240
Speaker 4: be with me, but she made too much money and

624
00:31:22,280 --> 00:31:23,120
Speaker 4: I couldn't afford her.

625
00:31:23,200 --> 00:31:26,840
Speaker 1: It's called Roberta. What else was on that album? Souvenirs?

626
00:31:26,960 --> 00:31:49,400
Speaker 1: A nice song, a picture postcard, a folded stub, a program.

627
00:31:48,280 --> 00:31:50,040
Speaker 3: Of the play.

628
00:31:53,560 --> 00:32:07,200
Speaker 1: Fall Away, the photographs of yourlity and the old old Man.

629
00:32:07,240 --> 00:32:09,600
Speaker 4: It doesn't only like another fifteen seconds of it. That

630
00:32:09,680 --> 00:32:11,680
Speaker 4: was a nice song, but it was like this short

631
00:32:12,080 --> 00:32:15,080
Speaker 4: and other than that is the Mexican connection ruper ragg.

632
00:32:15,240 --> 00:32:17,240
Speaker 1: It was okay, and you finished street Life and you're

633
00:32:17,240 --> 00:32:18,160
Speaker 1: in LA and then what do you do?

634
00:32:18,200 --> 00:32:19,760
Speaker 4: I finished Street Life and it comes out and it

635
00:32:19,840 --> 00:32:23,040
Speaker 4: goes yeah, bum dives right off the charts. The album

636
00:32:23,080 --> 00:32:25,640
Speaker 4: after that was Turnstiles. I moved back to New York.

637
00:32:26,840 --> 00:32:28,760
Speaker 4: I said, I'm going back to New York. This is

638
00:32:28,800 --> 00:32:32,640
Speaker 4: when this nineteen mid seventies, New York was in the dumps.

639
00:32:32,640 --> 00:32:35,280
Speaker 4: They were gonna default Ford to New York, drop dead,

640
00:32:35,560 --> 00:32:37,600
Speaker 4: Ford to New York dropped. I saw that headline, and

641
00:32:37,600 --> 00:32:40,360
Speaker 4: people in la were like, a screw new York. We

642
00:32:40,360 --> 00:32:42,400
Speaker 4: can't wait to New York goes down the dumps. And

643
00:32:42,440 --> 00:32:44,560
Speaker 4: I said, the hell with that. If New York's going

644
00:32:44,600 --> 00:32:46,520
Speaker 4: down the tubes, I'm going back. I want to be

645
00:32:46,640 --> 00:32:49,280
Speaker 4: there for this, and I'm picturing this apocalypse. I actually

646
00:32:49,280 --> 00:32:52,080
Speaker 4: wrote a song called Miami twenty seventeen thinking about the

647
00:32:52,120 --> 00:32:52,959
Speaker 4: year twenty seventeen.

648
00:32:53,000 --> 00:32:53,479
Speaker 1: I'm an old man.

649
00:32:53,480 --> 00:32:55,240
Speaker 4: I'm telling my grandchildren I was there. I saw the

650
00:32:55,320 --> 00:32:58,040
Speaker 4: lights go out on Broadway. That's the it's a science

651
00:32:58,040 --> 00:33:00,120
Speaker 4: fiction song, see.

652
00:33:00,080 --> 00:33:02,800
Speaker 3: In the lights going out on brow.

653
00:33:05,160 --> 00:33:11,320
Speaker 1: I saw the empire state of La Loo, and life

654
00:33:11,360 --> 00:33:17,880
Speaker 1: went on beyond the palaces. We all bought cadillacs and

655
00:33:18,080 --> 00:33:21,920
Speaker 1: left there long ago. And I'm picturing I'm an old

656
00:33:21,920 --> 00:33:24,600
Speaker 1: man in the year twenty seventeen, and I'm living in Miami.

657
00:33:24,200 --> 00:33:27,720
Speaker 4: Which I'm closing in there now you would need. I'm

658
00:33:27,800 --> 00:33:30,880
Speaker 4: kind of fulfilling my own prophecy here so and the

659
00:33:30,920 --> 00:33:32,440
Speaker 4: other song, which is.

660
00:33:33,240 --> 00:33:38,040
Speaker 3: Some folks like to get away, take a holiday from

661
00:33:38,080 --> 00:33:43,520
Speaker 3: the neighborhood, have a flight to Miami Beach on the

662
00:33:43,600 --> 00:33:44,520
Speaker 3: Hollywood Wood.

663
00:33:47,520 --> 00:33:55,600
Speaker 1: I'm taking a Greyhound on the Hudson river Line. I'm

664
00:33:55,600 --> 00:33:58,800
Speaker 1: in the New York state of mind. We could do

665
00:33:58,840 --> 00:34:03,560
Speaker 1: it like this. Some folks like to get away, Tony,

666
00:34:03,600 --> 00:34:07,680
Speaker 1: come on, Chicken, take a holiday from the neighborhood.

667
00:34:09,080 --> 00:34:14,040
Speaker 3: Have a flight, tromple, fly to Miami Beach out of Hollywood.

668
00:34:15,440 --> 00:34:17,239
Speaker 1: Yeah, I'm taking it.

669
00:34:18,360 --> 00:34:26,240
Speaker 3: That's right, hud Susan really yeah, yeah, New York.

670
00:34:26,360 --> 00:34:33,520
Speaker 1: That's yeah, that's it.

671
00:34:34,120 --> 00:34:37,600
Speaker 4: And he recorded it, and that was I was hoping

672
00:34:37,640 --> 00:34:38,759
Speaker 4: other people would do that song.

673
00:34:38,800 --> 00:34:40,480
Speaker 1: But I was back in New York. I was homework

674
00:34:40,520 --> 00:34:42,680
Speaker 1: and glad you were. I was thrown so leaving La

675
00:34:42,760 --> 00:34:44,200
Speaker 1: it just was meant to be. I even wrote it

676
00:34:44,200 --> 00:34:46,640
Speaker 1: from home, say goodbye to Hollywood here right exactly, you know,

677
00:34:46,760 --> 00:34:50,279
Speaker 1: say goodbye to Hollywood. Thanks, it's been great, but goodbye.

678
00:34:50,400 --> 00:34:53,040
Speaker 1: After three years it went sour on me.

679
00:34:53,280 --> 00:34:55,200
Speaker 4: And when I first moved out to the weather's great

680
00:34:55,280 --> 00:34:57,280
Speaker 4: and all the chicks and the palm trees.

681
00:34:57,800 --> 00:35:01,360
Speaker 1: After three years, everybody's full of crown. Yeah, I'm a

682
00:35:01,400 --> 00:35:04,560
Speaker 1: producer of what you know. We all produced gas, we

683
00:35:04,719 --> 00:35:07,160
Speaker 1: produced something. But I found that for me, it was

684
00:35:07,239 --> 00:35:11,560
Speaker 1: healthier for me to be in an environment where show

685
00:35:11,600 --> 00:35:15,920
Speaker 1: business was one mountain peak in a range of mountains,

686
00:35:15,960 --> 00:35:17,719
Speaker 1: meaning when you're in New York and I'd be at

687
00:35:17,719 --> 00:35:22,120
Speaker 1: a party and some kind of real tweety looking Daniel

688
00:35:22,160 --> 00:35:24,279
Speaker 1: moynihan looking type of guy would be at a party

689
00:35:24,280 --> 00:35:25,719
Speaker 1: and say to me, and what do you do for

690
00:35:25,760 --> 00:35:27,640
Speaker 1: a living? Young man? They say to me years ago?

691
00:35:27,680 --> 00:35:29,480
Speaker 1: I go, well, I work in the movie business. How

692
00:35:29,560 --> 00:35:33,759
Speaker 1: have you made any films? I might have seen Olivia

693
00:35:33,800 --> 00:35:35,960
Speaker 1: and I don't go to the films very often, And

694
00:35:35,960 --> 00:35:38,279
Speaker 1: I thought, this is great. The guy who doesn't I

695
00:35:38,320 --> 00:35:40,279
Speaker 1: can talk to, who's not going to have his hand

696
00:35:40,280 --> 00:35:44,600
Speaker 1: down my pants or rub my neck to dance with

697
00:35:44,640 --> 00:35:47,080
Speaker 1: a hand in my pants from the entertainer. When you

698
00:35:47,080 --> 00:35:48,239
Speaker 1: go back to New York to where do you go

699
00:35:48,280 --> 00:35:48,680
Speaker 1: the city?

700
00:35:49,560 --> 00:35:52,360
Speaker 4: I moved to Highland Falls, which is right up the Hudson.

701
00:35:52,640 --> 00:35:57,600
Speaker 4: Why because we we weren't ready to move lockstock and

702
00:35:57,600 --> 00:36:00,200
Speaker 4: barrel back into the city. I was married at the time.

