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Speaker 1: I sat everybody down. I said, guys, just so you

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Speaker 1: know this right now is about as good as it gets,

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Speaker 1: because if everything goes according to plan, a year from now,

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Speaker 1: we're going to have to headline these shows, which means

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Speaker 1: the critics are going to be after us. You only

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Speaker 1: go from nowhere to number one once.

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Speaker 2: So in the early eighties, I was a little kid

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Speaker 2: living in Scottsdale, Arizona, with my mom.

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Speaker 3: My parents had just gotten divorced.

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Speaker 2: We left California, where I was born to be closer

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Speaker 2: to family, and even though it was a tough time,

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Speaker 2: some of the best memories I have from childhood are

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Speaker 2: writing around in my mom's VW Rabbit convertible listening to

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Speaker 2: her favorite music, and it was a lot of Phil

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Speaker 2: Collins and Billy Joel and Elton John and Dire Straits,

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Speaker 2: but it was mostly Huey Lewis in the news. When

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Speaker 2: I tell you that his is basically the soundtrack of

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Speaker 2: my childhood, I am not joking. And as you'll learn,

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Speaker 2: our path would sort of cross over the ensuing years.

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Speaker 2: He doesn't know this, but we'll get into it. But

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Speaker 2: all this time later, Huey Lewis is still one of

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Speaker 2: the most beloved singer songwriters in American history, and I

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Speaker 2: think for good reason. I'm so pleased to welcome Huey

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Speaker 2: Lewis to the pod. Welcome to Off the Cup.

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Speaker 1: Thank you very much, very sweet. And doesn't your mother

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Speaker 1: have good musical taste?

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Speaker 3: She really does.

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Speaker 2: And we're going to talk about my mom a little later,

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Speaker 2: but she had the best musical taste.

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Speaker 3: And I remember when I was sixteen, I was an

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Speaker 3: old soul.

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Speaker 2: I loved the Beatles and she gave me all of

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Speaker 2: her Beatles albums when I was sixteen for my birthday

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Speaker 2: and a record player to play them on. So she,

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Speaker 2: I mean, she's the best musical taste and she passed

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Speaker 2: it on to me. My first question to you is

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Speaker 2: why do you think you are so beloved?

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Speaker 3: I can't find a person who doesn't like you.

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Speaker 1: There's some out there, I guarantee you, I can't find one.

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Speaker 1: Let's see. Is it my golden pure voice? Probably not.

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Speaker 3: Probably everyone loves your voice. I think that's part of it.

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Speaker 1: Uh No, I have no idea. I have no idea

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Speaker 1: why that is. That's a wonderful thing to say. I'm

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Speaker 1: not sure it's completely true, but.

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Speaker 3: I'd rather you're the Henry Winkler of music.

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Speaker 2: Everyone loves you, and can I venture a guess. I

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Speaker 2: think it's because there is something about your music and

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Speaker 2: you that feels timeless.

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Speaker 1: It's interesting, you know. Uh, that's very very interesting because

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Speaker 1: you know, we started my band and I before MTV,

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Speaker 1: like just crushed a year or two before MTV. Yeah,

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Speaker 1: I mean I have no tattoos. Had I had I

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Speaker 1: started four years later, I'd be tattooed head to foot

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Speaker 1: if I thought, if I thought, that's what it took.

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Speaker 1: You know, my dad was a jazzer, and so I

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Speaker 1: always would taught the songs I were always timeless. You

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Speaker 1: never wrote you never, they were never were time sensitive,

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Speaker 1: right Chuck Chuck Berry wrote Roke rock and Roll for kids,

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Speaker 1: and there's no question about that. I pointed it right

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Speaker 1: at kids. But I was always taught through jazz that

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Speaker 1: you want songs that are sort of timeless and not trending.

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Speaker 1: And interestingly, a lot of our stuff because of that,

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Speaker 1: ends up being more appropriate for somebody of an older

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Speaker 1: age than twenty nine years old when I wrote the thing.

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Speaker 1: You know. So it's kind of interesting, but I think

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Speaker 1: it comes from my dad and jazz and standards that was.

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Speaker 3: Where Yeah, of course. Yeah.

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Speaker 2: And to me, I'm sure you've talked about this, and

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Speaker 2: you know I'm not inventing anything here, but your songs

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Speaker 2: don't really to me fit neatly into a simple single genre.

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Speaker 2: You know, you've got pop, you've got rock, R and B,

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Speaker 2: do wop. I even hear a little prog rock from

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Speaker 2: time to time. Who were your biggest influences?

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Speaker 1: Well, starting out, I was a rhythm blue snob, black

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Speaker 1: music snob that played blues art, Little Walter Sonny Boy,

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Speaker 1: Johnny Taylor, you know otis reading. Oh yeah, well, I

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Speaker 1: mean Ray Charles. But when I joined my first college band,

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Speaker 1: you know, we played fraternity parties and we had to

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Speaker 1: learn top forty songs and stuff. And at that point

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Speaker 1: I became less of a snob because I found that

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Speaker 1: although I preferred listening to certain types of music, all

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Speaker 1: music was fun to play. Yeah, And so at that

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Speaker 1: point I became less of a snob. And now I

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Speaker 1: truly believe like Duke Kellington always said, there's only two

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Speaker 1: kinds of music, good and bad.

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Speaker 2: Yes, And you went to college where I went to Cornell?

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Speaker 3: So did I?

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Speaker 1: Did you? Really? Well? You probably went there a little

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Speaker 1: longer than I did.

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Speaker 3: Actually you left in junior year, right, Yeah.

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Speaker 1: Well I went for five minutes over a two year period.

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Speaker 3: Well, I don't know how it was when you were there,

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Speaker 3: but there was always a great.

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Speaker 2: Music scene in Ithaca. Did you know a place called

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Speaker 2: the Haunt?

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Speaker 1: Sure you did, No that I know of it. It

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Speaker 1: wasn't there when.

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Speaker 3: I was there, Okay, okay, I didn't know how long

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Speaker 3: it had been there.

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Speaker 1: We had Maury's. You remember Maury's.

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Speaker 3: Yes?

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Speaker 1: Is that still there?

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Speaker 3: I don't know if it's still there in the North

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Speaker 3: forty No, I don't know that one.

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Speaker 1: How about the Warehouse?

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Speaker 3: The Warehouse, Yes, I know that.

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Speaker 1: That was a gig.

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Speaker 3: That was a gig and then yeah, right, it was

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Speaker 3: a great music scene.

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Speaker 1: The station. Remember the station? Is there an old railroad

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Speaker 1: car where they get stakes and a restaurant. Yes, that's

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Speaker 1: Victoria Station before Victoria Station. Oh, that guy went to

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Speaker 1: Cornell and and founded Victoria Station based on that idea.

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Speaker 1: That's that's all. How amazing idea. Yeah.

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Speaker 2: I did Joe Bonamaso's podcast and he was nice. His

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Speaker 2: first gig was at the Haunt in Ithaca.

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Speaker 1: No kidding?

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Speaker 3: Yeah?

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Speaker 1: Is he from upstate?

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Speaker 3: I guess he might be.

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Speaker 2: I think he might be because he was playing when

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Speaker 2: he was like thirteen.

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Speaker 3: He was doing gigs at like thirteen. Yeah, he's great,

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Speaker 3: very smart, very nice. I want to into your career.

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Speaker 2: And that Cornell connection was the first time.

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Speaker 3: Our paths would would sort of align.

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Speaker 2: We weren't there together, but but yeah, common.

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Speaker 1: By a long shot. In fact, I'm not sure you

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Speaker 1: were actually born yet when I was at Cornell.

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Speaker 3: What kind of kid were you?

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Speaker 1: Well, I was, I was athletic, but I skipped second grade, right,

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Speaker 1: and so then suddenly I was like after a little

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Speaker 1: league and all that. I was like a year younger

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Speaker 1: than everybody. And then and that's where music came in.

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Speaker 1: I think that's how I sort of pursued music. My

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Speaker 1: dad was was a doctor, but he also played drums

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Speaker 1: and piano, and there was a set of drums always

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Speaker 1: set up in the house, and so music was a

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Speaker 1: part of me growing up. But I was more interested

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Speaker 1: in sports early. But right, I remember when I skipped

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Speaker 1: second grade and then I suddenly was and you know,

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Speaker 1: I don't know, music sort of appeared a wait it

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Speaker 1: for me to show up.

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Speaker 3: Yeah, you were smart, you were a smart kid, right.

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Speaker 1: Well, yeah, I mean I had good I got you know,

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Speaker 1: nice test scores. Does that make me a smart kid?

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Speaker 1: I don't know.

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Speaker 3: Do you want to tell us what your SAT math

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Speaker 3: test score was? Huey, You know there's a word for it.

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Speaker 3: It's perfect.

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Speaker 1: Only my math, my math. I got eight hundreds on

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Speaker 1: my math boards, both level one and level two. But

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Speaker 1: my verbal wasn't very good. I can't even remember if

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Speaker 1: it was, you know, six hundred or something.

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Speaker 3: You know, Well, we can't all be good at everything.

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Speaker 3: How do you you learn to play harmonica?

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Speaker 1: Where? Well, my when I was in still in prep school,

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Speaker 1: my parents got divorced before I went to prep school,

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Speaker 1: and my mother was a hippie. She was one of

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Speaker 1: the very first hippies in San Francisco. And she rented

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Speaker 1: a room out to a folk singer named Billy Roberts

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Speaker 1: who was a w wrote Hey Joe, and he was

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Speaker 1: a focusinger and he played harmonica with one of those

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Speaker 1: braces on and so, and he had a room and

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Speaker 1: he gave me all his old harmonicas. So I was

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Speaker 1: probably I went away. I was a year young. So

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Speaker 1: I went away at thirty four, so I was like

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Speaker 1: fourteen years older. Yeah, and that's how I started playing,

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Speaker 1: but I only just played a little bit. And then

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Speaker 1: when I graduated from prep school, my father who suggested

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Speaker 1: that I go to prep school on the other side

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Speaker 1: of the country. I mean I was in California and

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Speaker 1: prep school is in New Jersey. He required me to

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Speaker 1: not go to Cornell yet, to take a year off

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Speaker 1: and bum around Europe.

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Speaker 3: Yes, so great, Yeah.

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Speaker 1: Well it made all the difference for me. He felt

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Speaker 1: that a lot of people don't know what they want

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Speaker 1: to do that early in life, and they studied to

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Speaker 1: do and then they're stuck in that profession when they

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Speaker 1: would rather be a harmonica player.

