WEBVTT - Huey Lewis

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<v Speaker 1>Pushkin Back to the Future turns thirty five this year,

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<v Speaker 1>and for many people, Power of Love by Huey Lewis

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<v Speaker 1>in the News is forever tied to Marty McFly hitching

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<v Speaker 1>a ride on the back of cars with his skateboard

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<v Speaker 1>waving at a jazzercize class. It's the quintessential eighties movie montage.

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<v Speaker 1>But the string of top ten hits in his perfectly

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<v Speaker 1>feathered bouffont, Huey Lewis catapulted into Michael j. Fox level fame.

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<v Speaker 1>But Hue is far from a prefab pop star. In

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<v Speaker 1>this interview, he talks to Bruce had Them about his

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<v Speaker 1>career that spans nearly fifty years. He shares details of

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<v Speaker 1>his tragic family history, his bohemian upbringing that includes late

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<v Speaker 1>night parties with Alan Ginsburg, and how he bonded with

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<v Speaker 1>Michael Jackson during the recording of We Are the World.

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<v Speaker 1>Hue has tons of great stories and we wanted to

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<v Speaker 1>spend time mining them before we get into talking about

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<v Speaker 1>his music, including his classic eighties record Sports. This is

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<v Speaker 1>broken record liner notes for the digital age. I'm justin Richmond.

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<v Speaker 1>Here's Bruce Headlam and Huey Lewis. They start off talking

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<v Speaker 1>about Hugh's recent health scare that's left him severely hearing impaired.

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<v Speaker 1>How are you feeling today? I'm okay, I'm I'm actually

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<v Speaker 1>pretty good. I'm a five today, which is almost as

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<v Speaker 1>good as I get. But I was like two yesterday. Okay,

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<v Speaker 1>And we should back up. You've got maars disease. It

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<v Speaker 1>affects your hearing, your balance. Yeah, yeah, man, years is

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<v Speaker 1>you know it? First of all, it's just it's a

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<v Speaker 1>syndrome based on symptoms, so it's called a disease, but

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<v Speaker 1>it's not really a disease. And frankly they don't know.

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<v Speaker 1>I mean, I've been House Here Institute, Stanford Here Institute,

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<v Speaker 1>Mayo Clinic, UCSF, UCLA, talk with doctor Stephen Rausch at

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<v Speaker 1>Harvard Medical School, and Mass General Ironeer and nobody knows anything.

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<v Speaker 1>Luxford told me. The real diagnosis for what you have, Hughey,

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<v Speaker 1>is we don't know. So. But having said that, it

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<v Speaker 1>fluctuates and it can get better and then it can

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<v Speaker 1>get worse. The trouble. When it's bad, I can't hardly

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<v Speaker 1>hear anything. When it's good, I'm with hearing aids. I'm

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<v Speaker 1>pretty good, and I might even be able to sing,

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<v Speaker 1>but I don't know that yet because I haven't been

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<v Speaker 1>good long enough to try. So that's it I need.

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<v Speaker 1>I need to stabilize. I need to get better and

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<v Speaker 1>stabilize and then figure out a way to sing. Okay,

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<v Speaker 1>but you do have a new album out, which we're

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<v Speaker 1>going to talk about soon. But I want to back

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<v Speaker 1>up first, okay and ask you a question everybody wants

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<v Speaker 1>to know, which is did you really get a perfect

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<v Speaker 1>score on your math SAT? Yes? I did did, and

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<v Speaker 1>and I and I got a perfect score on my

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<v Speaker 1>level two SAT as well. Okay, Now, were you this

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<v Speaker 1>kid who studied all the time? No, I know, I

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<v Speaker 1>don't know. I had a math aptitude that I cared

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<v Speaker 1>nothing for because I you know, I took a break

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<v Speaker 1>between high school and college, took harmonic and pitchecked around Europe,

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<v Speaker 1>went back to Cornell, and you know, went to engineering school.

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<v Speaker 1>I went to walked into the classroom and took a

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<v Speaker 1>look around and said, this is not where I want

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<v Speaker 1>to be. And you know, I wanted to be a poet.

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<v Speaker 1>I wanted to be Bob Dylan, not a Boeing engineer

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<v Speaker 1>or drunk a ge. Now your father was he was

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<v Speaker 1>a doctor, right, what kind of doctor was he? He

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<v Speaker 1>was a radiologist radiologist, but he was also a jazz drummer,

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<v Speaker 1>jazz drummer and piano player. Where was he? Where did

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<v Speaker 1>he perform? In San Francisco? He would just have jam

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<v Speaker 1>sessions on the weekends with he and he played with

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<v Speaker 1>a guy called Ralph Sutton, great Stride piano player. I

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<v Speaker 1>was a neighbor and my I played drums with him

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<v Speaker 1>and uh and we had people over the house all

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<v Speaker 1>the time. We had Eddie Figure Role played bass um,

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<v Speaker 1>my dad would play drums, Ralph play piano. We had

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<v Speaker 1>Ben Webster in my living room at one point. Really well,

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<v Speaker 1>when whenever these musicians would play San Francisco, sometimes Ralph

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<v Speaker 1>would invite him out and then on a Sunday, my

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<v Speaker 1>mom would make a big bunch of spaghetti and they

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<v Speaker 1>have a bunch of red wine and they'd have a

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<v Speaker 1>jam session. This happened when you were around. It was

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<v Speaker 1>like yeah, yeah, was like nine or ten years old.

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<v Speaker 1>They'd run the Marine outdoor Art, Art and Gardens Center

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<v Speaker 1>in Mill Valley and they would have a jam and

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<v Speaker 1>all the families and invite people. It was just like

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<v Speaker 1>a Sunday afternoon and these cats are jam and they

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<v Speaker 1>have fun and that was you know, a light went

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<v Speaker 1>off when I saw that. I said, that looks like fun. Wow.

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<v Speaker 1>And your mother is a fascinating story too. She escaped

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<v Speaker 1>Europe during the war. My mother was born in Wood,

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<v Speaker 1>Poland and in nineteen thirty nine. She's born in nineteen

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<v Speaker 1>twenty four. In nineteen thirty nine, when the Nazis invaded Warsaw,

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<v Speaker 1>word came down that the Nazis were coming, and my grandparents,

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<v Speaker 1>although they were Catholic, thought well, I think we'll be okay.

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<v Speaker 1>They thought maybe would just kind of blow over, but

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<v Speaker 1>then apparently it wasn't going to. So they sent the

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<v Speaker 1>kids out with their furs and all the you know,

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<v Speaker 1>the jewels and the gold coins sewed into the lining

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<v Speaker 1>of the furs, and my mom hitchhiked, basically got lifts

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<v Speaker 1>from fans people, and all the way to Portugal and

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<v Speaker 1>then Brazil with her. She was fifteen and her brother

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<v Speaker 1>was ten, and they moved to Brazil. They had a

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<v Speaker 1>relative there who put them up in a youth hostile

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<v Speaker 1>arranged for them to stay in a youth hostile and

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<v Speaker 1>my mother lived there for almost five years, at which

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<v Speaker 1>time finally her parents, my grandparents got out of Poland

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<v Speaker 1>because my grandmother had a thyroid condition that some Swedish

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<v Speaker 1>surgeon was the only guy on the planet who knew

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<v Speaker 1>about this, and the Germans were very interested in the procedure,

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<v Speaker 1>so they allowed her a visa to leave to go

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<v Speaker 1>to Sweden to have this procedure done. And they just

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<v Speaker 1>kept going and went to America. They stated, they moved

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<v Speaker 1>to Mathuin, Massachusetts, which was the textile capital of America,

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<v Speaker 1>because my grandfather was a dichemist. He had a textile

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<v Speaker 1>mill in Poland and he knew all about it, and

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<v Speaker 1>they were kind of a wealthy, very cultured family and

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<v Speaker 1>so on. Now in America, he was struggling tough to

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<v Speaker 1>get a job with all the all the returning gis.

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<v Speaker 1>He wasn't making any money. So he and my mother,

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<v Speaker 1>he and my grandmother committed suicide together, and it was

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<v Speaker 1>a huge blow to my mom. My mom, who was

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<v Speaker 1>a commercial artist and was in New York City designing

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<v Speaker 1>album covers and Walt Whitman's little primers and all this

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<v Speaker 1>doing wonderful commercial work and you know, well dressed and

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<v Speaker 1>neat and prim That's when she flipped out because America

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<v Speaker 1>had been the had been the voice of freedom and

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<v Speaker 1>everything for her because when she was traveling through Europe,

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<v Speaker 1>whenever there was jazz, she was safe because there were

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<v Speaker 1>gis gis and jazz met ah safety. So she was

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<v Speaker 1>a music lover, so it was musical over two. So

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<v Speaker 1>she marries my dad, who was playing jazz in New York,

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<v Speaker 1>and they marry and then she reunited with her parents,

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<v Speaker 1>and then her parents commit suicide, so she kind of drowsed.

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<v Speaker 1>My uncle later explained to me that's when she turned

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<v Speaker 1>off to the idea of America is a great place

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<v Speaker 1>and became a kind of a bohemian, and my dad

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<v Speaker 1>moved to California. My whole family moved to California nineteen

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<v Speaker 1>fifty three or fifty four, and then she started hanging

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<v Speaker 1>out with the beat Nicks in the early sixties and

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<v Speaker 1>my parents split up. They got divorced in sixty two

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<v Speaker 1>sixty one, I guess, so she was connected with what

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<v Speaker 1>was going on in San Francisco with the Beats. Okay,

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<v Speaker 1>did you know those guys when you were growing up. Well, yeah,

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<v Speaker 1>then my mom and my parents split up. My mother

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<v Speaker 1>would hang at the No Name Bar, which is in Sasolito.

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<v Speaker 1>It was the Tides bookstore in the No Name Bar,

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<v Speaker 1>which were the two kind of beat nick enclaves, and

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<v Speaker 1>the No Name Bar had jazz musicians and all that,

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<v Speaker 1>and my mom would bring the bar home. You know,

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<v Speaker 1>occasionally I'd wake up at three o'clock in the morning

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<v Speaker 1>in the place I would be jammed with people and

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<v Speaker 1>hippies and finger down Ginsburg in the corner and all

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<v Speaker 1>kinds of poets and musicians and stuff. And then she

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<v Speaker 1>married Blue Welch. She did well, they didn't actually get married,

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<v Speaker 1>but they, yeah, the sixties version of getting married and did.

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<v Speaker 1>He was a well known beat poet. He was friends

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<v Speaker 1>with Furlingetti. He was I think a character in one

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<v Speaker 1>of Jack Carrollax's character in one of Carrollas books. He

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<v Speaker 1>went to read with Philip Whalen and Gary Snyder, and

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<v Speaker 1>you know, a knew Kirby Doyle and Ferlingetti and all

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<v Speaker 1>those people, and that was that was their world, you know,

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<v Speaker 1>that was my mom's world for for a long time,

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<v Speaker 1>did you know. And he was he was an amazing

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<v Speaker 1>guy because he was a he was a great orator.

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<v Speaker 1>I mean he could he you know, he was a

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<v Speaker 1>William Carlos Williams devote the beats where W. C. Williams

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<v Speaker 1>was a big influence for them. And that was street talk, right,

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<v Speaker 1>that was poetry as speech speak, as as as people speak,

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<v Speaker 1>and and that poetry should be spoken and not necessarily read,

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<v Speaker 1>but spoken. And Lou was a great reader. He was

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<v Speaker 1>a great teacher and a and a good poet. But

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<v Speaker 1>he was an amazing reader. And in those days, there

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<v Speaker 1>were poets on all the bills, you know, in the

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<v Speaker 1>early sixties. I mean, I mean not only Neil Cassidy

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<v Speaker 1>with the Dead and this, but poets typically would have

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<v Speaker 1>a you know, in between bands, you'd have a poet.

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<v Speaker 1>And Lou was a star. He was a really big star.

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<v Speaker 1>But then he committed suicide as well. Well, that must

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<v Speaker 1>that must have been a terrible shock to your mother. Then, yeah,

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<v Speaker 1>but my mother, you know, my mom had had escaped

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<v Speaker 1>Poland and right, and and then I mean I could

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<v Speaker 1>tell you my mother's story in Brazil and all the

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<v Speaker 1>stuff she experienced. It's just an unbelievable story my mother.

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<v Speaker 1>I mean also, you know, her brother got captured by

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<v Speaker 1>the Nazis and then released when they realized he was

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<v Speaker 1>Catholic barely, and she had all kinds of she's got

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<v Speaker 1>all kinds of stories. So for what she's experienced, she's

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<v Speaker 1>never been sentimental or any of that. And she after

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<v Speaker 1>her after her parents had committed suicide. It must have

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<v Speaker 1>been to win the big thing for her. Really, she

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<v Speaker 1>thought Louis had just disappeared. He engineered his own disappearance.

