The Paul Leslie Hour Episode #47 – David Was of Was (Not Was)

David Was is a man who lives at the corners of journalism and music. He goes by “David Was” in the world of music, and he is the stage brother and other half of the writing/producing collaboration Was (Not Was). A Detroit, Michigan native, his journey into the public sphere began as a journalist and jazz critic. David Was has had a big mark in the music world not just with his band, but also as a producer. He’s worked with the likes of Bob Dylan, Mel Tormé, Iggy Pop, Ricky Lee Jones, Roy Orbison and many others. Going back to the journalism, under his given name of David Weiss, his byline has appeared in Entertainment Weekly, Rolling Stone and Newsweek. Whether you call him David Was or David Weiss, he’s here on The Paul Leslie Hour for an unprecedented in-depth interview.


Help us with our mission by sharing this interview on Social Media.

Like us on Facebook Follow us on Instagram & Twitter

Visit WorldWideWas,
the Only Semi-Official Was (Not Was) World Wide Web Site
.

-Subscribe on iTunes-
-Subscribe on Stitcher Radio-
-Subscribe on Google Play-
-Subscribe on Acast-
-Subscribe on PlayerFM-
-Subscribe on CastBox-

The Paul Leslie Hour Episode #14 – Shozan Jack Haubner

Shozan Jack Haubner is the pen name of a Zen monk who wrote the book Single White Monk: Tales of Death, Failure, and Bad Sex as well as Zen Confidential. He joins us on The Paul Leslie Hour to talk about the dual interests of writing and the practice of Zen. Many topics are discussed, including misconceptions about Buddhist monks and the positives of being “a nobody.”

This is an interview for anybody, somebody and nobody!


Help us with our mission and consider sharing this interview on Social Media.  
Like us on Facebook Follow us on Instagram & Twitter

Follow Shozan Jack Haubner on Twitter.

-Subscribe on iTunes-

-Subscribe on Stitcher Radio-

-Subscribe on Google Play-

-Subscribe on Acast-

The Paul Leslie Hour Episode #2 – The Dean Dillon Interview

Dean Dillon is one of my favorite songwriters and in my humble opinion, the song “Tennessee Whiskey” is the greatest country song. It’s been recorded by George Jones, David Allan Coe, and most recently by Chris Stapleton, rightfully securing it’s place in music as a standard.

Other great songs he wrote include “A Lot of Things Different,” co-written by Bill Anderson and recorded by Kenny Chesney. He’s written songs for the most successful recording artists of our time, but perhaps he is most known for the many well known songs George Strait recorded: “Unwound,” “The Chair,” “Easy Come, Easy Go,” and “Marina Del Rey,” just to name a few.

2017 saw the release of the film TENNESSSEE WHISKEY: The Dean Dillon Story (directed by Cole Claassen) which tells the story of the great songwriter.  This excellent film and the incredible song catalog of Dean Dillon inspired and guided this interview.

Help us with our mission and consider sharing this interview on Social Media.
Like us on Facebook Follow us on Instagram & Twitter

Visit Dean Dillon online, like him on Facebook and Follow him on Instagram & Twitter.

Rob Burnett: Producer, Director, Writer

ROB BURNETT is a man who wears a lot of hats, or as we say in this interview, has a lot of titles, but what you’ll find is a man who seems to really enjoy his work…whatever it may be.  Many people know Rob Burnett as a producer or the President & CEO of Worldwide Pants, the company owned by talk show host David Letterman.  In this talk, Rob talked with Paul about his project We Made This Movie.  We Made This Movie is about five high school seniors who create what they believe will be a blockbuster movie.  Perhaps they are overestimating their own importance, but they decide to film every single “behind-the-scenes” moment.  This is where the real magic is, and we hope you not only take a moment to listen to Mr. Burnett talking about the film, but also will watch it for yourself!

 

Ladies and gentlemen, it is my pleasure to welcome our special guest. He’s a very busy man, Rob Burnett. Thanks for joining us.
Thank you for having me. I appreciate it.

You have a lot of titles. Who is Rob Burnett at heart?

(Laughs) I do have a lot of titles. You know, I’m just a guy doing the best he can. That’s who I am at heart.

