WEBVTT - From the Archives: Billy Joel

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<v Speaker 1>This is Alec Baldwin and you're listening to Here's the

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<v Speaker 1>Thing from iHeart Radio. Billy Joel's fans have gotten to

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<v Speaker 1>know him quite well over the past four decades.

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<v Speaker 2>Don't go change it.

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<v Speaker 1>To dry please me.

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<v Speaker 3>You never let me down before.

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<v Speaker 1>From the open hearted declarations of old fashioned love and

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<v Speaker 1>She's Got Away and just the way you are to

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<v Speaker 1>the hard rocking social commentaries we didn't start the fire

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

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<v Speaker 1>grew up listening to Billy Joel's music, you can chart

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<v Speaker 1>phases of your life by each of his albums. Maybe

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<v Speaker 1>that's because Billy Joel's songs are so passionately connected to

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<v Speaker 1>who he was at the time he wrote them. No, No,

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<v Speaker 1>testing one two, testing one two three, And when you're

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<v Speaker 1>actually sitting in the same room as him with a

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

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<v Speaker 1>you said that to me years ago, how predictable it

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<v Speaker 1>was wherever you were that there was a piano. Bots like,

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<v Speaker 1>Billy could you eh, do you mind right? We just

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<v Speaker 1>a couple of songs, Yeah, that's your life.

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

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<v Speaker 4>You're an act you can't act along, but you can

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<v Speaker 4>have sing alongs. I can always sit down at a party,

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<v Speaker 4>play the piano and everybody starts singing.

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<v Speaker 1>I go to a pub in England, Hey, come on,

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<v Speaker 1>vinegarys and having his owns go there. You go, yes,

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<v Speaker 1>uptown girl up and they all sin around and sing

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<v Speaker 1>and everybody has a bliss. It's fun. It creates a

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<v Speaker 1>community instantly. Billy Joel is the third best selling solo

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<v Speaker 1>artist of all time in the United States. He sold

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<v Speaker 1>more records than The Stones, Bruce Springsteen, and Madonna, but

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<v Speaker 1>he admits there's still room for improvement.

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<v Speaker 4>I know what good piano playing is, and I'm not good.

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<v Speaker 4>My left hand is lame. I have a two finger

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<v Speaker 4>left hand piano player, as opposed to post to somebody

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<v Speaker 4>who knows what they're doing with their left hand. I

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<v Speaker 4>never practiced enough to use all my fingers on my

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<v Speaker 4>left hand, so I just play octaves, bass notes. My

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<v Speaker 4>right hand tries to compensate for my left hand being

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<v Speaker 4>so GIMPI, so I overplay on my right hand. My

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<v Speaker 4>technique is horrible. I can't read music. I never really

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<v Speaker 4>don't read music. I used to, but I don't anymore.

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<v Speaker 1>I forgot how So if I took a piece of

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<v Speaker 1>music that you didn't know, if I got a score,

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<v Speaker 1>I wouldn't. And I put in videos to play this,

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<v Speaker 1>I would not. It would be Chinese. It would be

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

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

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<v Speaker 1>you can't forget. When did you stop?

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<v Speaker 4>In one Dances with Wolves, she forgot how to speak English.

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<v Speaker 4>I started taking lessons when I was about four or five,

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<v Speaker 4>and I went up till I was about sixteen, so

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<v Speaker 4>it was almost twelve years.

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<v Speaker 1>Of classical piano lessons.

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<v Speaker 4>I loved it, but I just when you become a teenager,

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

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<v Speaker 4>And I also realized early on, I'm not going to

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

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<v Speaker 4>the Horowitz hands. I had strong hands, but the short fingers.

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<v Speaker 1>You were Johnny Frimley's hands. Who's Johnny Frimly from on

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<v Speaker 1>the waterfront?

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<v Speaker 3>Oh?

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<v Speaker 1>You were a union boss doing the shape up down

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<v Speaker 1>to the dock and hopboken. Yeah, yeah, you're not you're not.

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

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<v Speaker 5>He should have looked out for me, Charli, just a

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<v Speaker 5>little bit, a little bit. So what did I get it?

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<v Speaker 1>One way?

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

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<v Speaker 5>what I am.

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<v Speaker 1>That's what I am. So you're a kid and you

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<v Speaker 1>was there an intimation in your household? There was a

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<v Speaker 1>classical music, right, my faical music. Yeah.

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<v Speaker 4>He was a classically playing trained pianist. He grew up

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<v Speaker 4>in Nuremberg, Germany, and he also went to school in Switzerland.

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<v Speaker 4>His father was quite well off. They had a mail

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<v Speaker 4>order textile business, Joel Mocht fabric. So he had learned

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<v Speaker 4>to play the piano. It was a very musical family.

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<v Speaker 4>He could play chopin, he could play all the great stuff.

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<v Speaker 4>He should have become a musician. He became an engineer.

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<v Speaker 4>He worked for ge and then he was in promotion.

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<v Speaker 4>But he was never really happy because he didn't become

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<v Speaker 4>a musician. We had an old, upright piano in the house,

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<v Speaker 4>a leicster piano, real piece of junk, and I happened

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<v Speaker 4>to inherit that thing and ended up being a planter

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<v Speaker 4>in the garden.

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<v Speaker 1>My mom used it to grow a honeysuckle. She sang.

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<v Speaker 4>Her family were all singing Gilbert and Sullivan, English music

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<v Speaker 4>hall people. Her family was English, so I grew up

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<v Speaker 4>in a very musical home. I heard music all the time.

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<v Speaker 4>My father was playing, my mother would sing. Radio was

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<v Speaker 4>always on, listening.

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<v Speaker 5>To Milton Cross on the Opera. On Sunday, Leonorda enters

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<v Speaker 5>wearing a white gum.

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<v Speaker 1>So I used to bang on the piano.

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<v Speaker 4>My mom got sick of hearing me bang, and she

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<v Speaker 4>dragged me down the street and I started taking lessons,

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<v Speaker 4>and I took to it.

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<v Speaker 1>You and the lester, and your mother and your father.

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<v Speaker 1>Where is this the Bronx. This is in Hicksville. Everybody

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<v Speaker 1>was in Hicksville. We were in Hicksville when my family

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<v Speaker 1>moved with me out of the Bronx. When I was

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<v Speaker 1>a baby, I think maybe a year old. Basically grew

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<v Speaker 1>up on the island.

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<v Speaker 4>I grew up on the island in the Levittown section

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<v Speaker 4>of Hicksville. We had a Levett house, you know, the

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

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<v Speaker 4>started out looking the same. Now it doesn't look anything

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<v Speaker 4>like Levittown, right like my town.

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<v Speaker 1>Yeah, sixteen years old, Hicksville, Long Island, Vietnam War going on, Yes,

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<v Speaker 1>very very tumultuous times, and all of a sudden, what

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<v Speaker 1>do you decide you want to do well?

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<v Speaker 4>I joined a band when I was fourteen. I was

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<v Speaker 4>asked to be in a band, the Echoes. This was

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<v Speaker 4>the Echoes garage band. All guitars because there really were

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<v Speaker 4>no keyboards that you could amplify. I played the piano.

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<v Speaker 4>I never played the organ. Finally figured out how to

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<v Speaker 4>amplify keyboards. I think the Dave Clark five was the

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<v Speaker 4>first band that had an organ. You could hear a

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<v Speaker 4>vox organ.

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<v Speaker 1>It was cool, pieces, bits and pieces, and I'm feeling

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

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<v Speaker 1>so you amplify the keyboard. We got an organ and

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<v Speaker 1>I and I was.

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<v Speaker 4>They decided I had the best voice in the band,

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<v Speaker 4>which isn't really saying much because nobody could sing all

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<v Speaker 4>that well in the band. We couldn't even harmonize. We're

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<v Speaker 4>very bad singers. But they decided you would have got

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<v Speaker 4>the best voice. You'll sing the songs.

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<v Speaker 1>Okay, how did you feel about that.

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<v Speaker 4>I felt a little funny about it because I'm not

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<v Speaker 4>a front man where you stay with Michael mc jagger.

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<v Speaker 4>I didn't have the mic jagger moves. I had a keyboard.

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<v Speaker 4>You kind of locked in. You can't move around. You

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<v Speaker 4>can't carry a keyboard around unless you were accordion player.

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<v Speaker 4>And that looks like Lawrence welk Avan. Then the two

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<v Speaker 4>so I stood at the piano or I sat at

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<v Speaker 4>the piano. But then I realized, you know, that girl

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<v Speaker 4>I always had a crush on, is actually looking at me.

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<v Speaker 4>She never looked at me twice all those years in school.

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

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<v Speaker 4>I was about fifteen sixteen. Virginia is looking at me.

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<v Speaker 1>You know, come out Virginia at that Virginia she's looking

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<v Speaker 1>I said, my my god, she's looking at me. And

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<v Speaker 1>the band sounded great. I love what I was doing.

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<v Speaker 1>The crowd went yay.

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<v Speaker 4>When we finished every song, and at the end of

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<v Speaker 4>the night, the priest gave us each fifteen dollars, which

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<v Speaker 4>in nineteen sixty five was fifteen hundred dollars.

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<v Speaker 1>That was it.

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<v Speaker 4>The door locked behind me. This is what I'm going

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<v Speaker 4>to do. I don't want to go to Corneghill anyway,

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<v Speaker 4>And I ended up going to Corneghill anyway. What music

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<v Speaker 4>were you performing covers of other people? Jukebox bands were

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<v Speaker 4>playing early Beatles, Stones, Sam de Sham and.

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<v Speaker 1>The Finger in that time when you're seeing Tommy James

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<v Speaker 1>and the Chandell's and all that music. Who were you

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<v Speaker 1>saying to yourself, if at all, were you saying, that's

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<v Speaker 1>why I want to be That's why I really admire

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<v Speaker 1>or look up to, or I think I want to

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<v Speaker 1>have his career.

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<v Speaker 4>Well, I liked a lot of different kinds of music.

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<v Speaker 4>I already came out of a classical background, and I

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<v Speaker 4>really dug jazz when I was in my early teens.

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<v Speaker 4>Dave brew Beck, Scarpedison, Art Tatum, Jimmy Smith, Bill Evans.

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<v Speaker 4>I loved jazz. But I realized I ain't gonna be

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<v Speaker 4>one of those guys either. Why because I wasn't a

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<v Speaker 4>good enough pianist.

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<v Speaker 1>I mean, these guys are as virtuostick, virtuistic what virtuostic virtuostick?

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<v Speaker 1>They're good good, They're just really good. I mean the

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<v Speaker 1>top of the line, guys at the top of the

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<v Speaker 1>line in classical and jazz. They could have gone either way.

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<v Speaker 4>The top of line classical guys, how they decided to

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<v Speaker 4>be jazz guys could have been just as good as

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<v Speaker 4>the top jazz guys, and vice versa.

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<v Speaker 1>I wasn't good enough. I was good enough to play

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<v Speaker 1>rock and roll and pop.

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<v Speaker 4>But when I really fell in love with as a

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<v Speaker 4>teenager with girls and stuff was first.

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<v Speaker 1>I like soul music.

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<v Speaker 4>James Brown, Wilson, Pickett, Otis Redding, the Temptations, Marvin Gay,

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<v Speaker 4>Marvin Gay, Smokey Robinson, Gladys.

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<v Speaker 1>I mean, I just loved Did you cover that music

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<v Speaker 1>as well? I try to?

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<v Speaker 4>You know, well, it was all you know they were.

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

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

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<v Speaker 4>I think there were a couple of Jews, some Latinos.

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<v Speaker 4>That was sprinklings. But everybody's white. But everybody likes me

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<v Speaker 4>it twist and shout what everybody would do?

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<v Speaker 1>Come on now, shout, come on? Yeah, and Louis Louis.

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<v Speaker 1>I think there was the Kingsman. What I say, Ray Charles,

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<v Speaker 1>So you the girl all dressed in green and you'd

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<v Speaker 1>make up really dirty words to that. We came up

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<v Speaker 1>with some really good stuff.

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<v Speaker 4>So I love that stuff. And then the Beatles came

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<v Speaker 4>around and there was boom. Four working class guys from Liverpool,

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<v Speaker 4>which is as close to Levittown in England, I think,

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<v Speaker 4>and sounding anyway, then you can be okay if four

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<v Speaker 4>guys from Liverpool, yeah, Liverpool.

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<v Speaker 1>And it's possible. It's possible. They don't look like.

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

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<v Speaker 4>look like four working class guys from anywhere. They could

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<v Speaker 4>be from Ckxville, they could be from Livetown. So I said,

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<v Speaker 4>that's that's possible. That's what I want to do. I

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<v Speaker 4>want to write my own songs.

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<v Speaker 1>I want to play in my own band, do our

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<v Speaker 1>own arrangements and make our own way.

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<v Speaker 4>When did that start? This is before the Echoes, before

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<v Speaker 4>before I joined the band. The Beatles came out.

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<v Speaker 1>You were a kid. I was a kid.

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<v Speaker 4>I was thirteen and you started writing music. Yes, started

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<v Speaker 4>writing Arizot's Beatles songs.

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<v Speaker 5>Well, I climbed the highest mountaine trying to sound Liverpolon

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<v Speaker 5>live Apudlian, Pudlian, Yeah, you know, she don't love me

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<v Speaker 5>like before my own song she Don't Love Me Anymore,

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<v Speaker 5>But I believed all the lad she told me.

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<v Speaker 1>Ah ah, you know that kind of thing, trying to

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<v Speaker 1>sound like the early Beatles. And it was fun.

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<v Speaker 4>It was a lot of fun. But I was asked

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<v Speaker 4>to join a band after the Beatles came out. Now

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<v Speaker 4>you got to remember November of sixty three, John F.

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<v Speaker 4>Kennedy is assassinated. The country goes into the dumps. Even

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<v Speaker 4>though we didn't know that much about politics or government,

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<v Speaker 4>he was our guy. He would the young, vigorous progressive.

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<v Speaker 4>He represented youth and vigor and he was booming. He

0:11:06.000 --> 0:11:09.080
<v Speaker 4>was shot taken away, and everybody just turned off, like

0:11:09.080 --> 0:11:12.439
<v Speaker 4>a switch turned off. We became very cynical to press.

0:11:12.480 --> 0:11:15.640
<v Speaker 4>The whole nation had the blues. February of sixty four,

0:11:16.120 --> 0:11:20.160
<v Speaker 4>who comes out? The Beatles come to America. We took

0:11:20.280 --> 0:11:23.480
<v Speaker 4>them in. We just embraced oxygen that they walked into

0:11:23.520 --> 0:11:26.560
<v Speaker 4>that space, hopeful, funny, it was they were warm.

0:11:27.880 --> 0:11:31.280
<v Speaker 1>Yes, everything everything that was taken away from us, great,

0:11:31.360 --> 0:11:34.360
<v Speaker 1>let's go have a party. Let's party. So you start

0:11:34.360 --> 0:11:37.200
<v Speaker 1>writing songs and you're saying, airsat's Beatles songs. What's the

0:11:37.240 --> 0:11:41.160
<v Speaker 1>first song you write that you can remember? Was called

0:11:41.200 --> 0:11:43.840
<v Speaker 1>My Journey's End. I could play it. I fil me too.

0:11:43.960 --> 0:11:57.600
<v Speaker 2>Let's it We'll climb the highest mountain, swim with Dick.

0:12:00.000 --> 0:12:02.960
<v Speaker 1>If I knew you were there at my journeys and.

0:12:04.960 --> 0:12:12.480
<v Speaker 6>Waiting for me, I can tell them the letters.

0:12:12.360 --> 0:12:16.800
<v Speaker 1>That you you said, jes I go anywhere.

