WEBVTT

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Hi, this is Liberty DeVito on the My Weekly Mixtape

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Show with Brian Colburn. Brian, you and me did

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a great job on all these Billy Joel songs, man.

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I hope that people go and listen and make a mixtape

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of their own of Billy's stuff. Welcome to My

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Weekly Mixtape, a podcast that takes the classic

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mixtape approach to building a modern playlist.

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I'm your host, Brian Colburn. When I started

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creating mixtapes growing up... One of the artists

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I made the most mixtapes of was Billy Joel. I

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made the Dream Concert setlist mixtapes, the

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Mellow Songs mixtapes, the Bombastic Tunes mixtapes,

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even the 70s output and the 80s output. I'm hearing

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a Step Brothers reference in there somewhere.

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And yes, I even made a Billy Joel mixtape of

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all the songs from Greatest Hits Volume 1 and

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2. but from the original albums because the original

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cassette that I had had all the radio edits and

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I needed the real thing. But none of those mixtapes

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will compare to the one that I am making tonight

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because tonight one of the amazing musicians

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who played on these albums is joining me to collaborate

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on what I feel will be the ultimate Billy Joel

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mixtape and that is the one and only Liberty

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DeVito, one of my favorite drummers on the planet.

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Liberty, thank you so much for joining me on

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my weekly mixtape. Well, Brian, let me tell you

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something. This is very difficult. Very difficult.

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You know what? Recording 150 tunes with Billy

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or however many, and you expect me to pick 20

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of them? It's insane. We are going to try to

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narrow it down as best as we possibly can, and

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I know that's no easy task. Now, let me ask you

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this question. Is it like I'm going to sit here

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with somebody who doesn't like Billy Joel and

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knows nothing about him, and I'm going to try

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to impress this person? Is that the kind of thing

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we're doing? Or is it like my favorite tunes,

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your favorite tunes? The beauty of how this unfolds

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is we're going to be picking songs together and

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kind of bouncing off of the vibe that is unfolding.

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between us bringing up these tunes. So we're

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going to tell a story through our conversation

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tonight and build the playlist out together.

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So in other words, this is like Seinfeld. This

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list is about nothing right now. We have to make

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it into something. That is exactly right. Okay.

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Now, my first question for you, Liberty. Yes.

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The word mixtape, does that have any meaning

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to you? And if so, what is that meaning? I used

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to make mixtapes with cassettes. When we were

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on the road, like in the 70s, into the 80s, because

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we always used to bring our own little portable

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tape recorders and stuff, you know, boom boxes

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in the room and stuff like that to listen to

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music. And I used to make mixtapes of a lot of

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things, you know. Put records onto the tape.

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Billy had bought me a Nakamichi machine for Christmas

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one year. Whoa. Yeah, it was really nice. And

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he used to make mixtapes on that. I sucked at

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it, but I mean, I had fun. Bet they sounded absolutely

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fantastic. So for me tonight, when I was trying

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to put together the songs that I kind of wanted

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to talk about, like you said, Liberty, there's

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150 Billy Joel songs. Yeah. And there's not many

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that I don't like. So for me, I'm going to kind

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of go based off of however this mixtape unfolds

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and kind of see where musically the songs kind

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of unfold for me. Now, for you, being the man

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that played on all of these songs, how hard was

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it just to narrow down some that you felt kind

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of rose to the top for you being one of those

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musicians? Well, I looked at it as, first of

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all, like I said before, I was looking at it

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like I need to impress somebody that doesn't

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really care much for Billy Joel. And then I thought,

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well, I need to play things that I think I played

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well, you know, that I played good on. And then

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I had to go with the ones that I like. You know,

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ones I like. Because there's Billy Joel songs

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I don't like. You know, I mean, my life isn't

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on my list. No. Wow. That's why I tried to put

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this together. Well, let's get down to business.

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Tonight, as I mentioned earlier, Liberty and

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I will be curating a Songs of Billy Joel mixtape,

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and we'll use the old cassette deck approach,

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meaning our mixtape will be broken up into two

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sides, side A and side B. Liberty, as the special

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guest, will begin side A with his first song

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choice, and then I'll add a song that I feel

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best follows up his choice. We'll then flip -flop

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choosing songs until we've mapped out the 10

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songs for side A. We'll then give our mixtape

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a perverse... and then we'll map out side B,

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only this time I'll kick the side off with Liberty

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choosing second. Our overall goal for the episode

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is to craft the best Billy Joel mixtape possible

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through only 20 songs. At the end of the show,

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you can take our conversation to the next level

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by visiting the Songs of Billy Joel page at myweeklymixtape

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.com and give our final mixtape a listen via

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the embedded playlist. Finally, if you like what

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you're hearing on the show, please consider becoming

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a Patreon mixtaper at patreon .com forward slash

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myweeklymixtape. And before we press the record

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button on this mixtape, some of the fellow mixtapers

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chimed in with songs they feel would best kick

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off a Billy Joel mixtape. And I want to share

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some of them now so we have some food for thought

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going into the discussion. Patreon mixtaper David

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Owens chimed in with You May Be Right. Cactus

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Pete chimed in with I Go To Extremes. And Ben

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from the Too Vague podcast chimed in with Pressure.

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Elsewhere on social media, Alex Ault, Jim Bricker,

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and Jay Hall from the Okie book cast all chimed

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in with Prelude, Angry Young Man, with Alex's

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being the live Russia concert version and the

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others being the studio version. Michael Grosvenor

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chimed in with Sleeping With The Television On

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for studio recordings, and Allentown from Nassau

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Coliseum in 1982 in terms of live recordings.

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J &K, the F My Work Life podcast chimed in with

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Captain Jack. Justin Fortune chimed in with The

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Entertainer. Jason Whistle from the It's Not

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That Bad and There Can Only Be One podcasts chimed

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in with Pressure. Hector Contreras broke it out

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by decades, agreeing with Alex Ault and Jay Hall

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with the prelude Angry Young Man for the 70s,

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and then he went with Running on Ice for the

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80s. Stuart H. chimed in with Only the Good Die

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Young. Sean Faust, Uncle Ron, Dave Shiner, and

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Melissa Boilo all chimed in with Miami 2017,

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seeing the lights go out on Broadway, with Melissa's

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being the Songs in the Attic live version. Chris

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Darling and Chael both chimed in with Big Shot.

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Jeff Scoble chimed in with All for Lena. Michael

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Citro from Michael's record collection chimed

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in with scenes from an Italian restaurant. And

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finally, Claude P., Mike Andrews, and the Latin

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Jukebox all chimed in with Piano Man. Okay. With

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12 studio albums, and you can make that 13 if

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you take into account the Fantasies and Delusions

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classical release, along with the many amazing

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live releases and soundtrack contributions, there

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is no... shortage of music to choose from tonight.

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So Liberty, I'm officially going to press the

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record button on this mixtape and turn the mic

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over to you. What song are you choosing to kick

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off our ultimate songs of Billy Joel mixtape

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with? And why are you choosing it? I go to extremes

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because I just want to punch the person right

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in the face. Awesome. With Patreon mixtape or

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Cactus Pete calling it absolutely fantastic tune.

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I want to start with a big bang. And I think

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that one does it. That certainly does. That is

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one of my favorite Billy Joel songs of all time.

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That was easily on my list. There was no way

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we were getting through this episode without

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talking about this one. When this song exploded

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after we didn't start the fire. Did you guys

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know you had a massive hit on your hands with

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this one? Because at that point, We Didn't Start

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the Fire was everywhere, taking over schools

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and everything else because of the history nature

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of it. But then here comes I Go to Extremes,

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and that song explodes to pretty much the same

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level while it charted just a few notches down

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from the number one hit of We Didn't Start the

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Fire, of course. Well, you know, we had recorded

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I Go to Extremes earlier, and when Columbia first

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came in to hear, what the album was and they

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listened to all the songs that were on stormfront

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and they listened to we got i go extremes and

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what they told billy was you know i hear your

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second single we don't hear the first one yet

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and then he wrote we didn't have to buy her wow

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yeah well i'm guessing the label got it right

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because that was a fantastic one -two punch in

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that instance for sure it really was I love I

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Go to Extremes because I think I played well

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on it. It really sounds good sonically. And I

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probably, out of all the lyrics that Billy writes,

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you know, he's related to the lyrics because,

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you know, I came from Seaford, he came from Hicksville.

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It's one town away from each other. And so we

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relate to a lot of the geography that he talks

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about. We relate to girls that he talks about,

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you know, and stuff like that. And Extremes,

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I can relate to being that person. that he is

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too. You know, the, the guy that just doesn't

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know why he goes from one thing to another, like,

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you know, all of a sudden like that, you know,

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so I, I really love that song. I couldn't agree

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more. And I get to follow that up now with my

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first pick of the night. And like you Liberty,

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we're on the same plane because I want to punch

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people in the face right from the beginning as

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well. And a song that. I would have always wanted

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to see second in the night because I just love

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coming out of that opening song. And then your

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drum beat kicks in and it's driving and driving

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and you're waiting and the bass starts coming

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in. And we get into pressure. Following up, I

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go to extremes. That song. is one of the songs

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that I learned how to air drum to growing up.

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That beat just grabs your attention, holds on

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to you. And that song is, I want to say, in my

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opinion, maybe one of the angriest songs of Billy's,

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but in a way that everybody can relate to. He

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just had a way with words. So I am following

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up. I go to extremes with pressure. And I would

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love to know, when you were putting that song

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together, Was that drum beat something that you

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were saying, I need to get something where we

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are giving off this manic energy to kind of feed

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these lyrics? Well, when I first heard the song,

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he had it just him playing on a cassette. And

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I was driving with him into the studio and he

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played me the cassette. And before he pressed

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the play button, he said to me, OK, there's a

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part in here. Don't think of Russians going.

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Hey, you know, don't think of that. And it's

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the part that goes, Hey, you know. So, yeah,

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the beat needed to be like a halftime beat. And

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then the second half of the verse, it goes into

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the regular straight 4 -4. Because it kind of

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calls back when he's talking softly. And then

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when it changes the chords. And here you are.

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Then it's talking about this person. Here you

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are. So it takes off like that. That was a good

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song. That's on my list. But it's down by the

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bottom because I wanted to go through the songs

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and then at the end kind of kick it up again.

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But yeah, Brush is on my list. All right. Well,

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then I am going to throw it back to you now to

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pick the next song on this mix. OK. Sometimes

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a fantasy. Love it. I will tell you right now,

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and this is a true story. I got in trouble as

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a child growing up because I sat at the phone

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one day trying to figure out. what the number

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was that was being dialed at the beginning of

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that song. It was the phone number of somebody

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Bill Ramone had. Really? Wow, I had no idea.

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That is unbelievable. Easily my favorite song

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on Glass Houses. So I love that track. I love

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where you're going with this. And coming out

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of that, hmm. This is tough. I actually want

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to go newer because we're kind of rocking on

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this side so far. And I want to go off the river

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of dreams and I'm going to go with the opening

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track. No man's land. That's a good song. Yeah.

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Yeah. Because I know the river of dreams album

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is very popular on the pop side of his catalog.

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But for the rock side, I feel like songs like.

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No Man's Land get overlooked because of all of

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the beautiful ballads and pop songs that kind

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of permeate throughout the River of Dreams. But

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this song shows he's still got the rock in him

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on this album, and I love it as an album opener.

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Now I'm curious, I know the River of Dreams tour,

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you guys played that a lot. Did that song kind

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of fall out of favor with the band after that

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album cycle? Well, No Man's Land, we opened the

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show with No Man's Land when River of Dreams

00:14:37.909 --> 00:14:41.240
came out. Yeah, it was a good song to play. You

00:14:41.240 --> 00:14:44.279
know, I don't want to say I have a bad taste

00:14:44.279 --> 00:14:45.940
in my mouth for River of Dreams because that

00:14:45.940 --> 00:14:49.320
was the one where me, Skylar Deal, and I think

00:14:49.320 --> 00:14:52.340
Tommy Burns and whoever else, Crystal Telefer,

00:14:52.379 --> 00:14:55.340
we all went into the studio with Billy and recorded

00:14:55.340 --> 00:14:59.879
like about eight songs for River of Dreams. And

00:14:59.879 --> 00:15:02.419
then Billy, you know, he was writing the song,

00:15:02.500 --> 00:15:04.559
playing the piano, singing the songs. He built

00:15:04.559 --> 00:15:07.759
the studio. He was going to produce it. Too many

00:15:07.759 --> 00:15:10.840
hats. How to get rid of one of them. Picked Danny

00:15:10.840 --> 00:15:14.019
Kroetschmeyer to produce the River of Dreams

00:15:14.019 --> 00:15:16.340
album. I actually wanted Eddie Van Halen, but

00:15:16.340 --> 00:15:19.980
he was... Wait, what? Yeah. Really? Yeah. Was

00:15:19.980 --> 00:15:25.000
that or Stormfront? One of those two. Eddie Van

00:15:25.000 --> 00:15:28.399
Halen was kind of up for... Wow. I try to think

00:15:28.399 --> 00:15:30.080
about how that production would have changed

00:15:30.080 --> 00:15:33.159
with him at the helm. That's fascinating. Well,

00:15:33.200 --> 00:15:37.120
it might have been Stormfront because it's more

00:15:37.120 --> 00:15:42.190
guitar. And that's why Mick Jones was chosen.

