WEBVTT - Billy Joel

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<v Speaker 1>This is Alec Baldwin and you're listening to Here's the thing,

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<v Speaker 1>My chance to talk with artists and writers, policymakers and performers,

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<v Speaker 1>to hear their stories, what inspired their creations, what decisions

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<v Speaker 1>changed their careers, and what relationships influenced their work. Billy

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<v Speaker 1>Joel's fans have gotten to know him quite well over

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<v Speaker 1>the past four decades. Don't go change to try and

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<v Speaker 1>please me. You never led meet down before. From the

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<v Speaker 1>open hearted declarations of old fashioned love and She's Got

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<v Speaker 1>Away and just the way you are to the hard

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<v Speaker 1>rocking social commentaries we didn't start the fire and Allentown

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<v Speaker 1>how sad it's like me. You grew up listening to

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<v Speaker 1>Billy Joel's music. You can chart phases of your life

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<v Speaker 1>by each of his albums. Maybe that's because Billy Joel's

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<v Speaker 1>songs are so passionately connected to who he was at

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<v Speaker 1>the time he wrote them. Jack want you to get

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<v Speaker 1>more level, Hello, Hello, Hello, And when you're actually sitting

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<v Speaker 1>in the same room as him with a piano nearby, well,

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<v Speaker 1>you can't help yourself. I want you to play me

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<v Speaker 1>something if you don't mind, because your fans would demand that.

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<v Speaker 1>I still remember you said that to me years ago,

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<v Speaker 1>how predictable it was wherever you were that there was

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<v Speaker 1>a piano. But it was like, Billy, could you do

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<v Speaker 1>you mind? Right? We just a couple of songs. It's

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<v Speaker 1>it's just birthday, it's Christmas, and we were wondering if

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<v Speaker 1>you could play there. It is it's and it's just

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<v Speaker 1>had it. We just just it's such fans. Yeah, you

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<v Speaker 1>know mine, right, that's your life, yes, but it's it's

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<v Speaker 1>you know, it's fun. You can't have act alongs. You're

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<v Speaker 1>an act you can't act along, but you're gonna have

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<v Speaker 1>sing alongs. I can always sit down at the party

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<v Speaker 1>play and everybody starts singing. I go to a pub

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<v Speaker 1>in England, I'm out, Benny Giby's having his zones there.

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<v Speaker 1>You go there, it's uptown girl up and they all

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<v Speaker 1>sit around he sing and everybody has a plass. It's fun.

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<v Speaker 1>It creates a community instantly. Billy Joel is the third

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<v Speaker 1>best selling solo artist of all time in the United States,

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<v Speaker 1>where he sold more records than The Stones, Bruce Springsteen,

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<v Speaker 1>and Madonna, but he admits there's still room for improvement.

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<v Speaker 1>I know what good piano playing is and I'm not good.

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<v Speaker 1>My left hand is lame. I'm a two finger left

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<v Speaker 1>hand piano player, as opposed to post somebody who knows

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<v Speaker 1>what they're doing with the left hand. I never practiced

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<v Speaker 1>enough to use all my fingers on my left hand,

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<v Speaker 1>so I just play octaves, bass notes. My right hand

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<v Speaker 1>tries to compensate from my left hand being so gimpy,

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<v Speaker 1>so I overplay my right hand. My technique is horrible.

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<v Speaker 1>I can't read music. I never really don't read music.

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<v Speaker 1>I used to, but I don't anymore. I forgot how

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<v Speaker 1>so I took a piece of music that you didn't know.

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<v Speaker 1>If I got a score, I wouldn't and I put

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<v Speaker 1>in videos to play this. You would not it would

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<v Speaker 1>be Chinese. It would be Chinese. Yet I don't know

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<v Speaker 1>how did that happen. I started taking lessons when I

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<v Speaker 1>was about four or five, and I went up till

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<v Speaker 1>I was about sixteen, so it was almost twelve years

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<v Speaker 1>of classical piano lessons. I loved it, but I just

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<v Speaker 1>when you become a teenager, everything changes. I didn't want

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<v Speaker 1>to read other people's dots anymore. And I also realized

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<v Speaker 1>early on I'm not going to be a concert pianist.

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<v Speaker 1>I don't have the rocketmaning off hands, the harrowits hands.

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<v Speaker 1>I had strong hands, but the short fingers you were

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<v Speaker 1>Johnny Friendly's hands. Who's Johnny Friendly from on the waterfront

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<v Speaker 1>reunion boss doing the shape up down to the dock

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<v Speaker 1>and and hopeboken. Yeah, yeah, you're not, You're not, you said,

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<v Speaker 1>taking better accad of me, Charlie. He should have looked

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<v Speaker 1>down for me just a little bit, a little bit.

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<v Speaker 1>So what did I get one way to get? I'm

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<v Speaker 1>a bum jolly, Let's face it, that's what I am.

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<v Speaker 1>That's when I am. So you're a kid? Was there

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<v Speaker 1>an intimation in your household? There was a pissical music right?

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<v Speaker 1>My father was music. Yeah, he was a classically trained pianist.

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<v Speaker 1>He grew up in Nuremberg, Germany. He also went to

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<v Speaker 1>school in Switzerland. His father was quite well off. They

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<v Speaker 1>had a mailo out, a textile business. Joel mocked fabric.

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<v Speaker 1>So he had learned to play the piano. It was

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<v Speaker 1>a very musical family. He could play Chopini, could play

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<v Speaker 1>all the great stuff. He should have become a musician.

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<v Speaker 1>He became an engineer, worked for Chee and then he

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<v Speaker 1>was in promotion he was never really happy because he

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<v Speaker 1>didn't become a musician. We had an old, upright piano

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<v Speaker 1>in the house, a Leicester piano, real piece of junk,

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<v Speaker 1>and ended up being a planter in the garden. My

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<v Speaker 1>mom used it to grow a honeysuckle. She sang. Her

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<v Speaker 1>family were all singing Gilbert and Sullivan, English music hall people.

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<v Speaker 1>So I grew up in a very musical home. I

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<v Speaker 1>heard musical all the time. My father was playing my

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<v Speaker 1>that would saying radio is always on, listening to Milton

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<v Speaker 1>Cross and the opera. On Sunday, Leonora enters learning a light.

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<v Speaker 1>So I used to bang on the piano. My mom

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<v Speaker 1>got sick of hearing me bang, and she dragged me

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<v Speaker 1>down the street and I started taking lessons and I

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<v Speaker 1>took to it. Now, where was the family when your

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<v Speaker 1>father was there? And the piano? Where were you? Were

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<v Speaker 1>you and the lester and your mother and your father?

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<v Speaker 1>Where is this brother in Hicksville? My family moved with

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<v Speaker 1>me out of the Bronx when I was a baby

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<v Speaker 1>and maybe a year old. Basically grew up on the

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<v Speaker 1>on the Island. I grew up on the island and

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<v Speaker 1>the Levittown section of Hicksville, We had a levitt house,

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<v Speaker 1>the cape cod on the quarter raker. Everybody's house looked

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<v Speaker 1>the same. Started out looking the same. Now it doesn't

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<v Speaker 1>look anything like Levittown, like my town. Yeah, sixteen years old, Hicksville,

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<v Speaker 1>Long Island, Vietnam War going on, yes, very very tumultuous times,

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<v Speaker 1>and all of a sudden, what do you decide you

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<v Speaker 1>want to do well? I joined a band when I

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<v Speaker 1>was fourteen. I was asked to be in a band,

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<v Speaker 1>the Echos. This is the Echoes band. Well, guitars, because

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<v Speaker 1>there really weren't no keyboards that you could amplify. I

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<v Speaker 1>played the piano. I never played the organ. Finally figured

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<v Speaker 1>out how to amplify keyboards. I think that Dave Clark

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<v Speaker 1>five was the first band that had a an organ.

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<v Speaker 1>You could hear vox organ. It was pieces, bits and

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<v Speaker 1>pieces and I'm feeling good. It's the most unglad sounding song. Yeah,

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<v Speaker 1>so you amplify the keyboard. We we got an organ

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<v Speaker 1>and I and I was They decided I had the

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<v Speaker 1>best voice in the band, which isn't really saying much

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<v Speaker 1>because nobody could sing all that well in the band.

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<v Speaker 1>We couldn't even harmonize. We're very bad singers, but they

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<v Speaker 1>decided you really got the best voice, you'll sing the songs. Okay,

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<v Speaker 1>how did you feel about that? I felt a little

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<v Speaker 1>funny about it because I'm not a front man. Where

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<v Speaker 1>you stand with Mick Jagger, I didn't have to Mick

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<v Speaker 1>jaggon moves. I had a keyboard. You kind of locked in.

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<v Speaker 1>You can't move around. You can't carry a keyboard around

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<v Speaker 1>unless you were acordion player. And that looks like Lawrence

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<v Speaker 1>Welcome Havan. Then the two. So I stood at the

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<v Speaker 1>piano or I sat at the piano. And but then

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<v Speaker 1>I realized, you know, that girl I always had a

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<v Speaker 1>crush on, is actually looking at me. She never looked

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<v Speaker 1>at me twice all those years in school. And uh,

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<v Speaker 1>we're playing at the Holy Family Church, the church dance

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<v Speaker 1>that was about fifteen. Virginia is looking at me, you know,

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<v Speaker 1>come out Virginia at that Virginia and the band sounded great.

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<v Speaker 1>I love what I was doing. The crowd went yea

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<v Speaker 1>when we finished every song, and at the end of

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<v Speaker 1>the night, the priest gave us each fifteen dollars, which

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<v Speaker 1>in nineteen was that was it? The door locked behind me.

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<v Speaker 1>This is what I'm gonna do. I don't want to

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<v Speaker 1>go to Carner all anymore. I ended up on corn anyway.

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<v Speaker 1>And what music were you performing covers of other people?

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<v Speaker 1>Tuke Bux bands were playing early Beatles, Stones, Sam, the

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<v Speaker 1>Sham and the Finger. At that time, when you're seeing

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<v Speaker 1>Tommy James and the shan Del's and all that music,

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<v Speaker 1>who were you saying to yourself, I want to have

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<v Speaker 1>his career? Well, I like the had a different kind

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<v Speaker 1>of music. I already came out of a classical background,

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<v Speaker 1>and I really dug jazz when I was in my

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<v Speaker 1>early teens. They brew back, Oscar Peterson, ar Taanum, Jimmy Smith,

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<v Speaker 1>Bill Evans. I loved jazz, but I realized I ain't

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<v Speaker 1>gonna be one of those guys either, because I wasn't

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<v Speaker 1>a good enough pianist. I mean, these guys are as virtuostic,

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<v Speaker 1>virtualistic whatever, juostic, virtuostic, as the classical as a religion.

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<v Speaker 1>Yeah is it? Yeah? That's a really darm kidding. They're good.

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<v Speaker 1>They're just really good. I mean, the top of the

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<v Speaker 1>line guys, at the top of the line in classical

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<v Speaker 1>and jazz. They could have gone either way. The top

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<v Speaker 1>line classical guys, how they decided to be jazz guys

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<v Speaker 1>could have been just as good as the top jazz guys,

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<v Speaker 1>and vice versa. I was good enough to play rock

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<v Speaker 1>and roll and pop. But when I really fell in

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<v Speaker 1>love with as a teenager with girls and stuff was

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<v Speaker 1>first out like soul music, James Brown, Wilson, Pickett, Otis Redding,

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<v Speaker 1>the Temptations, Marvin Marvin Gay, Smokey Robinson, Gladys No. I

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<v Speaker 1>mean I just loved well, I tried to, you know, well,

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<v Speaker 1>it was you know, they were they were all white people,

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<v Speaker 1>and there weren't Long Island. There wasn't anybody but white

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<v Speaker 1>people in my school. I think there were a couple

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<v Speaker 1>of Jews, some Latinos. That was sprinklings. But everybody's white.

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<v Speaker 1>But everybody likes the music a twist and shout or

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<v Speaker 1>everybody would do come on now, shout, come on and

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<v Speaker 1>Louis Louis, I think that was the kingsman. What I say,

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<v Speaker 1>Ray Charles, So you're a girl all dressed in green,

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<v Speaker 1>and you'd make up really dirty words to that. We

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<v Speaker 1>came up with some really good stuff. So I love

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<v Speaker 1>that stuff. And then the Beatles came around and there

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<v Speaker 1>was Boom four. Working class guys from Liverpool, which is

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<v Speaker 1>as close to Levittown in England, I think and sounding anyway, Okay,

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<v Speaker 1>if what guys from Liverpool, Yeah, Liverpool, it's possible. It's possible.

