The story of education Education in France
[01:06 - 01:06]
Thank you.
[01:06 - 01:39]
The fence.
[01:39 - 01:51]
Along.
[01:51 - 01:51]
The
[01:51 - 02:11]
Border.
[02:11 - 02:20]
Above the.
[02:20 - 02:22]
Bank.
[02:22 - 02:56]
The B. The
[02:56 - 03:01]
B.
[03:01 - 03:04]
Above. The
[03:04 - 03:49]
Be.
[03:49 - 03:50]
The top.
[03:50 - 04:37]
That's music from Gina vanille. We were starting to play some cuts from
[04:37 - 04:43]
the album as Popper and Paradise were the valleys of Valhalla. And also the Mardi Gras.
[04:43 - 04:49]
It's now 17 and a half past one and in just a moment we'll be chatting with Peter Allen.
[04:49 - 05:00]
Here's a selection from his new album.
[05:00 - 05:09]
Thank.
[05:09 - 05:15]
You.
[05:15 - 05:17]
Thank you.
[05:17 - 06:06]
Thank. Them.
[06:06 - 06:15]
You can paint ball soup.
[06:15 - 06:39]
With. Me.
[06:39 - 06:52]
Listen to them you. See it's.
[06:52 - 06:53]
Wrong.
[06:53 - 08:12]
I'm at one
[08:12 - 08:17]
thank you and love crazy.
[08:17 - 08:21]
From the new album. It is time for Peter Allen and indeed here on WMU
[08:21 - 08:22]
FM.
[08:22 - 08:27]
If I move these things out of the way you can see him. It is time for Peter Al and Peter Allen is here
[08:27 - 08:32]
with us in our studio. Hello. Good morning Lee how you find. You just put on a
[08:32 - 08:37]
couple shows here in American University and from what I understand in the second show they went a
[08:37 - 08:39]
bit love crazy over you.
[08:39 - 08:43]
Yeah I guess they hold it I guess I'm there a late night crowd here. Yeah everybody likes to start
[08:43 - 08:46]
tonight and yeah it was and they're amazing.
[08:46 - 08:51]
I would I wish they would have been the second show I suppose at the first the first one went pretty well I enjoyed it immensely I'd never
[08:51 - 08:55]
seen you before and I really really enjoyed it.
[08:55 - 09:00]
I think it was kind of the warm up event. You know they came to the second chance.
[09:00 - 09:05]
It was strange because people said that. Usually American use pretty quiet. The
[09:05 - 09:10]
audiences are fairly quiet audiences so I thought I'd just have like an a sing on it but I
[09:10 - 09:10]
didn't.
[09:10 - 09:14]
I would not ever and I lost a few pounds in the second show good
[09:14 - 09:20]
so did they make a comeback for a couple encores. I find if
[09:20 - 09:24]
you read a book it's like a New York audience and I was amazed.
[09:24 - 09:29]
It seemed to me them that there were a lot of people who had seen me before. I don't know where
[09:29 - 09:30]
except salad or something.
[09:30 - 09:35]
Yeah a lot of people who go to American University who. Are from the New York New
[09:35 - 09:40]
Jersey area so that that might have something to do with it maybe or maybe they were they were leading
[09:40 - 09:45]
everywhere. It was it was phenomenal really I mean the first show
[09:45 - 09:51]
was fabulous to me I can imagine how great how exciting the second show was we should go back to the
[09:51 - 09:55]
beginning and for those people who don't know Peter Allen is go into his career a bit.
[09:55 - 10:02]
Let's see where should we start. Back in Australia how about that. Let's Long live that when
[10:02 - 10:07]
do you how did you get started in. Like did you start just writing and not
[10:07 - 10:12]
doing any singing at all or and about when did you get going in Australia or did you actually start.
[10:12 - 10:16]
No what happened was I was the opposite I started off when I was
[10:16 - 10:22]
before even before I left school when I was really young I was I was playing piano and singing in pubs in Australia.
[10:22 - 10:27]
And when I left school which one can do at a fairly early age in Australia I left
[10:27 - 10:33]
before I was even 15 you supposed to wait until you're 15 but I matriculated a few months
[10:33 - 10:38]
early. And I I took I took a job for bed awake and thought well this
[10:38 - 10:43]
is ridiculous So this is sub boring compared to playing in pubs and I think I make more money playing in pubs
[10:43 - 10:47]
so I just went to the nearest big city and
[10:47 - 10:53]
started in show business playing in hotels. Did you enjoy
[10:53 - 10:55]
that. Yes I loved it.
[10:55 - 11:00]
You must must be difficult getting started you know when people don't know you and
[11:00 - 11:05]
maybe not as receptive to you. Did you find it difficult at first to get an
[11:05 - 11:06]
audience.
