Who is Richard Kerr?


In 2011, I had the pleasure of interviewing Enoch Anderson, the very talented lyricist who wrote songs with Barry Manilow for 15 Minutes, the first original album from Manilow since the 2001 Here at the Mayflower. The experience was very fascinating and many people commented on how well-spoken Enoch Anderson is.

People sometimes ask me when I became a fan of Mr. Manilow’s. I always chuckle and answer that I was born this way. It’s not far from the truth. My mom has an appreciation for really great music. Appreciation is too mild of a word. She LOVES music. She told me about seeing Simon & Garfunkel as a youth. I got to see Simon & Garfunkel too and am glad we can share an admiration for them. We also love Frankie Valli and the Four Seasons, along with her sister—my aunt. Either my mom or my aunt (both?) saw Frankie and the Seasons 21 times! She likes the impeccable and soulful vocals of Kenny Rogers. She likes a lot of the Beatles catalogue. Those are just the pop music favorites, and her favorite would be—Barry Manilow. Barry Manilow? The “Copacabana” singer?

Why, yes he did compose and sing that song, and I heard “Copacabana” along with so many of the other songs Manilow recorded hundreds of times. She held my baby sister in her arms and would dance while “Can’t Smile Without You,” played on a cassette tape player in the kitchen of our house in the Philippines. The fact is, “Copacabana” is only the tip of the iceberg of the music Manilow has recorded. He’s recorded classics from the Great American Songbook—backed by big bands and also pop standards from the 1950s, 1960s, 1970s and 1980s. He’s done Broadway standards, and of course plenty of his own songs, usually written with his favorite lyricists and others written solo. What is so impressive about Manilow is the incredible quality of music he makes and how well he is at interpreting another songwriter’s work.

As you may have guessed, I have an admiration and appreciation for what Manilow does and I think his career is something I both take seriously, from an almost faux-scholarly perspective, but also get a great deal of joy listening to. Some of my favorite songs Manilow composed—“Even Now,” “This One’s for You” and the joyous “It’s a Miracle,” had lyrics written by Marty Panzer. It was a name I had seen many times. I’m a careful reader of the liner notes, especially of the Manilow vinyl records I have and cherish. I decided after the success of the Enoch Anderson interview, it would be great to get in touch with Marty Panzer. His response to my inquiry was pure enthusiasm. I think he realized the purity of what I was doing. I really wanted to know what inspired these wonderful words I had heard hundreds of times.

Talking to Marty Panzer was exciting. People who know him well really love him and his passion is so infectious that you find yourself seeing music and what it is to experience music for the blessing and gift that it is! Those who have met Marty Panzer or have seen his storytelling on stage know what I am speaking of. It would become one of my favorite interviews to date and the amount of mail I got from people who listened to it showed that I was not the only one who appreciated it. Then something interesting happened. Often interviewers say that the typical relationship with the interviewee is that the interview is broadcast, or the article is published and you never hear from the subject again. My experience has been different in that I have really connected with some of my guests, but I feel like Mr. Panzer understood more than almost anyone what it is I am trying to do and has encouraged me so much in that respect.

I decided there was no need to stop there. I found out after 8 years of interviewing people on the radio, that I had a real passion for interviewing lyricists (those who write the words), composers (those who write the music) and songwriters (those who do both). I set out to try to interview the songwriters who had written songs that had resonated in my heart. It’s been incredible. Some of the interviews have been with very famous songwriters like Jimmy Webb, Neil Sedaka—or Bob Gaudio. Others have been a little more obscure…like Richard Kerr.

Who is Richard Kerr? If you’re asking me— he’s a musical genius. It all started when I was looking through the CD Ultimate Manilow. I noticed some of the greatest songs on the album—“Mandy,” “Looks Like We Made It,” and “Somewhere in the Night,” were all composed by a man named Richard Kerr. No question about it, Manilow had a lot of success with this man’s songs. But, who was this man?

“Somewhere in the Night,” is in my opinion one of the greatest songs I’ve heard. That’s a strong statement, but you can start with the absolutely incredible lyrics by the great Will Jennings. . Look at the lyrics that open this song: “Time, you found time enough to love / I found love enough to hold you. / I’ll stir the fire you feel inside/ Until the flames of love enfold you.” I mean… “Wow. Who does that?” Then I put on the headphones and listened intently to the melody. It’s one of the most gorgeous of any recording. I listened carefully to not only the popular Manilow recording, but also to renditions by Helen Reddy, Yvonne Elliman, Kim Carnes and Richard Kerr’s own version.

So it was in 2011 I decided to track down and interview Mr. Richard Kerr. One of the people who most encouraged me to interview Kerr was Marty Panzer. He wrote to me, “Richard Kerr is one of the great talents of our generation. At the time, his music may very well have had the greatest impact on Popular Music, since the Beatles. Richard does all the right things… for all the right reasons.” Keep in mind that Kerr has written songs covered by not only Manilow, but also Dionne Warwick, Roy Orbison, John Denver, Rita Coolidge, the Righteous Brothers, Bonnie Raitt, Melissa Manchester, and Peter Cetera.

Manilow’s first #1 single was “Mandy,” recorded 40 years ago this year. It was written by lyricist and recording artist Scott English and composed by Richard Kerr. Scott English recorded the first version under the original title, which was“Brandy.” First, I interviewed Scott English and heard from a couple of people who were kind of miffed by Scott saying he did not originally like Barry Manilow’s interpretation of “Mandy.” I interviewed Richard Kerr next and received quite a few emails from people who read the transcript. When I asked if they listened to the audio of the interview, only a couple had said they did. Apparently more than a few people were also upset that Richard Kerr did not initially like “Mandy” either. Some responded positively to one of the two songwriters and not the other.

A few people emailed me to ask me this question—“Why do you bother interviewing these songwriters? Why not only interview the stars who sing the songs?” This is a question that people have asked me for years. Take for instance, Barry Manilow. He’s been the most requested interview by people who listen to my interviews for years now. It’s in large part because I’ve welcomed almost all of Manilow’s lyricists, Enoch, Marty, Adrienne Anderson and Jack Feldman. I’ve also interviewed other songwriters that Manilow covered: like Gerard Kenny who composed “I Made It Through the Rain,” and David Pomeranz who wrote “The Old Songs,” and “Tryin’ to Get the Feeling Again,” Charles Fox who composed “Ready to Take a Chance Again,” Randy Edelman who wrote “Weekend in New England,” Tom Snow and Cynthia Weil who wrote “Somewhere Down the Road,” and countless others. Needless to say, Manilow has recorded a lot of songs through the years!

