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Speaker 1: Podcast playground taking a walk with Buzz Night. Hi, this

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Speaker 1: is Bill port Shelley. Great to be here with Buzz Night.

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Speaker 1: I've had a forty plus year career in the music industry.

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Speaker 1: I've worked with some great songwriters and producers, arrangers and

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Speaker 1: artists over the years. And happy to share it with

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Speaker 1: Buzz who I've known for a long time on the

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Speaker 1: radio side, and looking forward to sharing some stories and

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Speaker 1: some never before known facts which will be fun to do.

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Speaker 1: Looking forward to this Bill, Thank you for taking a

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Speaker 1: walk here on this day in Greenwich Village Washington Square Park.

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Speaker 1: We're right near NYU and you take a walk in

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Speaker 1: this area frequently. Yeah, you know, I have a lot

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Speaker 1: of work I do in midtown and uptown. I don't

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Speaker 1: get downtown as much, but I love it. A great

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Speaker 1: thing about New York. You know, you don't get to

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Speaker 1: see many tree lined streets, which is incredible charm, particularly

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Speaker 1: downtown in the Village area, NYU area, they've got this charm.

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Speaker 1: You just you're not used to seeing trees in Manhattan.

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Speaker 1: But it's beautiful and it's great having a walk with you.

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Speaker 1: And there's a lot of characters that you see in

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Speaker 1: this neck of the Woods always as well. Right, yeah,

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Speaker 1: well that's an understatement, right, And you know, incredible artist

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Speaker 1: over the years. You know, you see people singing and

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Speaker 1: and they're they're they're playing, and you know, you never

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Speaker 1: know who the next Taylor Swift is going to be.

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Speaker 1: You know, you ever know who the next big artist

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Speaker 1: is going to be. But through the years, a lot

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Speaker 1: of them started here. You know, they started they played here,

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Speaker 1: and you know they this this is a this is

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Speaker 1: a launching pad for a lot of artists. And still

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Speaker 1: to this day you get some really really terrifically talented

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Speaker 1: people that you see and hear. So it's always interesting

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Speaker 1: place to come. Well, the reason I was excited, there

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Speaker 1: was a few reasons I was excited to have you

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Speaker 1: on the podcast. One was certainly just you know, connecting

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Speaker 1: with an old friend, which is what often happens on

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Speaker 1: the Taken a Walk podcast, but it's also many times

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Speaker 1: reconnecting with new friends as well. But as a centerpiece

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Speaker 1: is music, and you know, been fortunate to have some

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Speaker 1: musicians on, some folks from the music industry as well,

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Speaker 1: and certainly my personal love of music drives me to

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Speaker 1: having guests such as yourself on the podcast. Talk about

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Speaker 1: your love of music. Well, you know, look, it started

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Speaker 1: as I started as a songwriter. You know, I wanted

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Speaker 1: to be you know, Backrag David. I wanted to be

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Speaker 1: Lennon McCartney. I wanted to you know, Barry Man. I

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Speaker 1: wanted to I was a big fan of songs, and

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Speaker 1: I started as a songwriter. And then I guess I

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Speaker 1: came to that come to Jesus moment and just asked

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Speaker 1: myself in the mirror, Okay, is this really for you?

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Speaker 1: But I realized that I wanted to be in the

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Speaker 1: industry and I just loved the process songs. And you know,

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Speaker 1: through the years and writing sessions and being in recording studios,

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Speaker 1: I got to meet some people who were starting at

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Speaker 1: the time and now are incredible legends of the business,

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Speaker 1: who who have gone on to incredible things. But I

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Speaker 1: knew I wanted to be in the business. I knew

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Speaker 1: I wanted to be around it. Ideally, it would have

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Speaker 1: been great as a songwriter, but you know what, I

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Speaker 1: guess that wasn't meant to be. But I have no

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Speaker 1: regrets on the decisions that I've made because you know,

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Speaker 1: I've got to work with some really incredible people, people

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Speaker 1: that I admired my whole life. And then one day,

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Speaker 1: you know, you're in a recording studio with a Brian Wilson,

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Speaker 1: you know, and you're or a Paul McCartney or somebody

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Speaker 1: of that stature. You know, you say, Okay, I think

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Speaker 1: I made the right decision. We'll talk about Brian Wilson.

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Speaker 1: First of all. I mean, you know, being in a

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Speaker 1: studio and seeing the genius of Brian Wilson, well, you know,

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Speaker 1: Brian is just one of those living legends icons. This

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Speaker 1: is not many of them, and certainly Brian is one.

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Speaker 1: Oddly enough, he and Paul McCartney have had their birthdays

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Speaker 1: within a few days of each other, just turning eighty.

