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Speaker 1: The Quest Love Show is a production of iHeart Radio. Well,

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Speaker 1: ladies and gentlemen, welcome to the Quest Love Show. I

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Speaker 1: will say that our steam guests once sang I write

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Speaker 1: the songs, but I digress. I believe that our guest

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Speaker 1: is the song. He's embodied all of pop culture. He's

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Speaker 1: a songwriter's Hall of Fame legend, thirteen number one hits,

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Speaker 1: countless top ten, top forty hits, over eighty five million

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Speaker 1: records sold, classic ad jingles like if I Sit Here

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Speaker 1: and sing of his accolades. The interview will be over

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Speaker 1: Grammy a Winner, Emmy Winner, Tony Winner, recent no man

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Speaker 1: get It's flower time. You recently got the what is.

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Speaker 2: Your It was the.

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Speaker 1: The advertising Hall of Fame, which which you deserve. To

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Speaker 1: this day, your commercials are still your music is being used.

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Speaker 1: Shout out to Jake from the Steak Firm. And despite

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Speaker 1: you know, all these achievements, he returns to us one

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Speaker 1: more time. I don't believe that musicians ever truly leave,

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Speaker 1: but yes, what a time is this first album in

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Speaker 1: fifteen years. Most importantly, we're celebrating his recent victory over cancer.

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Speaker 1: And this is your final concert run. And I am

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Speaker 1: honored that our legendary guest today is giving us the

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Speaker 1: pleasure of just talking to him for a little bit.

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Speaker 1: Very man, a little welcome to the Quest Left Show.

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Speaker 1: How are you?

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Speaker 2: I've been wanting to do this ever since we met

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Speaker 2: on the Tonight Show, but I don't get to the

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Speaker 2: East coast very often like I used to. Yeah, I'm

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Speaker 2: going to turn this off.

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Speaker 1: It's okay, you're bettermental. You can do it.

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Speaker 2: You know. I know you're kidding around, but I never

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Speaker 2: think like that. I just never think like that.

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Speaker 1: No, it's I'm not kidding. I mean your legend and

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Speaker 1: legends should be celebrated. What is your first musical memory

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Speaker 1: in life? Your first musical memory from childhood?

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Speaker 2: My first musical memory was my mother singing to me. Okay,

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Speaker 2: she was a good singer. What does she sing pop

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Speaker 2: songs other day?

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Speaker 1: Okay?

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Speaker 2: And she was good. She should have made a career

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Speaker 2: out of her, but I got in the way. She

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Speaker 2: had to go out and work and support me, so

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Speaker 2: she never did it. But she was good.

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Speaker 1: Okay.

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Speaker 2: So that was my first first memory.

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Speaker 1: Okay. So you grew up in Williamsburg, Brooklyn. Now my

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Speaker 1: version of Williamsburg is where I like to hang out

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Speaker 1: for like dinner with friends, and I go to movies

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Speaker 1: all the time there, like I hang out Williamsburg. But

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Speaker 1: he described your version of Williamsburg as a child and

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Speaker 1: a team.

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Speaker 2: What was it like a dump?

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Speaker 1: Okay?

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Speaker 2: And you didn't want to go there? It was so dangerous.

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Speaker 2: I would consider it a very good luck if I

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Speaker 2: got home from school because I lived across the street

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Speaker 2: from Eastern District High School, and if I made it

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Speaker 2: home without getting beaten up, I considered it a good day.

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Speaker 1: Have you been there recently? Have you seen Williamsburg?

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Speaker 2: I did? I mean it's a year ago. So it

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Speaker 2: looked like the village, right, is that what you're talking about? Yeah, Yeah,

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Speaker 2: that's that's what they've turned it into. It looks like

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Speaker 2: the village and it's much safer an now, Yeah.

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Speaker 1: What part of New York City do you most identify

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Speaker 1: it with?

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Speaker 2: Though?

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Speaker 1: Like what's your like all these boroughs? Like what's your

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Speaker 1: favorite part.

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Speaker 2: Of New York Manhattan?

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Speaker 1: Okay?

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Speaker 2: Yeah, My life began when I got a job at

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Speaker 2: CBS and I liked all the people. I didn't know

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Speaker 2: what I was to do it myself, but I liked it.

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Speaker 2: I liked the vibe there.

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Speaker 1: Okay, What were your duties at CBS You started working

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Speaker 1: there in the early sixties, Like, what were your job duties?

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Speaker 2: I was a male boy for a while, and then

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Speaker 2: they promoted me into editing films, and that was good.

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Speaker 2: I like that. I liked all the people there. They

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Speaker 2: were funny and smart, and I had a great time

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Speaker 2: at CBS. And then everybody knew I was musical because

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Speaker 2: I would run away and play piano because there was

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Speaker 2: a lot of rehearsal holes, so they would hear this

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Speaker 2: skinny male boy playing piano. And I left CBS. And

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Speaker 2: after I left CBS, I got a phone call from

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Speaker 2: CBS saying they're putting up a brand new show, a

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Speaker 2: local show called Callback. It's what we know today is

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Speaker 2: trying to find a talented jung person and so they

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Speaker 2: needed a music directory. So I was available. So I

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Speaker 2: came back to CBS only and they're totally different.

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Speaker 1: And your duties were to find songs, write songs, arrange songs,

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Speaker 1: and as just a one man machine, or were you

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Speaker 1: like with a bunch of collaborators.

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Speaker 2: Or but there were people there, but it really was

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Speaker 2: my gig to pull all the songs together. I would

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Speaker 2: work with the singer, give them an arrangement, make sure

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Speaker 2: it's in the right key, and then conduct the band

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Speaker 2: on the day of the show.

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Speaker 1: And I loved it so back then I would imagine

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Speaker 1: that as a working musician, would one have to site

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Speaker 1: read on the spot, like be at any point where

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Speaker 1: musicians that weren't able to read charts able to still

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Speaker 1: get gigs, like if you could do chord charts or

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Speaker 1: just notate to them what to play and watch me

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Speaker 1: for the cues.

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Speaker 2: Yeah, I haven't met many musicians who can't read, which

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Speaker 2: is good because if you can read music, if you

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Speaker 2: want to be a musician, you've got to learn how

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Speaker 2: to read music, because if you can't, you'll always work.

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Speaker 2: But if you can't, then these producers will not hire

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Speaker 2: you because that means you got to memorize it on

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Speaker 2: the spot, right, and that's not good for the producers.

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Speaker 1: I know that at some point you started working either

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Speaker 1: with the Sullivan Show or without.

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Speaker 2: Yeah, I was very young, but I conducted for the

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Speaker 2: summer at Sullivan Show. It was a big deal.