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<v Speaker 1>What lou did really is he wrote a poem called

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<v Speaker 1>the song Mountamil by his sings. In it, he describes

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<v Speaker 1>his demise. He wanted to be recycled by vultures. What

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<v Speaker 1>he did is he went in Nevada to Gary Snyder's

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<v Speaker 1>camp and they were gonna There was a bohemian camp

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<v Speaker 1>there and lou was gonna build a place there. But

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<v Speaker 1>he was a vicious alcoholic. He was just and he

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<v Speaker 1>could barely get up in the morning, and I was shaped.

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<v Speaker 1>I would talk to him, said, Louis, you can do this.

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<v Speaker 1>You gotta go. You got And I was probably one

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<v Speaker 1>of the last people to talk to him. But when

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<v Speaker 1>he ended up to Gary Snyder's, my mom had left.

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<v Speaker 1>She'd gone to South America to leave him. She says,

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<v Speaker 1>you don't need me, you're a drunk. I'm gone. My

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<v Speaker 1>mom had gone to South America to travel and he

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<v Speaker 1>went to Gary Snyder's and he was just totally depressed,

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<v Speaker 1>and so he took his favorite revolver and went out

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<v Speaker 1>for somewhere and then oh, shoot, Lou else was missing.

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<v Speaker 1>And then the next day they said, oh, somebody saw him.

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<v Speaker 1>It's okay. They called off the search. And that was Gary, who,

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<v Speaker 1>having read the poem, understood that Lou what Lou was doing,

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<v Speaker 1>and didn't want anybody to, you know, bother him or

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<v Speaker 1>any of that stuff. So that's what And my mother

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<v Speaker 1>would never really come to grips with it. She never

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<v Speaker 1>really came to grips with the fact that he committed suicide.

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<v Speaker 1>She thought he disappeared. Well, there was always that mystery, right,

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<v Speaker 1>that did he disappear? But you're in your mind just

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<v Speaker 1>like Jimmy Hoffa, Yeah, he was gone. You went through

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<v Speaker 1>something very difficult. Your parents actually made you decide where

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<v Speaker 1>you wanted to live, didn't they when they split? Is

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<v Speaker 1>that true? No? No, I had custody. My mother had custody, okay,

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<v Speaker 1>and I was only twelve. My mother customer. My father

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<v Speaker 1>had visiting rights, visiting privileges, and he convinced me. He

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<v Speaker 1>talked to me like he says, look, there's this school,

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<v Speaker 1>you know, and you're a smart kid, and if you

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<v Speaker 1>want to get on in life, you got to compete

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<v Speaker 1>with the best. And he says, and I think there's

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<v Speaker 1>an opportunity for you to go to prep school. I

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<v Speaker 1>think it'd be a great thing for you to do.

0:13:13.280 --> 0:13:15.280
<v Speaker 1>I said, Okay, says, but you're gonna have to want

0:13:15.320 --> 0:13:18.280
<v Speaker 1>to do it because your mother's got custody. And if

0:13:18.320 --> 0:13:21.400
<v Speaker 1>you want me to do this, I'll petition the court.

0:13:21.720 --> 0:13:23.480
<v Speaker 1>But it's going to be a big pisson match, you know.

0:13:23.520 --> 0:13:26.200
<v Speaker 1>And I said, well, I think it's probably a good idea.

0:13:26.400 --> 0:13:29.440
<v Speaker 1>So then we went to court. My mother my mother

0:13:29.559 --> 0:13:31.000
<v Speaker 1>was over here and my dad was over There was

0:13:31.000 --> 0:13:34.320
<v Speaker 1>a horrible day and she's there screaming at one another,

0:13:34.679 --> 0:13:38.720
<v Speaker 1>and the judge fortunately said let's go back in my chambers.

0:13:38.920 --> 0:13:41.679
<v Speaker 1>So we go back into the judge's chambers and I

0:13:41.840 --> 0:13:45.960
<v Speaker 1>was I was twelve, And he said, um, what do

0:13:46.000 --> 0:13:48.080
<v Speaker 1>you know about this place? I said, well, you know,

0:13:48.160 --> 0:13:50.920
<v Speaker 1>I a little bit of Do you want to go there?

0:13:50.920 --> 0:13:52.320
<v Speaker 1>I said, I think I think I do. He says,

0:13:52.480 --> 0:13:54.960
<v Speaker 1>how many people in a classroom? And I said eight

0:13:55.000 --> 0:13:58.040
<v Speaker 1>to fifteen. I just read the brochure. I had just

0:13:58.160 --> 0:14:00.920
<v Speaker 1>read the brochure, I said eight fifteen. He goes, how

0:14:00.920 --> 0:14:04.439
<v Speaker 1>many in the student budd He said six hundred. He said, okay,

0:14:04.480 --> 0:14:07.040
<v Speaker 1>that's enough. He went back and he said the kids

0:14:07.080 --> 0:14:10.920
<v Speaker 1>can go to prep school. In July of sixty three,

0:14:10.920 --> 0:14:13.960
<v Speaker 1>I turned thirteen. In August, I went away to prep

0:14:14.000 --> 0:14:18.000
<v Speaker 1>school for four years, coat and tie, all boys, and

0:14:18.200 --> 0:14:21.560
<v Speaker 1>neither one of my parents ever attended. They never visited

0:14:21.560 --> 0:14:25.680
<v Speaker 1>you there, never now, So I really was gone by

0:14:25.920 --> 0:14:29.520
<v Speaker 1>at that age. Nothing. My parents didn't love me, mind you,

0:14:29.520 --> 0:14:32.400
<v Speaker 1>you know, it was just a different generation. My dad

0:14:32.480 --> 0:14:34.600
<v Speaker 1>was a hardass. He was just you know, I never

0:14:34.640 --> 0:14:36.920
<v Speaker 1>ever told him I loved him, even though I loved

0:14:36.960 --> 0:14:39.720
<v Speaker 1>him and he loved me. And towards late in life,

0:14:40.080 --> 0:14:42.720
<v Speaker 1>because you know, with my kids we say he love you, dad,

0:14:42.720 --> 0:14:44.640
<v Speaker 1>I mean we tell each other we love each other,

0:14:44.680 --> 0:14:47.920
<v Speaker 1>like six times a day, you know. My dad, so

0:14:48.080 --> 0:14:50.240
<v Speaker 1>later on in life, and he was I bet he

0:14:50.320 --> 0:14:55.160
<v Speaker 1>was in his eighties, and I finally said I I said, Pops.

0:14:55.160 --> 0:14:58.000
<v Speaker 1>I called him pops, Pops. I love you, Pops. And

0:14:58.040 --> 0:15:00.640
<v Speaker 1>I heard him on the other end go oh. I

0:15:00.720 --> 0:15:03.720
<v Speaker 1>was also like I'm sorry, which I hadn't said that.

0:15:04.400 --> 0:15:06.440
<v Speaker 1>He was thinking I only had a few more years

0:15:06.480 --> 0:15:08.840
<v Speaker 1>to go. I don't the year that I would have

0:15:08.840 --> 0:15:13.600
<v Speaker 1>got there. Uh did you like prep School? I hated

0:15:13.640 --> 0:15:16.200
<v Speaker 1>it at first? I just you know, when I first

0:15:16.200 --> 0:15:20.120
<v Speaker 1>went away, I cried myself to sleep. I was homesick,

0:15:20.200 --> 0:15:22.840
<v Speaker 1>like crazy. It was horrible and it was all you

0:15:22.920 --> 0:15:26.920
<v Speaker 1>do to keep my head above water. But after four years, uh,

0:15:27.640 --> 0:15:29.920
<v Speaker 1>you know, I after four years did I a lot?

0:15:30.000 --> 0:15:32.680
<v Speaker 1>Did I like it? You know? Yeah? Kind of you.

0:15:33.080 --> 0:15:35.080
<v Speaker 1>I'm really glad I went there. Let's put it that

0:15:35.360 --> 0:15:37.840
<v Speaker 1>you were a baseball player, right, a baseball player? You

0:15:38.120 --> 0:15:40.920
<v Speaker 1>what did you? What position do you play? Pitched and

0:15:40.920 --> 0:15:43.320
<v Speaker 1>played shorts up? Okay, what are you going to play

0:15:43.320 --> 0:15:46.200
<v Speaker 1>at Cornell? Was that part of the was? The box

0:15:46.320 --> 0:15:48.760
<v Speaker 1>was checked when I went to Cornell? But I had

0:15:48.840 --> 0:15:51.760
<v Speaker 1>been to Europe for a year, yeah, and been to

0:15:51.840 --> 0:15:55.720
<v Speaker 1>North Africa. I went to Marrakesh for like a day

0:15:56.000 --> 0:15:58.320
<v Speaker 1>and got so stone I couldn't leave for three months.

0:15:58.840 --> 0:16:02.200
<v Speaker 1>Playing harmonica in this where you know? Were there players

0:16:02.240 --> 0:16:04.040
<v Speaker 1>you were listening to back then? Were you listening to

0:16:04.080 --> 0:16:07.520
<v Speaker 1>harmonica music? Yeah? Well yeah I was. I was. I

0:16:07.560 --> 0:16:09.640
<v Speaker 1>was a blue snop. I was listening to you know,

0:16:10.040 --> 0:16:13.480
<v Speaker 1>Walter and Sonny Boy, Little Walter and Sonny Boy Williamson, right,

0:16:13.720 --> 0:16:16.920
<v Speaker 1>and and then then then big Walter and uh and

0:16:17.320 --> 0:16:20.320
<v Speaker 1>James Cotton, I mean James Cotton. You know, Cotton was

0:16:20.320 --> 0:16:27.200
<v Speaker 1>probably our biggest influence. Walter Cotton, Sonny Boy, that guy. Yeah,

0:16:27.280 --> 0:16:30.960
<v Speaker 1>were you singing by singing a little? But I never

0:16:30.960 --> 0:16:33.200
<v Speaker 1>sang that I went to Europe. When I went to Europe,

0:16:33.200 --> 0:16:36.640
<v Speaker 1>I had and my busking, I sang, that's that was

0:16:36.720 --> 0:16:38.640
<v Speaker 1>part of my stick. And how did the how did

0:16:38.680 --> 0:16:42.160
<v Speaker 1>the busking go real good? Really? I mean, well, yeah,

0:16:42.200 --> 0:16:45.680
<v Speaker 1>I mean in Morocco, I'm in Marrakesh, and I'm you know,

0:16:45.720 --> 0:16:49.000
<v Speaker 1>I would play on the square. I mean the snake

0:16:49.080 --> 0:16:52.320
<v Speaker 1>charmer was over here, and the you know, the the

0:16:52.480 --> 0:16:56.440
<v Speaker 1>bicyclist acrobat who would ride around doing handstands on the

0:16:56.440 --> 0:17:00.400
<v Speaker 1>bicycle was over here. And the two hash dealers who

0:17:00.440 --> 0:17:04.040
<v Speaker 1>did their their spiel, the two growers, they had a

0:17:04.080 --> 0:17:08.320
<v Speaker 1>whole big stick they did and they smoked these big

0:17:08.320 --> 0:17:10.720
<v Speaker 1>hookahs and and there were there was a it was

0:17:10.760 --> 0:17:13.600
<v Speaker 1>an entertaining thing. All this happened in the square. And

0:17:13.720 --> 0:17:16.320
<v Speaker 1>I would busk on the square and I'd make like

0:17:16.640 --> 0:17:20.520
<v Speaker 1>three dirhams. And the youth hostfelt was where I stayed.

0:17:20.720 --> 0:17:23.560
<v Speaker 1>We called it Mukta's Home for Wayward Boys and Girls.