To tell the listeners out there, because you’re so modest – you’re also a director, a writer, a producer, the CEO of Worldwide Pants, and you’ve made this new film We Made This Movie.

Well, my buddy, Jon Beckerman, and I have been working on a lot of other stuff. We did a TV show called Ed at one point. It was on NBC for four years. We wrote this little movie. We had always wanted to tell a ‘coming of age’ story and we couldn’t quite find an access point in it that made sense for us and then we kind of got this idea – what if it’s about kids that are trying to make one kind of movie but by accident they make another kind of movie. And that idea interested us quite a bit so we set sail on this and are quite pleased with the result.

How did you begin to write the script?

The process for me and Jon is that, uh, we sit in a room for a long time and stare at each other, and we just kind of keep talking and talking. And then, eventually, you know, we start very generally with ‘OK, here’s kind of a general idea that we like’ and then we kind of start to shape it a little bit, you know. And then, eventually, we come up with a very detailed outline for what we think the movie should be – extremely detailed, you know, scene by scene, what the characters are, what each scene should be – and then we kind of split it up and write dialog kindof independently, and then kind of put it all back together and give each other notes, and kind of keep going over it until eventually we have something that both of us like.

Speaking of Jon Beckerman, how did you two meet each other?
Well, Jon started here at The Late Show about, I think, a week before I became head writer of The Late Show. So I had been here – I’m a little bit older than he is – I had been here as a writer for a bunch of years, I guess four years, and then he was hired. And I became head writer and he very quickly kind of became my go-to guy. So we collaborated on a lot of stuff on The Late Show, did many, many pieces together and really found, uh, kind of a bond and a creative comfort with other, and then went on to do Ed. And then we did a show called Nights of Prosperity on ABC that, unfortunately, did not last as long as Ed. So we’ve been working together for quite some time.

How did you find the actors for We Made This Movie?
You know, it was a pretty, a pretty normal process. You know, at first, we – actually, we wanted all unknown actors, or not ‘household name’ actors, no famous actors – so we at first cast a very wide net. We’d still have open casting calls at NYU and things like this but eventually got some casting directors, Barbara McNamara on the east coast, and we went through a normal process where we auditioned a lot, a lot of kids until we settled on the people we wanted. And then Bobby Zane, who cast our show Ed, found Arjay Smith who, on the west coast, who is kind of the lead of the movie. It was a pretty standard procedure but it was exhaustive. We, I think we auditioned, honestly really, hundreds of kids before we ended up with the cast that we have and I would say, without doubt, the best thing about the movie is the cast.

Our special guest is Rob Burnett and he is talking about his movie entitled We Made This Movie. The actors were new. Were any of them shy? Did you run into any problems like that?

No, we were really lucky with that. You know, we shot the entire movie in 21 days and we needed these kids to be best friends because they play best friends. So what we did was we actually had them all live at my house with me for a week before the movie shot. So by the time we got to Connecticut and started shooting everyone was super comfortable with each other and ready to go, and we kind of hit the ground running. I can’t say enough about these kids. I should tell you a little bit maybe about what the movie is about? It’s about these five high school kids who decide to go out and make a movie. And they set out to make a movie kind of like Jackass or Borat but they, they’re not very good at it – in fact, they’re terrible at it – but the main character is so convinced that the movie is going to be huge that he gets these three geeky freshman to follow them around with video cameras because he wants the making of their movie, you know for the DVD extras – he wants everything documented. And what happens is these other cameras start to capture glimpses of the kids’ actual lives. And by the end they realize the movie they started out to make, it was horrible. But by accident, they’ve made a very sweet and touching ‘coming of age’ movie about themselves, which was not what their original intention was.

