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Speaker 1: Pushkin. There's no stopping Burt back Iraq. He's a gifted

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Speaker 1: composer who's been writing pop hits for artists like Dion Warwick,

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Speaker 1: Elvis Costello, and Dusty Springfield since the fifties. He even

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Speaker 1: wrote a read this iconic I Say a Little Prayer. Now,

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Speaker 1: at ninety two years old, Bert's found a new muse.

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Speaker 1: That's Daniel Tashin singing. In late July, Burt back Iraq

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Speaker 1: and Daniel released the five song EP Blue Umbrella. They

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Speaker 1: might seem like an unlikely duo. Daniel is a Nashville

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Speaker 1: based singer songwriter whose connection to country music runs deep.

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Speaker 1: His parents were part of Emmy Lou Harris's backing band,

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Speaker 1: and he just one Album of the Year at the

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Speaker 1: Grammys for co writing and producing Casey Musgrave's breakout Golden Hour. Bert,

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Speaker 1: on the other hand, is a living legend and made

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Speaker 1: his career writing R and B hits for the likes

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Speaker 1: of ROBERTA. Flack and Tom Jones. But as you're hearing

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Speaker 1: this interview with Bruce headlam Bert and Daniel are a

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Speaker 1: perfect match. Daniel talks about learning to navigate Bert's tricky

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Speaker 1: trademark compositions and Bert says writing for Daniel has given

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Speaker 1: him new life. This is broken record line of notes

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Speaker 1: for the digital age. I'm justin Mitchell. Here's Bruce Headlam

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Speaker 1: in conversation with Bert Backrack and Daniel Tasher. Bert, you

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Speaker 1: once said that you didn't know that a song was

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Speaker 1: going to work until you were in the recording studio,

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Speaker 1: until you had the musicians there. What's it like sending something.

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Speaker 1: I'm going, well, I don't know what it's going to

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Speaker 1: sound like because I can't be there always for me

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Speaker 1: in the past when they knew people would be there

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Speaker 1: or in the in the same studio, I lived by

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Speaker 1: the credo of it was the moment of truth. You

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Speaker 1: lived or died with that song. In the studio. It

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Speaker 1: felt good going in, but things can go wrong in

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Speaker 1: the concept. I had this habit. I don't know whether

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Speaker 1: I ever told you, Daniel, when I got in trouble

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Speaker 1: on a date, string players out there and something was

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Speaker 1: amiss in the concept, the way the arrangement was going down,

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Speaker 1: I'd give a break to the band ten minutes. I'd

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Speaker 1: go into the bathroom, to the men's room, into a stall,

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Speaker 1: just close the lid, sit there on the stall and

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Speaker 1: try to hear this whole scope of where this record

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Speaker 1: was going, where this song was going, and to make

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Speaker 1: sure there were no pimples. If the pimples were there,

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Speaker 1: the pimples drove me into the bathroom. And then you

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Speaker 1: try to try to work it through and you don't

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Speaker 1: have anybody leaning on you. You're not at the piano

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Speaker 1: trying to figure it out in a room full of musicians.

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Speaker 1: So for me, it's the moment truth. That's where you

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Speaker 1: know you got something. So I want to go back

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Speaker 1: to how this collaboration started. It started with a meeting

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Speaker 1: at your house, Burt, and I'd like to hear both

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Speaker 1: of you just tell me a bit about how that

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Speaker 1: came about. Okay, Daniel's on a glow, Daniel's on a

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Speaker 1: winning streak. Daniel was a very very happy guy, and

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Speaker 1: he had just won the Grammy for produce Or of

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Speaker 1: the Year and Casey's record, which is a brilliant record,

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Speaker 1: and you pick it up from there, Daniel, Well, there's

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Speaker 1: a lot of mystery for me around Bert before I

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Speaker 1: met him. And you know, they say you shouldn't meet

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Speaker 1: some of your heroes because sometimes you know, you can

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Speaker 1: maybe not have the kind of interaction that you hope for.