00:15:42.690 --> 00:15:46.929
But anyway, back to No Man's Land. So we recorded

00:15:46.929 --> 00:15:50.230
like eight songs. And maybe one day Billy will

00:15:50.230 --> 00:15:52.450
release, they're called the boathouse tapes,

00:15:52.629 --> 00:15:54.509
because we were in a boathouse that he built

00:15:54.509 --> 00:15:58.389
the studio in. And you will see how those tapes

00:15:58.389 --> 00:16:02.330
sound like Billy Joel. You know, like where this

00:16:02.330 --> 00:16:04.889
new stuff, like you say, was more pop and into

00:16:04.889 --> 00:16:09.240
a pop feel. They were all good songs on that

00:16:09.240 --> 00:16:12.120
record, you know. Really good song. I mean, the

00:16:12.120 --> 00:16:14.080
only one that I'm on on the album is Shades of

00:16:14.080 --> 00:16:16.940
Grey. And that was Billy's choice to not use

00:16:16.940 --> 00:16:19.519
the one that they did with that other band, but

00:16:19.519 --> 00:16:22.580
put us on there. Absolutely fascinating. Well,

00:16:22.639 --> 00:16:25.100
Liberty, I am throwing it back to you to follow

00:16:25.100 --> 00:16:28.519
up No Man's Land with our next song. Okay, okay.

00:16:29.059 --> 00:16:33.440
I love this song, which kind of nobody really

00:16:33.440 --> 00:16:36.529
listens to it. It's from Glass Houses, again,

00:16:36.710 --> 00:16:40.149
and it's called Close to the Borderline. Yes!

00:16:43.230 --> 00:16:47.690
You've got to be kidding me. Yes, yes, yes, yes.

00:16:48.090 --> 00:16:50.970
That's my favorite song on Glass Houses. It's

00:16:50.970 --> 00:16:53.570
Close to the Borderline. That is my second to

00:16:53.570 --> 00:16:56.649
sometimes a fantasy growing up. Shocked that

00:16:56.649 --> 00:17:00.809
this song was not a massive hit. Shocked. This

00:17:00.809 --> 00:17:05.029
song has such a groove to it. It's funky. It's

00:17:05.029 --> 00:17:10.029
fun. It's got this bravado about it. And it just

00:17:10.029 --> 00:17:13.970
fits so well. The most underrated Billy Joel

00:17:13.970 --> 00:17:16.569
song in his entire catalog, in my opinion. Yeah,

00:17:16.710 --> 00:17:19.670
I mean, and it's got those insane lyrics. Like,

00:17:19.670 --> 00:17:25.470
he's ready to snap again. Yeah. Yeah, so I really

00:17:25.470 --> 00:17:27.569
love this song. I mean, it was fun to do. At

00:17:27.569 --> 00:17:30.440
the time, we would... bouncing around at different

00:17:30.440 --> 00:17:33.000
studios. And we did that one in Electric Ladyland.

00:17:33.539 --> 00:17:36.559
And what I really love is the beat and everything

00:17:36.559 --> 00:17:39.240
that goes on and stuff like that. But the guitar

00:17:39.240 --> 00:17:42.859
solos that are in the middle of the song, where

00:17:42.859 --> 00:17:46.059
Russell plays, Russell Jarvis plays and comes

00:17:46.059 --> 00:17:48.480
out of one speaker. And then David Brown comes

00:17:48.480 --> 00:17:50.599
out of the other speaker. Kind of like the Beatles

00:17:50.599 --> 00:17:53.359
did in the end. The three of them played different

00:17:53.359 --> 00:17:56.539
parts on the guitar. They did that. And it was

00:17:56.539 --> 00:18:00.839
really cool. Absolutely love that song. It's

00:18:00.839 --> 00:18:03.799
a good one. Yeah, following that up is tough

00:18:03.799 --> 00:18:07.599
because we've got a really... rockin' set here

00:18:07.599 --> 00:18:09.420
going so far, and I think I'm gonna keep that

00:18:09.420 --> 00:18:12.700
going, but I'm gonna tease people by slowing

00:18:12.700 --> 00:18:15.460
it down a little bit just for the intro. And

00:18:15.460 --> 00:18:17.720
Liberty, I had the pleasure of talking with you

00:18:17.720 --> 00:18:20.960
and Gomez on Playlist Wars when we did the songs

00:18:20.960 --> 00:18:23.720
in the Attic album. We talked about it together.

00:18:24.160 --> 00:18:27.500
And I'm gonna go off of that album with my favorite

00:18:27.500 --> 00:18:30.500
song from it, and I'm gonna go with Miami 2017,

00:18:31.119 --> 00:18:33.420
Seen the Lights Go Out on Broadway, recorded

00:18:33.420 --> 00:18:38.250
June 24th. 1980 at the amazing Madison Square

00:18:38.250 --> 00:18:41.670
Garden. One of my favorite songs from the catalog.

00:18:42.009 --> 00:18:44.250
Again, you start off with that beautiful opening

00:18:44.250 --> 00:18:46.990
piano, but then make no mistake about it. This

00:18:46.990 --> 00:18:49.230
song rocks and it's going to melt your face.

00:18:49.349 --> 00:18:52.890
And it's been a staple since it was first released

00:18:52.890 --> 00:18:55.970
for that very reason. I would love to ask you,

00:18:56.009 --> 00:18:58.130
because I went with the live version specifically.

00:18:59.349 --> 00:19:02.809
Do you, as a part of the band, feel like the

00:19:02.809 --> 00:19:06.069
Songs in the Attic version elevates the version

00:19:06.069 --> 00:19:09.609
that was originally on Turnstiles? You know,

00:19:09.710 --> 00:19:15.869
I had recently did an interview. A guy sent me

00:19:15.869 --> 00:19:18.269
questions and I filled them all out and stuff

00:19:18.269 --> 00:19:21.970
like that. His favorite of that was, his favorite

00:19:21.970 --> 00:19:25.650
record live was the Russian album, you know,

00:19:25.750 --> 00:19:31.730
Miami 2017. And I said, no, no. The song's in

00:19:31.730 --> 00:19:35.849
the attic. See, now, when we recorded the Turstals

00:19:35.849 --> 00:19:38.710
version of it, it was just me, Billy, and Doug

00:19:38.710 --> 00:19:41.430
that recorded the basic track. This is when Billy

00:19:41.430 --> 00:19:43.849
said, you know, we could really use guitars on

00:19:43.849 --> 00:19:46.190
here. I want guitars to rock this thing out.

00:19:46.430 --> 00:19:49.109
That's when we brought in Howard and Russell.

00:19:49.809 --> 00:19:52.670
And the band that we had, Topper, became the

00:19:52.670 --> 00:19:54.869
Billy Joel band with the inclusion of Richie

00:19:54.869 --> 00:19:59.309
Cannata. i love the turnstiles record you know

00:19:59.309 --> 00:20:04.930
miami 2017 but like you said songs in the attic

00:20:04.930 --> 00:20:08.289
oh my god it really just people talked about

00:20:08.289 --> 00:20:10.329
it for a long time and i really hadn't listened

00:20:10.329 --> 00:20:14.150
to it for a long time and so i went back and

00:20:14.150 --> 00:20:17.309
listened to it it was like oh my god really good

00:20:17.309 --> 00:20:22.210
you know yeah absolute fire that version yeah

00:20:22.670 --> 00:20:24.210
It was like, there must have been some good -looking

00:20:24.210 --> 00:20:26.109
girls on the side or something like that. I don't

00:20:26.109 --> 00:20:31.029
know. Well, we are moving on now to track seven,

00:20:31.130 --> 00:20:33.069
Liberty, and I am turning it back over to you

00:20:33.069 --> 00:20:36.009
with the next song pick. Okay. Now, I started

00:20:36.009 --> 00:20:39.650
to slow it down with While the Night is Still

00:20:39.650 --> 00:20:43.269
Young. Ooh. You know, after all that frenzy,

00:20:43.349 --> 00:20:48.230
and then you hear, boom, die, die, boom, you

00:20:48.230 --> 00:20:51.750
know, that whole thing. So, that was my thing.

00:20:51.849 --> 00:20:54.569
And that, was a great tune it just happened to

00:20:54.569 --> 00:20:57.289
be on the what that was on the um greatest hits

00:20:57.289 --> 00:20:59.569
record right the greatest hits volume one and

00:20:59.569 --> 00:21:02.329
two yes yeah yeah so that that and second wind

00:21:02.329 --> 00:21:05.450
were the two tracks at the end right so i i thought

00:21:05.450 --> 00:21:09.470
that was a bad way to put a record on an album

00:21:09.470 --> 00:21:11.750
that had all the hits already and then you got

00:21:11.750 --> 00:21:13.470
those two songs that people like skipping over

00:21:13.470 --> 00:21:15.730
it because they want to hit hits that's why they

00:21:15.730 --> 00:21:18.910
bought the album you know so but i love that

00:21:18.910 --> 00:21:21.910
song one of my favorite lyric that he ever wrote

00:21:22.319 --> 00:21:25.339
It's in that tune. We were around, we were the

00:21:25.339 --> 00:21:29.039
same age. And when he said on the microphone,

00:21:29.140 --> 00:21:31.960
he said, young enough to still see the passionate

00:21:31.960 --> 00:21:34.259
boy that I used to be, but I'm old enough to

00:21:34.259 --> 00:21:37.319
say I got a good look at the other side. I stopped

00:21:37.319 --> 00:21:41.759
and I said, what did you mean to say? Like, oh

00:21:41.759 --> 00:21:45.220
my God, that's exactly our age. You're still

00:21:45.220 --> 00:21:49.000
a 19 years old, but yeah. There's things happening

00:21:49.000 --> 00:21:51.440
to me. I'm starting to see the other side now

00:21:51.440 --> 00:21:55.039
of what's going to happen. You know, so I really

00:21:55.039 --> 00:21:57.740
feel close to that song. You know, I love that

00:21:57.740 --> 00:22:00.759
song. I think it's great. I played on, they used

00:22:00.759 --> 00:22:03.079
to have these drums, Simmons. They were electronic

00:22:03.079 --> 00:22:07.079
drums. That's where you get the, on the snare

00:22:07.079 --> 00:22:10.059
drum, you know? Yeah, yeah. Well, I think I'm

00:22:10.059 --> 00:22:13.039
going to follow your lead and follow it up with

00:22:13.039 --> 00:22:15.480
another slower song from the catalog, but one

00:22:15.480 --> 00:22:19.910
that I've always felt was, Billy's most, and

00:22:19.910 --> 00:22:23.369
I'll just say it, beautiful tune. And I'm going

00:22:23.369 --> 00:22:26.190
to go with the title track from 1983's An Innocent

00:22:26.190 --> 00:22:29.910
Man. Oh, it's a good one. I absolutely love what

00:22:29.910 --> 00:22:31.710
you're doing in that song because you're keeping

00:22:31.710 --> 00:22:35.049
the verses really mellow and really quiet. And

00:22:35.049 --> 00:22:39.130
you almost get this Motown -esque kind of ballad

00:22:39.130 --> 00:22:41.730
feel. Right. But then when he kicks it into the

00:22:41.730 --> 00:22:46.569
chorus, you build up into this massive arena

00:22:46.569 --> 00:22:51.380
rock. and they play so well with each other.

00:22:51.440 --> 00:22:54.240
I'd love to hear your thoughts on this song and

00:22:54.240 --> 00:22:56.599
kind of what you guys were trying to bring to

00:22:56.599 --> 00:22:59.420
it in the studio to get that push and pull effect.

00:22:59.720 --> 00:23:02.019
Well, you know, that whole record was a tip of

00:23:02.019 --> 00:23:04.299
the hat to the music that we grew up listening

00:23:04.299 --> 00:23:07.079
to before we were in the bands or before anything

00:23:07.079 --> 00:23:09.799
like that. And that was kind of the drifters

00:23:09.799 --> 00:23:14.039
type of thing. Like up on the roof. When this

00:23:14.039 --> 00:23:18.269
soul will stop. Yeah. So. Getting to that point,

00:23:18.490 --> 00:23:21.190
I am the innocent man. This is when he first

00:23:21.190 --> 00:23:24.930
meets Crispy Brinkley, too. Now, what Motown

00:23:24.930 --> 00:23:28.230
didn't have that Billy did, Billy wrote great

00:23:28.230 --> 00:23:31.470
bridges to the songs. So when he gets to the

00:23:31.470 --> 00:23:36.369
bridge, then it's like, bam, we're really in

00:23:36.369 --> 00:23:41.009
it. And then all of a sudden it just stops. And

00:23:41.009 --> 00:23:45.009
it goes back to that. I love that. I love that.

00:23:45.369 --> 00:23:48.140
Peeking like that and then. just stopping and

00:23:48.140 --> 00:23:50.480
going right back to where you started from. Yes.