How did you get the music for the soundtrack?
Yeah, the soundtrack I would say is right up there with the cast as another great thing about this movie. When we finished it didn’t really make sense for us to kind of get big music in the movie. It didn’t fit this kind of home-made feel that the movie had, the shooting style – everything about it. We also didn’t have money for big music. So what we did was we made a deal with Red Bull Soundstage – there’s a web site that has all up and coming bands. And we put four scenes from the movie up on Red Bull Soundstage and we had a contest. We crowd-sourced the music and we said ‘You guys – give us your original music that you think would be great for these scenes.’ We ended up getting 1200 submissions, which we were blown away by, and Jon and I listened to all of them. And we liked the music so much we ended up using 22 songs in the movie, all from Red Bull Soundstage. So the soundtrack, which is available on iTunes along with the movie, also available on iTunes now, people have just gone crazy over it. It’s really some of the best music you’ve ever heard and it’s all from bands you’ve never heard. It’s really special.

Is there a particular song that stands out to you?

That would be like choosing between my children. I’ve come to know these artists and there are so many great ones, I hate to mention them individually. They’re just terrific. One after another, they’re top-notch.

As a result of working on We Made This Movie, do you have a favorite memory?

My favorite thing about making this movie was working with these young actors. They were so happy, they were so eager. Jon and I didn’t have the heart to tell them that an average episode of Ed cost $2 million and this entire movie cost a million. They were just joyous. And that’s the same for a lot of the musicians as well. Everyone here is new and fresh. And we had this huge premier in New York City last week – 700 people, at the SVATheatre, with tons of press and a big red carpet. And just to see these kids walk the red carpet and experience all of that with them was really special. You know, at one point one of the actresses, Stevie Steel, who is phenomenal in the movie, came up to me and said ‘This is the best night of my life.’ And that’s really the only reason to be in show business, I think, is for moments like that.

Someone wrote in – this person is named Emily and she has a question – “Did you show the movie to Dave?” And I can only assume she means Dave Letterman.

Yes, Dave did see the movie, a slightly earlier cut, and he’s been really supportive. We had, uh, one of the bands, Of Gentlemen and Cowards, was on The Late Show. And Arthur Meyer, who played Dank, was a guest on The Late Show the night before the premier. So Dave has been a super supporter of ours and, you know, it is a Worldwide Pants Production.

What’s the best thing about being Rob Burnett?

(Laughs) Well, obviously, the fact that I get to talk to you! I mean, how, you know, how – you’re just loading that up for yourself, clearly (laughs)! You know how many people want to get on this show? Well, maybe just me but (laughs). No, you know I’ve been very, very lucky and the best thing about me, of course, is my wife and my three kids. That’s, that will always be the best thing about me. But in terms of my career, I’ve gotten to do just about everything I’ve dreamed of so I’m extremely lucky that way. I’ve worked here at The Late Show, and for me, who – you know I’ve always loved comedy and I’ve loved funny things – to work alongside, you know, a guy who I consider to be one of the funniest guys in the world for the last – been here for 27 years – that’s as good as it gets.

I’ve gotten to talk to a lot of the people from The Late Show camp, both on stage and behind the scenes. Everyone has had a different answer to this question. It’s an open-ended question: What do you want to say to the listeners?

Well, the shameless thing, of course, would be to tell them I came to ask them to watch I Made This Movie but I’m not going to do that – although I just did, if you notice what I just did there – sneaky, very clever (laughs), yeah, very clever, What would I say to them? Well, I think if they’re listening to you I’m guessing that they, there’s something there that would attract them to The Late Show and to a lot of the stuff that we do over here at the “Big Pants” company. We appreciate all of their support, and hope they continue to watch and listen and consume the stuff that we keep churning out into the world, and hope they enjoy consuming it as much as we like making it.

OK. I’m going to let you pick any song – do you have a song you’d like to hear right now?

So you’re going to play me off is what this is? OK, I’m going to go Foo Fighters, I’m In the Sky Tonight.

Thank you so much, Rob. It means a lot.

Alright, man. Thanks a lot. Nice talking to you.

TRANSCRIBED BY GAYLE BRAZDA

Robert Creighton: Singer, Actor, Dancer, Recording Artist

ROBERT CREIGHTON is one of those all-arounders.  He is a singer, actor, dancer, composer, author, recording artist and on top of that, a very friendly gentleman.  The great thing about Creighton is the selection of songs he records.  His debut album is entitled “Ain’t We Got Fun!” and was produced by Georgia Stitt.  There are singers of the American Songbook classics who interpret the same songs.  Don’t get us wrong, we love “My Funny Valentine” and “Moon River,” but Creighton goes back even further.  He covers the George M. Cohan classic “Yankee Doodle” and “Wrap Your Troubles in Dreams,” an obscure song originally recorded by Bing Crosby.  Creighton even writes his own song for the album.

