November 19, 2024 • 26 mins
Ever wondered what it was like to work side-by-side with legends like John Lennon and Paul McCartney?
Join us as we sit down with the iconic Billy J Kramer, who shares the riveting story behind his stage name, a suggestion from Lennon himself.
Discover the fascinating behind-the-scenes tales of recording songs written by the Beatles exclusively for him, including his hit single "Little Children," which marked a pivotal moment in his career. Kramer also opens up about the thrill of touring across Europe and the United States, reminiscing about his electrifying performance on the Ed Sullivan Show.
Take a trip back to the 70s and 80s, an era of revival and reinvention in the music industry.
Billy reflects on the nostalgic joy of touring with fellow British Invasion bands and the dynamic changes that came with the reformation of the Dakotas.
We explore his unique ventures during the 80s, from creating a children's album to narrating books, and discuss the challenges he faced balancing international tours with recording commitments.
Hear firsthand how these experiences have shaped his illustrious career and solidified his place in music history.
In a heartfelt conversation, Billy opens up about his lifelong connection with the Beatles and his journey to maintain musical integrity over the decades.
Learn about his personal battles with alcohol and his triumphant path to sobriety, as detailed in his autobiography "You Want to Know a Secret?".
We also discuss his recent projects, including a new album recorded at Abbey Road and his active role in music festivals and historic interviews.
This is a must-listen for anyone eager to hear the untold stories of a true music industry legend.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:14):
My career in the entertainment industry has
enabled me to work with adiverse range of talent.
Through my years of experience,I've recognized two essential
aspects.
Industry professionals, whetherfamous stars or
behind-the-scenes staff, havefascinating stories to tell.
Secondly, audiences are eagerto listen to these stories,
(00:36):
which offer a glimpse into theirlives and the evolution of
their life stories.
This podcast aims to sharethese narratives, providing
information on how they evolveinto their chosen career.
We will delve into theirjourney to stardom, discuss
their struggles and successesand hear from people who helped
them achieve their goals.
Get ready for intriguingbehind-the-scenes stories and
(00:58):
insights into the fascinatingworld of entertainment.
Hi, I'm Tony Mantor and welcometo Almost Live Nashville.
Today we are joined by Billy JKramer, who boasts an impressive
background in the musicindustry, having worked closely
with the Beatles and theirmanager.
His extensive history includespossessing never-before-recorded
(01:22):
songs written by Lennon andMcCartney specifically for him.
We are eager to hear about hisexperiences and share this with
you, our audience, so thanks forjoining us today.
Speaker 2 (01:33):
Thank you very much.
Speaker 1 (01:34):
Yeah, I really appreciate you taking the time
to come on to my show.
So I'm kind of interested.
Back when you first started youwas with a band called the
Dakotas and back then I knowthey wanted you to have a band
called the Dakotas and back thenI know they wanted you to have
a stage name.
So I was kind of interested.
How did Billy Jay Kramer comeabout?
There's rumors that it camefrom a phone book so many
(01:55):
different things.
So how did you become Billy JayKramer?
Speaker 2 (01:59):
What it was is that the guys I started off with you
know my first band said you'vegot to have a stage name and
they wrote down 12 differentnames.
They called the telephoneoperator and said we wish you
like the best.
I insisted that it had to beBilly something and she picked
up Billy Kramer.
And then, about a month beforeI was going to release, do you
(02:23):
Want to Know a Secret?
I went into Brian Epstein'soffice and John Lennon was there
.
He said John has a suggestion.
I said what is it?
He said he wants you to add theJ, wants you to add the J to
the camera and make it more workand rolly and catchy for the
public.
So that's how I came about it.
Speaker 1 (02:40):
Oh, that's great.
That's truly very interesting.
So I understand that you areprobably the only person that
has recorded a song written byLennon and McCartney that the
Beatles didn't actually recordthemselves.
Speaker 2 (02:55):
Well, they wrote that to me.
You know.
They wrote I'll Keep a SaracenEye from a Window.
You know Another song calledI'm in Love.
So yeah, I guess it was becauseI was doing a lot, I was
working with them all, I wastouring with them all, you know.
Speaker 1 (03:10):
Yeah, that's just awesome.
So it never hurts to have asuper band like the Beatles to
be part of what you're doing,because it gives you tremendous
exposure.
Of course I heard that becauseyou was traveling with them so
much and recording their songsthat you wanted to kind of come
out of the shadows of theBeatles and become your own
(03:33):
entity and create somethingspecial of your own, and of
course, that really happened foryou.
Speaker 2 (03:39):
Well, little Children was nothing to do with Ben
McCartney.
The Little Children came and Ijust felt that.
You know, I had a lot of peoplesending me material, I was
mixing with music publishers andI was in a place called Ryan's
in England and I got up one dayand I put on this asset and
(04:00):
there was little children.
And you know, it's funnybecause, like he records one of
the two ROC, but I never thoughtit was going to be a hit, you
know Right, but I just thoughtLittle Children was a hit song
right from the demo.
Speaker 1 (04:14):
Yeah, and that actually worked out very well
for you.
So now I understand that whenyou came up with your name,
billy J Kramer, it was also sothat the Dakotas could keep
their name and it could be twoseparate entities, and that
appeared to work well for youtoo.
Speaker 2 (04:28):
Yes, you know they were a pretty established band.
You know they used to go do allthe back-end jobs for people
who were in the charts that cameto the north of England.
So Brian Epstein thought itwould be a good thing to put us
together and the deal that Istruck with them was that they
(04:50):
would have a recording contractand I would have a recording
contract.
Speaker 1 (04:54):
Yeah, that was great because it worked out well for
both of you, I guess.
Speaker 2 (04:58):
so yeah, you know, they had a hit with a thing
called Cruel Surf.
They had another thing called AMillionaire.
It was instrumental, okay, ohyeah.
So they played singles.
Speaker 1 (05:12):
Yeah, that worked out well.
So, once you started hittingyour stride, your name got out
there, your songs got out there.
You traveled, of course, aroundthe UK.
Did you travel into Europefirst and then ultimately make
that transition to travel overto the US?
I?
Speaker 2 (05:28):
mostly I did Europe.
You know, I was in all ofScandinavia originally and then
I came over to America and did apromo show before the Beatles.
And then, when the Beatles dida Sullivan show, I came back to
America and I did a Sullivanshow myself.