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<v Speaker 1>They don't look like Frankie am Along, they don't look

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<v Speaker 1>like Bobby Rydell. They look like four working class guys

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<v Speaker 1>from anywhere. They could be from Micksville, from love It Town.

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<v Speaker 1>So I said, that's that's possible. That's what I want

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<v Speaker 1>to do. I want to write my own songs. I

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<v Speaker 1>want to play in my own band, do our own

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<v Speaker 1>arrangements and make our own way. When did that start?

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<v Speaker 1>This is before the Echoes, before before I joined the band,

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<v Speaker 1>the Beatles came out. You were a kid. I was

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<v Speaker 1>a kid. I was thirteen. You started writing music. Yes,

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<v Speaker 1>I started writing air Zots Beatles songs. But I climbed

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<v Speaker 1>the highest mountain. Ye hold your perse like that. I

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<v Speaker 1>want to hold your purse. Trying to sound live Napoleon Puglian. Puglian, Yeah,

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<v Speaker 1>you know, she don't love me like before my own

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<v Speaker 1>song she don't love me any more. I believed all

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<v Speaker 1>the l she told me. Uh uh, you know that

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<v Speaker 1>kind of thing. Trying to sound like the early Beatles.

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<v Speaker 1>It was fun. It was a lot of fun. I

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<v Speaker 1>was asked to join the band after the Beatles came out.

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<v Speaker 1>And now you gotta remember. November of sixty three, John F.

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<v Speaker 1>Kennedy is assassinated. The country goes into the dumps. Even

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<v Speaker 1>though we didn't know that much about politics government. He

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<v Speaker 1>was our guy. He was the young, vigorous progressive and

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<v Speaker 1>he was bump. He was shot taken away. Everybody just

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<v Speaker 1>turned off, like a switch turned off. We became very cynical,

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<v Speaker 1>the whole nation and the blues. February of sixty four,

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<v Speaker 1>who comes out? The Beatles come to America. We took

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<v Speaker 1>them in. We just embraced that. They walked into that

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<v Speaker 1>spaceful funny, it was. They were warm everything, everything that's

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<v Speaker 1>taken away from us. Great, let's go have a party.

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<v Speaker 1>Let's party. So you start writing songs and you're saying

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<v Speaker 1>air sets Beatles songs. What's the first song you write

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<v Speaker 1>that you can remember? Was called My Journey's End. I

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<v Speaker 1>could play it in film me too. Let's hear it

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<v Speaker 1>whill I climb the highest mountain and I swim the

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<v Speaker 1>deep scene. If I knew you were there at my

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<v Speaker 1>journeys and waiting for me. Let me tell now much

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<v Speaker 1>that you love me, sign the letters that you say

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<v Speaker 1>Jesus anywhere, And you were waiting there at my journeys.

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<v Speaker 1>And so what's the first song you wrote? So what's

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<v Speaker 1>the first song? Which was one that you wrote? Well,

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<v Speaker 1>it was probably in the Hassles, the Hassle sould records

0:12:49.640 --> 0:12:54.360
<v Speaker 1>a few on Long Island problems, maybe Jersey exactly on

0:12:54.400 --> 0:12:57.559
<v Speaker 1>the turn policies at the Woodrow Wilson rest stop. Yes,

0:12:57.880 --> 0:13:00.840
<v Speaker 1>I think it was the coffee chock full nuts in

0:13:00.920 --> 0:13:03.960
<v Speaker 1>Paramus because we opened it. We kind of has played

0:13:03.960 --> 0:13:08.960
<v Speaker 1>at the opening. Um the first thing I we sold anything.

0:13:09.240 --> 0:13:12.480
<v Speaker 1>So I was signed originally with the Echoes to Mercury Records,

0:13:13.280 --> 0:13:16.120
<v Speaker 1>and we changed the name to the Lost Souls. Were

0:13:16.120 --> 0:13:18.080
<v Speaker 1>the Lost Souls for a while, we made a couple

0:13:18.080 --> 0:13:20.559
<v Speaker 1>of records, nothing ever happened. H was the other one,

0:13:22.440 --> 0:13:25.559
<v Speaker 1>she don't love me before, she don't love me anymore.

0:13:27.600 --> 0:13:31.280
<v Speaker 1>I believe all the last she told me, don't you

0:13:31.360 --> 0:13:34.640
<v Speaker 1>know it's true that she stole me away from my

0:13:34.800 --> 0:13:38.960
<v Speaker 1>true love and now my Lula doesn't love me any

0:13:39.000 --> 0:13:45.160
<v Speaker 1>email most like Mr Um And then we became the

0:13:45.200 --> 0:13:47.040
<v Speaker 1>Lost Souls, and it turns out there was an English

0:13:47.080 --> 0:13:50.080
<v Speaker 1>band called the Lost Souls, so we had to change

0:13:50.120 --> 0:13:53.960
<v Speaker 1>our name. So the president of Mercury Records, brilliant guy

0:13:54.440 --> 0:13:55.920
<v Speaker 1>at the time, said Okay, we're gonna give you a

0:13:55.960 --> 0:14:00.920
<v Speaker 1>new name, the Commandos Vietnams. At the put time, you're

0:14:00.920 --> 0:14:04.760
<v Speaker 1>gonna be the Commandos. We hate that name, nobody likes

0:14:05.800 --> 0:14:08.720
<v Speaker 1>or yeah, we likes that stuff. You know, you're gonna

0:14:08.720 --> 0:14:10.240
<v Speaker 1>be the Commander's gonna be great, and we're gonna get

0:14:10.280 --> 0:14:14.240
<v Speaker 1>your outfits. And so that lasted about fifteen minutes and

0:14:14.400 --> 0:14:17.200
<v Speaker 1>we got dumped off the label. So it's Echoes, Echoes,

0:14:17.280 --> 0:14:21.280
<v Speaker 1>Lost Souls, Souls and then Commandos for a weekend. For

0:14:21.320 --> 0:14:23.560
<v Speaker 1>a weekend, opened up one quick choc full of nuts.

0:14:23.720 --> 0:14:25.960
<v Speaker 1>And then I there was a band on Long Island

0:14:26.000 --> 0:14:28.520
<v Speaker 1>which was making a lot of local noise called the Hassles.

0:14:29.000 --> 0:14:31.760
<v Speaker 1>They asked me to join. The guys in my band

0:14:31.760 --> 0:14:34.560
<v Speaker 1>and the Echoes, Lost Souls Commandos. They were all going

0:14:34.600 --> 0:14:37.000
<v Speaker 1>on to either the military or college. None of them

0:14:37.040 --> 0:14:39.520
<v Speaker 1>were really seriously going to be musicians except the bass player,

0:14:40.160 --> 0:14:42.800
<v Speaker 1>and I I said I'll join all right, I'll join

0:14:42.840 --> 0:14:45.400
<v Speaker 1>the Hassles. They wanted me to play organ. I'll join

0:14:45.640 --> 0:14:47.400
<v Speaker 1>if I can bring my bass player with me, because

0:14:47.400 --> 0:14:49.520
<v Speaker 1>they didn't have a bass player, and they said okay.

0:14:49.680 --> 0:14:52.640
<v Speaker 1>So that became the Hassles. And then there was another guy.

0:14:52.680 --> 0:14:55.360
<v Speaker 1>He got with a lot of Mick Jagger moves, Little John.

0:14:55.440 --> 0:14:59.760
<v Speaker 1>His name was great Hair, good looking guy, couldn't sing

0:14:59.840 --> 0:15:04.640
<v Speaker 1>to save it didn't matter. He was gorgeous and women

0:15:04.720 --> 0:15:08.520
<v Speaker 1>just went nuts and I'm I'm in the back doing death. Well,

0:15:08.760 --> 0:15:11.200
<v Speaker 1>but they had eyes, you know, they could see, they

0:15:11.200 --> 0:15:16.320
<v Speaker 1>could see the music video killed the radio absolutely glad

0:15:16.360 --> 0:15:17.920
<v Speaker 1>I came up in an air where it wasn't that prep.

0:15:18.920 --> 0:15:21.240
<v Speaker 1>So then I was in the Hassles. Now the Hassles

0:15:21.280 --> 0:15:23.760
<v Speaker 1>were a band, blue white soul band. There were a

0:15:23.800 --> 0:15:26.720
<v Speaker 1>bunch of them. The Vagrants was another one. Uh. They

0:15:26.760 --> 0:15:28.520
<v Speaker 1>used to play at the Action House all the time

0:15:28.520 --> 0:15:30.840
<v Speaker 1>on Long Island. We made two albums with the United

0:15:30.920 --> 0:15:33.760
<v Speaker 1>Artists and they both bombed out. That that's the first

0:15:34.320 --> 0:15:37.520
<v Speaker 1>time we started selling anything. Every step I take, but

0:15:37.640 --> 0:15:41.360
<v Speaker 1>the first song that I wrote that actually sold something.

0:15:50.560 --> 0:15:58.360
<v Speaker 1>Everything I do, I don't know. The course went every step,

0:15:59.640 --> 0:16:02.840
<v Speaker 1>every move I make. You know I'm trying to do

0:16:03.160 --> 0:16:07.640
<v Speaker 1>enough without you. I turned eye run eye hide really bitlers,

0:16:08.040 --> 0:16:12.000
<v Speaker 1>but I know deep inside a part of me has died. Yeah,

0:16:16.760 --> 0:16:26.960
<v Speaker 1>like Popeye, He's gonna I didn't know you wrote that.

0:16:26.960 --> 0:16:29.040
<v Speaker 1>That's great. That's how my father used to start. It

0:16:29.080 --> 0:16:31.560
<v Speaker 1>sounded like Popeye. Yeah. So that was probably the first

0:16:31.560 --> 0:16:33.280
<v Speaker 1>thing that saw I was in the first Hassle's album.

0:16:33.400 --> 0:16:36.080
<v Speaker 1>I think we saw a dozen copies. But our big

0:16:36.120 --> 0:16:39.320
<v Speaker 1>single was actually a cover of a Salmon Dave record,

0:16:40.560 --> 0:16:57.480
<v Speaker 1>You got Me humming, Uh, I don't know what you got,

0:16:59.280 --> 0:17:02.880
<v Speaker 1>but it's dead man, you got me and you got

0:17:02.920 --> 0:17:05.240
<v Speaker 1>Me on and it's a big song by Sam and Dave.

0:17:05.760 --> 0:17:10.280
<v Speaker 1>Everybody was covering soul records and doing them psychedelic or

0:17:10.359 --> 0:17:13.240
<v Speaker 1>doing their own arrangements of them. That was the Hassle's hit.

0:17:13.800 --> 0:17:17.120
<v Speaker 1>First album was horrible, the second hal was really horrible.

0:17:17.760 --> 0:17:21.040
<v Speaker 1>And then I, me and the drummers split off from

0:17:21.080 --> 0:17:24.639
<v Speaker 1>the Hassles to form a power duo. We were gonna

0:17:24.760 --> 0:17:27.080
<v Speaker 1>destroy the world with amplification. It's just like the heavy

0:17:27.119 --> 0:17:30.560
<v Speaker 1>metal thing we heard Zeppelin. It blew our minds, Iron Butterfly,

0:17:39.800 --> 0:17:46.399
<v Speaker 1>I gotta divid, don't you know that? I Love you?

0:17:47.040 --> 0:17:49.640
<v Speaker 1>Went on and on and on. So when you get

0:17:49.640 --> 0:17:52.560
<v Speaker 1>to this point where you say, a couple of albums,

0:17:52.560 --> 0:17:56.359
<v Speaker 1>the hassles, and then when is it you? Well, like

0:17:56.520 --> 0:17:58.960
<v Speaker 1>the band's got someone was smaller and smaller until I

0:17:59.080 --> 0:18:02.000
<v Speaker 1>became a two man. And so when you and he

0:18:02.040 --> 0:18:04.440
<v Speaker 1>went off, until it was the two of you, until

0:18:04.480 --> 0:18:06.119
<v Speaker 1>it was just the two What did he play? He

0:18:06.160 --> 0:18:10.520
<v Speaker 1>played drums? I played Hammond Oregan wired directly through hand.

0:18:10.560 --> 0:18:12.480
<v Speaker 1>So we're getting closer to Lawrence welk. Now the more

0:18:12.520 --> 0:18:14.679
<v Speaker 1>we go, it's getting closer. You almost got the according

0:18:14.720 --> 0:18:16.720
<v Speaker 1>but it was louder. It was much louder. And we

0:18:16.800 --> 0:18:20.320
<v Speaker 1>got signed to Epic, and we were on Epic from

0:18:20.359 --> 0:18:23.600
<v Speaker 1>one album and it was a colossal failure. We played

0:18:23.640 --> 0:18:26.000
<v Speaker 1>one gig I think it was an Unas on the

0:18:26.040 --> 0:18:29.880
<v Speaker 1>West Side in Manhattan, and people went fleeing from the place.

