Full Transcript for Marcella Detroit

long time. 00:04:22.319 --> 00:04:37.120 So, you know, it's a small world and the the world keeps getting smaller, and I want to talk to you a little bit about that as well, that aspect of the business, because I think you met Siobhan Fehey because she was married to Dave Stewart from the Eurythmics at the time. 00:04:37.360 --> 00:04:39.040 Is that is that how you guys met? 00:04:40.000 --> 00:04:42.399 Well, uh in a roundabout way. 00:04:42.560 --> 00:04:52.800 Um a songwriting partner of mine named Richard Feldman, who's from Tulsa and wrote some songs for Clapton, one of them which you were singing a little bit earlier called Promises. 00:04:53.759 --> 00:04:54.480 I love that song. 00:04:54.879 --> 00:04:55.920 What is that line? 00:04:56.720 --> 00:04:59.040 Uh how could we know that promises end? 00:04:59.360 --> 00:05:02.800 I mean, I could tell you that story now, but please, let's go. 00:05:03.439 --> 00:05:04.160 Anything, anything. 00:05:04.399 --> 00:05:04.720 We have time. 00:05:04.879 --> 00:05:07.040 We could we could we can jump around, we can do whatever we want. 00:05:07.360 --> 00:05:07.600 All right. 00:05:07.759 --> 00:05:20.240 Well, you started singing that song, and you were like, whatever those words are, then you said promises end, and I'm like, actually, I helped write that line out of the whole song because Richard was stuck. 00:05:20.319 --> 00:05:22.480 He's like, I don't know what this line should be. 00:05:22.560 --> 00:05:23.040 What do you think? 00:05:23.120 --> 00:05:25.199 And he played me the whole song, and I I don't know. 00:05:25.279 --> 00:05:31.600 I you know, it's sometimes your subconscious kind of kind of takes over and does the work for you if you trust it. 00:05:31.759 --> 00:05:35.360 And and I just came up with how could we know that promises end? 00:05:35.600 --> 00:05:36.639 He's like, Did you get credit? 00:05:36.800 --> 00:05:37.360 Did you get credit? 00:05:37.600 --> 00:05:37.920 Yeah, yeah. 00:05:38.079 --> 00:05:50.000 I I only I only got um like a a piece of the publishing because he wrote most of the song, to be fair, but I came up with the title and that last line and sang on the record. 00:05:50.079 --> 00:05:50.240 Yeah. 00:05:50.560 --> 00:05:52.240 And your voice is so gorgeous on it. 00:05:52.319 --> 00:05:56.079 Oh, when it comes in like that, it's just so crystal clear and beautiful. 00:05:56.160 --> 00:05:59.199 And so when did you write uh this song with Clapton? 00:05:59.360 --> 00:06:03.439 With in this in the 70s, you were in his band for like several years. 00:06:03.759 --> 00:06:06.240 You know what you were when you wrote it? 00:06:06.480 --> 00:06:07.279 Which song? 00:06:07.680 --> 00:06:08.319 Promises. 00:06:08.399 --> 00:06:10.399 And then Lay Down Sally, I want to talk to you about that one. 00:06:10.720 --> 00:06:11.839 Well, okay, Promises. 00:06:12.079 --> 00:06:18.800 I wrote with Richard at um at his studio at his home in LA. 00:06:18.959 --> 00:06:22.399 It was in the in the like mid-70s. 00:06:22.560 --> 00:06:24.160 I want to say, what was it? 00:06:24.800 --> 00:06:28.560 Well, it had to be like, you know, yeah, mid-70s. 00:06:28.720 --> 00:06:32.720 And we were at a studio, and that's when I helped them, and then we presented it. 00:06:32.879 --> 00:06:41.040 I and Jamie Oldaker, the drummer, who was our you know, a dear friend who's unfortunately passed away due to cancer. 00:06:41.439 --> 00:06:47.600 Um, Jamie presented the song to we all presented it to Eric and he loved it. 00:06:47.839 --> 00:06:57.199 So we we were in the studio working with Glenn Johns, and uh Eric wanted to do it, and we were all there and we we recorded it and that was it. 00:06:58.399 --> 00:06:58.800 Wow. 00:06:59.040 --> 00:07:04.399 So you wrote and and recorded the song in the studio at the same on the same day? 00:07:05.279 --> 00:07:07.920 Uh well the like I said, the song was already written. 00:07:08.160 --> 00:07:08.319 Okay. 00:07:08.480 --> 00:07:11.199 Um wrote this the song at Richard's studio. 00:07:11.680 --> 00:07:20.480 And then the song was presented to Eric while we were in the studio in England, uh in London, and um every and Glenn, the producer, loved it. 00:07:20.639 --> 00:07:22.720 Eric loved it, and he wanted to record it. 00:07:22.800 --> 00:07:25.279 So then, you know, we just started. 00:07:25.439 --> 00:07:26.879 That's the way we did it back in the day. 00:07:26.959 --> 00:07:34.879 I mean, if you had a song, you brought it in, or if you didn't have a song, you'd we'd write one on the spot and um and then just start recording. 00:07:35.040 --> 00:07:47.199 Glenn was an amazing producer in that he was always paying attention to what was going on, you know, paying attention to when when there was some kind of spark happening, and he would just turn on the machine and start recording. 00:07:47.439 --> 00:07:53.439 But that was, you know, the song was already, like I said, it was already written and we were getting ready to record it. 00:07:53.600 --> 00:07:59.360 And after we ran it through a few times, you know, it was just um recorded and that was that. 00:08:00.240 --> 00:08:02.879 Yeah, I mean, he's a legend, Glenn Glenn Jones. 00:08:03.759 --> 00:08:04.879 He's brilliant, yeah, yeah. 00:08:05.199 --> 00:08:08.560 Oh man, Rolling Stones, Beatles, uh who Led Zeppelin, Jesus. 00:08:08.639 --> 00:08:10.240 I mean, yeah, that's like that's crazy. 00:08:10.480 --> 00:08:19.279 Okay, I gotta I gotta just uh because I'm I'm I'm excited and I'm jumping around, but I want to come back to the beginning because you're you're from Detroit, Michigan. 00:08:19.600 --> 00:08:26.879 You live in Los Angeles now, you're in LA as we as we speak, and you ended up in the UK. 00:08:27.040 --> 00:08:41.759 Now how first of all, in Detroit, how did you get into music and what what was the first what was your first sort of exposure to music that made you want to be an artist? 00:08:41.919 --> 00:08:46.240 And

then um can you tell us a little bit about how that all like developed? 00:08:47.039 --> 00:08:48.559 Yeah, excuse me. 00:08:48.639 --> 00:08:50.879 Um soon as I get the smog out of my throat. 00:08:51.039 --> 00:08:52.639 Um smog, the LA smog. 00:08:53.039 --> 00:08:54.399 Smog, yeah, yeah. 00:08:55.279 --> 00:08:55.919 Allergies. 00:08:56.000 --> 00:08:57.120 I have constant allergies. 00:08:57.200 --> 00:08:58.240 Anyway, boring. 00:08:58.639 --> 00:09:05.279 So I was introduced to music at a very early age, and I had a real affinity towards it. 00:09:05.519 --> 00:09:11.919 Um my father was he loved music and he played a ukulele, taught me how to play. 00:09:12.080 --> 00:09:16.000 Um in school, I I I started with the recorder. 00:09:16.320 --> 00:09:19.919 Well, I started singing when I was probably about five in kindergarten. 00:09:20.159 --> 00:09:26.559 And um my first instrument was the the main instrument was the violin when I was seven. 00:09:26.799 --> 00:09:28.559 And I took that for five years. 00:09:28.720 --> 00:09:36.000 My dad used to sing harmonies with me in the car and encouraged me um so much. 00:09:36.080 --> 00:09:37.600 And the radio was always on, you know. 00:09:37.679 --> 00:09:39.440 I grew up in Detroit, some Motown. 00:09:39.519 --> 00:09:41.120 Music was always in the background. 00:09:41.360 --> 00:09:43.440 My dad loved country too. 00:09:43.600 --> 00:09:50.159 He he would always like just start, you know, wailing out these country songs in the middle of nowhere. 00:09:50.240 --> 00:09:53.120 But he was he's actually an incredible artist. 00:09:53.279 --> 00:09:59.519 Um, he used pencil and he was really meticulous, and everything was so detailed. 00:09:59.600 --> 00:10:04.320 There was so much detail in everything he did, but he had to quit that because he had to support a family. 00:10:04.480 --> 00:10:06.559 Um, but he was an incredible illustrator. 00:10:06.720 --> 00:10:11.840 Anyway, he loved music and he took me to see the movie Fantasia when I was a Disney. 00:10:12.000 --> 00:10:14.080 Yeah, when I was about seven or eight years old. 00:10:14.559 --> 00:10:17.440 And uh I I was just crazy about that. 00:10:17.519 --> 00:10:31.759 And I had a copy of the Nutcracker Suite, and I would dance around the living room when nobody was was around, and uh Waltz of the Flowers, that's really one of my favorites, the you know, the Nutcracker Suite, just absolutely beautiful. 00:10:32.080 --> 00:10:38.159 It took me to see the incredible violinist Isaac Stern, uh, because I was playing violin. 00:10:38.480 --> 00:10:48.000 You know, I only found out that my great uh grandfather was a concert violinist, and my dad only told me that when I was in my 40s. 00:10:48.159 --> 00:10:50.960 I'm like, how did how did I not know this? 00:10:51.120 --> 00:10:55.840 I mean, why didn't you tell me this as soon as I decided I want to play the violin? 00:10:56.080 --> 00:11:01.039 First of all, I wanted to play the harp, but they my parents said, Oh no, it's too big and too expensive. 00:11:01.200 --> 00:11:03.759 So it's like, okay, well, violin. 00:11:03.919 --> 00:11:18.639 So I started on that journey, and then my father bought me, I expressed an interest in an accordion, and he found me this used gigantic green, uh, shiny like accordion that really it smelled so funky. 00:11:18.720 --> 00:11:22.960 It was like old, like it had been in somebody's garage for years, you know. 00:11:23.360 --> 00:11:24.080 It probably was. 00:11:24.320 --> 00:11:26.159 Yeah, musty and old and damp. 00:11:26.320 --> 00:11:28.399 Oh, it was really gross, but I loved it. 00:11:28.559 --> 00:11:33.039 But I also played ukulele, and he brought me a ukulele songbook. 00:11:33.279 --> 00:11:49.840 Well, and I figured out all these amazing songs and all these chords that really kind of sparked my appreciation for almost like music theory in a way, but just chords and chord structure, and it was so fascinating to me. 00:11:50.000 --> 00:11:50.639 I just loved it. 00:11:50.720 --> 00:11:56.399 And I was always in school, choirs and choruses, you know, singing duets, trios, quartets. 00:11:56.720 --> 00:12:05.919 But I think a big moment for me, I love music, um undoubtedly, but a big moment was when the Beatles came to America. 00:12:06.080 --> 00:12:22.480 And my parents let me go see the Beatles with a friend of mine, just this other girl, her name is Marcy Brown, and uh and and they let she and I go to see the Beatles in downtown Detroit in a really kind of funky area. 00:12:22.639 --> 00:12:38.159 It wasn't safe, but we they let us get on a bus and go, and I was we were in there with like 15,000 screaming girls, and it was just like all I want to do was hear the Beatles, but all I heard was this you know, the screaming of the girls. 00:12:38.240 --> 00:12:43.679 And I and I literally I can picture myself up in that balcony because I was up in the nosebleeds. 00:12:44.000 --> 00:12:45.360 Are you hearing that sound, by the way? 00:12:46.080 --> 00:12:47.200 No, no, now it went away. 00:12:47.440 --> 00:12:48.399 Oh, never mind. 00:12:48.559 --> 00:12:49.440 Okay, now it's back. 00:12:50.159 --> 00:12:51.200 Oh, what sound? 00:12:51.440 --> 00:12:52.480 Yeah, it's like a buzzing. 00:12:52.639 --> 00:12:53.600 Are you hearing that? 00:12:54.399 --> 00:12:54.720 No. 00:12:55.039 --> 00:12:55.360 No? 00:12:56.080 --> 00:12:56.399 Okay. 00:12:56.559 --> 00:12:58.080 I just wanted to check what that is. 00:12:58.320 --> 00:13:00.080 Oh, because I'm hearing a buzz. 00:13:00.559 --> 00:13:00.879 Oh. 00:13:01.200 --> 00:13:01.360 Yeah. 00:13:01.759 --> 00:13:03.120 You want me to turn something in? 00:13:03.600 --> 00:13:04.720 Let me just pause for a second. 00:13:04.960 --> 00:13:05.279 Okay. 00:13:07.440 --> 00:13:09.120 So we just figured out what it was. 00:13:09.200 --> 00:13:10.559 It was a power booster. 00:13:11.120 --> 00:13:13.519 Yeah, on my yeah, on my audio interface. 00:13:13.759 -->