Speaker 1 (05:49):
Oh, that was great.
So how did you find theaudiences between the US and the
UK, because you was having hitrecords in both countries and
you were starting to really blowup there.
Did you notice any differenceat all?
Speaker 2 (06:06):
and I'll be honest with you at the time.
I think that that, uh, peoplein the us fell in love with
anything from england, right,you know, after the beatles did,
I saw them around, you know,and it was, it was more.
It's the same thing.
I mean a lot of screaming youngkids.
Speaker 1 (06:26):
Yeah, that certainly was a time just a lot of
screaming young fans that wasjust excited to see you.
So what stands out over theyears of things that happened to
you that you can look back uponand say you know, I'm really
glad that I was able to do that.
Speaker 2 (06:42):
I think like doing the Tammy show with James Brown,
marvin Gaye, chuck Berry, theBeach Boys, janet and Dean.
Leslie Gore was monumental tome.
You know the Rolling Stoneswere in it.
You know that was a fantasticshow.
Also, monumental was appearingat the Wells Fair for a week in
(07:07):
New York.
Yeah, yes.
It was a wonderful time.
Speaker 1 (07:11):
Yeah, that's a great time.
I mean, that's what a lot ofpeople just really wish for in
their lives.
So you did well there.
So did you have any songs thatyou recorded, that when you
recorded them, you liked them,but then for some reason, you
didn't think they was going todo well, but all of a sudden
they did well.
I'll be honest with you.
Speaker 2 (07:29):
Do you want to know a secret?
I I've been singing do you wantto know a secret?
On live on stage.
I've been you doing it and Iwas at the star club in hamburg
for months and I was verysurprised when I did a recording
test for george martin and hewanted to release Do you Want to
Know a Secret?
I wanted to find another song.
(07:50):
I didn't think it was goodenough.
It really took me by surprisewhen it was a big hit.
Speaker 1 (07:55):
Yeah, that's always a great feeling when something
that you didn't think was goingto work out all of a sudden
turns into something very, verygood for you.
Now, in your travels you travelthe world, you did big concerts
, lots of people, you justbrought up one with tremendous
stars that just created atremendously good show.
Can you name one or two otherthings that you've done that
(08:18):
just stands so tall that whenyou look back at your body of
work you just kind of surprisedyourself.
Speaker 2 (08:25):
but you're really proud of what you've done and
what you've accomplished with it, I think doing Beth to me, you
know, is to me my memory ofbeing at Abbey Road Studios and
John Lennon sitting at the pianoplaying with the song and
rehearsing it and recording itall in the same day.
Speaker 1 (08:47):
Yeah, that's amazing memory.
It's having Lennon there, I'msure, because I mean that's
nothing gets better than that.
So, with all the friends thatI've got in the business that's
traveled the world, there'salways that one or two stories
that just stays in your mind andthey will always remember.
Do you have a story where yousit back and remember that just
(09:09):
kind of brings a smile to yourface?
Speaker 2 (09:10):
You know, I think being stuck in a snowstorm in
the Middle East of England wasfunny.
We were all in this van and wegot snowed in overnight.
You know, we were lucky.
We had a case of beer with us.
Speaker 1 (09:29):
Yeah, that's a good story for sure.
So did you get into writing atall?
I mean, you had the Beatles,mccartney, lennon around you so
many talented people.
Did you get into writing, orwas you just staying a performer
?
Speaker 2 (09:42):
I was more of a singer.
I used to with the Ducosas, Iwould you know, put some
emphasis on some of the songsthey were writing you know, yeah
, that makes sense, I meaneverybody does their own little
thing.
Speaker 1 (09:59):
you know, yeah, that makes sense, I mean everybody
does their own little thing.
So now you've gone through the60s and all the change of music
and how it happened, now you'reinto the 70s and 80s, things
slowed down a little bit, turnedaround a little bit because it
did for everybody.
From from that era there was arevival of the british invasion
in the States.
So how did it feel, going backand kind of recapturing what you
(10:21):
had done in the past over thoseyears?
Speaker 2 (10:26):
It was good, you know , because I've been honest with
you.
I think you know when I did thetours in the 60s, you know I
was like it was a go-bill withJerry and the Pacemakers and
Sonny and Cher were on one show.
But to come back, and you know,to do a tour with people like
the Searchers, peter Noon, theTrugs, badfinger.
(10:49):
It was interesting to work withall these people you know,
travel around and hang out withthem.
Speaker 1 (10:56):
Yeah, it's always good to go back in time that way
and just relive things, butstill have that vibe.
That just really works becauseyou certainly had it.
So at some point the dakotaschanged a few members.
Did that affect you at all?
I?
Speaker 2 (11:13):
actually finished with the coursesoders in about
1968.
Okay, and I'll be honest withyou, I never named the band,
okay, and then the drummer fromthe Decoders approached me some
years later and said you know,would you come back?
We've reformed the band.
There was him and Mike Maxwellwho was the original guitar
(11:36):
player, and they had anotherbass player and a keyboard
player and I went to England, Irehearsed with them and we did a
tour together.
You know, it was just a one-offthing.
Speaker 1 (11:49):
Okay, that makes sense.
So then let's move into the 80s.
You still were recording.
You were still performing allaround the world.
Did you focus more on the UK,with the Dakotas, or did you
still focus on the US, or both?
Speaker 2 (12:05):
I aimed at both places.
You know, that's where I did,yeah.
Speaker 1 (12:09):
Yeah, it's always nice to be able to go in various
places where you've been andfocus on that.
So after that I heard that youdid a song on an album that was
for a children's album.
What led you up to doing that?
That was for.
Speaker 2 (12:24):
I was approached, I got a surprise.
It was Sandra Boydney, who wasone of the biggest child authors
in the world.
I think I bought one there.
It was this letter from her.
I'd never heard of her.
Okay, and she's.
She sent me this song and saidyou know, at the time she was,
she was writing books and makingcds with it, you know with, and
(12:48):
she had different artists dothe different tracks.
And she sent me this songcalled cow planet.
I just thought, thought I'vegot to do this, it's got to be a
lot of fun.
Oh, that's nice.
And I went to Sony Studios inNew York and recorded the song
with her and then afterwards sheasked me whether I narrated
some of her child's books forher.
(13:09):
Yeah, that's great, that wasgreat.