0:18:29.960 --> 0:18:32.360
<v Speaker 1>We were so loud he could see blood coming out

0:18:32.359 --> 0:18:35.879
<v Speaker 1>of ears. Horrible. Thank god it didn't happen, because I

0:18:35.880 --> 0:18:38.520
<v Speaker 1>would have screamed myself out of the right, out of

0:18:38.520 --> 0:18:40.560
<v Speaker 1>the business. So after you nearly kill a room full

0:18:40.600 --> 0:18:43.359
<v Speaker 1>of people at onn what happened then that we broke

0:18:43.440 --> 0:18:45.920
<v Speaker 1>up and I decided I don't longer want to be

0:18:46.000 --> 0:18:48.280
<v Speaker 1>a rock and roll star. I got that out of

0:18:48.600 --> 0:18:50.320
<v Speaker 1>got that out of my system. I was about nineteen

0:18:50.400 --> 0:18:57.199
<v Speaker 1>or twenty. I want to write songs now coming up.

0:18:57.560 --> 0:19:00.639
<v Speaker 1>How this kid from Long Island adjusted to life in

0:19:00.720 --> 0:19:04.879
<v Speaker 1>Los Angeles, chicks coming and stuff from the beach, rubbing

0:19:04.920 --> 0:19:06.879
<v Speaker 1>your neck and shoulders while you're playing. Yeah, that's what

0:19:06.920 --> 0:19:09.160
<v Speaker 1>it looks like in the movies. And why even so

0:19:09.400 --> 0:19:13.000
<v Speaker 1>he was able to say goodbye to Hollywood. This is

0:19:13.040 --> 0:19:23.159
<v Speaker 1>Alec Baldwin and you're listening to Here's the thing. This

0:19:23.240 --> 0:19:25.680
<v Speaker 1>is Alec Baldwin, and you're listening to Here's the thing.

0:19:26.240 --> 0:19:28.920
<v Speaker 1>Billy Joel never set out to be a rock star.

0:19:29.440 --> 0:19:32.560
<v Speaker 1>He just wanted to write songs like this one. Baby,

0:19:32.560 --> 0:19:36.159
<v Speaker 1>all the lights are turned on you. Now you're in

0:19:36.240 --> 0:19:39.639
<v Speaker 1>the center of the stage. And sometimes he heard his

0:19:39.760 --> 0:19:43.240
<v Speaker 1>songs in a voice other than his own. Baby on

0:19:43.320 --> 0:19:47.119
<v Speaker 1>a lance attend on you. You're in the center of

0:19:47.320 --> 0:19:52.919
<v Speaker 1>the stage. Everything revolves on what you do. You're in

0:19:52.960 --> 0:19:56.800
<v Speaker 1>your prim coming. Did you send him that song to record?

0:19:57.240 --> 0:19:59.560
<v Speaker 1>I wanted him too, But Bob writes his own stuff.

0:19:59.560 --> 0:20:01.760
<v Speaker 1>He's not gonn do covers. He doesn't buy songs from

0:20:01.760 --> 0:20:04.920
<v Speaker 1>the people. No, he does not. But I no longer

0:20:04.960 --> 0:20:06.600
<v Speaker 1>wanted to be the guy on stage. I wanted to

0:20:06.600 --> 0:20:09.399
<v Speaker 1>be the guy behind the scenes. This just happened to

0:20:09.440 --> 0:20:14.159
<v Speaker 1>coincide with the era of the singers songwriter Harry Chape

0:20:14.160 --> 0:20:17.840
<v Speaker 1>and Jim Croce. James Taylor was huge at the time.

0:20:18.520 --> 0:20:20.120
<v Speaker 1>So the advice I got was, what do you want

0:20:20.119 --> 0:20:21.840
<v Speaker 1>people to hear these songs? Why don't you make your

0:20:21.840 --> 0:20:26.160
<v Speaker 1>own album? Okay, I got a record deal, Family Records,

0:20:26.359 --> 0:20:29.919
<v Speaker 1>This guy named already RiPP, perfect name, like I was

0:20:29.920 --> 0:20:33.320
<v Speaker 1>like Pinocchio. Yeah. I fell in with the you know,

0:20:33.400 --> 0:20:36.320
<v Speaker 1>Hydride Lidy an actor's life for me, for those people.

0:20:36.400 --> 0:20:38.880
<v Speaker 1>And I recorded an album in l A. I lived

0:20:38.880 --> 0:20:41.080
<v Speaker 1>in l A for a little while. They said, okay,

0:20:41.119 --> 0:20:43.600
<v Speaker 1>then you made the album. Now now you got an album,

0:20:43.600 --> 0:20:44.720
<v Speaker 1>you need to promote it. You need to go on

0:20:44.720 --> 0:20:48.720
<v Speaker 1>the road and play and promote the albums. Oh okay.

0:20:48.720 --> 0:20:51.200
<v Speaker 1>It's a kind of a strange way to be a songwriter.

0:20:51.320 --> 0:20:53.960
<v Speaker 1>But that's what other people were doing. You know, other

0:20:53.960 --> 0:20:56.359
<v Speaker 1>people be interested in my material. If I promoted it,

0:20:56.440 --> 0:20:58.919
<v Speaker 1>promote the album, you'll hear it. Well, the album was

0:21:00.200 --> 0:21:04.120
<v Speaker 1>mastered at the wrong speed. So a song like this,

0:21:08.280 --> 0:21:14.560
<v Speaker 1>She's got away about her, I don't know what it is,

0:21:15.640 --> 0:21:19.720
<v Speaker 1>but I know that I can't live without played like this,

0:21:20.480 --> 0:21:26.480
<v Speaker 1>She's got away. I don't know what it is, but

0:21:26.560 --> 0:21:28.879
<v Speaker 1>I know that I can't live without it. So if

0:21:28.880 --> 0:21:31.560
<v Speaker 1>you hear that recording, I sound like the Chipmunks, well

0:21:31.960 --> 0:21:35.320
<v Speaker 1>speed it up kind of. It's terrible. The album never

0:21:35.359 --> 0:21:38.440
<v Speaker 1>went anywhere. Nothing happened, and I went on the road.

0:21:38.520 --> 0:21:40.920
<v Speaker 1>I promoted it and never saw it in the stores.

0:21:41.760 --> 0:21:43.560
<v Speaker 1>But that was when I was me. That was just

0:21:43.640 --> 0:21:46.240
<v Speaker 1>Billy Joel. So when you when people buy that album,

0:21:46.440 --> 0:21:49.159
<v Speaker 1>there's album has been rereleased where it's not at that speed.

0:21:49.640 --> 0:21:53.040
<v Speaker 1>It's been remastered, but it's still there's something wrong with it.

0:21:53.040 --> 0:21:55.480
<v Speaker 1>It just doesn't sound. I would advise people don't buy it.

0:21:56.040 --> 0:21:58.680
<v Speaker 1>If you can steal it, steal it. So Cold Spring

0:21:58.680 --> 0:22:01.200
<v Speaker 1>Harper is the first album. It's you how many band

0:22:01.200 --> 0:22:04.920
<v Speaker 1>members guitar, bassed, drums, and there was some violins that

0:22:04.960 --> 0:22:07.240
<v Speaker 1>were put in by Auady ripping. You know, he was

0:22:07.280 --> 0:22:10.119
<v Speaker 1>trying to be Phil Specter. It got all glopped up.

0:22:10.119 --> 0:22:12.000
<v Speaker 1>It was supposed to be more of a folky recorded

0:22:12.040 --> 0:22:13.760
<v Speaker 1>that in l A, recorded it in l A. How

0:22:13.760 --> 0:22:16.240
<v Speaker 1>long were you in l A? Three years? What was

0:22:16.240 --> 0:22:20.280
<v Speaker 1>that like for you? Weird? Yeah? How I went there

0:22:20.359 --> 0:22:25.040
<v Speaker 1>and I stayed on Santa Marca Boulevard. It's just dumpy.

0:22:25.080 --> 0:22:28.119
<v Speaker 1>A little place called the Tropicana Motel right there on

0:22:28.160 --> 0:22:31.359
<v Speaker 1>Santi the Duke's with the Duke's Duke's coffee shop. Maybe

0:22:31.359 --> 0:22:33.960
<v Speaker 1>the huge sandwiches for the poor. You have breakfast the Duke's.

0:22:34.119 --> 0:22:36.760
<v Speaker 1>It was great. You know a buck you could eat

0:22:36.800 --> 0:22:39.240
<v Speaker 1>like a king. The place was a dump, but the

0:22:39.280 --> 0:22:42.240
<v Speaker 1>postcards said the Tropic Canna and it had like a

0:22:42.280 --> 0:22:44.600
<v Speaker 1>palm tree on it. So I said postcards, all my friends,

0:22:44.720 --> 0:22:48.240
<v Speaker 1>I've made it here. I'm in Hollywood, coming together. Cat.

0:22:48.640 --> 0:22:51.399
<v Speaker 1>I'm having on what's on Santa Monica Boulevard for a dollar,

0:22:53.040 --> 0:22:55.719
<v Speaker 1>I mean to play in my song with a Chipmunk speed. Well,

0:22:56.000 --> 0:22:58.520
<v Speaker 1>if it's all going great, Yeah, if you're from Long Island,

0:22:58.560 --> 0:23:01.720
<v Speaker 1>you get a postcard pumped you the Tropic can It's

0:23:01.840 --> 0:23:04.720
<v Speaker 1>oh my god, he's made it because you and I

0:23:04.720 --> 0:23:06.959
<v Speaker 1>are from the same background. Yes, I mean from SAA.

0:23:07.320 --> 0:23:08.880
<v Speaker 1>Your friends you grew up with a propate like mine

0:23:08.920 --> 0:23:11.880
<v Speaker 1>where they probably get that post like like Joey, come here.

0:23:12.160 --> 0:23:15.600
<v Speaker 1>I got a postcard from Billy. He's the Tropicana here. Wow,

0:23:15.600 --> 0:23:18.119
<v Speaker 1>he's on the beach with girls like the beach boys.

0:23:18.520 --> 0:23:20.600
<v Speaker 1>He's driving cars. But I would make movies that coul

0:23:20.600 --> 0:23:22.080
<v Speaker 1>my friends be like, they say, let me ask you

0:23:22.080 --> 0:23:24.240
<v Speaker 1>a question. You do a love scene with it brought

0:23:24.320 --> 0:23:26.679
<v Speaker 1>the movie, Like do you ever get excited like yourself?

0:23:26.720 --> 0:23:28.879
<v Speaker 1>You know what I mean? There's always a weird you know,

0:23:28.960 --> 0:23:30.879
<v Speaker 1>to make love to a woman in front of olden people?

0:23:30.920 --> 0:23:32.840
<v Speaker 1>Can you pick who you make out with? Yeah? Like

0:23:33.040 --> 0:23:35.280
<v Speaker 1>do you enjoy that? It was it fun? You mean

0:23:35.320 --> 0:23:36.840
<v Speaker 1>he groupies out there and I'm like, you know, it's

0:23:36.840 --> 0:23:38.919
<v Speaker 1>not funn because it's a hundred and people staring at

0:23:38.920 --> 0:23:40.280
<v Speaker 1>you while you're doing it, Like, oh yeah, I forgot

0:23:40.280 --> 0:23:42.840
<v Speaker 1>about that. I forgot. We got those questions. What's it

0:23:42.920 --> 0:23:44.280
<v Speaker 1>like in a student? I mean like a lot of

0:23:44.359 --> 0:23:47.560
<v Speaker 1>drugs and girls and stuff. No, you're actually in a factory.

0:23:48.119 --> 0:23:50.399
<v Speaker 1>He's surrounded by equipment, and you know you don't have

0:23:50.480 --> 0:23:52.600
<v Speaker 1>like big fish thanks full of cocaine and everything, like

0:23:52.680 --> 0:23:56.040
<v Speaker 1>chicks coming and stuff from the beach rubbing your neck

0:23:56.040 --> 0:23:58.000
<v Speaker 1>and shoulders while you're playing. Yeah, that's what it looks

0:23:58.000 --> 0:24:01.040
<v Speaker 1>like in the movies. Did you movie stars some of

0:24:01.080 --> 0:24:03.240
<v Speaker 1>a musician? I'm every night you haven't been with who?