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Speaker 3: Let's right.

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Speaker 1: So I toured the country the world, really I'm not

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Speaker 1: the world, the Western world, let's say, yeah, in Europe

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Speaker 1: and North Africa, and played harmonica for a year, and

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Speaker 1: then I went back to Cornell. I took a year

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Speaker 1: of laps leave of absence, went back to Cornell, and

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Speaker 1: on my first day, I remember walking into the engineering quad.

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Speaker 1: I was an electrical engineer, and I looked around and

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Speaker 1: I thought, you know, this doesn't look as much fun

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Speaker 1: as I've been having for the last year.

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Speaker 3: This is not Spain.

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Speaker 1: I don't think I'm gonna do this. But I had it.

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Speaker 1: I'd had it all before because I advanced placement in

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Speaker 1: prep school.

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Speaker 3: And all that.

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Speaker 1: Right, so I didn't even in a class and you

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Speaker 1: got good grades for a couple of years. Yeah.

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Speaker 3: Well, so what was what was busking like?

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Speaker 1: Busking was great, I mean it was well, you know,

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Speaker 1: it was Well, example, I'm in North Africa, you know,

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Speaker 1: in Morocco and Marrakesh, and the square in Marrakesh is

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Speaker 1: just amazing square. Right, there's snake charmers and acrobats and

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Speaker 1: guys on bicycles and just crazy clowns. So I just

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Speaker 1: set up my hat and start playing harmonica. And I

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Speaker 1: had a little pig nose amplifier that I wear around

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Speaker 1: my neck so I could amplify, and you know, I'd

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Speaker 1: make like three direhams in an hour, and the youth

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Speaker 1: hostel where I was staying was one direham and all

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Speaker 1: you could eat at one of the kiosk was half

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Speaker 1: a dereham, and I was like a dearham to the plus,

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Speaker 1: you know. And so actually that's when a bell went off.

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Speaker 1: I went, I'm going to do this is good work.

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Speaker 3: Yeah, So then you come back, you quit Cornell, You

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Speaker 3: go back to California. What's the plan when you go

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Speaker 3: back to California?

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Speaker 1: Well, I wanted to be part of what was happening

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Speaker 1: at California blew up in you know, summer love, and

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Speaker 1: I graduated sixty seven, okay, and so that was boom,

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Speaker 1: and now San Francisco was on fire musically, and now

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Speaker 1: I was playing harmonica. So I went back and I

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Speaker 1: joined a bluegrass band called the Herford Heartstringers, who is

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Speaker 1: a Betty I'd known from before. And we were a

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Speaker 1: busking band. We're like an eight piece bluegrass band and

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Speaker 1: we go to Fisherman's Wharf and busk. And three of

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Speaker 1: those members were in a band called Clover, and they

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Speaker 1: recruited me for Clover, and me and our stand up

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Speaker 1: bass player who else by piano, Sean Hopper, and he

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Speaker 1: and I joined Clover in probably seventy four, I'll say

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Speaker 1: something like that. Seventy Actually, no, no, no, seventy two,

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Speaker 1: seventy two.

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Speaker 2: How do you get to play harmonica for one of

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Speaker 2: my all time favorite bands, Finn Lizzie.

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Speaker 1: Wow, they were so great.

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Speaker 3: They were so great, and Philip was my.

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Speaker 1: Mentor, you know, and he was like he just he

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Speaker 1: took me under his wing. He dressed me out of

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Speaker 1: his closet. He was It was a crash course in

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Speaker 1: rock star. You know, Philip was the best rock star

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Speaker 1: ever and he loved being a rock star and he

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Speaker 1: and he was just so wonderful about it. He was

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Speaker 1: so sweet to everybody. He signed autograph and talked to

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Speaker 1: the fans, and he taught me everything about how to

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Speaker 1: be a ruckst, how to treat the fans, how to

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Speaker 1: treat the band, how to treat the promoter, how to

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Speaker 1: what to do with critics, how to do everything but

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Speaker 1: the music, which which you know, I came to on

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Speaker 1: my own. But he was amazing. And so the way

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Speaker 1: that happened is Clover was signed to Photogram Records in

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Speaker 1: London and for our first tour we were going to

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Speaker 1: open for Thin Lizzie and I remember the first gig

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Speaker 1: was in Oxford in north of London, and and they

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Speaker 1: told us you're not going to get a soundcheck because

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Speaker 1: that's just the way it is. And these British we

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Speaker 1: don't do you know, three three after three gigs, maybe

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Speaker 1: you'll get a sound check. That's just tough shit, that's

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Speaker 1: just the way it is. Oops, pardon my friends, so

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Speaker 1: now we don't get a soundcheck and there's a curtain down,

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Speaker 1: and so we get on stage and out through the curtain,

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Speaker 1: we're trying to get our amps on and trying to

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Speaker 1: get making sure I got tone and all that, and

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Speaker 1: outside you could hear right, I mean, these kids are

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Speaker 1: nuts for Finn Lizzie and so no, I'll never forget

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Speaker 1: my Uh, we needed some We suddenly figured out we

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Speaker 1: need somebody to introduce us, right, say, here's Clover right

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Speaker 1: because on the on the billing outside it says Finn

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Speaker 1: Lizzie plus support. Your name's not even on the marquet, right,

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Speaker 1: So we needed somebody to So we go to the

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Speaker 1: road manager Frank. Frank introduced the band, and Frank goes

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Speaker 1: and he doesn't he'd never done it before. It so

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Speaker 1: he comes out and the and the curtain goes up

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Speaker 1: and we're standing there and he walks out and the

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Speaker 1: place is going wow, like did he goes? Hey everybody,

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Speaker 1: he says, and they're going letzie and he goes, yeah, yeah,

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Speaker 1: Finn Lizzie will be right out. Whoa They go crazy.

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Speaker 1: But but first here's Clover there go and so we

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Speaker 1: got I mean, we learned to play take no time

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Speaker 1: between songs, because otherwise we'd get boot off the stage.

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Speaker 1: People are throwing us up. But if the first gig,

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Speaker 1: we come off the stage, and we played all the

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Speaker 1: songs and got through it somehow. And standing in the

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Speaker 1: wings is Philip and he's right there. He says, she

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Speaker 1: you mind, have you go a minute? Yeah, let me

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Speaker 1: have a wear? Will we have aware? Do we? Yeah?

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Speaker 1: Bo we go and he starts. He sets me down.

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Speaker 1: He tells me about his audience and how boom and

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Speaker 1: he had notes on our set and you out of that.

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Speaker 1: That's a good one. Do this and he was just wonderful.

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Speaker 1: I'm dying, by the way, the best hard rock band ever,

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Speaker 1: Sinn Lizzie.

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Speaker 2: You don't have to tell you're preaching of the choir.

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Speaker 2: He was so talented, His voice was so uniqu their

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Speaker 2: songwriting was so great.

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Speaker 3: That double guitar. I mean, you talked to guitarists and

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Speaker 3: they're like, he was the inspiration.

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Speaker 1: And he and he was so he's Irish and he's

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Speaker 1: so sweet, you know, just big irish heart. Was total lover.

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Speaker 3: Great guy, gone too soon.

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Speaker 1: Yeah, and I was producing him when that happened. He

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Speaker 1: said one of the worst things that ever happened. He

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Speaker 1: came to London. I mean he came to Marin County.

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Speaker 1: We happened, and we were happening, and then his management

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Speaker 1: Chris and Chris came to me and said, you know,

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Speaker 1: would you mind producing something on Philip And I went no,

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Speaker 1: of course, but you know he's got to be clean

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Speaker 1: and they said, oh, yeah, no problem, he's clean. Said

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Speaker 1: I said, well, k well, you know I didn't want

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Speaker 1: any drugs, so no drugs. Fine, So we got him.

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Speaker 1: He came to California and he was good. He was

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Speaker 1: but he hadn't sung up in his range for a

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Speaker 1: long time. And we cut three songs and he sang

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Speaker 1: and he was. We were really close. We only had

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Speaker 1: one week and we didn't really get everything. We got

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Speaker 1: got three songs cut and I needed to get vocals

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Speaker 1: on it, but he had his visa was only for

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Speaker 1: a week.

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Speaker 3: Huh.

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Speaker 1: And so he went back to London. He was going

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Speaker 1: to come back. And that's that's you know, that's that's

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Speaker 1: what he he's he copped and no deed. Yeah, which

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Speaker 1: is what happens to these kids today, you know, with

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Speaker 1: with with with that is they is they don't they

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Speaker 1: they get they get a little habit going, and then

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Speaker 1: they quit. Yeah, and if they quit, then they when

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Speaker 1: they fall off the wagon, boom. That's that's that's when.

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Speaker 1: That's what happens. Horrible.

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Speaker 2: Well, that's a tragic, tragic death. But I'm so glad

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Speaker 2: you got to work with him. That's an amazing that's amazing.

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Speaker 1: He was the greatest, the greatest. You might want to

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Speaker 1: edit all that stuff out. I don't know why. Okay, whatever,

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Speaker 1: it's just hardcore stuff, you.

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Speaker 2: Know, wonderful story. Listen, we we get into hardcore stuff here.

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Speaker 2: We talk about all kinds of stuff here, So you know, those.

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Speaker 1: Are those are those days.

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Speaker 3: So you're coming into the eighties. How does Huey Lewis

336
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Speaker 3: and the News come together?

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Speaker 1: Well, when Clover broke up. First of all, we were

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Speaker 1: managed by Jake Rivia and Dave Robinson, two great guys.

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Speaker 1: They also managed Elvis Costello, Graham Parker, the Damned. They

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Speaker 1: created Stiff Records together, but before any of that, they

341
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Speaker 1: went partners on Clover and because they thought the next

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Speaker 1: big thing would be country rock might be well it wasn't.

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Speaker 1: It was punk and we were and you know, so

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Speaker 1: we we our office, our management was right there. The

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Speaker 1: office of all the great punk bands. So I love

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Speaker 1: the punks. I didn't like the music, but I love

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Speaker 1: the fact that they were thumbing their nose at the

348
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Speaker 1: at the music business, yeah, and saying, you know, we

349
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Speaker 1: don't care, we're not going to try and make it. Well,

350
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Speaker 1: it's not about making it. It's about playing our own songs,

351
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Speaker 1: their own quirky way and screw you, you know. And

352
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Speaker 1: I thought, wow, how liberating. If Clover ever breaks up,

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Speaker 1: I'm going to go home to my club, my local club,

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Speaker 1: and start a band with my favorite people and do

355
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Speaker 1: it like on a Monday night for nothing, and just

356
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Speaker 1: play for the hell of it. And that's exactly what

357
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Speaker 1: I did, and it really caught on. I went to

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Speaker 1: our local club and said, give me your worst night.

