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Speaker 1: I Am all In.

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Speaker 2: I Am all In with Scott Patterson, an iHeartRadio podcast.

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Speaker 1: Hey everybody, Scott Patterson, I Am all In Podcast one.

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Speaker 1: I want to interview one of eleven Production's iHeart Radio,

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Speaker 1: iHeart Media, iHeart Podcast. We have the extreme privilege of

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Speaker 1: talking to one of the biggest legends in the history

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Speaker 1: of the entertainment business, Paul. Mister Paul Anka, And let

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Speaker 1: me tell you something a little bit about this guy

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Speaker 1: and what he has accomplished so far in his life.

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Speaker 1: He is a legendary singer and songwriter who's best known

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Speaker 1: for his signature hit songs Diana, Lonely Boy, put Your

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Speaker 1: Head on My Shoulder. As songwriter, Paul wrote the theme

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Speaker 1: song for The Tonight Show with Johnny Carson, Tom Jones

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Speaker 1: has hit She's a Lady, Frank Sinatra's signature song My Way,

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Speaker 1: and If That isn't enough. With over nine hundred songs

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Speaker 1: to his credit, Paul's songs have also been recorded by

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Speaker 1: Ready for This, Elvis, Presley, Barbers, Streis and Linda Ronstant

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Speaker 1: The Sex Pistols, Nina Simone, Gypsy Kings, and Robbie Williams,

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Speaker 1: to name a few. I am a big fan of

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Speaker 1: all of those people, especially Robbie Williams. Now, Paul has

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Speaker 1: ventured into podcasting with his best friend Skip Bronson in

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Speaker 1: their show Our Way with Paul Ankin Skip Bronson. The

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Speaker 1: series will give listeners a backstage pass to the lives

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Speaker 1: of icons across film, music, television, sports, and technology in

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Speaker 1: a whole new way. Listeners will hear from guests across industry,

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Speaker 1: including Jason Bateman, Mark Burnett, Michael Buble, Bill Burr, Billy Bush,

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Speaker 1: Gail King, and even the President of France Emmanuel So, Paul,

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Speaker 1: let's first start off. We're going to talk a little

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Speaker 1: bit about Gilmore Girls, and we're going to get into

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Speaker 1: your career as a songwriter, and then we're going to

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Speaker 1: talk about your podcast. Let's start off with the Gilmore stuff.

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Speaker 1: When did you first hear about Lorelized dog being named

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Speaker 1: after you?

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Speaker 3: Well, I think it was right from the inception, you know,

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Speaker 3: heartbeat Later, I want to get out there, obviously, and

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Speaker 3: you know, I became a huge fan of the show.

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Speaker 3: Obviously it was a great show, well written, et cetera,

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Speaker 3: et cetera. But from the exception, you know, probably what

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Speaker 3: after the first couple of weeks, everybody came around and

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Speaker 3: I heard about it, and I thought it was cool

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Speaker 3: because it's so international. I've been an international creature, but

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Speaker 3: I was ultimately hearing from everybody all over the world.

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Speaker 1: And so you were aware of the show before you

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Speaker 1: you found out about it.

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Speaker 3: Friends were watching it. I think my kids were watching it. Right,

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Speaker 3: the show, I mean, we're not talking about to something obscure.

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Speaker 3: This show was like everybody loved it. So I was

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Speaker 3: very much aware of the show. Yeah.

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Speaker 1: Right, And then you made a cameo in the cold

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Speaker 1: open of season six, episode eighteen. Tell us how that

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Speaker 1: came about? That Black and White?

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Speaker 3: Well, I have to call and I said, yeah, let's

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Speaker 3: do it. I think we did a couple. When I

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Speaker 3: first got the call, I was very happy to do it,

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Speaker 3: you know, I thought, yeah, natural for me. And they

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Speaker 3: were great to work with. They were just a fun

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Speaker 3: group of people and very bright, knew what they were doing,

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Speaker 3: and that was very comforting to me.

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Speaker 1: Right, do do fans approach you about your appearances on

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Speaker 1: Calor Girls?

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Speaker 3: I'm still do fans. I got friends, I got people

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Speaker 3: who did at parties. It always comes up, and you know,

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Speaker 3: I hate the phrase. It is what it is, but

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Speaker 3: it is what it is, and it was great to

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Speaker 3: be a part of it. You know. It was something

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Speaker 3: that I wore like a badge.

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Speaker 1: I loved it. Right, Let's talk a little bit about

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Speaker 1: your music career, because this is this is a you know,

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Speaker 1: reading your bio and reading about you and listening to

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Speaker 1: all the old songs, it just it's just absolutely fascinating.

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Speaker 1: I'm a songwriter myself, so I'm really eager to hear

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Speaker 1: about your background. I mean, you you sold songs, you write,

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Speaker 1: you were writing songs. You were musical prodigy growing up. Yeah,

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Speaker 1: and you sold songs. You went to New York and

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Speaker 1: sold a song when you were what fifteen, sixteen years old.

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Speaker 3: I was born in Ottawa, Canada, and my dad wanted

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Speaker 3: me to, you know, be a lawyer like my uncle,

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Speaker 3: or a journalist because I had won awards for my

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Speaker 3: short stories in school, so I had kind of a

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Speaker 3: writing way about me. I was typing seventy words a minute,

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Speaker 3: as in a class with forty girls, me and my friend,

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Speaker 3: and I always got drawn to music. You know, back

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Speaker 3: then it was pretty much the R and B rhythm

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Speaker 3: and blues and some country and that pops the vibe.

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Speaker 3: It just kind of integrated itself, but it was primarily

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Speaker 3: you know, it was the black movement in music, like

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Speaker 3: it's been for many decades. Kind of was inspiring. And

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Speaker 3: I fell out a shorthand class. I hated it, and

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Speaker 3: the teacher wasn't too thrilled with me. And you know,

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Speaker 3: when you're a teenager, you think you know everything. But

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Speaker 3: I just said, okay, put me a music out. So

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Speaker 3: I started taking drums and start taking trumpet, and then

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Speaker 3: I wound up with Missus Reese, who was a piano teacher,

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Speaker 3: and she started in. I mean, my dad got me

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Speaker 3: a little old piano that they stuck in a basement.

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Speaker 3: You know, I was writing in this basement. It was

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Speaker 3: not a decked out basement. You know. We was at

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Speaker 3: modest background. So I started in Ottawa and I just

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Speaker 3: started messing around on the piano, you know, and it

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Speaker 3: wasn't until I got kind of inspired with this crush

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Speaker 3: that I had on this girl that was a three

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Speaker 3: years older than me, which you know, back then that

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Speaker 3: was a big deal along with everything else. I'll tall

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Speaker 3: you were at this, you were I'll want you. So

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Speaker 3: I just sat down and you know, I wrote, like

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Speaker 3: a kid, I'm so young you're so old. I don't

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Speaker 3: think I could get away with that today, but you know,

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Speaker 3: I wrote it and it started with that, and ultimately,

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Speaker 3: like any process, I said, okay, now what's the next step?

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Speaker 3: And I started reading at all these record labels. I

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Speaker 3: had that if you'd got to Nashville, LA, or New York,

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Speaker 3: maybe Chicago, somebody would hear you. So, you know, with

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Speaker 3: a couple of you know, songs in my pocket some

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Speaker 3: money i'd saved up on an Eastern vacation. When I

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Speaker 3: got to New York, walked into an office some friends

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Speaker 3: of mine set up an appointment for me and Don Costa.

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Speaker 3: I mean, I attributed, you know, a lot of my

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Speaker 3: success to a team effort. You know, you never want

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Speaker 3: to be the smartest guy, and Don Costa was the guy.

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Speaker 3: He's the one that saw this kid banging away at

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Speaker 3: the piano. And from May when I recorded to August,

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Speaker 3: when I wound up with American band standing at Sullivan,

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Speaker 3: that's when it all took off.

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Speaker 1: How old were you on ed Sullivan.

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Speaker 3: Fifteen or sixteen?

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Speaker 1: Unbelievable and you were singing, and you were writing the

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Speaker 1: songs you were singing and they were big number one hits.

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Speaker 1: Or charting and way up in the charts and you

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Speaker 1: were a teen idol and super famous at fifteen six.

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Speaker 3: Well, ye, kind of freaky, you know. It wasn't really

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Speaker 3: the day and age of young idols or whatever the

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Speaker 3: hell I wanted to call it, right, That all kind

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Speaker 3: of morphed itself with the Philadelphia guys. But it's all timing,

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Speaker 3: you know. I just had the passion and the drive

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Speaker 3: and nothing else, and then you hone your talent, whatever

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Speaker 3: that is. But there was no tell vision in the

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Speaker 3: sense of the programs you see today, right, No, you know,

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Speaker 3: none of these talent contests. And it just happened so

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Speaker 3: quickly because the mere content of what we did and

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Speaker 3: the structure that was around us. You were a hit

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Speaker 3: in one week with radio, You did all of an

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Speaker 3: American bandstand. You went on radio, and within a week

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Speaker 3: the whole country knew who you were. So there I was.

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Speaker 3: I was in the middle of that with people that

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Speaker 3: were twice my age until the others started floating in.

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Speaker 3: And then I started working with Beverly Brothers, Frankie Lineman

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Speaker 3: and Frankie Avalon, all these young artists who had with

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Speaker 3: a young movement. We were traveling together on these buses,

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Speaker 3: each doing two songs through you know, all kinds of

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Speaker 3: weather breakdown with buses that weren't luxurious, and we're all

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Speaker 3: thrown together like little pioneers. And that's where all happened,

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Speaker 3: you know, And you looked up to the rack pack

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Speaker 3: of Las Vegas. That's all. The was the Beatles, which

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Speaker 3: is another story which I think I had a hand

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Speaker 3: in getting them, Warrior because I met them in Europe.

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Speaker 3: But that was the industry until the Beatles, until Hendrix

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Speaker 3: changed it in terms of picking up a guitar. And

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Speaker 3: I just continued honing my craft, knowing I was still

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Speaker 3: a kid, but writing about only what I knew popular

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Speaker 3: love was older money boy, all that kind of stuff,

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Speaker 3: right and loving it, just saying, wow, I'm making two

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Speaker 3: hundred bucks a week. You know, I had a paper out,

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Speaker 3: I was a caddie. I worked at restaurant. I was

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Speaker 3: earning three bucks, spooky, And you know that's when I

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Speaker 3: learned to be focused, you know, because you learned at

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Speaker 3: some point in there that you may not last. You

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Speaker 3: know a lot of the guys I didn't. So until

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Speaker 3: you make each of those evolutions, you keep doing what

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Speaker 3: you're doing, getting better, but it's tonight sholl theme longest day.

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Speaker 3: You know. My big reach out was for Buddy Hawley,

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Speaker 3: who was my friend when it doesn't matter anymore for him.

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Speaker 3: It was the last song unfortunately recorded, because he died

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Speaker 3: on that plane crash on the tour.

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Speaker 1: Tell Us you mentioned two things, how it happened so

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Speaker 1: quickly for you at fifteen, and then your relationship with

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Speaker 1: the Beatles and bringing them over to the United States.

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Speaker 1: Tell Us you get to New York, you have a song,

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Speaker 1: Who hears it? What happens after they hear it? How

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Speaker 1: did they hear it? Who signed you? How did you

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Speaker 1: get on Ed Sullivan? Did an agent come in? Did

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Speaker 1: a record company sign you right away? And then it

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Speaker 1: was just off to the moon for you.

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Speaker 3: Well, as I mentioned, you know, I had saved up

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Speaker 3: some money. It was Easter vacation. I went down in

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Speaker 3: New York. I'd been there prior because I want to

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Speaker 3: contest collecting souper wrappers for Campbell's soup. So I got

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Speaker 3: a feel for New York. Don Costa, as I mentioned,

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Speaker 3: was with this new company, ABC Paramount. I had this appointment.

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Speaker 3: I went up jeans T shirt, you know, walked in

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Speaker 3: scared to death, sat down and played I think, Diana,

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Speaker 3: don't gamble with love and tell me that you love

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Speaker 3: me in.

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Speaker 1: His office, right right there, right there, in his office

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Speaker 1: in New York.

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Speaker 3: Okay, in New York, all twenty minutes and you said, okay,

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Speaker 3: wor's your parents that they're not here? I said, no,

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Speaker 3: I just flew down this little hotel. Blah blah blah.

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Speaker 3: Well I want to sign you, but you're too young.

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Speaker 3: Parents here is signed it. I said, well, call them,

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Speaker 3: so we get on the phone. They call. My parents

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Speaker 3: were stunned, you know. They were saying, let them get

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Speaker 3: them out of his system. Go down, yeah, blah blah blah,

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Speaker 3: right right right, and they fly in. Next day there

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Speaker 3: was Sam Clark, who was the president of the company.

