It is an honor and a privilege to welcome music producer and songwriter Toby Gad to the first Jake’s Take with Jacob Elyachar Podcast Holiday Special!
Toby began his career in the late 1980s, when he and his brother Jens had three of their songs featured on controversial music duo Milli Vanilli’s European debut and multi-platinum album, All or Nothing. Because of the songs’ success, Milli Vanilli’s producer Frank Farian produced the brothers’ 1990 debut album, NRG. That same year, Toby met Jacqueline Nemorin, and a 10-year collaboration began with 1992’s Creole Dance and continued with 1995’s Mission of Love and the title song for Neverending Story III.
Following success in Germany, Toby left for the United States. He opened Strawberrybee studio in Midtown Manhattan and co-wrote “Unspoken” with Madeline Stone and O. Hatch for Christian platinum artist Jaci Velasquez. The song stayed on the Christian Billboard Top 20 Singles chart for half a year. In 2003, Toby produced and co-wrote “A Toast to Men” for Willa Ford, and two years later, developed, produced, and co-wrote Kaci Brown’s Interscope Records debut, Instigator. He also produced and co-wrote songs for Ricky Martin and the Veronicas.
In 2008, his career shifted into high gear after Fergie released a song they co-wrote, “Big Girls Don’t Cry.” The song went 4x platinum and peaked at the number one position on the US Billboard Hot 100. He also co-wrote and co-produced Beyoncé’s “If I Were A Boy,” which went 2x platinum and peaked at number three on the US Billboard Hot 100. He continued to write massive hits for Calum Scott (“No Matter What”), Demi Lovato (“Skyscraper”), Jessie J (“Who You Are”), Josh Groban (“River”), Leona Lewis (“Fire Under My Feet’), and Madonna (“Bitch, I’m Madonna” and “Living for Love”). One of his massive hits was John Legend’s “All of Me,” which earned RIAA’s 13x Diamond (Highest Certified RIAA Single in History) and won Grammy, Soul Train, and NAACP Awards.
Recently, Toby Gad released his first holiday studio album, Piano Diaries Christmas. The album features original songs co-written with an all-star group of recording artists. Anthony Gargiula, Gavin James, Huntley, Joelle James, Jordin Sparks, Loren Allred, Marisha Wallace, Sam Ryder, and Victoria Justice are some of the talented vocalists who are featured on the record. When he is not in the recording studio, Toby is also the host of the Songs You Know Podcast. In each episode, Toby and his guests uncover the tales, creative processes, and moments of magic that brought iconic songs you know and love to life. Previous guests include Billy Steinberg, Jessie J, Josh Groban, Justin Tranter, Lindy Robbins, Loren Allred, and Marisha Wallace.
On the 2025 holiday special, Toby Gad talked about his songwriting sessions with Beyonce and Demi Lovato, writing “All of Me” with John Legend, the moment he swore at the Queen of Pop, and previewed Piano Diaries Christmas.
Become a supporter of this podcast: https://www.spreaker.com/podcast/jake-s-take-with-jacob-elyachar--4112003/support.
Toby began his career in the late 1980s, when he and his brother Jens had three of their songs featured on controversial music duo Milli Vanilli’s European debut and multi-platinum album, All or Nothing. Because of the songs’ success, Milli Vanilli’s producer Frank Farian produced the brothers’ 1990 debut album, NRG. That same year, Toby met Jacqueline Nemorin, and a 10-year collaboration began with 1992’s Creole Dance and continued with 1995’s Mission of Love and the title song for Neverending Story III.
Following success in Germany, Toby left for the United States. He opened Strawberrybee studio in Midtown Manhattan and co-wrote “Unspoken” with Madeline Stone and O. Hatch for Christian platinum artist Jaci Velasquez. The song stayed on the Christian Billboard Top 20 Singles chart for half a year. In 2003, Toby produced and co-wrote “A Toast to Men” for Willa Ford, and two years later, developed, produced, and co-wrote Kaci Brown’s Interscope Records debut, Instigator. He also produced and co-wrote songs for Ricky Martin and the Veronicas.
In 2008, his career shifted into high gear after Fergie released a song they co-wrote, “Big Girls Don’t Cry.” The song went 4x platinum and peaked at the number one position on the US Billboard Hot 100. He also co-wrote and co-produced Beyoncé’s “If I Were A Boy,” which went 2x platinum and peaked at number three on the US Billboard Hot 100. He continued to write massive hits for Calum Scott (“No Matter What”), Demi Lovato (“Skyscraper”), Jessie J (“Who You Are”), Josh Groban (“River”), Leona Lewis (“Fire Under My Feet’), and Madonna (“Bitch, I’m Madonna” and “Living for Love”). One of his massive hits was John Legend’s “All of Me,” which earned RIAA’s 13x Diamond (Highest Certified RIAA Single in History) and won Grammy, Soul Train, and NAACP Awards.
Recently, Toby Gad released his first holiday studio album, Piano Diaries Christmas. The album features original songs co-written with an all-star group of recording artists. Anthony Gargiula, Gavin James, Huntley, Joelle James, Jordin Sparks, Loren Allred, Marisha Wallace, Sam Ryder, and Victoria Justice are some of the talented vocalists who are featured on the record. When he is not in the recording studio, Toby is also the host of the Songs You Know Podcast. In each episode, Toby and his guests uncover the tales, creative processes, and moments of magic that brought iconic songs you know and love to life. Previous guests include Billy Steinberg, Jessie J, Josh Groban, Justin Tranter, Lindy Robbins, Loren Allred, and Marisha Wallace.
On the 2025 holiday special, Toby Gad talked about his songwriting sessions with Beyonce and Demi Lovato, writing “All of Me” with John Legend, the moment he swore at the Queen of Pop, and previewed Piano Diaries Christmas.
Become a supporter of this podcast: https://www.spreaker.com/podcast/jake-s-take-with-jacob-elyachar--4112003/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Hello everyone, and happy holidays. I'm Horist Jacob Alushar, a
chief content user writer at jakesick dot com, a pop
culture entertainment news website. If you're watching us on YouTube,
please give us this thumbs up, and if you're listening
to us on our audio platform, please hit subscribe and
give us a five star rating. There are no words
to describe how excited I am to welcome this guy.
(00:23):
He's been one of my all time favorite songwrist producers.
He's a two time asc A CAP Song of the
e recipient with seventeen US Billboard Hot one hundred entries.
He's the host of Songs You Know podcasts. He also
has a new album, Piano Diary Christmas. Please help me
(00:43):
welcome one of my all time favorites, Toby gad to
the podcast.
Speaker 2 (00:49):
Thank you for having me.
Speaker 1 (00:51):
Toby, it is such an honor having you here because
the thing is, I told you off camera, I'm telling
you this now. You guided me through the early for
my early twenties to my early to my mid thirties.
Speaker 2 (01:04):
That is just crazy. Well, I'm honored.
Speaker 1 (01:08):
I'm so honored to have you here. I've been waiting
you have you here for two years, So this means
is a dream come true.
Speaker 2 (01:16):
Thank you?
Speaker 1 (01:17):
You're right, alrighty, all right, my friends. So I gotta
say this next year is a huge milestone for you,
forty years in the music industry. So, in your humble opinion,
how has the music industry evolved over the years, has
it changed for the matter, has it changed for the worse?
And why the.
Speaker 2 (01:39):
Music industry has changed dramatically over the forty years. When
I started, and I think I was fifteen when the
first record came out, it was a vinyl record, and
you would have to press the vinyl record. You'd press
a mother and from that you would press the actual vinylis.
They would have to be delivered to the stores. They
were big, weedy things. And my second, I think second
(01:59):
or third record was a s CD and that was
with Millie Vanilli. Millie Vanilly we learned after they returned
the Grammy famously that they didn't sing on the records.
But still my brother and I we were very happy
that we had three songs on the European number one
record and two songs on the American remix album and
the B side of a global number one record. God,
(02:21):
I'm going to miss you. So that was what put us,
my brother and me on the map. And from then
on I knew I wanted to be a songwriter. And
I think I was nineteen or twenty years old, and
from then on it was just about making records. Fast
forward to the year two thousand. I decided I wanted
to live in a country where people speak English and
(02:43):
where I could make authentic music with artists who live
and breathe the English language. So it was either going
to be London, New York, or la and New York
won because as a European to come to America, I
felt New York. You feel right at home the moment
you arrived in New York City. A week later, you
know everyone on your block, and it just was amazing there.
(03:08):
I arrived with lots of dreams and not too much money,
and soon ran out of money too, because some money
got withheld by my publishers in Germany, and I had
some months on instant soup and a bagel a day,
and really it was a struggle for survival, and I
knew I would rather be homeless than to return back
(03:30):
to Germany, and I just wrote songs for my life.
Two three years into that I had my first records
that made money, and the first one was actually with
Jackie Velasquez, a song called Unspoken, and that was six
months on the Christian radio charts. It was the first
(03:50):
song where I could say, Wow, I have a song
with an American artist that is in America on the radio.
I was so proud, and I think I year a
year into it, I happened to write a song with Fergie,
which took five or six years to come out. Fergie
at the time was an unknown. She had just left
(04:10):
a girl group, White Orchid, And I mean, I can
tell you that story later. I know you probably want
to know about the girls Don't Cry. But anyways, your
question was how has the music industry changed back to that?
So from vinyl to CD to I think Napster, which
(04:31):
terrified everybody, to Apple downloads to streaming, which at the
moment is everywhere. And I wonder what is next? What
do you think is next?