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Speaker 1: But in the case of me and Bert, and I

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Speaker 1: do consider you to be one of my great heroes. Bert,

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Speaker 1: thank you. In that situation, I found you to be

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Speaker 1: very warm and welcoming. You welcome me into your music room, UM,

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Speaker 1: sort of a sunken kind of living room you kind

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Speaker 1: of come down into and there's there's a piano, and

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Speaker 1: up on the wall, you know, are the are these

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Speaker 1: Oscars and Grammys and and Gershwin Award and uh, it's

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Speaker 1: very very heavy stuff for a guy like me. And UM,

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Speaker 1: but you had worked on some music for a little

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Speaker 1: lyric Shred that I had sent you, and UM, I

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Speaker 1: couldn't help it. Man, the tears came to my eyes.

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Speaker 1: It was so beautiful. I loved. I loved the way

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Speaker 1: that you, UM made the words that I had written

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Speaker 1: kind of come to life in this in this way

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Speaker 1: that I never I never could have thought of on

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Speaker 1: my own. And and it was just wonderful to be

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Speaker 1: there in that room with you. And I was ensconced

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Speaker 1: in a very comfortable armchair with a nice cup of tea,

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Speaker 1: and you were playing to me right right next to me.

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Speaker 1: UM on the beginning of Blue Umbrella and it's a

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Speaker 1: memory that I'll cherish all my life. And I could

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Speaker 1: say this the thing about Daniel, I don't think you know,

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Speaker 1: I've had different collaborations with Elsa, for with how David,

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Speaker 1: my ex wife, Carol bay or Sager. There was something

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Speaker 1: about this relationship as it's grown and expanded, we genuinely

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Speaker 1: really like each other. And the more time that we work,

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Speaker 1: connect talk, there's no fear, you know, there's no you know,

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Speaker 1: you always have a will. Will this future collaborator be

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Speaker 1: something that will like my music? Will it work? See

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Speaker 1: Daniels in this He's got all bases covered because he's

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Speaker 1: I love the way he sings, which I didn't know

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Speaker 1: until I heard it. I love his musicianship, I love

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Speaker 1: his words, and the thing that I find very interesting

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Speaker 1: because I think the work has been really productive and

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Speaker 1: really good and proud of what we've done. Daniel be too,

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Speaker 1: bir and friendship has grown. So we'll talk at different times. Well,

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Speaker 1: we'll keep on writing. You know. Um, we've got a

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Speaker 1: couple of more songs in the pipeline now and yeah,

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Speaker 1: and the same musicians, but they'll instead of all being

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Speaker 1: in the studio, everybody will be in their own house

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Speaker 1: like in Nashville. Yeah, and being able to um hear

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Speaker 1: each other as parts are added. It's a it's not

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Speaker 1: the perfect solution, but the sound is good. That was

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Speaker 1: one of my concerns, how it would sound stuff coming

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Speaker 1: instead of off the board in a studio with all

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Speaker 1: the gear. But it sounds really good. So that took

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Speaker 1: any fears, concerns of new stuff that we write. But

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Speaker 1: I love it that we've we've done this thing with

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Speaker 1: Blue Umbrella and and me too. I'm proud of the

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Speaker 1: songs and whatever happens with it, if pride will always

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Speaker 1: be there. Yeah, I want to go back to what

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Speaker 1: you said about Daniel as a singer. I mean he's

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Speaker 1: mainly known as a producer. You know, not everybody can

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Speaker 1: sing a Birt backrack melody. You've got a very particular

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Speaker 1: flavor of melody. You play a lot with the rhythm

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Speaker 1: or the beat, I guess, the time signature. And obviously

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Speaker 1: you've had some incredible collaborators. Who do you know, starting

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Speaker 1: with Dion Warwick and many others. What does a good

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Speaker 1: Burt backrack singer have to have to sing your songs? Well,

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Speaker 1: you don't know what you're going to get with Daniel

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Speaker 1: like because we'd worked in a room until we got

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Speaker 1: it in the studio. But I never had any doubt