There are a lot of entertainment people in Hollywood who think of screenwriters as being a joke. In our star-obsessed culture, it kind of makes sense, but in my opinion…it’s absurd. To me the screenwriters are the truly brilliant creators. The parallel in music is the not-so-celebrated geniuses in music. The fact is, if you don’t want to hear or read interviews with songwriters…I maybe and probably can’t make you care. All I can do is continue with my passion and explain to you why I work so hard to interview songwriters, and not just the legendary names like Burt Bacharach and Paul Williams that people recognize.

The fact of the matter is that we wouldn’t have a song like “Somewhere in the Night” without a brilliant composer like Richard Kerr and an artistically endowed lyricist like Will Jennings. The song was born out of their creativity, minds and life experiences. Why would I talk to Scott English about the first incarnation of “Mandy,” back when it was “Brandy”? Well, because he is the only one qualified to tell us what inspired those words when he took pen to paper. These men and women who write songs are geniuses. The pain and sorrow in Scott English’s life manifested itself and something of beauty came out—“Brandy.” Was there genius in the way Barry Manilow arranged the song? Of course! Certainly there was, but let us never forget who wrote the song. Without speaking for Barry Manilow, and this is purely speculation, but I believe he would agree with me. I can enjoy and appreciate Manilow’s interpretation and find the evolution of the song as fascinating as it is. After speaking with the men who wrote the song, I can appreciate both the original and the interpretation for different reasons. If you’ve taken a moment to listen to the interviews of Richard Kerr and Scott English, I thank you most sincerely. I’m going to continue to interview great songwriters—some whose name you know and some you don’t necessarily recognize. Maybe you’ll listen to what they have to say. They’ve certainly given us gifts that never feel “used.” Great songs continue to satisfy us again and again.

As to people taking offense to songwriters being surprised or not loving a recording artist’s version of their song, I would say this: if anyone is entitled to an opinion, it is the songwriter. After all,it is their song. When I or someone else asks what they think of an interpretation, should they lie? If anything, I am proud to give them an open forum and believe these people feel they can be honest with me. If someone felt they had to be diplomatic and not say what they really believed, I would essentially have failed as an interviewer. It’s important to preserve the history of these songwriters and also record their perspectives and opinions. As is the case with Pete Seeger, a legendary songwriter I interviewed who passed away today, an interview with them is a way to keep something of them around. Maybe one day it can help us and we can understand who the person that created these masterpieces was.

So it’s not that I don’t want to interview a star like Barry Manilow. I’ve tried and was even asked by a former publicist when I would be available to interview him. It ended up getting called off, but it’s not Barry Manilow the star I want to interview. It’s Barry the music lover and composer. And if I ever interviewed Manilow, before we parted ways I’d ask him to put in a good word with lyricist Bruce Sussman for me. Frankly, I am as enamored by the creative output of Marty Panzer, Bruce Sussman, Jack Feldman, Adrienne Anderson, and Enoch Anderson as I am Barry Manilow. One of the greatest compliments I ever got was today, from a great writer and friend named Kyle Prater. He said that what has kept what I do so genuine is that whomever I interview is given the same respect and treated every bit the same as a “big name.”

Recently, I had an interview scheduled in north Florida with a singer. This incredibly talented vocalist has an amazing story and a unique outlook, but had to back out of the interview not even 24 hours before it was supposed to take place. These things happen. I decided that the Paul I know, and I’m talking about myself here, would go down there and find a story nonetheless. So I drove down at night and fell asleep in my hotel room at 2:00 A.M. The next morning I set up a little office in my room and set out to track down and get an interview with a 92-year-old lyricist named Luigi Creatore. I’ve tried for some time to reach him and some may know him as not only a playwright and record producer, but also a co-writer of “Can’t Help Falling in Love,” as sung by Elvis Presley and “The Lion Sleeps Tonight” that the Tokens recorded. Could we ever comprehend how much joy and love these songs have helped us realize? Can you imagine how many people hear “Can’t Help Falling in Love” and remember it playing at their wedding? So after doing some detective work, I ended up getting ahold of Mr. Creatore and was invited to his home in Boca Raton. While I was there, I was introduced to his wife Claire, who as it turns out is the widow of George David Weiss who wrote “What a Wonderful World,” a song my mom loves. I recall very vividly my mother telling me how she related to the lyrics. I wonder if moments like those have had a bigger influence on my life than I realize. While I was interviewing Luigi he talked about that song “What a Wonderful World,” and even though he did not write it, I could tell how much he admired and loved it.

On my way home, I started thinking about how crazy this passion and very strange trip of interviewing songwriters has been for me. It caused me to be stranded once. I thought about how little sleep I had gotten that weekend, how weary driving for long hours can make you and if maybe I was a bit unbalanced? Then as I looked at the beautiful Florida skyline as the sun was setting I heard the unmistakable first few seconds of Louis Armstrong’s recording of “What a Wonderful World.” As the song played, I thought about the lyrics like I never had before. I thought about the people I have had the chance to meet on this big blue ball. Some of them were very young when they left us and some were older. And I thought about the newest one who was just born. Some of them wrote music or words that I grew up hearing countless times from childhood on albums or on the radio and would meet years and years later. I could have stayed home where I am comfortable, but I was now blessed with a new perspective from yet another songwriter, a man named Luigi Creatore who never had seen me before, but greeted me at his front door with a hug. To be able to meet people like him who have brought so much joy to others is something I have more gratitude for than I can contain. I won’t stop doing this. And thanks to people like Luigi and Richard, -the songwriters, because of them, yes—what a wonderful world.

Special thanks to Chef Adam Mohl.

Richard Kerr: Composer

Richard Kerr is a British composer who has written songs recorded by Dionne Warwick (“I’ll Never Love This Way Again”), Helen Reddy, Tom Jones, Kim Carnes, Natalie Cole, Frankie Valli, Rita Coolidge, Bonnie Raitt, John Denver, the Righteous Brothers, Roy Orbison, and Peter Cetera.  He is perhaps best known for writing many songs recorded by Barry Manilow, including “Mandy,” “Looks Like We Made It,” and “Somewhere in the Night.”

What was life like growing up?
Hard question, not a wonderful life for me early on, but I have always… from my very first memories, I remember my Father singing me songs.

What kind of songs?
Probably songs you’ve never heard of Paul.. ‘Little Man You’ve Had A Busy Day,’ ‘Old Faithful,’ songs like that.