359
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Speaker 1: It was Monday night, and within two or three weeks

360
00:18:34,040 --> 00:18:37,320
Speaker 1: the lines around the block, and you know, we did

361
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Speaker 1: all on originals and then I started writing some things

362
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Speaker 1: and that's how it grew.

363
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Speaker 3: And do you believe in Love is your first big hit?

364
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Speaker 2: Right?

365
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Speaker 1: Yeah? It was the first top ten hit yep.

366
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Speaker 2: And what was that like to suddenly have the entire

367
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Speaker 2: country obsessed with your song?

368
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Speaker 1: Well, it was strange in that we'd produced that record

369
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Speaker 1: on our own and mixed it and agonized over it

370
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Speaker 1: for so long, you know. Then we released it as

371
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Speaker 1: a single, and we heard that kf RC, which was

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Speaker 1: our big parallel one station in San Francisco, was going

373
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Speaker 1: to add the record and that so that was a

374
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Speaker 1: big deal and they were going to play that new

375
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Speaker 1: ads on Tuesday. And I remember, so I called all

376
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Speaker 1: the boys in the band. We all went came to

377
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Speaker 1: my place and we sat there and watched the radio

378
00:19:26,080 --> 00:19:27,760
Speaker 1: like it used to do in the thirties, you know.

379
00:19:28,119 --> 00:19:30,960
Speaker 1: And I'm watching the radio and now they say, Okay,

380
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Speaker 1: here's a new band from Marin County and blah blah blah.

381
00:19:34,160 --> 00:19:36,320
Speaker 1: Do you believe lovers? Here? Me lewis the news and

382
00:19:36,359 --> 00:19:39,560
Speaker 1: they play the record, and I could. I thought two

383
00:19:39,640 --> 00:19:43,000
Speaker 1: things and I'll never forget it. One, I thought, Wow,

384
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Speaker 1: it's going to be a hit. And number two, I thought,

385
00:19:47,400 --> 00:19:50,879
Speaker 1: but it doesn't sound anything like us. It sounded like

386
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Speaker 1: a whole different band almost really, And I think it

387
00:19:54,440 --> 00:19:56,679
Speaker 1: was the compressors in the in the radio station that

388
00:19:56,720 --> 00:19:59,040
Speaker 1: made it, that made it jump out of those speakers,

389
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Speaker 1: you know. And I mean, of course it sounded like

390
00:20:01,320 --> 00:20:04,719
Speaker 1: us a little bit, but having you know, recorded and

391
00:20:04,760 --> 00:20:07,720
Speaker 1: rehearsed that and played it and produced it. I just

392
00:20:07,760 --> 00:20:09,399
Speaker 1: didn't I almost didn't recognize it.

393
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Speaker 2: Do you think you were ready for fame at that

394
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Speaker 2: time in your life?

395
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Speaker 1: Uh? Yeah, I do, and I'll tell you why. Because

396
00:20:19,760 --> 00:20:21,800
Speaker 1: I was no Spring Chicken. I was twenty nine years old.

397
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Speaker 1: I've been playing a band for ten years. I saw

398
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Speaker 1: Philip Lennett, he was my teacher. I saw how he

399
00:20:27,280 --> 00:20:30,560
Speaker 1: handled everything, and I can honestly say that we and

400
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Speaker 1: I told the boys. I remember we had a little

401
00:20:32,800 --> 00:20:35,719
Speaker 1: meeting and I because we could when our sports record

402
00:20:35,760 --> 00:20:38,760
Speaker 1: came out, boom and it just started to take off. Yeah,

403
00:20:38,840 --> 00:20:42,680
Speaker 1: and we were still opening for different bands, only that

404
00:20:43,080 --> 00:20:45,919
Speaker 1: people are now coming to see us, and clearly we

405
00:20:45,920 --> 00:20:48,560
Speaker 1: were going to have to headline these places. And I

406
00:20:48,720 --> 00:20:51,359
Speaker 1: sat everybody down, I said, guys, just so you know,

407
00:20:52,040 --> 00:20:54,040
Speaker 1: this right now is about as good as it gets,

408
00:20:54,240 --> 00:20:57,680
Speaker 1: because if everything goes according to plan, a year from now,

409
00:20:57,960 --> 00:21:00,440
Speaker 1: we're going to have to headline these shows, which means

410
00:21:00,440 --> 00:21:02,960
Speaker 1: the critics are going to be after us. We're gonna

411
00:21:03,000 --> 00:21:06,320
Speaker 1: have to worry about all the equipment, all the lights,

412
00:21:06,480 --> 00:21:09,520
Speaker 1: all the We're going to take fifty people on the road,

413
00:21:09,760 --> 00:21:11,720
Speaker 1: and it's going to be you know, right now. We

414
00:21:11,880 --> 00:21:14,800
Speaker 1: just show up, eat the crew, meal, play forty five

415
00:21:14,840 --> 00:21:17,880
Speaker 1: minutes and we're done, you know. And so we honestly

416
00:21:18,119 --> 00:21:21,120
Speaker 1: as much as you can. And I explained to them,

417
00:21:21,440 --> 00:21:25,960
Speaker 1: you only go from nowhere to number one. Once you

418
00:21:26,000 --> 00:21:27,879
Speaker 1: can go, you go back to number one, I guess.

419
00:21:27,920 --> 00:21:32,080
Speaker 1: But that that rocket ship ride from obscurity to to

420
00:21:32,160 --> 00:21:35,840
Speaker 1: there to you know, top five is it needs to

421
00:21:35,840 --> 00:21:39,000
Speaker 1: be enjoyed and savored. And we did, I think as

422
00:21:39,040 --> 00:21:39,639
Speaker 1: best we could.

423
00:21:39,720 --> 00:21:41,359
Speaker 3: Yeah, because you'll never be nowhere again.

424
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Speaker 1: That's it. That's exactly right. It's exactly right.

425
00:21:44,600 --> 00:21:46,399
Speaker 3: So Sports Sports is such a good album.

426
00:21:46,440 --> 00:21:50,440
Speaker 2: Obviously, what was the concept there, Well, there wasn't one.

427
00:21:50,560 --> 00:21:53,720
Speaker 1: I mean, you know, if you listen to it, it's

428
00:21:53,800 --> 00:21:56,760
Speaker 1: it's all they're all different. I mean, it's such a

429
00:21:56,800 --> 00:22:00,200
Speaker 1: different collection. Yes, and that was that was you know,

430
00:22:00,359 --> 00:22:02,960
Speaker 1: anathema back in those days. You didn't want to do that.

431
00:22:03,600 --> 00:22:07,280
Speaker 1: But we produced the record ourselves and they all meant

432
00:22:07,320 --> 00:22:13,040
Speaker 1: something to me. And so that's kind of And honestly,

433
00:22:13,400 --> 00:22:15,720
Speaker 1: if you imagine this is nineteen we made the record

434
00:22:15,720 --> 00:22:18,560
Speaker 1: came out in eighty three, so you know, January of

435
00:22:18,560 --> 00:22:20,560
Speaker 1: eighty three, so we were recording that at eighty two.

436
00:22:21,720 --> 00:22:26,879
Speaker 1: In eighty two, there was only one format CHR contemporary

437
00:22:27,000 --> 00:22:31,400
Speaker 1: hit radio, which was top forty FM. Radio didn't matter.

438
00:22:31,560 --> 00:22:34,760
Speaker 1: MTV had come along. It was all about hit records.

439
00:22:34,760 --> 00:22:39,040
Speaker 1: You needed a top ten hit record period. So we

440
00:22:39,080 --> 00:22:42,760
Speaker 1: aimed every produced the record ourselves, and we aimed every

441
00:22:42,920 --> 00:22:46,479
Speaker 1: track right at radio. One's kind of a blues ethay,

442
00:22:46,600 --> 00:22:49,439
Speaker 1: one's a hard rocker, one's kind of a ballad. And

443
00:22:49,480 --> 00:22:52,359
Speaker 1: so we knew we needed to hit record is our

444
00:22:52,400 --> 00:22:54,320
Speaker 1: third album. If we didn't, if we didn't have a

445
00:22:54,359 --> 00:22:56,720
Speaker 1: hit where the record, it would beat over. And we

446
00:22:56,800 --> 00:22:58,119
Speaker 1: knew we needed to hit right. We didn't know we

447
00:22:58,119 --> 00:23:01,439
Speaker 1: were gonna have you know, five others did, but we

448
00:23:01,480 --> 00:23:02,040
Speaker 1: needed one.

449
00:23:02,800 --> 00:23:05,280
Speaker 2: And did you think when you were writing the songs

450
00:23:05,520 --> 00:23:09,560
Speaker 2: on sports did you think about the music videos that

451
00:23:09,800 --> 00:23:11,400
Speaker 2: you would have to do?

452
00:23:12,800 --> 00:23:16,040
Speaker 1: Not at all, not a little bit. But that became

453
00:23:16,080 --> 00:23:21,920
Speaker 1: a parent and so and there's another funny story actually there.

454
00:23:23,359 --> 00:23:25,440
Speaker 1: I've told it before, but I'll tell it again. Why

455
00:23:25,480 --> 00:23:29,680
Speaker 1: not the video for do You Believe in Love? With

456
00:23:30,880 --> 00:23:34,639
Speaker 1: Chrislas Records, we had made a couple of videos ourselves

457
00:23:34,880 --> 00:23:37,560
Speaker 1: to sell the band. I had made these two videos

458
00:23:37,600 --> 00:23:41,640
Speaker 1: with an outfit called Video West in San Francisco. This

459
00:23:41,720 --> 00:23:45,560
Speaker 1: is like nineteen seventy seven. Video tape was brand new,

460
00:23:46,080 --> 00:23:49,640
Speaker 1: the cable TV was brand new. Nobody had ever seen

461
00:23:49,680 --> 00:23:54,639
Speaker 1: cable or video. There were no cell phone nothing, no computers. Yeah,

462
00:23:54,680 --> 00:23:57,840
Speaker 1: and so this CaAl. Kim Dempster from Video West said, look,

463
00:23:58,200 --> 00:24:02,080
Speaker 1: if you let us video you doing a song, will

464
00:24:02,320 --> 00:24:04,359
Speaker 1: and play it on our show at two o'clock in

465
00:24:04,400 --> 00:24:07,600
Speaker 1: the morning, our Video West Pop show, We'll give you

466
00:24:07,640 --> 00:24:11,080
Speaker 1: the video. I said, fine. So I thought of these ideas.

