Adrienne Anderson: Lyricist

ADRIENNE ANDERSON is the very talented lyricist who was introduced to us by lyricist Marty Panzer.  She is most known for the songs she co-wrote with composer Barry Manilow.  Some of the most beloved songs recorded and performed by Barry Manilow feature the lyrics of Adrienne Anderson, including Daybreak and Could It Be Magic.

Songs Adrienne Anderson wrote have been recorded by many great artists including Melissa Manchester, Bette Midler, Donna Summer and Isaac Hayes.  The late great Frank Sinatra sang a televised performance of the song “See the Show Again” on The Tonight Show with Johnny Carson.

Fans of Dionne Warwick may know Anderson’s work from the song “Deja Vu” which she co-wrote with Isaac Hayes.  With Peter Allen, Adrienne Anderson co-wrote “I Go to Rio” which became a signature song for Allen.  The song was later covered by the band Pablo Cruise as well as the late Peggy Lee.

Who is Adrienne Anderson?

Wow, well combination of things of course and evolving. I am uh much more of a family person now than I was when I started my career. I’ve got a daughter who is 25 years old and has a huge future of her own, a husband who I’m devoted to that I’ve been married to for almost 30 years. As far as my definition of myself as a careerist; that’s never really got away. I love the creative process. I’ve always loved the creative process and while my projects vary I hope to be involved one way or another in something having to do with music for the rest of my life.

 So speaking of life, let’s go back to the beginning.  What was life like growing up and where are you from?

I grew up in Manhattan and it was fantastic. I was very, very lucky. Child of privilege, I got exposed to the golden age of Broadway. When I was just old enough to have any idea of what I was watching. And I mean the Golden Age I mean South Pacific, Carousel, Guys and Dolls, The King and I, etc. all the original stage productions. When I was in the eighth grade West Side Story opened, changed my life. I went to see it four times. Studied theatre, studied dance, studied boys and was just very, very blessed to be in the cultural center of the western world and it had a life altering effect on me and I; I just loved growing up there.

Can you remember perhaps specific records or specific songs you heard around the house or on the radio?

When I was the youngest it was the Broadway stuff that had the most immediate impact on me because it was the height of Rodgers and Hammerstein and I was; just as I say; barely old enough to understand how great that stuff was. Also seeing it all on the stage, in real time, had a tremendous impact on me that I think lasted me all the way through. I mean to this day it’s scary how I can recall all those lyrics. I also had a Father who was very sophisticated musically who exposed me to jazz very early in life. So that I was very aware of Ella Fitzgerald, Sarah Vaughan, Lena Horne and Bix Beiderbecke and Art Tatum and people like that so that I was not your typical kid growing up where when I was in college and everyone was listening to those early Beatles records. I was a Charlie Mingus fan a Miles Davis fan, a Horace Silver fan. I owe a lot of that early exposure and sophistication to my father.

Did you always write?

No, no, not at all. Originally I wanted to be on the stage. I did summer stock, I had some potential I went to Carnegie Mellon which is a very renowned theatre department and then I studied in New York, and was quite serious about all that but then it was the sixties you know and theatre got really boring and the real theatrics and entertainment had switched over to music and I had great taste; I didn’t have a great voice but I had great taste so I put together a little act and that’s actually how I met Barry. It’s a cute story I actually hired him as my accompanist to help me put an act together for ten dollars an hour and that’s how we met.

What was your first impression of Barry Manilow when you met him?

Well he was just the sweetest, geekiest guy that I had ever met, ya know, with a great, great ability to play piano and accompany. Everybody used him. He and I found each other to be kindred spirits almost immediately because he had this passion towards jazz and so did I. And he thought I was the cat’s meow and for some reason he loved my voice and I loved his playing and we just hit it off from the first time that we did a song together; it was instantaneous. So what we did was we spent about eight or nine months putting this act that was so unique that the people who were managing me; when we presented the act to them; said they couldn’t book me because nobody would understand or recognize any of the songs that I was attempting to sing. So they fired Barry and put me with somebody else. But Barry and I continued on and he was just starting to write a little bit and he said well since I’m trying to write songs why don’t we write songs together. I said sure ok so we started writing songs together and it was the tail end of the brill era I mean really the tail end of the brill era. But we would write a batch of songs and I wrote the lyrics because I wasn’t going to play like him; I couldn’t play like him. But we did a lot of duets too, two part harmonies and just thought it was great, great and we would just go from floor to floor and knock on publishers doors and Barry would play and I would sing and we would play songs for a hundred dollars and that’s how it got started. And eventually I lost more interest in the performing end of it and gained more interest in the writing of it and that was pretty much because of what he and I were doing together.

 Can you remember the first song that you and Barry Manilow wrote that you’d say “this one’s a keeper”?

“Our Love Will Still Be There” was the name of the song. It was good; we wrote a lot of good stuff. I mean I don’t think anybody actually published that one but I think that was the first song. He was always a great keyboard player and he always had even from back in those days the same kind of charm and personality that he’s got now. Of course his ambition in those days was to be the next Nelson Riddle. He wanted to be an arranger. He never ever thought of himself as a vocalist but the fact is he had the same voice then that he has now. Who knew?

 I remember hearing him one time in concert, he was at Philips Arena in Atlanta and he was telling a little story on stage and he started out and he said “I have never been much of a singer,” and I thought “yeah right.”  But, I have heard that story from a couple people that they never thought of him as a singer, it was more like what Bette Midler said to him, “But, Barry, you don’t sing.”

Well the thing about Barry which I guess you could say similar was that and one of the reasons that I stopped pursuing that was because the key I think to being a success as a vocalist is getting that personality across. He was always, always able to do that and that’s why I don’t think he thought of himself seriously as a singer because he didn’t necessarily have the technique or the pipes but what he did have right from the beginning was his personality; which was his own that came through and had a charm and a warmth, and a humor that never really changed and a tremendous (technicality)

What was the first song that he recorded of yours that was a co-write?

That he recorded of ours?

 Yeah.

Well there’s actually an interesting story to this one because what happened was I was in New York. I was moving to the West Coast because I was marrying somebody who wanted to move to the West Coast and I sorta figured oh well, let’s give it a go but I was very apprehensive about breaking up the relationship with Barry and being on my own because I thought well if I don’t have him writing and playing what am I going to do; just gonna be on my own; so I determined to try to figure out how to do it by myself I rented this rehearsal space on 57th street for whatever twelve dollars an hour and this was in the midst of the Paul McCartney Era. I came up with this little tune called “Amy” that for what it was; was actually quite good and quite charming and my soon to be husband in those days was a big shot music publisher at CBS and he had a production company and everyone agreed that this thing should be recorded. So full production, so we went into the studio to record this song and of course Barry was around, at the last minute they said we need a scratch vocal Barry would you mind. So he went in and he did the vocal on it and that record Amy is what landed him his first record deal at Bell records. So it’s ironic because he didn’t even write that song. I wrote that song.

Interesting.

Yeah, a little bit of trivia there.

 You worked with so many people.  I don’t know if this is true, but I read something about you working with Frank Sinatra.

Oh I never worked with Frank Sinatra, but Barry and I have a song called “Why Don’t You See the Show Again” which he actually performed on the tonight show when Johnny Carson was the host and nobody knew he was gonna do it and I was on the West Coast and Barry was in New York and he called me screaming hysterical and said “You’re not gonna believe this” and it’s a three hour delay so I had to wait three hours to see it but sure enough he sang the song and he sang it really, really well. And it was definitely a high light of my career without a doubt.

Incredible.

Yeah.

 Well tell us about the song “Could It Be Magic” that Barry Manilow recorded.

Well I was already on the west Coast when he came up with the idea based on the Chopin prelude and he had come up with the chorus and was terribly excited played what he had over the phone to me and I became terribly excited because it was obvious that there was something really special that was starting to happen. I think I was staying at a hotel down in LA when I wrote the lyric to the verses. I still have the copy on Hotel stationery of what I wrote. It was one of those things that I just nailed it right from the get go. Needless to say it was time well spent.

 Is it possible to pick a favorite song of yours?

You mean with Barry?

 Just in general, any song.

Ah geez, not really, I mean I have maybe my half dozen favorites. I’ve just written so many songs, most of which have not been top ten hits. You know that’s the way it goes sometimes is that some of your favorites tend to be more obscure but certainly “Could It Be Magic” is right up there and with Barry we had a great time on the 2am Paradise Café project  which was a highlight for all of us. A great experience ya know Marty and I were present during the recording of that record and I don’t know if you’ve heard the story but that was a one take and wrote. I don’t know if you know the musicians who were playing on that record?

Yeah.  Fantastic record!

They were well rehearsed and Barry had written beautiful arrangements to link all of the songs, you’ve listened to it I guess so.

Certainly.

It’s all just continuous and that’s Barry’s music. They just did the whole thing without any interruption when they were over, finished everybody kinda looked at each other and said “is this possible” but it was. Ya know it’s very unusual.