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Speaker 1: And which which company are we talking about? We're talking

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Speaker 1: about a record company.

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Speaker 3: ABC Paramount, which was a new division of the ABC

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Speaker 3: television network.

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Speaker 1: It was starting outble.

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Speaker 3: So now ABC starts a label, ABC Paramount. My parents

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Speaker 3: are in a room less again, six suits all around me,

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Speaker 3: you know, and our people, the press bubble. They're all excited,

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Speaker 3: and I'm sitting there. My dad dot my mom's in shock.

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Speaker 3: And we signed a contract and they gave me hundred

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Speaker 3: dollars a month to write, and I was going to

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Speaker 3: remain there until we recorded. My parents go home. I

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Speaker 3: stay at the President Hotel. I think my uncles down there.

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Speaker 3: Somebody's watching over me. And I got up at two

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Speaker 3: o'clock in the afternoon late. I supposed to be there

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Speaker 3: at one Capital Studios up front, and I'm freaking out,

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Speaker 3: and I will run from forty some street about six

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Speaker 3: blocks to a Capital studio and I walk in. Now

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Speaker 3: you have to understand and try to explain it to

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Speaker 3: somebody of the newer artists, say initially Michael Buble.

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Speaker 1: I love Michael.

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Speaker 3: Therefore, in the beginning, still I am that you're in

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Speaker 3: a room and you're with top session musicians who are

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Speaker 3: looking at these lead sheets and arrangements, and you're in

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Speaker 3: this room. You need to study the arrangement. You rehearse

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Speaker 3: for maybe let's say thirty minutes to get the vibe

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Speaker 3: and where you're going. And you walk into a small

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Speaker 3: studio a booth where they have a one cor inch tape,

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Speaker 3: two reels on a corrage tape, and now you're putting

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Speaker 3: a booth and this tape starts to roll. We're not

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Speaker 3: where we are today with technology and all the stuff

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Speaker 3: that we know is out there. You can cut a

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Speaker 3: hit in your bedroom with your macans whatever, and you

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Speaker 3: start singing, and you're singing with sheer energy, passion and

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Speaker 3: scared of death, trying to adapt to this concept of

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Speaker 3: you'll keep recording till you get what you want or

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Speaker 3: what they want. And I must have done twelve, thirteen, fourteen,

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Speaker 3: fifteen takes and that was it. Now if there was

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Speaker 3: something you want to fix, and I try to tell

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Speaker 3: a lot of people to that, you take a razor blade,

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Speaker 3: we would cut the tape, take a piece of scotch tape,

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Speaker 3: put the scotch tape on the cut and that was

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Speaker 3: your fix. Then you take it from there that you

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Speaker 3: were done. Once you captured it, they put it on

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Speaker 3: a piece of plastic vinyl disc. They walk it over

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Speaker 3: to Alan Freed, send it to a couple of Rarea stations,

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Speaker 3: and you knew in forty eight hours if you had

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Speaker 3: it it so here I am finally get Diana Don't

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Speaker 3: Gamble with Love out Dick Clark wanted Don't Gamble with Love.

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Speaker 3: Somebody turns it over to Diana and within a week

255
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Speaker 3: you're booked on American Bandstand and you're on ed Solomon

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Speaker 3: that fall, and there's your life.

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Speaker 1: There's your new life.

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Speaker 3: All these guys around you. You've got a new record

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Speaker 3: company with an ABC television company that was not making money.

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Speaker 3: They're just starting, but they were shipping a courier. Would

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Speaker 3: take whatever money they earned off of Diana, which back

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Speaker 3: then was a lot of money. They put it on

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Speaker 3: an airplane with a courier, go out and pay the

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Speaker 3: bills and lot spectus. My life changed right there.

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Speaker 1: I was wow, Wow, Wow.

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Speaker 3: The Slim Show. I'm in a studio where David Letterman

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Speaker 3: right broad with right.

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Speaker 1: I used to study acting on the top floor there,

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Speaker 1: right above that studio.

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Speaker 3: There you go. They say, the day before, Paul, you're

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Speaker 3: going into Madison Square Gardens. We're not going to shoot

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Speaker 3: it at the theater, small theater environment. I go to

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Speaker 3: a rehearsal and I'm in this vast space Madison Square

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Speaker 3: Garden my first big network show. But I used to

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Speaker 3: watch as a kid every Sunday. That's all you did

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Speaker 3: was watch that until Mickey Mouse Club came along and

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Speaker 3: television was that solo. Sure, I'm on the floor and

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Speaker 3: I'm rehearsing and the band was like they could have

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Speaker 3: been a city, and I have to deal with all

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Speaker 3: these elements. What I tell you was I scared. We

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Speaker 3: go on the air and I'm singing Diana in Madison

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Speaker 3: Square Garden on my first of many at Sullivan shows.

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Speaker 1: Tell us now about this Beatles connection. How did you

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Speaker 1: meet them? How did you convince them to come conquer America?

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Speaker 1: Which actually affected your career? Didn't it?

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Speaker 3: Well? After Diana? I have a string of hits, I've

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Speaker 3: got it kind of someone of the foundation of working

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Speaker 3: coming along as an entertainer, and I'm living in an

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Speaker 3: international life. I mean, Japan five HiT's a big parade,

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Speaker 3: and I'm sensing this international career. At seventeen eighteen nineteen,

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Speaker 3: I'm going to Europe. I'm constantly going to Europe, etcetera, etcetera.

292
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Speaker 3: So I'm in France, the country that I embraced at

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Speaker 3: a young age, loving it, And I go to see

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Speaker 3: a friend of mine who's working in the classic theater

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Speaker 3: of the Olympia Theater been there forever and still there.

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Speaker 3: And I go to see my buddy who's headlining. And

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Speaker 3: as was it was back then, you'd have an opening

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Speaker 3: act or a few opening acts and that was pretty much,

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Speaker 3: you know, the presentation all over the world. So when

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Speaker 3: and I'm waiting for my friend to come on and

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Speaker 3: I hear that is a differments at No Sicknuvau group

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Speaker 3: Lore Engeler and set it does see who plays, and

303
00:18:01,680 --> 00:18:08,719
Speaker 3: you know, because because people they're watching an these guys

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Speaker 3: come out with the hair and with the thing and

305
00:18:11,600 --> 00:18:14,320
Speaker 3: suits and shirtain times. But they've got you know, there's

306
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Speaker 3: that new vibe and I'm looking as a musician, but wow,

307
00:18:18,760 --> 00:18:23,879
Speaker 3: and they're doing covers. They're a cover band. Okay, I'm saying,

308
00:18:24,080 --> 00:18:27,480
Speaker 3: look at those guys, man, that's kind of cool. So

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Speaker 3: from that I meet them. Then I go to England

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Speaker 3: and I'm you know, I took Thank god I took pictures.

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Speaker 3: You know, nobody could believe it. And we'd become friendly

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Speaker 3: in the sense of that when I was in England,

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Speaker 3: i'd see them, we hang and you talk and they

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Speaker 3: would tell me, oh, we love this and you know

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Speaker 3: you Chuck Berry and we copied this. And I'm really

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Speaker 3: I'm looking at myself as you know, I'm not toning

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Speaker 3: a guitar. I'm not doing what they were in terms

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Speaker 3: of emulating Americans and and and there was none of those,

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Speaker 3: None of the English bands or artists were on the

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Speaker 3: hit for It was all American American artists. So we

321
00:19:04,280 --> 00:19:06,720
Speaker 3: get to know each other and they say, we want

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Speaker 3: to do what you're doing, you know, we want to

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00:19:08,480 --> 00:19:10,879
Speaker 3: publish and you want to write. And it was a

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Speaker 3: great man because I really like you guys, and you

325
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Speaker 3: had that energy that you anyway, I come back home

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Speaker 3: from these trips and I talked to my agents in

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Speaker 3: New York, Norman Weiss and Sid Bernston at general artists.

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Speaker 3: I have to remember, we're in a time, in a

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Speaker 3: space then where it wasn't a media driven society. It

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Speaker 3: was radio anything you want to hear from Europe? Yeah,

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Speaker 3: Blenn in a month later, you know, you knew nothing.

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Speaker 3: It was all tell EXAs and you were short on

333
00:19:39,760 --> 00:19:42,480
Speaker 3: what was happening at the time. And I come home

334
00:19:42,520 --> 00:19:48,320
Speaker 3: and bring records home and until Weise and Bernstein, these guys,

335
00:19:48,359 --> 00:19:51,679
Speaker 3: the Beatles, a bit of them, we talk about Beatles

336
00:19:52,119 --> 00:19:59,439
Speaker 3: still was emerging, that whole English family. Finally, whatever button

337
00:19:59,480 --> 00:20:02,560
Speaker 3: I pushed your them. They flew to England and met

338
00:20:02,560 --> 00:20:06,040
Speaker 3: with this guy, Brian Epstein, who was their manager, and

339
00:20:06,200 --> 00:20:09,200
Speaker 3: one thing led to another. They bring them over and

340
00:20:09,440 --> 00:20:12,240
Speaker 3: like me, only like me in terms of the only

341
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Speaker 3: thing you could do. I'm on Sullivan earlier in my life.

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Speaker 3: Their for a show at Sullivan, Well the rest is hitty,

343
00:20:19,760 --> 00:20:22,480
Speaker 3: won't deliver it. They take off. But it took me

344
00:20:23,280 --> 00:20:25,880
Speaker 3: a while to convince these guys that this guy, these

345
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Speaker 3: people are real. So then the floodgates, and I was

346
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Speaker 3: happy with it because prior to that, you know, we

347
00:20:33,840 --> 00:20:37,399
Speaker 3: were embraced, we those of us doing the pop music,

348
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Speaker 3: et cetera, by our friends, and nobody else liked this.

349
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Speaker 3: Parents didn't like us, Madison Avenue didn't like us, but

350
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Speaker 3: we had our little following. When the Beatles hit Madison

351
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Speaker 3: Avenue opened up, everything changed in everybody's mind in terms

352
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Speaker 3: of pop music. So I call it pop music, and

353
00:20:55,920 --> 00:20:58,440
Speaker 3: I think that for that. Well, of course, the fritsh

354
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Speaker 3: Invasion hits, and some of us are off the radio.

355
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Speaker 3: I'm off of my label. I buy back all my

356
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Speaker 3: stuff for two hundred and fifty dollars. I go to

357
00:21:08,080 --> 00:21:11,000
Speaker 3: a Victor and I get into a new group with

358
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Speaker 3: this company. Because I would travel all over the world

359
00:21:14,000 --> 00:21:16,880
Speaker 3: and my record company had trouble with distributing. But when

360
00:21:16,920 --> 00:21:19,800
Speaker 3: i'd walk down the street in Italy or wherever i'd

361
00:21:19,840 --> 00:21:23,399
Speaker 3: see RCA Victor washing machine. It's dost wherever I live

362
00:21:23,560 --> 00:21:25,480
Speaker 3: make and so that's all I want to be with.

363
00:21:26,080 --> 00:21:28,320
Speaker 3: So minute with RCA. And that was the next days

364
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Speaker 3: of my life.

365
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Speaker 1: Wow, let's skip ahead now and get into your relationship

366
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Speaker 1: with the rat Pack and meeting Frank Sinatra and being

367
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Speaker 1: friends and writing my way.

368
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Speaker 3: And so there we are, Bobby, Darren, Frank, all of us.

369
00:21:53,720 --> 00:21:57,480
Speaker 3: We're growing, we're getting ogre. I'm mastering the songwriting thing

370
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Speaker 3: as best I can. But we're not oblivious to the

371
00:22:01,720 --> 00:22:05,280
Speaker 3: fact that we may not be around because we had

372
00:22:05,359 --> 00:22:08,200
Speaker 3: heard and we were pretty much taught that this can't

373
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Speaker 3: last forever.

374
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Speaker 1: What year is this now?

375
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Speaker 3: Late fifties, gotcha, because we all heard of this place

376
00:22:15,280 --> 00:22:22,240
Speaker 3: called Las Vegas. Elvis went in, didn't like it. I said, okay,

377
00:22:22,359 --> 00:22:24,280
Speaker 3: I want to I want to be like those guys.

378
00:22:24,359 --> 00:22:29,800
Speaker 3: I want to learn to be an entertainer. And fifty

379
00:22:29,840 --> 00:22:33,400
Speaker 3: eight fifty nine they said, look, you can't headline there,

380
00:22:33,520 --> 00:22:37,080
Speaker 3: but we want you to work with Sophie Tucker. I'd

381
00:22:37,160 --> 00:22:39,560
Speaker 3: seen her, but I Sophie Tucker, but you know, I

382
00:22:39,560 --> 00:22:42,000
Speaker 3: admired the fact that she was in veteran and had

383
00:22:42,040 --> 00:22:46,479
Speaker 3: some good reputation. Long the short, I'm performing with Sophie

384
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Speaker 3: Tucker in the late fifties Las Vegas. What they'd never

385
00:22:50,840 --> 00:22:56,240
Speaker 3: seen was there. I am this kid with Sophie Tucker

386
00:22:56,920 --> 00:23:00,000
Speaker 3: and every kid that was in school in Las Vegas.

