Fresh Air - Guitarist Lenny Kaye on Patti Smith, Nuggets, and his solo debut

Episode Date: July 9, 2026

Kaye's collaboration with Patti Smith began in 1971 and continues to this day. He says she taught him to trust his musical sensibilities — and to always keep evolving. Now 79, he has his first solo album, called ‘Goin’ Local.’ He spoke with Terry Gross. Subscribe to our free weekly newsletter Follow us on Instagram Subscribe to our YouTube channel Check out the Fresh Air ArchivesSee pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

This is fresh air. I'm Terry Gross. My guest, Lenny Kay, has been Patty Smith's guitarist since their early days when he was a rock critic and she was doing poetry readings. In 1971, when Smith decided she wanted guitar accompaniment for her next reading, it was Kay she asked to join her. With the exception of her long breaks from performing, their partnership continues to this day. Lenny Kay has played with other bands, but finally, at the age of 79, he has a new solo album of his own song. songs. It's called Goin Local, and it will be released July 17th. It shows off his versatility as a guitar player and songwriter. I also love his singing. There's some scorching guitar, tender ballads, and songs that made me smile and laugh. Lenny Kay is one of those people who seems to know everything there is to know about rock and pop music. He's written several books related to rock and roll history, including his latest, lightning striking, about 10 transformative periods in rock history, and the cities they originated in.

His record anthology Nuggets, original artifacts of the first psychedelic era, 1965 to 68, inspired many first-generation punk rockers. Next year will be its 55th anniversary, and it's still considered a classic. As proof of his open mind, musical curiosity, and wide-ranging taste,

he wrote a book about the crooners, the singers from the early days of the microphone, which allowed them to sing in more intimate voices, like Bing Crosby, Rudy Valley and Russ Colombo. Lenny Kay, welcome back to fresh air. It is always great to have you on the show, and I love the new album. Oh, thank you so much, Terry.

It's great to be fresh aired. Your guitar playing is so good in so many different styles. And I want to start with a song going local. Because this is like the real high-energy song on there, and I love your guitar playing on it. So can you talk about writing it at all? Well, a lot of these songs come from my personal experience as a living being on the Lower East Side. I like to stay out late sometimes.

You can often find me at 3.30 in the morning dancing to white wedding at a local bar. But, you know, it's just a song about hanging out in your neighborhood. And it's probably the most rock-oriented song on the record because a lot of the songs on there started with me on the couch with an acoustic guitar, amusing about a situation, or thinking about a relationship, or just kind of growing from a more acoustic thing. A lot of the songs are personal and actually somewhat vulnerable. Yes, to all of that, and we'll hear some of those a little bit later. So here's Going Local That's Lenny Kee from his new solo album That's about time you'd treat me this way

Not the type to talent show it Looks like we got the devil to pay Inside Away That's Lenny Kay from his new solo album We heard the title track, Going Local It's about time you made your own album Why did you never do it before and why did you do it now? Well, Terry, I've been slightly busy

I can only really deal with one thing at a time. And also, I didn't quite know how to present myself. This is a different side of what people might expect from me. I felt like these songs kind of had a theme, which is who I am at this very moment in time. And I like the fact that there's a progression of my musical consciousness that's reflected in this album.

I do a lot of things, and a lot of times I kind of duck into somebody else's soundscape, but I thought it was time for me to really understand who I am as an artist, and I wanted artistic closure for some of these songs that I've come up with over the last, you know, at this point, 10 or 15 years. How do you think you've changed musically in what you want to say and what you, what you, what you want to hear. And I'm thinking, like, is it in part age, experience? I think it's less age and more experience. I've been through so many musical genres in my time.

I've sung to you some of the great crooners. I love country music. I'm a passable pedal steel guitar player. I love heavy music. I have a band called The Drift My Side Project, which is kind of a power trio that accesses the darker side of my personality. But I thought that in a sense, these songs show a personal thing. When I played them for Patty, she said something to me, which I thought was good. She says, I've never heard you sound like this.

