Acclaimed composer, songwriter, and performer Randy Edelman is set to drop his latest single, “21 Again/Coming of Age,” on June 2, bringing his signature melodic brilliance and lyrical wit to a brand-new anthem that’s poised to resonate across generations.
Movie Reviews and More is broadcast live Tuesdays at 5PM PT on K4HD Radio - Hollywood Talk Radio (www.k4hd.com) part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). Movie Reviews and More TV Show is viewed on Talk 4 TV (www.talk4tv.com).
Movie Reviews and More Podcast is also available on Talk 4 Media (www.talk4media.com), Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.
Movie Reviews and More is broadcast live Tuesdays at 5PM PT on K4HD Radio - Hollywood Talk Radio (www.k4hd.com) part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). Movie Reviews and More TV Show is viewed on Talk 4 TV (www.talk4tv.com).
Movie Reviews and More Podcast is also available on Talk 4 Media (www.talk4media.com), Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
This program is designed to provide general information with regards
to the subject matters covered. This information is given with
the understanding that neither the hosts, guests, sponsors, or station
are engaged in rendering any specific and personal medical, financial, legal, counseling,
professional service, or any advice.
Speaker 2 (00:21):
You should seek the services.
Speaker 1 (00:23):
Of competent professionals before applying or trying any suggested ideas.
Speaker 3 (01:07):
Hey there it's Brian Sebastian, movie reviews and more. And
if it's Tuesday, obviously you have to always give and
donate to your favorite charities. Let Me Help is one
of them. Dame Jude is another one. So I've been
looking forward to this show because not only do I
have my favorite co hosts on, Howard just popped out
of some place, Randy, so that you know, Howard Wiggins's
(01:27):
dad started the Grand Ole Opry with Eddie Arnold, so
he'll be popping back in. We got Carol Register there, Terry, Terry, Marie,
some Merrimanos California. So I'm gonna do this because this
is show one hundred and fifty four live shows in
a row. So full disclosure, Randy is one of my
favorite composers, and you know The last time I talked
(01:48):
to this young man was like three years ago, I think,
And it's this when the world was locked down and
he's so creative. He's been kicking ass the last three years.
I think this guy is living in New York more
than he lives in California. But all the stuff he's
been doing, you know, composing, he's you know, I think
of the last Mohegans. I think a dragon part, I
think at Angels in the Outfield. I think of all
(02:09):
the songs that he's you know, come up with, being
that composer, that writer, that songwriter, and Randy. I do
it all off the top of my head as usual.
Still but still, if anybody who knows me, my favorite
music that's ever been composed is to one that he
did Last of the Mohegans. But here's the thing, this
man has done so much other stuff. I've been telling
(02:30):
my friends in Connecticut and other people in the New
York you gotta go to Carnegiet Hall, you gotta go
to the Lincoln Center, because he's all over the place.
It's just like he's he's been like rebirth, I think,
is what happened. He has you know, you know, anytime
I call Li and I'm like, what's Randy doing now?
He's what do you mean He's going to Tennessee? What
do you mean he's one of Josie Ward. What are
you talking about? He's he's done a lot, so you know,
(02:54):
I'm going to get into a little bit more of
what he's done. But Carol introduced yourself first, followed by
how and then Terry go for it.
Speaker 4 (03:01):
Hey there, I'm Carol Register. I'm a certified Neurow coach
and international business woman and I love, as you know,
Brian taking women from six to seven figures.
Speaker 5 (03:13):
It's one hundred percent guaranteed. I would love to work
with you. Jump in talk to me.
Speaker 4 (03:18):
I also co host the Unleashed and Unstoppable podcast.
Speaker 5 (03:22):
And Brian, I'm really excited about today.
Speaker 4 (03:27):
You know. I was listening to Pat Wants to Know.
It's like, Wow, what a powerful song. I just I
was really left with this longing, this intense longing at
my heart that my brain wanted to totally resolve.
Speaker 2 (03:45):
I was like, she wants to know, Oh.
Speaker 3 (03:50):
You can't. You can't go wrong with that especially.
Speaker 4 (03:55):
That's it.
Speaker 3 (03:55):
That's it hour. How are you doing today?
Speaker 6 (03:59):
Doing fun?
Speaker 4 (04:00):
Sir?
Speaker 6 (04:00):
Doing fine? Howard wigans Like says, I'm one of the
top thirty five leading interior designers in the world music
City Royalty. I'm son of lu Roy Wiggins, who plays
s guitar for Eddie Arnold, helped start the grand O Aubry.
Let's see, I've got a design look called Stackton Layard.
(04:20):
If you follow me on Facebook, you'll see some examples
of that. And then the newest thing is I've decided
I wanted to move to Chattanooga, which I know is
a great big city, but that's where I want to go.
So hopefully next year I'll be moving there.
Speaker 3 (04:34):
And Terry Marie Hi everybody.
Speaker 7 (04:37):
Hope everybody had a wonderful Memorial Day weekend. And I'm
Terry Marine on top. That's my trademark for several reasons.
I've been acting and my whole life. I'm a fitness
enthusiasm person. I love to motivate women in the forties
and fifties to stay fit. I've won several fitness competitions.
Speaker 2 (04:57):
I have La.
Speaker 7 (04:59):
La matt Uster's Fitness Universe title of Bikini.
Speaker 2 (05:06):
I also have one muscle Beach. I've won several MPC.
Speaker 7 (05:09):
Contests and placed done very well, I do a lot
of Brian's red carpet interviews. That's something I really really
like to do. I have an announcement bake. So last
night I did my first open mic as a comedian
and it was so much fun.
Speaker 3 (05:30):
So yeah, my.
Speaker 7 (05:33):
Friend Maya has been very successful, like you know, doing
you know, small shows here in Los Angeles, and I
got my nerve up to get on stage last night.
So it was a lot of fun.
Speaker 2 (05:45):
So I can go.
Speaker 3 (05:46):
We'll see where this journey goes.
Speaker 7 (05:48):
But yeah, it was I I woke up this morning
really like, oh my god, I did something I've never
done before and challenged myself and you know, I guess
you know, you're never too old to try something new,
and it was well.
Speaker 3 (06:01):
Speaking of try something new and speaking of not too old,
you know when you can be performing June six, June six,
June six, people around the world, the man whose music
moves the world, or you know, it could be another thing,
waltzing on a high wire with Randy Llelman. You know,
it's one of those things where you can't go wrong. Randy,
First of all, how are you doing all these things?
That's what I understand. Where you're getting your energy from.
Speaker 2 (06:25):
I have the energy, you know, just to do it.
It's all the things that I love to do, and
it's it's it's been nice because it's sort of a
culmination of the different areas that I've been involved. I've
been fortunate, you know, I've been obviously involved with film
composing for I was basically locked in this room I'm
(06:45):
in for like twenty five years. But then I got
back into songwriting, and so I've been you mentioned New York,
but I've been spending just as much time doing concerts
and stuff in London and recording some scores here. So
it's it's been fairly comfortable. So I'll do Linke at
Center in about ten days and that's going to be
(07:05):
I've never done that before. And I did Carnegie All
a few months before that, and it's it's it's fun.
And I've done this new album that has that song
Pat Wants to Know, which is, you know, a song
about lack of couples who basically stay together, you know,
and that you know. So it's all stuff I like doing.
(07:27):
The songs are personal songs I feel like writing, and
and the scores are things that I only do films
that I, you know, feel some emotional connection to last well,
last week in the I was in the Midwest doing
the symphony, was doing Gettysburg my score to Gain, which
(07:49):
has done a lot on Memorial Day in July fourth
and those kinds of things, so, you know, just different things.
So these things over the years now they're it's really nice,
you know, they I revisit them and they're roll. They're there,
you know, they don't disappear, whether it's a song or
a score or you know. And now I'm getting to
(08:10):
do these concerts which which is just me at the piano.
But it's not like, you know, one of the things
that you know, and then I wrote it's a whole
musician kind of performance, but just with me at the piano.
Most of the scores are orchestral, but I've arranged them
so that I can hopefully pull them off just at
(08:30):
the piano. And that's it. So come to Lincoln Center
June sixth, Friday night.
Speaker 3 (08:36):
Is that easier to do just you at the piano
these days? I mean, is that easier for you?
Speaker 2 (08:41):
Well, well, no, no, I mean me at the piano
when I'm performing. It has nothing to do with when
I score a film for a film, and I utilize
to score the film is necessary, whatever the sound is
supposed to be. But it's a different it's different. I mean,
songwriting is a different craft completely. At film composed and
then performing is something completely You know that that's a
(09:04):
different thing. I just for some reason, it seems to
feel good right now. I mean, I tell you know,
I mean, I tell jokes. You know.
Speaker 4 (09:15):
It's good, you know, Brian, it's interesting. I was waltzing
on a high wire the Birds of Freedom anthem.
Speaker 5 (09:24):
I'm curious, like, when.
Speaker 4 (09:25):
You're about to publish your album, what's your process for
you know, figuring out what's going to be your anthem
song or you know what order you're going to place
things in? Is it just something from the heart.
Speaker 5 (09:40):
Or did you have a particular story that you all want?
Speaker 2 (09:43):
I know, I never no, I know, I never decided
that when I when I have, when the group of
songs is what I think, uh, you know, fits with
with the concept, then I put the order together. I
never put an order together until the tracks are being
(10:04):
done recorded, because you never can tell how a certain
song will come out. And the song that you're talking about,
birds of Freedom, it's it. I never considered it an anthem.
It just sort of came out. It sounds like that.
I mean, you know, it's just it wasn't meant to
be like that. And the first song twenty one again,
(10:25):
which is a complete kind of throwback. It's a jazz,
kind of a sophisticated forties or fifties jazz tune, which
sounds like something was recorded years ago. And I started
with that because it just seemed to be a good
place to start. But I put it together when I'm
(10:47):
finished recording, and believe me, I go crazy trying to decide,
you know, the slots. But you know, but I do
it mainly from how it feels. You know, it's not preconceived.
Speaker 4 (10:59):
Yeah, that makes a lot of sense. And I mean
it's interesting too the way. You know, I don't know
if it always happens this way, but in this album,
like a story is told, kind of a journey, if
you will.
Speaker 5 (11:15):
That's what it feels like to me.