What about “Daybreak.”  What inspired the lyrics for that song?

Uh it’s kind of a funny story because when I wrote that lyric I really wasn’t thinking about Barry at all I didn’t think; I was thinking more in terms of a gospel R&B group I didn’t even show him the lyrics he was at my house and it was just sitting on a pile and he said what’s this; I said oh it’s just a lyric ya know and he said give me a couple minutes with this. I swear I remember I went down downstairs and made us lunch and by the time I had finished making us lunch he had come up with the music and ya know little could I have imagined that that little lyric was going to get the kind of mileage that it did but again it was one of the. A lot of lyrics that I wrote for Barry over the years were custom customized for him and that’s a great luxury when you can write for an artist. Especially when you can write for an artist that you know as well as I know him because I could kind of get under his skin and really, really personalize. Whereas if your just writing a lyric just to music that’s going out there to try to find and artist its very different but with “Daybreak” I certainly, I certainly didn’t have him in mind for that one at all.

 It’s a fantastic song.  I don’t think anybody could ever listen to that song, the words and the music and be in a bad mood.

(Adrienne laughing)
I can’t imagine that.

Well ya know, its, it’s great, ya know, it’s given us both a great deal of pleasure. Ya know I try to make my lyrics as personal as I can in terms of my own point of view. Uh, I am by nature an optimistic so I guess that definitely came across in that lyric.

What is it like to have someone like Dionne Warwick record one of your songs, that song “Déjà vu,” it has to be incredible.  She’s such a legend.

We were pinching ourselves. Barry produced that record and that was surreal because I was, uh we both were huge Dionne Warwick fans and that whole Bacharach/David catalog was just up there with the best of the ya know what was written in pop music in the mid-20th century and such a unique and perfect talent. I remember going into the studio while she was recording “Déjà Vu” her nonchalance was just astonishing ya know she was painting her nails while she was recording and puffing on cigarettes and then she would ya know just sing and she was just perfect and I remember Barry and I looking at each other in the control room and saying is this actually happening (laughing) we were both stunned and fans ya know like we were of a ya know younger generation growing up listening to all of the body of her work we were just in such awe.

What about your work with Peter Allen? Tell us about how that came to be.

Well Peter had a publisher in LA that I had a, a nice relationship with and so we were actually put together. We knew each other very casually just from knowing people in common and so it wasn’t we had never met but we weren’t friends we just kind of knew each other. So it was set up for us to write together. I had come up with some ideas, let’s see I don’t remember exactly it was some idea that was rejected immediately and the next think I know he’s saying well why don’t we write this and he started to launch into this music for “Rio” and the story as it goes is that we were just in an office publishers everyone had gone to lunch it was just him and me and the piano and we wrote the entire song in one hour with not a word ever changed and not a note ever changed and um when everybody returned from lunch we were terribly excited and we sat everybody down and said woah listen to this. Peter played and I don’t know if we both sang or just Peter sang but we just kind of knew we had nailed it. I don’t think anybody knew that that copyright was going to end up having the ledge that it’s had. This has just been astonishing ya know on a worldwide level. It’s been an amazingly successful copyright. But you can it’s just a crazy business because ya know you can write great stuff that never sees the light of day or you can write great stuff that takes you an hour like “Daybreak” took me twenty minutes to write. Then you feel almost guilty like this isn’t right. Ya know how can I be making this kind of money on something that took twenty minutes to write. I guess a lot of it is just circumstantial and I was very lucky I was very, very lucky. If you look at I don’t know what it is the percentage of people even in those days who earned a living writing lyrics I’m sure it was miniscule then and probably non-existent now.

You also have worked with someone who is an upcoming guest of ours: Melissa Manchester.  What is your impression of her?

I adored her and we wrote a lot together and in those days in those days it was kind of different there were no restrictions her producer at the time just loved everything that we did and there was never anything held back in terms of we would just write stuff and it would just go right into the recording studio but Melissa and I were very, very close and we were very, very young. She was younger than I was and still is but there was a creativity and a free spiritedness to our work that was just; just delicious we didn’t feel any kind of commercial restrictions and I think there was an innocence in terms of being creative in a way that once you become more seasoned you tend not to be quite as because you tend to play it more safe and be a little bit more structured. But we had wonderful; wonderful times sharing the creative process together.

 Kind of working our way to the present, not too long ago you worked on “City Kid,” the musical and you’re working on something now.  I was wondering if you could tell us about these projects you’ve been working on lately.

Well you know instead of taking a day, a week or a month these projects take years. City Kid was kinda my brain child and I recruited two great, great guys to collaborate with me Peter Bunetta and Rick Chudacoff who are the producers and quite successful. And I came up with this concept to turn what I thought initially was going to be a concept album into a stage production. I sort of undertook this myself in terms of developing the story and urging them along because they thought I was crazy and uh it wasn’t there thing at all. They had never thought in terms of wanting to do Theatre. I actually found a great group outside of Seattle who fell in love with wanting to help develop the project and so they did and we had a workshop and a full stage production up there some of the best experiences of my life. You can’t compare being involved with a group of theater kids with making a record because theater is such a community experience, a collaborative experience so ya know where as if you’re writing a song for a record you write it with somebody or alone, then you’re in a recording studio, ya know, it’s pretty quiet there’s not that many people there. Whereas here it was all about people and so my endeavor was to try and contemporize Broadway what has proven to be a very, very difficult thing to do. Even if you saw the Tony’s this year you could see that some of the stuff that was written a year ago sounds like It could have been written forty years ago so it’s very, very tough. Broadway is very, very tough. We ended up finally after having a substantial run up in Seattle uh coming down to LA and having an eight week run down here which actually proved quite successful. However we were in a 99 seat equity waver with a cast of 17 and six band members all union so the costs were unrealistic and we were forced to shut down before we found what we needed to move on so as of now “City Kid” is in limbo. It’s been very hard for me but in the meantime I’m pursuing this Pawnbroker project which is really, really a horse of a different color and isn’t pop at all, is very serious. I’m collaborating with a fellow by the name of Eduardo Del Barrio who is a very serious composer. I’ve adapted the book which you know I think I’ve gotten pretty good at. It’s a wonderful story there was a film that was made of the novel in the mid-sixties that Sid Lumet directed that starred Rod Steiger that won an Oscar, Quincy Jones did a superb score. It was a very much heralded property in its day and there’s still a generation or two that certainly know “The Pawn Broker” Your probably just too young oh but these are very, very long range projects ya know so that kinda suits me in this stage of my life.

What is the best thing about being Adrienne Anderson?

The best thing about being Adrienne Anderson?

Yes ma’am.

Oh, well I guess the best thing about being Adrienne Anderson is that I’m a person who’s always been pretty comfortable in her own skin. I believe what I believe and I feel what I feel and I don’t tend to hide those feelings. I’ve been a very good Mother and a Very good Wife and a very good friend. People love me, I love them. There’s just not too much of a gap between my inner life and my outer life and I think that’s probably the best part of being me and the fact that I’ve been able to live out a lot of my fantasies. I’ve been Very, very, very lucky to have had the opportunity to do that.

 I have two final questions.  One is kind of light-hearted and then the other is a little more serious.  The light hearted one first: Your all time favorite meal.

(Adrienne laughs) Oh…. a good steak and a piece of Chocolate cake

Oh yeah?  How do you have the steak?

Medium rare.

Likewise.
(laughter)

My last question: what would you like to say to all the people listening?

Oh, I would say find you passion and live it and be good to each other along the way.

 Thank you so much for this interview.  It’s been a great pleasure.

Well thank You I’ve enjoyed it.

TRANSCRIBED BY LISA MARIE BOHLAND-LUNDGREN

Enoch Anderson: Lyricist

ENOCH ANDERSON has been writing songs with composer Barry Manilow since the 1970s.  As he tells us in this interview, for many years he was known as the one who never had a single.  With the release of 15 Minutes, Manilow’s first album of original songs in years, Enoch Anderson began getting a lot of recognition for his ability with words.  Anderson wrote lyrics to almost all of the songs on the album, with the exception of one song written by Adrienne Anderson and a few written by Manilow himself.

Incredibly, Enoch Anderson said this was his first radio interview.  We hope you enjoy what he had to say, whether you listen in or read our transcript.

Ladies and Gentlemen, it is with great pleasure, we welcome our special guest, lyricist, Enoch Anderson. Thank you so much for making the time to join us.

Thank you.

My first question, who is Enoch Anderson?

I’m going to have to redefine myself.  It used to be easy.  I was the one who never had a single. Of all the people Barry worked with, I was the one who had never had a song released as a single, and I remember once, a fan actually came up to me, a fan of Barry’s and said “huuuuugh, ‘I know who you are, you’re the one who never had a single,’ so I’m going to have to redefine that because now there’s a single out.

