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Speaker 1: Pushkin Back to the Future turns thirty five this year,

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Speaker 1: and for many people, Power of Love by Huey Lewis

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Speaker 1: in the News is forever tied to Marty McFly hitching

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Speaker 1: a ride on the back of cars with his skateboard

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Speaker 1: waving at a jazzercize class. It's the quintessential eighties movie montage.

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Speaker 1: But the string of top ten hits in his perfectly

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Speaker 1: feathered bouffont, Huey Lewis catapulted into Michael j. Fox level fame.

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Speaker 1: But Hue is far from a prefab pop star. In

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Speaker 1: this interview, he talks to Bruce had Them about his

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Speaker 1: career that spans nearly fifty years. He shares details of

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Speaker 1: his tragic family history, his bohemian upbringing that includes late

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Speaker 1: night parties with Alan Ginsburg, and how he bonded with

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Speaker 1: Michael Jackson during the recording of We Are the World.

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Speaker 1: Hue has tons of great stories and we wanted to

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Speaker 1: spend time mining them before we get into talking about

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Speaker 1: his music, including his classic eighties record Sports. This is

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Speaker 1: broken record liner notes for the digital age. I'm justin Richmond.

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Speaker 1: Here's Bruce Headlam and Huey Lewis. They start off talking

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Speaker 1: about Hugh's recent health scare that's left him severely hearing impaired.

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Speaker 1: How are you feeling today? I'm okay, I'm I'm actually

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Speaker 1: pretty good. I'm a five today, which is almost as

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Speaker 1: good as I get. But I was like two yesterday. Okay,

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Speaker 1: And we should back up. You've got maars disease. It

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Speaker 1: affects your hearing, your balance. Yeah, yeah, man, years is

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Speaker 1: you know it? First of all, it's just it's a

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Speaker 1: syndrome based on symptoms, so it's called a disease, but

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Speaker 1: it's not really a disease. And frankly they don't know.

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Speaker 1: I mean, I've been House Here Institute, Stanford Here Institute,

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Speaker 1: Mayo Clinic, UCSF, UCLA, talk with doctor Stephen Rausch at

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Speaker 1: Harvard Medical School, and Mass General Ironeer and nobody knows anything.

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Speaker 1: Luxford told me. The real diagnosis for what you have, Hughey,

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Speaker 1: is we don't know. So. But having said that, it

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Speaker 1: fluctuates and it can get better and then it can

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Speaker 1: get worse. The trouble. When it's bad, I can't hardly

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Speaker 1: hear anything. When it's good, I'm with hearing aids. I'm

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Speaker 1: pretty good, and I might even be able to sing,

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Speaker 1: but I don't know that yet because I haven't been

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Speaker 1: good long enough to try. So that's it I need.

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Speaker 1: I need to stabilize. I need to get better and

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Speaker 1: stabilize and then figure out a way to sing. Okay,

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Speaker 1: but you do have a new album out, which we're

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Speaker 1: going to talk about soon. But I want to back

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Speaker 1: up first, okay and ask you a question everybody wants

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Speaker 1: to know, which is did you really get a perfect

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Speaker 1: score on your math SAT? Yes? I did did, and

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Speaker 1: and I and I got a perfect score on my

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Speaker 1: level two SAT as well. Okay, Now, were you this

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Speaker 1: kid who studied all the time? No, I know, I

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Speaker 1: don't know. I had a math aptitude that I cared

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Speaker 1: nothing for because I you know, I took a break

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Speaker 1: between high school and college, took harmonic and pitchecked around Europe,

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Speaker 1: went back to Cornell, and you know, went to engineering school.

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Speaker 1: I went to walked into the classroom and took a

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Speaker 1: look around and said, this is not where I want

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Speaker 1: to be. And you know, I wanted to be a poet.

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Speaker 1: I wanted to be Bob Dylan, not a Boeing engineer

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Speaker 1: or drunk a ge. Now your father was he was

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Speaker 1: a doctor, right, what kind of doctor was he? He

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Speaker 1: was a radiologist radiologist, but he was also a jazz drummer,

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Speaker 1: jazz drummer and piano player. Where was he? Where did

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Speaker 1: he perform? In San Francisco? He would just have jam

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Speaker 1: sessions on the weekends with he and he played with

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Speaker 1: a guy called Ralph Sutton, great Stride piano player. I

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Speaker 1: was a neighbor and my I played drums with him

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Speaker 1: and uh and we had people over the house all

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Speaker 1: the time. We had Eddie Figure Role played bass um,

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Speaker 1: my dad would play drums, Ralph play piano. We had

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Speaker 1: Ben Webster in my living room at one point. Really well,

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Speaker 1: when whenever these musicians would play San Francisco, sometimes Ralph

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Speaker 1: would invite him out and then on a Sunday, my

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Speaker 1: mom would make a big bunch of spaghetti and they

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Speaker 1: have a bunch of red wine and they'd have a

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Speaker 1: jam session. This happened when you were around. It was

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Speaker 1: like yeah, yeah, was like nine or ten years old.

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Speaker 1: They'd run the Marine outdoor Art, Art and Gardens Center

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Speaker 1: in Mill Valley and they would have a jam and

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Speaker 1: all the families and invite people. It was just like

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Speaker 1: a Sunday afternoon and these cats are jam and they

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Speaker 1: have fun and that was you know, a light went

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Speaker 1: off when I saw that. I said, that looks like fun. Wow.

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Speaker 1: And your mother is a fascinating story too. She escaped

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Speaker 1: Europe during the war. My mother was born in Wood,

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Speaker 1: Poland and in nineteen thirty nine. She's born in nineteen

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Speaker 1: twenty four. In nineteen thirty nine, when the Nazis invaded Warsaw,

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Speaker 1: word came down that the Nazis were coming, and my grandparents,

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Speaker 1: although they were Catholic, thought well, I think we'll be okay.

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Speaker 1: They thought maybe would just kind of blow over, but

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Speaker 1: then apparently it wasn't going to. So they sent the

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Speaker 1: kids out with their furs and all the you know,

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Speaker 1: the jewels and the gold coins sewed into the lining

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Speaker 1: of the furs, and my mom hitchhiked, basically got lifts

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Speaker 1: from fans people, and all the way to Portugal and

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Speaker 1: then Brazil with her. She was fifteen and her brother

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Speaker 1: was ten, and they moved to Brazil. They had a

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Speaker 1: relative there who put them up in a youth hostile

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Speaker 1: arranged for them to stay in a youth hostile and

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Speaker 1: my mother lived there for almost five years, at which

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Speaker 1: time finally her parents, my grandparents got out of Poland

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Speaker 1: because my grandmother had a thyroid condition that some Swedish

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Speaker 1: surgeon was the only guy on the planet who knew

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Speaker 1: about this, and the Germans were very interested in the procedure,

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Speaker 1: so they allowed her a visa to leave to go

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Speaker 1: to Sweden to have this procedure done. And they just

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Speaker 1: kept going and went to America. They stated, they moved

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Speaker 1: to Mathuin, Massachusetts, which was the textile capital of America,

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Speaker 1: because my grandfather was a dichemist. He had a textile

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Speaker 1: mill in Poland and he knew all about it, and

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Speaker 1: they were kind of a wealthy, very cultured family and

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Speaker 1: so on. Now in America, he was struggling tough to

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Speaker 1: get a job with all the all the returning gis.

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Speaker 1: He wasn't making any money. So he and my mother,

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Speaker 1: he and my grandmother committed suicide together, and it was

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Speaker 1: a huge blow to my mom. My mom, who was

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Speaker 1: a commercial artist and was in New York City designing

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Speaker 1: album covers and Walt Whitman's little primers and all this

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Speaker 1: doing wonderful commercial work and you know, well dressed and

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Speaker 1: neat and prim That's when she flipped out because America

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Speaker 1: had been the had been the voice of freedom and

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Speaker 1: everything for her because when she was traveling through Europe,

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Speaker 1: whenever there was jazz, she was safe because there were

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Speaker 1: gis gis and jazz met ah safety. So she was

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Speaker 1: a music lover, so it was musical over two. So

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Speaker 1: she marries my dad, who was playing jazz in New York,

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Speaker 1: and they marry and then she reunited with her parents,

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Speaker 1: and then her parents commit suicide, so she kind of drowsed.

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Speaker 1: My uncle later explained to me that's when she turned

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Speaker 1: off to the idea of America is a great place

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Speaker 1: and became a kind of a bohemian, and my dad

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Speaker 1: moved to California. My whole family moved to California nineteen

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Speaker 1: fifty three or fifty four, and then she started hanging

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Speaker 1: out with the beat Nicks in the early sixties and

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Speaker 1: my parents split up. They got divorced in sixty two

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Speaker 1: sixty one, I guess, so she was connected with what

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Speaker 1: was going on in San Francisco with the Beats. Okay,

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Speaker 1: did you know those guys when you were growing up. Well, yeah,

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Speaker 1: then my mom and my parents split up. My mother

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Speaker 1: would hang at the No Name Bar, which is in Sasolito.

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Speaker 1: It was the Tides bookstore in the No Name Bar,

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Speaker 1: which were the two kind of beat nick enclaves, and

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Speaker 1: the No Name Bar had jazz musicians and all that,

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Speaker 1: and my mom would bring the bar home. You know,

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Speaker 1: occasionally I'd wake up at three o'clock in the morning

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Speaker 1: in the place I would be jammed with people and

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Speaker 1: hippies and finger down Ginsburg in the corner and all

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Speaker 1: kinds of poets and musicians and stuff. And then she

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Speaker 1: married Blue Welch. She did well, they didn't actually get married,

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Speaker 1: but they, yeah, the sixties version of getting married and did.

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Speaker 1: He was a well known beat poet. He was friends

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Speaker 1: with Furlingetti. He was I think a character in one

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Speaker 1: of Jack Carrollax's character in one of Carrollas books. He

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Speaker 1: went to read with Philip Whalen and Gary Snyder, and

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Speaker 1: you know, a knew Kirby Doyle and Ferlingetti and all

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Speaker 1: those people, and that was that was their world, you know,

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Speaker 1: that was my mom's world for for a long time,

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Speaker 1: did you know. And he was he was an amazing

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Speaker 1: guy because he was a he was a great orator.

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Speaker 1: I mean he could he you know, he was a

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Speaker 1: William Carlos Williams devote the beats where W. C. Williams

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Speaker 1: was a big influence for them. And that was street talk, right,

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Speaker 1: that was poetry as speech speak, as as as people speak,

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Speaker 1: and and that poetry should be spoken and not necessarily read,

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Speaker 1: but spoken. And Lou was a great reader. He was

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Speaker 1: a great teacher and a and a good poet. But

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Speaker 1: he was an amazing reader. And in those days, there

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Speaker 1: were poets on all the bills, you know, in the

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Speaker 1: early sixties. I mean, I mean not only Neil Cassidy

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Speaker 1: with the Dead and this, but poets typically would have

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Speaker 1: a you know, in between bands, you'd have a poet.

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Speaker 1: And Lou was a star. He was a really big star.

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Speaker 1: But then he committed suicide as well. Well, that must

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Speaker 1: that must have been a terrible shock to your mother. Then, yeah,

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Speaker 1: but my mother, you know, my mom had had escaped

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Speaker 1: Poland and right, and and then I mean I could

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Speaker 1: tell you my mother's story in Brazil and all the

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Speaker 1: stuff she experienced. It's just an unbelievable story my mother.