Speaker 2 (11:17):
Yeah, that's what I wanted it to feel like. But
it's a journey. But since I most of my or
all of my songs are very personal songs. I mean
I never wrote even the so many of my songs
were recorded by other artists. I never wrote ever a
song for another artist. And it's not like I wrote
them for myself. I just wrote the songs and people
(11:40):
did them. But they're you know, they're all my personal stories,
each of them. I mean, my granddaughters are they don't
even know. They still haven't heard it. They're on one
of the cuts you know about kids at Christmas time
and the Glow of Life. It's called but There. So
(12:01):
these things just sort of come about. I literally had
a microphone when they were speaking around the table, or
they would have just clammed up about them say something,
and they had no idea. They weren't part of a
record or a song. And then I just was able
to use a few of the phrases they said in there.
And then there's a song about this bird, not the
(12:24):
bird freedom that comes right out here. Almost every day
he comes and he sits there and he listens. This
has been going on for about fifteen years. Seriously, it's
called Housing, and that's that song. You know. It's like
not exactly the most commercial way to if you want
to be a commercial songwriter, but I never That's just
(12:46):
the way I do that, and it's completely different than
when I'm scoring a film, which is a different craft,
you know, Yeah.
Speaker 4 (12:53):
Yeah, I think I mean, Brian, if you're okay, I
think that often city really carries over and it's something
that a lot of people are looking for now, even
more than the commercial, if you will.
Speaker 5 (13:09):
It's I think people are hungry for that.
Speaker 4 (13:11):
They're hungry for the story, and so that's you know,
like the putting your microphone at the table with your granddaughters.
Speaker 5 (13:19):
That is amazing. I love that. I absolutely love that.
So for me that I'm like, oh, definitely, I want.
Speaker 4 (13:25):
To make sure that I get this album and that
I'm playing this album because of this beautiful story behind
it and this authenticity that's there.
Speaker 2 (13:36):
Well, thank you, thank you.
Speaker 3 (13:37):
Hey, Randy. Talk about taking your trip to London. I mean,
what's what's the difference in say, people coming in to
whether it's tourist New York is everybody coming in to
see you, but also going overseas, has it changed a
lot or the audience.
Speaker 2 (13:49):
Is well, well that that's the first place where my
records happened, the only place, the only place my own
records happened was London. That I mean a million when
I mean a million years ago, so I always had
that that career there, and then when I kind of
didn't about face that's before I started scoring films. Then
(14:12):
I would go back there to Abbey Road or air
Linders to record scores. But I wasn't doing the song
market thing anymore. So, but I'm very used to going
there and I love recording there. I love the musicians.
I love the studios there. The studios have a different
sonic sound with the echo chambers and stuff, it seems
(14:32):
to and I like that for vocals and for orchestral recording.
So but it's it's it's not really any difference. I
just did two concerts in London and then in a
place called Kent. Kent is right near where Chartwell, which
was Winston Churchill's place out in the country. It's it's
(14:56):
sort of on the outskirts of London, and I did
a concert there, and so I'm used to going there.
You know, It's really no, I don't do anything different,
you know when I'm there. I love London.
Speaker 3 (15:09):
When you first played at Carnegie Hall, what was that
like for you? Because I haven't been there yet, but
I'm going to see you. I think I think you're
gonna be there in December. Is that correct.
Speaker 2 (15:17):
Yeah, I've never played there before. It was it was
just it was fantastic, you know, it's just great. And listen,
I'm I'm from right near there. I mean I'm from
you could throw a stone from Carnegie Hall, not really
over the George Washington Bridge, and that's where I'm from.
I'm from New Jersey, but not the Jersey you know,
(15:38):
like the the Boss New Jersey. That's not New Jersey.
New Jersey is the concrete jungle Bergen County across the bridge.
There's not a speck of grass, you know what I mean.
That's that's where I'm from. Not like Asbury Park. I
don't mean to you know, the little Asbury Park, but
Jersey is right over the bridge, and so it was great.
(16:02):
And you know, like people literally from who haven't seen
from my high school, you know who I didn't even
recognize they showed up, you know, because like I wasn't
like I wasn't the kid in the school orchestra, you
know what I mean, I wasn't that kid. I was
just you know, trying to slotting with everybody else. When
(16:22):
I was a kid, I wasn't. So they're trying to
figure out. I mean, if they knew me, well, they
knew I was always playing the piano and going on practicing.
But uh so that that was kind of interesting to
see those people. And they'll probably be at Lincoln Center.
But Carnegie, who all is great? You know, it's like
the old how to get to carneieh All? You know
practice that was, it's the old story. It's true.
Speaker 4 (16:45):
How much of twenty one Coming of a Age is
a true story?
Speaker 2 (16:51):
Oh, that's all true. Yeah, every line in that song
is true.
Speaker 3 (16:56):
Wow.
Speaker 2 (16:56):
I had that song buzzing around my head for years
and the changes and if you play that and you
play the beginning, nobody's ever recorded anything like that in
I don't even know when you hear that guitar solo
at the beginning, and it's like, what the what is this?
(17:17):
And then it goes into that kind of jazz rush feeling.
But if you want to hear that, that guitar solo
is like played by an amazing guitarist named Adam Rogers
in New York. You don't hear that anymore because people
don't play like There are people who play like that,
but they're in they're in different places. They're not on
(17:39):
pop record. So that's just what it is. And I'm
gonna open with that. But it's too long, and if
you notice, nobody would open. It's about eight minutes long.
That's like the kiss of death. Like like I said,
right now, at this point in my life, I just
do what I want. Can you imagine going into a
record company like it used to be with like five
(18:02):
Davis who bry the way maybe there? Uh And here's
the opening single. It's the opening cut. It's eight minutes long.
You like, look at throw me out of the office,
you know, forget it. So I'm I'm gonna cut it down.
But you know, uh yeah, but you can get away
with it. You remember what they said about let Steppelin
stay away? They haven't too long wrong, Like you know, Yeah,
(18:26):
I mean, I get away with it. But you know,
is anybody gonna plate That's what I need to know anyway.
That's but I don't, like you said, yeah, at this point,
it doesn't really I don't. I don't you know, I'm
not beholden to play it. It's just I want it
on there, which is most of the stuff now when
I look back the same thing with the film score,
(18:50):
all these film scores like Last of the Mohicans is
a great example, because everybody thought that was a They
hated that film. I mean, no, I love that.
Speaker 3 (19:01):
Chilm.
Speaker 2 (19:02):
No listen, listen, guess what. There wasn't any music to
that from that film. There was no album. I couldn't
get them to even consider. There was no album. That
film came out with nothing. Zero. I finally convinced, uh,
what's his name at Stanley, I'll think of the company.
(19:23):
Daniel No, No, Daniel was, no, he was. He would
never got enough. He never got enough credit for just
looking like he looked in that film. Do you ever
see this guy? He's like me, He's sitting next to
him and it's like you shit, didn't get to the squiet guy.
And it's Daniel da Lewis, you know the guy in
(19:44):
my left foot And how did he look like that?
Well Michael Mann got him to you know, he both
up and everything. But the point is nobody, uh, nobody
would release, you know. And finally about I'd say a
month later, which is a long time after the picture
was out and doing well. Uh, I got them to
(20:05):
release the soundtrack. Now it's the biggest selling soundtrack of
only music now, no songs or anything.
Speaker 3 (20:11):
Did I Oh do we Lusia? Oh no, Randy's still there,
he froze.
Speaker 2 (20:16):
Yeah, it's similar to completely, completely the opposite film that
I did, A little film nobody heard of. Blah blah blah,
my cousin Vinny.
Speaker 3 (20:26):
That's my favorite film.
Speaker 2 (20:28):
Nobody, nobody wanted to know about that.
Speaker 3 (20:31):
No, no, my favorite film.
Speaker 4 (20:34):
I can't.
Speaker 2 (20:35):
I was you're talking, I was there, I'm there a book,
I'm there. Nobody would listen, and I said, I don't
know if I can. I say, of course you can't.
You Randy, This fucking girls dynamite. He won the Oscar
Oscar for Comedy. But anyway, no, when that film now
(20:58):
is absolutely nowhere. Now people knew Joe Pessey from Good Fellows,
but that was years before that.
Speaker 3 (21:03):
But Joe never did anything like that. And then everybody
knows the famous line what's a you?
Speaker 2 (21:08):
Oh? And you know the guy the well everybody's good
but the judge Fred Gwynn. Yeah. So no, But so
I have these It's just weird because I fell. I
fell into these things. Now I didn't just But what
(21:32):
I'm saying is I didn't pick my cousin Dinny. I
didn't pick Last of the Mohigans. I didn't pick h
you know the mask. You know classic film one of
the great comedy performs is Jim Carrey. I mean, I
just or a little film call while you're sleeping with
a new actress, Samed Sandra Bullet. These things came came about,
(21:54):
they just they just kind of fell in. And now
looking back, those films are as last pay or bigger
than they were when I did them, which is really nice.
And that's why I can go around and bullshit and.
Speaker 3 (22:10):
That's why I talk about those films because my my
problem with ay with with people. There's not there's not
a Ciscoline, but there's not a Rex read David Shean's past. Uh,
Sam Ruman's past. A lot of these people aren't there
the champion these films. But I do see a Turner
Classic Movie Film Festival, which just happened two weeks ago.
You know, those are considered classic films now. So when
(22:32):
they have someone like you coming to speak, the audience
loves that because they didn't get the opportunity. And I
did a lot of these interviews for that. But I
remember pushing those films on home video. I would order
twenty one forty eight copies of those things. I go
listen to this. You can close your eyes and have
a good night's sleep listening to the score of that.
People thought I was nuts, but you can.
Speaker 2 (22:52):
Well thank you. Yeah, it's it's uh so that that
is very you know, that really uh gives gives me
a good feeling about what I've spent a lot of
my time locked in a room doing, because it's it's
out there, I mean, And when I did last time,
you know, when I heard Gettysburg weeks ago for teams,
(23:15):
like two weeks ago, but the last weekend I hear that.
And when you hear the music, sometimes you have to
understand you have to divorce yourself from what happened. You know.
Gettysburg is a project of a guy who talked about
lock who lived in a vacant warehouse in Atlanta for
(23:42):
twenty years. And I'll tell you his name and you
will know who he is. For twenty years he lived
in a warehouse in Atlanta trying to convince the world
that a twenty four hour not radio TV news service
was a viable thing, and everybody laughed at him. Twenty years,
(24:03):
you're crazy. And when he finally had to put cables
up telephone.
