WEBVTT - Barry Manilow

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<v Speaker 1>The Quest Love Show is a production of iHeart Radio. Well,

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<v Speaker 1>ladies and gentlemen, welcome to the Quest Love Show. I

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<v Speaker 1>will say that our steam guests once sang I write

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<v Speaker 1>the songs, but I digress. I believe that our guest

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<v Speaker 1>is the song. He's embodied all of pop culture. He's

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<v Speaker 1>a songwriter's Hall of Fame legend, thirteen number one hits,

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<v Speaker 1>countless top ten, top forty hits, over eighty five million

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<v Speaker 1>records sold, classic ad jingles like if I Sit Here

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<v Speaker 1>and sing of his accolades. The interview will be over

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<v Speaker 1>Grammy a Winner, Emmy Winner, Tony Winner, recent no man

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<v Speaker 1>get It's flower time. You recently got the what is.

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<v Speaker 2>Your It was the.

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<v Speaker 1>The advertising Hall of Fame, which which you deserve. To

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<v Speaker 1>this day, your commercials are still your music is being used.

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<v Speaker 1>Shout out to Jake from the Steak Firm. And despite

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<v Speaker 1>you know, all these achievements, he returns to us one

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

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<v Speaker 1>but yes, what a time is this first album in

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

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<v Speaker 1>And this is your final concert run. And I am

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<v Speaker 1>honored that our legendary guest today is giving us the

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<v Speaker 1>pleasure of just talking to him for a little bit.

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<v Speaker 1>Very man, a little welcome to the Quest Left Show.

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<v Speaker 1>How are you?

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<v Speaker 2>I've been wanting to do this ever since we met

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<v Speaker 2>on the Tonight Show, but I don't get to the

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<v Speaker 2>East coast very often like I used to. Yeah, I'm

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<v Speaker 2>going to turn this off.

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<v Speaker 1>It's okay, you're bettermental. You can do it.

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<v Speaker 2>You know. I know you're kidding around, but I never

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<v Speaker 2>think like that. I just never think like that.

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

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<v Speaker 1>legends should be celebrated. What is your first musical memory

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<v Speaker 1>in life? Your first musical memory from childhood?

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<v Speaker 2>My first musical memory was my mother singing to me. Okay,

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<v Speaker 2>she was a good singer. What does she sing pop

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<v Speaker 2>songs other day?

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<v Speaker 1>Okay?

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<v Speaker 2>And she was good. She should have made a career

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<v Speaker 2>out of her, but I got in the way. She

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<v Speaker 2>had to go out and work and support me, so

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<v Speaker 2>she never did it. But she was good.

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<v Speaker 1>Okay.

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<v Speaker 2>So that was my first first memory.

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<v Speaker 1>Okay. So you grew up in Williamsburg, Brooklyn. Now my

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<v Speaker 1>version of Williamsburg is where I like to hang out

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<v Speaker 1>for like dinner with friends, and I go to movies

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<v Speaker 1>all the time there, like I hang out Williamsburg. But

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<v Speaker 1>he described your version of Williamsburg as a child and

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<v Speaker 1>a team.

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<v Speaker 2>What was it like a dump?

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<v Speaker 1>Okay?

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

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<v Speaker 2>I would consider it a very good luck if I

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<v Speaker 2>got home from school because I lived across the street

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<v Speaker 2>from Eastern District High School, and if I made it

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<v Speaker 2>home without getting beaten up, I considered it a good day.

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<v Speaker 1>Have you been there recently? Have you seen Williamsburg?

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<v Speaker 2>I did? I mean it's a year ago. So it

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

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<v Speaker 2>that's that's what they've turned it into. It looks like

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<v Speaker 2>the village and it's much safer an now, Yeah.

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<v Speaker 1>What part of New York City do you most identify

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<v Speaker 1>it with?

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<v Speaker 2>Though?

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<v Speaker 1>Like what's your like all these boroughs? Like what's your

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<v Speaker 1>favorite part.

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<v Speaker 2>Of New York Manhattan?

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<v Speaker 1>Okay?

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<v Speaker 2>Yeah, My life began when I got a job at

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<v Speaker 2>CBS and I liked all the people. I didn't know

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<v Speaker 2>what I was to do it myself, but I liked it.

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<v Speaker 2>I liked the vibe there.

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<v Speaker 1>Okay, What were your duties at CBS You started working

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<v Speaker 1>there in the early sixties, Like, what were your job duties?

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<v Speaker 2>I was a male boy for a while, and then

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<v Speaker 2>they promoted me into editing films, and that was good.

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<v Speaker 2>I like that. I liked all the people there. They

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<v Speaker 2>were funny and smart, and I had a great time

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<v Speaker 2>at CBS. And then everybody knew I was musical because

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<v Speaker 2>I would run away and play piano because there was

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<v Speaker 2>a lot of rehearsal holes, so they would hear this

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<v Speaker 2>skinny male boy playing piano. And I left CBS. And

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<v Speaker 2>after I left CBS, I got a phone call from

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<v Speaker 2>CBS saying they're putting up a brand new show, a

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<v Speaker 2>local show called Callback. It's what we know today is

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<v Speaker 2>trying to find a talented jung person and so they

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<v Speaker 2>needed a music directory. So I was available. So I

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<v Speaker 2>came back to CBS only and they're totally different.

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<v Speaker 1>And your duties were to find songs, write songs, arrange songs,

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<v Speaker 1>and as just a one man machine, or were you

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<v Speaker 1>like with a bunch of collaborators.

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<v Speaker 2>Or but there were people there, but it really was

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<v Speaker 2>my gig to pull all the songs together. I would

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<v Speaker 2>work with the singer, give them an arrangement, make sure

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<v Speaker 2>it's in the right key, and then conduct the band

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<v Speaker 2>on the day of the show.

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<v Speaker 1>And I loved it so back then I would imagine

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<v Speaker 1>that as a working musician, would one have to site

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<v Speaker 1>read on the spot, like be at any point where

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<v Speaker 1>musicians that weren't able to read charts able to still

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<v Speaker 1>get gigs, like if you could do chord charts or

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<v Speaker 1>just notate to them what to play and watch me

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<v Speaker 1>for the cues.

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<v Speaker 2>Yeah, I haven't met many musicians who can't read, which

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<v Speaker 2>is good because if you can read music, if you

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<v Speaker 2>want to be a musician, you've got to learn how

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

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<v Speaker 2>But if you can't, then these producers will not hire

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<v Speaker 2>you because that means you got to memorize it on

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<v Speaker 2>the spot, right, and that's not good for the producers.

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<v Speaker 1>I know that at some point you started working either

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<v Speaker 1>with the Sullivan Show or without.

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<v Speaker 2>Yeah, I was very young, but I conducted for the

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<v Speaker 2>summer at Sullivan Show. It was a big deal.

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<v Speaker 1>I mean, how timidating was that process?

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<v Speaker 2>It was. These older musicians did not like taking orders

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

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<v Speaker 2>but they did not like or taking orders from me.

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<v Speaker 1>How big were the orchestras?

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<v Speaker 2>Not huge? But you know it was a TV size show,

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<v Speaker 2>bigger than we have today.

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<v Speaker 1>I've heard many a story about the Continental Baths, or

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<v Speaker 1>like the Bete Midler Show, But I've heard the title

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<v Speaker 1>what exactly can you just run me through? What that

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<v Speaker 1>environment was like? Was it a place she entertained or

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<v Speaker 1>was it a bar? Was it a restaurant? What is it?

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<v Speaker 2>Was it a spa?

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<v Speaker 1>So it was literally she would do a show inside

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<v Speaker 1>of the spa. Okay, I've never heard of this before,

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<v Speaker 1>but I've heard the Continental Bats and this is where

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

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<v Speaker 1>And you were her musical director.

