Speaker 1: I'm Alec Baldwin and you're listening to Here's the Thing
Speaker 1: from my Heart Radio. It's the Beautiful. Just back in
Speaker 1: the early days of rock and roll, men and women
Speaker 1: wrote songs, played instruments and sang vocals, supported only by
Speaker 1: recording technology that is primitive compared to today. In other words,
Speaker 1: you actually had to have talent. My guest today is
Speaker 1: one of those legendary earlier rock and rollers, Felix Cavalieri
Speaker 1: of the Rascals. That's Felix singing and playing his Hammond
Speaker 1: B three organ on this track. The Rascals Felix, Eddie Brigatti,
Speaker 1: Dino Danelli and Gene Cornish formed in nine and produced
Speaker 1: nine hit songs over the next three years, songs everybody knows, grooving, good,
Speaker 1: loving people, got to be Free, and It's a Beautiful Morning.
Speaker 1: Felix Cavalieri's mother started him on piano at age six,
Speaker 1: but his world was turned upside down in junior high
Speaker 1: when he first heard the music of Fats Domino, Chuck
Speaker 1: Berry and Jerry Lee Lewis. It changed his world and
Speaker 1: hours forever. Felix is originally from the New York City area,
Speaker 1: but he's lived in Nashville for decades. What happened to
Speaker 1: me basically is is I had these gentlemen approached me
Speaker 1: that they were starting at management company. They invited me
Speaker 1: down to Nashville to meet with them. I came down here.
Speaker 1: All of a sudden, I started to see people I knew, like,
Speaker 1: for example, John k Steppenwolf, Bobby Glaudio was down here
Speaker 1: for four seasons. We had two of springsteense guys. We
Speaker 1: still have one. Gary Tallant is still down here. I said,
Speaker 1: what is this? He said, oh, man, this is the place.
Speaker 1: I said, you sure, is it? Yeah, this is the place.
Speaker 1: You should come down here. And it was so interesting
Speaker 1: because now it's very different because the word is out.
Speaker 1: But it was so nice and quaint. You could actually
Speaker 1: walk into a place and you didn't have to make
Speaker 1: an appointment. And here's my best story. When I first
Speaker 1: got here, they said, oh, there's a bank in town
Speaker 1: that you know, it really helps out musicians songwriters. I said,
Speaker 1: you're kidding. He said, yeah. They got a special department
Speaker 1: for publishing and writing and song ring as. It's just
Speaker 1: like New York. The department in New York was called
Speaker 1: the Exit. They rocked him. You here, I said, and
Speaker 1: it's true. How long you been down there? You said
Speaker 1: twenty years? Now about thirty years, thirty years, thirty years.
Speaker 1: I've been here and I've watched it lose a lot
Speaker 1: of that quaintness and a lot of that jeez, just
Speaker 1: walking any time you want, what would you say? I
Speaker 1: mean your voice, your songs, which you know seem from
Speaker 1: such a different error because they're so pure. Your music
Speaker 1: is so pure. It's pretty music sung with great passion,
Speaker 1: beautiful songs, beautiful armrangements, beautiful singing, great writing. It's in
Speaker 1: that category of music that just puts people in a
Speaker 1: happy mood the minute they hear it. It relaxes them.
Speaker 1: And when I'm wondering, is there anything about the business
Speaker 1: now that's better than it used to be? Or was
Speaker 1: it all better back then? Now? Just the technology is better,
Speaker 1: we can do this. For example, recently, before all this
Speaker 1: pandemic started, I was doing an album and then all
Speaker 1: of a sudden everything got locked down. I was able
Speaker 1: to continue doing the album at home. See that, that's
Speaker 1: the difference the technology. So it's good and it's bad.
Speaker 1: What's good about it is that, man, it's just so
Speaker 1: much fun to make music in your house now. Of
Speaker 1: course you really missed the guys in the studio and
Speaker 1: all that. But we can do it online now. But
Speaker 1: would you prefer when the COVID's over it to be
Speaker 1: back face to face with people, because I'm shooting a
Speaker 1: TV show right now, and I gotta say that a
Speaker 1: little bit of the joy the camaraderie of working with
Speaker 1: people that you admire, working with people you like, and
Speaker 1: being able to relax not every day but some days
Speaker 1: and just shoot the ship with them and have a
Speaker 1: good conversation with some actor or actress or writer director
Speaker 1: that you really perspect. The joy for me of acting
Speaker 1: has been who I met. Of course, we've done only
Speaker 1: five shows this year, but we did one in California
Speaker 1: in October. There was an outdoor venue as a casino. Normally,
Speaker 1: the guys go on stage and they sound check. They
Speaker 1: start about three o'clock and then the show is at eight.
Speaker 1: We couldn't get them off the stage to stop rehearsing.
Speaker 1: They just missed each other so much. One of the
Speaker 1: things that I realized when we're doing this, I I
Speaker 1: just did this thing for Hello TV, which is a
Speaker 1: new kind of idea that what they're doing is they're
Speaker 1: filming a live show and then they're going to broadcast it.
Speaker 1: I'll tell you now, you do this all the time.
Speaker 1: You work in front of a camera, and you don't
Speaker 1: necessarily have an audience. I'll tell you, man, there was
Speaker 1: no audience that I was exhausted. I'm playing to the
Speaker 1: camera and there's nobody out there going yeah, yo, you
Speaker 1: know this. I was so tired at the end of
Speaker 1: that the ace. You grew up in New York correct,
Speaker 1: pretty close to the part of New York. Tell um,
Speaker 1: New York right out? And what did your dad do?
Speaker 1: My family was all in medicine. I was the only
Speaker 1: one that decided to jump out to this crazy world. Yeah,
Speaker 1: they were all in medicine. My dad was a dentist,
Speaker 1: my mom was a pharmacist. And basically they just saw
Speaker 1: some talent in me. So they started when I was
Speaker 1: about five classical music lessons playing my piano, paying piano.
Speaker 1: And then one day I went to junior high and
Speaker 1: this guy who was sitting in front of me was
Speaker 1: to become one of my dearest friends, and he said
Speaker 1: to me, said, do you like rock and roll? I
Speaker 1: didn't know what he was talking about. Really, I've never
Speaker 1: heard it classical music. They keep you pretty strict. How
Speaker 1: old were you at the time. I was junior high.