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Speaker 1: But Brian, you know, everything that has been said about

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Speaker 1: Brian and all the legendary status is incredible. And I

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Speaker 1: worked as a good friend of mine, David Leif, who

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Speaker 1: worked with Brian for years, initially introduced me to Brian.

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Speaker 1: And I was at Oceanway Recording Studios, a go I'm

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Speaker 1: with Brian. We're making a Christmas album. And he had

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Speaker 1: Carney and Wendy with him, and he had his mother

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Speaker 1: in the studio with him. And this was a number

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Speaker 1: of years ago, but just seeing him at the board,

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Speaker 1: you know, and it almost reminds me seeing him at

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Speaker 1: the board was like magical. It was like the first

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Speaker 1: time I met Paul McCartney. First time I met Paul

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Speaker 1: McCartney and we were talking, I couldn't stop staring at

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Speaker 1: his hands for some reason. I got focused on his

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Speaker 1: thick fingers and thinking about what he created. And he's

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Speaker 1: talking to me and I'm staring at his hands. I'm saying,

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Speaker 1: with my god, what the hell is he thinking? And

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Speaker 1: the same with Brian, just thinking back of all the

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Speaker 1: songs he wrote, you know, because at the end of

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Speaker 1: the day, I'm a huge fan of songwriters and producers,

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Speaker 1: and you know, Brian, you know, has written some of

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Speaker 1: the just same classic songs that are going to be here,

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Speaker 1: you know, for eternity. And just being around him and

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Speaker 1: seeing him. It's not Brian of the sixties, you know,

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Speaker 1: it wasn't Brian in his in his prime, but it

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Speaker 1: was still Brian, and it was still you know, he

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Speaker 1: he knew what he wanted and he he was he

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Speaker 1: was just his ears were just so tuned into the

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Speaker 1: music and to the production, and he caught things that

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Speaker 1: normally you wouldn't think he would catch but he does,

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Speaker 1: you know, I mean even you know, he's certainly not

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Speaker 1: at the level that he was, you know, in his prime,

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Speaker 1: but he's he's still had that of knowing how to

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Speaker 1: make a record and the nuances, right, the nuances, Yeah,

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Speaker 1: we're in particular, yeah, like noteworthy. Yeah yeah yeah yeah no, no,

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Speaker 1: no question about it, no question And he'll keep running

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Speaker 1: it over and over and over and and people that

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Speaker 1: were in the studio with him are just saying, well,

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Speaker 1: this is Brian. He walks into a studio and the

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Speaker 1: light goes on. It's something because you know Brian. It's

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Speaker 1: known of Brian's issues over the years as health issues.

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Speaker 1: He's not healthy, but when he goes into the studio,

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Speaker 1: that's the switch goes on. And it was fascinating to see,

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Speaker 1: it really was. But but you just think back and

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Speaker 1: you just try to take a picture in your mind

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Speaker 1: for the memory banks, and that was one of them.

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Speaker 1: That was one of them. Just being in that studio

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Speaker 1: with him was was a real special You took me,

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Speaker 1: you took me there. I felt like I was there

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Speaker 1: the way you were describing it. So you know, we

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Speaker 1: really met when you worked for Paul McCartney, and how

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Speaker 1: long were you with MPL. Well, MPL was interesting. How

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Speaker 1: I got there. I had just come back. I was

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Speaker 1: living in La I came back and there was a

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Speaker 1: position I took with the n MPa. Harry Fox nmpa's

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Speaker 1: National Music Publishers Association, and essentially it's an organization that

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Speaker 1: represented publishers and the NMPA. Harry Fox was a liaison

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Speaker 1: between the owners of music publishers and the users of music,

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Speaker 1: TV producers, advertising agencies and what have you. And I

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Speaker 1: would contact publishers and this one publishing company constantly came up, MPL, MPL,

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Speaker 1: all these different eclectic, interesting songs. And I was working

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Speaker 1: at Harry Fox for about about a year and then

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Speaker 1: apparently there was an opening coming up in the company.

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Speaker 1: Now I did a little research. I said, you know,

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Speaker 1: do you have do you have? I mean, this is

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Speaker 1: a huge catalog. Uh and and and when I when

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Speaker 1: I called it, the manager there, Peter Sylvestry, and I said,

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Speaker 1: you must you must have you know, seventy five one

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Speaker 1: hundred employees. Here go, oh, there are seven of us.