Speaker 1 (04:44):
Maybe we're going to have live music on Netflix or
something like that, or maybe live music on Disney Plus,
or maybe Peacock because Universal is part of Peacock, so
we could see that on Peacock, so I could see
live music is streaming live music is coming to those platforms.
Speaker 2 (05:03):
Do you think people are gonna get tired quickly off
AI generated music that pretends to be human and will
embrace a human element again in art and will go
more to live concerts where they can see human on
human interaction. What do you think?
Speaker 1 (05:18):
Absolutely, I'd rather go to live concerts than ever and like, yes,
I get down. I admit I'm guilty about this. I
get sucked down the rabbit holes of Michael Jackson seeing
La is La Bonita and Whitney Houston sing never Enough,
And then more recently, because High School Musical will celebrate
its twentieth anniversary next year, I got down the Glee if,
(05:38):
like what if Glee saying Hio So breaking free, so
the late and miss Corey montef and the incredible Lea
Michelle So saying that song, and I'm like, okay, this
is great, but it's also creepy. But however, I am
so I have fond memories of music this year, seeing
Patti Lapone and also my friend's sons and Sarah have
been Hail Surman Lindsay, and that will never replicate what
(06:03):
AI can do. So I'm a huge live meat fan
music buff.
Speaker 2 (06:09):
I think so too, And recently, after all these years
being penned up in a studio, I felt the urge
to go on stage and to share the music life
with an audience, to have direct feedback. It's the greatest
feeling ever. And for the last two years I have
put all of my energies into building a show, which
I'm very excited about.
Speaker 1 (06:31):
And if you're ever, it's a Kins City and bring
at you the Kin City. I'm going to be the
first person in line. Yay, alrighty. So one of you,
like I mentioned earlier, you have co wrote some of
the greatest songs of all time and some of the
songs that have played a huge role in my life.
So one of the things I want to work on
(06:52):
is Beyonces if I were a boy.
Speaker 2 (06:56):
Beyonce, if I were a boy, Do you want the
long story or the short story?
Speaker 1 (07:01):
Either or it's up to you, my friend.
Speaker 2 (07:03):
Well, at the time, I had Song of the Year
with Fergie Big Girls on Cry and I figured, if
everybody knows this song, if it's in the radio around
the world, then there's a chance that Beyonce may know
this song too. So I felt, wow, maybe she knows
me by her song. So I went to her record label,
(07:24):
to her publishers, to her managers and said, I really
would love to work with Beyonce. She had just left
Destiny's Child and Crazy in Love was all over the radio.
So I asked them and they said, of course not.
And then I came back a few weeks later and
asked them again. And then I started writing songs for
Beyonce to go to the labels and convince them. And
(07:48):
six months after that, I got a call that Beyonce
wants to write with me, which was life changing for me.
So I got booked for six days at Jay Z's
studio in New York. Arrived the first day all prepared,
put my setup in his studio up, and she didn't
come that first day. A second day, I was sitting
at the edge of my seat and again didn't come.
(08:10):
Third day, she pops in for one hour and apologizes,
or maybe for fifteen minutes apologize and says so sorry,
I have so little time, but here I am, and
I want to play you some songs I have already
recorded for my album. And she played me single Ladies,
which completely floored me. I got terrified because I thought,
were the bar is really high? I mean hearing single
(08:33):
ladies before the world hears the song that was quite crazy.
I just had such a strong reaction to that song.
And then the next day she finally said, Okay, Toby,
have time to write, so she came and I had
prepared a few songs that I had written before that
didn't have a home, that didn't have an artist, and
one of the songs I had written with a girl
(08:56):
that I connected with on my Space Bcgene. She's a
very good artist and writer. I loved working with her.
We did ten songs. The tenth song was if I
Were a Boy. We were recording in my studio in
Manhattan and we had a little break and went to
get a pizza and walking down forty sixth Street and
(09:18):
b C was unhappy about a boy who didn't reciprocate
her love and said, if I were a boy, I
would be a much better man. And I was like,
wait a minute, did you just say if I were
a boy? I have these antennas that always if someone
says something that I think is song worthy, I got like,
wait a minute, Okay, if you were a boy, let's
forget the pizza. Let's go back to the studio. What
else would you do if you were a boy? And
(09:39):
I got the guitar out and interrogated her about all
the things she would do if she was a boy,
and this song just pretty much. We were on fire.
The song wrote itself in a very short time. And
funny thing about the song is that the verse and
the chorus are the same melody. We were so excited
about this melody that we thought, okay, it's the same
(10:01):
for the verse and for the chorus. So okay. Back
to Beyonce. I was in the studio with Beyance and
before we started writing, I played her some of some
songs I had available. So I played her if I
were a boy, and Beyance said, play that again, Toby.
So I played it again, and then she stood up
and says, you won't believe me, but I want to
(10:21):
sing the song right now, And so I luckily had
all the files with me and recorded her right there,
and then an hour later we had her vocal recorded.
She is a real professional. It was incredible how much
in control of her voice she is. It was a
(10:42):
real honor recording her. This spelled surreal. And then after
we were done, we still sat at the couch for
a little bit on the couch, and she asked me
about my family, about my life. She was so sweet
and so I mean, that makes a superstar too, that
within a very short time they are so can be
(11:02):
so focused on you and you feel like you've known
them forever and just magical. But unfortunately that was the
last time I saw Beyonce. After that, that was it.
Then I heard it was going to be a first single.
Speaker 1 (11:17):
Well, that's amazing and hopefully eventually one these days it
will come. You will come around, and beyond they will
come around as well. But that is one of the
most incredible stories I have heard on this podcast, and
I've been doing this for over for almost fifteen years
of interviews though, so that's one of my favorite stories
(11:37):
right there. But I want to talk to you about
one of my personal favorite songs. It's Demilabado Skyscraper. This
song was featured so much on reality television. I remember
Sam Bailey from X Factor UK one with that song
way back in twenty thirteen, and it's just that one
of the most inspirational songs I think of the twenty tents.
Speaker 2 (11:57):
Thank you, Thank you Well, Lindy Robin and Curly and
I wrote the song. At the time, Curly was isn't
Estonia as Estonian artist. She was signed to l A.
Reed and she was very young. And Lindy Robbins is
a songwriter that I've written with for a long time
and still write with her. She's an incredible talent. So
(12:17):
the three of us we were in my little studio
in Manhattan, and I think the day before we had
written a song, and I told Lindy for tomorrow, please
come prepared, come with some ideas, because Rindy usually just
comes unprepared. Just see what happens in the room. So
she comes in the room and says, Toby, I'm all prepared.
(12:38):
I have an amazing title. And I said what is it?
And she said skyscraper and I said that's a terrible word.
It has no emotion. But then Curly thought, I will
be rising from the ground like a skyscraper. And suddenly
this dry, cold word was filled with emotion and had
personality and said so much. And then I sat at
(13:00):
the piano and we started finding a melody for it,
and we were on fire. Like this song also was
one that wrote itself really quickly. Curly had incredible ideas.
Lindy had amazing ideas. And then I had the song
finished and curly played it to her record label, and
you would have to have her tell the story. I'm
(13:22):
just quoting her. She said something to the extent of
La Reid taking the I think it was a cassette
or a CD at the time, and throwing that into
the trash because he hated this.
Speaker 1 (13:33):
Wow.
Speaker 2 (13:35):
Yeah, And then she got dropped from the label. And
then luckily years later, Benjamin Graff, who worked at Cobalt
for Lindy, played the song to John lind at Hollywood
Records for Demi Levado and then John called me and said,
Demi wants to record the song. And Demi was just
(13:57):
about to go into rehab and said, I have very
little time. I can come by and at least try
the song a little bit. So she tried the song
that was here in the studio on this microphone here,
and she was a bit of a mess at the time, emotional, emotionally,
really on the edge, but she said, I'm going to
(14:19):
give it a try. She was so sweet, and she
sang the song and we were all balling. There was
so much raw emotion in the room. It is incredible.
And then she went to rehab and three weeks later
she came back and says, Toby, I'm feeling all good now.
I want to sing the song properly now, for real.
So she came and we recorded the song and spent
(14:41):
three days on it, and the vocal was just it
had no emotion. It was technically perfect, but it didn't
have the feeling that it had before she went to
rehab and was an emotional mess. And so we went
back to that first recording and it just, I mean,
it tears you apart inside if you listen to that.
(15:02):
She's so raw and so real, and I think a
lot of people connected with.
Speaker 1 (15:06):
That, and that song has helped over help people overcome
a lot of that have a lot of darkness in
their lives. And still Demi to this day, that's one
of her best, her signature songs. Hmm, yeah, moving on
We Got all of Me. This song, almost a decade later,
still gives me goosebumps every time I listen to it.
Speaker 2 (15:27):
John Legend, well, it took me many many years to
get John Legend to want to write a song with me.
We had the same manager, David Sandenberg, and already in
two thousand and three or so, I saw John Legend
and I told David I really want to write with John.
And for the longest time David said yeah. He told
(15:49):
John that I want to write with him, but there
was just no response. I must have been the European
pop kid and he was the cool Philadelphia neo soul guy.
And then at some point I had because don't cry
on the radio. I tried again, said John, I really
need to work with him, and know nothing. Then finally
(16:09):
with Beyonce, if I were a boy was in the radio.