0:24:03.320 --> 0:24:05.600
<v Speaker 1>All the big stars? Right? And a fish tankful of

0:24:05.600 --> 0:24:08.480
<v Speaker 1>blow when chicks and bikinis rubbing the shoulders right, And

0:24:08.880 --> 0:24:11.960
<v Speaker 1>that's what people think now when you did you did

0:24:11.960 --> 0:24:14.920
<v Speaker 1>Cold Spring Harbor? There, did you do the next album

0:24:14.960 --> 0:24:17.800
<v Speaker 1>out there? Actually I got a job after I did

0:24:17.840 --> 0:24:20.080
<v Speaker 1>the Cold Spring Harbor album. I dropped that aside. I

0:24:20.119 --> 0:24:21.919
<v Speaker 1>had to get out of this horrible deal and I signed.

0:24:22.160 --> 0:24:26.200
<v Speaker 1>I signed away everything, copyrights, publishing, record royalties, everything, my

0:24:26.359 --> 0:24:28.800
<v Speaker 1>first child. I gave away at all. And I said

0:24:28.800 --> 0:24:30.720
<v Speaker 1>that I gotta get out of this deal. And I

0:24:30.840 --> 0:24:33.080
<v Speaker 1>hid in l A and I worked in a piano

0:24:33.119 --> 0:24:35.200
<v Speaker 1>bar under the name Bill Morton. It's just down in

0:24:35.200 --> 0:24:38.600
<v Speaker 1>the Wilshire district. And it was no, it's not a

0:24:38.600 --> 0:24:41.840
<v Speaker 1>real bar town l A. Uh. You know, Long Island

0:24:41.920 --> 0:24:44.360
<v Speaker 1>is a pub on every corner. It's a pub culture.

0:24:44.880 --> 0:24:47.560
<v Speaker 1>So when people close their eyes and they think of piano, man,

0:24:47.760 --> 0:24:49.560
<v Speaker 1>I think of a guy bending over a piano, and

0:24:49.560 --> 0:24:51.199
<v Speaker 1>I think of a guy in a in a place

0:24:51.840 --> 0:24:54.360
<v Speaker 1>on Long Island or in New York. But you recorded

0:24:54.400 --> 0:24:56.359
<v Speaker 1>that out of Los Angeles. I recorded in l A.

0:24:56.400 --> 0:24:58.280
<v Speaker 1>And that's where I worked. Some people think I did

0:24:58.280 --> 0:25:00.960
<v Speaker 1>it for years. I worked in this piano for six months.

0:25:01.080 --> 0:25:03.560
<v Speaker 1>I needed to make some money. I made Union scale,

0:25:03.560 --> 0:25:07.040
<v Speaker 1>I get tips. Mostly played, you know, Major seventh Chords

0:25:15.840 --> 0:25:29.679
<v Speaker 1>anything but but but how does piano man start that

0:25:29.760 --> 0:25:31.159
<v Speaker 1>kind of thing? And that guy in the hotel a

0:25:31.160 --> 0:25:34.080
<v Speaker 1>lot love. They would request songs I didn't even know

0:25:34.160 --> 0:25:37.479
<v Speaker 1>the song. Can you play what's that? Jogi carn Michael's

0:25:37.520 --> 0:25:48.200
<v Speaker 1>song startus? And I would go, sure you play mr.

0:25:54.280 --> 0:25:57.600
<v Speaker 1>And everybody was drinking pretty heavy because in an l

0:25:57.680 --> 0:25:59.440
<v Speaker 1>A bar, these were all people who lost it the

0:25:59.480 --> 0:26:03.720
<v Speaker 1>track losers. I just like drinking like fish and I

0:26:03.800 --> 0:26:06.760
<v Speaker 1>got free drinks. Oh my god. But so then you

0:26:06.800 --> 0:26:09.240
<v Speaker 1>do piano man, what's the next album after that? You do?

0:26:09.280 --> 0:26:11.560
<v Speaker 1>In l A? Uh? We did Piano Man in l A.

0:26:11.640 --> 0:26:14.000
<v Speaker 1>And there was an album that wasn't a hit album.

0:26:14.000 --> 0:26:15.800
<v Speaker 1>People perceived that to be a hit. It was not

0:26:15.880 --> 0:26:18.040
<v Speaker 1>a hit piano man. But this is back in the

0:26:18.040 --> 0:26:21.800
<v Speaker 1>early seventies. In those days they still had FM, progressive radio.

0:26:21.920 --> 0:26:24.359
<v Speaker 1>Dis jockeys could spend whatever they want. W L A R.

0:26:24.440 --> 0:26:28.680
<v Speaker 1>Dennis McNamara him, I was a kid home. I was smoking,

0:26:28.720 --> 0:26:30.520
<v Speaker 1>you know what, leaning out the windows. So my mom

0:26:30.600 --> 0:26:32.639
<v Speaker 1>didn't know. And on the video we'd hear w L

0:26:32.720 --> 0:26:37.040
<v Speaker 1>I R this Dennis McNamara, Jackson Brown right, I listened

0:26:37.040 --> 0:26:39.520
<v Speaker 1>to this guy. He was my childhood Dennis McNamara. We

0:26:39.520 --> 0:26:41.639
<v Speaker 1>grew up with these disc jockeys at night Allison Steven

0:26:41.680 --> 0:26:46.639
<v Speaker 1>Allison the night Bird and Roscoe Zaccharly was Vin Skels,

0:26:46.760 --> 0:26:49.440
<v Speaker 1>and my favorite guy was Scott Muni coming at you,

0:26:49.560 --> 0:26:58.760
<v Speaker 1>Scott Muny, a little spooky tooth from from England. Spooky

0:26:58.800 --> 0:27:01.440
<v Speaker 1>tooth Scot Munick and at you right now. They played

0:27:01.480 --> 0:27:04.080
<v Speaker 1>whatever they wanted. They didn't have program directors, they didn't

0:27:04.119 --> 0:27:06.840
<v Speaker 1>have consultants, and people would call in. If they got

0:27:06.920 --> 0:27:09.479
<v Speaker 1>enough requests, they would play a track. So piano Man

0:27:09.560 --> 0:27:12.720
<v Speaker 1>got requested all the time. It was a five five

0:27:12.760 --> 0:27:14.239
<v Speaker 1>and a half minute record. I mean, he's not an

0:27:14.280 --> 0:27:17.280
<v Speaker 1>am hit an amount of time. It's too long, and

0:27:17.320 --> 0:27:26.760
<v Speaker 1>it was in three quarter time pop pop and it's

0:27:26.880 --> 0:27:29.560
<v Speaker 1>and it's not really lyrics. Dellimerates. John at the Bar

0:27:29.680 --> 0:27:31.520
<v Speaker 1>is a friend of mine. He gets my drinks for free.

0:27:31.720 --> 0:27:33.080
<v Speaker 1>He's quick with the joke of a lot. Have you

0:27:33.119 --> 0:27:34.800
<v Speaker 1>smoke with it? Some said he rather big, could be

0:27:34.880 --> 0:27:38.920
<v Speaker 1>one of the girl from Nantucket the Puppa. So it's

0:27:38.920 --> 0:27:41.440
<v Speaker 1>still limericks. And if anybody said this is gonna be

0:27:41.440 --> 0:27:42.880
<v Speaker 1>a hit record. I tell him, right of their mind.

0:27:43.000 --> 0:27:46.040
<v Speaker 1>The next album comes out, Street Life Serenade. It's the

0:27:46.080 --> 0:27:49.719
<v Speaker 1>sophomore jinks. I did not have enough time to write

0:27:49.840 --> 0:27:52.240
<v Speaker 1>new material after the Piano Man album came out. Piano

0:27:52.240 --> 0:27:54.080
<v Speaker 1>Man got made a lot of noise, got a lot

0:27:54.119 --> 0:27:56.160
<v Speaker 1>of attention paid to it. Record company wanted another follow

0:27:56.240 --> 0:27:59.560
<v Speaker 1>up right away. Okay, new album now, but on the road.

0:27:59.600 --> 0:28:02.280
<v Speaker 1>I haven't a chance to write now, needing now. I

0:28:02.280 --> 0:28:04.119
<v Speaker 1>didn't have any material and you can hear it. So

0:28:04.160 --> 0:28:05.520
<v Speaker 1>what do you do? What do you do when you

0:28:05.600 --> 0:28:07.520
<v Speaker 1>got nothing? What do you play? I had nothing. I

0:28:07.560 --> 0:28:09.560
<v Speaker 1>was empty. I was running on empty. But there's not

0:28:09.560 --> 0:28:11.280
<v Speaker 1>nothing on the album. Where did that come from? Well?

0:28:11.280 --> 0:28:13.960
<v Speaker 1>I had one song that I thought, which was the Entertainer.

0:28:14.560 --> 0:28:23.560
<v Speaker 1>Which is that? Uh? Another folks song? I am the

0:28:23.960 --> 0:28:29.480
<v Speaker 1>entertain them, I know, just swear eyes done, not surenator.

0:28:30.119 --> 0:28:33.760
<v Speaker 1>I don't know a long haired band today. I am

0:28:33.880 --> 0:28:38.160
<v Speaker 1>your champion. I may won your hearts, but I know

0:28:38.200 --> 0:28:40.800
<v Speaker 1>in the game you're forgetting my name. I won't be

0:28:41.000 --> 0:28:44.160
<v Speaker 1>here and another year if I don't stay on the chart.

0:28:44.840 --> 0:28:47.120
<v Speaker 1>I wrote it on a guitar, actually, but that was it.

0:28:47.200 --> 0:28:49.520
<v Speaker 1>That was probably the one song that I had finished

0:28:49.520 --> 0:28:52.000
<v Speaker 1>and the boom in the studio. The clock is ticking.

0:28:52.440 --> 0:28:55.560
<v Speaker 1>So there's two instrumentals on that album, the root beer Rag,

0:28:56.080 --> 0:28:59.480
<v Speaker 1>which is just the piano ragtime thing, and this uh

0:28:59.640 --> 0:29:03.200
<v Speaker 1>Air's's Western movie theme called the Mexican Connection. Because I

0:29:03.200 --> 0:29:06.560
<v Speaker 1>was living in l A. Was fascinated with westerns, bum

0:29:06.680 --> 0:29:12.960
<v Speaker 1>bum bums. What are the songs came off a street

0:29:12.960 --> 0:29:16.080
<v Speaker 1>Life that were nothing that We're memorable? Nothing, The egg

0:29:16.120 --> 0:29:18.640
<v Speaker 1>that We're pretty is the only one. Uh There was

0:29:18.680 --> 0:29:21.120
<v Speaker 1>a song about a hooker I was in love with.

0:29:21.800 --> 0:29:23.880
<v Speaker 1>I wanted her to leave her profession and be with me,

0:29:23.920 --> 0:29:25.840
<v Speaker 1>but she made too much money and I couldn't afford her.

0:29:25.920 --> 0:29:29.560
<v Speaker 1>It was called Roberta. What else was on that album? Souvenirs?

0:29:29.840 --> 0:29:50.880
<v Speaker 1>Next song a picture postcon a folded stub, a program,

0:29:51.680 --> 0:30:09.200
<v Speaker 1>the play full away the photograph ups of your and

0:30:09.320 --> 0:30:11.960
<v Speaker 1>your moment? Doesn't it only like another fifteen seconds of it?

0:30:12.240 --> 0:30:13.800
<v Speaker 1>That was a nice song, but it was like this

0:30:13.880 --> 0:30:17.240
<v Speaker 1>short and other than that is the Mexican Connection, rut

0:30:17.280 --> 0:30:19.680
<v Speaker 1>beer Rag. It was okay, and you finished street life

0:30:19.680 --> 0:30:20.840
<v Speaker 1>and you're in l A. And then what do you do?

0:30:20.880 --> 0:30:22.680
<v Speaker 1>I finished street Life and it comes out and it goes,

0:30:22.760 --> 0:30:25.720
<v Speaker 1>you know, Pump dives right off the charts. The album

0:30:25.760 --> 0:30:29.160
<v Speaker 1>after that was Turnstiles. I moved back to New York.

0:30:29.520 --> 0:30:31.960
<v Speaker 1>I said, I'm going back to New York. Mid seventies,

0:30:32.160 --> 0:30:34.600
<v Speaker 1>New York was in the dumps. They were gonna default

0:30:34.800 --> 0:30:37.480
<v Speaker 1>forward to New York dropped dead for to New York dropped.