Speaker 1 (13:12):
Yeah, it's always great to be able to do things
because you want to do them andnot because you have to do it,
because in the first part ofyour career you're being pushed
to record more records, performmore, get out there more.
Did you find yourself, like somany other singers that have
(13:33):
been so busy and in such demandthat they couldn't remember
where they were 10 days ago, letalone yesterday or six months
ago?
How did that affect you backthen, when you was working so
hard?
It?
Speaker 2 (13:46):
was very overwhelming .
I mean, let's face it, I wassort of like working on the
railroad swinging a heavy hammerand then inside a year, I was
like jetting all over the world.
You know, I was flying toAmerica, flying to Australia,
you know, it was crazy.
Speaker 1 (14:06):
Oh, I can just imagine, especially back at that
point in time.
So how long did it take youbefore you got used to the pace
and got used to the demands andit just settled down for you?
Speaker 2 (14:19):
yeah it took quite a long time, I don't.
I I'll be honest with you.
I mean, in my case I, uh, Istarted, I started to drink a
lot.
That became a bad habit, youknow right, I drank a lot to try
and cope with it, and I thinkit was only when I got sober and
stopped drinking.
Speaker 1 (14:39):
Well, that's great that you got past that, because
now in the last 40 years, you'vebeen able to focus on your
music, the integrity of what youwant to do, and just keep it
pure.
Speaker 2 (14:50):
Yes, and you know, back in the 60s albums were just
like your A-side, your B-sideand fillers.
Oh yeah, you know, I started tothink about doing an album of
all the songs that I thoughtwould be good for an album, you
know.
Speaker 1 (15:05):
Yeah, yeah, absolutely.
I remember back in the 70s andthe 80s we had stations that
were designated AOR which justplayed basically the album cuts
that was off the album, withoutplaying the singles.
That were actually the hits andthey were really great songs,
most of them, some of them werenot, but overall they were good.
(15:27):
But, like you said, they wererecorded as fillers, so they
weren't pushed to radio becausethey just considered them as
fillers.
Speaker 2 (15:34):
I used to go in the studio with just lyric sheets
and a lot of stuff I recorded.
I never, ever, did them again.
Yeah, I did them on the session.
I never did them live, you know, and 90% of my early albums
were made like that, you know.
Speaker 1 (15:53):
Yeah, I remember that a lot.
A lot of people told me thosestories, so I understand that
you're still recording andrecorded something in the last
what year or two, I have thisnew album.
Speaker 2 (16:02):
It's a album called Are you With Me?
Speaker 1 (16:04):
Oh, that's great.
Speaker 2 (16:06):
You know which.
I went back to Abbey Road.
I did my 60th anniversary showbusiness party there.
I did a party there and then Irecorded a whole new album.
Speaker 1 (16:17):
Wow, that's great and a lot of great memories at
Abbey Road, for sure, I bet.
So how is that album doing foryou with your fans and people
that are around you?
Has it picked up for you?
Speaker 2 (16:29):
It's brand new.
You know.
There's a couple of songs on itwhich are written by a good
friend of mine who lives inNashville now, who produced
Bloody Guy, tom Hambridge.
He wrote.
Tom Hambridge wrote the songAre you With Me and I wrote a
song called Go On, girl.
Speaker 1 (16:44):
That's just awesome.
I just love it that you'restill staying active and still
recording, because it's a love,it's a passion and it's
something that you don't everwant to give up.
Now I've heard something aboutwriting a book, or something
about a book.
What's that all about?
Speaker 2 (16:58):
Oh, I wrote my autobiography.
Oh, I wrote my autobiography.
Speaker 1 (17:00):
Oh, that's great.
I mean, the stories you got totell I'm sure are outstanding.
Speaker 2 (17:04):
I got together with a writer who wrote the Harry
Nielsen autobiography, alanShipton, who had done a lot of
jazz people and things like that.
He came to America.
We spent time together and thenwhen I was on tour he spent
time with me and we did myautobiography.
It's called you Want to Know aSecret?
Speaker 1 (17:23):
So I'm sure that it's available on Amazon.
Are there any other places thatpeople can pick it up?
Speaker 2 (17:29):
Yes, it is on that Also.
I can send to people if theyget in touch with me at
billyjcramermusiccom.
Speaker 1 (17:37):
Oh, that's great.
I'm sure it's a great read too.
So now didn't you write anintroduction about a novel that
was written about the Beatles,the fifth Beatle.
Speaker 2 (17:46):
Yes, Vivek Tewari, who does the front-end book.
I wrote the notes for that.
Speaker 1 (17:54):
Oh, that's great.
So now, where you wasperforming and traveling with
the Beatles because you wasrecording, you was writing songs
with them, that must have beena special thing, like brothers
in a pack.
I'm sure that that's never goneaway, has it.
Speaker 2 (18:09):
It was.
You know.
I'll be honest with you, it wasno big deal.
They were really nice.
We'd go to theaters.
They'd walk in my dressing room, I'd walk in their dressing
room.
That's the way it was.
Speaker 1 (18:20):
Yeah, that's just so good, Because it's always great
when performers can go out andcreate that bond and then
there's no real competitionthere, because they're just
supporting each other and hopingeach other does well.
Speaker 2 (18:33):
No, I'll be honest with you, and they invited me to
when they had new albumsreleased and stuff like that.
I got an invite, you know.
Speaker 1 (18:41):
Yeah, that's great.
So do you still stay in contactwith Paul or Ringo, or both of
them at all?
Speaker 2 (18:47):
Occasionally, but it's sort of an everyday thing
Once in a while, you know.
Speaker 1 (18:52):
Yeah, sure, it's always great that you can just
pick up the phone and stay incontact with friends.
That's been that long, sure.
So you're promoting an albumthat you just recorded.
You've written a book.
What else are you doing that'supcoming, that we should know
about?
Speaker 2 (19:06):
I'm going back to Havre Road to do a historic
interview there.
From there I'm doing the BrianEpstein documentary I'm going to
be involved in.
I'm going back to Liverpool todo a thing at the Beatle Museum
there on August 26th.
So you know I have to do theFestival of Beatle fans in
(19:29):
Chicago.
Speaker 1 (19:30):
Yeah, that's great.
So now you're in a place whereyou can kind of come and go and
really do what you want to do,pick and choose, have fun with
it.
Are you traveling a lot or areyou finding yourself with a good
mix of travel and downtime?
I like to try.
Speaker 2 (19:48):
To me.