I think that was when I was legitimately cool for
John got to work with him. So he came to
the studio and we started writing, and I think this
was the third song we wrote. Usually he comes and
comes in and sits at this couch and we talk
a little bit about life, and then we write a
song out of the conversation. But this time you went
(16:30):
straight to the piano with this piano, and he he said,
I have an idea and it was like all of
me loves all of you, and that was he said,
that's all I have. I don't know what next to do,
and then I said, let me sit on the piano,
and I thought of my wife and her perfect imperfections
(16:53):
and her curse, and I said, love.
Speaker 3 (16:54):
Your curves and are your edges? Are your perfect imn perfections?
And so then John said, I gotta come back to
the piano now this is I love this. So we
were just trading places at the piano here and answering
each other. It was an incredible process. I think in
an hour and a half we had the song done.
Speaker 1 (17:16):
That's incredible. So one of the best songs on a
planet and so one of his signature songs over the years.
But you got not just music, Carolti. You have one
of the biggest names in music history Madonna with Living
for Love, and I gotta say that that is another
You took Madonna to another level of excellence.
Speaker 2 (17:38):
Ah, thank you so much. Madonna was a tough one.
I mean, at some point, Intesco called me and said,
do you want to do a writing camp for Madonna?
And I usually said no to writing camps because you
get promised that the artist shows up, especially big names
like Rihanna or Madonna. So I spent I did say
yes then in the end, and I spent a week
(18:00):
in a dark studio from Interscope with various writers churning
out ideas for Madonna, and of course she did not
show up, and I was quite frustrated. And a week
later Interscope called again and says, Toby, do you want
to do another writing Madonna? I was like, absolutely not.
But then they called my managers and eventually convinced me
(18:22):
to fly to New York. At the time I had
lived already in La Fly to New York and do
the next camp, and they promised she would show up.
So it was Mozilla. She's a very good writer. She
wrote Wrecking Ball and as One he is a truck
producer out of Texas, and me, the three of us,
(18:42):
and we prepared some ideas and then at some point
Madonna's assistants walk in and say this is the bathroom
is off limits. Now you can't use it, and put
incense canvas on and tell you the rules what to
do and what you cannot do, and say if if
you there was a rumor going around, if you say
(19:03):
something wrong, and if you rub her the wrong way
and she doesn't like it, then she will excuse us
her to the bathroom, and the assistant will come in
and hand you your flight ticket and say you got
five minutes to clear the room.
Speaker 1 (19:16):
Oh boy.
Speaker 2 (19:17):
So we were all like and then shortly after that
she came in. A whole bunch of people came in
around her, all kinds of I don't know, assistance managers,
anyone doing things, life coach, you name it. The whole
bunch came in. And then Madonna came and we had
(19:38):
prepared an idea. I played it to her on the
piano and she was very sweet. She sat next to
me at the piano and she liked the idea. And
then the next day again we wrote another idea. Third
day we wrote another idea, but we hadn't recorded anything,
and so it came time to record Madonna's voice on
(19:58):
these ideas. And then I was in the at the
mixing desk and Madonna was in the vocal booth. And
I mean, she's she's an insanely good performer, one of
the best the world has, and she's an absolute icon.
But I felt vocally maybe we could dial it up
a notche and get a little better. So I kept
pushing her and said sing it again, and now sing
(20:19):
it and think of someone you love and sing it
and put more feeling into it. Can I swear on
your podcast? Oh?
Speaker 1 (20:26):
Yes you can?
Speaker 2 (20:27):
Yes? Okay, So, and I kept prompting her because I
felt there could be more. She could deliver more vocally,
but it felt every performance was the same. At some point,
she says, fuck you, Toby, I'm not singing this anymore,
and I was like, Oh, you are going to sing
this now? And then there was silence in the room
and everyone's looking around, What's going to happen next? Toby
(20:50):
said fuck you to Madonna. And then after a while
she started smiling, and the assistant did not come in,
she didn't go to the bar room, I did not
get the flight ticket to leave, and we wondered over that.
For some reason, she must have liked that. And then
we spent a total of five weeks in the studio
(21:10):
together and with Diplo. We did thirteen songs together and
most of the Rebel Heart album. She's a very hard worker,
she's very disciplined. She expects the same from everyone who's
in the room. And just I mean, I could tell
you endless stories there was in these five weeks. A
lot happened. But yeah, living for Love is a song
(21:33):
that I'm very proud of and that was the first
single and she performed it on the Grammys and I
was really excited about it. It was great. She wanted me
to be in her band and make a world tour
with her, and when it came to the Grammys, she said, Okay, Toby,
the next two weeks block out every day because we
(21:56):
are performing at the Grammys. And I was like, it's
only one song, why two weeks rehearsal. It dawned on
me that if I would go on tour with Madonna,
I would have to like infinitely repeat myself and always
do exactly the same show, the same one hundred and
fifty Madonna songs every evening, and I cannot handle repetition.
(22:20):
Like for me, it's all about improvisation. It's all about
doing something for the first time. That's how I write songs.
It's a lot of improvising, coming up with things that
I've never done before, and the moment I feel I've
done it before, I don't want to do it anymore.
It feels redundant.
Speaker 1 (22:37):
So I totally agree. I remember, I totally agree. But
that's just an amazing Madonna story. This is probably the
first time in my podcast history that Beyonce and Madonna
have been referenced. So for Congratulations, one final song I worked.
Speaker 2 (22:55):
Yeah, there are incredible icons, and I count myself very
lucky to have not only work with them, but have
written songs that were really meaningful to all of them,
so that I feel very privileged.
Speaker 1 (23:08):
I'm and I'm so glad you had that, and thank
you and thinking for that. But one final song that
means the world to me, that gives me goosebumps on
my body. It's Josh Grobin Jennifer Nettle's ninety nine Years.
It's probably one of my favorite songs. It's so hopeful
and it gives me chills every time I think I
see that. And you got two of the best vocalists
(23:28):
of vocals of this modern day together.
Speaker 2 (23:32):
Yeah, that was nice. So we wrote it with Josh
Grobin and Bernie Herms and in this room on this piano.
I felt we wanted to write a generation generational song.
I think I already had the title ninety nine years.
We wrote a number of songs Josh, Bernie and I
and I think we will write more in the future.
(23:53):
We just recently I saw Josh Grobin at the Hollywood
Bowl he did two evenings at the Hollywood Bowl with
the Symphony Orchet. It was incredible. I mean, what an
amazing career Josh has had. What I'm actually proudest of
is the song that I wrote with Bernie and Josh
that became a duet with Andrea Bucelli and Josh Grobin,
and you can look that up on the on YouTube.
Speaker 1 (24:15):
I believe it's forever right.
Speaker 2 (24:17):
No, no, that's a song called we Will Meet? Is
it meet we Meet once Again or we will Meet
once Again? It's an unwieldy title, but look it up
on YouTube. It's the most beautiful performance video in some
Italian amphitheater, thousands of candles with aerial footage of Andrea
(24:39):
Bucelli and Josh Grobin singing my song, and that is
I'm so proud of that. That was so beautiful.
Speaker 1 (24:46):
You have had in the incredible luck, so much, Toby,
with all those increminent musicians. However, we gotta talk. It's
the holidays, so we gotta make the holidays bright. So
let's talk about Piano Diary Christmas. So how did this
album came about?
Speaker 2 (25:02):
So two years ago? I'm going to back up first
a little bit about Piano Diaries, because when I write songs,
quite often we write it here on the piano and
we feel the magic of the song with just the
voice and the piano, But then quite often it gets
produced there's all kinds of instruments around it, and the
voice doesn't have that much breathing room anymore. And I
(25:24):
felt the urge to re record sixteen of my biggest
hits with seventeen upcoming and established incredible singers, but this
time do the songs in a project called Piano Diaries,
where it's just the piano, very minimalist. I just play
very few notes and the vocal and some orchestration. And
(25:44):
so I reimagined, re recorded sixteen of my greatest hits
with incredible singers, very minimalist, very sparse. You could almost
call it a jazz arrangement, but these are pop songs,
and I didn't try to make him jazz. I tried
to just get to the essence of the composition with
those in that album is called Piano Diaries the hits,
(26:08):
and then following up on that, I did Piano Diaries Christmas,
and that is the same sonics. So it's just piano
and a vocal and orchestration, no drums, and I called
up throughout the year. I started in April, I called
people that I love that have incredible voices, such as
Jordan Sparks or Anthony ga Jeweler who has three billion
(26:32):
TikTok views and is an unbelievable singer, or Louisa Johnson,
the youngest X Factor winner in England, or Megan McKenna
one celebrities X Factor, or I mean a number twelve
different singers on this album and I wanted to write
their personal Christmas story or Lauren Alread for instance, or
(26:56):
Marisha Wallace or like twelve wonderful singers on this album,
and so we just sat down and we talked about
their Christmas memories and turn it into a song. That's
what this album is. And I'm very proud of it.
And we're in the middle now of promoting it and
I'm also doing shows with it. So I don't know
when is this podcast coming out.
Speaker 1 (27:17):
This podcast will be coming up during the first week
at December.
Speaker 2 (27:22):
Ah so, because I have a show at Universal City
Walk with a lot of singers and a quartet and
background vocalists performing some of the Christmas songs. End of
November to November twenty eight. But also I have two
shows in London at the Sharp Building, the tallest building
in London, on the sixty ninth floor, on December fifteen
(27:45):
and December sixteen. So if anyone wants to fly to
London and see the show, or if you have viewers
in London, these are going to be two beautiful evenings
with a string quartet and I'll play the piano and
I have a number of really amazing singers at the show.
Megan McKenna will be there, Luisa Johnson Huntley who won
(28:06):
the Voice in America, So a lot of great singers.