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Speaker 1: I mean, how timidating was that process?

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Speaker 2: It was. These older musicians did not like taking orders

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Speaker 2: from me. It really didn't. I wasn't prepared for it,

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Speaker 2: but they did not like or taking orders from me.

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Speaker 1: How big were the orchestras?

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Speaker 2: Not huge? But you know it was a TV size show,

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Speaker 2: bigger than we have today.

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Speaker 1: I've heard many a story about the Continental Baths, or

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Speaker 1: like the Bete Midler Show, But I've heard the title

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Speaker 1: what exactly can you just run me through? What that

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Speaker 1: environment was like? Was it a place she entertained or

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Speaker 1: was it a bar? Was it a restaurant? What is it?

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Speaker 2: Was it a spa?

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Speaker 1: So it was literally she would do a show inside

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Speaker 1: of the spa. Okay, I've never heard of this before,

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Speaker 1: but I've heard the Continental Bats and this is where

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Speaker 1: she got her start. So they would have entertainment there, yes, okay.

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Speaker 1: And you were her musical director.

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Speaker 2: Or I was the music director of every weekend. I

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Speaker 2: would show up whoever was performing there. They give me

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Speaker 2: their music. I play for them at night. And bet

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Speaker 2: was one of those girls, okay, and it was it

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Speaker 2: was odd because they weren't wearing any clothes.

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Speaker 1: Oh wow, Okay, I did not know this. So is

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Speaker 1: it actually inside the spa? So how is the conversation

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Speaker 1: and all that stuff worked? For the instruments and whatnot,

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Speaker 1: Like there.

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Speaker 2: Was just me at a rotten little piano and a

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Speaker 2: drummer who tried to catch up. That was good, and

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Speaker 2: a lot of people.

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Speaker 1: Came out and her voice would amplify, like yeah, I'm

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Speaker 1: still thinking of the technical part of it, like if

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Speaker 1: you're if you're in a steam room with a microphone.

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Speaker 2: Yeah, I mean it was very amateurs. It was no

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Speaker 2: big deal.

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Speaker 1: What was the duration of these ninety minutes? Okay?

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Speaker 2: She would take an intermission. All the girls. I don't

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Speaker 2: think I ever saw a guy performing there. It was

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Speaker 2: all the girls, got it. I was playing for all

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Speaker 2: the girls as a as a musician and as a

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Speaker 2: I would do their arrangements of it. And a lot

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Speaker 2: of times I found that those girls were gonna be

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Speaker 2: performing at the Continental Bass on Saturday night, So that

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Speaker 2: was good. It was it was inbiting. I was not naked.

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Speaker 2: I was not with a little towel around me at all.

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Speaker 2: So much my hot, finish my gig and run.

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Speaker 1: Okay. What I've heard about these shows is how legendary

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Speaker 1: they were, Like what was it about her as a

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Speaker 1: performer that made her stand out from anyone else? That's

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Speaker 1: saying there and anyone else have notes sing there as

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Speaker 1: well or just yeah.

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Speaker 2: But bet was. She was brilliant. I mean the most

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Speaker 2: brilliant young challenge that you've ever seen. And she was

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Speaker 2: going to be a star, and I mean she was

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Speaker 2: so she could do anything. She could do blues, she

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Speaker 2: could do welcome rolls. So that was great for me

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Speaker 2: because I could do that too. So got it. So

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Speaker 2: we hated each other on site, but musically were great.

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Speaker 1: Okay, we'll see your first client in producing. As far

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Speaker 1: as albums, we're concerned or okay. So you know, I

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Speaker 1: know that today producing is a very loose term, Like

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Speaker 1: I know producers that do the work, and I know

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Speaker 1: some producers just rubber stamp. But I know back then

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Speaker 1: there was a whole process, or at least it was

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Speaker 1: more discipline in terms of like getting rhythm arrangers, getting

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Speaker 1: horn arrangers. Like without having had that experience before, how

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Speaker 1: intimidating was it to man the ship for the first time?

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Speaker 2: Yeah, I loved it. I loved it, especially if they

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Speaker 2: did have music that I could just play for them.

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Speaker 2: That hardly had music. She was just coming up, she

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Speaker 2: was broke, she didn't have she didn't have money to

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Speaker 2: get arrangements that people could. Once I started working for

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Speaker 2: I wrote out all of the arrangements that she would

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Speaker 2: need and for nothing, because I saw this girl was

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Speaker 2: so talented, was so talented, and when you see something

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Speaker 2: like that, you have to support it. I felt rugby myself,

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Speaker 2: but this girl was something else.

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Speaker 1: Then what was your creative process? Like I know some

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Speaker 1: songwriters Quincy Jones says he likes to arrange like between

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Speaker 1: midnight and five am, or like for you, what is

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Speaker 1: the creative process that you need in order to bring

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Speaker 1: a song to light?

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Speaker 2: What I need is a job. I don't like to

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Speaker 2: write songs, and because they never go anywhere, and most

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Speaker 2: of them are wonderful. I think they're wonderful. I only

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Speaker 2: write these days if someone has a job and I

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Speaker 2: know that it's going to land someplace, then I do it.

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Speaker 2: But for so many years I just would write a

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Speaker 2: song or I don't know, and they would go nowhere

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Speaker 2: to go into the book, And so I stopped doing that.

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Speaker 1: Okay, So, and I'm saying this in air quotes. This

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Speaker 1: is your last go round, so you say, But I mean,

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Speaker 1: how many are still left over? Or it's just that

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Speaker 1: you write for the moment, for the task at hand.

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Speaker 2: Yeah, I do. I write on demand, but there are

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Speaker 2: songs that I wrote with nothing in mind.

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Speaker 1: So how do you deal with the pressure then and

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Speaker 1: actually admire this this process which I never heard before,

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Speaker 1: because everyone has this story, like one night I woke

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Speaker 1: from a dream and I felt inspired.

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Speaker 2: To da da da da. Like I don't one of

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Speaker 2: those two.

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Speaker 1: I mean, I'm not technically known as a songwriter, but

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Speaker 1: oftentimes the first thing that's or my plate is the deadline.

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Speaker 1: I need something by Thursday, March blah blah blah.

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Speaker 2: Well we're saying the same thing. I need to know

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Speaker 2: that it's going to land someplace. So I stopped just

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Speaker 2: writing just to write to write, I mean, just wasting,

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Speaker 2: wasting great music. And I was so proud of these

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Speaker 2: things that they didn't go anywhere. So I won't do

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Speaker 2: it unless I know it's going to go someplace.