[11:06 - 11:11]
Well I went when I had before I became a songwriter which I really I mean doing for about seven years
[11:11 - 11:16]
now. It is difficult once you start once you start doing
[11:16 - 11:20]
something that is slightly independent before I had a kind of a boring act
[11:20 - 11:26]
you know. Tex Eidos the impossible dream and I used to sing with another boy and
[11:26 - 11:30]
used to do The Tonight Show a lot. And that was pretty easy but I just
[11:30 - 11:35]
didn't really want to see myself. The highlight of my career being
[11:35 - 11:40]
Las Vegas and when I start to become a songwriter it was a little difficult then
[11:40 - 11:45]
to get people to accept accept me as a songwriter.
[11:45 - 11:51]
So you came to America in 67. Yeah
[11:51 - 11:55]
yeah. And you started playing in smaller places.
[11:55 - 11:59]
At that point you had started writing by the time you know I didn't start writing till
[11:59 - 12:04]
70 and it was it was kind of a sudden decision and
[12:04 - 12:09]
I'd immediately went to the village in New York and started playing in the bitter end and places
[12:09 - 12:14]
like that. But it was in a strange period because the coffeehouse days
[12:14 - 12:19]
were ending at that point and I was I was an oddity
[12:19 - 12:24]
at that time because everyone else was singing country or even vaguely
[12:24 - 12:29]
country like James Taylor and I was coming from a back background of having
[12:29 - 12:34]
worked in nightclubs and bars and pubs and it wasn't until the past couple
[12:34 - 12:38]
of years that people of began to accept. That as being a legitimate
[12:38 - 12:41]
background for songwriting.
[12:41 - 12:47]
Let's hear a bit more music and then we can chat with you a bit more if you don't mind staying there a little longer and I'm sure exhausted
[12:47 - 12:51]
from a couple of very energetic show. No it got me up actually. That's good.
[12:51 - 12:56]
OK we're going to hear a very strange Well let's talk about this before we
[12:56 - 13:00]
play it. A couple of oldies that you do in your routine
[13:00 - 13:05]
and and on the album and old Chris Montana's song the more I
[13:05 - 13:10]
see you I did you originally or I guess somebody else you know I used to sing it in Boson Australia when I
[13:10 - 13:15]
was a kid so I mean really I mean that's someone I think someone like Dick Haymes introduced in the 40s.
[13:15 - 13:20]
I wonder what what Chris Montel is doing these days. I haven't heard him in likelihood I don't think many people have
[13:20 - 13:25]
actually. But you do you do the song the more I see you and one of the lines in the
[13:25 - 13:30]
song is one of part of the line part of the words of the song are as time goes by
[13:30 - 13:35]
and as people hear on the record near the end of the song Last time you say
[13:35 - 13:40]
as time goes by someone from the crowd yells out as time goes by and then you go into
[13:40 - 13:44]
doing the song as time goes by was that pre-planned or did you know it wasn't.
[13:44 - 13:48]
I had down as time goes by a few times.
[13:48 - 13:54]
In the act just for fun because I always like to put in all the interm on me when i'm played in pods
[13:54 - 14:00]
and keep in practice in case a career fails and I have to go back to a story and play in pubs so what I try to
[14:00 - 14:05]
do an old one every now and again and I've done it a couple of times and it's very odd but
[14:05 - 14:10]
the places that has proved most popular with PayPal
[14:10 - 14:15]
was. As time goes by it was in colleges which was amazing I guess because of
[14:15 - 14:20]
Casablanca or something but college kids love the song as time goes by and I
[14:20 - 14:25]
worked I worked a couple of colleges in the New York area and I always used to yell out as time goes by. Not
[14:25 - 14:30]
in that particular spot. And I think just when I said said the words as time
[14:30 - 14:35]
goes by in the middle of the more I see you. It triggered off someone who'd
[14:35 - 14:40]
seen me at a college and I remembered that I wanted to yell out that request so they didn't.
[14:40 - 14:45]
Now of course everyone just waits till that point in the song. Now that hurt their guard and tries to be the first one to yell it
[14:45 - 14:46]
out.
[14:46 - 14:49]
That must be a kick. It was a happy accident.
[14:49 - 14:54]
Yeah it's nice to hear how happily it turned out here on the record. As we listen
[14:54 - 14:58]
to a cut from the new album by Peter Allen it's a live to record set on the
[14:58 - 15:04]
record label called it is time for Peter Allen. And if you
[15:04 - 15:09]
haven't gotten a chance to see him before and didn't see him today to you he will be. See Is it
[15:09 - 15:10]
the Warner Theater.
[15:10 - 15:15]
Yes I think it's the Warner right the Warner on the 22nd of November which is just about 10 days
[15:15 - 15:21]
away or so. I'm back that soon. Yeah. Are you going in the meantime just out of curiosity.
[15:21 - 15:26]
I have to go to Philadelphia Boston Cleveland and some colleges in New Jersey
[15:26 - 15:27]
things like that.