And I'm all about the future, Terry. I mean, I have to say, I have a long list of things. I've done in the past, but to me, that's the past. I really like the fact that I've given myself a new persona that I can pursue and understand who I am at this point in my life. Well, I want to play a song that I've never heard a song like it. I've never heard lyrics about this subject before, and it's a really reflective song. It's called The Things You Leave Behind.

and it seems very autobiographical, because it's an important about as you're getting to the end of the line, what do you do with all your stuff? What do you do with all your records? What do you do with the stuff in the storage lockers? Does anybody want to inherit it? Should you be selling it? Like, donating it?

My daughter always says to me, she says, Dad, what are you going to do with it? It's all going in the dumpster. Well, I don't think so. Not the dumpster. No, no. Please, not the dumpster. No, no.

I mean, you know, I call my accumulation the museum of me because, you know, I look at all the books, some of which I'll never read, but I like seeing their spines on the shelf. Of course, you know, the accumulation of records, which is a curation of a sort. And any time I get rid of a record, I want to hear it a week later. And the song was birth when someone I knew passed on, and I was given the honorary and honorable job of moving their stuff out. And I thought, man, this is, you know, it's a great responsibility to make sure that somebody's sense of curation is honored. Yeah, well, let's hear it. This is the Things You Leave Behind, written and performed by my guest, Lenny Kay, on his new album, Going Local.

Sooner we'll find that we've made it to the end of the line. It gets heavier every mountain you climb. It's the things you leave behind. It's been one of those years when people keep passing into the past. That's still here going to pick up the pieces of your life and theirs Who gets white and why

We all can't That would better be left By the side of the road Books and records Old clothes and photos But sooner or later That's the things you leave behind from Lenny Kay's new album Going Local

Which will be released next week What's your plan for the things you leave behind? for the records and books. Do you want to, like, donate it to an archive? Do you want to sell it? Do you want to bequeath it to somebody? I mean, actually, I'm amused by the fact that Tom Verlaine's book and record collection have been kind of put out into the world.

Discogs just sold a thousand of Tom's records. They had an event where you could go and buy a Tom Verlaine book. I'm not that, you know, I mean, who knows? That's kind of a prideful thing that anybody would want a record that I personally scratched after listening to it for a hundred times. And to be honest, you know, when the time comes and it gets dispersed, I won't know anything about it. I'll be up there with the great, you know, file cabinet in the sky thinking,

oh, man, I want to hear this record. My husband decided before he died that he wanted most of his collection, thousands and thousands and thousands of albums and CDs sold so that record buyers could experience the pleasure he got from buying the records, from searching for them, finding them, buying them, listening to them. I thought that was something really wonderful about that sentiment. They will return to the great flea market in the sky.

You worked at Village Oldies, which was a famous record store in Greenwich Village. Yeah, so what did you get out of working in a record store? Since you're so obsessed with music and with recordings and with making them, I got a lot of records on that. I like to joke that I would. Well, you know, I like to say that I worked for $10 a day and all the records I could slide out the door. You know, you get a sense of the expanse of recorded music, which is a beautiful thing.

I mean, in my Kruner book, I got to investigate a world that I didn't personally experience, you know, to understand how in these 78 grooves, an entirely new music was being invented. my lightning striking book is more my personal journey through the many transformative moments of rock and roll. You know, it's funny because I think at the same time you were working at Village Alties, which was a stop for, you know, like serious record buyers and also just like people in the neighborhood, tourists. but it was a very, you know, alternative kind of culture. But you also had a band, and I think at the same time we're playing for fraternities, which seems like a really different culture than Village Oldies culture. Do you feel like you lived in different worlds at the same time?

Well, I believe that it's all the same culture. When you're playing in a band that playing in a fraternity party as the zoo did. That's the name of your band, yeah. Yeah, the zoo. Bringing down the, you know, for your very own horror show, I think, was our thing. We had dancing girls called the Zulus. I know. What can I say?