0:12:18.200 --> 0:12:22.280
<v Speaker 3>If I know you were waiting at my journey, He's in.

0:12:26.240 --> 0:12:28.520
<v Speaker 1>What's the first song you wrote that was on a

0:12:28.559 --> 0:12:30.600
<v Speaker 1>record that you sold? Can you remember?

0:12:30.760 --> 0:12:30.960
<v Speaker 7>Well?

0:12:31.200 --> 0:12:33.880
<v Speaker 4>It was probably in the Hassles. The Hassles sold records

0:12:34.160 --> 0:12:37.599
<v Speaker 4>a few on Long Island, probably maybe Jersey.

0:12:40.120 --> 0:12:41.679
<v Speaker 1>At the Woodrow Wilson rest stop.

0:12:41.840 --> 0:12:44.520
<v Speaker 4>Yes, I think it was the Coffee chot Full of

0:12:44.600 --> 0:12:48.440
<v Speaker 4>Nuts in Paramus, because we opened it. We Hassles played

0:12:48.440 --> 0:12:50.920
<v Speaker 4>at the opening the first time.

0:12:50.840 --> 0:12:52.360
<v Speaker 1>I we sold anything.

0:12:52.679 --> 0:12:55.920
<v Speaker 4>So I was signed originally with the Echoes to Mercury Records,

0:12:56.679 --> 0:12:59.520
<v Speaker 4>and we changed the name to The Lost Souls. Were

0:12:59.559 --> 0:13:02.080
<v Speaker 4>the Lost For a while, we made a couple of records.

0:13:02.080 --> 0:13:04.319
<v Speaker 4>Nothing ever happened. Uh what was the other one? Though

0:13:05.840 --> 0:13:06.520
<v Speaker 4>she don't.

0:13:06.360 --> 0:13:08.360
<v Speaker 1>Love me A lot of people she don't love me

0:13:08.480 --> 0:13:09.000
<v Speaker 1>any more.

0:13:11.040 --> 0:13:13.680
<v Speaker 8>I believe all the last she told me.

0:13:14.360 --> 0:13:18.240
<v Speaker 1>Don't you know it's true that she stole me away from.

0:13:18.040 --> 0:13:23.439
<v Speaker 5>My true love and Nama lul Love doesn't love me anymore.

0:13:23.480 --> 0:13:25.360
<v Speaker 1>Almost like mister Mike. That's like the Beatles.

0:13:27.640 --> 0:13:29.600
<v Speaker 4>And then we became the Lost Souls, and it turns

0:13:29.600 --> 0:13:32.520
<v Speaker 4>out there was an English band called the Lost Soul,

0:13:32.640 --> 0:13:35.559
<v Speaker 4>so we had to change our name. So the president

0:13:35.600 --> 0:13:38.760
<v Speaker 4>of Mercury Records, brilliant guy at the time, So, okay,

0:13:38.760 --> 0:13:42.640
<v Speaker 4>we're gonna give you a new name, the Commandos Vietnamers.

0:13:42.840 --> 0:13:46.280
<v Speaker 1>Sure at the time, you're gonna be the Commandosh we

0:13:46.400 --> 0:13:50.439
<v Speaker 1>hate that name. Nobody likes or yeah, no, we likes

0:13:50.480 --> 0:13:51.040
<v Speaker 1>that stuff.

0:13:51.640 --> 0:13:52.959
<v Speaker 4>I know you're gonna be the comand it's gonna be

0:13:52.960 --> 0:13:55.360
<v Speaker 4>great and we're gonna get your outfits. And so that

0:13:55.440 --> 0:13:59.080
<v Speaker 4>lasted about fifteen minutes and we got dumped off the label.

0:13:59.240 --> 0:14:02.480
<v Speaker 1>So it's Echo Lost Souls, Lost Souls and then command

0:14:02.600 --> 0:14:05.280
<v Speaker 1>Mandos for a weekend. For a weekend. It opened up

0:14:05.320 --> 0:14:06.640
<v Speaker 1>one quick chuck full of nuts.

0:14:06.720 --> 0:14:08.959
<v Speaker 4>And then I there was a band on Long Island

0:14:09.000 --> 0:14:11.559
<v Speaker 4>which was making a lot of local noise called the Hassles.

0:14:12.000 --> 0:14:14.760
<v Speaker 4>They asked me to join the guys in my band

0:14:14.760 --> 0:14:17.320
<v Speaker 4>and the Echoes, Lost Souls Commandos Room. They were all

0:14:17.360 --> 0:14:19.880
<v Speaker 4>going on to either the military or college. None of

0:14:19.920 --> 0:14:21.960
<v Speaker 4>them were really seriously going to be musicians except the

0:14:21.960 --> 0:14:25.560
<v Speaker 4>bass player. And I said, I'll join all right, I'll

0:14:25.600 --> 0:14:28.160
<v Speaker 4>join the Hassles. They wanted me to play organ I'll

0:14:28.240 --> 0:14:30.040
<v Speaker 4>join the if I can bring my bass player with

0:14:30.080 --> 0:14:32.200
<v Speaker 4>me because they didn't have a bass player. They said okay,

0:14:32.680 --> 0:14:35.640
<v Speaker 4>So that became the Hassles. And then there was another guy.

0:14:35.680 --> 0:14:38.360
<v Speaker 4>He got a lot of Mick Jagger moves, Little John.

0:14:38.440 --> 0:14:42.560
<v Speaker 4>His name was fun, great hair, good looking guy, couldn't

0:14:42.600 --> 0:14:43.400
<v Speaker 4>sing to save his.

0:14:43.640 --> 0:14:45.800
<v Speaker 1>Ass, didn't matter, you can wiggle it.

0:14:45.880 --> 0:14:48.680
<v Speaker 4>He was gorgeous and women just went nuts and I'm

0:14:49.160 --> 0:14:52.520
<v Speaker 4>in the back door were death well, but they had eyes,

0:14:52.560 --> 0:14:54.280
<v Speaker 4>you know, they could they.

0:14:54.200 --> 0:14:59.280
<v Speaker 1>Could see the music video killed the radio absolutely glad.

0:14:59.320 --> 0:15:00.640
<v Speaker 4>I came up in an air where it wasn't that

0:15:00.680 --> 0:15:03.760
<v Speaker 4>prep record. So then I was in the Hassles. Now,

0:15:03.760 --> 0:15:06.320
<v Speaker 4>the Hassles were a band, blue white soul band. There

0:15:06.360 --> 0:15:09.000
<v Speaker 4>were a bunch of them. The Vagrants was another one.

0:15:09.440 --> 0:15:09.560
<v Speaker 3>Uh.

0:15:09.640 --> 0:15:11.240
<v Speaker 4>They used to play at the Action House all the

0:15:11.280 --> 0:15:13.440
<v Speaker 4>time on Long Island. We made two albums with the

0:15:13.520 --> 0:15:16.400
<v Speaker 4>United Artists and they both bombed out. That that's the

0:15:16.440 --> 0:15:20.400
<v Speaker 4>first time we started selling anything. Every step I take.

0:15:20.520 --> 0:15:24.760
<v Speaker 4>Was the first song that I wrote that actually sold something.

0:15:31.040 --> 0:15:39.520
<v Speaker 1>Was the vamp Everything I Do I don't know. The

0:15:39.560 --> 0:15:43.920
<v Speaker 1>chorus went every step by say, every move I made.

0:15:44.400 --> 0:15:48.560
<v Speaker 1>You know, I'm trying to a knife with that, I

0:15:48.680 --> 0:15:53.000
<v Speaker 1>turned eye run, eye hid really no, deep inside, A

0:15:53.160 --> 0:16:09.240
<v Speaker 1>part of me has died. He said, like, I didn't

0:16:09.280 --> 0:16:11.120
<v Speaker 1>know you wrote that. That's great. That's how my father

0:16:11.280 --> 0:16:13.640
<v Speaker 1>used to tell it. Sounded like Pompey. Yeah.

0:16:13.640 --> 0:16:15.360
<v Speaker 4>So that was probably the first thing that solo was

0:16:15.360 --> 0:16:17.440
<v Speaker 4>on the first Hassle's album. I think we saw a

0:16:17.440 --> 0:16:20.720
<v Speaker 4>dozen copies and I actually heard it on the radio once.

0:16:21.800 --> 0:16:24.560
<v Speaker 4>But our big single was actually a cover of a

0:16:24.600 --> 0:16:36.960
<v Speaker 4>Sam and Dave record, You Got Me Humming.

0:16:41.640 --> 0:16:47.720
<v Speaker 1>I don't know what you got but it's good too, man.

0:16:48.080 --> 0:16:50.320
<v Speaker 1>You got Me Humming, You got Me Huming. It's a

0:16:50.320 --> 0:16:51.560
<v Speaker 1>big song by Sam and Dave.

0:16:52.080 --> 0:16:56.600
<v Speaker 4>Everybody was covering soul records and doing them psychedelic or

0:16:56.640 --> 0:16:59.520
<v Speaker 4>doing their own arrangements of them. That was the Hassles hit.

0:17:00.120 --> 0:17:03.440
<v Speaker 4>First time was horrible, This second hal was really horrible.

0:17:04.080 --> 0:17:07.400
<v Speaker 4>And then I, me and the drummers split off from

0:17:07.400 --> 0:17:11.760
<v Speaker 4>the Hassles to form a power duo like I.

0:17:11.720 --> 0:17:15.240
<v Speaker 1>Played Simon and Garfuncle. Yes, sure, we were.

0:17:15.080 --> 0:17:17.440
<v Speaker 4>Going to destroy the world with amplification. This was like

0:17:17.480 --> 0:17:19.040
<v Speaker 4>the heavy metal thing we heard Zeppelin.

0:17:19.480 --> 0:17:32.920
<v Speaker 9>It blew on mind Iron Butterfly, Gotta DaVita.

0:17:33.880 --> 0:17:38.080
<v Speaker 1>Don't you know that I love you? Ye went on

0:17:38.160 --> 0:17:40.520
<v Speaker 1>and on and on. We tried to are we listening

0:17:40.520 --> 0:17:43.360
<v Speaker 1>to that? Because that's what there was? A Garden of Eden?

0:17:43.359 --> 0:17:44.320
<v Speaker 1>Isn't that what someone said? There was?

0:17:44.359 --> 0:17:44.600
<v Speaker 3>That was?

0:17:44.640 --> 0:17:46.840
<v Speaker 1>That was like a nonsense lyric. A friend of mine

0:17:46.840 --> 0:17:48.240
<v Speaker 1>knows the guy that wrote that song. I think I

0:17:48.480 --> 0:17:50.760
<v Speaker 1>think he was trying to say, in the Garden of Eden,

0:17:50.840 --> 0:17:54.720
<v Speaker 1>you actually know the lyrics to it? Divita. Yeah, that's

0:17:54.760 --> 0:17:56.560
<v Speaker 1>all I know in a Gotta DaVita. I don't remember

0:17:56.560 --> 0:17:57.879
<v Speaker 1>the rest of it. I remember he explained that he

0:17:57.960 --> 0:17:59.560
<v Speaker 1>was at a party in La years ago that they

0:17:59.600 --> 0:18:06.320
<v Speaker 1>were really in the game. He made a gibberish version,

0:18:06.480 --> 0:18:10.400
<v Speaker 1>so their bail out lyrics. Okay. So when you get

0:18:10.440 --> 0:18:14.000
<v Speaker 1>to this point where you say, a couple albums the

0:18:14.040 --> 0:18:18.960
<v Speaker 1>hassles and then when is it you Well, it's what happened.

0:18:18.960 --> 0:18:21.880
<v Speaker 4>The band's got small and smaller and smaller. The Attila

0:18:21.960 --> 0:18:23.119
<v Speaker 4>became a two man band.

0:18:23.880 --> 0:18:25.919
<v Speaker 1>So when you and he went off, we went with

0:18:26.000 --> 0:18:27.680
<v Speaker 1>Attila was the two of you. Attila was just the

0:18:27.720 --> 0:18:30.000
<v Speaker 1>two of them. What did he play? He played drums, drums.

0:18:30.119 --> 0:18:34.360
<v Speaker 4>I played Hammond organ wired directly through ham We're getting closer.

0:18:34.119 --> 0:18:36.359
<v Speaker 1>To Lawrence Welk. Now the more we go, it's getting closer.

0:18:36.560 --> 0:18:38.399
<v Speaker 1>I almost got that, according but it was louder. It

0:18:38.480 --> 0:18:39.320
<v Speaker 1>was much louder.

0:18:39.320 --> 0:18:42.600
<v Speaker 4>And we got signed to Epic, and we were on

0:18:42.680 --> 0:18:45.440
<v Speaker 4>Epic for one album and it was in colossal failure.

0:18:45.960 --> 0:18:48.520
<v Speaker 4>We played one gig I think it was on Ungano's

0:18:48.640 --> 0:18:52.120
<v Speaker 4>on the West Side in Manhattan, and people went fleeing

0:18:52.160 --> 0:18:54.480
<v Speaker 4>from the place. We were so loud you could see

0:18:54.480 --> 0:18:57.560
<v Speaker 4>blood coming out of his ears, which is horrible. Thank

0:18:57.560 --> 0:19:00.000
<v Speaker 4>god it didn't happen, because I would have screamed myself

0:19:00.480 --> 0:19:01.760
<v Speaker 4>out of the right, out of the business.

0:19:01.880 --> 0:19:03.880
<v Speaker 1>So after you nearly kill a room full of people at.

0:19:03.800 --> 0:19:06.160
<v Speaker 4>On Commomy and then what happens then that we broke

0:19:06.240 --> 0:19:08.679
<v Speaker 4>up and I decided I no longer want to be

0:19:08.800 --> 0:19:11.119
<v Speaker 4>a rock and roll star. I got that out of

0:19:11.119 --> 0:19:12.760
<v Speaker 4>my got that out of my system. I was about

0:19:12.800 --> 0:19:16.160
<v Speaker 4>nineteen or twenty. I want to write songs now. I'd

0:19:16.200 --> 0:19:18.200
<v Speaker 4>like to explore a little bit of folk new Where

0:19:18.200 --> 0:19:20.600
<v Speaker 4>did you start to write? I started to write the

0:19:20.600 --> 0:19:22.480
<v Speaker 4>songs that are run Now I'm called cold Spring Harbor.

0:19:22.560 --> 0:19:24.240
<v Speaker 1>So give me, give me an except one of the

0:19:24.240 --> 0:19:33.800
<v Speaker 1>earliest ones you remember writing, baby, all the lights are

0:19:33.840 --> 0:19:38.960
<v Speaker 1>turned on you. Now you're in the center of the stage.

0:19:39.480 --> 0:19:43.320
<v Speaker 1>Everything revolves on what you do while you were in

0:19:43.320 --> 0:19:47.439
<v Speaker 1>your prime of comedy. Man, you can always have your

0:19:47.440 --> 0:19:53.640
<v Speaker 1>wears somehow, because everybody want you know, it was kind

0:19:53.640 --> 0:19:56.159
<v Speaker 1>of Dylanesque, you know. I wanted to I wanted to

0:19:56.200 --> 0:19:58.360
<v Speaker 1>go play in the village. Actually I didn't even want

0:19:58.359 --> 0:20:01.840
<v Speaker 1>to play anymore, just you, me with you and the piano.

0:20:01.960 --> 0:20:03.960
<v Speaker 4>Well, I got a band to play this stuff with me,

0:20:04.560 --> 0:20:08.080
<v Speaker 4>but I'm picturing it on guitars general maybe on a

0:20:08.160 --> 0:20:10.600
<v Speaker 4>lands ten on you.

0:20:10.920 --> 0:20:12.640
<v Speaker 5>You're in a center of the stage.

0:20:14.119 --> 0:20:15.680
<v Speaker 6>Everything revelves on what you do.