You’re absolutely correct, I have not heard of those songs (Paul and Richard laugh)..
What type of songs are they?
Well, ‘Little Man’… well, actually, they are very well known songs, but they’re of my Father’s era, I don’t know how I would describe them, they’re sort of like.. I guess.. Lullabies.

I see.
Old Faithful’ is about a horse that was a firm favorite in the forties, and I think the same applies to ‘Little Man You’ve Had A Busy Day.’ You can imagine what that song is about, a Father singing to a son.

What city were you born in?


What kind of town is that, what’s it like?

Well, it’s a, fjord means river and it’s a town on a river, the Ouse, and I went to Bedford school, which is a privileged school to go to, it was a fee paying school and for the first seven years or so I did very well indeed, and then I realized that I had probably been learning everything parrot-fashion and for the next six years I did terribly.

We had a school chapel there, and I was in the choir, and we always congregate there every Sunday and of course at holidays, especially at Christmas time where I sang the solo in ‘Once In Royal David City.’

So you had a talent for music from a very early age.

Very early age, yes, I studied the clarinet, which is not much use as a songwriter. (Paul and Richard laugh)

It’s the instrument Woody Allen plays.
Woody Allen certainly does play that, yes, absolutely. My very favorite clarinet of all time, now I’ve forgotten his name, it’s terrible, I can’t think of his name, Art… no, no.. I can’t..

Artie Shaw?
Artie Shaw! Artie Shaw, I never could manage the Concerto for Clarinet in ‘C,’ it was incredibly complicated thing, but Artie Shaw had such a wonderful tone to his clarinet.

In addition to.. you just mentioned Artie Shaw, I was curious specifically about the popular music of the day, that you were especially fond of.

The first vinyl record I ever bought was Eddie Cochran’s ‘Twenty Flight Rock.’ But I would have to say that growing up round about…as a teenager the first influence I ever had although I didn’t know I was ever going to be a songwriter was Buddy Holly.

I see.
I remember going… we used to go to a place called Clacton-On-Sea, which is not that far away from here, but I haven’t been back since my youth and I played ‘All Shook Up’ by Elvis Presley till people.. must have turned people out of the place, I just could not stop playing that record. (Paul laughs)

You mentioned the clarinet, what about the piano, how did that enter your life?

It’s pretty boring little story, but I mean..very briefly there was a piano…. when I left school I went into the wine trade, very briefly and I was living in a sort of a boarding house, where in the main sitting room, which nobody ever went into unbelievably, there was a grand piano and myself and a friend who was also in the boarding house there, we just decided one day that we would sit down and try and write some songs and I’d never had a piano lesson in my life, but we started hawking these little songs around, our version of Tin Pan Alley in Waldorf Street in London and eventually publishers got interested.

Tell us about the interest of the publishers, what was the songs specifically that caught their ear?

Not songs that would mean anything to you. I mean I could plug out a few titles to you, but they wouldn’t mean anything to you because they weren’t hits.

Well just tell us a few so we can look them up.

‘Hard Loving’ was the first.. I think the first single I put out as a recording artist and ‘Concrete Jungle’ which sort of was almost, almost a hit.

It was played like a hit, but it didn’t really sell that great and I never dreamt that I could possibly ever make a living out of being a songwriter, but, as I say I was in the wine trade at the time at a very posh store which is still very much in existence now in London called Fortnum & Mason, and Fortnum & Mason heard about the fact that I was recording – as they put it ‘a rock n roll singer’, and they did not like the association of their store with rock n roll, now we’re going back a long time now, because today it would probably be a plus but in those days they sure as hell didn’t like the association, so they asked me to stop having their name associated with my record and I had the greatest publicist, man named Les Perrin, who was also the publicist for a slightly well known group called the Rolling Stones (Paul laughs, Richard continues) and David Bowie and he said “it’s too late Richard, I can’t.. you know, all the stuff has gone out to all the various people, I can’t suddenly pull it back” and then in the end the Fortnum & Mason fired me.

I see.
And I was absolutely scared to death, cause I’d been, you know, I had a steady job and I didn’t dream I could be a song writer or a recording artist or anything like that, but it was the one thing that pushed me into the music business.

Well, tell us about the song ‘Blue Eyes.’

(Richard laughs)  Ohhh, ‘Blue Eyes,’ ‘Blue Eyes’ is…you don’t know the term ‘busker’ do you over there?

One who plays on the street for…?

Yeah, yeah a one man band Don Partridge was the man’s name and myself and my Manager Don Paul, we were queuing up to see the latest James Bond film in Leicester Square and this guy Don Partridge was busking outside of the cinema and he had the most incredible co-ordination and he was really good and Don Paul said to me “I think I’m going to take that guy if he’s.. if he’ll let me and I want to take that guy into the recording studio” and in those days it was all mono, not even stereo and he took Don into the recording studio and it cost him eight pounds to make a record called ‘Rosie,’ which went to number three in the British charts, and Don Partridge could not write or couldn’t find a follow up that he liked and he asked me if I would like to have a go and ‘Blue Eyes’ was the result of that, and I wrote that with Joan Maitland and that went to number two in the charts for twelve pounds it cost him because we put an upright bass on it for a half session.

So, twenty pounds the total cost, a number three and a number two, not bad.

We had an interview recently with Scott English, he’s a man you wrote with, what was your first impression of Scott English?

The entire, exact opposite from me. (Paul laughs).

Well, explain what that means.
Very loud, from the Bronx, I believe it’s the Bronx and extremely loud man, I’ve always been a very quiet person, and…which is not very well suited to the music business, but there you go, but I can’t absolutely remember howwe got together, I think it was probably… I think it was actually at some sort of music business function and we… I think we were just talking to one another and we just decided that we would try and write something together, as simple as that.

One of the songs that you wrote was entitled ‘Brandy.’


Tell us about composing ‘Brandy.’
I know that Scott put out a whole load of his own explanations to the title of ‘Brandy’, but I never paid much attention to things like that when I was presented with the lyric because I think I was actually presented with the lyric of ‘Brandy’ first. I think that the lyric came before the music, and I wrote to it almost in a sort of James Taylor style, I mean I wasn’t aware that I was writing in the James Taylor style but almost in a James Taylor style, and we sat and we wrote that, I remember exactly what it was, it was in Curzon Street in Mayfair, we couldn’t… Scott’s electric piano wasn’t working properly and we had to go next door to his neighbor who had a sort of out of tune piano and the song just came musically very, very quickly for me, because I just related to the lyrics so clearly.