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Speaker 1: I mean also, you know, her brother got captured by

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Speaker 1: the Nazis and then released when they realized he was

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Speaker 1: Catholic barely, and she had all kinds of she's got

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Speaker 1: all kinds of stories. So for what she's experienced, she's

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Speaker 1: never been sentimental or any of that. And she after

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Speaker 1: her after her parents had committed suicide. It must have

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Speaker 1: been to win the big thing for her. Really, she

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Speaker 1: thought Louis had just disappeared. He engineered his own disappearance.

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Speaker 1: What lou did really is he wrote a poem called

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Speaker 1: the song Mountamil by his sings. In it, he describes

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Speaker 1: his demise. He wanted to be recycled by vultures. What

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Speaker 1: he did is he went in Nevada to Gary Snyder's

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Speaker 1: camp and they were gonna There was a bohemian camp

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Speaker 1: there and lou was gonna build a place there. But

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Speaker 1: he was a vicious alcoholic. He was just and he

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Speaker 1: could barely get up in the morning, and I was shaped.

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Speaker 1: I would talk to him, said, Louis, you can do this.

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Speaker 1: You gotta go. You got And I was probably one

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Speaker 1: of the last people to talk to him. But when

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Speaker 1: he ended up to Gary Snyder's, my mom had left.

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Speaker 1: She'd gone to South America to leave him. She says,

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Speaker 1: you don't need me, you're a drunk. I'm gone. My

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Speaker 1: mom had gone to South America to travel and he

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Speaker 1: went to Gary Snyder's and he was just totally depressed,

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Speaker 1: and so he took his favorite revolver and went out

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Speaker 1: for somewhere and then oh, shoot, Lou else was missing.

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Speaker 1: And then the next day they said, oh, somebody saw him.

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Speaker 1: It's okay. They called off the search. And that was Gary, who,

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Speaker 1: having read the poem, understood that Lou what Lou was doing,

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Speaker 1: and didn't want anybody to, you know, bother him or

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Speaker 1: any of that stuff. So that's what And my mother

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Speaker 1: would never really come to grips with it. She never

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Speaker 1: really came to grips with the fact that he committed suicide.

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Speaker 1: She thought he disappeared. Well, there was always that mystery, right,

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Speaker 1: that did he disappear? But you're in your mind just

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Speaker 1: like Jimmy Hoffa, Yeah, he was gone. You went through

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Speaker 1: something very difficult. Your parents actually made you decide where

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Speaker 1: you wanted to live, didn't they when they split? Is

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Speaker 1: that true? No? No, I had custody. My mother had custody, okay,

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Speaker 1: and I was only twelve. My mother customer. My father

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Speaker 1: had visiting rights, visiting privileges, and he convinced me. He

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Speaker 1: talked to me like he says, look, there's this school,

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Speaker 1: you know, and you're a smart kid, and if you

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Speaker 1: want to get on in life, you got to compete

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Speaker 1: with the best. And he says, and I think there's

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Speaker 1: an opportunity for you to go to prep school. I

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Speaker 1: think it'd be a great thing for you to do.

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Speaker 1: I said, Okay, says, but you're gonna have to want

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Speaker 1: to do it because your mother's got custody. And if

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Speaker 1: you want me to do this, I'll petition the court.

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Speaker 1: But it's going to be a big pisson match, you know.

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Speaker 1: And I said, well, I think it's probably a good idea.

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Speaker 1: So then we went to court. My mother my mother

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Speaker 1: was over here and my dad was over There was

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Speaker 1: a horrible day and she's there screaming at one another,

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Speaker 1: and the judge fortunately said let's go back in my chambers.

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Speaker 1: So we go back into the judge's chambers and I

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Speaker 1: was I was twelve, And he said, um, what do

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Speaker 1: you know about this place? I said, well, you know,

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Speaker 1: I a little bit of Do you want to go there?

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Speaker 1: I said, I think I think I do. He says,

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Speaker 1: how many people in a classroom? And I said eight

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Speaker 1: to fifteen. I just read the brochure. I had just

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Speaker 1: read the brochure, I said eight fifteen. He goes, how

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Speaker 1: many in the student budd He said six hundred. He said, okay,

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Speaker 1: that's enough. He went back and he said the kids

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Speaker 1: can go to prep school. In July of sixty three,

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Speaker 1: I turned thirteen. In August, I went away to prep

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Speaker 1: school for four years, coat and tie, all boys, and

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Speaker 1: neither one of my parents ever attended. They never visited

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Speaker 1: you there, never now, So I really was gone by

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Speaker 1: at that age. Nothing. My parents didn't love me, mind you,

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Speaker 1: you know, it was just a different generation. My dad

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Speaker 1: was a hardass. He was just you know, I never

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Speaker 1: ever told him I loved him, even though I loved

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Speaker 1: him and he loved me. And towards late in life,

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Speaker 1: because you know, with my kids we say he love you, dad,

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Speaker 1: I mean we tell each other we love each other,

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Speaker 1: like six times a day, you know. My dad, so

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Speaker 1: later on in life, and he was I bet he

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Speaker 1: was in his eighties, and I finally said I I said, Pops.

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Speaker 1: I called him pops, Pops. I love you, Pops. And

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Speaker 1: I heard him on the other end go oh. I

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Speaker 1: was also like I'm sorry, which I hadn't said that.

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Speaker 1: He was thinking I only had a few more years

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Speaker 1: to go. I don't the year that I would have

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Speaker 1: got there. Uh did you like prep School? I hated

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Speaker 1: it at first? I just you know, when I first

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Speaker 1: went away, I cried myself to sleep. I was homesick,

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Speaker 1: like crazy. It was horrible and it was all you

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Speaker 1: do to keep my head above water. But after four years, uh,

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Speaker 1: you know, I after four years did I a lot?

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Speaker 1: Did I like it? You know? Yeah? Kind of you.

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Speaker 1: I'm really glad I went there. Let's put it that

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Speaker 1: you were a baseball player, right, a baseball player? You

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Speaker 1: what did you? What position do you play? Pitched and

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Speaker 1: played shorts up? Okay, what are you going to play

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Speaker 1: at Cornell? Was that part of the was? The box

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Speaker 1: was checked when I went to Cornell? But I had

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Speaker 1: been to Europe for a year, yeah, and been to

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Speaker 1: North Africa. I went to Marrakesh for like a day

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Speaker 1: and got so stone I couldn't leave for three months.

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Speaker 1: Playing harmonica in this where you know? Were there players

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Speaker 1: you were listening to back then? Were you listening to

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Speaker 1: harmonica music? Yeah? Well yeah I was. I was. I

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Speaker 1: was a blue snop. I was listening to you know,

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Speaker 1: Walter and Sonny Boy, Little Walter and Sonny Boy Williamson, right,

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Speaker 1: and and then then then big Walter and uh and

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Speaker 1: James Cotton, I mean James Cotton. You know, Cotton was

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Speaker 1: probably our biggest influence. Walter Cotton, Sonny Boy, that guy. Yeah,

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Speaker 1: were you singing by singing a little? But I never

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Speaker 1: sang that I went to Europe. When I went to Europe,

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Speaker 1: I had and my busking, I sang, that's that was

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Speaker 1: part of my stick. And how did the how did

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Speaker 1: the busking go real good? Really? I mean, well, yeah,

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Speaker 1: I mean in Morocco, I'm in Marrakesh, and I'm you know,

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Speaker 1: I would play on the square. I mean the snake

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Speaker 1: charmer was over here, and the you know, the the

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Speaker 1: bicyclist acrobat who would ride around doing handstands on the

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Speaker 1: bicycle was over here. And the two hash dealers who

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Speaker 1: did their their spiel, the two growers, they had a

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Speaker 1: whole big stick they did and they smoked these big

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Speaker 1: hookahs and and there were there was a it was

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Speaker 1: an entertaining thing. All this happened in the square. And

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Speaker 1: I would busk on the square and I'd make like

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Speaker 1: three dirhams. And the youth hostfelt was where I stayed.

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Speaker 1: We called it Mukta's Home for Wayward Boys and Girls.

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Speaker 1: We got one costs one dirham and all I could

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Speaker 1: eat was a half a dirham, so I was I

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Speaker 1: was a Derham and a half to the good. I said, yeah,

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Speaker 1: the day I can't affordly, we'll be back with Huey

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Speaker 1: Lewis and Bruce had them after a quick break, we're

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Speaker 1: back with more from Huey Lewis. How did you first

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Speaker 1: get connected with Clover? That's a good question. So now

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Speaker 1: now I'm at Cornell and I'm playing harmonica in bands,

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Speaker 1: and I finally decided I want to be a musician

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Speaker 1: at Cornell. The African American Student Society and the STS

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Speaker 1: took over Willard Straight Hall the on Parents weekend, all

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Speaker 1: the African Marian kids took kicked all the parents out

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Speaker 1: in the middle of the night and took over the

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Speaker 1: place with guns. And this was on the cover of

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Speaker 1: Newsweek magazine, and so the whole campus shut down and big.

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Speaker 1: So you could take past fail for that that semester,

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Speaker 1: because we're two weeks old. Immediately I took past fail

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Speaker 1: on everything, and I didn't, you know, another semester didn't

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Speaker 1: have to work right, So but eventually it started to

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Speaker 1: catch up with me. Yeah. I called my dad and said, look,

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Speaker 1: I'm dropping out. I want to be a musician. And

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Speaker 1: he said, well, fine, you either know what you're doing

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Speaker 1: or you don't. Your dad is a radiologist, says take

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Speaker 1: a year leave of absence. I can't imagine a lot

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Speaker 1: of radiologists having that conversation with their sons these my

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Speaker 1: dad is, my dad is a bohemian. I mean, you know,

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Speaker 1: both parents are far out, you know. But so now

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Speaker 1: I go back to I want to go back to California,

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Speaker 1: because this is sixty nine. I finally say, Dad, I'm

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Speaker 1: dropping out. He says, no prompt and I go back

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Speaker 1: to California and I joined a some of my high

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Speaker 1: school grade school friends a bluegrass band called Herford Heartstringers.

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Speaker 1: They were like ten of us and we would busk

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Speaker 1: at Fisherman's Wharf. That's where we really made some money.

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Speaker 1: We had a ten piece bluegrass band, four of whom

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Speaker 1: were in the band Clover, and so they recruited me

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Speaker 1: for Clover. I played harmonica and they recruited me for Clover,

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Speaker 1: and I joined Clover in about seventy two. I guess okay,

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Speaker 1: and by that point Clover had made a cup, they'd

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Speaker 1: made a couple of Albus. They made two albums in

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Speaker 1: the sixties YEP with which were very well regarded in

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Speaker 1: England for some reason. For some reason, they were very

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Speaker 1: well because they were Andrew Lauder, who was who was

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Speaker 1: at time a and R at Liberty Records inherited those

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Speaker 1: records from Fantasy and the record was set was distributed

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Speaker 1: by Liberty in England and it only sold about nine copies.

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Speaker 1: It was an amazing record because the cover was the

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Speaker 1: Clover four Clover guys including John McPhee with hair down

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Speaker 1: to his waist, wearing coveralls like hippie coveralls, hair down

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Speaker 1: to his waist, standing in front of seven foot high

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Speaker 1: marijuana plants. And this is when Willie Nelson had a

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Speaker 1: coat and die on you know, I mean, this is

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Speaker 1: this is early days, you know, early country rock days.