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Speaker 1: that he's going to sing well. But when I heard

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Speaker 1: him in the studio, he does his homework. He comes

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Speaker 1: in prepared. I'm a big one in preparation. And then

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Speaker 1: you know, it's like what works. It's all interchangeable. Half

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Speaker 1: of it could work, half of it couldn't work. But

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Speaker 1: we'll get through it. But our taste, we kind of

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Speaker 1: understand each other and in a very a very kind

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Speaker 1: of sensible, loving way. He's my friend. I love you too, Bert,

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Speaker 1: I really do, man. And I think one thing a

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Speaker 1: singer needs to do is to stick to the melody

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Speaker 1: because it's probably a good one, you know. And I

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Speaker 1: think a lot of singers tend to kind of go

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Speaker 1: into maybe areas where they feel like maybe more comfortable,

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Speaker 1: like doing licks or something that they know they can

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Speaker 1: pull off, and that that our crowdpleasers, and that doesn't

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Speaker 1: really cut it with with with your music, you know.

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Speaker 1: I think you've got to um be the kind of

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Speaker 1: singer that can that can stick to the to the

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Speaker 1: inc There was an outro and we were working in

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Speaker 1: the studio and this was another one of those unforgettable moments.

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Speaker 1: But I just had this. I was tempted to kind

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Speaker 1: of beer off into some more sort of um, you know,

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Speaker 1: dreadful kind of ad libbing. He sort of said, you know, gently,

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Speaker 1: you know, maybe let's not let's not let's not deviate here.

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Speaker 1: You know, people think that, you know, someone who has

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Speaker 1: some harmonic complexity to their music, like Bert, that you

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Speaker 1: would think that he's interested in complexity, but he's actually

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Speaker 1: quite interested in the opposite. He really loves simplicity. Um,

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Speaker 1: he really loves um a simple um, catchy song, you know. Economics, Yeah, uh,

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Speaker 1: what's not there is dealing a space sometimes it's very advantageous.

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Speaker 1: M hmmm. And the more I've gotten to know you,

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Speaker 1: I mean, I honestly, you know, I really do like

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Speaker 1: that about our collaboration that I, um, the learning aspect

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Speaker 1: of it for me, and um, the confirmation of things

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Speaker 1: that I've instinctively felt, you know, UM, I like that.

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Speaker 1: Can you can you give me an example when you

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Speaker 1: said confirmation of things that felt? Well, that that really

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Speaker 1: that the things that you love that you and I

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Speaker 1: love and we listen to all the time, you know,

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Speaker 1: if it's name anything, amazing. Whether it's beatles or whatever.

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Speaker 1: You know, it's all really, at the end of the day,

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Speaker 1: something that's made sort of of the spirit. It's made

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Speaker 1: of the emotion. It's it's it's not it's not a

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Speaker 1: it's not the result of um, a lot of sort

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Speaker 1: of strategic kind of Um, well, if I sing it,

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Speaker 1: you know this way here, Um, that'll have the right effect. No,

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Speaker 1: that's not the way you approach it. It's a feeling

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Speaker 1: that you're feeling and you're you're inside of that music.

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Speaker 1: And I think, you know, Bert's music for me is

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Speaker 1: very easy for me as a singer too, and habbit

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Speaker 1: and to exhibit with a lot of natural feeling because

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Speaker 1: I do feel those melodies and I do feel those sentiments.

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Speaker 1: So there's not a lot of strategy behind it. I

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Speaker 1: think that's you know, there may be strategy in arrangement

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Speaker 1: and stuff like that, but when it comes to displaying

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Speaker 1: or creating those moods, it's it's feeling. It's all about

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Speaker 1: feeling and mood, and it's growing together as the song

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Speaker 1: moves on. As the song moves on, and it takes

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Speaker 1: shape and takes different turns, and it evolves from the

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Speaker 1: five songs on the EP are there, Daniel is there?

