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Speaker 1: Our Way with yours truly Paul Anka and my buddy

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Speaker 1: Skip Bronson, is a production of iHeartRadio. Hi, folks, this

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Speaker 1: is Paul Anka.

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Speaker 2: And my name is Skip Bronson.

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Speaker 3: We've been friends for decades and we've decided to let

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Speaker 3: you in on our late night phone calls by starting

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Speaker 3: a new podcast.

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Speaker 1: And welcome to our Way. We'd like you to meet

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Speaker 1: some real good friends of ours.

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Speaker 2: You're leaders in entertainment and.

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Speaker 1: Sports, innovators in business and technology, and even as sitting

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Speaker 1: president or two.

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Speaker 3: Join us as we ask the questions they've not been

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Speaker 3: asked before.

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Speaker 2: Tell it like it is, and even sing a song

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Speaker 2: or two.

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Speaker 1: This is our podcast and we'll be doing it our way.

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Speaker 3: But what is it that you look for in an

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Speaker 3: artist before deciding to work with them?

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Speaker 4: You need this speciology. If they're a writer, it's got

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Speaker 4: to be distinctive, if you neede the way Springsteen Patty

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Speaker 4: Smith were an or to this day. If you're a

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Speaker 4: vocalist unique, I mean Whitney used it, Okay, So you're

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Speaker 4: looking for those artists that can't be stars.

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Speaker 1: So hey, Paul, Paul's my name, show business is my game.

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Speaker 1: It's you again. I gotta clock how many times that

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Speaker 1: you called and I hear, Hey, Paul, and then you

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Speaker 1: gotta do the same. Now I'm looking back at the

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Speaker 1: litany of our relationship. How do we do this every day?

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Speaker 1: But hey, I think we should do like a breathing

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Speaker 1: thing like the phone ring, you go, hey, Skip.

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Speaker 5: I like that. At least you put some little humor.

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Speaker 6: All right.

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Speaker 7: Well, you know the funny thing is if one of

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Speaker 7: us really has something to say, just jump right on it,

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Speaker 7: you know, like if it's something well you usually.

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Speaker 1: Do though you uhould call me. You never say to

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Speaker 1: me like you'll say, hey, Paul, like today. But the

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Speaker 1: ones I like is You'll never believe what happened just

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Speaker 1: twenty minutes. You'll never believe who just called? Did you

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Speaker 1: just hear about?

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Speaker 5: Man?

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Speaker 6: I had a.

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Speaker 5: Great meal at Stelli's. Thank you.

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Speaker 1: What a great restaurant, and I want to share that.

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Speaker 1: And the guy are my buddy. Clive Davis is a

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Speaker 1: big foodie. Yeah, okay, among everything that he does. Our

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Speaker 1: guest tomorrow, Clive Davis is among all the things that

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Speaker 1: he does musically, and we're going to ask him what

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Speaker 1: he does for, you know, off the music scene. One

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Speaker 1: of the things I'm sure you'll mention is restaurants because

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Speaker 1: I meet him in Paris every now and then. I

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Speaker 1: know he loves that. He's an impeccable dresser, and he's

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Speaker 1: just so smart and brilliant and has been and is

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Speaker 1: a force in this music business. And I know he

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Speaker 1: knows d you know he's oh yeah, yeah, my wife

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Speaker 1: and he go way back. It's fascinating to me that

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Speaker 1: Clive Davis ninety two years old and you still see

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Speaker 1: him everywhere speaking in restaurants. I mean he's out, he's

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Speaker 1: out like every night, he's you know, working during the day,

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Speaker 1: ninety two, never thinking about the number, just going out

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Speaker 1: and getting it done.

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Speaker 6: And what a what a career.

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Speaker 7: I mean the artist that he's that he is not

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Speaker 7: only discovered but molded these artists where he got them

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Speaker 7: to do things that maybe they didn't typically want to do.

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Speaker 7: Pretty amazing guy. Yeah, he really is, you know what.

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Speaker 7: You and I like people who have great stories, but

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Speaker 7: also who are great storytellers, and I think that's Clive Davis.

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Speaker 7: He's the guy with great stories and he's a great storyteller.

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Speaker 7: So it should be fun. You know him forever?

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Speaker 5: Right, Oh A long time, long long time?

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Speaker 1: Did you ever work with him or not really, you know,

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Speaker 1: probably a regret I've never had him in my life

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Speaker 1: in terms of overseeing a project with me. I've always

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Speaker 1: been kind of self contained and wound up with whomever.

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Speaker 1: But certainly someone I would have liked to have worked with.

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Speaker 1: But you know, I was kind of discovered as a kid.

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Speaker 1: You know, I left home at fifteen. I wound up

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Speaker 1: with another musical genius, Don Costa, so they kind of

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Speaker 1: controlled the first many years of my life. You know,

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Speaker 1: I've wound up with people like that, and Costa was

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Speaker 1: in my life for a lot of years. And Rick

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Speaker 1: Hall at a muscle shoals, you know, with Clive, and

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Speaker 1: you'll find out when we talked to him, he discovered

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Speaker 1: these people. When he found them, they were nobody, you know.

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Speaker 1: I mean that in the gentlest sense. They didn't know

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Speaker 1: if they could write, they didn't know if they could perform.

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Speaker 5: You know.

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Speaker 1: He molded most of those people, not unlike what David

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Speaker 1: Geffen did with his people. So I mean, unfortunately I

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Speaker 1: was cursed because I got discovered at fifteen, and I

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Speaker 1: didn't have a David or a Clive in my even

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Speaker 1: though David approached me. I'll never forget it. It was

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Speaker 1: right near the old Americana Hotel and he was just

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Speaker 1: starting out as an agent. We ran right into each

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Speaker 1: other on sixth Avenue or seventh or something. So I

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Speaker 1: want to represent you, and I really love what you're

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Speaker 1: doing and I can really help you.

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Speaker 5: Now.

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Speaker 1: He's a young guy, right, and I was with Irving

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Speaker 1: Felt the Nerve was my manager and looking after me.

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Speaker 5: You know.

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Speaker 1: Of course I was very loyal to IRV. But no,

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Speaker 1: there was no way that I could ever hook up

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Speaker 1: with Clive or David. Well, there's still time, Yeah, there

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Speaker 1: is still time, There's no question about it. But I

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Speaker 1: don't know that right now. I want to go on

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Speaker 1: a record studio with anybody.

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Speaker 5: You know.

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Speaker 1: It's a change business today. Skip people that go in

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Speaker 1: studios and make product. People never hear it. They don't

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Speaker 1: let alone buy it. The streaming world, it's all about

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Speaker 1: the streaming.

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Speaker 6: The other thing I want to ask him about.

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Speaker 7: He's known for being a worrier, and I want to

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Speaker 7: ask him about that, like why he worries and do

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Speaker 7: you still worry at ninety two?

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Speaker 6: Do you worry about anything at ninety two other than

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Speaker 6: you know, getting up the next day.

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Speaker 5: That's something I can identify it with his worry.

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Speaker 1: I just I won't. I can't be a worrier. I

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Speaker 1: don't like jealousy, I don't like guilt, and I don't

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Speaker 1: like worry. Kind of lived like that. It just wasted time.

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Speaker 7: I know that to be true, knowing the way to do. Sorry,

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Speaker 7: Just what are you doing? You're going to just hang

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Speaker 7: You're going to hang here for a while. You're going

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Speaker 7: to be in town for a while.

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Speaker 5: I'm home now.

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Speaker 1: I'm just with the writer on the Broadway show, which

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Speaker 1: is developing, and I'm finishing my documentary. We're about a

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Speaker 1: few months away from that, and that's really consuming. That

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Speaker 1: in the Broadway show, and then that's pretty much it.

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Speaker 1: And then I'm going to see I'm going to see

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Speaker 1: you for dinner with that lawyer friend of yours, Alan Gorublin. Yeah,

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Speaker 1: I'm going to take him all to dinner to a couple.

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Speaker 6: Yeah, it'll be fun.

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Speaker 5: I just want to see him chewing a bone for

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Speaker 5: twenty hours.

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Speaker 6: You can count it. That's in the program. I can

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Speaker 6: tell you that right now.

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Speaker 1: Hey, it's it's absolutely something I demand. If I'm going

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Speaker 1: to pick up the check, you pick up that bone,

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Speaker 1: and I pick up the check. How's that that's the

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Speaker 1: cover charge? Cover church, as long as it leaves enough

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Speaker 1: for my dog because he hates dogs. You know, don't

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Speaker 1: get him going with dog.

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Speaker 6: I'm aware, No, I know that.

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Speaker 5: I don't think they're too fonded.

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Speaker 6: Well, you're a gigantic dog, you'll they'll be leftovers. You're giking. Well, yeah,

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Speaker 6: we'll have a yeah, what is it? Thought? We one

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Speaker 6: hundred and fifty pounds?

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Speaker 5: No, a hundred.

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Speaker 1: No, she's close to two hundred close, Oh, two hundred

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Speaker 1: pounds dog. Come on, baby, she is something else, the

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Speaker 1: heaviest dog I've ever been with, no doubt.

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Speaker 5: Fix me up. Like somebody said to me the other day,

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Speaker 5: you and michelle'll ever have sex? Standing up?

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Speaker 1: I said no, because I'm a fragi'll drop me, little

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Speaker 1: old Paul. I'll never survived that. Well the talk exactly.

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Speaker 7: All right, Well, I'm gonna I'm gonna hit the hay

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Speaker 7: and I'm gonna talk to you tomorrow for sure.

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Speaker 5: Oh, I think we can bet on that. Sleep warm

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Speaker 5: all right?

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Speaker 6: Let him?

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Speaker 5: I love you too.

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Speaker 1: You know, we've had a lot of guests on here, Skip,

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Speaker 1: and I've got to tell you that this is very.

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Speaker 5: Special for me.

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Speaker 1: You know, being in this business as I have been

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Speaker 1: blessed for, you know, over sixty years, and starting at

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Speaker 1: the inception when pop music was in its infancy stage,

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Speaker 1: I got to know a lot of those that were

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Speaker 1: very instrumental in the changes that occurred in our industry.

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Speaker 1: But our next guest, just his name would suffice, but

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Speaker 1: obviously it wouldn't because there's so much that goes with it.

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Speaker 1: The openness of this man, the breath of the music

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Speaker 1: that he's championed, is just astonishing. And his ears, they're

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Speaker 1: always been fresh, they're always current. And I can't tell

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Speaker 1: you how honored I am. Even though I've known him

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Speaker 1: through the years and we've shared moments together, I am

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Speaker 1: so so thrilled, and I know you are to have

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Speaker 1: with us for our audience and for us to be

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Speaker 1: able to talk with the one and the only, and

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Speaker 1: I mean.

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Speaker 5: That he is.

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Speaker 1: I've seen them, as I said, from the fifties on,

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Speaker 1: but we have with us today, mister Clive Davis.

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Speaker 4: High Clive. I'm so happy to'd be with you guys.

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Speaker 4: So let's make it special.

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Speaker 5: Yes we will.

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Speaker 1: Clive Sailo to Richard Bronson, Skip Bronson, Edie Baskin's husband.

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Speaker 4: That's right, I know him, p Ian's are you kidding?

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Speaker 4: I knew him and of course I know he longer

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Speaker 4: and better. Please send my very best.

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Speaker 2: She loves you so.

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Speaker 4: Much, Clive.

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Speaker 1: Before we chronologically and go back to Crown Heights, I

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Speaker 1: want to get to the meat of something that's on

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Speaker 1: all of our minds today. Could you tell us what's

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Speaker 1: your feeling and where is the music industry? Where is

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Speaker 1: it going? With AI and everything that we're very much

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Speaker 1: aware of? Where have we landed? And what does your

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Speaker 1: gut tell you where is it going? Knowing we're always

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Speaker 1: going to know music in our lives.