Talent?  Creighton has it in spades.  It all started with those black and white films…

Ladies and gentlemen, it’s with great pleasure we announce our special guest, Robert Creighton, Robert Creighton is an actor, singer, dancer, composer and author, thank you so much for joining us.
Paul, it’s  my pleasure.

I think most stories are best from the beginning. What was life like growing up?
Well, that is the beginning and you know what? I grew up in a little town north of Toronto in Ontario Canada and as most lads in the town I grew up in, dreamed of a career in the  N.H.L being a goldl tenor on the drama ‘Make Believe,’ but that dream was rivalled by my dream to be Fred Astaire, I was… at a very young age being introduced to the old movie musicals and for some reason, I just had an infinity for them right off the bat, those were the things… when people ask me about the cartoons and the things you remember from childhood, I remember my parents letting me stay up late to watch the black and white films, you know, and then carrying me to bed half way through when I fell asleep. That’s  sort of how the dream of being in New York and on Broadway, my love for music of that era, that’s how that all  began and then I was in a boys choir for many years, which was really a musical foundation for me, for eight years I sang from the age of seven I sang in a boys choir and got great training in that way. Then, by fifteen I went away to a school, a boys school where they had really great arts programme and all the sports, so I could do everything at once, and then I did a degree in music, in Ontario, then I moved to New York, which was always the plan from a very young age and studied acting for three years, and sort of carried on from there.


Of the various things that you do; acting, singing, dancing, composing, writing, would you say that one is more your master than the other?
Yes, I think that my foundation is probably my sensibility is as an actor first, my training was both musical and in acting but I think acting is my first… although singing is the biggest part of my life that’s for sure but I would say there’s… I’ve been very lucky I work a lot.. I mean my…  currently my sixth Broadway  show and I’m loving it, and I’d say there’s much better singers, better dancers and all that sort of thing, but I have a package that sort of suits me, I love to.. you know, I love to do all of it and luckily I’ve been getting to do all of it, so I feel very fortunate.


You mentioned earlier Fred Astaire, what are some of the other artists that have influenced you in the path of becoming an artist yourself?
Well, certainly from a young age it was Fred Astaire and Gene Kelly, Judy Garland and all those greats from that era, then, when I got to New York, I tried to imitate them as a kid, had a lot of fun doing that and then when I moved to New York I was in acting school and the teacher said “you remind me of Jimmy Cagney”, and I’m sort of built…I’m built just like Jimmy Cagney and looked quite a bit like him and you know, tap dance and do all those sort of things and I didn’t know much about him, I knew sort of, Yankee Doodle Dandy and maybe a couple others, but wasn’t really on my radar in a big way, I started watching his films and instantly became mesmerised with who he was as an actor first of all, just.. you… just his… he’s so dynamic on screen, you can’t take your eyes off him and at that point when I was really studying the craft of acting, really felt like he was someone who was ahead of his time in terms of his craft and all that, and then as I started reading about the man and who he was as a person how he worked and what his philosophy was on life and on his work, I just fell in love with who he was and I think he’s been.. James Cagney I would say has been the biggest influence in that way and that was currently dreamed of writing a show about his life, which, thanks to some collaborators who know a lot more about doing musicals than I do, we put a musical together, we’ve had three successful runs and we’re plugging away at that..so…