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Speaker 1: Can you take of a particular song or passage that

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Speaker 1: may sound like a distinctive Burt backrack melody that you

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Speaker 1: just love singing, or that you found easy to sing,

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Speaker 1: or that you found really hard to sing. Well, they're

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Speaker 1: all tough to sing because what you realize once you

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Speaker 1: get behind the wheel on these things is that there's

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Speaker 1: specific jumps, which I would imagine it's similar to when

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Speaker 1: an orchestral musician has to play a passage that they've

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Speaker 1: got to make a jump that's at a significant distance.

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Speaker 1: On the chorus of Bells of Saint Augustine, for example, Um,

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Speaker 1: there's a there's a jump there. It's not kind of

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Speaker 1: and it's not swooping. It's a specific set of notes

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Speaker 1: that that it's very fun to sing. But also if

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Speaker 1: you're not in shape, you know, the muscles of the

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Speaker 1: throat they've got to um, You've got to sort of

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Speaker 1: stick the landing, you know, otherwise you kind of come

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Speaker 1: off of a jump and you'll be flat. Really you

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Speaker 1: is it? Do you remember the particular interval that it

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Speaker 1: was so yeah on the chorus of bells of saying

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Speaker 1: Saint Augustine, there's a there's a figure, uh uh, And

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Speaker 1: I love singing that so much. Um it's a specific

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Speaker 1: series of notes that it's very easy to skid off

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Speaker 1: rails on that, especially on that bottom note. And um,

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Speaker 1: so those are the challenges for me as a singer.

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Speaker 1: You've got to like tighten tighten your control up a

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Speaker 1: little bit so you can nail those notes, you know.

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Speaker 1: And there's no auto tune on this project. And I

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Speaker 1: told Ryan, our our wonderful engineer and mixer that, um,

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Speaker 1: I really wanted to avoid any any tuning, any artificial

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Speaker 1: um help and just really as a singer, I wanted

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Speaker 1: to grow. I wanted to learn, you know, and get better.

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Speaker 1: And a great way to get better as a singer

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Speaker 1: is to sing some of Burt stuff, because there's no

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Speaker 1: you can't really fake it, you know. Yeah, we'll be

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Speaker 1: back after a quick break. We're back with Bruce's conversation

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Speaker 1: with Bert and Daniel. So tell me about the first

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Speaker 1: song you worked on from this great EP and and

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Speaker 1: how it started. Yeah, I texted and Burt. I texted

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Speaker 1: him basically some lyrics that I m was kind of

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Speaker 1: tossing around, and um, I've never worked that way before

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Speaker 1: with just sending a lyric to someone. That's a first

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Speaker 1: for me. I'm usually um involved in people sitting together

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Speaker 1: in a room with holding guitars and playing and stinging

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Speaker 1: together and trying to come up with something silentaneously. But

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Speaker 1: it was another aspect of this process that was great,

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Speaker 1: different for me in a good way. And we've come

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Speaker 1: a long way, Daniel, we have and Bert when you

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Speaker 1: first got those lyrics, do you still do you still

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Speaker 1: play every day or you try and get at the

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Speaker 1: piano every day? Not every day? Hey, this has kept

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Speaker 1: a life going for me, this whole process with Daniel,

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Speaker 1: with the EP, with promoting it, with believing in it

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Speaker 1: and writing new stuff, and a continuing process. We'll get

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Speaker 1: two three more songs done and we'll do it remotely

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Speaker 1: because that works. Yeah, we'll give the best of what

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Speaker 1: we can do. I think you did some great direction

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Speaker 1: on Blue Umbrella. I'll tell you something funny about recording

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Speaker 1: that song. When we were recording that, we had figured

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Speaker 1: it out and we were playing it, and then when

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Speaker 1: we would go to the to um wonder where we

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Speaker 1: go that part, and the drummer was like going to

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Speaker 1: the ride symbol and every the band was sort of

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Speaker 1: flourishing on that section. And Bert got on the talk

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Speaker 1: back in the studio and he said, it sounds like

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Speaker 1: everybody's like going to the chorus, and we all kind

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Speaker 1: of looked at him, like what is he talking about?