387
00:23:00,000 --> 00:23:03,440
Speaker 3: I guess in this you know city that wasn't the city.

388
00:23:03,520 --> 00:23:06,840
Speaker 3: Then shows up and they're going nuts in this twelve

389
00:23:06,880 --> 00:23:10,920
Speaker 3: hundred seat clubroom and purso vi, Tucker's getting pissed. Put

390
00:23:10,960 --> 00:23:16,280
Speaker 3: in a very gracious manner, where she my boy, I

391
00:23:16,440 --> 00:23:18,520
Speaker 3: want you to close the show. So they made me

392
00:23:18,600 --> 00:23:21,399
Speaker 3: close the show. She'd go on first to keep the

393
00:23:21,480 --> 00:23:24,159
Speaker 3: kids in the room, get me quiet. And that was

394
00:23:24,200 --> 00:23:26,640
Speaker 3: my first taste of Vegas. Now I had been there.

395
00:23:27,840 --> 00:23:32,640
Speaker 3: I was like Darren and Avalon. We loved these guys,

396
00:23:32,720 --> 00:23:36,240
Speaker 3: Frank Sinatra, we'd loved swing. We couldn't do it. So

397
00:23:36,280 --> 00:23:39,040
Speaker 3: what we did is we'd put acts together with big

398
00:23:39,080 --> 00:23:41,880
Speaker 3: band and say that's our goal. We got to work

399
00:23:41,960 --> 00:23:46,800
Speaker 3: the clubs. So I started late sixties at the Copacabana

400
00:23:47,520 --> 00:23:50,000
Speaker 3: in New York City. That was your kind of your

401
00:23:50,200 --> 00:23:52,639
Speaker 3: entree to Vegas. Now you're in her environment with a

402
00:23:52,720 --> 00:23:55,320
Speaker 3: mob whatever you want to call them, the boys, they

403
00:23:55,400 --> 00:23:59,919
Speaker 3: ran everything. But it was the record business, music cement business,

404
00:24:00,119 --> 00:24:03,240
Speaker 3: the nightclubs, and they were great to work for, gentlemen

405
00:24:03,359 --> 00:24:08,080
Speaker 3: right in an industry that was in his infancy stage.

406
00:24:08,920 --> 00:24:13,560
Speaker 3: So from Sophie Tucker, from the Kopa where everything went

407
00:24:13,640 --> 00:24:17,480
Speaker 3: well for me, I wind up with these guys that

408
00:24:17,600 --> 00:24:22,200
Speaker 3: I idolized and antilitated to be around. Call the wrap round,

409
00:24:22,320 --> 00:24:25,480
Speaker 3: and I'm working in Sansotel. Now here you are. I

410
00:24:25,560 --> 00:24:31,280
Speaker 3: got this kid still maybe early twenties, sitting in steam rooms, nude,

411
00:24:31,640 --> 00:24:35,040
Speaker 3: looking at these guys, nude, having trouble with eye contact,

412
00:24:36,960 --> 00:24:40,400
Speaker 3: not believing I'm in a room with these guys. And

413
00:24:40,680 --> 00:24:43,800
Speaker 3: it went from there, you know, getting to know them,

414
00:24:43,880 --> 00:24:48,600
Speaker 3: adoring Sammy Davis who became my friend, Adoring Sinatra, who

415
00:24:48,720 --> 00:24:52,760
Speaker 3: was very gracious with me teaching me. They're befuddled in

416
00:24:52,800 --> 00:24:55,200
Speaker 3: a sense on what's this kid doing on our world?

417
00:24:55,840 --> 00:24:58,320
Speaker 3: You know, kids selling lots of records, making money for

418
00:24:58,400 --> 00:25:02,080
Speaker 3: the guys. And they sloped me in. And then I'm

419
00:25:02,119 --> 00:25:05,159
Speaker 3: stepping up. You know, I'm a hit. My act is

420
00:25:05,160 --> 00:25:08,080
Speaker 3: good and blah blah blah. I'm learning my trade. I'm

421
00:25:08,160 --> 00:25:11,080
Speaker 3: learning how to be a performance. So all the sixties

422
00:25:11,720 --> 00:25:15,440
Speaker 3: I'm with these guys, but I'm younger and I don't

423
00:25:15,440 --> 00:25:17,679
Speaker 3: know how to approach them and go. You know, I

424
00:25:17,720 --> 00:25:20,280
Speaker 3: got a song for you because I'm still you know,

425
00:25:20,480 --> 00:25:23,920
Speaker 3: coming off the longest day. You've got tonight chill theme.

426
00:25:24,040 --> 00:25:28,120
Speaker 3: So the credit is getting broader to one day at

427
00:25:28,160 --> 00:25:32,040
Speaker 3: the Fox and Blue Hotel, great hotel. You'd work Vegas

428
00:25:32,080 --> 00:25:34,040
Speaker 3: and then you'd wind up at the Fountain Blue. Nothing

429
00:25:34,119 --> 00:25:36,920
Speaker 3: like it, that style, it at the class and.

430
00:25:36,880 --> 00:25:39,320
Speaker 1: Then that's my that's Miami. You're talking about.

431
00:25:39,080 --> 00:25:44,040
Speaker 3: Miami, Florida. Yeah, so between Vegas and Miami, Florida, that

432
00:25:44,160 --> 00:25:46,800
Speaker 3: was your hang spot with these guys, and here I

433
00:25:46,840 --> 00:25:49,240
Speaker 3: am growing up with the rap pack. If you will,

434
00:25:50,320 --> 00:25:55,120
Speaker 3: do one day when Sinatra was doing a film in Miami,

435
00:25:55,840 --> 00:25:58,800
Speaker 3: I'm working in the Laurent room at the Fountain Blue.

436
00:25:59,160 --> 00:26:03,639
Speaker 3: Mid sixties. He's doing a film called Lady and Ice.

437
00:26:03,760 --> 00:26:06,920
Speaker 3: I think Lady and Ice, which with the guys that

438
00:26:07,000 --> 00:26:09,680
Speaker 3: we worked for, could have been a documentary. You know,

439
00:26:10,359 --> 00:26:13,800
Speaker 3: we were still working for the boys. I'm having dinner

440
00:26:13,800 --> 00:26:17,520
Speaker 3: one night. I think he was married to me at Barrel,

441
00:26:17,720 --> 00:26:20,320
Speaker 3: who was twenty one, and he was you know, tick

442
00:26:20,359 --> 00:26:24,280
Speaker 3: a high number. But he's going through that dilemma he's

443
00:26:24,359 --> 00:26:27,840
Speaker 3: going through, wanting to retire. The rat pack is over,

444
00:26:28,600 --> 00:26:31,280
Speaker 3: and he's being very open with me as to I

445
00:26:31,359 --> 00:26:36,160
Speaker 3: think I've had enough, and I'm saying to myself, he's

446
00:26:36,160 --> 00:26:39,359
Speaker 3: gonna quit. He's gonna do one more album with Don Costa,

447
00:26:39,640 --> 00:26:43,760
Speaker 3: my guy who I introduced a Sinatra, and I never

448
00:26:43,800 --> 00:26:46,159
Speaker 3: wrote a song for him. One thing leads to another

449
00:26:46,440 --> 00:26:50,159
Speaker 3: within that creative process, and this was a spiritual moment

450
00:26:50,200 --> 00:26:54,119
Speaker 3: for me after hearing that at the Fountain, where we

451
00:26:54,200 --> 00:26:57,840
Speaker 3: had such great times together. Once I get back to

452
00:26:57,880 --> 00:27:00,760
Speaker 3: New York, twelve midnight, sitting there in front of my typewriter,

453
00:27:00,920 --> 00:27:03,080
Speaker 3: got still type from my days of school, seventy words,

454
00:27:03,160 --> 00:27:06,320
Speaker 3: but I start metaphorically, and now the end is near,

455
00:27:06,400 --> 00:27:09,240
Speaker 3: and so I faced the final curtain, all about him,

456
00:27:09,400 --> 00:27:11,840
Speaker 3: as if you were writing it, finish it. At five

457
00:27:11,880 --> 00:27:14,880
Speaker 3: in the morning, I called him in Vegas. I think

458
00:27:14,920 --> 00:27:18,919
Speaker 3: it was at Caesar's. One thing leads to another the

459
00:27:19,000 --> 00:27:20,879
Speaker 3: next night because he said, get out here with it,

460
00:27:20,920 --> 00:27:23,400
Speaker 3: blah blah blah. I'm in his rest room. I play

461
00:27:23,440 --> 00:27:25,760
Speaker 3: in my way. A couple of months later, I get

462
00:27:25,760 --> 00:27:29,240
Speaker 3: a phone call. He's in Los Angeles at a record studio.

463
00:27:29,960 --> 00:27:32,800
Speaker 3: Kid that was my nickname. Well, we all had nicknames.

464
00:27:33,520 --> 00:27:37,720
Speaker 3: Sammy was smoking the Bear, Dean was Veno. Everyone that

465
00:27:38,040 --> 00:27:41,040
Speaker 3: hung around with them on your bathlob in the health clubs.

466
00:27:41,040 --> 00:27:43,800
Speaker 3: You had your name of that. He says, kid, listen

467
00:27:43,880 --> 00:27:45,600
Speaker 3: to this, and he took the phone. He put it

468
00:27:45,640 --> 00:27:48,199
Speaker 3: next to a speaker, and I heard My Way for

469
00:27:48,240 --> 00:27:51,679
Speaker 3: the first time. Well, the guy that was retiring and

470
00:27:51,800 --> 00:27:56,280
Speaker 3: quitting now stayed ten more years, changed my life as

471
00:27:56,320 --> 00:27:59,840
Speaker 3: a writer, my flotos and changed it for him. You

472
00:27:59,880 --> 00:28:00,800
Speaker 3: know the rest of the story.

473
00:28:01,280 --> 00:28:03,520
Speaker 1: He recorded your song without you knowing it.

474
00:28:03,920 --> 00:28:05,840
Speaker 3: Well, I knew he was doing it. I was in

475
00:28:05,880 --> 00:28:10,199
Speaker 3: the dressing room, played it for him Costa's in bo.

476
00:28:11,200 --> 00:28:15,320
Speaker 3: Two months later, he calls me from a studio with Costa.

477
00:28:16,080 --> 00:28:18,440
Speaker 3: They had just recorded it. No one else has heard

478
00:28:18,480 --> 00:28:21,680
Speaker 3: it yet, and they played it to me over the phone.

479
00:28:21,600 --> 00:28:25,359
Speaker 1: That famous recording that everybody knows that you You heard

480
00:28:25,359 --> 00:28:27,560
Speaker 1: that over the phone over the.

481
00:28:27,440 --> 00:28:28,680
Speaker 3: Phone, LA to New York.

482
00:28:29,080 --> 00:28:29,560
Speaker 1: Wow.

483
00:28:29,800 --> 00:28:33,320
Speaker 3: Yeah, And I cried. I had happy tears.

484
00:28:33,720 --> 00:28:39,440
Speaker 1: I'll bet you how did my Way change your life?

485
00:28:39,520 --> 00:28:43,480
Speaker 1: Did it change your life immediately? What happened?

486
00:28:44,000 --> 00:28:46,760
Speaker 3: Well, it changed my life in the moment because I

487
00:28:46,840 --> 00:28:49,720
Speaker 3: knew I had something. You know I had enough under

488
00:28:50,280 --> 00:28:52,320
Speaker 3: my feet as a song guy to know this was

489
00:28:52,720 --> 00:28:56,880
Speaker 3: something pretty special, right. It changed his life that he

490
00:28:57,000 --> 00:29:01,440
Speaker 3: decided say the business though, he went into retirement and

491
00:29:01,440 --> 00:29:03,320
Speaker 3: then I wrote let Me Try Again, which was his

492
00:29:03,400 --> 00:29:07,760
Speaker 3: comeback song. But it changed his you know, I humbly

493
00:29:07,800 --> 00:29:13,640
Speaker 3: submit it changed mind certainly because you know, everything prior

494
00:29:13,720 --> 00:29:16,400
Speaker 3: to that was love songs and you know, stuff that

495
00:29:16,520 --> 00:29:19,360
Speaker 3: was in the growth pattern of working at my craft.

496
00:29:19,400 --> 00:29:23,040
Speaker 3: It was that unusual and different song that it changed

497
00:29:23,080 --> 00:29:24,360
Speaker 3: both our lives. Absolutely.