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Speaker 4: You know, AI will be a fact, but I'm not

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Speaker 4: here to predict. I don't know enough. We've just got

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Speaker 4: to be vigilant and careful that our creative members, our

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Speaker 4: creative population, our created genius, creative geniuses are protected and

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Speaker 4: that human creativity is protected. But there's no clear answer

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Speaker 4: right now. Has got to be vigilant, you know.

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Speaker 3: It always just comes back to gut too. I think

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Speaker 3: you know when you're when you're trying to make decisions,

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Speaker 3: how much of what you do now would you say

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Speaker 3: was impacted by how you grew up in Crown heights

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Speaker 3: in a neighborhood that was really a melting pot. So

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Speaker 3: it's not like I grew up in Hertford, Connecticut, and

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Speaker 3: I lived in an area where like on the Jewish

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Speaker 3: holidays the schools had to close. You know, it was

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Speaker 3: everybody was the same or same type of person or

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Speaker 3: had the same background. But the way you grew up,

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Speaker 3: you grew up in a place that you know, it's

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Speaker 3: just every there was so many different cultures that were involved.

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Speaker 3: I'm just curious how that how that impacted you.

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Speaker 4: Well, look, we're going back ninety years. So back when

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Speaker 4: I got in music by Action Total Access, I had

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Speaker 4: studied law in Harvard. I was again a predigions law

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Speaker 4: fernal just by luck, they have to rupt and Columbia

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Speaker 4: Records and Bill Bailey and CBS. And I remember getting

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Speaker 4: an offer from an alumnus of the law firm who

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Speaker 4: was chief attorney for Columbia.

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Speaker 8: Records, and he asked.

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Speaker 4: We were about thirty five lawyers. Okay, there are only

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Speaker 4: four of us that were doing non litigation. I was,

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Speaker 4: by luck doing the contract work for a talent agency,

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Speaker 4: Columbia Artists Management eight, that had formerly been part of

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Speaker 4: Columbia Records. He asked to see the person that was

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Speaker 4: doing the contracts. It was me, and he offered me

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Speaker 4: to become general counsel for Columbia Records. I was three

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Speaker 4: years out of law school, and I knew since the

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Speaker 4: law firm, I really only had well to do affluent

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Speaker 4: individuals like Goal Pealing or corporations like CBS. I would

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Speaker 4: never I'd had no money. My parents died when I

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Speaker 4: was eighteen, independent of each other. I had four thousand

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Speaker 4: dollars to my name. I didn't know anybody with money

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Speaker 4: that could be a client of that firm, so I

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Speaker 4: would be a service partner. I go into this because

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Speaker 4: when I went to see Ralph Colin, who represented the

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Speaker 4: lawyer whose client was Columbia Records, for advice, he said,

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Speaker 4: the record business is not for you. He said, look

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Speaker 4: at you. You wearing tacking fans. You're wearing a queen's

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Speaker 4: four jacket. You went to Harvard. The record business is

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Speaker 4: not for you.

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Speaker 8: Most of them.

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Speaker 4: Were gold chains and the image of the hit MANJIV talking.

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Speaker 4: He didn't know that I grew up in Crownheight. E

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Speaker 4: didn't know that my youth was spent in a melting pot,

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Speaker 4: and that my schooling was never private. It was all public.

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Speaker 4: I went to pis for in sixty one, I went

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Speaker 4: to arrestmus Hall High School.

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Speaker 8: It's not that I was three, but I know I knew.

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Speaker 4: The common folk and he didn't know that part of me,

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Speaker 4: and that part of me gave me the answer that

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Speaker 4: I didn't have a future at that law firm other

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Speaker 4: than to be a servant's lawyer, and that I would

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Speaker 4: take the shot and go to Columbia Records. So that

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Speaker 4: shows you how accidental like. Music was just a part

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Speaker 4: of my life that I grew up collecting and some

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Speaker 4: of my friends did forty fives. I knew the hits

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Speaker 4: of the day. In New York there was a program

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Speaker 4: called the Make Polly ballro with Mountain Block, and that's

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Speaker 4: what I listened to to know Sinatra, Pick Kyne's, Perry Combo,

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Speaker 4: Being Closed, Resigner, Shore King Start. But it was just

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Speaker 4: a part of my life.

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Speaker 8: I mean, I liked it, but it's not that I

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Speaker 8: had the ambition, the drive, or remotely knew that I

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Speaker 8: might end up in life having what we called ears.

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Speaker 8: So that answers your question about Crown Heights.

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Speaker 1: You know, Clive, all of us in the industry. We've

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Speaker 1: constantly amazed by your ability to not only recognize and

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Speaker 1: foster talent reformers, but also you always recognize a timeless song.

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Speaker 1: And I don't think anyone has embodied both sides of

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Speaker 1: the inn are like you did. I mean, at Columbia,

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Speaker 1: he worked mostly with rock acts who wrote their own material,

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Speaker 1: and that changed obviously when you went to Arista. But

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Speaker 1: is it more challenging to recognize a timeless artist or

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Speaker 1: a timeless song?

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Speaker 4: Well, let me tell you. Let me fill instant spaces here.

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Speaker 4: I went over to Columbia. I became the attorney for

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Speaker 4: Columbia on the grounds of synergy, of the direction of

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Speaker 4: Phil Pennalley. We bought Fender guitar, we bought Leslie speakers,

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Speaker 4: we bought ste Grapecianos, and god In bleepresent by mentor

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Speaker 4: and by boss was being promoted as the group president.

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Speaker 4: And he came to me and he said, I'm being

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Speaker 4: made a group president, and since you're the only one

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Speaker 4: at Columbia who has that contact with all those musical

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Speaker 4: instruments companies, I'm going to make you head, if you like,

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Speaker 4: of the musical instrument division. He didn't no, nor did

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Speaker 4: I of any DNA in music or that it would

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Speaker 4: become my life person. But the next morning when I

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Speaker 4: came in, I got a call from him. He said,

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Speaker 4: please come in because our executive vice president, Norman not

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Speaker 4: he wants to move to La Joya. You might not

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Speaker 4: want to move to Lawyer with and it was located.

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Speaker 4: And so I'm going to make him the head of

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Speaker 4: the musical Instruments division, and I'm going to make you

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Speaker 4: the head of Columbia Records. I'm a slabagas that believe

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Speaker 4: in not is how I became head of Columbia Records.

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Speaker 4: And yes to watching weaving looking seeing that the a

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Speaker 4: and armed men who did Tony Bennett and Andy woodiams in,

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Speaker 4: Bob streisand and Mix Miller himself, I had a gay

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Speaker 4: in arm. None of them kept vigilant to what was

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Speaker 4: happening in the growth of rock music, but there was

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Speaker 4: a pending rock revolution. I ended up at Monterey. Bob

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Speaker 4: My first deal was the Blue Out. If you under

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Speaker 4: San Francisco, be short of his flowers in your hair.

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Speaker 4: My epiphany in nineteen sixty seven, because I was not

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Speaker 4: remotely thinking I would never sign orders, was that I

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Speaker 4: was there with Jennis Joplin performed during the day totally unknown.

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Speaker 4: A member of the group called big Brother in the

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Speaker 4: holding company, and I really got an epiphany I would

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Speaker 4: have to sign this artist. I never thought I'd signed

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Speaker 4: an artist, but I did. I just felt it in

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Speaker 4: my bones, and right after that I signed Blood Fluting Tears, Chicago, Santana.

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Speaker 4: Irtwood didn't fire like that. They were mostly self contained artists.

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Speaker 4: At the height of the success that brought Columbia from

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Speaker 4: number three to number one, a head of capital and RCA,

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Speaker 4: CBS Columbia Records faced a charge from a guy that

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Speaker 4: was convicted in fraud that there could be payola in

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Speaker 4: the record industry and even at Columbia Record. To protect

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Speaker 4: their CBS broadcasting system, the lawyers have bound said separate

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Speaker 4: yourself from there. We can't afford to lose the license.

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Speaker 4: I was let go. Life is never up, up up,

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Speaker 4: and that's what makes my documentary still among the top

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Speaker 4: five on Netflix to this very day and now just

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Speaker 4: been added by PBS, because it's not a story of

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Speaker 4: up up up, it's his story as well, about resilience,

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Speaker 4: withstanding challenges and learning to overcome them. I go into

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Speaker 4: this background pall because when I started a brand new company, Arison,

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Speaker 4: named after my high school and all New York High

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Speaker 4: School on the Society. I had just been the head

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Speaker 4: of the largest directed company in the world and Rocket changed.

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Speaker 4: Rock was now punk, rock was now new wave with

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Speaker 4: Patty Smith Louie Graham Parker. I signed them because I

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Speaker 4: loved the rock background, and that's why I'm in the

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Speaker 4: rock and roll all of tame. But I would never

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Speaker 4: be a major based on what those artists would sell.

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Speaker 4: So I had to test my ears because the only

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Speaker 4: way that albums went gold, platinum and multi platinum were

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Speaker 4: from their singles.

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Speaker 8: And so I said to myself, yes.

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Speaker 4: You've gotten confidence, and the rock artists that you discovered,

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Speaker 4: including Springsteen and Billy Joel, are unique special, but can

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Speaker 4: you pick a hit song because it's singles that are

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Speaker 4: making golden platinum albums. And I wanted to be a

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Speaker 4: major label. I wanted to be back as the biggest company,

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Speaker 4: compete against Columbia.

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Speaker 8: RCAA Capital and so yes.

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Speaker 4: Right at the very beginning, when I signed Barry Manilow

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Speaker 4: as the first artist on Ariston, he was totally unknown.

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Speaker 4: He had one album out to show, literally five thousand copies.

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Speaker 4: He only thought of himself as a writer arranger who

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Speaker 4: is not only for himself. He was working with Ben

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Speaker 4: Midler in that capacity. I listened to the albums on

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Speaker 4: what would have been his second the song that would

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Speaker 4: have been the second album A Barry and I said,

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Speaker 4: it's a good album. You've got good songs, you don't

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Speaker 4: have a hit single. He looked at me, startled, and

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Speaker 4: I said, give me. It's important for me to see

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Speaker 4: if I could come up with a hit song. You

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Speaker 4: and I did come up with. Mandy was called Brandy

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Speaker 4: in the demo, but Brandy You're a Fine Girl had

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Speaker 4: already been a hit on Epic with looking Glass, so

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Speaker 4: I changed the name from Brandy to Bandy and we

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Speaker 4: went over the arrangement. At first, Barry thought I was

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Speaker 4: looking for an uptempo. I said, no, it's a ballad,

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Speaker 4: and he came up with a brilliant arrangement. And our team,

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Speaker 4: that is Barry and I launched his career with Mandy

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Speaker 4: and the first record on Ours, Mandy went straight to

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Speaker 4: number one. So what happened then was that he said, okay,

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Speaker 4: you're signing. You signed me because when I opened for

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Speaker 4: DM wowick con Central Park, you said I was performer.

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Speaker 4: I was a great showman. I never thought of myself.

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Speaker 4: To this day, he doesn't think of himself, but he

385
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Speaker 4: is fifty years later selling out Radio City two weeks

386
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Speaker 4: a year. It's just in the London Palladium, selling fourteen

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Speaker 4: dates at age eighty sellouts. Just sent me a clip

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Speaker 4: from Manchester thirteen thousand sell out, so he gave me

389
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Speaker 4: our deal. Pall and Skip were all right, you're gonna

390
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Speaker 4: get two songs on every album. I'm Barry in a

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Speaker 4: rape the rest of the album, and you automatically have

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Speaker 4: two songs. So I made those two songs count. Because

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Speaker 4: although Barry is to his credit, is in the songwriting's

394
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Speaker 4: Hall of Fame, he wrote complic about it. He wrote

395
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Speaker 4: this funt see you even now. But I came up

396
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Speaker 4: with I write the songs can't Smile without You, looks

397
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Speaker 4: like we made it. I made it through the rain,

398
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Speaker 4: trying to get to feeling again. Every song became a big,

399
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Speaker 4: big being hit, so that he became a multi platinum

400
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Speaker 4: album artist and it really held first maybe ten years.