[15:27 - 15:32]
OK let's listen to the song they'll be back to talk some more with Peter Allen. So I'm going
[15:32 - 15:40]
on.
[15:40 - 15:43]
With the
[15:43 - 15:48]
law
[15:48 - 15:53]
and see.
[15:53 - 16:00]
The law and.
[16:00 - 16:05]
The English. The
[16:05 - 16:10]
English.
[16:10 - 16:16]
Law and so. The law is.
[16:16 - 16:17]
The
[16:17 - 16:22]
law
[16:22 - 16:27]
in.
[16:27 - 16:32]
Illinois. Me.
[16:32 - 16:38]
Me me. Me.
[16:38 - 16:44]
Lad.
[16:44 - 17:02]
Can't.
[17:02 - 17:13]
You.
[17:13 - 17:13]
See.
[17:13 - 17:23]
Let me. Just throw.
[17:23 - 17:37]
A. Let.
[17:37 - 17:48]
Go. And you.
[17:48 - 17:52]
Know. The.
[17:52 - 17:57]
Last.
[17:57 - 17:57]
Week.
[17:57 - 18:31]
We want to hear.
[18:31 - 18:59]
This is just.
[18:59 - 19:10]
So high.
[19:10 - 19:23]
As to.
[19:23 - 19:27]
Say.
[19:27 - 20:03]
I can't.
[20:03 - 20:05]
Handle this.
[20:05 - 20:41]
K.
[20:41 - 20:46]
Stands see.
[20:46 - 21:17]
Me.
[21:17 - 21:25]
Down as.
[21:25 - 21:32]
I am.
[21:32 - 21:37]
Thank you.
[21:37 - 21:44]
Ah.
[21:44 - 21:45]
Peter Allen.
[21:45 - 21:49]
And some fine music from his album. It is time for Peter Allen a medley
[21:49 - 21:54]
of as time goes by and the more I see you you talk we were talking during the
[21:54 - 21:59]
record about the acceptance of that song it's really I really think it would be a
[21:59 - 22:04]
good single to release as time goes by. It is it would it would you know as you
[22:04 - 22:09]
say the college audience seems to really like it which kind of surprises you and
[22:09 - 22:14]
certainly the the how shall I put it that in the middle of the road
[22:14 - 22:19]
audience the women in men who are like in the 30s and
[22:19 - 22:23]
older would certainly enjoy it too because of its of its
[22:23 - 22:28]
reminiscence and the way it's sung that the feeling behind it and so might not be
[22:28 - 22:29]
a bad idea.
[22:29 - 22:34]
You know if it goes gold I have been already going I want to. It's
[22:34 - 22:38]
very enjoyable and it just shows one side of of the
[22:38 - 22:41]
multi-faceted music that you do.
[22:41 - 22:44]
We're talking that it's really hard to pigeonhole this
[22:44 - 22:50]
title to the type of music you do because you really get into a lot of different things. You see you've
[22:50 - 22:55]
had two or three albums before this and you know this is I had two
[22:55 - 22:56]
albums and I am right.
[22:56 - 23:01]
Did you have any Were you under the label before that or when I first started I was on I was on Metromedia
[23:01 - 23:07]
which went down the tubes. A
[23:07 - 23:11]
few years ago which left me and Bobby Sherman without a label so
[23:11 - 23:16]
it's a great tragedy and it's a business you know and it was strange because they were
[23:16 - 23:18]
they were not.
[23:18 - 23:22]
At all big sellers but. One of them Jennifer Sadler's.
[23:22 - 23:27]
Collector's item now of course I don't have any of the Metromedia records.
[23:27 - 23:32]
Yes I think that you do it for $2 occasionally. Boy you're
[23:32 - 23:37]
not a cop yourself. I have one Japanese copy. Speaking of
[23:37 - 23:41]
Japanese have you gotten a good deal of recognition in other countries sir.
[23:41 - 23:46]
It's strange I've had. Especially I go to Rio. I go to Rio has been number one and
[23:46 - 23:52]
in France Holland South America Brazil and I just got back
[23:52 - 23:57]
from Australia which is where I'm from and it's been number one for 14 weeks
[23:57 - 24:02]
there and it's correct I became the Peter Frampton of the stranger it was because I
[24:02 - 24:03]
was down there.
[24:03 - 24:08]
You mentioned something on the back of your album cover about Peter Frampton and thanking him for showing you the
[24:08 - 24:08]
way.
[24:08 - 24:14]
I think it is and that's a bit corny I know well but you know I mean is there but it really is true because
[24:14 - 24:16]
Peter and I have the same manager right.
[24:16 - 24:21]
And do you think. Yeah and he came to he came down to the to the
[24:21 - 24:26]
studio a lot when I was the first day I was going to make start mixing it and I was a little nervous because it was the
[24:26 - 24:30]
first time I'd ever produced. Anything of my own and I was doing it with.