You can apologize later. Okay, thank you. But, you know, you'd play shout for 20 minutes, and the Fraternity brothers would be swimming in beer on the floor. And that's a great response. You know, music releases us. Music elevates us. Music illuminates us. You know, and no matter the day.

different styles, this is what I've really found, given all my many, you know, investigations into different genres, is that it's all kind of accessorizing because the basic reasons for a song stay the same. I want love. I don't have love. I'm sad. I've lost love. Who am I? I'm peaved at the world. All of these things are universal. And no matter the day, decoration or the genre or how it's presented. These are the elements of why we sing. And I'm, of course, quite blessed to be part of those who sing and see it come back to them in the response of the audience.

Let's go back to the beginning. Your first instrument, as far as I know, was accordion, which seems like an unusual choice, if it was a choice. I don't know whether somebody chose it for you. What's the story behind accordion? My dad played the accordion and the piano. I almost wish he would have started me on piano because when I was growing up and rock and roll was getting going, the accordion was not the most mobile of instruments. But, you know, after when I was about 10, I stopped playing it. And then I picked up the guitar when I was getting out of high school. And that one, you knew that was the one for you.

Well, you know, folk music was happening. I originally wanted to be a lonely folk singer in the backyard. But in February of 64, the Beatles came on the Ed Sullivan show. And in that seismic moment, that's when I bought my first electric guitar. I want to talk about your first brush with professional recording. Your uncle, Larry Cusick, was a lyricist. Your family name was Kusikov, if I'm pronouncing that right. Yes.

Your father changed it to K. Your uncle changed it to Kucic. And he was a lyricist. And among the things he wrote the lyrics for was the love theme from the Godfather, which was a hit for Andy Williams in 1972. So let's just hear a little bit of that. Speak softly love and hold me warm against your heart. I feel your words

The tender, trembling moments start We're in a world Our very own Sharing our love That only few have ever known Wine-colored days Worned by the sun Deep velvet nights

when we are one I love that line wine colored days kissed by the sun warm colored nights my uncle was my uncle wrote a lot of 60 70 I have 45s

you know that nobody ever heard he was a journeyman songwriter and when I was 18 he knew I was in a band and he called me up and he wanted to jump on the eve of destruction bandwagon and write a folk protest song. And so he had me sing it over the phone. The next thing I knew,

I was in a recording studio, first time ever in Times Square, being Link Cromwell. Yeah, your pseudonym for the recording was Link Cromwell. Is that Link as in Link Ray? I was just, you know, they had, you know, 25 first names, 25 second names. I might have been Link Saunders at one time. So it was like, like, choose one from column. A and one from Column B. But yeah, I like Link because it's kind of like Lenny K. I mean, you know, it's got the same and the L and the K in there.

Well, let's hear the recording that you made for your uncle. And this was, you know, professionally released. And it's called Crazy Like a Fox. So this is my guest, Lenny K, under the name Link Cromwell. Call me neurotic

and say I'm psychotic because I let my head grow along. Say that I'm afraid. Crazy and they call me lazy because I don't like to work all day long. Crazy, black of fox. Easy, black of fox. Because wild. The inside.

On the outside. Oh, yeah. Foxy. They call me neurotic and say I'm psychotic because I let my hair grow long. Your hair is still pretty long. Yeah, you know, thank you, DNA. I mean, I remember when growing your hair, hair long could get you in really big trouble. I remember that too. Why did you keep it that way?