Well that’s right, there’s a new album out full of songs co-written by our special guest Enoch Anderson, it’s Barry Manilow’s album ‘15 Minutes,’ on Barry’s own independent label, Stiletto. So, we’re going to go back a little bit, what was life like growing up for you?

I grew up in a small mining town in Northern Canada no references forother people my age , no Sesame Street, or no Mickey Mouse Club so, little bit different in that way perhaps.

And what kind of music did you hear around the house?

My sister and brother were teenagers, so I was hearing popular music at the time through the radio, I don’t know if there’s anybody out there who knows what 78s were, you know, the old, old, old records, and they were old Vaudeville routines and music, there were some Broadway shows out with hits my brother and sister had, and so it was a real mixture of stuff, it was like a crash course in a century of popular music almost.

Can you remember examples of early writing that you did, not necessarily just lyric writing, but just any kind of creative writing?

Yeah, I used to make up stories and try to get an adult to write them down for me before I understood how to write, and when I could write, I would make little books and assemble them and bind them together with string, I had to write and illustrate them, and they were all about dogs, because I couldn’t draw human ears.

Tell us about the first song you ever wrote if you can remember it.

It was when I was at high school, there was a local theatre group that was going to put on a melodrama and I think I tried out for it, they didn’t want me, but I wrote a song for the villain to sing, and I gave it to them and I didn’t get any response, nobody said anything about it and I didn’t hear it again, but when the show went on, I went to see it and they were singing my song. I didn’t get any credit on the program or anything; welcome to show business, but that would be the first time (Enoch laughs).

Where do you get the inspiration for your lyrics?

I don’t really know, sometimes I can tell you, there used to be a little park near where I lived, and on Sundays it was crowded with divorced fathers and their kids, and it was a convenient place for them to go when they only had one day together, and I wrote a song called ‘Sunday Father,’ so that I can make a direct connection, but a lot of times, I don’t know. I’ve told the story, I was going to bed very tired one night, and suddenly in my imagination there was this young housewife who was very unhappy with her situation and I wrote down a lyric, and I was kind of annoyed because I wanted to go to sleep, but I felt like  I owed it to her, she was very real to me, and that was the song ‘Sandra,’ I called it ‘Sandra’ because I thought I don’t know anybody called Sandra so nobody could say I wrote it about her, but, so many of the married women I knew, thought I had, so(Enoch laughs), I have no idea where that came from, sometimes ideas just float in.

What lyricists or songwriters have influenced you the most?

There are so many I’ve liked and if I try to name them, then I’m going to be upset later  because I will miss some, of course the older ones, Leonard Cohen, Paul Simon, so many.

Barry Manilow has made a lot of records lately of other artists material, but in his own right, as we know, he’s really an incredible songwriter and I wish he did more original albums, but I was going to talk about the album ‘Here At The Mayflower,’ it’s a great album and it features a number of songs you co-wrote with Mr Manilow, how did your songs come to be found on the album?

He told me about the idea, I remember, this huge apartment building in Brooklyn where a lot of people lived and it was based on where he actually grew up, I wrote a song called ‘Do You Know Who’s Living Next Door.’ As far as I’m concerned a number of lyricists wrote on the album and I don’t know what the others experiences were, but as far as I’m concerned, I think for the other songs of mine he used, there were things he had and he just saw a way for them to fit in, in that case he didn’t say, “I need you to write something for the elevator guy thing” or something like that.

 So what did you think of the album “Here At The Mayflower”?

Oh I like it very much because it showcases his creativity, he would be right along with you; he’d like to do more original material, and it was not a sure fire thing, it was telling stories of human experience, it wasn’t just trying to churn out formula singles, and I like that as a project that meant a lot to him.

 Now, you just mentioned, you said that you think that Barry Manilow would concur and probably would like to do more original stuff, without speaking for Barry Manilow, why do you suppose it is that he’s done less of his original music?

I think everyone is trying to adjust to the changing reality to the music business, in just the last few years, it’s changed so much, people often don’t buy albums any more, they download tracks, I think that he had something that was working very well for him, for several years, releasing these collections of familiar songs.

Do you have a favorite song of yours from that album “Here At The Mayflower”?

I guess I would say the song ‘Border Train,’ because there was something very different for me, usually I write a lyric, send him the finished lyric and he sets it to music, and this time it was the other way round, he sent me a melody and he said, “see if you can write to it” and it was this very evocative, haunting melody and he didn’t tell me anything about what he wanted it to be about, or anything, and so I had to see what it did for me, it made me feel as if I were on a train at night and I didn’t know where I was going and I went with that, and then I forgot about it, over the years, til I was in Vegas, seeing a show, and he did the song, which he had never done in concert before,  he just did it I guess, and I liked it so much and I thought I’d forgotten that, it’s got such a beautiful melody and it’s so haunting in a way, so, that would be my stand out right now.

We’re talking with lyricist Enoch Anderson. Here we are in two thousand and eleven and its ten years after Barry Manilow’s last album of original songs, he has a new album or original songs and today, the day we are recording this interview, ‘15 Minutes’ has been released and you co-wrote the songs on the album, so tell us,  how did the idea for this album, ‘15 Minutes’ come to be?

It was Barry’s idea, the stories all around us, there’s tabloids, TV shows, magazines at the checkout counters, over and over you see somebody becoming a sudden celebrity, and it seems you’re going to be hearing of a relationship falling apart for the person, there’s going to be rumours of substance abuse, there’s going to be professional problems, it’s a road that seems to meet the same terms almost no matter who the person is. The modern media merits all that, and he’d like to do a story album based on it and I was trying to show that I knew what he meant, and I said “I’ve got a title for you, 15 Minutes”, thinking of the Andy Warhol quote, and he liked that, so we were off and that’s how it all started rolling.

Very, very interesting, so, how did you and Barry Manilow begin the undertaking of the writing of these songs?

I started working on a song called ‘15 Minutes’, I sent that to him, which is the first song on the album and from that point on we were on our way. He would tell me the story that he wanted to represent and what would be going on and then I would work on the idea.

What were some of the initial concepts that you had, what were some of the ideas that you had when he told you about the album, other than the title?

Well, I was struck by the fact that it wasn’t going to be making a celebrity who crashed and burned, it wasn’t going to be sensational, going for dirt, it wasn’t going to be superior and wise and giving them advice or something, it was compassionate, it was a take on the human experience from inside the head of somebody going through it and people become spectacles to the public, but they’re people and usually very talented to find themselves hitting these skids that everybody seems to hit. So I thought there was a human angle to it that gave another fact to what we were seeing on the supermarket tabloids every day.

What is it like working with Barry Manilow?

It’s really better than I can tell you (Enoch laughs). It’ll sound as if I’m trying to be very politically correct by saying nice things, but, it’s a treat, we get along, now we work apart, I’m usually in Los Angeles and I write a lyric and I email it to him, and wherever he is, he sets it to music and he emails the melody back to me, so we’re not hunched over a piano in the same room,  we get along, we’re both articulate, so we can express what we mean, it’s just very creative and productive. There’s one funny story I’ll tell you, last year we were in the studio working on the ‘15 Minutes’ album and there was something that needed re-writing, and so I was saying “what do you need, or what has to be shortened, what do we do?” And he was showing me and we had a lead sheet and I was scribbling things on it and he was scribbling things on it, and we went to lunch and by the time we came back from lunch, the re-write was all finished and was fine and I thought “WOW, we can even work together when we ARE together, that almost never happens (Enoch laughs).

So, today the album has been released, ‘15 Minutes’ by Barry Manilow, what do you think about the album?

I think it’s exciting, whether people like it or not, it is a story we wanted to tell, nothing was changed behind our backs, nothing was forced on us, I don’t think he made a mistake in that direction, because he went into heavy rock territory, that would be the story and it would upstage the story he wanted to tell. It’s about a phenomenon that’s going on around us every day, the feeding frenzy over famous people, and this is what we meant. Barry could have gone on recording collections of old favorites forever and made lots of money, but he wanted to take a chance and be creative, and I’m hoping for his sake that it’s well received. Sooner or later you just have to turn it loose and see if it flies, so, I’m hoping people like it.

So you’re saying he was willing to take a chance again. (Paul and Enoch laugh).

Hey that could be a good song.

I had to. So, do you have a favorite song from the ‘15 Minutes album’?

I go back and forth, right now it’s a song that…. I liked it cos I knew it needed to be there, it had to be from when the guy hits rock bottom, he’s lost his fame, he’s lost his success, he feels his made a fool of himself and it’s all gone, and there has to be a turnaround point. The nice thing about hitting rock bottom is finding you’ve got some place to put your feet. I was in the supermarket late at night, coming home from work, all of a sudden this lyric hit me, and I had nothing to write with, and I had to mumble it to myself like a crazy person in the checkout line and get home fast. ‘Trainwreck’ that was the special to me, so I had no idea, so all of a sudden it landed in my lap.