0:20:16.680 --> 0:20:18.800
<v Speaker 5>Hy you already primed coming.

0:20:20.040 --> 0:20:23.000
<v Speaker 1>Did you send him that song to record? I wanted

0:20:23.080 --> 0:20:25.119
<v Speaker 1>him to. But Bob writes his own stuff. He's not

0:20:25.160 --> 0:20:27.400
<v Speaker 1>gonna do covers. He doesn't buy songs from other people.

0:20:27.520 --> 0:20:29.639
<v Speaker 4>No, he does not, and he does very well with

0:20:29.720 --> 0:20:33.359
<v Speaker 4>his own right, of course. But I no longer wanted

0:20:33.400 --> 0:20:34.800
<v Speaker 4>to be the guy on stage. I wanted to be

0:20:34.840 --> 0:20:36.639
<v Speaker 4>the guy behind the scenes. It's kind of a Jimmy

0:20:36.680 --> 0:20:40.399
<v Speaker 4>Webb kind of thing. This just happened to coincide with

0:20:40.480 --> 0:20:46.160
<v Speaker 4>the era of the singer songwriter Harry Chape and Jim Crochey,

0:20:46.320 --> 0:20:50.879
<v Speaker 4>James Taylor was huge at the time, Jackson Brown, Jackson Brown,

0:20:51.400 --> 0:20:54.720
<v Speaker 4>all these singer songwriters. Even Carol King, who was a

0:20:54.760 --> 0:20:57.160
<v Speaker 4>great songwriter, became a singer songwriter.

0:20:57.240 --> 0:20:57.480
<v Speaker 1>Sure.

0:20:58.040 --> 0:20:59.879
<v Speaker 4>So the advice I got was, well, you want people

0:21:00.080 --> 0:21:01.840
<v Speaker 4>of these songs, why don't you make your own album?

0:21:02.520 --> 0:21:02.920
<v Speaker 1>Okay.

0:21:03.200 --> 0:21:05.720
<v Speaker 4>I got a record deal, and then I got traded

0:21:06.240 --> 0:21:08.919
<v Speaker 4>to a record company on the West Coast call Family.

0:21:08.640 --> 0:21:12.800
<v Speaker 1>Records, a guy named already Rip, perfect name. I was

0:21:12.840 --> 0:21:14.639
<v Speaker 1>like an Occhio. Yeah.

0:21:14.720 --> 0:21:17.760
<v Speaker 4>I fell in with the you know, Hydrid lead actor's

0:21:17.760 --> 0:21:20.399
<v Speaker 4>life for me, for those people. And I recorded an

0:21:20.440 --> 0:21:22.800
<v Speaker 4>album in La. I lived in La for a little while.

0:21:23.440 --> 0:21:26.000
<v Speaker 4>They said, Okay, you made the album. Now now you've

0:21:26.000 --> 0:21:27.320
<v Speaker 4>got an album, you need to promote it. You need

0:21:27.359 --> 0:21:30.200
<v Speaker 4>to go on the road and play and promote the album.

0:21:30.280 --> 0:21:33.000
<v Speaker 4>Is oh okay. It's kind of a strange way to

0:21:33.040 --> 0:21:35.840
<v Speaker 4>be a songwriter. But that's what other people were doing.

0:21:36.320 --> 0:21:38.160
<v Speaker 4>But you know, other people be interested in my material

0:21:38.200 --> 0:21:41.320
<v Speaker 4>if I promoted it, promote the album and we'll hear it. Well,

0:21:41.320 --> 0:21:44.399
<v Speaker 4>the album was mastered at the wrong speed.

0:21:45.400 --> 0:21:47.040
<v Speaker 1>So a song like this.

0:21:51.160 --> 0:21:57.439
<v Speaker 8>She's Got Away about her, I don't know what it is,

0:21:58.560 --> 0:22:02.600
<v Speaker 8>but I know that I can live without played like.

0:22:02.560 --> 0:22:04.920
<v Speaker 1>This She's Got Away.

0:22:07.359 --> 0:22:10.119
<v Speaker 5>I don't know what it is, but I know that

0:22:10.240 --> 0:22:11.399
<v Speaker 5>I can't live without it.

0:22:11.520 --> 0:22:13.840
<v Speaker 1>So if you hear that recording, I sound like the Chipmunks,

0:22:14.240 --> 0:22:17.720
<v Speaker 1>well speed it up kind of. Yeah, it's terrible. The

0:22:17.760 --> 0:22:18.760
<v Speaker 1>album never went anywhere.

0:22:18.880 --> 0:22:21.520
<v Speaker 4>Nothing happened, and I went on the road and I

0:22:21.560 --> 0:22:23.840
<v Speaker 4>promoted it and never saw it in the stores.

0:22:24.640 --> 0:22:26.439
<v Speaker 1>But that was when I was me. That was just

0:22:26.520 --> 0:22:29.359
<v Speaker 1>Billy Joel. So you when people buy that album, the

0:22:29.960 --> 0:22:32.040
<v Speaker 1>album has been re released where it's not at that speed.

0:22:32.520 --> 0:22:35.920
<v Speaker 4>It's been remastered, but it's still there's something wrong with it.

0:22:35.920 --> 0:22:37.920
<v Speaker 4>It just doesn't sound right. I would advise people don't

0:22:37.920 --> 0:22:40.199
<v Speaker 4>buy it. If you can steal it, steal it.

0:22:40.960 --> 0:22:45.720
<v Speaker 1>We're taking a break, stay with us. So then, so

0:22:45.800 --> 0:22:48.160
<v Speaker 1>Cold Spring Harbor is the first album. It's you, how

0:22:48.200 --> 0:22:52.400
<v Speaker 1>Many Get You? And it's how many band members? Guitar, bass, drums,

0:22:52.720 --> 0:22:54.439
<v Speaker 1>and there was some violins.

0:22:53.880 --> 0:22:56.040
<v Speaker 4>That were put in by Audie Rip you know he

0:22:56.160 --> 0:22:59.080
<v Speaker 4>was trying to be phil Spector. It got all glopped up.

0:22:59.119 --> 0:23:00.560
<v Speaker 4>It was supposed to be more of a folky. You

0:23:00.640 --> 0:23:02.840
<v Speaker 4>recorded that in La, recorded it in La. How long

0:23:02.880 --> 0:23:03.680
<v Speaker 4>were you in l A?

0:23:03.960 --> 0:23:06.760
<v Speaker 1>Three years? What was that like for you? Weird?

0:23:07.040 --> 0:23:12.320
<v Speaker 4>How I went there and I stayed on Santa Mia Boulevard.

0:23:12.400 --> 0:23:14.960
<v Speaker 4>It's just dun't be a little place called the Tropicana

0:23:15.040 --> 0:23:18.040
<v Speaker 4>Motel right there on Santa the Duke's where the Duke's car,

0:23:18.440 --> 0:23:20.480
<v Speaker 4>Duke's coffee shop, and they mean the huge sandwiches for

0:23:20.480 --> 0:23:20.760
<v Speaker 4>the poor.

0:23:20.800 --> 0:23:22.800
<v Speaker 1>Musicians have breakfast at Duke's. It was great.

0:23:22.920 --> 0:23:25.400
<v Speaker 4>Yeah, you know a buck, you're gonna eat like a can.

0:23:26.280 --> 0:23:28.919
<v Speaker 4>The place was a dump, but the postcards said the

0:23:29.080 --> 0:23:31.280
<v Speaker 4>Tropic Canna and it had like a palm tree on it.

0:23:31.320 --> 0:23:32.800
<v Speaker 4>So I sent postcards all my friends.

0:23:32.920 --> 0:23:36.440
<v Speaker 1>I've made it. I'm in Hollywood, coming together a cat.

0:23:36.840 --> 0:23:39.760
<v Speaker 1>I'm having omelets on Santa Monica Boulevard for a dollar.

0:23:41.240 --> 0:23:43.920
<v Speaker 1>I mean to play it my song at a Chipmunk speed. Well,

0:23:44.320 --> 0:23:46.760
<v Speaker 1>it's all going great. Yeah, if you're from Long Island,

0:23:46.760 --> 0:23:48.919
<v Speaker 1>you get a postcard with a pomp. It says the

0:23:49.000 --> 0:23:52.480
<v Speaker 1>Tropic Canas. Oh my god, he's made it because you

0:23:52.560 --> 0:23:54.479
<v Speaker 1>and I from the same background. Yes, I mean I'm

0:23:54.480 --> 0:23:56.280
<v Speaker 1>from southsho Wanga and when I when people would do

0:23:56.560 --> 0:23:58.399
<v Speaker 1>and I can see you're probably your friends. You grew

0:23:58.480 --> 0:24:00.119
<v Speaker 1>up with a propleate like mine, with a provate at

0:24:00.160 --> 0:24:03.000
<v Speaker 1>that post because like Joey come here, I got a

0:24:03.000 --> 0:24:08.600
<v Speaker 1>postcod from Billy. He's at the Tropicana here. It's unfucking believable, right, Wow,

0:24:08.640 --> 0:24:11.159
<v Speaker 1>he's on the beach with girls like the beach boys.

0:24:11.560 --> 0:24:13.679
<v Speaker 1>He's driving cars. And I would make movies like my

0:24:13.680 --> 0:24:15.119
<v Speaker 1>friends to be like they say, let me ask you

0:24:15.119 --> 0:24:16.960
<v Speaker 1>a question. Will you do a love scene with a

0:24:17.000 --> 0:24:19.719
<v Speaker 1>broad movie? Like? Do you ever get excited like yourself?

0:24:19.760 --> 0:24:20.200
<v Speaker 5>You know what I mean?

0:24:20.760 --> 0:24:22.760
<v Speaker 1>There's a weird you know, to make love to a

0:24:22.760 --> 0:24:24.400
<v Speaker 1>woman in front of all them people. Can you pick

0:24:24.440 --> 0:24:26.399
<v Speaker 1>who you make out with? Yeah? They're like, do you

0:24:26.520 --> 0:24:28.880
<v Speaker 1>enjoy that? It was a fun you mean he groupies

0:24:28.880 --> 0:24:30.560
<v Speaker 1>out there. I'm like, no, it's not fun because it's

0:24:30.560 --> 0:24:32.600
<v Speaker 1>one hundred and twenty five people staring at you like,

0:24:32.640 --> 0:24:34.840
<v Speaker 1>oh yeah, I forgot about that, Yeah, I forgot. We

0:24:34.920 --> 0:24:36.639
<v Speaker 1>got those questions. What's it like in the studio? I

0:24:36.640 --> 0:24:38.679
<v Speaker 1>mean like a lot of drugs and girls and stuff.

0:24:39.160 --> 0:24:42.320
<v Speaker 4>No, you're actually in a factory and you're surrounded by equipment,

0:24:42.320 --> 0:24:43.560
<v Speaker 4>and you know, I don't.

0:24:43.359 --> 0:24:46.040
<v Speaker 1>Have like big fish tanks full of cocaine, like chicks

0:24:46.040 --> 0:24:48.679
<v Speaker 1>coming in with bikinis and stuff from the beach rubbing

0:24:48.760 --> 0:24:50.600
<v Speaker 1>your neck and shoulders while you're playing. Yeah, and that's

0:24:50.600 --> 0:24:52.919
<v Speaker 1>what it looks like in the movies. Yeah, did you

0:24:52.960 --> 0:24:55.520
<v Speaker 1>meet the movie stars some of a musician. I'm like,

0:24:55.560 --> 0:24:57.359
<v Speaker 1>you haven't done it with all the big stars, right,

0:24:57.720 --> 0:24:59.280
<v Speaker 1>and a fish tank full of blow when chicks and

0:24:59.280 --> 0:25:02.159
<v Speaker 1>bikinis rubbing the shoulders right, day and night. That's what

0:25:02.240 --> 0:25:05.240
<v Speaker 1>people think now when you did the you did Cold

0:25:05.240 --> 0:25:08.000
<v Speaker 1>Spring Harbor? There? I did? Did you do the next album?

0:25:08.000 --> 0:25:11.720
<v Speaker 1>Out there? I did two more albums out there? So

0:25:11.720 --> 0:25:13.000
<v Speaker 1>what'd you do out there? Actually?

0:25:13.000 --> 0:25:15.359
<v Speaker 4>I got a job after I did the Cold Spring

0:25:15.400 --> 0:25:17.479
<v Speaker 4>Harbor album. I dropped that aside. I had to get

0:25:17.520 --> 0:25:19.639
<v Speaker 4>out of this horrible deal and I'd signed. I signed

0:25:19.640 --> 0:25:24.159
<v Speaker 4>away everything, copyrights, publishing, record royalties, everything, my first child

0:25:24.520 --> 0:25:25.359
<v Speaker 4>I gave away at all.

0:25:25.400 --> 0:25:26.760
<v Speaker 1>And I said that I got to get out of

0:25:26.760 --> 0:25:27.720
<v Speaker 1>this deal, and.

0:25:27.720 --> 0:25:30.159
<v Speaker 4>I hid in La and I worked in a piano

0:25:30.200 --> 0:25:32.280
<v Speaker 4>bar under the name Bill Mortin. This was down in

0:25:32.280 --> 0:25:35.880
<v Speaker 4>the Wilship District, and it was it's not a real

0:25:35.960 --> 0:25:39.360
<v Speaker 4>bar town LA. You know, Long Island is a pub

0:25:39.400 --> 0:25:41.480
<v Speaker 4>on every corner. It's a pub culture.

0:25:41.920 --> 0:25:43.920
<v Speaker 1>So when people close their eyes and they think a

0:25:44.000 --> 0:25:46.280
<v Speaker 1>piano man, I think of a guy bending over, you know,

0:25:46.359 --> 0:25:48.200
<v Speaker 1>leaning over a piano, and I think of a guy

0:25:48.240 --> 0:25:51.359
<v Speaker 1>in a place on Long Island or in New York.

0:25:51.560 --> 0:25:53.440
<v Speaker 1>But you recorded that out of Los Angeles.

0:25:53.520 --> 0:25:55.439
<v Speaker 4>I recorded in LA and that's where I worked. Some

0:25:55.480 --> 0:25:57.560
<v Speaker 4>people think I did it for years. I worked in

0:25:57.560 --> 0:25:59.600
<v Speaker 4>this piano bar for six months. I needed to make

0:25:59.640 --> 0:26:03.080
<v Speaker 4>some money. I made Union scale, I get tips. Mostly

0:26:03.119 --> 0:26:05.280
<v Speaker 4>played the you know, major seven chords.

0:26:13.760 --> 0:26:20.720
<v Speaker 1>Anything I don't, But how does piano man start? Right?

0:26:27.520 --> 0:26:29.760
<v Speaker 4>That kind of thing? That guy in the hotel lot lobby.

0:26:30.320 --> 0:26:32.360
<v Speaker 4>They would request songs I didn't even know the song.

0:26:32.400 --> 0:26:35.680
<v Speaker 4>Can you play what's that? Hogey Carmichael's song?

0:26:36.240 --> 0:26:46.560
<v Speaker 1>Startups? And I would go, sure, do you play mystery? Sure?

0:26:52.200 --> 0:26:55.600
<v Speaker 1>And everybody was drinking pretty heavy because in an l.

0:26:55.600 --> 0:26:58.880
<v Speaker 4>A bar, these were all people who lost at the track, losers.

0:26:59.000 --> 0:27:02.720
<v Speaker 4>I just like drink like fish and I got free drinks.

0:27:02.960 --> 0:27:05.879
<v Speaker 1>Oh my god. So then you do piano man. That

0:27:06.000 --> 0:27:07.600
<v Speaker 1>was the next album after that, You do in La.