0:30:37.520 --> 0:30:39.560
<v Speaker 1>I saw that headline and people in l A Were like,

0:30:39.600 --> 0:30:41.880
<v Speaker 1>ha ha, screw New York. We can't wait to New

0:30:41.920 --> 0:30:44.080
<v Speaker 1>York goes down to dumps. And I said, that was

0:30:44.080 --> 0:30:46.040
<v Speaker 1>down with that. If you're act going down the tubes,

0:30:46.200 --> 0:30:48.040
<v Speaker 1>I'm going back. I want to be there for this,

0:30:48.520 --> 0:30:50.640
<v Speaker 1>and I'm picturing this apocalypse. I actually wrote a song

0:30:50.680 --> 0:30:54.080
<v Speaker 1>called Miami seventeen, think about the year twenty seventeen. I'm

0:30:54.080 --> 0:30:55.840
<v Speaker 1>an old man. I'm telling my grandchildren I was there.

0:30:55.880 --> 0:30:59.080
<v Speaker 1>I saw the lights go out on Broadway. Seeing the

0:30:59.200 --> 0:31:05.840
<v Speaker 1>lights go out on Broadway, I saw the Empire state

0:31:06.040 --> 0:31:14.760
<v Speaker 1>later life went on beyond the Palaceades. We all bought

0:31:14.840 --> 0:31:20.200
<v Speaker 1>cadillacs and left there long ago. And I'm picturing I'm

0:31:20.360 --> 0:31:22.520
<v Speaker 1>I'm an old man in the year seventeen. I'm living

0:31:22.520 --> 0:31:27.480
<v Speaker 1>in Miami, which I'm closing in I'm kind of fulfilling

0:31:27.480 --> 0:31:31.080
<v Speaker 1>my own prophecy here so and the other song, which is,

0:31:32.160 --> 0:31:36.880
<v Speaker 1>some folks like to get away, take a holiday from

0:31:36.960 --> 0:31:43.120
<v Speaker 1>the neighborhood, have a flight to Miami Beach on the Hollywooo.

0:31:46.400 --> 0:31:51.040
<v Speaker 1>I'm taking a gray Hound on the Hudson River line.

0:31:54.240 --> 0:31:57.600
<v Speaker 1>I'm in the New York state of mind. We could

0:31:57.640 --> 0:32:02.479
<v Speaker 1>do it like this, some oaks like get away, Tony,

0:32:02.480 --> 0:32:08.560
<v Speaker 1>come on, Chicken, a holiday from the neighborhood, a flight

0:32:08.640 --> 0:32:15.600
<v Speaker 1>to flight to Miami Beach, all the Hollywood. Yeah, I'm

0:32:15.680 --> 0:32:32.960
<v Speaker 1>taking the ghown huts and yeah, I'm in New York. Yeah.

0:32:33.040 --> 0:32:36.480
<v Speaker 1>And he'd recorded it, and that was I was hoping

0:32:36.480 --> 0:32:38.200
<v Speaker 1>other people would do that song. But I was back

0:32:38.200 --> 0:32:40.120
<v Speaker 1>in New York. I was home. Are you glad you were?

0:32:40.240 --> 0:32:42.040
<v Speaker 1>I was thrown so leaving l A, which just was

0:32:42.080 --> 0:32:45.320
<v Speaker 1>meant to be home. Say goodbye to Hollywood, right exactly,

0:32:45.360 --> 0:32:48.240
<v Speaker 1>you know, say goodbye to Hollywood. Thanks, it's been great,

0:32:48.280 --> 0:32:51.920
<v Speaker 1>but goodbye. After three years, it went sour on me.

0:32:52.160 --> 0:32:53.760
<v Speaker 1>And when I first moved out to the weather is

0:32:53.800 --> 0:32:56.920
<v Speaker 1>great and all the chicks and the palm trees. After

0:32:56.960 --> 0:33:00.960
<v Speaker 1>three years, everybody's full crap. Here, I'm a producer Prince

0:33:01.080 --> 0:33:04.320
<v Speaker 1>loved what you know. We all produced gas. We produced something.

0:33:05.360 --> 0:33:06.600
<v Speaker 1>When when you go back to New York, the where

0:33:06.600 --> 0:33:09.800
<v Speaker 1>do you go the city? I moved to Highland Falls,

0:33:09.840 --> 0:33:12.760
<v Speaker 1>which is right up to Hudson. Why we weren't ready

0:33:12.760 --> 0:33:15.080
<v Speaker 1>to move Lockstock and Barrow was waiting the city. I

0:33:15.120 --> 0:33:18.040
<v Speaker 1>was married at the time. My first X one where

0:33:18.040 --> 0:33:21.360
<v Speaker 1>is she from? From sayaset? So she went out there

0:33:21.400 --> 0:33:22.720
<v Speaker 1>with you and came back. She went out there with

0:33:22.760 --> 0:33:26.000
<v Speaker 1>me and came back with me. And this was Turnstiles

0:33:26.080 --> 0:33:29.000
<v Speaker 1>was recorded in New York. I produced it myself. Are

0:33:29.000 --> 0:33:31.480
<v Speaker 1>you glad you did? I'm I was glad I did

0:33:31.520 --> 0:33:33.720
<v Speaker 1>at the time because I needed to use my own musicians.

0:33:33.840 --> 0:33:35.440
<v Speaker 1>I didn't want to use session man. I didn't want

0:33:35.440 --> 0:33:37.560
<v Speaker 1>to use studio players. I want on my road band.

0:33:37.800 --> 0:33:39.480
<v Speaker 1>It was a long island band and we were doing

0:33:39.520 --> 0:33:41.719
<v Speaker 1>great on the road. We weren't selling any records, but

0:33:42.160 --> 0:33:44.520
<v Speaker 1>the crowds were going crazy. We were blowing headliners off

0:33:44.560 --> 0:33:47.920
<v Speaker 1>the stage and Dooby Brothers everywhere we played the Beach Boys.

0:33:48.000 --> 0:33:49.800
<v Speaker 1>We would get better plus than the This is when

0:33:49.840 --> 0:33:53.600
<v Speaker 1>Turnstiles came out. Yes, but turns out no, Trench Styles

0:33:53.600 --> 0:33:56.400
<v Speaker 1>didn't sell anything. You gotta be kidding, No, no, no,

0:33:56.560 --> 0:33:59.440
<v Speaker 1>hits New York. State of Mind is now perceived to

0:33:59.440 --> 0:34:02.120
<v Speaker 1>be a hit, But wasn't it say about Hollywood wasn't

0:34:02.120 --> 0:34:05.040
<v Speaker 1>a hit? None of the Ruggets. But I love all

0:34:05.080 --> 0:34:07.880
<v Speaker 1>those songs, not until the Stranger, which was the next album,

0:34:07.920 --> 0:34:10.759
<v Speaker 1>and seventies and Off that Comes, how many HiT's four

0:34:11.080 --> 0:34:14.600
<v Speaker 1>which were just the Way you Are moving out only

0:34:14.640 --> 0:34:16.520
<v Speaker 1>the good Day Young and She's Always a Woman, so

0:34:16.560 --> 0:34:19.279
<v Speaker 1>she's always a woman, and just the way you Are

0:34:19.280 --> 0:34:22.640
<v Speaker 1>our love songs. Well, She's always a woman is a

0:34:22.680 --> 0:34:24.960
<v Speaker 1>love so not perceived. Remember I'm just saying, but they're

0:34:25.040 --> 0:34:28.319
<v Speaker 1>very romantic songs. Well, i'd had romantic ballads before that,

0:34:28.800 --> 0:34:31.719
<v Speaker 1>from the Cold Spring Harbor, She's Got Away, Piano man

0:34:31.920 --> 0:34:33.520
<v Speaker 1>if I only had the words to tell you You're

0:34:33.600 --> 0:34:39.800
<v Speaker 1>my home and then turnstyles Summer Highland Falls, no thematic depression,

0:34:39.840 --> 0:34:43.719
<v Speaker 1>but about a relationship. But I was writing ballads I've

0:34:43.760 --> 0:34:47.000
<v Speaker 1>loved these Days about a man and a woman, and

0:34:47.040 --> 0:34:50.200
<v Speaker 1>then the Stranger just the Way you Are, which is

0:34:50.239 --> 0:34:52.720
<v Speaker 1>just a pure, out and out love song, She's Always

0:34:52.719 --> 0:34:55.120
<v Speaker 1>a Woman, which is kind of a double edged sword there.

0:34:55.920 --> 0:34:58.120
<v Speaker 1>I had no idea it was such a big record

0:34:58.200 --> 0:35:00.520
<v Speaker 1>just the way you are became this mon stir like

0:35:00.560 --> 0:35:05.240
<v Speaker 1>the Beatles. Yeah, once after the Stranger. After the Stranger,

0:35:05.640 --> 0:35:08.480
<v Speaker 1>we started playing colosseums and arena's, the big, big rooms,

0:35:09.080 --> 0:35:10.960
<v Speaker 1>and I went right back on the road again and

0:35:10.960 --> 0:35:16.040
<v Speaker 1>I started writing again. Um, you start writing for bigger rooms. Yes, yeah,

0:35:16.080 --> 0:35:17.840
<v Speaker 1>I had to be. I was aware. Now we're playing

0:35:17.880 --> 0:35:21.000
<v Speaker 1>the big places and we got to write bigger songs.

0:35:21.040 --> 0:35:25.200
<v Speaker 1>I gotta have bigger numbers energy. You can't play to

0:35:25.320 --> 0:35:28.600
<v Speaker 1>a colosseum with a handful of ballots. You gotta knock

0:35:28.640 --> 0:35:34.520
<v Speaker 1>them out. It got bigger, It got rounder, fatter, fuller, fuller, faster,

0:35:35.360 --> 0:35:38.520
<v Speaker 1>you know, more high energy stuff, harder, faster, deeper, as

0:35:38.520 --> 0:35:40.439
<v Speaker 1>they say in the adult film in His Dream. Yeah,

0:35:40.440 --> 0:35:42.480
<v Speaker 1>that was it. Pretty much went into the triple X.

0:35:42.760 --> 0:35:52.960
<v Speaker 1>You started going triple x. More Billy Joe raw, but uncensored.

0:35:53.160 --> 0:35:56.640
<v Speaker 1>After the break, you're listening to Here's the Thing, and

0:35:56.719 --> 0:35:59.320
<v Speaker 1>you can hear more conversations, sing a song with me,

0:35:59.480 --> 0:36:04.560
<v Speaker 1>Chris and Okay, more singing with other artists, policymakers and performers.

0:36:04.840 --> 0:36:12.239
<v Speaker 1>I bet your bottom dollar that tomorrow, fun take a

0:36:12.280 --> 0:36:16.120
<v Speaker 1>listen to earlier episodes at Here's the thing dot Org. Okay,

0:36:16.200 --> 0:36:21.360
<v Speaker 1>that's enough. I'm Alec Baldwin and you're listening to Here's

0:36:21.400 --> 0:36:25.040
<v Speaker 1>the Thing Billy. Joel recorded five albums with a band

0:36:25.080 --> 0:36:29.680
<v Speaker 1>that consisted of the same four guys, Liberty de Vito, Russell, Javor's,

0:36:30.000 --> 0:36:33.760
<v Speaker 1>Doug steg Meyer and Richie Kannada. Kannada left the band

0:36:33.880 --> 0:36:37.200
<v Speaker 1>in eight one. At that point, Joel was also ready

0:36:37.239 --> 0:36:40.680
<v Speaker 1>to try something new. I wanted to write my masterpiece,

0:36:40.840 --> 0:36:44.160
<v Speaker 1>my Sergeant Pepper as it were. Instead of writing from

0:36:44.160 --> 0:36:47.279
<v Speaker 1>the from the inside out, like having starting with the

0:36:47.360 --> 0:36:51.239
<v Speaker 1>seed of a song, we started with sound ideas and

0:36:51.480 --> 0:36:55.080
<v Speaker 1>thoughts and studio techniques and we didn't really know what

0:36:55.120 --> 0:36:57.560
<v Speaker 1>we had until almost the final mix. What is this thing?

0:36:58.000 --> 0:37:01.239
<v Speaker 1>We're experimenting with stuff? And it was? It took a year.

0:37:01.280 --> 0:37:04.080
<v Speaker 1>Were you still producing? No? No, he was producing sil

0:37:04.120 --> 0:37:07.560
<v Speaker 1>Vermon who started a stranger NW. When when you have

0:37:07.719 --> 0:37:10.080
<v Speaker 1>someone like Ramon, what did he do for you? How

0:37:10.080 --> 0:37:12.080
<v Speaker 1>did he help you? Well? Phil Ramon he was a

0:37:12.160 --> 0:37:15.480
<v Speaker 1>child prodigy on the violin. He was from South Africa.