00:23:50.579 --> 00:23:54.480
And the, I will call them iconic finger snaps

00:23:54.480 --> 00:23:59.079
in the song because they are just so well placed

00:23:59.079 --> 00:24:03.019
and so musical and so rhythmic. And so they're

00:24:03.019 --> 00:24:06.240
simple, but they're so effective in those quiet

00:24:06.240 --> 00:24:08.700
parts of the song. Yeah, they really do. That

00:24:08.700 --> 00:24:11.579
was a good song. But yeah, that whole album was

00:24:11.579 --> 00:24:14.730
a tip of the hat to, you know. Uptown Girls,

00:24:14.829 --> 00:24:19.529
after four seasons, for the longest time, to

00:24:19.529 --> 00:24:22.569
the, what was the name of the band that did so

00:24:22.569 --> 00:24:26.750
much of Love? The Times? The Times, yeah. Yep.

00:24:27.609 --> 00:24:30.910
Oh, yeah, all that stuff. I have a couple of

00:24:30.910 --> 00:24:36.089
Innocent Man songs on my list. Well, you're up

00:24:36.089 --> 00:24:39.210
now for track nine on side A, so turn it over

00:24:39.210 --> 00:24:43.450
to you. Okay, let's see. You just had Innocent

00:24:43.450 --> 00:24:48.289
Man. Now, I think that the, see, I have the longest

00:24:48.289 --> 00:24:52.309
time on the list, but it's a great opener for

00:24:52.309 --> 00:24:54.849
the record, Innocent Man, which is Easy Money.

00:24:55.430 --> 00:25:02.549
Ooh, yeah. Easy Money is so good. I'll tell you

00:25:02.549 --> 00:25:07.789
why. That song we recorded, it was me, Doug,

00:25:08.089 --> 00:25:13.640
Russell, and David. Cornell Dupree, no, Eric

00:25:13.640 --> 00:25:16.779
Gale was playing guitar. Richard T. was playing

00:25:16.779 --> 00:25:20.579
piano. Leon Pondavis was playing Hammond organ.

00:25:21.220 --> 00:25:25.319
There was an entire horn section, about four

00:25:25.319 --> 00:25:29.920
background singers. And Billy was in a sound

00:25:29.920 --> 00:25:32.880
booth by himself, just singing. And we recorded

00:25:32.880 --> 00:25:36.000
that entire track all at the same time. Whoa.

00:25:36.440 --> 00:25:38.259
That was the only time we did something like

00:25:38.259 --> 00:25:42.940
that. That was exciting to be with these major

00:25:42.940 --> 00:25:47.819
studio musicians and our little band and Billy

00:25:47.819 --> 00:25:49.700
just doing with everyone in the studio because

00:25:49.700 --> 00:25:51.299
he didn't have to worry about the piano or anything

00:25:51.299 --> 00:25:55.500
like that. Wow. That is a fantastic story. I

00:25:55.500 --> 00:25:57.500
did not know that about that one. I love it.

00:25:57.500 --> 00:26:01.980
That was a good song. Yeah. Well, I get the...

00:26:02.490 --> 00:26:06.309
honor of closing out side a of our mixtape right

00:26:06.309 --> 00:26:09.250
now and it's been a fantastic one but i feel

00:26:09.250 --> 00:26:13.789
like we haven't shown 1977's the stranger any

00:26:13.789 --> 00:26:16.509
love so i want to go back to that album to close

00:26:16.509 --> 00:26:20.369
us out and i am going to go with what i consider

00:26:20.369 --> 00:26:26.670
one of the reasons i enjoy long songs and that

00:26:26.670 --> 00:26:30.000
is scenes from an italian restaurant It is obviously

00:26:30.000 --> 00:26:32.680
one of the live staples, one of the biggest songs

00:26:32.680 --> 00:26:35.900
for the band to play live. The fact that this

00:26:35.900 --> 00:26:38.779
wasn't a number one single for years boggles

00:26:38.779 --> 00:26:42.579
my mind. It was so perfect. And knowing that

00:26:42.579 --> 00:26:45.599
this is an ode to the second half of Abbey Road,

00:26:45.839 --> 00:26:49.759
this is the song that got me to go down the Beatles

00:26:49.759 --> 00:26:52.430
rabbit hole. Because I listened to Billy Joel

00:26:52.430 --> 00:26:55.150
long before I listened to the Beatles during

00:26:55.150 --> 00:26:59.349
my age range of where I am. And songs like scenes

00:26:59.349 --> 00:27:02.430
from an Italian restaurant opened my world to

00:27:02.430 --> 00:27:05.170
bands like the Beatles to listen to the second

00:27:05.170 --> 00:27:08.750
half of Abbey Road. And I would love to hear.

00:27:09.309 --> 00:27:11.490
how this song kind of came together in the studio

00:27:11.490 --> 00:27:13.509
for you guys was, was this written? Did Billy

00:27:13.509 --> 00:27:15.730
come in and basically say, okay, I've got all

00:27:15.730 --> 00:27:17.430
these parts and we're going to do them this way.

00:27:17.470 --> 00:27:19.930
Or how did you guys kind of map this song out

00:27:19.930 --> 00:27:23.029
in the studio? Well, first of all, it couldn't

00:27:23.029 --> 00:27:25.450
be a thing. It was too long. The song is seven

00:27:25.450 --> 00:27:28.750
minutes and some seconds, right? Oh, 100%. But

00:27:28.750 --> 00:27:30.609
that doesn't take away from the fact of how great

00:27:30.609 --> 00:27:34.170
the song is. Okay. When we were on the road for

00:27:34.170 --> 00:27:38.609
the turnstiles album, we were already doing the

00:27:38.609 --> 00:27:42.849
Brenda and Eddie part. So now I know we played

00:27:42.849 --> 00:27:45.329
scenes from the Italian restaurant at Carnegie

00:27:45.329 --> 00:27:48.910
Hall, but like we would do soundcheck and we'd

00:27:48.910 --> 00:27:51.069
be playing Brenda and Eddie. And then he would

00:27:51.069 --> 00:27:53.269
say like, I've come up with this other part.

00:27:53.390 --> 00:27:55.049
I'm going to make this, you know, and then he'd

00:27:55.049 --> 00:27:58.569
come up with the band and then, you know, and

00:27:58.569 --> 00:28:04.190
the story built into from. it's sitting across

00:28:04.190 --> 00:28:07.809
from somebody that you knew years ago and you

00:28:07.809 --> 00:28:10.470
probably had a relationship with them and you're

00:28:10.470 --> 00:28:13.390
telling them everything you know about these

00:28:13.390 --> 00:28:17.309
people that both of you used to know but haven't

00:28:17.309 --> 00:28:19.130
seen in a while but you just heard about that

00:28:19.130 --> 00:28:22.789
you know so it's really a complete story from

00:28:22.789 --> 00:28:25.890
the beginning the middle to the end you know

00:28:25.890 --> 00:28:31.150
you know all the words would be um Village Green,

00:28:31.329 --> 00:28:33.089
all that kind of stuff. I know a lot on Long

00:28:33.089 --> 00:28:36.329
Island. I know a lot of stuff all about that.

00:28:37.990 --> 00:28:40.730
I've heard so many reviewers when we used to

00:28:40.730 --> 00:28:43.730
do it live, when it first came out, got it wrong.

00:28:44.650 --> 00:28:47.470
The best they could do was pick up the pieces.

00:28:47.589 --> 00:28:50.670
That's what it was supposed to be. One reviewer

00:28:50.670 --> 00:28:52.930
said the best they could do was make some kind

00:28:52.930 --> 00:29:00.319
of pizzas or something like that. Yeah, silly

00:29:00.319 --> 00:29:03.319
things like that. Well, there you have it, folks.

00:29:03.500 --> 00:29:07.279
Side A of our ultimate Billy Joel mixtape. We

00:29:07.279 --> 00:29:10.940
kicked things off with I Go To Extremes, followed

00:29:10.940 --> 00:29:15.000
it up with Pressure, Sometimes a Fantasy, No

00:29:15.000 --> 00:29:19.599
Man's Land, Close to the Borderline, Miami 2017,

00:29:19.900 --> 00:29:22.500
Seen the Lights Go Out on Broadway from Songs

00:29:22.500 --> 00:29:25.079
in the Attic, While the Night is Still Young,

00:29:25.359 --> 00:29:29.539
An Innocent Man, Easy Money, and scenes from

00:29:29.539 --> 00:29:32.200
an Italian restaurant. Make sure to head over

00:29:32.200 --> 00:29:35.960
to myweeklymixtape .com and visit the Songs of

00:29:35.960 --> 00:29:38.920
Billy Joel page to listen to all these songs

00:29:38.920 --> 00:29:41.599
via the playlist that's embedded over there.

00:29:41.900 --> 00:29:44.779
Now before we flip the tape over and do Side

00:29:44.779 --> 00:29:47.700
2 Liberty, I do have a few intermission questions

00:29:47.700 --> 00:29:51.829
if you don't mind. Okay. The first one... Outside

00:29:51.829 --> 00:29:54.069
of your work with Billy Joel, you've recorded

00:29:54.069 --> 00:29:57.009
with some other amazing artists such as Meatloaf,

00:29:57.069 --> 00:30:00.309
Rick Wakeman of Yes, Carly Simon, Mick Jones

00:30:00.309 --> 00:30:03.549
of Farner and Karen Carpenter, just to name a

00:30:03.549 --> 00:30:07.250
few. If you had to choose maybe a pair of studio

00:30:07.250 --> 00:30:11.230
songs, a 45, if you will, side A and side B of

00:30:11.230 --> 00:30:14.309
songs that really resonate with you from outside

00:30:14.309 --> 00:30:17.049
of Billy Joel's catalog, what would they be and

00:30:17.049 --> 00:30:21.130
why? Well, I think. There's a song that I did

00:30:21.130 --> 00:30:25.710
with John Hyatt called Snake Trauma. I love John

00:30:25.710 --> 00:30:29.269
Hyatt. I really like this song because it's almost

00:30:29.269 --> 00:30:34.509
like I'm playing like John Bonham, that kind

00:30:34.509 --> 00:30:38.109
of power, just that boom, boom, you know, that

00:30:38.109 --> 00:30:42.410
kind of thing. And it's really cool, the song.

00:30:42.890 --> 00:30:45.690
That would be one side. And the other side, I

00:30:45.690 --> 00:30:48.569
guess, would have to be Rock and Roll and Brew.

00:30:49.099 --> 00:30:52.680
by meat on the meatloaf album yeah which is really

00:30:52.680 --> 00:30:54.880
good you know share sings on that one too and

00:30:54.880 --> 00:30:57.759
uh yeah that was that was pretty cool either

00:30:57.759 --> 00:31:00.599
that or a beautiful night that we recorded with

00:31:00.599 --> 00:31:03.599
bull mccall at me uh that came out on his uh

00:31:03.599 --> 00:31:07.980
flaming pie box set so on that you know that

00:31:07.980 --> 00:31:11.099
that was exciting yeah that was that was a thrill

00:31:11.099 --> 00:31:14.380
of a lifetime is that a moment where you're sitting

00:31:14.380 --> 00:31:17.039
there in the studio thinking to yourself how

00:31:17.039 --> 00:31:21.119
the hell did i wind up here Dude, when he walked

00:31:21.119 --> 00:31:24.400
in the room, all the way in, I'm driving in there,

00:31:24.480 --> 00:31:28.420
you know, one of us there, early set up. All

00:31:28.420 --> 00:31:30.539
the way, I'm thinking, how does he want me? What

00:31:30.539 --> 00:31:32.000
does he want me? He doesn't even know who I am.

00:31:32.299 --> 00:31:34.119
First one to walk in the room is Linda, and she

00:31:34.119 --> 00:31:35.640
points right at me, and she goes, oh, I know

00:31:35.640 --> 00:31:37.339
who you are. We've been watching your videos.

00:31:38.180 --> 00:31:43.759
I'm like, what? And when he walked in. You know,

00:31:43.799 --> 00:31:46.700
he just said hi to everybody and shook my hand.

00:31:46.779 --> 00:31:49.079
And I kind of backed out of the studio and just

00:31:49.079 --> 00:31:52.440
like it was the angel and devil on its shoulder.

00:31:52.779 --> 00:31:55.480
And one was saying like, come on, Liv, he's just

00:31:55.480 --> 00:31:57.359
a musician like you are. And the other was going,

00:31:57.460 --> 00:32:02.539
no, he's not. He's a real man. And you know,

00:32:02.559 --> 00:32:05.140
it's funny. In the studio, we did two songs.

00:32:05.460 --> 00:32:07.400
And in the middle of the song, between the two

00:32:07.400 --> 00:32:11.349
songs, we took a break for lunch. And all we

00:32:11.349 --> 00:32:14.150
were talking about children and stuff like that,

00:32:14.210 --> 00:32:17.150
music and stuff. All I wanted to hear him say

00:32:17.150 --> 00:32:21.809
was the Beatles, because they say it so differently.

00:32:21.990 --> 00:32:24.210
You know, we say the Beatles. He says the Beatles,

00:32:24.470 --> 00:32:27.849
you know, like that kind of thing. He kept calling

00:32:27.849 --> 00:32:30.490
them the other band. When I was with the other

00:32:30.490 --> 00:32:38.990
band. What band is that? Which band did you speak

00:32:38.990 --> 00:32:41.210
of? Would this be Wings, maybe? I don't know.

00:32:41.390 --> 00:32:45.329
You played with somebody else? Awesome, awesome.