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<v Speaker 2>Or I was the music director of every weekend. I

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<v Speaker 2>would show up whoever was performing there. They give me

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<v Speaker 2>their music. I play for them at night. And bet

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<v Speaker 2>was one of those girls, okay, and it was it

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<v Speaker 2>was odd because they weren't wearing any clothes.

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<v Speaker 1>Oh wow, Okay, I did not know this. So is

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<v Speaker 1>it actually inside the spa? So how is the conversation

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<v Speaker 1>and all that stuff worked? For the instruments and whatnot,

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<v Speaker 1>Like there.

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<v Speaker 2>Was just me at a rotten little piano and a

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<v Speaker 2>drummer who tried to catch up. That was good, and

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<v Speaker 2>a lot of people.

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<v Speaker 1>Came out and her voice would amplify, like yeah, I'm

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<v Speaker 1>still thinking of the technical part of it, like if

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<v Speaker 1>you're if you're in a steam room with a microphone.

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<v Speaker 2>Yeah, I mean it was very amateurs. It was no

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<v Speaker 2>big deal.

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<v Speaker 1>What was the duration of these ninety minutes? Okay?

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<v Speaker 2>She would take an intermission. All the girls. I don't

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<v Speaker 2>think I ever saw a guy performing there. It was

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<v Speaker 2>all the girls, got it. I was playing for all

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<v Speaker 2>the girls as a as a musician and as a

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<v Speaker 2>I would do their arrangements of it. And a lot

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<v Speaker 2>of times I found that those girls were gonna be

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<v Speaker 2>performing at the Continental Bass on Saturday night, So that

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<v Speaker 2>was good. It was it was inbiting. I was not naked.

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<v Speaker 2>I was not with a little towel around me at all.

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<v Speaker 2>So much my hot, finish my gig and run.

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<v Speaker 1>Okay. What I've heard about these shows is how legendary

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<v Speaker 1>they were, Like what was it about her as a

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<v Speaker 1>performer that made her stand out from anyone else? That's

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<v Speaker 1>saying there and anyone else have notes sing there as

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<v Speaker 1>well or just yeah.

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<v Speaker 2>But bet was. She was brilliant. I mean the most

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<v Speaker 2>brilliant young challenge that you've ever seen. And she was

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<v Speaker 2>going to be a star, and I mean she was

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<v Speaker 2>so she could do anything. She could do blues, she

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<v Speaker 2>could do welcome rolls. So that was great for me

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<v Speaker 2>because I could do that too. So got it. So

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<v Speaker 2>we hated each other on site, but musically were great.

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

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

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<v Speaker 1>know that today producing is a very loose term, Like

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<v Speaker 1>I know producers that do the work, and I know

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<v Speaker 1>some producers just rubber stamp. But I know back then

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<v Speaker 1>there was a whole process, or at least it was

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<v Speaker 1>more discipline in terms of like getting rhythm arrangers, getting

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<v Speaker 1>horn arrangers. Like without having had that experience before, how

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<v Speaker 1>intimidating was it to man the ship for the first time?

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<v Speaker 2>Yeah, I loved it. I loved it, especially if they

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<v Speaker 2>did have music that I could just play for them.

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<v Speaker 2>That hardly had music. She was just coming up, she

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<v Speaker 2>was broke, she didn't have she didn't have money to

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<v Speaker 2>get arrangements that people could. Once I started working for

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<v Speaker 2>I wrote out all of the arrangements that she would

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<v Speaker 2>need and for nothing, because I saw this girl was

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<v Speaker 2>so talented, was so talented, and when you see something

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<v Speaker 2>like that, you have to support it. I felt rugby myself,

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<v Speaker 2>but this girl was something else.

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<v Speaker 1>Then what was your creative process? Like I know some

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<v Speaker 1>songwriters Quincy Jones says he likes to arrange like between

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<v Speaker 1>midnight and five am, or like for you, what is

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<v Speaker 1>the creative process that you need in order to bring

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<v Speaker 1>a song to light?

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<v Speaker 2>What I need is a job. I don't like to

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<v Speaker 2>write songs, and because they never go anywhere, and most

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<v Speaker 2>of them are wonderful. I think they're wonderful. I only

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<v Speaker 2>write these days if someone has a job and I

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

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<v Speaker 2>But for so many years I just would write a

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<v Speaker 2>song or I don't know, and they would go nowhere

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<v Speaker 2>to go into the book, And so I stopped doing that.

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

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<v Speaker 1>is your last go round, so you say, But I mean,

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<v Speaker 1>how many are still left over? Or it's just that

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<v Speaker 1>you write for the moment, for the task at hand.

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<v Speaker 2>Yeah, I do. I write on demand, but there are

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<v Speaker 2>songs that I wrote with nothing in mind.

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<v Speaker 1>So how do you deal with the pressure then and

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<v Speaker 1>actually admire this this process which I never heard before,

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<v Speaker 1>because everyone has this story, like one night I woke

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<v Speaker 1>from a dream and I felt inspired.

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<v Speaker 2>To da da da da. Like I don't one of

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<v Speaker 2>those two.

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<v Speaker 1>I mean, I'm not technically known as a songwriter, but

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<v Speaker 1>oftentimes the first thing that's or my plate is the deadline.

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<v Speaker 1>I need something by Thursday, March blah blah blah.

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<v Speaker 2>Well we're saying the same thing. I need to know

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<v Speaker 2>that it's going to land someplace. So I stopped just

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<v Speaker 2>writing just to write to write, I mean, just wasting,

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<v Speaker 2>wasting great music. And I was so proud of these

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<v Speaker 2>things that they didn't go anywhere. So I won't do

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<v Speaker 2>it unless I know it's going to go someplace.

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<v Speaker 1>Have you ever had like a real severe case of

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

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<v Speaker 1>I've written lousy songs, but okay, well, I know you've

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<v Speaker 1>had collaborators, but I mean Ron Dante is probably the

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<v Speaker 1>person that would be that. But who's the person that

0:13:20.040 --> 0:13:24.440
<v Speaker 1>could tell you you tried that idea before or maybe

0:13:24.520 --> 0:13:26.480
<v Speaker 1>you used to do a key lower like who's the

0:13:26.480 --> 0:13:28.400
<v Speaker 1>person that you trust to say?

0:13:29.000 --> 0:13:32.480
<v Speaker 2>Well, these days it's a gun named David Benson, Okay,

0:13:33.440 --> 0:13:37.960
<v Speaker 2>who I've known for years, and certainly my assistant Mark

0:13:38.120 --> 0:13:41.760
<v Speaker 2>is sole musical. Those are the two guys that I

0:13:41.920 --> 0:13:44.600
<v Speaker 2>run to to ask what do you think?

0:13:44.960 --> 0:13:47.319
<v Speaker 1>And you accept their truth. They'll be honest with you.

0:13:47.440 --> 0:13:47.920
<v Speaker 2>Yeah, I do.

0:14:00.679 --> 0:14:04.200
<v Speaker 1>When was the moment in your career that you knew

0:14:04.679 --> 0:14:08.000
<v Speaker 1>that you could do this full time? Because I always

0:14:08.040 --> 0:14:11.720
<v Speaker 1>imagine living in New York City, there's never the feeling

0:14:11.800 --> 0:14:14.880
<v Speaker 1>of safety of like like when you get your first

0:14:14.960 --> 0:14:17.839
<v Speaker 1>number one, do you feel like you arrived? There was

0:14:18.080 --> 0:14:22.880
<v Speaker 1>like m I still might have to hustle my way through.

0:14:22.800 --> 0:14:26.600
<v Speaker 2>Or well, that's two questions because at the beginning, I

0:14:26.600 --> 0:14:28.280
<v Speaker 2>had to figure out what I wanted to do with

0:14:28.320 --> 0:14:31.520
<v Speaker 2>my life. So I wasn't even thinking about making records

0:14:31.640 --> 0:14:33.960
<v Speaker 2>ever ever even thinking about doing that.

