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Speaker 1: Welcome, Welcome, Welcome back to the Bob Left Sets podcast.

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Speaker 1: My guest today is very Way Casey. Yes, Casey Casey

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Speaker 1: and the Sunshine Day. Casey. Great to have you here.

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Speaker 1: Thank you. It's been to be here, Bob. So, how

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Speaker 1: you've been coping with a coronavirus and stay at home

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Speaker 1: et cetera. I don't know, it's been. It's been very interesting. Um.

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Speaker 1: I have been through a lot of different types of emotions.

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Speaker 1: I've never been this idol in my whole seventy years.

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Speaker 1: So have you gone through it alone or do you

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Speaker 1: have a significant other? What's it been like now? I, uh,

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Speaker 1: my nights are alone, but um, you know I have

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Speaker 1: staff here at the house, so, um, I'm around people

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Speaker 1: during the day, but you know I have family members

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Speaker 1: and friends that stopped in and stuff. But yeah, so

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Speaker 1: it's been very interesting. I mean I've been I've been

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Speaker 1: going out pretty much. I mean, you know, whatever they

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Speaker 1: would allow here in Miami, which has been pretty open. Okay,

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Speaker 1: And have you been vaccinated? Um? Okay, I was vaccinated.

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Speaker 1: I had COVID that I had the regeneral IVY infusion

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Speaker 1: done and then had my second um vaccination. Do you

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Speaker 1: have any idea how you got covid Um, I'm not

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Speaker 1: really sure because the only thing I could think of

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Speaker 1: maybe because I was out with a friend of mine,

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Speaker 1: her and I went while we we were together on

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Speaker 1: a Thursday night, and on a Friday night we went

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Speaker 1: out with two other friends. And then um, seven days later,

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Speaker 1: five days later, I detected positive, told her, and then

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Speaker 1: she got a test and she detected positive. And but

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Speaker 1: our friends didn't. They didn't, they were negative. So the

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Speaker 1: only thing I can maybe think of is where I

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Speaker 1: might have been a little bit lacks of daisical and

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Speaker 1: not you know, paying attention. Is Valet Valet parking And

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Speaker 1: on that Friday night, someone Valet parked my car, so

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Speaker 1: I don't know if they could have gotten the cars

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Speaker 1: coughed in it or whatever. And the Germans, I don't

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Speaker 1: know how long the Germans floyd you know, float around,

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Speaker 1: if they were on the air conditioning vent, I don't know.

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Speaker 1: I'm not sure. Um, that's the only way I could

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Speaker 1: have gotten at that at that point. Really, and how

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Speaker 1: long did you get it? Um? Actually I got it

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Speaker 1: Um two days before my seventieth birthday in January. Okay,

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Speaker 1: So psychologically, what was it like hitting seventy. Um, I

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Speaker 1: don't like the number, but you know, hitting all these numbers,

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Speaker 1: doesn't we feel too much different? Then? Um? You mean

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Speaker 1: I don't feel any different inside than the year before whatever,

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Speaker 1: or two years before, ten years before. Really? Uh so? Um,

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Speaker 1: I mean it's it's not you know, it's a seven.

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Speaker 1: It's I'm sure there must be you know, some kind

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Speaker 1: of psychological stuff going on in my head, but I haven't.

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Speaker 1: You know, I don't know if I've recognized that yet. Well,

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Speaker 1: I know that sixty really fucked me up. And uh,

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Speaker 1: in terms of numbers, I always felt young until I

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Speaker 1: hit sixty seven. I said, I don't care how I feel.

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Speaker 1: That number is old and it's scary. It is scary.

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Speaker 1: I mean I do think of it now like wow,

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Speaker 1: I'm seven, you know zero, It's like it is kind

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Speaker 1: of crazy because it is an old number. It's not

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Speaker 1: like I'm not like twelve. I'm not twenty one, I'm

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Speaker 1: not thirty love forty. You know. Well, light turned sixty

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Speaker 1: eight month or so ago. And one thing, especially in

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Speaker 1: light of COVID is ship. If there's something I want

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Speaker 1: to do, I'd better do it because it's not like

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Speaker 1: I have endless runway here right right? So, Uh during

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Speaker 1: the break, did you play music at home? Did you

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Speaker 1: write music at home or anything? Um? You know, I've

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Speaker 1: been working on a project now for the last eight years,

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Speaker 1: I think going on nine now, because I started in

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Speaker 1: two thousand and twelve, and so actually during that time, Uh,

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Speaker 1: I was working on a musical and in the book

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Speaker 1: for you know, a possible movie and that. You know,

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Speaker 1: So that's kind of what I was working on a

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Speaker 1: little bit during that time. Um, we released a single

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Speaker 1: put on Love in Your Heart. Uh. So I'm just

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Speaker 1: working on different things. You know. We have have a

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Speaker 1: new single coming out July called Romantic Cup. It's from

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Speaker 1: my album. Um, I'm getting ready to release fifty three

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Speaker 1: brand new songs. How do you plan to release them

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Speaker 1: one month at a time for seven months? And are

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Speaker 1: they already uh? Fifty three? You mean if there's fifty

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Speaker 1: three seven months, we won't get through all fifty three

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Speaker 1: if it's one month at a time, No, no, no, no.

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Speaker 1: We're dividing the seven months into the fifty three songs,

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Speaker 1: so it'd be like seven individual EPs coming out. And

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Speaker 1: are you putting them out yourself? Ors are a label involved? Um? No,

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Speaker 1: there is right now. I mean I have a deal

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Speaker 1: with UH, a label that's distributed through Sony, and then

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Speaker 1: in Europe we have a German label called z y

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Speaker 1: X Records. I'm not sure if they're the ones getting

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Speaker 1: it or whatever, but we're still shopping it. And right

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Speaker 1: now that's what I have, you know what we have

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Speaker 1: now now, But I don't know that they're going to

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Speaker 1: really end up getting it or not. So all fifty

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Speaker 1: three songs are done, yes, and why fifty three and

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Speaker 1: y seven is just numbers or they thematically sit to

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Speaker 1: me because I couldn't stop, because I couldn't stop. And Uh,

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Speaker 1: this guy that I right with over in the UK

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Speaker 1: sometimes was messing around, and you know, he always goes

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Speaker 1: online showing how he creates a song or whatever. And

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Speaker 1: he came up with this quirky little song two or

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Speaker 1: three weeks ago, and I just I love that, said

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Speaker 1: send me the track or whatever, and I went in

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Speaker 1: and put a vocal on it. It's it's really a

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Speaker 1: fun song. So that put it in fifty three. And

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Speaker 1: you know, the music business certainly changed since the last century,

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Speaker 1: so it's very hard to get attention. So to what degree,

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Speaker 1: what plans do you have to gain attention, and in

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Speaker 1: terms of expectations, what expectations have you got? I don't know.

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Speaker 1: I've been in discussion with my managers and stuff, and

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Speaker 1: they're introduced me to me. I guess there's a lot

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Speaker 1: of um what they call influencers out there right now,

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Speaker 1: and you connect with these influencers and uh, they helped

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Speaker 1: kind of spread the word um aside for some of

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Speaker 1: the traditional ways or whatever um uh and doing dance

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Speaker 1: versions of the songs and maybe having it, you know,

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Speaker 1: come from the club, you know, backwards through the clubs

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Speaker 1: or whatever. I don't know, you know, it's just it's

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Speaker 1: a whole new world. I mean when we when we

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Speaker 1: used to really release a record, we would put it

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Speaker 1: in few markets. We'd press up a few hundred or whatever,

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Speaker 1: and make sure there was some records and record stores

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Speaker 1: in those markets. And you know, if it started, if

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Speaker 1: you started seeing something happened, then you knew to press

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Speaker 1: more records and to put it in more markets. UM.

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Speaker 1: I just there's just there's no consistency to anything. I

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Speaker 1: don't know how anybody's doing it anymore, um other than

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Speaker 1: you know, in radio has gotten so like one company

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Speaker 1: owns everybody, so if the one guy doesn't like it,

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Speaker 1: nobody plays it, you know, or whatever. You know. I

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Speaker 1: guess the amount of money you have to spend to

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Speaker 1: get it on radio is you know, just astronomically high, Um,

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Speaker 1: you know to hire up a PR person. Uh So,

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Speaker 1: it's it's very interesting. I mean, it's just you know,

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Speaker 1: a lot different than when I was growing up, that's

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Speaker 1: for sure. And I'm sure we you know, we'll figure

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Speaker 1: it out. I mean, first of all, you know, I

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Speaker 1: hit record always reveals itself, so um, I mean, we're

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Speaker 1: just gonna go through the regular channels and marketing and

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Speaker 1: promotion and and some newer channels, like I said, you know,

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Speaker 1: with influencers and and other things that my managers have

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Speaker 1: been talking to me about, and you know, we'll see

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Speaker 1: what happens. So, at this date, with the business having

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Speaker 1: changed and you having gigantic success in your history, what

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Speaker 1: keeps you motivated to create new music and stay in

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Speaker 1: the business. It wasn't like, you know what what's really

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Speaker 1: interesting is, I wasn't all of a sudden two thousand

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Speaker 1: and twelve. It's like I woke up out of some

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Speaker 1: kind of creative coma and I kind of felt like

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Speaker 1: I was twenty three again with the creative process that

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Speaker 1: things were going through my head and that's what led

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Speaker 1: to these fifty two songs. I just couldn't stop. And

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Speaker 1: I don't even know how to explain it, um, but

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Speaker 1: it's almost like some other force or whatever is uh

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Speaker 1: is driving it. I know, up until that point, I

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Speaker 1: was a little bit sort of afraid of you know,

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Speaker 1: maybe being successful, you know that way again, or having

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Speaker 1: you know, uh some kind of success with recordings or whatever.

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Speaker 1: And I used to fight it all the time. And

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Speaker 1: then I woke up one morning and said, I'm not

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Speaker 1: gonna fight this. I'm just gonna let, you know, let

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Speaker 1: the forest take it, or let whatever it is, you know,

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Speaker 1: take it. And in two thousand twelve, that light came

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Speaker 1: on and those doors opened, and here I am, two

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Speaker 1: thousand one with fifty three songs. Um that I really

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Speaker 1: think it's some of the best stuff I've ever done

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Speaker 1: in my career. Um. And you know, I'm very happy

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Speaker 1: with them all, very proud of it all. And um,

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Speaker 1: you know, we'll see where it goes. So let me

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Speaker 1: just understand this week. Prior to that, well, you were

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Speaker 1: afraid of not reaching the heights artistically and commercially of

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Speaker 1: what you've once reached. I was more afraid of success

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Speaker 1: than reaching I'm never afraid to reach it. I mean,

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Speaker 1: I've been in this business so long, and you know

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Speaker 1: you're you're always as hot as your last record or whatever.

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Speaker 1: And you know, you put stuff out there. If it happens,

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Speaker 1: it happens. If it doesn't, you move when you do

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Speaker 1: something else. Um, so uh for that. And I still

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Speaker 1: have nine number one records that I have or whatever,

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Speaker 1: and I toured do shows a year, So you know,

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Speaker 1: I'm fine with anything I I I you know, whichever

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Speaker 1: way the wind's gonna blow, it's gonna blow. Um. You

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Speaker 1: know my destiny has already been set. Well, when you

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Speaker 1: say fear of success, can you tell us a little

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Speaker 1: bit more of them? Um, especially in this world today

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Speaker 1: with the pressed media the way there. I don't know,

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Speaker 1: I just you know, for me, you know, I had

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Speaker 1: these dreams of what I thought success was, and it

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Speaker 1: definitely was nothing what I thought. It was very political, Um,

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Speaker 1: it was very lonely, lonely. Um, it was very um demanding,

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Speaker 1: sometimes demeaning. Uh, sometimes it was you know, there were

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Speaker 1: just a lot of different emotions that came from it.

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Speaker 1: All and some of it was enjoyable and some of

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Speaker 1: it wasn't. Um, and so I was more afraid of

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Speaker 1: what wasn't enjoyable than the other part that was enjoyable,

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Speaker 1: and whether I wanted to put myself back into that

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Speaker 1: situation again, um and and again. I just one day

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Speaker 1: just woke up and said, I'm just gonna let everything

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Speaker 1: happen and go and see what happens. Uh. You know so, UM,

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Speaker 1: I mean That's where I'm at right now. Tell me

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Speaker 1: more about the loneliness of success. I don't know. It

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Speaker 1: was just you know, I'm a very I'm a very

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Speaker 1: person person. Um, Did I say that right? Message. I'm

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Speaker 1: a very people person. So for the most part, I

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Speaker 1: do like to like be around a one everyone's having

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Speaker 1: a good time and then kind of just go step

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Speaker 1: aside for a minute. I like my alone time too,

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Speaker 1: But I'm a very people person. I love to be

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Speaker 1: around people. And so the height of my career, whatever

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Speaker 1: her I was, I couldn't go anywhere, I couldn't do

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Speaker 1: anything because I would just be mugged or you know, thousands.

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Speaker 1: I mean in my hotels will be five six thousand

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Speaker 1: people outside the hotel. You know, I you know, we'd

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Speaker 1: have guards on the elevators and on the exits and

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Speaker 1: every entrance, and um, you know, it's it was like

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Speaker 1: I was always on the outside inside looking out and

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Speaker 1: you know, from my hotel room looking down on all

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Speaker 1: these people and like, wow, I just really like to

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Speaker 1: be in the middle of that or be down there

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Speaker 1: with everybody, knowing that that really wasn't a possibility. And

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Speaker 1: for many reasons, uh and and and and just the

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Speaker 1: whole thing you know, of success, you're very isolated. You

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Speaker 1: have all these people around you, but you know you're

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Speaker 1: you're doing all these other things that you have you

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Speaker 1: kind of have to do, um, not all of them

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Speaker 1: that you want to do, but you have to kind

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Speaker 1: of do them because it's all part of the process.

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Speaker 1: And so everybody else is like having a good time

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Speaker 1: and going out and doing all this and you know,

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Speaker 1: I'm sitting in the room by myself or I'm sitting

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Speaker 1: there having to do fifty interviews or whatever it is,

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Speaker 1: you know, um and and and it's it's it's not

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Speaker 1: like it's an eight hour job. It's like a twenty

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Speaker 1: four hour job. And then you know, on top of it,

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Speaker 1: having to you know as uh not only having to

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Speaker 1: come up with the next project for Casey the Sunshine Band,

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Speaker 1: but other artists that I was producing and writing for

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Speaker 1: at the time was a George McCray or Jimmy ball

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Speaker 1: Horn or or different you know, other artists and stuff.

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Speaker 1: So I had a lot of obligations to do stuff,

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Speaker 1: which kept me kind of you know in this space.

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Speaker 1: You know, uh uh you know, you know, twenty four

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Speaker 1: hour or seven days every day. I mean I didn't

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Speaker 1: really go on vacations. I didn't do anything. I just

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Speaker 1: um just worked on music. So what did you think

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Speaker 1: success would look like? And what did it actually look like? Think?

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Speaker 1: What everybody? You know, we always have this running joke

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Speaker 1: when does the glamour begin? You know, I think everybody

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Speaker 1: thinks it's glamorous. I think, I mean there's a glamorous

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Speaker 1: part to it and everything, but uh, you know it's

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Speaker 1: it's it's not everything. You know, you only see the

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Speaker 1: book cover. The book covers always look great. So you

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Speaker 1: read the book or you're inside the pages yourself, you know,

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Speaker 1: then it's a whole different story. So, um, yeah, I

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Speaker 1: don't I don't know what I expect. I mean, it's

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Speaker 1: not like I wasn't I was ignorant to what to

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Speaker 1: expect because number one, I was in a record company

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Speaker 1: for five years before my success with other artists who

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Speaker 1: were successful. I was managing, you know, uh, a couple

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Speaker 1: of the artists and doing their bookings, and I was

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Speaker 1: doing a lot of different things. I just wanted I

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Speaker 1: wanted to know the business. Uh. You know, my family

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Speaker 1: has been an entertainment business, more on the gospel end

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Speaker 1: of it or whatever and stuff. So I've always kind

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Speaker 1: of been around that level of success, whatever it is,

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Speaker 1: and you know, knowing the ups and downs of it

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Speaker 1: and that sort of thing. So but I don't think

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Speaker 1: I ever paid much attention to it because I was

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Speaker 1: just I was around it a part of it, and

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Speaker 1: I was happy being in the back drop. You know.

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Speaker 1: I wasn't the one, you know what I mean. So

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Speaker 1: you know, after I was done with them, I could

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Speaker 1: go hang out with my friends and do stuff and

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Speaker 1: you know, and and and be anywhere I wanted to

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Speaker 1: be without you know, someone there goes Casey and then

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Speaker 1: you know, a mob scene happened, you know, so you know,

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Speaker 1: just those those parts of it. Um uh. I mean,

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Speaker 1: I don't know where else to go with this, but okay, well,

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Speaker 1: let's talk about some of the perks. A lot of

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Speaker 1: people they want to be successful for the sex, the money,

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Speaker 1: the access e Did you have that be? Did you

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Speaker 1: partake of it? See? Was it fulfilling? Wow? You Bob,

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Speaker 1: you really dig deep, don't you? Otherwise we're just gonna

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Speaker 1: repeat where you said, like for forty years. But you

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Speaker 1: know what, because it's very simplistic, I'm not that. I'm

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Speaker 1: not a kind of person. I didn't really do this

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Speaker 1: for money. Number one. I didn't because it's something I like.