Speaker 5 (24:10):
I bet I know who it is, Yeah.
Speaker 3 (24:12):
Brander, you back again.
Speaker 2 (24:13):
And that was of course Ed Turner, and I was fortunate,
and I always was intrigued by this guy in Europe
comes So he was the one that owned the rights
to a book called Killer Angels, which was the story
of the Battle of Gettysburg, and he was the producer
and he was like the last guy on the block
where they were trying to get that made for years,
(24:34):
and he bought it. And so I met him and
then was gone more than Menemi. You know, it was
fortunate that I became friendly with him. He was married
to Jane found at the time, and they came out
here because I didn't want to do it. It was
too much music, and it was originally for a new
cable company had called like I never forget TNT, like Sinnamon,
(24:57):
I said, I don't want to do this, it's a
a television thing. Well, you know, I met him so
fantastic and enthusiasion, passionate beyond belief. And then when I
recorded the music and they heard it, they had me
come down to jar Litterson Place and they had the
premiere down there. And then I kind of started this
wonderful friendship with him. But so each So that's the
(25:22):
story when when someone when I'm hearing Gettysburg, I'm thinking
not only the movie and all the hours I put
him in and the music, I'm thinking about Ted and
his story, you know what I mean. It's sort of
you would sound like, what does that have to do
with Ted Turner, a guy who won the America's Cup
and supposedly you know all these stories about him and
(25:45):
blah blah blah. Well it does for me because he's
the guy that made that movie, that produced it, and
so each of the the stories are different.
Speaker 3 (25:56):
I mean, you know, And then to think about that,
so people love Eddiesburg. I still listen to it and
I want to get a chance to watch it and complete.
Speaker 2 (26:04):
You know, it's like, what is it? You know, it's
about Quinchy Jones was involved, and I had a it's
such a story. But right Jones, Oh my god, the
Quincy Jones part of that is unbelievable. We got we
got time, well okay, well, okay, so here's this. Yeah,
(26:24):
by that time.
Speaker 5 (26:30):
We get to find out about Quincy Johones.
Speaker 2 (26:32):
It's gonna be i'll tell you. I'll tell you. So
you think it's gonna be okay, it's gonna be like
a bad Jaws. Okay, Well, the fact of the matter
is that he was obviously different. As soon as I
saw it, I did a lot of laughing. And you
had John Voice in that incredible role as the bad
snake hunter, you know, the guy baphatizing the thing. And
(26:56):
I picked up on that, and I kept telling everybody
I had a play. Had to play the ominous quality
of it. You had to do that right on, as
much as Jaws or anything else, but you had to
do something else. So I had to figure out a
way to do that. But the thing I remember then,
I promised, I'll tell you the quincy things. The guy
who directed that was from Peru, okay, Luis Losa. He
(27:21):
didn't speak much English at all, and when he came
over here. Obviously there's something in his history why they
hired him to do it, and there was a big
film that he did that doesn't come to mind now.
But when he came over here, oh, and he started
listening to stuff, which is a whole other thing. When
people come over after they have a preconceived notion of
(27:42):
what their music is going to be, and they put
in ten scores and stuff. He I would play something
and you'd say stop, stop, stop. You know when you
see the snake hit it, you know what I mean? Boom,
that's all that was his direction. You know, well that's
not much of a direction. But I'm of right over
there where he hit the wall. Here. It's like whenever
(28:04):
there was a snake he wanted you know. Okay, you know,
but it has to try try to make it a
little better. The the Quincy Jones part of that was
now one of the producers of that film was named
Erna Harrah. Now if you know the name Harrah's as
in Harrah's Club member Lake Tahoe, Vegas. You know, big
(28:30):
big gambling money guy Blubb. About interesting tie in because
I conducted in Las Vegas for Bobby gentry O Toabilly Joe,
who was also married to the same guy Parah. Okay, Okay, see,
I see these stories are deep. Okay, but I forget
about that, forget about Otabilly Joe. Okay. So Quincy Jones
(28:54):
was the boyfriend at the time in the middle of
you know a million maybe other realistships with Verna Haara,
and he told her, as someone knowledgeable and he's her boyfriend,
you have to have authentic music to anaconda. It's gotta be. Okay,
(29:15):
this is this is the composures, This is the composer's
nightma for this kind of shit. Quincy Jones is telling
his girlfriend, who's produceder, You know, you gotta have the
real deal. You can't have like a guy like me,
not me, any gam a Hollywood composer, you know what
I mean. You gotta have the real thing. Okay. The
(29:36):
next thing, I know, because they had called me. I'm
over at Universal in the Universal executive dining room with
Quincy Jones, Randy and Dory Kayimi. And you say to
yourself and his wife, who the hell is Dory Kayimi? Well,
Dory Kayimi is a famous South American guy, not film composer,
(29:58):
a musician, but not nominal.
Speaker 4 (30:00):
You know.
Speaker 2 (30:00):
Whatever he did, Quincy, whether he had met him along
the way, you know, God knows, he knows, and so
he set up this whole thing. And I'm sitting there knowing,
when push comes to shove, when there's ninety minutes of
NonStop music, who's going to be the one doing all
the work. GEORGEI or Randy Ellman, Brandy, you know it is.
(30:24):
But so what I did is we're having this lunch
and this guy sitting there with his wife and he's
going to be involved in other field. And I started saying, well,
I don't know we could do this. That's about an
eight minute sequence. You know, there's a lot in the orchestra.
And as I spoke, I saw Dory Kayimi like get
very small in his seat realizing what was involved. That's
(30:48):
the last time I ever saw Dory Kayimi in affect
the premiere and sitting in back of me at the
premiere was Verna Harra and Quincy and so got done big.
You know. The picture turned out to be a big hit,
like you know, just and at the end, I looked
(31:10):
at I was kind of looking for him to say something, Okay,
it's not it's not your guy, Jory, but you know,
he didn't show up basically, and he looked at me
and he said, Randy, now i've this crity does it?
Do you really know how to use air? Does that
(31:30):
mean I know when?
Speaker 5 (31:31):
To me?
Speaker 2 (31:32):
You know, that was just comment.
Speaker 3 (31:35):
That's interesting, all right, So Randy, we got to take
a quick look at this clip. Gotton wants to know.
But when we come back, I'm going to talk about composers,
because in my mind, you're in the same realm as
John Williams, the music of John Wims. I'm waiting for
the documentary of the music of Randy. Oh all right,
let's take a look at this.
Speaker 8 (32:01):
She caps after you and looks in his eyes, but
he's got nothing to say. Hat wants to know what
Paul really cares about, but he goes on and looks
(32:27):
the other way. She just wants to know where he
feels inside, but he's got no time to play.
Speaker 2 (32:47):
Hat wants to know.
Speaker 8 (32:51):
What Paul really cares about, but he just goes and
wants the other way. They go on together.
Speaker 9 (33:08):
And have a lie, keeping secrets so their man and why,
and she keeps trying, but they both keep.
Speaker 2 (33:24):
Online and that's just the way it goes.
Speaker 9 (33:34):
And she cheeves.
Speaker 8 (33:36):
After him, but still he will straight.
Speaker 3 (33:42):
Why does that mean a lot to you, Carol, because you.
Speaker 4 (33:45):
Know it's it's that they they settled, they went on,
but the issues never resolved.
Speaker 5 (33:52):
Like at the very end, you know, he's still telling
the story.
Speaker 4 (33:57):
How Pat wants to know how he really feels and
I was like, what.
Speaker 3 (34:02):
Could It's emotional, isn't it.
Speaker 5 (34:03):
Yeah, it is.
Speaker 4 (34:04):
It's emotional, like what could have been done? Why could
could she have walked away? Or could could there have
been some resolution along the way something?
Speaker 5 (34:15):
But it's like she just accepts what is and stays
in it to the end.
Speaker 4 (34:21):
And at the very end, when you're showing him as
an old man walking down the sidewalk, I was just.
Speaker 2 (34:28):
Like, no, yeah, that listen, full disclosure. Yeah, you shouldn't
have been watching it. That video is like, that's not
about the song, you know. Okay, okay, I had nothing
that that. That's the one to speak for yourself. It
doesn't need a video. And if you should have a
video and that's not the one that you did.
Speaker 5 (34:48):
Okay, okay, well what would you put in its place? Yeah?
Speaker 2 (34:53):
Basically it's it's you're you're exactly right. But it's the
story of both people that don't split up.
Speaker 3 (35:01):
Yeah, okay, okay, well speaking of people who've been together
for a long time, right, how are yeah?
Speaker 4 (35:08):
Right?
Speaker 2 (35:08):
Absolutely?
Speaker 4 (35:09):
Hell?
Speaker 3 (35:09):
Why we got a chance?
Speaker 2 (35:11):
A full disclosure. It's not autobiographical. It's just something I observe. Yeah,
it doesn't take any you know, everybody can see that
in lots of people. It's just just a way to
live because you don't want to shake up the foundations
of you know sometimes and yeah, I.
Speaker 5 (35:33):
Mean that that makes sense to me.
Speaker 3 (35:35):
I think I get what you're feeling on that too,
because I can feel the emotion of that.
Speaker 2 (35:39):
Oh yeah, yeah, absolutely, yeah.
Speaker 3 (35:44):
What's a documentary on you coming out about you and
your music?
Speaker 2 (35:47):
Well, you see, but you said something like John Williams.
My thing is like John Williams, Well, when did you
hear John Williams do the stuff that I do. He's fantastic.
Speaker 3 (35:55):
No, no, no, it's about it's a different.
Speaker 2 (35:58):
It's a different thing I And it turns out that
my thing has been going musically to these different places
but always being immersed in at the moment. Are much
more than a moment, like twenty five years with films
in it. I don't mix the two. It's not like, oh,
(36:18):
I'm writing a song and I'm scoring a film. No, no,
it doesn't work like that. It's I've been it's just
worked out like that, and it's worked out that I'm
able for the last two years or something or almost
three years now to do these shows, to go around
and then you know. Now I'm involved in scoring a
much different kind of film, but I don't doing a documentary.
(36:41):
I don't have any interest in that because all I'm
interested in is writing music like.
Speaker 3 (36:48):
You know, smoking like a chew composer. So the reason
why I say that is that they need to know
about you, all the stuff that you've done. That's what
I mean by that.
Speaker 4 (36:58):
Yeah, well, yeah, I think Welting on a High Wire
Is is definitely an album worth having, for sure, and
I appreciate that.