0:14:34.480 --> 0:14:35.080
<v Speaker 1>Wait, why not?

0:14:35.840 --> 0:14:39.520
<v Speaker 2>Well, coming from the slums of Brooklyn, New York, you

0:14:39.520 --> 0:14:42.520
<v Speaker 2>don't think that big, Okay.

0:14:42.560 --> 0:14:45.400
<v Speaker 1>So when you were when you were eleven, what were

0:14:45.440 --> 0:14:47.480
<v Speaker 1>your goals in life? Like, what did you want to

0:14:47.520 --> 0:14:49.200
<v Speaker 1>do for a living? What did you think you wanted.

0:14:49.200 --> 0:14:51.920
<v Speaker 2>Just to get home from school just to start you

0:14:51.960 --> 0:14:56.680
<v Speaker 2>want to do without getting what were you doing when

0:14:56.720 --> 0:14:58.560
<v Speaker 2>you were eleving? Did you know you were going to

0:14:58.600 --> 0:14:59.320
<v Speaker 2>be a musician.

0:15:01.640 --> 0:15:02.800
<v Speaker 1>This is the worst humble prag.

0:15:03.080 --> 0:15:03.280
<v Speaker 2>I mean.

0:15:03.360 --> 0:15:06.520
<v Speaker 1>My my father was an oldies do wop singer from

0:15:06.560 --> 0:15:08.840
<v Speaker 1>the fifties. Oh so he had a group called Le

0:15:08.920 --> 0:15:12.640
<v Speaker 1>Andrews and the Hearts, and by the time I was born,

0:15:13.640 --> 0:15:15.960
<v Speaker 1>it was the nostalgia period, so he kind of made

0:15:15.960 --> 0:15:18.440
<v Speaker 1>it a family act. So like when I was twelve,

0:15:18.880 --> 0:15:21.760
<v Speaker 1>because of a motorcycle accident of my dad's drummer, I

0:15:21.840 --> 0:15:26.480
<v Speaker 1>became his de facto drummer and bandleader. Like my first

0:15:26.480 --> 0:15:29.080
<v Speaker 1>gig was at Radio City Music Hall, whoa, And so

0:15:29.800 --> 0:15:33.000
<v Speaker 1>I was tricked into the family business, like farming, you know,

0:15:33.120 --> 0:15:35.400
<v Speaker 1>like they didn't believe in babysitters, so it's like, nope,

0:15:35.440 --> 0:15:37.600
<v Speaker 1>you come with us. And so I got tricked into

0:15:37.600 --> 0:15:41.240
<v Speaker 1>the family business. But I mean, pretty much, my dad's

0:15:41.320 --> 0:15:43.400
<v Speaker 1>dream was for me to like to drum for you,

0:15:43.480 --> 0:15:45.800
<v Speaker 1>like a respectable job, like I want you to do

0:15:45.920 --> 0:15:49.280
<v Speaker 1>something with the dada I Philharmonic or that sort of thing.

0:15:49.520 --> 0:15:53.160
<v Speaker 1>And you know, starting a rap group with my best

0:15:53.160 --> 0:15:55.920
<v Speaker 1>friend in high school like was not as plans, even

0:15:55.960 --> 0:16:00.560
<v Speaker 1>though I auditioned for Juilliard, Like the next day my

0:16:00.720 --> 0:16:03.080
<v Speaker 1>act of rebellion was busking on the streets. And then

0:16:03.640 --> 0:16:04.800
<v Speaker 1>that led to a record deal.

0:16:04.840 --> 0:16:09.200
<v Speaker 2>And so when your father must have been really proud.

0:16:09.040 --> 0:16:12.560
<v Speaker 1>And by my fourth album he was. But even even

0:16:12.600 --> 0:16:14.560
<v Speaker 1>on the third album he was still like, you gotta

0:16:14.560 --> 0:16:17.720
<v Speaker 1>get a real job. But that's the thing, Like I

0:16:17.960 --> 0:16:20.680
<v Speaker 1>don't think a musician ever feels like they're totally safe

0:16:21.080 --> 0:16:22.840
<v Speaker 1>or you know, like this is what I'm gonna do

0:16:22.880 --> 0:16:26.560
<v Speaker 1>for a lifetime. So as far as your life as

0:16:26.560 --> 0:16:29.680
<v Speaker 1>a jingle maker, how many drafts do you have to

0:16:29.760 --> 0:16:33.880
<v Speaker 1>go through before you know you deserve a break? The

0:16:33.960 --> 0:16:38.960
<v Speaker 1>day is the one? Or you know you're the Panpsy generation,

0:16:39.320 --> 0:16:43.320
<v Speaker 1>Or did you also write I'm a pepper, he's a pepper? No, okay,

0:16:43.480 --> 0:16:46.240
<v Speaker 1>but you wrote for doctor Pepper Rick correct band aid

0:16:46.520 --> 0:16:49.760
<v Speaker 1>and I'm stuck going band aid And I'm sure you

0:16:49.800 --> 0:16:53.160
<v Speaker 1>know everything or even today kids know like a good

0:16:53.200 --> 0:16:58.440
<v Speaker 1>neighbor state farms there. How do you know when you

0:16:58.640 --> 0:17:01.240
<v Speaker 1>have the perfect eight second tag?

0:17:02.080 --> 0:17:06.320
<v Speaker 2>It comes really easy to me. And the commercial world,

0:17:06.800 --> 0:17:09.439
<v Speaker 2>the world that I was in, they would give me

0:17:09.600 --> 0:17:14.160
<v Speaker 2>a lyric or they would give me a couple of lines.

0:17:14.400 --> 0:17:17.320
<v Speaker 2>That's what I had to create. So if they gave

0:17:17.359 --> 0:17:19.840
<v Speaker 2>me a lyric, we'll get out of the way. I

0:17:19.840 --> 0:17:22.800
<v Speaker 2>can write a melody to anything. And I got them

0:17:22.960 --> 0:17:27.440
<v Speaker 2>a lot. I love those years. I just love those years.

0:17:27.480 --> 0:17:30.879
<v Speaker 2>I learned so much about making records. I worked with

0:17:30.920 --> 0:17:36.200
<v Speaker 2>the greatest musicians because you know, they get paid big

0:17:36.440 --> 0:17:39.680
<v Speaker 2>to do a commercial, and so they were so helpful

0:17:39.720 --> 0:17:44.080
<v Speaker 2>to me. You know, I was so green during those years.

0:17:44.320 --> 0:17:46.480
<v Speaker 2>But when I left, I knew what I was doing,

0:17:46.520 --> 0:17:49.120
<v Speaker 2>and I knew I wanted to stay there. I never

0:17:49.160 --> 0:17:51.240
<v Speaker 2>really thought about singing, never.

0:17:51.480 --> 0:17:53.560
<v Speaker 1>So the learning curve of it, like did you have

0:17:53.640 --> 0:17:56.639
<v Speaker 1>a mentor to actually teach you the ropes or this

0:17:56.720 --> 0:17:59.239
<v Speaker 1>stuff you have to learn? No, on the way to it.

0:17:59.560 --> 0:18:01.920
<v Speaker 2>No, you know, it was just a job, and they

0:18:02.040 --> 0:18:05.359
<v Speaker 2>liked what I did. And I was one of like

0:18:05.520 --> 0:18:10.040
<v Speaker 2>five guys that tried out for these commercials. And I

0:18:10.040 --> 0:18:11.760
<v Speaker 2>would get them, the other guy would get them, the

0:18:11.800 --> 0:18:13.840
<v Speaker 2>girl would get them. I would get them, and we

0:18:13.880 --> 0:18:14.760
<v Speaker 2>would all try to.