Speaker 1: So it was no Elvis, no Bill Haley, none of
Speaker 1: that fifties music. It's kind of like being Catholic. You
Speaker 1: know what I'm saying, You're not allowed to go to
Speaker 1: the other You know what I'm saying. Classical people, they
Speaker 1: don't want you to go and listen to anything. So
Speaker 1: I said yes, I said, yeah, I like it. But
Speaker 1: I went home. And the good luck was that Alan
Speaker 1: Freed was in New York. He brought it from Cleveland
Speaker 1: to New York. Rock and roll. Sure, remember we did it, man.
Speaker 1: So I heard all those things those guys from the beginning,
Speaker 1: the piano players like Fats Domino, Jerry Lewis flipped me out. Man,
Speaker 1: I said, man, this is so cool. It was the
Speaker 1: only word I could say. And then that started me.
Speaker 1: But when you're playing classical piano and you're sequestered in
Speaker 1: this classical music bubble as a young boy, and you
Speaker 1: start to appreciate and want to put your toe in
Speaker 1: the water there in terms of popular music and rock music,
Speaker 1: you're one of the most famous singers in the history
Speaker 1: of music. When did the singing. Start just joy, man,
Speaker 1: just joy. Wow, I'd love to try that, man, how
Speaker 1: cool would that be. It's just when you start out
Speaker 1: you start doing other people's songs. I get these phenomenal
Speaker 1: singers to copy, like Benny King and and Margot Gay.
Speaker 1: So you do their songs and all of a sudden
Speaker 1: you say, man, I'm singing these songs man. And then
Speaker 1: and then if you're lucky, you get a style if
Speaker 1: you're lucky interesting, But it's just the joy of playing
Speaker 1: and singing and that music. So Benny King and and
Speaker 1: and Marvin Gay and any of those people that were
Speaker 1: your earliest exposure. Radio was your gateway. I'm hearing I'm
Speaker 1: on the radio, and I'm saying, like, wow, in those days,
Speaker 1: you didn't have like the computer to tune your voice, right,
Speaker 1: you know what I'm saying. That's why we wanted you
Speaker 1: on the show because you could actually sing. Those guys
Speaker 1: that names I've mentioned, and there's so many more, they
Speaker 1: were phenomenal. Are you kidding me? I mean that these
Speaker 1: guys singing, you go like ho. And you know, I've
Speaker 1: had the honor of meeting a lot of these guys,
Speaker 1: you know, and I just love it so I did it,
Speaker 1: tried it. Who was the first person that you regarded
Speaker 1: that you respected their opinion? Who told you you could sing?
Speaker 1: Who's the person that said to you keep going in
Speaker 1: that direction? As of vocalists, well, you know, I started
Speaker 1: off the cat Skills. I had took a band from
Speaker 1: Syracuse University to the Catskical Mountains. So now you're in college. Yeah,
Speaker 1: I'm in college. I took a summer off and I
Speaker 1: literally never went back. And it's a great story because
Speaker 1: Joey D's band came there and they saw me, and
Speaker 1: they were in Europe and their organ player quit. So
Speaker 1: they called me up to join them in Germany, and
Speaker 1: so I flew and play the organ, play the organ. Yeah,
Speaker 1: I went over there. And the way the story goes,
Speaker 1: I'm changing the such a little bit. But they were
Speaker 1: working with this group called the Beatles, and nobody, nobody
Speaker 1: had heard of them yet. Now I'm a college kid
Speaker 1: deciding whether I should stay in school or look at
Speaker 1: all these girls screaming and hollering and what is this?
Speaker 1: You know? And I remember it vividly here in their music.
Speaker 1: I'm saying, wow, they were singing group. They weren't that
Speaker 1: good on the at least I didn't really get their
Speaker 1: music yet. And then when they did arm music, being
Speaker 1: American music, they were okay. Well, when they did their music,
Speaker 1: it was like outstanding. So I said, I think I
Speaker 1: do this. But it was in the Royal Hotel that
Speaker 1: people started paying attention to me, you know, they said, hey, man,
Speaker 1: you're pretty good. You're pretty good. You're pretty good. Half
Speaker 1: of them trying to impress their dates. So when you
Speaker 1: go to Europe to play the organ for these guys,
Speaker 1: they asked you to start singing. No, they just asked
Speaker 1: me to start playing. When when did the singing begin?
Speaker 1: When do you become the front man? Has a good question. Well,
Speaker 1: I got a little depressed being a side man, and
Speaker 1: I met this young lady. Uh we came back to
Speaker 1: the States, and she said, what's the matter. I said, man,
Speaker 1: you know, I've always been the front man. I've always
Speaker 1: been the singer, and uh, you know, I'm sitting way
Speaker 1: in the back of the group. And she said to me,
Speaker 1: she said, feel it. You don't think this guy's gonna
Speaker 1: let you sing, do you? And I said, oh, I
Speaker 1: get it. So basically, it was just a matter of
Speaker 1: time before I had to start a band, and there's
Speaker 1: a long story behind that. We had this wonderful thing
Speaker 1: called the draft. In those days, they said to me,
Speaker 1: if aliens attack, we'll call you. Other than that, go
Speaker 1: back home, because they were a little select off in
Speaker 1: the beginning. And that's when I started the band because
Speaker 1: I could. The name of the first band was what Well,
Speaker 1: I've a number of bands. I had Felix of the Escorts,
Speaker 1: I had all this kind of thing. But you know,
Speaker 1: when we got the guys together, that was my plan.
Speaker 1: Let let me see if I can get the best
Speaker 1: guys that I can find in the New York area.
Speaker 1: And I found some really talented guys. Of course, Eddie Briggotti.
Speaker 1: I was working with his brother, and here's this little
Speaker 1: guy man sing his tail off, unbelievable dance and singing.
Speaker 1: Cornish came from Rochester, Gene Cornish, and he was also
Speaker 1: with Joey d for a while there. And then that
Speaker 1: same young lady introduced me to Dino Danelli, the drummer,
Speaker 1: and I saw him play one song at the Metropol
Speaker 1: in New York. I saw him play one song, I
Speaker 1: who Have Nothing, and he did it such a show.
Speaker 1: I said, Man, I gotta ask this cat to join us,
Speaker 1: and that's how we stuck. Who's the one that sang
Speaker 1: that song? Tom Jones, who made a hit out of
Speaker 1: I who have nothing? Jeez, I don't know I who
Speaker 1: have no song? Great song? So which collection of musicians
Speaker 1: that you put together? Do you get your first record
Speaker 1: deal with? Your first record contract comes and who's a board? Well?