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Speaker 1: Well in London that was They just that blew their minds.

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Speaker 1: And Andrew Lauder passed the album along to his bands,

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Speaker 1: Brindsley Schwartz, Chili Willie and the Red Hot Peppers and

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Speaker 1: those pub rock bands, and they really took to Clover

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Speaker 1: and in fact, Brinsley Schwartz wrote a song and said

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Speaker 1: going to saddle up and ride away to the hills

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Speaker 1: where Clover play. So we we now were in Clover

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Speaker 1: and we're playing clubs everywhere, and we don't know, you know,

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Speaker 1: we don't know any of this, and now we go.

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Speaker 1: We hear from it was a John Stewart who was

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Speaker 1: from one of the old Kingston trio's, had a ROADI

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Speaker 1: named Mark Ford and his drummer. John Stewart's drummer was

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Speaker 1: Pete Thomas from Elvis Costello's drummer. Pete Thomas and Mark

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Speaker 1: and U. Mark Ford, the ROADI lived in Mill Valley

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Speaker 1: and we knew him real well. So on a break,

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Speaker 1: Pete Thomas came with Mark Ford because he had mentioned

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Speaker 1: to Mark Ford, have you ever heard of a band

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Speaker 1: called Clover? And Mark says, yeah, they live in my hometown.

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Speaker 1: So now we go. This English guy comes to our

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Speaker 1: rehearsal Pete Thomas. He says, man, you guys have a

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Speaker 1: big following in England. We said we do, We didn't

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Speaker 1: know anything about it. So he told everybody in Britain

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Speaker 1: that we were still alive and well. And then next

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Speaker 1: thing we know, we're playing the Palomino in La and

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Speaker 1: these four guys walk in flexually, six guys in little

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Speaker 1: gray suits and short air and it was Doctor feel

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Speaker 1: Good and Jake Riveria and Nick low was. Nick low

383
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Speaker 1: was Wilco's guitar roadie, and they found out that Clover

384
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Speaker 1: was playing. Oh my gosh, they show up to our

385
00:22:25,800 --> 00:22:29,879
Speaker 1: show and that's we meet, and Jake and Dave Robinson

386
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Speaker 1: hatched the plan to bring Clover to England to be

387
00:22:34,080 --> 00:22:38,359
Speaker 1: produced by Nick Lowe and to take the country by storm.

388
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Speaker 1: But the day we landed Punk Rocket, So this is

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Speaker 1: like seventy six exactly simultaneously. In our first few months,

390
00:22:46,880 --> 00:22:51,119
Speaker 1: our managers were Jake Riviera and Dave Robinson and within

391
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Speaker 1: signing us and bringing us to London. In the first

392
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Speaker 1: few months, they signed Graham Parker, Elvis Costello, created Stiff Records,

393
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Speaker 1: Are Signed Reckless, Eric the damned all that stuff, and

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Speaker 1: so Nick, they too pulled Nick off Clover and let

395
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Speaker 1: him produce all that other stuff. And for Clover, they

396
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Speaker 1: they hooked us up with Mutt Langer uh To. The

397
00:23:15,119 --> 00:23:17,919
Speaker 1: theory was with us, we had long hair and all

398
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Speaker 1: this stuff. Let's make these guys a rock and roll

399
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Speaker 1: American rock and roll record and compete and aimed them

400
00:23:26,200 --> 00:23:29,960
Speaker 1: for America because because it ain't gonna work here in Britain. Right,

401
00:23:30,160 --> 00:23:32,320
Speaker 1: did you tour at all in England? Oh? Yeah, we

402
00:23:32,400 --> 00:23:35,520
Speaker 1: toured with Linda Lewis. First we toured with Graham Parker,

403
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Speaker 1: and then we toured with Thin Lizzie. How was Graham

404
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Speaker 1: Parker's one of my favorites? How was it touring with

405
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Speaker 1: Graham Parkers? Horrible? We got can't they hated us, we

406
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Speaker 1: got we got ship thrown on us in every gig.

407
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Speaker 1: Graham was a lovely guy. Yeah, but there was a horrible,

408
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Speaker 1: horrible tour. And then we went on tour with Lizzie

409
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Speaker 1: and the same thing. I mean, our road manager was

410
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Speaker 1: a guy called Frank Martinette. Frank real great guy. So

411
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Speaker 1: he said, Frank, you're gonna have to introduce because we're

412
00:24:01,200 --> 00:24:07,000
Speaker 1: building support Finn Lizzie plus support. Right. I mean, this

413
00:24:07,080 --> 00:24:10,800
Speaker 1: is like you might have just walk the plank, you

414
00:24:10,840 --> 00:24:13,000
Speaker 1: know what I mean? I mean, this is the this

415
00:24:13,080 --> 00:24:15,160
Speaker 1: is the rock and roll version of walking the plank.

416
00:24:15,760 --> 00:24:21,959
Speaker 1: So curtain's down, we're barely getting it together. Now, curtain

417
00:24:22,040 --> 00:24:27,879
Speaker 1: goes up as the audience just going Lizzie right, and

418
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Speaker 1: then Frank comes out and goes hi, everybody, and they go.

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Speaker 1: He goes, hey, Finn, Lizzie will be right out, and

420
00:24:35,200 --> 00:24:42,400
Speaker 1: they go, but first here's clover and they go boom,

421
00:24:43,960 --> 00:24:47,080
Speaker 1: and then stuff starts flying and and uh, I mean,

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Speaker 1: it was a horrible first night. It was all we

423
00:24:49,000 --> 00:24:51,960
Speaker 1: could do to get through most of the songs. But

424
00:24:52,040 --> 00:24:55,160
Speaker 1: as soon as it ended and I walked offstage, waiting

425
00:24:55,160 --> 00:24:58,919
Speaker 1: in the wings was Philip Linnip and Philip said, may

426
00:24:58,960 --> 00:25:02,560
Speaker 1: I have a word? Yeah, he says, come, come, come

427
00:25:02,640 --> 00:25:04,840
Speaker 1: to my dressing room. We get in the dressing room

428
00:25:04,880 --> 00:25:08,400
Speaker 1: and he started to critique our set and helped me.

429
00:25:08,520 --> 00:25:11,520
Speaker 1: It really became my mentor, helped me with everything on

430
00:25:11,600 --> 00:25:14,399
Speaker 1: the set list and what songs we should play and

431
00:25:14,480 --> 00:25:17,520
Speaker 1: what I should do. And eventually, you know, I stayed

432
00:25:17,520 --> 00:25:19,200
Speaker 1: with him once in a while. He dressed me out

433
00:25:19,200 --> 00:25:22,720
Speaker 1: of his closet. He played on all his solo records,

434
00:25:23,080 --> 00:25:27,399
Speaker 1: and he really taught me more than not musically necessary,

435
00:25:27,440 --> 00:25:30,080
Speaker 1: but everything else. How to run a rock band? What

436
00:25:30,119 --> 00:25:32,439
Speaker 1: did he what did he tell you about that stage stuff?

437
00:25:32,440 --> 00:25:34,439
Speaker 1: How to run how it wasn't It wasn't how he

438
00:25:34,480 --> 00:25:37,760
Speaker 1: told me. It's how he conducted himself, how how he

439
00:25:38,240 --> 00:25:41,879
Speaker 1: ran his crew, and his band. It was fascinating and

440
00:25:42,160 --> 00:25:45,760
Speaker 1: how he treated the fans. He was Philip was an

441
00:25:45,760 --> 00:25:47,760
Speaker 1: amazing guy. And he's the one that kind of gave

442
00:25:47,800 --> 00:25:50,560
Speaker 1: me confidence that I could sing more and do more

443
00:25:50,640 --> 00:25:53,040
Speaker 1: my own thing a little bit. And then so while

444
00:25:53,040 --> 00:25:55,679
Speaker 1: you're there, I think it is at that time some

445
00:25:55,840 --> 00:25:58,840
Speaker 1: of Clover backs up that and his first on my

446
00:25:59,000 --> 00:26:02,400
Speaker 1: and is true his first record? And then you play

447
00:26:02,600 --> 00:26:04,560
Speaker 1: is it was it that trip where you played for

448
00:26:05,040 --> 00:26:08,439
Speaker 1: on Nickelo and Dave Edmonds? Right? That was that was

449
00:26:08,440 --> 00:26:12,359
Speaker 1: a little later those two there. Yeah, Clover the rhythm

450
00:26:12,440 --> 00:26:17,000
Speaker 1: section plays backed up Elvis for My Amis Troupe and

451
00:26:17,119 --> 00:26:20,120
Speaker 1: Nick produced it. And then so we made two records

452
00:26:20,119 --> 00:26:24,560
Speaker 1: and they didn't happen. We came really close, but didn't

453
00:26:24,560 --> 00:26:27,919
Speaker 1: happen until the band breaks up. When John McPhee and

454
00:26:28,320 --> 00:26:31,360
Speaker 1: drummer Kevin Wells have written a song and they want

455
00:26:31,400 --> 00:26:34,840
Speaker 1: to go their own solo route. They mcpee eventually joins

456
00:26:34,880 --> 00:26:37,360
Speaker 1: the Dubies. So we split up and I go back

457
00:26:37,400 --> 00:26:40,399
Speaker 1: to Marin County and I just start a little jam session.

458
00:26:40,640 --> 00:26:44,600
Speaker 1: They asked me to run a jam session every Monday night,

459
00:26:44,680 --> 00:26:48,800
Speaker 1: and we just did a Monday night live fun, just

460
00:26:48,880 --> 00:26:54,399
Speaker 1: a jam where we had comedians and and just goofy stuff,

461
00:26:54,440 --> 00:26:57,520
Speaker 1: and I had a house band that I selected, which

462
00:26:57,600 --> 00:27:01,880
Speaker 1: was four of them was new member you know, going

463
00:27:02,040 --> 00:27:04,959
Speaker 1: soon to be news guys, and I started singing all

464
00:27:05,000 --> 00:27:07,920
Speaker 1: the songs and I am seed the deal, and then

465
00:27:07,920 --> 00:27:10,280
Speaker 1: I sang the songs and the thing got to be

466
00:27:10,400 --> 00:27:13,960
Speaker 1: very popular. We got offered a free studio time, so

467
00:27:14,000 --> 00:27:17,120
Speaker 1: we went into the studio with our Monday night live

468
00:27:17,200 --> 00:27:20,760
Speaker 1: band and we cut a disco version of Exodus that

469
00:27:20,880 --> 00:27:24,920
Speaker 1: we were playing them from ex Exi Disco. We called it, Yeah,

470
00:27:24,920 --> 00:27:27,480
Speaker 1: it's really funny. But I was mindful that I wasn't

471
00:27:27,520 --> 00:27:30,199
Speaker 1: going to try to make anything happen. I was going

472
00:27:30,280 --> 00:27:31,679
Speaker 1: to do things for the heck of it like the

473
00:27:31,720 --> 00:27:34,160
Speaker 1: punks did. So when I got the free studio time,

474
00:27:34,200 --> 00:27:36,679
Speaker 1: I said, you know what, We're gonna cut exa diisco

475
00:27:37,119 --> 00:27:39,760
Speaker 1: because it was just fun. And so now at this

476
00:27:39,800 --> 00:27:42,440
Speaker 1: point you've been in the music business for some time, though,

477
00:27:42,560 --> 00:27:45,959
Speaker 1: did you for you were you just goofing off or