0:18:15.720 --> 0:18:17.879
<v Speaker 1>So there's like four other versions of like a good

0:18:17.880 --> 0:18:19.840
<v Speaker 1>neighbor of state farmers there that we don't know about.

0:18:20.000 --> 0:18:25.920
<v Speaker 2>Yeah, and they were great, these people were great. Really,

0:18:26.359 --> 0:18:28.520
<v Speaker 2>I don't even know how I was able to compute

0:18:28.520 --> 0:18:30.080
<v Speaker 2>with them. They were wonderful.

0:18:30.800 --> 0:18:34.399
<v Speaker 1>I respect that because when I started Late Night. Yeah,

0:18:34.440 --> 0:18:38.320
<v Speaker 1>one of the biggest songwriting challenges. This is one I knew, like, oh,

0:18:38.400 --> 0:18:40.600
<v Speaker 1>I don't know anything about songwriting. It's like when you

0:18:40.680 --> 0:18:43.879
<v Speaker 1>have to write a five second tag jingle and they

0:18:43.880 --> 0:18:46.840
<v Speaker 1>would literally send us back, you know, they'd be like, Okay,

0:18:47.040 --> 0:18:48.920
<v Speaker 1>this called hot dog in a Hole, give me five

0:18:48.960 --> 0:18:51.720
<v Speaker 1>second jingle. And we'd write it and they'd be like, no,

0:18:51.760 --> 0:18:56.040
<v Speaker 1>it's we need more. Like they literally wanted emotion, and

0:18:56.080 --> 0:18:59.320
<v Speaker 1>I'm like, dude, it's just a five second tag for

0:18:59.400 --> 0:19:01.639
<v Speaker 1>a game. Like I didn't think it was that serious.

0:19:01.720 --> 0:19:05.560
<v Speaker 1>But after five years of doing that, I now realized

0:19:05.600 --> 0:19:08.439
<v Speaker 1>that whatever I had before I came to the Tonight

0:19:08.480 --> 0:19:12.560
<v Speaker 1>Show writing five second jingles as a muscle exercise is

0:19:12.680 --> 0:19:16.040
<v Speaker 1>now made me a monster, you know, for real songs.

0:19:16.240 --> 0:19:21.280
<v Speaker 1>How do you handle rejection if someone doesn't like it?

0:19:21.760 --> 0:19:24.199
<v Speaker 1>Like do you come home and remix it? Or do

0:19:24.280 --> 0:19:24.879
<v Speaker 1>you know?

0:19:25.720 --> 0:19:28.600
<v Speaker 2>In that world it's yes or no. That's a general

0:19:29.040 --> 0:19:32.119
<v Speaker 2>in mind, okay, and me I go on to.

0:19:32.200 --> 0:19:35.320
<v Speaker 1>The next thing, all right, So I can imagine at

0:19:35.400 --> 0:19:38.119
<v Speaker 1>least with the Bell Records connection. But can you talk

0:19:38.160 --> 0:19:42.240
<v Speaker 1>about your working relationship with Ron Dante and him producing

0:19:42.280 --> 0:19:46.159
<v Speaker 1>like your run of albums, how you your working relationship was,

0:19:46.280 --> 0:19:49.399
<v Speaker 1>And first of all, well to hear you say it,

0:19:49.520 --> 0:19:52.760
<v Speaker 1>how did you finally decide that, yes, I will become

0:19:52.840 --> 0:19:54.840
<v Speaker 1>a singer and release my own music.

0:19:55.800 --> 0:19:58.720
<v Speaker 2>Even when I read Ron Dante, I never considered myself

0:19:58.760 --> 0:20:01.640
<v Speaker 2>a singer. I was a songwriter. I was the arranger.

0:20:02.119 --> 0:20:05.200
<v Speaker 2>I was a piano player. So when I met Ron

0:20:05.280 --> 0:20:11.359
<v Speaker 2>Dante had a commercial session, I had written the piece.

0:20:11.440 --> 0:20:15.920
<v Speaker 2>I forget what the thing was. Then the producer asked

0:20:15.920 --> 0:20:19.080
<v Speaker 2>me if to sing in that group. That's when I

0:20:19.119 --> 0:20:22.240
<v Speaker 2>got some money when I was on the spot. If

0:20:22.240 --> 0:20:25.720
<v Speaker 2>you're because as a songwriter you get I got five hundred.

0:20:25.400 --> 0:20:28.040
<v Speaker 1>Dollars worked for hire.

0:20:28.280 --> 0:20:31.240
<v Speaker 2>And then well they don't unless you're on the spot

0:20:31.480 --> 0:20:34.919
<v Speaker 2>saying talking, you don't get residuals. So I wrote it.

0:20:34.960 --> 0:20:38.439
<v Speaker 1>Wait, so the songwriter doesn't get residuals, but the person

0:20:38.480 --> 0:20:41.159
<v Speaker 1>that sings it gets. So Luther Vangels will get all

0:20:41.160 --> 0:20:43.760
<v Speaker 1>the residuals for singing. Yeah, I started your Pepsi song.

0:20:43.880 --> 0:20:46.800
<v Speaker 2>Yeah, I started to get really big checks, but not

0:20:47.000 --> 0:20:51.480
<v Speaker 2>as the songwriter. I got five hundred dollars for state farmers. There.

0:20:52.160 --> 0:20:52.800
<v Speaker 2>That's it.

0:20:53.400 --> 0:20:56.600
<v Speaker 1>So to this day when I hear it, five hundred,

0:20:57.840 --> 0:20:59.040
<v Speaker 1>damn okay.

0:20:59.760 --> 0:21:02.920
<v Speaker 2>But when I sang on the spot, well watch out

0:21:04.119 --> 0:21:07.280
<v Speaker 2>those who really great, I mean especially for me. So

0:21:07.320 --> 0:21:11.120
<v Speaker 2>I met ron Dante on a on one of those

0:21:11.240 --> 0:21:18.399
<v Speaker 2>kind of singing sessions. He was fantastic. He doesn't read music,

0:21:18.480 --> 0:21:23.919
<v Speaker 2>but he's so talented. He gets it like that. His

0:21:24.240 --> 0:21:30.000
<v Speaker 2>voice is so pleasant on the radio. They hire him

0:21:30.040 --> 0:21:30.919
<v Speaker 2>for everything.

0:21:31.320 --> 0:21:33.720
<v Speaker 1>He was once the voice of the Sugar Sugar for

0:21:33.760 --> 0:21:34.679
<v Speaker 1>the cot.

0:21:35.040 --> 0:21:37.399
<v Speaker 2>That was a big one for him anyway. So I was.

0:21:37.640 --> 0:21:40.280
<v Speaker 2>We did a session together and we went out to

0:21:40.720 --> 0:21:44.000
<v Speaker 2>lunch or something, and we started talking about what about

0:21:44.000 --> 0:21:46.359
<v Speaker 2>making a record because I had written some stuff that

0:21:46.400 --> 0:21:49.879
<v Speaker 2>he really liked. So we said sure, you know, so

0:21:49.960 --> 0:21:52.760
<v Speaker 2>we pope pulled our money and we went into the

0:21:52.800 --> 0:21:56.199
<v Speaker 2>recording studio and I thought he was going to sing it,

0:21:56.920 --> 0:21:59.880
<v Speaker 2>sing the lead, because I really never even thought about

0:22:00.000 --> 0:22:03.320
<v Speaker 2>myself as a singer never. But he didn't know the

0:22:03.400 --> 0:22:07.439
<v Speaker 2>lyric and he didn't know the melody right. So I

0:22:07.560 --> 0:22:10.320
<v Speaker 2>went in there and sang, and I, you know, I

0:22:10.320 --> 0:22:14.600
<v Speaker 2>felt ridiculous because I've never really thought about being a singer.