498
00:29:26,600 --> 00:29:32,200
Speaker 1: You must have been flooded with offers for the top

499
00:29:32,320 --> 00:29:34,960
Speaker 1: artists in the world to co write with you or

500
00:29:34,960 --> 00:29:38,320
Speaker 1: for you to write material for them. I'm sure that happened.

501
00:29:38,800 --> 00:29:40,360
Speaker 1: How did you handle that?

502
00:29:43,080 --> 00:29:47,720
Speaker 3: Well, yes, all of a sudden it changed, and that

503
00:29:47,840 --> 00:29:50,400
Speaker 3: everybody wanted to write with you, but they wanted to

504
00:29:50,400 --> 00:29:53,600
Speaker 3: write another My Way. Does the work like that? You're

505
00:29:53,600 --> 00:29:56,720
Speaker 3: not going to have fifty My Ways songs? But certainly

506
00:29:56,800 --> 00:30:03,280
Speaker 3: opened up the the respect in the gravitas because prior

507
00:30:03,280 --> 00:30:05,720
Speaker 3: to that I was in the niche of writing for

508
00:30:05,920 --> 00:30:08,880
Speaker 3: my age and the song was so different in the

509
00:30:09,000 --> 00:30:11,240
Speaker 3: environment of what was making it. Then you know, Hendricks

510
00:30:11,720 --> 00:30:14,920
Speaker 3: had opened it up. There was rock, there was the

511
00:30:15,040 --> 00:30:18,320
Speaker 3: folks stuff that was happening, But here was this different

512
00:30:19,080 --> 00:30:22,240
Speaker 3: type of material for the guy. That was the guy,

513
00:30:22,960 --> 00:30:25,400
Speaker 3: and nobody else could be Sinatra. He was the guy.

514
00:30:26,160 --> 00:30:30,520
Speaker 3: So yeah, I started writing with people. That kind of

515
00:30:30,560 --> 00:30:35,720
Speaker 3: came a little later, but what it did was it

516
00:30:35,760 --> 00:30:41,480
Speaker 3: gets me. The record deal happened with Jubilation, Skry centered jubilation,

517
00:30:42,000 --> 00:30:44,560
Speaker 3: Do I Love You with Donna Fargo, number one country record,

518
00:30:45,000 --> 00:30:48,400
Speaker 3: having My Baby one Man Woman, I don't like to

519
00:30:48,440 --> 00:30:51,920
Speaker 3: sleep alone, number one records again. So it opened the

520
00:30:52,040 --> 00:30:56,560
Speaker 3: door and the attention to wait a second, my way,

521
00:30:56,760 --> 00:31:01,080
Speaker 3: and now the seventies with this stuff, so with writing

522
00:31:01,120 --> 00:31:03,400
Speaker 3: with others, and with the acceptance, if you will in

523
00:31:03,400 --> 00:31:07,200
Speaker 3: a very fickle business, well really you learn at an

524
00:31:07,240 --> 00:31:10,240
Speaker 3: early age nobody really cares each yet and spitch out.

525
00:31:10,920 --> 00:31:12,480
Speaker 3: That's that what changed my life. It gave me a

526
00:31:12,520 --> 00:31:16,320
Speaker 3: new CREDENTI m then I'd let me try again with him,

527
00:31:17,280 --> 00:31:19,800
Speaker 3: and I was writing She's a Lady, and all that

528
00:31:20,000 --> 00:31:22,720
Speaker 3: stuff started to happen. We Uh.

529
00:31:23,320 --> 00:31:26,400
Speaker 1: I'm a huge Tom Jones fan, grew up watching his

530
00:31:26,480 --> 00:31:30,560
Speaker 1: weekly show and he'd come out and go crazy with

531
00:31:30,600 --> 00:31:33,480
Speaker 1: his dance routines and his great vocals and the girls

532
00:31:33,520 --> 00:31:34,760
Speaker 1: would go crazy.

533
00:31:34,840 --> 00:31:36,520
Speaker 3: Yeah, I was there, and.

534
00:31:37,640 --> 00:31:40,880
Speaker 1: It's not unusual to be loved by anyone. And he

535
00:31:40,920 --> 00:31:43,400
Speaker 1: would start out the show with that tell us about

536
00:31:44,080 --> 00:31:45,840
Speaker 1: working with Tom Jones.

537
00:31:46,520 --> 00:31:49,240
Speaker 3: So I was with the same agency as Tom Joneson

538
00:31:49,280 --> 00:31:52,240
Speaker 3: and he and the Humperdinck were probably a third of

539
00:31:52,280 --> 00:31:57,120
Speaker 3: the gross earnings of this agency. And I'm working in Vegas,

540
00:31:58,040 --> 00:32:01,600
Speaker 3: and of course they were familiar in my way. They're

541
00:32:01,680 --> 00:32:05,240
Speaker 3: familiar with my career. Like he wanted to meet Presley

542
00:32:05,280 --> 00:32:07,960
Speaker 3: because you want to meet him. I wanted to meet

543
00:32:07,960 --> 00:32:10,760
Speaker 3: Tom telling me. So we all got to know each other,

544
00:32:10,840 --> 00:32:12,400
Speaker 3: and we got to know each other well the way

545
00:32:12,440 --> 00:32:15,600
Speaker 3: they come to my home. We'd set up and watch

546
00:32:15,680 --> 00:32:19,120
Speaker 3: movies because I'd get these uh movie reels from the

547
00:32:19,160 --> 00:32:21,360
Speaker 3: movie companies. Would sit till nine ten in the morning,

548
00:32:21,400 --> 00:32:24,560
Speaker 3: freaking champagne, having a good time. So we lock in,

549
00:32:24,640 --> 00:32:27,600
Speaker 3: we're playing tennis together. I'm in England, I'm on Tom's show,

550
00:32:28,360 --> 00:32:30,960
Speaker 3: and it gets to well, what about me write me

551
00:32:31,000 --> 00:32:35,640
Speaker 3: a song? That's a lady. I finished the show in England,

552
00:32:36,480 --> 00:32:38,040
Speaker 3: and I spent a lot of time with him. When

553
00:32:38,040 --> 00:32:40,600
Speaker 3: I think I started and on the back of a

554
00:32:41,000 --> 00:32:44,200
Speaker 3: dinner menu on tw away because that was the carrier.

555
00:32:44,240 --> 00:32:46,520
Speaker 3: We'd go back and forth on so a yets she's

556
00:32:46,520 --> 00:32:49,600
Speaker 3: a lady out there. I try to capture the vibe

557
00:32:49,640 --> 00:32:53,080
Speaker 3: of this sex idol. And he never had a number

558
00:32:53,120 --> 00:32:55,240
Speaker 3: one record in the United States. Never. She's a Lady

559
00:32:55,400 --> 00:32:58,080
Speaker 3: was his one and only. So we write that, and

560
00:32:58,120 --> 00:33:00,800
Speaker 3: of course we rock, you know, we lock in, we

561
00:33:00,920 --> 00:33:04,920
Speaker 3: hang and we're all together. We're friends for many many years.

562
00:33:05,800 --> 00:33:08,080
Speaker 3: They record a few of my songs, you know, from

563
00:33:08,120 --> 00:33:11,320
Speaker 3: popoll We made it happen. And I had a great

564
00:33:11,360 --> 00:33:14,680
Speaker 3: relationship with them and their manager for quite a few years.

565
00:33:14,720 --> 00:33:17,080
Speaker 3: And Tom's a great sinner.

566
00:33:17,560 --> 00:33:19,520
Speaker 1: Now she's a fantastic voice.

567
00:33:19,800 --> 00:33:23,640
Speaker 3: Yeah, and here we are today. He's still doing what

568
00:33:23,680 --> 00:33:25,640
Speaker 3: he's doing, and I'm doing what I'm doing an ingle.

569
00:33:28,960 --> 00:33:35,000
Speaker 1: Wow, I'm just overwhelmed. Let me ask you this, Do

570
00:33:35,040 --> 00:33:40,080
Speaker 1: you prefer being the songwriter or the performer or is

571
00:33:40,120 --> 00:33:41,400
Speaker 1: it a mix of both for you?

572
00:33:42,280 --> 00:33:48,160
Speaker 3: From a security standpoint, I like being the writer because

573
00:33:48,160 --> 00:33:51,720
Speaker 3: it's a fallback position, and I think that the kind

574
00:33:51,720 --> 00:33:53,920
Speaker 3: of gravitas that comes with it, you know, back to

575
00:33:53,960 --> 00:33:57,280
Speaker 3: the Beatles. We want to write, you want to that's

576
00:33:57,320 --> 00:34:02,080
Speaker 3: a stable kind of consciousness that you live in. The

577
00:34:02,160 --> 00:34:07,800
Speaker 3: performing thing was morphine and morphing. You know, you're constantly

578
00:34:08,200 --> 00:34:11,680
Speaker 3: learning and you're constantly getting comfort zones. But you in

579
00:34:11,760 --> 00:34:15,040
Speaker 3: front of people, you're writing, you're by yourself from there,

580
00:34:15,160 --> 00:34:18,440
Speaker 3: on your own time schedule, if you will, and you

581
00:34:18,520 --> 00:34:21,680
Speaker 3: can just sit there and take your time and kind

582
00:34:21,680 --> 00:34:25,080
Speaker 3: of wait for it to happen. But the performing is fun. Right,

583
00:34:25,640 --> 00:34:29,920
Speaker 3: twenty years, I've enjoyed, you know, feeling that I knew

584
00:34:29,920 --> 00:34:32,920
Speaker 3: what I was doing, connecting with an audience, with a

585
00:34:32,960 --> 00:34:36,439
Speaker 3: body of work. So the answer to the question is both.

586
00:34:38,000 --> 00:34:41,920
Speaker 3: I would venture to guess that if I didn't have

587
00:34:42,080 --> 00:34:46,480
Speaker 3: the gift of writing, I don't think we'd be talking today. Frankly,

588
00:34:47,360 --> 00:34:51,200
Speaker 3: I don't think anybody would was interested, nor were they

589
00:34:52,400 --> 00:34:54,239
Speaker 3: to write for a fifteen year old kid in an

590
00:34:54,320 --> 00:34:57,040
Speaker 3: industry that was growing. No one would have the state

591
00:34:57,080 --> 00:34:58,640
Speaker 3: of mind to say, okay here that you're going to

592
00:34:58,640 --> 00:35:01,600
Speaker 3: say I'm so young and your old, or you're gonna

593
00:35:01,600 --> 00:35:04,200
Speaker 3: go I had they called in popular or put your

594
00:35:04,239 --> 00:35:08,080
Speaker 3: head on I'm just a look. Those all came from

595
00:35:08,120 --> 00:35:11,480
Speaker 3: my feelings as a teenager, right, So the writing world

596
00:35:11,560 --> 00:35:15,200
Speaker 3: for me was the most important to keep up, right,

597
00:35:15,320 --> 00:35:18,439
Speaker 3: you know, I didn't really start feeling confident until well

598
00:35:18,480 --> 00:35:22,239
Speaker 3: this day tonight's your thing where people started looking at

599
00:35:22,239 --> 00:35:25,560
Speaker 3: me different, you know, kids growing, you know. So the

600
00:35:25,600 --> 00:35:30,600
Speaker 3: performing thing was the roll of the dice. It was working,

601
00:35:30,760 --> 00:35:33,960
Speaker 3: but I didn't feel as secure doing that as I

602
00:35:33,960 --> 00:35:34,600
Speaker 3: did as a writer.

603
00:35:43,719 --> 00:35:48,120
Speaker 1: Let me ask you this from songwriter to songwriter, and

604
00:35:48,280 --> 00:35:52,160
Speaker 1: I've never sold anything to anybody, But do you have

605
00:35:52,360 --> 00:35:57,800
Speaker 1: any control after you give the song to an artist

606
00:35:58,280 --> 00:36:01,279
Speaker 1: about the final product when you hear it? Do you

607
00:36:01,640 --> 00:36:05,359
Speaker 1: are you surprised? Are you positive about what you hear?

608
00:36:05,440 --> 00:36:08,200
Speaker 1: Or are you like, oh, you know, maybe we should

609
00:36:08,280 --> 00:36:10,880
Speaker 1: edit it and this, you know, give them some direction,

610
00:36:11,040 --> 00:36:12,360
Speaker 1: or you just give the song away?

611
00:36:12,400 --> 00:36:20,959
Speaker 3: And good question. Actually, you don't always have control. Once

612
00:36:20,960 --> 00:36:25,760
Speaker 3: you submitted a demonstration, a demo, we call right field

613
00:36:25,840 --> 00:36:31,920
Speaker 3: the song depending on the artist Sinatra, I gave him

614
00:36:31,960 --> 00:36:37,200
Speaker 3: a piano demo. She's a Lady was had some rhythm

615
00:36:37,280 --> 00:36:43,920
Speaker 3: elements to it. Once you give it to certain established artists,

616
00:36:43,960 --> 00:36:49,120
Speaker 3: whether it was Skrysander, Jubilation Lady with Tom the Sinatra stuff,

617
00:36:50,080 --> 00:36:55,319
Speaker 3: you're really trusting and putting it in the hands of professionals, right,

618
00:36:55,880 --> 00:36:58,560
Speaker 3: You're putting it in the hands people that know how

619
00:36:58,560 --> 00:37:02,399
Speaker 3: to do good, putting it in the hands of those

620
00:37:02,440 --> 00:37:06,759
Speaker 3: that have realized there's something great they've been gifted as

621
00:37:06,760 --> 00:37:10,160
Speaker 3: an artist, and that seems to always work for them.