0:37:15.560 --> 0:37:19.160
<v Speaker 1>Actually he knew music and now he had years and

0:37:19.239 --> 0:37:22.640
<v Speaker 1>years in the trenches as an engineer. He he recorded

0:37:22.880 --> 0:37:26.120
<v Speaker 1>JFK speeches when you see the Marilyn Monroe thing, A

0:37:26.160 --> 0:37:28.319
<v Speaker 1>mount of the Square God, Happy birthday, Mr. President. That's

0:37:28.360 --> 0:37:31.000
<v Speaker 1>Phil Ramon. He was the engineer on those things. I

0:37:31.000 --> 0:37:34.000
<v Speaker 1>mean he's when when with some amazing recordings, but never

0:37:34.040 --> 0:37:36.399
<v Speaker 1>got credited as a producer. So I who's this guy?

0:37:36.440 --> 0:37:40.520
<v Speaker 1>Phil Remona keep Simon Ramone. Paul Simon used him as

0:37:40.560 --> 0:37:42.200
<v Speaker 1>an engineer, and I said, I want to use I

0:37:42.239 --> 0:37:43.680
<v Speaker 1>want to work with this guy because he looks like

0:37:43.680 --> 0:37:44.799
<v Speaker 1>he knows what he do. He knows how to get

0:37:44.880 --> 0:37:47.640
<v Speaker 1>good sound, he knows how to deal with sonic things sonic.

0:37:48.400 --> 0:37:50.799
<v Speaker 1>And when he came in Boom, we knew we had

0:37:50.800 --> 0:37:53.280
<v Speaker 1>a professional. Guy. Was like working with another great musician.

0:37:53.880 --> 0:37:55.600
<v Speaker 1>He knows how to play the studio like we know

0:37:55.600 --> 0:37:58.719
<v Speaker 1>how to play our instruments. Everything changed, The band just

0:37:58.880 --> 0:38:01.760
<v Speaker 1>rose to the occasion. Uh. We were having a blast.

0:38:01.920 --> 0:38:04.360
<v Speaker 1>So like a great producer. Very often in films, like

0:38:04.400 --> 0:38:07.680
<v Speaker 1>anywhere anything, any creative enterprise, I find the people that

0:38:07.719 --> 0:38:11.120
<v Speaker 1>are the most successful and talented producers are the ones who,

0:38:11.239 --> 0:38:13.000
<v Speaker 1>although they may not be able to do it themselves,

0:38:13.080 --> 0:38:15.640
<v Speaker 1>they know what you need to do. They cut to

0:38:15.920 --> 0:38:18.440
<v Speaker 1>what the synergy should be. They know what the dynamics

0:38:18.440 --> 0:38:20.080
<v Speaker 1>should be in the studio because he come to you

0:38:20.080 --> 0:38:22.120
<v Speaker 1>and go, don't do that doesn't work, and you listen

0:38:22.160 --> 0:38:23.839
<v Speaker 1>to him. I would listen to him, and we tried

0:38:23.920 --> 0:38:26.440
<v Speaker 1>his wife, We tried his way, his mutual respect. When

0:38:26.480 --> 0:38:28.640
<v Speaker 1>we did just the way you are. Originally, the drumma

0:38:28.680 --> 0:38:42.040
<v Speaker 1>was playing it like a cha cha don't go change

0:38:42.040 --> 0:38:48.359
<v Speaker 1>when too. We hated it, hated drummer, couldn't figure out

0:38:48.360 --> 0:38:50.920
<v Speaker 1>what to play. Phil actually told play it back with

0:38:51.120 --> 0:39:00.880
<v Speaker 1>samba boom boom bop, boom boom, and it worked. It

0:39:00.920 --> 0:39:02.680
<v Speaker 1>was like a backwards sign up. What are we doing?

0:39:02.719 --> 0:39:04.640
<v Speaker 1>We didn't know what we're doing, but Phil was right.

0:39:05.200 --> 0:39:07.440
<v Speaker 1>I came in with the idea of playing only the good.

0:39:07.520 --> 0:39:12.000
<v Speaker 1>Diana is a reggae come out do, let me wait,

0:39:13.000 --> 0:39:17.759
<v Speaker 1>let us stop. Much Liberty throws his sticks at me,

0:39:17.960 --> 0:39:20.480
<v Speaker 1>because why are you doing Because closest you've been to

0:39:20.560 --> 0:39:24.720
<v Speaker 1>Jamaica as queens, what are you doing is changing trains

0:39:24.800 --> 0:39:27.439
<v Speaker 1>to go down to see for change that Jamaica, Change

0:39:27.440 --> 0:39:30.719
<v Speaker 1>that Jamaica, the train to spe On. That's it. He said,

0:39:31.000 --> 0:39:32.560
<v Speaker 1>I'm not playing this, I'm not playing what are we

0:39:32.560 --> 0:39:36.560
<v Speaker 1>gonna do it? So Phil came up with this shuffle

0:39:37.320 --> 0:39:44.160
<v Speaker 1>against straight forwards and the gas are going banana banana,

0:39:44.440 --> 0:39:50.160
<v Speaker 1>bob banana, and we're playing and it worked. It was

0:39:50.200 --> 0:39:52.479
<v Speaker 1>like j two things jammed into each other and Phil

0:39:52.520 --> 0:39:54.719
<v Speaker 1>knows how to do that. And when we would get

0:39:54.719 --> 0:39:57.759
<v Speaker 1>tired and we get discouraged, he says, just stay, stay

0:39:57.760 --> 0:40:00.200
<v Speaker 1>a little long, try one more. All right, take a break,

0:40:00.280 --> 0:40:03.640
<v Speaker 1>let's have some Chinese. Okay, go back in the post.

0:40:03.719 --> 0:40:06.439
<v Speaker 1>Chinese food takes were always good. I don't know why

0:40:06.480 --> 0:40:09.520
<v Speaker 1>that was that MSG man, it gets right into the fingertips.

0:40:09.840 --> 0:40:12.600
<v Speaker 1>It worked, but he could wear Mozart would have been

0:40:12.640 --> 0:40:15.239
<v Speaker 1>if they had MSG back then. Oh wow, he did

0:40:15.280 --> 0:40:18.279
<v Speaker 1>pretty good. He did. He went as far as you

0:40:18.280 --> 0:40:20.680
<v Speaker 1>could go without MSG. I yes, And then you do

0:40:20.840 --> 0:40:23.439
<v Speaker 1>Nylon Curtain. That's eight two eight two was the Nylon

0:40:23.560 --> 0:40:25.200
<v Speaker 1>and you said you wanted to be your Sergeant Pepper

0:40:25.239 --> 0:40:28.319
<v Speaker 1>and what was it? It was. It's my favorite album

0:40:29.400 --> 0:40:32.200
<v Speaker 1>because I could hear all the work that went into it,

0:40:32.440 --> 0:40:34.680
<v Speaker 1>all the textures, all the layers. It's a song that

0:40:34.719 --> 0:40:42.640
<v Speaker 1>you're particularly fond of. From that, it's very obscure. Don't

0:40:42.719 --> 0:40:51.719
<v Speaker 1>get excited, don't say well, nobody noticed, nothing was. It

0:40:52.080 --> 0:40:57.400
<v Speaker 1>was committed discreetly it was handled so needly, and it

0:40:57.560 --> 0:41:07.040
<v Speaker 1>shouldn't surprise you out Oh, you know, break all the records,

0:41:07.760 --> 0:41:11.640
<v Speaker 1>but the cassettes. I'd be lying in the fact on

0:41:11.880 --> 0:41:16.680
<v Speaker 1>you that I had no regrets. There was so many mistakes,

0:41:17.000 --> 0:41:20.920
<v Speaker 1>but what a difference it makes, and now it shouldn't

0:41:21.080 --> 0:41:25.400
<v Speaker 1>surprise you at all. No hits. Allentown was kind of

0:41:25.440 --> 0:41:28.359
<v Speaker 1>a hit off. That album didn't really sell a lot

0:41:28.400 --> 0:41:31.719
<v Speaker 1>of records. What did you do after Nylon Curtain? Um?

0:41:31.920 --> 0:41:36.960
<v Speaker 1>After the Nylon Curtain? Because it was such an intensive labor,

0:41:37.120 --> 0:41:41.320
<v Speaker 1>the Nylon Curtain something very dense and very complex. I

0:41:41.400 --> 0:41:44.080
<v Speaker 1>wanted to do something simple and dumb and happy, and

0:41:44.160 --> 0:41:47.120
<v Speaker 1>I did an Innocent Man, which is really an homage

0:41:47.200 --> 0:41:50.160
<v Speaker 1>to all the music of my teenage years. Frankie Valley

0:41:50.200 --> 0:41:53.279
<v Speaker 1>in the Four Seasons was Uptown Girl, and that was

0:41:53.320 --> 0:41:55.839
<v Speaker 1>a hit that was a big hig It was a joke.

0:41:56.520 --> 0:42:01.040
<v Speaker 1>It was gen girl trying to second. She been living

0:42:01.160 --> 0:42:04.839
<v Speaker 1>in her up town world app but she never had

0:42:04.920 --> 0:42:09.040
<v Speaker 1>a backstreet guy and he had this impossibly highway Ever

0:42:09.200 --> 0:42:15.480
<v Speaker 1>told her why I'm gonna track you? And I realized

0:42:15.520 --> 0:42:28.160
<v Speaker 1>something like remember the song rag Doll Ye, And then

0:42:28.440 --> 0:42:32.320
<v Speaker 1>the first was I love you just the way you

0:42:32.680 --> 0:42:36.360
<v Speaker 1>are is that where I heard that before, just the

0:42:36.360 --> 0:42:38.600
<v Speaker 1>way you were? And then there was a song. Um,

0:42:39.200 --> 0:42:42.320
<v Speaker 1>I was trying to do little Antonine Imperials. Didn't not

0:42:42.560 --> 0:42:47.319
<v Speaker 1>say shoot up? I wasn't ready for romance, shoop shoot up?

0:42:47.840 --> 0:42:53.920
<v Speaker 1>Didn't we promise we would only be friends? And so

0:42:54.160 --> 0:42:59.480
<v Speaker 1>we danced, though it was only a slow dance. I

0:42:59.600 --> 0:43:03.520
<v Speaker 1>start a breaking. My promise is right there, and you'll

0:43:03.560 --> 0:43:08.359
<v Speaker 1>recognize the chorus because it goes like this, This night

0:43:09.520 --> 0:43:19.879
<v Speaker 1>is my It's only you, and night to my road

0:43:21.000 --> 0:43:27.080
<v Speaker 1>is a long time away. This night can last for it,

0:43:28.520 --> 0:43:39.080
<v Speaker 1>which is the pathetique by Beethoven. And I gave I

0:43:39.120 --> 0:43:41.960
<v Speaker 1>gave credit and back at l V Beethoven. So so

0:43:42.280 --> 0:43:45.560
<v Speaker 1>Bill he's co writing with somebody LV Beto Beethoven for

0:43:45.640 --> 0:43:47.880
<v Speaker 1>Coming Out. But that was a fun album. I just

0:43:48.120 --> 0:43:51.399
<v Speaker 1>I had met Christie. I had just gotten divorced from

0:43:51.600 --> 0:43:56.200
<v Speaker 1>X one, and here I am meeting Whitney Houston when

0:43:56.280 --> 0:43:58.719
<v Speaker 1>she was a model. El mcpheerson, I'm dating her. I'm

0:43:58.800 --> 0:44:02.000
<v Speaker 1>dating Christie Brinkley. This is fantastic. I feel like I'm

0:44:02.040 --> 0:44:06.120
<v Speaker 1>sixteen years old again, going we girls. It's all going great,

0:44:06.200 --> 0:44:08.920
<v Speaker 1>and I'm a rock star. I got a pad the

0:44:08.960 --> 0:44:11.319
<v Speaker 1>old sand Maritz on Central Park Sunday, which is now

0:44:11.400 --> 0:44:13.880
<v Speaker 1>that I think the rich Carlton. So this music was

0:44:14.360 --> 0:44:16.359
<v Speaker 1>me being a teenager, roll over again, falling in love,

0:44:16.440 --> 0:44:18.719
<v Speaker 1>having romance and all that great stuff. So why did

0:44:18.760 --> 0:44:23.080
<v Speaker 1>you get married? I don't know you're asking me exactly?

0:44:23.440 --> 0:44:26.520
<v Speaker 1>Is that a part of your makeup? Which is married? Family?

0:44:26.680 --> 0:44:29.920
<v Speaker 1>Was marriage the right thing to do? I was madly

0:44:29.960 --> 0:44:32.200
<v Speaker 1>in love and when William loves you, marry him. That's it.