0:17:24.080 --> 0:17:26.920
<v Speaker 1>We got one costs one dirham and all I could

0:17:26.920 --> 0:17:29.720
<v Speaker 1>eat was a half a dirham, so I was I

0:17:29.800 --> 0:17:34.280
<v Speaker 1>was a Derham and a half to the good. I said, yeah,

0:17:34.359 --> 0:17:39.080
<v Speaker 1>the day I can't affordly, we'll be back with Huey

0:17:39.119 --> 0:17:45.920
<v Speaker 1>Lewis and Bruce had them after a quick break, we're

0:17:45.960 --> 0:17:49.240
<v Speaker 1>back with more from Huey Lewis. How did you first

0:17:49.240 --> 0:17:51.840
<v Speaker 1>get connected with Clover? That's a good question. So now

0:17:52.040 --> 0:17:55.720
<v Speaker 1>now I'm at Cornell and I'm playing harmonica in bands,

0:17:56.040 --> 0:17:58.440
<v Speaker 1>and I finally decided I want to be a musician

0:17:58.720 --> 0:18:03.720
<v Speaker 1>at Cornell. The African American Student Society and the STS

0:18:04.000 --> 0:18:08.760
<v Speaker 1>took over Willard Straight Hall the on Parents weekend, all

0:18:08.800 --> 0:18:12.840
<v Speaker 1>the African Marian kids took kicked all the parents out

0:18:12.920 --> 0:18:15.119
<v Speaker 1>in the middle of the night and took over the

0:18:15.119 --> 0:18:17.560
<v Speaker 1>place with guns. And this was on the cover of

0:18:17.600 --> 0:18:21.960
<v Speaker 1>Newsweek magazine, and so the whole campus shut down and big.

0:18:22.560 --> 0:18:25.840
<v Speaker 1>So you could take past fail for that that semester,

0:18:26.080 --> 0:18:28.880
<v Speaker 1>because we're two weeks old. Immediately I took past fail

0:18:28.920 --> 0:18:33.160
<v Speaker 1>on everything, and I didn't, you know, another semester didn't

0:18:33.200 --> 0:18:36.119
<v Speaker 1>have to work right, So but eventually it started to

0:18:36.160 --> 0:18:39.040
<v Speaker 1>catch up with me. Yeah. I called my dad and said, look,

0:18:39.600 --> 0:18:41.679
<v Speaker 1>I'm dropping out. I want to be a musician. And

0:18:41.720 --> 0:18:44.320
<v Speaker 1>he said, well, fine, you either know what you're doing

0:18:44.440 --> 0:18:47.200
<v Speaker 1>or you don't. Your dad is a radiologist, says take

0:18:47.240 --> 0:18:50.280
<v Speaker 1>a year leave of absence. I can't imagine a lot

0:18:50.320 --> 0:18:53.800
<v Speaker 1>of radiologists having that conversation with their sons these my

0:18:53.840 --> 0:18:57.119
<v Speaker 1>dad is, my dad is a bohemian. I mean, you know,

0:18:58.600 --> 0:19:03.680
<v Speaker 1>both parents are far out, you know. But so now

0:19:03.720 --> 0:19:06.560
<v Speaker 1>I go back to I want to go back to California,

0:19:06.600 --> 0:19:09.919
<v Speaker 1>because this is sixty nine. I finally say, Dad, I'm

0:19:10.000 --> 0:19:13.320
<v Speaker 1>dropping out. He says, no prompt and I go back

0:19:13.359 --> 0:19:16.920
<v Speaker 1>to California and I joined a some of my high

0:19:16.960 --> 0:19:21.560
<v Speaker 1>school grade school friends a bluegrass band called Herford Heartstringers.

0:19:21.760 --> 0:19:24.320
<v Speaker 1>They were like ten of us and we would busk

0:19:25.160 --> 0:19:28.600
<v Speaker 1>at Fisherman's Wharf. That's where we really made some money.

0:19:28.720 --> 0:19:32.040
<v Speaker 1>We had a ten piece bluegrass band, four of whom

0:19:32.200 --> 0:19:35.679
<v Speaker 1>were in the band Clover, and so they recruited me

0:19:35.760 --> 0:19:40.000
<v Speaker 1>for Clover. I played harmonica and they recruited me for Clover,

0:19:40.200 --> 0:19:43.760
<v Speaker 1>and I joined Clover in about seventy two. I guess okay,

0:19:43.800 --> 0:19:46.200
<v Speaker 1>and by that point Clover had made a cup, they'd

0:19:46.200 --> 0:19:47.919
<v Speaker 1>made a couple of Albus. They made two albums in

0:19:47.920 --> 0:19:51.159
<v Speaker 1>the sixties YEP with which were very well regarded in

0:19:51.200 --> 0:19:53.560
<v Speaker 1>England for some reason. For some reason, they were very

0:19:53.560 --> 0:19:59.280
<v Speaker 1>well because they were Andrew Lauder, who was who was

0:19:59.720 --> 0:20:04.680
<v Speaker 1>at time a and R at Liberty Records inherited those

0:20:04.680 --> 0:20:10.320
<v Speaker 1>records from Fantasy and the record was set was distributed

0:20:10.320 --> 0:20:14.560
<v Speaker 1>by Liberty in England and it only sold about nine copies.

0:20:14.880 --> 0:20:18.840
<v Speaker 1>It was an amazing record because the cover was the

0:20:18.960 --> 0:20:22.680
<v Speaker 1>Clover four Clover guys including John McPhee with hair down

0:20:22.720 --> 0:20:27.280
<v Speaker 1>to his waist, wearing coveralls like hippie coveralls, hair down

0:20:27.320 --> 0:20:30.400
<v Speaker 1>to his waist, standing in front of seven foot high

0:20:30.440 --> 0:20:33.920
<v Speaker 1>marijuana plants. And this is when Willie Nelson had a

0:20:33.960 --> 0:20:36.320
<v Speaker 1>coat and die on you know, I mean, this is

0:20:36.359 --> 0:20:40.120
<v Speaker 1>this is early days, you know, early country rock days.

0:20:40.440 --> 0:20:43.880
<v Speaker 1>Well in London that was They just that blew their minds.

0:20:44.359 --> 0:20:48.200
<v Speaker 1>And Andrew Lauder passed the album along to his bands,

0:20:48.760 --> 0:20:52.760
<v Speaker 1>Brindsley Schwartz, Chili Willie and the Red Hot Peppers and

0:20:52.880 --> 0:20:56.600
<v Speaker 1>those pub rock bands, and they really took to Clover

0:20:57.200 --> 0:20:59.600
<v Speaker 1>and in fact, Brinsley Schwartz wrote a song and said

0:21:00.119 --> 0:21:02.760
<v Speaker 1>going to saddle up and ride away to the hills

0:21:02.800 --> 0:21:07.200
<v Speaker 1>where Clover play. So we we now were in Clover

0:21:07.280 --> 0:21:11.239
<v Speaker 1>and we're playing clubs everywhere, and we don't know, you know,

0:21:11.800 --> 0:21:14.400
<v Speaker 1>we don't know any of this, and now we go.

0:21:15.000 --> 0:21:20.480
<v Speaker 1>We hear from it was a John Stewart who was

0:21:20.560 --> 0:21:24.240
<v Speaker 1>from one of the old Kingston trio's, had a ROADI

0:21:24.440 --> 0:21:28.600
<v Speaker 1>named Mark Ford and his drummer. John Stewart's drummer was

0:21:28.600 --> 0:21:33.320
<v Speaker 1>Pete Thomas from Elvis Costello's drummer. Pete Thomas and Mark

0:21:33.680 --> 0:21:36.720
<v Speaker 1>and U. Mark Ford, the ROADI lived in Mill Valley

0:21:36.920 --> 0:21:39.119
<v Speaker 1>and we knew him real well. So on a break,

0:21:40.640 --> 0:21:43.439
<v Speaker 1>Pete Thomas came with Mark Ford because he had mentioned

0:21:43.440 --> 0:21:45.200
<v Speaker 1>to Mark Ford, have you ever heard of a band

0:21:45.200 --> 0:21:48.320
<v Speaker 1>called Clover? And Mark says, yeah, they live in my hometown.

0:21:48.840 --> 0:21:51.239
<v Speaker 1>So now we go. This English guy comes to our

0:21:51.280 --> 0:21:54.280
<v Speaker 1>rehearsal Pete Thomas. He says, man, you guys have a

0:21:54.320 --> 0:21:57.840
<v Speaker 1>big following in England. We said we do, We didn't

0:21:57.880 --> 0:22:00.959
<v Speaker 1>know anything about it. So he told everybody in Britain

0:22:01.240 --> 0:22:04.600
<v Speaker 1>that we were still alive and well. And then next

0:22:04.600 --> 0:22:07.359
<v Speaker 1>thing we know, we're playing the Palomino in La and

0:22:07.480 --> 0:22:11.320
<v Speaker 1>these four guys walk in flexually, six guys in little

0:22:11.359 --> 0:22:15.680
<v Speaker 1>gray suits and short air and it was Doctor feel

0:22:15.760 --> 0:22:19.680
<v Speaker 1>Good and Jake Riveria and Nick low was. Nick low

0:22:19.800 --> 0:22:23.359
<v Speaker 1>was Wilco's guitar roadie, and they found out that Clover

0:22:23.560 --> 0:22:25.760
<v Speaker 1>was playing. Oh my gosh, they show up to our

0:22:25.800 --> 0:22:29.879
<v Speaker 1>show and that's we meet, and Jake and Dave Robinson

0:22:30.000 --> 0:22:34.000
<v Speaker 1>hatched the plan to bring Clover to England to be

0:22:34.080 --> 0:22:38.359
<v Speaker 1>produced by Nick Lowe and to take the country by storm.

0:22:38.359 --> 0:22:41.960
<v Speaker 1>But the day we landed Punk Rocket, So this is

0:22:41.960 --> 0:22:46.600
<v Speaker 1>like seventy six exactly simultaneously. In our first few months,

0:22:46.880 --> 0:22:51.119
<v Speaker 1>our managers were Jake Riviera and Dave Robinson and within

0:22:51.320 --> 0:22:53.200
<v Speaker 1>signing us and bringing us to London. In the first

0:22:53.240 --> 0:22:59.280
<v Speaker 1>few months, they signed Graham Parker, Elvis Costello, created Stiff Records,

0:23:00.040 --> 0:23:04.119
<v Speaker 1>Are Signed Reckless, Eric the damned all that stuff, and

0:23:04.480 --> 0:23:07.879
<v Speaker 1>so Nick, they too pulled Nick off Clover and let

0:23:07.920 --> 0:23:11.280
<v Speaker 1>him produce all that other stuff. And for Clover, they

0:23:11.320 --> 0:23:15.120
<v Speaker 1>they hooked us up with Mutt Langer uh To. The

0:23:15.119 --> 0:23:17.919
<v Speaker 1>theory was with us, we had long hair and all

0:23:17.960 --> 0:23:21.520
<v Speaker 1>this stuff. Let's make these guys a rock and roll

0:23:21.640 --> 0:23:26.200
<v Speaker 1>American rock and roll record and compete and aimed them

0:23:26.200 --> 0:23:29.960
<v Speaker 1>for America because because it ain't gonna work here in Britain. Right,

0:23:30.160 --> 0:23:32.320
<v Speaker 1>did you tour at all in England? Oh? Yeah, we

0:23:32.400 --> 0:23:35.520
<v Speaker 1>toured with Linda Lewis. First we toured with Graham Parker,

0:23:35.960 --> 0:23:38.800
<v Speaker 1>and then we toured with Thin Lizzie. How was Graham

0:23:38.800 --> 0:23:40.560
<v Speaker 1>Parker's one of my favorites? How was it touring with

0:23:40.600 --> 0:23:42.920
<v Speaker 1>Graham Parkers? Horrible? We got can't they hated us, we

0:23:43.119 --> 0:23:45.480
<v Speaker 1>got we got ship thrown on us in every gig.

0:23:46.560 --> 0:23:49.600
<v Speaker 1>Graham was a lovely guy. Yeah, but there was a horrible,

0:23:49.880 --> 0:23:52.200
<v Speaker 1>horrible tour. And then we went on tour with Lizzie

0:23:52.480 --> 0:23:55.399
<v Speaker 1>and the same thing. I mean, our road manager was

0:23:55.400 --> 0:23:58.600
<v Speaker 1>a guy called Frank Martinette. Frank real great guy. So

0:23:58.600 --> 0:24:01.160
<v Speaker 1>he said, Frank, you're gonna have to introduce because we're

0:24:01.200 --> 0:24:07.000
<v Speaker 1>building support Finn Lizzie plus support. Right. I mean, this

0:24:07.080 --> 0:24:10.800
<v Speaker 1>is like you might have just walk the plank, you

0:24:10.840 --> 0:24:13.000
<v Speaker 1>know what I mean? I mean, this is the this

0:24:13.080 --> 0:24:15.160
<v Speaker 1>is the rock and roll version of walking the plank.

0:24:15.760 --> 0:24:21.959
<v Speaker 1>So curtain's down, we're barely getting it together. Now, curtain

0:24:22.040 --> 0:24:27.879
<v Speaker 1>goes up as the audience just going Lizzie right, and

0:24:27.920 --> 0:24:31.240
<v Speaker 1>then Frank comes out and goes hi, everybody, and they go.