Speaker 2 (37:08):
And so Brian, you you come on, you do it.
Speaker 3 (37:12):
No, I'm not a filmmaker though.
Speaker 2 (37:14):
No, no, you do not know. Come on, you don't
have to be a filmmaker to documentary about something you're
passionate about. You just get right people.
Speaker 5 (37:24):
True, I have an invitation issue, Brian.
Speaker 3 (37:30):
I gotta go here first. But I mean, you know
you're right about that. You don't as long as you're
passionate about it. Min would be a drum and bugle
corps because I think about all of those kids playing
a lot of these music, and that's how I learned
classical music from Phantom Regiment, from Rockwood and Illinoise. I
learned jazz, you know, from the Blue Devils from Conquered
you know, uh, California. So that's how I got into music.
(37:52):
That's why scoring, to me is important, listening to this
and turning people on. In the old days, we'd be
going to Tower Records and buying all these soundtracks. Now
it's difficult. I don't know how they do it, and
bothers me that a lot of kids don't get a chance.
Speaker 2 (38:06):
To go out. And it's a double edged sword.
Speaker 4 (38:12):
You know.
Speaker 2 (38:12):
It's like with film scores. Now people don't have to
go out and look for They just put my cousin
Vinnie on their phone, downtrack and boom, there it is.
They can listen to all the cues, you know, which
is which is good. But if obviously you don't have
to go out and purchase them.
Speaker 3 (38:29):
You went to Tennessee not too long ago. I would
think I heard you were a hit down there. I
just missed you.
Speaker 2 (38:33):
I guess oh the oh that oh yes, at the
Grand Ole. Yes, that was that was a kick. Yeah,
I had never been there before.
Speaker 3 (38:42):
It like for you, excuse me, what was that like
for you?
Speaker 4 (38:45):
Oh?
Speaker 2 (38:45):
It was fun, fun, it was great. You know. Uh.
I did a couple of songs. You know, there were
a lot of people there.
Speaker 3 (38:54):
Of course they're like following you around. You're like the
newest beat.
Speaker 2 (38:57):
I was walking. I walked out on the stage and
to the wrong place. It's like I walked to the piano,
but I thought it was a piano that was covered up,
but it wasn't. It was just a piece of furniture.
And I had a They had to lead me back.
This is sort of like you know, Joe Biden even
lead them around. I was like that, sorry, how sorry, Hey.
Speaker 3 (39:19):
Me and Howard we went to go see the Brinda
Lee documentary two weeks ago, and I had never been
to the Country Music Hall of Fame and Museum. I
thought that was great seeing a lot of them.
Speaker 2 (39:29):
Oh that, yeah, I was, yeah, because Jackie did that.
Jackie was in that Brenda Lee thing. I mean Jackie
is Brenda Ly did my wife, Jackie's songs, many of them. Uh,
and when she was there at the Country Music Museum
last year. Uh, Jackie did that. Well the thing you saw.
Speaker 3 (39:50):
Yeah, it was great. I mean Howard grew up with
you know, Brenda Lee going to his house all the time, right, Howard.
Speaker 2 (39:55):
He's great, Yes, sir.
Speaker 6 (39:55):
Actually, my stepfather raised Brinda Lee after she lost her parents.
Speaker 3 (39:59):
He was of godfather.
Speaker 2 (40:00):
Oh so the best friend. We love her jat and
she recorded god that song dumb dumb and this is
you know alone before I met Jackie. But uh, she
recorded lots of Jackie songs.
Speaker 3 (40:13):
Yeah, so it was.
Speaker 2 (40:15):
You know, there is a documentary.
Speaker 3 (40:17):
Go ahead. Aw, I'm sorry to cut you off.
Speaker 6 (40:18):
I just said it said that in the documentary that
she did a lot of Jackie's songs.
Speaker 3 (40:22):
Yeah. See, and I and and Wendy. I didn't know
about that. That's why I want more people. And we
we talk about these things a week after week, you
know Howard and I was. We still talk about going
to see Gloria Gaynor the documentary. That people don't know
are Luther Vandrews. And that's why I say people need
people need to know all the things that you've done.
That's coming from me because I love pushing those things.
(40:44):
I love I love doing that. Because more people need
to know around the world. That's why I say that.
Speaker 2 (40:49):
Well, I'm I'm I'm trying. I mean, I'm I'm out there.
I've been you know, uh doing this stuff now, which
I haven't been. But you know, the whole thing is
that I I couldn't have done what I did with
the films and doing what I'm doing now at all,
you know, I mean it was twenty five years straight.
(41:11):
You can't do one hundred movies and all those I mean,
so they're not all hits and well known. But in
order for me to you know, we haven't talked about
hardly any of them. Give you this whole.
Speaker 3 (41:25):
Off the top of my head. I'm hearing Ghostbusters off
the top of my head.
Speaker 2 (41:28):
Well, okay. And I wouldn't have been able to do that.
It's not like, oh, I was traveling around doing contracts
writing songs. No, could never. I mean you talk about, uh,
the string of the Ghostbusters too, I did was and
that's how I met the great who he passed away
last year, along with so many other people that I knew,
(41:50):
Ivan Wrightman. I met him and we did Ghostbusters too,
and then I did Twins, and then I did Kindergarten
Cop and I did the all those things with Ivan,
and he was a real tough guy to deal with,
you know, really, you know, just those were like you
couldn't I couldn't go out my door when I was
(42:12):
scoring those films. It was just really intense and they
were all kind of you know, what do you call
ten tent pole movies, So there was a lot of
pressure and that's how I kind of cut my teeth
scoring films, doing those big and they were big orchestral scores,
I mean, they weren't little. And movies like Twins and
(42:36):
Kindergarten Cop I do a segment of that those things
in my in my the Piano show that I'm doing.
People don't really those are beautiful, charming movies. You know
here Arnold Schwarzenegger, and they laugh watch those movies. They're gorgeous,
brilliantly made charming, that's what they're charming movies, both of them.
(42:59):
Danny DeVito and Twins, the whole you know, a counter
thing Danny DeVito and Arnold schwartzeney you're in that film
is just great, you know, but that stuff took you know,
just so much, uh time, and uh Triple X with
the then Diesel and Rob Coney directed that, and Dragon
(43:21):
Hard and the Bruce Lee story all those things just great, great,
great great great.
Speaker 4 (43:26):
And it's not just the films too, I mean the work,
you know, thing like uh, working with the Carpenters, Barry Manilo,
Dion Warwick.
Speaker 2 (43:36):
I mean the right, right, but but yeah, no, that
was great. But I never worked with any of those people. Okay,
they boarded my songs. You remember I said before, I
never wrote on Now. I went on Now the carpenters again,
that's a two hour show. You know, me and them
because they discovered me like when I was twenty, you know,
(43:58):
needle in a haystack and Richard and the two of
us had similar keyboard. Uh that we played a certain
way and then they recorded songs and took me out
on tour. That's a different story, but uh, you know,
and you know a sad one. I do that in
my show too, Barry Manilow different, you know, there's all
(44:19):
different stories. But I didn't spend a lot of time
with them. Dion Warwick. That's another two hours show.
Speaker 3 (44:28):
Well, we got a couple of minutes left. But I
say that because those no, no, those documentaries are excellent.
The Dion Walwick. There's a lot of stuff that I
didn't know, you know, And and so they're coming out
and their hits because people are just thirsty for them.
We're not seeing a lot of those temples I mean
this past weekend, Mission Impossible came out. I actually went
to the movies to see it. I'm not getting to
(44:48):
a lot of the movies. The first thing I want
to hear is I want to hear don't don't dun
because I go back to when it was created of
hearing that, and you never forget that. And a lot
of your stuff that you created is like that.
Speaker 4 (45:00):
For me.
Speaker 3 (45:00):
Randy got me about two minutes. What do you want
people to know about you and talk about Lincoln Center?
Go ahead?
Speaker 4 (45:06):
Uh?
Speaker 2 (45:06):
Well, I mean I I'll talk about Lincoln Center. Uh.
I as far as knowing something about me, just would
love it if they heard whether it's a score or
song and listen to it the way that you have
with Wilson on high Wire. You should get the album.
If you don't have that album, seemed like you didn't
have it. Uh, Brian is he's gonna get it, get
(45:27):
it from my lean. But okay, Lincoln Center, Uh, that's
gonna be great. I do uh two hours plus at
a piano, no intermission.
Speaker 4 (45:37):
Uh.
Speaker 2 (45:38):
I never get up from the piano. I don't bow.
I just keep playing a few, a few jokes once
in a while, I'm getting better at that, and I
do a it's it's some people coming. They think they're
gonna hear. They think they're gonna come in, they're gonna
see a symphony orchestra playing these film scores, and of
course they don't. I'm sitting at a piano and most
(45:59):
of it is my songs. But then I do a
segment where I put together a medley of twenty I say,
of twenty five years of film scoring in nine and
a half minutes. Of course, wow, wow, it's like thirteen minutes.
And I speak a little about what I told you
about as I'm playing these things, and most of my
(46:24):
you know, my favorite ones, not necessarily the ones that
were the most successful, but I do that. And then
of course I do very few of them. As far
as that I scored one hundred films, I obviously don't
can't do that many. But I do that. And that's
really the area that I do. I really get into it.
(46:47):
I don't sugarcoat it, and I don't do oh, here's
a film theme here and there. I just do that
segment and I end it, funnily enough, with not a
film uh piece of music, but the TV piece of
music that I did that's lasted for a billion years.
Well about a guy who could build a bomb out
(47:09):
of a chocolate bar was called Maguver. Another show, another
show that nobody thought would ever even be on, but
they that was in the old days, and they picked
up things and network, but they liked to go and
that became. And so I end the whole film thing
with all those serious scores. I ended with Macguiver. You
(47:37):
know what, everybody?
Speaker 3 (47:38):
Yeah, yeah, So everybody you got to go see on
Lincoln Center June sixth, the man whose music moves the world,
and it does, and always go. I always tell people
go to any you find a record store. You gotta
support small business. You can find those great stories because
you never know who those next composers are gonna be.
And I have to always say this when they got
(47:59):
to thank you for I know you've been busy. I've
been tracking every place that you've been well, and you've
been busy, and congratulations to that because you're deserve it.