Speaker 1: I got a record contract up to Syracuse, but it
Speaker 1: was jive. It was just this guy trying to make
Speaker 1: money off me. And then years later came out they
Speaker 1: called up the Rascals. This business is something else, man,
Speaker 1: but the Rascals really was the first major contract. Atlantic
Speaker 1: Records came out to this place we were working on
Speaker 1: the island called the Barge in the Hampton's. That was
Speaker 1: the place we got to offer it to do this
Speaker 1: job out there. There was this a major discotheque in
Speaker 1: New York on Dean's and the gentleman who owned that
Speaker 1: place invited us to do the Barge in the Hampton's
Speaker 1: for the summer. And I knew growing up near Long
Speaker 1: Island that the Hamptons was a place where a lot
Speaker 1: of people who are really important people going to summer.
Speaker 1: Bettie Davis used to summer out there. It was wild.
Speaker 1: So I knew that if we were going to get discovered,
Speaker 1: we were going to get discovered there. And we did.
Speaker 1: And that's the group that you mentioned in before, the
Speaker 1: guys you put together, and this would be so now
Speaker 1: you have the Rascals together, and the Rascals make their
Speaker 1: first record deal win. Right. Then this gentleman saw us
Speaker 1: and he knew Sid Bernstein, the promoter who brought the
Speaker 1: Beatles to the US, and so Sid came out and
Speaker 1: wanted to manage us. He really helped us. He introduced
Speaker 1: us to all the right people, and Atlantic was the
Speaker 1: only label that would allow us to produce ourselves. I
Speaker 1: wanted to produce ourselves. I didn't I didn't want somebody
Speaker 1: that I didn't know taking over. Why. Well, I had
Speaker 1: an idea, you know, I had a musical idea, you know.
Speaker 1: And I kept saying, too, director, look you like what
Speaker 1: you heard. That's why you're signing us, give us a shot. Well,
Speaker 1: here's where the fantastic luck comes in. So Atlantic signs
Speaker 1: us up and they put us in the studio with
Speaker 1: two geniuses, Arife Mardin and Tom Dowd. So it was
Speaker 1: like thank you, as all you can say, because now
Speaker 1: we had our George Martin. You respected them giants, just
Speaker 1: absolute giants. And what do they do for a guy
Speaker 1: like you who you yourself said that you wanted to
Speaker 1: mention to Atlantic I want to do. I want you
Speaker 1: to trust me and do my own thing. What do
Speaker 1: those guys give you? A good producer does what for you?
Speaker 1: A good producer should bring out what you want to
Speaker 1: put on in those days tape. You know the words,
Speaker 1: You've got an idea for a song, right, well, let
Speaker 1: me help you. Know this guy, Arief Martin, was a Turk.
Speaker 1: He came over here because what happened was Quincy Jones
Speaker 1: went to Turkey and on the way to the airport
Speaker 1: the way I hear it, Aliff somehow got him a cassette.
Speaker 1: Before Quincy landed back in the United States, he contacted
Speaker 1: him and asked him to come and join and be
Speaker 1: a professor at Berkeley. That's how good this guy was.
Speaker 1: So he ended up producing like Bett Middler. He ended
Speaker 1: up a Shaka Khan b G's. When you got somebody
Speaker 1: like that on your team, it's like an encyclopedia of
Speaker 1: music standing right over here. You know, I like to
Speaker 1: do a French song. I like to do a song
Speaker 1: sounds like how can I be sure? Oh, no problem,
Speaker 1: and he could orchestrate it for your right on this.
Speaker 1: I mean, it was just magic. That's what the Beatles
Speaker 1: had with George Bournon. So the first album you release
Speaker 1: with those guys is what year I was about? And
Speaker 1: how did that album do? It? Did? Okay? Okay? So
Speaker 1: right away there was some appetite for your recorded sound.
Speaker 1: Is where the good luck came in. Because see, uh,
Speaker 1: in those days when you worked in the club, everybody
Speaker 1: was twenty one or over. So the proprietors that they
Speaker 1: wanted you to do covers, they didn't. They were not
Speaker 1: interested in the least in anything that you had to say. Originally,
Speaker 1: I found these songs that people didn't know. I would
Speaker 1: find them, like, for example, I found Bustanks Sally and
Speaker 1: I heard this thing on the radio and then I
Speaker 1: heard this song called good Love. It from the first
Speaker 1: time we paid Good Loving. Everybody got up and danced,
Speaker 1: So the first album contained Good Loving. So what they
Speaker 1: did Atlantic is they put that out as the second signal.
Speaker 1: It was number one. So all of a sudden, this
Speaker 1: little obscure bunch of guys coming into the studio guess
Speaker 1: and trying to figure out what the hell is going on.
Speaker 1: We were stars, we were big, so the table turned
Speaker 1: a little bit and now we got a chance to
Speaker 1: do our things unproven, totally unproven, and we got lucky.
Speaker 1: This is how can I Be Sure? Sung by The
Speaker 1: Rascal's other lead vocalist, Eddie Brigatti. Felix Cavalieri is not
Speaker 1: the only guest on our show who mentions an individual
Speaker 1: producer for the success of his recording career. Go to
Speaker 1: our archives and listen to my conversation with Darryl Hall,
Speaker 1: who credits the same producer for developing Hall and notes sound.
Speaker 1: Is there a producer that comes into your life that
Speaker 1: takes you to the next level, that helps you make
Speaker 1: the sound that becomes your sound? Yeah, a Reef Morten,
Speaker 1: the producer arranger behind Donny Hathaway, Aretha Franklin. His his
Speaker 1: label was in Atlantic, So I was in that world
Speaker 1: in that scene. I mean, I remember I'm saying to
Speaker 1: me and John, he said, just make music, We'll figure
Speaker 1: out how to sell it. Here the rest of my
Speaker 1: conversation with Darryl Hall at Here's the Thing dot Org
Speaker 1: after the break Felix Cavalieri talks about the Rascals appearances
Speaker 1: on The Ed Sullivan Show, and the moment when Eddie
Speaker 1: Brigotti decided to leave the band. I'm Alec Baldwin and
Speaker 1: you're listening to Here's the Thing. In nineteen seventy, Rolling
Speaker 1: Stone magazine dubbed The Rascals the Blackest white group. The
Speaker 1: Rascals were considered a crossover rock and soul act, popular
Speaker 1: on both black R and B and white stations. Felix
Speaker 1: felt a strong connection to black musicians and civil rights,
Speaker 1: eventually insisting the Rascals would only perform if black acts
Speaker 1: were on the ticket, a choice that eliminated parts of
Speaker 1: the country from the Rascals tour schedule. Felix and Eddie
Speaker 1: Burgotti wrote most of the group's songs, and they were
Speaker 1: eager to reflect the politics of the time through their music.