0:22:14.920 --> 0:22:19.160
<v Speaker 2>And we played our demos for record companies and they

0:22:19.400 --> 0:22:24.840
<v Speaker 2>liked me. What are you talking about? But they like me,

0:22:25.600 --> 0:22:30.720
<v Speaker 2>and eventually I got a record deal at Felt Records.

0:22:30.960 --> 0:22:33.119
<v Speaker 1>So what is the key to your confidence then? Like

0:22:33.200 --> 0:22:37.800
<v Speaker 1>if you're in your mind saying hey, why me? Like

0:22:37.960 --> 0:22:40.600
<v Speaker 1>what gets you out of how do you deal with

0:22:40.640 --> 0:22:44.560
<v Speaker 1>imposter syndrome? Like do I deserve to be here? Shouldn't

0:22:44.560 --> 0:22:46.199
<v Speaker 1>you get a better guy to sing it? Like in

0:22:46.200 --> 0:22:49.000
<v Speaker 1>your mind? Yeah, what's the voice of you hearing that

0:22:49.119 --> 0:22:51.120
<v Speaker 1>should knock these songs out?

0:22:51.280 --> 0:22:53.480
<v Speaker 2>Yeah? Well, I know it was a long time ago,

0:22:53.560 --> 0:22:56.480
<v Speaker 2>but but I no, I never considered myself a singer.

0:22:56.600 --> 0:22:57.879
<v Speaker 2>I thought it was ridiculous.

0:22:58.080 --> 0:23:01.399
<v Speaker 1>How did you deal with imposter syndrome? Realize that you

0:23:01.520 --> 0:23:02.040
<v Speaker 1>are the one?

0:23:02.600 --> 0:23:06.920
<v Speaker 2>I played the game I did. They wanted me to sing, Sure,

0:23:06.960 --> 0:23:10.720
<v Speaker 2>I'll sing it was really about some buddy.

0:23:11.200 --> 0:23:15.040
<v Speaker 1>Well, okay, so the first album didn't necessarily hit as much.

0:23:15.160 --> 0:23:18.040
<v Speaker 1>So how did you deal with that not working? Did

0:23:18.119 --> 0:23:19.720
<v Speaker 1>youus think like, okay, this is a one off and

0:23:19.760 --> 0:23:20.199
<v Speaker 1>I did it and.

0:23:20.320 --> 0:23:23.520
<v Speaker 2>I was hoping it didn't work. I didn't like the gig.

0:23:23.800 --> 0:23:26.439
<v Speaker 2>I like the gig of writing way I like the

0:23:26.520 --> 0:23:28.080
<v Speaker 2>gig of arranging.

0:23:28.680 --> 0:23:30.919
<v Speaker 1>You know, only wanted to self sabotage her.

0:23:31.280 --> 0:23:33.200
<v Speaker 2>Yeah, I was hoping this would go away.

0:23:34.119 --> 0:23:37.439
<v Speaker 1>This often happens, Okay, so I would at least like

0:23:37.480 --> 0:23:41.520
<v Speaker 1>to think that now you feel like, okay, I deserved it,

0:23:42.080 --> 0:23:45.320
<v Speaker 1>and you still feel that way, So you don't feel

0:23:45.320 --> 0:23:48.120
<v Speaker 1>like we appreciate you all that much or I'm gonna

0:23:48.119 --> 0:23:51.280
<v Speaker 1>I'm gonna put it this way. You're so ubiquitous, like

0:23:51.320 --> 0:23:54.040
<v Speaker 1>the fiber of you, so ubiquitous that I know your

0:23:54.040 --> 0:23:56.919
<v Speaker 1>whole history and I'm not even your target audience. Like,

0:23:57.800 --> 0:24:00.520
<v Speaker 1>but if I'm home as a third grader like you

0:24:00.560 --> 0:24:02.600
<v Speaker 1>were on Dinah Shore, I think he had a group

0:24:02.640 --> 0:24:06.560
<v Speaker 1>called Lady Flash or something like that. Yeah, like to

0:24:06.600 --> 0:24:09.840
<v Speaker 1>watch Bandstand and Soldierin all the time. So like you're

0:24:09.880 --> 0:24:13.399
<v Speaker 1>just a part of our fabric. So in case you

0:24:13.440 --> 0:24:19.480
<v Speaker 1>don't know, you're appreciated. But the second time it did.

0:24:19.520 --> 0:24:24.920
<v Speaker 2>Work, well, that was because Clive that tell me about and.

0:24:25.040 --> 0:24:28.800
<v Speaker 1>You get prime Clive, you get prime hungry. I got

0:24:28.880 --> 0:24:33.359
<v Speaker 1>to prove to Columbia and start an arist to like,

0:24:34.200 --> 0:24:37.080
<v Speaker 1>I feel like, even though I know Eric Carmon and

0:24:37.119 --> 0:24:39.680
<v Speaker 1>Bay City Rollers was sort of like out the Gate

0:24:39.720 --> 0:24:43.800
<v Speaker 1>with him, But I feel like you are his main

0:24:44.920 --> 0:24:49.040
<v Speaker 1>trojan horse in terms of like him him establishing himself.

0:24:49.119 --> 0:24:50.120
<v Speaker 2>But I don't know why.

0:24:50.280 --> 0:24:52.240
<v Speaker 1>Well, was the relationship contentious?

0:24:52.280 --> 0:24:56.600
<v Speaker 2>Like, well, he wanted me to record songs that he liked?

0:24:57.440 --> 0:24:59.760
<v Speaker 1>He would did you trust his zero back then? Or

0:24:59.800 --> 0:25:00.720
<v Speaker 1>were you were lucky them?

0:25:00.760 --> 0:25:00.800
<v Speaker 2>Like?

0:25:01.160 --> 0:25:01.520
<v Speaker 1>Okay?

0:25:01.680 --> 0:25:05.720
<v Speaker 2>No? But I wanted to record my own songs. Was

0:25:06.440 --> 0:25:10.359
<v Speaker 2>I was a songwriter, and so we made a deal.

0:25:10.760 --> 0:25:15.120
<v Speaker 2>I would give him two songs on the albums and

0:25:15.160 --> 0:25:17.720
<v Speaker 2>the rest of them would be mine. And of course

0:25:17.800 --> 0:25:22.560
<v Speaker 2>those two songs. I wonder how that.

0:25:22.560 --> 0:25:25.960
<v Speaker 1>Would happen, right, Well, you told the story thing on

0:25:25.960 --> 0:25:29.040
<v Speaker 1>the tonight show of you not liking Mandy when it

0:25:29.119 --> 0:25:30.040
<v Speaker 1>first arrived to you.

0:25:30.600 --> 0:25:31.879
<v Speaker 2>Well, did you ever hear that?

0:25:32.080 --> 0:25:36.119
<v Speaker 1>I've heard the original? Okay, So when I still feel,

0:25:36.160 --> 0:25:39.359
<v Speaker 1>we all still feel like a song is yours once

0:25:39.359 --> 0:25:41.920
<v Speaker 1>it arrives in your hands. So when you get a song,

0:25:42.880 --> 0:25:44.639
<v Speaker 1>how long do you have to sit with it before

0:25:44.800 --> 0:25:47.199
<v Speaker 1>you filter it and process it and mold it to

0:25:47.280 --> 0:25:48.840
<v Speaker 1>know that, Okay, this is now my song.

0:25:48.840 --> 0:25:52.280
<v Speaker 2>Well, they're all different, but I mean Mandy, I played

0:25:52.320 --> 0:25:56.159
<v Speaker 2>around with it and I changed the chords and I

0:25:56.280 --> 0:25:59.440
<v Speaker 2>found the love song hiding in this rock and roll song.