I like to try to try and be asactive as possible.
Sure, it's good for you, itkeeps you young.
Speaker 1 (19:55):
You've mentioned that you're going to do some
interviews.
Have you gotten into anythingor any talks about a documentary
about your life and all thetimes with the Beatles and the
different stars that you've beeninvolved with?
Because, with what you said, Ithink that just makes sense that
you would do something likethat and it would do really well
because of the history.
Speaker 2 (20:13):
You know, I think that's been sort of something
that's been going on behind thescenes for quite some time.
Okay, that's been sort ofsomething that's been going on
behind the scenes for quite sometime.
Okay, and I sat with Dave.
They did a Bosque head andshoulder thing.
They're going to put one ofthem in Liverpool.
Speaker 1 (20:30):
Wow, that's just really awesome.
Yeah, I mean, that just goes tothe respect that they're giving
to you.
I think that's great.
So what are some of thehotspots that you find yourself
still being drawn to to performin?
Speaker 2 (20:43):
England, the world of England, that's the next big
hotspot.
Speaker 1 (20:47):
That's great.
Now, you were born and raisedin England, correct?
Speaker 2 (20:51):
I was born and raised in Liverpool.
Speaker 1 (20:53):
Liverpool.
Okay, that's great, yeah.
So how old was you when youfinally made that move and
decided you know, I think I wantto do music and I'm going to
give it my shot and see where itgoes.
Speaker 2 (21:08):
It was when I was 19.
I'll be honest with you.
I came second to the Beatles inthe popularity poll Wow, and
Brian Epstein approached meabout managing me.
So that was it.
Speaker 1 (21:21):
Well, that's great because where Brian was involved
with the Beatles, that wasdefinitely a great thing for you
.
Did you feel, once you hadsigned with him and things
started working, that you wasreally kind of like part of the
family?
Speaker 2 (21:36):
Brian, you know they called it the Brian of Stable.
He had Jerry and the Pacemakers, the Beatles, a girl called
Silver Black, a band called theBig Three.
It was like a family.
It was like a family.
Speaker 1 (21:51):
I mean that's great and what a great family it was.
I mean you could walk in andwhat a great family it was.
I mean you could walk in oneday and probably see Paul
McCartney, and the next day yousee John Lennon and then, of
course, with all the otherpeople that were within the
Epstein family.
What a great time you must havehad.
I mean, I can really appreciatethat.
Speaker 2 (22:06):
It was like that.
I'll be honest.
Hit record I got a telegramfrom the Beatles congratulating
me.
Nice, I would send them atelegram when they had a hit.
It was that kind of situation.
Speaker 1 (22:20):
Yeah, that's just so great.
I mean, you can't ask for abetter situation than what you
had there.
So how did you transform into asinger?
Because before you started tobecome a singer, full-time, you
was working what for therailroad, or something like that
.
Speaker 2 (22:38):
I worked for British Rail in the UK.
I was an engineer, you know, amaintenance engineer.
I took locomotives to piecesand put them back together again
.
Speaker 1 (22:45):
Wow, that's impressive.
Speaker 2 (22:47):
And in the evening I used to do gigs all around
Liverpool.
Speaker 1 (22:51):
Wow, that's great.
Now, when you startedperforming, I think I heard that
you was pretty much a guitarplayer, not just a singer.
Speaker 2 (22:58):
I played guitar.
I started playing guitar andthe guys in the band said you're
not progressing very much andthey pushed me to do the singing
.
Speaker 1 (23:05):
That's great.
I mean, sometimes things justhappen for a reason, and that
was probably just a greattransition for you, I guess.
So yeah, I mean it certainlydid.
I mean you've had such anawesome life, You've got great
stories being around the Beatlesand all those great names that
came out of England.
What's next for you?
What do you see that you'd liketo still do?
Speaker 2 (23:28):
You know, I'll be honest with you.
I came to Nashville just beforethe COVID Okay and I recorded
five songs with Tom HambridgeOkay, and I'd like to go back
and do another five and put outan album.
Speaker 1 (23:42):
Yeah, that would be really nice.
Yeah, I mean, there's nothingbetter than recording.
I've been in the studio withvarious singers that I've
recorded and it just gives yousuch a feeling when you're in
there and the musicians are justcreating.
Speaker 2 (23:57):
To me it's a wonderful experience.
You know, as I say, I'd like togo back to Nashville and finish
off what I saw.
Speaker 1 (24:06):
Yeah, that'd be great , and if you do come back to
Nashville, definitely let meknow so that I can come down and
check it out.
Sure, Absolutely.
Yeah, I think that'd be great.
So each of the next two thingsthat I'm going to bring up has a
different set of emotionsRecording and performing.
When you're recording, you'recreating that great music.
(24:26):
And then, of course, whenyou're performing, you're in
front of crowds and just feelingtheir energy.
Which is your preference,recording or performing?
Speaker 2 (24:37):
Frankly, I enjoy going into a studio with a song
that's just bare bones, maybe onacoustic guitar, and I like to
take it to where I feel it'sgreat.
You know Starting it fromnothing and creating it and
making it great.
You know starting it fromnothing and creating it and
making it great, you know.
Speaker 1 (24:54):
Yeah, there's nothing better than that creating music
from just a bare bones andbuilding it, feeling your dreams
come true plus your vision cometrue and, at the end, having
just a great song that you'verecorded.
Speaker 2 (25:10):
It's a wonderful experience.
Speaker 1 (25:11):
Yeah, it really is.
It's awesome.
Yeah, I think that'd be reallygreat if you came back to
Nashville to finish your CD.
So the project you have out now, is it an EP or a CD?
Five or is it 10 songs?
It's 10.
Okay, 10 songs.
So you did a complete albumthen.
Speaker 2 (25:28):
Yes, 10 songs.
Speaker 1 (25:30):
So your goal, then, is to come back and do another
five and create another EP.
Speaker 2 (25:35):
Yes, definitely.
Speaker 1 (25:36):
Yeah, that'd be great .
I mean, you're in ChicagoNashville's here, it's only
about a six to eight hour drive.
Speaker 2 (25:43):
Yeah, and I really enjoyed the songs I did in
Nashville.
Speaker 1 (25:50):
Yeah, nashville's a great place.
I've been here for over 30years now producing and managing
singers, so you can't get abetter vibe than what Nashville
can give you, and that's anyplace in the world actually.