467
00:24:11,520 --> 00:24:14,040
Speaker 1: I had a funny idea from you know, watching Hullabaloo.

468
00:24:14,080 --> 00:24:17,040
Speaker 1: I used to watch James Brown before your Time, But

469
00:24:17,359 --> 00:24:19,760
Speaker 1: they used to have these shows where bands would come

470
00:24:19,760 --> 00:24:22,399
Speaker 1: on and lip sync and like they'd have James Brown

471
00:24:22,480 --> 00:24:25,520
Speaker 1: set up at the beach. You know, he looked, like,

472
00:24:25,760 --> 00:24:29,399
Speaker 1: what's James Brown doing in a full maroon suit at

473
00:24:29,480 --> 00:24:32,640
Speaker 1: the beach? You know what I mean? But it was fantastic.

474
00:24:32,840 --> 00:24:35,280
Speaker 1: So that's what I did. I juxtaposed all that stuff.

475
00:24:35,440 --> 00:24:37,560
Speaker 1: We played this song on a little sewage peer out

476
00:24:37,560 --> 00:24:40,040
Speaker 1: on the beach, and so I had these cool videos

477
00:24:40,480 --> 00:24:42,840
Speaker 1: and so the record company loved that. That's one of

478
00:24:42,840 --> 00:24:45,239
Speaker 1: the reasons we got signed. But now they said, we

479
00:24:45,280 --> 00:24:47,439
Speaker 1: need a professional video. Now we're gonna do a real

480
00:24:47,480 --> 00:24:49,560
Speaker 1: big one. So for do You Believe in Love? It's

481
00:24:49,560 --> 00:24:52,400
Speaker 1: gonna be a hit. So they hired an advertising guy

482
00:24:52,680 --> 00:24:55,840
Speaker 1: who is a glamour guy sort of, and he had

483
00:24:55,920 --> 00:24:59,600
Speaker 1: us all in makeup and pastel backsets and everything, and

484
00:24:59,640 --> 00:25:01,840
Speaker 1: we cut the video all day long. This is the

485
00:25:01,920 --> 00:25:06,280
Speaker 1: video where we're all in bed with a girl and singing,

486
00:25:06,359 --> 00:25:09,040
Speaker 1: doing all that said. And so now now we go away,

487
00:25:09,480 --> 00:25:12,240
Speaker 1: and a week later we come back to wrect company

488
00:25:12,280 --> 00:25:14,439
Speaker 1: to see the rough cut, and we're all there and

489
00:25:14,480 --> 00:25:17,760
Speaker 1: it's it's the record company. There's four or five of them,

490
00:25:18,040 --> 00:25:20,960
Speaker 1: four or five of the video people, all of us,

491
00:25:20,960 --> 00:25:23,280
Speaker 1: but there's probably you know, thirty people in this room.

492
00:25:23,520 --> 00:25:25,080
Speaker 1: And the guy gets up and he says, now, look,

493
00:25:25,640 --> 00:25:28,960
Speaker 1: it's not colorized yet. It's not colorized yet, but it's

494
00:25:29,000 --> 00:25:31,359
Speaker 1: gonna look way better than this. But this is the

495
00:25:31,440 --> 00:25:33,840
Speaker 1: rough cut. And then he turns the lights off and

496
00:25:33,880 --> 00:25:37,000
Speaker 1: he plays the video and my heart sank. It was

497
00:25:37,040 --> 00:25:39,680
Speaker 1: the worst thing I'd ever seen. There was no direction.

498
00:25:40,160 --> 00:25:42,560
Speaker 1: The guy was like the lead singer, you know, the

499
00:25:42,680 --> 00:25:46,480
Speaker 1: hue he was he did, but he's singing off to space. Well,

500
00:25:46,480 --> 00:25:48,840
Speaker 1: I mean, it was the craziest thing I'd ever seen.

501
00:25:49,160 --> 00:25:51,840
Speaker 1: I thought it was horrible. And then when it ends,

502
00:25:52,320 --> 00:25:55,239
Speaker 1: they put the lights back on and everybody stands up

503
00:25:55,240 --> 00:25:58,040
Speaker 1: and gives us a standing ovation. No no, And I

504
00:25:58,080 --> 00:26:03,280
Speaker 1: remember my thought exactly was, Wow, anybody can do this.

505
00:26:03,400 --> 00:26:06,680
Speaker 1: There's no art to this at all. Nobody knows what's

506
00:26:06,720 --> 00:26:09,920
Speaker 1: going on here. We're writing our own records, we're producing

507
00:26:09,920 --> 00:26:12,240
Speaker 1: our own music. We need to do our own videos.

508
00:26:12,240 --> 00:26:14,080
Speaker 1: That's all there is to it. Yeah, And so from

509
00:26:14,080 --> 00:26:17,240
Speaker 1: that moment on we did all those videos ourselves, and

510
00:26:17,280 --> 00:26:21,720
Speaker 1: the idea being that do them outside in San Francisco.

511
00:26:22,800 --> 00:26:27,320
Speaker 1: Let the seagulls and the ocean and the bay be

512
00:26:27,480 --> 00:26:31,159
Speaker 1: the production, let them chew the scenery and just goof

513
00:26:31,520 --> 00:26:34,840
Speaker 1: and be funny and avoid a literal translation of the

514
00:26:34,880 --> 00:26:37,880
Speaker 1: song at all possible. Yeah, and that's what we did.

515
00:26:38,080 --> 00:26:38,680
Speaker 1: Just have fun.

516
00:26:41,520 --> 00:26:42,560
Speaker 3: Okay, back to the future.

517
00:26:42,640 --> 00:26:46,440
Speaker 2: How does how does this opportunity, this iconic opportunity come

518
00:26:46,480 --> 00:26:46,720
Speaker 2: to you?

519
00:26:47,600 --> 00:26:52,320
Speaker 1: Spielberg Zamechis, Bob Gail and Neil Canton asked to have

520
00:26:52,400 --> 00:26:55,919
Speaker 1: a meeting with my manager and I at ambling newly

521
00:26:56,040 --> 00:27:00,800
Speaker 1: formed Amblin Entertainment. It's like the week they opened and

522
00:27:01,000 --> 00:27:04,159
Speaker 1: we sat down and and Zameca said, we've just written

523
00:27:04,160 --> 00:27:07,240
Speaker 1: this film and our lead character is a guy called

524
00:27:07,240 --> 00:27:11,520
Speaker 1: Marty McFly and his favorite band would be Huey Lewis

525
00:27:11,520 --> 00:27:13,720
Speaker 1: of the News. So we thought, how about writing a

526
00:27:13,760 --> 00:27:16,119
Speaker 1: song for the film? And I thought, I told him

527
00:27:16,160 --> 00:27:19,520
Speaker 1: I was flattered, didn't know how to write for film necessarily,

528
00:27:20,160 --> 00:27:23,320
Speaker 1: and I didn't quite fancy writing a song called back

529
00:27:23,359 --> 00:27:26,320
Speaker 1: to the Future. And they said, oh no, no, whatever,

530
00:27:26,480 --> 00:27:28,840
Speaker 1: you call it, whatever you want, We just want one

531
00:27:28,840 --> 00:27:31,359
Speaker 1: of your songs. I said, all right, I'll send you

532
00:27:31,400 --> 00:27:33,919
Speaker 1: the next thing we work on. And Chris and I

533
00:27:33,920 --> 00:27:36,800
Speaker 1: had already started Power Love sort of, and so we

534
00:27:36,880 --> 00:27:38,560
Speaker 1: just finished it up and send it down to him.

535
00:27:38,760 --> 00:27:39,280
Speaker 3: Amazing.

536
00:27:39,720 --> 00:27:41,280
Speaker 1: I didn't. I didn't think it was going to work,

537
00:27:41,280 --> 00:27:43,679
Speaker 1: because there's no real love object, you know, in the

538
00:27:43,720 --> 00:27:46,840
Speaker 1: film other than and so they just used it for

539
00:27:46,880 --> 00:27:49,719
Speaker 1: a chase scene. But it works so well. And you know,

540
00:27:49,920 --> 00:27:53,440
Speaker 1: I think there's a lesson there for songs from movies,

541
00:27:53,800 --> 00:27:56,520
Speaker 1: and that is that it's it's it's better when they

542
00:27:56,560 --> 00:28:01,080
Speaker 1: only tangentially apply. In other word, if you just write

543
00:28:01,119 --> 00:28:04,640
Speaker 1: the story into the song, you're just retelling the.

544
00:28:04,600 --> 00:28:06,160
Speaker 3: Story, right right.

545
00:28:06,280 --> 00:28:08,919
Speaker 1: So Power Love really didn't have anything to do with

546
00:28:09,480 --> 00:28:11,879
Speaker 1: Back to the Future, but it ended up being this

547
00:28:11,960 --> 00:28:15,040
Speaker 1: other leg. Yeah, that film can stand on.

548
00:28:15,560 --> 00:28:18,600
Speaker 2: Yeah, it was sort of the anthem of the movie.

549
00:28:21,000 --> 00:28:21,919
Speaker 1: That's power.

550
00:28:25,160 --> 00:28:25,920
Speaker 3: Oh so good.

551
00:28:27,080 --> 00:28:31,479
Speaker 2: What was it like to be referenced the way you

552
00:28:31,560 --> 00:28:36,200
Speaker 2: were in a movie like American Psycho, You.

553
00:28:36,240 --> 00:28:37,399
Speaker 1: Like Huey Lewis on the news?

554
00:28:39,320 --> 00:28:39,960
Speaker 2: Okay?

555
00:28:41,920 --> 00:28:43,600
Speaker 4: Their early work was a little too.

556
00:28:44,120 --> 00:28:47,800
Speaker 3: A wave for my taste. When Sports came out at

557
00:28:47,800 --> 00:28:50,120
Speaker 3: eighty three, I think that really came into their own

558
00:28:50,520 --> 00:28:51,720
Speaker 3: commercially and artistically.

559
00:28:52,560 --> 00:28:53,280
Speaker 1: That was interesting.

560
00:28:53,800 --> 00:28:54,920
Speaker 3: Yeah, I can imagine.