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Speaker 1: And then I started to understand about the way that

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Speaker 1: you're interested in developing. I think things simmering a bit more,

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Speaker 1: you know, and not kind of telegraphing. You're sort of okay,

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Speaker 1: now we're in the section that everybody's supposed to like

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Speaker 1: kind of feel like, Okay, now this is the point

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Speaker 1: of the whole thing. But maybe instead of telegraphing what

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Speaker 1: everybody should feel, it was more like, let them, let

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Speaker 1: the notes and the chords do the heavy lifting, and

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Speaker 1: just everybody just holds seavy. Man. That was such a lesson.

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Speaker 1: That was so cool. Absolutely, I do like a kind

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Speaker 1: of seamlessness if can be done that. Yeah, one goes

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Speaker 1: into the other without an announcement. Trumpet's blaring. You know, now, Bert,

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Speaker 1: had you worked from lyrics before? I know you used

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Speaker 1: to often compose and then make up dummy lyrics and

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Speaker 1: then how day that if someone else would provide lyrics?

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Speaker 1: Did you ever have just a lyrics sheet? And you say, Okay,

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Speaker 1: Now I got to create something from these lyrics. Yes,

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Speaker 1: certainly did with Alphie because it had to depict what

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Speaker 1: the movie was about, So Alphie that the words came

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Speaker 1: in first, absolutely and one of the hardest sons because

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Speaker 1: I wanted to make it perfect and it dominated my life.

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Speaker 1: How long did it take you to write that? Three weeks?

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Speaker 1: Three weeks? Yeah, I would go maybe go to theater

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Speaker 1: to see a play, but I've been working on maybe

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Speaker 1: the pimples in the song, and I wouldn't enjoy the play.

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Speaker 1: I would wind up leaving the theater having solved nothing,

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Speaker 1: solved nothing on Alfie and not enjoy the play. And

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Speaker 1: everything on promises, promises. When we did the musical, all

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Speaker 1: the words really that how I would have to come up.

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Speaker 1: You could write a melody out of a Neil Simon

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Speaker 1: script because the dialogue would go into a song and

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Speaker 1: it didn't seem to fit to sit down and imagine

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Speaker 1: what the song might be because you wanted to make it. Again,

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Speaker 1: the seamless thing I'm talking about, go from the script

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Speaker 1: the dialogue continues into song because it's just natural. Otherwise

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Speaker 1: I can't conceive of it doing it another way. You know,

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Speaker 1: A little bit what Danny was talking about, that that

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Speaker 1: you didn't want people to feel the chorus too soon.

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Speaker 1: It's a little care juristic of some of your songs.

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Speaker 1: And Alphie's a good example where sometimes you're not quite

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Speaker 1: sure where it's going, like it's got a lot of momentum,

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Speaker 1: and then when it ends up because there's there's time

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Speaker 1: changes and the harmonies complex. Well you see, yeah, see

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Speaker 1: with Alphie that it just it took me to another

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Speaker 1: place by having words and became an eight bar phrase,

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Speaker 1: or it became a six bar phrase or a twelve

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Speaker 1: barth praise just by where the lyric took me. Right, Wow,

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Speaker 1: I like very much writing to Daniel's words if he

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Speaker 1: sends me. I mean, I had this one phraise on

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Speaker 1: Blue Umbrella, the hook the chorus. You know, are you

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Speaker 1: still under the same blue umbrella? You know, the way

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Speaker 1: you spaced it out, you added an extra bar, so

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Speaker 1: it became are you still under the same blue umbrella?