401
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Speaker 4: Samaris give us a major shot at being an important

402
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Speaker 4: alternative to Columbia and RCA.

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Speaker 1: Clive, You've been apart obviously have so many amazing artists

404
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Speaker 1: under your guidance and your talent.

405
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Speaker 4: But it was curious.

406
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Speaker 1: I remember when you didn't sign John Mellencamp because you

407
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Speaker 1: felt he was too similar to Springsteen. Were there any

408
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Speaker 1: other artists that, let's say, once you wanted them but

409
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Speaker 1: they got away? Is anyone you look back?

410
00:26:05,640 --> 00:26:07,680
Speaker 4: Weather is the two artists. But let me tell you

411
00:26:07,800 --> 00:26:10,720
Speaker 4: a good story that only came up a few years ago.

412
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Speaker 4: For many years when I was being interviewed what big

413
00:26:15,920 --> 00:26:19,040
Speaker 4: artists did, I pans out and I always said the

414
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Speaker 4: biggest artist I passed on was John Mellencamp.

415
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Speaker 8: John Cougar Melancamp.

416
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Speaker 4: I also with everybody else in the industry, and this

417
00:26:30,520 --> 00:26:34,119
Speaker 4: became He became a big artist with one album, but

418
00:26:34,320 --> 00:26:38,200
Speaker 4: never really after that, and that was met Folk, the

419
00:26:38,359 --> 00:26:45,320
Speaker 4: meat Boat situation. Having listened to the Jim Steinman songs, theatricals,

420
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Speaker 4: I and everybody else passed on that one album. But

421
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Speaker 4: it's not that meat Folk had ten more albums like that.

422
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Speaker 4: The Bad Out of Bell was big, huge, but that

423
00:26:58,880 --> 00:27:05,320
Speaker 4: was It was John Mellencamp who wrote Jack and Dan

424
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Speaker 4: who became a great original rock artist. So come with

425
00:27:10,359 --> 00:27:15,080
Speaker 4: me to in Lane's restaurant. Jan Winner is having a

426
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Speaker 4: dinner the night before he's intucted into the Rock and

427
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Speaker 4: Roll Hall of Fame, and I'm standing there. They're only

428
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Speaker 4: about sixty of percent. And I'm standing there with Bruce Springsteen,

429
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Speaker 4: with John Mellencamp, with Jackson Brown, and with Dawn Anley

430
00:27:35,720 --> 00:27:40,800
Speaker 4: having drinks before dinners when a voice from the microphone says,

431
00:27:42,400 --> 00:27:47,400
Speaker 4: wherever you're standing, you guys, sit at that table. That's

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Speaker 4: where we're gonna have dinner.

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Speaker 8: So when sitting down, I was.

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Speaker 4: The only quote suit at that table, and they were

435
00:27:57,119 --> 00:28:02,960
Speaker 4: each saying whether who auditioned for me? And here Mellencamp

436
00:28:03,520 --> 00:28:07,960
Speaker 4: on my left is Springstein, on his left is Melenchamp.

437
00:28:08,960 --> 00:28:12,280
Speaker 4: I said, John, in every interview, you are the biggest

438
00:28:12,440 --> 00:28:16,879
Speaker 4: artists that I ever fansed on on And the reason

439
00:28:17,040 --> 00:28:20,239
Speaker 4: that I can't believe it because he's sitting between us

440
00:28:20,440 --> 00:28:25,680
Speaker 4: right now, it goes Springstein. I thought at that time

441
00:28:26,359 --> 00:28:31,240
Speaker 4: you were pretty close to Springsteen. I had signed the

442
00:28:31,359 --> 00:28:38,720
Speaker 4: original and he said to me, let me rest your

443
00:28:38,840 --> 00:28:44,360
Speaker 4: anxiety or your concern will put you in peace. Eight

444
00:28:44,520 --> 00:28:48,000
Speaker 4: weeks before I auditioned from you, I was in a

445
00:28:48,160 --> 00:28:53,200
Speaker 4: cover band in Las Vegas, your listeners. A cover band

446
00:28:54,440 --> 00:28:57,840
Speaker 4: is a band that has no original songs but just

447
00:28:58,760 --> 00:29:02,800
Speaker 4: covers the big of the day. Could be fun, could

448
00:29:02,840 --> 00:29:09,000
Speaker 4: be entertaining, but it is not creatively credible. He said,

449
00:29:09,760 --> 00:29:14,320
Speaker 4: you're a great singer, a manager of David Bowie, and

450
00:29:14,440 --> 00:29:19,480
Speaker 4: he said, if you leave the band and begin writing

451
00:29:19,680 --> 00:29:24,600
Speaker 4: or seeing if you can write, I will use my

452
00:29:25,600 --> 00:29:29,640
Speaker 4: decision as managing one of the great old time orders

453
00:29:30,640 --> 00:29:36,640
Speaker 4: to get you audition before the leading talent signs of

454
00:29:36,800 --> 00:29:42,000
Speaker 4: the day, he said. Eight weeks I left the band,

455
00:29:42,120 --> 00:29:46,840
Speaker 4: he said, and started writing, and eight weeks after I

456
00:29:47,040 --> 00:29:51,080
Speaker 4: left that cup of band, I get a call. I'm

457
00:29:51,120 --> 00:29:55,880
Speaker 4: a new audition for you. Rest easy. I was not

458
00:29:56,080 --> 00:30:00,560
Speaker 4: a jack and Diane riger that I became. My biggest

459
00:30:00,640 --> 00:30:05,680
Speaker 4: influence was Blue Springstein at the time. There's no doubt

460
00:30:05,840 --> 00:30:09,800
Speaker 4: that I'd be too close. I was not worthy of

461
00:30:10,000 --> 00:30:14,320
Speaker 4: being signed when I listened to you, and it certainly

462
00:30:14,560 --> 00:30:18,560
Speaker 4: was not the artist and writer about i'd become. So

463
00:30:18,800 --> 00:30:20,360
Speaker 4: that's the full story.

464
00:30:20,200 --> 00:30:22,680
Speaker 5: For very cool, Very cool.

465
00:30:34,280 --> 00:30:37,000
Speaker 3: Both you and Paul two legends in the music industry,

466
00:30:37,040 --> 00:30:38,720
Speaker 3: and you each have your own way of you know,

467
00:30:38,800 --> 00:30:43,240
Speaker 3: approaching different songs and different artists. But you've discovered and

468
00:30:43,400 --> 00:30:46,120
Speaker 3: nurtured the talent of so many artists. But what is

469
00:30:46,200 --> 00:30:49,080
Speaker 3: it that you look for in an artist before deciding

470
00:30:49,160 --> 00:30:50,760
Speaker 3: to work with them. What is the thing that you

471
00:30:51,080 --> 00:30:53,160
Speaker 3: when you meet a new artist, What is that thing

472
00:30:53,240 --> 00:30:56,160
Speaker 3: that you say to yourself, they have to check that box?

473
00:30:56,320 --> 00:31:03,080
Speaker 4: What is that uniqueness? Speciality? If they're a writer, it's

474
00:31:03,160 --> 00:31:07,840
Speaker 4: got to be distinctive, unique the way Springsteen, Patty Smith

475
00:31:07,960 --> 00:31:13,160
Speaker 4: were and or to this day. If you're a vocalist unique,

476
00:31:13,680 --> 00:31:19,040
Speaker 4: I mean Whitney Houston stun me at her audition. So

477
00:31:19,200 --> 00:31:26,320
Speaker 4: you're looking for those artists that can be stars. If

478
00:31:26,360 --> 00:31:30,680
Speaker 4: they're not a Dylan Springstein or the Light or they

479
00:31:30,960 --> 00:31:35,000
Speaker 4: hit songwriter, do they have hit for themselves? That's what

480
00:31:35,160 --> 00:31:39,160
Speaker 4: a Lacy Cheese had. She had hits as well as

481
00:31:39,240 --> 00:31:45,120
Speaker 4: the stunning, youthful Pru Soda. So you're looking for uniqueness.

482
00:31:45,440 --> 00:31:48,960
Speaker 4: And what I've got to tell you in thrilling, because

483
00:31:49,040 --> 00:31:53,120
Speaker 4: it just happened to me. I got one of the

484
00:31:53,320 --> 00:31:57,800
Speaker 4: calls of a lifetime two weeks ago, three weeks ago

485
00:31:58,360 --> 00:32:02,560
Speaker 4: from Carnegie Hall that the New York Philharmonic Pops was

486
00:32:02,680 --> 00:32:08,480
Speaker 4: celebrating their forty first birthday, and every song played that

487
00:32:08,800 --> 00:32:13,920
Speaker 4: night on April twenty ninth at Cornegie Hall by the

488
00:32:14,040 --> 00:32:17,240
Speaker 4: New Boss would be a song that was launched in

489
00:32:17,400 --> 00:32:21,480
Speaker 4: my career. And what they didn't tell me is that

490
00:32:21,680 --> 00:32:27,920
Speaker 4: they went after all of my artists that I'm signed

491
00:32:28,320 --> 00:32:32,520
Speaker 4: and got them that loyalty. I'll never forget. So what

492
00:32:32,760 --> 00:32:41,200
Speaker 4: Cornegie Hall, literally six weeks ago, we had Manulo, we

493
00:32:41,480 --> 00:32:46,360
Speaker 4: had Dil Warwick, we had Santana with Rob Thomas, we

494
00:32:46,560 --> 00:32:53,520
Speaker 4: had Fantasias, and actually, because Springsteen was in Italy, we

495
00:32:53,640 --> 00:32:57,040
Speaker 4: got John dollen Camp to Saint Born in the USA.

496
00:32:58,200 --> 00:33:03,240
Speaker 4: But it was a night not to be ever forgotten,

497
00:33:04,440 --> 00:33:11,480
Speaker 4: and mostly because not only were they still stars, but

498
00:33:11,800 --> 00:33:20,280
Speaker 4: fifty years I signed barrin Manilone in nineteen seventy five,

499
00:33:21,400 --> 00:33:26,240
Speaker 4: so here we are forty nine years later. I signed

500
00:33:28,080 --> 00:33:35,240
Speaker 4: Santana originally in nineteen sixty nine, so there we were

501
00:33:35,400 --> 00:33:37,120
Speaker 4: fifty five years later.

502
00:33:37,920 --> 00:33:38,720
Speaker 6: They were all.

503
00:33:40,640 --> 00:33:44,480
Speaker 4: In their individual numbers. They brought the house down.

504
00:33:45,160 --> 00:33:48,800
Speaker 1: The true testament, Clive, because you and I know what

505
00:33:48,960 --> 00:33:53,880
Speaker 1: this business is about. You can't control loyalty, You just can't.

506
00:33:54,000 --> 00:33:58,960
Speaker 1: But all those people obviously loved you and indebted to you.

507
00:33:59,480 --> 00:34:03,000
Speaker 1: But going to Whitney that you mention an amazing.

508
00:34:02,600 --> 00:34:03,120
Speaker 4: Career in you.

509
00:34:03,720 --> 00:34:05,320
Speaker 1: We all know you were very much a part of

510
00:34:05,440 --> 00:34:08,600
Speaker 1: everything that she was doing. I don't know that people

511
00:34:08,600 --> 00:34:10,200
Speaker 1: are aware of the fact. I think you went through

512
00:34:10,239 --> 00:34:13,520
Speaker 1: over two hundred songs in considering what you were going

513
00:34:13,600 --> 00:34:15,719
Speaker 1: to do. What was that process about with that great

514
00:34:15,800 --> 00:34:16,800
Speaker 1: artist as Whitney was.