What was the experience of working on and co-authoring and conceiving this Cagney show?
First of all when I got out of acting school, his estate, Cagney’s estate run by a woman named Marg Zimmerman was… they had a play that had been written by sort of, by a friend of theirs, of Margie’s and it… they held massive auditions around New York and everywhere, and I was just coming out of acting school, I guess it was about a year and a half out of acting school, it got down to me and one other guy and, it’s actually a vivid memory and in fact I have the audition on video tape, because it was the first time I’ve ever been picked up in a car, they sent a car for me and went up to this restaurant in Stanfordville that this woman Marg Zimmerman owned and all of Cagney’s old friends were there, this is in ninety four, and all of Cagney’s friends were there, Harrison the boxer and different people and I had to do a fifteen minute, sort of, act and that’s how I got the part, but it turns out the play, as I know more about creating a show now, was, really there was nothing theatrical about it, it was just sort of a biographical telling and we work shopped it in New York and it just fizzled out, the man who wrote it wasn’t really a writer, he was a marketing guy, he passed away and it sort of fell apart. But that put a spark in me that someday I’m going  to do a show about James Cagney, and then in the late nineties I really started putting pen to paper for a one man show about his life and sort of conceiving how that would, you know, the story I wanted to tell about who this person was, then in two thousand and two I was playing Tamone in Los Angeles in a production of Lion King there and a gentleman who I’d done a play of his up in Canada, who lived in Los Angeles, I invited him up to see the show, I met him when he came to see our production in Canada and we got chatting afterwards, his name’s Peter Coley, very successful playwright and I got chatting with him about my ideas about Cagney and he said “well, I love that era of Hollywood and I love James Cagney and let’s have lunch and we should talk more about it”, so we started talking. He really brought… well, I brought all this passion about Cagney and wanting to do the show and he really brought this knowledge of how to craft the piece and make something theatrical and we sort of hashed out a story together and he began writing it and I would sort of take it and be sort of the eyes and be the Cagney officinal, let’s call it that and sort of using my instincts as an actor and we sort of crafted the piece together and I started writing music and lyrics and we sort of tried to put in songs of the era but when we found they couldn’t completely tell the story, I started writing music and lyrics myself which I’d done some of before, it started to fit pretty well, so we kept going on that route and finished one draft of my music and lyrics and his book and a couple of the old time songs Cohan songs which you can’t tell a story about Cagney and leave those out. We did that, and for a year for the stage, a reading of it in New York and they agreed to produce it and they introduced us to a guy named Christopher McGovern who helped me flesh out the score and ended up really writing more than half the score and he’s a tremendous, just an amazing composer and smart about putting a musical together and the last piece with the Director named Bill Castellino who really started to help to break this all down and then build it all up in a much better way and he sort of served as dramaturgy and we… so we’ve got a piece now that we were still working on but, really, we found an audience that really respond to, we won the Carbonell award in Florida for the best new work when we produced it down there and we set two box office records  in Florida, it’s been a very exciting journey, probably for me the most.. even as much as this new album that’s coming out, it’s been like a baby to me, those are the two things that have really sort of been a dream in my head and then have come to fruition and that are so, so satisfying on every level, and I’m starring in it of course, so you know, satisfying on that level too.

I wanted to talk about the album, the new album coming out ‘Aint We Got Fun,’ what do you think of your new album?
‘Aint We Got Fun’ was one of the first.. I had two titles that I was sort of playing with it in the beginning, the other was old school, Robert Creighton old school and ‘Aint We Got Fun’ because I love that song and I knew I wanted it on the album, it really was right from the beginning what I thought would be the title of the album because I wanted that to be the nature of the album, I wanted it to be really fun and really something that people could… you know, most of the songs on there, even if you don’t know you know them, you know them, you’ve heard the melodies before, they’re so engrained in the fabric of our culture here and I have two original songs on it that I wrote for Cagney, but the rest… and I’m told they blend in well, some people who don’t know that those are the ones that are literally from the twenties and thirties, so, I really wanted it to be fun and I put on there songs that I love, that get stuck in my head and that I find myself walking down the street singing and like Cagney, it was sort of a project that I conceived and really was passionate about doing it because I just love that music so much, and I thought it would be a great thing to have when I go do my Cagney show to have in the lobby so people who love this music can take it with them, and then I was interested in a part and got in touch with Georgia Stitt and did a work shop of her musical called ‘My Baby’ that she was writing and it had some of this old music in it, and her arrangements were so great and she is so talented and such a great person I started talking to her, I said “hey, this is my idea, would you maybe like to get involved?” Then she jumped in with both feet and produced and arranged most of my album and she gave it this fresh take to the songs and I would sort of.. some, she would just say “why don’t we do it like this” and other times I would say “I want to do it like this” and then she would put these two songs together and she would figure out the puzzle of how to do that, it was a great collaboration, and it grew into something that I didn’t expect, I thought it would be this little thing that people would take with them and it grew into a really legitimate album that I’m very proud of with horn sections and band all the way through and motion and a lot of fun, so that’s what I wanted, it started out I wanted it to be fun and that’s where the title came from and I feel like we’ve accomplished that, so I’m excited for people to hear it.