It's just really great.
The musicians are here, thesongwriters are here, everything
is here that's need to developa career, so it's just a great
place to be.
Speaker 2 (26:08):
It's a great vibe.
Speaker 1 (26:10):
Yeah, it is for sure.
Well, I tell you, this has beengreat, I think.
So I mean the stories that youcan tell and the things that
you've done just reallytremendous.
So it's been a pleasure havingyou here.
Speaker 2 (26:21):
Thank you very much.
It's been a pleasure talking toyou.
Speaker 1 (26:24):
The pleasure's all mine.
Thanks for joining us today.
We hope you enjoyed the show.
This has been a Tony Mantorproduction.
(26:44):
For more information, contactmedia at plateau music dot com.
My career in the entertainment industry has
enabled me to work with adiverse range of talent.
Through my years of experience,I've recognized two essential
aspects.
Industry professionals, whetherfamous stars or
behind-the-scenes staff, havefascinating stories to tell.
Secondly, audiences are eagerto listen to these stories,
(00:36):
which offer a glimpse into theirlives and the evolution of
their life stories.
This podcast aims to sharethese narratives, providing
information on how they evolveinto their chosen career.
We will delve into theirjourney to stardom, discuss
their struggles and successesand hear from people who helped
them achieve their goals.
Get ready for intriguingbehind-the-scenes stories and
(00:58):
insights into the fascinatingworld of entertainment.
Hi, I'm Tony Mantor and welcometo Almost Live Nashville.
Today we are joined by Billy JKramer, who boasts an impressive
background in the musicindustry, having worked closely
with the Beatles and theirmanager.
His extensive history includespossessing never-before-recorded
(01:22):
songs written by Lennon andMcCartney specifically for him.
We are eager to hear about hisexperiences and share this with
you, our audience, so thanks forjoining us today.
Speaker 2 (01:33):
Thank you very much.
Speaker 1 (01:34):
Yeah, I really appreciate you taking the time
to come on to my show.
So I'm kind of interested.
Back when you first started youwas with a band called the
Dakotas and back then I knowthey wanted you to have a band
called the Dakotas and back thenI know they wanted you to have
a stage name.
So I was kind of interested.
How did Billy Jay Kramer comeabout?
There's rumors that it camefrom a phone book so many
(01:55):
different things.
So how did you become Billy JayKramer?
Speaker 2 (01:59):
What it was is that the guys I started off with you
know my first band said you'vegot to have a stage name and
they wrote down 12 differentnames.
They called the telephoneoperator and said we wish you
like the best.
I insisted that it had to beBilly something and she picked
up Billy Kramer.
And then, about a month beforeI was going to release, do you
(02:23):
Want to Know a Secret?
I went into Brian Epstein'soffice and John Lennon was there
.
He said John has a suggestion.
I said what is it?
He said he wants you to add theJ, wants you to add the J to
the camera and make it more workand rolly and catchy for the
public.
So that's how I came about it.
Speaker 1 (02:40):
Oh, that's great.
That's truly very interesting.
So I understand that you areprobably the only person that
has recorded a song written byLennon and McCartney that the
Beatles didn't actually recordthemselves.
Speaker 2 (02:55):
Well, they wrote that to me.
You know.
They wrote I'll Keep a SaracenEye from a Window.
You know Another song calledI'm in Love.
So yeah, I guess it was becauseI was doing a lot, I was
working with them all, I wastouring with them all, you know.
Speaker 1 (03:10):
Yeah, that's just awesome.
So it never hurts to have asuper band like the Beatles to
be part of what you're doing,because it gives you tremendous
exposure.
Of course I heard that becauseyou was traveling with them so
much and recording their songsthat you wanted to kind of come
out of the shadows of theBeatles and become your own
(03:33):
entity and create somethingspecial of your own, and of
course, that really happened foryou.
Speaker 2 (03:39):
Well, little Children was nothing to do with Ben
McCartney.
The Little Children came and Ijust felt that.
You know, I had a lot of peoplesending me material, I was
mixing with music publishers andI was in a place called Ryan's
in England and I got up one dayand I put on this asset and
(04:00):
there was little children.
And you know, it's funnybecause, like he records one of
the two ROC, but I never thoughtit was going to be a hit, you
know Right, but I just thoughtLittle Children was a hit song
right from the demo.
Speaker 1 (04:14):
Yeah, and that actually worked out very well
for you.
So now I understand that whenyou came up with your name,
billy J Kramer, it was also sothat the Dakotas could keep
their name and it could be twoseparate entities, and that
appeared to work well for youtoo.
Speaker 2 (04:28):
Yes, you know they were a pretty established band.
You know they used to go do allthe back-end jobs for people
who were in the charts that cameto the north of England.
So Brian Epstein thought itwould be a good thing to put us
together and the deal that Istruck with them was that they
(04:50):
would have a recording contractand I would have a recording
contract.
Speaker 1 (04:54):
Yeah, that was great because it worked out well for
both of you, I guess.
Speaker 2 (04:58):
so yeah, you know, they had a hit with a thing
called Cruel Surf.
They had another thing called AMillionaire.
It was instrumental, okay, ohyeah.
So they played singles.
Speaker 1 (05:12):
Yeah, that worked out well.
So, once you started hittingyour stride, your name got out
there, your songs got out there.
You traveled, of course, aroundthe UK.
Did you travel into Europefirst and then ultimately make
that transition to travel overto the US?
I?
Speaker 2 (05:28):
mostly I did Europe.
You know, I was in all ofScandinavia originally and then
I came over to America and did apromo show before the Beatles.
And then, when the Beatles dida Sullivan show, I came back to
America and I did a Sullivanshow myself.
Speaker 1 (05:49):
Oh, that was great.
So how did you find theaudiences between the US and the
UK, because you was having hitrecords in both countries and
you were starting to really blowup there.
Did you notice any differenceat all?
Speaker 2 (06:06):
and I'll be honest with you at the time.
I think that that, uh, peoplein the us fell in love with
anything from england, right,you know, after the beatles did,
I saw them around, you know,and it was, it was more.
It's the same thing.
I mean a lot of screaming youngkids.
Speaker 1 (06:26):
Yeah, that certainly was a time just a lot of
screaming young fans that wasjust excited to see you.
So what stands out over theyears of things that happened to
you that you can look back uponand say you know, I'm really
glad that I was able to do that.