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Speaker 1: It's something I felt like I was born to do

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Speaker 1: and always had this inner feeling that this is what

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Speaker 1: I was gonna do. You know, I definitely didn't do

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Speaker 1: it for sex. Um you know, sex comes no matter

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Speaker 1: what profession you're in. Really, I guess maybe more if

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Speaker 1: you're an I guess it could be more of you're

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Speaker 1: an entertainer or whatever. But um my, my look at

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Speaker 1: the whole thing was always on a professional level. Um,

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Speaker 1: I did a lot of things because I knew I

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Speaker 1: had to do a show the next day. I didn't

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Speaker 1: do a lot of things. I mean I didn't do

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Speaker 1: a lot of things because I knew I had to

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Speaker 1: do a show the next day, and I had an

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Speaker 1: obligation to to the people that had worked hard for

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Speaker 1: their money or whatever to come and see us. And

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Speaker 1: you know, they expected as certain you know person on

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Speaker 1: that stage, and I I had, you know a lot

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Speaker 1: of things I just had to put aside. You know,

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Speaker 1: this was this was not this was an obligation. It

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Speaker 1: wasn't like a job. You know, I felt obligated to

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Speaker 1: to to be what everyone expected when they came to

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Speaker 1: see a show. But talking about the exterior other than

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Speaker 1: actually performing, the nature of being famous and famous for

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Speaker 1: your own work, a lot of doors are open to

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Speaker 1: a lot of situations you get put in where you

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Speaker 1: might pinch yourself and say, I can't believe I'm here,

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Speaker 1: whether it's meeting famous people or was that part of

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Speaker 1: the success? Those were those were great parts, um, you know,

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Speaker 1: getting to meet people. I mean, you know, Dina Ross

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Speaker 1: was a very big influence. I mean, the whole Motown thing.

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Speaker 1: So getting to meet all those Motown people and stuff

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Speaker 1: like that, and you know, just everybody from you know,

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Speaker 1: entertainers to musicians to actors and actresses that I've grown

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Speaker 1: up you know, watching on TV all my life. Begetting

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Speaker 1: to actually shake hands with them, talk with them and

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Speaker 1: chat with them, and some of them even have relationships

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Speaker 1: with some of them. Um, that was all like, that

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Speaker 1: was surreal. That was just those those are definitely pensioned

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Speaker 1: me moments. Um. I lost the rest, you know the

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Speaker 1: other part of the question. Um, I think you answered it.

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Speaker 1: That's pretty good. Let's go back to managers. You talk

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Speaker 1: about your managers, telling you what has been your experience

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Speaker 1: with managers to your career. A lot of the acts

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Speaker 1: you know are not positive with their management history. Well,

330
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Speaker 1: I managed myself up until nineteen and then I signed

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Speaker 1: with a management company in l A. Cat's Gallinamore, who

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Speaker 1: were the number one artists representatives in the country. They

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Speaker 1: had the Dolly Pardon, they had shared they had Aba Godboard,

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Speaker 1: Jaja Gobard, Kate Smith, mac Davis, um Um America, UM Olivia,

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Speaker 1: John Lily Tomlin. I mean they just had They were

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Speaker 1: a major, major, major, major uh uh artists representatives and

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Speaker 1: so UM, I'm not sure how all that really went

338
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Speaker 1: because it was the first time kind of letting go

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Speaker 1: and everything, and um, there were some things I probably

340
00:21:06,960 --> 00:21:09,080
Speaker 1: wasn't happy with, but you know a lot of things

341
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Speaker 1: that I was uh because it released me from from

342
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Speaker 1: having to deal with it, you know, the way I

343
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Speaker 1: had I was up until that point. Uh, it just

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Speaker 1: it just left more room for creative processes and and

345
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Speaker 1: just gave me a little bit more of life back,

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Speaker 1: you know, other than just being seven booking myself, you know,

347
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Speaker 1: making making, I mean, just doing everything myself pretty much.

348
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Speaker 1: But you had an agent, right, Uh? Yeah, I had

349
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Speaker 1: a great agent, Gary. His name was Gary, Gary Weinberg.

350
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Speaker 1: He was at I see him. He was. He was

351
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Speaker 1: the most amazing agent I've ever had in my career,

352
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Speaker 1: so great. You know, we just had a great relationship.

353
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Speaker 1: And he always made sure that you know, I knew

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Speaker 1: about everything going on or whatever. And if I liked

355
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Speaker 1: an idea, whatever, he made sure I was on it

356
00:22:01,240 --> 00:22:04,439
Speaker 1: or was doing it. Um. He was more of my

357
00:22:04,760 --> 00:22:09,919
Speaker 1: manager than than my managers really. Uh uh. You know.

358
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Speaker 1: It's it's when you have a really great agent that

359
00:22:13,800 --> 00:22:16,879
Speaker 1: that's on top of everything all the time. You know,

360
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Speaker 1: not very much can go wrong. Okay, Now you were

361
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Speaker 1: having success when you were still self managed. I'm sure

362
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Speaker 1: you know managers came to you. In addition, most acts

363
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Speaker 1: didn't have the manager to do consciously say hey, I

364
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Speaker 1: want to maintain control. Um. You know that didn't happen

365
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Speaker 1: too much that I that I recall, because number one,

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Speaker 1: I didn't allow myself to be in those situations. And

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Speaker 1: I think part of that was because I was in

368
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Speaker 1: Miami and other than going out to do some TV

369
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Speaker 1: shows or whatever and not doing those people could get

370
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Speaker 1: to me or got to me. Um, you know, because

371
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Speaker 1: of my own staff or the way I moved in

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Speaker 1: and out of a place, you know, a situation, a

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Speaker 1: TV show or whatever I was doing. Um, I don't

374
00:23:03,920 --> 00:23:09,600
Speaker 1: think I was that accessible. Um. And um again, being

375
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Speaker 1: in Miami and not in l A or New York,

376
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Speaker 1: where I could probably be, you know, more in situations,

377
00:23:17,520 --> 00:23:19,760
Speaker 1: going to more parties and stuff where these you know,

378
00:23:19,760 --> 00:23:22,880
Speaker 1: different people could show up and approach me. Um. I

379
00:23:22,920 --> 00:23:26,480
Speaker 1: was never in that type of situation, I think. Um.

380
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Speaker 1: I can't remember how the cat's gallon thing happened. Um uh, yeah,

381
00:23:34,640 --> 00:23:38,359
Speaker 1: it might have been when I changed to from I

382
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Speaker 1: See Him to William Morris maybe and they said, you know,

383
00:23:41,520 --> 00:23:43,560
Speaker 1: we have a management coming would be interested in you.

384
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Speaker 1: I can't remember what happened. Do you remember why you

385
00:23:46,720 --> 00:23:53,159
Speaker 1: switched from my c M to William Morris? Um? I

386
00:23:53,240 --> 00:23:55,560
Speaker 1: See Him was going through some changes at that time.

387
00:23:55,600 --> 00:24:00,840
Speaker 1: I mean Gary passed. Gary, I think it passed away. Um.

388
00:24:02,040 --> 00:24:07,080
Speaker 1: I think one of the agents, um, Jim Ramos, who

389
00:24:07,119 --> 00:24:14,000
Speaker 1: was one of my agents. They're also, uh, you know,

390
00:24:14,400 --> 00:24:18,720
Speaker 1: trying to remember all this stuff because it's been so long. Um,

391
00:24:18,760 --> 00:24:21,760
Speaker 1: but your main guy died, is really the king? Well

392
00:24:22,160 --> 00:24:24,000
Speaker 1: that that there was just a big shake up in

393
00:24:24,040 --> 00:24:26,280
Speaker 1: I C M or whatever, and I, you know, sometimes

394
00:24:26,359 --> 00:24:30,400
Speaker 1: it's time to change and try new things. Let's talk

395
00:24:30,440 --> 00:24:36,080
Speaker 1: about Florida. Florida was kind of sleepy in your heyday. Ultimately,

396
00:24:36,119 --> 00:24:40,080
Speaker 1: there were recordings at Criteria. Miami became a thing somewhat

397
00:24:40,080 --> 00:24:42,959
Speaker 1: in the mid seventies. But even though people from the

398
00:24:43,000 --> 00:24:46,280
Speaker 1: Northeast were moving to Florida and vacation of Florida forever,

399
00:24:46,960 --> 00:24:50,440
Speaker 1: suddenly starting in the eighties and nineties, Miami becomes hip.

400
00:24:51,000 --> 00:24:55,760
Speaker 1: Everybody moves to Florida. Many people say Florida's the new California,

401
00:24:56,160 --> 00:24:58,920
Speaker 1: well at least in terms of crazy stuff going on.

402
00:24:59,720 --> 00:25:03,800
Speaker 1: And now Californias switched from left to right. You have

403
00:25:03,880 --> 00:25:08,480
Speaker 1: this Governor de Santis who's having all these res all

404
00:25:08,520 --> 00:25:12,160
Speaker 1: these laws in the name of freedom. What's your viewpoint

405
00:25:12,160 --> 00:25:15,200
Speaker 1: on what you're going on there in Florida. Since you've

406
00:25:15,240 --> 00:25:19,880
Speaker 1: not getting in anything political, well let me ask you,

407
00:25:19,920 --> 00:25:22,560
Speaker 1: what is your viewpoint of what's going on? I mean,

408
00:25:22,640 --> 00:25:27,840
Speaker 1: just state, since you're on the ground, not nothing, nothing political. Okay,

409
00:25:27,920 --> 00:25:30,000
Speaker 1: We're not going to mention any political and I'm not

410
00:25:30,040 --> 00:25:33,000
Speaker 1: gonna push you whatever. I'm not going to. But just

411
00:25:33,000 --> 00:25:36,359
Speaker 1: just I don't talk about that stuff, Okay, I'm just

412
00:25:36,560 --> 00:25:39,720
Speaker 1: I'm just interested. Why do you not choose not to

413
00:25:39,720 --> 00:25:42,520
Speaker 1: talk about that stuff? I don't think it's the thing

414
00:25:42,600 --> 00:25:47,240
Speaker 1: people should be talking about. I don't know. I mean

415
00:25:47,720 --> 00:25:49,320
Speaker 1: just because I talked to a lot of people. Are

416
00:25:49,359 --> 00:25:53,840
Speaker 1: you fearful that a potential fan might not agree with you? No,

417
00:25:54,040 --> 00:25:56,000
Speaker 1: I'm not. I'm not fearful. I just don't want to

418
00:25:56,040 --> 00:26:00,240
Speaker 1: talk about it, Okay, you know, I just I don't

419
00:26:00,280 --> 00:26:03,000
Speaker 1: talk about it. You talk about it with your friends,

420
00:26:04,560 --> 00:26:08,600
Speaker 1: not really? Do you keep up on the news? Um?

421
00:26:08,600 --> 00:26:14,119
Speaker 1: I do doom? Are you optimistic for do you? Do

422
00:26:14,160 --> 00:26:17,960
Speaker 1: you have any children? No? I don't, but I have

423
00:26:18,119 --> 00:26:21,800
Speaker 1: I have some wonderful nephews and nieces and great nephews

424
00:26:21,800 --> 00:26:25,800
Speaker 1: and nieces. So you optimistic for the future or you know,

425
00:26:25,840 --> 00:26:28,119
Speaker 1: because well you and me only have a limited number

426
00:26:28,119 --> 00:26:30,640
Speaker 1: of time, amount of time left. I don't know. I've

427
00:26:30,640 --> 00:26:33,600
Speaker 1: been here seventy years and I don't think anybody's ever

428
00:26:33,680 --> 00:26:39,800
Speaker 1: done anything, correct, So, uh, you know I'm down in

429
00:26:39,840 --> 00:26:43,320
Speaker 1: the middle. Okay, So let's go back to this creative

430
00:26:44,720 --> 00:26:47,760
Speaker 1: jack you've been on with the fifty three songs. What

431
00:26:47,920 --> 00:26:55,880
Speaker 1: inspires you to write a song? Um? Well, I mean

432
00:26:55,880 --> 00:27:00,240
Speaker 1: I I started writing mostly you know, as a young

433
00:27:00,560 --> 00:27:04,520
Speaker 1: young man, um because back then you really couldn't talk

434
00:27:04,560 --> 00:27:06,920
Speaker 1: to your parents about things the way kids can talk

435
00:27:06,960 --> 00:27:09,280
Speaker 1: to their parents now and stuff. That everything was always

436
00:27:09,280 --> 00:27:12,840
Speaker 1: supposed to be hush hush, And so I would always

437
00:27:12,880 --> 00:27:17,359
Speaker 1: write my feelings, whether it was um, something going on

438
00:27:17,440 --> 00:27:24,560
Speaker 1: in the world, you know, or or um or how

439
00:27:24,600 --> 00:27:27,320
Speaker 1: I was feeling or how I you know, I was

440
00:27:27,880 --> 00:27:31,960
Speaker 1: feeling rejected by a person, or you know that I

441
00:27:32,000 --> 00:27:35,520
Speaker 1: had feelings for or situations that I had been in,

442
00:27:35,720 --> 00:27:37,520
Speaker 1: you know, with another person. So a lot of it,

443
00:27:37,920 --> 00:27:40,879
Speaker 1: a lot of it comes from just personal experience, a

444
00:27:40,960 --> 00:27:48,879
Speaker 1: personal observation, and wishful thinking. Okay, Now, in this jag

445
00:27:48,920 --> 00:27:52,600
Speaker 1: in the last ten years, do you say, Okay, it's noon,

446
00:27:52,720 --> 00:27:55,199
Speaker 1: I have to go to the studio or you're brushing

447
00:27:55,240 --> 00:27:57,119
Speaker 1: your teeth, are showering and you have a great idea

448
00:27:57,119 --> 00:28:01,240
Speaker 1: and you gotta run to the keyboard. No, I have

449
00:28:01,280 --> 00:28:05,399
Speaker 1: an iPhone now, so I just pushed record. Um, I

450
00:28:05,680 --> 00:28:09,560
Speaker 1: write it down in my notes on my iPhone. Uh.

451
00:28:09,600 --> 00:28:11,320
Speaker 1: And then if it's if it's an idea of a

452
00:28:11,359 --> 00:28:17,200
Speaker 1: melody or something, I will uh um, I will uh

453
00:28:17,480 --> 00:28:21,600
Speaker 1: go to my iPhone and uh recorded on the record

454
00:28:21,720 --> 00:28:25,040
Speaker 1: thing on the iPhone. Let me just put it in

455
00:28:25,040 --> 00:28:27,840
Speaker 1: a different way. Some of the greatest records of all time,

456
00:28:28,320 --> 00:28:31,800
Speaker 1: we're at least talk about satisfaction by the Stones. You know,

457
00:28:32,359 --> 00:28:34,119
Speaker 1: Keith Richards had the idea of the middle of the

458
00:28:34,200 --> 00:28:37,320
Speaker 1: night leaned over and estrelco saying the riff you have that,

459
00:28:37,680 --> 00:28:41,200
Speaker 1: whereas today you might have literally twenty writers on a

460
00:28:41,320 --> 00:28:44,600
Speaker 1: song where they build the track from you know, the

461
00:28:44,680 --> 00:28:49,080
Speaker 1: bottom up. So are you more of Let I have

462
00:28:49,240 --> 00:28:53,240
Speaker 1: the inspiration and let me expand that. Or okay, let

463
00:28:53,240 --> 00:28:58,560
Speaker 1: me sharpen my pencils, let's see what I come up with. Okay,

464
00:28:59,400 --> 00:29:05,720
Speaker 1: so my album or the way I mean before, I

465
00:29:05,720 --> 00:29:07,680
Speaker 1: would always go into this hand, my own studio. I

466
00:29:07,680 --> 00:29:11,760
Speaker 1: would go into the studio and pretty much put together

467
00:29:11,800 --> 00:29:15,640
Speaker 1: the song all right then and there. Um. Some of

468
00:29:15,640 --> 00:29:17,400
Speaker 1: the ideas, and some of the things from this new

469
00:29:17,440 --> 00:29:20,280
Speaker 1: album were created. Like I'd be on I'd be at

470
00:29:20,320 --> 00:29:22,440
Speaker 1: a sound check or whatever, waiting for the band to

471
00:29:22,480 --> 00:29:24,400
Speaker 1: get it whether and I'd be messed around the keyboard,

472
00:29:24,760 --> 00:29:27,280
Speaker 1: come up with a little idea or whatever and kind

473
00:29:27,280 --> 00:29:30,440
Speaker 1: of put that down on you know, run my phone

474
00:29:30,520 --> 00:29:32,880
Speaker 1: or whatever, and then go to the studio. When I

475
00:29:32,920 --> 00:29:36,320
Speaker 1: was doing these projects and recorded with the band, other

476
00:29:36,400 --> 00:29:42,160
Speaker 1: situations that presented themselves recently were, uh, people that I'm

477
00:29:42,200 --> 00:29:47,280
Speaker 1: collaborating with send me a fully recorded track, at which

478
00:29:47,360 --> 00:29:50,800
Speaker 1: point I write the melody and lyrics to that track,

479
00:29:51,680 --> 00:29:59,200
Speaker 1: and um, maybe add some production to that track. Um

480
00:29:59,360 --> 00:30:03,800
Speaker 1: so m hm. That's a newer way that I've been

481
00:30:03,800 --> 00:30:08,880
Speaker 1: doing things involving other people. Uh, it's not the way

482
00:30:08,920 --> 00:30:11,640
Speaker 1: I always did it or or the way I you know,

483
00:30:11,800 --> 00:30:15,280
Speaker 1: I I can go into a studio and come up

484
00:30:15,280 --> 00:30:18,920
Speaker 1: with a track like that. I mean, it's just doesn't

485
00:30:18,960 --> 00:30:21,320
Speaker 1: take give me a beat and I can give you

486
00:30:21,520 --> 00:30:24,200
Speaker 1: a song. Is that because just you've done it so

487
00:30:24,280 --> 00:30:28,640
Speaker 1: much you just have that skill. I just I just

488
00:30:28,720 --> 00:30:33,960
Speaker 1: have that natural ability, you know. That's it might be

489
00:30:35,840 --> 00:30:37,800
Speaker 1: part of I mean, it's just it's just something that's

490
00:30:37,840 --> 00:30:41,240
Speaker 1: inside of me. It's it's just this thing that I've

491
00:30:41,280 --> 00:30:44,680
Speaker 1: never been able to really understand or explain to me.