561
00:28:55,720 --> 00:28:59,480
Speaker 1: Well we had read read the book right and clearly

562
00:29:00,160 --> 00:29:04,920
Speaker 1: uh Brett Ellis was a fan. Ye yeah, and not

563
00:29:05,080 --> 00:29:10,400
Speaker 1: just you know eighties fan Hnney Houston, Phil Collins like that.

564
00:29:10,520 --> 00:29:13,240
Speaker 1: You know, it's that thing. And he and his little

565
00:29:14,160 --> 00:29:18,560
Speaker 1: review or you know, of three is little synopsis is

566
00:29:18,600 --> 00:29:21,520
Speaker 1: pretty right on. It was. It was pretty amazing. I'm

567
00:29:21,520 --> 00:29:24,760
Speaker 1: reading this guy pretty much gets it, you know. And

568
00:29:24,760 --> 00:29:27,600
Speaker 1: then so now comes the film and they say they

569
00:29:27,640 --> 00:29:29,680
Speaker 1: want to use hip to be square and I said yeah,

570
00:29:29,840 --> 00:29:31,880
Speaker 1: and they said it's a very violent scene. I said,

571
00:29:32,440 --> 00:29:35,520
Speaker 1: I don't it's but we're going to pay you boom,

572
00:29:35,720 --> 00:29:38,880
Speaker 1: you know. And so I said fine, and William Dafoe.

573
00:29:39,000 --> 00:29:40,680
Speaker 1: So I knew he was an art I knew he

574
00:29:40,720 --> 00:29:44,840
Speaker 1: was an artistic film. You know, I'm fine. Three weeks

575
00:29:44,880 --> 00:29:48,320
Speaker 1: maybe before the release of the movie, my manager calls

576
00:29:48,320 --> 00:29:50,560
Speaker 1: me up and says, hey, they want to do a soundtrack.

577
00:29:50,880 --> 00:29:53,760
Speaker 1: I said, really, well, what what what would be on

578
00:29:53,880 --> 00:29:58,760
Speaker 1: that soundtrack? He said, well, uh, your song on Eric

579
00:29:58,800 --> 00:30:01,040
Speaker 1: Clapton song I think was it a Phil Collins do

580
00:30:01,200 --> 00:30:04,480
Speaker 1: one or the other and source music basically just to

581
00:30:04,920 --> 00:30:06,680
Speaker 1: I said, well, that's not right, is it. I mean,

582
00:30:07,040 --> 00:30:09,600
Speaker 1: our fans have to buy this whole record for one song.

583
00:30:10,560 --> 00:30:12,400
Speaker 1: He says yeah. I said, do we have to do

584
00:30:12,440 --> 00:30:13,920
Speaker 1: He said no, no, it's not part of the deal.

585
00:30:14,200 --> 00:30:17,600
Speaker 1: I said, well, can we respectfully decline? Sure? Yeah, okay, no,

586
00:30:17,760 --> 00:30:22,240
Speaker 1: thank you. All right now, the day before the premiere,

587
00:30:22,840 --> 00:30:26,440
Speaker 1: they release a press release to everybody to you know,

588
00:30:26,760 --> 00:30:30,960
Speaker 1: USA Today New York Times that said that the movie's

589
00:30:31,000 --> 00:30:35,960
Speaker 1: premiering tomorrow and it's so violent that Huey Lewis has

590
00:30:36,440 --> 00:30:40,920
Speaker 1: pulled his song from the soundtrack album, which which is

591
00:30:40,960 --> 00:30:45,360
Speaker 1: all trying to gin up publicity, and and so I boycotted.

592
00:30:45,560 --> 00:30:47,880
Speaker 1: And I've never seen the film. You haven't seen it,

593
00:30:48,240 --> 00:30:51,960
Speaker 1: never seen it, But but I did lampoon the scene

594
00:30:52,040 --> 00:30:55,320
Speaker 1: with funny or Die, and that was that was kind

595
00:30:55,360 --> 00:31:00,360
Speaker 1: of fun. Do you like American Psycho? It's okay.

596
00:31:01,200 --> 00:31:05,200
Speaker 4: Although originally polarizing to audiences and critics alike, it developed

597
00:31:05,200 --> 00:31:08,320
Speaker 4: a much deserved cult following when released on digital video

598
00:31:08,360 --> 00:31:11,720
Speaker 4: disc or DVD. There it found a second life and

599
00:31:11,800 --> 00:31:14,520
Speaker 4: really came into its own commercially and artistically.

600
00:31:15,280 --> 00:31:19,240
Speaker 3: Well, I mean, that's your decision. That's your decision not

601
00:31:19,280 --> 00:31:22,080
Speaker 3: to watch it. But it's it's a great film, and

602
00:31:22,240 --> 00:31:23,400
Speaker 3: that scene is great.

603
00:31:23,760 --> 00:31:25,480
Speaker 1: I'll tell you what else is? Yeah. I saw the

604
00:31:25,480 --> 00:31:27,880
Speaker 1: scene a lot because we were president, and the funny

605
00:31:27,880 --> 00:31:30,479
Speaker 1: thing is doing the scene which is supposed to be funny.

606
00:31:30,640 --> 00:31:32,840
Speaker 1: I mean, I found out comedy is hard, right, all

607
00:31:32,880 --> 00:31:37,400
Speaker 1: these guys doing it, nobody's nobody laughed or smiled all

608
00:31:37,520 --> 00:31:40,800
Speaker 1: day long we shot that thing. I was cracking up

609
00:31:40,880 --> 00:31:43,320
Speaker 1: and I'm the only guy laughing. Yeah. I'll tell you

610
00:31:43,400 --> 00:31:46,720
Speaker 1: what else was good? Is the Broadway show? The Broadway

611
00:31:46,760 --> 00:31:50,400
Speaker 1: show American Psycho really good? And Duncan Chet wrote all

612
00:31:50,440 --> 00:31:53,400
Speaker 1: the all the other music. Ohoh, and it's really it was.

613
00:31:53,600 --> 00:31:56,160
Speaker 1: I mean, how do you make a musical out of

614
00:31:56,240 --> 00:31:59,480
Speaker 1: truly American? Well? They did, and it was really good.

615
00:31:59,680 --> 00:32:02,200
Speaker 2: I thought, well, I'm a fan of musicals as well.

616
00:32:02,200 --> 00:32:04,680
Speaker 2: And let me tell you, they made a musical about Jonestown,

617
00:32:04,760 --> 00:32:06,640
Speaker 2: so they can pretty much make a musical.

618
00:32:06,320 --> 00:32:11,400
Speaker 3: About anything about who Jonestown. Oh yeah, true.

619
00:32:12,160 --> 00:32:14,280
Speaker 2: Okay, I want to talk about another one of my

620
00:32:14,280 --> 00:32:18,120
Speaker 2: favorite movies, Duets. It's so good, it's so fun, it's

621
00:32:18,160 --> 00:32:21,080
Speaker 2: got so much heart, and most importantly to me, it

622
00:32:21,120 --> 00:32:22,640
Speaker 2: has so much singing.

623
00:32:23,240 --> 00:32:24,480
Speaker 3: How does that role come to you?

624
00:32:25,880 --> 00:32:30,520
Speaker 1: Uh? Wow, I guess my agent called me and I

625
00:32:30,640 --> 00:32:31,360
Speaker 1: just read for it.

626
00:32:32,400 --> 00:32:33,400
Speaker 3: Did you audition for it?

627
00:32:34,040 --> 00:32:34,400
Speaker 1: Yeah?

628
00:32:34,480 --> 00:32:36,440
Speaker 2: It feels like they wrote it for you, But maybe

629
00:32:36,440 --> 00:32:38,600
Speaker 2: that's just because I can't imagine anyone else doing it.

630
00:32:38,640 --> 00:32:43,000
Speaker 1: In the script, the guy gets up and at the

631
00:32:43,640 --> 00:32:48,880
Speaker 1: karaoke bar, my character and you know, pretends to be

632
00:32:49,000 --> 00:32:52,200
Speaker 1: hammered and then gets up and brings the house down

633
00:32:52,240 --> 00:32:56,480
Speaker 1: by tearing off his shirt and kind of like disrobing.

634
00:32:56,600 --> 00:32:59,520
Speaker 1: And I said, you know, if you're in a karaoke

635
00:32:59,640 --> 00:33:01,880
Speaker 1: bar and you just tear off your shirt, they're just

636
00:33:01,880 --> 00:33:03,360
Speaker 1: going to say this guy's an idiot.

637
00:33:03,440 --> 00:33:03,760
Speaker 3: Yeah.

638
00:33:03,880 --> 00:33:05,200
Speaker 1: I said, well, do you have to do it? You

639
00:33:05,280 --> 00:33:08,800
Speaker 1: need to sell the song. I said, I'll sell the song.

640
00:33:08,880 --> 00:33:11,560
Speaker 1: Don't worry, you know, just give me the song and

641
00:33:11,560 --> 00:33:13,640
Speaker 1: I'll sell it. And I think he liked that. So

642
00:33:13,720 --> 00:33:14,680
Speaker 1: that's how I got the part.

643
00:33:14,800 --> 00:33:18,040
Speaker 2: Oh my gosh, who was the best singer among the actors?

644
00:33:18,120 --> 00:33:21,959
Speaker 2: I mean and Maria Bello, Gwyneth, Paul Giamatti, Andre Brower,

645
00:33:22,440 --> 00:33:23,840
Speaker 2: Gwyneth really.

646
00:33:23,920 --> 00:33:26,880
Speaker 1: Oh, Gwyneth is a really good singer. And not only

647
00:33:26,960 --> 00:33:30,720
Speaker 1: just sing good singers. She's a good she's very musical,

648
00:33:30,760 --> 00:33:35,120
Speaker 1: sings harmony. She's really good. Blithe Dan, her mother told

649
00:33:35,120 --> 00:33:37,920
Speaker 1: me during the shoot that she always wanted that. I

650
00:33:37,960 --> 00:33:41,840
Speaker 1: think I think her her brother is. Oh, no, Blithe's

651
00:33:41,840 --> 00:33:45,680
Speaker 1: sister is an opera singer. Her b brother is, and

652
00:33:45,720 --> 00:33:49,680
Speaker 1: she and Gwyneth always blithe wanted Gwyneth to be a singer.

653
00:33:50,280 --> 00:33:53,080
Speaker 1: And uh, but she's a great singer. And it was,

654
00:33:53,120 --> 00:33:57,000
Speaker 1: you know, we had it was a nerve wrecking time

655
00:33:58,360 --> 00:33:59,000
Speaker 1: because well.