Speaker 1 (28:11):
I gotta say this. I want to talk about as
some of the five tracks stand out to me the most.
We got to talk about the fabst Lauren Already, wonderful night.
It's just amazing Lauren's voice. I've seen her grow from
the Voice all the way to the Great Showman and
and of course her re emergence on Burnscott Talent in
the AGT Fantasy League It's see You. It was wonderful
(28:34):
hearing that vocal from her.
Speaker 2 (28:36):
Lauren is a very special artist and I had her
on my podcast because I wanted to know about her
journey and her voice has always fascinated me. That she
is such a great performer as well. She has performed
with Andrea A. Bucelli and David Foster and the greats.
She's just an incredble vocalist. I wanted to know her
(28:56):
whole story. She grew grew up in a Mormon upbringing
and say similar to David Accheletta also, and it was
a very interesting story she told me about her life
in my podcast. You can see the podcast episode is wonderful.
And in the podcast suddenly I I sort of sing
(29:17):
something and she sang something in a very low, soft voice,
and I was like, wow, I haven't heard this voice
on your records before. Because she's known for all these
big belting voices like never Enough from the Greatest show Man.
She's on the top of her lungs. And I felt
the urge to write a song with her where she
always sings very low and very soft. So we wrote
(29:41):
this song Wonderful Night, and that's Lauren just singing super
soft and a beautiful Christmas memory out of her life.
Speaker 1 (29:50):
That's amazing and I'm so glad you added Lauren to
your repertoire of incredible singers. Holy Night with Sam Ryder
that gave me chill chills, hills, hills.
Speaker 2 (30:03):
Sam Ryder represented England, the UK and the Eurovision and
just now he played at the Wembley Wembley Arena. He's
a big, big household name in the UK. I'm not
sure if America is familiar with Sam Rider, but he's
an incredible singer and we wrote a song last year
(30:24):
I believe about his Christmas experience and it's about loss
and about the love of the family. And at times
in this song he sings like Freddie Mercury. I think
like his vocal is from the from the softest, most
gentle singing to to like notes that only Freddie Mercury
(30:50):
could sing. And in this song I really wanted to
challenge him as a singer and and go from the
softest bits to the loudest, from the lowest to the highest,
and really feel its entire range. I do that often
that if I feel a singer has this range and
that dynamic, that I really want to use all of
that in the song as well. And the problem is
(31:10):
that a lot of these songs that are very difficult
to sing live, like for instance, if I were a boy.
After the first chorus, Beyonce is at the highest note
and then she has to go to a very lowest note,
very soft, and few singers can pull that off.
Speaker 1 (31:24):
I totally agree. I want to go back to you
with the Jordan's Sparks Christmas, take Me Back Home, takes
Me Back Home. I gotta say this. I got goose
bumps with that. That is another song on that record
not gave me goose bumps. And it was very haunting
as well, because I never see Jordan go to a
haunting level before.
Speaker 2 (31:45):
After Jordan Spark's one American Idol, Lindy Robbins and I
spend a lot of time with her. We wrote a
number of songs, maybe ten songs. Many of them came
out on her first album, and we actually lost touch
for for over ten years. And this year I performed
at the Grammy Museum in Los Angeles and I called Jordan.
(32:07):
I don't know, suddenly I thought of her, and I thought,
why not reach out to her again? And I asked
if she wanted to perform with me at the Grammy Museum,
and she did so I did a show with her.
We did two songs and it was absolutely beautiful. We
connected again and after that I asked if she wanted
to write a Christmas song with me for my Christmas
(32:27):
album and she did and very happy about this song.
This song goes full circle from when her granddad lifted
her up as a little child to put the star
on top of the tree and now she's a mother
herself and lifts up her little boy to put the
star on the top of the tree.
Speaker 1 (32:45):
Awesome. We're moving on to Gavin James. Really love someone.
Speaker 2 (32:50):
Gavin James is one of the most underrated singers there is.
His voice just moves me to tears and he's an
Irish singer. Incredible. Anyone who doesn't know him, look him up.
He's going to be your new favorite. He invited me
to come to Dublin and there for four days we
(33:10):
wrote songs in a little room that was above a
club which apparently belonged to Bono. And I'm quoting Gavin
there because Bono from You Two once didn't get let
into this club and the bouncer didn't let him in
for whatever reason, and then Bono bought the club.
Speaker 1 (33:26):
And that's incredible. Bono's revengement like to have to record
songs in Bono's Club. That is just that's probably you
told me seriously you have you. I really hope that
one day, if you haven't already, if you have a
volume of Ma Mars, because you have phenomenal stories to
(33:49):
write it from from from from swearing at Madonna to
Beyonce to do spending an hour with Beyonce and now
writing music in Bono's Club. That is you, my friend,
have incredible stories, and I really hope you have the opportunity.
But back to the song.
Speaker 2 (34:06):
Yeah, the song. My auntie and my mother both died
from something like dementia, Alzheimer's Parkinson, similar symptoms, similar like
memory loss, and we were talking about memory loss and
old people and Gavin had similar experiences, and so we
(34:29):
wrote this song about two people who grow old together
and lose their memory, but they still like they forget,
when they forget each other's name, they can still say
that they have loved each other, and to the bitter end,
they stick together. It's a beautiful love story. It's based
(34:49):
on an experience in Govern's Circle.
Speaker 1 (34:53):
And I want to add my stuff because that brought
me memories to my grandpa, the rough matster of a
blessed memory and he died of dimension in Alzheimer's, so
it was very hard seeing him to deteriorate. He was
probably the one thet He's the grandfather that I have
the fondest memories with. He built the only grandfather that
(35:16):
was at my fifth grade I meet grandparent day. He
helped me and my brother Aaron chat at Aaron and
my dad chat at Dad. But built our third grade
simple machines, in eighth grade electoral houses and all those
pine wood Derby cars and scouts. So it was so
rough watching him deteriorate.
Speaker 2 (35:32):
Yeah. Yeah, it's it's a not a not a fun
way to die. And I feel you almost go back
in age two, when you're back to being a toddler. Basically,
it's it's very sad, but it is what it is.
And so I started spending more time with my mother
in that time and just appreciating the bit that is left.
Speaker 1 (35:55):
Same with me, and I've always tried to shout out,
spend time with my family, shoutout Mom, Gloria, Dad, Matthew, Aaron,
my sister in law Whitney, Nash, Henry Kenny, and my
dogging nephew Nash. I will always love you ah, yeah,
all right, And we got to talk about Little House
in the Snow with rising vocalists Marsha Wallace, and I
(36:15):
got to say Marsha delivers an incredible Christmas package.
Speaker 2 (36:19):
Marisha Wallace, she's actually coming out. She has lived in
London for a long time and recently she is having
a Broadway musical in New York and tomorrow I'll see
her again. I'm excited. And this is a song we
wrote during the pandemic over Zoom and there's a lot
more to come with Mauritia and me. We're working on
(36:41):
a musical. It's very exciting. I can't talk too much
about it yet.
Speaker 1 (36:45):
But.
Speaker 2 (36:47):
Marisa, this is a story that's very personal to Mauritia.
When she grew up, she was not allowed to celebrate
Christmas or get presents, so I think she would have
to tell the story to you, but I think her
Auntie or some of the family secretly gave her presents
and said don't tell anyone because for some reason they
(37:07):
weren't allowed to celebrate Christmas, so it was like a
secret Christmas celebration. It's a very touching story. And if
you have Marisia one day on your podcast, she can
tell you exactly how that story was.
Speaker 1 (37:24):
Russia. If you're listening to this right now, you are
more than welcome to come onto this podcast to tell
your story, because we're a fellow podcast.
Speaker 2 (37:32):
I would tell her tomorrow, perfect.
Speaker 1 (37:35):
That would be wonderful. Toby. However, while we're talking podcasts,
let's talk about songs, you know podcasts a little bit.
So what can my audience expect when they listen to
this show? Listen to the podcast?
Speaker 2 (37:48):
Yes, songs you know. I have so many amazing people
come in and out of the studio, and we figured
wouldn't it be nice if people could also learn a
little bit about their life. So we started this podcast
Songs you know, and I think we have I forgot
how many. We've done it for seven months now and
we have quite a few episodes out. Some of them
(38:10):
resonate a lot, like one with Lauren Christy has already
a quarter million views on YouTube and loads of streams
on all the audio platforms. It depends on the guests
if people are interested in tuning in with Jesse j
we had a podcast that got very good responses or
Victoria Justice. Josh Grobin was on my podcast, Matteo Bocelli.
(38:32):
There's one upcoming with Danny from the script they just
headlined at Lastonbury.
Speaker 1 (38:38):
That's so cool, one of my I have a Danny story.
I have a Danny story to tell you. So back
in twenty fourteen when they traveled with one for Republic
and American Authors, one of my friends, Courtney Gangler, and
I went to hers went to the concert and he
stood I after gave him a high five. He stood
on my chair to do halts. Finish your Halliday, Frank.
(39:00):
Courtney gave this god a selfie so and I did
beget one. So I'm like, that's an opportunity.
Speaker 2 (39:06):
He's a great guy, and that is an amazing episode.
It might be out in three or four weeks.
Speaker 1 (39:13):
So awesome, awesome. So the however, we're here to talk
about you, Toby. So one of the final questions I
have for you is why should my audience check out
Piano Diaries Christmas?
Speaker 2 (39:24):
Piano Diaries Christmas is not your typical Christmas music piano
imagine it was more like Norah Jones would bring twelve
amazing singers to do pop songs, the kind of pop
songs that my have to find my career and talk
about personal stories of each of these artists Christmas experiences.