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Speaker 1: Have you ever had like a real severe case of

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Speaker 1: writer's block where just nothing was happening at all. No,

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Speaker 1: I've written lousy songs, but okay, well, I know you've

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Speaker 1: had collaborators, but I mean Ron Dante is probably the

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Speaker 1: person that would be that. But who's the person that

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Speaker 1: could tell you you tried that idea before or maybe

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Speaker 1: you used to do a key lower like who's the

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Speaker 1: person that you trust to say?

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Speaker 2: Well, these days it's a gun named David Benson, Okay,

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Speaker 2: who I've known for years, and certainly my assistant Mark

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Speaker 2: is sole musical. Those are the two guys that I

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Speaker 2: run to to ask what do you think?

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Speaker 1: And you accept their truth. They'll be honest with you.

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Speaker 2: Yeah, I do.

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Speaker 1: When was the moment in your career that you knew

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Speaker 1: that you could do this full time? Because I always

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Speaker 1: imagine living in New York City, there's never the feeling

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Speaker 1: of safety of like like when you get your first

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Speaker 1: number one, do you feel like you arrived? There was

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Speaker 1: like m I still might have to hustle my way through.

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Speaker 2: Or well, that's two questions because at the beginning, I

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Speaker 2: had to figure out what I wanted to do with

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Speaker 2: my life. So I wasn't even thinking about making records

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Speaker 2: ever ever even thinking about doing that.

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Speaker 1: Wait, why not?

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Speaker 2: Well, coming from the slums of Brooklyn, New York, you

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Speaker 2: don't think that big, Okay.

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Speaker 1: So when you were when you were eleven, what were

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Speaker 1: your goals in life? Like, what did you want to

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Speaker 1: do for a living? What did you think you wanted.

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Speaker 2: Just to get home from school just to start you

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Speaker 2: want to do without getting what were you doing when

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Speaker 2: you were eleving? Did you know you were going to

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Speaker 2: be a musician.

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Speaker 1: This is the worst humble prag.

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Speaker 2: I mean.

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Speaker 1: My my father was an oldies do wop singer from

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Speaker 1: the fifties. Oh so he had a group called Le

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Speaker 1: Andrews and the Hearts, and by the time I was born,

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Speaker 1: it was the nostalgia period, so he kind of made

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Speaker 1: it a family act. So like when I was twelve,

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Speaker 1: because of a motorcycle accident of my dad's drummer, I

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Speaker 1: became his de facto drummer and bandleader. Like my first

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Speaker 1: gig was at Radio City Music Hall, whoa, And so

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Speaker 1: I was tricked into the family business, like farming, you know,

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Speaker 1: like they didn't believe in babysitters, so it's like, nope,

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Speaker 1: you come with us. And so I got tricked into

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Speaker 1: the family business. But I mean, pretty much, my dad's

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Speaker 1: dream was for me to like to drum for you,

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Speaker 1: like a respectable job, like I want you to do

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Speaker 1: something with the dada I Philharmonic or that sort of thing.

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Speaker 1: And you know, starting a rap group with my best

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Speaker 1: friend in high school like was not as plans, even

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Speaker 1: though I auditioned for Juilliard, Like the next day my

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Speaker 1: act of rebellion was busking on the streets. And then

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Speaker 1: that led to a record deal.

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Speaker 2: And so when your father must have been really proud.

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Speaker 1: And by my fourth album he was. But even even

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Speaker 1: on the third album he was still like, you gotta

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Speaker 1: get a real job. But that's the thing, Like I

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Speaker 1: don't think a musician ever feels like they're totally safe

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Speaker 1: or you know, like this is what I'm gonna do

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Speaker 1: for a lifetime. So as far as your life as

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Speaker 1: a jingle maker, how many drafts do you have to

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Speaker 1: go through before you know you deserve a break? The

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Speaker 1: day is the one? Or you know you're the Panpsy generation,

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Speaker 1: Or did you also write I'm a pepper, he's a pepper? No, okay,

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Speaker 1: but you wrote for doctor Pepper Rick correct band aid

295
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Speaker 1: and I'm stuck going band aid And I'm sure you

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Speaker 1: know everything or even today kids know like a good

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Speaker 1: neighbor state farms there. How do you know when you

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Speaker 1: have the perfect eight second tag?

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Speaker 2: It comes really easy to me. And the commercial world,

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Speaker 2: the world that I was in, they would give me

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Speaker 2: a lyric or they would give me a couple of lines.

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Speaker 2: That's what I had to create. So if they gave

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Speaker 2: me a lyric, we'll get out of the way. I

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Speaker 2: can write a melody to anything. And I got them

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Speaker 2: a lot. I love those years. I just love those years.

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Speaker 2: I learned so much about making records. I worked with

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Speaker 2: the greatest musicians because you know, they get paid big

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Speaker 2: to do a commercial, and so they were so helpful

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Speaker 2: to me. You know, I was so green during those years.

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Speaker 2: But when I left, I knew what I was doing,

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Speaker 2: and I knew I wanted to stay there. I never

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Speaker 2: really thought about singing, never.

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Speaker 1: So the learning curve of it, like did you have

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Speaker 1: a mentor to actually teach you the ropes or this

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Speaker 1: stuff you have to learn? No, on the way to it.

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Speaker 2: No, you know, it was just a job, and they

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Speaker 2: liked what I did. And I was one of like

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Speaker 2: five guys that tried out for these commercials. And I

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Speaker 2: would get them, the other guy would get them, the

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Speaker 2: girl would get them. I would get them, and we

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Speaker 2: would all try to.

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Speaker 1: So there's like four other versions of like a good

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Speaker 1: neighbor of state farmers there that we don't know about.

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Speaker 2: Yeah, and they were great, these people were great. Really,

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Speaker 2: I don't even know how I was able to compute

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Speaker 2: with them. They were wonderful.

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Speaker 1: I respect that because when I started Late Night. Yeah,

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Speaker 1: one of the biggest songwriting challenges. This is one I knew, like, oh,

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Speaker 1: I don't know anything about songwriting. It's like when you

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Speaker 1: have to write a five second tag jingle and they

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Speaker 1: would literally send us back, you know, they'd be like, Okay,

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Speaker 1: this called hot dog in a Hole, give me five

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Speaker 1: second jingle. And we'd write it and they'd be like, no,

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Speaker 1: it's we need more. Like they literally wanted emotion, and

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Speaker 1: I'm like, dude, it's just a five second tag for

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Speaker 1: a game. Like I didn't think it was that serious.

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Speaker 1: But after five years of doing that, I now realized

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Speaker 1: that whatever I had before I came to the Tonight

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Speaker 1: Show writing five second jingles as a muscle exercise is

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Speaker 1: now made me a monster, you know, for real songs.