00:13:14.480 That's what it is. 00:13:14.639 --> 00:13:15.600 A power booster. 00:13:15.759 --> 00:13:18.000 No, no more, no more boosting the power. 00:13:19.200 --> 00:13:20.159 All right, so where were we? 00:13:20.320 --> 00:13:23.759 You were talking about uh I was talking about going to see the Beatles. 00:13:24.000 --> 00:13:24.879 Yes, yes, yes. 00:13:25.200 --> 00:13:51.440 Seeing the Beatles, and all I could hear was the girls screaming, and I was up in the balcony, and all I was I can still picture it up in that balcony, looking at them in their little gray shark skin suits with the pink shirts and the little skinny black ties and their beautiful haircuts, and and I was just like going crazy, but I wanted to hear them, and all I was thinking was, shut up, you know, to all the girls. 00:13:51.600 --> 00:13:54.399 I was just thinking, shut up! I just want to hear this. 00:13:54.799 --> 00:13:55.759 So I love it. 00:13:56.000 --> 00:13:56.399 I don't know. 00:13:56.480 --> 00:14:04.399 There was something about that moment that took me over the edge, and then I just became more and more interested. 00:14:04.639 --> 00:14:16.879 I mean, I I already collected loads of records, you know, the Motown records and all the the Beach Boys and anything that was pop and and and cool at the moment. 00:14:17.039 --> 00:14:18.799 I loved Aretha Franklin. 00:14:19.279 --> 00:14:24.879 Um I I went to see the doors when I was a teenager, you know, later on when I was a teenager. 00:14:25.279 --> 00:14:27.519 But yeah, uh it was just the doors. 00:14:27.759 --> 00:14:29.039 Yeah, I saw the doors. 00:14:29.279 --> 00:14:31.039 Jeez, what was that like? 00:14:31.440 --> 00:14:32.320 Do you remember? 00:14:33.039 --> 00:14:34.559 Yeah, it was amazing. 00:14:34.720 --> 00:14:43.759 I mean, it was just um well, it was at this place called Kobo Hall in Detroit, which is a very well-known uh arena. 00:14:43.919 --> 00:14:49.279 I think it holds like maybe 10,000 people, but a lot of people came to Detroit and played there. 00:14:49.600 --> 00:15:03.759 Um But I don't know, it was it was kind of like a religious experience in a way, because Jim Jim Morrison was beyond sexy, you know, the the black leather pants and that and his voice and and the band. 00:15:03.919 --> 00:15:07.200 I mean, it was just it was just incredible, incredible. 00:15:07.360 --> 00:15:07.919 Yeah, yeah. 00:15:08.559 --> 00:15:12.240 You later wrote for um Aretha, correct? 00:15:12.399 --> 00:15:13.200 Is that correct? 00:15:14.159 --> 00:15:21.679 Uh I didn't write for Aretha, although I wrote a song and sent to her, but I sang on one of her records and met her. 00:15:21.759 --> 00:15:22.080 Yeah. 00:15:22.480 --> 00:15:23.120 Which one? 00:15:23.759 --> 00:15:29.919 Um the song is called Love All the Heard Away, and it was uh duet with George Benson. 00:15:30.080 --> 00:15:30.639 Oh my. 00:15:30.799 --> 00:15:31.679 I think it's on her. 00:15:31.759 --> 00:15:32.799 No, that's Algerot. 00:15:32.960 --> 00:15:34.559 Oh the name of the album I've got to do. 00:15:34.720 --> 00:15:36.000 I love Algerot, too. 00:15:36.320 --> 00:15:40.320 Wow, so that must have been an interesting experience with Aretha. 00:15:41.200 --> 00:15:41.600 Yeah. 00:15:41.840 --> 00:15:44.480 Oh, well, I was doing a lot of sessions. 00:15:44.559 --> 00:15:48.399 This is, you know, after I moved, I moved uh to LA. 00:15:48.559 --> 00:15:50.320 I lived in Tulsa, Oklahoma. 00:15:50.399 --> 00:15:52.559 I mean, that's a whole other area. 00:15:52.639 --> 00:15:54.240 That's my Clapton connection. 00:15:54.399 --> 00:15:54.559 Yeah. 00:15:54.639 --> 00:15:57.440 That's probably let's go, let's go back before we jump too fast. 00:15:57.600 --> 00:16:06.000 So Detroit, how did you leave when did you leave Detroit and how did you uh did you want to get get out of there or did you Yes. 00:16:06.240 --> 00:16:26.559 Um what happened was, you know, I I decided um when it was time to, you know, go to college, I decided I want to go to college in in like a community college in Detroit, and I wanted to uh art was my music, was my major, and music was my minor, and I also was interested in sociology. 00:16:26.799 --> 00:16:33.279 Um so I went for one semester and and something about music was just calling me. 00:16:33.600 --> 00:16:43.519 So um I made up my mind, that's what I wanted to do, and I quit college, and I put an ad on a local radio station called WABX. 00:16:43.600 --> 00:16:55.039 It was this really cool hip underground station, FM station with this guy named Russ Gibb, um doing the he was a DJ, and and I put he you could put like wanted ads up there. 00:16:55.200 --> 00:17:02.799 And so uh I called one day and I said, uh, I just want to put in this ad, Girl Singer Looking for Band, and Blues Band. 00:17:02.879 --> 00:17:04.079 And that's how it started. 00:17:04.240 --> 00:17:06.480 I just kind of decided that's what I want to do. 00:17:06.640 --> 00:17:09.759 I moved out of, I got some calls. 00:17:10.000 --> 00:17:15.279 I joined uh a few bands, this one band called the Bad Luck and Troubles Blues Band. 00:17:15.440 --> 00:17:27.680 I moved out of my home uh the for the first time, and I brought my mattress with me, and I lived on these little cakes called Twinkies for about six months, and I was really unhealthy. 00:17:27.839 --> 00:17:34.079 And all the guys, some of them were macrobiotic and they were looking at me like in disgust, like, how could you eat that? 00:17:34.319 --> 00:17:34.960 Oh my God. 00:17:35.039 --> 00:17:36.319 And that's all I lived on. 00:17:36.559 --> 00:17:43.680 And you know, at night I would find out who was playing nearby, and I'd go to clubs and I'd sneak into clubs. 00:17:43.759 --> 00:17:52.960 Um, I used to sneak into clubs like when I was underage, and one of my first experiences was sneaking in to see John Lee Hooker at a blues club in Detroit on my own. 00:17:53.039 --> 00:17:55.920 I I stole my parents' car while they

were all asleep. 00:17:56.079 --> 00:17:59.519 I snuck out my window and um and went to see them. 00:17:59.920 --> 00:18:00.319 Him. 00:18:00.480 --> 00:18:04.799 Um anyway, so back to when I decided to um get into music. 00:18:04.880 --> 00:18:10.559 Yeah, I joined this band and I started working my way up the ranks in the Detroit music scene. 00:18:10.720 --> 00:18:16.480 I ended up being in a band um called Julia, who were fantastic. 00:18:16.640 --> 00:18:22.240 They did a lot of harmonies, and this guy named Bill Mueller was the lead singer and guitarist of the band. 00:18:22.480 --> 00:18:23.839 It was a really great little band. 00:18:23.920 --> 00:18:27.279 We did a lot of covers, and then Bill and I started writing. 00:18:27.519 --> 00:18:39.279 And our the to me, the biggest thing we ever did was um we opened for David Bowie in Detroit at the Fisher Theater in 72. 00:18:39.599 --> 00:18:40.079 Damn. 00:18:40.240 --> 00:18:45.440 And it was That was during uh uh uh uh come on. 00:18:45.759 --> 00:18:46.880 Ziggy Ziggy Stardust. 00:18:47.759 --> 00:18:48.240 Yeah, yeah. 00:18:48.400 --> 00:19:01.839 Yeah, and it the weird thing about I mean, yeah, we played, we opened for him, and it was funny because my I had a boyfriend, and all we would do we just wore that album out, you know, every night. 00:19:01.920 --> 00:19:06.480 We'd play that album, that Ziggy Stardust album, and uh, you know, hunky dory. 00:19:06.640 --> 00:19:08.000 We just played it to death. 00:19:08.240 --> 00:19:16.400 And so there we uh we were opening for Bowie, which he was a a tremendous idol and and an influence as well. 00:19:16.559 --> 00:19:18.720 I loved different music, you know. 00:19:18.799 --> 00:19:28.880 I I got more involved in like pop stuff and RB, but I love blues and I had an appreciation for all the you know, if anything psychedelic and alternative. 00:19:29.200 --> 00:19:35.440 Um anyway, so opening for Bowie was an incredible experience. 00:19:35.599 --> 00:19:41.279 Then we we our band we were discovered by Bob Seeger's manager, this guy named Punch Andrews. 00:19:42.240 --> 00:19:42.960 Punch Andrews. 00:19:43.359 --> 00:19:49.759 Yeah, and Bill and I uh Punch played paid for a session for us to do. 00:19:49.839 --> 00:19:53.200 We did a cover of uh Do You Like Soul Music? 00:19:53.279 --> 00:19:56.400 You know, that that old song, Do you like soul music? 00:19:56.640 --> 00:19:57.200 Yeah, yeah. 00:19:57.599 --> 00:19:59.519 You know, that sweet soul music. 00:19:59.599 --> 00:20:05.359 Uh I think it was by a guy named Arthur Conley, but I I'm not exactly, I can't quite remember. 00:20:05.440 --> 00:20:07.599 But anyway, we did a version of that. 00:20:07.839 --> 00:20:19.279 And then I don't didn't really go anywhere, but Punch really loved us, and he asked us all if we wanted to um audition and be in Bob's band because he was looking for Seeger's band. 00:20:19.519 --> 00:20:20.480 He was looking for a new band. 00:20:20.640 --> 00:20:22.000 And we were all hired. 00:20:22.799 --> 00:20:28.160 Toured with Bob extensively all over the States, but he fired the rhythm section after a while. 00:20:28.319 --> 00:20:30.960 I want to say maybe four or five months. 00:20:31.200 --> 00:20:42.720 Um, and then he hired these hot shots from Tulsa, Oklahoma, this drummer named Jamie Oldaker, uh, who was one of the best drummers I had ever heard. 00:20:42.799 --> 00:20:47.039 I mean, when he hit the drums, he was very sensitive as well. 00:20:47.279 --> 00:20:48.880 He he knew when to bring it up. 00:20:48.960 --> 00:20:50.400 He knew about dynamics. 00:20:50.559 --> 00:20:55.839 But when he hit that snare drum in a hall, it sounded like a freaking cannon went off, man. 00:20:56.000 --> 00:20:59.039 I never heard anybody hit the drums like that. 00:20:59.119 --> 00:21:04.000 Uh or his and his his groove sensibility just like off the hook. 00:21:04.319 --> 00:21:05.599 Just incredible. 00:21:05.920 --> 00:21:17.519 So Jamie was hired, and um the keyboard player Dick Sims, who played um played organ and uh, you know, the Hammond, but he also kicked bass. 00:21:17.599 --> 00:21:20.319 So we he kicked on the pedals of the Hammond. 00:21:20.559 --> 00:21:22.559 So we didn't really have a bass player for a while. 00:21:22.720 --> 00:21:32.960 And also they had a friend named Sergio Pastora, this madman from Nicaragua, um, who was an incredible percussionist. 00:21:33.039 --> 00:21:35.359 And we were all part of the Borneo band. 00:21:35.519 --> 00:21:40.559 And if you search YouTube, you can hear us with Bob Seeger and the Borneo band. 00:21:40.880 --> 00:21:43.279 Borneo, like you know, B-O-R-N-E-O. 00:21:44.000 --> 00:21:46.160 Uh like the country. 00:21:46.480 --> 00:21:48.960 Anyway, the wild band of Borneo. 00:21:49.200 --> 00:21:50.079 He was really wild. 00:21:50.319 --> 00:22:03.519 But yeah, we did that for a while, and then um this was while I was living in Tulsa because when I I left the Detroit area, because being in In Seeger's Band, and I met Jamie and Dick. 00:22:03.680 --> 00:22:16.799 And after I left Seeger's Band, after about a year being in the band and touring all over the place, we did like festivals, we did bars, we even did a gig with Leonard Skinnard at this club, yeah, in the South. 00:22:17.039 --> 00:22:19.200 And um and all these cool festivals. 00:22:21.200 --> 00:22:23.759 Oh my God, it was just incredible. 00:22:24.000 --> 00:22:27.039 Just like living for, you know, the music. 00:22:27.359 --> 00:22:31.599 Touring around in, you know, this Winnebago and on a station wagon. 00:22:31.680 --> 00:22:35.920 I mean, it was it was the real kind of you know, musician's life. 00:22:36.000 --> 00:22:38.000 And I loved it, even though it was hard. 00:22:38.079 --> 00:22:39.440 But I didn't really have a home. 00:22:39.519 --> 00:22:43.519 You know, I was like a gypsy, and I I was absolutely fine with it. 00:22:44.000 --> 00:22:55.920 But after the band broke up, um the Jamie and