515
00:34:17,840 --> 00:34:22,600
Speaker 4: I went to be talking. Now. Let me see nineteen

516
00:34:24,480 --> 00:34:30,520
Speaker 4: eighty three. Whitney was about eighteen or nineteen years old,

517
00:34:31,080 --> 00:34:34,160
Speaker 4: and I was told by Jerry Griffith and they and

518
00:34:34,239 --> 00:34:37,279
Speaker 4: our guy that worked for me, you got to go

519
00:34:37,400 --> 00:34:42,320
Speaker 4: to see her. She's special. And I went to see Whitney.

520
00:34:42,520 --> 00:34:46,040
Speaker 4: She was singing backgrounds in a mother's sister used to

521
00:34:46,280 --> 00:34:52,440
Speaker 4: Jack and Sweet boarders a club in Manhattan, and she did.

522
00:34:52,840 --> 00:34:56,200
Speaker 4: She stepped out and mean, she stepped in front of

523
00:34:56,360 --> 00:35:00,840
Speaker 4: the east background. But she shared with the brother Gary,

524
00:35:02,200 --> 00:35:07,719
Speaker 4: and she sang two songs, Home from the Wiz and

525
00:35:07,880 --> 00:35:14,000
Speaker 4: the song that I had commissioned eight years earlier for

526
00:35:14,120 --> 00:35:18,080
Speaker 4: the movie On the Way for Muhammad Ali. The movie

527
00:35:18,239 --> 00:35:22,640
Speaker 4: was called The Greatest. The song for was written by

528
00:35:22,760 --> 00:35:27,439
Speaker 4: Michael Mansell and the song was the Greatest Love of All,

529
00:35:27,760 --> 00:35:32,760
Speaker 4: which of course is one of the great standards today

530
00:35:32,840 --> 00:35:33,560
Speaker 4: of all time.

531
00:35:34,840 --> 00:35:35,239
Speaker 2: Give this.

532
00:35:35,520 --> 00:35:39,919
Speaker 4: An eighteen or nineteen year old girl sang a song

533
00:35:40,120 --> 00:35:43,440
Speaker 4: that had been recorded by George Benson. It was like

534
00:35:43,560 --> 00:35:46,760
Speaker 4: a number of eight R and B hit. She sang

535
00:35:46,880 --> 00:35:49,600
Speaker 4: it as though I never heard it before. She had

536
00:35:49,680 --> 00:35:53,320
Speaker 4: no idea that I was involved, had been above with

537
00:35:53,400 --> 00:35:58,239
Speaker 4: that song. I heard her, and my spine tingle the

538
00:35:58,400 --> 00:36:01,600
Speaker 4: composers I knew. I even went out to the lobby

539
00:36:02,200 --> 00:36:06,320
Speaker 4: afterwards and called Michael Massa to fly in on the

540
00:36:06,440 --> 00:36:09,640
Speaker 4: Red Eyes and go with me the next night to

541
00:36:09,880 --> 00:36:14,080
Speaker 4: he had been young girl sing the greatest Love the Ball,

542
00:36:14,520 --> 00:36:18,960
Speaker 4: not at my request, on her own, doing like I

543
00:36:19,080 --> 00:36:25,160
Speaker 4: never heard it before. So when I signed her, and

544
00:36:25,760 --> 00:36:29,239
Speaker 4: to show you how unique I felt she was a

545
00:36:29,360 --> 00:36:32,719
Speaker 4: lawyer is because Bruce Paul of the lecture, a few

546
00:36:32,760 --> 00:36:37,080
Speaker 4: of the labels were interested. I had the advantage because

547
00:36:37,160 --> 00:36:41,400
Speaker 4: I was finding songs, and I brought back Diane Warwick,

548
00:36:42,239 --> 00:36:47,320
Speaker 4: her first cousin, Bretha Franklin her quote godmother unquote because

549
00:36:47,360 --> 00:36:52,080
Speaker 4: Sissy her mother was some backland singer for Arica Sweden's

550
00:36:52,160 --> 00:36:57,080
Speaker 4: Grace and he is. But they requested and demanded a

551
00:36:57,200 --> 00:37:01,040
Speaker 4: key man cause which was now if I E E

552
00:37:01,120 --> 00:37:04,439
Speaker 4: left the company, she would have the right to leave

553
00:37:05,000 --> 00:37:10,239
Speaker 4: because I never gave before, never gave after. Had to

554
00:37:10,320 --> 00:37:14,520
Speaker 4: get parental corporate approval because I'm your sly its and

555
00:37:14,640 --> 00:37:19,239
Speaker 4: self comfort. I got it. She got to cause and

556
00:37:19,440 --> 00:37:22,280
Speaker 4: I had to come up. You know, it's like having

557
00:37:22,400 --> 00:37:25,600
Speaker 4: Meryl Street, but you don't have the right play or movie.

558
00:37:26,560 --> 00:37:29,920
Speaker 4: You got to get the right material. I arraigned for

559
00:37:30,960 --> 00:37:36,760
Speaker 4: songwriter showcases in New York at the Roxy La, having

560
00:37:36,880 --> 00:37:41,960
Speaker 4: them sing and calling the biggest US successful songwritings to

561
00:37:42,160 --> 00:37:46,239
Speaker 4: hear and say so yes, you're under present writing. It

562
00:37:46,400 --> 00:37:50,480
Speaker 4: took two years to come up with the material on

563
00:37:50,680 --> 00:37:56,840
Speaker 4: that first album. Of course, Michael Masser had a head start,

564
00:37:57,280 --> 00:38:01,440
Speaker 4: so that's how we got saving All My Love for

565
00:38:01,600 --> 00:38:05,719
Speaker 4: You would she wrote, and all of one. But it

566
00:38:05,840 --> 00:38:10,880
Speaker 4: took two years before we were ready with that debut

567
00:38:11,000 --> 00:38:12,000
Speaker 4: album Amazing.

568
00:38:12,239 --> 00:38:15,480
Speaker 3: So I'm a bit I'm a big Springsteen fan. When

569
00:38:15,560 --> 00:38:19,400
Speaker 3: did you first experience that force of nature that is

570
00:38:19,480 --> 00:38:22,120
Speaker 3: Bruce Springsteen? How did that come about?

571
00:38:22,480 --> 00:38:27,759
Speaker 4: When I auditioned at the request of John Hammond and

572
00:38:27,880 --> 00:38:29,920
Speaker 4: they in Our Gift to Day, in our man that

573
00:38:30,239 --> 00:38:33,919
Speaker 4: worked at Columbia, Bruce was not a force of nation.

574
00:38:35,760 --> 00:38:39,239
Speaker 4: Bruce was a folks in it of what captured me

575
00:38:41,160 --> 00:38:46,200
Speaker 4: was the uniqueness of his lyrics. And in those days,

576
00:38:47,880 --> 00:38:51,279
Speaker 4: if you were a folk singer and it befell Tim

577
00:38:51,440 --> 00:38:55,520
Speaker 4: Harden and it could tell Eric Hansensen, you're called, well,

578
00:38:55,640 --> 00:39:01,200
Speaker 4: another Bob Dylan. Two things happened with Bruce, and I'll

579
00:39:01,280 --> 00:39:08,360
Speaker 4: tell you anecdotes about one. He never moved. He was alone,

580
00:39:08,640 --> 00:39:12,880
Speaker 4: and he performed at see the GVS and Maxims Jolson City,

581
00:39:13,239 --> 00:39:16,520
Speaker 4: and he didn't have it. He stood behind the microphone

582
00:39:17,480 --> 00:39:23,640
Speaker 4: and he's sang is wonderful, unique lyric. When he turned

583
00:39:23,680 --> 00:39:28,360
Speaker 4: his album into well known story shared by Bruce and me,

584
00:39:29,120 --> 00:39:33,480
Speaker 4: I listen, I said, Bruce, would you consider a very

585
00:39:33,640 --> 00:39:39,640
Speaker 4: sensitive subject between an executive and an autist? But I said,

586
00:39:39,760 --> 00:39:43,000
Speaker 4: I love your album cuts. I love the imagery, I

587
00:39:43,160 --> 00:39:47,120
Speaker 4: love the lyrics. I have a way of making sure

588
00:39:47,280 --> 00:39:51,040
Speaker 4: everyone as the company, knows how to market you. And

589
00:39:51,200 --> 00:39:55,040
Speaker 4: I did go on closed Circuit TV to read the lyrics.

590
00:39:55,280 --> 00:39:59,840
Speaker 4: Bruce has it TV tape me reading all the lyrics

591
00:40:00,520 --> 00:40:04,120
Speaker 4: on his album to show that he was not another

592
00:40:04,280 --> 00:40:09,400
Speaker 4: Bob Dylan. This was the unique new talent. And indeed

593
00:40:09,520 --> 00:40:12,880
Speaker 4: the two of these gentlemen have become the poet laureates

594
00:40:13,200 --> 00:40:19,160
Speaker 4: of Americas over the past century. But when he turned

595
00:40:19,200 --> 00:40:22,520
Speaker 4: the album in, I said, I love the album cuts.

596
00:40:22,640 --> 00:40:26,120
Speaker 4: You can need at least two radio cuts. We need

597
00:40:26,280 --> 00:40:30,399
Speaker 4: to get radio. He could have been defensive. Some would

598
00:40:30,520 --> 00:40:35,520
Speaker 4: be understandably. He said, Okay, you might be right, and

599
00:40:36,400 --> 00:40:40,960
Speaker 4: he is on tape and saying I went to the beats.

600
00:40:42,080 --> 00:40:46,480
Speaker 4: I went to the park over the next two weeks,

601
00:40:48,000 --> 00:40:51,319
Speaker 4: and I came up with two songs that I never

602
00:40:51,560 --> 00:40:54,520
Speaker 4: ever would have written fIF five and asked me to

603
00:40:55,000 --> 00:41:00,480
Speaker 4: search my soul for radio friendly cuts. And he came

604
00:41:00,600 --> 00:41:05,080
Speaker 4: up blinded by the light and stirred in the night.

605
00:41:05,960 --> 00:41:12,400
Speaker 4: So that's one Springsteen story. During that era, Bill Graham

606
00:41:12,560 --> 00:41:17,760
Speaker 4: closed for More East and fill More West to rock theaters,

607
00:41:19,000 --> 00:41:23,280
Speaker 4: and the headline in the New York Times is rock dying.

608
00:41:23,800 --> 00:41:29,239
Speaker 4: We've seen that pretty often. To show that rock and

609
00:41:29,480 --> 00:41:34,879
Speaker 4: contemporary music was still alive, I took over the Almendson

610
00:41:35,120 --> 00:41:41,800
Speaker 4: Theater in LA for seven consecutive nights, and I mixed

611
00:41:41,960 --> 00:41:47,200
Speaker 4: and matched Springsteen with Miles Davis, new writers of the

612
00:41:47,360 --> 00:41:53,560
Speaker 4: Purple Saints Backwards Tuck to'hook. The show that contemporary music

613
00:41:53,840 --> 00:42:00,560
Speaker 4: was alive. With special talent, I go to rehearsal Ringsteen

614
00:42:00,719 --> 00:42:05,960
Speaker 4: comes onstage by himself on a stage as large as

615
00:42:06,320 --> 00:42:11,920
Speaker 4: Radio City Music Hall. And he starts singing, and it

616
00:42:12,080 --> 00:42:14,839
Speaker 4: was the first time I had seen them outside them

617
00:42:14,880 --> 00:42:19,440
Speaker 4: seeing the GV on MAXI Kansas City and I go

618
00:42:19,680 --> 00:42:23,920
Speaker 4: up to these stage. I say, Bruce, let me ask you.