00:32:45.710 --> 00:32:49.049
Now, this other question I have for you is a

00:32:49.049 --> 00:32:53.690
Billy Joel question that you might be the only

00:32:53.690 --> 00:32:56.670
person to know the answer to this one. I have

00:32:56.670 --> 00:33:00.650
asked every fellow music podcaster. I've looked

00:33:00.650 --> 00:33:04.460
at every... booklet to find this information

00:33:04.460 --> 00:33:07.599
i've asked other billy joel podcasts about this

00:33:07.599 --> 00:33:10.779
nobody knows the answer my god you got me nervous

00:33:10.779 --> 00:33:17.839
now in 1988 billy performed a song for the oliver

00:33:17.839 --> 00:33:20.619
and company soundtrack called why should i worry

00:33:20.619 --> 00:33:23.400
yes it was written by dan hartman and charlie

00:33:23.400 --> 00:33:26.400
midnight yes and he was nominated for a golden

00:33:26.400 --> 00:33:28.660
globe award for best original song from this

00:33:28.660 --> 00:33:32.940
it wasn't written by billy No. But did you guys

00:33:32.940 --> 00:33:36.579
play on that song or was that like a Disney house

00:33:36.579 --> 00:33:39.099
band, so to speak? That was a totally different

00:33:39.099 --> 00:33:42.259
band. But you know, the funny thing is, Billy

00:33:42.259 --> 00:33:45.259
sat there. I was sitting next to him on the piano

00:33:45.259 --> 00:33:48.960
bench. We were recording, I believe, the bridge

00:33:48.960 --> 00:33:51.960
album at the time. And I was sitting on the piano

00:33:51.960 --> 00:33:55.180
bench next to him. And somebody came in and said,

00:33:55.279 --> 00:33:59.180
they want you to write a song for the Oliver.

00:33:59.769 --> 00:34:02.269
What was he, all of them? He was Dodger. He was

00:34:02.269 --> 00:34:05.950
the artful Dodger. They want you to write. And

00:34:05.950 --> 00:34:09.329
he just turned and looked at me and said, you

00:34:09.329 --> 00:34:14.530
write it. I went, okay. And I wrote a song called

00:34:14.530 --> 00:34:18.170
I'm the Greatest. You know, it's about he can

00:34:18.170 --> 00:34:20.309
jump into bed before the light turns out. He

00:34:20.309 --> 00:34:22.750
can do all these things, you know, that makes

00:34:22.750 --> 00:34:26.269
him the greatest, you know. And we actually recorded

00:34:26.269 --> 00:34:28.789
it with the band. Billy sang it and everything

00:34:28.789 --> 00:34:31.409
like that. But I think they wanted to go with

00:34:31.409 --> 00:34:38.349
a more famous songwriter like Dan Hartman. So

00:34:38.349 --> 00:34:40.809
mine got kind of pushed to the side. But Billy

00:34:40.809 --> 00:34:43.469
recorded it and everything. Is this a song that's

00:34:43.469 --> 00:34:46.130
just sitting in the vault waiting to be released?

00:34:46.610 --> 00:34:49.389
In the vault with the boathouse tapes. Yeah,

00:34:49.429 --> 00:34:51.349
it's all in the vault. Well, I think I speak

00:34:51.349 --> 00:34:53.570
on behalf of everybody when I say we need to

00:34:53.570 --> 00:34:57.070
hear these things. I'm the greatest, yeah. Well,

00:34:57.130 --> 00:34:59.780
let's now... Flip things over and get started

00:34:59.780 --> 00:35:02.360
with side two. Now side two, I get to kick things

00:35:02.360 --> 00:35:04.880
off and Liberty, you'll be following it up. Okay.

00:35:04.900 --> 00:35:07.599
We talked about this album very briefly earlier

00:35:07.599 --> 00:35:11.019
and one of the mixtapers chimed in with this

00:35:11.019 --> 00:35:14.119
song. And for me, if I'm starting a side, there's

00:35:14.119 --> 00:35:17.780
only one song I could start with. And growing

00:35:17.780 --> 00:35:21.619
up, the concert cassette was one of my first

00:35:21.619 --> 00:35:23.360
cassettes that I purchased with my own money.

00:35:23.380 --> 00:35:26.690
That was the Russia concert album. Right. And

00:35:26.690 --> 00:35:32.070
that live version of angry young man just melts

00:35:32.070 --> 00:35:35.969
my speakers for many, many years. Yes, I know

00:35:35.969 --> 00:35:38.710
I'm going for a second live cup, but as much

00:35:38.710 --> 00:35:41.409
as I love the version from turnstiles, this version

00:35:41.409 --> 00:35:47.650
is just 150 miles an hour. It's so amazing. And

00:35:47.650 --> 00:35:50.280
it is. up there with some of my favorite Billy

00:35:50.280 --> 00:35:53.239
Joel live moments ever. So I'm going to go with

00:35:53.239 --> 00:35:55.400
that version of angry young man. And I would

00:35:55.400 --> 00:35:58.800
love to know because I've watched that concert

00:35:58.800 --> 00:36:04.579
countless times. You're in this arena, everybody's

00:36:04.579 --> 00:36:09.119
sitting and you come out and kind of kick things

00:36:09.119 --> 00:36:11.420
off with this song and everyone's in their seats

00:36:11.420 --> 00:36:14.099
with their hands folded. What was that moment

00:36:14.099 --> 00:36:18.960
like? Well, we started the song. Right. Billy

00:36:18.960 --> 00:36:20.920
started. Now, on the record, you could hear him

00:36:20.920 --> 00:36:23.380
started at a certain tempo. And as soon as I

00:36:23.380 --> 00:36:27.059
click in, it goes to a much faster tempo. Billy

00:36:27.059 --> 00:36:29.000
always hated me for that. He was always like,

00:36:29.059 --> 00:36:32.159
slow down. Come on. I'm like, no, we're going

00:36:32.159 --> 00:36:36.460
for it. But I remember him. We're kind of in

00:36:36.460 --> 00:36:38.079
the middle of the song and those people are just

00:36:38.079 --> 00:36:40.260
sitting there because they weren't allowed to

00:36:40.260 --> 00:36:42.119
get up. You know, they weren't allowed to stand

00:36:42.119 --> 00:36:45.079
up. And when they were lighting the show so they

00:36:45.079 --> 00:36:47.929
could film it better. If somebody was standing,

00:36:48.090 --> 00:36:51.590
the security, which was the soldiers, would come

00:36:51.590 --> 00:36:53.469
over and just push them back in their seats.

00:36:54.050 --> 00:36:56.809
So I remember him looking at me. He's playing

00:36:56.809 --> 00:36:59.590
the piano. We're playing. And he looks at me

00:36:59.590 --> 00:37:07.550
and goes, we're dead. We're dead. Then he finally,

00:37:07.710 --> 00:37:09.969
you know, as the show went on, he finally heard

00:37:09.969 --> 00:37:12.829
cheering from the back. You know, you had to

00:37:12.829 --> 00:37:15.349
be a part of the Communist Party to get tickets

00:37:15.349 --> 00:37:17.940
to the first. a couple of shows. When he heard

00:37:17.940 --> 00:37:20.480
the cheering from the back, he told the people

00:37:20.480 --> 00:37:22.480
in the front, he said, it's going to get louder.

00:37:22.719 --> 00:37:25.719
You know, this is how loud we play at home. This

00:37:25.719 --> 00:37:28.039
is what it's like being in the States. And this

00:37:28.039 --> 00:37:30.039
is what you're seeing. If you don't like it,

00:37:30.119 --> 00:37:33.119
you should move to the back where it's not as

00:37:33.119 --> 00:37:35.059
loud. And while you're back there, give the kids

00:37:35.059 --> 00:37:37.639
right there the tickets to come up front. Swap

00:37:37.639 --> 00:37:40.119
tickets. And once they did that, it was like,

00:37:40.280 --> 00:37:44.679
this is great. By the end of our six shows. Three

00:37:44.679 --> 00:37:49.099
in Moscow, three in Leningrad. They pushed our

00:37:49.099 --> 00:37:52.320
stage back an entire foot. They were rocking

00:37:52.320 --> 00:37:55.860
so much. I mean, the stage that we were on, they

00:37:55.860 --> 00:37:59.360
pushed it back an entire foot. Wow. Yeah. It

00:37:59.360 --> 00:38:01.940
was great. It was great. It was great the way

00:38:01.940 --> 00:38:06.179
it built from like we're dead to like, wow, we

00:38:06.179 --> 00:38:11.300
succeeded with that. Well, my question for you

00:38:11.300 --> 00:38:14.179
is because Turnstiles was the first album that

00:38:14.179 --> 00:38:17.300
you played on with the band. So obviously the

00:38:17.300 --> 00:38:19.579
band was still coming into their form on that

00:38:19.579 --> 00:38:25.199
version. Do you feel the song was better showcased

00:38:25.199 --> 00:38:27.480
in a live setting than on the studio version?

00:38:27.780 --> 00:38:30.860
Yeah, definitely. Definitely. Because you're

00:38:30.860 --> 00:38:34.639
more relaxed. It's just more fun to play, you

00:38:34.639 --> 00:38:36.920
know, and then. Then you develop all those visual

00:38:36.920 --> 00:38:38.880
things that you do, like smacking the cymbals

00:38:38.880 --> 00:38:41.579
this way, you know, and Billy standing up and

00:38:41.579 --> 00:38:44.219
kicking the piano over and, you know, then it

00:38:44.219 --> 00:38:47.500
gets exciting. But in the studio, you know, in

00:38:47.500 --> 00:38:50.380
the studio, it was done as three parts. We did

00:38:50.380 --> 00:38:53.800
the beginning. Then we stopped. Then we did,

00:38:53.800 --> 00:38:55.460
there's a place in the world for the young real

00:38:55.460 --> 00:38:59.440
man. We did that. And then we did the end. And

00:38:59.440 --> 00:39:03.039
they put them together. Recording -wise, it was

00:39:03.039 --> 00:39:06.409
easier to do it that way. to go from the beginning

00:39:06.409 --> 00:39:11.090
part into the verse. Because on the record, you

00:39:11.090 --> 00:39:14.250
can't hear the drums playing. You just hear the...

00:39:14.250 --> 00:39:17.510
Which, by the way, I did on Billy's chest, because

00:39:17.510 --> 00:39:19.949
we were listening back, and he goes, I want something

00:39:19.949 --> 00:39:23.710
like this. And we took him out. I laid him on

00:39:23.710 --> 00:39:27.130
the chest. I put a mic on his chest, and I went

00:39:27.130 --> 00:39:31.010
on his chest. Really? Yeah, and then overdubbed

00:39:31.010 --> 00:39:32.929
some brushes to give it a little higher tone.

00:39:33.460 --> 00:39:38.260
Wow, that is so cool. I had no idea. Recording

00:39:38.260 --> 00:39:42.800
magic at its finest. Well, coming out of Angry

00:39:42.800 --> 00:39:45.179
Young Man, Liberty, I throw it back to you now

00:39:45.179 --> 00:39:48.280
to pick our next song. Okay, I'm going to go

00:39:48.280 --> 00:39:52.119
with Allentown. Nice. Yeah, I like Allentown.

00:39:52.380 --> 00:39:56.719
I mean, it was Levittown for a long time. That's

00:39:56.719 --> 00:39:59.079
all he had for years. Well, we're living here

00:39:59.079 --> 00:40:02.780
in Levittown. And then... What are they doing?

00:40:02.900 --> 00:40:09.260
They're not doing anything. But yeah, Allentown,

00:40:09.420 --> 00:40:12.420
it's a good song. You know, it's another opener

00:40:12.420 --> 00:40:16.340
for an album, right? Another curtain starts with

00:40:16.340 --> 00:40:20.820
Allentown. Great with the whistle. And there's

00:40:20.820 --> 00:40:26.619
the pile driver in that, you know. Well, I doubled

00:40:26.619 --> 00:40:29.679
the pile driver. We had these two cases of...

00:40:29.929 --> 00:40:33.250
uh percussion stuff maracas tambourines all the

00:40:33.250 --> 00:40:35.090
bells and whistles that you use to open them

00:40:35.090 --> 00:40:42.349
and i to get that they miked me i went out with

00:40:42.349 --> 00:40:45.469
the two cases and i had to jump in the air and

00:40:45.469 --> 00:40:50.030
land at the right time what you know what i think

00:40:50.030 --> 00:40:52.789
was is that after we got done with it you know

00:40:52.789 --> 00:40:55.409
a couple of takes to get it right you open the

00:40:55.409 --> 00:41:01.260
case it was like sawdust So I have to ask when

00:41:01.260 --> 00:41:04.179
you guys played it live, was there like a trigger

00:41:04.179 --> 00:41:06.940
in the background that was including those hits?