Speaker 1: The industry changed thanks to Bob Dylan and the Beatles
Speaker 1: and the Stones, and all of a sudden people were writing.
Speaker 1: Prior to that, we would go to publishers and they
Speaker 1: would give you songs. Let's tell how Neil Diamond and
Speaker 1: Carol King started off. But when those guys came out,
Speaker 1: Now all of a sudden you could write. At least
Speaker 1: that was the theory. So you have to have a
Speaker 1: lot of good luck to be able to write and
Speaker 1: get hit records with the bar up that high. Because
Speaker 1: those Beatles they had some pretty good songs, you know
Speaker 1: what I'm saying. So you want to survive. That's the
Speaker 1: level of dude, that's where you gotta be. Now, we're
Speaker 1: in the band as everybody, or are people in pairs
Speaker 1: or whatever the dynamics are they co writing together or
Speaker 1: you're all writing your own songs on your own. Did
Speaker 1: you co write with anybody in the band or outside
Speaker 1: the band? Yeah? I I co wrote with Eddie because
Speaker 1: I thought of Lennon McCartney team would be really cool.
Speaker 1: And I always felt that he was a little better
Speaker 1: than I was with the lyrics because I was too serious.
Speaker 1: I put some serious words down there, you know, especially
Speaker 1: when I got into my political life or whatever you
Speaker 1: want to call it. I mean, I was a pretty
Speaker 1: serious guy. Keyboard players have a tendency to be a
Speaker 1: little less nuts than some of the other guys in
Speaker 1: the band. Well, let's talk about the political aspect. When
Speaker 1: when you say he became political, what are you referring to.
Speaker 1: I started working for Robert Kennedy's campaign, the sixty eight campaign. Yeah,
Speaker 1: I think a lot of us in those days were involved.
Speaker 1: We gave a damn about our world. So I got involved.
Speaker 1: And I was dating this woman at the time who
Speaker 1: was there at these fascination and man, she was never
Speaker 1: the same. She wigged out. That's how People Got to
Speaker 1: Be Free came out. I said, Man, I gotta say something.
Speaker 1: I don't know why people think that musicians and actors
Speaker 1: and people are really not allowed to have an opinion.
Speaker 1: And I say this in my show because you have
Speaker 1: a right to say something. Now you don't get everybody mad.
Speaker 1: Oh my god. Nowadays you got the Dixie Chicks that
Speaker 1: come out and all of a sudden, everybody blackballs and
Speaker 1: it's nonsense. So we wrote, I wrote People got to
Speaker 1: Be Free. And they didn't want to put it at
Speaker 1: the label. We had control, and you got it out there.
Speaker 1: That was in our contract. And and so me and Jerry,
Speaker 1: who actually went head to head. You know, it was
Speaker 1: a great relationship, man, when I said, we gotta put
Speaker 1: this out. Man, this is it's just it means something
Speaker 1: that people know where we're coming from. But at the
Speaker 1: same time. And you mentioned the Beatles because the Beatles
Speaker 1: had this happen I think in Florida where they wouldn't
Speaker 1: play because it was a whites only audience. We had
Speaker 1: that What was the venue? Where where did all that
Speaker 1: play out? What happened was Baltimore, I think, and there
Speaker 1: was this group I think it's called a Young Whole Trio.
Speaker 1: It was a black group, but they were really black music.
Speaker 1: They were crossover music. So we were crossed over when
Speaker 1: we had a hit. We had the R and B
Speaker 1: stations and the white stations. So these guys came up
Speaker 1: to the backstage and said, Mr Cavalery Felix, we really
Speaker 1: like to play for white what it says sometimes? And
Speaker 1: I says, you know, man, I love to play for
Speaker 1: black audiences sometimes because they rock. And it hit me,
Speaker 1: why not let's have a black act opening up for us.
Speaker 1: I had no idea the trouble because little that I
Speaker 1: know when we went down South where I'm living now,
Speaker 1: it's so stupid, you know, I mean, really, you love
Speaker 1: the music, but you can't come to the shows. I mean,
Speaker 1: wait a second, did you have any were their protests
Speaker 1: with them that I got to know stokely car Micha
Speaker 1: and all those guys. Because they came out to some
Speaker 1: of the gigs, their promoters wouldn't let us play sometimes,
Speaker 1: you know, they wouldn't they wouldn't have the shows I
Speaker 1: went to school with. I don't know if you know
Speaker 1: who Mickey Schwarner was. He was one of those guys
Speaker 1: that went down to Mississippi got killed, Jeney Schwarner and Goodman. Yeah,
Speaker 1: he was in my school. So I got really in
Speaker 1: the beginning of my life for a number of reasons,
Speaker 1: mostly because of our Italian heritage. I got pretty rebelized.
Speaker 1: I didn't like the way people cheated. Were your parents
Speaker 1: or grandparents victimized by prejudice as immigrants? Absolutely, So you
Speaker 1: carried that with you. I really carried that with me.
Speaker 1: A long story short. You know, my mom was a
Speaker 1: very educated person, and you know, when we moved to
Speaker 1: Westchester County, there weren't too many of us around in
Speaker 1: those days, and they really insulted her. It was a
Speaker 1: long story, but very simply, she wanted to join this club,
Speaker 1: this flower club whatever it was. They said, oh, certainly
Speaker 1: we could use somebody to serve lunch. And I said,
Speaker 1: what did you say, come back here. So I hit
Speaker 1: this cord a long time ago, and I don't like it,
Speaker 1: and I don't like it today because I I don't understand,
Speaker 1: you know, I think that you know, as you know,
Speaker 1: our nation right now, it's pretty divided. I don't understand that.
Speaker 1: Somebody's gonna explain to me. To me, it's like people
Speaker 1: are either going to embrace the change or the change
Speaker 1: is gonna come down on top of them. But when
Speaker 1: you say that your girlfriend at the time, she worked
Speaker 1: on the Kennedy campaign, right around the time you're starting
Speaker 1: to really make it in the business, they refer to
Speaker 1: you as a very black white band, the black sounding
Speaker 1: white band. Correct. I start to hear a bit of that. Absolutely.