0:24:31.720 --> 0:24:35.119
<v Speaker 1>He goes, hey, Finn, Lizzie will be right out, and

0:24:35.200 --> 0:24:42.400
<v Speaker 1>they go, but first here's clover and they go boom,

0:24:43.960 --> 0:24:47.080
<v Speaker 1>and then stuff starts flying and and uh, I mean,

0:24:47.080 --> 0:24:49.000
<v Speaker 1>it was a horrible first night. It was all we

0:24:49.000 --> 0:24:51.960
<v Speaker 1>could do to get through most of the songs. But

0:24:52.040 --> 0:24:55.160
<v Speaker 1>as soon as it ended and I walked offstage, waiting

0:24:55.160 --> 0:24:58.919
<v Speaker 1>in the wings was Philip Linnip and Philip said, may

0:24:58.960 --> 0:25:02.560
<v Speaker 1>I have a word? Yeah, he says, come, come, come

0:25:02.640 --> 0:25:04.840
<v Speaker 1>to my dressing room. We get in the dressing room

0:25:04.880 --> 0:25:08.400
<v Speaker 1>and he started to critique our set and helped me.

0:25:08.520 --> 0:25:11.520
<v Speaker 1>It really became my mentor, helped me with everything on

0:25:11.600 --> 0:25:14.399
<v Speaker 1>the set list and what songs we should play and

0:25:14.480 --> 0:25:17.520
<v Speaker 1>what I should do. And eventually, you know, I stayed

0:25:17.520 --> 0:25:19.200
<v Speaker 1>with him once in a while. He dressed me out

0:25:19.200 --> 0:25:22.720
<v Speaker 1>of his closet. He played on all his solo records,

0:25:23.080 --> 0:25:27.399
<v Speaker 1>and he really taught me more than not musically necessary,

0:25:27.440 --> 0:25:30.080
<v Speaker 1>but everything else. How to run a rock band? What

0:25:30.119 --> 0:25:32.439
<v Speaker 1>did he what did he tell you about that stage stuff?

0:25:32.440 --> 0:25:34.439
<v Speaker 1>How to run how it wasn't It wasn't how he

0:25:34.480 --> 0:25:37.760
<v Speaker 1>told me. It's how he conducted himself, how how he

0:25:38.240 --> 0:25:41.879
<v Speaker 1>ran his crew, and his band. It was fascinating and

0:25:42.160 --> 0:25:45.760
<v Speaker 1>how he treated the fans. He was Philip was an

0:25:45.760 --> 0:25:47.760
<v Speaker 1>amazing guy. And he's the one that kind of gave

0:25:47.800 --> 0:25:50.560
<v Speaker 1>me confidence that I could sing more and do more

0:25:50.640 --> 0:25:53.040
<v Speaker 1>my own thing a little bit. And then so while

0:25:53.040 --> 0:25:55.679
<v Speaker 1>you're there, I think it is at that time some

0:25:55.840 --> 0:25:58.840
<v Speaker 1>of Clover backs up that and his first on my

0:25:59.000 --> 0:26:02.400
<v Speaker 1>and is true his first record? And then you play

0:26:02.600 --> 0:26:04.560
<v Speaker 1>is it was it that trip where you played for

0:26:05.040 --> 0:26:08.439
<v Speaker 1>on Nickelo and Dave Edmonds? Right? That was that was

0:26:08.440 --> 0:26:12.359
<v Speaker 1>a little later those two there. Yeah, Clover the rhythm

0:26:12.440 --> 0:26:17.000
<v Speaker 1>section plays backed up Elvis for My Amis Troupe and

0:26:17.119 --> 0:26:20.120
<v Speaker 1>Nick produced it. And then so we made two records

0:26:20.119 --> 0:26:24.560
<v Speaker 1>and they didn't happen. We came really close, but didn't

0:26:24.560 --> 0:26:27.919
<v Speaker 1>happen until the band breaks up. When John McPhee and

0:26:28.320 --> 0:26:31.360
<v Speaker 1>drummer Kevin Wells have written a song and they want

0:26:31.400 --> 0:26:34.840
<v Speaker 1>to go their own solo route. They mcpee eventually joins

0:26:34.880 --> 0:26:37.360
<v Speaker 1>the Dubies. So we split up and I go back

0:26:37.400 --> 0:26:40.399
<v Speaker 1>to Marin County and I just start a little jam session.

0:26:40.640 --> 0:26:44.600
<v Speaker 1>They asked me to run a jam session every Monday night,

0:26:44.680 --> 0:26:48.800
<v Speaker 1>and we just did a Monday night live fun, just

0:26:48.880 --> 0:26:54.399
<v Speaker 1>a jam where we had comedians and and just goofy stuff,

0:26:54.440 --> 0:26:57.520
<v Speaker 1>and I had a house band that I selected, which

0:26:57.600 --> 0:27:01.880
<v Speaker 1>was four of them was new member you know, going

0:27:02.040 --> 0:27:04.959
<v Speaker 1>soon to be news guys, and I started singing all

0:27:05.000 --> 0:27:07.920
<v Speaker 1>the songs and I am seed the deal, and then

0:27:07.920 --> 0:27:10.280
<v Speaker 1>I sang the songs and the thing got to be

0:27:10.400 --> 0:27:13.960
<v Speaker 1>very popular. We got offered a free studio time, so

0:27:14.000 --> 0:27:17.120
<v Speaker 1>we went into the studio with our Monday night live

0:27:17.200 --> 0:27:20.760
<v Speaker 1>band and we cut a disco version of Exodus that

0:27:20.880 --> 0:27:24.920
<v Speaker 1>we were playing them from ex Exi Disco. We called it, Yeah,

0:27:24.920 --> 0:27:27.480
<v Speaker 1>it's really funny. But I was mindful that I wasn't

0:27:27.520 --> 0:27:30.199
<v Speaker 1>going to try to make anything happen. I was going

0:27:30.280 --> 0:27:31.679
<v Speaker 1>to do things for the heck of it like the

0:27:31.720 --> 0:27:34.160
<v Speaker 1>punks did. So when I got the free studio time,

0:27:34.200 --> 0:27:36.679
<v Speaker 1>I said, you know what, We're gonna cut exa diisco

0:27:37.119 --> 0:27:39.760
<v Speaker 1>because it was just fun. And so now at this

0:27:39.800 --> 0:27:42.440
<v Speaker 1>point you've been in the music business for some time, though,

0:27:42.560 --> 0:27:45.959
<v Speaker 1>did you for you were you just goofing off or

0:27:46.440 --> 0:27:48.440
<v Speaker 1>did you think in your back and mind, no, this

0:27:48.520 --> 0:27:50.119
<v Speaker 1>is going to be one day I'm going to be

0:27:50.119 --> 0:27:51.960
<v Speaker 1>big and one day it's going to be Not Yet

0:27:51.960 --> 0:27:55.600
<v Speaker 1>I'm not thinking I'm thinking to myself. The lesson here

0:27:55.840 --> 0:27:59.879
<v Speaker 1>is don't worry about record deals or records or in

0:28:00.600 --> 0:28:04.000
<v Speaker 1>just have fun, play music and do this thing. Do

0:28:04.119 --> 0:28:07.240
<v Speaker 1>not worry about your stupid career anymore. So that's what

0:28:07.320 --> 0:28:10.679
<v Speaker 1>we did. We cut Exo Disco. I mean, how stupid

0:28:10.840 --> 0:28:13.399
<v Speaker 1>is using two days of studio time to cut a

0:28:13.480 --> 0:28:17.160
<v Speaker 1>disco version of Exodus. It's ridiculous. So now I got

0:28:17.200 --> 0:28:21.560
<v Speaker 1>this tape and like days later, Nick Low calls me

0:28:21.600 --> 0:28:24.280
<v Speaker 1>and says, we want you to come over and I

0:28:24.320 --> 0:28:26.040
<v Speaker 1>want you to play on one song of mine and

0:28:26.600 --> 0:28:29.520
<v Speaker 1>Edmonds wants and we rock By wants to cut bad

0:28:29.560 --> 0:28:33.240
<v Speaker 1>as Bad and Edmonds wants to sing it. I said great, Sure,

0:28:33.440 --> 0:28:36.040
<v Speaker 1>so he says, well can we fly over? Yeah, So

0:28:36.080 --> 0:28:39.200
<v Speaker 1>I fly over to London. I land, go straight to

0:28:39.240 --> 0:28:42.959
<v Speaker 1>the studio, cut the Nicolos song, cut Bad is Bad.

0:28:43.440 --> 0:28:46.600
<v Speaker 1>Then we the record company comes down, their record company

0:28:46.840 --> 0:28:50.320
<v Speaker 1>and listens to the tracks. Everything's fine, there's there's a

0:28:50.520 --> 0:28:52.760
<v Speaker 1>there's a kind of a lull. I say, you guys

0:28:52.760 --> 0:28:55.400
<v Speaker 1>want to hear something funny? He's sure, So I play

0:28:55.440 --> 0:28:59.000
<v Speaker 1>Exo Disco for him right. Well, the record company loves it.

0:28:59.440 --> 0:29:02.640
<v Speaker 1>They go, wow, that could be a hit. I said,

0:29:03.880 --> 0:29:06.280
<v Speaker 1>well great, Yeah, he said, come see us, we'll make

0:29:06.320 --> 0:29:11.520
<v Speaker 1>a singles deal. I said, great tomorrow, okay, Sure they leave.

0:29:11.800 --> 0:29:13.440
<v Speaker 1>So I go to Jake. I said, Jake, what do

0:29:13.480 --> 0:29:16.120
<v Speaker 1>I do? He says, no problem. He says, get eleven

0:29:16.200 --> 0:29:20.120
<v Speaker 1>points and three thousand pounds, which in those days was

0:29:20.160 --> 0:29:22.440
<v Speaker 1>really good. It was almost six grand. So I get

0:29:22.480 --> 0:29:25.520
<v Speaker 1>three thousand pounds, he says, and they might want you

0:29:25.560 --> 0:29:27.479
<v Speaker 1>to do some other work, like saying on it or

0:29:27.680 --> 0:29:29.480
<v Speaker 1>you know, put some if they want to do anything,

0:29:29.520 --> 0:29:32.680
<v Speaker 1>say fine, but you pay for the studio time and

0:29:33.160 --> 0:29:36.720
<v Speaker 1>don't leave without the three thousand pounds. I said, okay.

0:29:36.800 --> 0:29:38.440
<v Speaker 1>So the next day I went to the record label.

0:29:38.680 --> 0:29:42.360
<v Speaker 1>Sure enough, made a singles deal for Exo Disco. Come,

0:29:43.040 --> 0:29:44.720
<v Speaker 1>I got a second three. I got a check for

0:29:44.800 --> 0:29:47.720
<v Speaker 1>three thou. I go back to California. I call my

0:29:47.760 --> 0:29:51.360
<v Speaker 1>Monday Night Live compadres. I go, hey, boys, we got

0:29:51.360 --> 0:29:54.800
<v Speaker 1>a little action. You know, I got a singles deal here.

0:29:55.160 --> 0:29:57.400
<v Speaker 1>So they say great, but they wanted me to sing

0:29:57.440 --> 0:29:59.520
<v Speaker 1>on it a little more right. They want a little

0:29:59.560 --> 0:30:02.720
<v Speaker 1>more voke. Because I hadn't didn't do a lot of vocals,

0:30:03.120 --> 0:30:05.600
<v Speaker 1>mainly an instrumental. I said, no problem, I'll sing it

0:30:05.680 --> 0:30:08.320
<v Speaker 1>at all problem. So we go back to the studio

0:30:08.880 --> 0:30:10.440
<v Speaker 1>and I go, hey, I need to sing a little

0:30:10.440 --> 0:30:12.840
<v Speaker 1>more on that I got, so we need some studio time.

0:30:13.320 --> 0:30:16.600
<v Speaker 1>Come to find out they've erased part of the master

0:30:17.000 --> 0:30:21.280
<v Speaker 1>that the multi track. So I screamed bloody murder. I said,

0:30:21.280 --> 0:30:23.120
<v Speaker 1>what am I gonna do? I just made a singles deal.