00:41:07.039 --> 00:41:10.820
Yeah. Like Dave LeBolt was on the, he played

00:41:10.820 --> 00:41:15.019
the second keyboard. Yeah. He had that. That

00:41:15.019 --> 00:41:18.139
he would trigger. Awesome. Awesome. Yeah. Well,

00:41:18.199 --> 00:41:20.380
coming out of that song, I want to go with something

00:41:20.380 --> 00:41:22.820
where it kind of takes us on a little bit of

00:41:22.820 --> 00:41:25.280
a different journey, but it's a song that I feel

00:41:25.280 --> 00:41:29.380
is. It just stands out in the Billy Joel catalog,

00:41:29.579 --> 00:41:32.960
and I'd be remiss not to include it. And the

00:41:32.960 --> 00:41:35.719
drums are very tribal in this song, and that's

00:41:35.719 --> 00:41:37.719
something where I think it does stick out for

00:41:37.719 --> 00:41:40.079
me. And I'm going to go off of the Stormfront

00:41:40.079 --> 00:41:42.539
album, and we're going to lead it off with the

00:41:42.539 --> 00:41:44.960
amazing Itch Doc Perlman, and I'm going to go

00:41:44.960 --> 00:41:47.699
with the Downeaster Alexa. As you were talking,

00:41:47.739 --> 00:41:52.340
I wrote that down, Downeaster Alexa. Yeah, that's

00:41:52.340 --> 00:41:54.599
a good one. We were in the studio, we had the

00:41:54.599 --> 00:41:58.659
song, and he said, I want this to be, it's about

00:41:58.659 --> 00:42:01.980
my boat, about the boat. I want this to be about

00:42:01.980 --> 00:42:05.280
a boat. So I immediately went to like a Jimmy

00:42:05.280 --> 00:42:08.719
Buffett kind of like, and he went, no, no, no,

00:42:08.719 --> 00:42:14.239
wrong color water. He says it's a fishing boat,

00:42:14.340 --> 00:42:17.340
you know. So I had to come up with something

00:42:17.340 --> 00:42:20.960
that would kind of mimic the fishing boat. Everybody

00:42:20.960 --> 00:42:25.510
knows that a horse is a... You do that on a drum.

00:42:25.610 --> 00:42:30.570
A train is... Right? Yes. I had to come up with

00:42:30.570 --> 00:42:32.789
something that sounded like a boat. So, you know,

00:42:32.809 --> 00:42:35.230
you're going over these gigantic waves, right?

00:42:35.309 --> 00:42:39.269
And you're crashing down on the other side. Right?

00:42:40.349 --> 00:42:44.449
But when I was growing up on Long Island, I lived

00:42:44.449 --> 00:42:48.789
in this little sea town called Seaport and had

00:42:48.789 --> 00:42:51.710
canals in it. And when the fishermen would go

00:42:51.710 --> 00:42:54.159
out really early in the morning... The boats

00:42:54.159 --> 00:42:56.760
had diesel engines, and they would have to putt

00:42:56.760 --> 00:42:59.880
in the canals, and you could hear them go, bup,

00:42:59.880 --> 00:43:02.360
bup, bup, bup, bup, bup, bup, bup, bup, bup,

00:43:02.360 --> 00:43:04.980
bup, bup. The things were never steady, so that,

00:43:05.119 --> 00:43:15.440
you know, and the engine. So with the toms, it

00:43:15.440 --> 00:43:19.380
was like, boom, going over the waves. And that

00:43:19.380 --> 00:43:22.179
put time in it with the snare drum at the head.

00:43:22.710 --> 00:43:25.510
And it became this boat that he could ride on.

00:43:27.590 --> 00:43:33.849
Like almost, have you seen the white wall? The

00:43:33.849 --> 00:43:36.230
idea to bring It's Doc Perlman into the fold

00:43:36.230 --> 00:43:37.929
for that recording, was that something that the

00:43:37.929 --> 00:43:41.610
label, was that Billy's thought? Needed a fiddle.

00:43:42.210 --> 00:43:45.070
So why not get It's Doc Perlman? I guess they

00:43:45.070 --> 00:43:46.409
were living in the same building or something

00:43:46.409 --> 00:43:51.539
like that. So he did it. There was some kind

00:43:51.539 --> 00:43:55.659
of arrangement that didn't happen, so they couldn't

00:43:55.659 --> 00:43:57.659
use his name. That's why it says a different

00:43:57.659 --> 00:44:00.880
name on there. He's credited as world -famous

00:44:00.880 --> 00:44:05.019
incognito violinist. That's it. Well, Liberty,

00:44:05.119 --> 00:44:07.360
coming out of the Downeaster Alexa, I turn it

00:44:07.360 --> 00:44:12.420
over to you now. World -famous, hopefully not

00:44:12.420 --> 00:44:15.400
incognito drummer. Yeah, okay, okay. Let's go

00:44:15.400 --> 00:44:19.760
to something up now. Let's go right into Zanzibar.

00:44:21.269 --> 00:44:26.190
Ooh, love it. Yeah. Zanzibar. One of my favorite

00:44:26.190 --> 00:44:28.889
tunes. You know, it's funny. With the band, the

00:44:28.889 --> 00:44:30.630
Lords of the Second Street that I play with now,

00:44:30.829 --> 00:44:33.789
we got Dan Orlando who does the Billy Bart and

00:44:33.789 --> 00:44:37.050
the other guys who enhance the band, me, Rich

00:44:37.050 --> 00:44:39.750
Cannata, and Russell Jarvis. We do all these

00:44:39.750 --> 00:44:43.869
songs, Zanzibar and Agri on Band. And Zanzibar

00:44:43.869 --> 00:44:46.090
is one of my favorites to play because we whip

00:44:46.090 --> 00:44:48.889
into that jazz part. And I can see people like

00:44:48.889 --> 00:44:51.369
that know the song. thinking like, okay, we're

00:44:51.369 --> 00:44:53.369
going to see, can they do that jazz part? Can

00:44:53.369 --> 00:44:55.809
they do it? You know, and when we pull it off.

00:44:55.969 --> 00:44:57.849
And the part that's great about it too is like

00:44:57.849 --> 00:45:01.250
TikTok, I think it is. The kids on TikTok, the

00:45:01.250 --> 00:45:04.030
younger people, they were doing this dance to,

00:45:04.130 --> 00:45:07.389
I've got the old man's car. I got a jazz guitar.

00:45:07.730 --> 00:45:11.630
And sometimes you'll see young, like they must

00:45:11.630 --> 00:45:13.489
be in their teens or something like that. And

00:45:13.489 --> 00:45:16.110
they're sitting listening to the song. And then

00:45:16.110 --> 00:45:18.590
all of a sudden it goes to that part and you

00:45:18.590 --> 00:45:20.889
can see them kid each other. Like, that's it.

00:45:21.030 --> 00:45:25.489
That's the one. Such a great song. It's a great

00:45:25.489 --> 00:45:27.550
song. And, you know, it didn't have the jazz

00:45:27.550 --> 00:45:30.690
part. It wasn't until he wrote the words, I've

00:45:30.690 --> 00:45:33.469
got a jazz guitar. Then when it came to a break,

00:45:33.570 --> 00:45:36.210
it was like, oh, well, there could be a jazz

00:45:36.210 --> 00:45:39.210
part in here. Why it's a jazz trumpet and not

00:45:39.210 --> 00:45:41.909
a jazz guitar, I don't know. That's a famous

00:45:41.909 --> 00:45:44.730
guy playing the trumpet, Brady Hubbard. Yeah,

00:45:44.789 --> 00:45:49.070
yeah. And it's such a... Again, another song

00:45:49.070 --> 00:45:52.150
that really sticks out in the catalog. Yeah.

00:45:52.349 --> 00:45:54.849
That's when you try to pinpoint what kind of

00:45:54.849 --> 00:45:57.250
artist is Billy Joel. That's kind of the beauty

00:45:57.250 --> 00:45:59.869
of what I love about his music so much because

00:45:59.869 --> 00:46:02.909
he's a rock artist, yes, but he's also a singer

00:46:02.909 --> 00:46:06.389
-songwriter. He's also a jazz musician. He's

00:46:06.389 --> 00:46:09.489
also, you know, I know I said tribal before,

00:46:09.610 --> 00:46:12.989
but for lack of a better term, the vibe you were

00:46:12.989 --> 00:46:15.750
going for in the Downeaster Alexa, that is...

00:46:15.960 --> 00:46:18.639
Hard to describe that. You can't just say that's

00:46:18.639 --> 00:46:21.440
a rock song. No. I call it tribal. It's like

00:46:21.440 --> 00:46:25.639
a world music. And he does them all with the

00:46:25.639 --> 00:46:29.260
band, obviously, so well that it's kind of hard

00:46:29.260 --> 00:46:33.300
to pinpoint him to one genre. Yeah. And there's

00:46:33.300 --> 00:46:36.460
a funny part in Zanzibar. Before the first solo,

00:46:36.639 --> 00:46:40.500
when Freddie Hubbard does the first solo, I go

00:46:40.500 --> 00:46:43.500
from sticks to brushes. And if you listen, turn

00:46:43.500 --> 00:46:45.840
your stereo up real loud, you can hear me put

00:46:45.840 --> 00:46:48.400
the sticks down and pick up the brushes you hear

00:46:48.400 --> 00:46:50.679
on the floor top, because I laid them on the

00:46:50.679 --> 00:46:52.780
floor top. Ooh, I'm going to have to listen back

00:46:52.780 --> 00:46:56.019
to that one. You'll hear it. All right. But that

00:46:56.019 --> 00:46:58.639
was a cool song to play. I mean, that was a lot

00:46:58.639 --> 00:47:03.420
of fun. A lot of fun to play. It took a lot of

00:47:03.420 --> 00:47:06.659
concentration on different parts. Well, I'm hoping

00:47:06.659 --> 00:47:08.880
that the song that I'm going to follow up Zanzibar

00:47:08.880 --> 00:47:11.000
with is another one that maybe you had fun to

00:47:11.000 --> 00:47:13.869
play, because... On the Songs in the Attic album,

00:47:13.989 --> 00:47:16.989
when you played this July 10th, 1980 at Toad's

00:47:16.989 --> 00:47:19.829
Place in New Haven, Connecticut, sure as heck

00:47:19.829 --> 00:47:21.949
sounded like you were having fun. And I'm going

00:47:21.949 --> 00:47:25.449
to go with Los Angelinos from Songs in the Attic.

00:47:25.449 --> 00:47:29.769
Great song. That song is just funky. That's the

00:47:29.769 --> 00:47:32.630
way I describe it. I like the version on Street

00:47:32.630 --> 00:47:37.130
Life Serenade, but you guys bring this funk on

00:47:37.130 --> 00:47:39.869
the Songs in the Attic version that... just is

00:47:39.869 --> 00:47:43.190
so alive and so invigorating. And I, and I, it's

00:47:43.190 --> 00:47:45.809
another song that sticks out when you're listening

00:47:45.809 --> 00:47:48.750
to the catalog. And I know it's a little bit

00:47:48.750 --> 00:47:51.369
of a deeper cut, but damn, it's a good one. But

00:47:51.369 --> 00:47:54.590
that, now that was, we were just doing tour stuff.

00:47:54.670 --> 00:47:57.829
We were only old turnstiles. We were doing all

00:47:57.829 --> 00:48:00.949
the other songs that Billy had out. And there

00:48:00.949 --> 00:48:07.510
is a tape of, I think it's Los Angelinos. Don't

00:48:07.510 --> 00:48:09.699
we do it at Toad's place? That's the version

00:48:09.699 --> 00:48:13.340
on Songs in the Attic, Toad's Place. Yeah, that's

00:48:13.340 --> 00:48:16.340
really good. That's really, really good. Worst

00:48:16.340 --> 00:48:19.519
Comes to Worst is another one. There's an audio

00:48:19.519 --> 00:48:22.059
tape of Worst Comes to Worst from a concert,

00:48:22.099 --> 00:48:26.519
I think, at CW Post. And, oh, my God, Richie

00:48:26.519 --> 00:48:29.079
Granada sent it to me, and I said, who is this

00:48:29.079 --> 00:48:32.659
kid playing Ruff? It was me, obviously, but it

00:48:32.659 --> 00:48:35.739
was like, oh, my God, that was really good. You

00:48:35.739 --> 00:48:38.079
know, sometimes you listen back, and I think

00:48:38.079 --> 00:48:40.900
to myself, No wonder he was so popular. Look

00:48:40.900 --> 00:48:44.880
at what we had. Look at what we had. It was lightning

00:48:44.880 --> 00:48:48.420
in a bottle. The band really just gelled. Well,

00:48:48.440 --> 00:48:51.860
we had been playing together for years before

00:48:51.860 --> 00:48:56.019
we got with Billy. Definitely. Yeah, it was magic.

00:48:56.219 --> 00:48:59.260
It was definitely magic. Well, coming out of

00:48:59.260 --> 00:49:01.440
Los Angelinos, I would love to hear where you're

00:49:01.440 --> 00:49:03.280
going to head next because we are halfway through

00:49:03.280 --> 00:49:05.539
Psy 2 here. Well, you know what song I really

00:49:05.539 --> 00:49:09.579
love off the bridge album? Code of Silence. Ooh.

00:49:11.019 --> 00:49:15.780
Yeah. Code of Silence. One of the only songs

00:49:15.780 --> 00:49:18.599
where Billy didn't write the lyric. Yes, yes.

00:49:19.000 --> 00:49:22.320
Cyndi Lauper. Another time he was jammed and

00:49:22.320 --> 00:49:24.099
it was like he couldn't get the lyrics to it.

00:49:24.460 --> 00:49:27.360
And Cyndi came into the studio and Cyndi goes,

00:49:27.460 --> 00:49:30.949
oh, I'll write and play it. We went, okay. She

00:49:30.949 --> 00:49:32.869
wrote some great lyrics. Those are great lyrics,

00:49:32.889 --> 00:49:34.909
but, you know, having family secrets and you're

00:49:34.909 --> 00:49:36.710
not allowed to, you've got a code of silence.