703
00:36:00,280 --> 00:36:02,560
Speaker 4: My first X one, Sure where's she from?

704
00:36:02,800 --> 00:36:03,719
Speaker 1: From? Sciacid?

705
00:36:03,840 --> 00:36:03,920
Speaker 3: Right?

706
00:36:04,920 --> 00:36:06,960
Speaker 4: And uh so she went out there with you and

707
00:36:06,960 --> 00:36:08,440
Speaker 4: came back. She went out there with me and came

708
00:36:08,440 --> 00:36:11,880
Speaker 4: back with me. And this was uh Turnstiles was recorded

709
00:36:11,880 --> 00:36:15,880
Speaker 4: in New York. I produced it myself, which you know

710
00:36:15,920 --> 00:36:18,440
Speaker 4: in hindsight was probably not a good idea, but I

711
00:36:18,480 --> 00:36:20,560
Speaker 4: didn't want people telling me what band to work with,

712
00:36:20,680 --> 00:36:21,680
Speaker 4: how to do the songs.

713
00:36:21,760 --> 00:36:23,279
Speaker 1: I wanted to do it my way. Are you glad

714
00:36:23,320 --> 00:36:23,600
Speaker 1: you did?

715
00:36:24,000 --> 00:36:26,160
Speaker 4: I'm I was glad I did at the time because

716
00:36:26,160 --> 00:36:28,200
Speaker 4: I needed to use my own musicians. I didn't want

717
00:36:28,200 --> 00:36:30,200
Speaker 4: to use session man. I didn't want to use studio players.

718
00:36:30,280 --> 00:36:32,759
Speaker 4: I wanted my road band. It was a long island band,

719
00:36:32,760 --> 00:36:34,479
Speaker 4: and we were doing great on the road. We weren't

720
00:36:34,520 --> 00:36:37,239
Speaker 4: selling any records, but the crowds were going crazy. We

721
00:36:37,239 --> 00:36:40,720
Speaker 4: were blowing headliners off the stage, the Doobie Brothers, everywhere

722
00:36:40,760 --> 00:36:41,800
Speaker 4: we played, the Beach Boys.

723
00:36:41,880 --> 00:36:44,919
Speaker 1: We would get better plugged than when Turnstiles came out. Yes,

724
00:36:45,040 --> 00:36:48,320
Speaker 1: but Turnstiles sold records. Didn't No Trench Starles didn't sell anything.

725
00:36:48,800 --> 00:36:50,319
Speaker 1: You gotta be kidding me. No, No, no.

726
00:36:50,400 --> 00:36:53,360
Speaker 4: Hits New York State of Mind is now perceived to

727
00:36:53,360 --> 00:36:54,920
Speaker 4: be a hit, but it wasn't a hit. It say

728
00:36:54,960 --> 00:36:58,319
Speaker 4: about how Hollywood wasn't a hit. None of the records.

729
00:36:58,480 --> 00:37:00,200
Speaker 4: I love all those songs, but you know that from

730
00:37:00,320 --> 00:37:02,520
Speaker 4: FM radio that was still playing those things on FM,

731
00:37:03,120 --> 00:37:05,560
Speaker 4: not until The Stranger, which was the next album in

732
00:37:05,600 --> 00:37:07,040
Speaker 4: seventy seven, and off that.

733
00:37:06,960 --> 00:37:09,879
Speaker 1: Comes how Many It's four which were just the way

734
00:37:09,920 --> 00:37:13,000
Speaker 1: you Are moving out only the good die young. And

735
00:37:13,000 --> 00:37:15,480
Speaker 1: She's Always a Woman, So She's always a woman, and

736
00:37:15,600 --> 00:37:18,879
Speaker 1: just the way you Are are love songs. Well, She's

737
00:37:18,920 --> 00:37:21,359
Speaker 1: Always a Woman is a love song. I'll perceived this well,

738
00:37:21,440 --> 00:37:23,560
Speaker 1: remember well, I was just saying, but they're very romantic songs.

739
00:37:23,600 --> 00:37:26,680
Speaker 4: Yeah, well, I'd had romantic ballads before that. From the

740
00:37:26,680 --> 00:37:29,640
Speaker 4: Cold Spring Harbor, She's Got Away Piano man, if I

741
00:37:29,640 --> 00:37:32,600
Speaker 4: only had the words to tell you You're my home and

742
00:37:32,640 --> 00:37:37,759
Speaker 4: then Turnstiles Summer Highland Falls no atomatic depression, but about

743
00:37:37,960 --> 00:37:41,680
Speaker 4: a relationship. But I was writing ballads I've loved these

744
00:37:41,760 --> 00:37:45,200
Speaker 4: Days about a man and a woman, and then the

745
00:37:45,239 --> 00:37:48,000
Speaker 4: stranger just the Way you Are, which is just a

746
00:37:48,280 --> 00:37:50,600
Speaker 4: pure out and out love song. She's Always a Woman,

747
00:37:50,640 --> 00:37:53,640
Speaker 4: which is kind of a double edged sword there. I'd

748
00:37:53,640 --> 00:37:54,640
Speaker 4: had ballads before them.

749
00:37:54,840 --> 00:37:57,080
Speaker 1: But did you find that people sort of to buy

750
00:37:57,120 --> 00:37:59,879
Speaker 1: the ballads that they did? All of a sudden became

751
00:37:59,880 --> 00:38:02,799
Speaker 1: the most popular song you could often do. I had

752
00:38:02,840 --> 00:38:04,680
Speaker 1: no idea it was such a big record. Just the

753
00:38:04,719 --> 00:38:09,360
Speaker 1: Way you Were became this monster like the Beatles. Yeah, Stranger.

754
00:38:10,640 --> 00:38:14,360
Speaker 4: After The Stranger that we started playing colosseums and arenas,

755
00:38:14,360 --> 00:38:17,000
Speaker 4: the big, big rooms, and I went right back on

756
00:38:17,040 --> 00:38:18,840
Speaker 4: the road again, and I started writing again, and.

757
00:38:19,440 --> 00:38:22,799
Speaker 1: Fifties started writing for bigger rooms. Yes you did. Yeah,

758
00:38:22,840 --> 00:38:23,840
Speaker 1: I had to be. I was aware.

759
00:38:23,920 --> 00:38:26,279
Speaker 4: Now we're playing the big places, and we got to

760
00:38:26,280 --> 00:38:31,560
Speaker 4: write bigger songs. I gotta have bigger users energy, because

761
00:38:31,800 --> 00:38:35,480
Speaker 4: you can't play to a colosseum with a handful of ballots.

762
00:38:35,840 --> 00:38:38,160
Speaker 4: You got to knock them out. A big shot was

763
00:38:38,160 --> 00:38:42,000
Speaker 4: on an album sands a bar stiletto. It got bigger,

764
00:38:42,040 --> 00:38:47,799
Speaker 4: it got rounder, fatter, fuller, fuller, faster, you know, more

765
00:38:47,880 --> 00:38:49,279
Speaker 4: high energy stuff.

766
00:38:49,160 --> 00:38:51,800
Speaker 1: And harder, faster, deeper, as they say in the adult

767
00:38:51,840 --> 00:38:52,560
Speaker 1: film Innistry.

768
00:38:52,680 --> 00:38:55,000
Speaker 4: Yeah, that was it. Pretty much went into the triple X.

769
00:38:55,120 --> 00:38:58,760
Speaker 4: Do you started going triple X? Yeah, acoustically and that

770
00:38:58,760 --> 00:39:01,560
Speaker 4: that one album of the year they A Stranger actually

771
00:39:01,560 --> 00:39:04,080
Speaker 4: should have. But I was up against Saturday Night Fever,

772
00:39:04,120 --> 00:39:06,800
Speaker 4: which nobody was gonna touch on ten foot trll. Everybody

773
00:39:06,800 --> 00:39:08,800
Speaker 4: even said that the only reason you got fifty secretary

774
00:39:08,800 --> 00:39:10,360
Speaker 4: because we should have get a straight plasure.

775
00:39:10,960 --> 00:39:14,360
Speaker 1: This was your color of money. Yes, exactly. This is

776
00:39:14,360 --> 00:39:16,759
Speaker 1: a poleman getting an Oscar, it's all political, it's fun.

777
00:39:16,760 --> 00:39:19,400
Speaker 1: Well you know how this works? Sure? What was after that,

778
00:39:19,520 --> 00:39:24,800
Speaker 1: Glass Houses was nineteen eighty and that was pure power pop.

779
00:39:25,239 --> 00:39:27,440
Speaker 1: Is there ever one you sit there and you really

780
00:39:27,480 --> 00:39:29,360
Speaker 1: have to strained? I mean you get it and you

781
00:39:29,560 --> 00:39:31,040
Speaker 1: like it and you love it and it does well.