0:30:23.160 --> 0:30:25.640
<v Speaker 1>For this deal, they want me to sing. They I

0:30:25.680 --> 0:30:29.200
<v Speaker 1>gotta recut it now. They said, well, no problem, We'll

0:30:29.200 --> 0:30:30.600
<v Speaker 1>give you as much time as you need. I said,

0:30:30.640 --> 0:30:32.840
<v Speaker 1>I'm gonna need a week. They said, no problem, you

0:30:32.920 --> 0:30:35.480
<v Speaker 1>got it. I said, okay, wow. So then what I

0:30:35.520 --> 0:30:38.520
<v Speaker 1>did is I took the master track, put it onto

0:30:38.600 --> 0:30:41.680
<v Speaker 1>two of the tent of the twenty four track multi,

0:30:42.640 --> 0:30:46.200
<v Speaker 1>sang on a third track, mixed it down to another

0:30:46.240 --> 0:30:50.040
<v Speaker 1>two track, done with it took two hours, three hours,

0:30:50.280 --> 0:30:53.920
<v Speaker 1>I lost a generation of tape, and it sounded you

0:30:53.920 --> 0:30:56.600
<v Speaker 1>could tell actually wasn't very good. But I knew it

0:30:56.640 --> 0:30:59.000
<v Speaker 1>didn't mean anything. And with the rest of the week,

0:30:59.400 --> 0:31:02.560
<v Speaker 1>I cut three other songs with my band, the original

0:31:02.600 --> 0:31:05.760
<v Speaker 1>songs that got us our record contract and our manager.

0:31:06.120 --> 0:31:09.800
<v Speaker 1>You're saying, to hell with it paid off? Okay? See

0:31:09.840 --> 0:31:12.959
<v Speaker 1>that was That was the zen Thriddle. For me was

0:31:13.440 --> 0:31:16.560
<v Speaker 1>quit trying to make it and you will. We'll be

0:31:16.640 --> 0:31:23.880
<v Speaker 1>right back with Huey Lewis after a short break. We're

0:31:23.920 --> 0:31:26.520
<v Speaker 1>back with the rest of Bruce's interview with Huey Lewis

0:31:27.160 --> 0:31:31.520
<v Speaker 1>for your second album, Though You Did, which you made

0:31:31.520 --> 0:31:35.200
<v Speaker 1>with mud Lang. Yeah, you've called that the Deal with

0:31:35.240 --> 0:31:38.080
<v Speaker 1>the Devil? What did you mean? They kind of coaxed

0:31:38.080 --> 0:31:40.360
<v Speaker 1>that out of me, To be honest, That's why we

0:31:40.400 --> 0:31:43.080
<v Speaker 1>insisted on producing our own record on Picture of This

0:31:43.480 --> 0:31:47.960
<v Speaker 1>because I wanted to make those decisions, the commercial decisions, ourselves,

0:31:48.040 --> 0:31:49.880
<v Speaker 1>because we knew we're gonna have to live with them forever.

0:31:50.400 --> 0:31:54.400
<v Speaker 1>And so that's how we started producing ourselves. But you

0:31:54.440 --> 0:31:57.080
<v Speaker 1>knew at that point, Look, we're going to be a

0:31:57.120 --> 0:31:59.640
<v Speaker 1>pop band now, We're not going to be a jam band.

0:31:59.680 --> 0:32:02.400
<v Speaker 1>We're not going to be well, there were no jam

0:32:02.440 --> 0:32:07.360
<v Speaker 1>bands zero. It's nineteen eighty there's nothing but hit singles,

0:32:07.720 --> 0:32:10.760
<v Speaker 1>and we, as you correctly surmise, we're more like a

0:32:10.880 --> 0:32:13.480
<v Speaker 1>jam band than we were. So the hardest thing for

0:32:13.600 --> 0:32:16.320
<v Speaker 1>us was to get a hit single, and that's what

0:32:16.440 --> 0:32:19.800
<v Speaker 1>we So we wanted to produce ourselves because we wanted

0:32:19.840 --> 0:32:23.160
<v Speaker 1>to make those decisions ourselves. But we starting with do

0:32:23.160 --> 0:32:25.800
<v Speaker 1>You Believe in Love? And then later with Sports, because

0:32:26.120 --> 0:32:28.640
<v Speaker 1>do You Believe in Love was our only hit on

0:32:28.680 --> 0:32:31.640
<v Speaker 1>that record, and it sold two hundred fifty thousand copies,

0:32:31.640 --> 0:32:34.120
<v Speaker 1>which is kind of break even for those times. But

0:32:34.240 --> 0:32:38.200
<v Speaker 1>on Sports, which we produced ourselves, we literally aimed every

0:32:38.200 --> 0:32:41.320
<v Speaker 1>track right at radio because we knew we needed a

0:32:41.400 --> 0:32:44.120
<v Speaker 1>hit single to exist. We didn't know we're gonna have

0:32:44.120 --> 0:32:47.560
<v Speaker 1>five of them, but we knew we needed one. And

0:32:47.840 --> 0:32:52.120
<v Speaker 1>that's that's why Sports it sounds like it does a

0:32:52.200 --> 0:32:56.000
<v Speaker 1>record of its time, a collection of singles. And we

0:32:56.200 --> 0:32:58.960
<v Speaker 1>always confident you could deliver a single, though, that we

0:32:58.960 --> 0:33:01.440
<v Speaker 1>could get a single, could deliver a single. No, that's

0:33:01.520 --> 0:33:03.280
<v Speaker 1>that was I was not confident at all that we

0:33:03.280 --> 0:33:05.880
<v Speaker 1>could do single. That's why I got the Mutt Langer song.

0:33:06.320 --> 0:33:10.480
<v Speaker 1>That's why I cut Heart and Soul on Sports because

0:33:10.840 --> 0:33:13.960
<v Speaker 1>they sounded like hits to me, and and that became

0:33:14.000 --> 0:33:16.760
<v Speaker 1>your first hit, right Heart and Soul. Hart and Soul

0:33:16.800 --> 0:33:19.600
<v Speaker 1>was our first single off of Sports, and that did

0:33:19.840 --> 0:33:21.920
<v Speaker 1>did that do the Was that the best the highest

0:33:22.040 --> 0:33:24.520
<v Speaker 1>ranking single on that Yeah? I don't know. He got

0:33:24.520 --> 0:33:27.960
<v Speaker 1>to top ten. I think it got six. We didn't

0:33:28.000 --> 0:33:30.160
<v Speaker 1>have the first number one we had was Power Love.

0:33:30.200 --> 0:33:34.280
<v Speaker 1>I think all those sports singles none of them got

0:33:34.280 --> 0:33:36.160
<v Speaker 1>to number one, but the album went to a number one,

0:33:36.280 --> 0:33:40.600
<v Speaker 1>right because you had If This Is It, Heart of

0:33:40.680 --> 0:33:45.320
<v Speaker 1>rock and Roll, New Drug, New Drug, Heart and Soul, Yeah,

0:33:45.360 --> 0:33:48.400
<v Speaker 1>and If This Is It and Walking on a Thin

0:33:48.480 --> 0:33:51.720
<v Speaker 1>Line was single. Okay, Now I do have one bone

0:33:51.760 --> 0:33:54.080
<v Speaker 1>to pick with you about Heart of Rock and Roll

0:33:54.640 --> 0:33:57.680
<v Speaker 1>because I grew up in Canada and the version we

0:33:57.760 --> 0:34:01.520
<v Speaker 1>heard when you were listing the cities at in you

0:34:01.640 --> 0:34:07.160
<v Speaker 1>say Toronto, Montreal, and everybody was so happy. And then

0:34:07.160 --> 0:34:09.759
<v Speaker 1>I moved to the States twenty years ago. I hear

0:34:09.800 --> 0:34:12.360
<v Speaker 1>the song and the radio that's not on the version

0:34:12.400 --> 0:34:14.600
<v Speaker 1>down here, and they're funny. And I'll tell you another

0:34:14.600 --> 0:34:16.839
<v Speaker 1>I'll tell you another funny anecdote to that same thing.

0:34:17.280 --> 0:34:20.399
<v Speaker 1>How that happened. When the song looks like it's gonna

0:34:20.440 --> 0:34:22.239
<v Speaker 1>be a single, I'm gonna be a hit. They got

0:34:22.239 --> 0:34:25.160
<v Speaker 1>me back in the studio to sing every song every

0:34:25.360 --> 0:34:27.880
<v Speaker 1>city in the world, basically, I mean they wanted me

0:34:27.960 --> 0:34:30.600
<v Speaker 1>to do. So. If I'm in Sweden, I'm hearing Stockholm,

0:34:30.680 --> 0:34:34.799
<v Speaker 1>and so now I'm in Canada, we're doing Canada in Toronto. Yeah,

0:34:34.880 --> 0:34:38.640
<v Speaker 1>you know, but and nic goes Halifax, and I'd never

0:34:38.680 --> 0:34:42.560
<v Speaker 1>been to Halifax, right, and I went time out. I

0:34:42.600 --> 0:34:47.160
<v Speaker 1>can't say Halifax, Okay, why, I said, because the harder

0:34:47.239 --> 0:34:49.960
<v Speaker 1>rock and roll can't be in Halifax. I said, I

0:34:50.000 --> 0:34:52.960
<v Speaker 1>just can't. So I drew the line at Halifax. And

0:34:53.080 --> 0:34:55.960
<v Speaker 1>what's funny about that is that now the next year

0:34:56.040 --> 0:34:58.759
<v Speaker 1>we do we opened our tour in Canada and we

0:34:58.800 --> 0:35:03.480
<v Speaker 1>started we started New and Land, uh and and and

0:35:03.120 --> 0:35:06.400
<v Speaker 1>and now we traveled to Halifax, and I go see Halifax,

0:35:06.840 --> 0:35:08.840
<v Speaker 1>and we go out, we have a night off. We

0:35:08.920 --> 0:35:11.720
<v Speaker 1>go to this little pub and there's this great rhythm

0:35:11.719 --> 0:35:15.000
<v Speaker 1>and blues band there at Halifax. And Halifax is the

0:35:15.040 --> 0:35:18.200
<v Speaker 1>most soulful, little funky town I've ever been to. And

0:35:18.640 --> 0:35:22.360
<v Speaker 1>I could put it could Halifax is a lot funkier

0:35:22.400 --> 0:35:25.120
<v Speaker 1>than half of the cities I've mentioned in this song.

0:35:25.840 --> 0:35:29.360
<v Speaker 1>It was funny. So when you when you hit it

0:35:29.400 --> 0:35:32.760
<v Speaker 1>big here in your early thirties by this point, yeah,

0:35:32.760 --> 0:35:36.000
<v Speaker 1>you've been doing this a long time. I think you're married,

0:35:36.080 --> 0:35:37.839
<v Speaker 1>you may have one of one of your kids, that's try.

0:35:38.080 --> 0:35:41.040
<v Speaker 1>What was it like to be suddenly one of the

0:35:41.080 --> 0:35:45.239
<v Speaker 1>biggest stars in the world, Well, you know it was

0:35:45.400 --> 0:35:48.000
<v Speaker 1>it wasn't overwhelming because I'd been doing it so long

0:35:48.080 --> 0:35:51.360
<v Speaker 1>and I'd seen so much, right, I mean, I'd seen Philip,

0:35:51.360 --> 0:35:53.759
<v Speaker 1>and I'd seen all this stuff, and so I understood,

0:35:53.920 --> 0:35:57.880
<v Speaker 1>I mean, I understood that. And I even sat the

0:35:57.920 --> 0:36:00.960
<v Speaker 1>boys down at a certain point when we were opening

0:36:01.000 --> 0:36:04.680
<v Speaker 1>for thirty eight Special and and and our record was

0:36:04.719 --> 0:36:07.000
<v Speaker 1>taken off and we were just killing it, and it

0:36:07.080 --> 0:36:09.440
<v Speaker 1>was so much fun because we'd show up at the gig.

0:36:09.600 --> 0:36:13.080
<v Speaker 1>All we do is support, you know, we play what

0:36:13.520 --> 0:36:16.759
<v Speaker 1>an hour maybe in front of thirty eight Special. We

0:36:16.800 --> 0:36:19.880
<v Speaker 1>show up at seven, eat a big crew meal, and

0:36:19.920 --> 0:36:22.400
<v Speaker 1>then go on stage at seven thirty or eight, and

0:36:22.440 --> 0:36:25.040
<v Speaker 1>we're done at nine, see you, you know. And I

0:36:25.040 --> 0:36:27.920
<v Speaker 1>remember and we were tearing the crowd up because our

0:36:27.960 --> 0:36:30.399
<v Speaker 1>record was what was going and we do as many

0:36:30.520 --> 0:36:33.160
<v Speaker 1>encores as we wanted, and I remember sitting everybody down.

0:36:33.160 --> 0:36:35.720
<v Speaker 1>We're in a nice little disguy. I said, boys, enjoy

0:36:35.800 --> 0:36:39.320
<v Speaker 1>this because it's you know, Unfortunately, we're gonna be headlining

0:36:39.400 --> 0:36:41.680
<v Speaker 1>our own shows pretty soon. We'll have to bring our

0:36:41.680 --> 0:36:44.560
<v Speaker 1>own lights and our own sound, and the critics are

0:36:44.560 --> 0:36:46.719
<v Speaker 1>going to be after us, and we're gonna have to cut.