478
00:27:46,440 --> 00:27:48,440
Speaker 1: did you think in your back and mind, no, this

479
00:27:48,520 --> 00:27:50,119
Speaker 1: is going to be one day I'm going to be

480
00:27:50,119 --> 00:27:51,960
Speaker 1: big and one day it's going to be Not Yet

481
00:27:51,960 --> 00:27:55,600
Speaker 1: I'm not thinking I'm thinking to myself. The lesson here

482
00:27:55,840 --> 00:27:59,879
Speaker 1: is don't worry about record deals or records or in

483
00:28:00,600 --> 00:28:04,000
Speaker 1: just have fun, play music and do this thing. Do

484
00:28:04,119 --> 00:28:07,240
Speaker 1: not worry about your stupid career anymore. So that's what

485
00:28:07,320 --> 00:28:10,679
Speaker 1: we did. We cut Exo Disco. I mean, how stupid

486
00:28:10,840 --> 00:28:13,399
Speaker 1: is using two days of studio time to cut a

487
00:28:13,480 --> 00:28:17,160
Speaker 1: disco version of Exodus. It's ridiculous. So now I got

488
00:28:17,200 --> 00:28:21,560
Speaker 1: this tape and like days later, Nick Low calls me

489
00:28:21,600 --> 00:28:24,280
Speaker 1: and says, we want you to come over and I

490
00:28:24,320 --> 00:28:26,040
Speaker 1: want you to play on one song of mine and

491
00:28:26,600 --> 00:28:29,520
Speaker 1: Edmonds wants and we rock By wants to cut bad

492
00:28:29,560 --> 00:28:33,240
Speaker 1: as Bad and Edmonds wants to sing it. I said great, Sure,

493
00:28:33,440 --> 00:28:36,040
Speaker 1: so he says, well can we fly over? Yeah, So

494
00:28:36,080 --> 00:28:39,200
Speaker 1: I fly over to London. I land, go straight to

495
00:28:39,240 --> 00:28:42,959
Speaker 1: the studio, cut the Nicolos song, cut Bad is Bad.

496
00:28:43,440 --> 00:28:46,600
Speaker 1: Then we the record company comes down, their record company

497
00:28:46,840 --> 00:28:50,320
Speaker 1: and listens to the tracks. Everything's fine, there's there's a

498
00:28:50,520 --> 00:28:52,760
Speaker 1: there's a kind of a lull. I say, you guys

499
00:28:52,760 --> 00:28:55,400
Speaker 1: want to hear something funny? He's sure, So I play

500
00:28:55,440 --> 00:28:59,000
Speaker 1: Exo Disco for him right. Well, the record company loves it.

501
00:28:59,440 --> 00:29:02,640
Speaker 1: They go, wow, that could be a hit. I said,

502
00:29:03,880 --> 00:29:06,280
Speaker 1: well great, Yeah, he said, come see us, we'll make

503
00:29:06,320 --> 00:29:11,520
Speaker 1: a singles deal. I said, great tomorrow, okay, Sure they leave.

504
00:29:11,800 --> 00:29:13,440
Speaker 1: So I go to Jake. I said, Jake, what do

505
00:29:13,480 --> 00:29:16,120
Speaker 1: I do? He says, no problem. He says, get eleven

506
00:29:16,200 --> 00:29:20,120
Speaker 1: points and three thousand pounds, which in those days was

507
00:29:20,160 --> 00:29:22,440
Speaker 1: really good. It was almost six grand. So I get

508
00:29:22,480 --> 00:29:25,520
Speaker 1: three thousand pounds, he says, and they might want you

509
00:29:25,560 --> 00:29:27,479
Speaker 1: to do some other work, like saying on it or

510
00:29:27,680 --> 00:29:29,480
Speaker 1: you know, put some if they want to do anything,

511
00:29:29,520 --> 00:29:32,680
Speaker 1: say fine, but you pay for the studio time and

512
00:29:33,160 --> 00:29:36,720
Speaker 1: don't leave without the three thousand pounds. I said, okay.

513
00:29:36,800 --> 00:29:38,440
Speaker 1: So the next day I went to the record label.

514
00:29:38,680 --> 00:29:42,360
Speaker 1: Sure enough, made a singles deal for Exo Disco. Come,

515
00:29:43,040 --> 00:29:44,720
Speaker 1: I got a second three. I got a check for

516
00:29:44,800 --> 00:29:47,720
Speaker 1: three thou. I go back to California. I call my

517
00:29:47,760 --> 00:29:51,360
Speaker 1: Monday Night Live compadres. I go, hey, boys, we got

518
00:29:51,360 --> 00:29:54,800
Speaker 1: a little action. You know, I got a singles deal here.

519
00:29:55,160 --> 00:29:57,400
Speaker 1: So they say great, but they wanted me to sing

520
00:29:57,440 --> 00:29:59,520
Speaker 1: on it a little more right. They want a little

521
00:29:59,560 --> 00:30:02,720
Speaker 1: more voke. Because I hadn't didn't do a lot of vocals,

522
00:30:03,120 --> 00:30:05,600
Speaker 1: mainly an instrumental. I said, no problem, I'll sing it

523
00:30:05,680 --> 00:30:08,320
Speaker 1: at all problem. So we go back to the studio

524
00:30:08,880 --> 00:30:10,440
Speaker 1: and I go, hey, I need to sing a little

525
00:30:10,440 --> 00:30:12,840
Speaker 1: more on that I got, so we need some studio time.

526
00:30:13,320 --> 00:30:16,600
Speaker 1: Come to find out they've erased part of the master

527
00:30:17,000 --> 00:30:21,280
Speaker 1: that the multi track. So I screamed bloody murder. I said,

528
00:30:21,280 --> 00:30:23,120
Speaker 1: what am I gonna do? I just made a singles deal.

529
00:30:23,160 --> 00:30:25,640
Speaker 1: For this deal, they want me to sing. They I

530
00:30:25,680 --> 00:30:29,200
Speaker 1: gotta recut it now. They said, well, no problem, We'll

531
00:30:29,200 --> 00:30:30,600
Speaker 1: give you as much time as you need. I said,

532
00:30:30,640 --> 00:30:32,840
Speaker 1: I'm gonna need a week. They said, no problem, you

533
00:30:32,920 --> 00:30:35,480
Speaker 1: got it. I said, okay, wow. So then what I

534
00:30:35,520 --> 00:30:38,520
Speaker 1: did is I took the master track, put it onto

535
00:30:38,600 --> 00:30:41,680
Speaker 1: two of the tent of the twenty four track multi,

536
00:30:42,640 --> 00:30:46,200
Speaker 1: sang on a third track, mixed it down to another

537
00:30:46,240 --> 00:30:50,040
Speaker 1: two track, done with it took two hours, three hours,

538
00:30:50,280 --> 00:30:53,920
Speaker 1: I lost a generation of tape, and it sounded you

539
00:30:53,920 --> 00:30:56,600
Speaker 1: could tell actually wasn't very good. But I knew it

540
00:30:56,640 --> 00:30:59,000
Speaker 1: didn't mean anything. And with the rest of the week,

541
00:30:59,400 --> 00:31:02,560
Speaker 1: I cut three other songs with my band, the original

542
00:31:02,600 --> 00:31:05,760
Speaker 1: songs that got us our record contract and our manager.

543
00:31:06,120 --> 00:31:09,800
Speaker 1: You're saying, to hell with it paid off? Okay? See

544
00:31:09,840 --> 00:31:12,959
Speaker 1: that was That was the zen Thriddle. For me was

545
00:31:13,440 --> 00:31:16,560
Speaker 1: quit trying to make it and you will. We'll be

546
00:31:16,640 --> 00:31:23,880
Speaker 1: right back with Huey Lewis after a short break. We're

547
00:31:23,920 --> 00:31:26,520
Speaker 1: back with the rest of Bruce's interview with Huey Lewis

548
00:31:27,160 --> 00:31:31,520
Speaker 1: for your second album, Though You Did, which you made

549
00:31:31,520 --> 00:31:35,200
Speaker 1: with mud Lang. Yeah, you've called that the Deal with

550
00:31:35,240 --> 00:31:38,080
Speaker 1: the Devil? What did you mean? They kind of coaxed

551
00:31:38,080 --> 00:31:40,360
Speaker 1: that out of me, To be honest, That's why we

552
00:31:40,400 --> 00:31:43,080
Speaker 1: insisted on producing our own record on Picture of This

553
00:31:43,480 --> 00:31:47,960
Speaker 1: because I wanted to make those decisions, the commercial decisions, ourselves,

554
00:31:48,040 --> 00:31:49,880
Speaker 1: because we knew we're gonna have to live with them forever.

555
00:31:50,400 --> 00:31:54,400
Speaker 1: And so that's how we started producing ourselves. But you

556
00:31:54,440 --> 00:31:57,080
Speaker 1: knew at that point, Look, we're going to be a

557
00:31:57,120 --> 00:31:59,640
Speaker 1: pop band now, We're not going to be a jam band.

558
00:31:59,680 --> 00:32:02,400
Speaker 1: We're not going to be well, there were no jam

559
00:32:02,440 --> 00:32:07,360
Speaker 1: bands zero. It's nineteen eighty there's nothing but hit singles,

560
00:32:07,720 --> 00:32:10,760
Speaker 1: and we, as you correctly surmise, we're more like a

561
00:32:10,880 --> 00:32:13,480
Speaker 1: jam band than we were. So the hardest thing for

562
00:32:13,600 --> 00:32:16,320
Speaker 1: us was to get a hit single, and that's what

563
00:32:16,440 --> 00:32:19,800
Speaker 1: we So we wanted to produce ourselves because we wanted

564
00:32:19,840 --> 00:32:23,160
Speaker 1: to make those decisions ourselves. But we starting with do

565
00:32:23,160 --> 00:32:25,800
Speaker 1: You Believe in Love? And then later with Sports, because

566
00:32:26,120 --> 00:32:28,640
Speaker 1: do You Believe in Love was our only hit on

567
00:32:28,680 --> 00:32:31,640
Speaker 1: that record, and it sold two hundred fifty thousand copies,

568
00:32:31,640 --> 00:32:34,120
Speaker 1: which is kind of break even for those times. But

569
00:32:34,240 --> 00:32:38,200
Speaker 1: on Sports, which we produced ourselves, we literally aimed every

570
00:32:38,200 --> 00:32:41,320
Speaker 1: track right at radio because we knew we needed a

571
00:32:41,400 --> 00:32:44,120
Speaker 1: hit single to exist. We didn't know we're gonna have

572
00:32:44,120 --> 00:32:47,560
Speaker 1: five of them, but we knew we needed one. And

573
00:32:47,840 --> 00:32:52,120
Speaker 1: that's that's why Sports it sounds like it does a

574
00:32:52,200 --> 00:32:56,000
Speaker 1: record of its time, a collection of singles. And we

575
00:32:56,200 --> 00:32:58,960
Speaker 1: always confident you could deliver a single, though, that we

576
00:32:58,960 --> 00:33:01,440
Speaker 1: could get a single, could deliver a single. No, that's

577
00:33:01,520 --> 00:33:03,280
Speaker 1: that was I was not confident at all that we

578
00:33:03,280 --> 00:33:05,880
Speaker 1: could do single. That's why I got the Mutt Langer song.