Why is it still long? I don't know. I just like it. It's getting good in the back, as they say. I cut up every once in a while when I feel like my hair is wearing me. I cut it back so I get the proportion right. But I don't know. I just like it. It's who I am. What did that recording do for you in terms of your sense of identity as a possible like real professional recording artist. Well, it gave me a sense of who I could

be even though I didn't dare think about it. You know, it gave me a sense of purpose, one might say. But thank God it wasn't a hit because if it was a hit, my life would have really had a different arc. You know, I would have had that million seller, you know, gotten a

drug habit, been found on the streets, of San Francisco. Or playing at Oldies Festival. Yeah, I might be on PBS's for protest singers of the 1960s. But I believe the musical gods had different ideas for who I might become.

Well, let me reintroduce you here. If you're just joining us, my guest is Lenny Kay, his new solo album, which is his first album on his own, is called Going Local. It will be released next week.

We'll be right back after a short break. I'm Terry Gross, and this is Fresh Air. This is Fresh Air. I'm Terry Gross. Let's get back to my interview with Lenny Kay. He's Patty Smith's longtime guitarist. His first solo album, called Going Local, will be released next week. It features his own songs.

He's also known for curating the anthology Nuggets, original artifacts of the first psychedelic era in 1965-68. It's credited with inspiring many performers from the first generation of punk rockers. Next year marks its 55th anniversary, and it's still considered a classic. Early in his career, Kay was a rock critic. He's continued to write about music through liner notes and several books. His latest book, Lightning Striking, is about 10 transformative periods in rock and roll history

and the cities they originated in. Earlier, we were talking about Kay's uncle, Larry Cusick, who was a lyricist. He wrote the lyrics to the theme from the godfather, Speak Softly Love, and for the love theme from Romeo and Juliet, a time for us. He even wrote lyrics for a quasi-protest song that Lenny Kay recorded under a pseudonym after his uncle auditioned him by having him sing the hit protest song, Eve of Destruction. I've been thinking what it might have been like for your late uncle, to want to like, you know, ride the crest of this like folk protest music movement

and ask you, his nephew, to sing Eve of Destruct. which was an anti-war protest song. Because it wasn't his generation. His generation was more Andy Williams and not, you know, not the music of young people. Do you think about that a lot? Like the dilemma he was in wanting to write popular songs

but not being a part of that generation? I don't think he cared. He was a journeyman songwriter. How he got, Speak Softly Love was that probably The publisher had this track by Nino Roda, and they asked him to write English lyrics. He wrote The Bell That Couldn't Jingle with Bert Baccarac. He wrote The Love Theme from Romeo and Juliet, A Time for Us. He was just a writer, and the nicest thing about my record is that I asked him toward the end of his days if he had any lyrics.

I said, Q, I'm a musician. You got any lyrics? And he gave me a sheaf of them. And toward the end of his life when he was in the hospital for quite a while, and I kept asking his wife, I said, I'd like to see my Uncle Q. And she said, oh, wait a little he gets better. And I knew he wasn't getting better. And then one day I just took these lyrics and I put the ones called, yes, I will,

the most simple of lyrics on the music stand and I started playing it the chords fell to hand and at the end of it when it starts repeating the yes I will yes I will I just burst into tears and I said I have to see my Uncle Q and I went up to the hospital

and he was there and he was very frail and I sang it to him and he said thank you very much and the next morning I got a call that he'd passed on. So I got to show him a little love and respect very much at the end. This is also one of my favorite tracks on the album.

And it's a tender, beautiful song and sung with such tenderness. And also, it's a song that I think you can sing to someone you're in love with, a romantic partner, or to a child. Absolutely. I mean, it's a song that is, so simple and yet conveys so much emotion. I actually marvel at it and it's probably for me,

true expression of my uncle's gift for making a lyric that touches, goes directly to your heart. Just no, you know, just no stopping right there. Started beating. So let's hear it. This is Yes I Will from Lenny Kay's new album Going Local. If there's anything I can do for you, I'll always come through for you. I'll make your dreams come true for you. Yes, I will, yes I will, yes I will. And when things go wrong for you,

I'll always hang on strong for you, I'll always hang on, for you. I'll write a happy song for you. Yes, I will. Yes, I will. Yes, I will. Be there when you help you work it out. That was Yes, I Will, with music by my guest, Lenny Kay, and the lyric by his late uncle.

