Gilbert Gottfried's Amazing Colossal Podcast - Amazing Colossal Musical Memories (2014-2020)

Episode Date: February 1, 2021

Under the creative guidance of audio producer John Murray, Gilbert and Frank discuss and dissect some of the show's best musical moments from 2014-2020, with live performances by Neil Sedaka, Dennis DeYoung, Kenny Loggins, Tommy James, Mark Hudson and Tony Orlando (among others). Also in this episode: Anne Murray covers "Danny's Song," Uncle Junior interprets Yip Harburg, Rupert Holmes (almost) pays tribute to Humphrey Bogart, and Charles Fox composes the soundtrack of 1970s television. PLUS: John Davidson looks ahead! The Shondells go psychedelic! The legend of Morris Levy! Goldie Hawn falls for a Hudson Brother! And the Brill Building sound inspires the British Invasion! Learn more about your ad choices. Visit megaphone.fm/adchoices

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Ontario only. Gambling problem? Call Connex Ontario at 1-866-531-2600. BetMGM operates pursuant to an operating agreement with iGaming Ontario. With Ancestry, putting together

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and stories about your ancestors. Uncover new relatives and branches of the family with automated Ancestry hints. Connect the dots with access to millions of historical documents. And then share what you find in one central place. Visit Ancestry.ca and start discovering your family story today. Hi, this is Gilbert Gottfried, and this is Gilbert Gottfried's Amazing Colossal Podcast

with my co-host, Frank Santopadre. Over the course of 300 plus episodes, we've been lucky enough to have some legendary musicians, singers, and songwriters join us in the studio and occasionally out of the studio. So we decided to celebrate all those artists by putting together a special best of episode featuring some of our greatest musical moments over the last seven years with the help of our talented audio producer, John Murray. Frank and I will be

introducing clips as we go along. We'll do our best to remember specific moments and highlights as we bring you some of the most memorable stories behind the songs. So sit back, crank up your podcast machine, and enjoy the best of the amazing Colossal Podcast Musical Moments and Memories. That was such a beautiful intro. Yeah. That was such a beautiful intro. Yeah. One take. They call them in the business one take Gottfried.

So Gil, yes, we are doing something that we've wanted to do for a very long time. We've had a million wonderful musicians over the years, over the seven years that we've been doing this. This was actually audio producer John Murray's brainstorm. John Murray doesn't have brainstorms. It's more like a light drizzle. Gee, thanks. I don't see him smiling. He's got chloroform in a black van, Gilberto. Be very, very

careful. Whenever we do these clip shows, these sort of best of shows, I feel like we should be wearing tuxes like Johnny and Ed used to do when they... Oh, yes. ...do the anniversary shows. And Doc would wear some powder blue tuxedo.

Anyway, let's get started with these. We think this is a fun idea for a show. And John came up with the idea, as we said, and he's the one that's going to be assembling this. But we're going to start with somebody that John actually introduced us to and brought to this show, and that is our great friend Rupert Holmes. Yes. One of our favorite people, a Renaissance man. And Rupert joined us in the old studio at Nutmeg,

and Gilbert was on his best behavior, waiting until he could get to the Pina Colada song, weren't you? And he told us a story about the Pina Colada song, with some information that some of you guys might not know, or if you heard the episode, might not remember. There might even be a sing-along. Oh, yes. There's got to be a sing-along or else I don't show up. There might be a special guest singing on this one. But also, one of the things Rupert talks about is what the song was almost about. He's going to reveal what that was. And some of you who even heard the episode may not remember.

So here is our wonderful pal, man of a thousand talents, Rupert Holmes. The story of this song has been told many, many places. It had to do with Martin and Lois. No, it didn't. Rupert's going to tell us how it had something to do with Bogey originally. Oh my God, very good. Okay, what you have to understand is I

had a track for which I had no lyric. How that happened is an entire story that we would have to do another time. We'll do it. But it was the night before I had to record the vocal on a track with a pre-existing melody, but I had no lyric. And so I

wrote a lyric at 1am and went to the studio to sing this lyric. And the chorus went, If you like Humphrey Bogart and getting caught in the rain. There you go, Gil.