0:27:07.840 --> 0:27:09.600
<v Speaker 1>We did Piano Man in La, and there was an

0:27:09.600 --> 0:27:12.520
<v Speaker 1>album that wasn't a hit album. People perceived that to

0:27:12.560 --> 0:27:12.960
<v Speaker 1>be a hit.

0:27:13.000 --> 0:27:15.040
<v Speaker 4>It was not a hit Piano Man. Piano Man was

0:27:15.080 --> 0:27:17.520
<v Speaker 4>not a hit record. It was with a turntable hit.

0:27:17.840 --> 0:27:20.080
<v Speaker 4>In other words, it didn't sell through. But this is

0:27:20.119 --> 0:27:22.760
<v Speaker 4>back in the early seventies. In those days they still

0:27:22.760 --> 0:27:26.080
<v Speaker 4>had FM, progressive radio. Disc jockeys could spend whatever they wanted.

0:27:26.200 --> 0:27:28.879
<v Speaker 1>W L I R. Dennis McNamara, that's it under him.

0:27:29.160 --> 0:27:31.560
<v Speaker 1>I was a kid home. I was smoking, you know what,

0:27:31.720 --> 0:27:33.560
<v Speaker 1>leaning out the window, so my mom didn't know. And

0:27:33.560 --> 0:27:35.800
<v Speaker 1>on the video here w L I R. This is

0:27:35.800 --> 0:27:39.880
<v Speaker 1>Dennis smack namara Jackson Brown right. I listened to this guy.

0:27:40.119 --> 0:27:42.439
<v Speaker 1>He was my childhood Dennis mc We grew up with

0:27:42.480 --> 0:27:45.119
<v Speaker 1>these dis jockeys at night. Allison steel Alis, the night Bird,

0:27:45.680 --> 0:27:50.000
<v Speaker 1>Roscoe Zacherley, was Vin Skel Vince Skels, and my favorite

0:27:50.040 --> 0:27:52.320
<v Speaker 1>guy was Scott Me and he coming at Chess got

0:27:52.359 --> 0:28:01.440
<v Speaker 1>me with a little spooky tooth from England. Spooky too.

0:28:01.640 --> 0:28:03.160
<v Speaker 4>This got me and you're coming at you right now

0:28:03.440 --> 0:28:05.560
<v Speaker 4>and it was great voices just coming out of the

0:28:05.600 --> 0:28:08.199
<v Speaker 4>air and they played whatever they wanted. They didn't have

0:28:08.240 --> 0:28:11.679
<v Speaker 4>program directors, they didn't have consultants, and people would call in.

0:28:11.720 --> 0:28:14.120
<v Speaker 4>If they got enough request they would play a track.

0:28:14.160 --> 0:28:17.199
<v Speaker 4>So Piano Man got requested all the time. It was

0:28:17.240 --> 0:28:19.320
<v Speaker 4>a five and a half minute record. I mean, he's

0:28:19.320 --> 0:28:22.080
<v Speaker 4>not an am hit an amount of time. It's too long,

0:28:22.480 --> 0:28:23.920
<v Speaker 4>and it was in three quarters time.

0:28:28.520 --> 0:28:33.560
<v Speaker 1>It's a waltz popa.

0:28:31.760 --> 0:28:34.639
<v Speaker 4>And it's and it's not really lyrics. Dilimeerates John at

0:28:34.680 --> 0:28:36.080
<v Speaker 4>the bar is a friend of mine. He gets my

0:28:36.160 --> 0:28:38.040
<v Speaker 4>drinks for free. He's quick with the joke and a

0:28:38.040 --> 0:28:39.760
<v Speaker 4>lot of you smoke with us. Somebody did he rather be?

0:28:39.760 --> 0:28:43.480
<v Speaker 4>It could be one of the girl from Nantucket. Yeah,

0:28:43.680 --> 0:28:46.480
<v Speaker 4>so it's the Limericks. And if anybody said this was

0:28:46.480 --> 0:28:47.760
<v Speaker 4>going to be a hit record, I tell him right

0:28:47.800 --> 0:28:49.920
<v Speaker 4>of their minds. But it became a trying table hit,

0:28:50.000 --> 0:28:51.480
<v Speaker 4>so people perceive it to be a sell through.

0:28:51.520 --> 0:28:51.880
<v Speaker 1>It wasn't.

0:28:52.160 --> 0:28:55.080
<v Speaker 4>The next album comes out Street Live Serenade, it's the

0:28:55.120 --> 0:28:58.760
<v Speaker 4>sophomore Jenks I did not have enough time to write

0:28:58.880 --> 0:29:00.560
<v Speaker 4>new material after the Piano Man.

0:29:00.480 --> 0:29:00.960
<v Speaker 1>Alm came out.

0:29:00.960 --> 0:29:03.120
<v Speaker 4>Piano Man made a lot of noise, got a lot

0:29:03.160 --> 0:29:05.200
<v Speaker 4>of attention paid to it, record company wanted another follow

0:29:05.280 --> 0:29:08.840
<v Speaker 4>up right away. Okay, new album now, But I've been

0:29:08.840 --> 0:29:10.480
<v Speaker 4>on the road. I haven't had a chance to write.

0:29:10.720 --> 0:29:13.280
<v Speaker 4>I need it now. I didn't have any material and.

0:29:13.240 --> 0:29:14.760
<v Speaker 1>You can hear it. So what do you do? What

0:29:14.760 --> 0:29:16.320
<v Speaker 1>do you do when you got nothing? What do you play?

0:29:16.440 --> 0:29:18.800
<v Speaker 1>I had nothing. I was empty. I was running on empty.

0:29:18.840 --> 0:29:21.040
<v Speaker 1>But there's not nothing on the album. Where'd that come from? Well?

0:29:21.040 --> 0:29:23.680
<v Speaker 1>I had one song that I thought, which was the Entertainer.

0:29:24.280 --> 0:29:34.360
<v Speaker 1>Which is that? Another folks on I am the Entertainer.

0:29:35.200 --> 0:29:39.920
<v Speaker 1>I know just where I was done. Another surtinator. I

0:29:39.920 --> 0:29:44.280
<v Speaker 1>had another long haired band today, I am the Champion.

0:29:45.160 --> 0:29:48.520
<v Speaker 1>I made one your hearts, but I know the game.

0:29:48.640 --> 0:29:49.720
<v Speaker 1>You're forgetting my name.

0:29:50.000 --> 0:29:52.720
<v Speaker 4>I won't be here in another year if I don't

0:29:52.760 --> 0:29:56.000
<v Speaker 4>stay on the charm. I wrote it on the guitar, actually,

0:29:56.360 --> 0:29:58.280
<v Speaker 4>but that was it. That was probably the one song

0:29:58.360 --> 0:30:00.640
<v Speaker 4>that I had finished. And the boom in the studio

0:30:00.760 --> 0:30:04.400
<v Speaker 4>the clock is ticking. So there's two instrumentals on that album,

0:30:04.400 --> 0:30:07.000
<v Speaker 4>the root beer rag, which is just a piano rag

0:30:07.040 --> 0:30:11.560
<v Speaker 4>time thing, and this air zots Western movie theme called

0:30:11.600 --> 0:30:13.920
<v Speaker 4>the Mexican Connection. Because I was living in LA was

0:30:14.160 --> 0:30:15.680
<v Speaker 4>fascinated with westerns.

0:30:16.960 --> 0:30:21.800
<v Speaker 1>That's it. There's a song actually on the piano.

0:30:21.800 --> 0:30:24.440
<v Speaker 4>Man, I'm called the Ballot of Billy the Kids historically

0:30:24.640 --> 0:30:28.400
<v Speaker 4>completely inaccurate. I just used Western sounding things from a

0:30:28.440 --> 0:30:30.520
<v Speaker 4>town known as Wheeling, West Virginia.

0:30:31.000 --> 0:30:33.320
<v Speaker 1>It wasn't from Willie, West Virginia. He was actually from Brooklyn.

0:30:33.920 --> 0:30:36.320
<v Speaker 4>Boy with a six gun in his hand, and then

0:30:36.360 --> 0:30:38.280
<v Speaker 4>he robbed his way from Utah to Oklahoma.

0:30:38.360 --> 0:30:41.040
<v Speaker 1>He never got out of New Mexico. You're ruining the

0:30:41.080 --> 0:30:42.479
<v Speaker 1>song for me now. I don't want to know how

0:30:42.600 --> 0:30:45.080
<v Speaker 1>Saua made East and West Pallida. Billy the Kid is

0:30:45.120 --> 0:30:46.720
<v Speaker 1>fine by me the way it is. Don't screw it

0:30:46.760 --> 0:30:48.200
<v Speaker 1>up for me. No, But I think it's funny.

0:30:48.200 --> 0:30:50.760
<v Speaker 4>The fact it was just Western sounding things east and

0:30:50.760 --> 0:30:52.880
<v Speaker 4>west of the Rio Grant. Well, it can't be eastern west,

0:30:52.880 --> 0:30:54.760
<v Speaker 4>because the real Grand runs.

0:30:54.480 --> 0:30:56.720
<v Speaker 1>East and west of the Rio Grand. God damn it.

0:30:56.800 --> 0:30:59.240
<v Speaker 1>I know which way the Rio Grand runs. And the

0:30:59.280 --> 0:31:02.080
<v Speaker 1>crab poured in to watch the hanging of Billy the Kid. Well,

0:31:02.120 --> 0:31:04.120
<v Speaker 1>Billy the Kid wasn't hung. He was shot, of course,

0:31:04.160 --> 0:31:06.160
<v Speaker 1>we don't know if he was. Okay, now now you win.

0:31:06.200 --> 0:31:07.920
<v Speaker 1>Now I hate the song. Okay, I hate it. It's

0:31:07.960 --> 0:31:10.560
<v Speaker 1>a fraud. What are the songs came off of Street

0:31:10.600 --> 0:31:13.680
<v Speaker 1>Life that were nothing, that were memorable? Nothing that We're

0:31:13.680 --> 0:31:14.960
<v Speaker 1>pretty is the only one.

0:31:15.120 --> 0:31:15.239
<v Speaker 3>Uh.

0:31:15.720 --> 0:31:18.000
<v Speaker 4>There was a song about a hooker I was in

0:31:18.040 --> 0:31:20.680
<v Speaker 4>love with. I wanted her to leave her profession and

0:31:20.720 --> 0:31:22.240
<v Speaker 4>be with me, but she made too much money and

0:31:22.280 --> 0:31:23.120
<v Speaker 4>I couldn't afford her.

0:31:23.200 --> 0:31:26.840
<v Speaker 1>It's called Roberta. What else was on that album? Souvenirs?

0:31:26.960 --> 0:31:49.400
<v Speaker 1>A nice song, a picture postcard, a folded stub, a program.

0:31:48.280 --> 0:31:50.040
<v Speaker 3>Of the play.

0:31:53.560 --> 0:32:07.200
<v Speaker 1>Fall Away, the photographs of yourlity and the old old Man.

0:32:07.240 --> 0:32:09.600
<v Speaker 4>It doesn't only like another fifteen seconds of it. That

0:32:09.680 --> 0:32:11.680
<v Speaker 4>was a nice song, but it was like this short

0:32:12.080 --> 0:32:15.080
<v Speaker 4>and other than that is the Mexican connection ruper ragg.

0:32:15.240 --> 0:32:17.240
<v Speaker 1>It was okay, and you finished street Life and you're

0:32:17.240 --> 0:32:18.160
<v Speaker 1>in LA and then what do you do?

0:32:18.200 --> 0:32:19.760
<v Speaker 4>I finished Street Life and it comes out and it

0:32:19.840 --> 0:32:23.040
<v Speaker 4>goes yeah, bum dives right off the charts. The album

0:32:23.080 --> 0:32:25.640
<v Speaker 4>after that was Turnstiles. I moved back to New York.

0:32:26.840 --> 0:32:28.760
<v Speaker 4>I said, I'm going back to New York. This is

0:32:28.800 --> 0:32:32.640
<v Speaker 4>when this nineteen mid seventies, New York was in the dumps.

0:32:32.640 --> 0:32:35.280
<v Speaker 4>They were gonna default Ford to New York, drop dead,

0:32:35.560 --> 0:32:37.600
<v Speaker 4>Ford to New York dropped. I saw that headline, and

0:32:37.600 --> 0:32:40.360
<v Speaker 4>people in la were like, a screw new York. We

0:32:40.360 --> 0:32:42.400
<v Speaker 4>can't wait to New York goes down the dumps. And

0:32:42.440 --> 0:32:44.560
<v Speaker 4>I said, the hell with that. If New York's going

0:32:44.600 --> 0:32:46.520
<v Speaker 4>down the tubes, I'm going back. I want to be

0:32:46.640 --> 0:32:49.280
<v Speaker 4>there for this, and I'm picturing this apocalypse. I actually

0:32:49.280 --> 0:32:52.080
<v Speaker 4>wrote a song called Miami twenty seventeen thinking about the

0:32:52.120 --> 0:32:52.959
<v Speaker 4>year twenty seventeen.

0:32:53.000 --> 0:32:53.479
<v Speaker 1>I'm an old man.

0:32:53.480 --> 0:32:55.240
<v Speaker 4>I'm telling my grandchildren I was there. I saw the

0:32:55.320 --> 0:32:58.040
<v Speaker 4>lights go out on Broadway. That's the it's a science

0:32:58.040 --> 0:33:00.120
<v Speaker 4>fiction song, see.

0:33:00.080 --> 0:33:02.800
<v Speaker 3>In the lights going out on brow.

0:33:05.160 --> 0:33:11.320
<v Speaker 1>I saw the empire state of La Loo, and life

0:33:11.360 --> 0:33:17.880
<v Speaker 1>went on beyond the palaces. We all bought cadillacs and

0:33:18.080 --> 0:33:21.920
<v Speaker 1>left there long ago. And I'm picturing I'm an old

0:33:21.920 --> 0:33:24.600
<v Speaker 1>man in the year twenty seventeen, and I'm living in Miami.

0:33:24.200 --> 0:33:27.720
<v Speaker 4>Which I'm closing in there now you would need. I'm

0:33:27.800 --> 0:33:30.880
<v Speaker 4>kind of fulfilling my own prophecy here so and the

0:33:30.920 --> 0:33:32.440
<v Speaker 4>other song, which is.

0:33:33.240 --> 0:33:38.040
<v Speaker 3>Some folks like to get away, take a holiday from

0:33:38.080 --> 0:33:43.520
<v Speaker 3>the neighborhood, have a flight to Miami Beach on the

0:33:43.600 --> 0:33:44.520
<v Speaker 3>Hollywood Wood.

0:33:47.520 --> 0:33:55.600
<v Speaker 1>I'm taking a Greyhound on the Hudson river Line. I'm

0:33:55.600 --> 0:33:58.800
<v Speaker 1>in the New York state of mind. We could do

0:33:58.840 --> 0:34:03.560
<v Speaker 1>it like this. Some folks like to get away, Tony,

0:34:03.600 --> 0:34:07.680
<v Speaker 1>come on, Chicken, take a holiday from the neighborhood.

0:34:09.080 --> 0:34:14.040
<v Speaker 3>Have a flight, tromple, fly to Miami Beach out of Hollywood.

0:34:15.440 --> 0:34:17.239
<v Speaker 1>Yeah, I'm taking it.

0:34:18.360 --> 0:34:26.240
<v Speaker 3>That's right, hud Susan really yeah, yeah, New York.

0:34:26.360 --> 0:34:33.520
<v Speaker 1>That's yeah, that's it.

0:34:34.120 --> 0:34:37.600
<v Speaker 4>And he recorded it, and that was I was hoping

0:34:37.640 --> 0:34:38.759
<v Speaker 4>other people would do that song.