622
00:37:10,640 --> 00:37:14,160
Speaker 3: So the answer is there is a wall that once

623
00:37:14,280 --> 00:37:17,600
Speaker 3: it leads you, you have to trust what their perception

624
00:37:17,920 --> 00:37:21,560
Speaker 3: is and their talent group that sits down and vibes

625
00:37:22,200 --> 00:37:26,080
Speaker 3: what fits their artists. Now, I've always approached it as

626
00:37:26,120 --> 00:37:29,719
Speaker 3: a casting person in a motion picture. You know what

627
00:37:29,719 --> 00:37:32,799
Speaker 3: you're writing for Tom, you know his capability, his name,

628
00:37:33,680 --> 00:37:37,160
Speaker 3: you know the way Sinatra sing. So I'm emulating when

629
00:37:37,160 --> 00:37:42,080
Speaker 3: you're writing. So you're type cast. You're trusting when you

630
00:37:42,160 --> 00:37:44,080
Speaker 3: give it away, and you sit and wait for the

631
00:37:44,320 --> 00:37:48,759
Speaker 3: phone call. Now, when I heard Sid Vicious singing my way,

632
00:37:48,880 --> 00:37:51,960
Speaker 3: Mari Scossia calls that I'm using my film, I was

633
00:37:52,040 --> 00:37:55,400
Speaker 3: taken aback and I didn't know whether I wanted to

634
00:37:55,440 --> 00:37:58,640
Speaker 3: relinquish the rights for the usage till I woke up

635
00:37:58,800 --> 00:38:01,840
Speaker 3: a few days later. I said, what who am I

636
00:38:01,880 --> 00:38:06,280
Speaker 3: to sit here and judge what someone across the waters

637
00:38:06,400 --> 00:38:08,440
Speaker 3: was feeling on this song that meant something to do

638
00:38:08,560 --> 00:38:12,640
Speaker 3: him and realizing he went to Paris and redid an

639
00:38:12,680 --> 00:38:15,520
Speaker 3: amplifier and had a jazz and he did it. The

640
00:38:15,560 --> 00:38:18,560
Speaker 3: way he felt it. I didn't judge it. I said,

641
00:38:18,600 --> 00:38:21,520
Speaker 3: you know what, I did the honesty in that, but

642
00:38:21,560 --> 00:38:24,120
Speaker 3: I'm going to grant that now. There's no way I

643
00:38:24,160 --> 00:38:25,920
Speaker 3: could have perceived what he was going to do with it,

644
00:38:26,760 --> 00:38:30,359
Speaker 3: and ultimately I accepted it. So you're really sitting there

645
00:38:30,680 --> 00:38:33,920
Speaker 3: hoping that as part of this team, that you're going

646
00:38:33,960 --> 00:38:36,719
Speaker 3: to hear what comes back to you. In most cases,

647
00:38:37,520 --> 00:38:40,239
Speaker 3: I like what came back to me. I never you know,

648
00:38:40,320 --> 00:38:43,480
Speaker 3: when Donnie Osmond was they want to do popul Love,

649
00:38:43,640 --> 00:38:48,680
Speaker 3: they wanted to do Lonely Boy, and he did a

650
00:38:48,719 --> 00:38:51,680
Speaker 3: couple of my tunes. I accepted it. You know, I

651
00:38:51,760 --> 00:38:54,279
Speaker 3: heard it the way that they perceived it. And I

652
00:38:54,320 --> 00:38:59,440
Speaker 3: can't really tell you that there's ever a large percentage

653
00:38:59,440 --> 00:39:04,239
Speaker 3: of treatments that I didn't like. You know, I can't

654
00:39:04,280 --> 00:39:06,440
Speaker 3: really say, and you don't have a say. As I

655
00:39:06,440 --> 00:39:10,399
Speaker 3: said earlier, to go elbowing around. Everybody said doing this now.

656
00:39:11,360 --> 00:39:13,880
Speaker 3: When I wound up with Buddy Holly, I had no

657
00:39:14,000 --> 00:39:20,800
Speaker 3: idea what Jacob's the arrangers producer. The song that started

658
00:39:20,840 --> 00:39:22,560
Speaker 3: on a kind of guitar. You know, he talked the

659
00:39:22,680 --> 00:39:27,080
Speaker 3: chords and was simply, you know, very young and there

660
00:39:27,160 --> 00:39:32,120
Speaker 3: you go and bathing he and I'm embulating him, and

661
00:39:32,280 --> 00:39:37,239
Speaker 3: hear the guitarist. Now we get to New York. There's

662
00:39:37,280 --> 00:39:43,719
Speaker 3: this huge string section and a big orchestra. We got here,

663
00:39:44,840 --> 00:39:48,280
Speaker 3: but do what I was doing? He wanted a big band,

664
00:39:48,400 --> 00:39:51,160
Speaker 3: he wanted strings, something he'd never done. He was on

665
00:39:51,239 --> 00:39:55,680
Speaker 3: his solo career now left a bad situation, and this

666
00:39:55,880 --> 00:39:58,120
Speaker 3: was going to be his new sound. So that threw

667
00:39:58,200 --> 00:40:01,120
Speaker 3: me at first. But I got it, you know, I

668
00:40:01,160 --> 00:40:04,560
Speaker 3: got the genius of Jacobson and where they were going

669
00:40:04,600 --> 00:40:07,120
Speaker 3: with that. But that was a differential from the kind

670
00:40:07,120 --> 00:40:07,759
Speaker 3: of demo that I.

671
00:40:09,600 --> 00:40:12,400
Speaker 1: Do you know you're writing a hit? When you're writing

672
00:40:12,400 --> 00:40:14,719
Speaker 1: a hit, do you know it's a hit? Does it

673
00:40:14,760 --> 00:40:19,920
Speaker 1: come to you quickly? Does it download from the muse

674
00:40:20,960 --> 00:40:24,640
Speaker 1: instantly and it's a rush to get it down? Is

675
00:40:24,680 --> 00:40:25,680
Speaker 1: that how it works for you?

676
00:40:26,200 --> 00:40:28,680
Speaker 3: We'd all be richer in this business if we knew that.

677
00:40:29,760 --> 00:40:34,680
Speaker 3: You don't really know other than being a professional. You

678
00:40:34,719 --> 00:40:39,399
Speaker 3: don't really know other than when you know you've got

679
00:40:39,400 --> 00:40:42,880
Speaker 3: something special. But the journey ahead is how do you

680
00:40:43,000 --> 00:40:46,520
Speaker 3: capture it right? Right? I had a feeling on my way,

681
00:40:48,239 --> 00:40:51,680
Speaker 3: I had a feeling uncheasy, lady, But you don't really know.

682
00:40:52,360 --> 00:40:54,319
Speaker 3: You know when you've got something you like, you know,

683
00:40:54,400 --> 00:40:58,640
Speaker 3: something that's has the merit, you know, something that could be.

684
00:40:59,200 --> 00:41:04,080
Speaker 3: But till the process is finished, you right. I've sat

685
00:41:04,120 --> 00:41:06,799
Speaker 3: with so many writers, and I've been blessed with all

686
00:41:06,880 --> 00:41:09,040
Speaker 3: kinds of great writers, and you sit there and you

687
00:41:09,080 --> 00:41:11,680
Speaker 3: know you've got something you know with it britback Rock,

688
00:41:11,760 --> 00:41:13,719
Speaker 3: Michael McDonald. I mean, all the guys I live with,

689
00:41:14,520 --> 00:41:16,960
Speaker 3: you don't know that you get there, you don't know

690
00:41:17,160 --> 00:41:18,080
Speaker 3: it's finished. No.

691
00:41:19,520 --> 00:41:25,040
Speaker 1: Interesting. I'm actually going to Nashville the middle of next

692
00:41:26,000 --> 00:41:28,839
Speaker 1: month to co write with the Warner Chapel artists. They

693
00:41:28,840 --> 00:41:30,440
Speaker 1: want me to come down and co write with them.

694
00:41:30,480 --> 00:41:33,920
Speaker 1: I've never co written. Can you give me any advice

695
00:41:34,200 --> 00:41:37,080
Speaker 1: on how that process is? Because I've never tried to

696
00:41:37,120 --> 00:41:40,400
Speaker 1: do it, and now I'm getting in the arena with

697
00:41:40,480 --> 00:41:44,239
Speaker 1: people that are actually known and gifted and all that.

698
00:41:44,400 --> 00:41:50,799
Speaker 3: So, if the vibe and everything in life is that

699
00:41:51,000 --> 00:41:56,640
Speaker 3: chemical attachment with someone, well, you're looking for a relationship,

700
00:41:56,840 --> 00:42:00,279
Speaker 3: you're looking for a business venture. You should know within

701
00:42:00,320 --> 00:42:04,920
Speaker 3: an hour, hour and a half maybe soon you're feeling

702
00:42:04,960 --> 00:42:09,280
Speaker 3: for this person. You should know whether there's a compatibility.

703
00:42:10,480 --> 00:42:13,520
Speaker 3: You should know what you share in terms of music

704
00:42:14,360 --> 00:42:17,480
Speaker 3: where you're all coming from. Then it could be a

705
00:42:17,520 --> 00:42:21,520
Speaker 3: great process because now you have this balancing off of

706
00:42:21,560 --> 00:42:25,640
Speaker 3: each other and mutual respect for each other that you know,

707
00:42:26,480 --> 00:42:29,520
Speaker 3: what instrument do you play? Your piano player, guitar player.

708
00:42:29,880 --> 00:42:30,880
Speaker 1: Hi write on guitar.

709
00:42:32,040 --> 00:42:36,480
Speaker 3: So you're going to the right place Nashville, every three

710
00:42:36,600 --> 00:42:41,080
Speaker 3: yards probably with guys that have guitars and piano, and

711
00:42:41,120 --> 00:42:46,120
Speaker 3: you're going to know within that first couple of hours. Okay,

712
00:42:47,400 --> 00:42:49,640
Speaker 3: you gotta be relaxed and you got to be open

713
00:42:49,680 --> 00:42:52,320
Speaker 3: minded to sit there and go it. What do we

714
00:42:52,360 --> 00:42:56,759
Speaker 3: want to write about? Where's the book? What's the key

715
00:42:56,840 --> 00:42:59,239
Speaker 3: line here? Where are we going with? You need to

716
00:42:59,360 --> 00:43:03,480
Speaker 3: now morphed with someone that you respect and you have

717
00:43:03,520 --> 00:43:07,359
Speaker 3: a feeling for to get that initial idea to where

718
00:43:07,360 --> 00:43:09,840
Speaker 3: you ultimately want to go. Now that may take you

719
00:43:10,000 --> 00:43:13,040
Speaker 3: a day. You may get it in six hours. You

720
00:43:13,080 --> 00:43:16,040
Speaker 3: may get it in three days once you've locked into it.

721
00:43:16,239 --> 00:43:20,320
Speaker 3: But it can be an incredible experience working with someone

722
00:43:20,960 --> 00:43:23,600
Speaker 3: that brings to the table what you've been to the table,

723
00:43:23,960 --> 00:43:26,839
Speaker 3: taking the heavy load off of you and having this

724
00:43:27,120 --> 00:43:31,560
Speaker 3: broad spectrum of creative foundation to work from. So it

725
00:43:31,560 --> 00:43:34,600
Speaker 3: can be very cool, but the first couple of hours

726
00:43:35,239 --> 00:43:38,200
Speaker 3: communicating that you know each other is very important. Now

727
00:43:38,360 --> 00:43:40,520
Speaker 3: you could find also that you're going to go nowhere.

728
00:43:41,280 --> 00:43:43,000
Speaker 3: You know. It was a different thing for me writing

729
00:43:43,000 --> 00:43:45,880
Speaker 3: with Michael Jackson because he didn't have an instrument, you know,

730
00:43:45,920 --> 00:43:48,160
Speaker 3: I had to sit and lay cords and do but

731
00:43:48,239 --> 00:43:55,120
Speaker 3: I heard the talent with his sounds. But I mean

732
00:43:55,120 --> 00:43:57,960
Speaker 3: it was a sound with it right right. But I

733
00:43:58,040 --> 00:44:00,760
Speaker 3: knew within the first couple of hours once we found

734
00:44:00,760 --> 00:44:04,000
Speaker 3: her kind of place with each other, because something was

735
00:44:04,000 --> 00:44:05,200
Speaker 3: going to come out of it. And I had his

736
00:44:05,280 --> 00:44:08,200
Speaker 3: last three HiT's you know this is it? Love never

737
00:44:08,239 --> 00:44:11,200
Speaker 3: felt so good and the Drake record It Don't Matter

738
00:44:11,239 --> 00:44:14,440
Speaker 3: to Me. That was the mostable experience I've ever had

739
00:44:14,440 --> 00:44:16,440
Speaker 3: to write with someone. It was with Michael Jackson.