Original lyric. Wow. And you think sometimes about how your life, for better or for worse, can hinge on something you did like that. Yeah. And we've all, I'm sure, had moments where we said, if I had just gone there, I wouldn't have. And I've got the lyric in front of me. If I had just gone there, I wouldn't have. And I've got the lyric in front of me.

And I think, now this couple in the song, they're looking for an escape because the title of the song was Escape. There was no. And I said, I've done so many movie references. Maybe that's getting a little, you know, a little too monochromatic here. So this couple, what they want is to get away from their normal lives and sort of as if they were on a vacation in the islands. And I thought, well, when you go on the islands and your first day of your vacation, you would never order on the beach a Budweiser. You would never say, I'll have a Budweiser. You always want to have something that demarcates the fact that you are officially on vacation. You're in the islands. So I thought, what are the escape drinks? And I thought, Mai Tai, Daiquiri, Pina Colada. I'd never had a Pina Colada in my life. And I said, let's see,

if you like Humphrey Bogart, no, if you like Pina Coladas, it's okay, Pina Coladas. And five seconds later, we rolled tape. And every time I looked at the lyric and it said Humphrey Bogart, And five seconds later, we rolled tape. And every time I looked at the lyric and it said Humphrey Bogart, I sang Pina Coladas. And which caused me to then later add a kind of tropical instrumental break in it to make you feel like you're in the islands, which I would never have added if it had been about Humphrey Bogart. So the song eventually, the label came to me and said, you know, you've written this song about, people are asking for this song about Pina Coladas. And you call the song Escape. Can we put, make it Escape parenthesis the pina colada song and i said compromise my artistic integrity they

said they said yeah well it won't sell i said okay it's the pina coladas so it just that that one switch um changed the fate of this changed everything yeah a lot of things yeah yeah but i want to i want to hear this sterling rendition. This is a karaoke version. Yeah. This isn't mine. I'm sorry. All right, here we go. I apologize.

Without shame. I was tired of my lady. We'd been together too long. Like a worn-out recording of a favorite song. So while she lay there sleeping, I read the paper in bed. And in the personal columns... I'm laughing because I know what's coming up.

There was this letter I read. Take it. If you like being a galada and getting caught in the rain. If you're not into yoga. If you have half a brain. He's all slow. If you like making love at midnight. Pick it up, Gil. In the dunes of the Cape.

Then I'm the love that you look for. Write to me and escape. And in the category of song ending career. The nominees are. Wow. Career-ending songs. Career-ending songs. Oh, Lord.

Well, it's safe to say it's never been that way before. Now you know how Jimmy felt when he did Wichita Linemen. When he did Wichita Linemen, one of the most beautiful songs ever written. It's not anymore. You know, you dream of these things. You dream of these opportunities. I remember when Bud Abbott said, if you ever cared about any of our films, just put a dollar in an envelope and mail it to me. And you can reach me. Yeah, this is that moment.

Oh, no. It's come to that. Gilbert, you know, I've always treasured your voice, and to think that I just put words in your mouth and that you were doing my thing, it's all been building to this, really. He sang with Paul. He sang Rainbow Connection with Paul.

He sang Richard Tall Lineman with Jimmy. Wow. What else? What did I miss? Oh, Don. Oh, what did I sing? With Ron Dante, Sugar Sugar. Oh, yes. Oh, that would have been good. And I crushed a version of the locomotion.

Just crushed it. I'm usually I usually have something to say, but I have to tell you. I never saw a guest blush this much either. Gilbert's a hero of mine, and it's kind of like, I don't know, Mickey Mantle saying, let me play basketball with you. Maybe you might have been better off with your chiropractor In retrospect

That was great Gilbert, thank you for doing that Thank you I believe ASCAP actually gets a I have to give them money back now I think I I owe them Tell us what's coming up I want to donate the royalties of this to a charity

That he has just created by virtue of the damage he's done. Gil, I think one of the nicest people in show business, for my money, and one of the nicest people we've encountered and had on the show is Tony Orlando. Tony Orlando was terrific. He like showed up in this little studio ready to do a show. Yeah. He was, go ahead. No, no. I just thought he, you know, he doesn't care if it's like Madison Square Garden or the two of us. He's putting on the best show possible.