0:34:38.800 --> 0:34:40.480
<v Speaker 1>But I was back in New York. I was homework

0:34:40.520 --> 0:34:42.680
<v Speaker 1>and glad you were. I was thrown so leaving La

0:34:42.760 --> 0:34:44.200
<v Speaker 1>it just was meant to be. I even wrote it

0:34:44.200 --> 0:34:46.640
<v Speaker 1>from home, say goodbye to Hollywood here right exactly, you know,

0:34:46.760 --> 0:34:50.279
<v Speaker 1>say goodbye to Hollywood. Thanks, it's been great, but goodbye.

0:34:50.400 --> 0:34:53.040
<v Speaker 1>After three years it went sour on me.

0:34:53.280 --> 0:34:55.200
<v Speaker 4>And when I first moved out to the weather's great

0:34:55.280 --> 0:34:57.280
<v Speaker 4>and all the chicks and the palm trees.

0:34:57.800 --> 0:35:01.360
<v Speaker 1>After three years, everybody's full of crown. Yeah, I'm a

0:35:01.400 --> 0:35:04.560
<v Speaker 1>producer of what you know. We all produced gas, we

0:35:04.719 --> 0:35:07.160
<v Speaker 1>produced something. But I found that for me, it was

0:35:07.239 --> 0:35:11.560
<v Speaker 1>healthier for me to be in an environment where show

0:35:11.600 --> 0:35:15.920
<v Speaker 1>business was one mountain peak in a range of mountains,

0:35:15.960 --> 0:35:17.719
<v Speaker 1>meaning when you're in New York and I'd be at

0:35:17.719 --> 0:35:22.120
<v Speaker 1>a party and some kind of real tweety looking Daniel

0:35:22.160 --> 0:35:24.279
<v Speaker 1>moynihan looking type of guy would be at a party

0:35:24.280 --> 0:35:25.719
<v Speaker 1>and say to me, and what do you do for

0:35:25.760 --> 0:35:27.640
<v Speaker 1>a living? Young man? They say to me years ago?

0:35:27.680 --> 0:35:29.480
<v Speaker 1>I go, well, I work in the movie business. How

0:35:29.560 --> 0:35:33.759
<v Speaker 1>have you made any films? I might have seen Olivia

0:35:33.800 --> 0:35:35.960
<v Speaker 1>and I don't go to the films very often, And

0:35:35.960 --> 0:35:38.279
<v Speaker 1>I thought, this is great. The guy who doesn't I

0:35:38.320 --> 0:35:40.279
<v Speaker 1>can talk to, who's not going to have his hand

0:35:40.280 --> 0:35:44.600
<v Speaker 1>down my pants or rub my neck to dance with

0:35:44.640 --> 0:35:47.080
<v Speaker 1>a hand in my pants from the entertainer. When you

0:35:47.080 --> 0:35:48.239
<v Speaker 1>go back to New York to where do you go

0:35:48.280 --> 0:35:48.680
<v Speaker 1>the city?

0:35:49.560 --> 0:35:52.360
<v Speaker 4>I moved to Highland Falls, which is right up the Hudson.

0:35:52.640 --> 0:35:57.600
<v Speaker 4>Why because we we weren't ready to move lockstock and

0:35:57.600 --> 0:36:00.200
<v Speaker 4>barrel back into the city. I was married at the time.

0:36:00.280 --> 0:36:02.560
<v Speaker 4>My first X one, Sure where's she from?

0:36:02.800 --> 0:36:03.719
<v Speaker 1>From? Sciacid?

0:36:03.840 --> 0:36:03.920
<v Speaker 3>Right?

0:36:04.920 --> 0:36:06.960
<v Speaker 4>And uh so she went out there with you and

0:36:06.960 --> 0:36:08.440
<v Speaker 4>came back. She went out there with me and came

0:36:08.440 --> 0:36:11.880
<v Speaker 4>back with me. And this was uh Turnstiles was recorded

0:36:11.880 --> 0:36:15.880
<v Speaker 4>in New York. I produced it myself, which you know

0:36:15.920 --> 0:36:18.440
<v Speaker 4>in hindsight was probably not a good idea, but I

0:36:18.480 --> 0:36:20.560
<v Speaker 4>didn't want people telling me what band to work with,

0:36:20.680 --> 0:36:21.680
<v Speaker 4>how to do the songs.

0:36:21.760 --> 0:36:23.279
<v Speaker 1>I wanted to do it my way. Are you glad

0:36:23.320 --> 0:36:23.600
<v Speaker 1>you did?

0:36:24.000 --> 0:36:26.160
<v Speaker 4>I'm I was glad I did at the time because

0:36:26.160 --> 0:36:28.200
<v Speaker 4>I needed to use my own musicians. I didn't want

0:36:28.200 --> 0:36:30.200
<v Speaker 4>to use session man. I didn't want to use studio players.

0:36:30.280 --> 0:36:32.759
<v Speaker 4>I wanted my road band. It was a long island band,

0:36:32.760 --> 0:36:34.479
<v Speaker 4>and we were doing great on the road. We weren't

0:36:34.520 --> 0:36:37.239
<v Speaker 4>selling any records, but the crowds were going crazy. We

0:36:37.239 --> 0:36:40.720
<v Speaker 4>were blowing headliners off the stage, the Doobie Brothers, everywhere

0:36:40.760 --> 0:36:41.800
<v Speaker 4>we played, the Beach Boys.

0:36:41.880 --> 0:36:44.919
<v Speaker 1>We would get better plugged than when Turnstiles came out. Yes,

0:36:45.040 --> 0:36:48.320
<v Speaker 1>but Turnstiles sold records. Didn't No Trench Starles didn't sell anything.

0:36:48.800 --> 0:36:50.319
<v Speaker 1>You gotta be kidding me. No, No, no.

0:36:50.400 --> 0:36:53.360
<v Speaker 4>Hits New York State of Mind is now perceived to

0:36:53.360 --> 0:36:54.920
<v Speaker 4>be a hit, but it wasn't a hit. It say

0:36:54.960 --> 0:36:58.319
<v Speaker 4>about how Hollywood wasn't a hit. None of the records.

0:36:58.480 --> 0:37:00.200
<v Speaker 4>I love all those songs, but you know that from

0:37:00.320 --> 0:37:02.520
<v Speaker 4>FM radio that was still playing those things on FM,

0:37:03.120 --> 0:37:05.560
<v Speaker 4>not until The Stranger, which was the next album in

0:37:05.600 --> 0:37:07.040
<v Speaker 4>seventy seven, and off that.

0:37:06.960 --> 0:37:09.879
<v Speaker 1>Comes how Many It's four which were just the way

0:37:09.920 --> 0:37:13.000
<v Speaker 1>you Are moving out only the good die young. And

0:37:13.000 --> 0:37:15.480
<v Speaker 1>She's Always a Woman, So She's always a woman, and

0:37:15.600 --> 0:37:18.879
<v Speaker 1>just the way you Are are love songs. Well, She's

0:37:18.920 --> 0:37:21.359
<v Speaker 1>Always a Woman is a love song. I'll perceived this well,

0:37:21.440 --> 0:37:23.560
<v Speaker 1>remember well, I was just saying, but they're very romantic songs.

0:37:23.600 --> 0:37:26.680
<v Speaker 4>Yeah, well, I'd had romantic ballads before that. From the

0:37:26.680 --> 0:37:29.640
<v Speaker 4>Cold Spring Harbor, She's Got Away Piano man, if I

0:37:29.640 --> 0:37:32.600
<v Speaker 4>only had the words to tell you You're my home and

0:37:32.640 --> 0:37:37.759
<v Speaker 4>then Turnstiles Summer Highland Falls no atomatic depression, but about

0:37:37.960 --> 0:37:41.680
<v Speaker 4>a relationship. But I was writing ballads I've loved these

0:37:41.760 --> 0:37:45.200
<v Speaker 4>Days about a man and a woman, and then the

0:37:45.239 --> 0:37:48.000
<v Speaker 4>stranger just the Way you Are, which is just a

0:37:48.280 --> 0:37:50.600
<v Speaker 4>pure out and out love song. She's Always a Woman,

0:37:50.640 --> 0:37:53.640
<v Speaker 4>which is kind of a double edged sword there. I'd

0:37:53.640 --> 0:37:54.640
<v Speaker 4>had ballads before them.

0:37:54.840 --> 0:37:57.080
<v Speaker 1>But did you find that people sort of to buy

0:37:57.120 --> 0:37:59.879
<v Speaker 1>the ballads that they did? All of a sudden became

0:37:59.880 --> 0:38:02.799
<v Speaker 1>the most popular song you could often do. I had

0:38:02.840 --> 0:38:04.680
<v Speaker 1>no idea it was such a big record. Just the

0:38:04.719 --> 0:38:09.360
<v Speaker 1>Way you Were became this monster like the Beatles. Yeah, Stranger.

0:38:10.640 --> 0:38:14.360
<v Speaker 4>After The Stranger that we started playing colosseums and arenas,

0:38:14.360 --> 0:38:17.000
<v Speaker 4>the big, big rooms, and I went right back on

0:38:17.040 --> 0:38:18.840
<v Speaker 4>the road again, and I started writing again, and.

0:38:19.440 --> 0:38:22.799
<v Speaker 1>Fifties started writing for bigger rooms. Yes you did. Yeah,

0:38:22.840 --> 0:38:23.840
<v Speaker 1>I had to be. I was aware.

0:38:23.920 --> 0:38:26.279
<v Speaker 4>Now we're playing the big places, and we got to

0:38:26.280 --> 0:38:31.560
<v Speaker 4>write bigger songs. I gotta have bigger users energy, because

0:38:31.800 --> 0:38:35.480
<v Speaker 4>you can't play to a colosseum with a handful of ballots.

0:38:35.840 --> 0:38:38.160
<v Speaker 4>You got to knock them out. A big shot was

0:38:38.160 --> 0:38:42.000
<v Speaker 4>on an album sands a bar stiletto. It got bigger,

0:38:42.040 --> 0:38:47.799
<v Speaker 4>it got rounder, fatter, fuller, fuller, faster, you know, more

0:38:47.880 --> 0:38:49.279
<v Speaker 4>high energy stuff.

0:38:49.160 --> 0:38:51.800
<v Speaker 1>And harder, faster, deeper, as they say in the adult

0:38:51.840 --> 0:38:52.560
<v Speaker 1>film Innistry.

0:38:52.680 --> 0:38:55.000
<v Speaker 4>Yeah, that was it. Pretty much went into the triple X.

0:38:55.120 --> 0:38:58.760
<v Speaker 4>Do you started going triple X? Yeah, acoustically and that

0:38:58.760 --> 0:39:01.560
<v Speaker 4>that one album of the year they A Stranger actually

0:39:01.560 --> 0:39:04.080
<v Speaker 4>should have. But I was up against Saturday Night Fever,

0:39:04.120 --> 0:39:06.800
<v Speaker 4>which nobody was gonna touch on ten foot trll. Everybody

0:39:06.800 --> 0:39:08.800
<v Speaker 4>even said that the only reason you got fifty secretary

0:39:08.800 --> 0:39:10.360
<v Speaker 4>because we should have get a straight plasure.

0:39:10.960 --> 0:39:14.360
<v Speaker 1>This was your color of money. Yes, exactly. This is

0:39:14.360 --> 0:39:16.759
<v Speaker 1>a poleman getting an Oscar, it's all political, it's fun.

0:39:16.760 --> 0:39:19.400
<v Speaker 1>Well you know how this works? Sure? What was after that,

0:39:19.520 --> 0:39:24.800
<v Speaker 1>Glass Houses was nineteen eighty and that was pure power pop.

0:39:25.239 --> 0:39:27.440
<v Speaker 1>Is there ever one you sit there and you really

0:39:27.480 --> 0:39:29.360
<v Speaker 1>have to strained? I mean you get it and you

0:39:29.560 --> 0:39:31.040
<v Speaker 1>like it and you love it and it does well.

0:39:31.320 --> 0:39:33.120
<v Speaker 1>Is there a song that didn't come easily to you

0:39:33.200 --> 0:39:35.480
<v Speaker 1>that you really had to work to crack it? So

0:39:35.520 --> 0:39:35.879
<v Speaker 1>to speak?

0:39:36.000 --> 0:39:39.040
<v Speaker 4>The whole Nylon Curtain album, which was nineteen eighty two.

0:39:39.840 --> 0:39:41.000
<v Speaker 4>The album before it, which.

0:39:40.840 --> 0:39:44.239
<v Speaker 1>Was Glass Houses, was just pure fun playing with the band,

0:39:44.360 --> 0:39:45.440
<v Speaker 1>got a good guitar player.

0:39:45.960 --> 0:39:49.080
<v Speaker 4>It just had a blast making the record. The next album,

0:39:49.120 --> 0:39:52.480
<v Speaker 4>I wanted to write my masterpiece, my Sergeant Pepper as

0:39:52.480 --> 0:39:56.920
<v Speaker 4>it were. Instead of writing from the inside out, like

0:39:56.960 --> 0:39:59.600
<v Speaker 4>having starting with the seed of a song, we started

0:39:59.640 --> 0:40:05.600
<v Speaker 4>with sand sounds and ideas and thoughts and studio techniques

0:40:05.640 --> 0:40:08.120
<v Speaker 4>and we went from the outside in. So it was

0:40:08.160 --> 0:40:11.160
<v Speaker 4>a whole different technique of creating recordings. And we didn't

0:40:11.200 --> 0:40:13.319
<v Speaker 4>really know what we had until almost the final mix.

0:40:13.400 --> 0:40:16.120
<v Speaker 4>What is this thing we're experimenting but stuff?

0:40:16.160 --> 0:40:19.319
<v Speaker 1>And it was? It took a year? Were you still producing? No?

0:40:19.360 --> 0:40:19.480
<v Speaker 3>No?

0:40:20.160 --> 0:40:23.040
<v Speaker 1>Phil Ramone who started remote Stranger in nineteen seventy seven.

0:40:23.040 --> 0:40:25.839
<v Speaker 1>Now when you have someone like Ramone, because and again

0:40:25.880 --> 0:40:28.560
<v Speaker 1>I know nothing about your business except what I see

0:40:28.600 --> 0:40:31.319
<v Speaker 1>and observe, Like, what is someone like Ramone? What did

0:40:31.360 --> 0:40:32.799
<v Speaker 1>he do for you? How did he help you? Well?

0:40:32.800 --> 0:40:35.399
<v Speaker 4>Phil Vermont has a background. When he was a kid,

0:40:35.440 --> 0:40:38.440
<v Speaker 4>he was a child prodigy on the violin. He was violinist.

0:40:39.080 --> 0:40:42.879
<v Speaker 4>He was from South Africa. Actually he knew music. And

0:40:42.920 --> 0:40:45.160
<v Speaker 4>now he had years and years in the trenches as

0:40:45.160 --> 0:40:49.000
<v Speaker 4>an engineer. He recorded a JFK speeches.

0:40:49.280 --> 0:40:51.600
<v Speaker 1>I think when you see the Marilyn Monroe thing, a

0:40:51.640 --> 0:40:54.480
<v Speaker 1>Madison Square Gard Happy Birthday, mister President, that's Phil Ramone.

0:40:54.600 --> 0:40:56.600
<v Speaker 4>Wow, he was the engineer on those things. I mean,

0:40:56.600 --> 0:41:00.160
<v Speaker 4>he's with some amazing recordings, but never got credited as

0:41:00.160 --> 0:41:00.760
<v Speaker 4>a producer.

0:41:00.840 --> 0:41:01.880
<v Speaker 1>So I see, who's this guy?