782
00:39:31,320 --> 00:39:33,120
Speaker 1: Is there a song that didn't come easily to you

783
00:39:33,200 --> 00:39:35,480
Speaker 1: that you really had to work to crack it? So

784
00:39:35,520 --> 00:39:35,879
Speaker 1: to speak?

785
00:39:36,000 --> 00:39:39,040
Speaker 4: The whole Nylon Curtain album, which was nineteen eighty two.

786
00:39:39,840 --> 00:39:41,000
Speaker 4: The album before it, which.

787
00:39:40,840 --> 00:39:44,239
Speaker 1: Was Glass Houses, was just pure fun playing with the band,

788
00:39:44,360 --> 00:39:45,440
Speaker 1: got a good guitar player.

789
00:39:45,960 --> 00:39:49,080
Speaker 4: It just had a blast making the record. The next album,

790
00:39:49,120 --> 00:39:52,480
Speaker 4: I wanted to write my masterpiece, my Sergeant Pepper as

791
00:39:52,480 --> 00:39:56,920
Speaker 4: it were. Instead of writing from the inside out, like

792
00:39:56,960 --> 00:39:59,600
Speaker 4: having starting with the seed of a song, we started

793
00:39:59,640 --> 00:40:05,600
Speaker 4: with sand sounds and ideas and thoughts and studio techniques

794
00:40:05,640 --> 00:40:08,120
Speaker 4: and we went from the outside in. So it was

795
00:40:08,160 --> 00:40:11,160
Speaker 4: a whole different technique of creating recordings. And we didn't

796
00:40:11,200 --> 00:40:13,319
Speaker 4: really know what we had until almost the final mix.

797
00:40:13,400 --> 00:40:16,120
Speaker 4: What is this thing we're experimenting but stuff?

798
00:40:16,160 --> 00:40:19,319
Speaker 1: And it was? It took a year? Were you still producing? No?

799
00:40:19,360 --> 00:40:19,480
Speaker 3: No?

800
00:40:20,160 --> 00:40:23,040
Speaker 1: Phil Ramone who started remote Stranger in nineteen seventy seven.

801
00:40:23,040 --> 00:40:25,839
Speaker 1: Now when you have someone like Ramone, because and again

802
00:40:25,880 --> 00:40:28,560
Speaker 1: I know nothing about your business except what I see

803
00:40:28,600 --> 00:40:31,319
Speaker 1: and observe, Like, what is someone like Ramone? What did

804
00:40:31,360 --> 00:40:32,799
Speaker 1: he do for you? How did he help you? Well?

805
00:40:32,800 --> 00:40:35,399
Speaker 4: Phil Vermont has a background. When he was a kid,

806
00:40:35,440 --> 00:40:38,440
Speaker 4: he was a child prodigy on the violin. He was violinist.

807
00:40:39,080 --> 00:40:42,879
Speaker 4: He was from South Africa. Actually he knew music. And

808
00:40:42,920 --> 00:40:45,160
Speaker 4: now he had years and years in the trenches as

809
00:40:45,160 --> 00:40:49,000
Speaker 4: an engineer. He recorded a JFK speeches.

810
00:40:49,280 --> 00:40:51,600
Speaker 1: I think when you see the Marilyn Monroe thing, a

811
00:40:51,640 --> 00:40:54,480
Speaker 1: Madison Square Gard Happy Birthday, mister President, that's Phil Ramone.

812
00:40:54,600 --> 00:40:56,600
Speaker 4: Wow, he was the engineer on those things. I mean,

813
00:40:56,600 --> 00:41:00,160
Speaker 4: he's with some amazing recordings, but never got credited as

814
00:41:00,160 --> 00:41:00,760
Speaker 4: a producer.

815
00:41:00,840 --> 00:41:01,880
Speaker 1: So I see, who's this guy?

816
00:41:01,920 --> 00:41:04,640
Speaker 4: Philermon It keep seeing Philermont Filder more for remote Paul

817
00:41:04,680 --> 00:41:07,239
Speaker 4: Simon used him as an engineer, and I said, I

818
00:41:07,239 --> 00:41:08,520
Speaker 4: want to use I want to work with this guy

819
00:41:08,520 --> 00:41:09,759
Speaker 4: because he looks like he knows what he's doing. He

820
00:41:09,800 --> 00:41:11,520
Speaker 4: knows how to get good sound, he knows how to

821
00:41:11,560 --> 00:41:15,360
Speaker 4: deal with sonic things sonic and when he came in boom.

822
00:41:15,719 --> 00:41:17,279
Speaker 4: We knew we had a professional guy. I was like

823
00:41:17,320 --> 00:41:20,200
Speaker 4: working with another great musician. He knows how to play

824
00:41:20,239 --> 00:41:22,200
Speaker 4: the studio like we know how to play our instruments.

825
00:41:22,840 --> 00:41:26,520
Speaker 4: Everything changed. The band just roasted the occasion. We were

826
00:41:26,560 --> 00:41:27,240
Speaker 4: having a blast.

827
00:41:27,440 --> 00:41:29,880
Speaker 1: So like a great producer. Very often in films, like

828
00:41:29,920 --> 00:41:33,200
Speaker 1: anywhere anything, any creative enterprise, I find the people that

829
00:41:33,239 --> 00:41:36,600
Speaker 1: are the most successful and talented producers are the ones who,

830
00:41:36,719 --> 00:41:38,520
Speaker 1: although they may not be able to do it themselves,

831
00:41:38,560 --> 00:41:40,440
Speaker 1: they know what you need to do, you know and

832
00:41:40,440 --> 00:41:41,959
Speaker 1: how to help you get to your highest level.

833
00:41:42,200 --> 00:41:45,080
Speaker 4: They cut to what the synergy should be. They know

834
00:41:45,120 --> 00:41:46,880
Speaker 4: what the dynamics should be in the studio.

835
00:41:46,960 --> 00:41:48,319
Speaker 1: Does he come to you and go, don't do that

836
00:41:48,680 --> 00:41:49,839
Speaker 1: doesn't work and you listen to him.

837
00:41:49,920 --> 00:41:51,360
Speaker 4: I would listen to him and we would try it

838
00:41:51,360 --> 00:41:53,600
Speaker 4: his way. We tried it his way, his mutual respect

839
00:41:53,760 --> 00:41:55,680
Speaker 4: when we did just the way you are. Originally the

840
00:41:55,760 --> 00:42:17,680
Speaker 4: drama was playing it like a chacho.

841
00:42:08,600 --> 00:42:11,440
Speaker 1: Don't go change one to chat John. We hated it.

842
00:42:11,760 --> 00:42:14,440
Speaker 1: Hated the things I hate this hated.

843
00:42:14,680 --> 00:42:17,480
Speaker 4: Drummer couldn't figure out what to play. Phil actually told

844
00:42:17,800 --> 00:42:21,759
Speaker 4: play a backwards samba boom that boom bop boom chat

845
00:42:21,760 --> 00:42:30,960
Speaker 4: boom boom.

846
00:42:27,719 --> 00:42:28,239
Speaker 1: And it worked.

847
00:42:28,239 --> 00:42:30,160
Speaker 4: It was like a backwards so what are we doing?

848
00:42:30,160 --> 00:42:32,080
Speaker 4: We didn't know what we're doing, but Phil was right.

849
00:42:32,640 --> 00:42:34,920
Speaker 4: I came in with the idea of playing only the good.

850
00:42:34,960 --> 00:42:38,000
Speaker 4: Diana is a reggae Come out Virginia.

851
00:42:38,880 --> 00:42:42,000
Speaker 1: Let me wait. Can't let us star much doing.

852
00:42:43,160 --> 00:42:46,080
Speaker 4: Liberty throws his sticks at me, because why are you

853
00:42:46,160 --> 00:42:49,360
Speaker 4: doing Because the closest you've been to Jamaica is Queens.

854
00:42:50,120 --> 00:42:52,759
Speaker 1: What are you doing is changing trains to go down

855
00:42:52,800 --> 00:42:55,400
Speaker 1: to Sea Fort, change at Jamaica, change at Jamaica.

856
00:42:55,520 --> 00:42:58,680
Speaker 4: So the train to spik That's it. He said, I'm

857
00:42:58,680 --> 00:43:00,560
Speaker 4: not playing this. I'm not playing what to do? So

858
00:43:00,600 --> 00:43:06,399
Speaker 4: Phil came up with this shuffling against straight fours.

859
00:43:09,160 --> 00:43:15,480
Speaker 1: And are going banana banana banana, and we were playing

860
00:43:16,840 --> 00:43:18,640
Speaker 1: and it worked. It was like two things jammed into

861
00:43:18,680 --> 00:43:20,400
Speaker 1: each other. Phil knows how to do that.