0:36:46.760 --> 0:36:48.360
<v Speaker 1>We're gonna have to sound checks is going to be

0:36:48.400 --> 0:36:50.719
<v Speaker 1>at eleven in the morning and we're gonna bubble. And

0:36:50.719 --> 0:36:53.400
<v Speaker 1>I said, this right here, this is as good as

0:36:53.440 --> 0:36:57.040
<v Speaker 1>it gets. Riding on the bubble right now, feeling this momentum,

0:36:57.480 --> 0:37:00.520
<v Speaker 1>riding this rocket ship to the top, and enjoy this

0:37:00.760 --> 0:37:03.600
<v Speaker 1>because it only happens once in your whole life. And

0:37:03.640 --> 0:37:06.960
<v Speaker 1>we did. We, I can honestly say, because we weren't

0:37:06.960 --> 0:37:10.200
<v Speaker 1>spring chickens. We knew what was going on, and we

0:37:10.239 --> 0:37:14.359
<v Speaker 1>took it with a measure of salt and had fun.

0:37:15.040 --> 0:37:17.319
<v Speaker 1>Were you still enjoying it when you when you were

0:37:17.360 --> 0:37:19.680
<v Speaker 1>the top, when you were the airliners? I didn't like

0:37:19.800 --> 0:37:24.080
<v Speaker 1>the profile so much. You know, airports, malls, shopping malls,

0:37:24.840 --> 0:37:27.560
<v Speaker 1>they were really hard because I get I was bombarded

0:37:27.560 --> 0:37:31.560
<v Speaker 1>with stuff and and I you know, I'm used to it,

0:37:31.600 --> 0:37:33.799
<v Speaker 1>and I got good, good at it. You talk them down,

0:37:33.840 --> 0:37:35.960
<v Speaker 1>he says, wait, wait, Look, you have to talk to

0:37:36.000 --> 0:37:38.440
<v Speaker 1>your crowd. You know, the more you try and be

0:37:39.360 --> 0:37:41.719
<v Speaker 1>a recluse, the worst they get. So you got to

0:37:41.719 --> 0:37:44.239
<v Speaker 1>go right after them and say, look, I can't sign

0:37:44.280 --> 0:37:48.239
<v Speaker 1>all your autographs. There's a hundred of you. You got it,

0:37:48.320 --> 0:37:52.960
<v Speaker 1>so just please, but thanks very much. But there was

0:37:53.000 --> 0:37:56.479
<v Speaker 1>a lot of explaining, and a lot of moving out

0:37:56.520 --> 0:37:58.880
<v Speaker 1>of places, and worried about going over there because of

0:37:58.880 --> 0:38:01.279
<v Speaker 1>all those people. And and now I don't have to

0:38:01.320 --> 0:38:04.359
<v Speaker 1>worry about that. But I mean, you would strange things.

0:38:04.400 --> 0:38:08.160
<v Speaker 1>You were You were on the USA for Africa, but

0:38:08.239 --> 0:38:10.920
<v Speaker 1>you weren't supposed to sing, and then you did sing? Right,

0:38:10.960 --> 0:38:14.000
<v Speaker 1>How did that happen? Well, you know, we got invited

0:38:14.040 --> 0:38:16.640
<v Speaker 1>to do that, do it. We do the chorus and

0:38:16.800 --> 0:38:19.560
<v Speaker 1>now we're done, and they take breaks and we're in

0:38:20.040 --> 0:38:24.520
<v Speaker 1>I'm in the lounge, um, you know, telling jokes and whatnot.

0:38:24.600 --> 0:38:27.600
<v Speaker 1>We're just having fun. Thinking it's over and I get it.

0:38:27.600 --> 0:38:29.480
<v Speaker 1>And a guy comes to assisted because he says, hey,

0:38:29.520 --> 0:38:32.319
<v Speaker 1>Quincy wants to see it. Really, So I go out,

0:38:32.600 --> 0:38:36.440
<v Speaker 1>say Quincy, hey. He says, hey, Hue, we're smelly smelling.

0:38:36.480 --> 0:38:39.440
<v Speaker 1>Get over here. That they called Michael smelly because he

0:38:39.520 --> 0:38:42.399
<v Speaker 1>was so clean. And Michael Jackson comes. Jackson was called

0:38:42.400 --> 0:38:46.480
<v Speaker 1>smelling smelly, right, And so Quincy says, sing him your line,

0:38:46.760 --> 0:38:51.240
<v Speaker 1>and Michael sings the line and he says, singing, Hue,

0:38:51.280 --> 0:38:53.520
<v Speaker 1>I sang the line. He says, you got it. It

0:38:53.640 --> 0:38:57.640
<v Speaker 1>was Prince's line, but Prince didn't show up. Prince boycotted

0:38:57.719 --> 0:39:00.799
<v Speaker 1>the Prince's line. I got Prince's line, yeah, because you're

0:39:00.800 --> 0:39:03.400
<v Speaker 1>early in the song. No, no, no, I'm on the bridge.

0:39:04.000 --> 0:39:07.680
<v Speaker 1>I just believe there's Oh wow, that's right. That was

0:39:07.719 --> 0:39:10.520
<v Speaker 1>gonna be Prince. Yeah. Did Michael sing it well when

0:39:10.520 --> 0:39:12.719
<v Speaker 1>he sang it to you? Oh yeah. And Michael was

0:39:12.800 --> 0:39:16.600
<v Speaker 1>right there for the whole recording session, Okay, him than me.

0:39:17.000 --> 0:39:19.879
<v Speaker 1>I had the line right after Michael. So so we

0:39:20.480 --> 0:39:24.120
<v Speaker 1>when we cut, we stood there while we cut, and

0:39:24.400 --> 0:39:27.480
<v Speaker 1>you know, there were a bunch of bad takes and

0:39:27.520 --> 0:39:29.640
<v Speaker 1>guys screwed up and everything. So I got to interact

0:39:29.680 --> 0:39:32.600
<v Speaker 1>with Michael and he was amazing. I mean, first of all,

0:39:32.600 --> 0:39:35.200
<v Speaker 1>he knew he didn't miss a trick, you know, in

0:39:35.200 --> 0:39:37.960
<v Speaker 1>the terms of the recording. And to look at him,

0:39:37.960 --> 0:39:40.200
<v Speaker 1>you think he was just kind of He had the

0:39:40.200 --> 0:39:43.800
<v Speaker 1>big dark glasses, the aviator shades on, and tons of makeup.

0:39:43.880 --> 0:39:47.160
<v Speaker 1>You know, he's just full pancake makeup. There were baby

0:39:47.200 --> 0:39:49.480
<v Speaker 1>moons on his glasses. He had so much makeup on,

0:39:49.680 --> 0:39:51.960
<v Speaker 1>you know, so you think, oh, this guy, he's out

0:39:51.960 --> 0:39:53.759
<v Speaker 1>of it. Well he was not out of it. He

0:39:53.840 --> 0:39:56.879
<v Speaker 1>knew exactly what was going on because I remember when

0:39:56.920 --> 0:40:02.000
<v Speaker 1>we did the round the first pass to sing lead,

0:40:02.520 --> 0:40:05.280
<v Speaker 1>we had like five microphones and they were fifteen singers,

0:40:05.640 --> 0:40:08.200
<v Speaker 1>so we all three to each mic. One guy would

0:40:08.719 --> 0:40:11.520
<v Speaker 1>would lean in, sing his part and get back, the

0:40:11.560 --> 0:40:13.919
<v Speaker 1>middle guy would lead in sing back, and the last

0:40:13.960 --> 0:40:17.719
<v Speaker 1>guy kind of like that. So when we start, it

0:40:17.840 --> 0:40:20.839
<v Speaker 1>starts with here comes when we eat a certain call,

0:40:21.320 --> 0:40:24.000
<v Speaker 1>when the world must come together as one. Then Steve,

0:40:24.400 --> 0:40:27.160
<v Speaker 1>they have happy people dying. Oh wait, wait wait, stop

0:40:27.160 --> 0:40:30.000
<v Speaker 1>stops up and so he stops everything, and then we

0:40:30.080 --> 0:40:33.680
<v Speaker 1>go back and start again, and he intentionally messes it up.

0:40:33.719 --> 0:40:36.560
<v Speaker 1>You know, he's cute. He's just messing around, you know,

0:40:36.640 --> 0:40:39.279
<v Speaker 1>Stevie's just messing around. And so now they go back

0:40:39.280 --> 0:40:41.799
<v Speaker 1>and they started again, and now they get maybe down

0:40:41.800 --> 0:40:44.359
<v Speaker 1>to al Jaro, and he messes up. And now they

0:40:44.400 --> 0:40:47.600
<v Speaker 1>started again, and they get down to somebody else before

0:40:47.600 --> 0:40:50.720
<v Speaker 1>they stop and they go back. And now Humberto Gadaka,

0:40:50.760 --> 0:40:55.600
<v Speaker 1>the engineer, comes out to tweets the microphones, and I go, hey, Humberto,

0:40:55.680 --> 0:40:58.120
<v Speaker 1>what I said, Hey, could you just let it play

0:40:58.160 --> 0:41:00.080
<v Speaker 1>all the way through so we can at least to

0:41:00.160 --> 0:41:02.800
<v Speaker 1>have a whack in our line. I mean, Stevie Wonder

0:41:02.800 --> 0:41:05.839
<v Speaker 1>has had four takes already, and I got none. He's

0:41:05.880 --> 0:41:10.680
<v Speaker 1>Stevie wonder, you know. And and he goes back he said,

0:41:10.719 --> 0:41:13.279
<v Speaker 1>oh sure, no problem, goes back in, and Michael says me,

0:41:13.520 --> 0:41:16.840
<v Speaker 1>good idea, good idea. I said, thanks. And now we

0:41:16.920 --> 0:41:19.279
<v Speaker 1>do a pass and it's not very good, and he

0:41:19.400 --> 0:41:21.200
<v Speaker 1>lets it all go. You can test him, all right,

0:41:21.400 --> 0:41:23.800
<v Speaker 1>Quince said, let's do another one. We do another pass,

0:41:24.200 --> 0:41:25.799
<v Speaker 1>and we actually nail it. I don't know if it

0:41:25.840 --> 0:41:27.440
<v Speaker 1>was the second one, our third one, but we do

0:41:27.520 --> 0:41:31.400
<v Speaker 1>this one pass that's real good all the way around boom.

0:41:31.480 --> 0:41:34.440
<v Speaker 1>And then I look and I see him say to

0:41:35.080 --> 0:41:39.279
<v Speaker 1>a sequency through the glass to indicate the Combertica, save

0:41:39.360 --> 0:41:41.520
<v Speaker 1>that one. And then he says, all right, let's do it.

0:41:41.600 --> 0:41:44.520
<v Speaker 1>Let's just do another one. And right then Michael grabs

0:41:44.560 --> 0:41:46.440
<v Speaker 1>my arm and says, are they going to save that

0:41:46.520 --> 0:41:48.480
<v Speaker 1>last one? I said, yeah, they're saving the last one.

0:41:48.480 --> 0:41:50.680
<v Speaker 1>He's just good. I said, yeah. He says, because that

0:41:50.760 --> 0:41:53.560
<v Speaker 1>was it, wasn't it? I said, yep, that was it? Okay,

0:41:53.560 --> 0:41:58.120
<v Speaker 1>and that was it anymore? Yeah? Oh wow? Uh. And

0:41:58.160 --> 0:42:01.200
<v Speaker 1>then you you did Power of Love, you did for

0:42:01.280 --> 0:42:03.480
<v Speaker 1>the for the movie. Yeah, and that was your first

0:42:03.520 --> 0:42:06.200
<v Speaker 1>number one, first number one, and you I think we

0:42:06.200 --> 0:42:08.840
<v Speaker 1>should mention you've written other than hart and Soul. You

0:42:08.880 --> 0:42:12.240
<v Speaker 1>write all the songs as well or co write the songs. Yeah, yeah,

0:42:12.280 --> 0:42:15.040
<v Speaker 1>and you wrote the Power of Love. Yeah, power Love.