619
00:42:24,840 --> 00:42:29,440
Speaker 4: You're getting dwarfed by the stage. And I took him

620
00:42:29,480 --> 00:42:34,040
Speaker 4: by the hand. I said, is there any material? And

621
00:42:34,200 --> 00:42:37,000
Speaker 4: I walked to the left of the stags and we

622
00:42:37,480 --> 00:42:41,479
Speaker 4: casually walked to the alway in the other side. Since

623
00:42:41,560 --> 00:42:46,600
Speaker 4: a big audience, it's not an intimate little club like

624
00:42:46,760 --> 00:42:50,399
Speaker 4: you used to. Is there any way that you can

625
00:42:50,520 --> 00:42:56,000
Speaker 4: move around a little bit? Fast forward two years later,

626
00:42:56,360 --> 00:43:00,680
Speaker 4: I'm now head of Arist Records. He's read to release

627
00:43:01,560 --> 00:43:08,000
Speaker 4: his third album, Playing the bottom Line. John Landa, was manager,

628
00:43:08,200 --> 00:43:12,400
Speaker 4: calls me, Bruce is dying for you to see him

629
00:43:12,440 --> 00:43:15,520
Speaker 4: at the bottom Line and could you count it? That night,

630
00:43:15,640 --> 00:43:20,840
Speaker 4: I was happening to be with Louie the Famousery and

631
00:43:21,000 --> 00:43:24,040
Speaker 4: I went with Louke down on the bottom Line and

632
00:43:24,520 --> 00:43:29,400
Speaker 4: I'm showing now I had no clue what I'm going

633
00:43:29,480 --> 00:43:34,120
Speaker 4: to tell you that Bruce was capable of becoming the

634
00:43:34,239 --> 00:43:40,319
Speaker 4: greatest live performa with Mick Jaga in history. There at

635
00:43:40,360 --> 00:43:46,160
Speaker 4: the bottom line capacity of five hundred seats was Springsteen

636
00:43:46,520 --> 00:43:52,279
Speaker 4: with the East Street Band. Every number he jumped on

637
00:43:52,480 --> 00:43:58,719
Speaker 4: every table at the bottom line, a whirling Dirvers. I

638
00:43:58,880 --> 00:44:02,279
Speaker 4: had not a clue that he would be common. There's

639
00:44:02,520 --> 00:44:11,359
Speaker 4: whirling Divers. Incredibly adamated, fabulous live entertainment. The show ends,

640
00:44:11,640 --> 00:44:16,319
Speaker 4: My job was still dropping. I said, Louis, I've got

641
00:44:16,440 --> 00:44:21,160
Speaker 4: to go backstage. I go backstage, and there was Bruce

642
00:44:21,320 --> 00:44:26,760
Speaker 4: alone in that bottom line dressing room and I opened

643
00:44:26,840 --> 00:44:31,320
Speaker 4: the door. It gives me a big smile and he

644
00:44:31,480 --> 00:44:35,240
Speaker 4: looks up and he said, Clive, did I move around

645
00:44:35,320 --> 00:44:41,680
Speaker 4: and note for you tonight? We both will never forget that.

646
00:44:43,840 --> 00:44:48,360
Speaker 4: So that's the background a little bit, lum Prince.

647
00:44:48,840 --> 00:44:49,400
Speaker 2: That's great.

648
00:44:49,840 --> 00:44:52,960
Speaker 1: You know, Clive, you're obviously the music man. I mean,

649
00:44:53,560 --> 00:44:56,560
Speaker 1: you're so unique in our industry and as a human being.

650
00:44:56,680 --> 00:44:58,680
Speaker 1: And you know, I know, I know that music is

651
00:44:59,000 --> 00:45:02,600
Speaker 1: your chief pashion in your life. Are there any other

652
00:45:02,719 --> 00:45:06,440
Speaker 1: passions you have, I mean, anything else you're very passionate

653
00:45:06,480 --> 00:45:07,960
Speaker 1: about that we wouldn't know about.

654
00:45:08,480 --> 00:45:13,560
Speaker 4: I'm passionate about baseball. I watch the Yankees. I tape

655
00:45:13,640 --> 00:45:16,759
Speaker 4: it every night, so I go out pretty much for

656
00:45:16,920 --> 00:45:21,600
Speaker 4: dinner every night. Okay, I don't. It's my one. I'm

657
00:45:21,640 --> 00:45:26,759
Speaker 4: a foodie. I like good restaurants and by myself during

658
00:45:26,840 --> 00:45:30,920
Speaker 4: the day, either at the office or elsewhere. I like

659
00:45:31,080 --> 00:45:33,960
Speaker 4: going to a good restaurant at night. So let's say

660
00:45:34,040 --> 00:45:39,480
Speaker 4: I get home at ten o'clock, I will have takes

661
00:45:39,719 --> 00:45:43,160
Speaker 4: every Yankee game. Now, I fast forward the other team

662
00:45:43,360 --> 00:45:47,320
Speaker 4: until the sevent three. Then I watch each the Yankee

663
00:45:47,440 --> 00:45:50,560
Speaker 4: turn at back. I'm not gonna sit for a three

664
00:45:50,640 --> 00:45:51,279
Speaker 4: hour game.

665
00:45:52,040 --> 00:45:52,840
Speaker 2: But I am.

666
00:45:52,880 --> 00:45:57,239
Speaker 4: Passionate about baseball. And although I was a great book

667
00:45:57,280 --> 00:46:00,640
Speaker 4: to a Dodger fan and hated the Yankees for years,

668
00:46:01,880 --> 00:46:06,320
Speaker 4: when I was head of Columbia Records at CBS, CBS

669
00:46:06,560 --> 00:46:09,760
Speaker 4: bought the Yankee so it was now a company team

670
00:46:10,560 --> 00:46:14,160
Speaker 4: and I had any ticket I wanted. So that's when

671
00:46:14,239 --> 00:46:19,359
Speaker 4: I became a big Yankee fan. So sports had been

672
00:46:19,400 --> 00:46:26,200
Speaker 4: a wonderful passion. I would say I just watched pretty

673
00:46:26,280 --> 00:46:30,840
Speaker 4: much every match at the FRONT Open. I love watching tennis.

674
00:46:31,000 --> 00:46:34,360
Speaker 4: I go to the US Open. I certain named football

675
00:46:34,560 --> 00:46:42,120
Speaker 4: season and Sunday Sport's my share. So I and I've

676
00:46:42,160 --> 00:46:46,000
Speaker 4: got four children, three of whom were sons, two of

677
00:46:46,120 --> 00:46:51,759
Speaker 4: whom are great sports fans. So I do follow sports.

678
00:46:52,040 --> 00:46:56,880
Speaker 4: I also follow Broadway. Now that's part of music, but

679
00:46:57,120 --> 00:46:57,400
Speaker 4: it's a.

680
00:46:57,440 --> 00:46:58,440
Speaker 5: Little more than that.

681
00:46:58,880 --> 00:47:02,800
Speaker 4: And I grew up Undergod A Live missing going to

682
00:47:02,920 --> 00:47:08,920
Speaker 4: the auditions for Cabaret Columbia and My Fair Lady Westside

683
00:47:09,000 --> 00:47:12,080
Speaker 4: Story Cabaret Chicago.

684
00:47:12,320 --> 00:47:14,440
Speaker 8: I got so to this day.

685
00:47:14,680 --> 00:47:18,320
Speaker 4: I mean, I mean very proud of Alicia Keys. I

686
00:47:18,360 --> 00:47:22,880
Speaker 4: remember the three times to see Hell's Kitchen, which is

687
00:47:23,040 --> 00:47:26,800
Speaker 4: up for thirteen tonys. And I do keep up with

688
00:47:27,000 --> 00:47:33,160
Speaker 4: Broadway unique American phenomenon. I do love theater. What helps

689
00:47:33,280 --> 00:47:38,080
Speaker 4: make New York special, So I would say those apart

690
00:47:38,160 --> 00:47:44,040
Speaker 4: from travel and family, I'm very family conscious and I

691
00:47:44,200 --> 00:47:49,279
Speaker 4: have four teens and ekline children and we do at

692
00:47:49,400 --> 00:47:53,719
Speaker 4: least two family trips a year, so they've got it.

693
00:48:05,080 --> 00:48:07,239
Speaker 3: This is interesting because you're a foodie. I don't know

694
00:48:07,280 --> 00:48:10,600
Speaker 3: if you've been to this restaurant. I sort of discovered

695
00:48:10,800 --> 00:48:13,560
Speaker 3: I hadn't been there. It's called a Vina, a b

696
00:48:13,800 --> 00:48:16,160
Speaker 3: e Na on East sixty sixth Streets.

697
00:48:17,560 --> 00:48:18,440
Speaker 2: It's spectacular.

698
00:48:18,560 --> 00:48:20,520
Speaker 3: So I decide I'm going to take two of my

699
00:48:21,200 --> 00:48:24,320
Speaker 3: best closest friends who you know well, Alan Grubman and

700
00:48:24,440 --> 00:48:25,160
Speaker 3: David Geffen.

701
00:48:27,080 --> 00:48:30,560
Speaker 4: Boused lugs with both of them last week. Yeah, well

702
00:48:30,640 --> 00:48:33,680
Speaker 4: I got a call, so we've prephoned and we're going

703
00:48:33,800 --> 00:48:34,200
Speaker 4: at So.

704
00:48:34,320 --> 00:48:38,680
Speaker 3: That's that's a tough audience, right, And they literally raved

705
00:48:38,719 --> 00:48:42,280
Speaker 3: about it. They thought it was fantastic. But it raises

706
00:48:42,360 --> 00:48:44,560
Speaker 3: a question for me because I'm so close to both

707
00:48:44,600 --> 00:48:46,960
Speaker 3: of them, and you're such a great storyteller. Do you

708
00:48:47,040 --> 00:48:50,640
Speaker 3: have a story about David Geffen and working with him

709
00:48:50,840 --> 00:48:53,600
Speaker 3: and and or Allan? I know you've been close to

710
00:48:53,680 --> 00:48:54,320
Speaker 3: both of them.

711
00:48:55,080 --> 00:48:56,000
Speaker 8: That you can speak of.

712
00:48:56,440 --> 00:49:00,120
Speaker 4: Well, I know them both are Well, I do you

713
00:49:00,239 --> 00:49:04,680
Speaker 4: have a story. I hope David doesn't mind my room Inissing.

714
00:49:05,400 --> 00:49:10,920
Speaker 4: I met David Geffer before he became David Geffer, not

715
00:49:11,120 --> 00:49:16,160
Speaker 4: that that wasn't his name, but you know, he for

716
00:49:16,320 --> 00:49:20,279
Speaker 4: those of your audience who don't know, he is an

717
00:49:20,360 --> 00:49:27,960
Speaker 4: incredible businessman, art follower, discoverer of talent. And you know,

718
00:49:28,040 --> 00:49:30,920
Speaker 4: I don't know what I actually have two stories of David.

719
00:49:33,280 --> 00:49:35,920
Speaker 4: But I was head of Columbia and signing all the

720
00:49:36,080 --> 00:49:39,040
Speaker 4: acts that have been to He came to me, he says,

721
00:49:39,120 --> 00:49:43,800
Speaker 4: you know you're making ordinary income. Sell he said, And

722
00:49:44,120 --> 00:49:54,040
Speaker 4: I've gotten the publishing of Jarlie Mitchellton prog post of wonderful, young, new,

723
00:49:54,960 --> 00:50:00,200
Speaker 4: fabulous songwriter. He says, I am going to We ought

724
00:50:00,239 --> 00:50:04,640
Speaker 4: a brand new company and I would like you to

725
00:50:04,760 --> 00:50:10,480
Speaker 4: run it. Will be joint venture partners fifty to fifteen.