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Speaker 1: How do you handle rejection if someone doesn't like it?

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Speaker 1: Like do you come home and remix it? Or do

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Speaker 1: you know?

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Speaker 2: In that world it's yes or no. That's a general

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Speaker 2: in mind, okay, and me I go on to.

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Speaker 1: The next thing, all right, So I can imagine at

347
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Speaker 1: least with the Bell Records connection. But can you talk

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Speaker 1: about your working relationship with Ron Dante and him producing

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Speaker 1: like your run of albums, how you your working relationship was,

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Speaker 1: And first of all, well to hear you say it,

351
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Speaker 1: how did you finally decide that, yes, I will become

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Speaker 1: a singer and release my own music.

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Speaker 2: Even when I read Ron Dante, I never considered myself

354
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Speaker 2: a singer. I was a songwriter. I was the arranger.

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Speaker 2: I was a piano player. So when I met Ron

356
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Speaker 2: Dante had a commercial session, I had written the piece.

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Speaker 2: I forget what the thing was. Then the producer asked

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Speaker 2: me if to sing in that group. That's when I

359
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Speaker 2: got some money when I was on the spot. If

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Speaker 2: you're because as a songwriter you get I got five hundred.

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Speaker 1: Dollars worked for hire.

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Speaker 2: And then well they don't unless you're on the spot

363
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Speaker 2: saying talking, you don't get residuals. So I wrote it.

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Speaker 1: Wait, so the songwriter doesn't get residuals, but the person

365
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Speaker 1: that sings it gets. So Luther Vangels will get all

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Speaker 1: the residuals for singing. Yeah, I started your Pepsi song.

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Speaker 2: Yeah, I started to get really big checks, but not

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Speaker 2: as the songwriter. I got five hundred dollars for state farmers. There.

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Speaker 2: That's it.

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Speaker 1: So to this day when I hear it, five hundred,

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Speaker 1: damn okay.

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Speaker 2: But when I sang on the spot, well watch out

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Speaker 2: those who really great, I mean especially for me. So

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Speaker 2: I met ron Dante on a on one of those

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Speaker 2: kind of singing sessions. He was fantastic. He doesn't read music,

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Speaker 2: but he's so talented. He gets it like that. His

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Speaker 2: voice is so pleasant on the radio. They hire him

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Speaker 2: for everything.

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Speaker 1: He was once the voice of the Sugar Sugar for

380
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Speaker 1: the cot.

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Speaker 2: That was a big one for him anyway. So I was.

382
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Speaker 2: We did a session together and we went out to

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Speaker 2: lunch or something, and we started talking about what about

384
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Speaker 2: making a record because I had written some stuff that

385
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Speaker 2: he really liked. So we said sure, you know, so

386
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Speaker 2: we pope pulled our money and we went into the

387
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Speaker 2: recording studio and I thought he was going to sing it,

388
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Speaker 2: sing the lead, because I really never even thought about

389
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Speaker 2: myself as a singer never. But he didn't know the

390
00:22:03,400 --> 00:22:07,439
Speaker 2: lyric and he didn't know the melody right. So I

391
00:22:07,560 --> 00:22:10,320
Speaker 2: went in there and sang, and I, you know, I

392
00:22:10,320 --> 00:22:14,600
Speaker 2: felt ridiculous because I've never really thought about being a singer.

393
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Speaker 2: And we played our demos for record companies and they

394
00:22:19,400 --> 00:22:24,840
Speaker 2: liked me. What are you talking about? But they like me,

395
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Speaker 2: and eventually I got a record deal at Felt Records.

396
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Speaker 1: So what is the key to your confidence then? Like

397
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Speaker 1: if you're in your mind saying hey, why me? Like

398
00:22:37,960 --> 00:22:40,600
Speaker 1: what gets you out of how do you deal with

399
00:22:40,640 --> 00:22:44,560
Speaker 1: imposter syndrome? Like do I deserve to be here? Shouldn't

400
00:22:44,560 --> 00:22:46,199
Speaker 1: you get a better guy to sing it? Like in

401
00:22:46,200 --> 00:22:49,000
Speaker 1: your mind? Yeah, what's the voice of you hearing that

402
00:22:49,119 --> 00:22:51,120
Speaker 1: should knock these songs out?

403
00:22:51,280 --> 00:22:53,480
Speaker 2: Yeah? Well, I know it was a long time ago,

404
00:22:53,560 --> 00:22:56,480
Speaker 2: but but I no, I never considered myself a singer.

405
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Speaker 2: I thought it was ridiculous.

406
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Speaker 1: How did you deal with imposter syndrome? Realize that you

407
00:23:01,520 --> 00:23:02,040
Speaker 1: are the one?

408
00:23:02,600 --> 00:23:06,920
Speaker 2: I played the game I did. They wanted me to sing, Sure,

409
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Speaker 2: I'll sing it was really about some buddy.

410
00:23:11,200 --> 00:23:15,040
Speaker 1: Well, okay, so the first album didn't necessarily hit as much.

411
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Speaker 1: So how did you deal with that not working? Did

412
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Speaker 1: youus think like, okay, this is a one off and

413
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Speaker 1: I did it and.

414
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Speaker 2: I was hoping it didn't work. I didn't like the gig.

415
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Speaker 2: I like the gig of writing way I like the

416
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Speaker 2: gig of arranging.

417
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Speaker 1: You know, only wanted to self sabotage her.

418
00:23:31,280 --> 00:23:33,200
Speaker 2: Yeah, I was hoping this would go away.

419
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Speaker 1: This often happens, Okay, so I would at least like

420
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Speaker 1: to think that now you feel like, okay, I deserved it,

421
00:23:42,080 --> 00:23:45,320
Speaker 1: and you still feel that way, So you don't feel

422
00:23:45,320 --> 00:23:48,120
Speaker 1: like we appreciate you all that much or I'm gonna

423
00:23:48,119 --> 00:23:51,280
Speaker 1: I'm gonna put it this way. You're so ubiquitous, like

424
00:23:51,320 --> 00:23:54,040
Speaker 1: the fiber of you, so ubiquitous that I know your

425
00:23:54,040 --> 00:23:56,919
Speaker 1: whole history and I'm not even your target audience. Like,

426
00:23:57,800 --> 00:24:00,520
Speaker 1: but if I'm home as a third grader like you

427
00:24:00,560 --> 00:24:02,600
Speaker 1: were on Dinah Shore, I think he had a group

428
00:24:02,640 --> 00:24:06,560
Speaker 1: called Lady Flash or something like that. Yeah, like to

429
00:24:06,600 --> 00:24:09,840
Speaker 1: watch Bandstand and Soldierin all the time. So like you're

430
00:24:09,880 --> 00:24:13,399
Speaker 1: just a part of our fabric. So in case you

431
00:24:13,440 --> 00:24:19,480
Speaker 1: don't know, you're appreciated. But the second time it did.

