February 18, 2025 • 25 mins
Ever wondered how a classically trained pianist ends up playing alongside rock legends?
We had the pleasure of sitting down with the inimitable Felix Cavalieri, a cornerstone of the 1960s music scene and the soulful force behind the Rascals.
In our latest episode, Felix takes us through an extraordinary journey that began in Pelham, New York, under the influence of Beethoven and Bach, and unexpectedly swerved into the limelight of rock and roll, spurred by an unforgettable Beatles performance.
From family expectations to global stages, Felix recounts how each moment, including a fateful encounter with Joey D and the Starlighters, propelled him toward a life dedicated to music.
Through his eyes, you'll experience the transformative power of music and gain a front-row seat to the vibrant and revolutionary '60s music scene.
Beyond the melodies and the fame, Felix shares intimate reflections on the challenges he faced, both personally and professionally.
Internal band dynamics and the backdrop of the Vietnam War era presented obstacles along his path, but Felix illuminates how collaboration and inspiration from artists like Billy Joel, Elton John, and even Swami Satchidananda, shaped his musical narrative and personal well-being.
Hear about his impactful project with Dolly Parton to aid Lahaina fire victims, a testament to the enduring spirit of collaboration.
Wrapping up our conversation, we celebrate the joy of a shared musical passion and the potential for future collaborations.
Join us for insights that promise to leave you inspired and filled with a renewed appreciation for the complexities of life and music.
Mark as Played
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 evolvedinto 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.
Welcome to Almost LiveNashville.
Today's guest has an impressivemusical history.
Like many emerging artists, heaspired to share his music with
the world through touring.
This dream became a realitywhen he formed the Young Rascals
(01:19):
, which later became the Rascals.
His journey has been trulyremarkable.
Felix Cavalieri joins us todayand I am truly grateful that he
is here to share his experiencewith us.
Thanks for coming on, hey man,looking forward to it yeah.
Yeah, me too.
You've had quite a journey.
What led to your ultimatesuccess?
How did it all start?
(01:39):
For you, it's a long story.
Speaker 2 (01:42):
That's why I've written a book called Memoir of
a Rascal.
But it started off in a towncalled Pelham, new York, and
it's an interesting storybecause I try to tell people
that you really never knowwhat's going to happen to you
until it happens.
I was at the age of five.
My mom recognized some musicalability and enrolled me in a
school which was a very seriousmusic school.
(02:03):
For eight years of my life Itook three lessons a week two at
the home and one at the schoolin classical music.
My entire family was.
They were all in medical field.
They were all medical some wayshape or form.
So I went off to college atSyracuse University.
I was in the pre-med class,started a band up there and it
started to become a littlepopular.
(02:24):
What happened from there?
We took a job for the summer inthe Catskill Mountains.
Every weekend there would be aheadliner come in.
One weekend came in.
A headliner came in was Joey Dand the Starlighters.
They had that hit, peppermintTwist.
Yeah, he's a great guy I got tomeet.
But anyway, long story short,they left to go on the road.
(02:46):
They were going to Europe andtheir organ player quit.
And just as the summer was overand the next semester was
starting in college, I get acall to join them in Frankfurt,
germany.
I asked my parents, I asked myfather.
I said sounds good, give it atry, which I was thankful for,
because tuition had already beenpaid, we had to get a refund,
(03:07):
et cetera, et cetera, all thatkind of stuff.
I flew over to Germany and theopening act for Joey D and the
Starlighters.
I walked into the club.
Everybody's screaming, holleringat the top of their lungs is a
group called the Beatles.
So no one had heard of them inthe United States yet.
So I saw these guys on stageand I said wow, look at this man
(03:31):
, check this out.
This looks like A a lot of fun,a lot of fun.
B.
I think I could do this Littledid we know?
Did I know, that they werethree of the best songwriters
there ever was?
We were listening to them playAmerican music and they were
three of the best songwritersthat ever was.
We were listening to them playAmerican music and they were
okay, but when they did theirmusic, a really good band.
So, long story short, itstarted there and I decided,
(03:53):
yeah, I think I could do this.
Speaker 1 (03:54):
Yeah, that's a great story.
So, ultimately, when you madethat decision and you said I'm
going to try this, you startedyour own band, ultimately
performing with the Rascals,originally known as the.
Speaker 2 (04:10):
Young Rascals.
How did that all transition?
For you it's a long story, butbasically when I came back from
that tour I was now out ofschool.
I had to make some decisions Awhat am I going to do?
B what about Uncle Sam?
We had Uncle Sam to cope within those days.
As far as that war, theVietnamese, that's going on and
it's funny because now I'meating at Vietnam restaurants.
(04:31):
It's really funny.
So until that was resolved Ireally could not start anything.
Joey had a club in New York andthey had a house band and I
joined that house band as soonas the government of the United
States decided that I was notexactly what they were looking
for, which was prettyinteresting.
I didn't know what was going tohappen, but fortunately it
didn't happen that I went in.
(04:52):
I asked the guys that I waswith, who happened to be pretty
talented guys, why don't westart a band?
The drummer at that time didnot want to come with us and,
through the good fortunes andthe graces of God, not want to
come with us.
And through the good fortunesand the graces of God, I met
this drummer through agirlfriend I had by the name of
Dino Donnelly.
So I met a great drummer.
He decided to join us.
We got a job in the Hamptons,discovered in the Hamptons, sid
(05:15):
Bernstein, the person whobrought the Beatles to US,
signed us.
We had a deal in six months.
I had three people pretty muchwho had been leaders of their
own bands.
Eddie was a little young but hestill was extremely talented,
so I had basically three alphamales in one band, four exactly.
We made it really quickly interms of a deal.
Speaker 1 (05:35):
Yeah, that's a great story.
So as you travel around the USand around the world with your
new band, you're getting newfans and, of course, the whole
scene is completely differentback then to what it is today.
Oh yeah, how did that affectyou?