656
00:33:59,000 --> 00:33:59,920
Speaker 3: That's what I wanted to ask.

657
00:34:00,080 --> 00:34:03,840
Speaker 2: Were you nervous for that role acting alongside all these

658
00:34:03,880 --> 00:34:07,920
Speaker 2: incredible actors or did you feel like the veteran vocalist

659
00:34:08,040 --> 00:34:09,760
Speaker 2: surrounded by novices?

660
00:34:09,960 --> 00:34:12,480
Speaker 1: Yeah, you know, I had. I did a I did

661
00:34:12,480 --> 00:34:15,479
Speaker 1: a film called Shortcuts with with Bob Altman, with Robert

662
00:34:15,480 --> 00:34:21,080
Speaker 1: Altman and we it was shot on location in Bakersfield,

663
00:34:21,560 --> 00:34:25,319
Speaker 1: uh and for three days, and we had we all

664
00:34:25,360 --> 00:34:27,480
Speaker 1: had to drive. The whole company had to go from

665
00:34:27,600 --> 00:34:30,239
Speaker 1: LA to Bakersfield. He said, come with me, you drive

666
00:34:30,280 --> 00:34:34,160
Speaker 1: with me. So I went with Bob to It was

667
00:34:34,160 --> 00:34:37,200
Speaker 1: like a three hour drive. And by the time we

668
00:34:37,200 --> 00:34:40,000
Speaker 1: got to the location, and it was a tutorial on

669
00:34:40,160 --> 00:34:44,000
Speaker 1: film acting and he and I asked questions and he

670
00:34:44,080 --> 00:34:46,840
Speaker 1: explained to me. You know, he said a lot of

671
00:34:46,880 --> 00:34:49,959
Speaker 1: really cool stuff. Number One is read the script every

672
00:34:50,040 --> 00:34:53,839
Speaker 1: day till you know it cold and acting is reacting right.

673
00:34:53,960 --> 00:34:57,240
Speaker 1: You need to In other words, it's easy to deliver lines.

674
00:34:57,719 --> 00:35:00,120
Speaker 1: It's another thing to react to something that you you

675
00:35:00,200 --> 00:35:02,680
Speaker 1: know they're going to say, but you have to pretend

676
00:35:02,680 --> 00:35:05,640
Speaker 1: that you're just hearing it, like your mother just died,

677
00:35:05,840 --> 00:35:09,040
Speaker 1: you know. So you need to practice that stuff and

678
00:35:09,120 --> 00:35:11,759
Speaker 1: work on that. And so you need to know everybody's part.

679
00:35:12,440 --> 00:35:14,360
Speaker 1: So you need to do all the parts and rehearse

680
00:35:14,400 --> 00:35:17,040
Speaker 1: all your reactions, he said, and get a backstory together

681
00:35:17,400 --> 00:35:19,399
Speaker 1: till you know this character. You know what he had

682
00:35:19,440 --> 00:35:22,640
Speaker 1: for breakfast, you know what and he says, and you know,

683
00:35:22,920 --> 00:35:25,440
Speaker 1: take all kinds of suggestions the directory to it is

684
00:35:25,640 --> 00:35:28,239
Speaker 1: till you really know this guy. When you know this guy,

685
00:35:28,280 --> 00:35:32,239
Speaker 1: then don't listen to anybody. And and so that's kind

686
00:35:32,239 --> 00:35:38,160
Speaker 1: of what I did in in that party in duets,

687
00:35:38,160 --> 00:35:42,359
Speaker 1: I kind of I created a backstory that Ricky Dean

688
00:35:43,120 --> 00:35:47,560
Speaker 1: was a real singer with a band and he hated karaoke.

689
00:35:49,160 --> 00:35:52,359
Speaker 1: It was just like, these guys are just joke. These

690
00:35:52,400 --> 00:35:54,600
Speaker 1: guys are joked. They don't know any They're not real singers.

691
00:35:54,880 --> 00:35:59,040
Speaker 1: There's karaoke singers. I had a real band and all that,

692
00:35:59,080 --> 00:36:02,680
Speaker 1: but falling on harder times, I'm older and stuff, and

693
00:36:02,719 --> 00:36:04,200
Speaker 1: so this is just a way to make a living

694
00:36:05,080 --> 00:36:07,600
Speaker 1: is to hustle these people in the state, because other way,

695
00:36:08,080 --> 00:36:10,560
Speaker 1: you know, I couldn't find I don't even know if

696
00:36:10,560 --> 00:36:13,879
Speaker 1: there are already karaoke hustlers, do you know what I mean?

697
00:36:14,160 --> 00:36:16,880
Speaker 1: I mean, I don't know if it exists. So I

698
00:36:16,960 --> 00:36:20,359
Speaker 1: had to create a scenario whereby Ricky Dean would want

699
00:36:20,360 --> 00:36:22,800
Speaker 1: to be a I want to hustle these kids and

700
00:36:23,080 --> 00:36:25,480
Speaker 1: make my way. So so in a way, you're quite corrected.

701
00:36:25,719 --> 00:36:28,080
Speaker 1: And the acting and all that was was not that

702
00:36:28,160 --> 00:36:30,560
Speaker 1: big of a problem for me. The one was was

703
00:36:30,600 --> 00:36:33,839
Speaker 1: the song because in the in the script The song

704
00:36:34,040 --> 00:36:37,560
Speaker 1: was song for You, the Leon Russells song, and they said, well,

705
00:36:37,600 --> 00:36:40,200
Speaker 1: Gwyneth will be picking this song. I said, yeah, I

706
00:36:40,239 --> 00:36:45,200
Speaker 1: get that. So Gwyneth chose this one, Cursy Cruising, and

707
00:36:45,239 --> 00:36:48,520
Speaker 1: they called me and said Gwyneth's chosen a smokey Robinson tune.

708
00:36:48,560 --> 00:36:53,319
Speaker 1: I said, oh, great, which one cruising cruising? Shoot? I

709
00:36:53,400 --> 00:36:55,880
Speaker 1: never I couldn't recognize it. And then I said, well,

710
00:36:55,920 --> 00:36:57,239
Speaker 1: just send it to me. They send it to me

711
00:36:57,280 --> 00:36:59,399
Speaker 1: and I said, oh, yeah, I get it. Okay, it'll

712
00:36:59,400 --> 00:37:02,000
Speaker 1: be good. Yeah, well, well we need to get around

713
00:37:02,000 --> 00:37:04,000
Speaker 1: the piano and pick a key and oh no, no,

714
00:37:04,239 --> 00:37:06,640
Speaker 1: we've already cut it. I said, well, what what key?

715
00:37:06,640 --> 00:37:09,560
Speaker 1: Did you cut it? Original key? And then I thought

716
00:37:09,800 --> 00:37:12,120
Speaker 1: I went back to listening Togain. I realized it's in

717
00:37:12,200 --> 00:37:15,480
Speaker 1: her key. He's really smoky, you know, it's in her key.

718
00:37:15,880 --> 00:37:20,160
Speaker 1: So I figured this other part out and then then

719
00:37:20,200 --> 00:37:23,239
Speaker 1: I hoped would work? No idea, And now I show

720
00:37:23,280 --> 00:37:25,919
Speaker 1: up at the studio to cut it, and I said, yeah,

721
00:37:25,920 --> 00:37:27,279
Speaker 1: now that we already cut it, and we want you

722
00:37:27,360 --> 00:37:31,120
Speaker 1: to come down second with her on Wednesday, you know, okay, Wednesday,

723
00:37:31,160 --> 00:37:34,280
Speaker 1: I show Hope and there's like thirty people there there's

724
00:37:34,520 --> 00:37:37,839
Speaker 1: people from the film, and there's other cameras, and there's

725
00:37:38,200 --> 00:37:40,560
Speaker 1: her mother and Bubba, and now we go in the

726
00:37:40,600 --> 00:37:43,319
Speaker 1: studio where, well, what do you got, Hue. You know, well,

727
00:37:43,719 --> 00:37:46,640
Speaker 1: here's what I got, you know, And it worked out.

728
00:37:46,680 --> 00:37:49,680
Speaker 1: But I was nervous. I was nervous, and you know,

729
00:37:49,719 --> 00:37:52,160
Speaker 1: you know, you know, it was great Maya Rudolph, who's

730
00:37:52,239 --> 00:37:55,080
Speaker 1: really good friends with Gwyneth. Yeah, and her father was

731
00:37:55,120 --> 00:37:58,080
Speaker 1: the musical director of the film, and so she was

732
00:37:58,080 --> 00:38:01,560
Speaker 1: hanging out and she really was helpful in everything. I

733
00:38:01,560 --> 00:38:05,200
Speaker 1: could always go to her and say, Maya, make sure

734
00:38:05,239 --> 00:38:07,160
Speaker 1: I hit this note and not that one. You know,

735
00:38:08,239 --> 00:38:08,800
Speaker 1: no problem.

736
00:38:09,480 --> 00:38:11,280
Speaker 3: That looked like it was a really fun movie.

737
00:38:11,600 --> 00:38:14,640
Speaker 1: Oh yeah, it was really you know. Bruce wasn't well,

738
00:38:14,840 --> 00:38:19,440
Speaker 1: you know, Unfortunately we never got to rehearse. We had

739
00:38:19,440 --> 00:38:23,920
Speaker 1: to rehearse on camera. And then I think Steve Ross

740
00:38:23,920 --> 00:38:26,319
Speaker 1: got I think they had gotten some kind of an

741
00:38:26,440 --> 00:38:29,359
Speaker 1: argument and he had to recut the film and they

742
00:38:29,400 --> 00:38:31,279
Speaker 1: cut a whole bunch of stuff out of our part.

743
00:38:31,560 --> 00:38:33,799
Speaker 1: Oh no, they had to cut the film down from

744
00:38:34,320 --> 00:38:37,680
Speaker 1: two fifty to two hours and ten minutes. And yeah,

745
00:38:37,840 --> 00:38:40,840
Speaker 1: Gwynnis and my stuff, we got like three full scenes

746
00:38:40,880 --> 00:38:44,600
Speaker 1: cut which is too bad. Oh, actually our best scenes

747
00:38:44,640 --> 00:38:47,280
Speaker 1: were cut. No, yeah, it happens, I guess.

748
00:38:47,320 --> 00:38:49,080
Speaker 3: I mean, you know, that's heartbreaking.