492
00:30:44,760 --> 00:30:52,120
Speaker 1: It's mystical, it's magical. Um, it's you know, it's uh,

493
00:30:52,560 --> 00:31:02,440
Speaker 1: it's there, It's just there. Okay, you grew up in Hialeah.

494
00:31:03,160 --> 00:31:05,719
Speaker 1: I think High Alie is where the dog track was

495
00:31:06,560 --> 00:31:09,560
Speaker 1: or something was where the race track was. Okay, with

496
00:31:09,600 --> 00:31:15,360
Speaker 1: the racetrack, what was what was Highlia? Like, Well, you

497
00:31:15,400 --> 00:31:18,360
Speaker 1: have to realize I grew up in Miami, So Miami

498
00:31:18,480 --> 00:31:20,640
Speaker 1: is very transient in a way. I mean it's a

499
00:31:20,680 --> 00:31:30,240
Speaker 1: tourist you know, our our our what do you call it? Um,

500
00:31:30,560 --> 00:31:33,080
Speaker 1: I can't think of it. What it's it's it's for

501
00:31:33,200 --> 00:31:37,920
Speaker 1: my tongue. Um. You know we depend on tourism. That's

502
00:31:37,960 --> 00:31:43,560
Speaker 1: our main What am I trying to say our main economy? Well, yeah,

503
00:31:43,600 --> 00:31:46,800
Speaker 1: but uh, you know some people are known for steel,

504
00:31:47,440 --> 00:31:51,520
Speaker 1: you know, they manufactured steel. We don't have like you

505
00:31:51,640 --> 00:31:55,240
Speaker 1: kind of manufacturing places that I know of or whatever. Uh.

506
00:31:56,040 --> 00:32:00,920
Speaker 1: Our our our economy, you know, is based on tourism.

507
00:32:01,280 --> 00:32:06,800
Speaker 1: I guess I could say that. So with that said, Um,

508
00:32:06,800 --> 00:32:08,560
Speaker 1: like in the neighborhood I grew up when I don't

509
00:32:08,560 --> 00:32:13,760
Speaker 1: think there's one person from the same state or city. UM,

510
00:32:13,880 --> 00:32:20,160
Speaker 1: And most of the time the northern folks would come

511
00:32:20,160 --> 00:32:25,240
Speaker 1: down and um at the beginning of winter, which would

512
00:32:25,240 --> 00:32:28,760
Speaker 1: be November, and stay until you know, springtime and then

513
00:32:28,800 --> 00:32:31,720
Speaker 1: go back up north. And you you can always can

514
00:32:31,840 --> 00:32:35,800
Speaker 1: still tell the difference when it's summer and and summer

515
00:32:35,800 --> 00:32:40,680
Speaker 1: and summer and fall and winter and spring in Miami,

516
00:32:40,720 --> 00:32:46,000
Speaker 1: in Florida, South Florida because of the traffic, there's always

517
00:32:46,080 --> 00:32:51,360
Speaker 1: less traffic during the winter during the summer. So you

518
00:32:51,400 --> 00:32:55,960
Speaker 1: grew up right in Miami, So I was I. My

519
00:32:56,080 --> 00:33:00,440
Speaker 1: grandfather had some shops and stuff in Miami. My mother

520
00:33:00,560 --> 00:33:04,080
Speaker 1: was born in Miami, Florida. UM. I was born in

521
00:33:04,120 --> 00:33:07,120
Speaker 1: the town called Opalaka because at the time we were

522
00:33:07,160 --> 00:33:10,000
Speaker 1: living in Miami, but at the time I was born,

523
00:33:11,120 --> 00:33:16,360
Speaker 1: um Opalaka was basically a army base or naval base

524
00:33:16,480 --> 00:33:19,360
Speaker 1: or something army base, I think, And I'm not sure

525
00:33:19,360 --> 00:33:21,880
Speaker 1: why I was born in that hospital, but that's where

526
00:33:21,920 --> 00:33:24,520
Speaker 1: I was born. And then when we were seven years old,

527
00:33:24,520 --> 00:33:27,920
Speaker 1: we moved into an area called Palm Springs, which was

528
00:33:27,920 --> 00:33:31,040
Speaker 1: still Dade County, was still Miami, but it was surrounded

529
00:33:31,040 --> 00:33:34,400
Speaker 1: by Hialeah, and they gave us a highly zip code

530
00:33:34,400 --> 00:33:37,720
Speaker 1: even though highly A police couldn't come in there or whatever.

531
00:33:38,240 --> 00:33:40,760
Speaker 1: And I had to go to a High LA school

532
00:33:40,880 --> 00:33:43,440
Speaker 1: because that was the closest school. There weren't any schools

533
00:33:43,480 --> 00:33:47,000
Speaker 1: in this Dade County, this little small little area called

534
00:33:47,000 --> 00:33:51,360
Speaker 1: Palm Springs that there was really Miami Dade County. It

535
00:33:51,440 --> 00:33:55,560
Speaker 1: wasn't Highalia. Uh, you know, we didn't. We didn't. We've

536
00:33:55,640 --> 00:34:00,000
Speaker 1: paid Dade County taxes, not highly AT taxes or whatever whatever.

537
00:34:00,240 --> 00:34:02,640
Speaker 1: It is really two separate places, although we had a

538
00:34:02,720 --> 00:34:05,200
Speaker 1: highly A zip code. So basically I grew up in

539
00:34:05,240 --> 00:34:08,360
Speaker 1: the middle of High Aliyah okay, outskirts of it, the

540
00:34:08,400 --> 00:34:11,600
Speaker 1: middle of its where you grew up. How far were

541
00:34:11,640 --> 00:34:15,600
Speaker 1: you from the beach and was there a beach culture? Well,

542
00:34:15,640 --> 00:34:17,960
Speaker 1: I mean, I'm I'm fifteen twenty minutes from the beach.

543
00:34:19,160 --> 00:34:23,440
Speaker 1: You know, maybe depending on traffic now, but the beaches

544
00:34:23,560 --> 00:34:28,160
Speaker 1: due east of me, um yours, So you're still where

545
00:34:28,200 --> 00:34:36,520
Speaker 1: you grew up. Yes, I haven't left, and you know, uh,

546
00:34:36,719 --> 00:34:41,600
Speaker 1: is there a reason for them? Well other than my

547
00:34:41,680 --> 00:34:44,080
Speaker 1: family being here and everything. I mean, my parents are

548
00:34:44,080 --> 00:34:46,799
Speaker 1: buried within ten minutes from my house, and that's where

549
00:34:46,800 --> 00:34:50,319
Speaker 1: I'll be buried. Um, you know, there's just I just

550
00:34:50,400 --> 00:34:52,520
Speaker 1: had this connection here all my life. Still in the

551
00:34:52,520 --> 00:34:56,640
Speaker 1: same house that I purchased in nineteen seventy. Um, and

552
00:34:56,680 --> 00:35:01,840
Speaker 1: it's not no like big ten thousands Griffin mansion, you know.

553
00:35:02,040 --> 00:35:06,239
Speaker 1: So it's like, um, I'm content in this area. It's

554
00:35:06,280 --> 00:35:09,440
Speaker 1: not on the beach, it's inland. It's away from all

555
00:35:09,440 --> 00:35:15,160
Speaker 1: the craziness and and and everything, and um, I can

556
00:35:15,200 --> 00:35:17,440
Speaker 1: be any where I want within fifteen I'm kind of central.

557
00:35:17,520 --> 00:35:22,680
Speaker 1: I'm I'm dou south of north of Miami International Airport

558
00:35:22,800 --> 00:35:26,000
Speaker 1: and kind of southwest of Fort Lauderdale Airports. I'm kind

559
00:35:26,000 --> 00:35:27,600
Speaker 1: of in the middle of both of them, twenty minutes

560
00:35:27,600 --> 00:35:30,879
Speaker 1: from either one of them. So I'm in a very

561
00:35:30,920 --> 00:35:33,920
Speaker 1: convenient spot for getting around and doing whatever I want

562
00:35:33,920 --> 00:35:39,000
Speaker 1: to do and being away from you know, the whole

563
00:35:39,560 --> 00:35:43,600
Speaker 1: South Beach scene and you know whatever other you know.

564
00:35:44,040 --> 00:35:46,840
Speaker 1: I mean, downtown is growing now there's all these you

565
00:35:46,880 --> 00:35:49,960
Speaker 1: know with windwood and brick hole and you know downtown.

566
00:35:50,280 --> 00:35:54,520
Speaker 1: The rend of the revitalization of downtown Miami. The Miami

567
00:35:54,520 --> 00:35:56,080
Speaker 1: is starting to look like New York. I means, so

568
00:35:56,080 --> 00:35:59,319
Speaker 1: many skyscrapers going up. It's crazy. And to what degree

569
00:35:59,360 --> 00:36:02,680
Speaker 1: to people talking about climate change in the water. I

570
00:36:02,719 --> 00:36:04,239
Speaker 1: just saw the people of other day. They're talking about

571
00:36:04,400 --> 00:36:07,520
Speaker 1: building a sea wall. That's something people talk about there.

572
00:36:08,200 --> 00:36:10,960
Speaker 1: I don't know. You know, it's industy. You brought it

573
00:36:11,000 --> 00:36:14,720
Speaker 1: up because a friend of mine and we're talking about

574
00:36:14,800 --> 00:36:17,080
Speaker 1: it last night for some reason. I don't know why

575
00:36:17,080 --> 00:36:20,440
Speaker 1: he brought it up. It got brought up. And you know,

576
00:36:20,560 --> 00:36:24,280
Speaker 1: I don't know where I believe in all of that stuff.

577
00:36:25,000 --> 00:36:30,200
Speaker 1: I mean, number one, Florida uh has always been underwater.

578
00:36:31,480 --> 00:36:35,600
Speaker 1: Um where I live and most people live here, uh,

579
00:36:35,960 --> 00:36:39,680
Speaker 1: sand and things were brought into building up six ft

580
00:36:40,160 --> 00:36:42,800
Speaker 1: above the sea level. The Everglades is below sea level

581
00:36:43,560 --> 00:36:46,600
Speaker 1: so pretty much. And that's not too far from where

582
00:36:46,600 --> 00:36:49,480
Speaker 1: I live and too far from what all of minew

583
00:36:49,680 --> 00:36:53,440
Speaker 1: was pretty much. You know, the Everglades are underwater at

584
00:36:53,440 --> 00:36:56,319
Speaker 1: one point. So I guess if it goes back to that,

585
00:36:56,440 --> 00:37:00,239
Speaker 1: then it's the circle of life, isn't it. Do you

586
00:37:00,320 --> 00:37:06,720
Speaker 1: used to watch that Everglade show grown up? Um? Maybe

587
00:37:06,760 --> 00:37:09,560
Speaker 1: on occasion. Did you ever go out in here? But

588
00:37:09,680 --> 00:37:11,279
Speaker 1: I used to watch that religiously. Do you ever go

589
00:37:11,320 --> 00:37:12,719
Speaker 1: out in the airboat? I mean that was like a

590
00:37:12,760 --> 00:37:18,839
Speaker 1: big thing on. Yeah, it's not like it's fun, it's exhilarating.

591
00:37:18,840 --> 00:37:21,359
Speaker 1: I mean, you know, it's you know, you're selling through

592
00:37:21,440 --> 00:37:28,000
Speaker 1: these uh figuring out the grasses. Um, you know, it's

593
00:37:28,400 --> 00:37:31,040
Speaker 1: it's it's exhilarating. It's it's a lot of fun. They're

594
00:37:31,120 --> 00:37:34,400
Speaker 1: very fast. Okay, So what kind of kid are you

595
00:37:34,440 --> 00:37:41,880
Speaker 1: growing up? Um, I'm like spanking and our gang and

596
00:37:42,040 --> 00:37:45,759
Speaker 1: stuff from the little Rascals pretty much. I was doing

597
00:37:45,800 --> 00:37:50,960
Speaker 1: all of that stuff, building things. Um, we would have

598
00:37:51,320 --> 00:37:56,319
Speaker 1: shows and parades and um, you know I built my

599
00:37:57,160 --> 00:38:03,680
Speaker 1: had you know, wouldn't you know race cars and uh,

600
00:38:03,719 --> 00:38:06,959
Speaker 1: I build rides in my backyard. I mean I I did,

601
00:38:07,800 --> 00:38:11,799
Speaker 1: you know, I did everything. I loved everything. I mean, uh,

602
00:38:12,000 --> 00:38:14,320
Speaker 1: you know, would put up a garden. I mean I

603
00:38:14,719 --> 00:38:19,600
Speaker 1: just I I really, you know, I and I grew

604
00:38:19,680 --> 00:38:22,000
Speaker 1: up in a great neighborhood with a lot of kids,

605
00:38:22,719 --> 00:38:24,840
Speaker 1: and we had we had baseball in the middle of

606
00:38:24,880 --> 00:38:29,240
Speaker 1: the street and football and box ball and every season

607
00:38:29,360 --> 00:38:33,400
Speaker 1: was you know, that's what we would do. And um,

608
00:38:33,560 --> 00:38:36,560
Speaker 1: you know we were just very close. You know, families

609
00:38:36,560 --> 00:38:39,880
Speaker 1: were close then and kids were in you know, we

610
00:38:39,920 --> 00:38:44,359
Speaker 1: were outside except to eaton and go to bed. Yeah,

611
00:38:44,400 --> 00:38:47,279
Speaker 1: and how many kids in your family? I just had

612
00:38:47,320 --> 00:38:51,200
Speaker 1: one sister, younger sister. Okay, and your parents did what

613
00:38:51,360 --> 00:38:56,560
Speaker 1: for a living? Um? My mother originally didn't work and

614
00:38:56,600 --> 00:38:59,480
Speaker 1: my father. Um, my father owned the furniture store when

615
00:38:59,520 --> 00:39:02,840
Speaker 1: he first in the Miami and then he was ahead

616
00:39:02,840 --> 00:39:07,520
Speaker 1: of of a feed company, security feed company, and then

617
00:39:07,520 --> 00:39:10,120
Speaker 1: he retired from all that and became a postman. Actually

618
00:39:10,680 --> 00:39:15,279
Speaker 1: he um, um, that's what he wanted to do. He

619
00:39:15,400 --> 00:39:18,439
Speaker 1: just he was you know, he wasn't that for long,

620
00:39:18,520 --> 00:39:20,640
Speaker 1: but he just he wanted to be that. He just

621
00:39:20,760 --> 00:39:24,040
Speaker 1: wanted to kind of, he said, as being a being

622
00:39:24,040 --> 00:39:27,920
Speaker 1: a postman, he didn't have nobody standing over him telling

623
00:39:28,080 --> 00:39:31,479
Speaker 1: you know, or anything like that. You know, they wanted

624
00:39:31,520 --> 00:39:35,600
Speaker 1: him to be a supervisor. At one point he refused it,

625
00:39:35,680 --> 00:39:38,680
Speaker 1: I don't know how many times. And we your parents

626
00:39:38,719 --> 00:39:41,440
Speaker 1: supportive of your dreams. What kind of relationship did you

627
00:39:41,440 --> 00:39:45,240
Speaker 1: have with them? My father was a very My father

628
00:39:45,360 --> 00:39:49,680
Speaker 1: raised my sister and I had to be very independent. Um.

629
00:39:49,719 --> 00:39:55,360
Speaker 1: He never um, I don't ever remember him commenting on anything.

630
00:39:56,200 --> 00:39:58,719
Speaker 1: The only thing he ever was concerned about me was

631
00:39:58,800 --> 00:40:01,920
Speaker 1: who I was hanging around with, and and and that

632
00:40:02,160 --> 00:40:08,040
Speaker 1: sort of thing. Um. He never did. Uh. My father

633
00:40:08,120 --> 00:40:12,480
Speaker 1: is just a regular average guy. Um. He didn't want

634
00:40:12,520 --> 00:40:16,680
Speaker 1: for anything he didn't material things were not important to

635
00:40:16,760 --> 00:40:19,919
Speaker 1: him at all. Um. I don't think he ever bought

636
00:40:19,920 --> 00:40:22,440
Speaker 1: The only radio he ever bought his entire life was

637
00:40:22,640 --> 00:40:26,200
Speaker 1: from my mother or maybe one maybe one for me

638
00:40:26,239 --> 00:40:28,239
Speaker 1: for Christmas. But he I don't think he ever owned

639
00:40:28,280 --> 00:40:31,400
Speaker 1: his own radio in his entire life, or a record

640
00:40:31,400 --> 00:40:35,719
Speaker 1: player or anything like that. Um. He definitely wasn't musically inclined,

641
00:40:36,640 --> 00:40:40,840
Speaker 1: although he although many of his fan member family members

642
00:40:40,840 --> 00:40:46,680
Speaker 1: were My mother, on the other hand, um uh, she

643
00:40:46,880 --> 00:40:49,880
Speaker 1: was quite a She loved to dance, she loved you know,

644
00:40:49,920 --> 00:40:53,120
Speaker 1: her and her sisters actually did radio commercials when they

645
00:40:53,120 --> 00:40:57,319
Speaker 1: were younger. Um. And my mother, you know, was kind

646
00:40:57,320 --> 00:41:00,319
Speaker 1: of hanging out with people like Aretha Franklin and the

647
00:41:00,400 --> 00:41:03,560
Speaker 1: Salmon Dave and Ray Charles and whoever would come into Miami.