I mean, it's a completelydifferent atmosphere, going from
(05:56):
a local pub and a local area tothe big stage with thousands of
fans.
Speaker 2 (06:01):
It was like a magical mystery tour, as they say.
We started off with the premisethat I wanted to produce the
band.
I did not want an outsider tocome in and produce.
We actually turned down acouple of labels, and one of
them was Phil Spector, who Itotally idolized as far as his
work was concerned.
I wanted to produce the bandourselves, I did not want an
(06:22):
outside producer.
Atlantic was the only labelthat allowed that to happen.
So at that time clubs demandedtop 40 songs.
They did not want originalmaterial Taboo.
So our set included songs thatbecame hits, not only for us but
for other people, and Atlanticpicked right up on that, for
example Mustang Sally, waybefore Wilson did it.
(06:45):
We also included Land of aThousand Dances in our show.
We also had a song called GoodLovin' in there, so our first
record was supplied by them.
The song was two Motown writers, pam Sawyer and Lori Burton.
It was called I Ain't Gonna EatUp my Heart.
Anymore, we made the charts.
The second record was a covercalled Good Lovin'.
It was number one, so we didn'treally have much time to wander
(07:07):
around in the clubs.
Bam, we hit.
So now we have a number onerecord and everything, changed
Everything and we began to write, started the writing process
primarily to emulate all thepeople who were writing around
us, such as John and Paul, suchas the Love of Spoonful, the
Birds, bob Dylan, of course,huge Everybody was writing.
(07:27):
There only to give it a try andgot lucky and we started having
hits.
So the only word I can say isit was fun.
It was fantastically fun,because you're young, you're
with a bunch of guys, you'retrying to make it and you're
making it.
Speaker 1 (07:41):
Yeah, that's for sure .
There's nothing like puttingtogether a band, getting that
tightness down, going on stageand just truly enjoying that
music.
The rhythm section you havejust everything totally put
together right.
It's just a tremendous feelingwhen you finish the night.
Everything has gone right, thecrowds are getting into it, it's
(08:03):
just a great night of music.
Speaker 2 (08:06):
Well, that's why so many of us are still on the road
, like I try to explain topeople how come Ringo's still
playing, and because of justwhat you said.
You can't replace that with toomany things.
There's not too many thingsthat you could say brings you
that type of satisfaction,feeling joy.
Speaker 1 (08:26):
Yeah, I totally get it.
I came off the road to get intoproduction development, even
though I enjoy the creativeprocess, the development,
helping them with their journeyof having a music career.
Oh yeah, there's still nothinglike being on stage in front of
10, 15, 20, 25,000 screamingfans.
Speaker 2 (08:44):
It's fun.
It's still fun.
Like I say, it's verysatisfying to all of the things
that you don't have when you'reoff the stage.
It's really something.
And everybody that I know,pretty much everybody, although
there are exceptions my singingpartner there, Eddie he really
didn't want to stay on the road,he didn't want to do it.
He quit very early in ourcareer.
You don't want to do it, don'tdo it.
(09:04):
But for the most part, mostpeople that I know, they feel
exactly that way.
Speaker 1 (09:08):
Yeah, absolutely, I know a lot of the same types.
What were some of theinfluences that you listened to
that helped form what you became?
Speaker 2 (09:19):
The interesting thing is that I grew up near New York
City, about 15 minutes north,and that's where Alan Freed
brought rock and roll.
I was able to hear the verybeginnings of what we know now
as pop music, rock and roll.
Being a keyboard player, Iheard Fats Domino, lee Lewis,
(09:39):
ray Charles.
I heard these people playingthe same instrument, little
Richard, but they certainlyweren't playing it like I was
playing it.
I'm class little trained,that's all I'm listening to.
All of a sudden I hear thisstuff and I'm saying like, whoa,
that sounds pretty, prettyinteresting.
Now I could tell musically whatthey were doing, but the feel
(09:59):
of it and the power of it I sawrecently that Elvis Presley
movie.
Same thing happened to him.
He heard this stuff.
He said like, oh my God, thisis so cool.
That's what happened to me.
So in the beginning of this newphenomenon I heard the best.
I still think they are and werethe best.
There's people that come alonglike Billy Joel, of course,
(10:21):
elton John, but for those daysthere's nothing like it.
Speaker 1 (10:25):
Oh yeah, that's the people I listened to as well.
I kind of followed the same waythat you thought I started out
as a classically trained pianist, then moved on to listening to
new things, listening to whatthey're doing, kind of combining
all of them to become what Ibecome, which was me.
Speaker 2 (10:44):
Yeah, that's exactly how you do it Today.
It's very different.
On the other hand, a lot of theplayers today are really
excellent, oh yeah, they are.
Really good.
Speaker 1 (10:54):
Absolutely.
Now, with all the hits, you hadall the accolades that you
received.
There's always bumps in theroad.
Oh yeah, there's always bumpsin the road.
There's always something thatcreates an issue that you have
to overcome.
What do you remember good orbad that came along, that
challenged you, and then youjust found your way through it
(11:16):
and just kept on going.
Speaker 2 (11:18):
I mean, there's so many good.
As a matter of fact, one of thethings like that I recently put
out a song with Dolly Parton,hawaiian movement.
Being famous in Hawaii was amajor, major, good, major.
We were very, very fortunate.
Speaker 1 (11:34):
I think that's really good If you would expand on how
you became popular and got tobe so well known in Hawaii.
I think that's very importantfor everyone to know.
Speaker 2 (11:45):
Very interesting story.
That's the good.
If you want to get to the bad,I'll do that later.
Well, let's focus on the goodfor right now there was a disc
jockey and a promoter in Hawaiiwho took a liking to the fact
that here are these guys whoprimarily are white guys who
play R&B and I won't go into thepolitics of that, but there was
(12:07):
a real reason for that on theislands Took a liking to us and
brought us to Hawaii.
Oh, I think it was around 1966.
The Hawaiians loved the music.
Actually, they took to us morethan they took to the Beatles.