00:49:36.809 --> 00:49:38.510
You're not allowed to talk about it, you know?

00:49:38.730 --> 00:49:41.469
Yeah, yeah. Could be anything. Abuse, could be

00:49:41.469 --> 00:49:44.610
alcohol, could be done, done or something like

00:49:44.610 --> 00:49:48.269
that. Yeah. Now, was that something that was

00:49:48.269 --> 00:49:50.789
easy for Billy to kind of give up that part of

00:49:50.789 --> 00:49:53.170
the process? Well, I think we were basically

00:49:53.170 --> 00:49:56.190
almost done with the record. And it was just

00:49:56.190 --> 00:49:58.840
that, you know. Billy always said it was hard.

00:49:59.739 --> 00:50:01.880
He used to get migraines after he finished writing

00:50:01.880 --> 00:50:05.739
songs for an album. You know, because it's a

00:50:05.739 --> 00:50:08.960
strain. You're under pressure. You know, it's

00:50:08.960 --> 00:50:10.539
not like you see these young kids, they write

00:50:10.539 --> 00:50:12.639
songs, and it's like, oh, we've got 150 songs.

00:50:13.079 --> 00:50:14.659
Yeah, and you put out your first album, and then

00:50:14.659 --> 00:50:16.860
they want the next one, you know? It's like,

00:50:16.960 --> 00:50:19.019
oh, my God, I've got to do this again. Like,

00:50:19.019 --> 00:50:23.519
what's it then? from Seinfeld when he found out

00:50:23.519 --> 00:50:25.039
they were going to pick up another season and

00:50:25.039 --> 00:50:27.619
he had to write another 10 more. Larry David

00:50:27.619 --> 00:50:33.980
was like, don't do this. I like that song. It's

00:50:33.980 --> 00:50:36.300
a great harmonica in the beginning. That's not

00:50:36.300 --> 00:50:40.199
Billy. That's not? No. Some guy, a Broadway guy

00:50:40.199 --> 00:50:42.880
that played on Broadway. Because Billy plays

00:50:42.880 --> 00:50:45.480
harmonica. We all know that from Piano Man. He

00:50:45.480 --> 00:50:48.619
plays more bluesy type of harmonica. Yeah. But

00:50:48.619 --> 00:50:53.000
this guy was like. The real deal. Yeah. Wow.

00:50:53.139 --> 00:50:55.619
Coming out of that, I'm scrolling through the

00:50:55.619 --> 00:50:58.960
albums. I think I want to go back to the Nylon

00:50:58.960 --> 00:51:01.340
Curtain one more time. Go ahead. It's a song

00:51:01.340 --> 00:51:05.380
that means a lot to me. It's a song that I had

00:51:05.380 --> 00:51:11.099
the good fortune of seeing Billy in the 90s with

00:51:11.099 --> 00:51:13.440
my parents, and my father was a Vietnam veteran.

00:51:13.679 --> 00:51:17.900
No. Seeing the look on his face when the band

00:51:17.900 --> 00:51:20.079
performed Goodnight Saigon is something that

00:51:20.079 --> 00:51:22.980
I'll never forget. He stood at attention the

00:51:22.980 --> 00:51:27.179
whole song singing and I could just feel that

00:51:27.179 --> 00:51:29.480
moment. I still I'm feeling it right now just

00:51:29.480 --> 00:51:33.039
talking about it. And I don't think I could do

00:51:33.039 --> 00:51:36.679
a Billy Joel mixtape without including that because

00:51:36.679 --> 00:51:40.000
for me as a personal thing and knowing my father

00:51:40.000 --> 00:51:43.599
said he nailed it. with this one lyrically. This

00:51:43.599 --> 00:51:47.059
is what I went through. If you ever want to know

00:51:47.059 --> 00:51:49.860
what I went through when I was in Vietnam, this

00:51:49.860 --> 00:51:54.820
song tells you that story. And to me, even though

00:51:54.820 --> 00:51:57.340
I've never met Billy Joel, my father's never

00:51:57.340 --> 00:52:01.699
met Billy Joel, just knowing that he was able

00:52:01.699 --> 00:52:05.219
to tell my father's story without knowing him,

00:52:05.300 --> 00:52:08.920
it's so special to me. So I'm going to go with

00:52:08.920 --> 00:52:11.219
Goodnight Saigon there. Well, you know... we

00:52:11.219 --> 00:52:14.659
being in the band and over all those years we

00:52:14.659 --> 00:52:16.679
have a connection a relationship with people

00:52:16.679 --> 00:52:19.639
that we never met you know and and someone like

00:52:19.639 --> 00:52:22.739
your father when we hear stories like that that

00:52:22.739 --> 00:52:25.460
he how moved he was by something like that that's

00:52:25.460 --> 00:52:28.219
it like really touching because you're always

00:52:28.219 --> 00:52:30.900
thinking about like did we do satisfaction to

00:52:30.900 --> 00:52:34.380
the song did we make any mistakes you know like

00:52:34.380 --> 00:52:37.639
you you hear about you too uh the song pride

00:52:37.639 --> 00:52:40.530
in the name of love and you find out that Bono

00:52:40.530 --> 00:52:43.489
was wrong on the date that he talks about when

00:52:43.489 --> 00:52:47.289
Martin Luther King was shot. Oh, you hear about

00:52:47.289 --> 00:52:49.610
that all the time. It's like, oh, how did he

00:52:49.610 --> 00:52:53.010
make that mistake, you know? So, Good Night Saigon

00:52:53.010 --> 00:52:58.429
was, it actually was for the album before he

00:52:58.429 --> 00:53:02.389
had the idea, but it was more like a World War

00:53:02.389 --> 00:53:05.570
II kind of thing, which wasn't going well at

00:53:05.570 --> 00:53:08.590
all, you know? So then when he came in and they

00:53:08.590 --> 00:53:10.969
had this whole thing about Vietnam, we're all

00:53:10.969 --> 00:53:14.309
at that age where, you know, I went from my draft

00:53:14.309 --> 00:53:18.230
physical when I was 19 and I had written in my

00:53:18.230 --> 00:53:22.210
book how many, like 300 and something guys got

00:53:22.210 --> 00:53:27.489
killed that day. So we all felt guilt of why

00:53:27.489 --> 00:53:30.050
didn't we go? Why did somebody else, why did

00:53:30.050 --> 00:53:32.409
the guy next to me go and I didn't? You know,

00:53:32.429 --> 00:53:36.030
because it was just a horrible war, just a horrible

00:53:36.030 --> 00:53:43.409
war. and um so i i think that comes through that

00:53:43.409 --> 00:53:45.690
we were really honest about what we're saying

00:53:45.690 --> 00:53:50.170
you know and um his lyric is just unbelievable

00:53:50.170 --> 00:53:55.309
you know we'll all go down together yeah yeah

00:53:55.309 --> 00:53:59.489
and then we were all singing it in studio once

00:53:59.489 --> 00:54:01.590
and i just yelled yeah all right so i took it

00:54:01.590 --> 00:54:03.170
here and if you listen real closely to us again

00:54:03.170 --> 00:54:06.789
you know My father always told me there were

00:54:06.789 --> 00:54:10.909
two songs that bring him back to Vietnam and

00:54:10.909 --> 00:54:13.429
it's good night Saigon. And we got to get out

00:54:13.429 --> 00:54:16.829
of this place by the animals. Yeah. Great job.

00:54:17.289 --> 00:54:21.530
Great song. Wow. Big. Well, coming out of that,

00:54:21.590 --> 00:54:24.289
I am turning it over to you because we have a

00:54:24.289 --> 00:54:28.610
few songs left here. Okay. Now I, how many songs

00:54:28.610 --> 00:54:32.550
we got left? We have three. You have two songs

00:54:32.550 --> 00:54:35.869
left and I only have one. Okay, then I'm going

00:54:35.869 --> 00:54:39.730
to go to this next song, All for Lana. Nice.

00:54:40.170 --> 00:54:43.409
Why was that not a single in the United States?

00:54:43.449 --> 00:54:46.090
Why was that only released in the UK? I have

00:54:46.090 --> 00:54:50.130
no idea. Flabbergasted about that one. I have

00:54:50.130 --> 00:54:53.469
no idea. All I know is that before we went in

00:54:53.469 --> 00:54:58.789
to do the Glass Houses record, we were just coming

00:54:58.789 --> 00:55:03.929
off of 32nd Street, right? We're in Europe touring.

00:55:05.070 --> 00:55:09.050
And I went to see this band and I told Billy,

00:55:09.130 --> 00:55:12.269
I said, you have got to hear this band. They

00:55:12.269 --> 00:55:15.869
are changing the sound of things. And I think

00:55:15.869 --> 00:55:18.690
Billy got a little shaken by it. And the band

00:55:18.690 --> 00:55:22.570
was the police that I went to see. Wow. Yeah.

00:55:23.010 --> 00:55:30.389
And I think that he found a way to do that punk

00:55:30.389 --> 00:55:34.869
youth kind of music, but keep the Billy. in it

00:55:34.869 --> 00:55:38.730
you know because now we're we're 30 we're 30

00:55:38.730 --> 00:55:42.469
years old they're older and uh these guys that

00:55:42.469 --> 00:55:44.570
are coming out now in their 20s and you know

00:55:44.570 --> 00:55:48.829
but i think he found it like in opelena you know

00:55:48.829 --> 00:55:52.429
so that turned out to be a good one now as a

00:55:52.429 --> 00:55:54.510
drummer being a person who've seen the police

00:55:54.510 --> 00:55:57.170
i'm sure there's a fondness for stuart copeland's

00:55:57.170 --> 00:55:59.530
style of drumming as well oh i love stuart copeland

00:55:59.530 --> 00:56:04.320
see to me this drummer's that create these new

00:56:04.320 --> 00:56:08.559
things. And Stuart Copeland, to me, is like Danny

00:56:08.559 --> 00:56:13.039
Serafin was with Chicago. Stuart Copeland took

00:56:13.039 --> 00:56:16.920
rock and reggae and made it a sound, where Danny

00:56:16.920 --> 00:56:20.440
Serafin took rock and jazz and created this new

00:56:20.440 --> 00:56:23.260
sound, which is really cool. I think that's great.

00:56:23.559 --> 00:56:27.599
Yeah, that first Chicago Transit Authority album

00:56:27.599 --> 00:56:31.800
introduction. That blew my mind the first time

00:56:31.800 --> 00:56:35.179
I heard that, even as a kid, because I was like,

00:56:35.219 --> 00:56:37.679
what am I listening to? Because you couldn't

00:56:37.679 --> 00:56:42.099
as a child. I couldn't describe Chicago to somebody.

00:56:42.179 --> 00:56:45.320
I couldn't say it's a rock song because there

00:56:45.320 --> 00:56:47.579
was this horn section and it was funky and it

00:56:47.579 --> 00:56:50.800
was jazzy and it was it was confusing to my little

00:56:50.800 --> 00:56:53.880
mind. And now I I look back and I just listen

00:56:53.880 --> 00:56:57.159
to that album with such awe because of. the creativity

00:56:57.159 --> 00:56:59.460
that went into taking two different styles and

00:56:59.460 --> 00:57:02.639
kind of merging them together to make this new

00:57:02.639 --> 00:57:05.800
sound. Well, I think that is what kind of ruined

00:57:05.800 --> 00:57:08.699
music was that everything had to be pigeonholed.

00:57:08.980 --> 00:57:12.539
Like, what kind of music is it? Well, something

00:57:12.539 --> 00:57:15.340
you've never heard before, you know? I mean,

00:57:15.440 --> 00:57:18.039
back then in the 60s and stuff like that, we

00:57:18.039 --> 00:57:22.000
were the generation that wanted change. But if

00:57:22.000 --> 00:57:25.260
something changed, we panicked about it, you

00:57:25.260 --> 00:57:28.130
know? Tried to fight it. You know, like, what

00:57:28.130 --> 00:57:30.969
is that? What is that? I can't get it in my head.

00:57:31.090 --> 00:57:34.630
I need it. I need a name of it. You know, no.

00:57:34.949 --> 00:57:37.150
Like, do you force our Jimi Hendrix was like,

00:57:37.230 --> 00:57:40.670
what is that? And that's what I feel like is

00:57:40.670 --> 00:57:43.449
almost missing from modern music. Everybody's

00:57:43.449 --> 00:57:47.750
trying to emulate a sound that's been heard before,

00:57:47.829 --> 00:57:51.130
or at least that's what becomes popular. The

00:57:51.130 --> 00:57:53.309
people that are out there really pushing boundaries.

00:57:54.619 --> 00:57:58.000
are nowhere near the top of the charts and you

00:57:58.000 --> 00:58:00.699
really have to dig deep to find people that are

00:58:00.699 --> 00:58:04.400
truly innovating music and that's kind of why

00:58:04.400 --> 00:58:07.519
i am such a music nerd doing a show like this

00:58:07.519 --> 00:58:10.059
talking with different musicians i admire and

00:58:10.059 --> 00:58:12.880
trying to introduce people to music that might

00:58:12.880 --> 00:58:15.360
be outside of their comfort zone because there

00:58:15.360 --> 00:58:18.940
is so much amazing music out there that people

00:58:18.940 --> 00:58:21.800
just aren't getting exposed there's no spotify

00:58:21.800 --> 00:58:25.769
algorithm That's going to show people something

00:58:25.769 --> 00:58:30.030
that is truly game -changing. And that's a shame.