The song later became entitled ‘Mandy’ as recorded by Barry Manilow. What did you think of Manilow’s interpretation?

Interesting. It’s one of the first memories that I had of going to Los Angeles. I was asked to go over by my publisher and Rondor, Rondor which is A&M’s Publishing company, and I was waiting to see a man named Jeff Benjamin who worked at Rondor and outside the…while sitting outside of his office door, I heard this song being played, and it genuinely took me Paul about a minute into it to realize it was my song that was being played.

I couldn’t actually tell, I mean, being behind closed doors as it were, I couldn’t actually pick out the fact straight away that it was ‘Mandy’ as opposed to ‘Brandy’ that was being sung, but when I did find that out, I was absolutely livid that someone had changed the title without asking us. Until I saw it zooming up the charts. (Paul laughs) When you think about it I think ‘Mandy’ is probably a much more accessible title than ‘Brandy’.

But Scott had had chart success in England himself as an artist as ‘Brandy’, but anyhow, you know, Clive Davis had decided to change the title of the song, in my mind probably has the greatest ears.. had the greatest ears of any record Chief in the States and he had that record ‘Brandy You’re A Fine Girl’ by Looking Glass, which had been a recent number one for him on CBS and he just started up this new label Arista and ‘Mandy’ was in fact I think the very first release on Arista.

A lot of the songs you’ve written have been with Will Jennings, in my humble opinion a brilliant lyricist. How did you meet Will Jennings?

On that same trip over I had been asked to sit down and write with a man named John Bettis.

Yes John Bettis.
John Bettis that time of Carpenters fame, I’d travelled all the way over there and I hate flying, I’ve got a tremendous fear of flying, always have done, still do, I pushed aside my fear and go on the big bird in the sky and come over to write with John Bettis and he said “I’m awfully sorry, but I’ve got some re-writes to do for this new Carpenters album.” So I thought ‘aaah well that’s okay, I can get some really good melodic things together on my own and wait for him’, and my publisher over there said to me “I really would like you to look at some of these lyrics by a man named Will Jennings,” and I said, his name was Lance Free and I said to Lance, “you know, Lance, I really… I understand what you’re saying but I really don’t want to sit down with a lot of different people, I came over here to write with John and I’d rather…” and he said “now please just look at a few of Will’s lyrics”, when I looked at a few of Wills lyrics, he never had a hit at this stage, he’d just come over from Nashville himself and I looked at some of these lyrics and I just thought ‘this is my sort of lyric, you know what he writes it’s from the heart, I can write with this guy’ and so we decided to sit down and write together whilst I was waiting for John Bettis.

Is that how most of your songs have come about, is the lyric usually done first and then you compose the melody?

No, in fact the first song that Will and I wrote was a song called ‘Somewhere In The Night,’ we were very fortunate enough to have several chart records on that but never one I would call huge hit. Manilow recorded it and Helen Reddy and Yvonne Elliman, Kim Carnes and various other people,but I remember presenting the melody to him first on that one, the first song we wrote, I was staying at a place, a very infamous place called the Sunset Marquis, which is on Sunset Boulevard and it was… I rented this electric piano which had three notes missing on it, but it didn’t matter because it was such a great atmosphere at A&M Records where my publisher was the old Charlie Chaplin Studios and if you couldn’t write a hit song there, you couldn’t write one anywhere.

Well, what’s your opinion of that song ‘Somewhere In The Night’?

I love the song, in my mind it was about a particular lady and it was one of those melodies that came very quickly and although it’s entered the charts on several occasions with Manilow and with Helen Reddy, I’ve never felt it quite… the closest that it came to in terms of feel was an act that Clive Davis produced himself, and act called Back Door From Rodney who never set the world on fire, but one of these days, I still think that it’s going to get a definitive version.

Hmmmm, it is absolutely, in my humble opinion anyways one of the most beautiful songs ever.
Oh well thank you, that’ s very kind of you.

There’s another one that you wrote with Will Jennings, ‘Looks Like We Made It,’ that is a favorite with a lot of people, tell us about composing that song.

Well, we were.. I was back… we would come over to England, this was back in England and I remember so clearly it was one of those rare beautiful days where there wasn’t a cloud in the sky and Will was… had been put up in some small hotel and he had all the curtains closed and I came in and said “Will, it’s beautiful outside there” and he said “I can’t concentrate when all the curtains are open,” we sat down, we wrote ‘Looks Like We Made It’ that afternoon, Will and I used to write, always used to write in my favorite way of writing and that is we both sit together with nothing and I would be fooling around on the keyboard, Will would be just thinking about lyrics and we might be in the same room, we might not, but we’d be in the same house or hotel and he’d hear what I was doing and I would hear what he was doing and he’d say, nine times out of ten he’d say “I love what you’re doing there” and I wouldn’t even be aware of what I was doing and I’d just go over and over and over it again and he’d say “yeah” and we’d write really, really , really write together as it were as opposed to so many songs of late, where someone will send me a lyric or I will send a melody, we’d actually write and compose the song together in the same room.

There’s been so many songs that you’ve composed that Barry Manilow has recorded. Why do you think that Barry Manilow has recorded so many of your songs?

I know why Paul, because Clive Davis wanted him to. I think you know I was a Clive Davis favorite at the time, it’s strange, I didn’t really want to get into writing all those ballads, I didn’t want to get known for writing all those ballads, although they’d been very kind to me, you know and of course having started off with ‘Mandy’, which was when Manilow was totally unknown, you know, I know that Barry I think it’s quite right and honest to say Barry never wanted to record other people’s songs, he only wanted to record his own songs, which is fair enough, he’s.. you know, he’s a fine songwriter. It was Clive that said “no, you know, you haven’t got a single here, this is a song you’re going to record” and I… I’m not privy to exactly what went on with Clive with Barry in their times together, but I do know that he never wanted to record ‘Mandy’ in the first place, he never wanted to record ‘Somewhere In The Night’ or ‘Looks Like We Made It’ or all the other ones at all, it’s down to Clive.