Do you have a favorite song from the album?
Whooooo, that is a tough one, that’s a tough question. Do I have a favorite song? Well my favorite song, which is a song that’s been… looking it up on the internet, it’s been recorded fourteen hundred times by six hundred artists, so it’s not like anyone was scrambling for the next version of ‘I’ll Be Seeing You,’ but it is truly, since I was twenty one, in my early twenties I did a review right after singing that song, it’s one of my favourite songs and in our treatment of it a guy named Joe Burgsoller  played flugel horn and his playing on there, the thing on that song and when he added flugel horn, I just can’t get enough of listening to that part of it, him playing flugel horn, it’s so beautiful and romantic and passionate, so, I like that one, I really enjoyed singing it and putting together ‘Accentuate The Positive’ and ‘Look For The Silver Lining’ with my friend Tyse Bergis who sang with me on it there, that’s the real highlight of the album, it’s a big arrangement, lots of.. you know, the horn section and all that, I loved doing that one, and then of course getting to sing with Joe Grey, who recorded ‘Give My Regards To Broadway’ with me, we’re working together in ‘Anything Goes’ right now, we became good friends and he agreed to sing with me, that’s just a moment in time that was a gift to me that I’ll have forever, I mean he’s such a legend and just a great man and we got to go into the studio and do that together and that has great sentimental value to me.

How did you go about selecting which songs that you were going to record?
That was a bit of a process because, of course, there was a long list of great things from that era to choose from and one that I loved to do and who knows, maybe there’s another one coming, someday because there’s a lot that I wanted to do that we didn’t do. I knew I wanted to put my… these two of my original songs ‘Crazy About You’ and ‘Falling In Love’ on there because they are songs that I had, recorded  … we have a demo for the musical of course, but I wanted to record them in a really full way, because I really enjoyed writing them, I loved singing them and I knew they were going to be on there, and then, I knew I needed to have some George M. Cohan and ‘Yankee Doodle Dandy’ has sort of been my signature song for years and years and that first review where I sang ‘I’ll Be Seeing You’, I did a big version of ‘Yankee Doodle Dandy’ and I’ve done.. you know.. that’s been my party song for years, so I knew that was going to be on there, and then when George agreed to sing with me, you know, I wanted it to be a Cohan song, which of course, he originated the role of George on Broadway and that was just a great connection that we have, cause the Cagney thing, and then the other ones, it just came down to artist’s songs that I just can’t get out of my head. ‘My Buddy’ is one of the most beautiful melodies ever I think, and I used to just walk around humming it, I thought “well, I’d better do that and get it out of my head”, the first track on the album is ‘Dad’s Medley’ and those were two songs that I remember singing when I was three and four years old, ‘Aint She Sweet’ and ‘Five Foot Two’,  my Dad used to sing them, my Dad… he would tell you this, I’m not speaking out of turn, he’s not much of a singer, but he loves to sing and dance and he used to sing it all the time and I remember singing them with him in the living room when I was three and four years old, so, I wanted to have a little dedication to him and put those songs together. Yeah, they were just, basically my favourites, ‘You Are My Sunshine’ is on there, which I got to sing with one of my best friends Heidi Bookinstaff, which is just one of the most remarkable voices, it came down to a lot of my favourites really, to be honest with you, and there’s more to be mined from that, ‘I Want A Girl Just Like The Girl’ was one of my other favorite tunes of the era and it was Georgia’s idea to do that one, a male quartet, and so I had.. that turned out to be a really neat track because I got four of my buddies, great Broadway singers to do this Barber Shop quartet backing me up on that one, that was fun, it was a tough collection though. I’ll tell you one song called ‘Wrap Your Troubles In Dreams,’ did you know that song before?