We’re talking with the lyricist Enoch Anderson. When someone listens to a song you wrote, what is it you hope they get out of the experience?

I hope they recognize something that feels authentic to them, as I said, I don’t always know where the songs come from, they are not often from my own experience, I’m not a divorced father, which is the story of ‘Sunday Father’, ‘Sandra’ is about a young married woman, which I certainly am not, so if the divorced Dad or housewife says to me that “yeah, that’s how I felt, yeah, that was it, I identified with that”, then I am pleased.

What is in the future of Enoch Anderson?

Oh I’d like the privilege of going on with more creative work.

I have two final questions, one, somewhat light hearted and a little more of a serious question, the light hearted one first, what is your all time favorite meal?

Well, I love to eat, something I particularly like, Indian food, I love curries and that sort of thing, maybe lamb vindaloo.

Oh man, that sounds fantastic; I am also a curry devotee. So, the last question. Barry Manilow’s fandom is worldwide, thanks to technology, people from everywhere will be able to hear this interview, do you have any parting words of wisdom for our listeners?

Well, I’m not the wisest owl in the forest, I don’t know if I have wisdom, I guess all I would say is, look at an audience having a good time, if you’re at a movie, or if you’re at a concert, it’s when the audience is responding, look around and see how many different types of people there are, look at the diversity, it’s human experience to find us together, and there’s a lot more binding us together than there is sending us apart, that’s the value I think of good entertainment, and I think that’s something you can take away from that experience.

TRANSCRIBED BY ROSALIND WINTON

Joe Nick Patoski: Willie Nelson’s Biographer

Some people can be so fascinating that they capture the hearts and imaginations of generations, and one example of a man who fits the bill would be singer-songwriter and actor Willie Nelson.  Our special guest on this episode of The Paul Leslie Hour, is a writer, Joe Nick Patoski is the author of WILLIE NELSON, an Epic Life.  Author Joe Nick Patoski wrote the biography of Willie Nelson after conducting over 100 interviews with Willie Nelson and Family.  WILLIE NELSON: An Epic Life, published by Little, Brown and Company received critical acclaim and widespread popularity among Nelson’s fans.

Kathie Lee GIfford: TV Personality, Recording Artist, Singer

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Kathie Lee Gifford is best known as a morning television personality, especially her fifteen year run on the famed talk show Live! With Regis and Kathie Lee, which she co-hosted with Regis Philbin. She’s received 11 Daytime Emmy nominations and won her first Daytime Emmy in 2010 as a part of the Today show team.

For many Americans, Kathie Lee Gifford is synonymous with morning entertainment. However, she has a strong musical side…she has recorded several albums of everything from Standards to Christian music and in the early 90s she began working in musical theatre. She is also a lyricist. Kathie Lee Gifford has written songs recorded and performed by other artists as well as herself.

Lori Lieberman: Singer-Songwriter

Lori Lieberman is best known for her song “Killing Me Softly” written during her Troubadour days in Los Angeles when she saw the legendary Don McLean in concert. Lori Lieberman was born in California, but raised in Switzerland. She was influenced by Francoise Hardy, Tom Rush, Cat Stevens and other American singer-songwriters. Lori Lieberman went on to attend University in Boston and signed her very first record deal with Capitol Records. Lori Lieberman toured the United States with artists like Randy Newman, Billy Joel, Leonard Cohen, John B. Sebastian and Rick Nelson. Her most recent and fourteenth album is entitled “Bend Like Steel.” The CD features songs Lieberman wrote along with songs others wrote like Paul Simon’s “Cecilia.” Lori Lieberman is a part of the great American songwriting tradition. It is a pleasure to welcome her on The Paul Leslie Hour and to take a look at her music.

Brian Ray: Guitarist, Singer-Songwriter, Recording Artist

We are proud to welcome a guitarist, singer-songwriter and session musician from Southern California. Brian Ray may be most known for his work as the lead and rhythm guitarist and sometime bassist for Paul McCartney, but he has also released two solo albums. “Mondo Magneto” was released in 2006 and most recently in 2010, he has released his sophomore album “This Way Up.”

Rusty Anderson: Songwriter, Guitarist for Paul McCartney

RUSTY ANDERSON is most known as the guitarist for Paul McCartney, which he has done for more than a decade.  In addition to appearing on several of Paul McCartney’s studio and live albums, he has toured the world with McCartney.

Impressive as that may be, this interview focuses mostly on Rusty Anderson’s incredible gifts as a songwriter and creator of his own studio albums.  Rusty Anderson’s first studio album Undressing Underwater was released to critical acclaim.  This interview took place shortly after the release of his second album Born on Earth.

Rusty Anderson’s songs are unique and at times unusual, but always very interesting and a pleasure to listen to.  This interview covers a lot of ground and we hope you enjoy Anderson’s unique perspectives.

 

Our special guest is Rusty Anderson. In addition to being the lead guitarist for Paul McCartney, he’s also a singer-songwriter and recording artist. I’m going to share this quote from Rusty Anderson and then we’re going to bring him out for our exclusive interview.
“When I was a kid, I was like seven or eight, I had dreams that the Beatles would come to my door with their guitars and stuff and say ‘Hi! You wanna play?’ And I’m like ‘Yeah!’ And I’d wake up and be sad because it was only a dream. And then we’re in the studio recording and towards the end of that Paul says ‘Hey man, I had a dream about you last night.’ ”

 It is with great pleasure we welcome guitarist, singer-songwriter Rusty Anderson. In addition to being the lead guitarist with Sir Paul McCartney, he’s also a recording artist. He joins us to talk about his new album, Born on Earth. So first of all, thanks so much for joining us here.
How are you, Paul?

I’m doing great. How about yourself?
I’m good, man.

I think most stories are best from the beginning so tell us a little bit about your early life.
I guess, musically, I sort of flipped out on the Beatles when I was five ‘cause my older sister was playing Beatle records. Coincidentally, right around that time, my – I’m the youngest in my family – and my oldest brother, Mike, died of a kidney thing. And I was five and he was 19, and I think it messed with the family. And I think my parents sort of numbed out and no one really talked about it, and I just went into music land and started exploring all sorts of different artists. And I got a guitar when I was eight – finally. It was, um, an electric guitar and amp – a little cheap pawn-shop thing, that I was just really into it. And I think I just sort of really hyper-focused on the guitar, you know, ever since (laughs). So I’ve been doing the same thing since I was five, basically.

Can you give us your recollections of the first public music performance you ever had?
I was maybe nine years old, uh, we did like two gigs at the school, different classrooms, playing with my little band and, uh, the drummer, my friend Ronnie and, uh, another guy, I think it was Ken, playing fake bass on the guitar. That was the first gig I can recall but that was, uh, quite a while ago (laughs).

Well, tell us about the band, Eulogy.
Eulogy was, uh, the first actual band that stayed together that I was in because I was always forming bands and it was sort of a prerequisite to being my friend if you played an instrument and we could be in a band because I was a little bit OCD, I guess, about it. So yeah, Eulogy was together maybe five or six years and, yeah, it had a lot of great experiences. We played, you know, all over Orange County. We played like 85 high schools in one year, I think, and then, you know, really got into playing, through like, uh, this – it was through a radio station in Orange County, and then we played, uh, you know, a bunch of clubs in Hollywood and started doing gigs, you know, opening up for like, you know, The Police or Van Halen and things like that. Yeah, it was a fun band. Good music.

Tell us a little bit about your influences on the guitar and also as a songwriter.
You know, I have my guitar favorites like I really always loved Mick Ronson, just for his melodic sense and his arrangement sense, and his tone was so special. And I loved Jimi Hendrix and Ritchie Blackmore and Jimmy Page. I think, musically, I really, really have always loved Debussy and Rachmaninov and Gershwin. Sort of my three favorite classical composers and they sort of got into jazz a little bit, the early forms. I mean, they definitely have influenced jazz and they’re just beyond, you know, another world. I definitely had a lot of influences, I guess as all musicians do. Songwriting wise, you know how it is, everybody’s busy these days rolling through so many different styles of music. I mean, everybody I ask they say ‘Oh, I like a bit of everything.’ Very strange world in that respect. Yeah, there’s so many genres. I mean, I’m influenced songwriting-wise from everyone from Bob Dylan to David Bowie. You know, I love a lot of new the music – MGMT and The White Stripes and Band of Horses and The Shins and Death Cab for Cutie and, you know, on and on. There’s somebody I love, Captain Beefheart, and I love Cream and I love Todd Rundgren, and so many influences. I think ultimately, when I’m writing a song, I just have some ideas. Usually, I’ll come up with a lyrical thing. Maybe I’ll jot it down. Like, for instance, there’s a song on the record called Julia Roberts which was a dream. I wrote it down when I woke up because I thought it was really odd ‘cause I, you know – she popped into my head for no reason, and then I forgot about it. And later, I returned and saw the lyrics and thought, oh that would be cool to turn into a song. So I, actually I co-wrote that with a friend of mine named Jord Lawhead and we, uh, turned that into a musical, finished song. It happens a lot of different ways.