Well, one of Manilow’s long time collaborators, the lyricist Marty Panzer…


You wrote a song with him, how did you meet Marty Panzer?
(Richard laughs).. I was lying back, exhausted after having written quite a lot with Will and needed to just take a little break, and I was in Palm Springs, I was lying back on one of those sun loungers soaking up the sun and I heard this man “are you Richard Kerr?” and I thought ‘who the hell is this’. My eyes were closed, I’d been ……. I got up and I said “yes, I am” and he said “I recognized your photograph and my name is Marty Panzer,” I said “hello Marty,” really wishing that he’d go away and he said “I’m a great friend of Barry Manilow’s” and I said “ohh well, very nice to meet you” and he said “do you think that there’s a chance that you and I could write something together one day,?” and I said “yeah, I mean let me know, or show me one or two lyrics that you’ve written, I’d love to see whether we can”  and I like Marty’s style very much indeed, very, very much from the heart and we sat down, I think we’ve written maybe six or seven songs, a long time ago now.

He has actually two questions that he asked for us to to ask you.


So these two questions are from Marty Panzer.

As not only one of the most successful songwriters of your generation, but also one of the most well respected songwriters of your generation..

He’s speaking of you, yes.

Which writers today are writing at the quality level you respect?
Oh boy, there are a lot. But you know, I.. it’s funny, I haven’t… Paul I have never… and probably to my detriment, but I have never really studied the music business, or, not the music business, but I’ve never really been one of those who sort of goes out and buys lots of albums when they come out and stuff, but I’d have to say the first person that comes to my mind today is Adele and I can’t remember the name of the guy that she writes mostly with, but she’s a great talent. A lot of my other choices are people who are not really current, but, I mean I always have loved Don Henley’s writing from the Eagles..

And there are so many people that I love, I think that if I sat in front of a chart right now with a lot of records in front of me, I should probably be prepared for this, but there are so many bands who I don’t know the names of the writers to. I heard again recently a new album by Randy Newman, Newman’s always been one of my real favorites, but these are all old.. I mean, you know, Paul Simon is a great writer,  Jimmy Webb who I spent a wonderful evening and night with many years ago, he’s a great writer, but today, as you probably are too aware, with the exception of a few, the music business has changed, you know, a hundred and eighty degrees and it’s not really songs today, it’s more image, it’s more production, it’s like the film industry in a way, that they sort of parallel one another in that special effects are so important today in music and in film and I think to the detriment of the story andr the meat of the song or the film.

Yeah. Well, the second question of the two that Marty wanted me to ask he says, who is best at carrying the torch for well written, important songs that will last beyond the moment. You just mentioned Adele, what about perhaps singers that are singing other people’s songs, who do you think is doing a good job?

There are just so few, I have lost touch with those singers who.. they’re tough questions Marty. (Paul laughs).. I don’t know whether the British chart echoes the American chart any longer. I guess I’d have to say that Michael Bublé does a pretty darn good job of other people’s songs but you’ve really stumped me, it’s hard to pick out.. I can’t just pick out a lot of names that come to mind.

One of the songs that you wrote is a very well known song ‘I’ll Never Love This Way Again,’ what inspired that?

That was Will and I, Will Jennings and I, at my little ranch style place in Nichols Canyon, I love the names Los Angeles gives to its roads, I started off in Wonderland Park Avenue, I moved to Astral Drive, and in Astral Drive we wrote that song and it was one of those songs that had a bitter after taste to it, simply because some guy out of New Jersey put a claim that we ripped him off, we’d never heard his song, we’d never met him, what happened was that they froze all the… because they had to legally, BMI and the record company Arista froze all the royalties, so we didn’t see the royalties from that record for over a year, or a year and a half I think, but the actual writing of the song was another one with Will that came very quickly indeed and I believe that was a verse lyric first.

There’s another one that you wrote, recorded by the late Roy Orbison, ‘In The Real World’…

Ahhh yeah.

Tell us about that song.
What a lovely man, I just have to say one thing about Roy, which probably all his closest friends have said and know for themselves, but of all the stars, so called stars that I have met during the years, I would have to say that Roy was the one with the least glitter about him, he was such a humble man, you’d never known that he had had the sort of career he had. That was written in Will’s house in West Lake Village in an afternoon I remember ‘In the Real World,’ it came really quickly, and I believe that was partly lyric first, yet again it’s the sort of lyric you see for me anyhow that writes itself, and when Roy heard it, I don’t know how Will got to know Roy, but it was Will got to know Roy rather than myself, but Roy came round one afternoon, we played him that and we played him another song ‘You May Feel Me Crying,’ he loved both ofthem and actually recorded both of them, the second one ‘You May Feel Me Crying’ was in a film, it wasn’t a hit, neither was ‘In The Real World,’ but it was on the last album he did.

What about the song John Denver recorded ‘Don’t Close Your Eyes’?

Oh yeah.. funny you should say that, I was watching a special, you know, on John Denver just the other day, my wife is a huge fan of John Denver. Yeah, It was delightful to have a John Denver record, again, it wasn’t a big hit, but he was one of a kind in his style of writing and it’s always especially lovely from my point of view when a writer, a artist, someone who writes their own songs records one of your songs, that’s a special privilege I think, because it means that they really, really do value the song and they want to record it for themselves.

What about the song ‘In Another World,’ that Manilow recorded, what inspired that?

He didn’t get it at all, he didn’t… I wish I could play you the demo. I wrote that with a lady named Charlie Dore and it’s one of our favorite songs but I wasn’t happy with Barry Manilow’s version of that, it’s all I can say about that one.

Have you had any interactions with Manilow through the years?

Very little. Very little indeed, I think we probably only met on three occasions and all three at functions, you know, at music business functions, I do remember (Richard laughs)..  he suggested to me many years ago that we’d try and write together and I said “what, you mean just you and me?” and he said “yeah,”, and I said “what’s it going to be like,” I don’t know if you’ve heard of Ferrante & Teicher have you?

I haven’t heard of that no.
Oh, okay, well they were two guys who sat facing one another both at their own pianos and I said “I can’t imagine how we could do that Barry,” so nothing came of our writing… sitting down and writing together, it might have been interesting but we’d have probably had to get separate lyricists in.

Well, speaking of lyricists, you’ve written with the lyricist John Bettis who you’ve mentioned earlier.


What was it like to write with him?
I think John and I had, bad luck is the wrong word, I just don’t think we were lucky, we’ve written a lot of songs together and we’ve had a lot of recordings and a lot of cuts of songs, we’ve never had a big hit together and we should have done, we started writing I think it’s fair to say, he was…the Carpenters were on the wane as it were, he had a lot of time on his hands, I, again loved his lyrics, I loved the way his mind works lyrically and he’s had so much success, just like Will has had, way apart from me I mean, you know the sort of hits that Will has had and John the same, I mean I don’t know if John’s won an Oscar, but Will’s won two, John has had tremendous success writing apart from me, but we’ve written some very fine songs, a lot of the songs I’ve put on my very unsuccessful own albums, and a nice man and someone that I think of very fondly.