0:44:32.320 --> 0:44:35.759
<v Speaker 1>That's how I feel. But I still feel like I

0:44:35.800 --> 0:44:37.839
<v Speaker 1>can be madly in love and not be married. Yes,

0:44:38.000 --> 0:44:40.320
<v Speaker 1>but I was married three times. When did you go

0:44:40.400 --> 0:44:44.600
<v Speaker 1>to Russia? And how did that happen? Well, we played

0:44:44.640 --> 0:44:48.160
<v Speaker 1>in Cuba in nineteen seventy nine, played the Karl Marx

0:44:48.200 --> 0:44:51.719
<v Speaker 1>Theater in Havana, and everybody gets up on stage, the

0:44:51.880 --> 0:44:56.279
<v Speaker 1>other American artists Steven Still's Viva Evolution, Viva Fidel, Chris

0:44:56.360 --> 0:44:59.279
<v Speaker 1>Kristofferson Viva Revolution, Riva. The only's talking in Spanish. I

0:44:59.320 --> 0:45:02.279
<v Speaker 1>get up on stage him in the last act. You know,

0:45:03.840 --> 0:45:10.759
<v Speaker 1>it's a big shot and they don't want to hit

0:45:10.800 --> 0:45:12.920
<v Speaker 1>even we hit his crap all the time. We want

0:45:12.960 --> 0:45:16.239
<v Speaker 1>to hit big shot. I said, we got something going here.

0:45:16.320 --> 0:45:18.680
<v Speaker 1>We're being subversive with rock and roll. This is what

0:45:18.760 --> 0:45:21.800
<v Speaker 1>I love. How did that feel to you? What was

0:45:21.840 --> 0:45:25.279
<v Speaker 1>the first place you played a big concert at when

0:45:25.320 --> 0:45:28.359
<v Speaker 1>you were a star. You're a big music star, you're

0:45:28.360 --> 0:45:30.680
<v Speaker 1>one of the biggest music stars ever, and you go

0:45:30.800 --> 0:45:34.040
<v Speaker 1>to a foreign country and you realize music just transcends

0:45:34.080 --> 0:45:35.600
<v Speaker 1>all of it. To Germany, I think it was in

0:45:35.680 --> 0:45:40.600
<v Speaker 1>Frankfurt here seventy seven. I played in England and the

0:45:40.680 --> 0:45:43.439
<v Speaker 1>English they're kind of fickle. They like you for about

0:45:43.480 --> 0:45:46.239
<v Speaker 1>a month and then you're yesterday's papers. Oh we like that,

0:45:46.280 --> 0:45:48.839
<v Speaker 1>Billy joe Ll, Billy joe Ll. But Germany we had

0:45:48.840 --> 0:45:53.000
<v Speaker 1>a couple of and the Germans went berserk lot. They

0:45:53.040 --> 0:45:56.160
<v Speaker 1>don't have seats. You're getting a standing ovation when you

0:45:56.280 --> 0:46:00.359
<v Speaker 1>walk on the stage. Billy, Billy, I'm thinking, they don't

0:46:00.400 --> 0:46:03.520
<v Speaker 1>know what they did to my family. Yeah, Billy, but

0:46:03.640 --> 0:46:09.319
<v Speaker 1>I'm thinking, so this is how Adolf felt, ripping at

0:46:09.360 --> 0:46:11.960
<v Speaker 1>my hands and tearing my clothes. This is great. The

0:46:12.000 --> 0:46:14.000
<v Speaker 1>trip to Russia in eighties seven? Was that your first

0:46:14.040 --> 0:46:16.000
<v Speaker 1>time there? First time? Everyone? How was that? How do

0:46:16.080 --> 0:46:17.920
<v Speaker 1>they take to it? Was the first time they had

0:46:17.920 --> 0:46:21.040
<v Speaker 1>ever had a major act from the West America. People

0:46:21.120 --> 0:46:22.880
<v Speaker 1>have gone there before, but played with small p A

0:46:22.960 --> 0:46:26.480
<v Speaker 1>systems in little private rooms. We played at the Lenin Stadium,

0:46:26.480 --> 0:46:30.480
<v Speaker 1>the Olympic Stadium, and we brought a Western p A system,

0:46:30.560 --> 0:46:32.560
<v Speaker 1>same with past and we'd use at Madison Square Garden.

0:46:32.719 --> 0:46:34.279
<v Speaker 1>You know, the helicopters come in at the beginning of

0:46:34.280 --> 0:46:36.719
<v Speaker 1>good Nights and they're looking around for the helicopters, and

0:46:36.800 --> 0:46:39.000
<v Speaker 1>then the hard rock is hitting and the drums and

0:46:39.120 --> 0:46:42.360
<v Speaker 1>they started going berserk. There were security guards going around

0:46:42.560 --> 0:46:46.680
<v Speaker 1>giving people sedatives because they thought they were having fits.

0:46:47.360 --> 0:46:49.160
<v Speaker 1>The Cold War ended for me right then. This is

0:46:49.200 --> 0:46:51.040
<v Speaker 1>still when it was. The Reagan was calling with the

0:46:51.080 --> 0:46:53.920
<v Speaker 1>Evil Empire, and we're not gonna have a war with

0:46:54.000 --> 0:46:56.759
<v Speaker 1>these people. They can't even get toilet paper, right, you know,

0:46:56.800 --> 0:46:58.839
<v Speaker 1>we're not gonna have afore, We're not gonna fight with them.

0:46:59.000 --> 0:47:00.520
<v Speaker 1>I don't want to fight them. They dont They love

0:47:00.640 --> 0:47:03.719
<v Speaker 1>us everywhere I went Viva America, Live America. This is

0:47:03.760 --> 0:47:06.920
<v Speaker 1>great co war randed. I was thrilled that went the

0:47:06.960 --> 0:47:09.720
<v Speaker 1>way it did. Let me ask you a question. You're funny.

0:47:10.680 --> 0:47:12.600
<v Speaker 1>Everything it takes to be an actor. You could have done.

0:47:12.600 --> 0:47:14.480
<v Speaker 1>You never wanted to do that. Never. I never was

0:47:14.560 --> 0:47:17.600
<v Speaker 1>comfortable in front of a camera. Really, I became a

0:47:17.719 --> 0:47:20.840
<v Speaker 1>musician because I never felt I was photogenic. I was

0:47:20.920 --> 0:47:24.200
<v Speaker 1>never happy with how I looked. I was very comfortable

0:47:24.239 --> 0:47:27.600
<v Speaker 1>in the studio. I'm very comfortable far away on a stage.

0:47:28.200 --> 0:47:31.360
<v Speaker 1>Whenever there was a camera, it kind of destroyed what

0:47:31.520 --> 0:47:35.239
<v Speaker 1>I was trying to create. It took away the imagination

0:47:35.640 --> 0:47:37.399
<v Speaker 1>you could. I could look however I want. I could

0:47:37.400 --> 0:47:40.080
<v Speaker 1>look like Carrie Grint. But I saw it reduced to

0:47:40.120 --> 0:47:41.640
<v Speaker 1>an image. I went, no, no, no, no, no no,

0:47:41.800 --> 0:47:44.080
<v Speaker 1>that's not a way to look at that guy. Well,

0:47:44.120 --> 0:47:45.960
<v Speaker 1>I always say acting is what you do when you

0:47:46.040 --> 0:47:48.680
<v Speaker 1>have no musical ability. If I could do what you do,

0:47:48.800 --> 0:47:50.839
<v Speaker 1>I would never do what I That's what actors said

0:47:50.840 --> 0:47:55.320
<v Speaker 1>that I would never, ever, ever, ever waste five minutes

0:47:55.360 --> 0:47:56.840
<v Speaker 1>of doing what I do if I could do with you.

0:47:57.040 --> 0:47:59.360
<v Speaker 1>That's a lot of actors which is so good at

0:47:59.400 --> 0:48:02.799
<v Speaker 1>what you do. If I could do what you do. Music, music,

0:48:02.920 --> 0:48:04.279
<v Speaker 1>it is saying if I could play, if I could

0:48:04.320 --> 0:48:06.920
<v Speaker 1>write a film or a television program, you have to

0:48:06.960 --> 0:48:09.400
<v Speaker 1>make an appointment with that and watch that. May me

0:48:09.440 --> 0:48:12.040
<v Speaker 1>listen to music while you're jogging, while you're at the gym,

0:48:12.160 --> 0:48:14.399
<v Speaker 1>while you're making love, while you're having dinner, while you're

0:48:14.400 --> 0:48:16.879
<v Speaker 1>in the car. It can be the soundtrack to your

0:48:16.960 --> 0:48:20.120
<v Speaker 1>life all day long, if you wanted in church anywhere.

0:48:20.239 --> 0:48:23.320
<v Speaker 1>Music is everywhere, Music is everything, and acting is, like

0:48:23.440 --> 0:48:25.440
<v Speaker 1>I said, what you do when you have no musical talents.

0:48:25.920 --> 0:48:29.640
<v Speaker 1>So you got divorced the second time? Yes, and got

0:48:29.680 --> 0:48:33.080
<v Speaker 1>remarried and divorced a third time. And when you have

0:48:33.320 --> 0:48:36.080
<v Speaker 1>these things happened, do you write songs about that? No?

0:48:36.320 --> 0:48:39.560
<v Speaker 1>I stopped writing songs about it when I got divorced

0:48:39.600 --> 0:48:43.200
<v Speaker 1>the second time. That was ye, actually ninety four. The

0:48:43.280 --> 0:48:47.360
<v Speaker 1>divorce happened, the album River Dreams came out, and I realized,

0:48:47.400 --> 0:48:49.000
<v Speaker 1>you know what, I'm spinning out the story of my

0:48:49.120 --> 0:48:51.239
<v Speaker 1>life to all these strangers. I'm kind of sick and

0:48:51.320 --> 0:48:54.040
<v Speaker 1>tired everybody knowing my personal life and how I feel

0:48:54.040 --> 0:48:56.320
<v Speaker 1>about one and that one. Did you resent that? I

0:48:56.400 --> 0:48:59.520
<v Speaker 1>didn't resent it. I just decided to clam up. I

0:48:59.600 --> 0:49:02.120
<v Speaker 1>feel like I have given away pieces of myself, maybe

0:49:02.160 --> 0:49:04.759
<v Speaker 1>something I should have given to the relationship. I gave

0:49:04.880 --> 0:49:07.360
<v Speaker 1>to the work. It's all consuming. If you're gonna do

0:49:07.440 --> 0:49:09.160
<v Speaker 1>it right, you have to jump in with both of you.

0:49:09.280 --> 0:49:11.759
<v Speaker 1>Do it a hundred percent music will do. That was

0:49:11.840 --> 0:49:14.480
<v Speaker 1>a very harsh mistress music, you have to do it

0:49:14.600 --> 0:49:16.960
<v Speaker 1>all the way. And maybe I didn't do things I

0:49:16.960 --> 0:49:18.480
<v Speaker 1>should have done, or maybe I didn't take care of

0:49:18.520 --> 0:49:20.640
<v Speaker 1>business the way I should have. Think here because the

0:49:20.760 --> 0:49:24.640
<v Speaker 1>music and so I stopped writing songs about my personal relationships,

0:49:24.680 --> 0:49:27.760
<v Speaker 1>but I kept writing music. And after the third marriage

0:49:28.320 --> 0:49:31.360
<v Speaker 1>didn't work, I tried marriage. It's you know, three times.

0:49:31.520 --> 0:49:34.040
<v Speaker 1>I tried three times. I never gave up on it.

0:49:34.440 --> 0:49:36.560
<v Speaker 1>I just realized that this just doesn't I don't know,

0:49:36.640 --> 0:49:41.560
<v Speaker 1>it doesn't work. People don't appreciate how it's like to

0:49:41.640 --> 0:49:44.839
<v Speaker 1>have a relationship in this business that works. You gotta

0:49:44.880 --> 0:49:47.040
<v Speaker 1>be really lucky, man, It's got to be. It's so

0:49:47.200 --> 0:49:49.720
<v Speaker 1>much luck, you know, because, like you said, the career

0:49:49.800 --> 0:49:52.200
<v Speaker 1>is the mistress and you're out there working like like

0:49:52.239 --> 0:49:54.280
<v Speaker 1>I would look at my ex wife or ex girlfriends

0:49:54.320 --> 0:49:56.640
<v Speaker 1>and I think, what would the alternative be? You want

0:49:56.640 --> 0:49:58.560
<v Speaker 1>me to have no options and no work and I'm

0:49:58.560 --> 0:50:01.439
<v Speaker 1>staying home all the time. Yeah, But on the other hand,

0:50:01.600 --> 0:50:03.719
<v Speaker 1>how much of you are they getting? If you're in

0:50:03.760 --> 0:50:05.960
<v Speaker 1>a part, you take on the role. It doesn't come

0:50:06.040 --> 0:50:08.279
<v Speaker 1>off at five o'clock in the afternoon. And work. Most

0:50:08.280 --> 0:50:11.280
<v Speaker 1>people leave their jobs. You have to be that character

0:50:11.400 --> 0:50:14.600
<v Speaker 1>through the whole project. Now when I'm writing, I mean,

0:50:14.640 --> 0:50:16.520
<v Speaker 1>I've got to stay in harness. I've got to be

0:50:17.080 --> 0:50:20.400
<v Speaker 1>that songwriter guy. I'm preoccupied. Maybe I should change that

0:50:20.440 --> 0:50:23.279
<v Speaker 1>to a B flat. You know that quarterback, don't. I'm

0:50:23.320 --> 0:50:26.359
<v Speaker 1>obsessed with it. I wonder how much of me they're

0:50:26.400 --> 0:50:29.120
<v Speaker 1>not getting because of that. I don't know if you

0:50:29.320 --> 0:50:30.839
<v Speaker 1>if you were like that when you're doing a part.