(39:47):
So I would say it's a journal entry of twelve
incredible artists with a beautiful piano, very minimalist, no sleigh
bells whatsoever, No up tempo, shopping mall music. It's it's
very much like Okay, if you want to have dinner
and you want to put on something relaxing or something storytelling,
(40:10):
then I think you will enjoy this album.
Speaker 1 (40:13):
Awesome, awesome, And last question, are you ready?
Speaker 2 (40:16):
Yes?
Speaker 1 (40:17):
Where can my audience find your music? Number one? Number two?
Where can they on social media? Number three? If they
want to get tickets to the London show, where can
my audience find them?
Speaker 2 (40:29):
Okay? My social media is Toby God Music on Instagram
and just Toby God at TikTok And you can find
tickets to the London London Charts Show December fifteen and
sixteen if you google the website of the Shard. The
London Chart is like a glass shart because the building
(40:51):
looks like a shard. It's the tallest building in London
and we're going to be on the sixty ninth floor.
Two beautiful evenings with Incredibles and the string quartet and
me on the piano and you will see the London
skyline really breathtaking. You can get them on the website
of the Shard And then if you want to listen
(41:12):
to the Piano Diaries album, we have a vinyl that
you can buy in the gift store of the Chart
and otherwise you can stream it on anywhere where you
stream your music. If it's on Apple, Amazon, Deezer, Spotify,
any of these many places where you like to listen
to your music, will have the album and it's called
(41:34):
Piano Diaries Christmas and my name Toby gad awesome.
Speaker 1 (41:39):
Soby so guys, if you missed an episode of the
Jake Stake with jacob El Shart podcast, visit our channels
on Apple Podcasts, Amazon Music, Spotify, Speaker and iHeart Jake's
Sake with jacob El Shart j A c O b
E L y A c h A R. Are you
on social media because I'm on social media too, Facebook, Instagram, Threads,
Twitter and YouTube. Jacob El Shart j A C O
B E L y E har want to find out
(42:02):
what I thought of Toby's album, We'll head to the
blog that started all Jake Stashak dot com, What's in
Jakestashak dot com. And I'm very honored and thrilled that
the silver to receive one of the stee Silver CBS
for the twenty twenty five American Business Awards. I want
to thank all the Stevie Judges forwarding me a Silver
CV for Best Interview Talk Show. And I just want
(42:23):
to say, Toby Gad it was such an honor and
privileged to talk to you. This was one of my
favorite interviews of twenty twenty five. Thank you so much
for the music. Please come back. You are such an
amazing songwriter and I cannot wait to talk to you again.
Speaker 2 (42:38):
Amazing. Thank you so much for having me, and yes
we do it again in a year or two.
Speaker 1 (42:43):
Absolutely, And guys, thank you so much for watching, Thank
you so much for listening. Until next time, have it
going on. Everybody good, bue Hey
Hello everyone, and happy holidays. I'm Horist Jacob Alushar, a
chief content user writer at jakesick dot com, a pop
culture entertainment news website. If you're watching us on YouTube,
please give us this thumbs up, and if you're listening
to us on our audio platform, please hit subscribe and
give us a five star rating. There are no words
to describe how excited I am to welcome this guy.
(00:23):
He's been one of my all time favorite songwrist producers.
He's a two time asc A CAP Song of the
e recipient with seventeen US Billboard Hot one hundred entries.
He's the host of Songs You Know podcasts. He also
has a new album, Piano Diary Christmas. Please help me
(00:43):
welcome one of my all time favorites, Toby gad to
the podcast.
Speaker 2 (00:49):
Thank you for having me.
Speaker 1 (00:51):
Toby, it is such an honor having you here because
the thing is, I told you off camera, I'm telling
you this now. You guided me through the early for
my early twenties to my early to my mid thirties.
Speaker 2 (01:04):
That is just crazy. Well, I'm honored.
Speaker 1 (01:08):
I'm so honored to have you here. I've been waiting
you have you here for two years, So this means
is a dream come true.
Speaker 2 (01:16):
Thank you?
Speaker 1 (01:17):
You're right, alrighty, all right, my friends. So I gotta
say this next year is a huge milestone for you,
forty years in the music industry. So, in your humble opinion,
how has the music industry evolved over the years, has
it changed for the matter, has it changed for the worse?
And why the.
Speaker 2 (01:39):
Music industry has changed dramatically over the forty years. When
I started, and I think I was fifteen when the
first record came out, it was a vinyl record, and
you would have to press the vinyl record. You'd press
a mother and from that you would press the actual vinylis.
They would have to be delivered to the stores. They
were big, weedy things. And my second, I think second
(01:59):
or third record was a s CD and that was
with Millie Vanilli. Millie Vanilly we learned after they returned
the Grammy famously that they didn't sing on the records.
But still my brother and I we were very happy
that we had three songs on the European number one
record and two songs on the American remix album and
the B side of a global number one record. God,
(02:21):
I'm going to miss you. So that was what put us,
my brother and me on the map. And from then
on I knew I wanted to be a songwriter. And
I think I was nineteen or twenty years old, and
from then on it was just about making records. Fast
forward to the year two thousand. I decided I wanted
to live in a country where people speak English and
(02:43):
where I could make authentic music with artists who live
and breathe the English language. So it was either going
to be London, New York, or la and New York
won because as a European to come to America, I
felt New York. You feel right at home the moment
you arrived in New York City. A week later, you
know everyone on your block, and it just was amazing there.
(03:08):
I arrived with lots of dreams and not too much money,
and soon ran out of money too, because some money
got withheld by my publishers in Germany, and I had
some months on instant soup and a bagel a day,
and really it was a struggle for survival, and I
knew I would rather be homeless than to return back
(03:30):
to Germany, and I just wrote songs for my life.
Two three years into that I had my first records
that made money, and the first one was actually with
Jackie Velasquez, a song called Unspoken, and that was six
months on the Christian radio charts. It was the first
(03:50):
song where I could say, Wow, I have a song
with an American artist that is in America on the radio.
I was so proud, and I think I year a
year into it, I happened to write a song with Fergie,
which took five or six years to come out. Fergie
at the time was an unknown. She had just left
(04:10):
a girl group, White Orchid, And I mean, I can
tell you that story later. I know you probably want
to know about the girls Don't Cry. But anyways, your
question was how has the music industry changed back to that?
So from vinyl to CD to I think Napster, which
(04:31):
terrified everybody, to Apple downloads to streaming, which at the
moment is everywhere. And I wonder what is next? What
do you think is next?
Speaker 1 (04:44):
Maybe we're going to have live music on Netflix or
something like that, or maybe live music on Disney Plus,
or maybe Peacock because Universal is part of Peacock, so
we could see that on Peacock, so I could see
live music is streaming live music is coming to those platforms.
Speaker 2 (05:03):
Do you think people are gonna get tired quickly off
AI generated music that pretends to be human and will
embrace a human element again in art and will go
more to live concerts where they can see human on
human interaction. What do you think?
Speaker 1 (05:18):
Absolutely, I'd rather go to live concerts than ever and like, yes,
I get down. I admit I'm guilty about this. I
get sucked down the rabbit holes of Michael Jackson seeing
La is La Bonita and Whitney Houston sing never Enough,
And then more recently, because High School Musical will celebrate
its twentieth anniversary next year, I got down the Glee if,
(05:38):
like what if Glee saying Hio So breaking free, so
the late and miss Corey montef and the incredible Lea
Michelle So saying that song, and I'm like, okay, this
is great, but it's also creepy. But however, I am
so I have fond memories of music this year, seeing
Patti Lapone and also my friend's sons and Sarah have
been Hail Surman Lindsay, and that will never replicate what
(06:03):
AI can do. So I'm a huge live meat fan
music buff.
Speaker 2 (06:09):
I think so too, And recently, after all these years
being penned up in a studio, I felt the urge
to go on stage and to share the music life
with an audience, to have direct feedback. It's the greatest
feeling ever. And for the last two years I have
put all of my energies into building a show, which
I'm very excited about.
Speaker 1 (06:31):
And if you're ever, it's a Kins City and bring
at you the Kin City. I'm going to be the
first person in line. Yay, alrighty. So one of you,
like I mentioned earlier, you have co wrote some of
the greatest songs of all time and some of the
songs that have played a huge role in my life.
So one of the things I want to work on
(06:52):
is Beyonces if I were a boy.
Speaker 2 (06:56):
Beyonce, if I were a boy, Do you want the
long story or the short story?
Speaker 1 (07:01):
Either or it's up to you, my friend.
Speaker 2 (07:03):
Well, at the time, I had Song of the Year
with Fergie Big Girls on Cry and I figured, if
everybody knows this song, if it's in the radio around
the world, then there's a chance that Beyonce may know
this song too. So I felt, wow, maybe she knows
me by her song. So I went to her record label,
(07:24):
to her publishers, to her managers and said, I really
would love to work with Beyonce. She had just left
Destiny's Child and Crazy in Love was all over the radio.
So I asked them and they said, of course not.
And then I came back a few weeks later and
asked them again. And then I started writing songs for
Beyonce to go to the labels and convince them. And
(07:48):
six months after that, I got a call that Beyonce
wants to write with me, which was life changing for me.
So I got booked for six days at Jay Z's
studio in New York. Arrived the first day all prepared,
put my setup in his studio up, and she didn't
come that first day. A second day, I was sitting
at the edge of my seat and again didn't come.