862
00:43:20,800 --> 00:43:23,040
Speaker 4: And when we would get tired and we get discouraged,

863
00:43:23,360 --> 00:43:26,160
Speaker 4: it says, just stay, stay a little longer, try one more.

864
00:43:26,400 --> 00:43:28,920
Speaker 4: All right, take a break, Let's have some Chinese. Okay,

865
00:43:29,280 --> 00:43:32,399
Speaker 4: go back in the post. Chinese food takes were always good.

866
00:43:32,920 --> 00:43:35,080
Speaker 1: I don't know why that was that, MSG man, it

867
00:43:35,080 --> 00:43:38,160
Speaker 1: gets it gets right into the fingertips. It worked, and

868
00:43:38,200 --> 00:43:40,640
Speaker 1: then you do Nylon Curtain. That's eighty two. Eighty two

869
00:43:40,800 --> 00:43:42,239
Speaker 1: was the Nylon and you said you wanted to be

870
00:43:42,280 --> 00:43:45,000
Speaker 1: your Sergeant Pepper and what was it? It was.

871
00:43:45,160 --> 00:43:48,040
Speaker 4: It's my favorite album I'm Upfroid because I could hear

872
00:43:48,239 --> 00:43:51,200
Speaker 4: all the work that went into it, all the textures,

873
00:43:51,239 --> 00:43:51,960
Speaker 4: all the layers.

874
00:43:52,000 --> 00:43:53,759
Speaker 1: It's a song that you're particularly fond of from that.

875
00:43:55,080 --> 00:43:58,840
Speaker 4: Oh geez, every song on that album really surprises that.

876
00:44:02,840 --> 00:44:03,760
Speaker 1: It's very obscure.

877
00:44:04,560 --> 00:44:11,399
Speaker 3: Don't get excited, don't say nobody knowes.

878
00:44:12,200 --> 00:44:13,359
Speaker 5: Nothing was her.

879
00:44:13,840 --> 00:44:19,319
Speaker 3: It was committed discreetly, it was handled so neatly, and

880
00:44:19,520 --> 00:44:21,120
Speaker 3: it shouldn't.

881
00:44:20,480 --> 00:44:22,560
Speaker 1: Surprise you at all.

882
00:44:24,360 --> 00:44:32,279
Speaker 3: You know, break all the records, Berma cassettes. I'd be

883
00:44:32,480 --> 00:44:36,239
Speaker 3: lying and the fact told you that I had no regrets.

884
00:44:36,560 --> 00:44:41,360
Speaker 3: There were so many mistakes. But what a difference it makes,

885
00:44:41,719 --> 00:44:43,880
Speaker 3: and now it shouldn't.

886
00:44:43,239 --> 00:44:47,600
Speaker 1: Surprise you at all. No hits. Allentown was kind of

887
00:44:47,600 --> 00:44:50,080
Speaker 1: a hit off that I remember that. Yeah, didn't really

888
00:44:50,080 --> 00:44:53,080
Speaker 1: sell a lot of records. Pressure was the biggest. I

889
00:44:53,120 --> 00:45:03,279
Speaker 1: think the me as Tchaikowsky. What was that. It's the

890
00:45:03,320 --> 00:45:16,040
Speaker 1: one from Swan Lake. At least you up the greats

891
00:45:16,520 --> 00:45:20,560
Speaker 1: with those Russians, watch them for the Germans stuff. What

892
00:45:20,600 --> 00:45:24,120
Speaker 1: did you do after Nylon Curtain? After the Nylon Curtain?

893
00:45:25,040 --> 00:45:28,880
Speaker 1: Because it was such an intensive labor, the Nylon Curtain,

894
00:45:29,239 --> 00:45:32,799
Speaker 1: something very dense and very complex. I wanted to do

895
00:45:32,840 --> 00:45:35,440
Speaker 1: something simple and dumb and happy, and I did an

896
00:45:35,480 --> 00:45:38,520
Speaker 1: Innocent Man, which is really an homage to all the

897
00:45:38,600 --> 00:45:41,399
Speaker 1: music of my teenage years. Frankie Valley in the Four

898
00:45:41,480 --> 00:45:44,880
Speaker 1: Seasons was Uptown Girl, and that was a hit. That

899
00:45:44,960 --> 00:45:47,640
Speaker 1: was a big hit. It was a joke. It was

900
00:45:47,680 --> 00:45:49,320
Speaker 1: an up chown girl.

901
00:45:49,480 --> 00:45:53,840
Speaker 5: I'm trying to sing, she's been living in her uptown world.

902
00:45:54,480 --> 00:45:58,160
Speaker 1: I bet she never had a backstreet gack and he

903
00:45:58,200 --> 00:46:02,440
Speaker 1: had this impossibly high bod told her why I'm gonna

904
00:46:02,520 --> 00:46:07,920
Speaker 1: track you? And I realized something that I remember the

905
00:46:07,920 --> 00:46:19,719
Speaker 1: song ragged all we read yeah, and then the verse

906
00:46:19,880 --> 00:46:25,880
Speaker 1: was I love you just the way you are? Is

907
00:46:25,880 --> 00:46:27,680
Speaker 1: that where I heard that before? Just the way you were?

908
00:46:28,239 --> 00:46:30,600
Speaker 1: And then there was a song I was trying to

909
00:46:30,640 --> 00:46:34,520
Speaker 1: do Little Anthidine Imperials and didn't not say shoe up.

910
00:46:34,640 --> 00:46:38,359
Speaker 1: I wasn't ready for romance. Shoop shoe up.

911
00:46:38,760 --> 00:46:44,719
Speaker 8: Didn't we promise we would only be friends all and

912
00:46:44,800 --> 00:46:46,480
Speaker 8: so we danced, though.

913
00:46:46,280 --> 00:46:49,120
Speaker 3: It was only a slow dance.

914
00:46:50,360 --> 00:46:54,960
Speaker 1: I started breaking my promises right there. And you'll recognize

915
00:46:54,960 --> 00:47:00,399
Speaker 1: the chorus because it goes like this this night, it's

916
00:47:00,600 --> 00:47:15,040
Speaker 1: min it's only you and is a long time away.

917
00:47:15,120 --> 00:47:20,240
Speaker 1: This night can last for it, which is the pathetic

918
00:47:20,280 --> 00:47:30,680
Speaker 1: by Beethoven, and I gave I gave credit on the

919
00:47:30,680 --> 00:47:31,319
Speaker 1: back of LV.

920
00:47:31,440 --> 00:47:35,239
Speaker 4: Beethoven. So somebody's bill he's co writing with somebody LV

921
00:47:35,320 --> 00:47:38,640
Speaker 4: Beto Beethoven for coring outline. But that was a fun album.

922
00:47:38,640 --> 00:47:42,319
Speaker 4: I had met Christy. I had just gotten divorced from

923
00:47:42,520 --> 00:47:47,160
Speaker 4: X one and here I am meeting Whitney Houston when

924
00:47:47,160 --> 00:47:48,799
Speaker 4: she was a model Elle McPherson.

925
00:47:48,840 --> 00:47:49,440
Speaker 1: I'm dating her.

926
00:47:49,480 --> 00:47:52,719
Speaker 4: I'm dating Christy Brinkley. This is fantastic. I feel like

927
00:47:52,719 --> 00:47:53,680
Speaker 4: I'm sixteen years.

928
00:47:53,560 --> 00:47:54,800
Speaker 1: Old again now going on.

929
00:47:54,920 --> 00:47:57,359
Speaker 4: It's going well, girls, It's all going great, and I'm

930
00:47:57,360 --> 00:47:59,879
Speaker 4: a rock star. I got a pair to the old

931
00:48:00,040 --> 00:48:02,239
Speaker 4: Sam Maritz on Central Park South, which is now that

932
00:48:02,280 --> 00:48:04,160
Speaker 4: I think the Rich Carlton, which is now the Ritz Carlton.

933
00:48:04,160 --> 00:48:06,280
Speaker 4: But the elevator would open and there was my apartment.

934
00:48:06,440 --> 00:48:08,279
Speaker 4: I was the only apartment on that floor. It was

935
00:48:08,360 --> 00:48:11,800
Speaker 4: very impressive. So this music was me being a teenager

936
00:48:11,880 --> 00:48:13,880
Speaker 4: all over again, falling in love, having romance and all

937
00:48:13,920 --> 00:48:14,600
Speaker 4: that great stuff.