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Speaker 1: And it just a change like that, splitting the word

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Speaker 1: instead of going how are you still under the same

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Speaker 1: blue umbrella? And that drove the next four bars just

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Speaker 1: by that space. Yeah, it continues to evolve, and you know,

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Speaker 1: Bert thinks about these things a lot. You know, he

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Speaker 1: spends a lot of time. Like I heard that. You know,

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Speaker 1: Duke Gallington could write arrangements and orchestration in in in

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Speaker 1: the midst middle of chaos with no piano. He could

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Speaker 1: just take some paper out and write stuff. And Burt's

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Speaker 1: the same way. He can sit down at his desk,

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Speaker 1: no piano and just write orchestration. Um, just just write it,

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Speaker 1: write down violent parts, write down all that stuff. It's

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Speaker 1: wonderful to to to work with Bert and watch the

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Speaker 1: way that the musical ideas take shape for him and

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Speaker 1: be able to witness the process for Bert of how

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Speaker 1: an initial seed or you know, of an idea can

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Speaker 1: can expand in his mind. And what is involved as

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Speaker 1: you're as you're building the structure of a song and

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Speaker 1: a melody, what's involved for him? And what boxes does

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Speaker 1: it have to tick? It's got to you know, he's

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Speaker 1: got to see the whole length of it, the whole

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Speaker 1: way all the way through. And then forgive me, Bert

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Speaker 1: if I'm you know, telling your stories here for you,

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Speaker 1: but right, but he's got to see the melody, the

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Speaker 1: long line of the melody all the way through, and

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Speaker 1: then we can start to navigate through there. But um,

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Speaker 1: you know, the collaboration is so great because we say

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Speaker 1: yes to each other. You know. Um, you know, he says,

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Speaker 1: I don't think that the string should come in the

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Speaker 1: first first chorus, and I, you know, I don't say no, man,

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Speaker 1: we got to get him in there. And I just say, okay, Bert,

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Speaker 1: that sounds great because I trust you, and he trusts

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Speaker 1: my words and the simplicity of whatever it is that

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Speaker 1: I'm trying to express with that. He trusts it. He

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Speaker 1: doesn't say, hey, we don't need to be singing about

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Speaker 1: that right now. So we trust each other and that's

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Speaker 1: a beautiful thing. It is absolutely you know, we were

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Speaker 1: talking about the feeling when you sit down in a

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Speaker 1: movie theater and the lights go down and it's a

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Speaker 1: Steven Spielberg film. You know that Stevens got got you.

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Speaker 1: He's gonna, he's gonna take on that ride. There's a

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Speaker 1: similar feeling with with your music. People you know, they

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Speaker 1: know you're you're gonna You're gonna hold them um in

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Speaker 1: in in the palm of your hand and carry them

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Speaker 1: through that that song, with that that music tell me

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Speaker 1: a little bit about whistling in the dark, about the

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Speaker 1: writing of that. Yeah, well, well I was I'll just

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Speaker 1: say real quickly about the lyric. I just wanted to

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Speaker 1: make something. Um. I like the phrase whistling in the

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Speaker 1: dark because it sounds like like somebody that's um going

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Speaker 1: through something hard and and and they're kind of consoling

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Speaker 1: themselves by sort of trying to create an atmosphere of lightness,

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Speaker 1: you know, within themselves. And we wrote that song before

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Speaker 1: you know, anybody knew anything about a pandemic or or

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Speaker 1: or any of that kind of uh, hard hardship that

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Speaker 1: was about to coccurse. So there's something about whistling in

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Speaker 1: the dark that's like, I'm I'm feeling that song right

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Speaker 1: now because I kind of have to take that song's

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Speaker 1: advice and just keep your eyes on the horizon and

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Speaker 1: keep your eyes on the light at the end of

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Speaker 1: the tunnel, which you know it's going to come. It's

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Speaker 1: just it's going to be a minute, you know. There

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Speaker 1: was a hint of what was going I remember it

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Speaker 1: was one of the last songs we wrote, and there

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Speaker 1: was there was a sense of whistling in the dark. Yeah,

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Speaker 1: I think that lonely so it was almost indicative of

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Speaker 1: what was to come. Do you feel that, Daniel absolutely,

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Speaker 1: and um, you know, whistling in the Dark is one

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Speaker 1: of those examples of sometimes also you'll sing about something

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Speaker 1: as a singer and songwriter and then you don't realize

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Speaker 1: what you're singing about until later on it seems to

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Speaker 1: take on, you know, more meaning or you realize, oh,

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Speaker 1: I was really trying to process this thing that was

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Speaker 1: happening in my life and that's a weird thing that

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Speaker 1: I don't know if you can resonate with that bird,

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Speaker 1: but um, I think so. I think because Uh, there's

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Speaker 1: an element in that song, like the intro, which is

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Speaker 1: very dissonant piano, and it's sort of like where did

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Speaker 1: that come from? I wanted to ask you about it?