I know this might be a difficult question to answer, with all the lyricists that you’ve worked with, and all of the songwriters you’ve written with, from Will Jennings to Scott English, Marty Panzer, John Bettis, I believe you told me you’ve written with Paul Williams.

Yes, but Paul, I love dearly, we’ve written maybe half a dozen songs together but we were both at difficult times in each of our lives, not songs that I think… I can only speak for myself, not songs that I’m really proud of, I would have thought that knowing his sort of writing and my sort of writing we would have been a match made in heaven, not something that I can actually say “yes, this song should have been a hit,” so we just had our writing times together, but other parts of life took over from our creativity I think when we sat down together.

 Well, on that note, of all of the co-writers you worked with, could you pick a favorite?
No. No. Absolutely not. (Richard laughs)

What about a favorite song of yours, is that possible?

Well, funny you should say that I think probably ‘Somewhere In The Night.’
I think so, although the one that’s been the best and the kindest to me is ‘Mandy.’ Some, I mean it changes so much that I think I know probably that most writers would say this about themselves, but I generally think I’m writing better right at this moment in time, this very moment in time and I have a half… whether the songs I’m writing and have written in the last five years we’ll become hits is something else, but I have a new lease on life, maybe one of those will be my favorite of all time.

What was it like to have Frank Sinatra record one of your songs?

Amazing, strangest thing is the song was ‘Blue Eyes’ which Don Partridge recorded, the busker.

And this shows you how much I don’t collect gold records, and things like that and hang them up on my walls,  like so many people do, I don’t have much interest in that side of it, but I’ve only ever heard it a couple of times, it was on a Sinatra album and therefore I felt quite justified to use it in my press handouts, but, I don’t even have a copy of it.

When somebody hears your music, wherever they are, on an elevator, if they’re listening to it on an album, however they’re listening to it, what do you want the listener to get out of that experience?

Don’t want to sound too self important here, but I would like them to be moved in some way or another by it.

I don’t think that’s self important.
I’m not very good, I’m not very good at writing songs that are just rhythmic and just bubble gum, the sort of thing that is here today, gone tomorrow, it’s hard to explain, there was one time I remember when I was signed to Screen Jenson which is now EMI publishing, where my publisher said “sit down and try and write like so and so”, only because he asked me to, I thought I would listen to a few things that ‘so and so’ had written, and it didn’t work for me, I have to come from the heart, even whether it be up tempo, slow ballad or mid tempo, it still has to come from the heart and I would just like someone to be… to say “yeah, that song really means something to me,” cause I could put myself in that person’s position, or in that piece of music, that means something to me at that particular time in my life.

What is the best thing about being Richard Kerr?

Well, I’m still alive, I’m still writing songs and I’m happily married with a wonderful Welsh Terrier who just this afternoon dug through the rabbit-proof fencing and caused me no end of strife chasing after him over the fields, I came back this afternoon Paul, after having finally captured him and it took me five to ten minutes to actually get my breath back. It’s a pretty good life I’ve got, I’ll always love music, it will always be my first love above anything I think, as long as I still have that desire to write, I’m happy.

For anyone who’s listening to this interview, wherever they are in the world or if they’re reading it, however they experience it, what would you like to say to those people?

They’re not writers or anything, just the general public yeah?

All kinds of people.
All kinds of people. Do it rather than say it.

Sound advice.
(Richard laughs)

For my last question.


Who is Richard Kerr?
Richard Kerr is a… I think a fairly humble songwriter and someone who’s always trying… this sounds so hammy but is someone who’s always trying to be just a little better person each day if he can.

Well, just imagine if everyone had that mind set how much further along we’d be.

(Paul and Richard laugh)

A part of me would like to say ‘Thank You Mr. Kerr,’ but you like to be called Richard.

Yes please.

Thank You Richard, it’s been a great pleasure to have this conversation.

Well Thank You Paul, we tried to get together so many times on the phone and at last we’ve made it and Thank You very much indeed. I hope I’ve sort of… it’s been semi interesting.

It has been very interesting, it has been a real honor. Thank You.
Oh Thank You very much Paul. It’s been a pleasure.




Scott English: Lyricist, Recording Artist, Producer

SCOTT ENGLISH wrote the lyrics to the song “Brandy,” while Richard Kerr composed the melody.  The title was changed to “Mandy” and it was recorded by Barry Manilow.  Interviews with Scott English are very rare, so it was a great pleasure to speak with this great artist.  Scott makes his home in England these days.  We may be recording a second interview at some point, in person.  One thing is for sure, Scott English loves music.  We hope to talk with him again when his book comes out.

Ladies and Gentlemen, it is with great pleasure, we welcome our very special guest, the great Scott English. Thank you so much for joining us.

My pleasure.

I think most stories are best from the beginning. What was life like growing up for you?


Tough, very tough, but music kept me going, I listened to the radio all the time, it came to me, you know, I just kept on keeping on, everybody said I was nuts, you know, Sheldon, he’s crazy, you know, he’s going to be a singer, he’s going to be this, he’s going to be that, you know, they all thought I was nuts. I put my name on records.

You said you put your name on records?


Yeah, every record I would see I would scratch off the name of the Penguins or Al Martino or Tony Bennett and I would put my name on them, cause I wanted to see what it looked like and the first time I saw my name on a record, I just had a…it was like… unbelievable, I couldn’t believe it, once (Scott laughs) some people at Sceptre Records, wanted to tease me, so they made my record a key ring for the toilet.


I was very, very upset.

Tell us, what kind of music did you hear growing up?

Growing up I heard Nat Cole, Jerry Vale, Tony Bennett, and then suddenly, I had a radio station WBLJ in Harlem New York, an R&B station, it changed my life, I heard the do ups, it was just like… it would made me feel good, I would buy a record and I would play it fifty times, a hundred times, you know, I scratched it all up, I wanted it so bad, you know, I wanted to consume everything in music.

What was some of the doo wop songs that you liked the most?

Johnny Ace, ???  Miller, The Penguins, most of all I liked the Moonglows, Marvin Gaye came from the Moonglows, ?? Producer came from the Moon Glows,  I genuinely know all those names, you know the Moonglows?

I’m not really familiar to be honest.

Well look it up, they’re a very good group.

I’ll have to give them a play.