[24:30 - 24:36]
Another really good engineer but I figure there were lots of tricks and Peter
[24:36 - 24:41]
sat down with the tapes for about six hours and went over everything and showed me where to
[24:41 - 24:46]
push up the applause and all those things and have a double
[24:46 - 24:51]
voice for thickness and where the best sound for the drum so he really did lay out
[24:51 - 24:56]
the sound in our lives and made some tapes and I really listen to the tapes carefully before I started
[24:56 - 24:59]
talking about the audience.
[24:59 - 25:03]
The album was recorded in two locations right.
[25:03 - 25:07]
Actually three Lincoln Center at every Fisher Hall that concert
[25:07 - 25:12]
and a couple of things at the bottom line and a couple of things at the Roxy and their own mix
[25:12 - 25:17]
together the nights are like Psych one isn't from one place and side two from you know it was really if
[25:17 - 25:20]
that wherever that wherever the best track of the best of the song was.
[25:20 - 25:26]
You're talking about. I go to Rio which is a very catchy tune and kind of the
[25:26 - 25:31]
showstopper if there if you can pin down one showstopper there are so many show stoppers in the
[25:31 - 25:36]
show but that might be the showstopper. I guess it's a
[25:36 - 25:40]
last number before encores that you do write the last number the regular and it
[25:40 - 25:45]
gets everybody going. We're going to listen to in just a moment. Tell us this is tell a story that you told
[25:45 - 25:50]
you told before you actually play the song on stage about to
[25:50 - 25:57]
being you know like this they want to be for the first show if you can remember that with concerning
[25:57 - 26:01]
which everything laundress is still not Iowa.
[26:01 - 26:06]
Yeah the disco disco you know the first thing that happened I got to Brazil first of all this is a true story
[26:06 - 26:11]
I played really all my my stories themselves to be really true.
[26:11 - 26:16]
First they wouldn't let me in to Brazil what was attractive because I didn't know that Australians had to have a visa
[26:16 - 26:17]
and I arrived there.
[26:17 - 26:24]
The first day of carnival and they said well I'm sorry you have to go back to America which I can believe I've been waiting
[26:24 - 26:28]
so long to get to Rio on Carnival and the only reason I let it finally let me in without
[26:28 - 26:33]
throwing me out after seven hours I was locked up for seven islands in the
[26:33 - 26:38]
transit lands but my manager found the head of tourism and said Well
[26:38 - 26:43]
Peter Wright I go to Rio which was a big hit down there at the time he said you can't keep the man who wrote I got a radio out of
[26:43 - 26:48]
Riyadh convoy. I'll go back and write another song. So they finally let me in
[26:48 - 26:52]
and I went to a discotheque the first nod and
[26:52 - 26:58]
out of nowhere on came I got a radio and I really had no idea that they were playing it down there I didn't know it was a hit
[26:58 - 27:03]
or anything and it was so thrilling to amongst all of all the Brazilian
[27:03 - 27:08]
songs just to hear I got a real kind of you know where you walk into a disco and it was like the third
[27:08 - 27:13]
song I was standing at the bar and listening to and just thinking how much I love
[27:13 - 27:18]
Brazilian music and this other record came on I thought I got this one sounds so familiar and I
[27:18 - 27:18]
like this one.
[27:18 - 27:21]
And you know I turned out to be me.
[27:21 - 27:26]
And in the middle of the dance floor everyone had suddenly stopped dancing
[27:26 - 27:28]
which I thought was not a good sign.
[27:28 - 27:29]
But.
[27:29 - 27:35]
When I made my way to the front I realized that I'd stopped because they were watching whatever was going on
[27:35 - 27:40]
and cannibal town they always bring down a lot of celebrities. Come
[27:40 - 27:45]
director kind of well and in the middle of a dance floor was wrecked how well she
[27:45 - 27:48]
and I sly and just dancing together to the song.
[27:48 - 27:54]
As I said all four of them on the dance for him yet so that was exciting.
[27:54 - 27:56]
Must have been.
[27:56 - 28:01]
OK well listen to I go to Rio and then chat a bit more with Peter Allen who will be at the Warner Theater
[28:01 - 28:06]
on November 22nd.
[28:06 - 28:10]
Thanks.
[28:10 - 28:14]
Thank
[28:14 - 28:16]
you. Thank you.
[28:16 - 28:48]
And soon. To. Be.
[28:48 - 28:54]
Lucky. To.
[28:54 - 29:01]
Get. Some.
[29:01 - 29:02]
Sleep.
[29:02 - 34:12]
Let. It.
[34:12 - 34:12]
Go.
[34:12 - 34:29]
That's the song that everybody across the world is dancing to. I go to
[34:29 - 34:34]
Rio and on stage Peter Allen has a fan.
[34:34 - 34:37]
It's his Rio and it's three story behind that are just that.
[34:37 - 34:42]
This is a problem. Someone handed it to me actually from the audience one
[34:42 - 34:45]
in Philadelphia that happened.