Dick said, Why don't you move to Tulsa and we'll start our own band and and uh and we'll be the big fish in the little pond. 00:22:56.079 --> 00:23:12.480 I'm like, okay, well, first of all, I wanted to do that so badly because Leon Russell was a huge I was a huge fan of his music, you know, for everything he did from, you know, Joe Cocker to his solo stuff. 00:23:12.559 --> 00:23:27.359 Uh when I saw Leon Russell play whenever he came to Detroit, um the girls, the singers, were like, oh my God, they're so good, like Kathy McDonald and Claudia Lanier and and and all these amazing singers. 00:23:27.680 --> 00:23:30.000 Um, I wanted to be like them. 00:23:30.319 --> 00:23:42.400 And to tell the truth, um when I went to one of Leon's concerts in Detroit at this place called the East Town, I I followed him to his hotel. 00:23:43.039 --> 00:23:43.839 You stalked him. 00:23:43.920 --> 00:23:44.319 I love it. 00:23:44.799 --> 00:23:45.599 I stalked him. 00:23:45.920 --> 00:23:46.160 Yeah, yeah. 00:23:46.240 --> 00:23:47.440 We we've all done that. 00:23:47.519 --> 00:23:47.759 Yeah. 00:23:47.839 --> 00:23:48.000 Yeah. 00:23:48.319 --> 00:23:48.559 Yeah. 00:23:48.640 --> 00:23:54.160 And I I I found out where his hotel was and I went there and I was waiting for him to show up and waiting. 00:23:54.240 --> 00:23:55.039 I looked really weird. 00:23:55.119 --> 00:23:56.160 I was kind of emo. 00:23:56.240 --> 00:23:58.000 I was like goth before it was cool. 00:23:58.160 --> 00:24:01.440 I had like shaved eyebrows and I wore all this vintage stuff. 00:24:01.759 --> 00:24:04.079 And and later you turned that into your own style, didn't you? 00:24:04.319 --> 00:24:04.559 That's right. 00:24:04.880 --> 00:24:06.000 Especially with Shakespeare's sister. 00:24:06.400 --> 00:24:06.799 That's right. 00:24:06.880 --> 00:24:10.799 Yeah, be it kind of had a a you know, a rebirth for me. 00:24:11.200 --> 00:24:18.559 But I was waiting for him in the hotel and he came in and and I went into the elevator, and I was just like so besotted with him. 00:24:18.720 --> 00:24:22.240 I thought he he had the charisma this charisma. 00:24:22.319 --> 00:24:28.160 Like he'd walk in a room and just everybody would stop and just want to, they were drawn to him like a magnet. 00:24:28.319 --> 00:24:33.039 So I got in the elevator and I was like, acting like such a fool. 00:24:33.279 --> 00:24:33.599 Hi. 00:24:33.920 --> 00:24:35.039 And he's like, hi. 00:24:35.440 --> 00:24:39.039 And he just kind of like trying to get away from me as quickly as possible. 00:24:39.359 --> 00:24:42.480 Cut to a few years later, I'm in his band. 00:24:42.720 --> 00:24:46.240 I am the featured girl in his show. 00:24:46.960 --> 00:25:00.160 What happened was um when I did move to Tulsa and you know, with Jamie and Hicks, uh Dick's invitation, um we we had an amazing band. 00:25:00.319 --> 00:25:03.839 We used we used to play, we played, we not we didn't stop playing. 00:25:04.000 --> 00:25:06.799 And Leon

would come in and hear us play. 00:25:07.039 --> 00:25:08.799 Uh he was checking us out. 00:25:08.960 --> 00:25:18.160 He was checking me out, he was checking check checking Jamie out, everybody out, and Carl Radel, bass player for Derek and the Dominoes, there's the Clapton connection. 00:25:18.240 --> 00:25:24.720 Yeah, he was checking us out, and they would all come and sit in with us, like JJ Kale, um, people from the Gap band. 00:25:24.960 --> 00:25:29.599 I mean, you name it, loads of people would, you know, loads of notables would come in. 00:25:29.839 --> 00:25:36.000 So, long story short, um we get a uh request. 00:25:36.319 --> 00:25:43.680 Carl gets a request from from Eric Clapton saying, I'm looking for I want to get back on the road, and uh I need to put a band together. 00:25:43.759 --> 00:25:46.720 And Carl said, You should come and check these kids out. 00:25:46.960 --> 00:25:50.240 I mean, we were kids back then, you know, in our early 20s. 00:25:50.400 --> 00:25:52.400 Come to Tulsa and check these kids out. 00:25:52.480 --> 00:25:59.119 And we were doing a great gig um at this place called Kane's Ballroom, which is very famous in Tulsa. 00:26:00.079 --> 00:26:08.640 And um Eric came to Tulsa and got up and jammed with us, and it was just wow, I can't believe this is happening. 00:26:08.799 --> 00:26:19.359 But it was happening because a few years earlier I was in a uh, you know, a bar band doing covers of uh, you know, red, you know, get your bottle of red wine and after midnight and stuff like that. 00:26:19.519 --> 00:26:22.240 So here we were on the stage with Eric. 00:26:22.400 --> 00:26:27.519 And then the next thing we know, we're all being invited to join Eric's band. 00:26:27.839 --> 00:26:37.839 But I had already been asked, in fact, Leon had already asked Jamie Oldacre and I to join his band to do a tour. 00:26:38.079 --> 00:26:48.319 Oh my um, and I was not gonna turn that down because A, Leon was one of my musical idols, and that was like a dream of mine come true. 00:26:48.480 --> 00:26:54.000 Like imagine you have this dream to work with this one person and it comes true. 00:26:54.079 --> 00:26:55.279 You're not gonna turn it down. 00:26:55.440 --> 00:27:01.519 Plus, I was kind of stupid and I I fell in love with what I thought was in love with him. 00:27:02.000 --> 00:27:07.359 Um anyway, you know, we all do things that maybe we shouldn't do. 00:27:07.599 --> 00:27:13.920 But yeah, but um, you know, so there was no way I was not gonna, you know, follow that through. 00:27:14.240 --> 00:27:17.599 Was that a mutual uh thing with that? 00:27:17.680 --> 00:27:19.440 I ended up, I was living with him. 00:27:19.759 --> 00:27:29.440 And um, but you know, before that, I mean some people have said weird things to me, you know, how did you get the the job? 00:27:29.759 --> 00:27:31.359 Did you, you know, did you sleep with him? 00:27:31.519 --> 00:27:35.279 I'm like, well, I was in love with him, you know. 00:27:35.519 --> 00:27:38.559 And he obviously appreciated my talent. 00:27:38.799 --> 00:27:45.519 Why would he have come to all these gigs and sought me out if he didn't think I had some talent? 00:27:45.680 --> 00:27:46.720 Would he just let anybody? 00:27:46.960 --> 00:27:54.480 I mean, I saw the level of the the girls that were singing with him, and it was always in Rita Coolidge, I mean, you name it. 00:27:54.640 --> 00:27:56.160 And I was like, Rita Coolidge. 00:27:56.400 --> 00:28:04.319 Yeah, I was so honored to be, you know, of that at that level, um, and that he appreciated what I did. 00:28:04.400 --> 00:28:07.200 And I you know, I got the solo spot in the show. 00:28:07.440 --> 00:28:12.880 Um, and we had a romance for a while, but you know, on the road we we kind of fell out. 00:28:13.039 --> 00:28:17.359 It was I won't go into detail, but it was uh it was not pretty. 00:28:17.519 --> 00:28:19.119 I remember one gig though. 00:28:19.440 --> 00:28:21.359 Why why not got to go into detail? 00:28:21.519 --> 00:28:23.200 When when else would you like to go into detail? 00:28:23.680 --> 00:28:26.559 Well, not all of it, but there was some. 00:28:26.960 --> 00:28:28.240 Have you ever told this story? 00:28:28.480 --> 00:28:29.279 Oh, yeah, yeah. 00:28:29.519 --> 00:28:30.000 Oh, okay. 00:28:30.160 --> 00:28:34.160 So but but one one thing that happened Tell us something we don't know. 00:28:34.480 --> 00:28:43.759 Well, I don't think I've quite told this story, and in that I was doing my the song was Unchained Melody, you know, the beautiful song. 00:28:44.079 --> 00:28:55.920 Oh but the way Leon arranged it, arranged it, you know, he was such a brilliant arranger and and pianist, and and he had it so it started at F and then it modulated to D. 00:28:56.079 --> 00:29:12.480 So by the time it got to the N chorus, it was D, and then I I had to hit uh it was like a high A, but by the end of it, I was already like at a high D above high C because I did this gliss at the end. 00:29:12.720 --> 00:29:20.079 But I because I was heartbroken because he and I were not getting along and we kind of split up. 00:29:20.559 --> 00:29:26.079 Um this one night, I was really heartbroken because he had some other girl there with him. 00:29:26.319 --> 00:29:30.400 So I did the song, and I mean the crowd went nuts. 00:29:30.480 --> 00:29:38.960 I got I got a standing ovation and I was like, you know, crying and and he's he was such a a mind. 00:29:39.359 --> 00:29:40.960 Can I say the the F word on here? 00:29:41.200 --> 00:29:42.960 You can say whatever the fuck you want. 00:29:43.440 --> 00:29:44.400 Fucking right. 00:29:44.720 --> 00:29:47.119 So he was he was such a mindfucker in a way. 00:29:47.359 --> 00:29:47.599 Wow. 00:29:47.759 --> 00:29:59.839 Um he he was like after that and the excitement and you know this incredible outpouring of of emotion and this the crowd's response, he said, Well, that sounded so good. 00:30:00.079 --> 00:30:01.200 Do it again.