0:42:15.520 --> 0:42:18.680
<v Speaker 1>Power of Love is you know we Steven Spielberg and

0:42:19.440 --> 0:42:23.920
<v Speaker 1>Bob Zamechas and Bob Gail and Neil Canton, who produced,

0:42:24.440 --> 0:42:28.399
<v Speaker 1>directed and wrote the film, asked to take a meeting

0:42:28.440 --> 0:42:32.560
<v Speaker 1>with usaid Ambulin Entertainment. Ambulin was brand new. Zamecha said,

0:42:33.120 --> 0:42:36.000
<v Speaker 1>you know, we've just written this film called Back to

0:42:36.040 --> 0:42:40.400
<v Speaker 1>the Future, and our our lead character, Martin Wickfly, his

0:42:40.560 --> 0:42:43.080
<v Speaker 1>favorite band would be Huey Lewis and the news. How

0:42:43.120 --> 0:42:45.200
<v Speaker 1>would you like to write a song for the film?

0:42:45.320 --> 0:42:47.839
<v Speaker 1>I said, flattered, but I don't know how to write

0:42:47.840 --> 0:42:52.040
<v Speaker 1>for film necessarily. And I don't mean to be offend you,

0:42:52.080 --> 0:42:54.600
<v Speaker 1>but I don't fancy writing a song called back to

0:42:54.640 --> 0:42:57.879
<v Speaker 1>the Future. And they said, oh, no problem, you can

0:42:58.000 --> 0:42:59.319
<v Speaker 1>call it whatever you want to call it. We just

0:42:59.320 --> 0:43:01.920
<v Speaker 1>won't one of yours. I said, great, I'll send you

0:43:01.960 --> 0:43:05.000
<v Speaker 1>the next thing. We were right, and that was it. Yeah,

0:43:05.160 --> 0:43:07.680
<v Speaker 1>that's the way I remember it. Zamechas remembers us sending

0:43:07.719 --> 0:43:11.400
<v Speaker 1>down a demo of Power of Love and him saying

0:43:11.440 --> 0:43:14.239
<v Speaker 1>to me that him told me that it wasn't up

0:43:14.360 --> 0:43:18.680
<v Speaker 1>enough up quote unquote, And so the verses in a

0:43:18.719 --> 0:43:22.720
<v Speaker 1>minor key, right, so, and I can't remember what version

0:43:22.760 --> 0:43:25.360
<v Speaker 1>we had. I know we had two bridges. But and

0:43:25.560 --> 0:43:30.520
<v Speaker 1>then according to Zamechas, we made some changes. And I

0:43:30.560 --> 0:43:34.279
<v Speaker 1>suppose that could be what Johnny when Johnny's participation, which

0:43:34.280 --> 0:43:38.920
<v Speaker 1>are those major stabs at the beginning, bom bom bom

0:43:39.160 --> 0:43:44.839
<v Speaker 1>bom bomp. I think we might have Johnny kla our

0:43:44.840 --> 0:43:48.320
<v Speaker 1>sax vote, guitar player and co writer. I think maybe

0:43:48.320 --> 0:43:51.160
<v Speaker 1>he added those to Chris. But then Chris and I

0:43:51.480 --> 0:43:53.799
<v Speaker 1>had written the song, and that's what Johnny did. I

0:43:53.800 --> 0:43:56.200
<v Speaker 1>think he added that part and then we sent it

0:43:56.239 --> 0:43:58.960
<v Speaker 1>down and then Bob Zamechas wrote, so it started with

0:43:58.960 --> 0:44:04.399
<v Speaker 1>that verse which has the kind of funkier Yeah. Oh,

0:44:04.440 --> 0:44:08.239
<v Speaker 1>I say they wanted a little happier sound off the

0:44:08.280 --> 0:44:10.000
<v Speaker 1>top though, And then you had one of the great

0:44:10.080 --> 0:44:14.279
<v Speaker 1>cameos in Hollywood history, was certainly one of the great

0:44:14.320 --> 0:44:17.880
<v Speaker 1>seven second cameos. Was a line written for you? Or

0:44:17.880 --> 0:44:19.719
<v Speaker 1>did you say? Did you say it is written? Or

0:44:19.880 --> 0:44:23.200
<v Speaker 1>I pad it it was written? You're too loud and

0:44:23.280 --> 0:44:26.240
<v Speaker 1>I put your too darn loud. Yeah, sorry, is it? Sorry? Boys?

0:44:26.640 --> 0:44:29.719
<v Speaker 1>You're just sorry? Boys, You're just too darn loud. Oh

0:44:29.760 --> 0:44:32.880
<v Speaker 1>it's fabulous. You've done some acting. But yeah, I love it,

0:44:32.920 --> 0:44:36.080
<v Speaker 1>I dig it, I enjoy it. I'm not afraid to

0:44:36.080 --> 0:44:39.759
<v Speaker 1>say that I have fesban aspirations. Okay, but you you

0:44:39.800 --> 0:44:42.160
<v Speaker 1>only do that. You've done hot in Cleveland, You've done

0:44:42.200 --> 0:44:46.640
<v Speaker 1>some TV. Uh. People must have been throwing movie scripts

0:44:46.640 --> 0:44:50.160
<v Speaker 1>at you all the time. But but there's stuff where

0:44:50.160 --> 0:44:53.120
<v Speaker 1>I'm Huey Lewis or I'm a rock star or yeah,

0:44:53.160 --> 0:44:55.840
<v Speaker 1>I don't want to do I you know, that's not

0:44:56.520 --> 0:45:02.279
<v Speaker 1>you know, Sports was we reduced ourselves and we literally

0:45:02.520 --> 0:45:05.960
<v Speaker 1>went after we needed a hit single. Yeah, and so

0:45:06.480 --> 0:45:08.960
<v Speaker 1>that was the last thing and we and we really

0:45:09.040 --> 0:45:12.799
<v Speaker 1>just tore our hair out over hit singles and you know,

0:45:12.840 --> 0:45:15.200
<v Speaker 1>and we were we were mean to each other over

0:45:15.239 --> 0:45:17.719
<v Speaker 1>that because it wasn't good enough and the horn chart

0:45:17.800 --> 0:45:20.640
<v Speaker 1>and stuff. I mean, I was, I was pretty pretty mean,

0:45:20.800 --> 0:45:23.880
<v Speaker 1>you know, pretty ambitious and pretty mean. And I vowed

0:45:24.040 --> 0:45:26.839
<v Speaker 1>when the Sports hit like crazy, I said, you know what,

0:45:27.280 --> 0:45:31.000
<v Speaker 1>I'm not going to do anything for commercial reasons anymore.

0:45:31.360 --> 0:45:33.960
<v Speaker 1>I'm gonna if it doesn't have a creative component to it,

0:45:34.360 --> 0:45:37.480
<v Speaker 1>I'm not in and so you know, I've just pretty

0:45:37.560 --> 0:45:41.279
<v Speaker 1>much kind of stuck by that right well for not

0:45:41.320 --> 0:45:43.200
<v Speaker 1>the next AIB but the obum after that, you stand

0:45:43.280 --> 0:45:46.600
<v Speaker 1>gets playing a couple of Yeah, that's another great story.

0:45:46.680 --> 0:45:49.880
<v Speaker 1>But the way that worked is my dad was a jazzer,

0:45:49.920 --> 0:45:53.040
<v Speaker 1>as I told you, and he tells me. I'm talking

0:45:53.040 --> 0:45:55.360
<v Speaker 1>to my dad and he goes, hey, man, Zoot Sims

0:45:55.360 --> 0:45:58.320
<v Speaker 1>died and they're doing a benefit for Zuit. I said, really,

0:45:58.560 --> 0:46:01.480
<v Speaker 1>and he says, man, that'll be that'll be something. Man.

0:46:01.560 --> 0:46:04.359
<v Speaker 1>They got Jimmy Jones trio and gets and all these people.

0:46:04.400 --> 0:46:07.800
<v Speaker 1>I said, well whatever, So secretly I got tickets for

0:46:07.920 --> 0:46:09.560
<v Speaker 1>my old man, for my dad and I to go

0:46:09.640 --> 0:46:12.600
<v Speaker 1>see this this thing. So then I told him we

0:46:12.680 --> 0:46:15.160
<v Speaker 1>got tickets. He said, oh, that's great. Great, So we

0:46:15.280 --> 0:46:18.880
<v Speaker 1>go and and he doesn't know anything about my career

0:46:18.960 --> 0:46:22.799
<v Speaker 1>because my dad's a jazzer and his advice to me

0:46:22.840 --> 0:46:25.040
<v Speaker 1>always was, you know, I'd say, I'm making I'm working

0:46:25.040 --> 0:46:27.479
<v Speaker 1>on a new record. Dad. You go great. He says,

0:46:27.920 --> 0:46:30.560
<v Speaker 1>are you playing harmonica? I said, yeah, I'm playing a

0:46:30.560 --> 0:46:32.839
<v Speaker 1>little bit. He says, hey, man, I mean you need

0:46:32.880 --> 0:46:35.719
<v Speaker 1>to play harmonica. I said what I'm telling you, He says,

0:46:36.160 --> 0:46:39.359
<v Speaker 1>play harmonica. Here's let me tell you something. Just keep

0:46:39.400 --> 0:46:42.520
<v Speaker 1>practicing that harmonica because they can't take that away from you.

0:46:42.600 --> 0:46:46.000
<v Speaker 1>He says this Huey Lewis shit here today, gone tomorrow.

0:46:47.719 --> 0:46:50.040
<v Speaker 1>And that was my dad's advice to me. Did he

0:46:50.080 --> 0:46:53.640
<v Speaker 1>ever come and see you? Much later? I pull him

0:46:53.640 --> 0:46:56.440
<v Speaker 1>to Worcester Centrum. We sold out three nights of the centrum.

0:46:56.600 --> 0:46:58.960
<v Speaker 1>I flew him back to Boston see his mother, who

0:46:59.040 --> 0:47:03.080
<v Speaker 1>he hadn't talked to him forty years. You know. He

0:47:03.200 --> 0:47:07.399
<v Speaker 1>was a hard ass Irish think Eugene O'Neill. Okay, okay,

0:47:07.560 --> 0:47:10.960
<v Speaker 1>So now my dad I get tickets to this jazz

0:47:10.960 --> 0:47:14.640
<v Speaker 1>benefit for zue Tims and we go to the place.

0:47:14.760 --> 0:47:17.520
<v Speaker 1>We were there early and and they go, oh my gosh,

0:47:17.560 --> 0:47:20.200
<v Speaker 1>there's Hughie you know. Oh yes, sir mister Lewis. And

0:47:20.800 --> 0:47:23.040
<v Speaker 1>my dad can't believe how well I'm treated. And they

0:47:23.239 --> 0:47:26.560
<v Speaker 1>march us down to the two aisle seats. Small club anyway,

0:47:26.560 --> 0:47:29.280
<v Speaker 1>but two aisle seats in like the third row, perfect

0:47:29.320 --> 0:47:32.280
<v Speaker 1>best seats in the house. And sitting right there's Phil Ellwood,

0:47:32.280 --> 0:47:36.160
<v Speaker 1>the music critic. And my dad knows everything about jazz

0:47:36.200 --> 0:47:39.200
<v Speaker 1>I mean, he plays jazz, but he knows everything. He's

0:47:39.200 --> 0:47:42.640
<v Speaker 1>a music college. He can name everybody in Jimmy lunsford'span,

0:47:42.960 --> 0:47:46.200
<v Speaker 1>he can name everybody in Chick Webb's orchestra. He knows everything,

0:47:46.320 --> 0:47:48.879
<v Speaker 1>you know. And so he sees and he reads Phil

0:47:48.880 --> 0:47:52.480
<v Speaker 1>Elwood all the time. And Phil Ellwood says, oh my god, Hughey, Lewis,

0:47:52.480 --> 0:47:54.880
<v Speaker 1>how are you doing? Man? A big fan, says Ellwood.

0:47:55.080 --> 0:47:58.960
<v Speaker 1>And my old man sees Ellwood recognizing his son, and

0:47:59.040 --> 0:48:01.600
<v Speaker 1>can't even believe it. I said, this is my dad. He's,

0:48:01.640 --> 0:48:03.880
<v Speaker 1>oh my god, you're Phil Ellwood. Yeah. But so I

0:48:03.960 --> 0:48:07.240
<v Speaker 1>sit my old man down and Ellwood next to Elwood

0:48:07.400 --> 0:48:10.799
<v Speaker 1>and they just start talking about jazz and stuff and

0:48:10.840 --> 0:48:12.520
<v Speaker 1>all these guys and blah blah blah, all the stuff.

0:48:12.600 --> 0:48:14.080
<v Speaker 1>I mean, while I'm sitting there, when we're kind of

0:48:14.120 --> 0:48:16.360
<v Speaker 1>waiting for things, I feel a tap on my shoulder

0:48:16.840 --> 0:48:19.520
<v Speaker 1>like this, and I turn around and it's gets and

0:48:19.560 --> 0:48:23.480
<v Speaker 1>he's got his horn on and he's he's standing over

0:48:23.560 --> 0:48:26.520
<v Speaker 1>me with his horn. He goes, you're Yue Lewis right?