0:50:31.480 --> 0:50:34.600
<v Speaker 1>I find that in film it's different because film you

0:50:34.680 --> 0:50:37.080
<v Speaker 1>don't really have a chance unless you work with a

0:50:37.200 --> 0:50:41.239
<v Speaker 1>tremendously intense group of people. Now, when I've done play

0:50:41.360 --> 0:50:43.279
<v Speaker 1>is it's different. When you do it. Well, you can

0:50:43.320 --> 0:50:45.680
<v Speaker 1>sit back and you light up a cigarette. You're like, well, well, well,

0:50:45.800 --> 0:50:48.160
<v Speaker 1>well we nail that way. I just just write it

0:50:48.239 --> 0:50:51.359
<v Speaker 1>down in the books. You really feel some satisfaction. Yeah,

0:50:52.120 --> 0:50:54.120
<v Speaker 1>you feel that way when you perform. When we perform,

0:50:54.200 --> 0:50:56.080
<v Speaker 1>we got to do a show. Do a show. Do

0:50:56.120 --> 0:50:58.080
<v Speaker 1>you come off stage after a show and you sit

0:50:58.080 --> 0:51:00.040
<v Speaker 1>there and go, well, there it is. But that was

0:51:00.040 --> 0:51:04.960
<v Speaker 1>a good and gentlemen, Billy Joe. They'll be talking about

0:51:05.000 --> 0:51:07.520
<v Speaker 1>this for a while for a few days. But we

0:51:07.600 --> 0:51:11.680
<v Speaker 1>also know when We Stuck, We Come Over were terrible.

0:51:12.000 --> 0:51:14.600
<v Speaker 1>Don't remember that one right? Right? Why did they applaud

0:51:15.040 --> 0:51:17.680
<v Speaker 1>you know? Last play at Shay Yeah? Do you think

0:51:17.719 --> 0:51:19.879
<v Speaker 1>he did well? Yeah? That was good. They were both

0:51:19.960 --> 0:51:22.719
<v Speaker 1>good shows. That the double last Double Player show we

0:51:22.760 --> 0:51:28.040
<v Speaker 1>did the two nights. Yes, that was exhilarating the hometown crowd,

0:51:28.280 --> 0:51:31.600
<v Speaker 1>and it's just it was exhilarating. And we were on

0:51:31.680 --> 0:51:33.919
<v Speaker 1>stage with three and a half hours and I didn't

0:51:33.920 --> 0:51:36.719
<v Speaker 1>realize how hot it was, and it was sweating. I'm

0:51:36.719 --> 0:51:40.080
<v Speaker 1>watching the movie of me. Somebody give that guy a towel.

0:51:40.920 --> 0:51:43.760
<v Speaker 1>I was. He's like soaking luck, he's so wet and slimy.

0:51:44.040 --> 0:51:46.320
<v Speaker 1>Wipe him off. We're having such a good time. We

0:51:46.440 --> 0:51:48.239
<v Speaker 1>walked off, and for weeks after they were kind of

0:51:48.320 --> 0:51:52.160
<v Speaker 1>amping from it. New York loves you, I know, I know,

0:51:52.280 --> 0:51:53.920
<v Speaker 1>and I love New York. That's why I live here.

0:51:54.760 --> 0:51:56.839
<v Speaker 1>But I put away the recording part of my career,

0:51:56.920 --> 0:52:01.560
<v Speaker 1>and I put away for the time being. Performed what's

0:52:01.600 --> 0:52:07.239
<v Speaker 1>that music? That's my telephone? Yeah? Yeah, the theme from

0:52:07.280 --> 0:52:09.359
<v Speaker 1>the Godfather. Is your ring tone on your phone? Yes,

0:52:09.480 --> 0:52:11.000
<v Speaker 1>that's amazing. Well, like I got to think about what

0:52:11.080 --> 0:52:12.879
<v Speaker 1>my ring toe to get the guys on the road

0:52:12.880 --> 0:52:18.240
<v Speaker 1>called me godfather. Why do you come to me, Sarah

0:52:19.200 --> 0:52:26.160
<v Speaker 1>Bonna Sara? When have I haven't done respect? You'll never

0:52:26.280 --> 0:52:30.040
<v Speaker 1>invite me the house for a couple off. Do you

0:52:30.560 --> 0:52:35.000
<v Speaker 1>appreciate who you are? People who love you, they adore you.

0:52:35.640 --> 0:52:39.440
<v Speaker 1>You are so talented, you are so like it makes

0:52:39.480 --> 0:52:41.560
<v Speaker 1>me want to choke up. How talented you are? Do

0:52:41.680 --> 0:52:44.279
<v Speaker 1>you know who you are? I know I have a

0:52:44.400 --> 0:52:47.479
<v Speaker 1>talent from music. I don't think I'm all that good.

0:52:47.760 --> 0:52:51.360
<v Speaker 1>I think I have a good perspective on it. I

0:52:51.440 --> 0:52:56.440
<v Speaker 1>can separate the star stuff from the musician stuff. The

0:52:56.520 --> 0:52:59.279
<v Speaker 1>music is really impy. Have to stay separate there. Well,

0:52:59.360 --> 0:53:02.680
<v Speaker 1>one is a job and one is a life. The

0:53:02.800 --> 0:53:04.600
<v Speaker 1>job thing I can take off at five o'clock and

0:53:04.640 --> 0:53:07.240
<v Speaker 1>after another rock star thing, I go, I go shopping.

0:53:07.320 --> 0:53:09.400
<v Speaker 1>I cook my own food, I washed the dishes, I

0:53:09.480 --> 0:53:11.920
<v Speaker 1>take out the garbage. I know who that guy is.

0:53:12.400 --> 0:53:14.480
<v Speaker 1>And the music is has nothing to do with money

0:53:14.960 --> 0:53:19.560
<v Speaker 1>or career or it's just part of me. It's like love, music,

0:53:19.800 --> 0:53:24.560
<v Speaker 1>love food, friendship, my daughter and all these great things.

0:53:24.640 --> 0:53:27.920
<v Speaker 1>How's your daughter? She's great? Um? You know. I know

0:53:28.000 --> 0:53:31.680
<v Speaker 1>how to take the job hat off and just kind

0:53:31.680 --> 0:53:34.560
<v Speaker 1>of be a normal It took a long time to

0:53:34.680 --> 0:53:37.440
<v Speaker 1>separate them out. Okay, I can be a musician and

0:53:37.560 --> 0:53:40.200
<v Speaker 1>not be a rock star. You know, I'm still trying

0:53:40.239 --> 0:53:42.799
<v Speaker 1>to convince people I'm not a rock star, and then though,

0:53:42.880 --> 0:53:45.879
<v Speaker 1>yes you are, you are a rock star. You okay, fine,

0:53:46.360 --> 0:53:47.719
<v Speaker 1>But a lot of that is it has a job

0:53:47.800 --> 0:53:50.640
<v Speaker 1>aspect to it. I worked very hard at what and

0:53:50.760 --> 0:53:53.839
<v Speaker 1>writing because that's my deepest love. I think that's really

0:53:53.880 --> 0:53:56.200
<v Speaker 1>where I belong. The rock star thing I've never really

0:53:56.239 --> 0:53:57.800
<v Speaker 1>been comfortable with because I don't think I look like

0:53:57.880 --> 0:53:59.880
<v Speaker 1>a rock star. I didn't really set out to be

0:54:00.200 --> 0:54:04.600
<v Speaker 1>a rock star. I became a rock star serendipitously. You

0:54:04.760 --> 0:54:07.200
<v Speaker 1>became a rock star in spite of yourself, in spite

0:54:07.239 --> 0:54:11.239
<v Speaker 1>of myself. As as much as you try to kill it. Yeah,

0:54:11.280 --> 0:54:14.320
<v Speaker 1>I mean, I don't put that camera too close to me, exactly.

0:54:14.600 --> 0:54:16.319
<v Speaker 1>I don't want to make a good video. Let make

0:54:16.360 --> 0:54:18.120
<v Speaker 1>a bad video. I don't want to be in a

0:54:18.160 --> 0:54:20.600
<v Speaker 1>photo session. I hate taking pictures. I don't want to

0:54:20.640 --> 0:54:22.040
<v Speaker 1>go to this opening. I don't want to go to

0:54:22.120 --> 0:54:24.520
<v Speaker 1>that schmooze fest. I just didn't do any of that stuff.

0:54:24.600 --> 0:54:28.279
<v Speaker 1>But I'm comfortable with it now. Do me a favor.

0:54:29.120 --> 0:54:31.080
<v Speaker 1>What's a song that you think yourself? You know, I

0:54:31.200 --> 0:54:34.120
<v Speaker 1>really still enjoy hearing that song. It doesn't have to

0:54:34.160 --> 0:54:36.479
<v Speaker 1>be a hit. What's one you just like that you haven't,

0:54:36.480 --> 0:54:38.680
<v Speaker 1>But do you really really like this? Really? I've been

0:54:38.719 --> 0:54:41.920
<v Speaker 1>doing masterclasses at colleges and I get to play all

0:54:41.960 --> 0:54:44.600
<v Speaker 1>these obscure songs. Played one the other night, and I said,

0:54:45.280 --> 0:54:48.600
<v Speaker 1>that's a really good song. It is no rhyme, not

0:54:48.800 --> 0:54:50.719
<v Speaker 1>till the very end is when rhyme comes, but the

0:54:50.840 --> 0:54:54.279
<v Speaker 1>lyrics work. It's from the Nylon curtain, and it's called

0:54:54.320 --> 0:55:13.279
<v Speaker 1>Where's the Orchestra? Where the orchestra? Wasn't this supposed to

0:55:13.440 --> 0:55:23.560
<v Speaker 1>be a musical? Here I am in the balcony. How

0:55:23.719 --> 0:55:29.360
<v Speaker 1>the hell could I have missed the overture? I love

0:55:31.719 --> 0:55:43.400
<v Speaker 1>the scenery, even though I have so loudly know I

0:55:43.680 --> 0:55:49.200
<v Speaker 1>did all Billy Joel says he doesn't look back on

0:55:49.320 --> 0:55:52.160
<v Speaker 1>his life that much. Last year, he decided not to

0:55:52.239 --> 0:55:55.840
<v Speaker 1>publish his long awaited memoir, entitled The Book of Joel.

0:55:56.440 --> 0:55:59.040
<v Speaker 1>He said, instead of quote, the best expression of my

0:55:59.200 --> 0:56:02.080
<v Speaker 1>life and it's up and downs, has been and remains

0:56:02.560 --> 0:56:08.040
<v Speaker 1>my music unquote. Lines for an extended version of my

0:56:08.160 --> 0:56:11.880
<v Speaker 1>interview with Billy Joel, listen to our podcast and Here's

0:56:11.920 --> 0:56:15.800
<v Speaker 1>the Thing dot Org. This is Alec Baldwin. Here's the

0:56:15.880 --> 0:56:18.960
<v Speaker 1>Thing is produced by Emily Botin and Kathy Russo, with

0:56:19.200 --> 0:56:23.720
<v Speaker 1>support from Jim Briggs, Brian Cosgrove, ed Herbstman, Melanie Hoops

0:56:23.760 --> 0:56:32.440
<v Speaker 1>and Monica Hopkins. This is Alec Baldwin and you're listening

0:56:32.560 --> 0:56:56.879
<v Speaker 1>to Here's the Thing. You're the King. Thank you, No really,

0:56:57.000 --> 0:56:59.040
<v Speaker 1>you're the King man. Thank you, Thank you for coming.

0:56:59.200 --> 0:56:59.439
<v Speaker 1>Thanks