00:30:01.680 --> 00:30:04.400 He made me do it again. 00:30:04.720 --> 00:30:05.519 On stage. 00:30:05.759 --> 00:30:06.720 On stage. 00:30:07.200 --> 00:30:08.079 Did you? 00:30:08.400 --> 00:30:11.359 Yes, I did, and I killed it. 00:30:11.599 --> 00:30:13.039 You nailed it again the second time. 00:30:13.200 --> 00:30:17.119 Well, yeah, but obviously I was angry because he made me do it again. 00:30:17.200 --> 00:30:19.759 So there was probably some anger in there. 00:30:20.000 --> 00:30:27.680 Um but uh but the I've got to interject quickly because you know you have this uh your range is incredible. 00:30:27.759 --> 00:30:48.559 It's very you have a very big range, and you you know, you did some with your solo stuff in the 90s, um, you know, you you used you utilized this this high range, this like uh, you know, way before, you know, we have like uh I mean this is uh stylistically it's not really there aren't that many people that can do that, you know. 00:30:48.640 --> 00:30:54.400 So so it's no surprise really that that that that but did were you aware of it? 00:30:54.559 --> 00:30:59.599 Were you aware that you were how different your voice was compared to other singers at the time? 00:30:59.920 --> 00:31:05.119 Yeah, well, you know, my my vocal heroes like Aretha, she had an incredible range as well. 00:31:05.200 --> 00:31:08.000 Uh Joni Mitchell had an incredible range. 00:31:08.160 --> 00:31:23.279 So yeah, I I developed the only reason I developed my my range, I probably would have anyway, but when I was singing in bands to start off with, I realized the only way to really be heard above the the din of the band was to sing higher. 00:31:23.440 --> 00:31:23.680 Yeah. 00:31:23.839 --> 00:31:26.480 And I developed my higher voice as time went on. 00:31:27.119 --> 00:31:29.680 So it wasn't someone that said, Hey, sing more like this. 00:31:29.759 --> 00:31:31.680 It it was you, you figured it out. 00:31:31.920 --> 00:31:32.880 Yeah, I figured it out. 00:31:32.960 --> 00:31:37.119 I figured out what I needed to do to be heard, you know, above the noise. 00:31:37.279 --> 00:31:37.680 Yeah, yeah. 00:31:37.839 --> 00:31:40.400 Um, and maybe metaphorically to be heard. 00:31:40.559 --> 00:31:44.160 Because it made me unique when I found out, oh my god, I can do that. 00:31:44.400 --> 00:31:44.799 Great. 00:31:44.960 --> 00:31:48.079 So I'll just keep developing that and working on that. 00:31:48.240 --> 00:31:51.119 And that was kind of like my signature sound. 00:31:51.519 --> 00:31:52.000 Cool. 00:31:52.160 --> 00:31:53.039 That's so cool. 00:31:53.359 --> 00:32:00.160 Um, so the so after so uh after the Russell situation, the situation ship. 00:32:00.319 --> 00:32:02.000 That's what they call it now, the kids, you know. 00:32:02.480 --> 00:32:02.960 Oh, really? 00:32:03.039 --> 00:32:03.839 The situation ship? 00:32:04.000 --> 00:32:08.799 Yeah, they called it, you know, it's not relationships anymore, it's situationships. 00:32:09.759 --> 00:32:13.039 Okay, yeah, someone needs to write a song with that title. 00:32:13.200 --> 00:32:14.799 Hey, well, we could do that. 00:32:15.200 --> 00:32:16.079 We could do that. 00:32:16.319 --> 00:32:18.240 Yeah, maybe we will. 00:32:18.480 --> 00:32:22.240 So so what so what happens after this situation ends? 00:32:22.640 --> 00:32:29.759 Do you were you like because you know, I mean, it it's crazy to me that you had to choose between Leon Russell and Eric Clapton. 00:32:30.000 --> 00:32:32.160 I mean, that's you know, tough one. 00:32:32.880 --> 00:32:35.519 Yeah, well, I my choice to me was clear. 00:32:35.680 --> 00:32:38.000 All my friends went off and joined Eric. 00:32:38.400 --> 00:32:43.680 Um, they did Eric's comeback album, this huge 461 Ocean Boulevard. 00:32:44.000 --> 00:32:47.599 And I was with Leon and I was on an album called Stop All That Jazz. 00:32:48.000 --> 00:32:51.200 And um with the Gap Band were his backing band. 00:32:51.359 --> 00:32:55.200 Um, it was a great, great band with Charlie Wilson and the Wilson brothers. 00:32:55.359 --> 00:32:56.079 They were incredible. 00:32:56.160 --> 00:33:02.480 And all these other girls that I was singing with, um, Anne Bell and um this girl, Pam. 00:33:02.799 --> 00:33:05.039 Um, what was her last name? 00:33:05.119 --> 00:33:06.079 Pam, Pam, Pam. 00:33:06.240 --> 00:33:07.279 I'll think of it in a minute. 00:33:07.599 --> 00:33:12.079 Um anyway, it it was uh a great, great band. 00:33:12.240 --> 00:33:13.839 But then, you know, that stopped. 00:33:13.920 --> 00:33:16.240 My relationship with him ended, things were not good. 00:33:16.400 --> 00:33:24.160 And a friend of mine was like, you know, Marcy, you need you need to get out of Tulsa. 00:33:24.799 --> 00:33:28.480 Um and I was like, oh, actually, no, I was still in Tulsa. 00:33:28.559 --> 00:33:29.519 Sorry, sorry. 00:33:29.759 --> 00:33:34.000 Um so you had an apartment you had an apartment there, and then you were just torn. 00:33:34.319 --> 00:33:34.559 Yes. 00:33:34.640 --> 00:33:38.559 Well, I had an apartment there for a little while, but a lot of the time I didn't have anywhere to live. 00:33:38.720 --> 00:33:40.640 I was just on the road all the time with Eric. 00:33:40.799 --> 00:33:45.119 So what happened was after the Leon thing split up, all the guys called me. 00:33:45.200 --> 00:33:54.720 They were down in Jamaica working on um the There's One in Every Crowd album, and they called me and and said, Hey, come down, come down to Kingston. 00:33:54.799 --> 00:33:56.480 We're working on this album. 00:33:56.720 --> 00:34:07.920 And I had met Eric a few times, obviously on stage and Tulsa playing, but but at a few other gigs, like I I went with some friends to go see the guys play when I had some time off from Leon. 00:34:08.480 --> 00:34:19.840 So um I I went there and and uh I sang on several songs, maybe like seven or eight songs, and then Eric said, Would you like to be in the band? 00:34:20.000 --> 00:34:22.719

And I'm like, uh yeah, are you kidding me? 00:34:22.960 --> 00:34:26.000 With all my friends and tour all over the world. 00:34:26.159 --> 00:34:28.320 It was incredible. 00:34:28.719 --> 00:34:36.559 I don't know how I got so lucky just meeting those guys and and then all the people that I I got to work with. 00:34:36.639 --> 00:34:51.360 But I truly believe once I made up my mind what I wanted to do and what my goals were, and I put it out in into the universe with my intentions, I just made things happen. 00:34:51.519 --> 00:34:53.519 And all these things came to me. 00:34:54.159 --> 00:34:55.760 Um but it wasn't. 00:34:56.480 --> 00:34:59.519 Let's talk about this for a second because I do the same thing, you know. 00:34:59.599 --> 00:35:09.440 I visualize, visualize, visualize, you know, and I tell I talk to my I have a um I I uh teach voice uh privately as well, and I talk to my students about the same thing, you know. 00:35:09.599 --> 00:35:18.880 Um I I say, imagine it and it will be so, you know, and say it out loud, repeat it, you know, use mantras, and uh it works great for me. 00:35:18.960 --> 00:35:20.719 And it it's World King, you know. 00:35:20.880 --> 00:35:37.360 I mean, um, you know, I don't know, like something really great happened yesterday, and I didn't it's not something I specifically asked for, but over time I think it just things add up and things happen, you know. 00:35:37.519 --> 00:35:40.079 Like I got an email from Martin Guitars yesterday. 00:35:40.239 --> 00:35:42.400 Shout out to Martin Guitars, who I'm a Martin artist. 00:35:42.480 --> 00:35:45.119 I've been a Martin artist for 20 almost 20 years. 00:35:45.360 --> 00:35:45.840 Same, I think. 00:35:45.920 --> 00:35:46.559 I think you are Martin. 00:35:46.719 --> 00:35:47.679 You are too, right? 00:35:48.000 --> 00:35:53.360 So, so you know, they but there's been a lot of change over at the company the last few years. 00:35:53.440 --> 00:35:57.199 Dick Boak left, he retired, you know, and he was like my con my main contact there. 00:35:57.440 --> 00:36:02.159 And I didn't really have too many contacts there, uh, you know, but I always kept in touch with them. 00:36:02.320 --> 00:36:04.320 I always, you know, talked about Martin. 00:36:04.400 --> 00:36:14.719 I was uh, you know, I play my Martin Live, I play it on on my recordings, and uh, you know, the guitar that you hear on the demo that I did for for our song, you know, that's my Martin. 00:36:14.960 --> 00:36:21.360 And, you know, I I I kind of I was just like, ah, there's so much change over there, you know, maybe they've forgotten about me. 00:36:21.519 --> 00:36:28.559 So I went to the Martin booth at NAM and, you know, tried to like, you know, we always have to network in this business. 00:36:28.639 --> 00:36:32.239 It's one of the biggest things, you know, that you you have to keep doing. 00:36:32.400 --> 00:36:37.760 You have to keep developing your relationships with people, your friendships, your working relationships. 00:36:38.000 --> 00:36:43.199 And and uh, you know, not everybody, you're gonna not gonna be able to be in touch with everybody. 00:36:43.280 --> 00:36:47.280 It doesn't work that way, but but you can, you know, I always want to put energy into that. 00:36:47.360 --> 00:36:53.360 You know, it's important for me to to keep keep those friendships and relationships, working relationships going. 00:36:53.599 --> 00:37:06.800 And uh so I I went over there, I got a photo shoot, I I modeled one of their um the the uh three millionth uh Martin guitar that they had their beautiful guitar, you know, uh very expensive instrument. 00:37:06.960 --> 00:37:10.079 I think they they're selling it for like 300 grand or something crazy. 00:37:11.039 --> 00:37:12.400 It is a beautiful guitar. 00:37:12.639 --> 00:37:16.400 And um, you know, I just did my thing and I kind of forgot about it, you know. 00:37:16.480 --> 00:37:25.280 And then I got an email yesterday um from uh someone at Martin Guitars, and and they were like, you know, hey Jan, you know, thank you so much. 00:37:25.360 --> 00:37:26.320 I'm sorry we couldn't meet. 00:37:26.400 --> 00:37:29.360 Uh, you know, uh how did the date the shows go in Germany? 00:37:29.440 --> 00:37:41.280 Because I'd asked for a loner while I was in Germany a while back because I try not to travel with the guitar anymore, like especially expensive guitars, because yeah, airlines have become a nightmare when it comes to that, you know. 00:37:41.360 --> 00:37:44.559 Like I just I I leave guitars in places. 00:37:44.800 --> 00:37:45.599 I know, I've done that. 00:37:45.679 --> 00:37:48.239 Yeah, I just do that now and I just leave the guitar there. 00:37:48.320 --> 00:37:50.000 It's in the you know, yeah. 00:37:50.239 --> 00:38:02.400 Um so they were like, oh, well, you know, maybe it's too late now, but we would like to give you a D28 to keep at no charge. 00:38:03.119 --> 00:38:04.159 Wow, that's amazing. 00:38:04.559 --> 00:38:09.440 You know, I've invested in Martin guitars over the years, so it's you know, it's like a but it comes back. 00:38:09.599 --> 00:38:14.719 It eventually came back when it was when I least expected it, when I least expected it. 00:38:14.800 --> 00:38:24.639 So they're hooking me up, and I'm you know, gonna uh use use it on the on the new album that I'm working on that I just started working on for next year's release. 00:38:24.880 --> 00:38:54.159 So, you know, but I mean back to your point of of visualizing and how this happens, you know, I it it it's almost like our connection too is that in a way, you know, because I mean I was watching you as a teen on television, watching Shakespeare's sister go, and you know, every time the song would come on, and then the your solo song after that, the I believe song, and like every time it would come on, I would watch it because it was one it was my favorite music that was playing, you know. 00:38:54.239 --> 00:38:58.000 I like that it