0:41:01.920 --> 0:41:04.640
<v Speaker 4>Philermon It keep seeing Philermont Filder more for remote Paul

0:41:04.680 --> 0:41:07.239
<v Speaker 4>Simon used him as an engineer, and I said, I

0:41:07.239 --> 0:41:08.520
<v Speaker 4>want to use I want to work with this guy

0:41:08.520 --> 0:41:09.759
<v Speaker 4>because he looks like he knows what he's doing. He

0:41:09.800 --> 0:41:11.520
<v Speaker 4>knows how to get good sound, he knows how to

0:41:11.560 --> 0:41:15.360
<v Speaker 4>deal with sonic things sonic and when he came in boom.

0:41:15.719 --> 0:41:17.279
<v Speaker 4>We knew we had a professional guy. I was like

0:41:17.320 --> 0:41:20.200
<v Speaker 4>working with another great musician. He knows how to play

0:41:20.239 --> 0:41:22.200
<v Speaker 4>the studio like we know how to play our instruments.

0:41:22.840 --> 0:41:26.520
<v Speaker 4>Everything changed. The band just roasted the occasion. We were

0:41:26.560 --> 0:41:27.240
<v Speaker 4>having a blast.

0:41:27.440 --> 0:41:29.880
<v Speaker 1>So like a great producer. Very often in films, like

0:41:29.920 --> 0:41:33.200
<v Speaker 1>anywhere anything, any creative enterprise, I find the people that

0:41:33.239 --> 0:41:36.600
<v Speaker 1>are the most successful and talented producers are the ones who,

0:41:36.719 --> 0:41:38.520
<v Speaker 1>although they may not be able to do it themselves,

0:41:38.560 --> 0:41:40.440
<v Speaker 1>they know what you need to do, you know and

0:41:40.440 --> 0:41:41.959
<v Speaker 1>how to help you get to your highest level.

0:41:42.200 --> 0:41:45.080
<v Speaker 4>They cut to what the synergy should be. They know

0:41:45.120 --> 0:41:46.880
<v Speaker 4>what the dynamics should be in the studio.

0:41:46.960 --> 0:41:48.319
<v Speaker 1>Does he come to you and go, don't do that

0:41:48.680 --> 0:41:49.839
<v Speaker 1>doesn't work and you listen to him.

0:41:49.920 --> 0:41:51.360
<v Speaker 4>I would listen to him and we would try it

0:41:51.360 --> 0:41:53.600
<v Speaker 4>his way. We tried it his way, his mutual respect

0:41:53.760 --> 0:41:55.680
<v Speaker 4>when we did just the way you are. Originally the

0:41:55.760 --> 0:42:17.680
<v Speaker 4>drama was playing it like a chacho.

0:42:08.600 --> 0:42:11.440
<v Speaker 1>Don't go change one to chat John. We hated it.

0:42:11.760 --> 0:42:14.440
<v Speaker 1>Hated the things I hate this hated.

0:42:14.680 --> 0:42:17.480
<v Speaker 4>Drummer couldn't figure out what to play. Phil actually told

0:42:17.800 --> 0:42:21.759
<v Speaker 4>play a backwards samba boom that boom bop boom chat

0:42:21.760 --> 0:42:30.960
<v Speaker 4>boom boom.

0:42:27.719 --> 0:42:28.239
<v Speaker 1>And it worked.

0:42:28.239 --> 0:42:30.160
<v Speaker 4>It was like a backwards so what are we doing?

0:42:30.160 --> 0:42:32.080
<v Speaker 4>We didn't know what we're doing, but Phil was right.

0:42:32.640 --> 0:42:34.920
<v Speaker 4>I came in with the idea of playing only the good.

0:42:34.960 --> 0:42:38.000
<v Speaker 4>Diana is a reggae Come out Virginia.

0:42:38.880 --> 0:42:42.000
<v Speaker 1>Let me wait. Can't let us star much doing.

0:42:43.160 --> 0:42:46.080
<v Speaker 4>Liberty throws his sticks at me, because why are you

0:42:46.160 --> 0:42:49.360
<v Speaker 4>doing Because the closest you've been to Jamaica is Queens.

0:42:50.120 --> 0:42:52.759
<v Speaker 1>What are you doing is changing trains to go down

0:42:52.800 --> 0:42:55.400
<v Speaker 1>to Sea Fort, change at Jamaica, change at Jamaica.

0:42:55.520 --> 0:42:58.680
<v Speaker 4>So the train to spik That's it. He said, I'm

0:42:58.680 --> 0:43:00.560
<v Speaker 4>not playing this. I'm not playing what to do? So

0:43:00.600 --> 0:43:06.399
<v Speaker 4>Phil came up with this shuffling against straight fours.

0:43:09.160 --> 0:43:15.480
<v Speaker 1>And are going banana banana banana, and we were playing

0:43:16.840 --> 0:43:18.640
<v Speaker 1>and it worked. It was like two things jammed into

0:43:18.680 --> 0:43:20.400
<v Speaker 1>each other. Phil knows how to do that.

0:43:20.800 --> 0:43:23.040
<v Speaker 4>And when we would get tired and we get discouraged,

0:43:23.360 --> 0:43:26.160
<v Speaker 4>it says, just stay, stay a little longer, try one more.

0:43:26.400 --> 0:43:28.920
<v Speaker 4>All right, take a break, Let's have some Chinese. Okay,

0:43:29.280 --> 0:43:32.399
<v Speaker 4>go back in the post. Chinese food takes were always good.

0:43:32.920 --> 0:43:35.080
<v Speaker 1>I don't know why that was that, MSG man, it

0:43:35.080 --> 0:43:38.160
<v Speaker 1>gets it gets right into the fingertips. It worked, and

0:43:38.200 --> 0:43:40.640
<v Speaker 1>then you do Nylon Curtain. That's eighty two. Eighty two

0:43:40.800 --> 0:43:42.239
<v Speaker 1>was the Nylon and you said you wanted to be

0:43:42.280 --> 0:43:45.000
<v Speaker 1>your Sergeant Pepper and what was it? It was.

0:43:45.160 --> 0:43:48.040
<v Speaker 4>It's my favorite album I'm Upfroid because I could hear

0:43:48.239 --> 0:43:51.200
<v Speaker 4>all the work that went into it, all the textures,

0:43:51.239 --> 0:43:51.960
<v Speaker 4>all the layers.

0:43:52.000 --> 0:43:53.759
<v Speaker 1>It's a song that you're particularly fond of from that.

0:43:55.080 --> 0:43:58.840
<v Speaker 4>Oh geez, every song on that album really surprises that.

0:44:02.840 --> 0:44:03.760
<v Speaker 1>It's very obscure.

0:44:04.560 --> 0:44:11.399
<v Speaker 3>Don't get excited, don't say nobody knowes.

0:44:12.200 --> 0:44:13.359
<v Speaker 5>Nothing was her.

0:44:13.840 --> 0:44:19.319
<v Speaker 3>It was committed discreetly, it was handled so neatly, and

0:44:19.520 --> 0:44:21.120
<v Speaker 3>it shouldn't.

0:44:20.480 --> 0:44:22.560
<v Speaker 1>Surprise you at all.

0:44:24.360 --> 0:44:32.279
<v Speaker 3>You know, break all the records, Berma cassettes. I'd be

0:44:32.480 --> 0:44:36.239
<v Speaker 3>lying and the fact told you that I had no regrets.

0:44:36.560 --> 0:44:41.360
<v Speaker 3>There were so many mistakes. But what a difference it makes,

0:44:41.719 --> 0:44:43.880
<v Speaker 3>and now it shouldn't.

0:44:43.239 --> 0:44:47.600
<v Speaker 1>Surprise you at all. No hits. Allentown was kind of

0:44:47.600 --> 0:44:50.080
<v Speaker 1>a hit off that I remember that. Yeah, didn't really

0:44:50.080 --> 0:44:53.080
<v Speaker 1>sell a lot of records. Pressure was the biggest. I

0:44:53.120 --> 0:45:03.279
<v Speaker 1>think the me as Tchaikowsky. What was that. It's the

0:45:03.320 --> 0:45:16.040
<v Speaker 1>one from Swan Lake. At least you up the greats

0:45:16.520 --> 0:45:20.560
<v Speaker 1>with those Russians, watch them for the Germans stuff. What

0:45:20.600 --> 0:45:24.120
<v Speaker 1>did you do after Nylon Curtain? After the Nylon Curtain?

0:45:25.040 --> 0:45:28.880
<v Speaker 1>Because it was such an intensive labor, the Nylon Curtain,

0:45:29.239 --> 0:45:32.799
<v Speaker 1>something very dense and very complex. I wanted to do

0:45:32.840 --> 0:45:35.440
<v Speaker 1>something simple and dumb and happy, and I did an

0:45:35.480 --> 0:45:38.520
<v Speaker 1>Innocent Man, which is really an homage to all the

0:45:38.600 --> 0:45:41.399
<v Speaker 1>music of my teenage years. Frankie Valley in the Four

0:45:41.480 --> 0:45:44.880
<v Speaker 1>Seasons was Uptown Girl, and that was a hit. That

0:45:44.960 --> 0:45:47.640
<v Speaker 1>was a big hit. It was a joke. It was

0:45:47.680 --> 0:45:49.320
<v Speaker 1>an up chown girl.

0:45:49.480 --> 0:45:53.840
<v Speaker 5>I'm trying to sing, she's been living in her uptown world.

0:45:54.480 --> 0:45:58.160
<v Speaker 1>I bet she never had a backstreet gack and he

0:45:58.200 --> 0:46:02.440
<v Speaker 1>had this impossibly high bod told her why I'm gonna

0:46:02.520 --> 0:46:07.920
<v Speaker 1>track you? And I realized something that I remember the

0:46:07.920 --> 0:46:19.719
<v Speaker 1>song ragged all we read yeah, and then the verse

0:46:19.880 --> 0:46:25.880
<v Speaker 1>was I love you just the way you are? Is

0:46:25.880 --> 0:46:27.680
<v Speaker 1>that where I heard that before? Just the way you were?

0:46:28.239 --> 0:46:30.600
<v Speaker 1>And then there was a song I was trying to

0:46:30.640 --> 0:46:34.520
<v Speaker 1>do Little Anthidine Imperials and didn't not say shoe up.

0:46:34.640 --> 0:46:38.359
<v Speaker 1>I wasn't ready for romance. Shoop shoe up.

0:46:38.760 --> 0:46:44.719
<v Speaker 8>Didn't we promise we would only be friends all and

0:46:44.800 --> 0:46:46.480
<v Speaker 8>so we danced, though.

0:46:46.280 --> 0:46:49.120
<v Speaker 3>It was only a slow dance.

0:46:50.360 --> 0:46:54.960
<v Speaker 1>I started breaking my promises right there. And you'll recognize

0:46:54.960 --> 0:47:00.399
<v Speaker 1>the chorus because it goes like this this night, it's

0:47:00.600 --> 0:47:15.040
<v Speaker 1>min it's only you and is a long time away.

0:47:15.120 --> 0:47:20.240
<v Speaker 1>This night can last for it, which is the pathetic

0:47:20.280 --> 0:47:30.680
<v Speaker 1>by Beethoven, and I gave I gave credit on the

0:47:30.680 --> 0:47:31.319
<v Speaker 1>back of LV.

0:47:31.440 --> 0:47:35.239
<v Speaker 4>Beethoven. So somebody's bill he's co writing with somebody LV

0:47:35.320 --> 0:47:38.640
<v Speaker 4>Beto Beethoven for coring outline. But that was a fun album.

0:47:38.640 --> 0:47:42.319
<v Speaker 4>I had met Christy. I had just gotten divorced from

0:47:42.520 --> 0:47:47.160
<v Speaker 4>X one and here I am meeting Whitney Houston when

0:47:47.160 --> 0:47:48.799
<v Speaker 4>she was a model Elle McPherson.

0:47:48.840 --> 0:47:49.440
<v Speaker 1>I'm dating her.

0:47:49.480 --> 0:47:52.719
<v Speaker 4>I'm dating Christy Brinkley. This is fantastic. I feel like

0:47:52.719 --> 0:47:53.680
<v Speaker 4>I'm sixteen years.

0:47:53.560 --> 0:47:54.800
<v Speaker 1>Old again now going on.

0:47:54.920 --> 0:47:57.359
<v Speaker 4>It's going well, girls, It's all going great, and I'm

0:47:57.360 --> 0:47:59.879
<v Speaker 4>a rock star. I got a pair to the old

0:48:00.040 --> 0:48:02.239
<v Speaker 4>Sam Maritz on Central Park South, which is now that

0:48:02.280 --> 0:48:04.160
<v Speaker 4>I think the Rich Carlton, which is now the Ritz Carlton.

0:48:04.160 --> 0:48:06.280
<v Speaker 4>But the elevator would open and there was my apartment.

0:48:06.440 --> 0:48:08.279
<v Speaker 4>I was the only apartment on that floor. It was

0:48:08.360 --> 0:48:11.800
<v Speaker 4>very impressive. So this music was me being a teenager

0:48:11.880 --> 0:48:13.880
<v Speaker 4>all over again, falling in love, having romance and all

0:48:13.920 --> 0:48:14.600
<v Speaker 4>that great stuff.

0:48:15.239 --> 0:48:19.440
<v Speaker 1>We're taking a break, stay with us. So why did

0:48:19.480 --> 0:48:23.840
<v Speaker 1>you get married? I don't know. Yeah, love, you're asking

0:48:23.880 --> 0:48:27.200
<v Speaker 1>me exactly. But I was gonna say, well, that's funny

0:48:27.239 --> 0:48:30.800
<v Speaker 1>because you think to yourself, why get married? It was

0:48:30.840 --> 0:48:34.160
<v Speaker 1>all going so good, but not getting married means bad.

0:48:34.280 --> 0:48:36.279
<v Speaker 1>But it was saying, but is that a part of

0:48:36.320 --> 0:48:40.000
<v Speaker 1>your makeup, which is married? Family? Was marriage the right

0:48:40.000 --> 0:48:43.520
<v Speaker 1>thing to do? I was merely in love and love.

0:48:43.560 --> 0:48:45.000
<v Speaker 1>You marry him? That's it. That's how I feel.

0:48:45.400 --> 0:48:48.520
<v Speaker 4>But I still feel like I can be merely in

0:48:48.560 --> 0:48:51.520
<v Speaker 4>love and not be married. Yes, I was married three times.

0:48:52.000 --> 0:48:54.120
<v Speaker 1>When did you go to Russia? Eighty seven?

0:48:54.239 --> 0:48:54.359
<v Speaker 3>Right?

0:48:54.400 --> 0:48:55.240
<v Speaker 1>And how did that happen?

0:48:55.840 --> 0:48:58.400
<v Speaker 4>Well, we went to We played in Cuba in nineteen

0:48:58.440 --> 0:49:01.200
<v Speaker 4>seventy nine. They did this thing called the Havannah Jam.

0:49:01.400 --> 0:49:03.360
<v Speaker 4>Cubans came up here and we went to Havana. We

0:49:03.360 --> 0:49:07.000
<v Speaker 4>played at the Karl Marx Theater in Havana. It looks

0:49:07.000 --> 0:49:10.000
<v Speaker 4>like Bloomingdale's. It's crypt the Karl Marx Theater. It looks

0:49:10.040 --> 0:49:12.880
<v Speaker 4>like a department store and everybody gets up on stage,

0:49:13.280 --> 0:49:17.280
<v Speaker 4>these other American artists, Steven Still's Viva Revolution, Viva Fidel,

0:49:18.000 --> 0:49:20.320
<v Speaker 4>Chris Christopherson Viva Evolution, Riva fitting on.

0:49:20.360 --> 0:49:22.000
<v Speaker 1>He's talking in Spanish. I get up on stage. I'm

0:49:22.000 --> 0:49:24.440
<v Speaker 1>in the last act. Don't take any shit from it.