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Speaker 1: Seven because this is Paul McCartney's publishing company. I said,

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Speaker 1: oh wow. Interesting. A short time thereafter they said there's

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Speaker 1: an opening here, would you be interested? So I took

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Speaker 1: the meeting. And again it was at a time where

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Speaker 1: I was building a career and I was never at

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Speaker 1: any place more than a year and moving on. So

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Speaker 1: I anticipated, Okay, if I get this job, maybe I'd

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Speaker 1: be here a year, make a couple of more bucks,

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Speaker 1: and move on to the next thing. Well, that year

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Speaker 1: turned into two decades and was you know, the right

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Speaker 1: of a lifetime if you're in this business. Looking at

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Speaker 1: the catalog, the body of work, the songwriters that I

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Speaker 1: got to meet and and and represent their songs and

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Speaker 1: and was was a gift and something that I will

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Speaker 1: cherish forever and then no regrets, and it was it

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Speaker 1: was an incredible run. Wow. Yeah, well I would say

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Speaker 1: that's an understatement for sure, right And well, when you

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Speaker 1: when you when you represent catalogs like Jerry Herman, I

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Speaker 1: love Jerry Herman. Jerry was just a wonderful man and

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Speaker 1: became a friend and the estate of Frank Lesser and

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Speaker 1: Harold Arland and and then of course Bob Gaudio and

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Speaker 1: Bob Crue from the Four Seasons and we had that

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Speaker 1: catalog and some you know, Freddie Paris and is still

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Speaker 1: then there was some great songs and great copyrights over

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Speaker 1: the years, and I was fortunate enough to start as

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Speaker 1: a song plugger, pitching songs for film, television and advertising,

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Speaker 1: and you know, it kind of really took off for me.

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Speaker 1: And I started in the mid eighties. But in nineteen

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Speaker 1: eighty seven there was a movie that had no budget.

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Speaker 1: They needed songs from the fifties sixties, but there was

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Speaker 1: no budget, and we kind of had to negotiate rights

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Speaker 1: for this album and I ended up getting four songs

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Speaker 1: in the movie and the soundtrack and it ended up

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Speaker 1: being Dirty Dancing, and it was a huge success with CDs,

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Speaker 1: and you know, and from there, I think the next

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Speaker 1: big one happened to be Unshane Melody and another Patrick

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Speaker 1: Swayzee movie. But then it just started to snowball. But

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Speaker 1: to be honest, when you have, when you represent catalogs

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Speaker 1: of these type of songs and songwriters, makes your job easier,

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Speaker 1: it really does, you know. And but I, you know,

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Speaker 1: to the relationships with with the crew and Gaudeo and

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Speaker 1: and and Jerry Herman and the Lesser family and the

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Speaker 1: Harold Arland family, We're just there were fabulous and and

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Speaker 1: and having placed a number of songs over the years.

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Speaker 1: You know was was great. I mean, look, let's be honest,

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Speaker 1: there are some some songs certain certain directors that I've

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Speaker 1: worked with, like Cameron Crowe, Cameron knows what he wants

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Speaker 1: and Cameron Kmon decides on the songs. And you worked

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Speaker 1: with a music supervisor partner, Danny Brampson for years, but

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Speaker 1: but Cameron knew what he wanted. So it's basically, you know,

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Speaker 1: you happen to have the song you know wonderful and

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Speaker 1: sometimes I'd rather be lucky than good. Sometimes you just

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Speaker 1: have the song you know, and then there are other

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Speaker 1: times you get to suggest a song and you know

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Speaker 1: my and I say it to friends. My most prideful

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Speaker 1: placement was the opening credits to a movie that's one

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Speaker 1: of my all time favorite movies, Just So Happens. Music

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Speaker 1: consultant on the films, woman named Marlene Fishback, came into

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Speaker 1: the office. This is the early nineties, and she said,

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Speaker 1: I don't have much I don't need much music, particularly

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Speaker 1: for this movie, and maybe I need something. It's like

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Speaker 1: opening credits. The main character, Andy Duffrain, is sitting in

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Speaker 1: his car outside of a motel. His wife's having an affair,

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Speaker 1: it's raining, there's a gun in the glove composed apartment.

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Speaker 1: What's playing on the radio? And her first question was, well,

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Speaker 1: what's the time period? She goes mid to late forties.

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Speaker 1: I had just gotten off the phone about fifteen minutes

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Speaker 1: before she came in the office with a songwriter that

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Speaker 1: who happened to write if I didn't care by the

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Speaker 1: ink spots, And so what happened was I just thought

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Speaker 1: of that, and we had a portion of the song

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Speaker 1: and I said, well, what about the ink spots if

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Speaker 1: I didn't care? And I think her next thing was

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Speaker 1: it sounds good. So she went to Frank Darrebant, the director,

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Speaker 1: and then we found out a few days later you're

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Speaker 1: in the film. Now. The one thing I'm not on

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Speaker 1: the end credits, but I am acknowledged on the soundtrack,

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Speaker 1: which is great. But I never used to look for

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Speaker 1: the credits because that wasn't the job. Your job was

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Speaker 1: to just get it placed, do the job, and move on.