And it's on Lenny Kay's new album called Going Local. We'll be right back. This is Fresh Air. This is Fresh Air. Let's get back to my interview with Lenny Kay. He has his first solo album, and it features his own songs. It's called Going Local, and it will be released next week. So you started off as a rock critic. You were still playing, you know, in a band, but you were a rock critic, you were reviewing records. You wrote for all the pop magazines, but you also wrote for men's magazines. It's through an article that Patty Smith first got in touch with you. This was a I think in 1971 or two, and you'd written about Acapella music or duop. What did you love about the music

and what did she love about the article? It touched Patty very much because it was the kind of music that she listened to growing up in South Jersey and Philadelphia. We both enjoyed Jerry Blavitt to get her with the heater, the boss, with the hot sauce,

playing beautiful, beautiful group harmony. And when I was growing up in Brooklyn, I would see the older kids on the corner hitting notes, as it were. And I was the first music that touched my soul. I once had hopes to be a high tenor in a duop group. Of course, I've completely lost that part of my vocal range, so I'll never achieve that one. But when Patty called me up about this article I'd written for Jay, which was about a very niche thing. Acapella music was duet music without, of course, musical instruments,

but it was specialized from oldies stores. And this is like 1963, 1962, which meant that the music was already past dated. And of course it would be knocked off the charts by the English invasion. But I wrote this article, and that's when Patty first called me up, and she said she was moved by it, and that's when she started visiting me at Village Oldies. And I'd put on our favorite records, my hero by the Blue Notes, Today's the Day, Maureen Gray, Bristol Stomp. And we just became friendly, and that's where she asked me to join her at St. Mark's Church for her first poetry reading, because she wanted to shake things up a little bit.

Can you describe what that night was like, your first time playing with her? And not that many people were doing like music behind poetry? Patty didn't want to do a standard poetry reading. We were opening, quote, unquote, Gerard Malangas. So there were a lot of Warhol people there. There were a lot of music people. It was kind of a cross-section of downtown, but Patty felt that if she just did a standard poetry reading Gregory Corso would be up in the balcony, you know, you know, saying, come on, liven it up.

And so she wanted to, you know, have a little action. I went over to the loft where she was living with Robert Mabelthorpe and she read me her poems and I just kind of put some rhythmic energy behind the poems and we went there and did it. It was not meant to be anything. We didn't even perform again together for another two and a half years. It was more like an art event. But it was very well received. Again, it was so casual. New York at that time was just a hotbed of artistic creativity,

theater, film. You name it in that little 10-block circuit of the East Village, so much was happening. And this was just another night of going out and, you know, putting on a performance. I always marvel at the fact that we didn't think of it as, oh, hey, let's have a band. I mean, we didn't have a band for another three years. We developed organically, and that to me is what made us so special. We sounded like ourselves by the time we had all the pieces of a real band.

On your first album together, you do Gloria. And it reminds me of Charlie Parker's early recordings in the sense that. Wow, thank you. And here's why. I mean, both Gloria and Charlie Parker, they start a movement. I mean, Gloria is so punk and it inspired so many punk rockers. And Charlie Parker inspired like every jazz musician. And so you'd think when you listen to them that it would sound like everything.

since so many musicians pattern themselves on it. But both those early Parker recordings and Gloria, every time I listen to either end of those, it just sounds so radical and so fresh and new and energized. Can you talk about recording it together, what it was like for you to be doing something that was so different and so exciting? It didn't seem that different.