So we were huge thereimmediately and as a result, we
used to go there at least twicea year and the Hawaiians have a
(12:28):
word called ohana, which meansfamily.
Every time we worked, everybodyin the band got at least two
tickets for their families.
So we brought everybody overthose years to Hawaii who
probably some of them wouldnever afford it in their
lifetime.
So we had a feeling of, as Isay, ohana from day one in
Hawaii.
That feeling has lasted tillnow.
(12:51):
During that period of time hewrote a song called my Hawaii,
which became like an anthem outthere.
It was just like this tribute,a little bit emotional, to thank
the people of the islands,because it's a very special
place.
Obviously.
A year ago in August they hadthat horrendous fire in Lahaina.
To make a long story short, mymanager said why don't you
(13:13):
re-record my Hawaii?
My guitar player, mike Seaversused to work with Dolly,
contacted her people Would youdo a duet with us, totally for
charity, totally to raise moneyfor these people out there?
So anyway, that happened.
So if you haven't heard it orpeople haven't heard it, look up
my Hawaii.
It's really nice.
And everybody in Nashville,they all contributed their
(13:34):
services to make it happen.
That's the good.
That part stands out.
Speaker 1 (13:38):
Yeah, that's just great.
That's truly, truly awesome,especially where you've got
Dolly to step in and help out aswell.
Over the years, you have peoplethat will either try and build
you up or they'll try and tearyou down.
Does anyone stand out in yourmind that gave you positive
impact in your life, changedyour attitude, did everything
(13:59):
they could to build you up?
That you remember even tilltoday.
Speaker 2 (14:05):
Well, that's easy, that's a simple question.
I studied with a guru for manyyears In New York City.
I met him.
His name was SwamiSatchidananda.
That was the major kind ofpositivity in my life that has
to this day still kept mementally, spiritually and
physically fit.
So that's good.
As far as the other side of thecoin, which I don't really like
(14:27):
to talk about that much becauseI didn't even put it in my book,
but we had similar problems toa lot of the bands internal
disarray, the internal disarray.
Really, to this day I won't sayit bothers me, but it bothers
me Sure, sure, because it was sounnecessary.
And I'm sure you, being in themusic business all your life,
(14:50):
all these stories, the Three DogNight stories, every group, you
could name that Crosby, stillsand Nash book which is horrible.
You know what I mean.
And you read this, you say QuePasa?
What is this man?
You know that's what happenedand it really, it really ruined
the upward movement of the band.
Of course, it ruined thecohesiveness of the band and it
really was, in my opinion,totally unnecessary.
Speaker 1 (15:12):
Absolutely A lot of times if people can just step
back, take a deep breath, relaxa bit, think it over and not let
the music business get thecontrol like it does, and
unfortunately things get blownup way more than they should.
Speaker 2 (15:29):
It's just ridiculous, like I say, especially if
you're winning.
Oh yeah, we were really doingwell.
It's like one of your tires andyour car just decides I'm going
to take off, I'm just going togo.
Where are you going?
Nowhere, we only got three.
Wait a second.
So I mean mean that I wish Icould have avoided.
Speaker 1 (15:47):
But what are you going to do?
Yeah, I get it starting off.
You hit it off really well.
You've been fortunate enough tobe able to continue it into
your later years.
What are some of the thingsthat you look forward to now in
your music that you might haveoverlooked in your younger years
because you've got a differentperspective than you did back
(16:09):
then?
Speaker 2 (16:11):
I can think of.
For example, as you well know,you start off classical.
Then all of a sudden you get anopportunity to work with the
Nashville Symphony.
Now, wow, it was strange theway it happened.
It happened at a convention,but that really was something I
was really looking forward to,and I still am.
So we're doing some of thesymphonies now.
We did Utah Symphony.
(16:32):
I really like that.
Frankie Valli told me man, onceyou do symphonies you're not
going to want to go on stageanymore with anything else.
It's a little difficult to crocrack into, but that's really
something that I've really takento in my later career.
Speaker 1 (16:45):
Yeah, symphonies are awesome.
No doubt Over the last severalyears you've received a lot of
good recognition for the musicthat you've done.
I saw that you was inducted inthe Syracuse Music Hall of Fame,
the Songwriters Hall of Fame,the Musicians Hall of Fame Is
there any Hall of Fame that youhaven't been in?
Yeah, that's pretty nice.
Speaker 2 (17:07):
Yeah, it's nice, especially the one you mentioned
, the Songwriters Hall of Fame,because I don't know if people
are familiar with that.
It's a pretty select group andthey don't have a museum, or
they don't have a televisionshow and they don't have a
museum.
They don't have a televisionshow.
They just got a great award andthat was one of them.
They're all good, Like, I gotthe Hammond Organ Hall of Fame,
(17:28):
which is a real treat becauseunfortunately during those years
my guitar player was gettingguitars, my drummer was getting
drums and I wasn't gettinganything.
But now I am.
Speaker 1 (17:39):
So I'm pleased.
I know that feeling.
It only took me 30 years to getmy first keyboard given to me.
Now things have changed so much.
I remember when I had a Hammond, a Leslie and about four or
five other keyboards to haularound and it took a U-Haul to
get them all there.
Now you can get all thosesounds out of one keyboard.
Speaker 2 (17:59):
That only weighs 30 pounds Exactly.
You know, I always saychiropractors, love me because
of that hymen organ.
Speaker 1 (18:05):
Oh yeah, I certainly remember those days.
Speaker 2 (18:08):
Yeah, and unfortunately, like they stopped
making the oldie, the B3 in 72.
So once you get a bad one, sothey've got these new ones that
are out now, the XK5s, et cetera, which a lot of people I know
are using.
I know Rod Argent.
It's really interesting how farthey've come.
Speaker 1 (18:28):
Yes, it's definitely amazing what they've done.
What's up next?
What's on the plate for you?
We do a lot of cruises.
Speaker 2 (18:35):
Oh nice, yeah, we go out on these things.