And I'm gonna see you going to Carnegie Hall because
I've never been there. That's why I told Eileen and
Jimmy I'm going there to see him. So you're gonna
see me there and I always say this, rank you think, Andy,
Thank you so much for your time and everything like that.
Speaker 2 (48:19):
All of you have a good night, tonight, a better day.
Speaker 3 (48:23):
Tomile. You see someone went out a smile, please give
them one of yours, because the world needs it. This
is movie reviews and more and we will see you
next week.
This program is designed to provide general information with regards
to the subject matters covered. This information is given with
the understanding that neither the hosts, guests, sponsors, or station
are engaged in rendering any specific and personal medical, financial, legal, counseling,
professional service, or any advice.
Speaker 2 (00:21):
You should seek the services.
Speaker 1 (00:23):
Of competent professionals before applying or trying any suggested ideas.
Speaker 3 (01:07):
Hey there it's Brian Sebastian, movie reviews and more. And
if it's Tuesday, obviously you have to always give and
donate to your favorite charities. Let Me Help is one
of them. Dame Jude is another one. So I've been
looking forward to this show because not only do I
have my favorite co hosts on, Howard just popped out
of some place, Randy, so that you know, Howard Wiggins's
(01:27):
dad started the Grand Ole Opry with Eddie Arnold, so
he'll be popping back in. We got Carol Register there, Terry, Terry, Marie,
some Merrimanos California. So I'm gonna do this because this
is show one hundred and fifty four live shows in
a row. So full disclosure, Randy is one of my
favorite composers, and you know The last time I talked
(01:48):
to this young man was like three years ago, I think,
And it's this when the world was locked down and
he's so creative. He's been kicking ass the last three years.
I think this guy is living in New York more
than he lives in California. But all the stuff he's
been doing, you know, composing, he's you know, I think
of the last Mohegans. I think a dragon part, I
think at Angels in the Outfield. I think of all
(02:09):
the songs that he's you know, come up with, being
that composer, that writer, that songwriter, and Randy. I do
it all off the top of my head as usual.
Still but still, if anybody who knows me, my favorite
music that's ever been composed is to one that he
did Last of the Mohegans. But here's the thing, this
man has done so much other stuff. I've been telling
(02:30):
my friends in Connecticut and other people in the New
York you gotta go to Carnegiet Hall, you gotta go
to the Lincoln Center, because he's all over the place.
It's just like he's he's been like rebirth, I think,
is what happened. He has you know, you know, anytime
I call Li and I'm like, what's Randy doing now?
He's what do you mean He's going to Tennessee? What
do you mean he's one of Josie Ward. What are
you talking about? He's he's done a lot, so you know,
(02:54):
I'm going to get into a little bit more of
what he's done. But Carol introduced yourself first, followed by
how and then Terry go for it.
Speaker 4 (03:01):
Hey there, I'm Carol Register. I'm a certified Neurow coach
and international business woman and I love, as you know,
Brian taking women from six to seven figures.
Speaker 5 (03:13):
It's one hundred percent guaranteed. I would love to work
with you. Jump in talk to me.
Speaker 4 (03:18):
I also co host the Unleashed and Unstoppable podcast.
Speaker 5 (03:22):
And Brian, I'm really excited about today.
Speaker 4 (03:27):
You know. I was listening to Pat Wants to Know.
It's like, Wow, what a powerful song. I just I
was really left with this longing, this intense longing at
my heart that my brain wanted to totally resolve.
Speaker 2 (03:45):
I was like, she wants to know, Oh.
Speaker 3 (03:50):
You can't. You can't go wrong with that especially.
Speaker 4 (03:55):
That's it.
Speaker 3 (03:55):
That's it hour. How are you doing today?
Speaker 6 (03:59):
Doing fun?
Speaker 4 (04:00):
Sir?
Speaker 6 (04:00):
Doing fine? Howard wigans Like says, I'm one of the
top thirty five leading interior designers in the world music
City Royalty. I'm son of lu Roy Wiggins, who plays
s guitar for Eddie Arnold, helped start the grand O Aubry.
Let's see, I've got a design look called Stackton Layard.
(04:20):
If you follow me on Facebook, you'll see some examples
of that. And then the newest thing is I've decided
I wanted to move to Chattanooga, which I know is
a great big city, but that's where I want to go.
So hopefully next year I'll be moving there.
Speaker 3 (04:34):
And Terry Marie Hi everybody.
Speaker 7 (04:37):
Hope everybody had a wonderful Memorial Day weekend. And I'm
Terry Marine on top. That's my trademark for several reasons.
I've been acting and my whole life. I'm a fitness
enthusiasm person. I love to motivate women in the forties
and fifties to stay fit. I've won several fitness competitions.
Speaker 2 (04:57):
I have La.
Speaker 7 (04:59):
La matt Uster's Fitness Universe title of Bikini.
Speaker 2 (05:06):
I also have one muscle Beach. I've won several MPC.
Speaker 7 (05:09):
Contests and placed done very well, I do a lot
of Brian's red carpet interviews. That's something I really really
like to do. I have an announcement bake. So last
night I did my first open mic as a comedian
and it was so much fun.
Speaker 3 (05:30):
So yeah, my.
Speaker 7 (05:33):
Friend Maya has been very successful, like you know, doing
you know, small shows here in Los Angeles, and I
got my nerve up to get on stage last night.
So it was a lot of fun.
Speaker 2 (05:45):
So I can go.
Speaker 3 (05:46):
We'll see where this journey goes.
Speaker 7 (05:48):
But yeah, it was I I woke up this morning
really like, oh my god, I did something I've never
done before and challenged myself and you know, I guess
you know, you're never too old to try something new,
and it was well.
Speaker 3 (06:01):
Speaking of try something new and speaking of not too old,
you know when you can be performing June six, June six,
June six, people around the world, the man whose music
moves the world, or you know, it could be another thing,
waltzing on a high wire with Randy Llelman. You know,
it's one of those things where you can't go wrong. Randy,
First of all, how are you doing all these things?
That's what I understand. Where you're getting your energy from.
Speaker 2 (06:25):
I have the energy, you know, just to do it.
It's all the things that I love to do, and
it's it's it's been nice because it's sort of a
culmination of the different areas that I've been involved. I've
been fortunate, you know, I've been obviously involved with film
composing for I was basically locked in this room I'm
(06:45):
in for like twenty five years. But then I got
back into songwriting, and so I've been you mentioned New York,
but I've been spending just as much time doing concerts
and stuff in London and recording some scores here. So
it's it's been fairly comfortable. So I'll do Linke at
Center in about ten days and that's going to be
(07:05):
I've never done that before. And I did Carnegie All
a few months before that, and it's it's it's fun.
And I've done this new album that has that song
Pat Wants to Know, which is, you know, a song
about lack of couples who basically stay together, you know,
and that you know. So it's all stuff I like doing.
(07:27):
The songs are personal songs I feel like writing, and
and the scores are things that I only do films
that I, you know, feel some emotional connection to last well,
last week in the I was in the Midwest doing
the symphony, was doing Gettysburg my score to Gain, which
(07:49):
has done a lot on Memorial Day in July fourth
and those kinds of things, so, you know, just different things.
So these things over the years now they're it's really nice,
you know, they I revisit them and they're roll. They're there,
you know, they don't disappear, whether it's a song or
a score or you know. And now I'm getting to
(08:10):
do these concerts which which is just me at the piano.
But it's not like, you know, one of the things
that you know, and then I wrote it's a whole
musician kind of performance, but just with me at the piano.
Most of the scores are orchestral, but I've arranged them
so that I can hopefully pull them off just at
(08:30):
the piano. And that's it. So come to Lincoln Center
June sixth, Friday night.
Speaker 3 (08:36):
Is that easier to do just you at the piano
these days? I mean, is that easier for you?
Speaker 2 (08:41):
Well, well, no, no, I mean me at the piano
when I'm performing. It has nothing to do with when
I score a film for a film, and I utilize
to score the film is necessary, whatever the sound is
supposed to be. But it's a different it's different. I mean,
songwriting is a different craft completely. At film composed and
then performing is something completely You know that that's a
(09:04):
different thing. I just for some reason, it seems to
feel good right now. I mean, I tell you know,
I mean, I tell jokes. You know.
Speaker 4 (09:15):
It's good, you know, Brian, it's interesting. I was waltzing
on a high wire the Birds of Freedom anthem.
Speaker 5 (09:24):
I'm curious, like, when.
Speaker 4 (09:25):
You're about to publish your album, what's your process for
you know, figuring out what's going to be your anthem
song or you know what order you're going to place
things in? Is it just something from the heart.
Speaker 5 (09:40):
Or did you have a particular story that you all want?
Speaker 2 (09:43):
I know, I never no, I know, I never decided
that when I when I have, when the group of
songs is what I think, uh, you know, fits with
with the concept, then I put the order together. I
never put an order together until the tracks are being
(10:04):
done recorded, because you never can tell how a certain
song will come out. And the song that you're talking about,
birds of Freedom, it's it. I never considered it an anthem.
It just sort of came out. It sounds like that.
I mean, you know, it's just it wasn't meant to
be like that. And the first song twenty one again,
(10:25):
which is a complete kind of throwback. It's a jazz,
kind of a sophisticated forties or fifties jazz tune, which
sounds like something was recorded years ago. And I started
with that because it just seemed to be a good
place to start. But I put it together when I'm
(10:47):
finished recording, and believe me, I go crazy trying to decide,
you know, the slots. But you know, but I do
it mainly from how it feels. You know, it's not preconceived.
Speaker 4 (10:59):
Yeah, that makes a lot of sense. And I mean
it's interesting too the way. You know, I don't know
if it always happens this way, but in this album,
like a story is told, kind of a journey, if
you will.
Speaker 5 (11:15):
That's what it feels like to me.
Speaker 2 (11:17):
Yeah, that's what I wanted it to feel like. But
it's a journey. But since I most of my or
all of my songs are very personal songs. I mean
I never wrote even the so many of my songs
were recorded by other artists. I never wrote ever a
song for another artist. And it's not like I wrote
them for myself. I just wrote the songs and people
(11:40):
did them. But they're you know, they're all my personal stories,
each of them. I mean, my granddaughters are they don't
even know. They still haven't heard it. They're on one
of the cuts you know about kids at Christmas time
and the Glow of Life. It's called but There. So
(12:01):
these things just sort of come about. I literally had
a microphone when they were speaking around the table, or
they would have just clammed up about them say something,
and they had no idea. They weren't part of a
record or a song. And then I just was able
to use a few of the phrases they said in there.