Speaker 1: We were the first white act on the Red and
Speaker 1: Black Atlantic label. And you know, the best story I
Speaker 1: have his otis reading Man because in those days they
Speaker 1: didn't quite especially in Atlantic, they didn't have the barriers
Speaker 1: up like recording do not enter. So he came knocking
Speaker 1: on the door one day, looks and he goes, oh
Speaker 1: my god, they are white. They didn't know. There was
Speaker 1: no videos per se in those days. They didn't know.
Speaker 1: And of course to me that was like very cool
Speaker 1: thing because we're walking around the whole with guys that
Speaker 1: guy I have every record they ever made, Sam and
Speaker 1: Dave and Benny King and some of these jazz greats.
Speaker 1: They're all walking the halls of Atlantic Records, and so
Speaker 1: am I. So I felt it was pretty cool. I
Speaker 1: really enjoyed it. And you do Sullivan? What year you
Speaker 1: guys were on Sullivan twice? We were about five or
Speaker 1: six times. You really I had to tell said, you
Speaker 1: know enough because we're over exposing. Yeah, that was a
Speaker 1: real interesting let me tell you right, I'll never forget.
Speaker 1: One of the best books I ever read to appreciate
Speaker 1: these seems to the timeline and the seems in the
Speaker 1: timeline of the business was Nick Tosh's biography of Dean Martin. Yes,
Speaker 1: and man, you can't believe how you see that line
Speaker 1: where Elvis comes along and Dean Martin says, I'm doing
Speaker 1: what Bing Crosby did, and now Elvis is doing what.
Speaker 1: It's like a line Bing Crosby, Dean Martin, Elvis. The
Speaker 1: style is a little different, the lyrics are different, songs
Speaker 1: are different, but crooning is crooning, and it's hard to
Speaker 1: believe for people to understand that the guy of Sullivan's background,
Speaker 1: who was really the staple of the vaudeville era. Well,
Speaker 1: he was a journalist. He was a columnist, columnist, and
Speaker 1: he wrote an entertainment column like a you know, army archer.
Speaker 1: And he's this unlikely gate keeper. He's such an unlikely figure.
Speaker 1: He's the skinny little guy who's you know, this weird
Speaker 1: style of talking for people who were obviously talking to
Speaker 1: people who don't know Sullivan, which I'm sure most people do.
Speaker 1: And yet these emerging acts, including the Beatles, of course,
Speaker 1: use that show as the platform to becoming really famous
Speaker 1: in the United States. The show and you guys did
Speaker 1: that show five times? Yes, what was that? Like? This
Speaker 1: is an experience because we had to be there six
Speaker 1: actually seven days a week. We started on Monday at
Speaker 1: seven am, and you know, we we kind of run through,
Speaker 1: run through, run through. One through was very strictly run
Speaker 1: Saturday night we did a live show with no TV,
Speaker 1: but there was an audience, and then Sunday we do
Speaker 1: the real thing, and the real thing. He screwed it
Speaker 1: up every time because he would see someone in the
Speaker 1: audience that he knew, and as he was getting older,
Speaker 1: he'd lose his place and there you go. Now you
Speaker 1: just lost fifteen twenty seconds. Where we're going to get
Speaker 1: it from. We're going to get it from. Oh yeah,
Speaker 1: and Jackie Mason, you can tell you that story. It
Speaker 1: was really exciting because it was live, not taped live.
Speaker 1: He didn't know how to deal with us, our generations
Speaker 1: of you know, I could tell that he really wasn't
Speaker 1: too fond a lot of them. He really because I
Speaker 1: got into this thing with his staff because after a while,
Speaker 1: the rock bands became like the draw for the show.
Speaker 1: You know, you want to do the kids want to
Speaker 1: see the beginning. In the end, he created a monster. However,
Speaker 1: the dressing rooms did not show that. I said, no,
Speaker 1: wait a second. Now, this guy over here, he's about
Speaker 1: you know what I mean, he's got a whole floor,
Speaker 1: you know, and we're over here in this closet. I said,
Speaker 1: that's not gonna work. It was too much. It was
Speaker 1: too much. Man Like. I remember my dad. You know,
Speaker 1: my dad was a dentist. You could not be any
Speaker 1: more conservative than my dad. It was impossible. Do you
Speaker 1: remember show that was? The week that was? It was
Speaker 1: just lovely blonde. I think her name was Nancy. My
Speaker 1: dad really liked her. He liked her. She was on
Speaker 1: the show with us. So I said, Dad, come on
Speaker 1: into the come on into the green room, and here
Speaker 1: he is, right standard. It was so much fun, his dream,
Speaker 1: so much fun. Man Like, I said, that's the shame
Speaker 1: of where our group broke up, because we we had
Speaker 1: a lot of fun, you know, a bunch of crazy kids.
Speaker 1: And when you say the shame of the way the
Speaker 1: group broke up described that if you will to the
Speaker 1: extent that you can. Well, it was really a sad
Speaker 1: situation because here we are, we were free agents. We
Speaker 1: were going from Atlantic to Colombia, and Colombia in those
Speaker 1: days was an international label. Atlantic had just become an
Speaker 1: international label when Zeppelin got there. They signed up with
Speaker 1: Warner Brothers. Now they were an international label, but prior
Speaker 1: to that it was a little difficult for us in
Speaker 1: Europe and other countries because we had a different record company.
Speaker 1: Is that why you went to Columbia? Yes, And at
Speaker 1: the signing Eddie Briggott he just decided that he doesn't
Speaker 1: want to do this anymore. That's nice. There's a contract
Speaker 1: on the table. What should I tell them? And that
Speaker 1: started like this kind of like real negativity that happened.
Speaker 1: It actually started before that. What do you think it was?
Speaker 1: Why was he unhapped? What did he want to do?
Speaker 1: What direction did he want to go in? I don't
Speaker 1: think it had anything to do with any of that.
Speaker 1: I think that some people can live like a gypsy
Speaker 1: and some people can't. Eddie was extremely attached to his family.
Speaker 1: Where did he live? Where was his home? He's a
Speaker 1: Joysey guy, he's New Jersey, lived in Jersey guy. We
Speaker 1: had two jerseys. He just didn't want it. He just
Speaker 1: didn't want to travel anymore. He was an unhappy camper.