I did not know that song before.
Yeah and neither did I. Turns out it’s been recorded a tonne of times, but I didn’t.. and I know the music of this era pretty well, I had for some reason not heard of that song, and neither had Georgia and she was doing a show called ???? and I was going through that old music Tin Pan Alley and I was going through a thick book, just sort of reading lyrics and I had most of the songs I wanted to do and I was just looking to see what I was missing and I read the lyrics and then I sort of pumped it out on the piano, I was like ‘oh my gosh’.. I loved this song and I just walked around for days singing it and as soon as I introduced it to Georgia and she sort of played it out one time when we were together on the piano, and we were like ‘oh yeah, got to do this one’, and that turned out to be a really fun track to do with brass and the whole deal, but it’s such an up song and sort of reflects my philosophy on life and I thought, ‘you know what? I’m going to do it,’ so, that’s probably a longer answer than you wanted but that was the process for choosing the material.


Well, the album, your album is entitled ‘Aint We Got Fun’, the new album from Robert Creighton, debut album, introduced by Georgia Stiff, she is a person that’s name comes up a lot on this show.
Oh great.
What was the experience of working with her like?
I can’t say enough good things about Georgia, I mean, she is.. I think her name’s coming up a lot because I think she is a really rising presence in the musical theatre  world and in the composition world, she is first of all.. I mean, basically she is super talented and super smart,  and then she has a really great ear for arrangements and how to flesh things out, take just a simple song and then… and make it something that’s going to be really fun to listen to, and she’s really smart about putting that all together, I feel like… I said this to her just the other day, she lives in LA now, but was visiting New York and I said ‘I really couldn’t have done this without you’ and I feel that way, I mean, she just.. she took my idea of doing this album and some of the songs and things and just came up with.. you know.. just made it all better, which was great, we had a very easy collaboration in that way, some of the songs she said ‘hey, what do you think of this, ‘My Buddy’ it was her idea to do just guitar and the ??? and I think it’s just a nice ‘breath’ in the album, you know, amongst all the other ?? songs and then, for example, all the medleys were my idea and then she just figure out, you know, the math of putting those together, for example the Barber Shop quartet, that was her idea, on the opening track there’s a kazoo, which turns out was her husband’s idea, you know, we would figure it out and she played what we had for her husband and he said ‘what about a kazoo’ and we all wentsaid ‘yep’, so.. it was a great collaboration, I feel very fortunate to have worked with her and I’m sure we’re going to do lots more together as we go along.


Everyone can visit your web site it’s robercreightonnyc.com what is the best thing about being Robert Creighton?
Well, that’s an easy question right now, I have a twelve week old son, also named Robert Creighton, Robert James Creighton III, and a phenomenal wife who is his Mother, so, I mean, yeah as to right now, it’s no contest, it’s the best thing about being me right now, I get to wake up with them every day, and that aside, there’s the ?? Foundation ?? and then, I’ve just been really lucky, I was a little kid living North of.. you know, a little town North of Toronto and the novelty has not worn off, I’m constantly aware  of how lucky I am to get to do what I dreamed of doing, and this album is sort of another manifestation of a dream coming true right now, so I feel very, very lucky.

I have a final question for you. We have listeners all over the place, so what would you like to say to the people who are listening in?
I would like to say that I don’t think there’s anyone who buys this album that didn’t have fun listening to it, even if you think ‘oh this is maybe not my kind of music’ or, you know, even young people I’ve played it for, I have a lot of nieces and nephews who are between the ages of eighteen and twenty three, who, ‘Five Feet Two’ and ‘Ain’t She Sweet’ is on top of their iPod list, of course they’re bias, but they’ve all got the album now and I’ve gotten great reviews even from that demographic, so I think I’d love people to hear this music, to be an album you can play, put in the car and just when you’re…. you need a ‘pick me up’, it’s something you can put in and it will accomplish that and I hope people have a chance to hear it.

So, Mr. Creighton, I thank you very much for this interview, it’s been a pleasure speaking to you.
Thanks Paul, it’s been great talking to you, thanks very much.

TRANSCRIBED BY ROSALIND WINTON.