Speaker 2 (06:42):
I think like doing the Tammy show with James Brown,
marvin Gaye, chuck Berry, theBeach Boys, janet and Dean.
Leslie Gore was monumental tome.
You know the Rolling Stoneswere in it.
You know that was a fantasticshow.
Also, monumental was appearingat the Wells Fair for a week in
(07:07):
New York.
Yeah, yes.
It was a wonderful time.
Speaker 1 (07:11):
Yeah, that's a great time.
I mean, that's what a lot ofpeople just really wish for in
their lives.
So you did well there.
So did you have any songs thatyou recorded, that when you
recorded them, you liked them,but then for some reason, you
didn't think they was going todo well, but all of a sudden
they did well.
I'll be honest with you.
Speaker 2 (07:29):
Do you want to know a secret?
I I've been singing do you wantto know a secret?
On live on stage.
I've been you doing it and Iwas at the star club in hamburg
for months and I was verysurprised when I did a recording
test for george martin and hewanted to release Do you Want to
Know a Secret?
I wanted to find another song.
(07:50):
I didn't think it was goodenough.
It really took me by surprisewhen it was a big hit.
Speaker 1 (07:55):
Yeah, that's always a great feeling when something
that you didn't think was goingto work out all of a sudden
turns into something very, verygood for you.
Now, in your travels you travelthe world, you did big concerts
, lots of people, you justbrought up one with tremendous
stars that just created atremendously good show.
Can you name one or two otherthings that you've done that
(08:18):
just stands so tall that whenyou look back at your body of
work you just kind of surprisedyourself.
Speaker 2 (08:25):
but you're really proud of what you've done and
what you've accomplished with it, I think doing Beth to me, you
know, is to me my memory ofbeing at Abbey Road Studios and
John Lennon sitting at the pianoplaying with the song and
rehearsing it and recording itall in the same day.
Speaker 1 (08:47):
Yeah, that's amazing memory.
It's having Lennon there, I'msure, because I mean that's
nothing gets better than that.
So, with all the friends thatI've got in the business that's
traveled the world, there'salways that one or two stories
that just stays in your mind andthey will always remember.
Do you have a story where yousit back and remember that just
(09:09):
kind of brings a smile to yourface?
Speaker 2 (09:10):
You know, I think being stuck in a snowstorm in
the Middle East of England wasfunny.
We were all in this van and wegot snowed in overnight.
You know, we were lucky.
We had a case of beer with us.
Speaker 1 (09:29):
Yeah, that's a good story for sure.
So did you get into writing atall?
I mean, you had the Beatles,mccartney, lennon around you so
many talented people.
Did you get into writing, orwas you just staying a performer
?
Speaker 2 (09:42):
I was more of a singer.
I used to with the Ducosas, Iwould you know, put some
emphasis on some of the songsthey were writing you know, yeah
, that makes sense, I meaneverybody does their own little
thing.
Speaker 1 (09:59):
you know, yeah, that makes sense, I mean everybody
does their own little thing.
So now you've gone through the60s and all the change of music
and how it happened, now you'reinto the 70s and 80s, things
slowed down a little bit, turnedaround a little bit because it
did for everybody.
From from that era there was arevival of the british invasion
in the States.
So how did it feel, going backand kind of recapturing what you
(10:21):
had done in the past over thoseyears?
Speaker 2 (10:26):
It was good, you know , because I've been honest with
you.
I think you know when I did thetours in the 60s, you know I
was like it was a go-bill withJerry and the Pacemakers and
Sonny and Cher were on one show.
But to come back, and you know,to do a tour with people like
the Searchers, peter Noon, theTrugs, badfinger.
(10:49):
It was interesting to work withall these people you know,
travel around and hang out withthem.
Speaker 1 (10:56):
Yeah, it's always good to go back in time that way
and just relive things, butstill have that vibe.
That just really works becauseyou certainly had it.
So at some point the dakotaschanged a few members.
Did that affect you at all?
I?
Speaker 2 (11:13):
actually finished with the coursesoders in about
1968.
Okay, and I'll be honest withyou, I never named the band,
okay, and then the drummer fromthe Decoders approached me some
years later and said you know,would you come back?
We've reformed the band.
There was him and Mike Maxwellwho was the original guitar
(11:36):
player, and they had anotherbass player and a keyboard
player and I went to England, Irehearsed with them and we did a
tour together.
You know, it was just a one-offthing.
Speaker 1 (11:49):
Okay, that makes sense.
So then let's move into the 80s.
You still were recording.
You were still performing allaround the world.
Did you focus more on the UK,with the Dakotas, or did you
still focus on the US, or both?
Speaker 2 (12:05):
I aimed at both places.
You know, that's where I did,yeah.
Speaker 1 (12:09):
Yeah, it's always nice to be able to go in various
places where you've been andfocus on that.
So after that I heard that youdid a song on an album that was
for a children's album.
What led you up to doing that?
That was for.
Speaker 2 (12:24):
I was approached, I got a surprise.
It was Sandra Boydney, who wasone of the biggest child authors
in the world.
I think I bought one there.
It was this letter from her.
I'd never heard of her.
Okay, and she's.
She sent me this song and saidyou know, at the time she was,
she was writing books and makingcds with it, you know with, and
(12:48):
she had different artists dothe different tracks.
And she sent me this songcalled cow planet.
I just thought, thought I'vegot to do this, it's got to be a
lot of fun.
Oh, that's nice.
And I went to Sony Studios inNew York and recorded the song
with her and then afterwards sheasked me whether I narrated
some of her child's books forher.
(13:09):
Yeah, that's great, that wasgreat.
Speaker 1 (13:12):
Yeah, it's always great to be able to do things
because you want to do them andnot because you have to do it,
because in the first part ofyour career you're being pushed
to record more records, performmore, get out there more.
Did you find yourself, like somany other singers that have
(13:33):
been so busy and in such demandthat they couldn't remember
where they were 10 days ago, letalone yesterday or six months
ago?
How did that affect you backthen, when you was working so
hard?
It?
Speaker 2 (13:46):
was very overwhelming .
I mean, let's face it, I wassort of like working on the
railroad swinging a heavy hammerand then inside a year, I was
like jetting all over the world.
You know, I was flying toAmerica, flying to Australia,
you know, it was crazy.
Speaker 1 (14:06):
Oh, I can just imagine, especially back at that
point in time.