That's true. A consummate professional and a ball of energy. Yes. And we talked about Jerry Lewis, and we talked about his old variety show, and he had a million stories. You found out his dad was buried in a Jewish cemetery. That was the most important part of the interview. He told us. His dad was the only non-Jew buried in this Jewish cemetery.

It was fascinating. And I think the Jews in the neighborhood called him like Ladle or something. Oh, gosh. Now I have to go back to the whole episode and listen to that. Yeah. Yeah. It's all coming back to me. God, I mean, we did that one, I think, five years ago, maybe six years ago. But he was great. Wonderful, and he was trying to get you to sing on key. It was futile, but at one point, and you guys will hear this clip, and this, by the way, not to disappoint

Gilbert, but this is not an episode of Gilbert sing-alongs. We're getting those out of the way up front. But this is, like the Pina Colada song that you just heard. This is a great one. And Dara and I even joined in on this one. Yeah.

It was all hands on deck. His songs are so much fun. You can't help it. So this is former Brill Building door-to-door song salesman, Tony Orlando. Well, you know, with Tie a Yellow Ribbon, you had some, there were some complaints about that song. And I think the chief complaint was that Gilbert Gottfried wasn't singing it in duet with you. Oh, you heard about that?

Yes. That really got to you? Yeah, yeah. Was that in the Enquirer or something? Yeah! Wait, you hear that story? I didn't think it would get to you at all. Yeah, yeah. They've tried to keep it hidden. But he says to me,

he says, I gotta share something with you, Tony. He says, well, I don't know if, I hope Tony will sing with me. He says, maybe you should print the lyrics out just in case he doesn't remember them. I said, I have a feeling he remembers them. Are you familiar with Tyey Yellow Ribbon? I think so. Okay.

Are we ready? You want to sing it with me? Yes! In a minute. Okay, baby. You're coming up any second now. Go for it! Gilbert, I'm coming home I've done my time Now I've got to know What is and isn't mine If you receive my letter

Telling you I should be free. Then you'll know just what to do. Hurry. If you still want me. Get to it. If you still want me. Oh, I'm so impressed.

Tie a yellow ribbon around the old oak tree. It's been three long years. Do you still want me? Let me sing for a minute. If I don't see a ribbon round the old, old tree, I'll stay on the bus. Forget about us. Put the blame on me.

I know why she knows you. She sings like you, too. Go yellow and round the old, old tree. A hand for Gilbert. Yes, sir. This was a first. Show business. Oh, oh, that.

Wow. That's you, Gilbert. That was Dara singing it. It's not quite Tellman, Joyce. You know, I haven't had more fun. I'm going to tell you something, and I mean it. This is the same thing I told Dick Van Dyke. He sang with Dick Van Dyke.

I sang two duets with him, Put on a Happy Face and Supercalifragilisticexpialidocious. Oh, that must have been something. Yes, and I'm telling you the same thing I told Dick Van Dyke. I think I just came. Boy, it's easy for him, huh? She's jumping up and down. She's literally jumping up and down. I have a new nickname for him if that's the case.

We're calling him Sir Speedy from now on. I think that was the only time that I actually got to sing on the show. Not that anybody could hear me over Gilbert's dulcet tones, but God, that was a fun episode. That one was pure joy to do. Gilbert, what are your favorite people? And one of our favorite guests moving from nutmeg to earwolf was Neil Sedaka. Yeah, I remember I was during the whole show, I'm sitting across the table from him and thinking, I'm getting my own personal Neil Sadaka concert.

It was. It really was. And I had seen him in concert the night before at Westbury Music Fair. And when he got up and did a certain song at the concert, I turned to my wife and I said, Gilbert, Gilbert will go nuts. And Frank was at the concert. It was wonderful. And he told me, and I hadn't said anything to Frank about this when you heard the song.