There’s another song on the new album called Funky Birthday Cake and I was hoping you could tell all the listeners about that song.
Well that song – actually, it’s funny ‘cause you brought up Eulogy – my friend, Myles, when he was a singer in Eulogy and we were, you know, maybe 13 or something and we had just started hanging out, and having fun and making music, and we wrote that song together when we were 13 or 14 or something. When I was working with Peter Smith who co-produced some of the songs on my record, who also plays drums in my band live – I had a demo of that song and he heard it and he said ‘Yeah, we should record this.” and I said ‘OK.’ It was just sort of an impulsive thing and it ended up on the record.

I was hoping you could tell all the listeners out there a little bit about meeting David Kahne.
I was in a band called The Living Daylights and, uh, we had a single. It got over to David Kahne, he really liked the band, he was working at a major label – I think, uh, Columbia or something at the time – and we didn’t end up signing with him but he was a producer that worked on a lot of major, different acts at the label. So I started working with him in the studio playing guitar and, uh, that was the beginning of a long relationship because then, eventually, he started working with Paul for Driving Rain. They had talked and he said ‘Hey man, I’m going to be, uh, doing this record in a few months – so this was, like, maybe two months before Driving Rain happened which was, I guess, 2001 – and he said ‘Yeah, I think, uh, we’ll be needing some guitar work’ and I said ‘Well, man, cut me in. I’ll be really exited to do that.’ And then I sort of didn’t tell anyone about it – I didn’t want to do the Hollywood jinx – and then, sure enough, two months later I was in the studio with Paul and David and, uh, you know, that was, uh, the beginning of, of working with Paul.

 You had an album before this one called Undressing Underwater. My two favorite songs on that album are Catbox Beach and Everybody Deserves an A in This Country.
That was my first solo record. Catbox Beach, which Stew Copeland played drums on incidentally. We were in a band together called Animal Logic a few years ago. That song started off – the concept was a classical sort of song rocked up – and then, I’m thinking to myself ‘this sounds suspiciously like a surf song.’ I kinda got that vibe. So I named it Catbox Beach and when Stew played on it, I thought it would be really a shame not to have his amazing reggae feel so we sort of put a reggae bit in there, which I thought was cool because I had never really heard a surf song-reggae song combo before. So that definitely had to stick.
[Recording concludes] From Rusty Anderson’s debut album, Undressing Underwater, that was Catbox Beach.
Everybody Deserves an A in This Country was a song that, I guess, I was hanging out with some friends and suddenly enough we had this plan to take mushrooms and record music. Not that I’m a big drug person or anything, but that day that’s what we did. I don’t know if you’ve tried to do anything (laughs) when you take mushrooms – it’s pretty, it’s pretty tough, especially singing. So we didn’t get a whole lot of music done that day but the, sort of the birth of the concept of Everybody Deserves an A was, to be frank, motivated by brain mindset.
Well, it managed to score a really cool song, as far as I’m concerned.
Ahh, thanks.

You’ve done a lot of things in your musical career. You’ve done session works for people like Little Richard, Neil Diamond, Carole King. You have two records, you perform on your own and, of course, you also perform with Sir Paul McCartney. When you look at your musical history, is there something that you’re most proud of?
I’m really glad to be making a living playing music. I feel very, very lucky. Especially – I just finished reading that book Grapes of Wrath, and I feel extra, extra lucky because in these crazy days you never know what you get. I mean, it’s been amazing working with Paul for the last eight-plus years. I’ve seen all sorts of things, you know, gone all over the world. And, you know, musically I just try to make music I’m proud of and I can stand behind, and trying to just contribute to making melodies or some lyrical idea or something that maybe will inspire somebody. Basically, to communicate. I think that’s what it’s about for everybody, you know? They say that, uh, the most important thing for people is to communicate with others and to feel understood and I would definitely concur with that.

 When someone listens to a recording you performed on or they see you in concert, either by yourself or with someone else, what is it that you hope that the audience gets out of the experience of the music?
Oh man, you know, people get what they get. I mean, it’s exciting to get responses back from people, to hear the different things that people interpret from music, whether it’s playing with Paul – out there doing shows or doing, you know, the records with Paul – or doing my own live shows. You know, I just got the record Born on Earth out so I’m starting to get a few responses and it’s been incredibly positive. And it was the same with, uh, Undressing Underwater. And people have their interpretations, you know, their favorite songs. Everybody’s got their favorite song that they relate to. I think that the cool thing about music is that it’s untouchable and, therefore, it makes it very, uh, very individual. The impressions people get from the music is very individual. I guess with any art, you know, you’re going to get a million different opinions whether your dealing with, uh, contemporary art or classic art or whatever.

You’re listening to our interview with Rusty Anderson, who’s here joining us to talk about his new album, Born on Earth. I was hoping you could everyone out there about the title track.
It’s, basically, sort of about the infinitesimal chance that we would be alive in this crazy era of technology bum and the way the world has changed so much and, you know, we could have been alive a few million years ago or now, or – it’s a crazy time I would say, and I think you’d probably concur. And the songs are sort of a reflection of that and I think – it’s an epic sort of piece. I would just say you have to listen to it to kind of understand what I’m talking about, maybe (laughs).

What song, from the songs that you recorded that you wrote, means the most to you?
Where Would We Go? Private Moon Flower. They’re sort of, uh, personal songs. You know, the new record – I think every song has some personal aspect and it has some global aspect to them. And so I felt like the title Born on Earth sort of fit the record and the song. And, in fact, I was up in Alaska hanging out a few years ago. Some friends of mine were getting married. Actually, I was kayaking out on the edge of this, um, sort of bay of the ocean and in the grass there was this mannequin sitting there, sort of out of the blue. And I took a picture of it because I thought it was so odd and then I ended up using that for the record cover. And it sort of summed up, to me, the sort of incongruency of life these days – the randomness of it.

Having recorded your own music and gotten the chance to play music all over the world, you could honestly say that music has done some things for you that most people will never get a chance to experience. Having said that, are there any dreams that you have that you have not yet experienced, that you’re working on making happen?
That’s a very good question. I think there’s certainly a part of me that feels drawn towards getting more involved in, uh, philanthropic types of things, um, you know, charities. There’s so many good causes these days to be involved with, whether it’s, uh you know, helping  people out in Africa – I feel very strongly about that. I also feel strongly about the environment and global warming, and I’m sort of trying to find a good place for my energies in that realm. Certainly, I think I’ll always be making music and creating new, uh, themes, whatever medium it’s in. whether it’s, you know, new CDs or, you know mp3s or whatever the new media is at the moment. Certainly, playing more gigs with Paul, and it’s a good ride that I’m on and I just want to keep it expanding and communicate with more and more people. That’s pretty much it.

Through the eyes of Rusty Anderson, when you’re on stage performing in front of just thousands and thousands of people, where everyone’s looking at you, and there’s definitely this energy and this positivity coming from everyone – tell us, through your eyes, what is that experience like?
You know, it’s a weird loop. You can’t think about it too much. I mean I sort of just vibe off the audience – you know, look for friendly faces and people that are into it. And I guess, in a certain way, I feel more at home on stage than I do anywhere else just ‘cause I’ve been doing it a long time. And it’s – it’s always, like, an engaging challenge to try to really connect in that zen way, you know playing guitar and singing and being up there and grooving with everybody and, uh – it’s a pretty astounding feeling. I think the biggest gig we did was, uh, in Rome for 500,000 people. In a way, the smaller the audience the harder, the more intimidating it can be, like playing for one person is almost the most intimidating thing there is, as opposed to playing for huge audiences. On the other hand, playing that gig in Rome, there was 500,000 people and it was this super-buzz – like you felt this extra kick of energy – thrill – I can’t explain it but, you know like, we were doing I think Let It Be and there’s a bunch of people holding up lighters. And it was at night and this was in front of the Coliseum, and you look down the Apian Way and it was like a river of fireflies going off the edge of the planet, and it was – you couldn’t even see the end of it. It was pretty, uh, heavy and, and sort of monumental. It’s like you can’t really remember it either. It’s sort of like eating chocolate or something – it’s an experience that you can’t have unless you are engaged in the middle of it and then you can remember what it’s like.