0:26:00.240 --> 0:26:04.439
<v Speaker 2>And that night Ronnie and I did a version of

0:26:04.680 --> 0:26:07.920
<v Speaker 2>Brandy just like the demo, and Clive came in and said,

0:26:07.920 --> 0:26:11.880
<v Speaker 2>what's that. I said, that's the record that you think

0:26:11.920 --> 0:26:14.480
<v Speaker 2>I should do, and he said that's terrible. I said,

0:26:14.520 --> 0:26:17.359
<v Speaker 2>I know it's terrible. That's not what I do. So

0:26:17.520 --> 0:26:21.000
<v Speaker 2>I said, I've been playing in the afternoon. Come with me.

0:26:21.560 --> 0:26:25.640
<v Speaker 2>So I sat him, I sat at the piano and

0:26:26.280 --> 0:26:28.600
<v Speaker 2>I played him what I had played around with in

0:26:28.640 --> 0:26:32.080
<v Speaker 2>the afternoon, which was I had found the love song

0:26:32.280 --> 0:26:36.800
<v Speaker 2>hiding in this Mandy And he said, just do that,

0:26:37.440 --> 0:26:40.080
<v Speaker 2>just and he backed the way into the control room

0:26:40.520 --> 0:26:46.160
<v Speaker 2>and we did one take and that was it. What ah?

0:26:46.720 --> 0:26:49.200
<v Speaker 2>Then we added strings.

0:26:48.720 --> 0:26:51.600
<v Speaker 1>And so initially leaves this piano in your voice and

0:26:52.119 --> 0:26:55.159
<v Speaker 1>no click track any Oh my god, there would been

0:26:55.200 --> 0:26:59.679
<v Speaker 1>a nightmare for me. Yea, In your opinion, what is

0:27:00.119 --> 0:27:04.760
<v Speaker 1>already for a great song? Is it? I'm a rhythm

0:27:04.800 --> 0:27:07.240
<v Speaker 1>person because I'm a drummer. But for you is it?

0:27:07.359 --> 0:27:10.480
<v Speaker 1>The words? Is the melody, it's the emotion.

0:27:11.280 --> 0:27:17.400
<v Speaker 2>If you can get people to feel something, then you're

0:27:17.480 --> 0:27:18.280
<v Speaker 2>halfway home.

0:27:18.800 --> 0:27:22.040
<v Speaker 1>So at every arrangement of yours, every song of yours,

0:27:22.080 --> 0:27:25.919
<v Speaker 1>has to have emotion that gives you know, Okay. I

0:27:26.040 --> 0:27:30.000
<v Speaker 1>always wanted to know this because this is a karaoke

0:27:30.520 --> 0:27:37.159
<v Speaker 1>nightmare song for the Copa cabana. I admire songs that

0:27:37.280 --> 0:27:40.760
<v Speaker 1>have a narrative in it, and there's so much detail

0:27:41.680 --> 0:27:46.160
<v Speaker 1>and linear detail packed in this song. Yet it's probably

0:27:46.200 --> 0:27:47.600
<v Speaker 1>one of your most popular songs.

0:27:47.600 --> 0:27:49.640
<v Speaker 2>And I don't know why, but and.

0:27:49.560 --> 0:27:53.040
<v Speaker 1>There's no circular thing that like, I mean, the melody

0:27:53.080 --> 0:27:56.000
<v Speaker 1>sticks with you, but there's so like I mean, someone

0:27:56.040 --> 0:27:58.640
<v Speaker 1>gets shot, and like at the time when you were

0:27:58.640 --> 0:28:02.639
<v Speaker 1>creating it, is this like going to be filler in

0:28:02.680 --> 0:28:05.560
<v Speaker 1>your head like a great album cut or did you

0:28:05.800 --> 0:28:08.080
<v Speaker 1>say this is going to be like my signature or something?

0:28:08.440 --> 0:28:13.120
<v Speaker 2>No, no, no, no, it was the novelty cut on

0:28:13.160 --> 0:28:13.600
<v Speaker 2>the album.

0:28:13.680 --> 0:28:15.680
<v Speaker 1>Because so when it caught on, how did you feel

0:28:15.680 --> 0:28:16.160
<v Speaker 1>about it?

0:28:17.200 --> 0:28:21.399
<v Speaker 2>It was thrilling, Okay, thrilling, yeah, Runner. I took her

0:28:21.480 --> 0:28:25.920
<v Speaker 2>to a disco around where the studio was. As soon

0:28:25.960 --> 0:28:29.320
<v Speaker 2>as Copa came on, we you know, paid some guy

0:28:29.520 --> 0:28:33.680
<v Speaker 2>and said the DJ, and as soon as it came on,

0:28:34.359 --> 0:28:37.160
<v Speaker 2>everybody ran to the dance floor and pretended they were

0:28:37.840 --> 0:28:40.280
<v Speaker 2>they were in the nineteen forties.

0:28:40.120 --> 0:28:43.880
<v Speaker 1>Right, wash buckling and cast a blanket.

0:28:43.960 --> 0:28:49.360
<v Speaker 2>Okay, I said to you, we're onto something and uh

0:28:49.760 --> 0:28:50.640
<v Speaker 2>Claude hated it.

0:28:50.840 --> 0:28:51.160
<v Speaker 1>Really.

0:28:51.480 --> 0:28:56.400
<v Speaker 2>Yeah, Rista didn't put a penny behind promotion of Gopa Cabaa.

0:28:56.800 --> 0:28:58.520
<v Speaker 1>It's so caught on because the word of mouth and

0:28:58.640 --> 0:28:59.160
<v Speaker 1>just spreading.

0:28:59.240 --> 0:29:02.240
<v Speaker 2>That's how it happened. Okay, when that is a real

0:29:02.320 --> 0:29:03.000
<v Speaker 2>hit record.

0:29:03.400 --> 0:29:07.240
<v Speaker 1>Whenever he is wrong, will he admit it or will

0:29:07.280 --> 0:29:10.600
<v Speaker 1>he just hey, I knew it all? Will he just well?

0:29:11.040 --> 0:29:14.200
<v Speaker 2>Ask him? He doesn't. He didn't. He doesn't like copa

0:29:14.360 --> 0:29:16.680
<v Speaker 2>and he didn't do anything for it, but the public

0:29:16.880 --> 0:29:23.240
<v Speaker 2>liked it, and they were calling in the radio stations

0:29:23.280 --> 0:29:26.280
<v Speaker 2>and as saying to play mane los copa. Okay, yeah,

0:29:26.600 --> 0:29:27.480
<v Speaker 2>that's how it happened.

0:29:28.080 --> 0:29:32.760
<v Speaker 1>So you probably have one of the best co signs ever.

0:29:33.240 --> 0:29:38.880
<v Speaker 1>When Sinatra famously said, hey, like you're the next great one.

0:29:38.800 --> 0:29:41.080
<v Speaker 2>He didn't say that. He said, well, I know that.

0:29:41.120 --> 0:29:42.400
<v Speaker 1>He said something to this.

0:29:42.560 --> 0:29:46.240
<v Speaker 2>He said he's next, and I thought, am I gonna

0:29:47.560 --> 0:29:52.040
<v Speaker 2>wind up where the horse was at? He's next?

0:29:52.120 --> 0:29:53.280
<v Speaker 1>But he knew what he meant.

0:29:53.560 --> 0:29:59.520
<v Speaker 2>Yes, he said he's next. I never really got to

0:29:59.600 --> 0:30:03.000
<v Speaker 2>know him, but he sang a song of mine on

0:30:03.000 --> 0:30:05.640
<v Speaker 2>the Tonight Show and he did a beautiful job. Not

0:30:05.840 --> 0:30:09.440
<v Speaker 2>one of the hits. He found a real album cut,

0:30:10.120 --> 0:30:12.800
<v Speaker 2>he memorized it, did a beautiful job.