And then there's a song about this bird, not the
(12:24):
bird freedom that comes right out here. Almost every day
he comes and he sits there and he listens. This
has been going on for about fifteen years. Seriously, it's
called Housing, and that's that song. You know. It's like
not exactly the most commercial way to if you want
to be a commercial songwriter, but I never That's just
(12:46):
the way I do that, and it's completely different than
when I'm scoring a film, which is a different craft,
you know, Yeah.
Speaker 4 (12:53):
Yeah, I think I mean, Brian, if you're okay, I
think that often city really carries over and it's something
that a lot of people are looking for now, even
more than the commercial, if you will.
Speaker 5 (13:09):
It's I think people are hungry for that.
Speaker 4 (13:11):
They're hungry for the story, and so that's you know,
like the putting your microphone at the table with your granddaughters.
Speaker 5 (13:19):
That is amazing. I love that. I absolutely love that.
So for me that I'm like, oh, definitely, I want.
Speaker 4 (13:25):
To make sure that I get this album and that
I'm playing this album because of this beautiful story behind
it and this authenticity that's there.
Speaker 2 (13:36):
Well, thank you, thank you.
Speaker 3 (13:37):
Hey, Randy. Talk about taking your trip to London. I mean,
what's what's the difference in say, people coming in to
whether it's tourist New York is everybody coming in to
see you, but also going overseas, has it changed a
lot or the audience.
Speaker 2 (13:49):
Is well, well that that's the first place where my
records happened, the only place, the only place my own
records happened was London. That I mean a million when
I mean a million years ago, so I always had
that that career there, and then when I kind of
didn't about face that's before I started scoring films. Then
(14:12):
I would go back there to Abbey Road or air
Linders to record scores. But I wasn't doing the song
market thing anymore. So, but I'm very used to going
there and I love recording there. I love the musicians.
I love the studios there. The studios have a different
sonic sound with the echo chambers and stuff, it seems
(14:32):
to and I like that for vocals and for orchestral recording.
So but it's it's it's not really any difference. I
just did two concerts in London and then in a
place called Kent. Kent is right near where Chartwell, which
was Winston Churchill's place out in the country. It's it's
(14:56):
sort of on the outskirts of London, and I did
a concert there, and so I'm used to going there.
You know, It's really no, I don't do anything different,
you know when I'm there. I love London.
Speaker 3 (15:09):
When you first played at Carnegie Hall, what was that
like for you? Because I haven't been there yet, but
I'm going to see you. I think I think you're
gonna be there in December. Is that correct.
Speaker 2 (15:17):
Yeah, I've never played there before. It was it was
just it was fantastic, you know, it's just great. And listen,
I'm I'm from right near there. I mean I'm from
you could throw a stone from Carnegie Hall, not really
over the George Washington Bridge, and that's where I'm from.
I'm from New Jersey, but not the Jersey you know,
(15:38):
like the the Boss New Jersey. That's not New Jersey.
New Jersey is the concrete jungle Bergen County across the bridge.
There's not a speck of grass, you know what I mean.
That's that's where I'm from. Not like Asbury Park. I
don't mean to you know, the little Asbury Park, but
Jersey is right over the bridge, and so it was great.
(16:02):
And you know, like people literally from who haven't seen
from my high school, you know who I didn't even
recognize they showed up, you know, because like I wasn't
like I wasn't the kid in the school orchestra, you
know what I mean, I wasn't that kid. I was
just you know, trying to slotting with everybody else. When
(16:22):
I was a kid, I wasn't. So they're trying to
figure out. I mean, if they knew me, well, they
knew I was always playing the piano and going on practicing.
But uh so that that was kind of interesting to
see those people. And they'll probably be at Lincoln Center.
But Carnegie, who all is great? You know, it's like
the old how to get to carneieh All? You know
practice that was, it's the old story. It's true.
Speaker 4 (16:45):
How much of twenty one Coming of a Age is
a true story?
Speaker 2 (16:51):
Oh, that's all true. Yeah, every line in that song
is true.
Speaker 3 (16:56):
Wow.
Speaker 2 (16:56):
I had that song buzzing around my head for years
and the changes and if you play that and you
play the beginning, nobody's ever recorded anything like that in
I don't even know when you hear that guitar solo
at the beginning, and it's like, what the what is this?
(17:17):
And then it goes into that kind of jazz rush feeling.
But if you want to hear that, that guitar solo
is like played by an amazing guitarist named Adam Rogers
in New York. You don't hear that anymore because people
don't play like There are people who play like that,
but they're in they're in different places. They're not on
(17:39):
pop record. So that's just what it is. And I'm
gonna open with that. But it's too long, and if
you notice, nobody would open. It's about eight minutes long.
That's like the kiss of death. Like like I said,
right now, at this point in my life, I just
do what I want. Can you imagine going into a
record company like it used to be with like five
(18:02):
Davis who bry the way maybe there? Uh And here's
the opening single. It's the opening cut. It's eight minutes long.
You like, look at throw me out of the office,
you know, forget it. So I'm I'm gonna cut it down.
But you know, uh yeah, but you can get away
with it. You remember what they said about let Steppelin
stay away? They haven't too long wrong, Like you know, Yeah,
(18:26):
I mean, I get away with it. But you know,
is anybody gonna plate That's what I need to know anyway.
That's but I don't, like you said, yeah, at this point,
it doesn't really I don't. I don't you know, I'm
not beholden to play it. It's just I want it
on there, which is most of the stuff now when
I look back the same thing with the film score,
(18:50):
all these film scores like Last of the Mohicans is
a great example, because everybody thought that was a They
hated that film. I mean, no, I love that.
Speaker 3 (19:01):
Chilm.
Speaker 2 (19:02):
No listen, listen, guess what. There wasn't any music to
that from that film. There was no album. I couldn't
get them to even consider. There was no album. That
film came out with nothing. Zero. I finally convinced, uh,
what's his name at Stanley, I'll think of the company.
(19:23):
Daniel No, No, Daniel was, no, he was. He would
never got enough. He never got enough credit for just
looking like he looked in that film. Do you ever
see this guy? He's like me, He's sitting next to
him and it's like you shit, didn't get to the squiet guy.
And it's Daniel da Lewis, you know the guy in
(19:44):
my left foot And how did he look like that?
Well Michael Mann got him to you know, he both
up and everything. But the point is nobody, uh, nobody
would release, you know. And finally about I'd say a
month later, which is a long time after the picture
was out and doing well. Uh, I got them to
(20:05):
release the soundtrack. Now it's the biggest selling soundtrack of
only music now, no songs or anything.
Speaker 3 (20:11):
Did I Oh do we Lusia? Oh no, Randy's still there,
he froze.
Speaker 2 (20:16):
Yeah, it's similar to completely, completely the opposite film that
I did, A little film nobody heard of. Blah blah blah,
my cousin Vinny.
Speaker 3 (20:26):
That's my favorite film.
Speaker 2 (20:28):
Nobody, nobody wanted to know about that.
Speaker 3 (20:31):
No, no, my favorite film.
Speaker 4 (20:34):
I can't.
Speaker 2 (20:35):
I was you're talking, I was there, I'm there a book,
I'm there. Nobody would listen, and I said, I don't
know if I can. I say, of course you can't.
You Randy, This fucking girls dynamite. He won the Oscar
Oscar for Comedy. But anyway, no, when that film now
(20:58):
is absolutely nowhere. Now people knew Joe Pessey from Good Fellows,
but that was years before that.
Speaker 3 (21:03):
But Joe never did anything like that. And then everybody
knows the famous line what's a you?
Speaker 2 (21:08):
Oh? And you know the guy the well everybody's good
but the judge Fred Gwynn. Yeah. So no, But so
I have these It's just weird because I fell. I
fell into these things. Now I didn't just But what
(21:32):
I'm saying is I didn't pick my cousin Dinny. I
didn't pick Last of the Mohigans. I didn't pick h
you know the mask. You know classic film one of
the great comedy performs is Jim Carrey. I mean, I
just or a little film call while you're sleeping with
a new actress, Samed Sandra Bullet. These things came came about,
(21:54):
they just they just kind of fell in. And now
looking back, those films are as last pay or bigger
than they were when I did them, which is really nice.
And that's why I can go around and bullshit and.
Speaker 3 (22:10):
That's why I talk about those films because my my
problem with ay with with people. There's not there's not
a Ciscoline, but there's not a Rex read David Shean's past. Uh,
Sam Ruman's past. A lot of these people aren't there
the champion these films. But I do see a Turner
Classic Movie Film Festival, which just happened two weeks ago.
You know, those are considered classic films now. So when
(22:32):
they have someone like you coming to speak, the audience
loves that because they didn't get the opportunity. And I
did a lot of these interviews for that. But I
remember pushing those films on home video. I would order
twenty one forty eight copies of those things. I go
listen to this. You can close your eyes and have
a good night's sleep listening to the score of that.
People thought I was nuts, but you can.
Speaker 2 (22:52):
Well thank you. Yeah, it's it's uh so that that
is very you know, that really uh gives gives me
a good feeling about what I've spent a lot of
my time locked in a room doing, because it's it's
out there, I mean, And when I did last time,
you know, when I heard Gettysburg weeks ago for teams,
(23:15):
like two weeks ago, but the last weekend I hear that.
And when you hear the music, sometimes you have to
understand you have to divorce yourself from what happened. You know.
Gettysburg is a project of a guy who talked about
lock who lived in a vacant warehouse in Atlanta for
(23:42):
twenty years. And I'll tell you his name and you
will know who he is. For twenty years he lived
in a warehouse in Atlanta trying to convince the world
that a twenty four hour not radio TV news service
was a viable thing, and everybody laughed at him. Twenty years,
(24:03):
you're crazy. And when he finally had to put cables
up telephone.
Speaker 5 (24:10):
I bet I know who it is, Yeah.
Speaker 3 (24:12):
Brander, you back again.