938
00:48:15,239 --> 00:48:19,440
Speaker 1: We're taking a break, stay with us. So why did

939
00:48:19,480 --> 00:48:23,840
Speaker 1: you get married? I don't know. Yeah, love, you're asking

940
00:48:23,880 --> 00:48:27,200
Speaker 1: me exactly. But I was gonna say, well, that's funny

941
00:48:27,239 --> 00:48:30,800
Speaker 1: because you think to yourself, why get married? It was

942
00:48:30,840 --> 00:48:34,160
Speaker 1: all going so good, but not getting married means bad.

943
00:48:34,280 --> 00:48:36,279
Speaker 1: But it was saying, but is that a part of

944
00:48:36,320 --> 00:48:40,000
Speaker 1: your makeup, which is married? Family? Was marriage the right

945
00:48:40,000 --> 00:48:43,520
Speaker 1: thing to do? I was merely in love and love.

946
00:48:43,560 --> 00:48:45,000
Speaker 1: You marry him? That's it. That's how I feel.

947
00:48:45,400 --> 00:48:48,520
Speaker 4: But I still feel like I can be merely in

948
00:48:48,560 --> 00:48:51,520
Speaker 4: love and not be married. Yes, I was married three times.

949
00:48:52,000 --> 00:48:54,120
Speaker 1: When did you go to Russia? Eighty seven?

950
00:48:54,239 --> 00:48:54,359
Speaker 3: Right?

951
00:48:54,400 --> 00:48:55,240
Speaker 1: And how did that happen?

952
00:48:55,840 --> 00:48:58,400
Speaker 4: Well, we went to We played in Cuba in nineteen

953
00:48:58,440 --> 00:49:01,200
Speaker 4: seventy nine. They did this thing called the Havannah Jam.

954
00:49:01,400 --> 00:49:03,360
Speaker 4: Cubans came up here and we went to Havana. We

955
00:49:03,360 --> 00:49:07,000
Speaker 4: played at the Karl Marx Theater in Havana. It looks

956
00:49:07,000 --> 00:49:10,000
Speaker 4: like Bloomingdale's. It's crypt the Karl Marx Theater. It looks

957
00:49:10,040 --> 00:49:12,880
Speaker 4: like a department store and everybody gets up on stage,

958
00:49:13,280 --> 00:49:17,280
Speaker 4: these other American artists, Steven Still's Viva Revolution, Viva Fidel,

959
00:49:18,000 --> 00:49:20,320
Speaker 4: Chris Christopherson Viva Evolution, Riva fitting on.

960
00:49:20,360 --> 00:49:22,000
Speaker 1: He's talking in Spanish. I get up on stage. I'm

961
00:49:22,000 --> 00:49:24,440
Speaker 1: in the last act. Don't take any shit from it.

962
00:49:24,680 --> 00:49:27,000
Speaker 4: I say, you'll know Ablo Espanol. And I went to

963
00:49:27,040 --> 00:49:33,279
Speaker 4: Big Shot and the kids were storm the state. They

964
00:49:33,280 --> 00:49:34,920
Speaker 4: don't want to hit Viva. We hit his crap all

965
00:49:34,920 --> 00:49:38,120
Speaker 4: the time. We want to hit Big Shot. I said,

966
00:49:38,120 --> 00:49:40,879
Speaker 4: we got something going here. We're being subversive with rock

967
00:49:40,920 --> 00:49:41,279
Speaker 4: and roll.

968
00:49:41,400 --> 00:49:43,239
Speaker 1: This is what I loved you there, I love How

969
00:49:43,239 --> 00:49:45,560
Speaker 1: did that feel to you? What was the first place

970
00:49:45,600 --> 00:49:49,080
Speaker 1: you played a big concert at when you were a star.

971
00:49:49,280 --> 00:49:52,120
Speaker 1: You're a big music star, you one of the biggest

972
00:49:52,200 --> 00:49:54,680
Speaker 1: music stars ever, and you go to a foreign country

973
00:49:54,840 --> 00:49:57,520
Speaker 1: and you realize music just transcends all of it.

974
00:49:57,640 --> 00:50:01,080
Speaker 4: Germany, I think it was in Frankfurt. What year, seventy seven,

975
00:50:01,200 --> 00:50:04,560
Speaker 4: seventy eight. We'd had a hit with a stranger and

976
00:50:04,680 --> 00:50:07,880
Speaker 4: I played in England. In the English they're kind of fickle.

977
00:50:07,920 --> 00:50:09,680
Speaker 4: They like you for about a month and then you're

978
00:50:09,760 --> 00:50:10,600
Speaker 4: yesterday's papers.

979
00:50:11,000 --> 00:50:13,480
Speaker 1: Oh we like that. Billy Joe l Billy Joel and

980
00:50:14,760 --> 00:50:15,640
Speaker 1: they Actually.

981
00:50:15,400 --> 00:50:17,360
Speaker 4: I wasn't big there until Uptown Girl. But Germany we

982
00:50:17,400 --> 00:50:20,879
Speaker 4: had a couple of its and the Germans went Bersark Lot.

983
00:50:21,600 --> 00:50:22,440
Speaker 1: They don't have seats.

984
00:50:22,920 --> 00:50:25,440
Speaker 4: You're getting a standing ovation when you walk on the

985
00:50:25,480 --> 00:50:28,080
Speaker 4: stage because they can't sit down. This is great and

986
00:50:28,080 --> 00:50:30,000
Speaker 4: it actually changes the energy and they're all.

987
00:50:29,920 --> 00:50:33,920
Speaker 1: Standing yeah, Billy, Belly. I'm thinking, Oh, I guess they

988
00:50:33,920 --> 00:50:36,720
Speaker 1: don't know what they did to my family. Yay Billy.

989
00:50:37,239 --> 00:50:40,439
Speaker 1: But I'm thinking, so this is how Adolph must have felt. Yeah,

990
00:50:40,800 --> 00:50:42,640
Speaker 1: you know, they love you. They let you know her.

991
00:50:42,719 --> 00:50:44,600
Speaker 4: You're like, okay, let's go in vade poland co on,

992
00:50:44,920 --> 00:50:47,200
Speaker 4: let's go. But there was a great, great audience.

993
00:50:47,239 --> 00:50:49,200
Speaker 1: You know, they're tearing at your hand like a Detroit

994
00:50:49,320 --> 00:50:52,680
Speaker 1: heavy metal crowd, ripping at my hands and tearing my clothes.

995
00:50:52,719 --> 00:50:54,600
Speaker 1: This is great. That was the first time in a

996
00:50:54,640 --> 00:50:57,120
Speaker 1: foreign country where I knew something. How they the trip

997
00:50:57,160 --> 00:50:59,359
Speaker 1: to Russia in eighty seven, was that your first time there?

998
00:50:59,520 --> 00:51:01,080
Speaker 4: It was the first time they'd ever had a major

999
00:51:01,160 --> 00:51:04,600
Speaker 4: act from the West America. People had gone there before,

1000
00:51:04,600 --> 00:51:07,320
Speaker 4: but played with small PA systems and little private rooms.

1001
00:51:07,560 --> 00:51:08,880
Speaker 1: We played at the Lenin.

1002
00:51:08,719 --> 00:51:13,440
Speaker 4: Stadium, the Olympic Stadium, and We brought a Western PA system,

1003
00:51:13,440 --> 00:51:15,000
Speaker 4: the same pit with paces and we'd use at Madison

1004
00:51:15,000 --> 00:51:17,560
Speaker 4: Square Garden. They'd never heard a PA system like that.

1005
00:51:17,760 --> 00:51:20,960
Speaker 4: They were scared shitless. You know, the helicopters come in

1006
00:51:20,960 --> 00:51:22,359
Speaker 4: at the beginning of Good Nights Ago and they're looking

1007
00:51:22,400 --> 00:51:25,360
Speaker 4: around for the helicopters, and then the hard rock is

1008
00:51:25,440 --> 00:51:26,080
Speaker 4: hitting and the drums.

1009
00:51:26,280 --> 00:51:29,560
Speaker 1: They started going berserk. There were security guards going around

1010
00:51:29,719 --> 00:51:34,080
Speaker 1: giving people sedatives because they thought they were having fits.

1011
00:51:34,520 --> 00:51:36,320
Speaker 4: The Cold War ended for me, right then. This is

1012
00:51:36,360 --> 00:51:38,960
Speaker 4: still when it was. Reagan was calling it the evil Empire,

1013
00:51:39,600 --> 00:51:41,160
Speaker 4: and we're not gonna have a war.

1014
00:51:41,040 --> 00:51:43,920
Speaker 1: With these people. They can't even get toilet paper, right, you.

1015
00:51:43,840 --> 00:51:45,719
Speaker 4: Know, we're not gonna have a We're not gonna fight

1016
00:51:45,760 --> 00:51:46,960
Speaker 4: with them. I don't want to fight them.