648
00:41:03,680 --> 00:41:06,600
Speaker 1: She'd be at those clubs, hanging out with them and stuff.

649
00:41:07,160 --> 00:41:09,440
Speaker 1: And my mother at one point, you know, told me,

650
00:41:09,480 --> 00:41:11,360
Speaker 1: why don't I get a job and make something to myself.

651
00:41:11,360 --> 00:41:15,640
Speaker 1: I think, because you know, she hung around that crowd

652
00:41:15,719 --> 00:41:19,560
Speaker 1: or whatever. UM was probably fearful of what I would

653
00:41:19,600 --> 00:41:22,919
Speaker 1: get into and and and you know that sort of thing.

654
00:41:23,080 --> 00:41:28,160
Speaker 1: So um. Although they you know, my my parents were

655
00:41:28,160 --> 00:41:30,560
Speaker 1: divorced so it wasn't like I was living my father,

656
00:41:30,680 --> 00:41:33,239
Speaker 1: So my mother went't around it up to you know,

657
00:41:33,360 --> 00:41:37,799
Speaker 1: to say anything. Um, but I generally think that you know,

658
00:41:38,960 --> 00:41:41,160
Speaker 1: I was allowed to do and be whatever I wanted

659
00:41:41,200 --> 00:41:42,680
Speaker 1: to be in It didn't matter. I was going to

660
00:41:42,800 --> 00:41:45,799
Speaker 1: be what I wanted to be. Anyway, What age were

661
00:41:45,840 --> 00:41:49,359
Speaker 1: you and your parents divorced? Ten and you ended up

662
00:41:49,360 --> 00:41:52,600
Speaker 1: living with your father's Your sister lived with the father too, correct,

663
00:41:53,239 --> 00:41:57,200
Speaker 1: and that's unusual at that time. My mother didn't show

664
00:41:57,280 --> 00:42:02,360
Speaker 1: up the court. I understand. Wow, So you're playing in

665
00:42:02,400 --> 00:42:06,160
Speaker 1: the street, etcetera. Um, were you just remember the group

666
00:42:06,200 --> 00:42:14,239
Speaker 1: or were you a leader where growing up? Um? I

667
00:42:14,280 --> 00:42:16,480
Speaker 1: would say, I'm somewhat of a leader. I mean I'm

668
00:42:16,480 --> 00:42:21,879
Speaker 1: not much of a follower. Um, although I mean, you know, um,

669
00:42:21,920 --> 00:42:25,279
Speaker 1: I will go along with something. You know, I'm I'm

670
00:42:25,320 --> 00:42:28,040
Speaker 1: gonna quarius. I'm kind of a chameleon. I kind of

671
00:42:28,040 --> 00:42:31,239
Speaker 1: fit into any situation that can make myself into any situation.

672
00:42:31,360 --> 00:42:33,839
Speaker 1: I'm not, you know, not one that has to be

673
00:42:34,480 --> 00:42:38,480
Speaker 1: the leader or whatever. I like a little consistency and

674
00:42:38,800 --> 00:42:47,759
Speaker 1: you know, direction, but um uh yeah, I mean I'm

675
00:42:47,800 --> 00:42:50,600
Speaker 1: just to like go with the flow kind of person

676
00:42:50,680 --> 00:42:54,560
Speaker 1: as long as the flow is not dangerous. Okay, So

677
00:42:54,840 --> 00:43:01,000
Speaker 1: when do you start playing music? All my life be much? Um?

678
00:43:02,920 --> 00:43:07,360
Speaker 1: Because interesting enough, in elementary school or whatever I was playing,

679
00:43:07,840 --> 00:43:10,280
Speaker 1: I started playing a clarinet. I mean, I'm not seven

680
00:43:10,320 --> 00:43:13,839
Speaker 1: sure why I picked that instrument. Um. We didn't have

681
00:43:13,880 --> 00:43:16,120
Speaker 1: a piano in the house that I remembered till my

682
00:43:16,239 --> 00:43:20,480
Speaker 1: sister I wanted to take piano lessons. Uh, and all

683
00:43:20,520 --> 00:43:23,680
Speaker 1: of a sudden we had a piano, even though everyone

684
00:43:23,760 --> 00:43:26,160
Speaker 1: knew I wanted to play the piano. I mean I

685
00:43:26,239 --> 00:43:28,280
Speaker 1: go to my aunt's homes and we all had pianos,

686
00:43:28,320 --> 00:43:30,719
Speaker 1: and they wouldn't even let me near the piano because

687
00:43:30,760 --> 00:43:33,040
Speaker 1: I guess they said I was banging on it or whatever.

688
00:43:33,800 --> 00:43:37,440
Speaker 1: And Um, I remember growing up in my grandmother I

689
00:43:37,480 --> 00:43:39,520
Speaker 1: always loved the organ and the keep. But my couch

690
00:43:39,760 --> 00:43:41,360
Speaker 1: I had a cousin that was just one of the

691
00:43:41,360 --> 00:43:45,319
Speaker 1: most amazing piano players you've ever you've ever listened to.

692
00:43:45,560 --> 00:43:49,000
Speaker 1: There was nothing he couldn't play, and all by ere

693
00:43:49,040 --> 00:43:53,440
Speaker 1: he was never trained. So um, I always loved the keep.

694
00:43:53,680 --> 00:43:57,280
Speaker 1: I remember being in my grandmother's backyard and just taking

695
00:43:57,280 --> 00:43:59,080
Speaker 1: a piece of board or whatever and pretending it was

696
00:43:59,080 --> 00:44:00,800
Speaker 1: a key or to go. Do you know making this

697
00:44:00,920 --> 00:44:03,360
Speaker 1: sounds like it was an oregon and moving my fingers

698
00:44:03,360 --> 00:44:06,600
Speaker 1: across the piece of wood. Um, so, I guess I've

699
00:44:06,600 --> 00:44:09,160
Speaker 1: been playing a long time. It was a piece of

700
00:44:09,160 --> 00:44:14,520
Speaker 1: wood without anything on it. They take clarinet in school.

701
00:44:14,560 --> 00:44:17,839
Speaker 1: Do you ever take piano lessons? Um? I did take

702
00:44:17,840 --> 00:44:20,279
Speaker 1: some piano lessons until the teacher said I knew more

703
00:44:20,280 --> 00:44:22,920
Speaker 1: than her. And I'm not sure if that was because

704
00:44:23,040 --> 00:44:28,000
Speaker 1: I just I didn't. I never, you know, I played piano,

705
00:44:28,160 --> 00:44:31,640
Speaker 1: and I have some regrets that I don't. You know,

706
00:44:31,640 --> 00:44:36,280
Speaker 1: I'm not like n I mean it's very interesting because

707
00:44:36,640 --> 00:44:41,279
Speaker 1: I mean I'm a very simplistic player or whatever. But

708
00:44:41,719 --> 00:44:47,680
Speaker 1: the most educated of Berkeley train pianos can't even duplicate

709
00:44:47,719 --> 00:44:53,200
Speaker 1: what I play. So I I am too. At a

710
00:44:53,280 --> 00:44:57,160
Speaker 1: certain part of my life, I certainly wasn't one to

711
00:44:57,120 --> 00:44:59,600
Speaker 1: said gonna go dun dun dune, Dune, Dun Dune Dune.

712
00:44:59,760 --> 00:45:01,600
Speaker 1: I mean, I just didn't have that in me. I

713
00:45:01,680 --> 00:45:04,440
Speaker 1: just had more energy and wanted I'd rather be outside

714
00:45:04,480 --> 00:45:07,520
Speaker 1: with my friends and and everything then going, you know,

715
00:45:07,640 --> 00:45:10,640
Speaker 1: dune Dune done. Although I did enough to you know,

716
00:45:10,719 --> 00:45:17,120
Speaker 1: to learn to you know, to make my my teacher happy. Um,

717
00:45:17,160 --> 00:45:23,520
Speaker 1: but I was always worried about Um. I like, like

718
00:45:24,239 --> 00:45:27,799
Speaker 1: when I went to college and I took music classes, Um,

719
00:45:27,840 --> 00:45:31,600
Speaker 1: I never would have probably been able to be a

720
00:45:31,600 --> 00:45:34,719
Speaker 1: concert pianist or have a degree in music because I

721
00:45:34,760 --> 00:45:38,319
Speaker 1: didn't want to. Uh. I was worried about if I

722
00:45:38,400 --> 00:45:42,360
Speaker 1: took these classes it would change the natural ability that

723
00:45:42,520 --> 00:45:47,640
Speaker 1: I had. Then it would uh uh just made me

724
00:45:47,680 --> 00:45:50,279
Speaker 1: like the rest of I guess I was a little

725
00:45:50,280 --> 00:45:53,360
Speaker 1: bit of anti establishments. It would make me like like

726
00:45:53,480 --> 00:45:55,480
Speaker 1: the rest of the machine. And I didn't never want

727
00:45:55,480 --> 00:45:59,040
Speaker 1: to be part of the machine. So it makes sense. Yeah,

728
00:45:59,080 --> 00:46:05,359
Speaker 1: absolutely so. And you read music as far I mean,

729
00:46:06,120 --> 00:46:08,439
Speaker 1: like if I sat down, Yeah, I mean I could. Yeah,

730
00:46:08,520 --> 00:46:11,120
Speaker 1: I mean I can read it. I don't know how.

731
00:46:11,280 --> 00:46:14,440
Speaker 1: I mean, years ago, I probably read and played it

732
00:46:14,480 --> 00:46:16,760
Speaker 1: faster than I probably could now. But I could definitely

733
00:46:16,760 --> 00:46:19,359
Speaker 1: sit down, and I know what G is A. I mean,

734
00:46:19,400 --> 00:46:20,719
Speaker 1: I know what they are, and I could play them

735
00:46:20,760 --> 00:46:24,080
Speaker 1: on the I definitely can play them. Yeah. And uh,

736
00:46:24,120 --> 00:46:29,399
Speaker 1: did you finish college? Uh No, because I I two

737
00:46:29,480 --> 00:46:33,240
Speaker 1: years into my college, I had the number one record

738
00:46:33,280 --> 00:46:36,960
Speaker 1: in the in the world. Oh that's certainly definitive. But

739
00:46:37,080 --> 00:46:43,200
Speaker 1: going back a chapter Um, in the Beatles came. Was

740
00:46:43,239 --> 00:46:45,759
Speaker 1: that a big transitional moment? At what point did you

741
00:46:45,800 --> 00:46:51,759
Speaker 1: decide you wanted to make music your career. Well, evidently

742
00:46:52,239 --> 00:46:57,759
Speaker 1: my decision was made in elementary school. Um, there's not

743
00:46:57,840 --> 00:47:00,480
Speaker 1: a time. I can't remember that. We just have to

744
00:47:00,480 --> 00:47:03,520
Speaker 1: devout these three by five cards every year for some reason,

745
00:47:04,040 --> 00:47:05,480
Speaker 1: you know, you had to fill it out with your name.

746
00:47:05,920 --> 00:47:08,319
Speaker 1: They would have had occupation and then I always put

747
00:47:08,320 --> 00:47:12,880
Speaker 1: an entertainer. Um. I can't remember ever putting anything else

748
00:47:13,719 --> 00:47:19,640
Speaker 1: uh in that in that spot, but entertainer. Um. And

749
00:47:19,760 --> 00:47:23,279
Speaker 1: so I've known all my life this is what I

750
00:47:23,280 --> 00:47:24,560
Speaker 1: was going to do, and this is what I was

751
00:47:24,600 --> 00:47:28,680
Speaker 1: meant to be. Were you affected by the whole music

752
00:47:28,800 --> 00:47:31,960
Speaker 1: explosion in the sixties in terms of the Beatles, British

753
00:47:32,000 --> 00:47:35,520
Speaker 1: invasion and then you know San Francisco and the English

754
00:47:35,560 --> 00:47:39,680
Speaker 1: blues groups? Or was that not your thing? Okay, well

755
00:47:39,760 --> 00:47:41,920
Speaker 1: number one, it wasn't really my thing. I was very

756
00:47:41,960 --> 00:47:44,080
Speaker 1: My mother loved R and B music, So I grew

757
00:47:44,160 --> 00:47:48,160
Speaker 1: up listening to Nancy Wilson, the Flamingos, Ray Charles, you know,

758
00:47:48,200 --> 00:47:51,839
Speaker 1: all this great R and B music. Um. And so

759
00:47:51,880 --> 00:47:56,280
Speaker 1: by the time I was twelve or thirteen, there's songs

760
00:47:56,360 --> 00:47:58,439
Speaker 1: like the Locomotion were a little Eva, and the whole

761
00:47:58,440 --> 00:48:02,000
Speaker 1: motown thing was kind of starting. Um, almost at the

762
00:48:02,040 --> 00:48:05,279
Speaker 1: same time that the Beatles thing was happening in a way. Um,

763
00:48:05,320 --> 00:48:07,880
Speaker 1: I was not a big Beatles fan. I like some

764
00:48:07,920 --> 00:48:09,960
Speaker 1: of this stuff. It was, you know, maybe some of

765
00:48:10,000 --> 00:48:12,280
Speaker 1: the earlier stuff. I kind of liked it. I've always

766
00:48:12,360 --> 00:48:15,920
Speaker 1: liked I've always liked all kinds of music, although I

767
00:48:16,040 --> 00:48:20,000
Speaker 1: gravitated more towards R and B or anything that was rhythmic.

768
00:48:20,560 --> 00:48:23,160
Speaker 1: So even it was a pop record that was rhythmic enough,

769
00:48:23,200 --> 00:48:26,080
Speaker 1: that sounded R and B enough or fit that kind

770
00:48:26,120 --> 00:48:31,680
Speaker 1: of feel, um, I would gravitate towards it. Okay, so

771
00:48:31,880 --> 00:48:34,759
Speaker 1: you're in college. How do you end up getting into

772
00:48:34,719 --> 00:48:41,640
Speaker 1: the music business? Okay? So I started working at a

773
00:48:41,680 --> 00:48:49,760
Speaker 1: record store and on Mondays and Thursdays we would place

774
00:48:50,920 --> 00:48:54,759
Speaker 1: the order. Well, first of all, like I was, I'm

775
00:48:54,760 --> 00:48:59,799
Speaker 1: a I was a avid record collector. I mean and

776
00:48:59,800 --> 00:49:03,759
Speaker 1: and and I spent every time I had, you know,

777
00:49:03,880 --> 00:49:06,440
Speaker 1: buying records. And then I you know, back then, you

778
00:49:06,440 --> 00:49:09,360
Speaker 1: can look on there and you can see who wrote it,

779
00:49:09,400 --> 00:49:12,680
Speaker 1: who produced it. Uh, there was usually an address on

780
00:49:12,719 --> 00:49:15,719
Speaker 1: the bottom, whether it's said Detroit, Michigan for the Motown

781
00:49:16,480 --> 00:49:19,040
Speaker 1: or Atlantic Records New York, New York or whatever. For

782
00:49:19,160 --> 00:49:22,400
Speaker 1: most for the most part, you know, the label would

783
00:49:22,400 --> 00:49:24,400
Speaker 1: have you know where they were from. I don't know

784
00:49:24,480 --> 00:49:27,160
Speaker 1: if all the music was produced there, I mean then

785
00:49:27,320 --> 00:49:29,480
Speaker 1: then you knew that, you know some stories recording the

786
00:49:29,560 --> 00:49:32,520
Speaker 1: muscle shows or Memphis or whatever. But for the most part,

787
00:49:33,000 --> 00:49:36,120
Speaker 1: every label had an address on the bottom of it.

788
00:49:36,600 --> 00:49:39,200
Speaker 1: So working in the record store, so like on Mondays

789
00:49:39,200 --> 00:49:41,680
Speaker 1: and Thursdays, we had to place these orders and we

790
00:49:41,800 --> 00:49:44,000
Speaker 1: have to go to the distributor on Tuesday and Friday

791
00:49:44,000 --> 00:49:46,640
Speaker 1: and pick the order up the local distributor. One of

792
00:49:46,680 --> 00:49:50,040
Speaker 1: the local distributors was a distributor called Tone Distributors and

793
00:49:50,040 --> 00:49:55,600
Speaker 1: maybe the largest independent record distributor in the southeast of

794
00:49:55,600 --> 00:50:01,680
Speaker 1: the United States. They they distributed UM Independent Distributor for

795
00:50:01,719 --> 00:50:06,800
Speaker 1: Warner Brothers, for Atlantic, for MGM, for a Motown, for Stacks,

796
00:50:07,920 --> 00:50:11,600
Speaker 1: um everybody. But at one point they even had Columbia

797
00:50:11,640 --> 00:50:15,440
Speaker 1: Records in Epic. But so they had everybody for Columbian Epic,

798
00:50:15,640 --> 00:50:22,080
Speaker 1: R C A and UH A and m came along

799
00:50:22,120 --> 00:50:26,239
Speaker 1: A and m UH, but they had everybody else. They

800
00:50:26,280 --> 00:50:30,920
Speaker 1: had Dunhill, they had UH all these major labels anyway,

801
00:50:30,920 --> 00:50:35,879
Speaker 1: they distribute all of them. So on. So going back

802
00:50:35,920 --> 00:50:40,600
Speaker 1: to meet, always paying attention to what's on the records. Uh,

803
00:50:40,760 --> 00:50:43,680
Speaker 1: there was a record that came out in nineteen seventy.