And what was your reaction? You know, he's talked, what have we had, 260 guests on the show? He's brought up My Yiddish Mama probably 10 times with 10 different guests. Oh, was it Jessel? They used to sing it? Yeah. My Yiddish Mama.

Have you heard his Jessel? Yeah. And Sophie Tucker, I did a Yiddish album called Neil Sedaka sings Brighton Beach Memories. And I did it, My Yiddish Mama.

sings Brighton Beach Memories, and I did it. My Yiddish mama Es gibt nicht besser in der Welt A Yiddish mama Oh, wie bitter wenn sie fällt Wie schön und lichtig ist ein Hals Wenn die Mama's du The gorgeous song. Beautiful. Oh, thank you.

It's a gorgeous song. He's brought it up 20 times. I wish I wrote it. Now we got a live version. Not a dry eye in the house, Gilbert, when he did My Yiddish Amala. I was frozen when he was saying that. I really was. He should have cut it as a single.

We have a little bit more with the great Neil Sedaka here. We also talked about one of his hits, Calendar Girl. When we are having Neil Sedaka, I'm in the studio thinking, I'm going to be here with this musical legend. And the door opens up and in walks in like every old Jewish relative. He's like, oh, Gilbert, I'm so happy to be doing this show.

A lovely guy. He's just one of those guys that was, you know, it was a thrill to meet him. And as you say, there wasn't any pretense to him whatsoever. No. Just like a guy from the neighborhood. Yes. But both of us being from Brooklyn, guys we grew up around. Yeah.

Anyway, here's a little bit of Calendar Girl and a fun little tale that goes with it. I have to share with our listeners, Neil, too, that I was saying before, Yeah. Anyway, here's a little bit of Calendar Girl and a fun little tale that goes with it. I have to share with our listeners, Neil, too, that I was saying before, my wife and I saw you Sunday night at Westbury Music Fair. You were wonderful. Thank you. But when you played Calendar Girl and you took a break, you left the stage for a minute, you put up that wonderful video, which is possibly the first music video.

Yes. Of you in all of those changing outfits. You're like Cher, by the way. You changed outfits about 12 times in that video. Did your mom really compare you to Cary Grant? Yes. I love that. And the story is true.

I was having lunch in Los Angeles, and this gal walked up to me and said, I was Miss January in your video. This was just a few months ago. And I said, oh, really? And she said, yes. I said, I said to the audience, she was an old, she looked like an old, old woman, an old, old woman, but I look the same. Can you play a little bit more of Calendar Girl for us? Can we put you? I love, I love, I love my calendar girl

Each and every day of the year January It's not the year of five You're my little valentine I'm going to march you down the aisle You're the Easter bunny when you smile Yeah, yeah My heart's in a whirl

Love, love, love, my little calendar girl Every day, and so on and so on and so on Wow, wonderful. Gil, if you remember from that night, obviously we had a keyboard in front of Neil in the studio at Earwolf. It was just a big butcher block table with a keyboard that we plopped down in front of him.

And he did My Ittishamama to make Gilbert happy. The conversation eventually got around to how much the Beatles were influenced by Brill Building songwriters, Neil too, Neil among them. And I don't know how many people know that he wrote a song about and for John Lennon. And the story that was coming out was that there were American singers like Neil Sadaka who were like kicked out when the English invasion was coming. It was like, oh, we don't need them. We've got the English invasion. And yet the people of the English invasion, like the Beatles, were thrilled to meet these American singers, songwriters. That was the cruel twist of it, is that they knocked a lot of these guys off the charts, but they worshipped them. Yeah. And years later, you know, McCartney and Elton and a lot of other people befriended Neil.

And, you know, he was vindicated in a way because he found out they were all Sadaka fans. Yeah. And it's so funny because they came over and this country said, oh, we've had enough of them. And yet to the English invasion, they were thrilled. All of them influenced by by Brill Building songwriters to some extent. But here's a good story that Neil told us about writing this song, inspired by John Lennon and what he was going through at the time. A song called The Immigrant. So you had dealings with the Beatles later on.