432
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Speaker 2: Work, well, that was because Clive that tell me about and.

433
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Speaker 1: You get prime Clive, you get prime hungry. I got

434
00:24:28,880 --> 00:24:33,359
Speaker 1: to prove to Columbia and start an arist to like,

435
00:24:34,200 --> 00:24:37,080
Speaker 1: I feel like, even though I know Eric Carmon and

436
00:24:37,119 --> 00:24:39,680
Speaker 1: Bay City Rollers was sort of like out the Gate

437
00:24:39,720 --> 00:24:43,800
Speaker 1: with him, But I feel like you are his main

438
00:24:44,920 --> 00:24:49,040
Speaker 1: trojan horse in terms of like him him establishing himself.

439
00:24:49,119 --> 00:24:50,120
Speaker 2: But I don't know why.

440
00:24:50,280 --> 00:24:52,240
Speaker 1: Well, was the relationship contentious?

441
00:24:52,280 --> 00:24:56,600
Speaker 2: Like, well, he wanted me to record songs that he liked?

442
00:24:57,440 --> 00:24:59,760
Speaker 1: He would did you trust his zero back then? Or

443
00:24:59,800 --> 00:25:00,720
Speaker 1: were you were lucky them?

444
00:25:00,760 --> 00:25:00,800
Speaker 2: Like?

445
00:25:01,160 --> 00:25:01,520
Speaker 1: Okay?

446
00:25:01,680 --> 00:25:05,720
Speaker 2: No? But I wanted to record my own songs. Was

447
00:25:06,440 --> 00:25:10,359
Speaker 2: I was a songwriter, and so we made a deal.

448
00:25:10,760 --> 00:25:15,120
Speaker 2: I would give him two songs on the albums and

449
00:25:15,160 --> 00:25:17,720
Speaker 2: the rest of them would be mine. And of course

450
00:25:17,800 --> 00:25:22,560
Speaker 2: those two songs. I wonder how that.

451
00:25:22,560 --> 00:25:25,960
Speaker 1: Would happen, right, Well, you told the story thing on

452
00:25:25,960 --> 00:25:29,040
Speaker 1: the tonight show of you not liking Mandy when it

453
00:25:29,119 --> 00:25:30,040
Speaker 1: first arrived to you.

454
00:25:30,600 --> 00:25:31,879
Speaker 2: Well, did you ever hear that?

455
00:25:32,080 --> 00:25:36,119
Speaker 1: I've heard the original? Okay, So when I still feel,

456
00:25:36,160 --> 00:25:39,359
Speaker 1: we all still feel like a song is yours once

457
00:25:39,359 --> 00:25:41,920
Speaker 1: it arrives in your hands. So when you get a song,

458
00:25:42,880 --> 00:25:44,639
Speaker 1: how long do you have to sit with it before

459
00:25:44,800 --> 00:25:47,199
Speaker 1: you filter it and process it and mold it to

460
00:25:47,280 --> 00:25:48,840
Speaker 1: know that, Okay, this is now my song.

461
00:25:48,840 --> 00:25:52,280
Speaker 2: Well, they're all different, but I mean Mandy, I played

462
00:25:52,320 --> 00:25:56,159
Speaker 2: around with it and I changed the chords and I

463
00:25:56,280 --> 00:25:59,440
Speaker 2: found the love song hiding in this rock and roll song.

464
00:26:00,240 --> 00:26:04,439
Speaker 2: And that night Ronnie and I did a version of

465
00:26:04,680 --> 00:26:07,920
Speaker 2: Brandy just like the demo, and Clive came in and said,

466
00:26:07,920 --> 00:26:11,880
Speaker 2: what's that. I said, that's the record that you think

467
00:26:11,920 --> 00:26:14,480
Speaker 2: I should do, and he said that's terrible. I said,

468
00:26:14,520 --> 00:26:17,359
Speaker 2: I know it's terrible. That's not what I do. So

469
00:26:17,520 --> 00:26:21,000
Speaker 2: I said, I've been playing in the afternoon. Come with me.

470
00:26:21,560 --> 00:26:25,640
Speaker 2: So I sat him, I sat at the piano and

471
00:26:26,280 --> 00:26:28,600
Speaker 2: I played him what I had played around with in

472
00:26:28,640 --> 00:26:32,080
Speaker 2: the afternoon, which was I had found the love song

473
00:26:32,280 --> 00:26:36,800
Speaker 2: hiding in this Mandy And he said, just do that,

474
00:26:37,440 --> 00:26:40,080
Speaker 2: just and he backed the way into the control room

475
00:26:40,520 --> 00:26:46,160
Speaker 2: and we did one take and that was it. What ah?

476
00:26:46,720 --> 00:26:49,200
Speaker 2: Then we added strings.

477
00:26:48,720 --> 00:26:51,600
Speaker 1: And so initially leaves this piano in your voice and

478
00:26:52,119 --> 00:26:55,159
Speaker 1: no click track any Oh my god, there would been

479
00:26:55,200 --> 00:26:59,679
Speaker 1: a nightmare for me. Yea, In your opinion, what is

480
00:27:00,119 --> 00:27:04,760
Speaker 1: already for a great song? Is it? I'm a rhythm

481
00:27:04,800 --> 00:27:07,240
Speaker 1: person because I'm a drummer. But for you is it?

482
00:27:07,359 --> 00:27:10,480
Speaker 1: The words? Is the melody, it's the emotion.

483
00:27:11,280 --> 00:27:17,400
Speaker 2: If you can get people to feel something, then you're

484
00:27:17,480 --> 00:27:18,280
Speaker 2: halfway home.

485
00:27:18,800 --> 00:27:22,040
Speaker 1: So at every arrangement of yours, every song of yours,

486
00:27:22,080 --> 00:27:25,919
Speaker 1: has to have emotion that gives you know, Okay. I

487
00:27:26,040 --> 00:27:30,000
Speaker 1: always wanted to know this because this is a karaoke

488
00:27:30,520 --> 00:27:37,159
Speaker 1: nightmare song for the Copa cabana. I admire songs that

489
00:27:37,280 --> 00:27:40,760
Speaker 1: have a narrative in it, and there's so much detail

490
00:27:41,680 --> 00:27:46,160
Speaker 1: and linear detail packed in this song. Yet it's probably

491
00:27:46,200 --> 00:27:47,600
Speaker 1: one of your most popular songs.