804
00:50:43,960 --> 00:50:48,520
Speaker 1: I think I was already there then. Anyway, I noticed

805
00:50:48,560 --> 00:50:51,680
Speaker 1: that there was a label like a lot of different

806
00:50:51,680 --> 00:50:55,160
Speaker 1: records were coming out because we'd always get sent the

807
00:50:55,200 --> 00:50:58,080
Speaker 1: newest R and B records and you know, whatever is

808
00:50:58,160 --> 00:51:01,120
Speaker 1: going on the chart. And I noticed this address four

809
00:51:01,760 --> 00:51:05,120
Speaker 1: Southeast tenth Court, and that's where I used to pick

810
00:51:05,200 --> 00:51:10,000
Speaker 1: up the records at four Southeast tenth Court, which is

811
00:51:10,040 --> 00:51:16,919
Speaker 1: Tone Distributors. And I eventually learned that an artist who

812
00:51:17,080 --> 00:51:19,400
Speaker 1: I kind of grew up listening to it, he was

813
00:51:19,440 --> 00:51:21,279
Speaker 1: also the host of a TV show called Where the

814
00:51:21,280 --> 00:51:26,880
Speaker 1: Action is named Steve Alamo was there, uh, you know

815
00:51:27,000 --> 00:51:30,520
Speaker 1: and everything, and that they had a recording studio on

816
00:51:30,560 --> 00:51:33,480
Speaker 1: the back and that's where these records, it's at Southeast

817
00:51:34,080 --> 00:51:40,400
Speaker 1: tenth Chord were being recorded. So I am um I

818
00:51:40,440 --> 00:51:47,759
Speaker 1: remember once I learned that, Um, I learned some other

819
00:51:47,800 --> 00:51:51,800
Speaker 1: things that there's a writer in Clarence read there or whatever. Uh,

820
00:51:51,840 --> 00:51:54,960
Speaker 1: and I wanted to have a meeting with him and

821
00:51:56,320 --> 00:51:59,240
Speaker 1: eventually quit my job at the record store and asked

822
00:51:59,239 --> 00:52:01,840
Speaker 1: Henry if he Henry was the owner of the Tone distributing.

823
00:52:01,920 --> 00:52:03,840
Speaker 1: I got to know him by because he would always

824
00:52:03,840 --> 00:52:06,600
Speaker 1: be in the warehouse, you know, when I pick up records,

825
00:52:07,360 --> 00:52:09,480
Speaker 1: and asked him if he had a job there. He

826
00:52:09,480 --> 00:52:11,560
Speaker 1: said he didn't. So I got a job at his competitor,

827
00:52:12,160 --> 00:52:15,439
Speaker 1: and every day after work I would go hang out

828
00:52:15,520 --> 00:52:20,680
Speaker 1: at Tone Distributors in the back or whatever, um and

829
00:52:21,360 --> 00:52:23,440
Speaker 1: waiting for this guy Clearence read. I guess the joke

830
00:52:23,520 --> 00:52:25,640
Speaker 1: was always on me, because I guess he'd always told

831
00:52:25,719 --> 00:52:30,000
Speaker 1: a lot of people he'd meet him and never show up. Meanwhile,

832
00:52:30,000 --> 00:52:32,920
Speaker 1: while I'm sitting there, I just started doing odds and

833
00:52:32,960 --> 00:52:35,200
Speaker 1: then things. You know, if the trash and trash would

834
00:52:35,200 --> 00:52:38,120
Speaker 1: be overflowing and nobody would be emptying it, I try

835
00:52:38,280 --> 00:52:40,840
Speaker 1: started emptying it. The phone ringing back then there's no

836
00:52:40,840 --> 00:52:46,680
Speaker 1: one answering the phone. So I'd started answering the phone. Um. Eventually, UM,

837
00:52:46,840 --> 00:52:50,440
Speaker 1: Walner brothers in Atlantic, we're gonna have all their records. Uh,

838
00:52:51,080 --> 00:52:54,359
Speaker 1: They're gonna start their own distribution company and pulling all

839
00:52:54,400 --> 00:52:57,560
Speaker 1: the records out of all the independent modern pop places.

840
00:52:58,080 --> 00:53:00,440
Speaker 1: And so I started boxing up all those records and

841
00:53:00,520 --> 00:53:02,560
Speaker 1: have the number and label every one of them to

842
00:53:02,640 --> 00:53:06,640
Speaker 1: ship back to one to Atlantic Records to Warner Brothers. Uh.

843
00:53:06,640 --> 00:53:09,880
Speaker 1: And so just from all that, just hanging out at

844
00:53:09,880 --> 00:53:14,080
Speaker 1: the studio whatever, and sometimes doing a background session, eventually

845
00:53:14,080 --> 00:53:17,040
Speaker 1: doing some co writing and playing on some stuff, and

846
00:53:17,400 --> 00:53:22,200
Speaker 1: just kind of hanging out there, you know, uh until

847
00:53:23,680 --> 00:53:25,680
Speaker 1: you know, the place we closed and finding Henry gave

848
00:53:25,719 --> 00:53:27,960
Speaker 1: me a key to the door so I could kind

849
00:53:27,960 --> 00:53:31,720
Speaker 1: of come and go, and you know, just just slowly

850
00:53:31,840 --> 00:53:36,480
Speaker 1: learning everything I could their promotion, you know, eventually starting

851
00:53:36,520 --> 00:53:40,399
Speaker 1: my own old section in his warehouse, you know, because

852
00:53:40,560 --> 00:53:44,400
Speaker 1: there's all these boxes and boxes of old records up

853
00:53:44,400 --> 00:53:46,000
Speaker 1: in the attic and stuff, which I was like, can

854
00:53:46,080 --> 00:53:48,080
Speaker 1: have it, because he said I could have anything I wanted.

855
00:53:48,120 --> 00:53:50,880
Speaker 1: It's like, holy God, I just died with the heaven,

856
00:53:51,000 --> 00:53:55,759
Speaker 1: you know. And so you know, just hanging out and

857
00:53:56,200 --> 00:53:58,759
Speaker 1: you know, being in the right place, not stepping on

858
00:53:58,800 --> 00:54:02,359
Speaker 1: anybody's toes or anything, and just finding my own way

859
00:54:02,440 --> 00:54:06,480
Speaker 1: and creating the little management company thing or whatever and

860
00:54:06,520 --> 00:54:09,080
Speaker 1: just helping out, you know, just to be a part

861
00:54:09,120 --> 00:54:12,640
Speaker 1: of it. I wasn't there to take over anybody's position

862
00:54:13,120 --> 00:54:16,040
Speaker 1: in particular, whatever I was just there too to be

863
00:54:16,719 --> 00:54:20,759
Speaker 1: anything and everything anybody needed, you know, uh at any

864
00:54:20,760 --> 00:54:24,600
Speaker 1: one time. So eventually, you know, I worked my way

865
00:54:24,600 --> 00:54:27,120
Speaker 1: into the studio. Okay. A couple of questions. At what

866
00:54:27,160 --> 00:54:30,200
Speaker 1: point did you stop working for the competitor and start

867
00:54:30,239 --> 00:54:38,839
Speaker 1: working for Tone? I don't remember when that was. Um um,

868
00:54:39,440 --> 00:54:41,920
Speaker 1: I really were not really important. Do you still have

869
00:54:41,960 --> 00:54:45,799
Speaker 1: all those records you collected back in the sixties and seventies, Yes,

870
00:54:45,840 --> 00:54:48,840
Speaker 1: every one of them. How many how many records have

871
00:54:48,880 --> 00:54:52,760
Speaker 1: you got? I probably have over a fifteen or twenty

872
00:54:52,760 --> 00:54:59,640
Speaker 1: thousand records albums And do you play them? No, they're

873
00:54:59,680 --> 00:55:04,320
Speaker 1: they're they're all in storage. Okay, my warehouse, I have allline,

874
00:55:04,440 --> 00:55:08,120
Speaker 1: same deal. Okay. So I did have them all here

875
00:55:08,120 --> 00:55:09,560
Speaker 1: and they were just sitting there and I just said,

876
00:55:09,600 --> 00:55:13,240
Speaker 1: you know, let me just box them all up and okay.

877
00:55:13,640 --> 00:55:17,640
Speaker 1: So to what degree do you learn the studio itself,

878
00:55:17,680 --> 00:55:24,080
Speaker 1: becoming an engineer, etcetera. Wow, Well, during the whole process,

879
00:55:24,200 --> 00:55:28,000
Speaker 1: I mean, so there were other artists there and other

880
00:55:28,040 --> 00:55:32,000
Speaker 1: people that nobody was paying attention to. So, you know,

881
00:55:32,080 --> 00:55:35,120
Speaker 1: those nights or whatever, I would go in and you know,

882
00:55:35,160 --> 00:55:38,320
Speaker 1: get some some some of the people that were student

883
00:55:38,400 --> 00:55:41,000
Speaker 1: musicians there to come in, and you know, I'd mess

884
00:55:41,040 --> 00:55:44,440
Speaker 1: around and messing around on the board and do my

885
00:55:44,480 --> 00:55:48,040
Speaker 1: own recordings because you know, it wouldn't look like anybody

886
00:55:48,120 --> 00:55:52,480
Speaker 1: was going to like, hey, here you do it, so again,

887
00:55:52,600 --> 00:55:55,399
Speaker 1: just trying to learn everything. I eventually, you know, got

888
00:55:55,480 --> 00:55:58,360
Speaker 1: up to the to the board, had somebody show me

889
00:55:58,480 --> 00:56:01,880
Speaker 1: enough to you know, where I kind of knew what

890
00:56:01,920 --> 00:56:04,600
Speaker 1: I was doing or what my ears were hearing and

891
00:56:04,640 --> 00:56:09,760
Speaker 1: that sort of thing, and uh you know that's uh

892
00:56:10,400 --> 00:56:12,960
Speaker 1: so just kind of writing these little songs for these

893
00:56:12,960 --> 00:56:16,520
Speaker 1: other artists that everybody was playing no attention to. Okay,

894
00:56:16,719 --> 00:56:18,400
Speaker 1: were you writing him at home or writing him in

895
00:56:18,440 --> 00:56:23,080
Speaker 1: the studio? Well, it happened in different places a lot

896
00:56:23,080 --> 00:56:25,520
Speaker 1: of times. You know, I come up with the idea

897
00:56:25,560 --> 00:56:27,560
Speaker 1: at home or whatever, and then go to the studio.

898
00:56:28,120 --> 00:56:30,160
Speaker 1: I mean, it wasn't like I had to record it

899
00:56:30,200 --> 00:56:32,320
Speaker 1: or anything, because once I did something in my head,

900
00:56:33,040 --> 00:56:36,240
Speaker 1: it stays in there quite a while, and I always

901
00:56:36,280 --> 00:56:39,680
Speaker 1: felt like if it doesn't, then it wasn't meant to be. So,

902
00:56:40,080 --> 00:56:42,400
Speaker 1: you know, whatever stayed in my head, that's what I

903
00:56:42,400 --> 00:56:44,960
Speaker 1: would work going and work on the next you know that,

904
00:56:45,080 --> 00:56:49,920
Speaker 1: you know, whatever, you know, prepare myself again sometimes you know,

905
00:56:49,960 --> 00:56:53,920
Speaker 1: I would do it right there in the studio. But okay,

906
00:56:54,000 --> 00:56:57,919
Speaker 1: what point does your independent workings at night cross over

907
00:56:57,960 --> 00:57:00,360
Speaker 1: into the mean stream of the studio. Were you not

908
00:57:00,520 --> 00:57:06,960
Speaker 1: working to make records they're interested in? Well, I mean

909
00:57:07,000 --> 00:57:08,760
Speaker 1: I was. I was always trying to make a record

910
00:57:08,800 --> 00:57:13,960
Speaker 1: that they would be interesting, interested in. UM. So you know,

911
00:57:14,000 --> 00:57:16,800
Speaker 1: I had three or four So it was I was

912
00:57:16,840 --> 00:57:18,880
Speaker 1: managing Timmy Thomas at the time, who had a big

913
00:57:18,960 --> 00:57:21,800
Speaker 1: hit called why Can't We Live Together? I booked him

914
00:57:21,800 --> 00:57:23,920
Speaker 1: at a show in Washington, d C. At the Capitol

915
00:57:23,960 --> 00:57:27,680
Speaker 1: Center with Rare Earth. UM. Prior to that show, I

916
00:57:27,720 --> 00:57:30,640
Speaker 1: had gone to a wedding I believe was Betty Right's

917
00:57:30,680 --> 00:57:33,919
Speaker 1: house or something, and she had hired a what's called

918
00:57:33,920 --> 00:57:36,880
Speaker 1: a junk, a new band to play at the wedding.

919
00:57:37,560 --> 00:57:41,800
Speaker 1: And uh junk a new music from the Caribbean, and

920
00:57:42,640 --> 00:57:47,280
Speaker 1: I've mostly associated with the Bahamas. It's drums, horns and whistles.

921
00:57:48,000 --> 00:57:51,440
Speaker 1: It's very infectious. You can't help but move when when,

922
00:57:51,520 --> 00:57:55,240
Speaker 1: when you're you're even you're anywhere near it. So anyway,

923
00:57:55,280 --> 00:57:58,240
Speaker 1: I booked me on this show and Washington, d C.

924
00:57:58,520 --> 00:58:03,880
Speaker 1: And the entire audience was blowing whistles, and I thought wow,

925
00:58:03,960 --> 00:58:08,040
Speaker 1: and I thought, like, you would be great to take

926
00:58:08,120 --> 00:58:11,920
Speaker 1: this music that I just was at this party and

927
00:58:11,920 --> 00:58:15,680
Speaker 1: and and you know, bring it to the masses and

928
00:58:15,880 --> 00:58:18,080
Speaker 1: do these whistles. So I wrote this song called blow

929
00:58:18,120 --> 00:58:20,880
Speaker 1: Your Whistle. I went the studio and got some of

930
00:58:20,920 --> 00:58:25,160
Speaker 1: the the local guys there, uh, and I recorded this

931
00:58:25,200 --> 00:58:26,840
Speaker 1: where I go. I brought in the drunk Adu band

932
00:58:26,840 --> 00:58:29,240
Speaker 1: and had them play on the record. And I wrote

933
00:58:29,280 --> 00:58:32,360
Speaker 1: this song called blow Your Whistle. And now I needed

934
00:58:32,400 --> 00:58:36,120
Speaker 1: to come up with a name, uh, you know, for

935
00:58:36,200 --> 00:58:39,680
Speaker 1: who I was going to be. And I didn't want

936
00:58:39,720 --> 00:58:42,680
Speaker 1: to use my real name or any part of my

937
00:58:42,720 --> 00:58:45,280
Speaker 1: real name. So I came up and I called it

938
00:58:45,360 --> 00:58:53,240
Speaker 1: Casey and the Sunshine junk Anuman, Okay, and then UH

939
00:58:53,560 --> 00:58:57,880
Speaker 1: continue the narrative, what happens with your career? Well, so

940
00:58:58,400 --> 00:59:01,800
Speaker 1: uh we Henry puts the record out of the normal fashion.

941
00:59:01,880 --> 00:59:04,280
Speaker 1: He presses up a few hundred whatever gets puts it

942
00:59:04,320 --> 00:59:07,720
Speaker 1: on some local radio stations and covering other stations, and

943
00:59:07,760 --> 00:59:11,439
Speaker 1: it starts making a lot of noise, uh, and then

944
00:59:11,640 --> 00:59:14,560
Speaker 1: spreads a little bit into Europe. Um. It goes to

945
00:59:14,680 --> 00:59:17,200
Speaker 1: number eighteen on the R and B Billboard. R and

946
00:59:17,240 --> 00:59:22,280
Speaker 1: B chart, and enough to where making enough noise to her.

947
00:59:22,320 --> 00:59:26,760
Speaker 1: Now Henry wants another record, and so now I think

948
00:59:26,760 --> 00:59:29,960
Speaker 1: we're all. I loved horns and everything. So now I

949
00:59:29,960 --> 00:59:33,760
Speaker 1: write this song called sound Your Funky Horn, and it's

950
00:59:33,800 --> 00:59:37,600
Speaker 1: just basically a song about uh, you know, you know,

951
00:59:37,760 --> 00:59:43,200
Speaker 1: everybody sound base member in the bottom, which is the base, um,

952
00:59:43,960 --> 00:59:46,160
Speaker 1: base member in the bottom, drummer, drum the beat, which

953
00:59:46,200 --> 00:59:49,919
Speaker 1: is the drummer, h tenor man, which is this like saxophone.

954
00:59:50,160 --> 00:59:53,880
Speaker 1: Come blow your horn. Um, everybody, get on your feet.