Later on, we had parties. Elton had parties for us. And Paul McCartney was there, John Lennon. And I wrote a song dedicated to John Lennon called The Immigrant. Oh! Which was a top 20 hit. And it's strange. I wrote it with Phil Cody in 1976, and it's more relevant today than it has ever been. It really is.

Can I bother you for that? Oh, it's beautiful. Than it has ever been. It really is. Can I bother you for that? Oh, it's beautiful. Harbors open their arms to the young searching foreigner. Come to live in the light of the beacon of liberty.

The chorus is, there was a time when strangers were welcome here. Music would play, they'd tell me the days were sweet, sweet and clear. It was a sweeter tune, and there was so much room that people could come from everywhere. It became really... It's on this wonderful DVD. Yes. The show goes on. John was flattered that you... Yes uh yes we were on wnaw we we we did an interview together he said people always called me to say for a ask for a favor and he said neil sadaka you called me and said you

dedicated a song to me he was having trouble getting a green card because of the the drugs sure i remember those days, too. I remember when EJ the DJ, when Elton would DJ on local stations, and he played the hell out of your records. Mm-hmm. Yeah. That's all good stuff. Good stuff.

Yes. We will return to Gilbert Gottfried's amazing colossal podcast after this. Baseball is finally back. Get in on Major League action and swing for the fences with BetMGM, the king of sportsbooks. Log in or sign up to play along as BetMGM brings the real-time action. Embrace a season's worth of swings with BetMGM, your one-stop shop for all things baseball.

BetMGM.com for Ts and Cs. 19 plus to wager. Ontario only. Gambling problem? Call ConX Ontario at 1-866-531-2600. BetMGM operates pursuant to an operating agreement with iGaming Ontario. Treats for every celebration, big or small.

Make it easy and breezy with our legendary lineup of summer must-tries from the PC Insiders Report Summer Edition. Like our new flake-outs, there are delicious twists on the croissant donut with 24 layers of croissant flakiness twisted with fancy donut fun. Get ready to go all out for less. Speaking of the Beatles, and you know I love to do segues, tidy segues. We had early on in the run, and this is way back at Nutmeg, we had the very funny

Mark Hudson of the Hudson Brothers. Yes. Mark Hudson was one of those guests. I was in another room and he walks in. Oh, we were in the kitchen. Yeah, we were in the kitchen. Mark Hudson walks in and like does an hour of stuff before the mic is even on. He didn't even say hello. No. Or introduce himself. He walked into the kitchen and launched into a Joey Heatherton story. Yes.

Amazing. Amazing. Followed by Cher stories and all. I mean, he was just shot out of a cannon. Really funny guy. And he does a great Cher imitation, too. He does. He dated Cher for a while.

But he has a Beatles story, too. He was in Ringo Starr's all-star band for a while and recorded with Ringo, too. And so the Hudson brothers had a hit called So You Are a Star, which was based on the real life of his brother Bill Hudson, Bill Hudson falling in love with Goldie Hawn. And there's a little

Beatle influence here that he talks about as well. So check out part of our interview with the very funny, and we need to have him back, Mark Hudson. And so when does,

I'm just trying to, I'm trying to move gradually through this. And when does... So You Are a Star was before the TV show? It was. And So You Are a Star was Casablanca, which was Neil Bogart. And in that, in the early 70s, the act signed

Kiss, Donna Summer, Parliament, the Hudson Brothers. And we were like the first band on that thing. And that was just like what you think. Satin jackets, cocaine, it was all of that kind of stuff. And So You Are a Star, when Bill was having a crush on Goldie, he was so over the moon about it. Me and my own John Lennon-ness, I wrote this, so you are a star.

We happen to have a guitar handy. It's a pretend one. That's okay. So you are a star, okay. Nobody knows you like I do. You've got to love only me Very beatily. You've got to feel only me

Nobody knows you Nobody shows you the way that I do Very beatily. Neil Bogart flipped for it and said, That's great. Let's make it a single. And it was the demo. So it wasn't really like we went in like professionals. It was when I wrote the song, we went into the studio,

won light and put it down and it became a top 20 record. Now, the big joke is cut to 30 years later. I'm producing Ringo and we're mixing his album, Dave Gilmore from Pink, on his houseboat. And I'm back there at the piano. So you love a star? And Ringo goes, hey, Mom, that's very Beatles-y. And I went, yeah, I know.