00:58:30.130 --> 00:58:33.590
A great band will have the reputation of either

00:58:33.590 --> 00:58:36.449
you love them or you hate them. That's a great

00:58:36.449 --> 00:58:39.050
band. Because they're doing something so different

00:58:39.050 --> 00:58:41.289
that you can't deal with it. You don't want to.

00:58:41.349 --> 00:58:46.030
You don't have the musical love to really look

00:58:46.030 --> 00:58:48.530
into what they're doing. Or you love them because

00:58:48.530 --> 00:58:52.409
they change something so much. that you can identify

00:58:52.409 --> 00:58:54.829
their sound, even if you don't know the song

00:58:54.829 --> 00:58:57.369
that just comes on. Oh, that's Chicago. That's

00:58:57.369 --> 00:58:59.710
Chicago, I can hear it, you know, like that.

00:58:59.929 --> 00:59:01.929
Definitely. And, you know, with all these songs

00:59:01.929 --> 00:59:04.909
that we're listening to today, I mean, we listen

00:59:04.909 --> 00:59:07.829
to everything. We listen to everything you take

00:59:07.829 --> 00:59:10.710
from here, take from there. You know, leave a

00:59:10.710 --> 00:59:13.690
tender moment alone. For me, the drum part that

00:59:13.690 --> 00:59:16.010
I'm playing, it's like a Burt Bacharach song,

00:59:16.269 --> 00:59:20.039
you know? So... you had to know all these stuff

00:59:20.039 --> 00:59:22.219
because, you know, it's rolled names around in

00:59:22.219 --> 00:59:24.539
the studio too. Like, oh, I want this to sound

00:59:24.539 --> 00:59:28.559
like, like Ringo did on, on Rain. Or I want this

00:59:28.559 --> 00:59:31.460
to sound like the studio guy that played in,

00:59:31.480 --> 00:59:34.820
in, in with Burt Bacharach, or I want this to

00:59:34.820 --> 00:59:36.820
sell. And you got to know all that stuff, you

00:59:36.820 --> 00:59:38.679
know, especially when a guy like Billy, cause

00:59:38.679 --> 00:59:41.900
he writes like that, but you maintain your own

00:59:41.900 --> 00:59:45.019
style, your vibe, and it becomes then your thing.

00:59:45.199 --> 00:59:48.920
It moves into your thing. Well, I have one song

00:59:48.920 --> 00:59:52.699
left, and this is ridiculous for me right now

00:59:52.699 --> 00:59:54.940
because there are so many songs that I'm looking

00:59:54.940 --> 00:59:59.039
at that aren't included on this list. But I just

00:59:59.039 --> 01:00:02.440
have to go with one that it's a major hit. I

01:00:02.440 --> 01:00:04.820
want to go back to the first album you ever played

01:00:04.820 --> 01:00:08.480
on, which was Turnstiles. And I want to go with

01:00:08.480 --> 01:00:12.159
a song that truly means a lot to me because when

01:00:12.159 --> 01:00:16.780
I was in radio, I worked through 9 -11. In New

01:00:16.780 --> 01:00:20.119
York, in radio at the time, in the city. And

01:00:20.119 --> 01:00:22.159
there was a few days that we were locked out

01:00:22.159 --> 01:00:25.159
of New York. And when we got back to the station,

01:00:25.300 --> 01:00:27.840
we were kind of working these crazy three and

01:00:27.840 --> 01:00:31.059
four day shifts that would just be kind of sleeping

01:00:31.059 --> 01:00:34.559
on the floor because there was a lack of people

01:00:34.559 --> 01:00:37.000
in the studios and it was just completely different

01:00:37.000 --> 01:00:41.719
time. Well, about a month, maybe a month and

01:00:41.719 --> 01:00:44.719
a half later, we were still starting to ease

01:00:44.719 --> 01:00:48.570
back into things. And my buddy Jay and I went

01:00:48.570 --> 01:00:52.630
to a karaoke bar and everybody was just trying

01:00:52.630 --> 01:00:54.650
to blow off a little steam and sing some songs.

01:00:54.769 --> 01:00:57.369
And one of my favorite songs to sing by Billy

01:00:57.369 --> 01:01:02.110
Joel prior to September 11th was New York State

01:01:02.110 --> 01:01:05.250
of Mind. I didn't think about what was happening

01:01:05.250 --> 01:01:09.010
when I put that ticket in. I just did because

01:01:09.010 --> 01:01:13.250
I wanted to sing the song. And as I started it.

01:01:13.840 --> 01:01:16.539
There was like a hush that came over the room.

01:01:17.199 --> 01:01:20.719
And at the end, this tiny little bar, I'll never

01:01:20.719 --> 01:01:23.119
forget this, just every person in the room was

01:01:23.119 --> 01:01:26.179
just, I put the mic down and the whole room was

01:01:26.179 --> 01:01:29.219
just singing it arm in arm and bringing people

01:01:29.219 --> 01:01:31.760
together in such a beautiful way. And my old

01:01:31.760 --> 01:01:34.679
TuneStyles co -host, Jay Sweet, was there with

01:01:34.679 --> 01:01:37.059
me and we talk about this moment all the time.

01:01:37.639 --> 01:01:41.829
Just shows how... powerful Billy Joel's music

01:01:41.829 --> 01:01:46.650
is to people especially from this area and to

01:01:46.650 --> 01:01:50.250
me there are a lot of songs that are New York

01:01:50.250 --> 01:01:53.150
songs you think of Empire State of Mind by Jay

01:01:53.150 --> 01:01:55.550
Z you think New York New York by Frank Sinatra

01:01:55.550 --> 01:01:58.590
but it always comes back to New York State of

01:01:58.590 --> 01:02:02.329
Mind for me and that is what my last pick of

01:02:02.329 --> 01:02:04.789
the night will be realizing I'm leaving so many

01:02:04.789 --> 01:02:08.469
songs off but I would love to know because This

01:02:08.469 --> 01:02:11.750
was your first album recording with Billy Joel.

01:02:12.429 --> 01:02:17.889
Did you realize what this song was going to become

01:02:17.889 --> 01:02:20.170
when you were recording? Did you realize the

01:02:20.170 --> 01:02:22.889
stratospheric heights that this song would reach,

01:02:23.030 --> 01:02:25.309
even if we are just talking about the New York

01:02:25.309 --> 01:02:29.230
and tri -state area? No, we didn't, because it

01:02:29.230 --> 01:02:35.769
was such a ballad. It's almost like an old kind

01:02:35.769 --> 01:02:41.260
of Sinatra, you know, that kind of ballad. So,

01:02:41.300 --> 01:02:43.659
like, it was really cool to play it, and the

01:02:43.659 --> 01:02:47.320
lyrics really meant a lot. But to us, back then,

01:02:47.340 --> 01:02:49.940
it was about Billy returning to New York and

01:02:49.940 --> 01:02:52.400
all the things that he missed about New York.

01:02:52.980 --> 01:02:59.420
It didn't take hold until, like, 9 -11 and all

01:02:59.420 --> 01:03:01.880
that kind of stuff about how important New York

01:03:01.880 --> 01:03:06.449
is to people and how... You know, it's the center

01:03:06.449 --> 01:03:08.489
of the world. It really is the center of the

01:03:08.489 --> 01:03:12.289
world. And, you know, Richie Cannata has the

01:03:12.289 --> 01:03:16.130
best story about it because when he came in to

01:03:16.130 --> 01:03:20.690
the studio and he brought a saxophone and we

01:03:20.690 --> 01:03:24.250
were just finishing up Angry Young Man and he

01:03:24.250 --> 01:03:26.489
heard Angry Young Man and he said, I don't know,

01:03:26.570 --> 01:03:29.050
what am I going to do in this business? Angry

01:03:29.050 --> 01:03:32.050
Young Man. And then Billy said, I want you to

01:03:32.050 --> 01:03:34.840
play sax on this song. And he played them the

01:03:34.840 --> 01:03:40.679
basic track of New York State of Mind. And that's

01:03:40.679 --> 01:03:44.739
when Richie knew what he had to do in that song.

01:03:44.900 --> 01:03:50.960
And when the COVID hit and they did that show

01:03:50.960 --> 01:03:55.059
at Central Park, the big show that was going

01:03:55.059 --> 01:03:57.420
to be the comeback, New York was still live again.

01:03:58.039 --> 01:04:02.159
Richie played that solo with the Philharmonic.

01:04:02.380 --> 01:04:06.519
Yes. Yeah. That's how big that song became. I

01:04:06.519 --> 01:04:09.559
mean, you really can't get bigger than that song

01:04:09.559 --> 01:04:12.880
as far as a songwriter goes. It's like, I mean,

01:04:12.900 --> 01:04:16.079
Paul McCartney said if he wrote any of Billy

01:04:16.079 --> 01:04:17.539
Joel's songs, he would have loved to have written

01:04:17.539 --> 01:04:19.619
Just The Way You Are. But I think New York State

01:04:19.619 --> 01:04:23.340
of Mind is like, it's an anthem, you know? It

01:04:23.340 --> 01:04:28.360
truly, truly is. Well, Liberty. You got to kick

01:04:28.360 --> 01:04:30.840
off the festivities this evening with the first

01:04:30.840 --> 01:04:34.199
song on side A. And you get to take us home with

01:04:34.199 --> 01:04:36.900
the last song of the night. The last song on

01:04:36.900 --> 01:04:39.840
side B. Summing up this mixtape. No pressure

01:04:39.840 --> 01:04:44.019
at all. The only reason why I'm picking this

01:04:44.019 --> 01:04:47.559
song is because out of all the Billy Joel songs,

01:04:47.920 --> 01:04:52.599
it is my favorite song. Favorite. Because I think

01:04:52.599 --> 01:04:56.380
we played the hell out of it. The intention.

01:04:57.449 --> 01:05:01.969
of having a sound and a style of another band

01:05:01.969 --> 01:05:07.170
that we really loved is on it, you know? So the

01:05:07.170 --> 01:05:10.050
song I have to pick as the end is Laura from

01:05:10.050 --> 01:05:14.289
the Nyland Kirk. Wow. Yeah. Close it out with

01:05:14.289 --> 01:05:17.690
Laura, which isn't quite a ballad, but, you know,

01:05:17.710 --> 01:05:19.849
and it rocks just like the other song you were

01:05:19.849 --> 01:05:21.590
talking about. It's not quite a ballad, but,

01:05:21.590 --> 01:05:25.639
you know. Laura. Wow, I love that pick. That's

01:05:25.639 --> 01:05:28.940
a nice, deep pick. Again, I have to ask, like

01:05:28.940 --> 01:05:31.739
I've said a couple of times tonight, why wasn't

01:05:31.739 --> 01:05:35.659
that a massive single for the band? It defies

01:05:35.659 --> 01:05:38.960
my imagination. Well, you got an album that has

01:05:38.960 --> 01:05:42.599
Allentown, Thresher, Room of Our Own. What else

01:05:42.599 --> 01:05:45.900
was on that, Marcus? Good Night, Saigon, we talked

01:05:45.900 --> 01:05:48.780
about that before. It's like the whole album

01:05:48.780 --> 01:05:50.440
was kind of the tip of the hat to The Beatles

01:05:50.440 --> 01:05:53.619
for us. And Laura, sometimes when the guitar

01:05:53.619 --> 01:05:56.920
solo does, I have to think to myself, am I listening

01:05:56.920 --> 01:06:00.019
to a Beatles song or is this us? You know? Yeah.

01:06:00.119 --> 01:06:05.400
I even did the Ringo. You know, that fell that

01:06:05.400 --> 01:06:09.019
he does all the time. That album is my favorite

01:06:09.019 --> 01:06:12.179
album of all. There's some great stuff on that

01:06:12.179 --> 01:06:15.000
record. And I think that's considerably one of

01:06:15.000 --> 01:06:17.320
his most underrated albums, even though there

01:06:17.320 --> 01:06:21.639
were hits on it. I feel like as a whole, people

01:06:21.639 --> 01:06:24.400
automatically jump to The Stranger. They automatically

01:06:24.400 --> 01:06:28.000
jump to Glass House's 52nd Street. And the nylon

01:06:28.000 --> 01:06:30.579
curtain gets like overlooked when it shouldn't.

01:06:30.780 --> 01:06:37.039
Yeah. I mean, Scandinavian skies. So great. Massive.

01:06:37.260 --> 01:06:41.539
That's like a Beatles tune, you know. The strings

01:06:41.539 --> 01:06:45.719
and everything. And then going back to the concert

01:06:45.719 --> 01:06:48.329
album we were talking about earlier. One of my

01:06:48.329 --> 01:06:50.409
favorite covers I've ever heard the band play

01:06:50.409 --> 01:06:53.949
was back in the USSR from that Russian concert.

01:06:54.510 --> 01:06:57.570
How much fun was actually playing a Beatles song

01:06:57.570 --> 01:07:02.150
in Russia back in the USSR? Playing a Beatles

01:07:02.150 --> 01:07:05.989
song before the Beatles could play it. We played

01:07:05.989 --> 01:07:08.250
it before McCartney played it in Russia. Yes!