0:49:24.680 --> 0:49:27.000
<v Speaker 4>I say, you'll know Ablo Espanol. And I went to

0:49:27.040 --> 0:49:33.279
<v Speaker 4>Big Shot and the kids were storm the state. They

0:49:33.280 --> 0:49:34.920
<v Speaker 4>don't want to hit Viva. We hit his crap all

0:49:34.920 --> 0:49:38.120
<v Speaker 4>the time. We want to hit Big Shot. I said,

0:49:38.120 --> 0:49:40.879
<v Speaker 4>we got something going here. We're being subversive with rock

0:49:40.920 --> 0:49:41.279
<v Speaker 4>and roll.

0:49:41.400 --> 0:49:43.239
<v Speaker 1>This is what I loved you there, I love How

0:49:43.239 --> 0:49:45.560
<v Speaker 1>did that feel to you? What was the first place

0:49:45.600 --> 0:49:49.080
<v Speaker 1>you played a big concert at when you were a star.

0:49:49.280 --> 0:49:52.120
<v Speaker 1>You're a big music star, you one of the biggest

0:49:52.200 --> 0:49:54.680
<v Speaker 1>music stars ever, and you go to a foreign country

0:49:54.840 --> 0:49:57.520
<v Speaker 1>and you realize music just transcends all of it.

0:49:57.640 --> 0:50:01.080
<v Speaker 4>Germany, I think it was in Frankfurt. What year, seventy seven,

0:50:01.200 --> 0:50:04.560
<v Speaker 4>seventy eight. We'd had a hit with a stranger and

0:50:04.680 --> 0:50:07.880
<v Speaker 4>I played in England. In the English they're kind of fickle.

0:50:07.920 --> 0:50:09.680
<v Speaker 4>They like you for about a month and then you're

0:50:09.760 --> 0:50:10.600
<v Speaker 4>yesterday's papers.

0:50:11.000 --> 0:50:13.480
<v Speaker 1>Oh we like that. Billy Joe l Billy Joel and

0:50:14.760 --> 0:50:15.640
<v Speaker 1>they Actually.

0:50:15.400 --> 0:50:17.360
<v Speaker 4>I wasn't big there until Uptown Girl. But Germany we

0:50:17.400 --> 0:50:20.879
<v Speaker 4>had a couple of its and the Germans went Bersark Lot.

0:50:21.600 --> 0:50:22.440
<v Speaker 1>They don't have seats.

0:50:22.920 --> 0:50:25.440
<v Speaker 4>You're getting a standing ovation when you walk on the

0:50:25.480 --> 0:50:28.080
<v Speaker 4>stage because they can't sit down. This is great and

0:50:28.080 --> 0:50:30.000
<v Speaker 4>it actually changes the energy and they're all.

0:50:29.920 --> 0:50:33.920
<v Speaker 1>Standing yeah, Billy, Belly. I'm thinking, Oh, I guess they

0:50:33.920 --> 0:50:36.720
<v Speaker 1>don't know what they did to my family. Yay Billy.

0:50:37.239 --> 0:50:40.439
<v Speaker 1>But I'm thinking, so this is how Adolph must have felt. Yeah,

0:50:40.800 --> 0:50:42.640
<v Speaker 1>you know, they love you. They let you know her.

0:50:42.719 --> 0:50:44.600
<v Speaker 4>You're like, okay, let's go in vade poland co on,

0:50:44.920 --> 0:50:47.200
<v Speaker 4>let's go. But there was a great, great audience.

0:50:47.239 --> 0:50:49.200
<v Speaker 1>You know, they're tearing at your hand like a Detroit

0:50:49.320 --> 0:50:52.680
<v Speaker 1>heavy metal crowd, ripping at my hands and tearing my clothes.

0:50:52.719 --> 0:50:54.600
<v Speaker 1>This is great. That was the first time in a

0:50:54.640 --> 0:50:57.120
<v Speaker 1>foreign country where I knew something. How they the trip

0:50:57.160 --> 0:50:59.359
<v Speaker 1>to Russia in eighty seven, was that your first time there?

0:50:59.520 --> 0:51:01.080
<v Speaker 4>It was the first time they'd ever had a major

0:51:01.160 --> 0:51:04.600
<v Speaker 4>act from the West America. People had gone there before,

0:51:04.600 --> 0:51:07.320
<v Speaker 4>but played with small PA systems and little private rooms.

0:51:07.560 --> 0:51:08.880
<v Speaker 1>We played at the Lenin.

0:51:08.719 --> 0:51:13.440
<v Speaker 4>Stadium, the Olympic Stadium, and We brought a Western PA system,

0:51:13.440 --> 0:51:15.000
<v Speaker 4>the same pit with paces and we'd use at Madison

0:51:15.000 --> 0:51:17.560
<v Speaker 4>Square Garden. They'd never heard a PA system like that.

0:51:17.760 --> 0:51:20.960
<v Speaker 4>They were scared shitless. You know, the helicopters come in

0:51:20.960 --> 0:51:22.359
<v Speaker 4>at the beginning of Good Nights Ago and they're looking

0:51:22.400 --> 0:51:25.360
<v Speaker 4>around for the helicopters, and then the hard rock is

0:51:25.440 --> 0:51:26.080
<v Speaker 4>hitting and the drums.

0:51:26.280 --> 0:51:29.560
<v Speaker 1>They started going berserk. There were security guards going around

0:51:29.719 --> 0:51:34.080
<v Speaker 1>giving people sedatives because they thought they were having fits.

0:51:34.520 --> 0:51:36.320
<v Speaker 4>The Cold War ended for me, right then. This is

0:51:36.360 --> 0:51:38.960
<v Speaker 4>still when it was. Reagan was calling it the evil Empire,

0:51:39.600 --> 0:51:41.160
<v Speaker 4>and we're not gonna have a war.

0:51:41.040 --> 0:51:43.920
<v Speaker 1>With these people. They can't even get toilet paper, right, you.

0:51:43.840 --> 0:51:45.719
<v Speaker 4>Know, we're not gonna have a We're not gonna fight

0:51:45.760 --> 0:51:46.960
<v Speaker 4>with them. I don't want to fight them.

0:51:46.960 --> 0:51:49.320
<v Speaker 1>They don't. They love us everywhere I went, Viva America,

0:51:49.480 --> 0:51:52.320
<v Speaker 1>Long Live America. This is great. Cold War ended. I

0:51:52.440 --> 0:51:55.360
<v Speaker 1>was thrilled that went the way it did. Let me

0:51:55.400 --> 0:51:58.480
<v Speaker 1>ask you a question. You're funny. You could have done

0:51:58.520 --> 0:52:00.680
<v Speaker 1>that with your eyes. Every thing it takes to be

0:52:00.719 --> 0:52:02.160
<v Speaker 1>an actor, who could have done you? Never wanted to

0:52:02.160 --> 0:52:04.440
<v Speaker 1>do that. Never. I never was comfortable in front of

0:52:04.480 --> 0:52:07.279
<v Speaker 1>a camera. Really. Yeah, as a matter of fact, even

0:52:07.320 --> 0:52:08.680
<v Speaker 1>though I had to perform in front of a camera

0:52:08.800 --> 0:52:12.200
<v Speaker 1>for the last thirty years. Basically, yes, uh make videos

0:52:12.280 --> 0:52:13.880
<v Speaker 1>which I was told you were comfortable in front of

0:52:14.000 --> 0:52:15.759
<v Speaker 1>but you were. But I guess to a degree, you

0:52:15.760 --> 0:52:17.160
<v Speaker 1>were comfortable in front of a camera as long as

0:52:17.200 --> 0:52:18.759
<v Speaker 1>you were playing, not even.

0:52:18.680 --> 0:52:21.120
<v Speaker 4>Stand there, not even I was aware of the camera.

0:52:21.400 --> 0:52:23.880
<v Speaker 4>It was like it was an invader, was invasive to me.

0:52:24.320 --> 0:52:27.680
<v Speaker 4>I became a musician because I never felt I was photogenic.

0:52:27.719 --> 0:52:30.560
<v Speaker 4>I was never happy with how I looked. It's about

0:52:30.600 --> 0:52:33.720
<v Speaker 4>a microphone, not about a camera. I was very comfortable

0:52:33.719 --> 0:52:37.120
<v Speaker 4>in a studio. I'm very comfortable far away on a stage.

0:52:37.239 --> 0:52:39.160
<v Speaker 4>Or an album cover. You could make it look and

0:52:39.280 --> 0:52:41.799
<v Speaker 4>however you want, and people would say, oh, you're shorter

0:52:41.880 --> 0:52:43.160
<v Speaker 4>than I thought. I said, well, the album cover is

0:52:43.200 --> 0:52:43.839
<v Speaker 4>only this big.

0:52:43.960 --> 0:52:46.200
<v Speaker 1>How do you know. Whenever there was a camera, it

0:52:46.320 --> 0:52:49.440
<v Speaker 1>kind of destroyed what I was trying to create.

0:52:49.960 --> 0:52:53.200
<v Speaker 4>It took away the imagination. You could I could look

0:52:53.239 --> 0:52:55.759
<v Speaker 4>however I want. I could look like Carry Grant. But

0:52:55.960 --> 0:52:58.160
<v Speaker 4>I saw it reduced to an image. I went, no, no, no, no, no, no,

0:52:58.520 --> 0:53:00.399
<v Speaker 4>that's not who I am. Don't look at that guy.

0:53:00.760 --> 0:53:02.520
<v Speaker 1>I realized I could have done that, but I love

0:53:02.640 --> 0:53:05.279
<v Speaker 1>music so much. That's the way I went. Some people

0:53:05.320 --> 0:53:09.759
<v Speaker 1>can do both. Most don't. Well, Bowie didn't do it,

0:53:09.800 --> 0:53:13.560
<v Speaker 1>really really he tried. Sting didn't do it. No, Jagger

0:53:13.640 --> 0:53:16.000
<v Speaker 1>didn't do it. Beatles never did it, except as they

0:53:16.000 --> 0:53:16.600
<v Speaker 1>played the Beatles.

0:53:16.600 --> 0:53:19.120
<v Speaker 4>But then there's some actors who were originally musicians and

0:53:19.160 --> 0:53:22.080
<v Speaker 4>they they now just basically acted.

0:53:22.120 --> 0:53:24.040
<v Speaker 1>But I always say that, I said, this acting is

0:53:24.040 --> 0:53:26.520
<v Speaker 1>what you do when you have no musical ability. If

0:53:26.560 --> 0:53:28.160
<v Speaker 1>I could do what you do, I would never do

0:53:28.200 --> 0:53:32.320
<v Speaker 1>what That's what actors say. I would never, ever, ever,

0:53:32.560 --> 0:53:34.960
<v Speaker 1>ever waste five minutes of doing what I do. If

0:53:34.960 --> 0:53:37.320
<v Speaker 1>I could do with you. That's a lot of actors. Yeah,

0:53:37.400 --> 0:53:38.880
<v Speaker 1>you're so good at what you do. No, if I

0:53:38.880 --> 0:53:42.000
<v Speaker 1>could do what you do. Music is Music is saying

0:53:42.000 --> 0:53:44.160
<v Speaker 1>if I could play, if I could write a film

0:53:44.360 --> 0:53:46.320
<v Speaker 1>or a television program, you have to make an appointment

0:53:46.360 --> 0:53:48.760
<v Speaker 1>with that and watch that. When you listen to music

0:53:48.920 --> 0:53:51.200
<v Speaker 1>while you're jogging, while you're at the gym, while you're

0:53:51.239 --> 0:53:53.640
<v Speaker 1>making love, while you're having dinner, while you're in the car,

0:53:54.160 --> 0:53:57.000
<v Speaker 1>it can be the soundtrack to your life all day long.

0:53:57.000 --> 0:53:59.880
<v Speaker 1>If you want to in church, anywhere. Music is everywhere,

0:54:00.040 --> 0:54:02.600
<v Speaker 1>Music is everything, and acting is, like I said, what

0:54:02.680 --> 0:54:05.120
<v Speaker 1>you do when you have no musical talents. So you

0:54:05.239 --> 0:54:09.319
<v Speaker 1>got divorced the second time, Yes, and got remarried and

0:54:09.360 --> 0:54:12.279
<v Speaker 1>divorced the third time. Right, And when you have these

0:54:12.320 --> 0:54:15.120
<v Speaker 1>things happen Because I know that these situations in my

0:54:15.160 --> 0:54:17.280
<v Speaker 1>life have a big effect of life. Does it affect

0:54:17.320 --> 0:54:19.359
<v Speaker 1>Do you write songs about that? No?

0:54:19.520 --> 0:54:22.760
<v Speaker 4>I stopped writing songs about it when I got divorced

0:54:22.760 --> 0:54:26.279
<v Speaker 4>the second time. That was in ninety three, actually ninety four.

0:54:26.360 --> 0:54:30.080
<v Speaker 4>The divorce happened, the album River Dreams came out, and

0:54:30.120 --> 0:54:32.080
<v Speaker 4>I realized, you know what, I'm spinning out the story

0:54:32.080 --> 0:54:34.160
<v Speaker 4>of my life to all these strangers. I'm kind of

0:54:34.200 --> 0:54:36.839
<v Speaker 4>sick and tired everybody knowing my personal life and how

0:54:36.880 --> 0:54:38.600
<v Speaker 4>I feel about you. Just one on that one? Did

0:54:38.600 --> 0:54:41.480
<v Speaker 4>you resent that? I didn't resent it. I just decided

0:54:41.520 --> 0:54:44.320
<v Speaker 4>to clam up. I feel like I've given away pieces

0:54:44.320 --> 0:54:47.239
<v Speaker 4>of myself, maybe something I should have given to the relationship.

0:54:47.640 --> 0:54:48.640
<v Speaker 1>I gave to the work.

0:54:49.040 --> 0:54:51.719
<v Speaker 4>And the work was so important and it's all consuming.

0:54:51.760 --> 0:54:53.320
<v Speaker 4>If you're going to do it right, you have to

0:54:53.360 --> 0:54:55.080
<v Speaker 4>jump in with both feet and do it one hundred percent.

0:54:55.160 --> 0:54:58.280
<v Speaker 1>Music will do. That was a very harsh mistress music,

0:54:58.680 --> 0:54:59.759
<v Speaker 1>you have to do it all.

0:55:00.840 --> 0:55:02.840
<v Speaker 4>Maybe I didn't do things I should have done, or

0:55:02.840 --> 0:55:04.160
<v Speaker 4>maybe I didn't take care of business the way I

0:55:04.200 --> 0:55:07.279
<v Speaker 4>should have take here because the music and so I

0:55:07.320 --> 0:55:10.439
<v Speaker 4>stopped writing songs about my personal relationships, but I kept

0:55:10.440 --> 0:55:14.799
<v Speaker 4>writing music. And after the third marriage didn't work, I

0:55:14.880 --> 0:55:16.600
<v Speaker 4>tried marriage. It's you know, three times.

0:55:16.719 --> 0:55:19.279
<v Speaker 1>I tried three to much. I never gave up on it.

0:55:19.600 --> 0:55:21.719
<v Speaker 1>I just realized that this just doesn't I don't know,

0:55:21.800 --> 0:55:25.640
<v Speaker 1>it doesn't work right. People don't appreciate how it's like

0:55:26.680 --> 0:55:29.640
<v Speaker 1>to have a relationship in this business that works. You

0:55:29.760 --> 0:55:31.759
<v Speaker 1>got to be really lucky, man, It's got to be.

0:55:32.000 --> 0:55:34.000
<v Speaker 1>It's so much luck, you know, because, like you said,

0:55:34.360 --> 0:55:36.600
<v Speaker 1>the career is the mistress and you're out there working

0:55:37.120 --> 0:55:38.840
<v Speaker 1>Like like I would look at my ex wife or

0:55:38.880 --> 0:55:41.359
<v Speaker 1>ex girlfriends and I think, what would the alternative be?