1017
00:51:46,960 --> 00:51:49,320
Speaker 1: They don't. They love us everywhere I went, Viva America,

1018
00:51:49,480 --> 00:51:52,320
Speaker 1: Long Live America. This is great. Cold War ended. I

1019
00:51:52,440 --> 00:51:55,360
Speaker 1: was thrilled that went the way it did. Let me

1020
00:51:55,400 --> 00:51:58,480
Speaker 1: ask you a question. You're funny. You could have done

1021
00:51:58,520 --> 00:52:00,680
Speaker 1: that with your eyes. Every thing it takes to be

1022
00:52:00,719 --> 00:52:02,160
Speaker 1: an actor, who could have done you? Never wanted to

1023
00:52:02,160 --> 00:52:04,440
Speaker 1: do that. Never. I never was comfortable in front of

1024
00:52:04,480 --> 00:52:07,279
Speaker 1: a camera. Really. Yeah, as a matter of fact, even

1025
00:52:07,320 --> 00:52:08,680
Speaker 1: though I had to perform in front of a camera

1026
00:52:08,800 --> 00:52:12,200
Speaker 1: for the last thirty years. Basically, yes, uh make videos

1027
00:52:12,280 --> 00:52:13,880
Speaker 1: which I was told you were comfortable in front of

1028
00:52:14,000 --> 00:52:15,759
Speaker 1: but you were. But I guess to a degree, you

1029
00:52:15,760 --> 00:52:17,160
Speaker 1: were comfortable in front of a camera as long as

1030
00:52:17,200 --> 00:52:18,759
Speaker 1: you were playing, not even.

1031
00:52:18,680 --> 00:52:21,120
Speaker 4: Stand there, not even I was aware of the camera.

1032
00:52:21,400 --> 00:52:23,880
Speaker 4: It was like it was an invader, was invasive to me.

1033
00:52:24,320 --> 00:52:27,680
Speaker 4: I became a musician because I never felt I was photogenic.

1034
00:52:27,719 --> 00:52:30,560
Speaker 4: I was never happy with how I looked. It's about

1035
00:52:30,600 --> 00:52:33,720
Speaker 4: a microphone, not about a camera. I was very comfortable

1036
00:52:33,719 --> 00:52:37,120
Speaker 4: in a studio. I'm very comfortable far away on a stage.

1037
00:52:37,239 --> 00:52:39,160
Speaker 4: Or an album cover. You could make it look and

1038
00:52:39,280 --> 00:52:41,799
Speaker 4: however you want, and people would say, oh, you're shorter

1039
00:52:41,880 --> 00:52:43,160
Speaker 4: than I thought. I said, well, the album cover is

1040
00:52:43,200 --> 00:52:43,839
Speaker 4: only this big.

1041
00:52:43,960 --> 00:52:46,200
Speaker 1: How do you know. Whenever there was a camera, it

1042
00:52:46,320 --> 00:52:49,440
Speaker 1: kind of destroyed what I was trying to create.

1043
00:52:49,960 --> 00:52:53,200
Speaker 4: It took away the imagination. You could I could look

1044
00:52:53,239 --> 00:52:55,759
Speaker 4: however I want. I could look like Carry Grant. But

1045
00:52:55,960 --> 00:52:58,160
Speaker 4: I saw it reduced to an image. I went, no, no, no, no, no, no,

1046
00:52:58,520 --> 00:53:00,399
Speaker 4: that's not who I am. Don't look at that guy.

1047
00:53:00,760 --> 00:53:02,520
Speaker 1: I realized I could have done that, but I love

1048
00:53:02,640 --> 00:53:05,279
Speaker 1: music so much. That's the way I went. Some people

1049
00:53:05,320 --> 00:53:09,759
Speaker 1: can do both. Most don't. Well, Bowie didn't do it,

1050
00:53:09,800 --> 00:53:13,560
Speaker 1: really really he tried. Sting didn't do it. No, Jagger

1051
00:53:13,640 --> 00:53:16,000
Speaker 1: didn't do it. Beatles never did it, except as they

1052
00:53:16,000 --> 00:53:16,600
Speaker 1: played the Beatles.

1053
00:53:16,600 --> 00:53:19,120
Speaker 4: But then there's some actors who were originally musicians and

1054
00:53:19,160 --> 00:53:22,080
Speaker 4: they they now just basically acted.

1055
00:53:22,120 --> 00:53:24,040
Speaker 1: But I always say that, I said, this acting is

1056
00:53:24,040 --> 00:53:26,520
Speaker 1: what you do when you have no musical ability. If

1057
00:53:26,560 --> 00:53:28,160
Speaker 1: I could do what you do, I would never do

1058
00:53:28,200 --> 00:53:32,320
Speaker 1: what That's what actors say. I would never, ever, ever,

1059
00:53:32,560 --> 00:53:34,960
Speaker 1: ever waste five minutes of doing what I do. If

1060
00:53:34,960 --> 00:53:37,320
Speaker 1: I could do with you. That's a lot of actors. Yeah,

1061
00:53:37,400 --> 00:53:38,880
Speaker 1: you're so good at what you do. No, if I

1062
00:53:38,880 --> 00:53:42,000
Speaker 1: could do what you do. Music is Music is saying

1063
00:53:42,000 --> 00:53:44,160
Speaker 1: if I could play, if I could write a film

1064
00:53:44,360 --> 00:53:46,320
Speaker 1: or a television program, you have to make an appointment

1065
00:53:46,360 --> 00:53:48,760
Speaker 1: with that and watch that. When you listen to music

1066
00:53:48,920 --> 00:53:51,200
Speaker 1: while you're jogging, while you're at the gym, while you're

1067
00:53:51,239 --> 00:53:53,640
Speaker 1: making love, while you're having dinner, while you're in the car,

1068
00:53:54,160 --> 00:53:57,000
Speaker 1: it can be the soundtrack to your life all day long.

1069
00:53:57,000 --> 00:53:59,880
Speaker 1: If you want to in church, anywhere. Music is everywhere,

1070
00:54:00,040 --> 00:54:02,600
Speaker 1: Music is everything, and acting is, like I said, what

1071
00:54:02,680 --> 00:54:05,120
Speaker 1: you do when you have no musical talents. So you

1072
00:54:05,239 --> 00:54:09,319
Speaker 1: got divorced the second time, Yes, and got remarried and

1073
00:54:09,360 --> 00:54:12,279
Speaker 1: divorced the third time. Right, And when you have these

1074
00:54:12,320 --> 00:54:15,120
Speaker 1: things happen Because I know that these situations in my

1075
00:54:15,160 --> 00:54:17,280
Speaker 1: life have a big effect of life. Does it affect

1076
00:54:17,320 --> 00:54:19,359
Speaker 1: Do you write songs about that? No?

1077
00:54:19,520 --> 00:54:22,760
Speaker 4: I stopped writing songs about it when I got divorced

1078
00:54:22,760 --> 00:54:26,279
Speaker 4: the second time. That was in ninety three, actually ninety four.

1079
00:54:26,360 --> 00:54:30,080
Speaker 4: The divorce happened, the album River Dreams came out, and

1080
00:54:30,120 --> 00:54:32,080
Speaker 4: I realized, you know what, I'm spinning out the story

1081
00:54:32,080 --> 00:54:34,160
Speaker 4: of my life to all these strangers. I'm kind of

1082
00:54:34,200 --> 00:54:36,839
Speaker 4: sick and tired everybody knowing my personal life and how

1083
00:54:36,880 --> 00:54:38,600
Speaker 4: I feel about you. Just one on that one? Did

1084
00:54:38,600 --> 00:54:41,480
Speaker 4: you resent that? I didn't resent it. I just decided

1085
00:54:41,520 --> 00:54:44,320
Speaker 4: to clam up. I feel like I've given away pieces

1086
00:54:44,320 --> 00:54:47,239
Speaker 4: of myself, maybe something I should have given to the relationship.

1087
00:54:47,640 --> 00:54:48,640
Speaker 1: I gave to the work.

1088
00:54:49,040 --> 00:54:51,719
Speaker 4: And the work was so important and it's all consuming.

1089
00:54:51,760 --> 00:54:53,320
Speaker 4: If you're going to do it right, you have to

1090
00:54:53,360 --> 00:54:55,080
Speaker 4: jump in with both feet and do it one hundred percent.

1091
00:54:55,160 --> 00:54:58,280
Speaker 1: Music will do. That was a very harsh mistress music,

1092
00:54:58,680 --> 00:54:59,759
Speaker 1: you have to do it all.

1093
00:55:00,840 --> 00:55:02,840
Speaker 4: Maybe I didn't do things I should have done, or

1094
00:55:02,840 --> 00:55:04,160
Speaker 4: maybe I didn't take care of business the way I

1095
00:55:04,200 --> 00:55:07,279
Speaker 4: should have take here because the music and so I

1096
00:55:07,320 --> 00:55:10,439
Speaker 4: stopped writing songs about my personal relationships, but I kept

1097
00:55:10,440 --> 00:55:14,799
Speaker 4: writing music. And after the third marriage didn't work, I

1098
00:55:14,880 --> 00:55:16,600
Speaker 4: tried marriage. It's you know, three times.