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Speaker 1: Sounds a little like like felonious monk, almost like it's yeah,

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Speaker 1: like it's falling apart a little bit right, and then

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00:23:28,916 --> 00:23:35,596
Speaker 1: the ending uh is uh also basically asking a question

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Speaker 1: with the strings don't, don't, don't, don't, don't boat, don't, don't,

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Speaker 1: don't don't You know where did that come from? Do

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Speaker 1: you remember writing that that string part is beautiful and

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Speaker 1: the description of it is asking a question is so interesting?

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Speaker 1: Do you remember do you remember writing that bit what

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Speaker 1: you were thinking or how it came to you. M

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Speaker 1: I knew I wanted and and I got a definitely

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Speaker 1: push from my partner here really, Daniel saying that thing

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Speaker 1: you played on the piano dissonant, very kind of weird.

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Speaker 1: I love it. So it starts that way and then

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Speaker 1: it's in a very weird way to We'll be right

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Speaker 1: back after this break. We're back with the rest of

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Speaker 1: Bruce's conversation with Bert Bacharach and Daniel Tasher. The songs

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Speaker 1: you're writing now, because most of these were started, you know,

398
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Speaker 1: before coronavirus. What are the songs like now that you're writing, well,

399
00:24:43,036 --> 00:24:46,036
Speaker 1: so different. Yeah. We were working on one of the songs,

400
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Speaker 1: the newer songs, called twenty first Century Man, and it

401
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Speaker 1: was a little bit of a piece of music that

402
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Speaker 1: I had started, and I said to Bert, you know,

403
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Speaker 1: do you want to work on something that I kind

404
00:24:56,476 --> 00:24:57,956
Speaker 1: of got started on but I sort of don't know

405
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Speaker 1: where to go with it, And he said, sure, let's

406
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Speaker 1: check it out. So I played this little bit for him.

407
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Speaker 1: So I like that. So there's this one part where

408
00:25:04,716 --> 00:25:08,596
Speaker 1: you're going that sounds like something I've heard before, and

409
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Speaker 1: we can do better than that. And boy did we ever.

410
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Speaker 1: I thought that was interesting because I think I had

411
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Speaker 1: come from sort of an environment. There's something about being

412
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Speaker 1: a commercial songwriter in Nashville, and I've spent a lot

413
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Speaker 1: of years here writing commercial songs very ineffectively. I might add,

414
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Speaker 1: if you look at the statistics for the number of

415
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Speaker 1: cuts that I've gotten versus the number of songs that

416
00:25:32,236 --> 00:25:36,596
Speaker 1: I've turned in, it's pretty ridiculous. But I sort of

417
00:25:36,636 --> 00:25:39,196
Speaker 1: came from this environment of like it actually is a

418
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Speaker 1: good thing. If something sounds like something you've heard before,

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Speaker 1: you know, And I feel like you kind of got

420
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Speaker 1: me back on track, Bert, because really what I want

421
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Speaker 1: to be is innovative in everything I do. I want

422
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Speaker 1: to be. I don't want to be sort of giving

423
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Speaker 1: you a hook because it sounds like, oh, I've heard

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Speaker 1: that hook before. You know that that's something I can

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Speaker 1: get stuck in my car. I want to I want

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Speaker 1: to innovate, and I think you definitely do, and I

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00:26:03,956 --> 00:26:06,876
Speaker 1: think my tendencies are sort of leaning more in that direction.