(08:10):
Third day, she pops in for one hour and apologizes,
or maybe for fifteen minutes apologize and says so sorry,
I have so little time, but here I am, and
I want to play you some songs I have already
recorded for my album. And she played me single Ladies,
which completely floored me. I got terrified because I thought,
were the bar is really high? I mean hearing single
(08:33):
ladies before the world hears the song that was quite crazy.
I just had such a strong reaction to that song.
And then the next day she finally said, Okay, Toby,
have time to write, so she came and I had
prepared a few songs that I had written before that
didn't have a home, that didn't have an artist, and
one of the songs I had written with a girl
(08:56):
that I connected with on my Space Bcgene. She's a
very good artist and writer. I loved working with her.
We did ten songs. The tenth song was if I
Were a Boy. We were recording in my studio in
Manhattan and we had a little break and went to
get a pizza and walking down forty sixth Street and
(09:18):
b C was unhappy about a boy who didn't reciprocate
her love and said, if I were a boy, I
would be a much better man. And I was like,
wait a minute, did you just say if I were
a boy? I have these antennas that always if someone
says something that I think is song worthy, I got like,
wait a minute, Okay, if you were a boy, let's
forget the pizza. Let's go back to the studio. What
else would you do if you were a boy? And
(09:39):
I got the guitar out and interrogated her about all
the things she would do if she was a boy,
and this song just pretty much. We were on fire.
The song wrote itself in a very short time. And
funny thing about the song is that the verse and
the chorus are the same melody. We were so excited
about this melody that we thought, okay, it's the same
(10:01):
for the verse and for the chorus. So okay. Back
to Beyonce. I was in the studio with Beyance and
before we started writing, I played her some of some
songs I had available. So I played her if I
were a boy, and Beyance said, play that again, Toby.
So I played it again, and then she stood up
and says, you won't believe me, but I want to
(10:21):
sing the song right now, And so I luckily had
all the files with me and recorded her right there,
and then an hour later we had her vocal recorded.
She is a real professional. It was incredible how much
in control of her voice she is. It was a
(10:42):
real honor recording her. This spelled surreal. And then after
we were done, we still sat at the couch for
a little bit on the couch, and she asked me
about my family, about my life. She was so sweet
and so I mean, that makes a superstar too, that
within a very short time they are so can be
(11:02):
so focused on you and you feel like you've known
them forever and just magical. But unfortunately that was the
last time I saw Beyonce. After that, that was it.
Then I heard it was going to be a first single.
Speaker 1 (11:17):
Well, that's amazing and hopefully eventually one these days it
will come. You will come around, and beyond they will
come around as well. But that is one of the
most incredible stories I have heard on this podcast, and
I've been doing this for over for almost fifteen years
of interviews though, so that's one of my favorite stories
(11:37):
right there. But I want to talk to you about
one of my personal favorite songs. It's Demilabado Skyscraper. This
song was featured so much on reality television. I remember
Sam Bailey from X Factor UK one with that song
way back in twenty thirteen, and it's just that one
of the most inspirational songs I think of the twenty tents.
Speaker 2 (11:57):
Thank you, Thank you Well, Lindy Robin and Curly and
I wrote the song. At the time, Curly was isn't
Estonia as Estonian artist. She was signed to l A.
Reed and she was very young. And Lindy Robbins is
a songwriter that I've written with for a long time
and still write with her. She's an incredible talent. So
(12:17):
the three of us we were in my little studio
in Manhattan, and I think the day before we had
written a song, and I told Lindy for tomorrow, please
come prepared, come with some ideas, because Rindy usually just
comes unprepared. Just see what happens in the room. So
she comes in the room and says, Toby, I'm all prepared.
(12:38):
I have an amazing title. And I said what is it?
And she said skyscraper and I said that's a terrible word.
It has no emotion. But then Curly thought, I will
be rising from the ground like a skyscraper. And suddenly
this dry, cold word was filled with emotion and had
personality and said so much. And then I sat at
(13:00):
the piano and we started finding a melody for it,
and we were on fire. Like this song also was
one that wrote itself really quickly. Curly had incredible ideas.
Lindy had amazing ideas. And then I had the song
finished and curly played it to her record label, and
you would have to have her tell the story. I'm
(13:22):
just quoting her. She said something to the extent of
La Reid taking the I think it was a cassette
or a CD at the time, and throwing that into
the trash because he hated this.
Speaker 1 (13:33):
Wow.
Speaker 2 (13:35):
Yeah, And then she got dropped from the label. And
then luckily years later, Benjamin Graff, who worked at Cobalt
for Lindy, played the song to John lind at Hollywood
Records for Demi Levado and then John called me and said,
Demi wants to record the song. And Demi was just
(13:57):
about to go into rehab and said, I have very
little time. I can come by and at least try
the song a little bit. So she tried the song
that was here in the studio on this microphone here,
and she was a bit of a mess at the time, emotional, emotionally,
really on the edge, but she said, I'm going to
(14:19):
give it a try. She was so sweet, and she
sang the song and we were all balling. There was
so much raw emotion in the room. It is incredible.
And then she went to rehab and three weeks later
she came back and says, Toby, I'm feeling all good now.
I want to sing the song properly now, for real.
So she came and we recorded the song and spent
(14:41):
three days on it, and the vocal was just it
had no emotion. It was technically perfect, but it didn't
have the feeling that it had before she went to
rehab and was an emotional mess. And so we went
back to that first recording and it just, I mean,
it tears you apart inside if you listen to that.
(15:02):
She's so raw and so real, and I think a
lot of people connected with.
Speaker 1 (15:06):
That, and that song has helped over help people overcome
a lot of that have a lot of darkness in
their lives. And still Demi to this day, that's one
of her best, her signature songs. Hmm, yeah, moving on
We Got all of Me. This song, almost a decade later,
still gives me goosebumps every time I listen to it.
Speaker 2 (15:27):
John Legend, well, it took me many many years to
get John Legend to want to write a song with me.
We had the same manager, David Sandenberg, and already in
two thousand and three or so, I saw John Legend
and I told David I really want to write with John.
And for the longest time David said yeah. He told
(15:49):
John that I want to write with him, but there
was just no response. I must have been the European
pop kid and he was the cool Philadelphia neo soul guy.
And then at some point I had because don't cry
on the radio. I tried again, said John, I really
need to work with him, and know nothing. Then finally
(16:09):
with Beyonce, if I were a boy was in the radio.
I think that was when I was legitimately cool for
John got to work with him. So he came to
the studio and we started writing, and I think this
was the third song we wrote. Usually he comes and
comes in and sits at this couch and we talk
a little bit about life, and then we write a
song out of the conversation. But this time you went
(16:30):
straight to the piano with this piano, and he he said,
I have an idea and it was like all of
me loves all of you, and that was he said,
that's all I have. I don't know what next to do,
and then I said, let me sit on the piano,
and I thought of my wife and her perfect imperfections
(16:53):
and her curse, and I said, love.
Speaker 3 (16:54):
Your curves and are your edges? Are your perfect imn perfections?
And so then John said, I gotta come back to
the piano now this is I love this. So we
were just trading places at the piano here and answering
each other. It was an incredible process. I think in
an hour and a half we had the song done.
Speaker 1 (17:16):
That's incredible. So one of the best songs on a
planet and so one of his signature songs over the years.
But you got not just music, Carolti. You have one
of the biggest names in music history Madonna with Living
for Love, and I gotta say that that is another
You took Madonna to another level of excellence.
Speaker 2 (17:38):
Ah, thank you so much. Madonna was a tough one.
I mean, at some point, Intesco called me and said,
do you want to do a writing camp for Madonna?
And I usually said no to writing camps because you
get promised that the artist shows up, especially big names
like Rihanna or Madonna. So I spent I did say
yes then in the end, and I spent a week
(18:00):
in a dark studio from Interscope with various writers churning
out ideas for Madonna, and of course she did not
show up, and I was quite frustrated. And a week
later Interscope called again and says, Toby, do you want
to do another writing Madonna? I was like, absolutely not.
But then they called my managers and eventually convinced me
(18:22):
to fly to New York. At the time I had
lived already in La Fly to New York and do
the next camp, and they promised she would show up.
So it was Mozilla. She's a very good writer. She
wrote Wrecking Ball and as One he is a truck
producer out of Texas, and me, the three of us,
(18:42):
and we prepared some ideas and then at some point
Madonna's assistants walk in and say this is the bathroom
is off limits. Now you can't use it, and put
incense canvas on and tell you the rules what to
do and what you cannot do, and say if if
you there was a rumor going around, if you say
(19:03):
something wrong, and if you rub her the wrong way
and she doesn't like it, then she will excuse us
her to the bathroom, and the assistant will come in
and hand you your flight ticket and say you got
five minutes to clear the room.
Speaker 1 (19:16):
Oh boy.
Speaker 2 (19:17):
So we were all like and then shortly after that
she came in. A whole bunch of people came in
around her, all kinds of I don't know, assistance managers,
anyone doing things, life coach, you name it. The whole
bunch came in. And then Madonna came and we had
(19:38):
prepared an idea. I played it to her on the
piano and she was very sweet. She sat next to
me at the piano and she liked the idea. And
then the next day again we wrote another idea. Third
day we wrote another idea, but we hadn't recorded anything,
and so it came time to record Madonna's voice on
(19:58):
these ideas. And then I was in the at the
mixing desk and Madonna was in the vocal booth. And
I mean, she's she's an insanely good performer, one of
the best the world has, and she's an absolute icon.