For example, there's one calledthe Flower Power Eight days of
complete mayhem by the peoplewho think it's still 1960s or
70s, and that's on the agenda.
We're trying to keep on theroad my guitar player, gene.
He's staying alive by doingthese shows.
So let me tell you a lot of usin the 60s, as they say, we were
(18:58):
trying to promote world peace.
Yeah, yeah, the concept, gee, Idon't know.
So really haven't given up onthe thought of.
Maybe we can make a little bitof a dent in some of the ways
people think now the rascals wasinducted into the rock and roll
hall of fame in what?
Speaker 1 (19:14):
1997?
Yeah, I've talked with severalpeople that have been inducted
into the rock and roll Hall ofFame.
They've told me how it was forthem.
So how was your night when youwas inducted into the Hall of
Fame?
Speaker 2 (19:27):
There's two different Hall of Fame eras.
Speaker 1 (19:30):
All right.
Speaker 2 (19:31):
There's pre-TV.
Speaker 1 (19:33):
Okay.
Speaker 2 (19:34):
And after TV.
Speaker 1 (19:35):
Yeah, that makes sense.
Speaker 2 (19:36):
The ones that we did before HBO took over, were like
a big family, like we were in Ithink it was 97 with.
And it's also, interestinglyenough, the last time I saw a
lot of these guys and gals.
For example, it's the last timeI saw Michael Jackson.
It's the last time I saw hisbrother Tito.
(19:56):
It's the last time I saw theBee Gees two of them, we were
all backstage together in oneroom.
Speaker 1 (20:03):
Yeah.
Speaker 2 (20:04):
That doesn't happen anymore.
Sad but true.
It is a huge televisionproduction.
Most fun besides, of course,getting the award and the
accolades was to mingle and seethe people.
David Crosby's no longer around, they got in at the same time.
Those are the things that standout to me, because you don't
get to see these people.
Well, now you can't, of course,but you don't get to see them
(20:26):
unless you go to an event.
So that's the differencebetween then and now, which, by
the way, is the name of my lastalbum.
Speaker 1 (20:37):
Yeah, that's nice, Nice.
What you said about the awardsis so true.
I was talking with SteveHackett of Genesis.
He brought up the point of thepeople that he'd seen that he'd
grown up with all the music thatwas happening, and that was
just a situation that was sospecial.
Speaker 2 (20:52):
Exactly.
Speaker 1 (20:52):
Then he went on to add that with the music they
started getting into it and then, ultimately, it became more
about the music rather than theawards that everybody was
receiving.
Speaker 2 (21:02):
It really is.
Of course, the award is anaccolade that you promote, etc.
It was, and I'm sure it's adifferent kind of event today,
but I'm sure the people who getin really enjoy it.
It's just that you've gotbarriers now with television
cameras and security and allthis kind of stuff.
That was never there.
Speaker 1 (21:19):
Yeah, it's just, the world has changed.
The world has changed.
Okay, you've done all thesethings, all these accolades.
Now do you take any time off?
And when you do, what do you do?
Just to relax.
Speaker 2 (21:34):
I work out very heavily to try to keep my body
in shape and everything elsegoing.
Actually, I go back to myclassical music, listen to some
of the masters there and say,wow, pretty good man, you know
listening.
You just try to take a littlebit of a picture of what they
were doing and what they werethinking.
Speaker 1 (21:51):
Oh God, Absolutely the best thing is that was
pre-everything electronic.
It was about theinstrumentation, the performance
, the attacks on every singlelittle note, just so many things
that encompassed that song inthe way that it was written and
performed.
Not only that, but the yearsthat it was written and how
(22:14):
everything has evolved, but yetit still stays as strong as it
was in this original time.
Speaker 2 (22:20):
How about the guy who couldn't hear?
Yeah, exactly.
You just look back and you sayyou talk about like Mozart, you
talk about Beethoven, you talkabout Schumann.
It's like are you kidding me?
Wow, you talk about talent, youtalk about creative.
It's just the more deeper youdig into those things, the more
you appreciate it, my God.
Speaker 1 (22:41):
Now the years have passed, do you ever look at your
body of work that you'vecreated Just say to yourself,
wow, I can't believe I did that.
You never want to say I can'tbelieve I did that Because when
you start out you believe thatyou could do that, but now
you've actually done it.
What emotions do you feel thatyou look back upon now, the
people you've been around, thehits you've had, just all the
(23:04):
fans.
What goes through your mindwith all that?
Speaker 2 (23:07):
Just a gratefulness, thankfulness.
I wrote this book a while backand I decided I said let me
write a I don't know, I don'tthink I put it in the book Write
a couple of pages of all thepeople that I've shared a stage
with or been on a show with.
My God, I go back to BingCrosby, for God's sake.
Speaker 1 (23:24):
That's just great.
Speaker 2 (23:25):
You got Bing Crosby, andy Williams, perry Como, and
then you go like to Billy Joel.
I've met so many people Some,as you well know, I'd rather not
meet again.
Speaker 1 (23:37):
You know what?
I'd rather not meet again, butfor the most part really cool.
Speaker 2 (23:40):
Like George Harrison, I got to know.
George, it's really aninteresting look back to see
where you've been.
The only thing I can say isthank you.
Being blessed like this, comingfrom a little town, what can I
say?
I love it.
Speaker 1 (23:53):
Thank you Absolutely.
Now how do people find you andfollow you for what you're doing
?
Speaker 2 (24:05):
We have a philiscadalirymusiccom.
I think it's the easiest place,but I'm sure there's a Facebook
that my people have out thereand all that.
It's not easy to keep up withpeople because there's so many
people out there.
That's where it is.
Speaker 1 (24:13):
Yeah, that's great.
Well, I really appreciate youtaking the time.
This has been fantastic.
Speaker 2 (24:19):
I enjoyed speaking to you as well, man.
We've got to get together oneof these days, since you are in
Nashville, correct?