579
00:33:06,320 --> 00:33:10,480
Speaker 1: That's why I cut Heart and Soul on Sports because

580
00:33:10,840 --> 00:33:13,960
Speaker 1: they sounded like hits to me, and and that became

581
00:33:14,000 --> 00:33:16,760
Speaker 1: your first hit, right Heart and Soul. Hart and Soul

582
00:33:16,800 --> 00:33:19,600
Speaker 1: was our first single off of Sports, and that did

583
00:33:19,840 --> 00:33:21,920
Speaker 1: did that do the Was that the best the highest

584
00:33:22,040 --> 00:33:24,520
Speaker 1: ranking single on that Yeah? I don't know. He got

585
00:33:24,520 --> 00:33:27,960
Speaker 1: to top ten. I think it got six. We didn't

586
00:33:28,000 --> 00:33:30,160
Speaker 1: have the first number one we had was Power Love.

587
00:33:30,200 --> 00:33:34,280
Speaker 1: I think all those sports singles none of them got

588
00:33:34,280 --> 00:33:36,160
Speaker 1: to number one, but the album went to a number one,

589
00:33:36,280 --> 00:33:40,600
Speaker 1: right because you had If This Is It, Heart of

590
00:33:40,680 --> 00:33:45,320
Speaker 1: rock and Roll, New Drug, New Drug, Heart and Soul, Yeah,

591
00:33:45,360 --> 00:33:48,400
Speaker 1: and If This Is It and Walking on a Thin

592
00:33:48,480 --> 00:33:51,720
Speaker 1: Line was single. Okay, Now I do have one bone

593
00:33:51,760 --> 00:33:54,080
Speaker 1: to pick with you about Heart of Rock and Roll

594
00:33:54,640 --> 00:33:57,680
Speaker 1: because I grew up in Canada and the version we

595
00:33:57,760 --> 00:34:01,520
Speaker 1: heard when you were listing the cities at in you

596
00:34:01,640 --> 00:34:07,160
Speaker 1: say Toronto, Montreal, and everybody was so happy. And then

597
00:34:07,160 --> 00:34:09,759
Speaker 1: I moved to the States twenty years ago. I hear

598
00:34:09,800 --> 00:34:12,360
Speaker 1: the song and the radio that's not on the version

599
00:34:12,400 --> 00:34:14,600
Speaker 1: down here, and they're funny. And I'll tell you another

600
00:34:14,600 --> 00:34:16,839
Speaker 1: I'll tell you another funny anecdote to that same thing.

601
00:34:17,280 --> 00:34:20,399
Speaker 1: How that happened. When the song looks like it's gonna

602
00:34:20,440 --> 00:34:22,239
Speaker 1: be a single, I'm gonna be a hit. They got

603
00:34:22,239 --> 00:34:25,160
Speaker 1: me back in the studio to sing every song every

604
00:34:25,360 --> 00:34:27,880
Speaker 1: city in the world, basically, I mean they wanted me

605
00:34:27,960 --> 00:34:30,600
Speaker 1: to do. So. If I'm in Sweden, I'm hearing Stockholm,

606
00:34:30,680 --> 00:34:34,799
Speaker 1: and so now I'm in Canada, we're doing Canada in Toronto. Yeah,

607
00:34:34,880 --> 00:34:38,640
Speaker 1: you know, but and nic goes Halifax, and I'd never

608
00:34:38,680 --> 00:34:42,560
Speaker 1: been to Halifax, right, and I went time out. I

609
00:34:42,600 --> 00:34:47,160
Speaker 1: can't say Halifax, Okay, why, I said, because the harder

610
00:34:47,239 --> 00:34:49,960
Speaker 1: rock and roll can't be in Halifax. I said, I

611
00:34:50,000 --> 00:34:52,960
Speaker 1: just can't. So I drew the line at Halifax. And

612
00:34:53,080 --> 00:34:55,960
Speaker 1: what's funny about that is that now the next year

613
00:34:56,040 --> 00:34:58,759
Speaker 1: we do we opened our tour in Canada and we

614
00:34:58,800 --> 00:35:03,480
Speaker 1: started we started New and Land, uh and and and

615
00:35:03,120 --> 00:35:06,400
Speaker 1: and now we traveled to Halifax, and I go see Halifax,

616
00:35:06,840 --> 00:35:08,840
Speaker 1: and we go out, we have a night off. We

617
00:35:08,920 --> 00:35:11,720
Speaker 1: go to this little pub and there's this great rhythm

618
00:35:11,719 --> 00:35:15,000
Speaker 1: and blues band there at Halifax. And Halifax is the

619
00:35:15,040 --> 00:35:18,200
Speaker 1: most soulful, little funky town I've ever been to. And

620
00:35:18,640 --> 00:35:22,360
Speaker 1: I could put it could Halifax is a lot funkier

621
00:35:22,400 --> 00:35:25,120
Speaker 1: than half of the cities I've mentioned in this song.

622
00:35:25,840 --> 00:35:29,360
Speaker 1: It was funny. So when you when you hit it

623
00:35:29,400 --> 00:35:32,760
Speaker 1: big here in your early thirties by this point, yeah,

624
00:35:32,760 --> 00:35:36,000
Speaker 1: you've been doing this a long time. I think you're married,

625
00:35:36,080 --> 00:35:37,839
Speaker 1: you may have one of one of your kids, that's try.

626
00:35:38,080 --> 00:35:41,040
Speaker 1: What was it like to be suddenly one of the

627
00:35:41,080 --> 00:35:45,239
Speaker 1: biggest stars in the world, Well, you know it was

628
00:35:45,400 --> 00:35:48,000
Speaker 1: it wasn't overwhelming because I'd been doing it so long

629
00:35:48,080 --> 00:35:51,360
Speaker 1: and I'd seen so much, right, I mean, I'd seen Philip,

630
00:35:51,360 --> 00:35:53,759
Speaker 1: and I'd seen all this stuff, and so I understood,

631
00:35:53,920 --> 00:35:57,880
Speaker 1: I mean, I understood that. And I even sat the

632
00:35:57,920 --> 00:36:00,960
Speaker 1: boys down at a certain point when we were opening

633
00:36:01,000 --> 00:36:04,680
Speaker 1: for thirty eight Special and and and our record was

634
00:36:04,719 --> 00:36:07,000
Speaker 1: taken off and we were just killing it, and it

635
00:36:07,080 --> 00:36:09,440
Speaker 1: was so much fun because we'd show up at the gig.

636
00:36:09,600 --> 00:36:13,080
Speaker 1: All we do is support, you know, we play what

637
00:36:13,520 --> 00:36:16,759
Speaker 1: an hour maybe in front of thirty eight Special. We

638
00:36:16,800 --> 00:36:19,880
Speaker 1: show up at seven, eat a big crew meal, and

639
00:36:19,920 --> 00:36:22,400
Speaker 1: then go on stage at seven thirty or eight, and

640
00:36:22,440 --> 00:36:25,040
Speaker 1: we're done at nine, see you, you know. And I

641
00:36:25,040 --> 00:36:27,920
Speaker 1: remember and we were tearing the crowd up because our

642
00:36:27,960 --> 00:36:30,399
Speaker 1: record was what was going and we do as many

643
00:36:30,520 --> 00:36:33,160
Speaker 1: encores as we wanted, and I remember sitting everybody down.

644
00:36:33,160 --> 00:36:35,720
Speaker 1: We're in a nice little disguy. I said, boys, enjoy

645
00:36:35,800 --> 00:36:39,320
Speaker 1: this because it's you know, Unfortunately, we're gonna be headlining

646
00:36:39,400 --> 00:36:41,680
Speaker 1: our own shows pretty soon. We'll have to bring our

647
00:36:41,680 --> 00:36:44,560
Speaker 1: own lights and our own sound, and the critics are

648
00:36:44,560 --> 00:36:46,719
Speaker 1: going to be after us, and we're gonna have to cut.

649
00:36:46,760 --> 00:36:48,360
Speaker 1: We're gonna have to sound checks is going to be

650
00:36:48,400 --> 00:36:50,719
Speaker 1: at eleven in the morning and we're gonna bubble. And

651
00:36:50,719 --> 00:36:53,400
Speaker 1: I said, this right here, this is as good as

652
00:36:53,440 --> 00:36:57,040
Speaker 1: it gets. Riding on the bubble right now, feeling this momentum,

653
00:36:57,480 --> 00:37:00,520
Speaker 1: riding this rocket ship to the top, and enjoy this

654
00:37:00,760 --> 00:37:03,600
Speaker 1: because it only happens once in your whole life. And

655
00:37:03,640 --> 00:37:06,960
Speaker 1: we did. We, I can honestly say, because we weren't

656
00:37:06,960 --> 00:37:10,200
Speaker 1: spring chickens. We knew what was going on, and we

657
00:37:10,239 --> 00:37:14,359
Speaker 1: took it with a measure of salt and had fun.

658
00:37:15,040 --> 00:37:17,319
Speaker 1: Were you still enjoying it when you when you were

659
00:37:17,360 --> 00:37:19,680
Speaker 1: the top, when you were the airliners? I didn't like

660
00:37:19,800 --> 00:37:24,080
Speaker 1: the profile so much. You know, airports, malls, shopping malls,

661
00:37:24,840 --> 00:37:27,560
Speaker 1: they were really hard because I get I was bombarded

662
00:37:27,560 --> 00:37:31,560
Speaker 1: with stuff and and I you know, I'm used to it,

663
00:37:31,600 --> 00:37:33,799
Speaker 1: and I got good, good at it. You talk them down,

664
00:37:33,840 --> 00:37:35,960
Speaker 1: he says, wait, wait, Look, you have to talk to

665
00:37:36,000 --> 00:37:38,440
Speaker 1: your crowd. You know, the more you try and be

666
00:37:39,360 --> 00:37:41,719
Speaker 1: a recluse, the worst they get. So you got to

667
00:37:41,719 --> 00:37:44,239
Speaker 1: go right after them and say, look, I can't sign

668
00:37:44,280 --> 00:37:48,239
Speaker 1: all your autographs. There's a hundred of you. You got it,

669
00:37:48,320 --> 00:37:52,960
Speaker 1: so just please, but thanks very much. But there was

670
00:37:53,000 --> 00:37:56,479
Speaker 1: a lot of explaining, and a lot of moving out

671
00:37:56,520 --> 00:37:58,880
Speaker 1: of places, and worried about going over there because of

672
00:37:58,880 --> 00:38:01,279
Speaker 1: all those people. And and now I don't have to

673
00:38:01,320 --> 00:38:04,359
Speaker 1: worry about that. But I mean, you would strange things.

674
00:38:04,400 --> 00:38:08,160
Speaker 1: You were You were on the USA for Africa, but

675
00:38:08,239 --> 00:38:10,920
Speaker 1: you weren't supposed to sing, and then you did sing? Right,

676
00:38:10,960 --> 00:38:14,000
Speaker 1: How did that happen? Well, you know, we got invited

677
00:38:14,040 --> 00:38:16,640
Speaker 1: to do that, do it. We do the chorus and

678
00:38:16,800 --> 00:38:19,560
Speaker 1: now we're done, and they take breaks and we're in

679
00:38:20,040 --> 00:38:24,520
Speaker 1: I'm in the lounge, um, you know, telling jokes and whatnot.

680
00:38:24,600 --> 00:38:27,600
Speaker 1: We're just having fun. Thinking it's over and I get it.