740
00:44:16,800 --> 00:44:20,600
Speaker 1: Unbelievable. My wife is going to die when she hears this.

741
00:44:20,760 --> 00:44:23,800
Speaker 1: She's a huge Michael Jackson fan and she loves those songs.

742
00:44:24,400 --> 00:44:26,239
Speaker 1: She knew I was talking to you today. She wanted

743
00:44:26,280 --> 00:44:28,719
Speaker 1: to like sit in and ask you questions, but I said,

744
00:44:28,760 --> 00:44:29,000
Speaker 1: you know.

745
00:44:29,800 --> 00:44:31,920
Speaker 3: It was an interesting artist. You know, I knew him

746
00:44:31,920 --> 00:44:33,560
Speaker 3: as a kid with his family that came to my

747
00:44:33,640 --> 00:44:37,439
Speaker 3: show in Vegas. They grew up with that whole era

748
00:44:37,520 --> 00:44:40,759
Speaker 3: of sinopter myself. So when I finally got in a

749
00:44:40,800 --> 00:44:43,920
Speaker 3: room with him together in my home in Carmel, it

750
00:44:44,000 --> 00:44:47,000
Speaker 3: was like a heartwarming and it seemed to grow up

751
00:44:47,040 --> 00:44:50,520
Speaker 3: and see where he's coming from, where he was intellectually

752
00:44:51,040 --> 00:44:54,120
Speaker 3: dealing with the business. So that was a pretty cool

753
00:44:54,200 --> 00:44:55,680
Speaker 3: journey for me. What are you than songs?

754
00:44:56,520 --> 00:44:59,680
Speaker 1: I'll bet let's talk a little bit and about your

755
00:44:59,719 --> 00:45:02,560
Speaker 1: post cast. How'd that come about? What's it about?

756
00:45:03,160 --> 00:45:08,200
Speaker 3: Well, you know, for the last few years, do a podcast.

757
00:45:08,400 --> 00:45:10,440
Speaker 3: You know, you've got great stories, blah blah blah that

758
00:45:10,560 --> 00:45:13,400
Speaker 3: kind of Yeah. I let my son in law carry it,

759
00:45:13,520 --> 00:45:17,640
Speaker 3: Jason Bateman, who's very successful in that world. Oh yeah,

760
00:45:18,120 --> 00:45:21,360
Speaker 3: And I just you know, I didn't have time, you know,

761
00:45:21,360 --> 00:45:23,279
Speaker 3: I was traveling. I didn't have interest raply, you know.

762
00:45:23,960 --> 00:45:26,160
Speaker 3: I told my stories and went on Stern and I've

763
00:45:26,200 --> 00:45:27,880
Speaker 3: done all of them, and I'd like to leave it

764
00:45:27,920 --> 00:45:32,000
Speaker 3: at that. One thing leads to another. And someone, I

765
00:45:32,080 --> 00:45:35,880
Speaker 3: think heard me on Bateman and it led to iHeart

766
00:45:35,960 --> 00:45:38,920
Speaker 3: Radio and my buddy Skip Ronson was a friend. We

767
00:45:39,040 --> 00:45:42,479
Speaker 3: talked every day. Someone came up with the notion after

768
00:45:42,560 --> 00:45:46,160
Speaker 3: hearing me on a few of these that yeah, you

769
00:45:46,200 --> 00:45:49,680
Speaker 3: should do a podcast, and you you know, have to

770
00:45:49,719 --> 00:45:51,880
Speaker 3: see Skip and I hang out at lunches and what

771
00:45:51,920 --> 00:45:54,399
Speaker 3: have you. Why don't you guys do it together. When

772
00:45:54,440 --> 00:45:58,120
Speaker 3: I looked at it, you know, look, I'm not gonna

773
00:45:58,120 --> 00:46:00,399
Speaker 3: make a zillion dollars. I'm gonna have a lot of fun.

774
00:46:01,080 --> 00:46:03,160
Speaker 3: And with my buddy, I could take an hour or

775
00:46:03,200 --> 00:46:07,040
Speaker 3: two out of the day. If I can inspire someone

776
00:46:07,120 --> 00:46:09,680
Speaker 3: with it, if I can in any way give them

777
00:46:09,680 --> 00:46:13,600
Speaker 3: some kind of a look into life of writing or whatever, yeah,

778
00:46:13,719 --> 00:46:15,880
Speaker 3: let's do it. So it was that quick, you know,

779
00:46:15,920 --> 00:46:19,160
Speaker 3: it was just a bunch of people coming together, putting

780
00:46:19,160 --> 00:46:22,239
Speaker 3: it together and letting it Skip saying, yeah, I'm going

781
00:46:22,320 --> 00:46:23,880
Speaker 3: to do it because you know, I don't think that

782
00:46:24,000 --> 00:46:28,360
Speaker 3: sensing he was thinking of. It came together quickly in

783
00:46:28,440 --> 00:46:33,880
Speaker 3: an environment where everybody got a podcasts. We're all in

784
00:46:33,920 --> 00:46:36,399
Speaker 3: the same boat, right, So we knew what we were

785
00:46:36,400 --> 00:46:38,680
Speaker 3: going to draw from from our friends and everything. And

786
00:46:39,800 --> 00:46:41,759
Speaker 3: I had some time to do it. You know, I

787
00:46:41,800 --> 00:46:44,200
Speaker 3: don't work. I don't want to work two hundred days

788
00:46:44,200 --> 00:46:46,719
Speaker 3: a year like I used to. I tour fifty to

789
00:46:46,800 --> 00:46:49,759
Speaker 3: seventy or five days. I've got my other stuff and

790
00:46:49,800 --> 00:46:51,319
Speaker 3: I can fit this thing because I do it from

791
00:46:51,360 --> 00:46:54,920
Speaker 3: my house where I am. And that was it, and

792
00:46:55,000 --> 00:46:58,120
Speaker 3: we have good Now we've got Bill Burrow was on

793
00:46:58,200 --> 00:46:59,759
Speaker 3: the other night. It was a buddy and it was

794
00:46:59,840 --> 00:47:04,680
Speaker 3: just hilarious. Jason did it. We've got a whole list

795
00:47:04,760 --> 00:47:08,040
Speaker 3: of great people who know how to talk about their

796
00:47:08,080 --> 00:47:10,359
Speaker 3: life and their experience and we're having fun with it.

797
00:47:10,640 --> 00:47:12,600
Speaker 1: You're gonna You're gonna have the President of France on.

798
00:47:14,120 --> 00:47:16,600
Speaker 3: Uh yeah, the guy I'm talking to that was a

799
00:47:16,640 --> 00:47:18,600
Speaker 3: pr guy because I was given an award, but it

800
00:47:18,760 --> 00:47:21,759
Speaker 3: was just quit. So now I've got it. Was a

801
00:47:21,800 --> 00:47:25,880
Speaker 3: new guy. You know, politicians never that's a whole other world.

802
00:47:25,880 --> 00:47:28,319
Speaker 3: But I don't want to be a part of which

803
00:47:28,360 --> 00:47:30,760
Speaker 3: we all have to respect and the fact that I

804
00:47:31,040 --> 00:47:33,600
Speaker 3: just deal with their lives or not. But yeah, we'll

805
00:47:33,640 --> 00:47:37,440
Speaker 3: ultimately get him. We've got Carlos Slimp going on from Mexico. Wow.

806
00:47:38,719 --> 00:47:41,600
Speaker 3: We've got a lot of insent people that Kimmel we got,

807
00:47:42,320 --> 00:47:43,680
Speaker 3: we get commitments from people.

808
00:47:43,920 --> 00:47:47,239
Speaker 1: Yeah, well good. I wish you the best of luck

809
00:47:47,320 --> 00:47:51,200
Speaker 1: with all of that. And it is it is the

810
00:47:51,200 --> 00:47:54,640
Speaker 1: easiest job and the best job I've had in my

811
00:47:54,760 --> 00:47:58,160
Speaker 1: life is doing a podcast. It's it's really quite fun

812
00:47:58,800 --> 00:48:02,040
Speaker 1: and I heart's great and the great support, so I

813
00:48:02,080 --> 00:48:04,560
Speaker 1: wish I wish you the best with that.

814
00:48:07,000 --> 00:48:09,160
Speaker 3: What made it easy was the unknown that hits you

815
00:48:09,280 --> 00:48:12,200
Speaker 3: and then the reality of what you're dealing with and

816
00:48:12,480 --> 00:48:15,719
Speaker 3: the whole team that I've worked with that are just

817
00:48:16,160 --> 00:48:21,040
Speaker 3: amazing to work with and makes much. It makes life easier,

818
00:48:21,719 --> 00:48:25,880
Speaker 3: you know, to get on base right away, that revolving

819
00:48:25,960 --> 00:48:27,279
Speaker 3: door to get to where you want to.

820
00:48:27,480 --> 00:48:30,600
Speaker 1: I'm gonna go out on a limb here and ask

821
00:48:30,680 --> 00:48:34,279
Speaker 1: you if I could send you a song sure that

822
00:48:34,360 --> 00:48:36,319
Speaker 1: I wrote that I think you would.

823
00:48:36,080 --> 00:48:41,320
Speaker 3: Like well, I'm sure I would like it. The challenge

824
00:48:41,360 --> 00:48:44,600
Speaker 3: today for guys like me and everyone in the business

825
00:48:45,160 --> 00:48:47,680
Speaker 3: is what do you do with them? You know, everybody's

826
00:48:47,680 --> 00:48:50,200
Speaker 3: writing there on stuff.

827
00:48:50,040 --> 00:48:53,880
Speaker 1: If you like this song, yeah, we'll figure out what

828
00:48:53,960 --> 00:48:56,239
Speaker 1: to do with it. But if you like it, if

829
00:48:56,280 --> 00:49:01,160
Speaker 1: it does something for you, just the thought of you

830
00:49:01,280 --> 00:49:02,680
Speaker 1: listening to one of my songs.

831
00:49:02,760 --> 00:49:07,040
Speaker 3: Did it? The butler did it? Now you're back? If

832
00:49:07,080 --> 00:49:11,319
Speaker 3: I boom, so you go from there. You know what

833
00:49:11,360 --> 00:49:17,279
Speaker 3: you deal is with clarity, transparency, honestly and go. I

834
00:49:17,320 --> 00:49:19,160
Speaker 3: can do it. I don't know who can do it.

835
00:49:19,200 --> 00:49:21,040
Speaker 3: I don't know if I'm doing an album, maybe it

836
00:49:21,040 --> 00:49:23,919
Speaker 3: should go here, you know, because the music business changed

837
00:49:23,960 --> 00:49:27,319
Speaker 3: so drastically. I mean, I feel it really has for

838
00:49:27,400 --> 00:49:30,680
Speaker 3: people out there. He's not like years ago you could

839
00:49:30,920 --> 00:49:32,960
Speaker 3: get you know where you're going. You get a place.

840
00:49:33,280 --> 00:49:35,399
Speaker 3: You're probably going to the right place in Nashville because

841
00:49:35,440 --> 00:49:39,960
Speaker 3: they still have a channel to artists that don't write

842
00:49:40,239 --> 00:49:43,680
Speaker 3: what most of them do well. This possibility of getting

843
00:49:43,800 --> 00:49:47,799
Speaker 3: a artist to do a song today, I don't even

844
00:49:47,960 --> 00:49:51,080
Speaker 3: see a lot of artists wanted to do CDs or

845
00:49:51,160 --> 00:49:55,000
Speaker 3: to contribute anymore because it's changed. You got these artists

846
00:49:55,040 --> 00:49:56,879
Speaker 3: that years ago you had a promotion team to make

847
00:49:56,880 --> 00:49:59,320
Speaker 3: a great album, and I'm excited you do an album.

848
00:49:59,360 --> 00:50:02,759
Speaker 3: Today there's no promotion team. They're not spending so I

849
00:50:02,760 --> 00:50:05,200
Speaker 3: could list to a bunch of people to put albums up.

850
00:50:05,200 --> 00:50:09,600
Speaker 3: They don't do forty thousand CDs not good. No, So

851
00:50:09,840 --> 00:50:12,799
Speaker 3: with the streaming and everything going on, it's where do

852
00:50:12,840 --> 00:50:15,640
Speaker 3: you go with a song? Ooh, you give it? You

853
00:50:15,719 --> 00:50:17,839
Speaker 3: know at the end of the day, who I'm going

854
00:50:17,840 --> 00:50:18,520
Speaker 3: to give the songs?