955
00:59:54,520 --> 00:59:58,280
Speaker 1: Everybody's sound your funky horn. So now sound your fuck

956
00:59:58,400 --> 01:00:03,400
Speaker 1: horn starts doing the same amount of noise, even a

957
01:00:03,400 --> 01:00:05,919
Speaker 1: little bit more than blow your whistle, but still goes

958
01:00:05,960 --> 01:00:08,000
Speaker 1: to the number eighteen. I think on the R and

959
01:00:08,040 --> 01:00:10,280
Speaker 1: B chart might have got a look a few points higher,

960
01:00:10,280 --> 01:00:13,560
Speaker 1: and I can't remember. I'd have to look. Uh. And

961
01:00:13,680 --> 01:00:19,200
Speaker 1: so now, um, I'm in the studio and we we

962
01:00:19,280 --> 01:00:21,400
Speaker 1: dropped the junken New band, I dropped the junken new

963
01:00:21,440 --> 01:00:24,360
Speaker 1: band name, and just it just becomes Casey in the

964
01:00:24,400 --> 01:00:29,480
Speaker 1: Sunshine Band on the second record. So now um, I'm

965
01:00:29,520 --> 01:00:35,400
Speaker 1: Timmy Thomas's organs upstairs in the studio, and that he

966
01:00:35,440 --> 01:00:37,000
Speaker 1: wrote why can't we lived together on it? And it

967
01:00:37,080 --> 01:00:39,120
Speaker 1: was a lorry organ and it had like you know

968
01:00:39,400 --> 01:00:43,000
Speaker 1: that time they started adding the beat boxes. So I

969
01:00:43,040 --> 01:00:45,320
Speaker 1: sat down at the organ. I'm still writing songs for

970
01:00:45,480 --> 01:00:47,720
Speaker 1: you know, my new album and everything, because now Hitry

971
01:00:47,760 --> 01:00:52,120
Speaker 1: wants an album and I've already written subtracks and I'd

972
01:00:52,120 --> 01:00:54,600
Speaker 1: come up with this. I started, I pushed the somber

973
01:00:54,640 --> 01:00:56,160
Speaker 1: or whatever it was on the thing, and I started

974
01:00:56,160 --> 01:01:02,360
Speaker 1: playing these chords or whatever, and you know, uh and

975
01:01:03,840 --> 01:01:08,880
Speaker 1: rock your baby was born, and so um, I was

976
01:01:08,920 --> 01:01:11,320
Speaker 1: looking for somebody to I didn't think it was like

977
01:01:11,480 --> 01:01:14,320
Speaker 1: something that it was a little different than I was writing,

978
01:01:14,520 --> 01:01:16,520
Speaker 1: you know, for that I'd done for boy Whistle and

979
01:01:16,560 --> 01:01:18,760
Speaker 1: sign you if You On? And what the direction. I

980
01:01:18,760 --> 01:01:21,600
Speaker 1: was already writing for others stuff on my on the

981
01:01:21,640 --> 01:01:24,440
Speaker 1: case of the Sun Traine record that I was working on,

982
01:01:25,440 --> 01:01:33,960
Speaker 1: and so um uh. At the time, I think I

983
01:01:34,040 --> 01:01:37,120
Speaker 1: thought about Jimmy bull Horn singing the record, and I

984
01:01:37,160 --> 01:01:39,320
Speaker 1: was waiting for him to come in. And George mccraize

985
01:01:39,320 --> 01:01:42,200
Speaker 1: showed up that day and I said, George, come over here,

986
01:01:42,240 --> 01:01:45,200
Speaker 1: and you know, hum this melody, and I hummed the

987
01:01:45,240 --> 01:01:47,920
Speaker 1: melody to him. In the minute I heard his voice.

988
01:01:47,960 --> 01:01:50,720
Speaker 1: I knew that, um, he was the one that should

989
01:01:50,720 --> 01:01:53,440
Speaker 1: sing this song, and I took him and went up

990
01:01:53,440 --> 01:01:57,640
Speaker 1: in the studio and we recorded the song, and four

991
01:01:57,720 --> 01:02:00,000
Speaker 1: or five weeks later was number one in fifty one

992
01:02:00,040 --> 01:02:09,520
Speaker 1: countries around the world. Okay, a couple of things. It's

993
01:02:09,600 --> 01:02:14,600
Speaker 1: considered to be the It's V four, the first UH

994
01:02:14,920 --> 01:02:18,320
Speaker 1: disco record dance record is considered to be the used

995
01:02:18,320 --> 01:02:23,280
Speaker 1: corporation rocked the Boat, and then George mccraey's song, which

996
01:02:23,440 --> 01:02:28,160
Speaker 1: came first the sound or the nightclub. Were you making

997
01:02:28,160 --> 01:02:31,640
Speaker 1: this totally independently or were you aware of a nightlife

998
01:02:31,640 --> 01:02:34,120
Speaker 1: scene that you were trying to make music for that

999
01:02:34,160 --> 01:02:37,800
Speaker 1: you were participating in. Okay, well, I was aware of

1000
01:02:37,800 --> 01:02:41,320
Speaker 1: a nightlife see, definitely, but it wasn't any different than

1001
01:02:41,360 --> 01:02:43,920
Speaker 1: the sock Cops, and all they were doing is playing records,

1002
01:02:44,120 --> 01:02:52,800
Speaker 1: you know. Um. But the the the part behind Casey

1003
01:02:52,840 --> 01:02:56,520
Speaker 1: and Sunshine Man sound in that whole creation was I

1004
01:02:56,560 --> 01:03:00,640
Speaker 1: loved dance music. My mother loved dance and I've always

1005
01:03:00,720 --> 01:03:04,160
Speaker 1: loved anything up tempo, and I would get kind of,

1006
01:03:06,520 --> 01:03:10,200
Speaker 1: you know, disappointed when it because great dance record come

1007
01:03:10,200 --> 01:03:11,640
Speaker 1: out and then you buy the album and it was

1008
01:03:11,680 --> 01:03:14,360
Speaker 1: all these slow songs and all this other crap on there.

1009
01:03:15,320 --> 01:03:19,280
Speaker 1: So I wanted to change that. I wanted to make

1010
01:03:19,320 --> 01:03:24,800
Speaker 1: every song up tempo, um and on side A to

1011
01:03:24,920 --> 01:03:28,000
Speaker 1: side B. So that's what I was doing with Casey

1012
01:03:28,040 --> 01:03:32,720
Speaker 1: in the Sunshine Band. Besides that, UM, I believe we

1013
01:03:32,840 --> 01:03:36,040
Speaker 1: might have been the first ones to ever do a

1014
01:03:36,080 --> 01:03:39,600
Speaker 1: twelve inch or a longer version of a song, you know,

1015
01:03:39,680 --> 01:03:43,000
Speaker 1: strictly for the clubs. With Rock Your Baby, we took

1016
01:03:43,080 --> 01:03:45,840
Speaker 1: we took the instrumental the record, took the vocal off,

1017
01:03:46,320 --> 01:03:51,200
Speaker 1: spliced in about three minutes of instrumental, and then added

1018
01:03:51,240 --> 01:03:53,720
Speaker 1: the vocal back at the end, making the song six

1019
01:03:53,760 --> 01:03:57,800
Speaker 1: minutes and ten seconds long or something like that. So

1020
01:03:58,240 --> 01:04:04,440
Speaker 1: Rock your Baby goes to number one? What's next for you? Um? Okay?

1021
01:04:04,440 --> 01:04:07,880
Speaker 1: So me and it was are now they they make

1022
01:04:07,880 --> 01:04:12,480
Speaker 1: a deal with the label in the UK, and the

1023
01:04:12,520 --> 01:04:17,200
Speaker 1: owner of that label, uh, South Kasner, I think not.

1024
01:04:17,480 --> 01:04:23,000
Speaker 1: She was a South Kasner. David Kasner comes over and

1025
01:04:23,720 --> 01:04:26,200
Speaker 1: wants to hear the new case in the Sunshine Man album.

1026
01:04:26,480 --> 01:04:30,200
Speaker 1: So one of the songs I, you know, so I'm

1027
01:04:30,200 --> 01:04:32,040
Speaker 1: playing in the album, and here's this song on the

1028
01:04:32,080 --> 01:04:35,680
Speaker 1: album called the Queen of Clubs and he says, that's

1029
01:04:35,680 --> 01:04:39,800
Speaker 1: a number one record in my country. I'm thinking, okay,

1030
01:04:39,840 --> 01:04:45,200
Speaker 1: that's nice. I'll take that. He takes it back to

1031
01:04:45,280 --> 01:04:48,840
Speaker 1: the UK and the record shoots to the number four,

1032
01:04:50,360 --> 01:04:53,720
Speaker 1: and not only in the UK, but kind of all

1033
01:04:53,760 --> 01:04:59,440
Speaker 1: over Europe some places number one. So it's like, holy cow,

1034
01:04:59,640 --> 01:05:02,080
Speaker 1: you know, I got to go on tour. I've never

1035
01:05:02,080 --> 01:05:10,400
Speaker 1: really played. I've never really played live before like that,

1036
01:05:11,040 --> 01:05:14,080
Speaker 1: you know, singing and playing at the same time. So

1037
01:05:14,200 --> 01:05:16,120
Speaker 1: they booked us a tour over there for forty eight

1038
01:05:16,200 --> 01:05:20,840
Speaker 1: shows in twenty four cities and two nights before. I

1039
01:05:20,880 --> 01:05:28,680
Speaker 1: haven't an emergency appendecti appendectomy operation. I've penicide it, you know, appendectomy.

1040
01:05:29,000 --> 01:05:33,680
Speaker 1: So um, that gets canceled. And thirty days later we

1041
01:05:33,760 --> 01:05:35,640
Speaker 1: go over and I do these forty eight cities in

1042
01:05:35,720 --> 01:05:39,480
Speaker 1: twenty four days, wearing a thing around me to you know,

1043
01:05:39,600 --> 01:05:44,080
Speaker 1: like the last Eigg band or whatever, uh, to make

1044
01:05:44,120 --> 01:05:47,920
Speaker 1: sure I didn't hurt myself or anything. And now they,

1045
01:05:48,120 --> 01:05:50,120
Speaker 1: you know, they want the next record or whatever. And

1046
01:05:51,040 --> 01:05:52,880
Speaker 1: that's the way I canna get down tonight where we're

1047
01:05:52,920 --> 01:05:56,040
Speaker 1: created out of that, and I actually changed, you know,

1048
01:05:56,320 --> 01:05:58,800
Speaker 1: the sound of you know, the way I sang the

1049
01:05:58,840 --> 01:06:02,600
Speaker 1: songs a little bit and actually remember recording them with

1050
01:06:02,640 --> 01:06:06,960
Speaker 1: a little bit of a British accent. So how do

1051
01:06:07,040 --> 01:06:11,480
Speaker 1: we get to get down tonight? We get to get

1052
01:06:11,480 --> 01:06:17,200
Speaker 1: down tonight because uh, I'm in the studio. Really, when

1053
01:06:17,240 --> 01:06:19,240
Speaker 1: I a lot of times when I would work on

1054
01:06:19,280 --> 01:06:21,600
Speaker 1: a song, sometimes I have a title, sometimes I don't.

1055
01:06:22,080 --> 01:06:24,640
Speaker 1: I had a title for that, which at that time

1056
01:06:25,000 --> 01:06:27,520
Speaker 1: when I when I first wrote it in the studio

1057
01:06:27,960 --> 01:06:30,120
Speaker 1: came up, you know, did the chords and the melod everything,

1058
01:06:30,120 --> 01:06:31,880
Speaker 1: eng was called what you want is what You'll get,

1059
01:06:32,720 --> 01:06:36,800
Speaker 1: and you know, it was kind of a working title

1060
01:06:36,880 --> 01:06:39,760
Speaker 1: or whatever. And the more I thought about it, you know,

1061
01:06:39,960 --> 01:06:44,080
Speaker 1: it just wasn't ringing the bells for me, and get

1062
01:06:44,120 --> 01:06:50,440
Speaker 1: down was kind of a uh A saying at the

1063
01:06:50,480 --> 01:06:53,720
Speaker 1: time or whatever, and you know, I started thinking, get down,

1064
01:06:53,720 --> 01:06:57,400
Speaker 1: get down, get down tonight, um, you know, and then

1065
01:06:58,160 --> 01:07:03,440
Speaker 1: wrote about you know, what do you What are the

1066
01:07:03,520 --> 01:07:05,360
Speaker 1: things I like to do? What are the things you

1067
01:07:05,440 --> 01:07:07,520
Speaker 1: like to do? You know, do a little dance, making

1068
01:07:07,520 --> 01:07:10,800
Speaker 1: a little love, get down tonight, and then creating the

1069
01:07:10,880 --> 01:07:15,480
Speaker 1: story kind of around that, you know, with being with

1070
01:07:15,560 --> 01:07:17,960
Speaker 1: somebody else, baby baby, let's get together, honey, honey, me

1071
01:07:18,000 --> 01:07:20,680
Speaker 1: and you do the things do the things we like

1072
01:07:20,800 --> 01:07:22,280
Speaker 1: to do. Do a little dance, make a little love,

1073
01:07:22,360 --> 01:07:27,560
Speaker 1: get down tonight. Yeah it was that simple. Okay, wait

1074
01:07:27,560 --> 01:07:30,520
Speaker 1: a second. I was more of an FM guy. But

1075
01:07:30,680 --> 01:07:32,920
Speaker 1: it is living out West at the time and you're

1076
01:07:33,000 --> 01:07:36,400
Speaker 1: driving these long stretches. Prior to satellite radio, you'd be

1077
01:07:36,440 --> 01:07:39,960
Speaker 1: flipping the dial here stuff on AM radio which had

1078
01:07:40,000 --> 01:07:44,160
Speaker 1: a long, uh, a large area of coverage. You heard

1079
01:07:44,240 --> 01:07:48,200
Speaker 1: that track What's and no matter what kind of music

1080
01:07:48,280 --> 01:07:52,960
Speaker 1: you liked, you immediately got it. He said, holy shit. Okay,

1081
01:07:53,160 --> 01:07:56,720
Speaker 1: I remember the first time that. It's very interesting because

1082
01:07:56,720 --> 01:08:01,160
Speaker 1: we had always recorded everything ever a TK, but because

1083
01:08:01,360 --> 01:08:04,800
Speaker 1: we needed to add Nework things to we went to

1084
01:08:04,920 --> 01:08:07,280
Speaker 1: Criteria to do the vocal and the horns in the

1085
01:08:07,320 --> 01:08:13,160
Speaker 1: backgrounds tonight. I finished that vocal or whatever, and I

1086
01:08:13,240 --> 01:08:16,160
Speaker 1: must have played that song one times because it was

1087
01:08:16,240 --> 01:08:21,120
Speaker 1: just so infectious. I it was just I knew there

1088
01:08:21,160 --> 01:08:23,040
Speaker 1: was something special about it. As a matter of fact,

1089
01:08:23,320 --> 01:08:25,000
Speaker 1: when Henry finally put it out, it went on the

1090
01:08:25,000 --> 01:08:28,240
Speaker 1: Billboard chart at and the next week it fell off

1091
01:08:28,240 --> 01:08:30,439
Speaker 1: the chart. I went to Henry. I said, Henry, this

1092
01:08:30,560 --> 01:08:32,439
Speaker 1: is a hit song. What's going on? He says, don't

1093
01:08:32,479 --> 01:08:36,960
Speaker 1: worry about it. That was it. Well, that's what people

1094
01:08:36,960 --> 01:08:39,880
Speaker 1: who don't play at the elite level don't understand. When

1095
01:08:39,920 --> 01:08:44,760
Speaker 1: you do something that good, you know it okay, and

1096
01:08:44,880 --> 01:08:47,360
Speaker 1: you rarely can get he can't hit that every day

1097
01:08:47,400 --> 01:08:51,760
Speaker 1: every month, but when you get there, you certainly know it. Right.

1098
01:08:52,240 --> 01:08:55,720
Speaker 1: So okay, now you're off and running. Okay with the

1099
01:08:55,760 --> 01:09:00,400
Speaker 1: next track? Is that's the way I like it? Yeah?

1100
01:09:01,040 --> 01:09:03,240
Speaker 1: So you know, now you have a success. Now you

1101
01:09:03,240 --> 01:09:07,639
Speaker 1: gotta worry about following it up. Well, the two songs

1102
01:09:07,640 --> 01:09:10,200
Speaker 1: were almost recorded within the same period of time. You

1103
01:09:10,200 --> 01:09:13,160
Speaker 1: have to understand. Now I'm I've moved from the first

1104
01:09:13,200 --> 01:09:15,960
Speaker 1: album and now working on the second album. So tracks

1105
01:09:15,960 --> 01:09:20,000
Speaker 1: were in the progress in progress, whether it was you

1106
01:09:20,040 --> 01:09:22,439
Speaker 1: know and and and all the songs were almost recorded

1107
01:09:22,479 --> 01:09:25,760
Speaker 1: a year before. So get down to Night Investady like

1108
01:09:25,840 --> 01:09:28,200
Speaker 1: it would have been recorded in nineteen seventy four, like

1109
01:09:28,439 --> 01:09:30,960
Speaker 1: seventy four or whatever, after I got back from tour

1110
01:09:31,000 --> 01:09:35,680
Speaker 1: in England. Uh so, Um, it was already in the

1111
01:09:35,760 --> 01:09:38,960
Speaker 1: can before the was already Yeah, I was already in

1112
01:09:39,000 --> 01:09:43,400
Speaker 1: the can. And then what about shake your Booty? What

1113
01:09:43,479 --> 01:09:46,400
Speaker 1: about it? Um? How did you come with booty? Well,

1114
01:09:47,439 --> 01:09:50,439
Speaker 1: it's an interesting story behind that, other than booty being

1115
01:09:50,520 --> 01:09:53,519
Speaker 1: a famous another word that was popular at the time.

1116
01:09:54,560 --> 01:09:56,760
Speaker 1: But you know, from doing these concerts, a lot of

1117
01:09:56,800 --> 01:10:01,040
Speaker 1: times I'd be in situations and you know that there

1118
01:10:01,080 --> 01:10:05,680
Speaker 1: would be I just felt like still people were a

1119
01:10:05,680 --> 01:10:09,040
Speaker 1: little afraid to let themselves go, let themselves be what

1120
01:10:09,080 --> 01:10:12,519
Speaker 1: they whatever they want to be, and still had this

1121
01:10:13,120 --> 01:10:15,599
Speaker 1: fear of like I said, all right, to get up.