Speaker 2 (24:13):
And that was of course Ed Turner, and I was fortunate,
and I always was intrigued by this guy in Europe
comes So he was the one that owned the rights
to a book called Killer Angels, which was the story
of the Battle of Gettysburg, and he was the producer
and he was like the last guy on the block
where they were trying to get that made for years,
(24:34):
and he bought it. And so I met him and
then was gone more than Menemi. You know, it was
fortunate that I became friendly with him. He was married
to Jane found at the time, and they came out
here because I didn't want to do it. It was
too much music, and it was originally for a new
cable company had called like I never forget TNT, like Sinnamon,
(24:57):
I said, I don't want to do this, it's a
a television thing. Well, you know, I met him so
fantastic and enthusiasion, passionate beyond belief. And then when I
recorded the music and they heard it, they had me
come down to jar Litterson Place and they had the
premiere down there. And then I kind of started this
wonderful friendship with him. But so each So that's the
(25:22):
story when when someone when I'm hearing Gettysburg, I'm thinking
not only the movie and all the hours I put
him in and the music, I'm thinking about Ted and
his story, you know what I mean. It's sort of
you would sound like, what does that have to do
with Ted Turner, a guy who won the America's Cup
and supposedly you know all these stories about him and
(25:45):
blah blah blah. Well it does for me because he's
the guy that made that movie, that produced it, and
so each of the the stories are different.
Speaker 3 (25:56):
I mean, you know, And then to think about that,
so people love Eddiesburg. I still listen to it and
I want to get a chance to watch it and complete.
Speaker 2 (26:04):
You know, it's like, what is it? You know, it's
about Quinchy Jones was involved, and I had a it's
such a story. But right Jones, Oh my god, the
Quincy Jones part of that is unbelievable. We got we
got time, well okay, well, okay, so here's this. Yeah,
(26:24):
by that time.
Speaker 5 (26:30):
We get to find out about Quincy Johones.
Speaker 2 (26:32):
It's gonna be i'll tell you. I'll tell you. So
you think it's gonna be okay, it's gonna be like
a bad Jaws. Okay, Well, the fact of the matter
is that he was obviously different. As soon as I
saw it, I did a lot of laughing. And you
had John Voice in that incredible role as the bad
snake hunter, you know, the guy baphatizing the thing. And
(26:56):
I picked up on that, and I kept telling everybody
I had a play. Had to play the ominous quality
of it. You had to do that right on, as
much as Jaws or anything else, but you had to
do something else. So I had to figure out a
way to do that. But the thing I remember then,
I promised, I'll tell you the quincy things. The guy
who directed that was from Peru, okay, Luis Losa. He
(27:21):
didn't speak much English at all, and when he came
over here. Obviously there's something in his history why they
hired him to do it, and there was a big
film that he did that doesn't come to mind now.
But when he came over here, oh, and he started
listening to stuff, which is a whole other thing. When
people come over after they have a preconceived notion of
(27:42):
what their music is going to be, and they put
in ten scores and stuff. He I would play something
and you'd say stop, stop, stop. You know when you
see the snake hit it, you know what I mean? Boom,
that's all that was his direction. You know, well that's
not much of a direction. But I'm of right over
there where he hit the wall. Here. It's like whenever
(28:04):
there was a snake he wanted you know. Okay, you know,
but it has to try try to make it a
little better. The the Quincy Jones part of that was
now one of the producers of that film was named
Erna Harrah. Now if you know the name Harrah's as
in Harrah's Club member Lake Tahoe, Vegas. You know, big
(28:30):
big gambling money guy Blubb. About interesting tie in because
I conducted in Las Vegas for Bobby gentry O Toabilly Joe,
who was also married to the same guy Parah. Okay, Okay, see,
I see these stories are deep. Okay, but I forget
about that, forget about Otabilly Joe. Okay. So Quincy Jones
(28:54):
was the boyfriend at the time in the middle of
you know a million maybe other realistships with Verna Haara,
and he told her, as someone knowledgeable and he's her boyfriend,
you have to have authentic music to anaconda. It's gotta be. Okay,
(29:15):
this is this is the composures, This is the composer's
nightma for this kind of shit. Quincy Jones is telling
his girlfriend, who's produceder, You know, you gotta have the
real deal. You can't have like a guy like me,
not me, any gam a Hollywood composer, you know what
I mean. You gotta have the real thing. Okay. The
(29:36):
next thing, I know, because they had called me. I'm
over at Universal in the Universal executive dining room with
Quincy Jones, Randy and Dory Kayimi. And you say to
yourself and his wife, who the hell is Dory Kayimi? Well,
Dory Kayimi is a famous South American guy, not film composer,
(29:58):
a musician, but not nominal.
Speaker 4 (30:00):
You know.
Speaker 2 (30:00):
Whatever he did, Quincy, whether he had met him along
the way, you know, God knows, he knows, and so
he set up this whole thing. And I'm sitting there knowing,
when push comes to shove, when there's ninety minutes of
NonStop music, who's going to be the one doing all
the work. GEORGEI or Randy Ellman, Brandy, you know it is.
(30:24):
But so what I did is we're having this lunch
and this guy sitting there with his wife and he's
going to be involved in other field. And I started saying, well,
I don't know we could do this. That's about an
eight minute sequence. You know, there's a lot in the orchestra.
And as I spoke, I saw Dory Kayimi like get
very small in his seat realizing what was involved. That's
(30:48):
the last time I ever saw Dory Kayimi in affect
the premiere and sitting in back of me at the
premiere was Verna Harra and Quincy and so got done big.
You know. The picture turned out to be a big hit,
like you know, just and at the end, I looked
(31:10):
at I was kind of looking for him to say something, Okay,
it's not it's not your guy, Jory, but you know,
he didn't show up basically, and he looked at me
and he said, Randy, now i've this crity does it?
Do you really know how to use air? Does that
(31:30):
mean I know when?
Speaker 5 (31:31):
To me?
Speaker 2 (31:32):
You know, that was just comment.
Speaker 3 (31:35):
That's interesting, all right, So Randy, we got to take
a quick look at this clip. Gotton wants to know.
But when we come back, I'm going to talk about composers,
because in my mind, you're in the same realm as
John Williams, the music of John Wims. I'm waiting for
the documentary of the music of Randy. Oh all right,
let's take a look at this.
Speaker 8 (32:01):
She caps after you and looks in his eyes, but
he's got nothing to say. Hat wants to know what
Paul really cares about, but he goes on and looks
(32:27):
the other way. She just wants to know where he
feels inside, but he's got no time to play.
Speaker 2 (32:47):
Hat wants to know.
Speaker 8 (32:51):
What Paul really cares about, but he just goes and
wants the other way. They go on together.
Speaker 9 (33:08):
And have a lie, keeping secrets so their man and why,
and she keeps trying, but they both keep.
Speaker 2 (33:24):
Online and that's just the way it goes.
Speaker 9 (33:34):
And she cheeves.
Speaker 8 (33:36):
After him, but still he will straight.
Speaker 3 (33:42):
Why does that mean a lot to you, Carol, because you.
Speaker 4 (33:45):
Know it's it's that they they settled, they went on,
but the issues never resolved.
Speaker 5 (33:52):
Like at the very end, you know, he's still telling
the story.
Speaker 4 (33:57):
How Pat wants to know how he really feels and
I was like, what.
Speaker 3 (34:02):
Could It's emotional, isn't it.
Speaker 5 (34:03):
Yeah, it is.
Speaker 4 (34:04):
It's emotional, like what could have been done? Why could
could she have walked away? Or could could there have
been some resolution along the way something?
Speaker 5 (34:15):
But it's like she just accepts what is and stays
in it to the end.
Speaker 4 (34:21):
And at the very end, when you're showing him as
an old man walking down the sidewalk, I was just.
Speaker 2 (34:28):
Like, no, yeah, that listen, full disclosure. Yeah, you shouldn't
have been watching it. That video is like, that's not
about the song, you know. Okay, okay, I had nothing
that that. That's the one to speak for yourself. It
doesn't need a video. And if you should have a
video and that's not the one that you did.
Speaker 5 (34:48):
Okay, okay, well what would you put in its place? Yeah?
Speaker 2 (34:53):
Basically it's it's you're you're exactly right. But it's the
story of both people that don't split up.
Speaker 3 (35:01):
Yeah, okay, okay, well speaking of people who've been together
for a long time, right, how are yeah?
Speaker 4 (35:08):
Right?
Speaker 2 (35:08):
Absolutely?
Speaker 4 (35:09):
Hell?
Speaker 3 (35:09):
Why we got a chance?
Speaker 2 (35:11):
A full disclosure. It's not autobiographical. It's just something I observe. Yeah,
it doesn't take any you know, everybody can see that
in lots of people. It's just just a way to
live because you don't want to shake up the foundations
of you know sometimes and yeah, I.
Speaker 5 (35:33):
Mean that that makes sense to me.
Speaker 3 (35:35):
I think I get what you're feeling on that too,
because I can feel the emotion of that.
Speaker 2 (35:39):
Oh yeah, yeah, absolutely, yeah.
Speaker 3 (35:44):
What's a documentary on you coming out about you and
your music?
Speaker 2 (35:47):
Well, you see, but you said something like John Williams.
My thing is like John Williams, Well, when did you
hear John Williams do the stuff that I do. He's fantastic.
Speaker 3 (35:55):
No, no, no, it's about it's a different.
Speaker 2 (35:58):
It's a different thing I And it turns out that
my thing has been going musically to these different places
but always being immersed in at the moment. Are much
more than a moment, like twenty five years with films
in it. I don't mix the two. It's not like, oh,
(36:18):
I'm writing a song and I'm scoring a film. No, no,
it doesn't work like that. It's I've been it's just
worked out like that, and it's worked out that I'm
able for the last two years or something or almost
three years now to do these shows, to go around
and then you know. Now I'm involved in scoring a
much different kind of film, but I don't doing a documentary.
(36:41):
I don't have any interest in that because all I'm
interested in is writing music like.
Speaker 3 (36:48):
You know, smoking like a chew composer. So the reason
why I say that is that they need to know
about you, all the stuff that you've done. That's what
I mean by that.
Speaker 4 (36:58):
Yeah, well, yeah, I think Welting on a High Wire
Is is definitely an album worth having, for sure, and
I appreciate that.
Speaker 2 (37:08):
And so Brian, you you come on, you do it.
Speaker 3 (37:12):
No, I'm not a filmmaker though.
Speaker 2 (37:14):
No, no, you do not know. Come on, you don't
have to be a filmmaker to documentary about something you're
passionate about. You just get right people.
Speaker 5 (37:24):
True, I have an invitation issue, Brian.