0:30:13.360 --> 0:30:19.280
<v Speaker 1>Is it weird when people cover your songs like so

0:30:19.280 --> 0:30:24.920
<v Speaker 1>soon after you did it? I mean, Donna Summer started

0:30:24.920 --> 0:30:28.280
<v Speaker 1>covering a song that you recorded, like maybe perhaps a

0:30:28.360 --> 0:30:32.400
<v Speaker 1>year before. Like when a song is yours and then

0:30:32.560 --> 0:30:35.800
<v Speaker 1>someone else does it, do you ever feel a certain

0:30:35.840 --> 0:30:36.440
<v Speaker 1>way about it?

0:30:36.520 --> 0:30:38.560
<v Speaker 2>Like I think everybody should record my songs?

0:30:39.320 --> 0:30:42.360
<v Speaker 1>There you go. I don't care of the covers that

0:30:42.400 --> 0:30:45.720
<v Speaker 1>were done, Like what was your favorites that were or

0:30:45.800 --> 0:30:47.680
<v Speaker 1>the notable ones that you told?

0:30:47.720 --> 0:30:49.040
<v Speaker 2>The answer is could it be magic?

0:30:49.160 --> 0:30:49.320
<v Speaker 3>Yeah?

0:30:49.360 --> 0:30:50.120
<v Speaker 1>Could it be magic?

0:30:50.240 --> 0:31:01.480
<v Speaker 3>All right?

0:31:02.840 --> 0:31:06.840
<v Speaker 1>I gotta ask you this question in your arrangements, and

0:31:06.920 --> 0:31:10.280
<v Speaker 1>you're one of these grand arrangers. Like, there's two things

0:31:10.320 --> 0:31:13.040
<v Speaker 1>about your arrangements that I noticed. One, you rarely do

0:31:13.120 --> 0:31:19.120
<v Speaker 1>a fade out. You do an ending, which doesn't happen anymore,

0:31:19.160 --> 0:31:22.720
<v Speaker 1>like songs end in concert, but they never end on record,

0:31:23.960 --> 0:31:28.560
<v Speaker 1>and that's a lost art. But also the modulation now

0:31:29.040 --> 0:31:32.800
<v Speaker 1>of all your songs in which the modulation adds that

0:31:32.880 --> 0:31:36.960
<v Speaker 1>last part. I gotta ask you about never love this

0:31:37.000 --> 0:31:43.800
<v Speaker 1>way again? Because to me, the evil Canevil jump isn't

0:31:43.880 --> 0:31:47.680
<v Speaker 1>landing on the final note, it's that hold on bridge

0:31:48.240 --> 0:31:52.520
<v Speaker 1>in which Dion Warwick actually has to go. That modulation

0:31:52.560 --> 0:31:55.160
<v Speaker 1>should be studied for the ages. What was on your

0:31:55.240 --> 0:31:59.800
<v Speaker 1>mind when you make like you could have just go

0:31:59.840 --> 0:32:02.800
<v Speaker 1>on it's the modulation and been there, but you had to.

0:32:03.320 --> 0:32:07.560
<v Speaker 2>Yeah, it just felt better. It just felt better, and

0:32:07.800 --> 0:32:09.720
<v Speaker 2>she was so great that she was able to pick

0:32:09.760 --> 0:32:12.880
<v Speaker 2>it up. But it didn't throw you, did it?

0:32:13.560 --> 0:32:16.360
<v Speaker 1>I mean one, I'm not a singer, but I've been

0:32:16.400 --> 0:32:21.400
<v Speaker 1>witnessed to many a car accident. Yeah, singers attempting to

0:32:21.480 --> 0:32:24.080
<v Speaker 1>figure out where that last hold on goes to before

0:32:24.080 --> 0:32:25.800
<v Speaker 1>they had to land on the modulation.

0:32:26.080 --> 0:32:29.920
<v Speaker 2>Yeah, I don't think anybody's ever had trouble with those modulations,

0:32:30.280 --> 0:32:31.640
<v Speaker 2>even though they should.

0:32:32.400 --> 0:32:36.200
<v Speaker 1>But well they're complex. Though they're complex. But is that

0:32:36.440 --> 0:32:39.440
<v Speaker 1>a lost art? Like do you? I mean not? There's

0:32:39.480 --> 0:32:42.120
<v Speaker 1>a certain art to music that that has lost again

0:32:42.480 --> 0:32:47.280
<v Speaker 1>and the ending and the modulation, like is the modulation

0:32:47.480 --> 0:32:50.560
<v Speaker 1>the when you spoke of the emotion of a song,

0:32:51.440 --> 0:32:53.520
<v Speaker 1>is that the payoff? Like is the first three minutes

0:32:53.560 --> 0:32:57.160
<v Speaker 1>the build up that leads to whatever you're supposed to feel.

0:32:57.280 --> 0:32:59.840
<v Speaker 2>It all depends on the song. But the singer, the writer.

0:33:01.000 --> 0:33:05.400
<v Speaker 2>There's no rules. There's no rules. It's art, it's music.

0:33:06.800 --> 0:33:11.000
<v Speaker 2>You can't put it in a box. They're all different.

0:33:11.200 --> 0:33:14.920
<v Speaker 2>I don't even remember the modulation, and I never loved

0:33:14.960 --> 0:33:18.640
<v Speaker 2>this way again, But I mean, it's a beautiful song.

0:33:18.720 --> 0:33:20.960
<v Speaker 2>She did a beautiful job, and that's all I got.

0:33:21.600 --> 0:33:24.400
<v Speaker 1>There, you go. Speaking of which, Daja Vu is one of,

0:33:24.440 --> 0:33:27.240
<v Speaker 1>like one of my favorite songs of all time. I

0:33:27.360 --> 0:33:29.440
<v Speaker 1>know that Isaac Hayes wrote that song, but he just

0:33:29.480 --> 0:33:32.360
<v Speaker 1>talked about the general process of producing that Dion record

0:33:32.400 --> 0:33:36.240
<v Speaker 1>because by that point, you know, she had been kind

0:33:36.280 --> 0:33:38.760
<v Speaker 1>of out there for five six years really without like

0:33:39.560 --> 0:33:45.200
<v Speaker 1>a hit. So many people credit that entire album as

0:33:45.200 --> 0:33:49.040
<v Speaker 1>her comeback album and established her for the eighties and whatnot.

0:33:49.200 --> 0:33:51.320
<v Speaker 1>I mean started hosting Solid Gold.

0:33:51.120 --> 0:33:54.240
<v Speaker 2>After I think she got a Grammy for Yeah, I

0:33:54.240 --> 0:33:59.560
<v Speaker 2>don't know that was a again and dajelod another category. Yeah,

0:34:00.000 --> 0:34:01.400
<v Speaker 2>I had never heard of one of those.

0:34:01.840 --> 0:34:03.800
<v Speaker 1>So what was it like producing those sessions?

0:34:04.040 --> 0:34:07.600
<v Speaker 2>It was just another session. You're not saying all about no,

0:34:07.880 --> 0:34:12.840
<v Speaker 2>But by that time I knew those musicians. They were friends,

0:34:14.320 --> 0:34:17.200
<v Speaker 2>and I would tell them what I'd like and they

0:34:17.200 --> 0:34:20.080
<v Speaker 2>would play it, and that's it. I would love to

0:34:20.120 --> 0:34:23.800
<v Speaker 2>tell you that I was loved to the vibe in

0:34:23.880 --> 0:34:25.800
<v Speaker 2>the room. It says no, it was. It was a

0:34:25.840 --> 0:34:28.840
<v Speaker 2>recording session. I had done a million of them. You know,

0:34:28.920 --> 0:34:32.040
<v Speaker 2>they were great. These musicians were great. I would tell

0:34:32.080 --> 0:34:36.680
<v Speaker 2>them little ideas that I wanted and they would do

0:34:36.719 --> 0:34:42.480
<v Speaker 2>it okay. Sometimes they'll hit songs, and sometimes they weren't okay.