0:48:26.719 --> 0:48:30.680
<v Speaker 1>I said, yesis yeah, my girlfriend wants to eat your shorts.

0:48:33.160 --> 0:48:37.279
<v Speaker 1>I oh, I'm sorry. He says, hey, and I look like,

0:48:37.480 --> 0:48:39.919
<v Speaker 1>oh my god, it stand Yess. He says, hey, hey,

0:48:40.280 --> 0:48:42.160
<v Speaker 1>why don't you let me play on some of your ship.

0:48:42.600 --> 0:48:44.400
<v Speaker 1>He says, you know I can play that crap too.

0:48:44.760 --> 0:48:49.960
<v Speaker 1>I said, yeah, I'm sure you can. Yeah, yeah, whatever.

0:48:50.000 --> 0:48:53.160
<v Speaker 1>He's here. He gets a card out, and he gave

0:48:53.200 --> 0:48:55.680
<v Speaker 1>me a card and said, stand gets. He goes have sacks,

0:48:55.840 --> 0:48:58.799
<v Speaker 1>will travel and handed me the card and I put

0:48:58.840 --> 0:49:01.600
<v Speaker 1>in my pocket. My old man's beside himself, and on

0:49:01.640 --> 0:49:04.600
<v Speaker 1>the ride home, my old man says, if you don't

0:49:04.600 --> 0:49:08.000
<v Speaker 1>take him up on that offer, I will never ever

0:49:08.160 --> 0:49:10.600
<v Speaker 1>forgive you. He says, he has cancer and he's not

0:49:10.640 --> 0:49:13.080
<v Speaker 1>going to be around that long. And you need you need.

0:49:13.320 --> 0:49:16.040
<v Speaker 1>My dad was a radiologist and knew all this oncology

0:49:16.080 --> 0:49:18.840
<v Speaker 1>stuff that in those days, and he knew about gets

0:49:18.880 --> 0:49:23.200
<v Speaker 1>this condition and all this. So that's so that we

0:49:23.280 --> 0:49:26.919
<v Speaker 1>spent six months looking for a tune that would work

0:49:27.000 --> 0:49:29.720
<v Speaker 1>for Stand and then Chris came up with that little

0:49:29.760 --> 0:49:34.239
<v Speaker 1>riff and I wrote small World just four gets as

0:49:34.280 --> 0:49:38.680
<v Speaker 1>a as a vehicle. Now you did you guys kept touring,

0:49:39.080 --> 0:49:42.359
<v Speaker 1>you kept making new albums, but you didn't before this album.

0:49:42.400 --> 0:49:44.560
<v Speaker 1>You didn't do a new album for about twenty years, right,

0:49:44.560 --> 0:49:47.200
<v Speaker 1>I think two thousand was your last. You're not an

0:49:47.200 --> 0:49:50.279
<v Speaker 1>album of original material, right. We've done a couple of

0:49:50.320 --> 0:49:52.759
<v Speaker 1>things since then, but they were due to Soulsville. We

0:49:52.840 --> 0:49:56.080
<v Speaker 1>did an R and B. Stacks really a Memphis tribute

0:49:56.160 --> 0:49:58.960
<v Speaker 1>right now? Were you a big Stacks fan? I was, okay,

0:49:59.040 --> 0:50:03.040
<v Speaker 1>because what's great about that record? You do respect yourself?

0:50:03.040 --> 0:50:06.839
<v Speaker 1>And I think a couple of Salomon Brook songs, but

0:50:06.960 --> 0:50:10.080
<v Speaker 1>most of them are songs most people don't know. That's right, Like,

0:50:10.680 --> 0:50:14.080
<v Speaker 1>you've got a couple of great Johnny Taylor songs free,

0:50:15.080 --> 0:50:17.799
<v Speaker 1>just the one I'm looking for, right right? Good for you,

0:50:17.920 --> 0:50:23.120
<v Speaker 1>that's see. The theory was because people have done original

0:50:23.480 --> 0:50:28.880
<v Speaker 1>versions of old songs like Mustang Sally or or you know,

0:50:29.200 --> 0:50:32.120
<v Speaker 1>man Knocking on Wood or soul Man or something. And

0:50:32.160 --> 0:50:35.200
<v Speaker 1>I so it was either do a completely original version

0:50:35.760 --> 0:50:40.520
<v Speaker 1>of soul Man or those of a really recognizable song,

0:50:41.080 --> 0:50:44.600
<v Speaker 1>or find songs that weren't so recognizable that people didn't

0:50:44.600 --> 0:50:48.040
<v Speaker 1>know anything about and do faithful versions of those. And

0:50:48.080 --> 0:50:50.319
<v Speaker 1>I thought that would be more fun. Yeah, So tell

0:50:50.360 --> 0:50:55.040
<v Speaker 1>me a little your new album U seven songs, and

0:50:55.080 --> 0:50:57.839
<v Speaker 1>that's because you ran, because that's how many Kanye had

0:50:58.400 --> 0:51:03.520
<v Speaker 1>No No that's the reason. No. Um, you know, some

0:51:03.600 --> 0:51:05.920
<v Speaker 1>of it, like like your single her Love is Killing Me,

0:51:06.040 --> 0:51:09.319
<v Speaker 1>that sounds very much like an eighties everybody says that.

0:51:09.360 --> 0:51:12.080
<v Speaker 1>I don't know. I don't hear it. You know what,

0:51:12.320 --> 0:51:14.440
<v Speaker 1>the comment I get more than anything else is that

0:51:14.960 --> 0:51:18.400
<v Speaker 1>it's just vintage Huey Lewis and the News. It sounds

0:51:18.440 --> 0:51:20.799
<v Speaker 1>like Huey Lewis and the News right away, you know,

0:51:20.840 --> 0:51:23.319
<v Speaker 1>it's a Huey Lewis and the News record. I mean,

0:51:23.320 --> 0:51:26.759
<v Speaker 1>all with all the songs, I go, really, what does

0:51:26.840 --> 0:51:28.759
<v Speaker 1>Huey Lewis and the News sound like? I mean, we're

0:51:28.760 --> 0:51:30.799
<v Speaker 1>all over the map. I don't. I don't well, I

0:51:30.840 --> 0:51:32.759
<v Speaker 1>was gonna say, I think the single does. It's got

0:51:32.760 --> 0:51:35.319
<v Speaker 1>that kind of crunchy eighties guitar. But some of the

0:51:35.320 --> 0:51:41.040
<v Speaker 1>other ones like uh, when We're young and while we're young,

0:51:40.880 --> 0:51:43.319
<v Speaker 1>young and remind me why I still love you, it's

0:51:43.360 --> 0:51:46.640
<v Speaker 1>got they're more. They're kind of back to your seventies

0:51:48.120 --> 0:51:50.799
<v Speaker 1>funk days a little more. It's got that kind of

0:51:50.840 --> 0:51:54.319
<v Speaker 1>country thing. Was it nice to kind of feel like

0:51:54.880 --> 0:51:57.040
<v Speaker 1>doesn't have to it doesn't have to sound like power

0:51:57.040 --> 0:51:59.960
<v Speaker 1>of love. We can do what we want. Yeah, I mean,

0:52:00.280 --> 0:52:04.600
<v Speaker 1>you know, The truth is, I just follow the song.

0:52:04.800 --> 0:52:08.120
<v Speaker 1>I mean, the song is the hardest part the whole deal.

0:52:08.200 --> 0:52:10.600
<v Speaker 1>You got to have. A song needs to be about something.

0:52:11.000 --> 0:52:14.520
<v Speaker 1>You have to have a perspective, and at my ripe

0:52:14.520 --> 0:52:17.239
<v Speaker 1>old age, I mean, you know, it's hard to find

0:52:17.280 --> 0:52:20.200
<v Speaker 1>an original perspective. You're writing a rock and roll song,

0:52:20.600 --> 0:52:23.040
<v Speaker 1>so it's really it's kind of like a haiku. I mean,

0:52:23.280 --> 0:52:25.840
<v Speaker 1>you really are trying to reinvent the wheel here with

0:52:25.880 --> 0:52:28.760
<v Speaker 1>a pop song, and you don't want to cover past stuff.

0:52:29.040 --> 0:52:31.640
<v Speaker 1>And I've already written all bunch of stuff. So what

0:52:31.680 --> 0:52:33.759
<v Speaker 1>am I going to do with this? Riple can't sing

0:52:33.800 --> 0:52:36.600
<v Speaker 1>about cars and girls anymore? What am I gonna do?

0:52:36.719 --> 0:52:39.000
<v Speaker 1>You know a second, you do sing about cars and girls?

0:52:39.040 --> 0:52:41.759
<v Speaker 1>I do? Yeah, pretty girls everywhere? All right, Pretty well,

0:52:41.760 --> 0:52:46.359
<v Speaker 1>that's Eugene Church singing about girls. Okay, fantastic. It is great.

0:52:46.960 --> 0:52:50.120
<v Speaker 1>So what what happens now You've got this album out.

0:52:50.719 --> 0:52:53.160
<v Speaker 1>You're dealing with these health issues we talked about, what's

0:52:53.400 --> 0:52:56.359
<v Speaker 1>what's the prognosis for that? Well, it's not the end

0:52:56.400 --> 0:52:58.719
<v Speaker 1>of the world, you know, I mean, did it ever

0:52:58.760 --> 0:53:00.920
<v Speaker 1>seem like the end of the world? It did in

0:53:00.920 --> 0:53:03.040
<v Speaker 1>the first for the first couple of months. I was

0:53:03.840 --> 0:53:06.960
<v Speaker 1>so depressed, you know, and then I don't know why,

0:53:07.280 --> 0:53:10.360
<v Speaker 1>I guess, you know, shame on me for that, I suppose,

0:53:11.280 --> 0:53:14.400
<v Speaker 1>but I was. I was just horribly depressed, thinking I

0:53:14.440 --> 0:53:18.319
<v Speaker 1>was never gonna sing again. You know. I don't miss

0:53:18.400 --> 0:53:21.240
<v Speaker 1>doing five shows a week, you know, but I missed

0:53:21.239 --> 0:53:23.680
<v Speaker 1>doing a show every now and again. And I miss

0:53:23.719 --> 0:53:27.120
<v Speaker 1>I missed the camaraderie. I miss I missed the circus

0:53:27.640 --> 0:53:30.680
<v Speaker 1>that was rock and roll touring the twenty five of us.

0:53:31.239 --> 0:53:33.160
<v Speaker 1>You know, it was a fun thing. It's a great

0:53:33.680 --> 0:53:36.120
<v Speaker 1>it's a great way to it's a great way to live.

0:53:36.200 --> 0:53:38.520
<v Speaker 1>It's you get to kind of live like a teenager,

0:53:38.640 --> 0:53:42.160
<v Speaker 1>you know, It's it's a lot of fun. Okay, Well,

0:53:42.200 --> 0:53:43.959
<v Speaker 1>I hope you get to live that way again. Thank

0:53:43.960 --> 0:53:46.440
<v Speaker 1>you so much. This has been so wonderful. Thank you.

0:53:50.200 --> 0:53:53.080
<v Speaker 1>Thanks the Huey Lewis for sharing his story. We certainly

0:53:53.080 --> 0:53:56.440
<v Speaker 1>hope he's back on stage soon. Hughey's new album Whether

0:53:56.880 --> 0:53:59.120
<v Speaker 1>is out now. You can hear it along with the

0:53:59.120 --> 0:54:01.239
<v Speaker 1>rest of our favorite be cuts by checking out the

0:54:01.239 --> 0:54:04.120
<v Speaker 1>playlists we made for this episode at Broken record podcast

0:54:04.239 --> 0:54:06.680
<v Speaker 1>dot com. Also, if you sure to check out our

0:54:06.680 --> 0:54:09.160
<v Speaker 1>YouTube channel, where we can find all our past episodes

0:54:09.160 --> 0:54:12.400
<v Speaker 1>and some great bonus material as well. You can subscribe

0:54:12.440 --> 0:54:16.680
<v Speaker 1>at YouTube dot com slash broken Record podcast. Broken Record

0:54:16.760 --> 0:54:20.080
<v Speaker 1>is produced with help from Jason Gambrel, Mia LaBelle Leah Rose,

0:54:20.160 --> 0:54:23.680
<v Speaker 1>and Martin Gonzalez for Pushkin Industries. Our theme musics by

0:54:23.719 --> 0:54:26.440
<v Speaker 1>Kenny Beats. Thanks for listening. I'm justin Richmond.