That's what all the reviews said. Like Rolling Stones had the best kinetic pop since the Beatles. And it's a huge compliment. And he goes, let's do it for your mom. So I have a version now that's on my solo album of me doing So You Are a Star with Ringo Starr. That's great. Playing the drums when it was Beatle influenced. I mean, it goes to show you how the circle goes. You know, it's like you're trying to sound like John. No, you know what? It's interesting because Ringo got mad at me once. I

was singing background on one of his records. Mark, stop sounding like John, you bastard. I said, I can't. I'm just sounding like me. The fact that it is, I'm sorry. So I keep singing because it's the only thing I know. Either I go, when I sing high, it's more McCartney. When I'm lower, it's more Lennon. It's just my influence and what I am. By the way, I have to say that Mark Hudson

does one of my favorite Ringo Starr impressions. Oh, yeah. Right on. That was great. Here's a guy influenced by the Beatles as well. I'm doing these segues. John is laughing. Dennis DeYoung. Now, Dennis DeYoung was a recent show. We were not in the studio. This is a COVID episode. We had to record it during lockdown. Dennis was in his den in Chicago, and he got to talking about two of the big hits, the mega hits that he wrote and performed for Styx. Do you remember, Gilbert?

Oh, babe. Oh, how does babe go again? Oh, man. Babe, I'm leaving. I'm not going out of my way. Oh, that's it. Okay, okay. That's it.

Now I remember. Yeah, the one he wrote for his wife. What is really impressive about Dennis is what good voice he's in for a man of 73. And how he hits those high notes. A bunch of our singers amaze me that way. There are some singers you see on TV younger than they are, and their voice is gone. And some of the singers we've had on there, they're really in advanced years, and their voices are terrific. I wouldn't say that about you as a singer. You haven't lost a step.

So check out this double feature, if you will, back-to-back songs from the great Dennis DeYoung. Before I lose my voice... ... ... ... ... ...

... ... Lady, when you're with me I'm smiling. Give me all your love Your hands build me up when I'm sinking Just touch me and my troubles will fade Baby, from the moment I saw you Standing all alone You gave all the love that I needed

So shine like the shining rainbow Come on baby, come on honey Love shines in your eyes Thank you, ladies and gentlemen. Thank you. Wonderful. Wonderful. Delightful. That was the first song I ever wrote and sang by myself on a record.

And I wrote it about my wife. So I've had a lot of luck writing songs about my relationship with my wife. And she's only taken 70% off the back end. That's generous of her. Was that the first one you heard played on the radio? Was there a moment? We asked the musicians that have been on the show, Dennis. That moment where, there it is.

I heard one of our first songs on the first album and played a little bit on a radio station that didn't matter. But you have to understand, WLS was the most powerful radio station in America, located in the center of the country, 50,000 clear watt channel, broadcasted from Denver all the way to Little Rock. So to get on that station, it was a miracle.

So when he told me that, I went home, we're in this little house that we lived in, my wife and I and eight o'clock, there was a little radio on top of the refrigerator. We thought this can't possibly happen. And it came on and it was I just got the chills right now thinking about that moment. And we danced in the kitchen right there, a little kitchen, not really an eat-in kitchen. And anytime something good happens, we have to run to a kitchen and dance. It's just like a tradition that we, you know, because it was like, man. Now, another song we could thank your wife for is Babe.

Yes. The story goes like this. It was her birthday in 1979. She supported me. I thought, I'll write her a song. But is your wife listening? She's right demo with me. I want to give this to her and play it at a birthday party and nothing else. But it's not for sticks. So they said, yeah, we go. We do the demo.

No guitar players are there, so we don't put any guitars on it. And I sing all the background harmony parts. Nobody's going to hear it. Who gives a shit? Nobody's going to hear it. Who gives a shit? Nobody's going to hear it. In fact, I wrote it. I wrote it on the grand piano. We got in there.