was the MTV generation, I'm part of that, you know. 00:38:58.079 --> 00:39:02.079 Um and uh so so you know, here we are. 00:39:02.719 --> 00:39:13.760 So, you know, imagining that I can only I can make it make it a habit, make it a habit for yourself to to visualize and don't stop doing it, you know. 00:39:13.920 --> 00:39:26.880 Even when you when you've had the success that you're asking for, or the connections, or the the art, or the music, or the the situations that you're you know asking for, don't stop when it happens and keep keep going, you know. 00:39:27.039 --> 00:39:27.679 Yeah. 00:39:28.079 --> 00:39:40.960 And be grateful, yes, you know, on the way and in enjoy the moments because they're so fleeting, and you can get caught up in the minutiae, or they didn't do this and they didn't do that. 00:39:41.119 --> 00:39:49.119 But I mean, at some point you just have to, you know, just sit there with everything and be so grateful. 00:39:49.360 --> 00:39:58.320 I mean, I was always grateful, but I don't know if maybe part of me didn't believe I deserved it or something, you know. 00:39:59.119 --> 00:40:07.360 So let's talk about that a little bit because you mentioned earlier, you know, you were like, oh, you know, these people thought I was I was sleeping with Leon Russell just to get the people whatever right. 00:40:08.239 --> 00:40:10.559 So of course that's what that's what anyone would say. 00:40:10.719 --> 00:40:12.559 Like, you know, that people would say that. 00:40:12.800 --> 00:40:15.760 But you know, obviously there was a real connection there, you know. 00:40:15.840 --> 00:40:20.480 But but this this type of in in especially in this business, it's very common. 00:40:20.639 --> 00:40:28.559 It's very common to think, you know, that the only way you achieved successes, and maybe some for some people that's true, but it's so what? 00:40:28.800 --> 00:40:31.679 So what's you've got to have talent to back it up? 00:40:32.000 --> 00:40:32.719 Yes, exactly. 00:40:32.800 --> 00:40:36.800 You you you're not gonna last if if there's nothing else going on, first of all, you know. 00:40:37.199 --> 00:40:39.519 So so well actually, can I just say one thing? 00:40:40.800 --> 00:40:42.639 That it was a genuine relationship. 00:40:42.800 --> 00:40:46.000 He even uh and this was an incredible honor. 00:40:46.079 --> 00:41:01.760 And if you would have told me, you know, those years when I would go to see and play in Detroit when I was just starting out, if you would have told me Leon Russell's gonna write a song about you and it's gonna be on one of his albums one day, I'd be like, no way, no way that'll ever happen. 00:41:02.079 --> 00:41:10.719 But it did, you know, because we had a relationship, we had a mutual, we had a kind of you know, a love for each other. 00:41:10.960 --> 00:41:15.199 And it wasn't it wasn't obviously something that you imagine. 00:41:15.679 --> 00:41:16.320 Did you fall out? 00:41:16.480 --> 00:41:17.760 Did you keep in touch later? 00:41:17.840 --> 00:41:20.000 Like did you ever make up quote unquote? 00:41:20.960 --> 00:41:28.239 Well, I saw him when I went to I was invited to this uh this the Oklahoma Hall of Fame. 00:41:28.320 --> 00:41:34.559 We're inducting the late Carl Radel, the bass player for Clapton and you know many other things. 00:41:34.639 --> 00:41:40.639 He was being in inducted into the Hall of Fame in Oklahoma, and I was invited to be part of that. 00:41:40.800 --> 00:41:45.280 And Leon was there, and somebody said, Leon wants to see you. 00:41:45.760 --> 00:41:47.440 And I'm like, okay. 00:41:47.679 --> 00:41:55.920 He had this big uh bus, big giant, you know, lavish kind of you know, luxury bus that he was operating out of. 00:41:56.079 --> 00:42:07.760 And uh and so I went over to the bus, and this woman who was his uh then wife a little bit awkward, um opened the door and like, yes, uh, it's Marcy. 00:42:07.840 --> 00:42:09.039 I'm here to see Leon. 00:42:09.199 --> 00:42:17.360 And and back when I was going with him, uh I was a little heavier, maybe like 10 pounds heavier. 00:42:17.599 --> 00:42:20.719 And and when I went to that show, I was really quite thin. 00:42:20.800 --> 00:42:23.920 And the first thing he said to me, You're so skinny. 00:42:24.559 --> 00:42:26.320 I'm like, wow, that's weird. 00:42:26.480 --> 00:42:28.800 But um, yeah, we had a little chat. 00:42:29.039 --> 00:42:32.079 I mean, he was always he was he was nice to me. 00:42:32.480 --> 00:42:36.559 Um yeah, there were some other weird things that happened. 00:42:36.639 --> 00:42:48.559 Like he came to LA and I I was with my boyfriend and uh my boyfriend Richard Fellman, who's a songwriter that I I mentioned, wrote Promises and a few and Tangled in Love that he and I wrote together for Eric. 00:42:48.719 --> 00:43:03.519 But we went to this PARDIS after party when Leon played in LA and uh and and Leon made some kind of comment about to Richard about how about me, you know, being sexy and wanting to be with me. 00:43:03.599 --> 00:43:05.840 And I was just like, How dare you? 00:43:06.000 --> 00:43:06.880 You know, how dare you? 00:43:06.960 --> 00:43:08.559 You had your chance, bitch. 00:43:09.599 --> 00:43:12.000 I am now with Yeah. 00:43:12.320 --> 00:43:14.719 I mean, you know, maybe rest in peace, but it was weird. 00:43:14.960 --> 00:43:16.960 Don't write songs about people that you're not in love with. 00:43:17.039 --> 00:43:17.440 I'm sorry. 00:43:17.519 --> 00:43:20.719 Like, you know, like if you're writing it, you know, you it has to be real. 00:43:20.960 --> 00:43:23.440 So, you know, obviously, you know, it was. 00:43:23.599 --> 00:43:24.800 And uh Exactly. 00:43:25.039 --> 00:43:27.360 I mean, and he wrote a song about you. 00:43:27.519 --> 00:43:28.239 What's the song? 00:43:28.480 --> 00:43:29.039 Which one is it? 00:43:29.199 --> 00:43:31.599 It's called it's called Now Is the Time for Love. 00:43:31.920 --> 00:43:34.320 Did you know that it was

written for you? 00:43:34.480 --> 00:43:37.280 Was it at the time I was I was living with him. 00:43:38.159 --> 00:43:45.920 Um and and he had an amazing studio in his basement, and it it wasn't like a basement, it was like a finished proper, you know, studio. 00:43:46.159 --> 00:43:51.039 It was like going to, you know, Electric Ladyland or, you know, just think of any great studio. 00:43:51.119 --> 00:43:52.159 Well that he had that. 00:43:52.480 --> 00:44:01.840 And he he invited me to come down to the studio to hear this song, and he played it for me, and I was like listening to a Going, oh my God, is this about me? 00:44:02.239 --> 00:44:05.280 And and I asked him, I said, Is it is this about me? 00:44:05.440 --> 00:44:08.880 And he said, What do you think? 00:44:11.039 --> 00:44:12.079 That was your answer. 00:44:12.400 --> 00:44:13.199 That's your answer. 00:44:13.360 --> 00:44:14.800 So this happened to me once too. 00:44:14.960 --> 00:44:20.800 Like I I had written this song, not about the person that asked me, is this about me? 00:44:20.960 --> 00:44:22.079 So it was the opposite. 00:44:22.239 --> 00:44:24.559 So I had this song, it was it's a sad song. 00:44:24.639 --> 00:44:27.679 It was a it's a breakup song, but it was about someone else. 00:44:28.079 --> 00:44:35.679 And uh and I was in a relationship, this is just a couple of years ago, and um the relationship ended and was terrible. 00:44:35.760 --> 00:44:48.719 It was a really tough breakup because this person kept leaving and coming and coming back, leaving and coming up, leaving and coming back until eventually I said, you know, just sail on, sail on, sailor. 00:44:49.199 --> 00:44:58.719 And uh and uh, you know, I I played the song and and um and he came in and and he was like, is that about is that about us? 00:44:59.039 --> 00:45:33.840 And I said No not that spiritual I wrote other songs, there were others, there were others, but you know, yeah, but anyway, yeah, no, so hey, you know, it it's uh back to back to uh back to post uh uh Leon Russell uh Clapton, you're in Kingston, and and you're starting to so you know I have to tell you, like Laid on Sally, promises, wonderful tonight, like all these songs that you sing on and and and co-write and are you know are part of it. 00:45:33.920 --> 00:45:38.159 I mean it it's they're really special, like they're evergreens, you know. 00:45:38.400 --> 00:46:04.559 And like when I I just came back to I I started listening to you know, right before we started talking, I always listened to the artist to get myself in the mood of, you know, and I mean I know you already, and I was listening to you before this, but so I was listening to Promises and it and uh and I just it's such a it's such a simple production, you know, it's so there's nothing much happening. 00:46:04.639 --> 00:46:07.199 I mean, there's hardly any reverb on his vocal. 00:46:07.840 --> 00:46:10.320 It's so dry, you know. 00:46:10.400 --> 00:46:18.159 But then when your

voice comes in on the left channel, it's on the left, it's mixed, it's mixed on left channel, and you come in, you come in kind of late. 00:46:18.400 --> 00:46:27.280 It's like it's so loose and and and uh you know, it's so like not perfect. 00:46:28.000 --> 00:46:29.679 And that was what it was about. 00:46:30.079 --> 00:46:31.519 It's charming because of that. 00:46:31.599 --> 00:46:38.000 It has this raw, just kind of it's almost like you just all sat down and did a demo. 00:46:38.639 --> 00:46:43.039 But it it's a track and it sounds it sounds perfect, you know? 00:46:43.360 --> 00:46:50.000 It's so simple, and uh, you know, they do so much remixing and remastering now of the of some of this older stuff. 00:46:50.159 --> 00:46:56.480 And and I I sometimes I I listen to the older version, the newer version, I go, okay, yeah, that's an improvement, you know. 00:46:56.639 --> 00:46:57.599 Okay, I get it. 00:46:57.679 --> 00:47:00.159 You know, there were things, things that you missed then. 00:47:00.320 --> 00:47:11.280 But so many of those records were mixed when the recording and and uh uh the uh uh the the way we were listening to music was very different. 00:47:11.440 --> 00:47:25.119 Yeah, you know, everything was mixed with FM radio and AM radio in mind, you know, which which gave you uh not much of a sonic uh palette to work with, which is now completely different, you know. 00:47:25.199 --> 00:47:28.639 There's so much more we can do, which is great, which is a wonderful thing. 00:47:28.719 --> 00:47:31.760 But then it wasn't, it wasn't that wasn't the case, you know. 00:47:31.840 --> 00:47:43.119 So the r and I I still think that the reason these records hold up so well even now is because they were mixed without frills and with something very just simple. 00:47:43.199 --> 00:47:46.239 It was about mainly about the performance. 00:47:47.039 --> 00:47:48.000 Don't you think? 00:47:48.320 --> 00:47:49.920 Oh, absolutely, yeah. 00:47:50.000 --> 00:47:54.559 It was it was about capturing the artist, capturing the performance. 00:47:54.800 --> 00:47:55.199 Yeah. 00:47:55.440 --> 00:48:05.519 It was not about I mean, not all bands were like that, but in Eric's case, it was, you know, just about the the the song writing, about the song, about the performance, really. 00:48:05.599 --> 00:48:06.719 That's what it was about. 00:48:07.280 --> 00:48:09.840 Capturing the essence of it, the true essence of it. 00:48:10.079 --> 00:48:13.519 So the did you uh what was your friendship like with Eric Clapton? 00:48:13.599 --> 00:48:23.119 Was it uh um did did you did you ask to to co-write or did he approach you about it or or was it just kind of something that developed naturally? 00:48:23.599 --> 00:48:26.079 Well, you know, I was I was part of his band. 00:48:26.239 --> 00:48:32.960 We weren't really friends, like initially, um, but you know, we became more friends. 00:48:33.199 --> 00:48:43.920 Um but he we just, you know, like I said a little bit earlier, as far as when we were in the studio, he didn't always have ideas. 00:48:44.159 --> 00:48:47.679 That I, you know, we just kind of started things in the studio. 00:48:47.840 --> 00:48:48.880 He would start playing. 00:48:49.039 --> 00:48:55.840 Sometimes he'd come to the studio with an idea, um, like, oh, you know, he'd just start playing something, and the band would join in. 00:48:56.000 --> 00:49:00.320 And because they were all such great musicians, they knew exactly what to play. 00:49:00.480 --> 00:49:02.880 He was never telling him, oh, play this, play that. 00:49:03.039 --> 00:49:07.599 He just trusted everybody to do what they did, which was incredible. 00:49:07.760 --> 00:49:18.079 Um, and so, you know, sometimes he would come in with an idea like he did for for Lay Down Sally and when he when we started the Slow Hand album. 00:49:18.320 --> 00:49:22.159 And um he said to me, this is literally how the song started. 00:49:22.480 --> 00:49:30.400 We were all in the the live room of the studio at Olympic, and he said to me, Hey Marcy, I want to write a song called Lay Down Sally. 00:49:30.559 --> 00:49:33.440 And I was like, Oh, okay. 00:49:33.599 --> 00:49:44.320 So I just kind of picked up a guitar, and I'm sure you had this experience, and it and it's not very technical, but what it is is you just kind of pull a melody out of the air. 00:49:44.480 --> 00:49:44.960 I don't know. 00:49:45.119 --> 00:49:58.880 It's in this artistic ether, and as a creative person, you just kind of let yourself be completely free and open to it, and it just comes to you. 00:49:59.039 --> 00:50:03.360 And that melody just came to me uh for that title. 00:50:03.599 --> 00:50:08.320 He wanted to work with that title, so it just came to me, and and I started playing. 00:50:08.480 --> 00:50:13.039 We were all very much into um little feet and Bo Diddley. 00:50:13.440 --> 00:50:24.159 So I just started playing a Bo Diddley groove, and that that is like it, which is like a bump, the bump, bump, bump, bump, bump, bum, you know, it's called second line, you know, like Louisiana kind of vibe. 00:50:24.800 --> 00:50:26.559 And um the best. 00:50:26.880 --> 00:50:34.880 So it came to me and I started singing that, and and we wrote wrote the whole we wrote the chorus first, which you and I did the other day. 00:50:35.280 --> 00:50:35.519 Yes. 00:50:35.679 --> 00:50:44.239 Uh we got the chorus down, and it was like, okay, this is really good, but we couldn't figure out where to go with the verse with that with that groove. 00:50:44.320 --> 00:50:45.760 It was nothing was working. 00:50:45.920 --> 00:50:48.960 And we worked on it for like literally five hours. 00:50:49.199 --> 00:50:54.239 It was Eric and George Terry and I were working on it and working on it, working on it. 00:50:54.320 --> 00:51:06.079 And uh, and Dick, the keyboard player, left, went back to the hotel, and um, and then all of a sudden Eric started playing the you know, the kale, kind of the