[34:45 - 34:50]
Peter Allen does not only play the piano he also plays the whistle and
[34:50 - 34:55]
in time to find out you play pineapples and
[34:55 - 35:00]
all kinds of strange things or you didn't even get my sequins tonight.
[35:00 - 35:04]
Well I got quite a nice outfit though. A white suit with a pink carnation
[35:04 - 35:06]
and.
[35:06 - 35:12]
A whole wiyn oriented shirts I don't know if it was what was it from
[35:12 - 35:13]
Fiji.
[35:13 - 35:18]
OK fine but it was it was quite nice and a lot of action going
[35:18 - 35:23]
on on stage not just sitting playing a piano but a lot of dancing and good times and everybody enjoyed
[35:23 - 35:28]
themselves and not to over promote it but if you missed it and
[35:28 - 35:32]
would like to see it if you enjoy the music you've been hearing or enjoy hearing Peter
[35:32 - 35:38]
speak he will be at the Warner Theater on November 22nd. I will
[35:38 - 35:42]
definitely will pull out the sequins for them you know I mean I really want to be there but I want to be in Teaneck New
[35:42 - 35:44]
Jersey on that night.
[35:44 - 35:49]
The thing that I'm so fortunate I never bust but I'm sure that
[35:49 - 35:51]
the want that it would be more fun than Tina.
[35:51 - 35:56]
You know as well as the brakes and I have to get you next time you come
[35:56 - 36:01]
back to town which I'm sure will be fairly soon in the next six months anyway right. Well not when she
[36:01 - 36:02]
usually Yeah.
[36:02 - 36:08]
Let's talk about writing. You say you've been writing since about 1970 or so. Did you
[36:08 - 36:13]
just suddenly decide hey I'm going to write or did had you been having ideas flowing through your
[36:13 - 36:16]
mind and wanting to write for a few years.
[36:16 - 36:18]
I started to see I started to see.
[36:18 - 36:26]
Some people working like Laura Nyro and Randy Newman and
[36:26 - 36:31]
it it struck me that what they were doing was so
[36:31 - 36:35]
important compared to what I was doing and they were they were
[36:35 - 36:40]
singing about it. They were singing about themselves as as as they
[36:40 - 36:46]
and about other people at the same time as they related to other people and I thought this seems much
[36:46 - 36:50]
more sensible than singing the impossible dream. And then a few things
[36:50 - 36:55]
happened in my life my family my wife and I decided to
[36:55 - 37:00]
separate so I had something to write about then and was like a change of lives. I thought that
[37:00 - 37:03]
this was just a very natural thing to do just suddenly stop.
[37:03 - 37:08]
Would it bother you if I asked you your wife was you know well if you want I don't know
[37:08 - 37:14]
of course not. I mean it's going through an interview and not mentioning that might seem a bit strange.
[37:14 - 37:17]
Oh no I would say I'm sorry.
[37:17 - 37:22]
No I think it's Clara. OK well I was married to lies
[37:22 - 37:27]
like Minnelli I think that at the time. Well at the time thing I knew what I had
[37:27 - 37:31]
so. He was married to a home town and when
[37:31 - 37:37]
I ascended and everything and. I decided
[37:37 - 37:42]
to go out on my own there was a lot of stuff to write about and consequently
[37:42 - 37:47]
there was a lot of songs to write and it was very easy to write at that point. So that was when you
[37:47 - 37:52]
actually began at that point and that's when I pulled together to write yeah. Did you find it difficult to write
[37:52 - 37:58]
at the beginning. None of what is coming are songs I could write a song in half an hour in those days.
[37:58 - 38:00]
It stretched about six months an album.
[38:00 - 38:05]
Peter Allen for those of you not for me with him is really known in the business as
[38:05 - 38:10]
as one of the the best writers of that of that type of music.
[38:10 - 38:15]
Whenever that type of music is that nice you know love
[38:15 - 38:19]
oriented songs and the lyrics are really say a lot you know
[38:19 - 38:25]
about universal feelings that we all have that can't always express and a lot of times in the songs and
[38:25 - 38:29]
songs they read something that I like today.
[38:29 - 38:33]
Some reviewer in Washington said that I write songs about people who are
[38:33 - 38:35]
on the edge.
[38:35 - 38:40]
That was good but we were all on the edge you know well that's I that's why I'm running that I like that
[38:40 - 38:43]
I like that description and write my songs about people on the.
[38:43 - 38:47]
If you do some of your writing with other people.