855
00:50:19,080 --> 00:50:22,000
Speaker 1: Right? I think you give them away. I think with

856
00:50:22,360 --> 00:50:24,920
Speaker 1: the world of social media, it's like you can't really

857
00:50:24,960 --> 00:50:27,960
Speaker 1: sell them, you know. The money's in the touring. I mean,

858
00:50:28,000 --> 00:50:29,480
Speaker 1: if you want to earn a living, it's touring and

859
00:50:29,600 --> 00:50:32,080
Speaker 1: merch and that's it.

860
00:50:32,719 --> 00:50:35,600
Speaker 3: Yeah. Well I got a song brewing now with Tiger

861
00:50:36,120 --> 00:50:39,840
Speaker 3: Oh wow. I mean he's got in his studio. I

862
00:50:39,880 --> 00:50:43,000
Speaker 3: think he likes it. We'll see. But you keep trying,

863
00:50:43,080 --> 00:50:45,920
Speaker 3: you keep doing. But like you say, all artists make

864
00:50:45,960 --> 00:50:49,919
Speaker 3: their money on the road. Right, the music you've got,

865
00:50:50,239 --> 00:50:54,360
Speaker 3: artificial intelligence is going to change our lives so drastically.

866
00:50:54,400 --> 00:50:59,080
Speaker 3: It's not here, but wait, the grand process next three

867
00:50:59,160 --> 00:51:04,200
Speaker 3: years change lives in all occupational films, and it's going

868
00:51:04,280 --> 00:51:06,279
Speaker 3: to change in the music business, film, etc.

869
00:51:07,120 --> 00:51:09,439
Speaker 1: I think AI is going to I think we're we're

870
00:51:09,440 --> 00:51:16,160
Speaker 1: looking at massive copyright and infringement issues and lawsuits coming

871
00:51:16,239 --> 00:51:17,360
Speaker 1: down the pub.

872
00:51:17,719 --> 00:51:23,399
Speaker 3: Try to prevent that. Right theoretically, okay, but it's too

873
00:51:23,400 --> 00:51:27,759
Speaker 3: big and there's too many power bases that will sit

874
00:51:27,840 --> 00:51:30,040
Speaker 3: down with the right people and say, okay, guys, look

875
00:51:30,800 --> 00:51:34,280
Speaker 3: you can't do this. These are intellectual rights. You can't

876
00:51:34,320 --> 00:51:36,600
Speaker 3: do that. There's a lot of money that have been made,

877
00:51:37,239 --> 00:51:40,480
Speaker 3: Let's do the right thing. They don't want two thousand

878
00:51:41,040 --> 00:51:45,520
Speaker 3: figuratively losses coming out them, you know, just they won't

879
00:51:45,800 --> 00:51:49,399
Speaker 3: you have to accept change. You have to be optimistic.

880
00:51:49,480 --> 00:51:52,920
Speaker 3: I live through change all my life. You hang in,

881
00:51:54,000 --> 00:51:57,680
Speaker 3: you keep on keeping on, you take the clothes. I

882
00:51:57,680 --> 00:52:00,600
Speaker 3: hope it changes for the best, and it will. I'm

883
00:52:00,600 --> 00:52:02,160
Speaker 3: worried about the guys that are going to be able

884
00:52:02,160 --> 00:52:06,160
Speaker 3: to work and other occupations. Forget about collarge. You have

885
00:52:06,200 --> 00:52:08,800
Speaker 3: people that will lot of jobs, and the governments and

886
00:52:08,840 --> 00:52:13,239
Speaker 3: the corporations will have to restructure. Tell everybody to stay home,

887
00:52:13,360 --> 00:52:16,000
Speaker 3: work two days a week. I'm just giving you. We'll

888
00:52:16,000 --> 00:52:18,640
Speaker 3: give you money. They'll go and then's spend it. And

889
00:52:18,680 --> 00:52:21,759
Speaker 3: you'll see this globe now with where we have to

890
00:52:21,800 --> 00:52:25,920
Speaker 3: contend with China and Europe and Russia. There'll be this

891
00:52:26,120 --> 00:52:30,040
Speaker 3: huge change wrapped around artificial intelligence. Let's hope we use

892
00:52:30,080 --> 00:52:33,200
Speaker 3: it right and let's hope everybody survives with it. But

893
00:52:33,280 --> 00:52:36,520
Speaker 3: it's coming. You will. You're seen in medicine. You've got

894
00:52:36,560 --> 00:52:41,080
Speaker 3: all kinds of new applications with AI and technology. It's

895
00:52:41,160 --> 00:52:44,040
Speaker 3: unheard of and it's coming and it will happen, and

896
00:52:44,080 --> 00:52:45,040
Speaker 3: it's a wonderful thing.

897
00:52:46,920 --> 00:52:50,759
Speaker 1: Yeah, which is why live entertainment will grow in popularity

898
00:52:51,000 --> 00:52:52,959
Speaker 1: because they won't be able to get it anywhere else.

899
00:52:53,000 --> 00:52:55,560
Speaker 1: Nothing will be real in their lives except live theater

900
00:52:55,719 --> 00:52:58,400
Speaker 1: and live music and live this and live that. So

901
00:52:59,800 --> 00:53:11,400
Speaker 1: I'm hopeful for that. Would you do us the honor

902
00:53:12,600 --> 00:53:15,400
Speaker 1: of playing rapid fire with us? The thought of playing

903
00:53:15,520 --> 00:53:19,839
Speaker 1: rapid fire with you. It's something we do with all

904
00:53:19,840 --> 00:53:21,840
Speaker 1: of our guests, and it's just sort of give basic

905
00:53:21,880 --> 00:53:25,520
Speaker 1: gilmore questions and I ask you what your preferences are

906
00:53:25,520 --> 00:53:28,839
Speaker 1: and you can answer if you want to. Would you

907
00:53:29,000 --> 00:53:29,799
Speaker 1: do that for us?

908
00:53:30,160 --> 00:53:34,400
Speaker 3: I would love to do it. Yeah, just the questions,

909
00:53:34,400 --> 00:53:35,200
Speaker 3: but go ahead.

910
00:53:35,120 --> 00:53:38,880
Speaker 1: Yeah, okay, here's the first question. How do you like

911
00:53:38,920 --> 00:53:39,640
Speaker 1: your coffee?

912
00:53:40,600 --> 00:53:44,000
Speaker 3: I like my coffee. I have another sugar guy. I

913
00:53:44,160 --> 00:53:50,080
Speaker 3: use honey, a gabi. I use oat milk and black

914
00:53:50,160 --> 00:53:53,200
Speaker 3: of course. I like the French press or I put

915
00:53:53,200 --> 00:53:56,000
Speaker 3: it in. I do the purest form of coffee. I

916
00:53:56,080 --> 00:54:00,239
Speaker 3: do coffee minimum of four times a day, maybe or

917
00:54:00,239 --> 00:54:04,280
Speaker 3: because I think when I'm an avid reader on all fronts,

918
00:54:04,800 --> 00:54:08,480
Speaker 3: that coffee is healthy player. So I drink it right

919
00:54:08,640 --> 00:54:12,799
Speaker 3: right too. I've spoken to doctors about it because I'm

920
00:54:12,840 --> 00:54:15,600
Speaker 3: a health free and that's how I like it. I

921
00:54:15,640 --> 00:54:20,600
Speaker 3: don't generally do shots, but I do cups of black coffee.

922
00:54:20,760 --> 00:54:23,160
Speaker 3: I done properly out of the right mechanisms.

923
00:54:23,719 --> 00:54:28,000
Speaker 1: Great. Next question, are you team Logan, Team Jess or

924
00:54:28,080 --> 00:54:31,560
Speaker 1: team Dean? Do you have any idea what I'm talking about?

925
00:54:32,239 --> 00:54:34,440
Speaker 3: I can intelligently answer that question.

926
00:54:36,840 --> 00:54:43,080
Speaker 1: Good. Would you rather work with Michelle or Kirk Michelle? Why?

927
00:54:44,600 --> 00:54:47,759
Speaker 1: I like Michelle because he's Canadian, He's from Montreal.

928
00:54:49,440 --> 00:54:51,200
Speaker 3: I feel a chemistry with Michelle.

929
00:54:54,160 --> 00:54:57,560
Speaker 1: H What would you order at Luke's Diner.

930
00:55:00,120 --> 00:55:02,960
Speaker 3: Or a Hamburger and a Milkshire?

931
00:55:03,680 --> 00:55:06,960
Speaker 1: Who would you rather hang out with? Paris or Lane?

932
00:55:08,080 --> 00:55:10,319
Speaker 3: Paris boy?

933
00:55:10,800 --> 00:55:15,560
Speaker 1: I like Paris, Harvard or Yale.

934
00:55:16,640 --> 00:55:22,759
Speaker 3: With the state of those universities today, look, colleges are

935
00:55:22,800 --> 00:55:29,600
Speaker 3: going through some real transitions. The whole education system to

936
00:55:29,640 --> 00:55:35,080
Speaker 3: me is little frail. I don't like a few things

937
00:55:35,080 --> 00:55:40,279
Speaker 3: going on. But they're both great. They're both great going

938
00:55:40,320 --> 00:55:43,000
Speaker 3: into the legal field obviously, Harvard.

939
00:55:43,400 --> 00:55:46,960
Speaker 1: Would you rather attend a dar event with Emily or

940
00:55:46,960 --> 00:55:48,800
Speaker 1: a town meeting with Taylor?

941
00:55:50,960 --> 00:55:52,440
Speaker 3: I think a town meetings too.

942
00:55:53,239 --> 00:55:57,200
Speaker 1: Gilmore girls character that you would want as a roommate?

943
00:55:58,800 --> 00:56:08,839
Speaker 3: Wow, you know, listen, roommate girlfriend, wives, one room. That's

944
00:56:08,840 --> 00:56:09,800
Speaker 3: a serious.

945
00:56:09,480 --> 00:56:12,600
Speaker 1: Question, serious man, who do you think?

946
00:56:13,440 --> 00:56:15,960
Speaker 3: Wow? Give me three choices?

947
00:56:16,880 --> 00:56:23,160
Speaker 1: Okay, right? No, I know I knew that let me see, Well,

948
00:56:23,200 --> 00:56:27,840
Speaker 1: you like Paris, So let's say, uh, Paris or Babet

949
00:56:28,360 --> 00:56:32,840
Speaker 1: or Laurel I Paris, Babet or Laurel I. Sally Strauthers

950
00:56:32,880 --> 00:56:37,440
Speaker 1: played Babet, Paris, Paris again, Paris for the wind.

951
00:56:37,680 --> 00:56:40,040
Speaker 3: The city of Paris has been good to me, and

952
00:56:40,080 --> 00:56:41,160
Speaker 3: I'm going with Paris.

953
00:56:41,320 --> 00:56:46,279
Speaker 1: Okay, Uh, something in your life you are all in on.

954
00:56:48,360 --> 00:56:59,120
Speaker 3: I'm all in empathy for others, being non judgmental, and

955
00:56:59,200 --> 00:57:04,600
Speaker 3: I'm all in in on trying to constantly institute the

956
00:57:04,640 --> 00:57:08,640
Speaker 3: necessity of love for one another the people. I think

957
00:57:08,640 --> 00:57:14,160
Speaker 3: there's a some kind of cure based around if everybody

958
00:57:15,120 --> 00:57:19,120
Speaker 3: can feel more love than they are and empathy and kindness.

959
00:57:19,880 --> 00:57:22,240
Speaker 3: Now that's traveling through the world where I see all

960
00:57:22,320 --> 00:57:28,320
Speaker 3: of the adversity, the treatment of people. It's never going

961
00:57:28,400 --> 00:57:30,840
Speaker 3: to always be perfect, but I think if people could

962
00:57:30,880 --> 00:57:35,120
Speaker 3: start learning a little more but kind, empathetic, and show

963
00:57:35,200 --> 00:57:38,480
Speaker 3: some love, it's going to be a little easier on everybody.

964
00:57:39,800 --> 00:57:42,480
Speaker 3: Because I've never seen the world in this state that

965
00:57:42,520 --> 00:57:46,040
Speaker 3: it's in right now. I think that there's some pain

966
00:57:46,080 --> 00:57:49,760
Speaker 3: ahead of us here until certain things are resolved, And

967
00:57:49,840 --> 00:57:54,760
Speaker 3: the only thing ultimately that's going to inch you ahead

968
00:57:55,520 --> 00:58:00,840
Speaker 3: is feeling empathy, kindness and love for people. Other than that,

969
00:58:01,360 --> 00:58:03,600
Speaker 3: it's going to get worse, you know, because it's just

970
00:58:03,680 --> 00:58:07,360
Speaker 3: too many unresolved things that are going on, you know,

971
00:58:07,400 --> 00:58:11,840
Speaker 3: for my liking, that are not making it an easy

972
00:58:11,880 --> 00:58:12,520
Speaker 3: world to live in.