01:07:08.650 --> 01:07:10.869
Yeah, we played Russia when the wall was still

01:07:10.869 --> 01:07:13.449
up. He went after the wall came down. It was

01:07:13.449 --> 01:07:17.139
the perfect song to play. I mean, come on. And

01:07:17.139 --> 01:07:20.840
they knew it. You know, the Russian people, they

01:07:20.840 --> 01:07:22.760
weren't allowed to listen to rock and roll and

01:07:22.760 --> 01:07:25.239
nothing like that. The way they used to get music

01:07:25.239 --> 01:07:28.760
was one guy, they would smuggle in a tape. So

01:07:28.760 --> 01:07:32.800
they smuggle in the White Album, right? And they

01:07:32.800 --> 01:07:37.980
have these boom boxes. Maybe about 10 or 20 guys

01:07:37.980 --> 01:07:40.219
would have their boom boxes and they would put

01:07:40.219 --> 01:07:43.000
blank tapes in each one. And the one guy that

01:07:43.000 --> 01:07:46.090
has the original tape. Now, they're in a forest

01:07:46.090 --> 01:07:48.449
somewhere where nobody else can see them or hear

01:07:48.449 --> 01:07:52.650
them. He drops his tape in. They press record

01:07:52.650 --> 01:07:55.789
and he presses play. And that's how the tapes

01:07:55.789 --> 01:07:59.650
got around in Russia. Or they would cut them

01:07:59.650 --> 01:08:03.889
to x -rays, you know, because you can record

01:08:03.889 --> 01:08:06.769
on an x -ray somehow. I don't know how to do

01:08:06.769 --> 01:08:10.329
it, but I've seen that too in Russia. So they

01:08:10.329 --> 01:08:14.070
knew back in the USSR. So there's no joking around

01:08:14.070 --> 01:08:16.909
when they say it's a Russian bootleg. No joke.

01:08:17.029 --> 01:08:20.409
That was the only way they can hear music. Wow.

01:08:20.649 --> 01:08:25.189
Only way. So they really didn't know much about

01:08:25.189 --> 01:08:27.350
Billy when we went there. He was billed as an

01:08:27.350 --> 01:08:30.649
American poet that was coming over. And they

01:08:30.649 --> 01:08:34.550
only had like three stations, TV stations. And

01:08:34.550 --> 01:08:36.930
someone would be in the middle of watching their

01:08:36.930 --> 01:08:38.930
favorite show on that station. And all of a sudden,

01:08:38.970 --> 01:08:41.560
boom, one of our videos would be. show up in

01:08:41.560 --> 01:08:45.859
the middle of that show. Well, he is an American

01:08:45.859 --> 01:08:49.800
poet, so they didn't lie. Yes, he is. And you

01:08:49.800 --> 01:08:53.000
talk about influences from other bands and stuff

01:08:53.000 --> 01:08:55.000
like that. There was this thing called the musical

01:08:55.000 --> 01:08:58.939
ring that Billy did. It was actually set up like

01:08:58.939 --> 01:09:03.479
a boxing ring. And they would take local rock

01:09:03.479 --> 01:09:07.140
musicians that were in the party or whatever,

01:09:07.319 --> 01:09:10.430
but they were rock musicians. And the commentator

01:09:10.430 --> 01:09:13.510
would tear them down, like almost to embarrass

01:09:13.510 --> 01:09:16.010
them that they're playing rock and roll music.

01:09:16.649 --> 01:09:21.369
When Billy did it, he sat in there and he played

01:09:21.369 --> 01:09:26.390
a Russian classical piece. And he also, I forget

01:09:26.390 --> 01:09:29.750
the name of the piece, but he also inserted the

01:09:29.750 --> 01:09:32.829
part that the Russians had taken out. He did

01:09:32.829 --> 01:09:37.600
that too. Really? was so good on the show that

01:09:37.600 --> 01:09:42.279
after we left they discontinued the show yeah

01:09:42.279 --> 01:09:47.939
wow yeah well before i go through side b i'm

01:09:47.939 --> 01:09:50.939
gonna address the elephant in the room just because

01:09:50.939 --> 01:09:53.760
there are probably some billy joel fans that

01:09:53.760 --> 01:09:56.060
are sitting there saying how the hell did you

01:09:56.060 --> 01:09:58.539
guys get through 20 songs and not talk about

01:09:58.539 --> 01:10:02.239
it so just to talk about the song because i would

01:10:02.239 --> 01:10:06.210
feel like it would be a criminal not to for the

01:10:06.210 --> 01:10:09.489
people that love the song so much what are your

01:10:09.489 --> 01:10:11.630
thoughts on piano man where does that sit for

01:10:11.630 --> 01:10:13.689
you because obviously they call billy joel the

01:10:13.689 --> 01:10:16.750
piano man it's the song you've probably played

01:10:16.750 --> 01:10:20.029
more than any other billy joel song so does it

01:10:20.029 --> 01:10:24.710
suffer from overkill you know we used to play

01:10:24.710 --> 01:10:26.609
it at the end of a show or something like that

01:10:26.609 --> 01:10:29.609
really and i used to be playing the drums and

01:10:29.609 --> 01:10:32.529
i just look over time ago i can't believe you

01:10:32.529 --> 01:10:38.539
wrote this shit I mean, I remember, you know,

01:10:38.560 --> 01:10:40.539
before we were in the band, way before we were

01:10:40.539 --> 01:10:42.619
in the band, hearing the song on the radio and

01:10:42.619 --> 01:10:47.000
thinking like, you know, oh, look, Billy Joel

01:10:47.000 --> 01:10:49.359
from the Hassles, he's got a record out now.

01:10:50.439 --> 01:10:54.600
It's nice, you know. I mean, I remember seeing

01:10:54.600 --> 01:10:57.800
him go to Shea Stadium and watching the ball

01:10:57.800 --> 01:11:01.399
game on TV, and the crowd found out that he was

01:11:01.399 --> 01:11:05.779
there. And they started to sing Piano Man. This

01:11:05.779 --> 01:11:08.840
was, like, maybe two years ago. And I remember

01:11:08.840 --> 01:11:11.220
calling Richie and saying, like, it was so great

01:11:11.220 --> 01:11:14.640
to see Billy proud and up there. But you've got

01:11:14.640 --> 01:11:17.039
to think of something, that if it wasn't for

01:11:17.039 --> 01:11:20.180
the Stranger and 52nd Street and Glass Houses

01:11:20.180 --> 01:11:23.779
and Alan Kirk, nobody would be singing Piano

01:11:23.779 --> 01:11:26.640
Man these days. You know what I mean? I would

01:11:26.640 --> 01:11:30.300
have been, like, there and then gone. Very true.

01:11:30.460 --> 01:11:32.619
So we kept them alive. We kept it alive for him.

01:11:33.460 --> 01:11:35.600
I think even he got bored with the song. That's

01:11:35.600 --> 01:11:41.779
why the crowd sings. How many times can you sing

01:11:41.779 --> 01:11:45.739
it? I know. And that is the one, I guess. But

01:11:45.739 --> 01:11:48.880
even now on the current tours, it's kind of earlier

01:11:48.880 --> 01:11:52.199
in the night. He doesn't close with it, which

01:11:52.199 --> 01:11:55.439
when I saw you with the band back in the 90s

01:11:55.439 --> 01:11:58.359
many, many times, that was always the last song

01:11:58.359 --> 01:12:01.760
of the night. Closer. Yeah, we, the Lords of

01:12:01.760 --> 01:12:05.000
the Second Street, we do it too, close with Piano

01:12:05.000 --> 01:12:07.560
Man. People wait for it. They know it's there.

01:12:07.699 --> 01:12:10.619
They know it's got to be on the set list. You

01:12:10.619 --> 01:12:12.619
know, you have to do it. There's certain songs

01:12:12.619 --> 01:12:15.060
you have to do. That's why they're not on this

01:12:15.060 --> 01:12:19.300
list. There you go. Young, still rock and roll

01:12:19.300 --> 01:12:22.000
movie. Those are the songs you have to do. You

01:12:22.000 --> 01:12:24.699
may be right. You know, Say Goodbye to Hollywood

01:12:24.699 --> 01:12:27.060
was a great one. Oh, Say Goodbye to Hollywood's

01:12:27.060 --> 01:12:29.649
amazing. I'm surprised that you didn't bring

01:12:29.649 --> 01:12:32.489
that one up because I thought of it, but I thought,

01:12:32.529 --> 01:12:33.550
oh, he's going to be my favorite. Oh, it's on

01:12:33.550 --> 01:12:35.970
my list. It's just we didn't get there for some

01:12:35.970 --> 01:12:38.930
reason, but I think we got a lot of fantastic

01:12:38.930 --> 01:12:43.069
stuff. Side B consists of Prelude, Angry Young

01:12:43.069 --> 01:12:46.789
Ma 'am from the concert album, Allentown, The

01:12:46.789 --> 01:12:51.289
Downeaster Alexa, Zanzibar, Los Angelinos from

01:12:51.289 --> 01:12:55.010
Songs in the Attic, Code of Silence, Goodnight

01:12:55.010 --> 01:12:59.149
Saigon, All for Lena. New York state of mind

01:12:59.149 --> 01:13:02.829
and Laura head over to the ultimate songs of

01:13:02.829 --> 01:13:06.050
Billy Joel page at my weekly mixtape .com to

01:13:06.050 --> 01:13:08.649
hear the entire mixtape. We have created tonight

01:13:08.649 --> 01:13:12.250
via the embedded playlist Liberty. I know you're

01:13:12.250 --> 01:13:15.149
busy right now with the Lords of 52nd street.

01:13:15.270 --> 01:13:19.850
What does 2023 have in store for the Lords? A

01:13:19.850 --> 01:13:22.750
whole bunch of gigs that are coming up just in

01:13:22.750 --> 01:13:25.590
Florida. So we're playing a lot, playing a lot.

01:13:25.920 --> 01:13:28.260
and my other band the slim kings you know playing

01:13:28.260 --> 01:13:30.739
out the house drum of a richie canada studio

01:13:30.739 --> 01:13:33.460
and where people come in they want that billy

01:13:33.460 --> 01:13:36.760
joel drum sound you know get the call going out

01:13:36.760 --> 01:13:40.159
to cove city and play out there so still a lot

01:13:40.159 --> 01:13:41.899
of playing going on i mean we're coming out of

01:13:41.899 --> 01:13:46.039
the covid like slowly but it's really starting

01:13:46.039 --> 01:13:49.750
to happen now you know it's all good well The

01:13:49.750 --> 01:13:52.930
door will always be open, Liberty, anytime you

01:13:52.930 --> 01:13:55.189
want to come back on the show and do a volume

01:13:55.189 --> 01:13:58.289
two to this because there are so many songs we

01:13:58.289 --> 01:14:00.970
left off the table tonight. Yes, we did. Yes,

01:14:01.029 --> 01:14:02.930
we did. You know, it's funny because I'm looking

01:14:02.930 --> 01:14:05.569
at my list too and so how many that we didn't

01:14:05.569 --> 01:14:11.590
even touch. You know, I mean, you love songs

01:14:11.590 --> 01:14:17.590
like you said, your dad, you remember that. The

01:14:17.590 --> 01:14:20.489
way that song touched him, imagine that all these

01:14:20.489 --> 01:14:23.909
songs have that same feeling to me of being there

01:14:23.909 --> 01:14:26.510
and getting the phone call in the middle of the

01:14:26.510 --> 01:14:28.229
night and like, what do you think of this? And

01:14:28.229 --> 01:14:31.149
I'm telling them, it's okay, you know. Oh, I

01:14:31.149 --> 01:14:32.270
knew you were going to say that and he hangs

01:14:32.270 --> 01:14:33.609
up the phone and writes something different,

01:14:33.710 --> 01:14:38.409
you know. But all these songs, I mean, Leningrad,

01:14:38.510 --> 01:14:42.350
we went. I sat next to him and we wrote the song,

01:14:42.449 --> 01:14:44.810
you know. And it was like, yeah, that's exactly

01:14:44.810 --> 01:14:47.770
what it was like. to go there you know he just

01:14:47.770 --> 01:14:51.989
has a way of being able to tell that story that

01:14:51.989 --> 01:14:54.449
you want to tell whether it's about something

01:14:54.449 --> 01:14:58.930
you did or or some girl that you loved or you

01:14:58.930 --> 01:15:00.869
could do it in two and a half minutes you know

01:15:00.869 --> 01:15:03.750
well liberty i think i'm putting it lightly when

01:15:03.750 --> 01:15:06.229
i say what an honor and a pleasure it was to

01:15:06.229 --> 01:15:08.770
have you on my weekly mixtape tonight thank you

01:15:08.770 --> 01:15:10.949
so much again for joining me well thanks for

01:15:10.949 --> 01:15:13.609
the invite brian this has been great Remember,

01:15:13.670 --> 01:15:16.170
Mixtapers, you can find My Weekly Mixtape on

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01:15:23.149 --> 01:15:26.250
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01:15:26.250 --> 01:15:28.689
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01:15:35.729 --> 01:15:38.069
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01:15:38.170 --> 01:15:40.289
And until next time, enjoy the tunes.