Working our way back to your album, could you tell us about some of the musicians who played on that album?
The latest one is primarily Peter, the drummer, and I and the other guys on my band played on some of the tunes, too, and did a lot of background vocals. I wanted to keep it a little bit more – on that level – more sort of band-centric. There was another guy, Bunk Gardner, a good friend of mine who played in The Mothers of Invention, who was a huge influence on me when I was, uh, a kid growing up. And I always loved their music. That was Frank Zappa and The Mothers of Invention. And I liked that sort of incarnation the best because it had this really organic, out-of-control kind of feeling, And, uh, Bunk plays woodwinds and sax and flute, and I think he played sax and, uh, bass clarinet on Funky Birthday Cake. That was a lot of fun. The last record, Paul McCartney played on a track and Stew Copeland played on a track, and it was a little more kind of, um, fun, bringing all these outside musicians in. Like I said, this one was more sort of about the band. Oh, another friend of mine, Gabby Marino, sang background vocals on a few songs, and I think that’s about it.

Tell us about the song, Timed Exposure, on the album Born on Earth.
Timed Exposure – I’m not sure exactly what the song is about to tell you the truth. It just came about organically and I think the music came first. It seemed to somehow, uh, connect the global, sort of macro perspective on the world and what we all go through – that personal experience. One verse is written from, I think from a fortune cookie –combination fortune cookie and personal ads that are in the newspaper.
Oh, interesting (laughs).
Yeah. So, you know, different things will inspire lyrics.

Can you tell the listeners out there how they can find out more about not only the new album but also more about you?
Well, there’s RustyAnderson.com. There is my MySpace. I started doing this Twitter thing so look for that. I’m doing Guitar Center in-store CD signings.

This broadcast is going out all over the world. My final question for you, Mr. Rusty Anderson: What would you like to say to all those people that are listening in?
Oh, just say ‘hello and, uh, happy to e-meet you or vibe with you’(laughs). Hope to see you at some show soon. I’m always into connecting with people.

Rusty, thank you so much for doing this interview. It means a lot.
You’re welcome, Paul. It was my pleasure.

John Goodwin: Songwriter, Recording Artist

John Goodwin is an incredible singer-songwriter who has recorded his most recent album “Goodwin.” John Goodwin has recorded six albums, the newest record features a new direction with solo acoustic performances and duets with Jessica Andrews, Michael McDonald and Jeff Bridges. John Goodwin is also a visual artist–a painter and photographer. His songs have been featured in several major motion pictures including Crazy Heart, Surf’s Up, The Amateurs, and Tideland.

Ladies and gentlemen, it is with great pleasure we welcome our third time guest, Mr. John Goodwin, thanks so much for agreeing to do another interview with us.

Happy to be here with you, Paul.

My pleasure. You’re joining us here to talk about your new album entitled ‘Goodwin,’ anyone that listened to the last time you were on, you were playing some of your acoustic songs and you had this album out called ‘Nashville,’ and it seems to me, for my ears anyways that it’s a further evolution as an artist.  What prompted you to kind of make this change in your music to a more acoustic?

A lot of my CDs have involved other musicians andthe songs sounded like they were played with a band and I just really challenged myself and wanted to see if I could do anything I liked, sitting and playing, singing without a band, so I just went ahead and did it and started to like what I heard.   That’s what I do when I write a song and I’m always enjoying that so I figured like, why not just go in the studio and do it.

What aspect of making music excites you the most?

The emotional rush I think, you know, I think anybody that picks up a guitar and starts singing and playing something they are inspired by or want to play gets off on the whole experience, it’s your hands, like, playing a guitar, it’s your voice and the coordination between, you know, your voice and your hands, and you know, the end result and, you know, your mind’s working and, you know, you’re expressing yourself and it’s a real, a real emotional rush, just to sing and play.

Do you find that as you are creating music, do you find that you get more, or less interested in seeking out new music made by other artists?

I’m always listening to other artists and new albums, constantly checking out what’s coming out, you know, I’m looking for that ‘thing’ that really excites me, you know, my interest in other artists has not diminished at all, probably increased a lot as I continue, you know, writing and recording.

The interesting thing about the different albums that you’ve released over the years is the different styles of music that you’ve played, ‘Part Of Me Will Never Grow Up,’ is kind of like, a Reggae song, you have a couple of songs like, ‘A Place In My Heart’ that is definitely Country, and lots of Rock n Roll, I want to ask you, what musical period or styles do you find yourself the most drawn to? I know you like everything, but is there something that resonates most with you?

I think it’s more like, what I consider to be a great song in a particular time in my history as a person, you know, I’ve been deeply, deeply into Rock ‘n Roll, deeply into R & B, deeply into Country a long time ago, when country was a little more genuine and sincere, you know, I started a couple of years like, really being into Metal when it was like Black Sabbath and you know, real, like seminal kind of Metal sounds and Reggae I got way into.  So every music that’s really touched my life, all done so equally has brought out those things in me.

I wanted to talk about a couple of the songs on your latest album, ‘Goodwin’, I think my favorite song on the album is ‘Butter MintSweet.’

Something like twenty years ago, I just started writing on my guitar this little classical piece and like, that’s the end of the first section, you know, you want to play another section, there’s no lyric to it, it’s just, it was just you know, all guitar and I just developed this little song which had no lyrics and I really liked it and I forgot about it for years and then I found it again and just started writing lyrics to it, so this has been a work in progress.

You actually recorded it as a duet, as far as your discography, this was the first album that you have with duets.

Absolutely, it is and I wish I’d done more of it, because I really like singing with friends of mine and I’m going to do a lot more of it too.

Two other songs on the album that are duets, in one of them, you remarked earlier that you were especially proud of it, it was a duet with Michael McDonald ‘When The World Was A Child.’

I was in a coffee house or something like that and kind of, crowded place and I saw this Mother walked in with her little child, little infant, you know, but walking and the child was holding the Mother’s hand and it just seemed to me, like you know, once upon a time the world was an innocent child, you know and just look at it, everything, you know, like new eyes and stuff like that, so that was the inspiration to start writing the song and once I got started I don’t think I could stop until it was finished.


Is there a song on the new album ‘Goodwin’ that you are especially proud of, a favorite song?

Well, I have many favorite songs, I think most artists, when you record an entire album and spend a lot of time on it, eventually you find songs you’re not as in love with as you were when you wrote them and recorded them, but actually there are a lot of songs on this album that I really like, just because of the purity of the performance and the purity of the song. I’d like to say there’s one song that I safely think is my favourite, but there are quite a number, quite a few songs that I really, really like here.

You couldn’t pick a favorite though?

Well, I wish I could, I mean, it would make it simpler for anybody to listen to the record, but I have to say that I really am proud of a lot of them.

There’s a song on there ‘The Blessed One’, I noticed this on the last album. Both this album and the last one, it seems like there’s an exploration of spirituality almost?
Yes.

What inspired you to write ‘The Blessed One’?

Kind of a deep, deep subject here, because, a lot of times I feel like people are not appreciated until they’re gone and we obviously have historical examples of that, we also have examples of that in our everyday lives, and we know of singers and songwriters who aren’t universally known, but really believe that they deserve to be as much as if not more than people who are extremely well known, so you know the whole inspiration was like, you know, ‘don’t abuse the blessing, don’t overlook the blessing,’, you know that was kind of about it.

What are the other songs on the album that are light-hearted and fun songs, well, depending on how you look at it, I really got a kick out of ‘Lime Green Speedos,’ and, again, kind of like, as far as you exploring new avenues, the last album also had a comedy song, ‘Monday I’m Starting My Diet,’ but tell us about ‘Lime Green Speedos.’

Well, ‘Lime Green Speedos,’ I forgot exactly where that song started it might have started with a rhythm on my guitar that I started playing and you know, and the subject suddenly came to me that, you know, I’m going to lose all this weight and surprise everybody, and you know, in summertime, when I show up at the swimming pool in my lime green speedos, it amused me, interested me and moved me enough, you know, to just throw as much as I could at the song as I was writing it, you know, the song you referred to on the last album, ‘Monday I’m Starting My Diet,’ that song and ‘Lime Green Speedos’ both have to do with, like, being overweight and trying to do something about it, which, a lot of people have that problem, more like I have to go on a diet and put back what they lose, stuff like that, so, you know, these were just dealing with that whole issue you know in the most light hearted, emotional way that I could, you know.

I also wanted to talk to you about a song that you wrote, that was featured in the movie ‘Crazy Heart.’  tell us about that song ‘Hold On You’.

I’d love to, I also want to say that on the new album the duet I did with Jeff Bridges, which I’m extremely proud of, you know, really, it’s just two old friends singing about life and what a beautiful day it is.I love that song.  The song ‘Crazy Heart’ goes… I was lucky enough before the movie was made to be invited out to LA to spend some time with Jeff and the Director, writer of the movie Scott Cooper and  T. Bone Burnett, during the course of the week that I spent with those guys, like, I started writing ‘Hold On You’ and T. Bone started writing it with me, and eventually, I left town and he brought a couple of friends in and they all finished the song together and I’m amazingly proud of that, it was just a highlight of my life.

I wanted you to tell us about the experience you had out there, you said that you’ve recently been feeling the winds of inspiration kind of to start performing again?