But I felt vocally maybe we could dial it up
a notche and get a little better. So I kept
pushing her and said sing it again, and now sing
(20:19):
it and think of someone you love and sing it
and put more feeling into it. Can I swear on
your podcast? Oh?
Speaker 1 (20:26):
Yes you can?
Speaker 2 (20:27):
Yes? Okay, So, and I kept prompting her because I
felt there could be more. She could deliver more vocally,
but it felt every performance was the same. At some point,
she says, fuck you, Toby, I'm not singing this anymore,
and I was like, Oh, you are going to sing
this now? And then there was silence in the room
and everyone's looking around, What's going to happen next? Toby
(20:50):
said fuck you to Madonna. And then after a while
she started smiling, and the assistant did not come in,
she didn't go to the bar room, I did not
get the flight ticket to leave, and we wondered over that.
For some reason, she must have liked that. And then
we spent a total of five weeks in the studio
(21:10):
together and with Diplo. We did thirteen songs together and
most of the Rebel Heart album. She's a very hard worker,
she's very disciplined. She expects the same from everyone who's
in the room. And just I mean, I could tell
you endless stories there was in these five weeks. A
lot happened. But yeah, living for Love is a song
(21:33):
that I'm very proud of and that was the first
single and she performed it on the Grammys and I
was really excited about it. It was great. She wanted me
to be in her band and make a world tour
with her, and when it came to the Grammys, she said, Okay, Toby,
the next two weeks block out every day because we
(21:56):
are performing at the Grammys. And I was like, it's
only one song, why two weeks rehearsal. It dawned on
me that if I would go on tour with Madonna,
I would have to like infinitely repeat myself and always
do exactly the same show, the same one hundred and
fifty Madonna songs every evening, and I cannot handle repetition.
(22:20):
Like for me, it's all about improvisation. It's all about
doing something for the first time. That's how I write songs.
It's a lot of improvising, coming up with things that
I've never done before, and the moment I feel I've
done it before, I don't want to do it anymore.
It feels redundant.
Speaker 1 (22:37):
So I totally agree. I remember, I totally agree. But
that's just an amazing Madonna story. This is probably the
first time in my podcast history that Beyonce and Madonna
have been referenced. So for Congratulations, one final song I worked.
Speaker 2 (22:55):
Yeah, there are incredible icons, and I count myself very
lucky to have not only work with them, but have
written songs that were really meaningful to all of them,
so that I feel very privileged.
Speaker 1 (23:08):
I'm and I'm so glad you had that, and thank
you and thinking for that. But one final song that
means the world to me, that gives me goosebumps on
my body. It's Josh Grobin Jennifer Nettle's ninety nine Years.
It's probably one of my favorite songs. It's so hopeful
and it gives me chills every time I think I
see that. And you got two of the best vocalists
(23:28):
of vocals of this modern day together.
Speaker 2 (23:32):
Yeah, that was nice. So we wrote it with Josh
Grobin and Bernie Herms and in this room on this piano.
I felt we wanted to write a generation generational song.
I think I already had the title ninety nine years.
We wrote a number of songs Josh, Bernie and I
and I think we will write more in the future.
(23:53):
We just recently I saw Josh Grobin at the Hollywood
Bowl he did two evenings at the Hollywood Bowl with
the Symphony Orchet. It was incredible. I mean, what an
amazing career Josh has had. What I'm actually proudest of
is the song that I wrote with Bernie and Josh
that became a duet with Andrea Bucelli and Josh Grobin,
and you can look that up on the on YouTube.
Speaker 1 (24:15):
I believe it's forever right.
Speaker 2 (24:17):
No, no, that's a song called we Will Meet? Is
it meet we Meet once Again or we will Meet
once Again? It's an unwieldy title, but look it up
on YouTube. It's the most beautiful performance video in some
Italian amphitheater, thousands of candles with aerial footage of Andrea
(24:39):
Bucelli and Josh Grobin singing my song, and that is
I'm so proud of that. That was so beautiful.
Speaker 1 (24:46):
You have had in the incredible luck, so much, Toby,
with all those increminent musicians. However, we gotta talk. It's
the holidays, so we gotta make the holidays bright. So
let's talk about Piano Diary Christmas. So how did this
album came about?
Speaker 2 (25:02):
So two years ago? I'm going to back up first
a little bit about Piano Diaries, because when I write songs,
quite often we write it here on the piano and
we feel the magic of the song with just the
voice and the piano, But then quite often it gets
produced there's all kinds of instruments around it, and the
voice doesn't have that much breathing room anymore. And I
(25:24):
felt the urge to re record sixteen of my biggest
hits with seventeen upcoming and established incredible singers, but this
time do the songs in a project called Piano Diaries,
where it's just the piano, very minimalist. I just play
very few notes and the vocal and some orchestration. And
(25:44):
so I reimagined, re recorded sixteen of my greatest hits
with incredible singers, very minimalist, very sparse. You could almost
call it a jazz arrangement, but these are pop songs,
and I didn't try to make him jazz. I tried
to just get to the essence of the composition with
those in that album is called Piano Diaries the hits,
(26:08):
and then following up on that, I did Piano Diaries Christmas,
and that is the same sonics. So it's just piano
and a vocal and orchestration, no drums, and I called
up throughout the year. I started in April, I called
people that I love that have incredible voices, such as
Jordan Sparks or Anthony ga Jeweler who has three billion
(26:32):
TikTok views and is an unbelievable singer, or Louisa Johnson,
the youngest X Factor winner in England, or Megan McKenna
one celebrities X Factor, or I mean a number twelve
different singers on this album and I wanted to write
their personal Christmas story or Lauren Alread for instance, or
(26:56):
Marisha Wallace or like twelve wonderful singers on this album,
and so we just sat down and we talked about
their Christmas memories and turn it into a song. That's
what this album is. And I'm very proud of it.
And we're in the middle now of promoting it and
I'm also doing shows with it. So I don't know
when is this podcast coming out.
Speaker 1 (27:17):
This podcast will be coming up during the first week
at December.
Speaker 2 (27:22):
Ah so, because I have a show at Universal City
Walk with a lot of singers and a quartet and
background vocalists performing some of the Christmas songs. End of
November to November twenty eight. But also I have two
shows in London at the Sharp Building, the tallest building
in London, on the sixty ninth floor, on December fifteen
(27:45):
and December sixteen. So if anyone wants to fly to
London and see the show, or if you have viewers
in London, these are going to be two beautiful evenings
with a string quartet and I'll play the piano and
I have a number of really amazing singers at the show.
Megan McKenna will be there, Luisa Johnson Huntley who won
(28:06):
the Voice in America, So a lot of great singers.
Speaker 1 (28:11):
I gotta say this. I want to talk about as
some of the five tracks stand out to me the most.
We got to talk about the fabst Lauren Already, wonderful night.
It's just amazing Lauren's voice. I've seen her grow from
the Voice all the way to the Great Showman and
and of course her re emergence on Burnscott Talent in
the AGT Fantasy League It's see You. It was wonderful
(28:34):
hearing that vocal from her.
Speaker 2 (28:36):
Lauren is a very special artist and I had her
on my podcast because I wanted to know about her
journey and her voice has always fascinated me. That she
is such a great performer as well. She has performed
with Andrea A. Bucelli and David Foster and the greats.
She's just an incredble vocalist. I wanted to know her
(28:56):
whole story. She grew grew up in a Mormon upbringing
and say similar to David Accheletta also, and it was
a very interesting story she told me about her life
in my podcast. You can see the podcast episode is wonderful.
And in the podcast suddenly I I sort of sing
(29:17):
something and she sang something in a very low, soft voice,
and I was like, wow, I haven't heard this voice
on your records before. Because she's known for all these
big belting voices like never Enough from the Greatest show Man.
She's on the top of her lungs. And I felt
the urge to write a song with her where she
always sings very low and very soft. So we wrote
(29:41):
this song Wonderful Night, and that's Lauren just singing super
soft and a beautiful Christmas memory out of her life.
Speaker 1 (29:50):
That's amazing and I'm so glad you added Lauren to
your repertoire of incredible singers. Holy Night with Sam Ryder
that gave me chill chills, hills, hills.
Speaker 2 (30:03):
Sam Ryder represented England, the UK and the Eurovision and
just now he played at the Wembley Wembley Arena. He's
a big, big household name in the UK. I'm not
sure if America is familiar with Sam Rider, but he's
an incredible singer and we wrote a song last year
(30:24):
I believe about his Christmas experience and it's about loss
and about the love of the family. And at times
in this song he sings like Freddie Mercury. I think
like his vocal is from the from the softest, most
gentle singing to to like notes that only Freddie Mercury
(30:50):
could sing. And in this song I really wanted to
challenge him as a singer and and go from the
softest bits to the loudest, from the lowest to the highest,
and really feel its entire range. I do that often
that if I feel a singer has this range and
that dynamic, that I really want to use all of
that in the song as well. And the problem is
(31:10):
that a lot of these songs that are very difficult
to sing live, like for instance, if I were a boy.
After the first chorus, Beyonce is at the highest note
and then she has to go to a very lowest note,
very soft, and few singers can pull that off.
Speaker 1 (31:24):
I totally agree. I want to go back to you
with the Jordan's Sparks Christmas, take Me Back Home, takes
Me Back Home. I gotta say this. I got goose
bumps with that. That is another song on that record
not gave me goose bumps. And it was very haunting
as well, because I never see Jordan go to a
haunting level before.