Speaker 3 (37:30):
I gotta go here first. But I mean, you know
you're right about that. You don't as long as you're
passionate about it. Min would be a drum and bugle
corps because I think about all of those kids playing
a lot of these music, and that's how I learned
classical music from Phantom Regiment, from Rockwood and Illinoise. I
learned jazz, you know, from the Blue Devils from Conquered
you know, uh, California. So that's how I got into music.
(37:52):
That's why scoring, to me is important, listening to this
and turning people on. In the old days, we'd be
going to Tower Records and buying all these soundtracks. Now
it's difficult. I don't know how they do it, and
bothers me that a lot of kids don't get a chance.
Speaker 2 (38:06):
To go out. And it's a double edged sword.
Speaker 4 (38:12):
You know.
Speaker 2 (38:12):
It's like with film scores. Now people don't have to
go out and look for They just put my cousin
Vinnie on their phone, downtrack and boom, there it is.
They can listen to all the cues, you know, which
is which is good. But if obviously you don't have
to go out and purchase them.
Speaker 3 (38:29):
You went to Tennessee not too long ago. I would
think I heard you were a hit down there. I
just missed you.
Speaker 2 (38:33):
I guess oh the oh that oh yes, at the
Grand Ole. Yes, that was that was a kick. Yeah,
I had never been there before.
Speaker 3 (38:42):
It like for you, excuse me, what was that like
for you?
Speaker 4 (38:45):
Oh?
Speaker 2 (38:45):
It was fun, fun, it was great. You know. Uh.
I did a couple of songs. You know, there were
a lot of people there.
Speaker 3 (38:54):
Of course they're like following you around. You're like the
newest beat.
Speaker 2 (38:57):
I was walking. I walked out on the stage and
to the wrong place. It's like I walked to the piano,
but I thought it was a piano that was covered up,
but it wasn't. It was just a piece of furniture.
And I had a They had to lead me back.
This is sort of like you know, Joe Biden even
lead them around. I was like that, sorry, how sorry, Hey.
Speaker 3 (39:19):
Me and Howard we went to go see the Brinda
Lee documentary two weeks ago, and I had never been
to the Country Music Hall of Fame and Museum. I
thought that was great seeing a lot of them.
Speaker 2 (39:29):
Oh that, yeah, I was, yeah, because Jackie did that.
Jackie was in that Brenda Lee thing. I mean Jackie
is Brenda Ly did my wife, Jackie's songs, many of them. Uh,
and when she was there at the Country Music Museum
last year. Uh, Jackie did that. Well the thing you saw.
Speaker 3 (39:50):
Yeah, it was great. I mean Howard grew up with
you know, Brenda Lee going to his house all the time, right, Howard.
Speaker 2 (39:55):
He's great, Yes, sir.
Speaker 6 (39:55):
Actually, my stepfather raised Brinda Lee after she lost her parents.
Speaker 3 (39:59):
He was of godfather.
Speaker 2 (40:00):
Oh so the best friend. We love her jat and
she recorded god that song dumb dumb and this is
you know alone before I met Jackie. But uh, she
recorded lots of Jackie songs.
Speaker 3 (40:13):
Yeah, so it was.
Speaker 2 (40:15):
You know, there is a documentary.
Speaker 3 (40:17):
Go ahead. Aw, I'm sorry to cut you off.
Speaker 6 (40:18):
I just said it said that in the documentary that
she did a lot of Jackie's songs.
Speaker 3 (40:22):
Yeah. See, and I and and Wendy. I didn't know
about that. That's why I want more people. And we
we talk about these things a week after week, you
know Howard and I was. We still talk about going
to see Gloria Gaynor the documentary. That people don't know
are Luther Vandrews. And that's why I say people need
people need to know all the things that you've done.
That's coming from me because I love pushing those things.
(40:44):
I love I love doing that. Because more people need
to know around the world. That's why I say that.
Speaker 2 (40:49):
Well, I'm I'm I'm trying. I mean, I'm I'm out there.
I've been you know, uh doing this stuff now, which
I haven't been. But you know, the whole thing is
that I I couldn't have done what I did with
the films and doing what I'm doing now at all,
you know, I mean it was twenty five years straight.
(41:11):
You can't do one hundred movies and all those I mean,
so they're not all hits and well known. But in
order for me to you know, we haven't talked about
hardly any of them. Give you this whole.
Speaker 3 (41:25):
Off the top of my head. I'm hearing Ghostbusters off
the top of my head.
Speaker 2 (41:28):
Well, okay. And I wouldn't have been able to do that.
It's not like, oh, I was traveling around doing contracts
writing songs. No, could never. I mean you talk about, uh,
the string of the Ghostbusters too, I did was and
that's how I met the great who he passed away
last year, along with so many other people that I knew,
(41:50):
Ivan Wrightman. I met him and we did Ghostbusters too,
and then I did Twins, and then I did Kindergarten
Cop and I did the all those things with Ivan,
and he was a real tough guy to deal with,
you know, really, you know, just those were like you
couldn't I couldn't go out my door when I was
(42:12):
scoring those films. It was just really intense and they
were all kind of you know, what do you call
ten tent pole movies, So there was a lot of
pressure and that's how I kind of cut my teeth
scoring films, doing those big and they were big orchestral scores,
I mean, they weren't little. And movies like Twins and
(42:36):
Kindergarten Cop I do a segment of that those things
in my in my the Piano show that I'm doing.
People don't really those are beautiful, charming movies. You know
here Arnold Schwarzenegger, and they laugh watch those movies. They're gorgeous,
brilliantly made charming, that's what they're charming movies, both of them.
(42:59):
Danny DeVito and Twins, the whole you know, a counter
thing Danny DeVito and Arnold schwartzeney you're in that film
is just great, you know, but that stuff took you know,
just so much, uh time, and uh Triple X with
the then Diesel and Rob Coney directed that, and Dragon
(43:21):
Hard and the Bruce Lee story all those things just great, great,
great great great.
Speaker 4 (43:26):
And it's not just the films too, I mean the work,
you know, thing like uh, working with the Carpenters, Barry Manilo,
Dion Warwick.
Speaker 2 (43:36):
I mean the right, right, but but yeah, no, that
was great. But I never worked with any of those people. Okay,
they boarded my songs. You remember I said before, I
never wrote on Now. I went on Now the carpenters again,
that's a two hour show. You know, me and them
because they discovered me like when I was twenty, you know,
(43:58):
needle in a haystack and Richard and the two of
us had similar keyboard. Uh that we played a certain
way and then they recorded songs and took me out
on tour. That's a different story, but uh, you know,
and you know a sad one. I do that in
my show too, Barry Manilow different, you know, there's all
(44:19):
different stories. But I didn't spend a lot of time
with them. Dion Warwick. That's another two hours show.
Speaker 3 (44:28):
Well, we got a couple of minutes left. But I
say that because those no, no, those documentaries are excellent.
The Dion Walwick. There's a lot of stuff that I
didn't know, you know, And and so they're coming out
and their hits because people are just thirsty for them.
We're not seeing a lot of those temples I mean
this past weekend, Mission Impossible came out. I actually went
to the movies to see it. I'm not getting to
(44:48):
a lot of the movies. The first thing I want
to hear is I want to hear don't don't dun
because I go back to when it was created of
hearing that, and you never forget that. And a lot
of your stuff that you created is like that.
Speaker 4 (45:00):
For me.
Speaker 3 (45:00):
Randy got me about two minutes. What do you want
people to know about you and talk about Lincoln Center?
Go ahead?
Speaker 4 (45:06):
Uh?
Speaker 2 (45:06):
Well, I mean I I'll talk about Lincoln Center. Uh.
I as far as knowing something about me, just would
love it if they heard whether it's a score or
song and listen to it the way that you have
with Wilson on high Wire. You should get the album.
If you don't have that album, seemed like you didn't
have it. Uh, Brian is he's gonna get it, get
(45:27):
it from my lean. But okay, Lincoln Center, Uh, that's
gonna be great. I do uh two hours plus at
a piano, no intermission.
Speaker 4 (45:37):
Uh.
Speaker 2 (45:38):
I never get up from the piano. I don't bow.
I just keep playing a few, a few jokes once
in a while, I'm getting better at that, and I
do a it's it's some people coming. They think they're
gonna hear. They think they're gonna come in, they're gonna
see a symphony orchestra playing these film scores, and of
course they don't. I'm sitting at a piano and most
(45:59):
of it is my songs. But then I do a
segment where I put together a medley of twenty I say,
of twenty five years of film scoring in nine and
a half minutes. Of course, wow, wow, it's like thirteen minutes.
And I speak a little about what I told you
about as I'm playing these things, and most of my
(46:24):
you know, my favorite ones, not necessarily the ones that
were the most successful, but I do that. And then
of course I do very few of them. As far
as that I scored one hundred films, I obviously don't
can't do that many. But I do that. And that's
really the area that I do. I really get into it.
(46:47):
I don't sugarcoat it, and I don't do oh, here's
a film theme here and there. I just do that
segment and I end it, funnily enough, with not a
film uh piece of music, but the TV piece of
music that I did that's lasted for a billion years.
Well about a guy who could build a bomb out
(47:09):
of a chocolate bar was called Maguver. Another show, another
show that nobody thought would ever even be on, but
they that was in the old days, and they picked
up things and network, but they liked to go and
that became. And so I end the whole film thing
with all those serious scores. I ended with Macguiver. You
(47:37):
know what, everybody?
Speaker 3 (47:38):
Yeah, yeah, So everybody you got to go see on
Lincoln Center June sixth, the man whose music moves the world,
and it does, and always go. I always tell people
go to any you find a record store. You gotta
support small business. You can find those great stories because
you never know who those next composers are gonna be.
And I have to always say this when they got
(47:59):
to thank you for I know you've been busy. I've
been tracking every place that you've been well, and you've
been busy, and congratulations to that because you're deserve it.
And I'm gonna see you going to Carnegie Hall because
I've never been there. That's why I told Eileen and
Jimmy I'm going there to see him. So you're gonna
see me there and I always say this, rank you think, Andy,
Thank you so much for your time and everything like that.
Speaker 2 (48:19):
All of you have a good night, tonight, a better day.
Speaker 3 (48:23):
Tomile. You see someone went out a smile, please give
them one of yours, because the world needs it. This
is movie reviews and more and we will see you
next week.
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
The Breakfast Club
The World's Most Dangerous Morning Show, The Breakfast Club, With DJ Envy, Jess Hilarious, And Charlamagne Tha God!