1099
00:55:16,719 --> 00:55:19,279
Speaker 1: I tried three to much. I never gave up on it.

1100
00:55:19,600 --> 00:55:21,719
Speaker 1: I just realized that this just doesn't I don't know,

1101
00:55:21,800 --> 00:55:25,640
Speaker 1: it doesn't work right. People don't appreciate how it's like

1102
00:55:26,680 --> 00:55:29,640
Speaker 1: to have a relationship in this business that works. You

1103
00:55:29,760 --> 00:55:31,759
Speaker 1: got to be really lucky, man, It's got to be.

1104
00:55:32,000 --> 00:55:34,000
Speaker 1: It's so much luck, you know, because, like you said,

1105
00:55:34,360 --> 00:55:36,600
Speaker 1: the career is the mistress and you're out there working

1106
00:55:37,120 --> 00:55:38,840
Speaker 1: Like like I would look at my ex wife or

1107
00:55:38,880 --> 00:55:41,359
Speaker 1: ex girlfriends and I think, what would the alternative be?

1108
00:55:41,520 --> 00:55:43,439
Speaker 1: You want me to have no options and no work

1109
00:55:43,480 --> 00:55:44,800
Speaker 1: and I'm staying home all the time.

1110
00:55:45,520 --> 00:55:47,400
Speaker 4: Yeah, But on the other hand, how much of you

1111
00:55:47,520 --> 00:55:49,719
Speaker 4: are they getting? If you're in a part, you take

1112
00:55:49,760 --> 00:55:52,040
Speaker 4: on the role. It doesn't come off at five o'clock

1113
00:55:52,040 --> 00:55:54,520
Speaker 4: in the afternoon when work. Most people leave their jobs.

1114
00:55:55,160 --> 00:55:58,520
Speaker 4: You have to be that character through the whole project. Now,

1115
00:55:58,560 --> 00:56:01,160
Speaker 4: when I'm writing, I mean, I've got to stay in harness.

1116
00:56:01,200 --> 00:56:04,879
Speaker 4: I've got to be that songwriter guy I'm preoccupied. Maybe

1117
00:56:04,880 --> 00:56:07,080
Speaker 4: I should change that to a B flat, you know

1118
00:56:07,160 --> 00:56:10,399
Speaker 4: that quarterback. I'm obsessed with it. I wonder how much

1119
00:56:10,400 --> 00:56:14,040
Speaker 4: of me they're not getting because of that. I don't

1120
00:56:14,040 --> 00:56:16,280
Speaker 4: know if you were like that when you're doing a part.

1121
00:56:16,600 --> 00:56:19,439
Speaker 1: I find that in film it's different because you don't

1122
00:56:19,480 --> 00:56:22,600
Speaker 1: really have a chance unless you work with a tremendously

1123
00:56:23,680 --> 00:56:26,960
Speaker 1: intense group of people. I've never gotten close to that

1124
00:56:27,440 --> 00:56:31,680
Speaker 1: in film. Film is always in pieces. You know, you know,

1125
00:56:31,719 --> 00:56:34,600
Speaker 1: you're in your room. It's not linear. It's not like

1126
00:56:34,600 --> 00:56:36,200
Speaker 1: a play. When I've done that, when I've done play,

1127
00:56:36,280 --> 00:56:38,200
Speaker 1: is it's different When you do it well, you can

1128
00:56:38,239 --> 00:56:40,360
Speaker 1: sit back and you light up a cigarette and you're like, well, well,

1129
00:56:40,400 --> 00:56:42,640
Speaker 1: well well and we nail that way. I just just

1130
00:56:42,719 --> 00:56:45,719
Speaker 1: write it down in the books. There it is, We've

1131
00:56:45,800 --> 00:56:49,799
Speaker 1: done it again. You really feel some satisfaction. Yeah, you

1132
00:56:49,840 --> 00:56:51,880
Speaker 1: feel that way when you perform. When we perform, we

1133
00:56:51,880 --> 00:56:53,719
Speaker 1: got we do a show. We do a show. Do

1134
00:56:53,719 --> 00:56:55,680
Speaker 1: you come off stage after our show and you sit

1135
00:56:55,719 --> 00:56:57,600
Speaker 1: there and go, well, there it is. But that was

1136
00:56:57,600 --> 00:56:59,880
Speaker 1: a good ladies and gentlemen, Billy Joe. That is all.

1137
00:57:01,640 --> 00:57:03,960
Speaker 1: They'll be talking about this for a while, for a

1138
00:57:03,960 --> 00:57:07,239
Speaker 1: few days to the animal. But we also know when

1139
00:57:07,239 --> 00:57:10,120
Speaker 1: we stuck. We come over and that's yeah, oh we

1140
00:57:10,160 --> 00:57:12,960
Speaker 1: were terrible. Please don't remember that one right right? Why

1141
00:57:13,000 --> 00:57:16,320
Speaker 1: did they applaud you know, last play at Shay Yeah,

1142
00:57:16,400 --> 00:57:18,000
Speaker 1: do you think you did well? Yeah? That was good.

1143
00:57:18,360 --> 00:57:21,160
Speaker 4: They were both good shows that the double last double

1144
00:57:21,160 --> 00:57:24,200
Speaker 4: play at say we didn't do nights? Yeah, yes, that

1145
00:57:24,400 --> 00:57:29,840
Speaker 4: was exhilarating. It was a hometown crowd, and it's just

1146
00:57:30,080 --> 00:57:32,120
Speaker 4: it was exhilarating. We were on stage for three and

1147
00:57:32,160 --> 00:57:35,040
Speaker 4: a half hours and I didn't realize how hot it was.

1148
00:57:35,400 --> 00:57:39,040
Speaker 1: It was sweating. I'm watching the movie of me. Somebody

1149
00:57:39,040 --> 00:57:42,880
Speaker 1: give that guy a towel. Yeah, he's like soaky, he's so.

1150
00:57:42,920 --> 00:57:47,400
Speaker 4: Wet and slimy. Wipe him off and but we're having

1151
00:57:47,440 --> 00:57:49,880
Speaker 4: such a good time. We walked off, and for weeks

1152
00:57:49,880 --> 00:57:51,960
Speaker 4: after they were kind of amping from it.

1153
00:57:52,080 --> 00:57:54,760
Speaker 1: New York loves you. I know, I know, and I

1154
00:57:54,800 --> 00:57:56,840
Speaker 1: love New York. That's why I live here. I love you.

1155
00:57:57,040 --> 00:57:59,200
Speaker 4: But I put away the recording part of my career

1156
00:57:59,200 --> 00:58:02,400
Speaker 4: and I put away for the time being performing.

1157
00:58:03,600 --> 00:58:09,440
Speaker 1: What's that music? That's my telephone? The theme from the

1158
00:58:09,440 --> 00:58:13,320
Speaker 1: god that's interesting, that's perfect. The theme from The Godfather?

1159
00:58:13,440 --> 00:58:15,600
Speaker 1: Is your ring tone on your phone? Yes, that's amazing. Well,

1160
00:58:15,600 --> 00:58:17,240
Speaker 1: like I got to think about what my ringtone should be.

1161
00:58:17,360 --> 00:58:19,240
Speaker 1: That's the guys on the road call me you got Godfather?

1162
00:58:20,480 --> 00:58:21,360
Speaker 5: Why do you company?

1163
00:58:22,800 --> 00:58:31,560
Speaker 10: Bona Sarah Bona, Sarah onever. I haven't done. You'll never

1164
00:58:31,640 --> 00:58:33,920
Speaker 10: invite me the house for a cup of coffee.

1165
00:58:35,200 --> 00:58:39,640
Speaker 1: Do you appreciate who you are? People who love you,

1166
00:58:39,720 --> 00:58:43,000
Speaker 1: They adore you, and they love your talent. You are

1167
00:58:43,280 --> 00:58:46,760
Speaker 1: so talented, you are so like it makes me want

1168
00:58:46,760 --> 00:58:48,960
Speaker 1: to choke up. How talented you are? Do you know

1169
00:58:49,000 --> 00:58:49,480
Speaker 1: who you are?

1170
00:58:50,360 --> 00:58:53,320
Speaker 4: I know I have a talent for music. I don't

1171
00:58:53,360 --> 00:58:56,200
Speaker 4: think I'm all that good. I think I have a

1172
00:58:56,200 --> 00:59:00,680
Speaker 4: good perspective on it. I can separate the the star

1173
00:59:00,920 --> 00:59:04,800
Speaker 4: stuff from the musician stuff. The music is really import.