dink, dink, dunk, yeah, and George joined in. 00:51:07.840 --> 00:51:08.159 Yeah. 00:51:08.400 --> 00:51:16.719 And and he came up with the the verse idea on the spot as they were running down the the song, the chorus, you know, the groove idea. 00:51:16.880 --> 00:51:18.880 He just kind of came up with the verse idea. 00:51:19.039 --> 00:51:25.199 We had the chorus and the melody already written, but there were no verses, it just like the music for the verses. 00:51:25.440 --> 00:51:31.679 And um Eric said to me, All right, go back to the hotel and write write the song, write the verses. 00:51:31.840 --> 00:51:35.679 So I came back the next day with the lyrics, with the lyric and the melody. 00:51:36.000 --> 00:51:37.280 That's what you did with me. 00:51:38.079 --> 00:51:39.760 Yeah, yeah, you said said lyrics. 00:51:40.000 --> 00:51:40.400 People don't like it. 00:51:40.639 --> 00:51:41.119 We're perfect. 00:51:41.280 --> 00:51:41.920 No, I loved it. 00:51:42.159 --> 00:51:42.960 They were perfect. 00:51:43.280 --> 00:51:46.559 You did, you liked it, and you made it your own, which was great. 00:51:46.639 --> 00:51:52.000 You know, you the artist, you were, you know, and I am so good with that. 00:51:52.159 --> 00:52:07.519 I mean, uh some people think that what they do is written in stone, and of course, if it's great, fine, but I think you know, when you're working with other people, there is a give and take, and you want them to embrace it and make it their own, which I think you did beautifully. 00:52:07.599 --> 00:52:08.639 So thank you, thank you. 00:52:08.800 --> 00:52:10.719 Yeah, so I gotta ask you about Sally. 00:52:10.800 --> 00:52:11.440 Who is she? 00:52:11.679 --> 00:52:13.360 What was who is she? 00:52:13.519 --> 00:52:20.480 Everyone so when when I said like I'm gonna have Marcella Detroit on on making sound on the show, and and they were like, Oh, ask her about Lay Down Sally. 00:52:20.639 --> 00:52:21.599 Who would what's the deal? 00:52:21.679 --> 00:52:27.679 What's what what's I was like okay, I gotta, so I gotta ask, what who is Sally? 00:52:28.400 --> 00:52:39.119 Well, Eric never told me, but I and me being like, okay, you know, I'll just write a song called Lay Down Sally, and that, you know, that's good, I can do that. 00:52:39.280 --> 00:52:52.719 Um, but my guess is, and I'm pretty sure this is true, um, Eric had a body car a bodyguard named Alfie, and Alfie's wife was named Sally, and they were all very close. 00:52:52.880 --> 00:53:04.559 So my guess is that he heard Alfie saying to Sally, lay down, Sally, you know, lay down, take, you know, like take a load off, you know, yeah, relax, take it easy. 00:53:04.719 --> 00:53:07.440 And so that's where I assume it came from. 00:53:07.679 --> 00:53:09.039 But I saw Sally. 00:53:09.280 --> 00:53:16.400 She had when we we did our Shakespeare Sister reunion tour in 2019, she contacted me and said, Oh, I'd love to come to one of your shows. 00:53:16.559 --> 00:53:20.320 And she did, but I didn't get to see her afterwards to ask about that. 00:53:20.559 --> 00:53:21.199 Yeah. 00:53:21.599 --> 00:53:25.760 Okay, now I gotta, we I can't believe we've been talking for an hour, by the way. 00:53:25.920 --> 00:53:26.559 Almost an hour. 00:53:26.639 --> 00:53:27.119 Can you believe that? 00:53:27.440 --> 00:53:27.840 That's crazy. 00:53:28.239 --> 00:53:29.039 So that's that's great. 00:53:29.119 --> 00:53:29.519 And we're good. 00:53:29.679 --> 00:53:35.679 I'm gonna have to wrap it up soon, but I need to you're gonna, we're gonna obviously see each other and talk to each other. 00:53:35.760 --> 00:53:37.760 We have a writing session planned for Monday and dah dah dah. 00:53:37.840 --> 00:53:38.000 Yeah. 00:53:38.159 --> 00:53:41.440 And uh it would be great if you can come back on and talk a little bit more about some of this stuff. 00:53:41.920 --> 00:53:42.719 It's just fascinating. 00:53:42.800 --> 00:53:50.800 I mean, like you have endless, endless amounts of stories that we did, we barely touched on stuff, but I gotta get to Shakespeare's sister just a little bit and a little bit of abfab. 00:53:51.199 --> 00:53:52.320 We talked about this, you know. 00:53:52.719 --> 00:53:57.119 Um absolutely fabulous, but uh uh Shakespeare's sister first, you know. 00:53:57.199 --> 00:54:02.880 You so you're how did you end up going to England and meeting Siobhan Fehey from Bananorama? 00:54:03.039 --> 00:54:17.840 And you know, some people don't know Bananorama, maybe, maybe they do, maybe they don't, but they were a girl pop group, uh a British girl pop group in the 80s, and you know, it was like pop dance records type of stuff. 00:54:17.920 --> 00:54:22.639 And then when she started Shakespeare's sister, it was like the complete opposite, you know. 00:54:22.960 --> 00:54:23.920 Right, yeah, that was interesting. 00:54:24.239 --> 00:54:33.519 Very stylistically very different, and I think she wanted to get away from that girl group, you know, pop star formulaic formulaic thing. 00:54:33.760 --> 00:54:38.880 Yeah, and so she but she started it on her own, and then you came in later. 00:54:39.039 --> 00:54:39.519 Is that correct? 00:54:40.239 --> 00:54:48.800 Well, how how it happened was you know, I mentioned my friend Richard Feldman who who wrote the the song for Eric and and a few other songs for him as well. 00:54:48.880 --> 00:54:51.760 And he's been a writing partner of mine over the years. 00:54:51.920 --> 00:54:53.360 I met him in Tulsa the first time. 00:54:54.000 --> 00:54:55.280 He's still around in U Gastown. 00:54:55.519 --> 00:54:56.559 He's still around, he's in LA. 00:54:57.920 --> 00:55:08.320 But I uh he had a studio in his place, and one day in it's like a few, I don't know, ten minutes from where I live right now, in an area called Encino. 00:55:09.039 --> 00:55:14.719 And uh he one day noticed that he was getting new neighbors across the street. 00:55:14.960 --> 00:55:30.239 And and as time went on, a few

days later, he noticed that it was he went over to introduce himself and discovered that it was Dave Stewart of the Eurythmix and his new wife, Siobhan Fahi, um, who was pretty pregnant at the time. 00:55:30.480 --> 00:55:42.960 And um, and so excuse me, he started working with her because she said she wanted to leave Bananarama and do her own thing, completely different thing, as you pointed out. 00:55:43.360 --> 00:55:50.159 And um, so he started writing with her, and after writing with her for a few weeks, he said, you know, you should come and join us. 00:55:50.239 --> 00:55:58.239 I think your voice and and all that you could add as a musician would would be great with this. 00:55:58.480 --> 00:55:59.920 And so I was like, okay. 00:56:00.159 --> 00:56:01.679 So I went over, met her. 00:56:01.840 --> 00:56:03.679 She was very, very shy. 00:56:03.920 --> 00:56:26.800 Um, but we kind of helped and encouraged her to come out of herself, and and she was coming up, and Richard was a great producer and really understood what what she wanted, and he was willing to be more experimental, more unusual, not like the use, you know, any kind of formulaic kind of stuff. 00:56:26.960 --> 00:56:29.119 So they were creating these incredible tracks together. 00:56:29.280 --> 00:56:30.880 Then we all started working together. 00:56:31.039 --> 00:56:52.880 I I, you know, helped with she m mostly wrote the lyrics, but sometimes I helped, and I helped with, you know, chords and and music and just whatever I could, and vocals and guitar and harmonica and programming, even, you know, I mean, it was all down to, you know, whatever space there was to fill that you could do, you did. 00:56:53.119 --> 00:56:54.320 And that's how we met. 00:56:54.480 --> 00:56:57.760 And, you know, at first I was like a hired hand. 00:56:57.920 --> 00:57:00.239 I was not a hundred percent member of the band. 00:57:00.400 --> 00:57:10.559 But then after the success of that first album, you know, the the Sacred Heart album, it had uh your history on it, where I was more vocally featured. 00:57:10.800 --> 00:57:17.039 Um I was then asked to be a full member of the band, a hundred, you know, 50-50 member. 00:57:17.440 --> 00:57:25.840 The the label asked, the management asked, um everybody asked because they thought what I contributed was was integral to the sound. 00:57:26.000 --> 00:57:27.840 So I was like, Yeah, sure. 00:57:28.000 --> 00:57:35.920 So the next album, Siobhan and I just started at my little studio in my house, which is literally down the street from where I am now. 00:57:36.079 --> 00:57:37.840 It's like a half a mile down the road. 00:57:38.159 --> 00:57:40.400 So you never lived in in the UK then? 00:57:40.800 --> 00:57:41.440 Yes, I did. 00:57:41.679 --> 00:57:42.719 Okay, that was later. 00:57:42.800 --> 00:57:43.119 Okay. 00:57:43.679 --> 00:57:50.800 Um that was uh during the time of Shakespeare's sister, or right after that, a year after that started. 00:57:51.039 --> 00:57:55.440 Um long story short, I met a man who would become my husband. 00:57:55.599 --> 00:57:56.400 He was British. 00:57:56.559 --> 00:58:00.079 I would go back and forth to the UK to work with Shakespeare's sister. 00:58:00.320 --> 00:58:08.639 And eventually when we did the second album, um we ended up moving over to the UK. 00:58:09.119 --> 00:58:13.519 I I lived over there off and on for like I don't know, six years. 00:58:13.920 --> 00:58:14.960 Yeah, got it. 00:58:15.119 --> 00:58:15.440 Okay. 00:58:15.679 --> 00:58:17.599 So, so wow, that's that's wild. 00:58:17.760 --> 00:58:20.880 So Hormonally Yours, was that this the album that was? 00:58:20.960 --> 00:58:22.000 Yeah, that was the second album. 00:58:22.239 --> 00:58:22.559 Uh-huh. 00:58:22.800 --> 00:58:22.960 Yeah. 00:58:23.039 --> 00:58:23.199 Yeah. 00:58:23.440 --> 00:58:35.440 So I mean, like, yeah, I mean, I I remember this stuff and and going, oh, this is so different, and it's so progressive rock, you know, and before I knew what progressive rock even was. 00:58:35.920 --> 00:59:03.280 Um, and it it it it just had this like theatrical element to it, you know, and the videos, everything was very staged, and the you know, you got into these characters, um, and you know, there's a lot of makeup, and it was just it was it was a a theatrical musical event, you know, the videos like they were they were very um I mean I think those were the days when videos were it was like the only way. 00:59:03.360 --> 00:59:08.800 Yeah, I mean that we're thinking I think we're we've moved back to that in a way with YouTube, you know, and I love making videos, you know. 00:59:08.880 --> 00:59:21.199 It it's but you know, it's it was it's still very inspiring to me because because of the choosing these characters, you know, these the personas, you know, which is something that that a lot of singers like to do. 00:59:21.360 --> 00:59:25.920 A lot of singers don't, you know, they want to say, I don't want to dress up, I don't want to do nothing, I just want to sing the song, you know. 00:59:26.320 --> 00:59:26.880 I want to be me. 00:59:27.360 --> 00:59:28.400 I just want to be me, you know. 00:59:28.480 --> 00:59:36.960 But so the these characters that you like you specifically picked, you know, and the these roles and the video, you know, it's very dark. 00:59:37.119 --> 00:59:45.039 Like it was it was very black, you know, like it was very um uh uh um what's the word I'm looking for? 00:59:45.280 --> 01:00:07.519 Um you know, um uh I'm looking for I'm looking for a word that I can't think of, but it was it just it had this sort of uh you know, almost nightmarish kind of uh dreamy, probably at the time, maybe, but you know, it I the music was so beautiful. 01:00:07.599 --> 01:00:21.280 So it was like this stark contrast of this, like you know, very dark kind of uh horror-ish uh visual to this beautiful, this beautiful melody, beautifully sung and performed. 01:00:21.440 --> 01:00:23.360