Speaker 1: And it's so funny because he had more fun than
Speaker 1: all of us put together on the road. He was
Speaker 1: a wild man. So I don't know. I was really
Speaker 1: saddened by it because the car we lost a wheel,
Speaker 1: you know, and it was really tough to keep spinning.
Speaker 1: And he left right then left at the signing and
Speaker 1: he didn't come back. He did not come back. And
Speaker 1: you've never done reunions with him, nothing, Well, we did
Speaker 1: a reunion. We did a reunion, so he so he
Speaker 1: would come back and and do and stick his toe
Speaker 1: in there. Wow, he came back forty years five years later. Really, yeah,
Speaker 1: Steve van Zand had this idea to to do something
Speaker 1: with us, and so he contacted us. All actually was,
Speaker 1: it was an interesting situation. We started off with that
Speaker 1: cancer program that Kristen Carr I think it is that
Speaker 1: Bruce and he does, and unfortunately one of my one
Speaker 1: of my girls, had that and so I said when
Speaker 1: he asked us if we would do a reunion, we
Speaker 1: did it. And then from there I was able to
Speaker 1: get some real good help for my kid. And after
Speaker 1: that that he wanted to do this Broadway show kind
Speaker 1: of ideas, so we did. That was goal Once upon
Speaker 1: a Dream. That was the last time we worked together
Speaker 1: as proxy two thirteen. What's interesting to me is when
Speaker 1: you see people have this good thing and they have
Speaker 1: a good chemistry, and not all of them, but some
Speaker 1: of them move on to other acts which don't replicate
Speaker 1: that success. Yeah, it's it's tough. Sound is not the same,
Speaker 1: and so you replace him with who We tried to
Speaker 1: put together something else. I I did a complete, you know, turn,
Speaker 1: and I found some really talented guys. We did two
Speaker 1: albums on Columbia that were pretty good albums. They were
Speaker 1: more jazz oriented, a little bit more open because at
Speaker 1: that time we were jumping into the FM world rather
Speaker 1: than the A M with the hits hits hits. It
Speaker 1: just wasn't the same, you know, because you know, a
Speaker 1: group is a group. But I mean it's just so silly.
Speaker 1: I mean, you know that you don't break up a
Speaker 1: winning team. Now, you notice a lot of the groups,
Speaker 1: especially the English groups, they stay together. They may not
Speaker 1: really get along that well, but they stayed together. That's
Speaker 1: something that I've always kind of been I'm sorry about,
Speaker 1: you know, I wish we could have remained friends. So
Speaker 1: the year that you're at the signing and Eddie splits,
Speaker 1: what year is a nineteen sevent you proxibly? Yeah, nineteen
Speaker 1: seventy fifty years ago, A long time ago, man, what
Speaker 1: I'm saying. But when you have a contract on the table,
Speaker 1: you have a contract in front of you. In order
Speaker 1: to fulfill that contract, who takes at the's place? Well,
Speaker 1: we I brought a fellow in that I thought it
Speaker 1: could help, and then we changed the group entirely, you know,
Speaker 1: And and Clive Davis, he gave us the benefit of
Speaker 1: the dot. He said, well let's keep going. You know. Actually,
Speaker 1: you know, it's just a shame, you know, because so
Speaker 1: we had a good thing going. We had a good team,
Speaker 1: and the team was good, you know, but you know,
Speaker 1: things happened. I'm sure it's happened to many people in
Speaker 1: many businesses. They have these partnerships and these situations and
Speaker 1: and all of a sudden, you know, it just doesn't
Speaker 1: work out. For what reason. I can't answer that. I mean,
Speaker 1: we had no embezzling, Nobody took anybody's wife. You know,
Speaker 1: there was nothing, you know, really, I don't think we
Speaker 1: really had any drug problems that I was aware of.
Speaker 1: Just the stupidity when you're coming up and you're performing
Speaker 1: in the sixties, when you guys really break out. Everything
Speaker 1: is radio. When I bought a Sony transistor radio with
Speaker 1: the old earpiece, the individual earpiece you'd plug in so
Speaker 1: I could play music under the covers of my bed
Speaker 1: at night, when I'm like fourteen, fifteen, sixteen years old,
Speaker 1: and I'm listening to Build Me Up, Buttercup and all together,
Speaker 1: a m hits of the sixties. When did you begin
Speaker 1: to sense that the music business was changing in terms
Speaker 1: of content? Right after wood Stock? Wood Stock was the
Speaker 1: beginning of the end, because the big guys came in
Speaker 1: the corporations. Ah ha, there's an audience here, let's go
Speaker 1: get them. And they did. See and then what was
Speaker 1: a you know, mon pop business, you know, turned into
Speaker 1: a conglomerate business, which is you know where we are today.
Speaker 1: You know, Let's see now, now, who put this group together?
Speaker 1: I think God put this group together. How about if
Speaker 1: I try it, we could put together a super group.
Speaker 1: Will just match them up, that's all. It doesn't work
Speaker 1: like that, you know. And then you know, little things
Speaker 1: like you know, you know, we used to have illegal payola,
Speaker 1: Well how about legal commercials. I can buy fifteen minutes
Speaker 1: of your time, can't I? And I can do what
Speaker 1: I want. It's progressed to the point of where we
Speaker 1: have that what do you call, I hate to say,
Speaker 1: a Patriot Act? And you know, we can now buy
Speaker 1: our way into whatever we want. That's what happens to
Speaker 1: the music business. However, I always feel the talent such
Speaker 1: as Prince Elton John there's gonna be a lot more
Speaker 1: people like that coming around, and and they will buck
Speaker 1: this system, you know, and they will they will be
Speaker 1: known and famous because they're so darned good. That's that's
Speaker 1: how I believe. So it's not that I'm all, you know,
Speaker 1: coming from a negative point of view, but I think
Speaker 1: the corporations really took the charm, you know. I mean
Speaker 1: like for example, when we used to travel around the US.
Speaker 1: We go to New Orleans, we hear New Orleans music.
Speaker 1: We go to l A, we hear Beach music. It's
Speaker 1: all the same. Everybody's get the same play lists. It's
Speaker 1: like driving down the interstate and all the restaurants are
Speaker 1: the same and every where. Am I Yeah, we've lost
Speaker 1: the indigenous flavor because you know what what you were
Speaker 1: saying about, you know, with your transistor radio. You see
Speaker 1: the people who are around in those days, they all
Speaker 1: have that joy of listening to the music, just like
Speaker 1: you did. We all have that, you know what I mean.