Okay, in 1960 there was a single that came out ‘Four Thousand Miles Away.’


Tell us about that song.

It was the ‘B’ side of ‘High On A Hill.’

Who wrote that song?

Frank Carey.

What was it like to see that album with your name on it, finally.

Like an orgasm. (Paul laughs, Scott continues), I’d made it as far as I was concerned, I didn’t have to do anything else, it was wonderful, I was there. I was Prince Charles

I also want to also ask you about a song called ‘High On A Hill’.


Great song.

That broke my heart twice, that broke my heart twice, Kennedy killed me once, the Beatles killed me the second time, did you know that?

I didn’t know that, no.

Yeah, well, my record was going up in the charts in November 20th 1960, President Kennedy got shot, they took all the records off the radio. Somewhere at Sceptre records, they re-released the record, they released my record, it was number one in LA, number one in San Francisco, number one in Philadelphia, big in Detroit, then the Beatles happened. Nine out of ten records on the charts, one record was mine in San Francisco, and it killed me, it broke my heart.

I also wanted to ask you about the song ‘Bend Me, Shake Me’.

I wrote it with Larry Weiss, great writer, he also wrote ‘Rhinestone Cowboy’ by himself.

How did you meet Larry Weiss?

I was working for a music publisher whose a great arranger called Klaus Alderman and Larry walked into the office, he was one of the people that Klaus knew who played him songs, and I was wearing a red jacket, with a white scarf and white loafers, and I said ‘ahhhh Hollywood, Hollywood’ and we became lifelong friends and writing partners.

Do you still stay in touch with him?

I just spoke to him last night.

Oh yeah, do you still write songs?

Larry still writes songs, yeah.

What about you?

He lives in Nashville, he started to get a hotel, the Rhinestone Cowboy hotel up and going and a musical with Rhinestone Cowboy.  He’s charging hard. I can’t see him with much fruition there you know.

Are you still writing songs?

Like crazy. Like crazy, I wrote two today, I had two on Friday and my partner in Ireland, Owen, that was yesterday and they’re amazing.

Are you writing songs to be recorded by others?

Yeah, I’m 76 years old, you don’t want to see me record (Paul laughs).

There’s another song that you wrote that has endured, and the name of it has been changed when it was recorded by Barry Manilow, but I’m talking about your song “Brandy.”

Yeah, yeah, another break… ahhhh, what happened, I was in the South of France and one of my publishing friends started to say “aaaah Brandy goes down fine after dinner doesn’t she?” He was trying to tell a dirty joke, but I got a great title out of that and I wrote the lyric and when I came back to London, I called Richard Kerr, my partner at the time and we got together that day in my area with an out of tune piano and we wrote the song and it was magic, yeah, out of tune we wrote it, we did a demo and we sent it out and nobody liked the demo, so I figured I’d better do it myself, so I did it for a record company and then, I was playing it for people and the people from Ireland heard it, Ireland Records… they said “what are you doing with that?” I said well I got a deal to release two of the sides he said “how you going to do it”, I said … he said “play em one other and leave Brandy out”, I said “why?” He said “I want to release it on Ireland”, Trojan, sorry, that’s what happened. My wife was pregnant, home to America, and bang, two weeks later they call me and it’s in the charts. I came here on tour, I did a couple of gigs, a lot of TV shows, no a lot of radio shows sorry, I went on Top Of The Pops, and Top Of The Pops it was going up in the charts, the Union stopped me because I hadn’t done enough gigs, the next week it went from twelve to eleven and then from eleven to nine, and then it died.

What inspired Brandy?

What inspired? Well, my life. If you look into the lyric it’s talking about looking for ‘a man, a face through a window’, that’s my Father.


And then this woman, I treated her bad and I didn’t know any better, and that was me, you know, it was a life of ups and downs, I knew better, but at times I couldn’t do better.

What did you think of the interpretation Barry Manilow recorded of it?

In the beginning, I hated it, because he took out one of the verses, half ofone of the verses and made it into a ‘bridge’, and he changed the rhythm, he made it real ‘poppy, you know, but after it got played and played and played, checks started coming in, he asked me what I thought of it, and I told him, I said “Barry I ended up loving you buying me houses.” (Paul laughs, Scott continues) That was Brandy.

Do you still see Richard Kerr quite a bit?

I saw Richard last week, Richard’s suffering from cancer right now, he’s seventy years old, he’s a gentleman if there ever was a gentleman, but with writing, he’s still writing beautifully, people are still looking for our songs, he’s got mellow with age as a writer, like Chopin.

How do you feel about his abilities as a composer?

I’m very happy he’s alive.  He made me, we’re tight and I don’t think I would have on my own. He’s a blessing, you know people ought to give thanks and look around, you know, smell the flowers, and accept that no man is an island.

Interesting. Of all the songs you have written, which one would you say means the most to you?

I think ‘Who Turned The World Around,’ recorded by Bobby Darin, it never was a hit, it was just on an album on Montown, but that means the most to me.

Tell me about the inspiration behind that song.

Well, it’s just all these tsunamis now and all these earthquakes, I just pictured that happening, but this was in 1971. I said ‘One day after Armageddon,’ you know, the end of the world and destruction of the world ‘and fire was going out, rumours of life in Cincinnati,  gone from words of mouths, walking’s the only way to get there, maybe I’ll find a way, that was the morning I remember, that was before the rain, who turned the world around, who turned the world around, show me the way to yesterday, who turned the world around’.

Are you more moved by the lyrics of a song, or the melody?

I love melody, but I’m a word man, I write the words, I’m a lyricist, but I love melody,
when I hear ‘A Whiter Shade Of Pale’

Oh yeah.

That organ. It just drives me nuts, the melody, I love classical music, so I have to say I like instrumental, I love Chopin and Beethoven and Tchaikovsky and people like that.

What about the lyricists that have influenced you the most, who do you think are the best lyricists in music?

Sammy Cahn, Jimmy Van Heusen, Elton John, Paul McCartney, John from the Beatles.

Yeah, John Lennon.

Well, some of my friends like Graham Nash, James Taylor, James Brown.


He wrote it in grooves, but if you look into what he wrote, he wrote some stuff that meant something.


‘It’s A Man’s World’, if you listen to those words, he said it in a very crude way, but wowwww, ‘without a woman or a girl’, what are we nuts?

I also wanted to ask you about the song ‘Ciao Baby.’

Yeah, I love that song.

It’s a good one, tell me about that song being written.