492
00:27:47,600 --> 00:27:49,640
Speaker 2: And I don't know why, but and.

493
00:27:49,560 --> 00:27:53,040
Speaker 1: There's no circular thing that like, I mean, the melody

494
00:27:53,080 --> 00:27:56,000
Speaker 1: sticks with you, but there's so like I mean, someone

495
00:27:56,040 --> 00:27:58,640
Speaker 1: gets shot, and like at the time when you were

496
00:27:58,640 --> 00:28:02,639
Speaker 1: creating it, is this like going to be filler in

497
00:28:02,680 --> 00:28:05,560
Speaker 1: your head like a great album cut or did you

498
00:28:05,800 --> 00:28:08,080
Speaker 1: say this is going to be like my signature or something?

499
00:28:08,440 --> 00:28:13,120
Speaker 2: No, no, no, no, it was the novelty cut on

500
00:28:13,160 --> 00:28:13,600
Speaker 2: the album.

501
00:28:13,680 --> 00:28:15,680
Speaker 1: Because so when it caught on, how did you feel

502
00:28:15,680 --> 00:28:16,160
Speaker 1: about it?

503
00:28:17,200 --> 00:28:21,399
Speaker 2: It was thrilling, Okay, thrilling, yeah, Runner. I took her

504
00:28:21,480 --> 00:28:25,920
Speaker 2: to a disco around where the studio was. As soon

505
00:28:25,960 --> 00:28:29,320
Speaker 2: as Copa came on, we you know, paid some guy

506
00:28:29,520 --> 00:28:33,680
Speaker 2: and said the DJ, and as soon as it came on,

507
00:28:34,359 --> 00:28:37,160
Speaker 2: everybody ran to the dance floor and pretended they were

508
00:28:37,840 --> 00:28:40,280
Speaker 2: they were in the nineteen forties.

509
00:28:40,120 --> 00:28:43,880
Speaker 1: Right, wash buckling and cast a blanket.

510
00:28:43,960 --> 00:28:49,360
Speaker 2: Okay, I said to you, we're onto something and uh

511
00:28:49,760 --> 00:28:50,640
Speaker 2: Claude hated it.

512
00:28:50,840 --> 00:28:51,160
Speaker 1: Really.

513
00:28:51,480 --> 00:28:56,400
Speaker 2: Yeah, Rista didn't put a penny behind promotion of Gopa Cabaa.

514
00:28:56,800 --> 00:28:58,520
Speaker 1: It's so caught on because the word of mouth and

515
00:28:58,640 --> 00:28:59,160
Speaker 1: just spreading.

516
00:28:59,240 --> 00:29:02,240
Speaker 2: That's how it happened. Okay, when that is a real

517
00:29:02,320 --> 00:29:03,000
Speaker 2: hit record.

518
00:29:03,400 --> 00:29:07,240
Speaker 1: Whenever he is wrong, will he admit it or will

519
00:29:07,280 --> 00:29:10,600
Speaker 1: he just hey, I knew it all? Will he just well?

520
00:29:11,040 --> 00:29:14,200
Speaker 2: Ask him? He doesn't. He didn't. He doesn't like copa

521
00:29:14,360 --> 00:29:16,680
Speaker 2: and he didn't do anything for it, but the public

522
00:29:16,880 --> 00:29:23,240
Speaker 2: liked it, and they were calling in the radio stations

523
00:29:23,280 --> 00:29:26,280
Speaker 2: and as saying to play mane los copa. Okay, yeah,

524
00:29:26,600 --> 00:29:27,480
Speaker 2: that's how it happened.

525
00:29:28,080 --> 00:29:32,760
Speaker 1: So you probably have one of the best co signs ever.

526
00:29:33,240 --> 00:29:38,880
Speaker 1: When Sinatra famously said, hey, like you're the next great one.

527
00:29:38,800 --> 00:29:41,080
Speaker 2: He didn't say that. He said, well, I know that.

528
00:29:41,120 --> 00:29:42,400
Speaker 1: He said something to this.

529
00:29:42,560 --> 00:29:46,240
Speaker 2: He said he's next, and I thought, am I gonna

530
00:29:47,560 --> 00:29:52,040
Speaker 2: wind up where the horse was at? He's next?

531
00:29:52,120 --> 00:29:53,280
Speaker 1: But he knew what he meant.

532
00:29:53,560 --> 00:29:59,520
Speaker 2: Yes, he said he's next. I never really got to

533
00:29:59,600 --> 00:30:03,000
Speaker 2: know him, but he sang a song of mine on

534
00:30:03,000 --> 00:30:05,640
Speaker 2: the Tonight Show and he did a beautiful job. Not

535
00:30:05,840 --> 00:30:09,440
Speaker 2: one of the hits. He found a real album cut,

536
00:30:10,120 --> 00:30:12,800
Speaker 2: he memorized it, did a beautiful job.

537
00:30:13,360 --> 00:30:19,280
Speaker 1: Is it weird when people cover your songs like so

538
00:30:19,280 --> 00:30:24,920
Speaker 1: soon after you did it? I mean, Donna Summer started

539
00:30:24,920 --> 00:30:28,280
Speaker 1: covering a song that you recorded, like maybe perhaps a

540
00:30:28,360 --> 00:30:32,400
Speaker 1: year before. Like when a song is yours and then

541
00:30:32,560 --> 00:30:35,800
Speaker 1: someone else does it, do you ever feel a certain

542
00:30:35,840 --> 00:30:36,440
Speaker 1: way about it?

543
00:30:36,520 --> 00:30:38,560
Speaker 2: Like I think everybody should record my songs?

544
00:30:39,320 --> 00:30:42,360
Speaker 1: There you go. I don't care of the covers that

545
00:30:42,400 --> 00:30:45,720
Speaker 1: were done, Like what was your favorites that were or

546
00:30:45,800 --> 00:30:47,680
Speaker 1: the notable ones that you told?

547
00:30:47,720 --> 00:30:49,040
Speaker 2: The answer is could it be magic?

548
00:30:49,160 --> 00:30:49,320
Speaker 3: Yeah?

549
00:30:49,360 --> 00:30:50,120
Speaker 1: Could it be magic?

550
00:30:50,240 --> 00:31:01,480
Speaker 3: All right?