Speaker 1: It's like Ringo, like when he gets on stage, you
Speaker 1: gotta pull him off the stage. He doesn't need to
Speaker 1: be on stage for God, He's just it's in his soul,
Speaker 1: you know. And and that's that's the type of people.
Speaker 1: Like we go around with the zombies and people like that.
Speaker 1: They want to play and man, I'm missing I'll tell you,
Speaker 1: you know, I'm really looking forward to getting back out
Speaker 1: there to You should see the Rascals singer and keyboard
Speaker 1: player Felix Cavalieri. If you're enjoying this episode, please follow
Speaker 1: Here's the Thing on the I Heart Radio app, Apple
Speaker 1: Podcasts or wherever you get your podcasts, and while you're there,
Speaker 1: we'd love for you to leave us a review. When
Speaker 1: we return from the break, Felix Cavalieri talks about producing
Speaker 1: artists like Laura Nero and why he always ends up
Speaker 1: back out on the road. Simple a man understanding. I'm
Speaker 1: Alec Baldwin and you're listening to Here's the Thing. Since
Speaker 1: we were both raised on rock and roll, I want
Speaker 1: to to know if Felix remembers the first time he
Speaker 1: heard the Rascals on his transistor radio. First smash it
Speaker 1: was good loving, But the first time we heard ourselves
Speaker 1: on the radio was we were in New York. We're
Speaker 1: all living together in this hotel in New York, and
Speaker 1: cousin Brucie played I Ain't going out in my heart
Speaker 1: anymore seventies seven w ABC, and you know he's back
Speaker 1: there now, he's he's back a yeah, yeah, he's in
Speaker 1: his eighties. He's still rocking. Man, he's still gone. You
Speaker 1: believe God, bless you know what, that's the real deal there, man.
Speaker 1: So shout out to him, man, because he's a good
Speaker 1: man to the first time you hear it. I mean
Speaker 1: we were walking on the street with that same little
Speaker 1: transistor radio. Oh my god, it was so cool. What
Speaker 1: song it was? I ain't going to addit my heart anymore.
Speaker 1: But you know, sometimes I'm walking in like you know,
Speaker 1: Publix or one of the supermarkets, and and I hear
Speaker 1: one of my songs and I go, that's cool. They
Speaker 1: don't know, man, that's me up there. Bro, that's so beautiful.
Speaker 1: It's it's thrill. When you would record or when you
Speaker 1: would perform live, was there a ritual for you? What
Speaker 1: did you do? Wait? Did you Did you wake up
Speaker 1: and you were ready? You know, man, you wake up
Speaker 1: when you're ready, you know. I mean, like I said,
Speaker 1: we we had a ritual. But the ritual also included,
Speaker 1: you know, the writing of this song, that the recording
Speaker 1: of the song, the producing of the song, and the
Speaker 1: playing of the song. Because we played our own instruments,
Speaker 1: you know, we we only had one extra guy, which
Speaker 1: because we didn't have a bass player. You know, I
Speaker 1: had a bass player on my foot, you know, in
Speaker 1: the organ so when we went in, yeah, you had
Speaker 1: to be ready. You are you producing now? Are you
Speaker 1: writing songs down there and producing down there? Well? I
Speaker 1: was trying to before all this happened. I you know,
Speaker 1: we got some really really talented people around here. This
Speaker 1: is really cool. It's a great place for for musicians,
Speaker 1: you know, and and up and coming people. The problem
Speaker 1: is that, you know, I don't want to tune anybody up.
Speaker 1: I want them to be able to sing. I mean
Speaker 1: computer enhance. Yeah, and so that that limits a lot
Speaker 1: of it, so lest of them can really deliver the
Speaker 1: goods absolutely. That's why you got that big doing not
Speaker 1: enter side recording. You don't want to hear this, and
Speaker 1: it's just as too bad. What are some of the
Speaker 1: other acts over these past several years? Have you've been
Speaker 1: down there? Thirty years? Down there? You did produce people
Speaker 1: like Laura Nero? Correct, yes, out did that association give
Speaker 1: made who brought you together? Her manager was a gentleman
Speaker 1: by her name of David Geffen. He also managed Janie
Speaker 1: and I think he managed Crosby Stills in Dares and
Speaker 1: and let me tell you something, he was really a
Speaker 1: good manager. And he invited me, he says how would
Speaker 1: you like to meet the most difficult person you've ever met?
Speaker 1: I said, Wow, I can hardly wait. He says, Laura
Speaker 1: has mentioned you many times. She really enjoys your work.
Speaker 1: Would would you like to produce Laura? Near? It was
Speaker 1: life changing event. She was the coolest lady I've remember
Speaker 1: my life. Ah man. She was so talented, complete opposite
Speaker 1: of what we're talking about, Like she could care less
Speaker 1: if she sold a record. She just wanted to make art.
Speaker 1: That was her thing. For example, I called up our reef,
Speaker 1: I said, a Reef, I I got this great opportunity
Speaker 1: to produced this. Jim, would you like to join me?
Speaker 1: Would you like to help me? And he said yeah.
Speaker 1: Because you know, it's interesting in those days, he was
Speaker 1: working for almad Organ and those guys over Atlantic, and
Speaker 1: they didn't realize that they had a complete, absolute diamond
Speaker 1: in the rough with this guy. So when he when
Speaker 1: I took him out of there and and we went
Speaker 1: over to Columbia to produce Laura, they immediately made him
Speaker 1: a vice president. But you know, immediately they put him
Speaker 1: on the big time payroll. But anyway, what happened basically
Speaker 1: is that she just had a kind of almost like
Speaker 1: another century outlook on things like if she was born
Speaker 1: a hundred years ago, would have made a lot of
Speaker 1: sense where she was at. You know, how much did
Speaker 1: you work with her? You did one album with her,
Speaker 1: I worked as I did. I did two albums with her, Uh,
Speaker 1: the second one. I was kind of brought in as
Speaker 1: a relief mechanism because she was kind of getting a
Speaker 1: little bit too far out or too far in really,
Speaker 1: because she didn't even want to go to the studios anymore.
Speaker 1: She wanted to work out of her home. So I
Speaker 1: was called into kind of finish a couple of projects her.