People should check this out if they don't know it, you know. 01:00:23.440 --> 01:00:24.639 It's called Stay. 01:00:24.880 --> 01:00:28.079 And uh, I mean, I it became a huge hit for you guys. 01:00:28.159 --> 01:00:34.000 Uh I think it was like it's still like one of the longest number one hits for a female group ever, isn't that true? 01:00:34.320 --> 01:00:37.519 Ever in the UK, it was number one for eight consecutive weeks. 01:00:37.679 --> 01:00:45.920 And that as of, well, recently, I heard that it was still holds the longest record for a female band at number one in the UK. 01:00:46.079 --> 01:00:47.679 Yeah, we were all really shocked. 01:00:47.840 --> 01:00:54.559 But well, but when Siobhan and I did the demo at my house, when you know, Dave, I don't know if you want to get into this story because it's kind of long. 01:00:54.880 --> 01:00:55.280 Dave Stewart. 01:00:57.280 --> 01:00:57.920 Yeah, no, go ahead. 01:00:58.000 --> 01:00:58.239 Go ahead. 01:00:58.559 --> 01:01:03.920 All right, so we were working on this album, like you said, Hormonally Yours, and we started doing recording it. 01:01:04.159 --> 01:01:14.960 Siobhan and I would meet and do the demos like um during the week, you know, we'd work from like one o'clock till eight, and then we'd go over to to their house and have dinner afterwards. 01:01:15.199 --> 01:01:36.400 Anyway, um, so one one morning on a Sunday morning, Dave and Siobhan came over, woke me up, excuse me, and um Dave, oh, we used to have these amazing parties and and incredible people would be there, like um George Harrison, um, you know, who's that? 01:01:36.480 --> 01:01:40.960 Yeah, George Harrison, um, Tom Petty, Roy Orbison. 01:01:41.440 --> 01:01:41.760 Oh my god. 01:01:42.000 --> 01:01:44.000 Um, loads of people would be at these parties. 01:01:44.079 --> 01:01:46.960 And hold on, let me just go pick up all these names that you just dropped. 01:01:47.039 --> 01:01:48.400 Hold on, I'll be right back. 01:01:48.719 --> 01:01:49.840 Yeah, right, right. 01:01:50.239 --> 01:01:52.480 Um, and and we'd all end up singing. 01:01:52.559 --> 01:01:56.639 And and I used to sing like some ballads, and Dave came over that morning with Siobhan. 01:01:56.800 --> 01:01:57.760 We were working on the album. 01:01:57.840 --> 01:01:59.519 It was a concept album. 01:01:59.679 --> 01:02:03.840 We watched this movie called Cat Wom Cat Women of the Moon. 01:02:04.000 --> 01:02:08.480 It was a B movie that that was was done in the the 50s. 01:02:08.559 --> 01:02:22.159 It was an American-made, really cheaply done B movie about these cat women that were living on the the moon, and these earthlings came, and one of the cat women, my character, um, fell in love with this earthling. 01:02:22.400 --> 01:02:30.000 And um, so we were we were writing songs about different scenes in the movie, and we wanted to get the rights to the movie, but it proved to be too expensive. 01:02:30.239 --> 01:02:35.519 But we still used that idea to for

the impetus for the album. 01:02:35.840 --> 01:02:48.079 So in this one scene, my character had fallen in love with this earthling, and and she is begging him to stay there on the moon with him. 01:02:48.159 --> 01:02:50.000 So that's how that song came about. 01:02:50.079 --> 01:03:01.760 And everything was most of the songs were visually about, you know, us being cat women, and there were always references to that, um, almost on every song. 01:03:01.840 --> 01:03:04.480 And that's that's kind of what drove us through the whole song. 01:03:04.719 --> 01:03:16.800 And as soon as we finished the song, it went through several rewrites, and I did all the all the recording for the demo at my home studio, and I just used like a Fostex 8 track at the time. 01:03:17.519 --> 01:03:36.320 But all the backing vocals and everything, um, when Chris Thomas, who was producing uh Dave's record with the Spiritual Cowboys, when we brought a little cassette tape of of the song over to the house that night, he stood up, slammed his hand down on the table, and went number one smash. 01:03:36.400 --> 01:03:38.880 And Siobhan and I looked at each other like, what? 01:03:39.519 --> 01:03:51.119 Um and then, long story short, again, when it came to recording a song, we tried doing it different ways, and Siobhan was never happy with the song. 01:03:51.199 --> 01:03:51.920 She didn't like it. 01:03:52.079 --> 01:03:58.079 She thought it was too pretty and it didn't really what Shakespeare's sister was about. 01:03:58.320 --> 01:04:03.760 Um so when it came to mixing it, uh Chris Thomas mixed it. 01:04:04.320 --> 01:04:08.480 And and he loved the backing vocals. 01:04:08.559 --> 01:04:08.960 He didn't know. 01:04:09.199 --> 01:04:13.119 Dave Stewart, Euryth mixed Dave Stewart, did he play on any of the record? 01:04:13.760 --> 01:04:15.039 Did Dave play? 01:04:15.360 --> 01:04:26.079 Um He played on some of the stuff, but he was more there as like an influence, and and he was very nurturing and encouraging. 01:04:26.480 --> 01:04:31.119 But it was, you know, he'd come in in the room and he'd go, Oh yeah, do this here, do that. 01:04:31.360 --> 01:04:33.280 He he had such an amazing ear. 01:04:33.440 --> 01:04:38.960 He he just, you know, was obviously very experienced and knew what he was doing. 01:04:39.679 --> 01:04:48.719 But mostly I was doing most of the guitars, and once in a while we would have other people, you know, play on stuff. 01:04:48.880 --> 01:04:50.079 But uh yeah. 01:04:50.800 --> 01:04:56.559 Anyway, so you know, that Chris produced it and then it was not the first single. 01:04:56.800 --> 01:05:01.360 Goodbye Crew World was the first single, but um Stay was the next single. 01:05:01.440 --> 01:05:09.280 Uh the the record company insisted be the next single, and she wasn't happy about it, but I was like There you go. 01:05:09.840 --> 01:05:10.400 What do you think? 01:05:10.480 --> 01:05:14.159 What do you think it is about that song that's so uh powerful? 01:05:14.880 --> 01:05:18.320 Is it just I mean, sometimes it's just timing with with music, you know? 01:05:18.960 --> 01:05:22.000 Yeah, uh maybe for at the time. 01:05:23.199 --> 01:05:26.639 But it's just it's pretty raw. 01:05:26.719 --> 01:05:34.400 I mean, when you listen to the beginning and and it goes all the way leapt two-thirds of the way, it's just a vocal and some keyboards. 01:05:34.880 --> 01:05:36.000 Yeah, it's super simple. 01:05:36.480 --> 01:05:54.960 And it's but it's got a very plaintiff kind of sound, and and uh and of course, as the artist, you want to capture and connect lyrically to what you're singing, you know, and and deliver that emotion because that's really what it's all about capturing that emotion. 01:05:55.440 --> 01:05:57.440 So I guess we did that. 01:05:58.079 --> 01:05:58.800 You sure did. 01:05:59.360 --> 01:05:59.760 So wow. 01:06:00.079 --> 01:06:00.239 Wow. 01:06:00.320 --> 01:06:03.920 And then uh I want I want to quickly touch on AbFab, absolutely fabulous. 01:06:04.079 --> 01:06:11.760 Jennifer Saunders, um uh uh Dina Monsoon, Patsy Stone, darling, darling, sweetie, sweetie, sweetie. 01:06:12.000 --> 01:06:13.039 I'm a huge fan, you know. 01:06:13.119 --> 01:06:27.440 I know like I know all these like episodes by heart, and and then I I didn't even connect the dots when I first because I got into abfab later, um, like maybe like right before I came to New York, maybe around 2000 or so. 01:06:27.679 --> 01:06:31.199 A friend of mine um turned me onto it and uh and I was like, What's this? 01:06:31.360 --> 01:06:33.360 He was like, Oh, you think it's it's a funny show. 01:06:33.519 --> 01:06:40.960 And because the show came out in the early 90s, and uh, but you know, in Germany, uh, people would didn't pick up on that, you know. 01:06:41.039 --> 01:06:45.360 It uh it's not people wouldn't understand the humor in Germany, you know. 01:06:45.440 --> 01:06:52.320 That you I don't even know if you could translate it in this right, it's a language thing and all the colloquialisms and everything, it wouldn't translate. 01:06:52.800 --> 01:06:54.880 It's very London, it's very English, very British. 01:06:54.960 --> 01:07:09.760 The humor's very British, you know, it deals with uh pub publicity, pop, you know, like pop culture, and so I I but over the years, you know, like she's had so many stars um on on the shows, you know. 01:07:09.840 --> 01:07:24.239 Um and it became so it was, you know, it was a I mean they wanted to quit after three seasons, and then it just started becoming like more and more popular, especially with the gay community, and they kind of like you know, the gays no, the gays not. 01:07:24.559 --> 01:07:27.519 The gays no gays no, the gays don't cool the gays. 01:07:27.760 --> 01:07:28.639 They can't, you can't. 01:07:28.719 --> 01:07:30.000 They they either like you or you don't. 01:07:30.079 --> 01:07:31.519 When if they like you, they love you. 01:07:31.760 --> 01:07:34.079

So, and I think that happened with you guys too, you know. 01:07:34.159 --> 01:07:50.239 I think it was just like one of those things, you know, and um and then so so Jennifer Saunders um is a fan of you and Shakespeare's sister, and she approaches you and says, Oh, can you uh you know uh write music for for this this special? 01:07:50.559 --> 01:07:59.519 And um, and I think they they were they were gonna just you know stop the the the show altogether, but it went on and still going. 01:07:59.599 --> 01:08:01.360 I think they're doing something new this year. 01:08:01.679 --> 01:08:02.480 I heard about this. 01:08:02.800 --> 01:08:16.079 I heard about that too, and I'm like, I'm thrilled about it, you know, because I mean that the humor, one of the interesting about interesting things about absolutely fabulous is it's so politically incorrect and so offensive, which I love, you know, because it's humor. 01:08:16.319 --> 01:08:29.520 And uh, you know, we've we've been living through this this uh very sad era of you know everyone getting offended at everything, and there's nothing you can do to not offend people, it seems these days. 01:08:29.600 --> 01:08:30.640 But I think it's changing. 01:08:30.800 --> 01:08:36.479 I think we're starting to move back into a more you know into a more nuanced time. 01:08:36.640 --> 01:08:37.119 I'm hoping. 01:08:37.359 --> 01:08:38.239 I'm hoping I don't know. 01:08:38.479 --> 01:08:39.359 I do, I do. 01:08:39.600 --> 01:08:45.039 No, I mean, like of course, you know, politics are politics, and it's always gonna be just, you know, it's it is what it is. 01:08:45.119 --> 01:08:48.640 But I think, yes, I do think that because I think we need that. 01:08:48.800 --> 01:08:50.479 I think we need nuance. 01:08:50.640 --> 01:08:53.359 We need it, can't just all be black and white, like it, you know. 01:08:53.439 --> 01:08:55.600 I don't think we're gonna get anywhere with that. 01:08:55.760 --> 01:09:03.279 I think we need more nuance in in culture, in society, in music, in art, you know, and I think music already has music, always has it. 01:09:03.439 --> 01:09:05.600 Music always brings people together, you know. 01:09:05.680 --> 01:09:11.359 You can have completely different political views and love the same song and go to the same concert, you know. 01:09:11.520 --> 01:09:15.920 And so, so that's to me, that's why that's why that's part of the reason I love music. 01:09:16.159 --> 01:09:16.960 No, I think it's true. 01:09:17.039 --> 01:09:17.439 I think so. 01:09:17.600 --> 01:09:18.399 I think so. 01:09:18.640 --> 01:09:32.960 And um, so uh anyway, I'm I'm getting uh I'm I digress, but but but getting back to to Abfab, so I didn't even put two and two together when I remember seeing that episode and and loving it because it's very funny. 01:09:33.039 --> 01:09:41.760 It's like you know, Saffron, her daughter gets married, and you know it it's a very it's it's very all very weird, and they go they go skiing in in somewhere. 01:09:44.720 --> 01:09:46.079 That's one of the songs I wrote for that. 01:09:46.239 --> 01:09:46.479 Yeah. 01:09:46.880 --> 01:10:13.520 So so uh so and I I didn't even realize that it's the same person, you know, Marcella Detroit, Shakespeare's sister, so so you're one of those people that have have had their hand, foot, feet, you know, mind in a lot of different things, not just as a singer and guitarist, but also as a writer, also as an actor. 01:10:13.680 --> 01:10:17.119 You act you act in the in the uh show, in that episode. 01:10:17.359 --> 01:10:21.359 You wrote the songs for the uh for for the uh for that episode. 01:10:21.600 --> 01:10:27.039 And and with all these different people from all these different uh places. 01:10:27.199 --> 01:10:33.600 So you it's very it's very universal, like how you're you know, you're you're meshing in there, you know. 01:10:33.680 --> 01:10:35.119 And that's my job. 01:10:35.680 --> 01:10:36.239 It's wonderful. 01:10:36.399 --> 01:10:41.199 It's really wonderful, and I think that's what you know that's what creates success. 01:10:41.359 --> 01:10:49.039 I really think that it's collaboration and also being able to do more than one thing and trying something, taking risks, you know. 01:10:49.279 --> 01:11:11.119 So um you said Jennifer Saunders came to one of your shows and well, yeah, after when I when I did my my solo album after Shakespeare Shakespeare broke up, and I did my jewel album, I was doing the promotion for it, and and Jennifer came to one of my shows, and and the next thing I knew, I met her. 01:11:11.520 --> 01:11:21.520 I remember being out in the audience like beforehand, because sometimes I just get too I go too far up my own ass and I get really like too nervous and start thinking too much. 01:11:21.600 --> 01:11:26.399 So I just needed to be like in touch with people, you know, talk to people before I went on. 01:11:26.560 --> 01:11:31.760 And as I was walking through the crowd, I saw her and she was like, Oh, hello, and gave me a big hug. 01:11:31.840 --> 01:11:34.000 And and I'm like, Oh my god, you're here, that's amazing. 01:11:35.039 --> 01:11:35.760 You knew who she was? 01:11:35.920 --> 01:11:36.560 Yeah, oh gosh. 01:11:36.800 --> 01:11:37.520 Yeah, you knew the show. 01:11:37.920 --> 01:11:38.720 I was a big fan. 01:11:38.880 --> 01:11:41.600 I was a big fan, very much respected her. 01:11:41.840 --> 01:11:45.199 And um, well, you know, she did the takeoff on Stay. 01:11:45.359 --> 01:11:53.119 She did that um that spoof on on Stay with uh with Dawn French, and that was French and Saunders. 01:11:53.359 --> 01:11:54.800 Yeah, French and Saunders. 01:11:55.199 --> 01:11:57.520 And that was uh well, it's really an honor. 01:11:57.760 --> 01:12:04.399 You know, you know you've kind of made it when the top comedian in the country is doing a takeoff on your video and your song. 01:12:04.640 --> 01:12:05.920 I thought it was hilarious. 01:12:06.159 --> 01:12:11.359 But