different to us. I mean, here we are, we were basically, we started out as a trio, myself, Patty, and the pianist Richard Sol. And what we would do, especially as we were beginning, would Patty would do a poem, we'd connect it with a song, and then she would improvise. And you could do that in the structure of this little trio, Richard Sol was such an accomplished pianist, except he could play Rachmaninov. He didn't want that, sure. He was used to accompanying cabaret singers, but he could also not show off and just hit those chords and keep things propelling, and I'm pretty much of a rhythm guitarist at that point. And so we would just explore these fields, as we call it. Gloria happened because Richard Hell had sold us his bass

guitar for $40 and Patty strapped it on and whacked the e-note and then she said, Christ died for somebody's sins but not mine, which was a poem of hers called Oath. And then I connected it with the most glorious of songs. Glory, of course, is not only the great Van Morrison song done by every garage band, but it was also a classic du-op song done by the Cadillacs, Esther Navarro. It seems to be a word that replicates and understands each other. And by the time we got in the studio, it had been sculpted into a kind of quasi-arrangement. But launching it in the studio was kind of made us aware that we were writing ourselves into history,

which is kind of daunting in a sort of. certain way and somewhat presumptuous. Well, let's hear Gloria from Patty Smith's first album Horses with my guest, Lenny K. on guitar. Jesus died for somebody's sins, but not mine. Mildenipat thieves while caught on my sleeve. Thick. Heart's doom

My sins my own They belong to me Me People say beware That's Patty Smith Lenny Kay My guest on guitar From Petty Smith's first album

Horses What did she bring out in you? She brought out in me A Sense of Trust In my own musical abilities. I'm not a virtuoso guitarist by any means, but she stayed with me and let me express my musicality. She helped me understand who I am as a musician and how it helped her understand herself as a singer because Patty learned how to sing on the stage with the band.

She also sensed a positive energy in me that I could go anywhere. I'm not hidebound by genre or how things should be done. And Patty, of course, is a creative force that continues to move ever forward. She's not one to rest on her laurels. She wants to see what happens next. And she encourages that in me. And I think, to be honest, that I have a solo album at this point of my life shows that I also understand that. That you have to keep evolving.

You have to keep moving forward. You have to be true to your art. You can't be blinded by fame or money. I'm a worker. That's really what she encouraged in me. She's a worker too. No matter what we did yesterday or five years ago or 10 years ago or at this point, 55 years ago, it's all about the future.

She has an expression. Progress isn't the future. It's keeping up with the present. And so I try to incorporate that in my life. Whatever I've done in the past, great. But what I'm really interested in is getting up and seeing who I am today and as it moves into tomorrow. Well, it's time for me to reintroduce you again so we could take a short break. If you're just joining us, my guest is Lenny Kay.

He's Patty Smith, longtime guitarist, has performed with other bands, and now has his first solo album. It's called Goin Local, and it will be released July 17. We'll be right back. This is Fresh Air. This is Fresh Air. Let's get back to my interview with Lenny Kay. He has his first solo album, and it features his own songs. It's called Going Local, and it will be released next week. So you're such a New York City guy. I think you were born in Manhattan, and you lived in Brooklyn, Queens in New Jersey. Do I have that right? Yep, yep. You're living in East Stroudsburg now? Yes, I am. I've wound up in Pennsylvania.

In the Pocono Mountains. Yeah, yeah. It's not that far from New York. It's an hour and a half drive when there's no traffic. There's a bunch of musicians who live there for that reason. You can get to New York to play gigs. But it's beautiful country up there. It's really nice. And it has, of course, the Delaware River, which is one of the great rivers of our time. I was just swimming in it two days ago when it was. was so hot. Among the musicians he used to live there was Bob DeRoe, the singer-songwriter.