Speaker 1 (24:24):
Yeah, I'm just a little bit north of Nashville.
Speaker 2 (24:27):
Oh, you're in a different town.
Speaker 1 (24:28):
Yeah, yeah, I'm on I-65 North, just about 20
minutes north of NashvilleReally easy to get in and get
out of.
So once again, it's been greatto have you here.
Speaker 2 (24:38):
Really enjoyed it, thank you, man, enjoyed speaking
with you as well and thank youfor your time.
I look forward to seeing you,man.
Speaker 1 (24:44):
Yeah, sounds great, thanks again.
Thanks for joining us today.
We hope you enjoyed the show.
This has been a Tony Mantorproduction.
For more information, contactmedia at platomusiccom.
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 evolvedinto 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.
Welcome to Almost LiveNashville.
Today's guest has an impressivemusical history.
Like many emerging artists, heaspired to share his music with
the world through touring.
This dream became a realitywhen he formed the Young Rascals
(01:19):
, which later became the Rascals.
His journey has been trulyremarkable.
Felix Cavalieri joins us todayand I am truly grateful that he
is here to share his experiencewith us.
Thanks for coming on, hey man,looking forward to it yeah.
Yeah, me too.
You've had quite a journey.
What led to your ultimatesuccess?
How did it all start?
(01:39):
For you, it's a long story.
Speaker 2 (01:42):
That's why I've written a book called Memoir of
a Rascal.
But it started off in a towncalled Pelham, new York, and
it's an interesting storybecause I try to tell people
that you really never knowwhat's going to happen to you
until it happens.
I was at the age of five.
My mom recognized some musicalability and enrolled me in a
school which was a very seriousmusic school.
(02:03):
For eight years of my life Itook three lessons a week two at
the home and one at the schoolin classical music.
My entire family was.
They were all in medical field.
They were all medical some wayshape or form.
So I went off to college atSyracuse University.
I was in the pre-med class,started a band up there and it
started to become a littlepopular.
(02:24):
What happened from there?
We took a job for the summer inthe Catskill Mountains.
Every weekend there would be aheadliner come in.
One weekend came in.
A headliner came in was Joey Dand the Starlighters.
They had that hit, peppermintTwist.
Yeah, he's a great guy I got tomeet.
But anyway, long story short,they left to go on the road.
(02:46):
They were going to Europe andtheir organ player quit.
And just as the summer was overand the next semester was
starting in college, I get acall to join them in Frankfurt,
germany.
I asked my parents, I asked myfather.
I said sounds good, give it atry, which I was thankful for,
because tuition had already beenpaid, we had to get a refund,
(03:07):
et cetera, et cetera, all thatkind of stuff.
I flew over to Germany and theopening act for Joey D and the
Starlighters.
I walked into the club.
Everybody's screaming, holleringat the top of their lungs is a
group called the Beatles.
So no one had heard of them inthe United States yet.
So I saw these guys on stageand I said wow, look at this man
(03:31):
, check this out.
This looks like A a lot of fun,a lot of fun.
B.
I think I could do this Littledid we know?
Did I know, that they werethree of the best songwriters
there ever was?
We were listening to them playAmerican music and they were
three of the best songwritersthat ever was.
We were listening to them playAmerican music and they were
okay, but when they did theirmusic, a really good band.
So, long story short, itstarted there and I decided,
(03:53):
yeah, I think I could do this.
Speaker 1 (03:54):
Yeah, that's a great story.
So, ultimately, when you madethat decision and you said I'm
going to try this, you startedyour own band, ultimately
performing with the Rascals,originally known as the.
Speaker 2 (04:10):
Young Rascals.
How did that all transition?
For you it's a long story, butbasically when I came back from
that tour I was now out ofschool.
I had to make some decisions Awhat am I going to do?
B what about Uncle Sam?
We had Uncle Sam to cope within those days.
As far as that war, theVietnamese, that's going on and
it's funny because now I'meating at Vietnam restaurants.
(04:31):
It's really funny.
So until that was resolved Ireally could not start anything.
Joey had a club in New York andthey had a house band and I
joined that house band as soonas the government of the United
States decided that I was notexactly what they were looking
for, which was prettyinteresting.
I didn't know what was going tohappen, but fortunately it
didn't happen that I went in.
(04:52):
I asked the guys that I waswith, who happened to be pretty
talented guys, why don't westart a band?
The drummer at that time didnot want to come with us and,
through the good fortunes andthe graces of God, not want to
come with us.
And through the good fortunesand the graces of God, I met
this drummer through agirlfriend I had by the name of
Dino Donnelly.
So I met a great drummer.
He decided to join us.
We got a job in the Hamptons,discovered in the Hamptons, sid
(05:15):
Bernstein, the person whobrought the Beatles to US,
signed us.
We had a deal in six months.
I had three people pretty muchwho had been leaders of their
own bands.
Eddie was a little young but hestill was extremely talented,
so I had basically three alphamales in one band, four exactly.
We made it really quickly interms of a deal.
Speaker 1 (05:35):
Yeah, that's a great story.
So as you travel around the USand around the world with your
new band, you're getting newfans and, of course, the whole
scene is completely differentback then to what it is today.
Oh yeah, how did that affectyou?
I mean, it's a completelydifferent atmosphere, going from
(05:56):
a local pub and a local area tothe big stage with thousands of
fans.
Speaker 2 (06:01):
It was like a magical mystery tour, as they say.
We started off with the premisethat I wanted to produce the
band.
I did not want an outsider tocome in and produce.
We actually turned down acouple of labels, and one of
them was Phil Spector, who Itotally idolized as far as his
work was concerned.
I wanted to produce the bandourselves, I did not want an
(06:22):
outside producer.
Atlantic was the only labelthat allowed that to happen.
So at that time clubs demandedtop 40 songs.
They did not want originalmaterial Taboo.
So our set included songs thatbecame hits, not only for us but
for other people, and Atlanticpicked right up on that, for
example Mustang Sally, waybefore Wilson did it.