726
00:50:11,960 --> 00:50:14,640
Speaker 4: That's a big incentive. And that was I had gotten

727
00:50:14,719 --> 00:50:18,120
Speaker 4: many offers, but that was the most attractive booker I

728
00:50:18,280 --> 00:50:23,800
Speaker 4: ever got. And we were seriously considering going into business

729
00:50:24,320 --> 00:50:31,000
Speaker 4: together when David became ill and he was out of

730
00:50:31,120 --> 00:50:35,520
Speaker 4: commission for several months. And when he got out of

731
00:50:36,040 --> 00:50:42,840
Speaker 4: better from that illness, curing Elvinans, we had lunch together

732
00:50:43,719 --> 00:50:48,359
Speaker 4: at the bubbly loose Hotel liver Agether and he said,

733
00:50:48,440 --> 00:50:51,000
Speaker 4: you know, I've had so much time to think of this.

734
00:50:51,600 --> 00:50:55,600
Speaker 4: He said, you're the hand of a label Columbia become

735
00:50:55,800 --> 00:50:59,399
Speaker 4: classical artists, middle of the road artist, rock artists. I'm

736
00:50:59,560 --> 00:51:05,000
Speaker 4: forty country. You've got one hundred two hundred artists. You're

737
00:51:05,200 --> 00:51:09,640
Speaker 4: used to running a label, and we're starting from the scribes.

738
00:51:10,560 --> 00:51:13,560
Speaker 4: You've got to promise me that we will never have

739
00:51:13,800 --> 00:51:20,240
Speaker 4: more than ten honors. I said, David, you're being unrealistic,

740
00:51:21,880 --> 00:51:26,320
Speaker 4: first of all, knowing back to one hundred percent. So

741
00:51:27,000 --> 00:51:30,080
Speaker 4: if you're only having ten artists, you're gonna end up

742
00:51:30,120 --> 00:51:34,239
Speaker 4: with two, three or four, and that's not a record company,

743
00:51:35,000 --> 00:51:38,320
Speaker 4: so he said, but I'm used to being a manager,

744
00:51:38,560 --> 00:51:41,320
Speaker 4: and you know you can't be more than a manager

745
00:51:41,560 --> 00:51:46,560
Speaker 4: to a few. So we both realize that our vision

746
00:51:47,160 --> 00:51:50,960
Speaker 4: would be different, and rather than argue, and he used

747
00:51:51,000 --> 00:51:56,080
Speaker 4: to find out with great success, how many artists he

748
00:51:56,200 --> 00:52:00,880
Speaker 4: did end up with on Asylum records that made a billionaire,

749
00:52:01,840 --> 00:52:07,840
Speaker 4: we agreed to disagree the other when he began he

750
00:52:08,040 --> 00:52:16,720
Speaker 4: really managed represented totally consumed by Paul. One female artist

751
00:52:17,160 --> 00:52:21,200
Speaker 4: by the name of Laura Nero. Lauren Arrow wrote wedding

752
00:52:21,280 --> 00:52:25,680
Speaker 4: belt Blues and had with them when I died with books,

753
00:52:25,719 --> 00:52:29,080
Speaker 4: went to you to see when it set to mention

754
00:52:30,640 --> 00:52:35,120
Speaker 4: she became an artist in her own unique way, very

755
00:52:35,440 --> 00:52:39,440
Speaker 4: very unique for those of your audience who don't know

756
00:52:39,600 --> 00:52:48,080
Speaker 4: of the Greek Lauren Nero. David was consumed by lauraw understandably,

757
00:52:49,600 --> 00:52:54,480
Speaker 4: I was negotiating with them sale of her music publishing company.

758
00:52:55,040 --> 00:52:59,840
Speaker 4: She was an artist on Columbia and when David started

759
00:53:00,200 --> 00:53:04,520
Speaker 4: for a new company, obviously Maura was to be part

760
00:53:04,600 --> 00:53:07,680
Speaker 4: of it. And I'm in my office one day and

761
00:53:07,840 --> 00:53:11,240
Speaker 4: I get a call from more near him. She said,

762
00:53:11,440 --> 00:53:18,600
Speaker 4: I am terribly both disappointed and depressed. I love David,

763
00:53:19,280 --> 00:53:24,360
Speaker 4: I'm indebted to David, but he's starting a brand new company,

764
00:53:25,880 --> 00:53:27,480
Speaker 4: and you're not fighting for me.

765
00:53:27,640 --> 00:53:31,600
Speaker 8: You're not bidding for me, you're not interested in me.

766
00:53:32,640 --> 00:53:36,960
Speaker 4: Why, I said, because I only know of you to David,

767
00:53:37,680 --> 00:53:43,200
Speaker 4: and he's I never saw such a close teeth as

768
00:53:43,280 --> 00:53:46,360
Speaker 4: the two of you, So it never occurred to me

769
00:53:46,560 --> 00:53:52,480
Speaker 4: since my dream was to be on Columbia Records. Look

770
00:53:52,560 --> 00:53:56,840
Speaker 4: at the artist for uster you Bill, I'm so proud

771
00:53:57,040 --> 00:54:01,760
Speaker 4: of that. How could you affords starting a new label?

772
00:54:02,600 --> 00:54:06,160
Speaker 4: You couldn't turn those artists over? I said, so what

773
00:54:06,280 --> 00:54:09,520
Speaker 4: are you saying? She said, I love David, but I

774
00:54:09,680 --> 00:54:13,600
Speaker 4: want to stay on Columbia Records. David did not speak

775
00:54:13,680 --> 00:54:17,880
Speaker 4: to me for a year, a full year, and then

776
00:54:17,960 --> 00:54:23,960
Speaker 4: one day he called me and he said, let's go

777
00:54:24,160 --> 00:54:28,200
Speaker 4: back to being friends. I get it. I'm now running

778
00:54:28,239 --> 00:54:34,319
Speaker 4: a record company. How could you let autists go? It's

779
00:54:34,400 --> 00:54:38,839
Speaker 4: a manager starts their own record label. You can't give

780
00:54:38,960 --> 00:54:41,640
Speaker 4: up on that. I get it now, and it wasn't

781
00:54:41,760 --> 00:54:48,160
Speaker 4: your doing, and so we went back to being good friends. Yeah,

782
00:54:48,239 --> 00:54:50,600
Speaker 4: those are two debugausing stories.

783
00:54:50,960 --> 00:54:55,320
Speaker 1: Clive, who are you listening to today? Knowing you're you know,

784
00:54:55,440 --> 00:54:58,120
Speaker 1: your white brilliance of the talent you've worked with, and

785
00:54:59,239 --> 00:55:02,520
Speaker 1: music and high so passion. Who are you listening to today?

786
00:55:03,280 --> 00:55:04,200
Speaker 1: Who's impressing you?

787
00:55:04,680 --> 00:55:09,160
Speaker 4: I have very little time to listen to outside music.

788
00:55:09,280 --> 00:55:13,480
Speaker 4: What I do listen to to keep caring even now,

789
00:55:15,239 --> 00:55:20,719
Speaker 4: I listen to it pretty much every major artist, new

790
00:55:20,960 --> 00:55:25,440
Speaker 4: artist as they come to break a format, so that

791
00:55:26,840 --> 00:55:29,640
Speaker 4: over the last you know, last of you. Certainly I

792
00:55:29,840 --> 00:55:34,680
Speaker 4: listened to Taylors Weft and Kendrick Lamar and great whether

793
00:55:34,800 --> 00:55:38,839
Speaker 4: it's pop music or hip hop, to see why are

794
00:55:38,880 --> 00:55:44,760
Speaker 4: they breaking records like this? Breaking records meaning statistical records,

795
00:55:45,520 --> 00:55:50,200
Speaker 4: being nominated for more Grammys or drawing more people, or

796
00:55:50,520 --> 00:55:55,160
Speaker 4: entering charts at number one time and again what makes

797
00:55:55,239 --> 00:56:00,520
Speaker 4: them special? So I don't like going over the top.

798
00:56:00,680 --> 00:56:03,279
Speaker 4: You never know who you spend the night, you know,

799
00:56:03,400 --> 00:56:06,560
Speaker 4: an evening at dinnerware. You want to be current. So

800
00:56:06,880 --> 00:56:13,600
Speaker 4: almost all my listening is to new records as they

801
00:56:14,760 --> 00:56:19,200
Speaker 4: go into the top ten of the genre music that

802
00:56:19,400 --> 00:56:24,680
Speaker 4: they're in, so that I am current and we don't

803
00:56:24,719 --> 00:56:29,320
Speaker 4: spend time reminiscing, but that I could talk about today

804
00:56:30,160 --> 00:56:35,399
Speaker 4: pretty much as today it iss if I had my way.

805
00:56:36,320 --> 00:56:40,680
Speaker 4: I've got to tell you, I would say, lthough you're

806
00:56:40,760 --> 00:56:47,000
Speaker 4: not asking, who would be my leaving Springsteen and Bob

807
00:56:47,120 --> 00:56:52,120
Speaker 4: Dylan and Patty Smith's aside, who would be my two

808
00:56:52,320 --> 00:56:57,719
Speaker 4: favorite artists that I would listen to. One would be

809
00:56:57,800 --> 00:57:03,680
Speaker 4: Simon golf Uncle. To me, the songs that Paul have

810
00:57:04,239 --> 00:57:09,640
Speaker 4: written to me the finest American song and I know

811
00:57:09,760 --> 00:57:14,600
Speaker 4: why he was the first George Gershwin awardee a few

812
00:57:14,760 --> 00:57:18,200
Speaker 4: years ago. Is Paul Simon. He was the John Lennon

813
00:57:18,360 --> 00:57:23,240
Speaker 4: and Paul McCartney of America. And I loved Simon and

814
00:57:23,400 --> 00:57:27,040
Speaker 4: golf Uckle. Indeed, at that Carnegie Hall event that I

815
00:57:27,240 --> 00:57:29,800
Speaker 4: told you about, I would say the artist that got

816
00:57:29,880 --> 00:57:34,560
Speaker 4: the most reaction, believe it or not, to the point,

817
00:57:35,080 --> 00:57:39,120
Speaker 4: by the least half of the twenty eight hundred CA

818
00:57:39,280 --> 00:57:47,000
Speaker 4: Pasini ended up sobbing when they heard audiogolf Uncle sincred jilbacchumble.

819
00:57:47,960 --> 00:57:52,040
Speaker 4: I mean when he went into sale on silver Burn.

820
00:57:52,200 --> 00:57:54,600
Speaker 4: I got to tell you there was not a dry

821
00:57:55,600 --> 00:58:00,960
Speaker 4: eye in the house, and out of sentiment was one

822
00:58:01,040 --> 00:58:04,840
Speaker 4: that they broke through. The album that I played the

823
00:58:05,000 --> 00:58:07,840
Speaker 4: most was an artist I had nothing to do with,

824
00:58:08,880 --> 00:58:12,960
Speaker 4: but it was a Mamas and the Papas California Dreaming,

825
00:58:13,120 --> 00:58:18,040
Speaker 4: and those artists, those are the artists, those are the

826
00:58:18,160 --> 00:58:23,240
Speaker 4: albums on Spotify, Apple. But I'm listen to. But I

827
00:58:23,440 --> 00:58:28,360
Speaker 4: primarily listened to new artists and new songs, you know,

828
00:58:29,240 --> 00:58:30,280
Speaker 4: becoming popular.

829
00:58:41,680 --> 00:58:42,680
Speaker 2: So I have to ask you.

830
00:58:42,920 --> 00:58:45,720
Speaker 3: We've kept you here for a little over an hour,

831
00:58:45,800 --> 00:58:49,040
Speaker 3: and this has been literally a privilege and a lot

832
00:58:49,080 --> 00:58:51,680
Speaker 3: of fun for Paul and for me. But I was

833
00:58:51,760 --> 00:58:56,200
Speaker 3: reading where you were talking about your career and you said,

834
00:58:57,160 --> 00:59:02,120
Speaker 3: I get paid to worry. So question is what causes

835
00:59:02,200 --> 00:59:05,800
Speaker 3: you to worry? And at ninety two, what causes you

836
00:59:05,920 --> 00:59:06,320
Speaker 3: to worry?