[38:47 - 38:52]
Majority you lot are with I do a lot with Kara bias a guy right. Who I like to
[38:52 - 38:57]
write with very much. And it's trying to apply something I actually like should write together
[38:57 - 39:01]
so much. And we've been writing together for five years and
[39:01 - 39:06]
both both of the songs that I've had a lot of success with Love You
[39:06 - 39:11]
was written with Jeff Barry and I go to Rio was written with Adrian Anderson and the song she's had
[39:11 - 39:16]
success with Midnight Blue was written with Melissa Manchester and
[39:16 - 39:23]
when I need you was written with Albert Hammond and the Spy Who Loved Me was written about and how much we
[39:23 - 39:27]
have not ever had a hit together. At this point we're hoping we do get it
[39:27 - 39:28]
together.
[39:28 - 39:33]
Did Adrian innocent have something to do with could it be magic for she wrote it with Barry Manilow. That's a beautiful song too.
[39:33 - 39:33]
Yeah.
[39:33 - 39:39]
The whole thing and the whole thing about writers who came out of New York it's very incestuous
[39:39 - 39:43]
Stagg and everyone writes with everybody.
[39:43 - 39:47]
So you've done a lot of writing for other for other people.
[39:47 - 39:51]
I don't writing for other people. I usually just write the song right.
[39:51 - 39:56]
And you've written things that people have picked up on and recorded. Yes.
[39:56 - 40:00]
Any any artist that you know you care to mention. Yeah.
[40:00 - 40:05]
Well certain songs besides Olivia's Honestly Love You which you incidentally has
[40:05 - 40:08]
been a hit for the second time around.
[40:08 - 40:11]
Now that was strange I was thinking about releasing and
[40:11 - 40:17]
just releasing my I mean because everyone still loves that song. Everywhere I
[40:17 - 40:23]
go. For whatever reason. And just got it out again as a record.
[40:23 - 40:28]
It's back in the top 100 right. How do you really feel about that I mean
[40:28 - 40:34]
I suppose you can be happy that the song became popular and that you had a very large part to do with
[40:34 - 40:39]
it. Do you resent the fact that she had a hit with it as opposed to you know
[40:39 - 40:40]
we don't know.
[40:40 - 40:43]
I didn't think the song was a hit song. When I wrote it.
[40:43 - 40:45]
Oh but it's a nice and.
[40:45 - 40:50]
And anyway as long as someone does it good. That's what I lived and she did it really well
[40:50 - 40:55]
and she put it out and. It was nice it was nice because it was the first song
[40:55 - 41:00]
that I could. When people ask you what do you do when you say you're a songwriter.
[41:00 - 41:05]
It's always nice to have a song that they can say well do you know what I know anything. It's
[41:05 - 41:10]
hard to say well there's a couple of album cuts on the Helen Reddy thing it's so much nicer to be able to say well
[41:10 - 41:16]
I'll still love you when people say OK that's something some kind of a liberty to have
[41:16 - 41:20]
written a big song right and then they listen to everything else that you have to to say in play.
[41:20 - 41:25]
Right we hope so. That's right. And with a live album you did have two other
[41:25 - 41:29]
albums that are in them the live album has grown.
[41:29 - 41:36]
In popularity over all this live albums. Peter Frampton starting it off I suppose but a lot of
[41:36 - 41:41]
groups have come out with live albums and gained a good deal more success on it. People tend to listen
[41:41 - 41:45]
more when you when you've got a live element usually of your best material from the past and occasionally a few new
[41:45 - 41:51]
songs. And I think that is helping your career if I may say so in that I think a
[41:51 - 41:55]
lot more people are listening to this and discovering all the different kinds of music you're into and and how
[41:55 - 42:00]
exciting how exciting your stage show is even though you can't see it on the record you can halfway
[42:00 - 42:05]
see it because you can kind of feel the vibrations that are going through the crowd and and hear some of the patter that goes
[42:05 - 42:10]
on between between songs and you have to be some reason the audience is so important with my
[42:10 - 42:13]
act it's almost a third of the way.
[42:13 - 42:18]
It's like a third of the whole thing because and especially for me it's a lot better than
[42:18 - 42:23]
just putting 12 songs out one after the other.
[42:23 - 42:29]
And this is I think you get a sense of Especially when no one knows exactly what to call me or
[42:29 - 42:33]
what it is I do at least you get a sense of continuity and you get a sense of the whole thing that
[42:33 - 42:36]
Mike's a little bit of sense.
[42:36 - 42:39]
OK. Nonsense.
[42:39 - 42:45]
Let's talk about the next song the final song we're going to hear tonight this morning whatever almost
[42:45 - 42:51]
two o'clock. It's a very moving song.
[42:51 - 42:56]
In that it's seeing about a real person in a real experience. Something that people who
[42:56 - 43:01]
maybe are in their younger 20s might not. Get the full grasp of because they might
[43:01 - 43:05]
well they might not have been around for the experience but they've heard about it and they can kind of
[43:05 - 43:11]
relive it through your song and and get get exactly what happened at the time.
[43:11 - 43:16]
We're talking about Judy Garland who you you did work with some. Explain about your connection with Hugo and then
[43:16 - 43:17]
about the song.