0:55:41.520 --> 0:55:43.439
<v Speaker 1>You want me to have no options and no work

0:55:43.480 --> 0:55:44.800
<v Speaker 1>and I'm staying home all the time.

0:55:45.520 --> 0:55:47.400
<v Speaker 4>Yeah, But on the other hand, how much of you

0:55:47.520 --> 0:55:49.719
<v Speaker 4>are they getting? If you're in a part, you take

0:55:49.760 --> 0:55:52.040
<v Speaker 4>on the role. It doesn't come off at five o'clock

0:55:52.040 --> 0:55:54.520
<v Speaker 4>in the afternoon when work. Most people leave their jobs.

0:55:55.160 --> 0:55:58.520
<v Speaker 4>You have to be that character through the whole project. Now,

0:55:58.560 --> 0:56:01.160
<v Speaker 4>when I'm writing, I mean, I've got to stay in harness.

0:56:01.200 --> 0:56:04.879
<v Speaker 4>I've got to be that songwriter guy I'm preoccupied. Maybe

0:56:04.880 --> 0:56:07.080
<v Speaker 4>I should change that to a B flat, you know

0:56:07.160 --> 0:56:10.399
<v Speaker 4>that quarterback. I'm obsessed with it. I wonder how much

0:56:10.400 --> 0:56:14.040
<v Speaker 4>of me they're not getting because of that. I don't

0:56:14.040 --> 0:56:16.280
<v Speaker 4>know if you were like that when you're doing a part.

0:56:16.600 --> 0:56:19.439
<v Speaker 1>I find that in film it's different because you don't

0:56:19.480 --> 0:56:22.600
<v Speaker 1>really have a chance unless you work with a tremendously

0:56:23.680 --> 0:56:26.960
<v Speaker 1>intense group of people. I've never gotten close to that

0:56:27.440 --> 0:56:31.680
<v Speaker 1>in film. Film is always in pieces. You know, you know,

0:56:31.719 --> 0:56:34.600
<v Speaker 1>you're in your room. It's not linear. It's not like

0:56:34.600 --> 0:56:36.200
<v Speaker 1>a play. When I've done that, when I've done play,

0:56:36.280 --> 0:56:38.200
<v Speaker 1>is it's different When you do it well, you can

0:56:38.239 --> 0:56:40.360
<v Speaker 1>sit back and you light up a cigarette and you're like, well, well,

0:56:40.400 --> 0:56:42.640
<v Speaker 1>well well and we nail that way. I just just

0:56:42.719 --> 0:56:45.719
<v Speaker 1>write it down in the books. There it is, We've

0:56:45.800 --> 0:56:49.799
<v Speaker 1>done it again. You really feel some satisfaction. Yeah, you

0:56:49.840 --> 0:56:51.880
<v Speaker 1>feel that way when you perform. When we perform, we

0:56:51.880 --> 0:56:53.719
<v Speaker 1>got we do a show. We do a show. Do

0:56:53.719 --> 0:56:55.680
<v Speaker 1>you come off stage after our show and you sit

0:56:55.719 --> 0:56:57.600
<v Speaker 1>there and go, well, there it is. But that was

0:56:57.600 --> 0:56:59.880
<v Speaker 1>a good ladies and gentlemen, Billy Joe. That is all.

0:57:01.640 --> 0:57:03.960
<v Speaker 1>They'll be talking about this for a while, for a

0:57:03.960 --> 0:57:07.239
<v Speaker 1>few days to the animal. But we also know when

0:57:07.239 --> 0:57:10.120
<v Speaker 1>we stuck. We come over and that's yeah, oh we

0:57:10.160 --> 0:57:12.960
<v Speaker 1>were terrible. Please don't remember that one right right? Why

0:57:13.000 --> 0:57:16.320
<v Speaker 1>did they applaud you know, last play at Shay Yeah,

0:57:16.400 --> 0:57:18.000
<v Speaker 1>do you think you did well? Yeah? That was good.

0:57:18.360 --> 0:57:21.160
<v Speaker 4>They were both good shows that the double last double

0:57:21.160 --> 0:57:24.200
<v Speaker 4>play at say we didn't do nights? Yeah, yes, that

0:57:24.400 --> 0:57:29.840
<v Speaker 4>was exhilarating. It was a hometown crowd, and it's just

0:57:30.080 --> 0:57:32.120
<v Speaker 4>it was exhilarating. We were on stage for three and

0:57:32.160 --> 0:57:35.040
<v Speaker 4>a half hours and I didn't realize how hot it was.

0:57:35.400 --> 0:57:39.040
<v Speaker 1>It was sweating. I'm watching the movie of me. Somebody

0:57:39.040 --> 0:57:42.880
<v Speaker 1>give that guy a towel. Yeah, he's like soaky, he's so.

0:57:42.920 --> 0:57:47.400
<v Speaker 4>Wet and slimy. Wipe him off and but we're having

0:57:47.440 --> 0:57:49.880
<v Speaker 4>such a good time. We walked off, and for weeks

0:57:49.880 --> 0:57:51.960
<v Speaker 4>after they were kind of amping from it.

0:57:52.080 --> 0:57:54.760
<v Speaker 1>New York loves you. I know, I know, and I

0:57:54.800 --> 0:57:56.840
<v Speaker 1>love New York. That's why I live here. I love you.

0:57:57.040 --> 0:57:59.200
<v Speaker 4>But I put away the recording part of my career

0:57:59.200 --> 0:58:02.400
<v Speaker 4>and I put away for the time being performing.

0:58:03.600 --> 0:58:09.440
<v Speaker 1>What's that music? That's my telephone? The theme from the

0:58:09.440 --> 0:58:13.320
<v Speaker 1>god that's interesting, that's perfect. The theme from The Godfather?

0:58:13.440 --> 0:58:15.600
<v Speaker 1>Is your ring tone on your phone? Yes, that's amazing. Well,

0:58:15.600 --> 0:58:17.240
<v Speaker 1>like I got to think about what my ringtone should be.

0:58:17.360 --> 0:58:19.240
<v Speaker 1>That's the guys on the road call me you got Godfather?

0:58:20.480 --> 0:58:21.360
<v Speaker 5>Why do you company?

0:58:22.800 --> 0:58:31.560
<v Speaker 10>Bona Sarah Bona, Sarah onever. I haven't done. You'll never

0:58:31.640 --> 0:58:33.920
<v Speaker 10>invite me the house for a cup of coffee.

0:58:35.200 --> 0:58:39.640
<v Speaker 1>Do you appreciate who you are? People who love you,

0:58:39.720 --> 0:58:43.000
<v Speaker 1>They adore you, and they love your talent. You are

0:58:43.280 --> 0:58:46.760
<v Speaker 1>so talented, you are so like it makes me want

0:58:46.760 --> 0:58:48.960
<v Speaker 1>to choke up. How talented you are? Do you know

0:58:49.000 --> 0:58:49.480
<v Speaker 1>who you are?

0:58:50.360 --> 0:58:53.320
<v Speaker 4>I know I have a talent for music. I don't

0:58:53.360 --> 0:58:56.200
<v Speaker 4>think I'm all that good. I think I have a

0:58:56.200 --> 0:59:00.680
<v Speaker 4>good perspective on it. I can separate the the star

0:59:00.920 --> 0:59:04.800
<v Speaker 4>stuff from the musician stuff. The music is really import.

0:59:04.480 --> 0:59:06.720
<v Speaker 1>They have to stay separate, don't they. Well, one is

0:59:06.760 --> 0:59:08.920
<v Speaker 1>a job and one is a life.

0:59:09.640 --> 0:59:11.520
<v Speaker 4>The job thing I can take off at five o'clock

0:59:11.560 --> 0:59:13.480
<v Speaker 4>and the afternner and the rock star thing I go,

0:59:13.600 --> 0:59:15.600
<v Speaker 4>I go shopping, I cook my own food, I wash

0:59:15.680 --> 0:59:18.320
<v Speaker 4>the dishes, I take out the garbage. I know who

0:59:18.360 --> 0:59:21.760
<v Speaker 4>that guy is and that that's and the music is

0:59:21.880 --> 0:59:25.400
<v Speaker 4>has nothing to do with money or career or it's

0:59:25.480 --> 0:59:31.680
<v Speaker 4>just it's just part of me. It's like love, music, love, food, friendship,

0:59:32.720 --> 0:59:34.560
<v Speaker 4>my daughter. You know, all these great things.

0:59:34.600 --> 0:59:38.160
<v Speaker 1>How's your daughter doing? She's great. But I you know,

0:59:38.200 --> 0:59:41.960
<v Speaker 1>I know how to take the job hat off and

0:59:42.320 --> 0:59:45.600
<v Speaker 1>h and just kind of be normal. I've learned how

0:59:45.640 --> 0:59:45.880
<v Speaker 1>to do it.

0:59:45.920 --> 0:59:49.040
<v Speaker 4>Took a long time to separate them out. Okay, I

0:59:49.040 --> 0:59:51.560
<v Speaker 4>can be a musician and not be a rock star.

0:59:52.400 --> 0:59:54.360
<v Speaker 1>You know. I'm still trying to convince people, well, I'm

0:59:54.360 --> 0:59:56.920
<v Speaker 1>not a rock star. No, yes, you are. You are

0:59:56.960 --> 0:59:57.840
<v Speaker 1>a rock star US star.

0:59:57.960 --> 1:00:00.280
<v Speaker 4>So okay, fine, But a lot of that is has

1:00:00.280 --> 1:00:03.000
<v Speaker 4>a job aspect to it. I work very hard at

1:00:03.000 --> 1:00:06.240
<v Speaker 4>what in writing, because that's my deepest love. I think

1:00:06.400 --> 1:00:08.960
<v Speaker 4>that's really where I belong. The rockstar thing I've never

1:00:08.960 --> 1:00:10.680
<v Speaker 4>really been comfortable with because I don't think I looked

1:00:10.720 --> 1:00:12.760
<v Speaker 4>like a rock star. I didn't really set out to

1:00:12.840 --> 1:00:16.160
<v Speaker 4>be a rock star. I became a rock star serendipitously.

1:00:16.600 --> 1:00:19.320
<v Speaker 1>You became a rock star in spite of yourself.

1:00:18.920 --> 1:00:21.640
<v Speaker 4>In spite of myself, which is hysterical as hard, as

1:00:21.720 --> 1:00:22.800
<v Speaker 4>much as you tried to kill it.

1:00:23.080 --> 1:00:25.000
<v Speaker 1>Yeah, I mean, I don't put that camera too close

1:00:25.040 --> 1:00:26.400
<v Speaker 1>to me, exactly.

1:00:26.680 --> 1:00:28.240
<v Speaker 4>I don't want to make a good video. Let me

1:00:28.280 --> 1:00:30.320
<v Speaker 4>make a bad video because I just want to get

1:00:30.320 --> 1:00:31.840
<v Speaker 4>out of here. I don't want to be in a

1:00:31.880 --> 1:00:34.360
<v Speaker 4>photo session. I hate taking pictures. I don't want to

1:00:34.360 --> 1:00:35.800
<v Speaker 4>go to this opening. I don't want to go to

1:00:35.840 --> 1:00:38.240
<v Speaker 4>that schmooze fest. I just didn't do any of that stuff.

1:00:38.280 --> 1:00:40.880
<v Speaker 4>But I'm comfortable with it now.

1:00:41.440 --> 1:00:44.120
<v Speaker 1>Billy Joel says he doesn't look back on his life

1:00:44.120 --> 1:00:47.160
<v Speaker 1>that much. Last year, he decided not to publish his

1:00:47.280 --> 1:00:52.200
<v Speaker 1>long awaited memoir, entitled The Book of Joel. He said, instead, quote,

1:00:52.240 --> 1:00:54.520
<v Speaker 1>the best expression of my life and its ups and

1:00:54.560 --> 1:00:58.880
<v Speaker 1>downs has been and remains my music, unquote. What's a

1:00:58.920 --> 1:01:01.040
<v Speaker 1>song that you think yourself? You know, I really still

1:01:01.120 --> 1:01:03.880
<v Speaker 1>enjoy hearing that song? Does it have to be a hit.

1:01:04.400 --> 1:01:06.240
<v Speaker 1>What's one you dislike that you haven't played? Do you

1:01:06.280 --> 1:01:07.040
<v Speaker 1>really really like it?

1:01:07.080 --> 1:01:07.360
<v Speaker 11>The ones?

1:01:07.800 --> 1:01:10.840
<v Speaker 4>I've been doing master classes at colleges, and I get

1:01:10.880 --> 1:01:13.880
<v Speaker 4>to play all these obscure songs that I never played

1:01:14.800 --> 1:01:17.960
<v Speaker 4>over the thirty forty years I've been playing played one

1:01:17.960 --> 1:01:20.000
<v Speaker 4>the other night, and I said, well, that's a really

1:01:20.000 --> 1:01:23.720
<v Speaker 4>good song. There's no rhyme, not until the very end

1:01:23.800 --> 1:01:26.840
<v Speaker 4>is when rhyme can, but the lyrics work. It's from

1:01:26.880 --> 1:01:29.440
<v Speaker 4>the Nylon Curtain, and it's called Where's the Orchestra?

1:01:39.360 --> 1:01:43.040
<v Speaker 1>Where the orchestra?

1:01:45.640 --> 1:01:54.000
<v Speaker 3>Wasn't this supposed to be a musical? There I am

1:01:54.040 --> 1:01:59.760
<v Speaker 3>in the balcony. How the hell could I have missed

1:02:00.120 --> 1:02:01.080
<v Speaker 3>the overture?

1:02:02.920 --> 1:02:03.880
<v Speaker 9>I loved.

1:02:05.960 --> 1:02:11.560
<v Speaker 6>The scenery, even though I.

1:02:11.680 --> 1:02:14.280
<v Speaker 3>Have so ludly.

1:02:15.000 --> 1:02:19.360
<v Speaker 8>No, I dear all.

1:02:20.920 --> 1:02:28.320
<v Speaker 3>What has been said, despite the dialogue.

1:02:26.760 --> 1:02:27.240
<v Speaker 9>There.

1:02:29.360 --> 1:02:36.240
<v Speaker 3>The leading man, movie star who never faced an audience.

1:02:38.240 --> 1:02:50.200
<v Speaker 3>Where's the orchestra? After all, this is my night on

1:02:50.440 --> 1:02:53.120
<v Speaker 3>the town, my.

1:02:53.280 --> 1:02:59.600
<v Speaker 1>Introduction to the theater Crown. I assume that a show

1:03:00.000 --> 1:03:06.400
<v Speaker 1>I would have a song. So I was wrong. At

1:03:06.480 --> 1:03:08.680
<v Speaker 1>least I understand.

1:03:10.120 --> 1:03:21.480
<v Speaker 6>All the innuendo and the irony, and I appreciate the

1:03:21.600 --> 1:03:27.360
<v Speaker 6>roles the actors played, the point the author made head

1:03:27.400 --> 1:03:34.720
<v Speaker 6>of after the closing lines of after.

1:03:35.480 --> 1:03:47.880
<v Speaker 11>The curtain calls, the curtain falls on empty chairs with.

1:03:50.600 --> 1:04:23.320
<v Speaker 7>The orchestra, You're the king, thank you, No really, you're

1:04:23.360 --> 1:04:24.360
<v Speaker 7>the king man, thank you?

1:04:24.480 --> 1:04:27.400
<v Speaker 1>Thank you for coming. Thanks, I'm Alec Baldwin. Here's the

1:04:27.400 --> 1:04:30.200
<v Speaker 1>thing is brought to you by iHeart Radio