Speaker 2 (31:45):
After Jordan Spark's one American Idol, Lindy Robbins and I
spend a lot of time with her. We wrote a
number of songs, maybe ten songs. Many of them came
out on her first album, and we actually lost touch
for for over ten years. And this year I performed
at the Grammy Museum in Los Angeles and I called Jordan.
(32:07):
I don't know, suddenly I thought of her, and I thought,
why not reach out to her again? And I asked
if she wanted to perform with me at the Grammy Museum,
and she did so I did a show with her.
We did two songs and it was absolutely beautiful. We
connected again and after that I asked if she wanted
to write a Christmas song with me for my Christmas
(32:27):
album and she did and very happy about this song.
This song goes full circle from when her granddad lifted
her up as a little child to put the star
on top of the tree and now she's a mother
herself and lifts up her little boy to put the
star on the top of the tree.
Speaker 1 (32:45):
Awesome. We're moving on to Gavin James. Really love someone.
Speaker 2 (32:50):
Gavin James is one of the most underrated singers there is.
His voice just moves me to tears and he's an
Irish singer. Incredible. Anyone who doesn't know him, look him up.
He's going to be your new favorite. He invited me
to come to Dublin and there for four days we
(33:10):
wrote songs in a little room that was above a
club which apparently belonged to Bono. And I'm quoting Gavin
there because Bono from You Two once didn't get let
into this club and the bouncer didn't let him in
for whatever reason, and then Bono bought the club.
Speaker 1 (33:26):
And that's incredible. Bono's revengement like to have to record
songs in Bono's Club. That is just that's probably you
told me seriously you have you. I really hope that
one day, if you haven't already, if you have a
volume of Ma Mars, because you have phenomenal stories to
(33:49):
write it from from from from swearing at Madonna to
Beyonce to do spending an hour with Beyonce and now
writing music in Bono's Club. That is you, my friend,
have incredible stories, and I really hope you have the opportunity.
But back to the song.
Speaker 2 (34:06):
Yeah, the song. My auntie and my mother both died
from something like dementia, Alzheimer's Parkinson, similar symptoms, similar like
memory loss, and we were talking about memory loss and
old people and Gavin had similar experiences, and so we
(34:29):
wrote this song about two people who grow old together
and lose their memory, but they still like they forget,
when they forget each other's name, they can still say
that they have loved each other, and to the bitter end,
they stick together. It's a beautiful love story. It's based
(34:49):
on an experience in Govern's Circle.
Speaker 1 (34:53):
And I want to add my stuff because that brought
me memories to my grandpa, the rough matster of a
blessed memory and he died of dimension in Alzheimer's, so
it was very hard seeing him to deteriorate. He was
probably the one thet He's the grandfather that I have
the fondest memories with. He built the only grandfather that
(35:16):
was at my fifth grade I meet grandparent day. He
helped me and my brother Aaron chat at Aaron and
my dad chat at Dad. But built our third grade
simple machines, in eighth grade electoral houses and all those
pine wood Derby cars and scouts. So it was so
rough watching him deteriorate.
Speaker 2 (35:32):
Yeah. Yeah, it's it's a not a not a fun
way to die. And I feel you almost go back
in age two, when you're back to being a toddler. Basically,
it's it's very sad, but it is what it is.
And so I started spending more time with my mother
in that time and just appreciating the bit that is left.
Speaker 1 (35:55):
Same with me, and I've always tried to shout out,
spend time with my family, shoutout Mom, Gloria, Dad, Matthew, Aaron,
my sister in law Whitney, Nash, Henry Kenny, and my
dogging nephew Nash. I will always love you ah, yeah,
all right, And we got to talk about Little House
in the Snow with rising vocalists Marsha Wallace, and I
(36:15):
got to say Marsha delivers an incredible Christmas package.
Speaker 2 (36:19):
Marisha Wallace, she's actually coming out. She has lived in
London for a long time and recently she is having
a Broadway musical in New York and tomorrow I'll see
her again. I'm excited. And this is a song we
wrote during the pandemic over Zoom and there's a lot
more to come with Mauritia and me. We're working on
(36:41):
a musical. It's very exciting. I can't talk too much
about it yet.
Speaker 1 (36:45):
But.
Speaker 2 (36:47):
Marisa, this is a story that's very personal to Mauritia.
When she grew up, she was not allowed to celebrate
Christmas or get presents, so I think she would have
to tell the story to you, but I think her
Auntie or some of the family secretly gave her presents
and said don't tell anyone because for some reason they
(37:07):
weren't allowed to celebrate Christmas, so it was like a
secret Christmas celebration. It's a very touching story. And if
you have Marisia one day on your podcast, she can
tell you exactly how that story was.
Speaker 1 (37:24):
Russia. If you're listening to this right now, you are
more than welcome to come onto this podcast to tell
your story, because we're a fellow podcast.
Speaker 2 (37:32):
I would tell her tomorrow, perfect.
Speaker 1 (37:35):
That would be wonderful. Toby. However, while we're talking podcasts,
let's talk about songs, you know podcasts a little bit.
So what can my audience expect when they listen to
this show? Listen to the podcast?
Speaker 2 (37:48):
Yes, songs you know. I have so many amazing people
come in and out of the studio, and we figured
wouldn't it be nice if people could also learn a
little bit about their life. So we started this podcast
Songs you know, and I think we have I forgot
how many. We've done it for seven months now and
we have quite a few episodes out. Some of them
(38:10):
resonate a lot, like one with Lauren Christy has already
a quarter million views on YouTube and loads of streams
on all the audio platforms. It depends on the guests
if people are interested in tuning in with Jesse j
we had a podcast that got very good responses or
Victoria Justice. Josh Grobin was on my podcast, Matteo Bocelli.
(38:32):
There's one upcoming with Danny from the script they just
headlined at Lastonbury.
Speaker 1 (38:38):
That's so cool, one of my I have a Danny story.
I have a Danny story to tell you. So back
in twenty fourteen when they traveled with one for Republic
and American Authors, one of my friends, Courtney Gangler, and
I went to hers went to the concert and he
stood I after gave him a high five. He stood
on my chair to do halts. Finish your Halliday, Frank.
(39:00):
Courtney gave this god a selfie so and I did
beget one. So I'm like, that's an opportunity.
Speaker 2 (39:06):
He's a great guy, and that is an amazing episode.
It might be out in three or four weeks.
Speaker 1 (39:13):
So awesome, awesome. So the however, we're here to talk
about you, Toby. So one of the final questions I
have for you is why should my audience check out
Piano Diaries Christmas?
Speaker 2 (39:24):
Piano Diaries Christmas is not your typical Christmas music piano
imagine it was more like Norah Jones would bring twelve
amazing singers to do pop songs, the kind of pop
songs that my have to find my career and talk
about personal stories of each of these artists Christmas experiences.
(39:47):
So I would say it's a journal entry of twelve
incredible artists with a beautiful piano, very minimalist, no sleigh
bells whatsoever, No up tempo, shopping mall music. It's it's
very much like Okay, if you want to have dinner
and you want to put on something relaxing or something storytelling,
(40:10):
then I think you will enjoy this album.
Speaker 1 (40:13):
Awesome, awesome, And last question, are you ready?
Speaker 2 (40:16):
Yes?
Speaker 1 (40:17):
Where can my audience find your music? Number one? Number two?
Where can they on social media? Number three? If they
want to get tickets to the London show, where can
my audience find them?
Speaker 2 (40:29):
Okay? My social media is Toby God Music on Instagram
and just Toby God at TikTok And you can find
tickets to the London London Charts Show December fifteen and
sixteen if you google the website of the Shard. The
London Chart is like a glass shart because the building
(40:51):
looks like a shard. It's the tallest building in London
and we're going to be on the sixty ninth floor.
Two beautiful evenings with Incredibles and the string quartet and
me on the piano and you will see the London
skyline really breathtaking. You can get them on the website
of the Shard And then if you want to listen
(41:12):
to the Piano Diaries album, we have a vinyl that
you can buy in the gift store of the Chart
and otherwise you can stream it on anywhere where you
stream your music. If it's on Apple, Amazon, Deezer, Spotify,
any of these many places where you like to listen
to your music, will have the album and it's called
(41:34):
Piano Diaries Christmas and my name Toby gad awesome.
Speaker 1 (41:39):
Soby so guys, if you missed an episode of the
Jake Stake with jacob El Shart podcast, visit our channels
on Apple Podcasts, Amazon Music, Spotify, Speaker and iHeart Jake's
Sake with jacob El Shart j A c O b
E L y A c h A R. Are you
on social media because I'm on social media too, Facebook, Instagram, Threads,
Twitter and YouTube. Jacob El Shart j A C O
B E L y E har want to find out
(42:02):
what I thought of Toby's album, We'll head to the
blog that started all Jake Stashak dot com, What's in
Jakestashak dot com. And I'm very honored and thrilled that
the silver to receive one of the stee Silver CBS
for the twenty twenty five American Business Awards. I want
to thank all the Stevie Judges forwarding me a Silver
CV for Best Interview Talk Show. And I just want
(42:23):
to say, Toby Gad it was such an honor and
privileged to talk to you. This was one of my
favorite interviews of twenty twenty five. Thank you so much
for the music. Please come back. You are such an
amazing songwriter and I cannot wait to talk to you again.
Speaker 2 (42:38):
Amazing. Thank you so much for having me, and yes
we do it again in a year or two.
Speaker 1 (42:43):
Absolutely, And guys, thank you so much for watching, Thank
you so much for listening. Until next time, have it
going on. Everybody good, bue Hey
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