1122
01:10:15,640 --> 01:10:18,320
Speaker 1: And so I'd be doing these concerts and you know,

1123
01:10:18,600 --> 01:10:21,040
Speaker 1: thousands of people be standing up and I'd be drawn

1124
01:10:21,120 --> 01:10:23,880
Speaker 1: to the one person sitting there with their arms crossed

1125
01:10:23,960 --> 01:10:27,439
Speaker 1: or whatever. Which sometimes that's kind of me um. But

1126
01:10:28,360 --> 01:10:30,080
Speaker 1: it's not that I'm not having a good time. It's

1127
01:10:30,120 --> 01:10:34,120
Speaker 1: just I'm just I'm comfortable to relax. But anyway, I

1128
01:10:33,880 --> 01:10:36,639
Speaker 1: I just so it was kind of a song about

1129
01:10:38,000 --> 01:10:41,120
Speaker 1: and and and also I felt like a lot of

1130
01:10:41,160 --> 01:10:43,760
Speaker 1: people didn't have enough faith in themselves and believe in

1131
01:10:43,800 --> 01:10:46,880
Speaker 1: themselves enough. And it was kind of a song meant

1132
01:10:46,920 --> 01:10:49,800
Speaker 1: to be let you know that you're as good as

1133
01:10:49,840 --> 01:10:52,280
Speaker 1: the next person. There's anybody else. Get up and shake

1134
01:10:52,320 --> 01:10:54,560
Speaker 1: your ass, get up and shake your booty. You know

1135
01:10:54,560 --> 01:10:58,240
Speaker 1: what I mean. You're the best to see, um, you

1136
01:10:58,320 --> 01:11:00,559
Speaker 1: can you can't do it very well? Are the best

1137
01:11:00,600 --> 01:11:03,760
Speaker 1: in the world, I can tell you know, I mean shake, shake, shake,

1138
01:11:03,840 --> 01:11:07,479
Speaker 1: shake your booty. So is that kind of thing, like

1139
01:11:08,000 --> 01:11:10,080
Speaker 1: a little bit of a motivational thing in a way

1140
01:11:10,120 --> 01:11:15,640
Speaker 1: for people to to have a belief in themselves and uh,

1141
01:11:15,880 --> 01:11:20,200
Speaker 1: to enjoy life, to to shake your booty. And now

1142
01:11:20,280 --> 01:11:23,280
Speaker 1: you're on a run, do you feel the pressure to

1143
01:11:23,360 --> 01:11:27,000
Speaker 1: have more hits? Hits? No? I mean, first of all,

1144
01:11:27,000 --> 01:11:28,880
Speaker 1: you have to say, and I came from a label

1145
01:11:28,920 --> 01:11:34,040
Speaker 1: that had nothing but one hit, Wonders. Um. I you know,

1146
01:11:34,120 --> 01:11:37,000
Speaker 1: out of all the songs, I wasn't sure about shake

1147
01:11:37,040 --> 01:11:41,000
Speaker 1: your Booty until um because it just seemed too easy

1148
01:11:41,080 --> 01:11:44,040
Speaker 1: to do. The vocal everything was just so easy with

1149
01:11:44,120 --> 01:11:48,160
Speaker 1: that song. Um. And I remember it wasn't until we

1150
01:11:48,320 --> 01:11:53,240
Speaker 1: i um, we performed at the first time, I think

1151
01:11:53,360 --> 01:11:56,439
Speaker 1: right before the record came out in Dallas, Texas at

1152
01:11:56,479 --> 01:11:59,439
Speaker 1: six Flags over Texas Arlington Texts or wherever six Flags

1153
01:11:59,560 --> 01:12:03,800
Speaker 1: is there, and you know, the fans went nuts. I

1154
01:12:03,840 --> 01:12:08,040
Speaker 1: mean they went nuts, and it just felt right even

1155
01:12:08,080 --> 01:12:12,240
Speaker 1: performing it. It just felt like, Wow, I was you

1156
01:12:12,280 --> 01:12:14,599
Speaker 1: know this one, this is this is gonna be huge

1157
01:12:15,560 --> 01:12:21,320
Speaker 1: and you know that it was okay number three, You're

1158
01:12:21,360 --> 01:12:26,599
Speaker 1: working at an independent label, which is still independent after

1159
01:12:26,680 --> 01:12:31,720
Speaker 1: the wild West of what comes before the sixties and fifties. Okay,

1160
01:12:32,240 --> 01:12:36,880
Speaker 1: So ultimately with the label went bankrupt, it was Saltimore's

1161
01:12:36,960 --> 01:12:41,080
Speaker 1: Levi's Roulette, which needles to say, has a reputation of

1162
01:12:41,640 --> 01:12:45,160
Speaker 1: working in the mafia world. You're working at t K.

1163
01:12:45,800 --> 01:12:48,439
Speaker 1: To what degree are you getting an honest accounting? To

1164
01:12:48,520 --> 01:12:51,200
Speaker 1: what degree is the business legitimate? To what degree are

1165
01:12:51,200 --> 01:12:56,960
Speaker 1: you getting paid one to me, two or three out

1166
01:12:57,000 --> 01:13:03,200
Speaker 1: the door? And you were aware of that pretty much

1167
01:13:03,560 --> 01:13:07,720
Speaker 1: then you thought, what, I don't think too much of it.

1168
01:13:07,760 --> 01:13:12,120
Speaker 1: I mean I was, Um, it was until I am

1169
01:13:12,160 --> 01:13:14,160
Speaker 1: audited that I thought about it too much at all.

1170
01:13:15,120 --> 01:13:20,160
Speaker 1: That was near the end. And how about ownership? Was

1171
01:13:20,200 --> 01:13:23,880
Speaker 1: there ever an issue of them wanting part of the pot? Okay?

1172
01:13:23,920 --> 01:13:25,640
Speaker 1: So after that, after that's what we like, and I

1173
01:13:25,640 --> 01:13:31,640
Speaker 1: went renegotiated. Um, you know, my deal with him for

1174
01:13:31,840 --> 01:13:36,840
Speaker 1: half the publishing and better points and better everything. So

1175
01:13:36,880 --> 01:13:40,160
Speaker 1: at this late date, what do you own? And Henry

1176
01:13:40,160 --> 01:13:43,280
Speaker 1: game in my own label? You know, I mean he

1177
01:13:43,360 --> 01:13:48,880
Speaker 1: was pretty much you know, supporting my label and everything else. Okay,

1178
01:13:48,920 --> 01:13:57,920
Speaker 1: but right now, what do you own half of you

1179
01:13:57,960 --> 01:14:00,640
Speaker 1: have half the publishing, and then and how much of

1180
01:14:00,680 --> 01:14:06,640
Speaker 1: the writers share my percentage. Okay. So a lot of

1181
01:14:06,680 --> 01:14:13,200
Speaker 1: these songs were co written with someone else. Yeah, and

1182
01:14:13,280 --> 01:14:15,800
Speaker 1: what did you do and what did that other person do?

1183
01:14:16,000 --> 01:14:21,200
Speaker 1: And why did that end? I did it all? So

1184
01:14:21,360 --> 01:14:23,720
Speaker 1: why did he get credit? We just had it. It

1185
01:14:23,840 --> 01:14:27,280
Speaker 1: was just a business thing that I gave him credit. Okay,

1186
01:14:27,320 --> 01:14:30,000
Speaker 1: So he really did he do anything for his credit

1187
01:14:30,080 --> 01:14:33,280
Speaker 1: business wise or anything? No? He played bass, and he

1188
01:14:33,400 --> 01:14:36,519
Speaker 1: was a great engineer, and he was good at some

1189
01:14:36,640 --> 01:14:41,920
Speaker 1: of the production. Okay, production. Going back to the songs, okay,

1190
01:14:42,080 --> 01:14:46,880
Speaker 1: so you have maintained your ownership. You're getting royalties now? Yeah,

1191
01:14:47,000 --> 01:14:52,080
Speaker 1: and who administers those songs? Sony, Sony. It's been through,

1192
01:14:52,120 --> 01:14:54,960
Speaker 1: it's been through so many different people. But you have

1193
01:14:55,080 --> 01:14:56,920
Speaker 1: continued to get paid or do you have to audit

1194
01:14:56,960 --> 01:14:58,840
Speaker 1: for your money? And who knows whether you're getting paid?

1195
01:14:58,840 --> 01:15:01,120
Speaker 1: How many cents on the dollar? No, you know, I

1196
01:15:01,120 --> 01:15:05,639
Speaker 1: mean it's I mean you always do audits. Well, let's

1197
01:15:05,640 --> 01:15:07,600
Speaker 1: but if you never worked again, you got plenty of

1198
01:15:07,680 --> 01:15:12,440
Speaker 1: money coming in with the royalties. I'm okay, you're okay.

1199
01:15:12,800 --> 01:15:15,280
Speaker 1: You go on the road. What's the incentive to go

1200
01:15:15,320 --> 01:15:19,439
Speaker 1: on the road because I have fun and I like it? Okay,

1201
01:15:19,520 --> 01:15:23,000
Speaker 1: But it's not primarily money, or is it. No? No,

1202
01:15:23,680 --> 01:15:28,000
Speaker 1: so you go on the road. Uh, in the last

1203
01:15:28,240 --> 01:15:31,479
Speaker 1: fifty years, have there been times you've stayed off the

1204
01:15:31,560 --> 01:15:34,479
Speaker 1: road going back on or if you consistently work that

1205
01:15:34,560 --> 01:15:42,920
Speaker 1: whole time? Um? I for ten years between eighty four

1206
01:15:43,200 --> 01:15:47,960
Speaker 1: and ninety five around there somewhere, I didn't I didn't

1207
01:15:47,960 --> 01:15:49,479
Speaker 1: tour at all. I didn't want to have anything to

1208
01:15:49,520 --> 01:15:52,160
Speaker 1: do with this business. I hated it. I was done.

1209
01:15:52,280 --> 01:15:55,320
Speaker 1: I didn't want anything to do with it. It wasn't

1210
01:15:55,360 --> 01:15:57,000
Speaker 1: until our Cindy oh Hall I wanted to see a

1211
01:15:57,080 --> 01:16:01,360
Speaker 1: reunion on his TV show that I realized I had

1212
01:16:01,400 --> 01:16:05,519
Speaker 1: stopped doing something I love to do. And I started

1213
01:16:05,520 --> 01:16:07,479
Speaker 1: putting my feetback in, you know, out there in the

1214
01:16:07,479 --> 01:16:11,240
Speaker 1: water and testing the waters and put a band back together.

1215
01:16:12,640 --> 01:16:14,120
Speaker 1: What did you do for this? I've been I've been

1216
01:16:14,160 --> 01:16:15,960
Speaker 1: doing it ever since. Then? Would you do for those

1217
01:16:15,960 --> 01:16:19,680
Speaker 1: ten years? Took off a lot of drugs and a

1218
01:16:19,760 --> 01:16:23,720
Speaker 1: lot of partying. There's a lot of nothing, so you

1219
01:16:23,040 --> 01:16:26,400
Speaker 1: were kind of just kind of just living life. No,

1220
01:16:26,520 --> 01:16:30,960
Speaker 1: I was done. I was not gonna know nothing. Were

1221
01:16:31,000 --> 01:16:34,120
Speaker 1: you done? Just because the whole effect or you felt

1222
01:16:34,240 --> 01:16:39,160
Speaker 1: ripped off for too much pressure? I was just tired

1223
01:16:39,160 --> 01:16:40,679
Speaker 1: of I was kind of just tired of being told

1224
01:16:40,760 --> 01:16:42,400
Speaker 1: what to do, when to do it, how to feel,

1225
01:16:42,479 --> 01:16:45,280
Speaker 1: when to be this place, and that I just wanted

1226
01:16:45,320 --> 01:16:48,920
Speaker 1: to like, I wanted life back. I wanted like a

1227
01:16:49,080 --> 01:16:54,559
Speaker 1: normal life back. That's just what I wanted. I just wanted.

1228
01:16:55,560 --> 01:16:58,479
Speaker 1: You wanted to feelm normal again. I think just if

1229
01:16:58,520 --> 01:17:01,920
Speaker 1: that was even possible, which it's not because of who

1230
01:17:01,920 --> 01:17:05,360
Speaker 1: I am or what I've done, but as normal as

1231
01:17:05,479 --> 01:17:09,280
Speaker 1: normal can be for me. After you're done with t K,

1232
01:17:09,439 --> 01:17:12,280
Speaker 1: you move on to what is then CBS Records now

1233
01:17:12,360 --> 01:17:17,960
Speaker 1: sonydor good or bad experience? How different? I left t

1234
01:17:18,080 --> 01:17:19,680
Speaker 1: K because I had an auditor and they owned me

1235
01:17:19,760 --> 01:17:24,840
Speaker 1: nine million dollars. Did you get it? Nope? Say taken

1236
01:17:25,120 --> 01:17:27,000
Speaker 1: because I figured I would have been gone to court

1237
01:17:27,080 --> 01:17:28,640
Speaker 1: and when I would would have been in court for

1238
01:17:28,720 --> 01:17:31,400
Speaker 1: years and years. And I said take it and shot

1239
01:17:31,439 --> 01:17:36,519
Speaker 1: it and I signed with CBS. What epic And so

1240
01:17:36,600 --> 01:17:40,600
Speaker 1: you signed? How was your experience an epic? Not a

1241
01:17:40,600 --> 01:17:46,040
Speaker 1: great one, not a great one at all. Um. I

1242
01:17:46,040 --> 01:17:50,080
Speaker 1: think at the time, EPIC was just so so into

1243
01:17:50,080 --> 01:17:52,680
Speaker 1: the Michael Jackson thing or whatever that maybe they're just

1244
01:17:52,680 --> 01:17:54,800
Speaker 1: buying up competition. I don't know what they were doing,

1245
01:17:55,600 --> 01:17:57,639
Speaker 1: but they didn't have any If you look at that period,

1246
01:17:58,000 --> 01:18:00,360
Speaker 1: they didn't have any time for anybody but Michael because

1247
01:18:00,400 --> 01:18:03,439
Speaker 1: Frank de Leo, who was running Epic. You know, I

1248
01:18:03,520 --> 01:18:06,960
Speaker 1: wanted to be Michael's manager. And I remember the first

1249
01:18:07,040 --> 01:18:11,760
Speaker 1: album I did for them, Um, you know that they

1250
01:18:11,800 --> 01:18:13,479
Speaker 1: were happy with it and all that sort of stuff,

1251
01:18:13,479 --> 01:18:14,880
Speaker 1: and then nothing, you haven't to it. I remember going

1252
01:18:14,880 --> 01:18:17,479
Speaker 1: in and say, look, I don't need your charity. If

1253
01:18:17,520 --> 01:18:19,640
Speaker 1: you don't like something, you better tell me. You know,

1254
01:18:19,680 --> 01:18:21,240
Speaker 1: if you're not gonna back this and you're not gonna

1255
01:18:21,280 --> 01:18:24,080
Speaker 1: believe in what I'm doing, then I don't want to

1256
01:18:24,120 --> 01:18:25,360
Speaker 1: do it. And you know what I mean, I'm not

1257
01:18:25,400 --> 01:18:28,599
Speaker 1: a charity here, So you know, I went and did

1258
01:18:28,640 --> 01:18:30,840
Speaker 1: the second album and they got more involved in it

1259
01:18:30,880 --> 01:18:34,160
Speaker 1: and everything, and um, except when it came time to

1260
01:18:34,200 --> 01:18:35,880
Speaker 1: put out and give it up in America after it

1261
01:18:35,960 --> 01:18:38,240
Speaker 1: was number one for six weeks in Europe, they didn't

1262
01:18:38,280 --> 01:18:39,840
Speaker 1: want to do it. So I said, let me have

1263
01:18:39,920 --> 01:18:43,200
Speaker 1: the record. I went off the contract and they paid

1264
01:18:43,200 --> 01:18:45,000
Speaker 1: me a hundred thousand dollars, gave me the record, and

1265
01:18:45,000 --> 01:18:48,200
Speaker 1: I put it out myself said, and it was the

1266
01:18:48,320 --> 01:18:51,919
Speaker 1: number one record, even though Billboard didn't reflect it correctly.

1267
01:18:52,960 --> 01:18:57,639
Speaker 1: Explain that a little bit more. Okay, So the Billboard

1268
01:18:57,720 --> 01:19:02,320
Speaker 1: charts mainly or they eased on points. They give radio

1269
01:19:02,360 --> 01:19:04,479
Speaker 1: stations and how far you got the charter when you're

1270
01:19:04,520 --> 01:19:08,320
Speaker 1: on a radio station, so um, depending on mean radio

1271
01:19:08,360 --> 01:19:10,519
Speaker 1: stations you're on at the time you get points, it

1272
01:19:10,600 --> 01:19:14,560
Speaker 1: goes up when when stations are off of it, you

1273
01:19:14,680 --> 01:19:17,480
Speaker 1: lose the points. So there are a lot of stations

1274
01:19:17,520 --> 01:19:19,760
Speaker 1: like in Miami and other stations. It went on very

1275
01:19:19,880 --> 01:19:23,599
Speaker 1: very very early and off the success of the UK

1276
01:19:24,800 --> 01:19:28,080
Speaker 1: and um Epic didn't want to release it as single,

1277
01:19:28,840 --> 01:19:32,920
Speaker 1: and so I lost the momentum and the points. Even

1278
01:19:32,920 --> 01:19:35,960
Speaker 1: though that record was number one on every radio station

1279
01:19:36,000 --> 01:19:38,040
Speaker 1: in the United States of America for at least five

1280
01:19:38,120 --> 01:19:41,000
Speaker 1: to six weeks, there was not one station in America

1281
01:19:41,400 --> 01:19:44,280
Speaker 1: that record wasn't number one on. But because of the

1282
01:19:44,320 --> 01:19:47,880
Speaker 1: way the point system is and the timing of the

1283
01:19:47,920 --> 01:19:50,160
Speaker 1: ones that went on at early and the ones that

1284
01:19:50,200 --> 01:19:53,120
Speaker 1: went out late is it was coming up. Other stations

1285
01:19:53,200 --> 01:19:56,000
Speaker 1: were had already had there's six weeks, you know, their

1286
01:19:56,040 --> 01:19:58,240
Speaker 1: their patients are starting to go down. So I was

1287
01:19:58,280 --> 01:20:03,360
Speaker 1: losing points here by gaining all these points you know here, Okay,

1288
01:20:03,360 --> 01:20:05,120
Speaker 1: one other truck I want to talk about is my

1289
01:20:05,200 --> 01:20:08,679
Speaker 1: favorite other than Get Down Tonight. And it's very different

1290
01:20:08,800 --> 01:20:12,439
Speaker 1: from the upbeat tracks. That's please Don't Go. How did

1291
01:20:12,479 --> 01:20:18,559
Speaker 1: that come about? Um? I was sitting at the piano

1292
01:20:18,840 --> 01:20:21,080
Speaker 1: waiting for the next session to start or whatever, as

1293
01:20:21,120 --> 01:20:23,599
Speaker 1: I always did, while they were trying to get the

1294
01:20:23,600 --> 01:20:26,160
Speaker 1: sound of you know, the instruments and everything else. Was

1295
01:20:26,200 --> 01:20:29,040
Speaker 1: always a long process. And I was sitting down at

1296
01:20:29,040 --> 01:20:34,040
Speaker 1: the the grand piano and just these cords just came

1297
01:20:34,160 --> 01:20:41,759
Speaker 1: to my head, and um uh it was just different.