So how long did it take youbefore you got used to the pace
and got used to the demands andit just settled down for you?
Speaker 2 (14:19):
yeah it took quite a long time, I don't.
I I'll be honest with you.
I mean, in my case I, uh, Istarted, I started to drink a
lot.
That became a bad habit, youknow right, I drank a lot to try
and cope with it, and I thinkit was only when I got sober and
stopped drinking.
Speaker 1 (14:39):
Well, that's great that you got past that, because
now in the last 40 years, you'vebeen able to focus on your
music, the integrity of what youwant to do, and just keep it
pure.
Speaker 2 (14:50):
Yes, and you know, back in the 60s albums were just
like your A-side, your B-sideand fillers.
Oh yeah, you know, I started tothink about doing an album of
all the songs that I thoughtwould be good for an album, you
know.
Speaker 1 (15:05):
Yeah, yeah, absolutely.
I remember back in the 70s andthe 80s we had stations that
were designated AOR which justplayed basically the album cuts
that was off the album, withoutplaying the singles.
That were actually the hits andthey were really great songs,
most of them, some of them werenot, but overall they were good.
(15:27):
But, like you said, they wererecorded as fillers, so they
weren't pushed to radio becausethey just considered them as
fillers.
Speaker 2 (15:34):
I used to go in the studio with just lyric sheets
and a lot of stuff I recorded.
I never, ever, did them again.
Yeah, I did them on the session.
I never did them live, you know, and 90% of my early albums
were made like that, you know.
Speaker 1 (15:53):
Yeah, I remember that a lot.
A lot of people told me thosestories, so I understand that
you're still recording andrecorded something in the last
what year or two, I have thisnew album.
Speaker 2 (16:02):
It's a album called Are you With Me?
Speaker 1 (16:04):
Oh, that's great.
Speaker 2 (16:06):
You know which.
I went back to Abbey Road.
I did my 60th anniversary showbusiness party there.
I did a party there and then Irecorded a whole new album.
Speaker 1 (16:17):
Wow, that's great and a lot of great memories at
Abbey Road, for sure, I bet.
So how is that album doing foryou with your fans and people
that are around you?
Has it picked up for you?
Speaker 2 (16:29):
It's brand new.
You know.
There's a couple of songs on itwhich are written by a good
friend of mine who lives inNashville now, who produced
Bloody Guy, tom Hambridge.
He wrote.
Tom Hambridge wrote the songAre you With Me and I wrote a
song called Go On, girl.
Speaker 1 (16:44):
That's just awesome.
I just love it that you'restill staying active and still
recording, because it's a love,it's a passion and it's
something that you don't everwant to give up.
Now I've heard something aboutwriting a book, or something
about a book.
What's that all about?
Speaker 2 (16:58):
Oh, I wrote my autobiography.
Oh, I wrote my autobiography.
Speaker 1 (17:00):
Oh, that's great.
I mean, the stories you got totell I'm sure are outstanding.
Speaker 2 (17:04):
I got together with a writer who wrote the Harry
Nielsen autobiography, alanShipton, who had done a lot of
jazz people and things like that.
He came to America.
We spent time together and thenwhen I was on tour he spent
time with me and we did myautobiography.
It's called you Want to Know aSecret?
Speaker 1 (17:23):
So I'm sure that it's available on Amazon.
Are there any other places thatpeople can pick it up?
Speaker 2 (17:29):
Yes, it is on that Also.
I can send to people if theyget in touch with me at
billyjcramermusiccom.
Speaker 1 (17:37):
Oh, that's great.
I'm sure it's a great read too.
So now didn't you write anintroduction about a novel that
was written about the Beatles,the fifth Beatle.
Speaker 2 (17:46):
Yes, Vivek Tewari, who does the front-end book.
I wrote the notes for that.
Speaker 1 (17:54):
Oh, that's great.
So now, where you wasperforming and traveling with
the Beatles because you wasrecording, you was writing songs
with them, that must have beena special thing, like brothers
in a pack.
I'm sure that that's never goneaway, has it.
Speaker 2 (18:09):
It was.
You know.
I'll be honest with you, it wasno big deal.
They were really nice.
We'd go to theaters.
They'd walk in my dressing room, I'd walk in their dressing
room.
That's the way it was.
Speaker 1 (18:20):
Yeah, that's just so good, Because it's always great
when performers can go out andcreate that bond and then
there's no real competitionthere, because they're just
supporting each other and hopingeach other does well.
Speaker 2 (18:33):
No, I'll be honest with you, and they invited me to
when they had new albumsreleased and stuff like that.
I got an invite, you know.
Speaker 1 (18:41):
Yeah, that's great.
So do you still stay in contactwith Paul or Ringo, or both of
them at all?
Speaker 2 (18:47):
Occasionally, but it's sort of an everyday thing
Once in a while, you know.
Speaker 1 (18:52):
Yeah, sure, it's always great that you can just
pick up the phone and stay incontact with friends.
That's been that long, sure.
So you're promoting an albumthat you just recorded.
You've written a book.
What else are you doing that'supcoming, that we should know
about?
Speaker 2 (19:06):
I'm going back to Havre Road to do a historic
interview there.
From there I'm doing the BrianEpstein documentary I'm going to
be involved in.
I'm going back to Liverpool todo a thing at the Beatle Museum
there on August 26th.
So you know I have to do theFestival of Beatle fans in
(19:29):
Chicago.
Speaker 1 (19:30):
Yeah, that's great.
So now you're in a place whereyou can kind of come and go and
really do what you want to do,pick and choose, have fun with
it.
Are you traveling a lot or areyou finding yourself with a good
mix of travel and downtime?
I like to try.
Speaker 2 (19:48):
To me.
I like to try to try and be asactive as possible.
Sure, it's good for you, itkeeps you young.
Speaker 1 (19:55):
You've mentioned that you're going to do some
interviews.
Have you gotten into anythingor any talks about a documentary
about your life and all thetimes with the Beatles and the
different stars that you've beeninvolved with?
Because, with what you said, Ithink that just makes sense that
you would do something likethat and it would do really well
because of the history.
Speaker 2 (20:13):
You know, I think that's been sort of something
that's been going on behind thescenes for quite some time.
Okay, that's been sort ofsomething that's been going on
behind the scenes for quite sometime.
Okay, and I sat with Dave.
They did a Bosque head andshoulder thing.
They're going to put one ofthem in Liverpool.