749
00:38:49,200 --> 00:38:52,080
Speaker 1: But she was, she was wonderful, she's she's a total

750
00:38:52,160 --> 00:38:54,560
Speaker 1: pro and yeah, yeah, you know, and it was really sweet.

751
00:38:54,840 --> 00:39:10,239
Speaker 2: It's a great film switching gears. What happens leading up

752
00:39:10,280 --> 00:39:14,520
Speaker 2: to your diagnosis with many years, what's happening to you

753
00:39:14,719 --> 00:39:15,640
Speaker 2: that you end up there?

754
00:39:16,800 --> 00:39:19,319
Speaker 1: Uh well, I lost my right ear like thirty five

755
00:39:19,400 --> 00:39:22,759
Speaker 1: years ago and I was completely flipped out, and I

756
00:39:22,800 --> 00:39:25,279
Speaker 1: went to an e NT guy. My father was a

757
00:39:25,320 --> 00:39:29,960
Speaker 1: doctor and he recommended this famous bestie ant guy in

758
00:39:30,000 --> 00:39:32,960
Speaker 1: San Francisco in the West. And the guy looks at me.

759
00:39:33,000 --> 00:39:34,960
Speaker 1: He says, well, get used to it. I said, what

760
00:39:35,440 --> 00:39:38,040
Speaker 1: he says, get used to it. He says, it happens

761
00:39:38,080 --> 00:39:41,120
Speaker 1: sudden hearing losses. We don't know. I said, what causes?

762
00:39:41,200 --> 00:39:43,640
Speaker 1: Says we don't know. I said, you're kidding me. I said,

763
00:39:43,880 --> 00:39:46,160
Speaker 1: but I'm a musician. I'm a singer. I need to

764
00:39:46,400 --> 00:39:50,000
Speaker 1: He goes, Hey, you only need one went I'm a musician.

765
00:39:50,320 --> 00:39:53,920
Speaker 1: He says, Hey, Jimmy Hendricks had one ear, Brian Wilson

766
00:39:53,960 --> 00:39:56,480
Speaker 1: had one ear. I have one ear and I'm in

767
00:39:56,520 --> 00:40:01,160
Speaker 1: a barbershop quartet. I said, really, yeah, So then I've

768
00:40:01,200 --> 00:40:03,920
Speaker 1: went okay. And then I put my ears in for

769
00:40:04,000 --> 00:40:08,040
Speaker 1: my next gig. Worried. Worried, But your brain moves that

770
00:40:08,200 --> 00:40:10,680
Speaker 1: voice right to the middle of your head. That was fine.

771
00:40:11,880 --> 00:40:15,360
Speaker 1: I existed on one ear for like thirty five thirty

772
00:40:15,440 --> 00:40:22,480
Speaker 1: years or so, and then twenty eighteen, in January twenty seven,

773
00:40:23,000 --> 00:40:26,719
Speaker 1: a day who will live in my infamy? I just

774
00:40:26,960 --> 00:40:29,560
Speaker 1: my right ear went too and now I couldn't hear anything.

775
00:40:30,640 --> 00:40:32,600
Speaker 1: It was before a gig. I went down to the gig,

776
00:40:32,640 --> 00:40:36,120
Speaker 1: I put my ear. It was cacophony for me, horrible.

777
00:40:36,320 --> 00:40:39,919
Speaker 1: And it's been pretty much like that ever since. It's

778
00:40:39,960 --> 00:40:46,120
Speaker 1: actually going down, actually deteriorating. I like to pretend I'm not,

779
00:40:46,280 --> 00:40:49,120
Speaker 1: but I think I am. And I'm probably headed for

780
00:40:49,800 --> 00:40:54,799
Speaker 1: a cochlear implant, which is not a pleasant thing by

781
00:40:54,840 --> 00:40:57,600
Speaker 1: any means, but might be necessary.

782
00:40:58,600 --> 00:41:00,440
Speaker 3: Did this at all?

783
00:41:00,480 --> 00:41:02,400
Speaker 2: I talk a lot about mental health on this podcast

784
00:41:02,440 --> 00:41:04,640
Speaker 2: because I struggle with my mental health. Did this impact

785
00:41:04,719 --> 00:41:06,200
Speaker 2: you your mental health at all?

786
00:41:06,920 --> 00:41:10,320
Speaker 1: Yep? It's changed me, has made me a different person.

787
00:41:10,360 --> 00:41:13,160
Speaker 1: You know. I was a very social guy, and when

788
00:41:13,160 --> 00:41:16,000
Speaker 1: you're at a noisy rim man, you can't hear anything.

789
00:41:16,560 --> 00:41:23,600
Speaker 1: I retreat to my my womb, like my little cocoon. Yeah,

790
00:41:23,920 --> 00:41:27,160
Speaker 1: and it's and I can't hear music at all. And

791
00:41:27,200 --> 00:41:28,719
Speaker 1: I mean it's it's one thing not to be able

792
00:41:28,760 --> 00:41:31,799
Speaker 1: to perform and sing, but I can't even enjoy it, right,

793
00:41:32,320 --> 00:41:34,440
Speaker 1: And that's that's that's really the hard part for me.

794
00:41:34,719 --> 00:41:35,960
Speaker 3: That must be devastating.

795
00:41:36,719 --> 00:41:41,799
Speaker 1: Yeah, I mean it's like my uh, like my pal

796
00:41:41,960 --> 00:41:46,120
Speaker 1: Tico Taurus drummer for bun Jovi's Jersey guy. I told

797
00:41:46,200 --> 00:41:49,160
Speaker 1: him about my story to tell me I don't we

798
00:41:49,280 --> 00:41:52,120
Speaker 1: when we see each other about every year at golf

799
00:41:52,239 --> 00:41:55,120
Speaker 1: terms we both play golf and we're we jam with

800
00:41:55,160 --> 00:41:57,480
Speaker 1: a band at the end, we fell in love musically.

801
00:41:57,640 --> 00:42:00,239
Speaker 1: I mean, he's a wonderful drummer and a wonderful guy.

802
00:42:00,600 --> 00:42:02,920
Speaker 1: I see him after a year and I go and

803
00:42:02,920 --> 00:42:05,919
Speaker 1: he goes, yeh, yeah you doing. I said, not good, teak,

804
00:42:06,040 --> 00:42:10,400
Speaker 1: I can't hear that, you know, can't perform, can't sing.

805
00:42:10,440 --> 00:42:15,080
Speaker 1: And he goes, what are you gonna do? So that's

806
00:42:15,120 --> 00:42:17,839
Speaker 1: my mantra, what do what you gotta do?

807
00:42:18,160 --> 00:42:18,600
Speaker 3: Yeah?

808
00:42:18,800 --> 00:42:21,640
Speaker 1: Yeah, yeah, yuwie, what are you gonna do? Ye?

809
00:42:23,239 --> 00:42:23,439
Speaker 3: Yes?

810
00:42:23,800 --> 00:42:28,320
Speaker 2: So Jersey, how does the Broadway show come about.

811
00:42:29,239 --> 00:42:34,160
Speaker 1: Well, my neighbor's son in law comes to me at

812
00:42:34,200 --> 00:42:37,760
Speaker 1: a birthday dinner of mine given by my neighbor and says,

813
00:42:38,280 --> 00:42:43,200
Speaker 1: how about a musical based on your music? I said, well,

814
00:42:43,280 --> 00:42:45,680
Speaker 1: you know, welcome to the club I've had. You know,

815
00:42:45,719 --> 00:42:48,560
Speaker 1: twenty people said that before the proofs in the pudding.

816
00:42:48,600 --> 00:42:50,839
Speaker 1: You gotta have a script. Yeah. He says, all right, right,

817
00:42:50,840 --> 00:42:53,680
Speaker 1: well can I trust yeah? Of course. Go. He went away.

818
00:42:53,800 --> 00:42:55,759
Speaker 1: He came back with his pal John Abrams, who's a

819
00:42:55,760 --> 00:43:00,439
Speaker 1: feature writer, with a very good first draft, and years

820
00:43:00,520 --> 00:43:03,040
Speaker 1: later we got it to Broadway.

821
00:43:03,600 --> 00:43:04,319
Speaker 3: Its long.

822
00:43:05,320 --> 00:43:08,680
Speaker 2: Wow, and it's not the story is not your story.

823
00:43:09,000 --> 00:43:11,160
Speaker 2: It's a different story set to your music.

824
00:43:11,600 --> 00:43:15,319
Speaker 1: It's an original story based on our music. Yeah, but

825
00:43:15,400 --> 00:43:19,759
Speaker 1: there are some parallels. It's interesting. When I first saw

826
00:43:19,800 --> 00:43:25,400
Speaker 1: the first twenty nine hour reading, it's fascinating seeing how

827
00:43:25,440 --> 00:43:31,480
Speaker 1: all these songs rearranged sung by ladies like yeah, sometimes

828
00:43:32,560 --> 00:43:36,719
Speaker 1: juxtapose different rhythms, rearrangeal And then the whole body of

829
00:43:36,760 --> 00:43:39,560
Speaker 1: work displayed all of our songs. And as I listened

830
00:43:39,600 --> 00:43:41,880
Speaker 1: to it, when I went through, I went, wow, and

831
00:43:41,920 --> 00:43:45,839
Speaker 1: there really is. I don't see it. I never did before,

832
00:43:45,880 --> 00:43:48,880
Speaker 1: But there's a thread that goes through through our stuff,

833
00:43:49,120 --> 00:43:51,680
Speaker 1: and it's clearly our personality, you know, that's it. It's

834
00:43:51,719 --> 00:43:54,799
Speaker 1: just certain things are certain things, aren't you know, it's

835
00:43:54,840 --> 00:43:58,800
Speaker 1: all like anything, like anything, sovi So that was really

836
00:43:59,360 --> 00:44:04,120
Speaker 1: so gratifying. I watched the to watch these songs live

837
00:44:04,200 --> 00:44:04,960
Speaker 1: this other life?

838
00:44:05,080 --> 00:44:09,360
Speaker 3: Yeah, so cool. Who came up with whatever happened to

839
00:44:09,440 --> 00:44:11,040
Speaker 3: Huey Lewis? That show? Idea?

840
00:44:11,960 --> 00:44:12,680
Speaker 1: Uh me?

841
00:44:13,520 --> 00:44:14,879
Speaker 3: And that was that took a long time too.