681
00:38:27,600 --> 00:38:29,480
Speaker 1: And a guy comes to assisted because he says, hey,

682
00:38:29,520 --> 00:38:32,319
Speaker 1: Quincy wants to see it. Really, So I go out,

683
00:38:32,600 --> 00:38:36,440
Speaker 1: say Quincy, hey. He says, hey, Hue, we're smelly smelling.

684
00:38:36,480 --> 00:38:39,440
Speaker 1: Get over here. That they called Michael smelly because he

685
00:38:39,520 --> 00:38:42,399
Speaker 1: was so clean. And Michael Jackson comes. Jackson was called

686
00:38:42,400 --> 00:38:46,480
Speaker 1: smelling smelly, right, And so Quincy says, sing him your line,

687
00:38:46,760 --> 00:38:51,240
Speaker 1: and Michael sings the line and he says, singing, Hue,

688
00:38:51,280 --> 00:38:53,520
Speaker 1: I sang the line. He says, you got it. It

689
00:38:53,640 --> 00:38:57,640
Speaker 1: was Prince's line, but Prince didn't show up. Prince boycotted

690
00:38:57,719 --> 00:39:00,799
Speaker 1: the Prince's line. I got Prince's line, yeah, because you're

691
00:39:00,800 --> 00:39:03,400
Speaker 1: early in the song. No, no, no, I'm on the bridge.

692
00:39:04,000 --> 00:39:07,680
Speaker 1: I just believe there's Oh wow, that's right. That was

693
00:39:07,719 --> 00:39:10,520
Speaker 1: gonna be Prince. Yeah. Did Michael sing it well when

694
00:39:10,520 --> 00:39:12,719
Speaker 1: he sang it to you? Oh yeah. And Michael was

695
00:39:12,800 --> 00:39:16,600
Speaker 1: right there for the whole recording session, Okay, him than me.

696
00:39:17,000 --> 00:39:19,879
Speaker 1: I had the line right after Michael. So so we

697
00:39:20,480 --> 00:39:24,120
Speaker 1: when we cut, we stood there while we cut, and

698
00:39:24,400 --> 00:39:27,480
Speaker 1: you know, there were a bunch of bad takes and

699
00:39:27,520 --> 00:39:29,640
Speaker 1: guys screwed up and everything. So I got to interact

700
00:39:29,680 --> 00:39:32,600
Speaker 1: with Michael and he was amazing. I mean, first of all,

701
00:39:32,600 --> 00:39:35,200
Speaker 1: he knew he didn't miss a trick, you know, in

702
00:39:35,200 --> 00:39:37,960
Speaker 1: the terms of the recording. And to look at him,

703
00:39:37,960 --> 00:39:40,200
Speaker 1: you think he was just kind of He had the

704
00:39:40,200 --> 00:39:43,800
Speaker 1: big dark glasses, the aviator shades on, and tons of makeup.

705
00:39:43,880 --> 00:39:47,160
Speaker 1: You know, he's just full pancake makeup. There were baby

706
00:39:47,200 --> 00:39:49,480
Speaker 1: moons on his glasses. He had so much makeup on,

707
00:39:49,680 --> 00:39:51,960
Speaker 1: you know, so you think, oh, this guy, he's out

708
00:39:51,960 --> 00:39:53,759
Speaker 1: of it. Well he was not out of it. He

709
00:39:53,840 --> 00:39:56,879
Speaker 1: knew exactly what was going on because I remember when

710
00:39:56,920 --> 00:40:02,000
Speaker 1: we did the round the first pass to sing lead,

711
00:40:02,520 --> 00:40:05,280
Speaker 1: we had like five microphones and they were fifteen singers,

712
00:40:05,640 --> 00:40:08,200
Speaker 1: so we all three to each mic. One guy would

713
00:40:08,719 --> 00:40:11,520
Speaker 1: would lean in, sing his part and get back, the

714
00:40:11,560 --> 00:40:13,919
Speaker 1: middle guy would lead in sing back, and the last

715
00:40:13,960 --> 00:40:17,719
Speaker 1: guy kind of like that. So when we start, it

716
00:40:17,840 --> 00:40:20,839
Speaker 1: starts with here comes when we eat a certain call,

717
00:40:21,320 --> 00:40:24,000
Speaker 1: when the world must come together as one. Then Steve,

718
00:40:24,400 --> 00:40:27,160
Speaker 1: they have happy people dying. Oh wait, wait wait, stop

719
00:40:27,160 --> 00:40:30,000
Speaker 1: stops up and so he stops everything, and then we

720
00:40:30,080 --> 00:40:33,680
Speaker 1: go back and start again, and he intentionally messes it up.

721
00:40:33,719 --> 00:40:36,560
Speaker 1: You know, he's cute. He's just messing around, you know,

722
00:40:36,640 --> 00:40:39,279
Speaker 1: Stevie's just messing around. And so now they go back

723
00:40:39,280 --> 00:40:41,799
Speaker 1: and they started again, and now they get maybe down

724
00:40:41,800 --> 00:40:44,359
Speaker 1: to al Jaro, and he messes up. And now they

725
00:40:44,400 --> 00:40:47,600
Speaker 1: started again, and they get down to somebody else before

726
00:40:47,600 --> 00:40:50,720
Speaker 1: they stop and they go back. And now Humberto Gadaka,

727
00:40:50,760 --> 00:40:55,600
Speaker 1: the engineer, comes out to tweets the microphones, and I go, hey, Humberto,

728
00:40:55,680 --> 00:40:58,120
Speaker 1: what I said, Hey, could you just let it play

729
00:40:58,160 --> 00:41:00,080
Speaker 1: all the way through so we can at least to

730
00:41:00,160 --> 00:41:02,800
Speaker 1: have a whack in our line. I mean, Stevie Wonder

731
00:41:02,800 --> 00:41:05,839
Speaker 1: has had four takes already, and I got none. He's

732
00:41:05,880 --> 00:41:10,680
Speaker 1: Stevie wonder, you know. And and he goes back he said,

733
00:41:10,719 --> 00:41:13,279
Speaker 1: oh sure, no problem, goes back in, and Michael says me,

734
00:41:13,520 --> 00:41:16,840
Speaker 1: good idea, good idea. I said, thanks. And now we

735
00:41:16,920 --> 00:41:19,279
Speaker 1: do a pass and it's not very good, and he

736
00:41:19,400 --> 00:41:21,200
Speaker 1: lets it all go. You can test him, all right,

737
00:41:21,400 --> 00:41:23,800
Speaker 1: Quince said, let's do another one. We do another pass,

738
00:41:24,200 --> 00:41:25,799
Speaker 1: and we actually nail it. I don't know if it

739
00:41:25,840 --> 00:41:27,440
Speaker 1: was the second one, our third one, but we do

740
00:41:27,520 --> 00:41:31,400
Speaker 1: this one pass that's real good all the way around boom.

741
00:41:31,480 --> 00:41:34,440
Speaker 1: And then I look and I see him say to

742
00:41:35,080 --> 00:41:39,279
Speaker 1: a sequency through the glass to indicate the Combertica, save

743
00:41:39,360 --> 00:41:41,520
Speaker 1: that one. And then he says, all right, let's do it.

744
00:41:41,600 --> 00:41:44,520
Speaker 1: Let's just do another one. And right then Michael grabs

745
00:41:44,560 --> 00:41:46,440
Speaker 1: my arm and says, are they going to save that

746
00:41:46,520 --> 00:41:48,480
Speaker 1: last one? I said, yeah, they're saving the last one.

747
00:41:48,480 --> 00:41:50,680
Speaker 1: He's just good. I said, yeah. He says, because that

748
00:41:50,760 --> 00:41:53,560
Speaker 1: was it, wasn't it? I said, yep, that was it? Okay,

749
00:41:53,560 --> 00:41:58,120
Speaker 1: and that was it anymore? Yeah? Oh wow? Uh. And

750
00:41:58,160 --> 00:42:01,200
Speaker 1: then you you did Power of Love, you did for

751
00:42:01,280 --> 00:42:03,480
Speaker 1: the for the movie. Yeah, and that was your first

752
00:42:03,520 --> 00:42:06,200
Speaker 1: number one, first number one, and you I think we

753
00:42:06,200 --> 00:42:08,840
Speaker 1: should mention you've written other than hart and Soul. You

754
00:42:08,880 --> 00:42:12,240
Speaker 1: write all the songs as well or co write the songs. Yeah, yeah,

755
00:42:12,280 --> 00:42:15,040
Speaker 1: and you wrote the Power of Love. Yeah, power Love.

756
00:42:15,520 --> 00:42:18,680
Speaker 1: Power of Love is you know we Steven Spielberg and

757
00:42:19,440 --> 00:42:23,920
Speaker 1: Bob Zamechas and Bob Gail and Neil Canton, who produced,

758
00:42:24,440 --> 00:42:28,399
Speaker 1: directed and wrote the film, asked to take a meeting

759
00:42:28,440 --> 00:42:32,560
Speaker 1: with usaid Ambulin Entertainment. Ambulin was brand new. Zamecha said,

760
00:42:33,120 --> 00:42:36,000
Speaker 1: you know, we've just written this film called Back to

761
00:42:36,040 --> 00:42:40,400
Speaker 1: the Future, and our our lead character, Martin Wickfly, his

762
00:42:40,560 --> 00:42:43,080
Speaker 1: favorite band would be Huey Lewis and the news. How

763
00:42:43,120 --> 00:42:45,200
Speaker 1: would you like to write a song for the film?

764
00:42:45,320 --> 00:42:47,839
Speaker 1: I said, flattered, but I don't know how to write

765
00:42:47,840 --> 00:42:52,040
Speaker 1: for film necessarily. And I don't mean to be offend you,

766
00:42:52,080 --> 00:42:54,600
Speaker 1: but I don't fancy writing a song called back to

767
00:42:54,640 --> 00:42:57,879
Speaker 1: the Future. And they said, oh, no problem, you can

768
00:42:58,000 --> 00:42:59,319
Speaker 1: call it whatever you want to call it. We just

769
00:42:59,320 --> 00:43:01,920
Speaker 1: won't one of yours. I said, great, I'll send you

770
00:43:01,960 --> 00:43:05,000
Speaker 1: the next thing. We were right, and that was it. Yeah,

771
00:43:05,160 --> 00:43:07,680
Speaker 1: that's the way I remember it. Zamechas remembers us sending

772
00:43:07,719 --> 00:43:11,400
Speaker 1: down a demo of Power of Love and him saying

773
00:43:11,440 --> 00:43:14,239
Speaker 1: to me that him told me that it wasn't up

774
00:43:14,360 --> 00:43:18,680
Speaker 1: enough up quote unquote, And so the verses in a

775
00:43:18,719 --> 00:43:22,720
Speaker 1: minor key, right, so, and I can't remember what version

776
00:43:22,760 --> 00:43:25,360
Speaker 1: we had. I know we had two bridges. But and

777
00:43:25,560 --> 00:43:30,520
Speaker 1: then according to Zamechas, we made some changes. And I

778
00:43:30,560 --> 00:43:34,279
Speaker 1: suppose that could be what Johnny when Johnny's participation, which

779
00:43:34,280 --> 00:43:38,920
Speaker 1: are those major stabs at the beginning, bom bom bom

780
00:43:39,160 --> 00:43:44,839
Speaker 1: bom bomp. I think we might have Johnny kla our

781
00:43:44,840 --> 00:43:48,320
Speaker 1: sax vote, guitar player and co writer. I think maybe

782
00:43:48,320 --> 00:43:51,160
Speaker 1: he added those to Chris. But then Chris and I

783
00:43:51,480 --> 00:43:53,799
Speaker 1: had written the song, and that's what Johnny did. I

784
00:43:53,800 --> 00:43:56,200
Speaker 1: think he added that part and then we sent it

785
00:43:56,239 --> 00:43:58,960
Speaker 1: down and then Bob Zamechas wrote, so it started with

786
00:43:58,960 --> 00:44:04,399
Speaker 1: that verse which has the kind of funkier Yeah. Oh,

787
00:44:04,440 --> 00:44:08,239
Speaker 1: I say they wanted a little happier sound off the

788
00:44:08,280 --> 00:44:10,000
Speaker 1: top though, And then you had one of the great

789
00:44:10,080 --> 00:44:14,279
Speaker 1: cameos in Hollywood history, was certainly one of the great

790
00:44:14,320 --> 00:44:17,880
Speaker 1: seven second cameos. Was a line written for you? Or

791
00:44:17,880 --> 00:44:19,719
Speaker 1: did you say? Did you say it is written? Or

792
00:44:19,880 --> 00:44:23,200
Speaker 1: I pad it it was written? You're too loud and

793
00:44:23,280 --> 00:44:26,240
Speaker 1: I put your too darn loud. Yeah, sorry, is it? Sorry? Boys?