Yeah, haven’t quite gotten out there and done that.  The last time I performed was at this huge birthday party in LA, back in, in December, my whole path as a writer is a little bit wierd cause I spent most of my time just writing and recording but continuously writing and continuously recording, you know, and I sort of didn’t do a lot of playing out even though I enjoy it, what I do is, I’m trying to motivate myself to go out there and do it, it’s usually, you know, a lot of fun for me and the people in the audience when I do, but it’s just one of those humps that I’m kind of stuck behind right now.

Is there any artistic or musical avenues that you haven’t explored that you have an interest in pursuing?

Aaaah man, there’s so many, you know, writing on other instruments, instruments that I don’t particularly play, you know, bongos or whatever, every time I pick up something new and start playing with it, most of the time some new kind of music comes out, for me, the most interesting thing that I really want to do a lot more of is just improvisational songs, in other words songs that aren’t written, so you turn on a tape recorder and you sit there and you just play and sing, and I can do that pretty well. I haven’t done that a lot but I have a fantasy of like recording like, a thousand songs that way and be sure to share the results with you when I do that.

You mentioned the last time I was talking to you that you’re already thinking about the next recording project. What do you see in the future?

Ohhhh it’s looking good, at least, you know, by my standards looking really good Paul, I’ll tell you why, because, I’m sure I don’t have time to tell you about the whole recording process that I went through with this new record I made, very briefly with this amazing engineer in Nashville, gave me just an unlimited free use of his studio,  just because he likes what I did, so I went there many, many, many, manytimes and had all the time in the world to lay it all out and from everything I recorded I chose the songs that would be on the album called “Goodwin.” But this thing, I think the record’s been done for about three months now, I’ve written seven or eight songs that I think there as good as anything I’ve ever written in my life and I’m really excited, think I’ll go and probably sometime in late May or early June and just try and cut an entire record in three hours with songs that I’ve written that I like since I finished the last album.

Is there any particular reason that you say to do it in three hours like that?

Yeah, once again it’s challenge, you know, to do something in real time like, you know, when you turn on the radio and you hear a three minute song, you’re actually living in the illusion that a bunch of people went into the studio and played and sang for three minutes and there the song was, but you know how it works these days, like, you know, there’s dozens if not a hundred hours recording parts and pieces and bits of it and adding stuff and people coming into the studio over weeks and months and eventually you have what seems like a real three minute song, that’s really not, it’s like, you know, thirty seven hours condensed into a three minute experience, so it seems like, to go in there and play it straight, you know, from top to bottom, it’s a challenge.  I think Bob Dylan recorded ‘Another Side Of Bob Dylan’ in one day, I believe that’s true, and of course I think the Beatles cut their second record in one day too, so, there’s no reason, if you can present something that’s a performance, it’s why it shouldn’t literally be a performance, and not this massive collage you know, which is, you know sometimes over thought and, I want to be something not an illusion, I want to be something that is like literally a performance.

That will be very interesting to hear. I hope that everyone out there has kind of gotten a little picture in their mind of what it is that  you mean.  On that note you just mentioned Bob Dylan, last night I was talking with friends and I wanted to know your opinion on, in your mind anyways, who are the greatest songwriters?

Well that’s a tough one, you know, because some people like Bob Dylan that have written many, many, many extremely brilliant, wonderful songs, and there are other people who have written one or two in their entire career, but they’re, they’re wonderful songs too, so, you know, I can’t say someone who would be prolific and amazing, for me has been any better than somebody, you know, loving one or two great ones and being amazing, because when you’re listening to the songs, just in the middle of, for you, it’s an amazing experience and you don’t think about the other two songs they wrote that were great or the other ninety five songs that were great, I mean, you can only listen to one song at a time, so that’s the way I’m feeling music as a listening experience.  Oh I could name a hundred people, whose music I absolutely love, man, like, you know obviously Bob Dylan, the Beatles, Jackson Browne, Joni Mitchell, the great songs that Smokey Robinson wrote, the Stones, man “Beast of Burden,” you know, there are French pop artists like Jaques Brel, phenomenal songs, I have to say that, you know, if I had to list my favorite songwriters or acts, there would be at least, at least a hundred names on it, because they all touched me extremely deeply.

Not just of the songs that you wrote, but just in general, is there a song, or a couple of songs that have just tremendous meaning to you?

Oh yeah, but Paul, like, there are like, so many, so many songs that just have deep, deep meaning for me, it would be really tough for me to say you know that there’s only one or two, but the song Michael McDonald wrote and recorded called ‘Matters Of The Heart,’ which I just think is burningly brilliant or you know, “Papa was a Rolling Stone” by the Temptations, or you know, I cannot really say here’s my top five, any one of those top five, any one of the 95 behind that you all all have great meaning for me…

I wanted to ask you when somebody listens to the new album, ‘Goodwin,’ what is it that you hope they get out of the experience of listening.

Well, I hope they like what they’re hearing, from the beginning of a song to the end of the song, I was trying for a certain kind of purity from the performance, you know, but for people who don’t know me who are hearing this, I’d just like them to know that this record, like every record, is a transition period and I just happen to document by writing and recording the song.

It’s been a great pleasure to speak to you as always, always great talking to you, but before we go is there anything you’d like to say to all the people listening out there?

Well, like I said the last time you interviewed me, I think you asked me this question and I’d just like to say that I hope you’re all having a good day and doing things that you really love to do, what more can you say to people or want for people?

I do remember you telling me that, you said you hope everybody has a good day because good days are the building blocks of a good life. When I heard the album I was listening to the duet with Jeff Bridges, ‘The Good Day Song,’ and it made me think of that conversation.

Yeah, (John laughs) I know what you mean, you know, totally what that song was about, it was such a joy doing that with Jeff. He’s such a generous soul and so deeply appreciate him, he’s making a lot of my days really good and has for many years.

He definitely captured I think, your friendship together. Hearing you do the duet with him, I remember years ago when I was listening to your music, and it was right after I had been exposed to his music.  Has it ever been a passing thought about performing with him, or maybe collaborating with him on an album?


Yeah, I think that’s very  likely to happen, in fact the last few times we performed, we were both at parties, Jeff was there and we both played songs, I think he inspires me to go out and perform, I love collaborating with him, we’ve written many songs together which I totally love and totally look forward to anything we do together, it’s just such fun and we’ve been doing it for years so I think you can probably look forward to that.

Everyone out there can check you out online at babyrecords.com and again, thanks so much for the interview, always a pleasure to listen to your music and always a pleasure to talk to you.


Paul, I’m really glad that my music has found you and that you like it so much.  It means so much to me.

It means a lot to me too and have a good one, a good day.


You too man.  Good days, you know.

TRANSCRIBED BY ROSALIND WINTON

Jeff Daniels: Actor, Songwriter

JEFF DANIELS is another one of those singer-songwriters who is also an actor.  This interview was recorded on Halloween, on the stage at Smith’s Olde Bar in Atlanta, Georgia.  Jeff Daniels was kind enough to perform a song for us.

Daniels does a great job of talking about the creative life.  He is a great songwriter.  His serious songs represent his best work.

Ladies and gentlemen, it’s a great pleasure to welcome our special guest, fellow Michigander, Jeff Daniels. Thanks so much for making the time to do this.

Thanks, Paul.

Who is the real Jeff Daniels?

I have no idea. That would take, um, probably a team of psychiatrists to figure out. I mean, if you look at the acting career it’s certifiably schizophrenic. It really is (laughs) because you can go from Dumb and Dumber to, uh, to Gettysburg or Squid and the Whale – there’s a lot of people in between those two, those two or three people. So, uh, probably the music, uh, is probably the closest but even in the music I go wildly comic to very serious so I’m probably still in search of whoever that is.

Can you remember and tell us some of your earliest musical influences?

I remember getting Tumbleweed Connection, the Elton John album and I didn’t even know who Elton was. And the album jacket, the cover, intrigued me at a young age and I bought it and I just loved it. And I didn’t know why I loved it. I’d never heard anything like it. And I think a lot of it was Bernie – Elton’s playing but Bernie Taupin, the writing. As I look back, I started to look at the writers. I started to look at the story-tellers and then that led to guys like Arlo Guthrie who could tell a story and then weave a song into that story. Stevie Goodman – I saw Stevie Goodman at The Bottom Line in New York – amazed at what that guy did with just himself and a guitar. Christine Lavin. You know, lately, guys like Todd Snider. Todd’s got such a point of view. Only Todd can write those songs and they’re almost like you can’t cover them. So, and that’s what you look for in writing – guys that have a singular point of view.

Yeah. When I was listening to the album that I got of yours, I thought ‘this guy sounds like Steve Goodman and Arlo Guthrie.’ That is what I thought (laughs).

Yeah. My heroes. My early heroes. They really, they openedthe door for you can just have a guitar, and you can write funny and you can write serious back-to-back and that – and Christine Lavin was another one. I chased all those three people. They were, they kind of led the way for me.