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Speaker 1: I want to make this conversation about EP and the

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00:26:09,636 --> 00:26:12,516
Speaker 1: songs you're doing now because they're so good, not about

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Speaker 1: your whole career, Bert, because that would take us a month.

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Speaker 1: But just that story Daniel told of you saying we

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00:26:22,636 --> 00:26:27,476
Speaker 1: can do better than that is probably something everybody needs

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Speaker 1: to hear, not just songwriters, but particularly songwriters. Where does

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Speaker 1: that come from? You're now in your nineties. Yep, you're

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00:26:34,956 --> 00:26:38,996
Speaker 1: putting out sensational music. Thank you, and you're the guy

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00:26:39,196 --> 00:26:42,436
Speaker 1: saying no, no, no, we can do better than that.

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Speaker 1: Where does that come from in you? I think it's

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00:26:46,556 --> 00:26:50,916
Speaker 1: a it's a growth process. Neil Simon, when we were

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00:26:50,956 --> 00:26:56,716
Speaker 1: doing Promises Promises one night, made this comment. He said,

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Speaker 1: you know, you can get older, get fatter, but you're

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00:27:01,116 --> 00:27:04,636
Speaker 1: not like an athlete who's finished at thirty two, said

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00:27:04,716 --> 00:27:07,996
Speaker 1: you get to be eighty. That talent that you've got

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00:27:08,676 --> 00:27:13,076
Speaker 1: should be nourished. You won't fall back. If somebody says, hey,

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00:27:13,356 --> 00:27:15,516
Speaker 1: we got this new singer, could you write some of

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00:27:15,596 --> 00:27:18,596
Speaker 1: the song for her and just make it sort of

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00:27:18,636 --> 00:27:20,836
Speaker 1: like don't make me over. I wouldn't know how to

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00:27:20,876 --> 00:27:25,556
Speaker 1: do that anymore. It's left me you can't repeat. Do

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00:27:25,556 --> 00:27:28,236
Speaker 1: you mean it's left you in that you don't remember

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00:27:28,236 --> 00:27:31,076
Speaker 1: how you wrote songs like that, or just that's not

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00:27:31,196 --> 00:27:34,676
Speaker 1: something you're interested in doing. I couldn't do it because

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00:27:34,796 --> 00:27:39,436
Speaker 1: I did it once and when it's done, don't repeat yourself.

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Speaker 1: I just want to say that the songs are just

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Speaker 1: wonderful and it is just a thrill to meet both

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00:27:48,596 --> 00:27:51,236
Speaker 1: of you, and I think what you're doing is exciting

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00:27:51,316 --> 00:27:54,676
Speaker 1: and I think we can do better. Is something I'm

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Speaker 1: going to remember the rest of my life. Appreciate you. Thanks, Bruce. Yeah,

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Speaker 1: you've been good, Bruce. Thanks to Burton Daniel for taking

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00:28:04,836 --> 00:28:07,396
Speaker 1: the time to chat with Bruce. You can hear all

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Speaker 1: of our favorite Burt background composition and his new ep

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00:28:10,276 --> 00:28:13,436
Speaker 1: with Daniel Tashan on a playlist at Broken Record podcast

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00:28:13,556 --> 00:28:16,476
Speaker 1: dot com, and be sure to subscribe to our YouTube

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00:28:16,516 --> 00:28:20,076
Speaker 1: channel at YouTube dot com slash broken Record Podcast. There

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00:28:20,116 --> 00:28:21,756
Speaker 1: you can find extended cuts of a lot of our

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00:28:21,756 --> 00:28:25,196
Speaker 1: past episodes as well as new ones. Broken Record is

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00:28:25,196 --> 00:28:28,756
Speaker 1: produced with help from Jason Gambrel, Mia LaBelle Lea Rose,

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00:28:29,076 --> 00:28:33,036
Speaker 1: Eric Sandler, and Martin Gonzalez for Pushkin Industries. At Theme

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Speaker 1: Musics by Kenny Beats, I'm justin Richmond Bass