551
00:31:02,840 --> 00:31:06,840
Speaker 1: I gotta ask you this question in your arrangements, and

552
00:31:06,920 --> 00:31:10,280
Speaker 1: you're one of these grand arrangers. Like, there's two things

553
00:31:10,320 --> 00:31:13,040
Speaker 1: about your arrangements that I noticed. One, you rarely do

554
00:31:13,120 --> 00:31:19,120
Speaker 1: a fade out. You do an ending, which doesn't happen anymore,

555
00:31:19,160 --> 00:31:22,720
Speaker 1: like songs end in concert, but they never end on record,

556
00:31:23,960 --> 00:31:28,560
Speaker 1: and that's a lost art. But also the modulation now

557
00:31:29,040 --> 00:31:32,800
Speaker 1: of all your songs in which the modulation adds that

558
00:31:32,880 --> 00:31:36,960
Speaker 1: last part. I gotta ask you about never love this

559
00:31:37,000 --> 00:31:43,800
Speaker 1: way again? Because to me, the evil Canevil jump isn't

560
00:31:43,880 --> 00:31:47,680
Speaker 1: landing on the final note, it's that hold on bridge

561
00:31:48,240 --> 00:31:52,520
Speaker 1: in which Dion Warwick actually has to go. That modulation

562
00:31:52,560 --> 00:31:55,160
Speaker 1: should be studied for the ages. What was on your

563
00:31:55,240 --> 00:31:59,800
Speaker 1: mind when you make like you could have just go

564
00:31:59,840 --> 00:32:02,800
Speaker 1: on it's the modulation and been there, but you had to.

565
00:32:03,320 --> 00:32:07,560
Speaker 2: Yeah, it just felt better. It just felt better, and

566
00:32:07,800 --> 00:32:09,720
Speaker 2: she was so great that she was able to pick

567
00:32:09,760 --> 00:32:12,880
Speaker 2: it up. But it didn't throw you, did it?

568
00:32:13,560 --> 00:32:16,360
Speaker 1: I mean one, I'm not a singer, but I've been

569
00:32:16,400 --> 00:32:21,400
Speaker 1: witnessed to many a car accident. Yeah, singers attempting to

570
00:32:21,480 --> 00:32:24,080
Speaker 1: figure out where that last hold on goes to before

571
00:32:24,080 --> 00:32:25,800
Speaker 1: they had to land on the modulation.

572
00:32:26,080 --> 00:32:29,920
Speaker 2: Yeah, I don't think anybody's ever had trouble with those modulations,

573
00:32:30,280 --> 00:32:31,640
Speaker 2: even though they should.

574
00:32:32,400 --> 00:32:36,200
Speaker 1: But well they're complex. Though they're complex. But is that

575
00:32:36,440 --> 00:32:39,440
Speaker 1: a lost art? Like do you? I mean not? There's

576
00:32:39,480 --> 00:32:42,120
Speaker 1: a certain art to music that that has lost again

577
00:32:42,480 --> 00:32:47,280
Speaker 1: and the ending and the modulation, like is the modulation

578
00:32:47,480 --> 00:32:50,560
Speaker 1: the when you spoke of the emotion of a song,

579
00:32:51,440 --> 00:32:53,520
Speaker 1: is that the payoff? Like is the first three minutes

580
00:32:53,560 --> 00:32:57,160
Speaker 1: the build up that leads to whatever you're supposed to feel.

581
00:32:57,280 --> 00:32:59,840
Speaker 2: It all depends on the song. But the singer, the writer.

582
00:33:01,000 --> 00:33:05,400
Speaker 2: There's no rules. There's no rules. It's art, it's music.

583
00:33:06,800 --> 00:33:11,000
Speaker 2: You can't put it in a box. They're all different.

584
00:33:11,200 --> 00:33:14,920
Speaker 2: I don't even remember the modulation, and I never loved

585
00:33:14,960 --> 00:33:18,640
Speaker 2: this way again, But I mean, it's a beautiful song.

586
00:33:18,720 --> 00:33:20,960
Speaker 2: She did a beautiful job, and that's all I got.

587
00:33:21,600 --> 00:33:24,400
Speaker 1: There, you go. Speaking of which, Daja Vu is one of,

588
00:33:24,440 --> 00:33:27,240
Speaker 1: like one of my favorite songs of all time. I

589
00:33:27,360 --> 00:33:29,440
Speaker 1: know that Isaac Hayes wrote that song, but he just

590
00:33:29,480 --> 00:33:32,360
Speaker 1: talked about the general process of producing that Dion record

591
00:33:32,400 --> 00:33:36,240
Speaker 1: because by that point, you know, she had been kind

592
00:33:36,280 --> 00:33:38,760
Speaker 1: of out there for five six years really without like

593
00:33:39,560 --> 00:33:45,200
Speaker 1: a hit. So many people credit that entire album as

594
00:33:45,200 --> 00:33:49,040
Speaker 1: her comeback album and established her for the eighties and whatnot.

595
00:33:49,200 --> 00:33:51,320
Speaker 1: I mean started hosting Solid Gold.

596
00:33:51,120 --> 00:33:54,240
Speaker 2: After I think she got a Grammy for Yeah, I

597
00:33:54,240 --> 00:33:59,560
Speaker 2: don't know that was a again and dajelod another category. Yeah,

598
00:34:00,000 --> 00:34:01,400
Speaker 2: I had never heard of one of those.

599
00:34:01,840 --> 00:34:03,800
Speaker 1: So what was it like producing those sessions?

600
00:34:04,040 --> 00:34:07,600
Speaker 2: It was just another session. You're not saying all about no,

601
00:34:07,880 --> 00:34:12,840
Speaker 2: But by that time I knew those musicians. They were friends,

602
00:34:14,320 --> 00:34:17,200
Speaker 2: and I would tell them what I'd like and they

603
00:34:17,200 --> 00:34:20,080
Speaker 2: would play it, and that's it. I would love to

604
00:34:20,120 --> 00:34:23,800
Speaker 2: tell you that I was loved to the vibe in

605
00:34:23,880 --> 00:34:25,800
Speaker 2: the room. It says no, it was. It was a

606
00:34:25,840 --> 00:34:28,840
Speaker 2: recording session. I had done a million of them. You know,

607
00:34:28,920 --> 00:34:32,040
Speaker 2: they were great. These musicians were great. I would tell

608
00:34:32,080 --> 00:34:36,680
Speaker 2: them little ideas that I wanted and they would do

609
00:34:36,719 --> 00:34:42,480
Speaker 2: it okay. Sometimes they'll hit songs, and sometimes they weren't okay.