0:34:42.600 --> 0:34:48.040
<v Speaker 1>So your album, which is your first record in fifteen years. Yeah,

0:34:48.080 --> 0:34:51.160
<v Speaker 1>and by the way, congratulations on it. And I'm a

0:34:51.200 --> 0:34:55.400
<v Speaker 1>person that is also has not released any product in

0:34:55.440 --> 0:34:58.560
<v Speaker 1>ten years, and I'll admit that there's some sort of

0:34:58.600 --> 0:35:02.200
<v Speaker 1>psychological fear of getting back in the ring and going

0:35:02.239 --> 0:35:05.400
<v Speaker 1>back to the gym and working out how do you

0:35:05.520 --> 0:35:09.279
<v Speaker 1>walk through the fear of just one more time, like

0:35:09.640 --> 0:35:11.439
<v Speaker 1>let me do this again? How did you get through

0:35:11.760 --> 0:35:13.239
<v Speaker 1>any self doubt you had or.

0:35:14.120 --> 0:35:17.200
<v Speaker 2>Michael Lord and I made this album and it took

0:35:17.280 --> 0:35:20.640
<v Speaker 2>a long time, and COVID was have happened in the

0:35:20.680 --> 0:35:23.960
<v Speaker 2>middle of it, right, So it just took forever and

0:35:24.080 --> 0:35:27.160
<v Speaker 2>made this album. I didn't even think it was going

0:35:27.200 --> 0:35:31.080
<v Speaker 2>to ever come out after COVID, you know, I didn't know.

0:35:31.400 --> 0:35:33.800
<v Speaker 2>It wasn't one of those albums that I've made record

0:35:33.840 --> 0:35:39.760
<v Speaker 2>Company once Thursday. It wasn't that. It was a batch

0:35:39.800 --> 0:35:45.320
<v Speaker 2>of songs and I really wanted to hear them done properly.

0:35:46.200 --> 0:35:51.239
<v Speaker 2>And that's it. I love them and I think they're

0:35:51.360 --> 0:35:54.000
<v Speaker 2>very well. Maybe an audience that feels the same way,

0:35:54.680 --> 0:35:56.400
<v Speaker 2>But we'll see.

0:35:57.040 --> 0:36:00.000
<v Speaker 1>How did Once Before I Go land in your life?

0:36:00.200 --> 0:36:02.560
<v Speaker 1>And you know, why did you feel that was necessary

0:36:02.600 --> 0:36:03.040
<v Speaker 1>to record?

0:36:03.560 --> 0:36:07.359
<v Speaker 2>Clive? This man can't get rid of him, thank god.

0:36:08.000 --> 0:36:15.560
<v Speaker 2>But he was having this big outdoor festival in Central

0:36:15.600 --> 0:36:18.000
<v Speaker 2>Park and he got rained out. If you remember, he

0:36:18.080 --> 0:36:21.239
<v Speaker 2>got rained out and he called me and said, did

0:36:21.280 --> 0:36:23.839
<v Speaker 2>you have you ever heard of a so called Once

0:36:23.880 --> 0:36:27.279
<v Speaker 2>Before I Go? And I said, yeah. Peter played it

0:36:27.320 --> 0:36:30.560
<v Speaker 2>for me in my old apartment in New York. He said,

0:36:30.600 --> 0:36:34.080
<v Speaker 2>you should do it. I said, but it's been a

0:36:34.080 --> 0:36:39.040
<v Speaker 2>long time. Anyway, I went into the studio since I

0:36:39.120 --> 0:36:44.120
<v Speaker 2>was making an album and then I was on the road.

0:36:44.239 --> 0:36:49.720
<v Speaker 2>So goodness, Babyface Kenneth stepped in and made a beautiful

0:36:49.760 --> 0:36:54.520
<v Speaker 2>record for me, and I got a top ten single

0:36:54.600 --> 0:36:58.640
<v Speaker 2>out of it. I know, I haven't been on the

0:36:58.719 --> 0:37:02.200
<v Speaker 2>last time I was at the often Washington was closing

0:37:02.280 --> 0:37:09.960
<v Speaker 2>the Della Wheel. Really it's nuts.

0:37:10.960 --> 0:37:17.280
<v Speaker 1>My final question to you so once the album is out, completed,

0:37:17.640 --> 0:37:22.000
<v Speaker 1>and once you've done your very last show, and I

0:37:22.040 --> 0:37:25.120
<v Speaker 1>hate asking this question because again every artist I talk

0:37:25.200 --> 0:37:26.359
<v Speaker 1>to you says this is it?

0:37:26.719 --> 0:37:27.160
<v Speaker 3>No more?

0:37:30.920 --> 0:37:32.919
<v Speaker 1>All right, let me get a pen ultimate question before

0:37:32.920 --> 0:37:33.880
<v Speaker 1>I ask the final question.

0:37:34.160 --> 0:37:34.359
<v Speaker 2>One?

0:37:34.680 --> 0:37:38.040
<v Speaker 1>Is there really such a thing as stopping?

0:37:38.800 --> 0:37:38.920
<v Speaker 2>No?

0:37:39.400 --> 0:37:42.640
<v Speaker 1>Okay, So once the album is out and you've done

0:37:42.640 --> 0:37:45.600
<v Speaker 1>your very last show, what are you going to do

0:37:45.680 --> 0:37:46.240
<v Speaker 1>for yourself?

0:37:47.120 --> 0:37:48.680
<v Speaker 2>I'll tell you after I do it.

0:37:50.120 --> 0:37:53.000
<v Speaker 1>Barry Manilo, I thank you for granted me this audience.

0:37:53.080 --> 0:37:55.480
<v Speaker 1>You're such a legend and we appreciate and love you,

0:37:55.520 --> 0:37:58.520
<v Speaker 1>and thank you for coming on the Question Show. Thank

0:37:58.560 --> 0:38:00.480
<v Speaker 1>you so much. See all the next go around.

0:38:01.320 --> 0:38:02.120
<v Speaker 2>This was great.

0:38:08.040 --> 0:38:10.919
<v Speaker 1>A Quest Love Show is hosted by me Amir Quest

0:38:10.960 --> 0:38:14.080
<v Speaker 1>Love Thompson. The executive producers.

0:38:13.600 --> 0:38:19.480
<v Speaker 4>Are Sean g Brian Calhoun and Me. Produced by Brittany

0:38:19.520 --> 0:38:24.640
<v Speaker 4>Benjamin and Jake Paine. Produced for iHeart by Noel Brown,

0:38:25.880 --> 0:38:30.680
<v Speaker 4>Edited by Alex Conroy. iHeart video support by Mark Canton,

0:38:32.160 --> 0:38:37.600
<v Speaker 4>Logos Graphics and animation by Nick Blow. Additional support by

0:38:37.680 --> 0:38:43.480
<v Speaker 4>Lance Coleman. Special thanks to Kathy Brown. Special thanks to

0:38:43.560 --> 0:38:48.200
<v Speaker 4>Sugar Steve Mandel. Please subscribe Break Review as a share

0:38:48.200 --> 0:38:51.320
<v Speaker 4>of The Quest Love Show wherever you stream your podcast,

0:38:51.640 --> 0:38:53.400
<v Speaker 4>and make sure you follow us on socials.

0:38:53.880 --> 0:39:00.560
<v Speaker 1>That's at q LS. Check out hundreds and hundreds of episodes,

0:39:00.560 --> 0:39:06.600
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0:39:06.680 --> 0:39:09.240
<v Speaker 1>Quest Loam Show is a production of iHeartRadio