842
00:44:14,960 --> 00:44:18,399
Speaker 1: Yeah, yeah, I've been I had it in the back

843
00:44:18,440 --> 00:44:21,680
Speaker 1: of my mind forever. Yeah, and we've you know, now

844
00:44:21,680 --> 00:44:24,839
Speaker 1: we're we're we're actually working on it, and it's kind

845
00:44:24,840 --> 00:44:28,719
Speaker 1: of fun. I mean, it's uh mind you it's early

846
00:44:28,800 --> 00:44:29,279
Speaker 1: days yet.

847
00:44:29,360 --> 00:44:31,319
Speaker 2: So you know, did you did you watch a lot

848
00:44:31,360 --> 00:44:33,120
Speaker 2: of Curb or Larry Sanders show.

849
00:44:33,640 --> 00:44:36,200
Speaker 1: Yeah? I love the I love the Larry Sanders too.

850
00:44:36,680 --> 00:44:39,680
Speaker 1: It's really good. But I think that's good. That's and

851
00:44:39,719 --> 00:44:42,880
Speaker 1: we're we're we're stealing all kinds of stuff from those things.

852
00:44:43,360 --> 00:44:44,960
Speaker 3: Yeah, oh well, I can't wait to watch that.

853
00:44:45,120 --> 00:44:46,000
Speaker 1: Yeah, it's really fun.

854
00:44:46,400 --> 00:44:47,960
Speaker 3: Okay, we're going to do a lightning round.

855
00:44:48,080 --> 00:44:56,600
Speaker 2: Okay, which decade produced the best music?

856
00:44:57,800 --> 00:45:01,279
Speaker 1: I'm gonna say, what can only one it's either of

857
00:45:01,320 --> 00:45:06,239
Speaker 1: the thirties or the forties. Oh, absolutely, no question. There

858
00:45:06,280 --> 00:45:10,759
Speaker 1: was no television, Yeah yeah, radio was king it was.

859
00:45:10,840 --> 00:45:16,560
Speaker 1: That's how that songs defined what the fashion was, what

860
00:45:16,640 --> 00:45:19,680
Speaker 1: the people wore, how they acted, well they how they spoke.

861
00:45:20,080 --> 00:45:24,080
Speaker 1: That was all determined by these songs in the thirties

862
00:45:24,080 --> 00:45:25,120
Speaker 1: and forties.

863
00:45:24,880 --> 00:45:27,000
Speaker 3: Which decade produced the worst music.

864
00:45:28,680 --> 00:45:30,880
Speaker 1: Well, I think we're working on that right now. Actually,

865
00:45:32,400 --> 00:45:35,400
Speaker 1: I agree, it kind of gets kind of keeps getting

866
00:45:35,400 --> 00:45:38,520
Speaker 1: worse for me, I agree, mind you, I can't hear anymore,

867
00:45:38,640 --> 00:45:41,239
Speaker 1: so I have a good excuse you too.

868
00:45:43,480 --> 00:45:44,799
Speaker 3: Marine or Montana?

869
00:45:45,680 --> 00:45:48,480
Speaker 1: Oh well, Montana for me now, although I'm a marine

870
00:45:48,520 --> 00:45:54,320
Speaker 1: boy for sure. Yeah. But Montana more cheese, less rats.

871
00:45:54,920 --> 00:45:57,240
Speaker 3: Perfect. And did I hear that you fish?

872
00:45:57,960 --> 00:46:01,000
Speaker 1: I do on the fly fishing fanatic.

873
00:46:01,200 --> 00:46:04,439
Speaker 3: Well that's the place to be then, yeah, yeah, yeah,

874
00:46:04,440 --> 00:46:05,560
Speaker 3: I love their love.

875
00:46:05,680 --> 00:46:08,480
Speaker 1: And the reason I love it, yeah, is not in

876
00:46:08,600 --> 00:46:12,040
Speaker 1: the catching of the fish necessarily. It's the communing with

877
00:46:12,160 --> 00:46:15,080
Speaker 1: mother nature, you know. That's and and when you train

878
00:46:15,160 --> 00:46:17,880
Speaker 1: out smart one of one of her wild animals, you

879
00:46:18,040 --> 00:46:20,200
Speaker 1: really gotta get it. You really got to get in there.

880
00:46:21,719 --> 00:46:23,520
Speaker 3: It's a great pastime. It's a great pastime.

881
00:46:23,600 --> 00:46:26,560
Speaker 2: Yeah, Okay, you can say no to this. But does

882
00:46:26,680 --> 00:46:29,440
Speaker 2: the name Danny Zalisko mean anything to you?

883
00:46:29,719 --> 00:46:33,920
Speaker 1: Sure? I know Danny Lesko. He's a promoter, crazy promoter

884
00:46:34,040 --> 00:46:36,120
Speaker 1: from your your neck of the woods in Arizona.

885
00:46:36,560 --> 00:46:38,960
Speaker 3: Yes. So here's the story.

886
00:46:39,719 --> 00:46:42,920
Speaker 2: My mom, who had great taste in music, worked for

887
00:46:42,960 --> 00:46:46,400
Speaker 2: a company that was doing a fan promotion in Phoenix

888
00:46:46,480 --> 00:46:48,440
Speaker 2: in nineteen eighty three. And she worked with Danny on

889
00:46:48,520 --> 00:46:52,240
Speaker 2: this on this promotion, and he had stray Cats giveaway

890
00:46:52,320 --> 00:46:56,120
Speaker 2: tickets as part of this promotion. And you are playing

891
00:46:56,280 --> 00:46:59,879
Speaker 2: a show in Phoenix and Danny says to my mom,

892
00:47:00,960 --> 00:47:02,879
Speaker 2: I'm at the arena for Huey's show.

893
00:47:03,120 --> 00:47:05,040
Speaker 3: Come to the arena. You can pick up the tickets

894
00:47:05,520 --> 00:47:06,879
Speaker 3: at the arena. So she does.

895
00:47:07,920 --> 00:47:11,759
Speaker 2: She's talking to Danny when you come over, and to

896
00:47:11,920 --> 00:47:14,840
Speaker 2: this day says you were the best looking man she

897
00:47:15,000 --> 00:47:18,680
Speaker 2: had ever seen. Danny says, stay for the concert.

898
00:47:18,840 --> 00:47:19,239
Speaker 1: She does.

899
00:47:19,920 --> 00:47:23,080
Speaker 2: I think she went to an after party after the

900
00:47:23,200 --> 00:47:25,399
Speaker 2: concert and it was like a It was a big

901
00:47:25,520 --> 00:47:26,560
Speaker 2: highlight for Patty Cup.

902
00:47:26,560 --> 00:47:28,120
Speaker 3: I heard this story growing up a lot.

903
00:47:29,040 --> 00:47:29,960
Speaker 1: That's fantastic.

904
00:47:30,800 --> 00:47:32,239
Speaker 3: So you're validating it for me.

905
00:47:32,640 --> 00:47:33,440
Speaker 1: Where's mom now?

906
00:47:34,600 --> 00:47:35,839
Speaker 3: Mom lives in Massachusetts.

907
00:47:35,880 --> 00:47:37,000
Speaker 1: Now, oh, Okay.

908
00:47:37,239 --> 00:47:39,360
Speaker 2: Yeah, we all moved out to Massachusetts when I was

909
00:47:39,440 --> 00:47:41,520
Speaker 2: like six, so we weren't in Arizona long.

910
00:47:42,280 --> 00:47:44,919
Speaker 3: But that's that was That's a big story for my mom.

911
00:47:45,000 --> 00:47:45,600
Speaker 3: That's a big one.

912
00:47:46,239 --> 00:47:49,879
Speaker 1: That's great, that's sweet. It's very sweet. And your mom.

913
00:47:50,160 --> 00:47:54,520
Speaker 1: Your mother has excellent taste, not just musical taste in

914
00:47:54,640 --> 00:47:55,200
Speaker 1: all things.

915
00:47:56,160 --> 00:47:57,879
Speaker 3: She really does. She's a good one.

916
00:47:58,400 --> 00:48:03,279
Speaker 2: Okay, the last question, it's very wortant to me personally, culturally, spiritually.

917
00:48:04,280 --> 00:48:06,160
Speaker 3: When is iced coffee season?

918
00:48:07,800 --> 00:48:11,320
Speaker 1: Iced coffee season? Really?

919
00:48:11,680 --> 00:48:11,879
Speaker 3: Yeah?

920
00:48:12,360 --> 00:48:13,440
Speaker 1: I think it's all year long.

921
00:48:13,520 --> 00:48:15,920
Speaker 2: A you are correct, sir, That is the correct answer,

922
00:48:24,239 --> 00:48:27,120
Speaker 2: Huey Lewis. I can't tell you how wonderful this was,

923
00:48:27,239 --> 00:48:29,520
Speaker 2: and I'm so grateful for this opportunity to talk to you.

924
00:48:29,760 --> 00:48:31,840
Speaker 1: Oh you're sweet, Thank you, Essie. I knew it was

925
00:48:31,880 --> 00:48:32,480
Speaker 1: going to be fun.

926
00:48:34,800 --> 00:48:37,800
Speaker 3: Next week On Off the Cup, it's my friend Thomas Sadoski.

927
00:48:38,280 --> 00:48:39,960
Speaker 3: You know, I'm curious with you.

928
00:48:40,960 --> 00:48:42,520
Speaker 2: I'm going to turn the tables on you now because

929
00:48:42,520 --> 00:48:44,080
Speaker 2: I feel like I've been talking about myself to much

930
00:48:44,080 --> 00:48:44,479
Speaker 2: and it makes.

931
00:48:44,400 --> 00:48:45,320
Speaker 1: Me really uncomfortable.

932
00:48:45,400 --> 00:48:47,919
Speaker 3: This is an interview about you. Yeah, but I don't

933
00:48:47,920 --> 00:48:48,360
Speaker 3: care about that.

934
00:48:49,600 --> 00:48:51,839
Speaker 2: Off the Cup is a production of iHeart Podcasts as

935
00:48:51,880 --> 00:48:54,839
Speaker 2: part of the recent Choice Network. I'm your HOSTI Cupp

936
00:48:55,320 --> 00:48:57,120
Speaker 2: editing and sound designed by Derek Clements.

937
00:48:57,480 --> 00:49:00,440
Speaker 3: Our executive producers are meek Sie Cup, Lauren ha and

938
00:49:00,560 --> 00:49:03,520
Speaker 3: Lindsay Hoffman. If you like Off the Cup, please rate

939
00:49:03,600 --> 00:49:06,759
Speaker 3: and review wherever you get your podcasts, follow, or subscribe

940
00:49:06,800 --> 00:49:08,280
Speaker 3: for new episodes every Wednesday.