610
00:34:42,600 --> 00:34:48,040
Speaker 1: So your album, which is your first record in fifteen years. Yeah,

611
00:34:48,080 --> 00:34:51,160
Speaker 1: and by the way, congratulations on it. And I'm a

612
00:34:51,200 --> 00:34:55,400
Speaker 1: person that is also has not released any product in

613
00:34:55,440 --> 00:34:58,560
Speaker 1: ten years, and I'll admit that there's some sort of

614
00:34:58,600 --> 00:35:02,200
Speaker 1: psychological fear of getting back in the ring and going

615
00:35:02,239 --> 00:35:05,400
Speaker 1: back to the gym and working out how do you

616
00:35:05,520 --> 00:35:09,279
Speaker 1: walk through the fear of just one more time, like

617
00:35:09,640 --> 00:35:11,439
Speaker 1: let me do this again? How did you get through

618
00:35:11,760 --> 00:35:13,239
Speaker 1: any self doubt you had or.

619
00:35:14,120 --> 00:35:17,200
Speaker 2: Michael Lord and I made this album and it took

620
00:35:17,280 --> 00:35:20,640
Speaker 2: a long time, and COVID was have happened in the

621
00:35:20,680 --> 00:35:23,960
Speaker 2: middle of it, right, So it just took forever and

622
00:35:24,080 --> 00:35:27,160
Speaker 2: made this album. I didn't even think it was going

623
00:35:27,200 --> 00:35:31,080
Speaker 2: to ever come out after COVID, you know, I didn't know.

624
00:35:31,400 --> 00:35:33,800
Speaker 2: It wasn't one of those albums that I've made record

625
00:35:33,840 --> 00:35:39,760
Speaker 2: Company once Thursday. It wasn't that. It was a batch

626
00:35:39,800 --> 00:35:45,320
Speaker 2: of songs and I really wanted to hear them done properly.

627
00:35:46,200 --> 00:35:51,239
Speaker 2: And that's it. I love them and I think they're

628
00:35:51,360 --> 00:35:54,000
Speaker 2: very well. Maybe an audience that feels the same way,

629
00:35:54,680 --> 00:35:56,400
Speaker 2: But we'll see.

630
00:35:57,040 --> 00:36:00,000
Speaker 1: How did Once Before I Go land in your life?

631
00:36:00,200 --> 00:36:02,560
Speaker 1: And you know, why did you feel that was necessary

632
00:36:02,600 --> 00:36:03,040
Speaker 1: to record?

633
00:36:03,560 --> 00:36:07,359
Speaker 2: Clive? This man can't get rid of him, thank god.

634
00:36:08,000 --> 00:36:15,560
Speaker 2: But he was having this big outdoor festival in Central

635
00:36:15,600 --> 00:36:18,000
Speaker 2: Park and he got rained out. If you remember, he

636
00:36:18,080 --> 00:36:21,239
Speaker 2: got rained out and he called me and said, did

637
00:36:21,280 --> 00:36:23,839
Speaker 2: you have you ever heard of a so called Once

638
00:36:23,880 --> 00:36:27,279
Speaker 2: Before I Go? And I said, yeah. Peter played it

639
00:36:27,320 --> 00:36:30,560
Speaker 2: for me in my old apartment in New York. He said,

640
00:36:30,600 --> 00:36:34,080
Speaker 2: you should do it. I said, but it's been a

641
00:36:34,080 --> 00:36:39,040
Speaker 2: long time. Anyway, I went into the studio since I

642
00:36:39,120 --> 00:36:44,120
Speaker 2: was making an album and then I was on the road.

643
00:36:44,239 --> 00:36:49,720
Speaker 2: So goodness, Babyface Kenneth stepped in and made a beautiful

644
00:36:49,760 --> 00:36:54,520
Speaker 2: record for me, and I got a top ten single

645
00:36:54,600 --> 00:36:58,640
Speaker 2: out of it. I know, I haven't been on the

646
00:36:58,719 --> 00:37:02,200
Speaker 2: last time I was at the often Washington was closing

647
00:37:02,280 --> 00:37:09,960
Speaker 2: the Della Wheel. Really it's nuts.

648
00:37:10,960 --> 00:37:17,280
Speaker 1: My final question to you so once the album is out, completed,

649
00:37:17,640 --> 00:37:22,000
Speaker 1: and once you've done your very last show, and I

650
00:37:22,040 --> 00:37:25,120
Speaker 1: hate asking this question because again every artist I talk

651
00:37:25,200 --> 00:37:26,359
Speaker 1: to you says this is it?

652
00:37:26,719 --> 00:37:27,160
Speaker 3: No more?

653
00:37:30,920 --> 00:37:32,919
Speaker 1: All right, let me get a pen ultimate question before

654
00:37:32,920 --> 00:37:33,880
Speaker 1: I ask the final question.

655
00:37:34,160 --> 00:37:34,359
Speaker 2: One?

656
00:37:34,680 --> 00:37:38,040
Speaker 1: Is there really such a thing as stopping?

657
00:37:38,800 --> 00:37:38,920
Speaker 2: No?

658
00:37:39,400 --> 00:37:42,640
Speaker 1: Okay, So once the album is out and you've done

659
00:37:42,640 --> 00:37:45,600
Speaker 1: your very last show, what are you going to do

660
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Speaker 1: for yourself?

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Speaker 2: I'll tell you after I do it.

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00:37:50,120 --> 00:37:53,000
Speaker 1: Barry Manilo, I thank you for granted me this audience.

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Speaker 1: You're such a legend and we appreciate and love you,

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Speaker 1: and thank you for coming on the Question Show. Thank

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Speaker 1: you so much. See all the next go around.

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Speaker 2: This was great.

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Speaker 1: A Quest Love Show is hosted by me Amir Quest

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Speaker 1: Love Thompson. The executive producers.

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Speaker 4: Are Sean g Brian Calhoun and Me. Produced by Brittany

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00:38:19,520 --> 00:38:24,640
Speaker 4: Benjamin and Jake Paine. Produced for iHeart by Noel Brown,

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00:38:25,880 --> 00:38:30,680
Speaker 4: Edited by Alex Conroy. iHeart video support by Mark Canton,

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00:38:32,160 --> 00:38:37,600
Speaker 4: Logos Graphics and animation by Nick Blow. Additional support by

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Speaker 4: Lance Coleman. Special thanks to Kathy Brown. Special thanks to

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Speaker 4: Sugar Steve Mandel. Please subscribe Break Review as a share

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Speaker 4: of The Quest Love Show wherever you stream your podcast,

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00:38:51,640 --> 00:38:53,400
Speaker 4: and make sure you follow us on socials.

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Speaker 1: That's at q LS. Check out hundreds and hundreds of episodes,

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Speaker 1: including the Questlum Supreme Shows, and our podcast archives. The

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Speaker 1: Quest Loam Show is a production of iHeartRadio