It was a very hard one, it was so many rhymes that I had to write, it was quite difficult, Larry came in with the melody and I went home with it over the weekend and nobody one could contact me, you know, I was in my head, in the car or in a restaurant, in the bath, no one could reach me ‘Ciao baby, let’s call it a day, ciao baby, go ahead and through your love away’. People just, they just ate that song up, I thought it would be an enormous, enormous hit, but it was little hits, in Australia it was number one, teens here in England, in America it was recorded by a lot of people, might have gone to number fifteen in the charts or something like that.

There was another song ‘Hi Ho Silver Lining.’

That’s a song I never wanted him to finish.

What do you mean by that?

I never liked it.

Oh really?

What happened was, Larry Weiss came into the office, and he had the chorus, simply said “yeah and it’s obvious’, so he put that on the end of the chorus, then he said ‘oh come on, write the lyrics and a verse’, so I wrote ‘you’re everywhere and nowhere baby, that’s where you’re at, going down a bumpy hillside, in your hippy hat, flying across the country and getting fat, saying everything is groovy when your tires are flat’, and then there’s the chorus ‘high ho silver lining’ and he loved it and he said ‘wowwww’, I said “it’s shit’. (Paul laughs), he called Mickey Most in London, you know the name Mickie Most?

I don’t know that one, I’m sorry.

You don’t know Mickie Most, he’s a producer after, what’s-his-named, who was in jail for killing that woman.

You’re talking about that guy Phil Spector.

Phil Spectre, he’s the English Phil Spector, he produced The Animals, he produced Herman’s Hermits, he produced hundreds of people, then he had Rack Records years later, he heard that song and said “I’m coming to New York, I want it”. Larry played it on the phone, Mickie came into my offices “where’s the song?”, I said “Mickie I’m not finishing it, it stinks”, he said “no, you finish it right now”, (Paul laughs, Scott continues), I called my secretary and said “bring a pencil and paper”, we had no computers in those days, so I said “take a letter”, I said “flies are in your pea soup baby and they’re waving at me, anything you want is yours now, only nothing’s for free, lies are gonna get you some day, just wait and see, just open up your beach umbrella, while you’re watching TV, and it’s hi ho silver lining”, he said “that’s incredible”, I thought he’d say “it’s shit”, and I just recited it off the top of my head, and he called me about two weeks later, he said “I’m giving it to Yardbirds” I said “are you nuts? Yardbirds is a heavy rock group”, it’s a song for Herman’s Hermits” (Paul laughs, Scott continues), so about two weeks later I got a record, a fantastic record by a man named Jeff Beck, I never heard of him, he was in the Yardbirds, you know.


Well, when I heard the record I felt terrible, I thought I’d killed his career, although it went in the charts in England, in America it didn’t do too well, it went in the charts in England I thought I’d killed his career, I heard the ‘B’ side of the record called ‘Beck’s Bolero’.


That’s amazing, that instrumental , him playing this instrumental, it’s incredible, and I figured I’d killed…. and he never had another single out as a singer, then one day I’m here in London and the head of Warner Brothers ?? and Larry ?? said to me ???? at the Rainbow Theatre,  I said “I can’t go. He said “why,” I said “I don’t want to see that guy I killed his career,”, he said “come on,” so, he took me, I said I didn’t want to go back stage after or nothing, he got me so loaded, next thing I know, I’m back stage, and there’s Jeff Beck and I looked at him and I said “man, do I have to apologise to you”, he said “no, wait a minute, before you say a word I have to apologise to you” he said “I always wanted to record that song, I begged Mickey for the song, the only thing I didn’t like was the over dub, the guitar over dub, Mickey wouldn’t let me do it again”, then he said “what’s your problem” (Paul laughs, Scott continues) I told him, he laughed, he said “no man, I always wanted to do that song,”, you see what the mind tells you?


You’ve also done some record producing, tell us about producing Thin Lizzie’s debut album.

Thin Lizzie I got fired from. They blamed me for getting the kids high when it was Phil Lynott’s Mother who brought the dope into the studio.

Interesting.. (Paul laughs, Scott continues)..

Yeah, his Mother brought the dope into the studio and they blamed me in the book. I don’t know, there was a guy at Decca who wanted me out because he wanted to produce the group and he made the big hits with them, I didn’t.

What about your song ‘Where Are You’?

Aaaaah, the Eurovision song, I thought that would do well, we came second, we got beaten by a transvestite, an Israeli transvestite. I never thought that a transvestite could beat us, cause all the bookies were saying that we were going to win, that’s another town that was dreadful, a terrible city called Birmingham.

Well, speaking of England what brought you over there?

Music, I was writing with Larry and Klaus Alderman and Klaus decided he wanted to be travelling around the world playing songs for people, and he picked me to go with him, that’s what broke Larry and I up eventually, though we made up years later.

Do you like living in the United Kingdom?

Yeah, I do, I do, I really do, I like the tempo, but I have a good time when I go back to the States, I’ve moved back at times.

You’ve moved back?

In 1977, I did an album in LA, I bought a house, I lived there till 1980 and then I came back to England again.

England remains your home?

Yeah, like I’ve been taken prisoner. (Paul laughs)

Aaaah I see.

I’m married four times.

So, what is the best thing about being Scott English?

That someday there’s going to be a plaque on the wall that says ‘Scott English lived here’ and that I meant something, that I didn’t waste my life as I thought I would when I was sixteen when I was in jail, it was a rocky road as a kid, I was in and out of jails and orphanages and foster homes and it was rocky, it was hard.


So, I found the music business and I started hanging around the Brill Building.


What is on the horizons for you?

Well, I’m writing my book now.

Interesting. Tell us about the book.

It’s about my life, everything I told you about is in the book.

All right, well, we’ll be looking forward to that for sure.

It’s quite humorous, blowing the bubble on a couple of people (Paul laughs, Scott continues),mainly Sharon Osbourne.

I see.

My last question, actually I have two. This interview will be heard by people for all over the world. What do you want to say to all those people who are listening to us.

Hey, what do I want to say? Thank you for being patient.  Thank you for taking the time to listen to my words, and I hope I can continue to please you.

Who is Scott English?

Who is Scott English? Sheldon David English, born to Jewish people in Brooklyn 1937, who had a dream and he kept his dream, he stepped on a couple of people, but he kept his dream.

Well Mr. English, it has been a great pleasure to do this interview, I really appreciate it.

Hey, Paul thank you. Would like to meet you when I’m in New York.

I hope we get to shake hands one day.