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Speaker 1: And that's what I did. But if I knew then

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Speaker 1: what I know now, I probably would have lobbied for

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Speaker 1: a few more credits in films over the years. But look,

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Speaker 1: there are some great placements and some you know, music consultants.

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Speaker 1: I mean, there are other chances that I had. Remember

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Speaker 1: John Hulhan to this day is one of the top

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Speaker 1: music industry supervisors. He was a consultant early nineties on

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Speaker 1: a film. He goes, I got this film. It's Mike Myers.

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Speaker 1: He plays this weird, crazy secret agent in Britain. It's

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Speaker 1: kind of a takeoff on British spies and Jay Roach

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Speaker 1: is directing it, and I need some sixties kind of

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Speaker 1: psychedelic music. One of the first scenes, he walks into

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Speaker 1: a club just before he meets Elizabeth Hurley. And I

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Speaker 1: didn't really have many songs from that period. I said,

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Speaker 1: early seventies. I said, got something late sixties that may work,

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Speaker 1: And it was Strawberry Longclock's incense and peppermints. So when

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Speaker 1: you see Austin Powers in the first movie, go into

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Speaker 1: the club, that's incense and peppermints. That's one of my suggestions,

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Speaker 1: you know. So so those and you see these these

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Speaker 1: movies and these they're on they're on television, you see

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Speaker 1: them every every week, and I say, oh my gosh,

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Speaker 1: I wish I would have put my name on that one. Yeah,

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Speaker 1: But as you were describing it. I had this picture

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Speaker 1: when you walk in to buy a suit at a

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Speaker 1: tailor and you know, the tailor says, well, maybe this

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Speaker 1: because of this caller, and you recommendation mode for a

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Speaker 1: placement sounds the equivalent of a fine tailor fitting someone

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Speaker 1: for a suit. Well, you know, it's just interesting. Like

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Speaker 1: like I said, there are certain directors they know what

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Speaker 1: they want. Nora epron knew what she wanted. Nora was

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Speaker 1: very good. Penny Marshall was like that. We did League

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Speaker 1: of their Own. I had chew Chaboogie in there and

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Speaker 1: what Nora within the wee small hours of the morning,

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Speaker 1: and we did the Sleepless in Seattle and when Harry

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Speaker 1: met Sally, And there's so many different movies. Like I said,

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Speaker 1: Cameron Crow, another director knew what he wanted. But there's

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Speaker 1: some directors you know, you can make recommendations and so

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Speaker 1: that you know, you watch a scene like I watch

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Speaker 1: a scene or I watch a commercial and in many

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Speaker 1: cases you know you probably one of twenty thousand songs

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Speaker 1: could fit in that spot. Why does that one resonate

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Speaker 1: so much? You know, you don't know. Sometimes it just clicks,

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Speaker 1: you know, sometimes it clicks. Why does this movie work

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Speaker 1: or this TV show work. You know, why does it

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Speaker 1: not work? But having a little luck helps. But when

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Speaker 1: you're dealing with these incredible songs, and again we're talking

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Speaker 1: about I was fortunate enough. My success, you know, I

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Speaker 1: had to do with the songs I represented, you know,

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Speaker 1: and I just represented just great songs and songwriters. So

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Speaker 1: my job was just not to screw it up. You know,

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Speaker 1: you're working on anything now you want to talk about it. Well,

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Speaker 1: there's a couple of things that I can't talk about

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Speaker 1: it because I have confidentiality agreements that I maybe it

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Speaker 1: looks like I'll be getting back into publishing pretty significant way.

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Speaker 1: But I'm working with a couple of major labels and

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Speaker 1: major publishers as a consultant on what we're talking about

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Speaker 1: on film and television. And you know, that's all relationships,

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Speaker 1: you know. I mean, you've got to know the studio

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Speaker 1: executives and the music supervisors and anything comes down to

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Speaker 1: having relationships. But it doesn't hurt when you're representing incredible catalog,

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Speaker 1: you know, credible catalog of songs. But so I keep busy.

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Speaker 1: But publishing, which has been my strength the over the decades,

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Speaker 1: looks like I'll be doing that in a pretty significant

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Speaker 1: way once again. Soon nice. I love the teaser. Thanks

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Speaker 1: for sharing the joy of music and songs, and thanks

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Speaker 1: for the relationship over the years. That means the world

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Speaker 1: filt more to come and if you have any questions

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Speaker 1: or anything like that'd be happy to happy to have

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Speaker 1: another conversation. And thanks for taking a walk. Thank you

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Speaker 1: good Thanks. Buzz Taking a Walk with Buzznight is available

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Speaker 1: on Spotify, Apple, podc Cast, or wherever you get your podcasts.