794
00:44:26,640 --> 00:44:29,719
Speaker 1: You're just sorry? Boys, You're just too darn loud. Oh

795
00:44:29,760 --> 00:44:32,880
Speaker 1: it's fabulous. You've done some acting. But yeah, I love it,

796
00:44:32,920 --> 00:44:36,080
Speaker 1: I dig it, I enjoy it. I'm not afraid to

797
00:44:36,080 --> 00:44:39,759
Speaker 1: say that I have fesban aspirations. Okay, but you you

798
00:44:39,800 --> 00:44:42,160
Speaker 1: only do that. You've done hot in Cleveland, You've done

799
00:44:42,200 --> 00:44:46,640
Speaker 1: some TV. Uh. People must have been throwing movie scripts

800
00:44:46,640 --> 00:44:50,160
Speaker 1: at you all the time. But but there's stuff where

801
00:44:50,160 --> 00:44:53,120
Speaker 1: I'm Huey Lewis or I'm a rock star or yeah,

802
00:44:53,160 --> 00:44:55,840
Speaker 1: I don't want to do I you know, that's not

803
00:44:56,520 --> 00:45:02,279
Speaker 1: you know, Sports was we reduced ourselves and we literally

804
00:45:02,520 --> 00:45:05,960
Speaker 1: went after we needed a hit single. Yeah, and so

805
00:45:06,480 --> 00:45:08,960
Speaker 1: that was the last thing and we and we really

806
00:45:09,040 --> 00:45:12,799
Speaker 1: just tore our hair out over hit singles and you know,

807
00:45:12,840 --> 00:45:15,200
Speaker 1: and we were we were mean to each other over

808
00:45:15,239 --> 00:45:17,719
Speaker 1: that because it wasn't good enough and the horn chart

809
00:45:17,800 --> 00:45:20,640
Speaker 1: and stuff. I mean, I was, I was pretty pretty mean,

810
00:45:20,800 --> 00:45:23,880
Speaker 1: you know, pretty ambitious and pretty mean. And I vowed

811
00:45:24,040 --> 00:45:26,839
Speaker 1: when the Sports hit like crazy, I said, you know what,

812
00:45:27,280 --> 00:45:31,000
Speaker 1: I'm not going to do anything for commercial reasons anymore.

813
00:45:31,360 --> 00:45:33,960
Speaker 1: I'm gonna if it doesn't have a creative component to it,

814
00:45:34,360 --> 00:45:37,480
Speaker 1: I'm not in and so you know, I've just pretty

815
00:45:37,560 --> 00:45:41,279
Speaker 1: much kind of stuck by that right well for not

816
00:45:41,320 --> 00:45:43,200
Speaker 1: the next AIB but the obum after that, you stand

817
00:45:43,280 --> 00:45:46,600
Speaker 1: gets playing a couple of Yeah, that's another great story.

818
00:45:46,680 --> 00:45:49,880
Speaker 1: But the way that worked is my dad was a jazzer,

819
00:45:49,920 --> 00:45:53,040
Speaker 1: as I told you, and he tells me. I'm talking

820
00:45:53,040 --> 00:45:55,360
Speaker 1: to my dad and he goes, hey, man, Zoot Sims

821
00:45:55,360 --> 00:45:58,320
Speaker 1: died and they're doing a benefit for Zuit. I said, really,

822
00:45:58,560 --> 00:46:01,480
Speaker 1: and he says, man, that'll be that'll be something. Man.

823
00:46:01,560 --> 00:46:04,359
Speaker 1: They got Jimmy Jones trio and gets and all these people.

824
00:46:04,400 --> 00:46:07,800
Speaker 1: I said, well whatever, So secretly I got tickets for

825
00:46:07,920 --> 00:46:09,560
Speaker 1: my old man, for my dad and I to go

826
00:46:09,640 --> 00:46:12,600
Speaker 1: see this this thing. So then I told him we

827
00:46:12,680 --> 00:46:15,160
Speaker 1: got tickets. He said, oh, that's great. Great, So we

828
00:46:15,280 --> 00:46:18,880
Speaker 1: go and and he doesn't know anything about my career

829
00:46:18,960 --> 00:46:22,799
Speaker 1: because my dad's a jazzer and his advice to me

830
00:46:22,840 --> 00:46:25,040
Speaker 1: always was, you know, I'd say, I'm making I'm working

831
00:46:25,040 --> 00:46:27,479
Speaker 1: on a new record. Dad. You go great. He says,

832
00:46:27,920 --> 00:46:30,560
Speaker 1: are you playing harmonica? I said, yeah, I'm playing a

833
00:46:30,560 --> 00:46:32,839
Speaker 1: little bit. He says, hey, man, I mean you need

834
00:46:32,880 --> 00:46:35,719
Speaker 1: to play harmonica. I said what I'm telling you, He says,

835
00:46:36,160 --> 00:46:39,359
Speaker 1: play harmonica. Here's let me tell you something. Just keep

836
00:46:39,400 --> 00:46:42,520
Speaker 1: practicing that harmonica because they can't take that away from you.

837
00:46:42,600 --> 00:46:46,000
Speaker 1: He says this Huey Lewis shit here today, gone tomorrow.

838
00:46:47,719 --> 00:46:50,040
Speaker 1: And that was my dad's advice to me. Did he

839
00:46:50,080 --> 00:46:53,640
Speaker 1: ever come and see you? Much later? I pull him

840
00:46:53,640 --> 00:46:56,440
Speaker 1: to Worcester Centrum. We sold out three nights of the centrum.

841
00:46:56,600 --> 00:46:58,960
Speaker 1: I flew him back to Boston see his mother, who

842
00:46:59,040 --> 00:47:03,080
Speaker 1: he hadn't talked to him forty years. You know. He

843
00:47:03,200 --> 00:47:07,399
Speaker 1: was a hard ass Irish think Eugene O'Neill. Okay, okay,

844
00:47:07,560 --> 00:47:10,960
Speaker 1: So now my dad I get tickets to this jazz

845
00:47:10,960 --> 00:47:14,640
Speaker 1: benefit for zue Tims and we go to the place.

846
00:47:14,760 --> 00:47:17,520
Speaker 1: We were there early and and they go, oh my gosh,

847
00:47:17,560 --> 00:47:20,200
Speaker 1: there's Hughie you know. Oh yes, sir mister Lewis. And

848
00:47:20,800 --> 00:47:23,040
Speaker 1: my dad can't believe how well I'm treated. And they

849
00:47:23,239 --> 00:47:26,560
Speaker 1: march us down to the two aisle seats. Small club anyway,

850
00:47:26,560 --> 00:47:29,280
Speaker 1: but two aisle seats in like the third row, perfect

851
00:47:29,320 --> 00:47:32,280
Speaker 1: best seats in the house. And sitting right there's Phil Ellwood,

852
00:47:32,280 --> 00:47:36,160
Speaker 1: the music critic. And my dad knows everything about jazz

853
00:47:36,200 --> 00:47:39,200
Speaker 1: I mean, he plays jazz, but he knows everything. He's

854
00:47:39,200 --> 00:47:42,640
Speaker 1: a music college. He can name everybody in Jimmy lunsford'span,

855
00:47:42,960 --> 00:47:46,200
Speaker 1: he can name everybody in Chick Webb's orchestra. He knows everything,

856
00:47:46,320 --> 00:47:48,879
Speaker 1: you know. And so he sees and he reads Phil

857
00:47:48,880 --> 00:47:52,480
Speaker 1: Elwood all the time. And Phil Ellwood says, oh my god, Hughey, Lewis,

858
00:47:52,480 --> 00:47:54,880
Speaker 1: how are you doing? Man? A big fan, says Ellwood.

859
00:47:55,080 --> 00:47:58,960
Speaker 1: And my old man sees Ellwood recognizing his son, and

860
00:47:59,040 --> 00:48:01,600
Speaker 1: can't even believe it. I said, this is my dad. He's,

861
00:48:01,640 --> 00:48:03,880
Speaker 1: oh my god, you're Phil Ellwood. Yeah. But so I

862
00:48:03,960 --> 00:48:07,240
Speaker 1: sit my old man down and Ellwood next to Elwood

863
00:48:07,400 --> 00:48:10,799
Speaker 1: and they just start talking about jazz and stuff and

864
00:48:10,840 --> 00:48:12,520
Speaker 1: all these guys and blah blah blah, all the stuff.

865
00:48:12,600 --> 00:48:14,080
Speaker 1: I mean, while I'm sitting there, when we're kind of

866
00:48:14,120 --> 00:48:16,360
Speaker 1: waiting for things, I feel a tap on my shoulder

867
00:48:16,840 --> 00:48:19,520
Speaker 1: like this, and I turn around and it's gets and

868
00:48:19,560 --> 00:48:23,480
Speaker 1: he's got his horn on and he's he's standing over

869
00:48:23,560 --> 00:48:26,520
Speaker 1: me with his horn. He goes, you're Yue Lewis right?

870
00:48:26,719 --> 00:48:30,680
Speaker 1: I said, yesis yeah, my girlfriend wants to eat your shorts.

871
00:48:33,160 --> 00:48:37,279
Speaker 1: I oh, I'm sorry. He says, hey, and I look like,

872
00:48:37,480 --> 00:48:39,919
Speaker 1: oh my god, it stand Yess. He says, hey, hey,

873
00:48:40,280 --> 00:48:42,160
Speaker 1: why don't you let me play on some of your ship.

874
00:48:42,600 --> 00:48:44,400
Speaker 1: He says, you know I can play that crap too.

875
00:48:44,760 --> 00:48:49,960
Speaker 1: I said, yeah, I'm sure you can. Yeah, yeah, whatever.