(06:45):
We also included Land of aThousand Dances in our show.
We also had a song called GoodLovin' in there, so our first
record was supplied by them.
The song was two Motown writers, pam Sawyer and Lori Burton.
It was called I Ain't Gonna EatUp my Heart.
Anymore, we made the charts.
The second record was a covercalled Good Lovin'.
It was number one, so we didn'treally have much time to wander
(07:07):
around in the clubs.
Bam, we hit.
So now we have a number onerecord and everything, changed
Everything and we began to write, started the writing process
primarily to emulate all thepeople who were writing around
us, such as John and Paul, suchas the Love of Spoonful, the
Birds, bob Dylan, of course,huge Everybody was writing.
(07:27):
There only to give it a try andgot lucky and we started having
hits.
So the only word I can say isit was fun.
It was fantastically fun,because you're young, you're
with a bunch of guys, you'retrying to make it and you're
making it.
Speaker 1 (07:41):
Yeah, that's for sure .
There's nothing like puttingtogether a band, getting that
tightness down, going on stageand just truly enjoying that
music.
The rhythm section you havejust everything totally put
together right.
It's just a tremendous feelingwhen you finish the night.
Everything has gone right, thecrowds are getting into it, it's
(08:03):
just a great night of music.
Speaker 2 (08:06):
Well, that's why so many of us are still on the road
, like I try to explain topeople how come Ringo's still
playing, and because of justwhat you said.
You can't replace that with toomany things.
There's not too many thingsthat you could say brings you
that type of satisfaction,feeling joy.
Speaker 1 (08:26):
Yeah, I totally get it.
I came off the road to get intoproduction development, even
though I enjoy the creativeprocess, the development,
helping them with their journeyof having a music career.
Oh yeah, there's still nothinglike being on stage in front of
10, 15, 20, 25,000 screamingfans.
Speaker 2 (08:44):
It's fun.
It's still fun.
Like I say, it's verysatisfying to all of the things
that you don't have when you'reoff the stage.
It's really something.
And everybody that I know,pretty much everybody, although
there are exceptions my singingpartner there, Eddie he really
didn't want to stay on the road,he didn't want to do it.
He quit very early in ourcareer.
You don't want to do it, don'tdo it.
(09:04):
But for the most part, mostpeople that I know, they feel
exactly that way.
Speaker 1 (09:08):
Yeah, absolutely, I know a lot of the same types.
What were some of theinfluences that you listened to
that helped form what you became?
Speaker 2 (09:19):
The interesting thing is that I grew up near New York
City, about 15 minutes north,and that's where Alan Freed
brought rock and roll.
I was able to hear the verybeginnings of what we know now
as pop music, rock and roll.
Being a keyboard player, Iheard Fats Domino, lee Lewis,
(09:39):
ray Charles.
I heard these people playingthe same instrument, little
Richard, but they certainlyweren't playing it like I was
playing it.
I'm class little trained,that's all I'm listening to.
All of a sudden I hear thisstuff and I'm saying like, whoa,
that sounds pretty, prettyinteresting.
Now I could tell musically whatthey were doing, but the feel
(09:59):
of it and the power of it I sawrecently that Elvis Presley
movie.
Same thing happened to him.
He heard this stuff.
He said like, oh my God, thisis so cool.
That's what happened to me.
So in the beginning of this newphenomenon I heard the best.
I still think they are and werethe best.
There's people that come alonglike Billy Joel, of course,
(10:21):
elton John, but for those daysthere's nothing like it.
Speaker 1 (10:25):
Oh yeah, that's the people I listened to as well.
I kind of followed the same waythat you thought I started out
as a classically trained pianist, then moved on to listening to
new things, listening to whatthey're doing, kind of combining
all of them to become what Ibecome, which was me.
Speaker 2 (10:44):
Yeah, that's exactly how you do it Today.
It's very different.
On the other hand, a lot of theplayers today are really
excellent, oh yeah, they are.
Really good.
Speaker 1 (10:54):
Absolutely.
Now, with all the hits, you hadall the accolades that you
received.
There's always bumps in theroad.
Oh yeah, there's always bumpsin the road.
There's always something thatcreates an issue that you have
to overcome.
What do you remember good orbad that came along, that
challenged you, and then youjust found your way through it
(11:16):
and just kept on going.
Speaker 2 (11:18):
I mean, there's so many good.
As a matter of fact, one of thethings like that I recently put
out a song with Dolly Parton,hawaiian movement.
Being famous in Hawaii was amajor, major, good, major.
We were very, very fortunate.
Speaker 1 (11:34):
I think that's really good If you would expand on how
you became popular and got tobe so well known in Hawaii.
I think that's very importantfor everyone to know.
Speaker 2 (11:45):
Very interesting story.
That's the good.
If you want to get to the bad,I'll do that later.
Well, let's focus on the goodfor right now there was a disc
jockey and a promoter in Hawaiiwho took a liking to the fact
that here are these guys whoprimarily are white guys who
play R&B and I won't go into thepolitics of that, but there was
(12:07):
a real reason for that on theislands Took a liking to us and
brought us to Hawaii.
Oh, I think it was around 1966.
The Hawaiians loved the music.
Actually, they took to us morethan they took to the Beatles.
So we were huge thereimmediately and as a result, we
used to go there at least twicea year and the Hawaiians have a
(12:28):
word called ohana, which meansfamily.
Every time we worked, everybodyin the band got at least two
tickets for their families.
So we brought everybody overthose years to Hawaii who
probably some of them wouldnever afford it in their
lifetime.
So we had a feeling of, as Isay, ohana from day one in
Hawaii.
That feeling has lasted tillnow.
(12:51):
During that period of time hewrote a song called my Hawaii,
which became like an anthem outthere.
It was just like this tribute,a little bit emotional, to thank
the people of the islands,because it's a very special
place.
Obviously.
A year ago in August they hadthat horrendous fire in Lahaina.