Speaker 1 (20:30):
Wow, that's just really awesome.
Yeah, I mean, that just goes tothe respect that they're giving
to you.
I think that's great.
So what are some of thehotspots that you find yourself
still being drawn to to performin?
Speaker 2 (20:43):
England, the world of England, that's the next big
hotspot.
Speaker 1 (20:47):
That's great.
Now, you were born and raisedin England, correct?
Speaker 2 (20:51):
I was born and raised in Liverpool.
Speaker 1 (20:53):
Liverpool.
Okay, that's great, yeah.
So how old was you when youfinally made that move and
decided you know, I think I wantto do music and I'm going to
give it my shot and see where itgoes.
Speaker 2 (21:08):
It was when I was 19.
I'll be honest with you.
I came second to the Beatles inthe popularity poll Wow, and
Brian Epstein approached meabout managing me.
So that was it.
Speaker 1 (21:21):
Well, that's great because where Brian was involved
with the Beatles, that wasdefinitely a great thing for you
.
Did you feel, once you hadsigned with him and things
started working, that you wasreally kind of like part of the
family?
Speaker 2 (21:36):
Brian, you know they called it the Brian of Stable.
He had Jerry and the Pacemakers, the Beatles, a girl called
Silver Black, a band called theBig Three.
It was like a family.
It was like a family.
Speaker 1 (21:51):
I mean that's great and what a great family it was.
I mean you could walk in andwhat a great family it was.
I mean you could walk in oneday and probably see Paul
McCartney, and the next day yousee John Lennon and then, of
course, with all the otherpeople that were within the
Epstein family.
What a great time you must havehad.
I mean, I can really appreciatethat.
Speaker 2 (22:06):
It was like that.
I'll be honest.
Hit record I got a telegramfrom the Beatles congratulating
me.
Nice, I would send them atelegram when they had a hit.
It was that kind of situation.
Speaker 1 (22:20):
Yeah, that's just so great.
I mean, you can't ask for abetter situation than what you
had there.
So how did you transform into asinger?
Because before you started tobecome a singer, full-time, you
was working what for therailroad, or something like that
.
Speaker 2 (22:38):
I worked for British Rail in the UK.
I was an engineer, you know, amaintenance engineer.
I took locomotives to piecesand put them back together again
.
Speaker 1 (22:45):
Wow, that's impressive.
Speaker 2 (22:47):
And in the evening I used to do gigs all around
Liverpool.
Speaker 1 (22:51):
Wow, that's great.
Now, when you startedperforming, I think I heard that
you was pretty much a guitarplayer, not just a singer.
Speaker 2 (22:58):
I played guitar.
I started playing guitar andthe guys in the band said you're
not progressing very much andthey pushed me to do the singing
.
Speaker 1 (23:05):
That's great.
I mean, sometimes things justhappen for a reason, and that
was probably just a greattransition for you, I guess.
So yeah, I mean it certainlydid.
I mean you've had such anawesome life, You've got great
stories being around the Beatlesand all those great names that
came out of England.
What's next for you?
What do you see that you'd liketo still do?
Speaker 2 (23:28):
You know, I'll be honest with you.
I came to Nashville just beforethe COVID Okay and I recorded
five songs with Tom HambridgeOkay, and I'd like to go back
and do another five and put outan album.
Speaker 1 (23:42):
Yeah, that would be really nice.
Yeah, I mean, there's nothingbetter than recording.
I've been in the studio withvarious singers that I've
recorded and it just gives yousuch a feeling when you're in
there and the musicians are justcreating.
Speaker 2 (23:57):
To me it's a wonderful experience.
You know, as I say, I'd like togo back to Nashville and finish
off what I saw.
Speaker 1 (24:06):
Yeah, that'd be great , and if you do come back to
Nashville, definitely let meknow so that I can come down and
check it out.
Sure, Absolutely.
Yeah, I think that'd be great.
So each of the next two thingsthat I'm going to bring up has a
different set of emotionsRecording and performing.
When you're recording, you'recreating that great music.
(24:26):
And then, of course, whenyou're performing, you're in
front of crowds and just feelingtheir energy.
Which is your preference,recording or performing?
Speaker 2 (24:37):
Frankly, I enjoy going into a studio with a song
that's just bare bones, maybe onacoustic guitar, and I like to
take it to where I feel it'sgreat.
You know Starting it fromnothing and creating it and
making it great.
You know starting it fromnothing and creating it and
making it great, you know.
Speaker 1 (24:54):
Yeah, there's nothing better than that creating music
from just a bare bones andbuilding it, feeling your dreams
come true plus your vision cometrue and, at the end, having
just a great song that you'verecorded.
Speaker 2 (25:10):
It's a wonderful experience.
Speaker 1 (25:11):
Yeah, it really is.
It's awesome.
Yeah, I think that'd be reallygreat if you came back to
Nashville to finish your CD.
So the project you have out now, is it an EP or a CD?
Five or is it 10 songs?
It's 10.
Okay, 10 songs.
So you did a complete albumthen.
Speaker 2 (25:28):
Yes, 10 songs.
Speaker 1 (25:30):
So your goal, then, is to come back and do another
five and create another EP.
Speaker 2 (25:35):
Yes, definitely.
Speaker 1 (25:36):
Yeah, that'd be great .
I mean, you're in ChicagoNashville's here, it's only
about a six to eight hour drive.
Speaker 2 (25:43):
Yeah, and I really enjoyed the songs I did in
Nashville.
Speaker 1 (25:50):
Yeah, nashville's a great place.
I've been here for over 30years now producing and managing
singers, so you can't get abetter vibe than what Nashville
can give you, and that's anyplace in the world actually.
It's just really great.
The musicians are here, thesongwriters are here, everything
is here that's need to developa career, so it's just a great
place to be.
Speaker 2 (26:08):
It's a great vibe.
Speaker 1 (26:10):
Yeah, it is for sure.
Well, I tell you, this has beengreat, I think.
So I mean the stories that youcan tell and the things that
you've done just reallytremendous.
So it's been a pleasure havingyou here.
Speaker 2 (26:21):
Thank you very much.
It's been a pleasure talking toyou.
Speaker 1 (26:24):
The pleasure's all mine.
Thanks for joining us today.
We hope you enjoyed the show.
This has been a Tony Mantorproduction.
(26:44):
For more information, contactmedia at plateau music dot com.
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