1298
01:20:41,800 --> 01:20:46,479
Speaker 1: I just you know, it was just I don't know

1299
01:20:46,520 --> 01:20:50,240
Speaker 1: if I was thinking, like you know, you know, the

1300
01:20:50,320 --> 01:20:54,400
Speaker 1: disco thing was happening or or you know, and I

1301
01:20:54,560 --> 01:20:56,640
Speaker 1: just felt like I wanted to change. I wanted to

1302
01:20:56,680 --> 01:20:59,160
Speaker 1: do something a little bit different that I always swore

1303
01:20:59,160 --> 01:21:00,680
Speaker 1: I would never really do it, which was like a

1304
01:21:00,720 --> 01:21:04,760
Speaker 1: ballot or something slow. And you know, it just all

1305
01:21:04,880 --> 01:21:08,960
Speaker 1: just again these things. I can't explain these things to you.

1306
01:21:09,600 --> 01:21:11,839
Speaker 1: I can try to explain it and make an excuse

1307
01:21:11,920 --> 01:21:15,240
Speaker 1: or a reason. There's no reason. There's no I didn't

1308
01:21:15,280 --> 01:21:19,040
Speaker 1: know how to explain how God or whatever this that

1309
01:21:19,280 --> 01:21:23,320
Speaker 1: is comes into my hands sits them down on this keyboard,

1310
01:21:24,040 --> 01:21:27,400
Speaker 1: and and all of a sudden, these things start happening

1311
01:21:28,200 --> 01:21:30,439
Speaker 1: kind of beyond my control, as if it's automatic. It's

1312
01:21:30,479 --> 01:21:32,560
Speaker 1: just like I put my hands down and all of

1313
01:21:32,600 --> 01:21:37,439
Speaker 1: a sudden this starts happening and develops into this other

1314
01:21:37,520 --> 01:21:41,839
Speaker 1: thing that just becomes massive. I can't explain that. I'll

1315
01:21:41,880 --> 01:21:44,360
Speaker 1: never will be able to. Did you expect it to

1316
01:21:44,400 --> 01:21:49,200
Speaker 1: be commercially successful? Once I heard it? Once it was done, absolutely, Oh,

1317
01:21:49,200 --> 01:21:52,360
Speaker 1: I knew it right away. Any of your tracks that

1318
01:21:52,400 --> 01:22:05,080
Speaker 1: you thought were hit that didn't go, um, I I've

1319
01:22:05,080 --> 01:22:07,920
Speaker 1: had a few, maybe in the in later years. But

1320
01:22:07,960 --> 01:22:14,320
Speaker 1: then if I look back at I mean, um, if

1321
01:22:14,360 --> 01:22:16,160
Speaker 1: I look back at some of them and dissect them,

1322
01:22:16,160 --> 01:22:20,799
Speaker 1: I can probably understand why maybe they didn't. But again, again,

1323
01:22:20,880 --> 01:22:24,960
Speaker 1: it's all in sometimes promotion and marketing too. It's like,

1324
01:22:26,200 --> 01:22:28,160
Speaker 1: you know, one another. One reason I was leading t

1325
01:22:28,320 --> 01:22:30,800
Speaker 1: K because I felt like they were getting all these

1326
01:22:30,840 --> 01:22:34,040
Speaker 1: new people coming in there, and they all wanted to

1327
01:22:34,080 --> 01:22:36,479
Speaker 1: make their marks. So they weren't interested in somebody who

1328
01:22:36,560 --> 01:22:40,599
Speaker 1: was already making had already made a mark. Um, there

1329
01:22:40,680 --> 01:22:43,040
Speaker 1: was nothing for them to do, you know what I mean.

1330
01:22:43,080 --> 01:22:46,519
Speaker 1: They wanted to make the next one. That's you know,

1331
01:22:46,560 --> 01:22:49,320
Speaker 1: I felt like, so I here, I made this company,

1332
01:22:49,400 --> 01:22:53,080
Speaker 1: and this company was now starting to ignore me. I

1333
01:22:53,160 --> 01:22:57,440
Speaker 1: hear you. So, uh do you think you were victimized

1334
01:22:57,479 --> 01:23:01,639
Speaker 1: by the disco backlash? Not at all? Well, I mean,

1335
01:23:01,880 --> 01:23:04,400
Speaker 1: I don't know, because it's very confusing because even though

1336
01:23:04,439 --> 01:23:10,240
Speaker 1: I'm considered and and probably one of the beginning of

1337
01:23:10,280 --> 01:23:13,960
Speaker 1: that whole thing, it was really R and B music

1338
01:23:14,000 --> 01:23:15,720
Speaker 1: that was being played at the time up until night

1339
01:23:15,760 --> 01:23:19,679
Speaker 1: until the Saturday Night Fever album or nine. When when

1340
01:23:19,920 --> 01:23:24,240
Speaker 1: when a lot of the things changed. And so for me,

1341
01:23:24,439 --> 01:23:26,920
Speaker 1: I feel like I had already moved on with please

1342
01:23:26,960 --> 01:23:29,120
Speaker 1: Don't Go. Then I had Yes, I'm ready with Terry

1343
01:23:29,160 --> 01:23:33,040
Speaker 1: to Sarrio. You know. Uh, so I feel like I

1344
01:23:33,040 --> 01:23:37,240
Speaker 1: had already moved beyond that sort of scenario, if that

1345
01:23:37,280 --> 01:23:43,439
Speaker 1: makes sense. I didn't like the word disco to begin with.

1346
01:23:44,360 --> 01:23:48,320
Speaker 1: Were you a guy who went to the clubs? Yeah?

1347
01:23:48,360 --> 01:23:50,760
Speaker 1: I went to club and I went to clubs because

1348
01:23:50,800 --> 01:23:55,000
Speaker 1: I love to dance. I you know, um, I you

1349
01:23:55,040 --> 01:23:58,320
Speaker 1: know everybody was going so I mean, but you know,

1350
01:23:58,360 --> 01:24:02,040
Speaker 1: I just I love music. So anywhere there was music,

1351
01:24:02,720 --> 01:24:06,519
Speaker 1: I was going to be And so other than when

1352
01:24:06,560 --> 01:24:13,520
Speaker 1: you're creating to what degree are you listening to music today? Um?

1353
01:24:13,560 --> 01:24:17,000
Speaker 1: I go on I iTunes every day and check out

1354
01:24:17,000 --> 01:24:20,040
Speaker 1: whatever the latest thing is or the whatever records on.

1355
01:24:20,080 --> 01:24:22,760
Speaker 1: I mean, I'm really in love with this song called

1356
01:24:22,840 --> 01:24:25,360
Speaker 1: Imagine by Ben Platt right now. I think it's just

1357
01:24:25,400 --> 01:24:28,400
Speaker 1: a great song. But I don't see it making very

1358
01:24:28,439 --> 01:24:31,080
Speaker 1: much noise, which I don't understand why unless it's just

1359
01:24:31,560 --> 01:24:34,879
Speaker 1: I just they just haven't got behind it yet. I hopefully, hopefully,

1360
01:24:34,920 --> 01:24:37,360
Speaker 1: because I think it's a great, great song and he

1361
01:24:37,520 --> 01:24:41,760
Speaker 1: sounds amazing on it. Um. But I I mean, I

1362
01:24:42,000 --> 01:24:44,080
Speaker 1: I listen everything. I have country on my phone, I

1363
01:24:44,080 --> 01:24:47,639
Speaker 1: have pop, I have I have everything. You know, music

1364
01:24:47,680 --> 01:24:49,000
Speaker 1: has changed a lot. I mean R and B s

1365
01:24:49,040 --> 01:24:50,479
Speaker 1: now what R and B used to be. I wished

1366
01:24:50,520 --> 01:24:52,880
Speaker 1: it was. It would be great to hear some great

1367
01:24:52,960 --> 01:24:55,679
Speaker 1: R and B music, But I don't know when that's

1368
01:24:55,720 --> 01:24:59,200
Speaker 1: going to happen. I I see, I see I see

1369
01:24:59,200 --> 01:25:03,880
Speaker 1: it slowly how happening. There's a lot of up and

1370
01:25:03,920 --> 01:25:08,640
Speaker 1: coming UM R and B artists who seem to be

1371
01:25:08,680 --> 01:25:16,040
Speaker 1: embracing that historical sound, and I hear it coming out

1372
01:25:16,040 --> 01:25:18,600
Speaker 1: of their productions and their music, and it's kind of

1373
01:25:18,640 --> 01:25:22,600
Speaker 1: exciting in a way. Okay. I saw you in the

1374
01:25:22,680 --> 01:25:27,160
Speaker 1: band perform on a cold winter night in Veil, Colorado,

1375
01:25:27,680 --> 01:25:30,120
Speaker 1: and it was spectActor. That's what really resonate with it.

1376
01:25:30,240 --> 01:25:35,160
Speaker 1: Please don't go for me, But on stage you make

1377
01:25:35,240 --> 01:25:39,800
Speaker 1: fun of yourself. Where did that come from? Where did

1378
01:25:39,840 --> 01:25:43,920
Speaker 1: that come from? That came from wanting to make myself

1379
01:25:44,640 --> 01:25:50,000
Speaker 1: relax and and feel comfortable on the stage or whatever. Um,

1380
01:25:50,040 --> 01:25:52,960
Speaker 1: I'm not don't. I don't know, I don't. It's just

1381
01:25:53,840 --> 01:25:56,280
Speaker 1: especially at times when I put on a few pounds

1382
01:25:56,360 --> 01:26:01,000
Speaker 1: or whatever. I'm all. You know. Some of it started

1383
01:26:01,040 --> 01:26:04,880
Speaker 1: with seeing young kids in the audience and thinking, you know,

1384
01:26:05,280 --> 01:26:07,360
Speaker 1: you have no clue who I am or or what

1385
01:26:07,600 --> 01:26:09,679
Speaker 1: you know, and I was trying to kind of relate

1386
01:26:09,720 --> 01:26:12,000
Speaker 1: to them a little bit. So you know, one of

1387
01:26:12,000 --> 01:26:15,800
Speaker 1: the running jokes came, I'm your mother's justin Timberlake, you

1388
01:26:15,840 --> 01:26:20,160
Speaker 1: know what I mean. So, you know, part part of

1389
01:26:20,200 --> 01:26:22,840
Speaker 1: it came from that, But part of it's just facing

1390
01:26:22,880 --> 01:26:24,920
Speaker 1: the realities, like if I put a little weight and

1391
01:26:24,960 --> 01:26:27,639
Speaker 1: then you know, like he's like God, he's getting the waiter,

1392
01:26:27,720 --> 01:26:29,599
Speaker 1: He's done this, and you know, let's let's just joke

1393
01:26:29,640 --> 01:26:31,360
Speaker 1: about it so I don't have to sit there and

1394
01:26:31,400 --> 01:26:35,240
Speaker 1: think about what they're saying, you know what I mean. Um,

1395
01:26:35,280 --> 01:26:38,280
Speaker 1: and it just kind of relaxes me. I I kind

1396
01:26:38,280 --> 01:26:43,160
Speaker 1: of have fun doing it. Um you know, Um does

1397
01:26:43,200 --> 01:26:46,439
Speaker 1: that answer the question? Yeah? Absolutely. You tell a joke

1398
01:26:46,520 --> 01:26:50,920
Speaker 1: about KFY and KFC that's pretty funny. Oh yeah, well's see,

1399
01:26:50,920 --> 01:26:53,639
Speaker 1: I've I've brought in some writers and stuff to give

1400
01:26:53,640 --> 01:26:56,519
Speaker 1: me some lines. And that was you know, that was

1401
01:26:56,560 --> 01:26:59,639
Speaker 1: one of the even though I don't really eat Kentucky

1402
01:26:59,680 --> 01:27:02,040
Speaker 1: Fried Chicken, I don't eat a lot of fried foods

1403
01:27:02,080 --> 01:27:08,920
Speaker 1: at all, but um, yeah, it was this this writer,

1404
01:27:09,000 --> 01:27:11,639
Speaker 1: that comedic writer that writes for a lot of people,

1405
01:27:12,320 --> 01:27:15,559
Speaker 1: I wrote wrote that one, and it was it's a

1406
01:27:15,600 --> 01:27:18,360
Speaker 1: fun joke. So when are we going to see you

1407
01:27:18,360 --> 01:27:24,559
Speaker 1: back on the road? Um? Right now, I'm planning on going,

1408
01:27:25,000 --> 01:27:28,519
Speaker 1: you know, back in after this mess settles down a

1409
01:27:28,560 --> 01:27:31,920
Speaker 1: little bit. Um. You know, they wanted me to kind

1410
01:27:31,920 --> 01:27:34,160
Speaker 1: of go. I mean, I just lost my guitar player

1411
01:27:34,240 --> 01:27:37,000
Speaker 1: from twenty something years, so I got to find a

1412
01:27:37,000 --> 01:27:39,200
Speaker 1: new guitar player number one and there's gonna be some

1413
01:27:39,240 --> 01:27:44,960
Speaker 1: big shoes to fill, um number two. I just I

1414
01:27:45,280 --> 01:27:50,200
Speaker 1: you know, until this pandemics kind of done and you know,

1415
01:27:50,360 --> 01:27:52,040
Speaker 1: really kind of over I don't want to be flying

1416
01:27:52,080 --> 01:27:56,559
Speaker 1: around a lot, you know, with mass Shawn and playing,

1417
01:27:56,640 --> 01:28:00,560
Speaker 1: you know. I mean, I've been going, you know on

1418
01:28:00,680 --> 01:28:03,800
Speaker 1: a few little many vacations and stuff, but it's not

1419
01:28:03,920 --> 01:28:06,880
Speaker 1: like having to fly every day three days in a row,

1420
01:28:06,960 --> 01:28:10,439
Speaker 1: and you know, dealing with all this craziness out there

1421
01:28:10,520 --> 01:28:15,639
Speaker 1: right now. So I decided and then, you know, just

1422
01:28:16,760 --> 01:28:18,720
Speaker 1: at the time, I wasn't sure, you know, I just

1423
01:28:18,760 --> 01:28:22,200
Speaker 1: we didn't want to put anybody in situations. I didn't

1424
01:28:22,600 --> 01:28:25,760
Speaker 1: know how you know, a lot of places haven't really

1425
01:28:25,800 --> 01:28:28,960
Speaker 1: fully opened. Uh, you know, I just didn't want to

1426
01:28:28,960 --> 01:28:31,600
Speaker 1: deal with a whole mass. It's just it's all insanity,

1427
01:28:31,640 --> 01:28:34,519
Speaker 1: and I just just when it's over, let's let's get

1428
01:28:34,560 --> 01:28:37,720
Speaker 1: back to business or whatever. And then at one point

1429
01:28:37,720 --> 01:28:39,479
Speaker 1: I thought, you know, maybe I don't want to do

1430
01:28:39,520 --> 01:28:44,400
Speaker 1: this anymore. I don't know, but um, you know, I

1431
01:28:44,439 --> 01:28:47,040
Speaker 1: think I want to go back. I think I miss it.

1432
01:28:47,120 --> 01:28:52,800
Speaker 1: I miss you know, Um, I've never you know, you know,

1433
01:28:52,840 --> 01:28:54,960
Speaker 1: since I went back out, I haven't stopped. And so

1434
01:28:55,040 --> 01:28:58,360
Speaker 1: this whole pandemic and me being so idle after all

1435
01:28:58,439 --> 01:29:01,120
Speaker 1: this time, and you know, just I don't know if

1436
01:29:01,160 --> 01:29:03,320
Speaker 1: I needed it, maybe we all needed it. I don't

1437
01:29:03,320 --> 01:29:07,600
Speaker 1: know to just to rethink and to read to re

1438
01:29:07,920 --> 01:29:17,040
Speaker 1: um uh, can't think of the word um re calibrate, yeah, recalibrate. Okay, Harry,

1439
01:29:17,600 --> 01:29:20,439
Speaker 1: this has been wonderful. One thing about you have to

1440
01:29:20,520 --> 01:29:24,439
Speaker 1: know your tracks are forever. It's funny. Very few people

1441
01:29:24,479 --> 01:29:26,600
Speaker 1: can say that most things are of a time and

1442
01:29:26,640 --> 01:29:33,599
Speaker 1: they die. But you consistently, you know you're sustained. Really incredible. Okay,

1443
01:29:33,600 --> 01:29:36,799
Speaker 1: thanks for taking the time once again. Thank you. You bet.

1444
01:29:37,120 --> 01:29:38,400
Speaker 1: This is Bob left sense.