To make a long story short, mymanager said why don't you
(13:13):
re-record my Hawaii?
My guitar player, mike Seaversused to work with Dolly,
contacted her people Would youdo a duet with us, totally for
charity, totally to raise moneyfor these people out there?
So anyway, that happened.
So if you haven't heard it orpeople haven't heard it, look up
my Hawaii.
It's really nice.
And everybody in Nashville,they all contributed their
(13:34):
services to make it happen.
That's the good.
That part stands out.
Speaker 1 (13:38):
Yeah, that's just great.
That's truly, truly awesome,especially where you've got
Dolly to step in and help out aswell.
Over the years, you have peoplethat will either try and build
you up or they'll try and tearyou down.
Does anyone stand out in yourmind that gave you positive
impact in your life, changedyour attitude, did everything
(13:59):
they could to build you up?
That you remember even tilltoday.
Speaker 2 (14:05):
Well, that's easy, that's a simple question.
I studied with a guru for manyyears In New York City.
I met him.
His name was SwamiSatchidananda.
That was the major kind ofpositivity in my life that has
to this day still kept mementally, spiritually and
physically fit.
So that's good.
As far as the other side of thecoin, which I don't really like
(14:27):
to talk about that much becauseI didn't even put it in my book,
but we had similar problems toa lot of the bands internal
disarray, the internal disarray.
Really, to this day I won't sayit bothers me, but it bothers
me Sure, sure, because it was sounnecessary.
And I'm sure you, being in themusic business all your life,
(14:50):
all these stories, the Three DogNight stories, every group, you
could name that Crosby, stillsand Nash book which is horrible.
You know what I mean.
And you read this, you say QuePasa?
What is this man?
You know that's what happenedand it really, it really ruined
the upward movement of the band.
Of course, it ruined thecohesiveness of the band and it
really was, in my opinion,totally unnecessary.
Speaker 1 (15:12):
Absolutely A lot of times if people can just step
back, take a deep breath, relaxa bit, think it over and not let
the music business get thecontrol like it does, and
unfortunately things get blownup way more than they should.
Speaker 2 (15:29):
It's just ridiculous, like I say, especially if
you're winning.
Oh yeah, we were really doingwell.
It's like one of your tires andyour car just decides I'm going
to take off, I'm just going togo.
Where are you going?
Nowhere, we only got three.
Wait a second.
So I mean mean that I wish Icould have avoided.
Speaker 1 (15:47):
But what are you going to do?
Yeah, I get it starting off.
You hit it off really well.
You've been fortunate enough tobe able to continue it into
your later years.
What are some of the thingsthat you look forward to now in
your music that you might haveoverlooked in your younger years
because you've got a differentperspective than you did back
(16:09):
then?
Speaker 2 (16:11):
I can think of.
For example, as you well know,you start off classical.
Then all of a sudden you get anopportunity to work with the
Nashville Symphony.
Now, wow, it was strange theway it happened.
It happened at a convention,but that really was something I
was really looking forward to,and I still am.
So we're doing some of thesymphonies now.
We did Utah Symphony.
(16:32):
I really like that.
Frankie Valli told me man, onceyou do symphonies you're not
going to want to go on stageanymore with anything else.
It's a little difficult to crocrack into, but that's really
something that I've really takento in my later career.
Speaker 1 (16:45):
Yeah, symphonies are awesome.
No doubt Over the last severalyears you've received a lot of
good recognition for the musicthat you've done.
I saw that you was inducted inthe Syracuse Music Hall of Fame,
the Songwriters Hall of Fame,the Musicians Hall of Fame Is
there any Hall of Fame that youhaven't been in?
Yeah, that's pretty nice.
Speaker 2 (17:07):
Yeah, it's nice, especially the one you mentioned
, the Songwriters Hall of Fame,because I don't know if people
are familiar with that.
It's a pretty select group andthey don't have a museum, or
they don't have a televisionshow and they don't have a
museum.
They don't have a televisionshow.
They just got a great award andthat was one of them.
They're all good, Like, I gotthe Hammond Organ Hall of Fame,
(17:28):
which is a real treat becauseunfortunately during those years
my guitar player was gettingguitars, my drummer was getting
drums and I wasn't gettinganything.
But now I am.
Speaker 1 (17:39):
So I'm pleased.
I know that feeling.
It only took me 30 years to getmy first keyboard given to me.
Now things have changed so much.
I remember when I had a Hammond, a Leslie and about four or
five other keyboards to haularound and it took a U-Haul to
get them all there.
Now you can get all thosesounds out of one keyboard.
Speaker 2 (17:59):
That only weighs 30 pounds Exactly.
You know, I always saychiropractors, love me because
of that hymen organ.
Speaker 1 (18:05):
Oh yeah, I certainly remember those days.
Speaker 2 (18:08):
Yeah, and unfortunately, like they stopped
making the oldie, the B3 in 72.
So once you get a bad one, sothey've got these new ones that
are out now, the XK5s, et cetera, which a lot of people I know
are using.
I know Rod Argent.
It's really interesting how farthey've come.
Speaker 1 (18:28):
Yes, it's definitely amazing what they've done.
What's up next?
What's on the plate for you?
We do a lot of cruises.
Speaker 2 (18:35):
Oh nice, yeah, we go out on these things.
For example, there's one calledthe Flower Power Eight days of
complete mayhem by the peoplewho think it's still 1960s or
70s, and that's on the agenda.
We're trying to keep on theroad my guitar player, gene.
He's staying alive by doingthese shows.
So let me tell you a lot of usin the 60s, as they say, we were
(18:58):
trying to promote world peace.
Yeah, yeah, the concept, gee, Idon't know.
So really haven't given up onthe thought of.
Maybe we can make a little bitof a dent in some of the ways
people think now the rascals wasinducted into the rock and roll
hall of fame in what?
Speaker 1 (19:14):
1997?
Yeah, I've talked with severalpeople that have been inducted
into the rock and roll Hall ofFame.