[43:17 - 43:21]
Well it was strange I didn't I didn't really I was not a great Judy Garland fan I was
[43:21 - 43:27]
really I was at that point when I wasn't singing rock I was listening to jazz.
[43:27 - 43:32]
So I didn't really know too much about her except from
[43:32 - 43:36]
old musicals. And she came to see me working in Hong Kong
[43:36 - 43:41]
and really liked the show and we became friends and we I didn't see her work
[43:41 - 43:46]
for. Until I'd known here for almost two months. And then I saw her
[43:46 - 43:51]
work at the London Palladium and I couldn't believe it I mean I just couldn't believe that
[43:51 - 43:56]
anyone could actually do that on a stage especially. Judy because she was
[43:56 - 44:01]
she was just kind of you know a really funny friend. And I didn't know what my
[44:01 - 44:06]
funny friend was doing up there. Just commanding all these people and driving
[44:06 - 44:11]
them into just frenzies right. And I didn't I didn't write
[44:11 - 44:16]
songs when I knew us. I didn't ever get a
[44:16 - 44:21]
chance to hear her sing any song that I wrote but. I wanted to
[44:21 - 44:26]
write a song for her anyway. And
[44:26 - 44:31]
a couple of years ago I just decided to write to write this song about her. And it's
[44:31 - 44:36]
also about. A lot of other ladies that I had seen working because I
[44:36 - 44:41]
always think that women on stage are far more vulnerable and they open
[44:41 - 44:46]
themselves up much more than men. Who this still a lot of. I think
[44:46 - 44:51]
Role playing on stage for men there's a subliminal You must be
[44:51 - 44:55]
macho number going on. God knows I don't have but I mean there's
[44:55 - 45:00]
that. And ladies on stage are very strange Heidi Bree and Judy was
[45:00 - 45:02]
the best of them of course.
[45:02 - 45:07]
But she was from. From the lyrics that you wrote she was especially vulnerable and I
[45:07 - 45:09]
guess this was towards the end of her career.
[45:09 - 45:11]
Yes this is when I was.
[45:11 - 45:16]
I when I saw her at the end and she was especially vulnerable then she'd been through
[45:16 - 45:20]
bouts with alcohol and and was I suppose more and more I don't really I
[45:20 - 45:23]
remember that because I was you know a bit younger.
[45:23 - 45:28]
But the point I really want to make in the song was just that. Even
[45:28 - 45:32]
she was much better than any one of the best.
[45:32 - 45:37]
OK well Bill lets the song Say what you have to say for it for her
[45:37 - 45:41]
and for for the whole feeling. We thank you for being here tonight. I
[45:41 - 45:45]
enjoyed seeing you so much and I enjoyed even more chatting with you and I wish you luck on
[45:45 - 45:50]
November 22nd at the Warner Theater. Peter Allen on a number records
[45:50 - 45:55]
the album is it is time for Peter Allen in addition to a couple of other albums Continental
[45:55 - 45:57]
American which is a song that I wanted to get to but I haven't gotten to.
[45:57 - 46:02]
Didn't didn't have time to go to bed after I go. And also taught by experts
[46:02 - 46:03]
Peter Allen.
[46:03 - 46:07]
Thank you for being with us today and thank everyone on campus to fill us in because I had a really good time
[46:07 - 46:11]
tonight. OK. Thank you. Thank you.
[46:11 - 46:20]
Aaa.
[46:20 - 46:36]
Right when I was working there I wrote a little
[46:36 - 47:07]
song to Judy Garland and it's called quiet place.
[47:07 - 47:35]
But.
[47:35 - 47:45]
Give me your.
[47:45 - 47:52]
Help. Or let's sing.
[47:52 - 47:56]
Of the song. For
[47:56 - 48:08]
the.
[48:08 - 48:13]
Choir. That's a person out
[48:13 - 48:16]
there. She's. Been honest through.
[48:16 - 48:25]
The song. Boy your consciousness was raining.
[48:25 - 48:28]
Down. The rain.
[48:28 - 48:51]
More like. My. Fourth. Son.
[48:51 - 48:58]
Get one.
[48:58 - 49:02]
Right.
[49:02 - 49:15]
AS.
[49:15 - 49:35]
You can on.
[49:35 - 49:38]
My. Back.
[49:38 - 50:12]
It's my.
[50:12 - 50:51]
Life.
[50:51 - 50:53]
I am.
[50:53 - 51:15]
Thank you.
[51:15 - 51:21]
Thank you. Thank.
[51:21 - 51:21]
You.
[51:21 - 51:52]
That's the exciting and entertaining Peter Allen and
[51:52 - 51:58]
from his new album it is time for Peter Allen song dedicated to
[51:58 - 52:05]
Judy Garland. We'll be back with the news in just a moment then we'll get back to you know in only.
[52:05 - 52:09]
88 lost music a diversity of sounds throughout the week whether it's classical rock
[52:09 - 52:10]
jazz or bluegrass.