837
00:59:08,600 --> 00:59:14,919
Speaker 4: Well, Korean wise, maybe because my parents died unexpectedly from

838
00:59:14,960 --> 00:59:17,840
Speaker 4: my high blood pressure. Now there's a cure. I take

839
00:59:17,920 --> 00:59:21,640
Speaker 4: a pill. I would be dead if I didn't take

840
00:59:21,720 --> 00:59:26,320
Speaker 4: a pill every morning. My attitude, coming from New York

841
00:59:26,480 --> 00:59:34,280
Speaker 4: being Jewers don't come from overcomefortent to everything possible to

842
00:59:34,440 --> 00:59:40,320
Speaker 4: make sure that the potential of every record is filled.

843
00:59:41,200 --> 00:59:45,720
Speaker 4: So I worried at every stage of a record without

844
00:59:45,800 --> 00:59:50,680
Speaker 4: assuming automatically, and you come up with solutions. For example,

845
00:59:51,280 --> 00:59:58,480
Speaker 4: Alicia keys first singles Fallen, she seemed like an automatic, gorgeous,

846
00:59:59,120 --> 01:00:03,920
Speaker 4: great song, great record, but then the unexpected gump, the

847
01:00:04,120 --> 01:00:09,200
Speaker 4: pop stations saying, look, it's a little too urban break

848
01:00:09,280 --> 01:00:12,600
Speaker 4: at R and B first, and the R and B

849
01:00:12,840 --> 01:00:18,520
Speaker 4: stations are saying it's a little too pop unexpectedly, and

850
01:00:18,640 --> 01:00:23,400
Speaker 4: you gotta always be prepared for the unexpected. I see

851
01:00:23,520 --> 01:00:28,880
Speaker 4: so many executives overcomfort and aggressively so and not worried

852
01:00:28,920 --> 01:00:35,360
Speaker 4: about failures. So it prompted me worrying, my godness is

853
01:00:35,520 --> 01:00:40,000
Speaker 4: going to fall between the chairs. How do I overcome this?

854
01:00:40,720 --> 01:00:44,240
Speaker 4: I wrote a letter to Oprah Winfrey and said, Oprah,

855
01:00:44,320 --> 01:00:49,120
Speaker 4: what you do for books and the authors unbelievable giving

856
01:00:49,240 --> 01:00:53,120
Speaker 4: attention to it that they would not otherwise get. You're

857
01:00:53,200 --> 01:00:57,240
Speaker 4: a powerhouse of discovery, but you've not done in music,

858
01:00:58,200 --> 01:01:02,960
Speaker 4: and there is a new kind of R and B

859
01:01:03,600 --> 01:01:07,600
Speaker 4: neo souls. I said. There are at least three young females,

860
01:01:07,960 --> 01:01:12,040
Speaker 4: one of which I have is AlSi Keys. The other

861
01:01:12,160 --> 01:01:16,600
Speaker 4: two were India Ree and Telly Price Tilstan. I said,

862
01:01:16,640 --> 01:01:20,640
Speaker 4: why don't you do for music on your show what

863
01:01:20,840 --> 01:01:24,800
Speaker 4: you do for books and authors? It's so important right

864
01:01:24,920 --> 01:01:28,439
Speaker 4: now for what these new orders, all female are doing.

865
01:01:29,040 --> 01:01:32,520
Speaker 4: She called me the next day she said, I have

866
01:01:32,640 --> 01:01:37,320
Speaker 4: a dinner Saturday night in Chicago. Do you call David

867
01:01:37,480 --> 01:01:44,360
Speaker 4: certify that Alicia Keys is good in person, outstanding in person?

868
01:01:45,040 --> 01:01:48,640
Speaker 4: I said, yes I do. She said, if you send

869
01:01:48,720 --> 01:01:53,760
Speaker 4: it to Chicago and she performs at my dinner and.

870
01:01:54,200 --> 01:01:57,920
Speaker 8: It's as good as you say, I will learn every.

871
01:01:57,760 --> 01:02:00,520
Speaker 4: Word that I will put her on with the other

872
01:02:00,680 --> 01:02:04,320
Speaker 4: two women not on your label on my TV show,

873
01:02:05,120 --> 01:02:09,680
Speaker 4: but for her, I will be two weddings. I will

874
01:02:09,760 --> 01:02:15,240
Speaker 4: know every word of that song, and it will be meaningful.

875
01:02:15,920 --> 01:02:21,720
Speaker 4: Alisha went to Chicago, knocked everybody out in the dinner.

876
01:02:23,120 --> 01:02:28,000
Speaker 4: It gets to the TV show Oprah keeps a word,

877
01:02:28,240 --> 01:02:34,560
Speaker 4: knows every word A fallen Alisha's things with backdrop to

878
01:02:34,760 --> 01:02:39,080
Speaker 4: dning by Oprah. The show is over. If you ever

879
01:02:39,280 --> 01:02:40,920
Speaker 4: watched it, you'll see them both.

880
01:02:41,040 --> 01:02:41,560
Speaker 6: Thank me.

881
01:02:42,240 --> 01:02:45,120
Speaker 4: It was an original idea of that paid off as

882
01:02:45,160 --> 01:02:49,560
Speaker 4: soon as that show was over falland became a huge

883
01:02:49,680 --> 01:02:54,560
Speaker 4: hit in every genre. So the worry paid off and

884
01:02:54,680 --> 01:02:59,920
Speaker 4: the solution paid off. I find in business that war

885
01:03:00,000 --> 01:03:05,160
Speaker 4: carrying helps making sure that every effort is made. You

886
01:03:05,280 --> 01:03:08,600
Speaker 4: never know when something's going to come up and prevent

887
01:03:08,800 --> 01:03:13,520
Speaker 4: this success from occurring. So I think an executive that

888
01:03:13,800 --> 01:03:22,520
Speaker 4: worries but doesn't get paralyzed and in stimulated to think

889
01:03:22,640 --> 01:03:28,880
Speaker 4: of solutions has much more success than somebody who's either

890
01:03:28,960 --> 01:03:34,600
Speaker 4: braggadocio or overconfident and things it's all going to happen naturally.

891
01:03:34,960 --> 01:03:39,040
Speaker 4: It doesn't happen that way naturally. You've got to be

892
01:03:39,280 --> 01:03:44,640
Speaker 4: vigilant and it helps to worry. In early talking, as

893
01:03:44,720 --> 01:03:47,600
Speaker 4: we get near the end of this interview, one of

894
01:03:47,680 --> 01:03:51,960
Speaker 4: you brought up and we haven't touched on it. And

895
01:03:52,120 --> 01:03:58,360
Speaker 4: that is what happens in most In many cases, when

896
01:03:58,680 --> 01:04:05,400
Speaker 4: artists are convinced they have to write themselves. What is

897
01:04:05,480 --> 01:04:10,800
Speaker 4: the history then? So the history with Barry Manilow is

898
01:04:11,000 --> 01:04:15,800
Speaker 4: very different from the history, for example, with either Melissa

899
01:04:15,960 --> 01:04:21,080
Speaker 4: Manchester or Tell the Dame Barry. When Mandy makes it,

900
01:04:21,320 --> 01:04:24,520
Speaker 4: when looks like we made it, makes it, and trying

901
01:04:24,560 --> 01:04:29,560
Speaker 4: to get the feeling them I write the songs, he said, Look,

902
01:04:29,880 --> 01:04:34,280
Speaker 4: I'm a writer. Every time Clive comes with his two songs,

903
01:04:34,840 --> 01:04:37,560
Speaker 4: I never heard them as being better than my songs.

904
01:04:38,400 --> 01:04:44,240
Speaker 4: But I trusted not with the track record. My job

905
01:04:44,520 --> 01:04:48,680
Speaker 4: was to come up with the arrangement. What is he hearing?

906
01:04:49,600 --> 01:04:52,680
Speaker 4: Not from a negative point of view, what is he

907
01:04:52,880 --> 01:04:56,000
Speaker 4: hearing that I never hear? And now how do I

908
01:04:56,560 --> 01:04:59,520
Speaker 4: come up with them? Which he always did with the

909
01:04:59,600 --> 01:05:03,840
Speaker 4: great arrangements with those songs that I came up with

910
01:05:04,840 --> 01:05:09,560
Speaker 4: that made them clossets. When it came to Melissa, she

911
01:05:09,760 --> 01:05:13,240
Speaker 4: did write Midnight Blue and Come In from the Rain.

912
01:05:14,600 --> 01:05:17,760
Speaker 4: But a pop artist in those years, Paul would do

913
01:05:18,360 --> 01:05:22,440
Speaker 4: three albums, be believe it or not. And if you're

914
01:05:22,440 --> 01:05:23,720
Speaker 4: a pop artist.

915
01:05:23,480 --> 01:05:26,960
Speaker 8: You've gotta have single after single.

916
01:05:26,840 --> 01:05:31,320
Speaker 4: After single, or you don't sell anywhere near than those albums.

917
01:05:31,440 --> 01:05:35,880
Speaker 4: And at his single, so I said to Melissa, why

918
01:05:35,960 --> 01:05:39,160
Speaker 4: don't we do what I'd do with Barry. The two

919
01:05:39,240 --> 01:05:43,080
Speaker 4: of you were great friends because I gave her Don't

920
01:05:43,160 --> 01:05:46,120
Speaker 4: Cry out Loud, and I gave her you sit here

921
01:05:46,840 --> 01:05:50,240
Speaker 4: how she talks about you. She had big, big hits

922
01:05:50,360 --> 01:05:55,640
Speaker 4: with them in addition to her own songs of Midnight

923
01:05:55,800 --> 01:05:59,880
Speaker 4: Blue and Come In from the Rain. And she looked

924
01:06:00,200 --> 01:06:04,880
Speaker 4: me one day she said, look, I appreciate these souls

925
01:06:04,920 --> 01:06:09,200
Speaker 4: you gave me, but for the future, I don't want

926
01:06:09,240 --> 01:06:15,080
Speaker 4: to record outside songs. He said to me, I'm Joni Mitchell.

927
01:06:15,720 --> 01:06:20,439
Speaker 4: Jony Mitchell would never do an outside song. I said,

928
01:06:20,560 --> 01:06:25,200
Speaker 4: look to me, you're a young Streisand and it's different

929
01:06:25,600 --> 01:06:30,080
Speaker 4: from Joni Mitchell, and you right, well, but look at

930
01:06:30,160 --> 01:06:32,600
Speaker 4: the huge success. She loved Barry and there was no

931
01:06:32,960 --> 01:06:35,520
Speaker 4: envy there. She said, I have an image of the

932
01:06:35,680 --> 01:06:39,800
Speaker 4: artist I want to be, and that's Jony Mitchell. It's

933
01:06:39,840 --> 01:06:42,960
Speaker 4: not a female Bearry monologue. Even though I love Barry.

934
01:06:43,880 --> 01:06:48,320
Speaker 4: About eight years ago, I go to the cabaret in

935
01:06:48,400 --> 01:06:52,440
Speaker 4: New York called fifty four Below, and I seen the

936
01:06:52,520 --> 01:06:55,040
Speaker 4: more sir and I go by stage. We never had

937
01:06:55,080 --> 01:06:57,920
Speaker 4: a fight. She never had a hit again to that

938
01:06:58,160 --> 01:07:03,280
Speaker 4: song discussion, because she only wrote for herself, and she

939
01:07:03,480 --> 01:07:07,000
Speaker 4: never wrote a hit for herself. I know I could

940
01:07:07,080 --> 01:07:10,960
Speaker 4: have hit after his song Fire. And she looked at

941
01:07:11,080 --> 01:07:14,880
Speaker 4: me because she's wonderful. She sang from me and coning

942
01:07:14,960 --> 01:07:18,320
Speaker 4: you Hall. She said, how did you love me? I

943
01:07:18,560 --> 01:07:24,600
Speaker 4: was in my twenties. When I think back of your expertise,

944
01:07:25,560 --> 01:07:28,920
Speaker 4: and I think back me in my mid twenties. What

945
01:07:29,120 --> 01:07:33,920
Speaker 4: did I know that you know? Compared to what you know?