Speaker 1: But what a talent. But did you sense then or
Speaker 1: did you a sense later on that you could have
Speaker 1: had a career just producing people like that. Yeah, yeah,
Speaker 1: I think I could have done that as well. But
Speaker 1: you know, as I say, you didn't want that. You
Speaker 1: didn't want to pass it on, so to speak. I
Speaker 1: love getting on stage and singing and playing. Man. You know,
Speaker 1: it's it's hard to get that out of your system,
Speaker 1: especially when people want to hear you. You know, if
Speaker 1: you work and nobody comes out to see it, okay,
Speaker 1: but you know they were, they were coming out, and
Speaker 1: I decided let me keep doing that and producing also
Speaker 1: became something again. Now it's a huge industry now as
Speaker 1: a matter of fact, it's taken precedence over the actual
Speaker 1: song and in some cases the singer because the production
Speaker 1: could be so maddening good that it's a hit, you know,
Speaker 1: And and a lot of it is done in the
Speaker 1: box in a computer. Who's the cream that's rising to
Speaker 1: the top? Now in the music business, is there anybody
Speaker 1: you like? Oh, they're coming there, They're come up there.
Speaker 1: There's so much talent out There's ridiculous thing, is it's
Speaker 1: just this, so much out there? How do you try
Speaker 1: to tune into what's going on? Too much? It's impossible.
Speaker 1: There's good things, like I'm talking about streaming, but there's
Speaker 1: good things about streaming. I mean, like, for example, I
Speaker 1: had a phenomenal record collection. You know, I used to
Speaker 1: not have lunch, man. I would go up and buy
Speaker 1: you know, like the music, and you know, it all burnt.
Speaker 1: I had a big fire. It all it's all gone,
Speaker 1: So so did Orbison. That's so funny. Yeah, we were
Speaker 1: Royce House in Malibu burned and he lost all his
Speaker 1: archive and I had like classical stuff, man, I mean,
Speaker 1: I had phenomenal. Where did that happen? Where was the
Speaker 1: house I was in? I was in Tennessee, you know,
Speaker 1: down here to Tennessee. My kids, your house, their court fire. Yeah,
Speaker 1: like my kids left the fluorescent light on and but anyway,
Speaker 1: thank god, nobody got hurt. My granddaughter was there and
Speaker 1: you know, we were okay. Everything was good except for
Speaker 1: the house. How many kids do you have? I had five.
Speaker 1: I already lost one of my kids, and I don't
Speaker 1: want to ever do that again. You know, it's a
Speaker 1: it's a tough thing. You lost one of your kids.
Speaker 1: My daughter, yeah, she uh as the reason we did
Speaker 1: that cancer foundation. She she had it. She had cancer
Speaker 1: Long Island. You know how old was she passed away?
Speaker 1: She was how I'm so sorry. That's horrible, or any
Speaker 1: of them in the business at all. Thank god. No,
Speaker 1: now they got the idea. They get it. You know.
Speaker 1: I've got a couple of my daughters. I mean, they're
Speaker 1: really excellent singers, but you know, they she tried, she
Speaker 1: wanted to New York and got beat up immediately and said,
Speaker 1: you know, I'm gonna go and raise a family, you know,
Speaker 1: but but go back if you wouldn't tell me so
Speaker 1: so the house catches fire, horrible tragedy, and you lost
Speaker 1: your record collection, and I lost my Hall of Fame trophy.
Speaker 1: They won't even give me another one in the rock
Speaker 1: and Roll Hall of Fame. I lost all that stuff.
Speaker 1: They wouldn't give you another rock and Roll Hall of
Speaker 1: Fame trump. No, no no, no, because so many people seldom
Speaker 1: I'm not asking you to choose one, but among the many,
Speaker 1: you would choose. If you could take an album out
Speaker 1: of that old vinyl collection, if we could restore that
Speaker 1: vinyl collection, and you could put an album on a
Speaker 1: turntable and laid back and play some music that would
Speaker 1: transport you, what would you put on the turn? Well,
Speaker 1: you know, seriously, as as I learned to appreciate, you know,
Speaker 1: the music comes out of, you know, the classical world,
Speaker 1: i'd have to say, somebody from the from that world,
Speaker 1: you know, like you would play classical music. Yeah, because
Speaker 1: first of all, I want to stay alive for that
Speaker 1: forty five minutes an already hear it, none of these
Speaker 1: three minutes songs. Who was among your favorite classical composers? Oh,
Speaker 1: the pianists, the Chopin's and Schubert's and oh man, As
Speaker 1: I say that there's something about the lack of lyric
Speaker 1: that transports you to a different place. I'll tell you, man,
Speaker 1: I did a symphony with my music here down in Nashville.
Speaker 1: We've got an excellent symphon extra here. And it was
Speaker 1: really really an honor, a treat for me to do that.
Speaker 1: You put you performed with them. I performed with the
Speaker 1: seventy piece orchestra. Where did you play? I paid my
Speaker 1: whole repertoire everything, or you played your music with that?
Speaker 1: I did all my music. It was fantastic. It's just
Speaker 1: something after all these years to bring that back. Those
Speaker 1: guys been around a long time. Man. That's good music,
Speaker 1: really good music. But you know what you're saying, and
Speaker 1: I see the joy when you're speaking about that little
Speaker 1: transistor radio. That's how it is when I'm playing for
Speaker 1: my audiences out there. That's what we had, was that connection,
Speaker 1: that musical connection. People really loved that music. It's part
Speaker 1: of your soul, It's part oh yeah, oh yeah. Man.
Speaker 1: So I try to connect everybody like that, make them sing,
Speaker 1: you make them feel together, like when you do it
Speaker 1: to Billy Jones, Madison is going, I know every word,
Speaker 1: every word. Come on many that that's magic. I wish
Speaker 1: I could come see your shows because a lot of
Speaker 1: your songs I know every where too. There you go,
Speaker 1: we'll get there, yeah, exactly when this is over. Thanks
Speaker 1: for doing this with us, Matt, thank you, thank you
Speaker 1: with you on a Sunda afternoon. Felix Cavalieri of the Rascals.
Speaker 1: I'm Alec Baldwin and you're listening to Here's the Thing
Speaker 1: from my Heart radio. I can't imagine anything that the
Speaker 1: world as ours whenever went to in a place I
Speaker 1: like to be, it stead a bood, she's down, a
Speaker 1: crowded halling you to it, and a thing we likes
Speaker 1: to do. It's only lots of things that we can see.
Speaker 1: We can't be anywhere. We're elected, all the happy people
Speaker 1: we did me to do that. I'm a Sunday afternoon feah.
Speaker 1: I couldn't get away too soon. No no, no no