anyways, uh then later on that night I got a like a three-page fax from her. 01:12:11.600 --> 01:12:13.359 That was fantastic, darling. 01:12:13.520 --> 01:12:14.720 I would love to have you. 01:12:14.880 --> 01:12:23.199 I'm doing an absolutely fabulous episode called The Last Shout, and I would love to have you write some songs for it. 01:12:23.439 --> 01:12:28.960 And and that's all it was initially, me writing maybe two or three songs. 01:12:29.119 --> 01:12:38.000 And so I got the briefs of what the songs needed to be about, and I worked on them in my home studio and uh sent them and they and they really liked them. 01:12:38.079 --> 01:12:45.439 Her her music supervisor and producer really liked them, and and I sent them over the two-inch, you know, the masters, and they worked on them. 01:12:45.600 --> 01:12:50.640 And then she contacted me and said, Would Marianne Faithful is gonna play God. 01:12:50.800 --> 01:12:52.560 I would love for you to be her angel. 01:12:52.640 --> 01:12:55.760 And I was just like, I'm getting chills now, just thinking about it. 01:12:56.000 --> 01:12:58.319 And she just passed, so we gotta I know, I know. 01:12:58.479 --> 01:12:59.119 God bless her. 01:12:59.600 --> 01:13:03.680 Yeah, she was so incredible to to work with. 01:13:03.840 --> 01:13:05.199 What a what an amazing woman. 01:13:05.520 --> 01:13:06.640 Totally with that voice. 01:13:06.720 --> 01:13:07.359 Oh my god. 01:13:07.680 --> 01:13:13.680 Her voice and and her and her, you know, she was so emotive with what she did. 01:13:13.920 --> 01:13:16.159 Um, everything like you really felt. 01:13:16.239 --> 01:13:18.079 There was great intention behind it. 01:13:18.159 --> 01:13:22.000 It wasn't just like or whatever, it was just brilliant. 01:13:22.159 --> 01:13:24.800 She was so kind and and generous to me. 01:13:25.119 --> 01:13:31.039 So uh I was completely honored, you know, flattered that she would ask me to do this. 01:13:31.439 --> 01:13:41.359 So so I said yes, and it was just a thrill beyond belief to be in it and work with them and work with Marianne and everything. 01:13:41.600 --> 01:13:43.199 The whole experience was incredible. 01:13:43.600 --> 01:13:52.159 I I heard that Jennifer Saunders uh and the AbFab episodes were minimally scripted, that there was a lot of improvisation going on. 01:13:52.960 --> 01:13:54.079 I wouldn't doubt it, yeah. 01:13:54.319 --> 01:13:54.960 Yeah, yeah. 01:13:55.279 --> 01:13:56.800 She's naturally very funny. 01:13:56.880 --> 01:13:58.720 I mean, we we spent a lot of time with her. 01:13:59.119 --> 01:14:04.960 You know, she would invite us over to dinners and lunches and stuff, and she was hilarious. 01:14:05.119 --> 01:14:09.119 I mean, just every everything was a joke, you know. 01:14:09.359 --> 01:14:10.800 It was just nonstop. 01:14:11.520 --> 01:14:14.079 Why do you why do you think she she picked you? 01:14:14.960 --> 01:14:16.000 What do you think it was? 01:14:16.159 --> 01:14:17.920 Like, did you did you ever ask her? 01:14:18.079 --> 01:14:19.199 Like, why me? 01:14:19.359 --> 01:14:19.600 No. 01:14:20.880 --> 01:14:22.239 No, I never did ask. 01:14:22.319 --> 01:14:24.479 I was just very flattered. 01:14:24.800 --> 01:14:28.159 Um I guess she liked what I did. 01:14:28.399 --> 01:14:29.279 Uh I I don't know. 01:14:29.680 --> 01:14:33.359 Maybe you're because you're your your humility, I'm you know. 01:14:34.159 --> 01:14:34.640 Maybe. 01:14:34.880 --> 01:14:35.039 Yeah. 01:14:35.279 --> 01:14:35.520 Yeah. 01:14:35.680 --> 01:14:36.159 I don't know. 01:14:36.800 --> 01:14:37.199 I really don't know. 01:14:37.520 --> 01:14:39.840 You were talking about that earlier, and I think I'm gonna close with this. 01:14:39.920 --> 01:14:45.039 You know, you were talking about how we always question ourselves, you know, I still do it. 01:14:45.119 --> 01:14:46.960 It's like, wait, am I good enough? 01:14:47.119 --> 01:14:50.239 Oh, wait, yeah, I I am good enough. 01:14:50.640 --> 01:15:00.479 But you know, you that voice, and sometimes I think that that voice is also helpful because it does keep you humble. 01:15:00.720 --> 01:15:07.039 And and you do have to remember, I I I'm just here, I exist, you know. 01:15:07.119 --> 01:15:18.319 Like I never thought I would talk to Marcella Detroit from Shakespeare's sister when I watched her videos on MTV on my little TV in my little apartment in Hamburg, you know? 01:15:18.479 --> 01:15:20.560 And here we are writing, you know, writing together. 01:15:20.640 --> 01:15:23.199 I never thought that would never, you know. 01:15:23.600 --> 01:15:29.520 So but for some reason, how however it happened, boom, energy attracts who we are, you know. 01:15:29.680 --> 01:15:35.359 But I think I think that humility or yeah, humility, that's the right word, right? 01:15:35.439 --> 01:15:36.319 Being humble. 01:15:37.119 --> 01:15:44.880 Um, I think it it's not necessarily terrible that you have that voice that goes, could could you do could this be better? 01:15:45.119 --> 01:15:46.159 How could this be better? 01:15:46.399 --> 01:15:47.600 Oh, always, always. 01:15:48.159 --> 01:15:49.279 How far can we push this? 01:15:49.600 --> 01:15:54.399 How can I, you know, how can I what can I do to make this better and not just settle? 01:15:54.560 --> 01:16:02.000 And also, you know, like I said earlier, about being grateful and and being humble, I think is important too. 01:16:02.239 --> 01:16:05.920 Because the minute you're not and you have a bunch of yes people around you, I don't know. 01:16:06.000 --> 01:16:07.920 I I'd be it attracts that energy then. 01:16:08.079 --> 01:16:09.840 And you attract that energy, you know? 01:16:10.079 --> 01:16:10.560 Yeah. 01:16:10.880 --> 01:16:19.840 So I am thrilled that um we connected in the way we did, and and uh I I am excited about working with you. 01:16:19.920 --> 01:16:28.640 And uh I want to thank again uh Rock Seller uh magazine and Lori Reimer for connecting us and hanging

out at the booth at NAM. 01:16:29.840 --> 01:16:32.159 And uh Fernando to Fernando uh Perdoma. 01:16:32.319 --> 01:16:34.239 I want to thank him, you know, for that for that article. 01:16:34.479 --> 01:16:39.359 And they mentioned Fernando is music, he is like a living music music. 01:16:39.600 --> 01:16:41.199 He's like an instant. 01:16:41.520 --> 01:16:42.319 Have you seen him drum? 01:16:42.399 --> 01:16:43.840 Have you seen him play the drums? 01:16:44.079 --> 01:16:47.680 I've seen him doing live drumming on Facebook. 01:16:48.000 --> 01:16:49.760 He's he's incredible. 01:16:49.920 --> 01:16:51.760 Yeah, he's just he's sick. 01:16:52.159 --> 01:16:56.399 So uh yeah, we we he came to my show in in Venice with Marky Lennon. 01:16:56.479 --> 01:17:01.920 Shout out to Marky Lennon from Venice, and uh, you know, we we've we we've been talking ever since. 01:17:02.079 --> 01:17:13.760 So so hey, um, you know, it it's it's a wonderful the community of of music that we have and being able to be creative, and uh, I am more than grateful for that. 01:17:14.000 --> 01:17:15.920 And I want to thank you for coming on the show. 01:17:16.000 --> 01:17:17.600 And uh, I'll see you on Monday. 01:17:17.680 --> 01:17:20.800 But I want to quickly have a couple of announcements to make. 01:17:20.960 --> 01:17:25.199 We have speaking of Fernando Perdomo, Fernando Perdomo is gonna be on the show next week. 01:17:25.279 --> 01:17:27.039 So tune in for that, folks. 01:17:27.199 --> 01:17:35.039 And then, yes, as I mentioned, I'm working on new music right now, producing and recording uh with Marcus and Mark Stambinsky, my producer from Surrender. 01:17:35.119 --> 01:17:40.800 He's uh he's gonna be on the new stuff, and uh Everett Bradley is another co-writer, and Marcella, who's here. 01:17:41.039 --> 01:17:45.760 So uh a few more people to announce over time, but um uh what else? 01:17:45.840 --> 01:17:47.039 Uh support the show. 01:17:47.119 --> 01:17:51.279 You can support the show, making soundpodcast.com if you want to make a donation. 01:17:51.439 --> 01:17:53.600 We'll mention your name if it's over a certain amount. 01:17:53.680 --> 01:17:55.039 Um one million dollars. 01:17:55.119 --> 01:17:56.319 Uh just kidding. 01:17:56.479 --> 01:18:01.039 Um, but yeah, please uh support the show and um and check out Marcella Detroit. 01:18:01.199 --> 01:18:06.560 Marcella, where can uh where can people find you and your music and follow everything that you're doing? 01:18:07.039 --> 01:18:16.880 Well, I am on social media, obviously, Facebook at Marcella Detroit, um, at Marcella Detroit official. 01:18:17.039 --> 01:18:20.880 Um same with Instagram at Marcella Detroit Official. 01:18:21.359 --> 01:18:22.560 Uh I have websites. 01:18:22.640 --> 01:18:30.640 I have Marcelletroit.rocks um and also Marcelladetroit.com and uh Spotify. 01:18:30.720 --> 01:18:33.760 All my music's on Spotify, even though I don't love Spotify. 01:18:34.319 --> 01:18:35.199 I don't love Spotify. 01:18:35.359 --> 01:18:35.920 What a swamp. 01:18:36.000 --> 01:18:37.600 It's just it is really not fair. 01:18:38.239 --> 01:18:39.359 We'll get into that another time. 01:18:39.680 --> 01:18:40.239 Yes, we will. 01:18:40.319 --> 01:18:40.800 Let's do that. 01:18:40.880 --> 01:18:41.680 We'll do that next time. 01:18:41.760 --> 01:18:42.239 All right, cool. 01:18:42.399 --> 01:18:43.359 All right, folks. 01:18:43.920 --> 01:18:44.960 Thanks, everybody. 01:18:45.119 --> 01:18:46.800 We'll see you next time. 01:18:47.039 --> 01:18:47.279 Bye. 01:18:48.319 --> 01:18:48.560 Please.