946
01:07:35,240 --> 01:07:40,120
Speaker 4: You should have given me electric shock therapy. Of course,

947
01:07:40,560 --> 01:07:45,160
Speaker 4: when you get into a difference of opinions, even that

948
01:07:45,360 --> 01:07:49,400
Speaker 4: doesn't work. An other example is tail of Date. I

949
01:07:49,560 --> 01:07:52,800
Speaker 4: bought a master that I had nothing to do with,

950
01:07:53,600 --> 01:07:55,760
Speaker 4: and it was a hit and all of a sudden,

951
01:07:55,800 --> 01:07:57,760
Speaker 4: we had to come up with the album, and I

952
01:07:57,920 --> 01:08:01,080
Speaker 4: came up with nine of the songs. Tail had one

953
01:08:01,240 --> 01:08:05,160
Speaker 4: hit after another to the points that an album of

954
01:08:05,360 --> 01:08:09,000
Speaker 4: the greatest kids, So two and a half million couppies,

955
01:08:09,240 --> 01:08:11,840
Speaker 4: and all of a sudden, one day she comes up.

956
01:08:12,040 --> 01:08:13,400
Speaker 4: We were all very friendly.

957
01:08:13,920 --> 01:08:16,520
Speaker 8: She said, everybody's after.

958
01:08:16,400 --> 01:08:18,240
Speaker 4: Me to collaborate and write.

959
01:08:18,760 --> 01:08:20,040
Speaker 8: I said, I understand that.

960
01:08:20,479 --> 01:08:23,760
Speaker 4: I said, because you're selling millions of albums, so look

961
01:08:23,840 --> 01:08:27,759
Speaker 4: at the copyright. Well they get me. Are you a writer?

962
01:08:28,000 --> 01:08:30,360
Speaker 4: I'm not saying you're not. She said, give me a

963
01:08:30,439 --> 01:08:35,040
Speaker 4: shot to see I'm on to write. I'll collaborate. A

964
01:08:35,200 --> 01:08:39,360
Speaker 4: year passes, I call her, I'm not ready yet. Two

965
01:08:39,520 --> 01:08:43,640
Speaker 4: stories two years past, I said, Tailor. When you were

966
01:08:43,640 --> 01:08:47,400
Speaker 4: a pop artis public doesn't know when you Bill Justin's

967
01:08:47,439 --> 01:08:50,400
Speaker 4: seen you're having flops. They won't know that you're not

968
01:08:50,600 --> 01:08:55,080
Speaker 4: coming with any record. It's over two years by the

969
01:08:55,280 --> 01:08:59,880
Speaker 4: time she came with that album, no single developed, had

970
01:09:00,120 --> 01:09:02,840
Speaker 4: had a single, and three years that career was over.

971
01:09:03,960 --> 01:09:08,160
Speaker 4: See too many years later, but when you get into

972
01:09:08,360 --> 01:09:14,080
Speaker 4: that area, it was very history is shown making the

973
01:09:14,240 --> 01:09:20,040
Speaker 4: right judgments, coming up with brilliant arrangements, and both Melissa

974
01:09:20,160 --> 01:09:24,559
Speaker 4: and Taylor, two wonderful things, could have had much bigger

975
01:09:24,720 --> 01:09:32,439
Speaker 4: careers if they went to the professional songwriter. Then last

976
01:09:32,600 --> 01:09:37,120
Speaker 4: Night of the Songwriters all the faith you know to me,

977
01:09:37,320 --> 01:09:43,479
Speaker 4: Jab and Diane Lawrenjean Pitchmit. Anyway, those are my stories

978
01:09:43,800 --> 01:09:48,120
Speaker 4: regarding songs and artless you know, Clive.

979
01:09:48,120 --> 01:09:54,080
Speaker 1: Uh No, we'd ask this question, is there anyone working now?

980
01:09:55,000 --> 01:09:57,280
Speaker 1: I mean, even though I must say the analogy would

981
01:09:57,280 --> 01:10:01,040
Speaker 1: be there's only one Sinatra. I've watched it for years

982
01:10:01,120 --> 01:10:03,559
Speaker 1: and years and there was only one guy that was him.

983
01:10:04,439 --> 01:10:07,680
Speaker 1: I mean, is there anyone working now who reminds you

984
01:10:07,960 --> 01:10:13,000
Speaker 1: of yourself? If they exist? And I hold the analogy

985
01:10:13,080 --> 01:10:15,880
Speaker 1: of Sinatra? I think you hold him unto.

986
01:10:15,720 --> 01:10:21,439
Speaker 4: Obviously, Well, I'm very admiring, and I'm sure he works

987
01:10:21,479 --> 01:10:28,719
Speaker 4: in his own style and his own way. But Monty Libman,

988
01:10:28,800 --> 01:10:34,080
Speaker 4: who runs some public records and a wonderful orders Frostuff

989
01:10:34,600 --> 01:10:40,880
Speaker 4: and it includes Taylor Swift on the weekend and Drake

990
01:10:41,960 --> 01:10:46,360
Speaker 4: and Ariana Grande. And you know, I'm not there on

991
01:10:46,680 --> 01:10:51,240
Speaker 4: day to day, but I know Monty and he's really

992
01:10:51,320 --> 01:10:55,000
Speaker 4: a great music plan and he puts together a team

993
01:10:55,120 --> 01:10:59,800
Speaker 4: of executives that is probably Avery when the Goldstein of

994
01:11:00,080 --> 01:11:04,760
Speaker 4: and that is a reason for the normal success. But

995
01:11:05,560 --> 01:11:10,560
Speaker 4: I don't know what you've done regarding songs for audience

996
01:11:10,760 --> 01:11:15,280
Speaker 4: or we all have our own the natures.

997
01:11:15,560 --> 01:11:21,360
Speaker 1: Your credentials are certainly so unique, Clive. And to have

998
01:11:21,520 --> 01:11:24,240
Speaker 1: known you and not profess to know you well well well,

999
01:11:24,360 --> 01:11:27,600
Speaker 1: but to have been in your presence and as a

1000
01:11:27,720 --> 01:11:31,280
Speaker 1: person that has total passion for what I do for

1001
01:11:31,360 --> 01:11:34,599
Speaker 1: a lot of years. Skip and eye and I'll let

1002
01:11:34,840 --> 01:11:38,720
Speaker 1: Skip jump in. But we are so so touched that

1003
01:11:38,840 --> 01:11:41,720
Speaker 1: you're able to give us the time, and I know

1004
01:11:41,800 --> 01:11:45,160
Speaker 1: we could probably do hours and hours and days because

1005
01:11:45,200 --> 01:11:47,960
Speaker 1: you're that unique. I still love the way you dress.

1006
01:11:48,080 --> 01:11:52,040
Speaker 1: Between you and Ahmed Urdigen, I learned a lot, if

1007
01:11:52,120 --> 01:11:57,400
Speaker 1: you remember our boy, and I thank you so much, Clive.

1008
01:11:57,680 --> 01:11:59,560
Speaker 1: I look forward to seeing you when I get to

1009
01:11:59,640 --> 01:12:02,679
Speaker 1: New York. We always run into each other at Polo.

1010
01:12:02,960 --> 01:12:05,280
Speaker 1: Maybe it's a learned down which I think you'll agree

1011
01:12:05,400 --> 01:12:08,400
Speaker 1: is still one of the finest restaurants in the city.

1012
01:12:08,600 --> 01:12:08,840
Speaker 4: Great.

1013
01:12:09,360 --> 01:12:12,920
Speaker 1: Both are great, and I'll send you I'll send you

1014
01:12:13,040 --> 01:12:15,840
Speaker 1: my schedule when I'll be in Paris in the event

1015
01:12:16,680 --> 01:12:17,920
Speaker 1: I put the right ties.

1016
01:12:19,040 --> 01:12:21,880
Speaker 4: No, I want to come see you in person. Let's

1017
01:12:21,960 --> 01:12:26,200
Speaker 4: talk of you and your career and your magnetism is

1018
01:12:26,400 --> 01:12:30,120
Speaker 4: alive perform us. I was spending a few months in

1019
01:12:30,400 --> 01:12:35,040
Speaker 4: Miami here waiting for words that you'd be playing near

1020
01:12:35,960 --> 01:12:41,360
Speaker 4: U to come see you again, to perform. I mean,

1021
01:12:42,040 --> 01:12:46,439
Speaker 4: you are a great live performer, great autist in Europe.

1022
01:12:46,920 --> 01:12:47,760
Speaker 2: Right, thank you.

1023
01:12:48,040 --> 01:12:50,599
Speaker 1: I'll be there in February in March. We've already set

1024
01:12:50,640 --> 01:12:53,840
Speaker 1: the dates next February in March, Cliss.

1025
01:12:53,720 --> 01:12:56,320
Speaker 4: Oh great, well, let me know, and I will hope

1026
01:12:56,360 --> 01:13:00,679
Speaker 4: to be there and hope to come and joy and sleep.

1027
01:13:01,640 --> 01:13:06,920
Speaker 4: Your your your talent and uh, Skip, you're a better

1028
01:13:07,000 --> 01:13:09,680
Speaker 4: give the best Edie Badskin.

1029
01:13:12,200 --> 01:13:12,880
Speaker 2: I definitely was.

1030
01:13:13,000 --> 01:13:14,000
Speaker 6: She just loves you.

1031
01:13:14,520 --> 01:13:17,200
Speaker 3: When we started this, I said, you know, I mentioned

1032
01:13:17,240 --> 01:13:20,320
Speaker 3: to her, you know, it's interesting you think of these

1033
01:13:20,560 --> 01:13:23,760
Speaker 3: these famous people in life with the one that are

1034
01:13:23,840 --> 01:13:28,080
Speaker 3: known with one name Madonna cher Well, Clive, you fit

1035
01:13:28,240 --> 01:13:30,840
Speaker 3: right into that group and and it's a privilege for

1036
01:13:30,960 --> 01:13:32,840
Speaker 3: us to be able to have you on. Really appreciate

1037
01:13:32,960 --> 01:13:36,439
Speaker 3: your taking the time. Well, thank you, my best see bow,

1038
01:13:36,680 --> 01:13:39,599
Speaker 3: thank you, thank you, thanks so much.

1039
01:13:40,080 --> 01:13:40,479
Speaker 2: Be well.

1040
01:13:46,960 --> 01:13:49,720
Speaker 1: Our Away with Paul Anka and Skip Bronson is a

1041
01:13:49,800 --> 01:13:51,720
Speaker 1: production of iHeartRadio.

1042
01:13:52,080 --> 01:13:57,040
Speaker 3: The show's executive producer is Jordan Runtogg, with supervising producer

1043
01:13:57,080 --> 01:13:58,799
Speaker 3: and editor Marcy Depina.

1044
01:13:59,560 --> 01:14:03,040
Speaker 1: It was en engineered by Todd Carlum and Graham Gibson,

1045
01:14:03,560 --> 01:14:06,559
Speaker 1: mixed and mastered by the wonderful Merry Dude.

1046
01:14:07,080 --> 01:14:09,479
Speaker 2: If you like what you heard, please subscribe and leave

1047
01:14:09,560 --> 01:14:10,160
Speaker 2: us a review.

1048
01:14:10,920 --> 01:14:17,760
Speaker 1: For more podcasts on iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1049
01:14:18,040 --> 01:14:21,599
Speaker 1: or wherever you listen to your favorite shows.