1174
00:59:04,480 --> 00:59:06,720
Speaker 1: They have to stay separate, don't they. Well, one is

1175
00:59:06,760 --> 00:59:08,920
Speaker 1: a job and one is a life.

1176
00:59:09,640 --> 00:59:11,520
Speaker 4: The job thing I can take off at five o'clock

1177
00:59:11,560 --> 00:59:13,480
Speaker 4: and the afternner and the rock star thing I go,

1178
00:59:13,600 --> 00:59:15,600
Speaker 4: I go shopping, I cook my own food, I wash

1179
00:59:15,680 --> 00:59:18,320
Speaker 4: the dishes, I take out the garbage. I know who

1180
00:59:18,360 --> 00:59:21,760
Speaker 4: that guy is and that that's and the music is

1181
00:59:21,880 --> 00:59:25,400
Speaker 4: has nothing to do with money or career or it's

1182
00:59:25,480 --> 00:59:31,680
Speaker 4: just it's just part of me. It's like love, music, love, food, friendship,

1183
00:59:32,720 --> 00:59:34,560
Speaker 4: my daughter. You know, all these great things.

1184
00:59:34,600 --> 00:59:38,160
Speaker 1: How's your daughter doing? She's great. But I you know,

1185
00:59:38,200 --> 00:59:41,960
Speaker 1: I know how to take the job hat off and

1186
00:59:42,320 --> 00:59:45,600
Speaker 1: h and just kind of be normal. I've learned how

1187
00:59:45,640 --> 00:59:45,880
Speaker 1: to do it.

1188
00:59:45,920 --> 00:59:49,040
Speaker 4: Took a long time to separate them out. Okay, I

1189
00:59:49,040 --> 00:59:51,560
Speaker 4: can be a musician and not be a rock star.

1190
00:59:52,400 --> 00:59:54,360
Speaker 1: You know. I'm still trying to convince people, well, I'm

1191
00:59:54,360 --> 00:59:56,920
Speaker 1: not a rock star. No, yes, you are. You are

1192
00:59:56,960 --> 00:59:57,840
Speaker 1: a rock star US star.

1193
00:59:57,960 --> 01:00:00,280
Speaker 4: So okay, fine, But a lot of that is has

1194
01:00:00,280 --> 01:00:03,000
Speaker 4: a job aspect to it. I work very hard at

1195
01:00:03,000 --> 01:00:06,240
Speaker 4: what in writing, because that's my deepest love. I think

1196
01:00:06,400 --> 01:00:08,960
Speaker 4: that's really where I belong. The rockstar thing I've never

1197
01:00:08,960 --> 01:00:10,680
Speaker 4: really been comfortable with because I don't think I looked

1198
01:00:10,720 --> 01:00:12,760
Speaker 4: like a rock star. I didn't really set out to

1199
01:00:12,840 --> 01:00:16,160
Speaker 4: be a rock star. I became a rock star serendipitously.

1200
01:00:16,600 --> 01:00:19,320
Speaker 1: You became a rock star in spite of yourself.

1201
01:00:18,920 --> 01:00:21,640
Speaker 4: In spite of myself, which is hysterical as hard, as

1202
01:00:21,720 --> 01:00:22,800
Speaker 4: much as you tried to kill it.

1203
01:00:23,080 --> 01:00:25,000
Speaker 1: Yeah, I mean, I don't put that camera too close

1204
01:00:25,040 --> 01:00:26,400
Speaker 1: to me, exactly.

1205
01:00:26,680 --> 01:00:28,240
Speaker 4: I don't want to make a good video. Let me

1206
01:00:28,280 --> 01:00:30,320
Speaker 4: make a bad video because I just want to get

1207
01:00:30,320 --> 01:00:31,840
Speaker 4: out of here. I don't want to be in a

1208
01:00:31,880 --> 01:00:34,360
Speaker 4: photo session. I hate taking pictures. I don't want to

1209
01:00:34,360 --> 01:00:35,800
Speaker 4: go to this opening. I don't want to go to

1210
01:00:35,840 --> 01:00:38,240
Speaker 4: that schmooze fest. I just didn't do any of that stuff.

1211
01:00:38,280 --> 01:00:40,880
Speaker 4: But I'm comfortable with it now.

1212
01:00:41,440 --> 01:00:44,120
Speaker 1: Billy Joel says he doesn't look back on his life

1213
01:00:44,120 --> 01:00:47,160
Speaker 1: that much. Last year, he decided not to publish his

1214
01:00:47,280 --> 01:00:52,200
Speaker 1: long awaited memoir, entitled The Book of Joel. He said, instead, quote,

1215
01:00:52,240 --> 01:00:54,520
Speaker 1: the best expression of my life and its ups and

1216
01:00:54,560 --> 01:00:58,880
Speaker 1: downs has been and remains my music, unquote. What's a

1217
01:00:58,920 --> 01:01:01,040
Speaker 1: song that you think yourself? You know, I really still

1218
01:01:01,120 --> 01:01:03,880
Speaker 1: enjoy hearing that song? Does it have to be a hit.

1219
01:01:04,400 --> 01:01:06,240
Speaker 1: What's one you dislike that you haven't played? Do you

1220
01:01:06,280 --> 01:01:07,040
Speaker 1: really really like it?

1221
01:01:07,080 --> 01:01:07,360
Speaker 11: The ones?

1222
01:01:07,800 --> 01:01:10,840
Speaker 4: I've been doing master classes at colleges, and I get

1223
01:01:10,880 --> 01:01:13,880
Speaker 4: to play all these obscure songs that I never played

1224
01:01:14,800 --> 01:01:17,960
Speaker 4: over the thirty forty years I've been playing played one

1225
01:01:17,960 --> 01:01:20,000
Speaker 4: the other night, and I said, well, that's a really

1226
01:01:20,000 --> 01:01:23,720
Speaker 4: good song. There's no rhyme, not until the very end

1227
01:01:23,800 --> 01:01:26,840
Speaker 4: is when rhyme can, but the lyrics work. It's from

1228
01:01:26,880 --> 01:01:29,440
Speaker 4: the Nylon Curtain, and it's called Where's the Orchestra?

1229
01:01:39,360 --> 01:01:43,040
Speaker 1: Where the orchestra?

1230
01:01:45,640 --> 01:01:54,000
Speaker 3: Wasn't this supposed to be a musical? There I am

1231
01:01:54,040 --> 01:01:59,760
Speaker 3: in the balcony. How the hell could I have missed

1232
01:02:00,120 --> 01:02:01,080
Speaker 3: the overture?

1233
01:02:02,920 --> 01:02:03,880
Speaker 9: I loved.

1234
01:02:05,960 --> 01:02:11,560
Speaker 6: The scenery, even though I.

1235
01:02:11,680 --> 01:02:14,280
Speaker 3: Have so ludly.

1236
01:02:15,000 --> 01:02:19,360
Speaker 8: No, I dear all.

1237
01:02:20,920 --> 01:02:28,320
Speaker 3: What has been said, despite the dialogue.

1238
01:02:26,760 --> 01:02:27,240
Speaker 9: There.

1239
01:02:29,360 --> 01:02:36,240
Speaker 3: The leading man, movie star who never faced an audience.

1240
01:02:38,240 --> 01:02:50,200
Speaker 3: Where's the orchestra? After all, this is my night on

1241
01:02:50,440 --> 01:02:53,120
Speaker 3: the town, my.

1242
01:02:53,280 --> 01:02:59,600
Speaker 1: Introduction to the theater Crown. I assume that a show

1243
01:03:00,000 --> 01:03:06,400
Speaker 1: I would have a song. So I was wrong. At

1244
01:03:06,480 --> 01:03:08,680
Speaker 1: least I understand.

1245
01:03:10,120 --> 01:03:21,480
Speaker 6: All the innuendo and the irony, and I appreciate the

1246
01:03:21,600 --> 01:03:27,360
Speaker 6: roles the actors played, the point the author made head

1247
01:03:27,400 --> 01:03:34,720
Speaker 6: of after the closing lines of after.

1248
01:03:35,480 --> 01:03:47,880
Speaker 11: The curtain calls, the curtain falls on empty chairs with.

1249
01:03:50,600 --> 01:04:23,320
Speaker 7: The orchestra, You're the king, thank you, No really, you're

1250
01:04:23,360 --> 01:04:24,360
Speaker 7: the king man, thank you?

1251
01:04:24,480 --> 01:04:27,400
Speaker 1: Thank you for coming. Thanks, I'm Alec Baldwin. Here's the

1252
01:04:27,400 --> 01:04:30,200
Speaker 1: thing is brought to you by iHeart Radio