973
00:58:13,640 --> 00:58:16,520
Speaker 1: I have one last question, and I thank you so

974
00:58:16,640 --> 00:58:22,480
Speaker 1: much for your time. I really appreciate this. Are you aware,

975
00:58:24,120 --> 00:58:27,240
Speaker 1: based on just one song that you wrote, My Way,

976
00:58:28,480 --> 00:58:32,080
Speaker 1: of the impact the positive impact that that has had

977
00:58:32,280 --> 00:58:37,520
Speaker 1: on literally billions of people since you have written that song,

978
00:58:37,600 --> 00:58:41,160
Speaker 1: and it will continue to positively impact people in a

979
00:58:41,280 --> 00:58:44,880
Speaker 1: very positive way so that they can show that empathy

980
00:58:44,920 --> 00:58:51,400
Speaker 1: and love and get strength from that song. Are you

981
00:58:51,520 --> 00:58:53,600
Speaker 1: aware of the impact of that song?

982
00:58:54,520 --> 00:58:59,360
Speaker 3: I learned very early in my creative life. My life

983
00:58:59,440 --> 00:59:03,520
Speaker 3: is a it's what I do. You sit in the

984
00:59:03,600 --> 00:59:08,560
Speaker 3: room and you create even when you perform, but you

985
00:59:08,640 --> 00:59:12,280
Speaker 3: take my way. As you mentioned, there's a large black

986
00:59:12,320 --> 00:59:18,120
Speaker 3: hole between me sitting here today with you and what

987
00:59:18,240 --> 00:59:22,320
Speaker 3: people are embracing out there with my Way or whatever song.

988
00:59:22,320 --> 00:59:27,080
Speaker 3: But let's use my way. You don't fully realize ever,

989
00:59:27,920 --> 00:59:30,320
Speaker 3: with that black hole in front of you, how you've

990
00:59:30,320 --> 00:59:35,400
Speaker 3: affected people. Where you get a sense of it when

991
00:59:35,400 --> 00:59:38,240
Speaker 3: you're performing up there and you hit that song in

992
00:59:38,280 --> 00:59:43,560
Speaker 3: your lineup, and you see the tears, You see the

993
00:59:43,600 --> 00:59:46,120
Speaker 3: reaction of people, you see how they react to you

994
00:59:46,160 --> 00:59:48,800
Speaker 3: at the end of it. Only then do you get

995
00:59:48,800 --> 00:59:51,400
Speaker 3: a sense. You get a sense someone someone comes up

996
00:59:51,440 --> 00:59:53,480
Speaker 3: to you. You get a sense when you get a

997
00:59:53,560 --> 00:59:58,040
Speaker 3: letter from someone that's dealing with someone that does not

998
00:59:58,240 --> 01:00:01,760
Speaker 3: have the health them, that's their brother is on death

999
01:00:01,840 --> 01:00:06,120
Speaker 3: row in a prison. You eclectically get these responses. But

1000
01:00:06,200 --> 01:00:10,400
Speaker 3: to say that I fully get it, No, absolutely not.

1001
01:00:10,640 --> 01:00:12,880
Speaker 3: I don't think any of us do it. You know,

1002
01:00:12,920 --> 01:00:14,440
Speaker 3: I was at a dinner prior to the other night

1003
01:00:14,520 --> 01:00:20,520
Speaker 3: with a top neurosurgeon in the country. I didn't know him,

1004
01:00:20,560 --> 01:00:23,040
Speaker 3: he didn't know me, and it came out within the dinner.

1005
01:00:24,880 --> 01:00:27,120
Speaker 3: You know how my Way was his song, he said.

1006
01:00:27,120 --> 01:00:29,200
Speaker 3: But I'm gonna tell you something. I will tell a

1007
01:00:29,200 --> 01:00:35,520
Speaker 3: lot of people. When I was operating in the seventies,

1008
01:00:36,760 --> 01:00:39,360
Speaker 3: and I would go in and take a tumor the

1009
01:00:39,440 --> 01:00:43,920
Speaker 3: size of an orange or whatever out of someone's head.

1010
01:00:44,680 --> 01:00:47,880
Speaker 3: As I would pull it out, I would sing, having

1011
01:00:47,960 --> 01:00:54,400
Speaker 3: my Baby. No, you know, I've never heard much about

1012
01:00:54,480 --> 01:00:57,040
Speaker 3: my song having my Baby, other than the obvious meeting.

1013
01:00:57,440 --> 01:01:02,800
Speaker 3: But it's like pulling a baby, he said absolutely, and

1014
01:01:02,920 --> 01:01:05,640
Speaker 3: everyone there was in the court, he said, don't do

1015
01:01:05,720 --> 01:01:08,680
Speaker 3: it anymore because they're now younger, they don't know the song.

1016
01:01:08,880 --> 01:01:12,400
Speaker 3: But I would be singing having my baby. And you know,

1017
01:01:12,440 --> 01:01:14,400
Speaker 3: it's kind of back to what you said that was

1018
01:01:14,440 --> 01:01:16,360
Speaker 3: such an impact on me the other day. I'd say,

1019
01:01:17,320 --> 01:01:19,960
Speaker 3: I can't get my hair around that. You'd be pulling

1020
01:01:20,040 --> 01:01:23,400
Speaker 3: a cancers as someone's edit, you're singing and having my

1021
01:01:23,440 --> 01:01:29,760
Speaker 3: baby says, So you never know, you just ever know

1022
01:01:30,120 --> 01:01:32,480
Speaker 3: the full impact. Now, you take a country like the

1023
01:01:32,480 --> 01:01:36,600
Speaker 3: Philippines where they take their music seriously. I know for

1024
01:01:36,680 --> 01:01:40,200
Speaker 3: a fact because they're just an amazing country in terms

1025
01:01:40,240 --> 01:01:45,360
Speaker 3: of how they embrace music. Singing. I think three people

1026
01:01:45,400 --> 01:01:49,680
Speaker 3: are dead because in a karaoke karaoke bar they sang

1027
01:01:49,760 --> 01:01:52,640
Speaker 3: my Way the wrong way and they shot him. If

1028
01:01:52,640 --> 01:01:56,720
Speaker 3: you look it up, you actually read the content in

1029
01:01:56,760 --> 01:01:59,520
Speaker 3: the event they shoot people for singing my Way the

1030
01:01:59,560 --> 01:02:02,280
Speaker 3: wrong way, look at the extreme of that, and it's

1031
01:02:02,280 --> 01:02:05,560
Speaker 3: been written up. It's you. Well, we're done. You'll google

1032
01:02:05,600 --> 01:02:08,440
Speaker 3: it and you'll see I will who got shot in

1033
01:02:08,480 --> 01:02:13,440
Speaker 3: the Philippines and a carrier. That's not the effect that

1034
01:02:13,480 --> 01:02:15,160
Speaker 3: I want my song to have. On anyway.

1035
01:02:16,440 --> 01:02:21,680
Speaker 1: It has been a pleasure, it really has. I feel

1036
01:02:21,680 --> 01:02:24,720
Speaker 1: like I can quit podcasting now because I've done the interview,

1037
01:02:24,920 --> 01:02:27,480
Speaker 1: and but I but I won't.

1038
01:02:27,760 --> 01:02:30,280
Speaker 3: You'll keep doing it because you do it well, and

1039
01:02:30,360 --> 01:02:32,120
Speaker 3: you're going to go to Nashville and you're gonna do

1040
01:02:32,160 --> 01:02:36,000
Speaker 3: that well, and you're going to constantly feel what music

1041
01:02:36,080 --> 01:02:39,680
Speaker 3: and the magic there has and always see conversations what

1042
01:02:39,800 --> 01:02:41,880
Speaker 3: it does for you. Because if you have a passion,

1043
01:02:42,760 --> 01:02:44,760
Speaker 3: it's something in life. But you're so ahead of the

1044
01:02:44,800 --> 01:02:49,760
Speaker 3: game because most people, no, some people don't have a

1045
01:02:49,880 --> 01:02:53,440
Speaker 3: passion and a commitment to what they're doing. And that's

1046
01:02:53,840 --> 01:02:56,280
Speaker 3: always sad to me because you have to have that

1047
01:02:56,400 --> 01:02:59,520
Speaker 3: in your life to have a fulfilled life. You know,

1048
01:03:00,480 --> 01:03:03,920
Speaker 3: I need that. So you're fortunate and I'm fortunate.

1049
01:03:04,680 --> 01:03:08,640
Speaker 1: Yeah, I agree. Thank you for sharing your stories. Thank

1050
01:03:08,680 --> 01:03:12,200
Speaker 1: you for your time. It has been an honor.

1051
01:03:13,240 --> 01:03:15,840
Speaker 3: And just get get Paris in the room with me somewhere.

1052
01:03:16,160 --> 01:03:20,840
Speaker 1: I will, I'll see what I can do. I'll send

1053
01:03:20,880 --> 01:03:22,920
Speaker 1: you that song. Have a have a great rest of

1054
01:03:22,960 --> 01:03:25,640
Speaker 1: your day, Good luck with the podcast. Thank you again.

1055
01:03:26,360 --> 01:03:29,480
Speaker 3: Well, I'm at a Broadway show that I'm dealing with

1056
01:03:29,520 --> 01:03:34,520
Speaker 3: here today. We got the money and now I have

1057
01:03:34,600 --> 01:03:37,880
Speaker 3: to sit and go through the waiting process. They want

1058
01:03:37,880 --> 01:03:40,160
Speaker 3: done in six months. So that's that's a new one,

1059
01:03:40,160 --> 01:03:43,919
Speaker 3: and that's a huge hurtle. It's a one a one

1060
01:03:43,960 --> 01:03:48,400
Speaker 3: time shot. Can't make a mistake there. So that's where

1061
01:03:48,400 --> 01:03:49,040
Speaker 3: I'm going from.

1062
01:03:49,040 --> 01:03:53,760
Speaker 1: You Broadway show, just just scoring a Broadway show?

1063
01:03:53,800 --> 01:03:56,000
Speaker 3: Okay, story my life?

1064
01:03:56,400 --> 01:03:58,280
Speaker 1: Oh is that it's going to be about you.

1065
01:03:58,800 --> 01:04:02,760
Speaker 3: Yeah, I'm starting at fifteen and we're down to the

1066
01:04:02,800 --> 01:04:04,880
Speaker 3: list of songs and I'm dealing with writers.

1067
01:04:04,880 --> 01:04:09,000
Speaker 1: Now have you seen the Springsteen Broadway Show.

1068
01:04:09,440 --> 01:04:12,520
Speaker 3: Yeah, I've saw it on the Netflix.

1069
01:04:12,560 --> 01:04:15,720
Speaker 1: I think, Yeah, I'm watching this a full out.

1070
01:04:15,560 --> 01:04:20,400
Speaker 3: Show cast, full deal. We've got to get two actors,

1071
01:04:20,840 --> 01:04:23,600
Speaker 3: maybe three one. We can add it in at fifteen,

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01:04:23,680 --> 01:04:27,520
Speaker 3: sixteen and right mid twenties, and then it depends. We'll

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01:04:27,520 --> 01:04:28,600
Speaker 3: probably end it my way.

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01:04:29,080 --> 01:04:31,480
Speaker 1: What a great idea, What a great idea.

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01:04:32,280 --> 01:04:34,200
Speaker 3: We'll see how this idea mars.

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01:04:34,440 --> 01:04:36,880
Speaker 1: But I mean, just to stage all those big songs,

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01:04:36,920 --> 01:04:39,720
Speaker 1: what a great idea. Oh man, I wish you luck

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01:04:39,760 --> 01:04:40,200
Speaker 1: with that one.

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01:04:40,360 --> 01:04:42,600
Speaker 3: I lived unluck. I'll always take luck.

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01:04:44,920 --> 01:04:48,960
Speaker 1: All right, Thank you again, ladies and gentlemen. Paul Anka,

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01:04:49,960 --> 01:04:55,760
Speaker 1: we're talking about one of the giants of the past sixty,

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01:04:56,400 --> 01:05:01,439
Speaker 1: sixty five, even seventy years in the entertainment field. An

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01:05:01,440 --> 01:05:14,600
Speaker 1: honor to talk to you all right, Thank you, Take care,

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01:05:34,240 --> 01:05:37,280
Speaker 1: hey everybody, and talk forget. Follow us on Instagram at

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01:05:37,600 --> 01:05:41,720
Speaker 1: I Am all In podcast and email us at Gilmore

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01:05:41,760 --> 01:05:53,720
Speaker 1: at iHeartRadio dot com.