876
00:48:50,000 --> 00:48:53,160
Speaker 1: He's here. He gets a card out, and he gave

877
00:48:53,200 --> 00:48:55,680
Speaker 1: me a card and said, stand gets. He goes have sacks,

878
00:48:55,840 --> 00:48:58,799
Speaker 1: will travel and handed me the card and I put

879
00:48:58,840 --> 00:49:01,600
Speaker 1: in my pocket. My old man's beside himself, and on

880
00:49:01,640 --> 00:49:04,600
Speaker 1: the ride home, my old man says, if you don't

881
00:49:04,600 --> 00:49:08,000
Speaker 1: take him up on that offer, I will never ever

882
00:49:08,160 --> 00:49:10,600
Speaker 1: forgive you. He says, he has cancer and he's not

883
00:49:10,640 --> 00:49:13,080
Speaker 1: going to be around that long. And you need you need.

884
00:49:13,320 --> 00:49:16,040
Speaker 1: My dad was a radiologist and knew all this oncology

885
00:49:16,080 --> 00:49:18,840
Speaker 1: stuff that in those days, and he knew about gets

886
00:49:18,880 --> 00:49:23,200
Speaker 1: this condition and all this. So that's so that we

887
00:49:23,280 --> 00:49:26,919
Speaker 1: spent six months looking for a tune that would work

888
00:49:27,000 --> 00:49:29,720
Speaker 1: for Stand and then Chris came up with that little

889
00:49:29,760 --> 00:49:34,239
Speaker 1: riff and I wrote small World just four gets as

890
00:49:34,280 --> 00:49:38,680
Speaker 1: a as a vehicle. Now you did you guys kept touring,

891
00:49:39,080 --> 00:49:42,359
Speaker 1: you kept making new albums, but you didn't before this album.

892
00:49:42,400 --> 00:49:44,560
Speaker 1: You didn't do a new album for about twenty years, right,

893
00:49:44,560 --> 00:49:47,200
Speaker 1: I think two thousand was your last. You're not an

894
00:49:47,200 --> 00:49:50,279
Speaker 1: album of original material, right. We've done a couple of

895
00:49:50,320 --> 00:49:52,759
Speaker 1: things since then, but they were due to Soulsville. We

896
00:49:52,840 --> 00:49:56,080
Speaker 1: did an R and B. Stacks really a Memphis tribute

897
00:49:56,160 --> 00:49:58,960
Speaker 1: right now? Were you a big Stacks fan? I was, okay,

898
00:49:59,040 --> 00:50:03,040
Speaker 1: because what's great about that record? You do respect yourself?

899
00:50:03,040 --> 00:50:06,839
Speaker 1: And I think a couple of Salomon Brook songs, but

900
00:50:06,960 --> 00:50:10,080
Speaker 1: most of them are songs most people don't know. That's right, Like,

901
00:50:10,680 --> 00:50:14,080
Speaker 1: you've got a couple of great Johnny Taylor songs free,

902
00:50:15,080 --> 00:50:17,799
Speaker 1: just the one I'm looking for, right right? Good for you,

903
00:50:17,920 --> 00:50:23,120
Speaker 1: that's see. The theory was because people have done original

904
00:50:23,480 --> 00:50:28,880
Speaker 1: versions of old songs like Mustang Sally or or you know,

905
00:50:29,200 --> 00:50:32,120
Speaker 1: man Knocking on Wood or soul Man or something. And

906
00:50:32,160 --> 00:50:35,200
Speaker 1: I so it was either do a completely original version

907
00:50:35,760 --> 00:50:40,520
Speaker 1: of soul Man or those of a really recognizable song,

908
00:50:41,080 --> 00:50:44,600
Speaker 1: or find songs that weren't so recognizable that people didn't

909
00:50:44,600 --> 00:50:48,040
Speaker 1: know anything about and do faithful versions of those. And

910
00:50:48,080 --> 00:50:50,319
Speaker 1: I thought that would be more fun. Yeah, So tell

911
00:50:50,360 --> 00:50:55,040
Speaker 1: me a little your new album U seven songs, and

912
00:50:55,080 --> 00:50:57,839
Speaker 1: that's because you ran, because that's how many Kanye had

913
00:50:58,400 --> 00:51:03,520
Speaker 1: No No that's the reason. No. Um, you know, some

914
00:51:03,600 --> 00:51:05,920
Speaker 1: of it, like like your single her Love is Killing Me,

915
00:51:06,040 --> 00:51:09,319
Speaker 1: that sounds very much like an eighties everybody says that.

916
00:51:09,360 --> 00:51:12,080
Speaker 1: I don't know. I don't hear it. You know what,

917
00:51:12,320 --> 00:51:14,440
Speaker 1: the comment I get more than anything else is that

918
00:51:14,960 --> 00:51:18,400
Speaker 1: it's just vintage Huey Lewis and the News. It sounds

919
00:51:18,440 --> 00:51:20,799
Speaker 1: like Huey Lewis and the News right away, you know,

920
00:51:20,840 --> 00:51:23,319
Speaker 1: it's a Huey Lewis and the News record. I mean,

921
00:51:23,320 --> 00:51:26,759
Speaker 1: all with all the songs, I go, really, what does

922
00:51:26,840 --> 00:51:28,759
Speaker 1: Huey Lewis and the News sound like? I mean, we're

923
00:51:28,760 --> 00:51:30,799
Speaker 1: all over the map. I don't. I don't well, I

924
00:51:30,840 --> 00:51:32,759
Speaker 1: was gonna say, I think the single does. It's got

925
00:51:32,760 --> 00:51:35,319
Speaker 1: that kind of crunchy eighties guitar. But some of the

926
00:51:35,320 --> 00:51:41,040
Speaker 1: other ones like uh, when We're young and while we're young,

927
00:51:40,880 --> 00:51:43,319
Speaker 1: young and remind me why I still love you, it's

928
00:51:43,360 --> 00:51:46,640
Speaker 1: got they're more. They're kind of back to your seventies

929
00:51:48,120 --> 00:51:50,799
Speaker 1: funk days a little more. It's got that kind of

930
00:51:50,840 --> 00:51:54,319
Speaker 1: country thing. Was it nice to kind of feel like

931
00:51:54,880 --> 00:51:57,040
Speaker 1: doesn't have to it doesn't have to sound like power

932
00:51:57,040 --> 00:51:59,960
Speaker 1: of love. We can do what we want. Yeah, I mean,

933
00:52:00,280 --> 00:52:04,600
Speaker 1: you know, The truth is, I just follow the song.

934
00:52:04,800 --> 00:52:08,120
Speaker 1: I mean, the song is the hardest part the whole deal.

935
00:52:08,200 --> 00:52:10,600
Speaker 1: You got to have. A song needs to be about something.

936
00:52:11,000 --> 00:52:14,520
Speaker 1: You have to have a perspective, and at my ripe

937
00:52:14,520 --> 00:52:17,239
Speaker 1: old age, I mean, you know, it's hard to find

938
00:52:17,280 --> 00:52:20,200
Speaker 1: an original perspective. You're writing a rock and roll song,

939
00:52:20,600 --> 00:52:23,040
Speaker 1: so it's really it's kind of like a haiku. I mean,

940
00:52:23,280 --> 00:52:25,840
Speaker 1: you really are trying to reinvent the wheel here with

941
00:52:25,880 --> 00:52:28,760
Speaker 1: a pop song, and you don't want to cover past stuff.

942
00:52:29,040 --> 00:52:31,640
Speaker 1: And I've already written all bunch of stuff. So what

943
00:52:31,680 --> 00:52:33,759
Speaker 1: am I going to do with this? Riple can't sing

944
00:52:33,800 --> 00:52:36,600
Speaker 1: about cars and girls anymore? What am I gonna do?

945
00:52:36,719 --> 00:52:39,000
Speaker 1: You know a second, you do sing about cars and girls?

946
00:52:39,040 --> 00:52:41,759
Speaker 1: I do? Yeah, pretty girls everywhere? All right, Pretty well,

947
00:52:41,760 --> 00:52:46,359
Speaker 1: that's Eugene Church singing about girls. Okay, fantastic. It is great.

948
00:52:46,960 --> 00:52:50,120
Speaker 1: So what what happens now You've got this album out.

949
00:52:50,719 --> 00:52:53,160
Speaker 1: You're dealing with these health issues we talked about, what's

950
00:52:53,400 --> 00:52:56,359
Speaker 1: what's the prognosis for that? Well, it's not the end

951
00:52:56,400 --> 00:52:58,719
Speaker 1: of the world, you know, I mean, did it ever

952
00:52:58,760 --> 00:53:00,920
Speaker 1: seem like the end of the world? It did in

953
00:53:00,920 --> 00:53:03,040
Speaker 1: the first for the first couple of months. I was

954
00:53:03,840 --> 00:53:06,960
Speaker 1: so depressed, you know, and then I don't know why,

955
00:53:07,280 --> 00:53:10,360
Speaker 1: I guess, you know, shame on me for that, I suppose,

956
00:53:11,280 --> 00:53:14,400
Speaker 1: but I was. I was just horribly depressed, thinking I

957
00:53:14,440 --> 00:53:18,319
Speaker 1: was never gonna sing again. You know. I don't miss

958
00:53:18,400 --> 00:53:21,240
Speaker 1: doing five shows a week, you know, but I missed

959
00:53:21,239 --> 00:53:23,680
Speaker 1: doing a show every now and again. And I miss

960
00:53:23,719 --> 00:53:27,120
Speaker 1: I missed the camaraderie. I miss I missed the circus

961
00:53:27,640 --> 00:53:30,680
Speaker 1: that was rock and roll touring the twenty five of us.

962
00:53:31,239 --> 00:53:33,160
Speaker 1: You know, it was a fun thing. It's a great

963
00:53:33,680 --> 00:53:36,120
Speaker 1: it's a great way to it's a great way to live.

964
00:53:36,200 --> 00:53:38,520
Speaker 1: It's you get to kind of live like a teenager,

965
00:53:38,640 --> 00:53:42,160
Speaker 1: you know, It's it's a lot of fun. Okay, Well,

966
00:53:42,200 --> 00:53:43,959
Speaker 1: I hope you get to live that way again. Thank

967
00:53:43,960 --> 00:53:46,440
Speaker 1: you so much. This has been so wonderful. Thank you.

968
00:53:50,200 --> 00:53:53,080
Speaker 1: Thanks the Huey Lewis for sharing his story. We certainly

969
00:53:53,080 --> 00:53:56,440
Speaker 1: hope he's back on stage soon. Hughey's new album Whether

970
00:53:56,880 --> 00:53:59,120
Speaker 1: is out now. You can hear it along with the

971
00:53:59,120 --> 00:54:01,239
Speaker 1: rest of our favorite be cuts by checking out the

972
00:54:01,239 --> 00:54:04,120
Speaker 1: playlists we made for this episode at Broken record podcast

973
00:54:04,239 --> 00:54:06,680
Speaker 1: dot com. Also, if you sure to check out our

974
00:54:06,680 --> 00:54:09,160
Speaker 1: YouTube channel, where we can find all our past episodes

975
00:54:09,160 --> 00:54:12,400
Speaker 1: and some great bonus material as well. You can subscribe

976
00:54:12,440 --> 00:54:16,680
Speaker 1: at YouTube dot com slash broken Record podcast. Broken Record

977
00:54:16,760 --> 00:54:20,080
Speaker 1: is produced with help from Jason Gambrel, Mia LaBelle Leah Rose,

978
00:54:20,160 --> 00:54:23,680
Speaker 1: and Martin Gonzalez for Pushkin Industries. Our theme musics by

979
00:54:23,719 --> 00:54:26,440
Speaker 1: Kenny Beats. Thanks for listening. I'm justin Richmond.