They've told me how it was forthem.
So how was your night when youwas inducted into the Hall of
Fame?
Speaker 2 (19:27):
There's two different Hall of Fame eras.
Speaker 1 (19:30):
All right.
Speaker 2 (19:31):
There's pre-TV.
Speaker 1 (19:33):
Okay.
Speaker 2 (19:34):
And after TV.
Speaker 1 (19:35):
Yeah, that makes sense.
Speaker 2 (19:36):
The ones that we did before HBO took over, were like
a big family, like we were in Ithink it was 97 with.
And it's also, interestinglyenough, the last time I saw a
lot of these guys and gals.
For example, it's the last timeI saw Michael Jackson.
It's the last time I saw hisbrother Tito.
(19:56):
It's the last time I saw theBee Gees two of them, we were
all backstage together in oneroom.
Speaker 1 (20:03):
Yeah.
Speaker 2 (20:04):
That doesn't happen anymore.
Sad but true.
It is a huge televisionproduction.
Most fun besides, of course,getting the award and the
accolades was to mingle and seethe people.
David Crosby's no longer around, they got in at the same time.
Those are the things that standout to me, because you don't
get to see these people.
Well, now you can't, of course,but you don't get to see them
(20:26):
unless you go to an event.
So that's the differencebetween then and now, which, by
the way, is the name of my lastalbum.
Speaker 1 (20:37):
Yeah, that's nice, Nice.
What you said about the awardsis so true.
I was talking with SteveHackett of Genesis.
He brought up the point of thepeople that he'd seen that he'd
grown up with all the music thatwas happening, and that was
just a situation that was sospecial.
Speaker 2 (20:52):
Exactly.
Speaker 1 (20:52):
Then he went on to add that with the music they
started getting into it and then, ultimately, it became more
about the music rather than theawards that everybody was
receiving.
Speaker 2 (21:02):
It really is.
Of course, the award is anaccolade that you promote, etc.
It was, and I'm sure it's adifferent kind of event today,
but I'm sure the people who getin really enjoy it.
It's just that you've gotbarriers now with television
cameras and security and allthis kind of stuff.
That was never there.
Speaker 1 (21:19):
Yeah, it's just, the world has changed.
The world has changed.
Okay, you've done all thesethings, all these accolades.
Now do you take any time off?
And when you do, what do you do?
Just to relax.
Speaker 2 (21:34):
I work out very heavily to try to keep my body
in shape and everything elsegoing.
Actually, I go back to myclassical music, listen to some
of the masters there and say,wow, pretty good man, you know
listening.
You just try to take a littlebit of a picture of what they
were doing and what they werethinking.
Speaker 1 (21:51):
Oh God, Absolutely the best thing is that was
pre-everything electronic.
It was about theinstrumentation, the performance
, the attacks on every singlelittle note, just so many things
that encompassed that song inthe way that it was written and
performed.
Not only that, but the yearsthat it was written and how
(22:14):
everything has evolved, but yetit still stays as strong as it
was in this original time.
Speaker 2 (22:20):
How about the guy who couldn't hear?
Yeah, exactly.
You just look back and you sayyou talk about like Mozart, you
talk about Beethoven, you talkabout Schumann.
It's like are you kidding me?
Wow, you talk about talent, youtalk about creative.
It's just the more deeper youdig into those things, the more
you appreciate it, my God.
Speaker 1 (22:41):
Now the years have passed, do you ever look at your
body of work that you'vecreated Just say to yourself,
wow, I can't believe I did that.
You never want to say I can'tbelieve I did that Because when
you start out you believe thatyou could do that, but now
you've actually done it.
What emotions do you feel thatyou look back upon now, the
people you've been around, thehits you've had, just all the
(23:04):
fans.
What goes through your mindwith all that?
Speaker 2 (23:07):
Just a gratefulness, thankfulness.
I wrote this book a while backand I decided I said let me
write a I don't know, I don'tthink I put it in the book Write
a couple of pages of all thepeople that I've shared a stage
with or been on a show with.
My God, I go back to BingCrosby, for God's sake.
Speaker 1 (23:24):
That's just great.
Speaker 2 (23:25):
You got Bing Crosby, andy Williams, perry Como, and
then you go like to Billy Joel.
I've met so many people Some,as you well know, I'd rather not
meet again.
Speaker 1 (23:37):
You know what?
I'd rather not meet again, butfor the most part really cool.
Speaker 2 (23:40):
Like George Harrison, I got to know.
George, it's really aninteresting look back to see
where you've been.
The only thing I can say isthank you.
Being blessed like this, comingfrom a little town, what can I
say?
I love it.
Speaker 1 (23:53):
Thank you Absolutely.
Now how do people find you andfollow you for what you're doing
?
Speaker 2 (24:05):
We have a philiscadalirymusiccom.
I think it's the easiest place,but I'm sure there's a Facebook
that my people have out thereand all that.
It's not easy to keep up withpeople because there's so many
people out there.
That's where it is.
Speaker 1 (24:13):
Yeah, that's great.
Well, I really appreciate youtaking the time.
This has been fantastic.
Speaker 2 (24:19):
I enjoyed speaking to you as well, man.
We've got to get together oneof these days, since you are in
Nashville, correct?
Speaker 1 (24:24):
Yeah, I'm just a little bit north of Nashville.
Speaker 2 (24:27):
Oh, you're in a different town.
Speaker 1 (24:28):
Yeah, yeah, I'm on I-65 North, just about 20
minutes north of NashvilleReally easy to get in and get
out of.
So once again, it's been greatto have you here.
Speaker 2 (24:38):
Really enjoyed it, thank you, man, enjoyed speaking
with you as well and thank youfor your time.
I look forward to seeing you,man.
Speaker 1 (24:44):
Yeah, sounds great, thanks again.
Thanks for joining us today.
We hope you enjoyed the show.
This has been a Tony Mantorproduction.
For more information, contactmedia at platomusiccom.
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
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!