Right nearby is the Delaware Water Gap. They have the deerhead in, and Phil Woods live there, Bob DeRoe. They have quite a little underground jazz scene. And it's just a nice place to be. I grew up in New York City, but when I first moved to Pennsylvania, there was a sign as you got over the border from. New Jersey, it said America starts here. And I believe that, you know, all of a sudden you're outside of the ring of one of the world capitals, New York City, and also in a certain

way outside of the ring of another world capital, Philadelphia. And you can see the expanse of the country, and it gives you a perspective on your life in New York, things that seems so important or less so, and also what the rest of the country might be feeling. thinking. On your song, let's make a memory. There's a line in the lyric that says, I don't know if I could live in this part of the country, but you make me want to try. Did you move there because your wife wanted to? Yes, yes, I was a little shocked. But we had a three-year-old daughter, and the East Village in the late 80s was not as gentrified or even habitable as it is now. When you have a three-year-old, you want them to go out and play

and not have to watch for shards of glass. So we went out there, and it took me a while to understand my place there, but I've come to love it. When your daughter was young, did you sing lullabies to her? Yeah, I actually sang The Beatles, if I fell. And when she got married for our dance, as it was, we played that song. Yeah, I would always sing to her little alibis. Did you try to shape her taste?

Impossible. My daughter, when she got old enough to get into the radio, we'd be driving along, and she'd hear a song with a guitar in it, and she'd immediately change the station to a hip-hop station. Oh, right. Which is great. Did you expect that there was going to be a generation gap musically? Because there was such a big one when you were growing up,

because rock and roll was new, parents were listening to Perry Como, and now, I mean, there is a generation gap with hip-hop. I always hope that there is a generation gap. I don't believe that music was, quote, better then. Music belongs to the moment. I would not want people to venerate the music that I grew up with it or even that I make now. I believe that music exists as the soundtrack of our present time. And often when I'm in the car, I listen to hit radio. I might not make music like that. I might not even understand how to make music, but I can certainly appreciate the cleverness and the skill

that goes into making the hits of the day. And so I would hope that when her kids grow up, you know, they're not going to be listening to what she did. They're going to be listening to the music of their generation. Well, I want to close with another song from your new album, and I want to play a friend like you. Would you talk about the song? A friend like you, I heard the original French version by Stefan Isher

when I was in Paris in the 90s, and I just loved the song. I bought it, and I brought it home, and I always thought I would like to write English lyrics. to this. And so I did. I recorded it. It's actually one of my favorite songs on the record, and when I finished it, I sent it to Stefan, and he loved it. So, you know, I guess I kind of did what my uncle did with Nino Roda's music. I took Stefan Isha's music and spun it into English. But is it a translation or a brown new lyric?

it's a brand new lyric I think the chorus is kind of like the translation because I had to figure out what that is but I just wrote a new lyric to it So this is a friend like you

from Lenny Kay's new album Going Local Lenny Kay it has been such a pleasure to have you back on the show Thank you If you forget about me far away

you know I will return of all the places I've been Or we'll see It's you that my heart yearns And in the darkest night You're a light A glow that never goes

You reach out to me Tenderly And so our story goes Because a friend like you A no, no, no Don't have a friend Lenny Kay's new album, Going Local, will be released next week. If you'd like to catch up on interviews you missed, like this week's conversations with Peter Asher from the British Invasion duo Peter and Gordon, who also produced James Taylor and Linda Ronstat, or journalist Ari Berman on the latest developments in voting rights, or Rachel Aviv on tensions in mother-daughter relationships, check out our podcast. You'll find lots of fresh air interviews.

And to find out what's happening behind the scenes of our show and get our producers' recommendations for what to watch, read, and listen to, subscribe to our free newsletter at whi-y-y-dot-org slash fresh air. Fresh Air's executive producer is Sam Brigger. Our technical director and engineer is Audrey Bentham. Our engineer today is Adam Stanishefsky. Our interviews and reviews are producers. and edited by Phyllis Myers, Roberta Shorok, Anne Rebel Donato,

Lauren Crenzel, Teresa Madden, Monique Nazareth, Susan Yacundi, Anna Bauman, and Nico Gonzalez Whistler. Our digital media producer is Molly C.V. Nesper. Thea Chaloner directed today's show. Our co-host is Tanya Mosley. I'm Terry Gross.