[52:10 - 52:20]
You'll hear it on w you.
[52:20 - 52:25]
On weekends there's contemporary jazz with sound color and the new thing with music show
[52:25 - 52:30]
Jazz revisited in jazz anthology play the old sounds and the overnight express mixes it up with
[52:30 - 52:35]
rock and roll. We've got bluegrass to Sunday through Thursday with Gary Henderson and maybe
[52:35 - 52:40]
daily and on Friday as Jerry Gray plays country to Ed Merritt features concert
[52:40 - 52:45]
music week days on measure by measure and Mike watch and Tom Carson close call works
[52:45 - 52:47]
in praise of music each Sunday.
[52:47 - 52:50]
And there's much more. The 78 group barbershop quartet.
[52:50 - 52:52]
Big shout at Holloman.
[52:52 - 52:57]
Find out about all the music at our monthly program called 6 8 6 2 6 9 0
[52:57 - 53:02]
4 sample copy and listen to the music plus listener supported public
[53:02 - 53:04]
radio.
[53:04 - 53:09]
I like to thank Peter Allen once again for dropping by. I certainly enjoyed his visit. Hope you
[53:09 - 53:13]
enjoyed it too. It's six after two and WMU FM and Washington D.C. Lee
[53:13 - 53:18]
Michael Dempsey with you on the overnight express in the latest news Attorney General Bell says a law
[53:18 - 53:23]
explosion is overwhelming the nation's courts causing civil and criminal trials to
[53:23 - 53:28]
take longer and cost more. In a speech prepared for delivery to an American Bar Association
[53:28 - 53:33]
meeting in San Francisco Bell warns that the overwhelming case loads in the court rooms
[53:33 - 53:38]
may cause important rights to be lost. Left wing militants battled
[53:38 - 53:43]
with riot police in several. Italian cities Saturday. The
[53:43 - 53:48]
fighting broke out after the protesters. Defied police orders against
[53:48 - 53:53]
demonstrators demonstrations. Police say more than 190 people were arrested and many were injured
[53:53 - 53:58]
in Rome Turin Milan and other cities. The doctor for
[53:58 - 54:03]
two women who died after starting a liquid protein diet says he still has faith in the weight
[54:03 - 54:07]
reducing program. But Dr. Clayton Bennett has taken all his patients at a Rochester
[54:07 - 54:12]
Minnesota clinic off the diet until an investigation is completed. All 200
[54:12 - 54:17]
patients have been told to return.
[54:17 - 54:23]
Well. Anyway I can't read that. Sometimes the AP machine screws
[54:23 - 54:27]
up anyway. Comedian Richard Pryor is returning to his California home after spending most of the
[54:27 - 54:32]
week in a Peoria Illinois hospital. Hospital officials have refused to release any
[54:32 - 54:37]
information about Prior's illness but his grandmother who lives in Peoria says the 36 year old
[54:37 - 54:42]
TV and movie star had suffered a heart attack. You know
[54:42 - 54:47]
that other show business news officials rather actress
[54:47 - 54:52]
Judy Carne has been charged with drug abuse and illegal possession of a
[54:52 - 54:57]
prescription. The Sock it to me girl of the old Laugh-In TV show was released on bond
[54:57 - 55:02]
after spending several hours in the Hamilton Ohio county jail. She was arrested after
[55:02 - 55:06]
appearing at a dinner theater near the Ohio Indiana state line on Saturday.
[55:06 - 55:11]
Miss Carne says the whole thing is a terrible mistake. I'm sure it is
[55:11 - 55:15]
and she will be proven innocent. That's that's her own words.
[55:15 - 55:22]
Washington weather freeze warning out for this morning fair and breezy and cold closed 25 to 30
[55:22 - 55:26]
to Sunday partly sunny breezy and cold in highs 40 to 45. Sunday
[55:26 - 55:32]
night fair very cold lows 20 in the outlying suburbs and 30 in the city.
[55:32 - 55:37]
And Monday looks like a sunny day but continue chilly with temperatures 45
[55:37 - 55:41]
to 50. Chance of rain 10 percent this morning and near zero
[55:41 - 55:46]
through the rest of the weekend and into Monday. Currently it's 32 degrees here in
[55:46 - 55:51]
northwest Washington on the campus of the American University. Before Peter Allen
[55:51 - 55:56]
arrived we were starting to track the new gene of a Nelly album. And we got through two cuts and
[55:56 - 56:01]
we'll finish it off now another thirty two minutes of music from Geno Benelli here NWA and you
[56:01 - 56:02]
FM in Washington.
🔍
This program has been transcribed using automated software tools, made possible through a collaboration between the American Archive of Public Broadcasting and Pop Up Archive. Please note that no automated transcription is perfect nor is it intended to replace human transcription labor. If you would like to contribute corrections to this transcript, please contact MITH at mith@umd.edu.