Could you pick a favorite artist that influenced you?

No, probably not because I’m still probably trying to, uh, define what it is I do and it’s influenced by a lot of people. Then you get guys like Stefan Grossman who I’ve been privileged to have lesson from and have also studied him since the ‘80s – his tab books on finger picking and the whole deal. Then you get into the blues. You get guys like, you know, Lonnie Johnson, Skip James, Robert Johnson – all those guys and what were they singing about? What were they doing? Sonny Terry, Brownie McGhee. I remember listening to them in the ‘80s. A friend turned me on to them. They’re all probably in there somewhere. There’s a – Lyle Lovett is a guy that, again, as a writer only Lyle could write that song that way. If I had to pick somebody present-day it would probably be Lyle.

Can you remember the first song that you wrote?

Yeah. It’s in my notebook. My big, huge notebook of everything I’ve ever written. Yeah. I think it was about my dog, my first dog and it’s god-awful. It’ll never see the light of day.


You do this tour. You have four albums to your credit thus far. So you’ve recorded, you’ve written songs, you’ve performed. Could you pick a favorite part of music?

I think the moment – and it happens in some of the older songs now that I’ve played a few hundred times – but it’s, uh, certainly that moment when you find you get on top of that new song. And it takes a bunch of performances in front of people to kind of give birth to it. But you get on top if it, you get the phrasing right, you get the guitar right and then it connects. And you see and hear from an audience that this thing that really was just an idea in your head weeks or months ago is now something that you will be playing on a regular basis because it connects with people you don’t even know. It’s that moment where that first connection happens, that new thing. That’s pretty cool.

In the liner notes to one of your albums you talk about how these songs are like a snapshot and you’ve been keeping, like in this notebook, like a journal. Take it a step further and you record these songs and perform for people. What would you say makes you want to do that?
I’m living a very creative life but it’s creative on my terms. And this country, you know, uh, it – I wouldn’t say it’s exemplary in the way it treats its artists or supports its artists. I could argue that Europe does a better job of that or takes it more seriously. I think America has always been like that. There is certainly room, there is room for artists and art but you kind of have to make your own space, you know, if it’s what you’re supposed to do, which is what I was told at the age of 21. I had a director from New York see me in a college production and he took me aside and he literally asked me ‘You know what you should do with your life, don’t you?’ and he said ‘Come to New York and join my theater company and chase an acting career. No promised but you’re good enough to give it a shot.’ And that acting chase led to a lot of sitting around, waiting for the phone to ring, for someone else to tell me it was time to be creative. The guitar, which I picked up in 1976, became that go-to creative outlet so I could keep that side of my life and that part of my brain, and that – just that part of me, which is probably the essential part, going 24/7. And I didn’t have to wait for the phone to ring. I didn’t have to wait for somebody in Hollywood to tell me that I’m hot and I can now be in a movie. I just was able to do it on my own. The music has probably, you know, fulfilled me the most of all.

Ladies and gentlemen, you’re listening to an interview with singer-songwriter and actor, Jeff Daniels. Grandfather’s Hat – tell us about that tune.
That’s a song that – I wear a fedora. I really like those fedoras. They’re kind of timeless and, um, I was – my kids played hockey and, uh, high school hockey in Michigan, and I was wearing it to one of the games and a friend of mine came up to me. And he knew my family and he knew my grandfather, and he came up to me and he goes ‘Is that your grandfather’s hat?’ and I said ‘No, no. It’s just one that was very similar to …’ Before I got to the end of the sentence, I knew it was a song. Not just a song about my particular grandfather but your mother’s necklace or your aunt’s ring or your father’s knife. You know, Guy Clark has a great, great song, uh, about his dad’s, um, jackknife. And so it’s that, that kind of ‘missing someone who is no longer here’.
Well, would you like to play it for all the listeners out there
Sure. [Performs Grandfather’s Hat]

Ladies and gentlemen, Jeff Daniels. Thanks so much. One of the things about music is you get to meet a lot of people. One of the tracks that you do, you did a cover of the George Harrison song, Here Comes the Sun. tell us about some of the exciting people you’ve met through your music.

Umhmm.

I mean, first of all, George Harrison – say no more (laughs).
Yeah, that was pretty cool. Uh, the short version of that story is I was doing a movie called Checking Out in 1988 and it was produced by George Harrison’s independent film company called Handmade Films. And we were hoping he would show up on the set in L.A. and, sure enough, one day he did. And I had a guitar in the dressing room and I said ‘Would you mind signing my guitar?’ and he said ‘I’d be happy to.’ Took him into a back room so it wouldn’t be, like, 100,000 signatures. And he signed the guitar and then, before he gave it back to me, he flipped it over and, on that guitar, played Here Comes the Sun. I mean, just me – and two other guys – just the three of us sitting there. It was like our own little private concert. It was such a gift that he gave and he couldn’t have been nicer. He couldn’t have been more interested in anyone other than himself. It was just a great lesson on how to handle that level of fame or any kind of fame.

You have a theater up in Michigan and everyone can check out JeffDaniels.com. The proceeds from the sale of the CDs goes towards this theater, the Purple Rose of Cairo. We just reviewed that film. It was from 1985 but we did like a flashback kind of thing. So tell us bout the theater a bit.

The Purple Rose Theater Company is 20 years old this season. Uh, it’s mission is mainly to do new American plays, particularly plays about that part of the country. That’s how I was brought up in New York, at the Circle Repertoire Company. Every play was a new play. Every play, the months before, the playwright was walking around rewriting the second act, getting ready for rehearsal. There was a thrill to that versus doing what New York had done last year and being popular, or doing, you know, Shakespeare or the old classics and all, which are fine. And many, many theaters do those. I want new stuff. I want living, breathing playwrights writing about the people sitting in our seats. Write about them. Connect with them and then I’m interested. After 20 years, that’s what we’re able to do now, more often than not. I’m real proud of that place and the fact that that part of the country supports it. It means the world to me.

What made you call the theater The Purple Rose of Cairo? That movie is great. I got to interview Woody.

I was a young actor. I was 30 at the time. I’d been in New York about nine years. Terms of Endearment had come out and I got that movie ten days after Terms of Endearment had been released. So Terms was now the #1 movie in the country which, at the time, for a character-driven film like Terms – it bypassed Raiders of the Lost Ark and all those kind of at the time special-effect movies. You hadn’t seen a character driven comedy-drama in a long time like that yet there we were, #1 – due, in no part, to Jack, Shirley and Debra. Jim Brooks had a hit and, uh, I was, I happened to be in it. Ten days later, they were looking to, uh, recast Purple Rose of Cairo and they called me in and, you know, a screen test later and, you know, a meeting with the studio, I got it. So now I’m working with Woody Allen. And I get handed the script and it’s not a supporting role or it’s not one starring role. It’s two starring roles in a Woody Allen movie. And I’m going ‘OK. Everything I have ever learned, please God, let me remember now.’ (Paul laughs) and that’s how I went into work everyday. And about halfway through the movie, Woody said I was good. For a young actor who had been battling, you know, rejection and, uh, are you going to make it? What’s it – you know, is this really worth it? It’s nine years. Terms of Endearment, yeah, but is it two or three movies and done? You know, you just don’t – the business is so, uh, here-today-gone-tomorrow. And Woody said I was good. And so, I remember going home and saying to my wife, um, ‘I think I’m going to be able to make a living in this business.’ And it wasn’t ‘I’m going to be a star.’ It wasn’t ‘I’m a genius.’ It was ‘If Woody Allen thinks I’m good, I think I’m going to be able to make a living in this business because if I’m good enough for Woody, I’m good enough for anybody.’ And that was a turning point. So years later, when it was time to name the theater, we named it the Purple Rose Theater Company.

My two final questions. What is the best part about being Jeff Daniels?

So many people go through life having to do things they don’t want to do, or they have a job that they wish they’d never taken but there’s security in it. And I think the satisfaction that I’ve had – I’m going way back to that director, Marshall W. Mason from Circle Rep, when he said ‘You know what you should do with your life, don’t you?’ What he didn’t say? It’s going to be hard. You’re only one who believes in you and you’re going to have to find people along the way. The fact that, decades later, I pulled that off and that now I’m still living a creative life and doing what I want to do, and that people in the business, whether it’s Broadway or film, TV or music want whatever it is I do – that’s the best part. It’s that I’m still relevant.

My last question. What would like to say in closing to all the people who are listening?

What I told my kids. I tell my kids, ‘Fall in love with tomorrow.’ Don’t worry about today. Don’t worry about the past. Fall in love with tomorrow. What are you doing tomorrow? That’s the creative process. That’s the creative life right there, is working on that next thing. Yeah. Fall in love with tomorrow.


Well, Mr. Daniels, it’s a pleasure. Thank you.
Thanks, Paul.

TRANSCRIBED BY GAYLE BRAZDA