The grand piano was out of tune. So there was a Fender Rhodes in the corner and Bobby Whiteside. I don't know who that is, but it was his. They rolled it out. I'd never played one. And I went, you know, I just started noodling and rolling tape. So I did it. I gave it to my wife and everyone at the party went, oh, my God. Oh, my God. That doesn't suck as much as we thought it would. So people started saying,

we love this song. We love it. It was just for her, not for nobody. And the demo became the song you've heard on the radio for 40 years. All those harmonies are me singing by myself. We were so afraid to change that record. All we did was Tommy Shaw came in and played a guitar solo. That's the record. So that's why there's no guitars on it. Otherwise, if I'd have brought it to Styx, we'd have sat in the room and recorded it much differently. And so it was just dumb, you know, the best kind of luck, dumb, stupid.

And that's what that was. So it was for her. And it went on to win the People's Choice Award for best song, which was pretty cool. How different would it have been if it had been a Styx song? Would it have been a power ballad? Yes, it would have been more guitar driven. And, you know, it would have cost more to song. Would it have been a power ballad? Yes. It would have been more guitar-driven. And, you know, it would have cost more. It would have to be the guitar players.

No. Okay. Everybody, are you ready? If I'm leaving, I must be on my way. The time is drawing in A train is going I see it in your eyes The love that needs your tears

I'll be lonely without you I need your love to see me through Please believe me My heart is in your hands Cause I won't be missing you Everybody! You know it's you, babe Whenever I get weary and I've had enough

Feel like giving up You know it's you, babe Give me the courage and the strength I need Please believe that it's you Babe, I love you Wonderful. Now, Gil, back in the nutmeg days, you know, one of the things we love to talk about on this show is the mob. Yes. Yes.

And the mob's influence on show business. Now, maybe you'll get ahead of me and see where I'm going. I know who. Oh, fuck, fuck. The something and something, what was his name? Fuck it. See, this is why I should send you the outline before the show. I know. Tommy James and the Shondells.

He wrote a book about it. Yeah, great book. And his memories of the mob were amazing. Yeah, Roulette Records, which Tommy was owned by the infamous Morris Levy. They ruled with an iron fist. And he said Morris Levy around his office would have baseball bats ready to bash someone's skull in at any point. Yeah, Capone-esque. If you guys like mob history, or even if you want to read a great book about rock and roll, pick up Tommy's book. And he tells a story. It's wild. In the book about they caught some guy

who was like putting out copies, his own copies of their songs. And he came over with a baseball bat, smashed all his machines. And he's and the guy's crying. He goes, I'm just doing this because my son's in the hospital. He needs an operation. And Morris Levy, a killer and gangster, says, okay, we're going over there now. He better be in the hospital or you're in trouble. They found out he was in the hospital. And Morris Levy says to the doctor, how much is this operation going to cost? And he tells him and Levy takes out a checkbook and writes out the full amount for the operation.

A ruthless killer, a sadistic killer with a heart of gold. Yeah, I that that part of the book I loved. That was... If you saw that in a movie, you'd say, oh, they made this up for the movie. Tommy's book is a great read, and it's filled with stories like that. And the story of Roulette Records needs to be a movie.

But you did a sing-along with Tommy. To your disappointment, we're not going to play that one. We're not going to play I Think We're Alone Now. But Tommy did a solo song. He had the audacity to do a song without Gilbert. And that was Tommy's hit, Crystal Blue Persuasion. And he's got a fun little story about how that one came about, too. So you won't complain.

I think we're alone now. It doesn't seem to be anyone around. Here is Thomas Gregory Jackson, also known as Tommy James. What else did you guys prepare to play? And I'll keep Gilbert out of this one. And for the good of music. A medley of my cowboy hits, wasn't it? No, no.

Look over yonder What do you see? The sun is rising Most definitely And a new day is coming People are changing Ain't it beautiful Crystal blue persuasion

And you better get ready Gonna see the light Love, love is the answer Maybe that's alright So don't you give up now it's so easy to find just look to your soul and open

your mind Crystal blue persuasion It's a new vibration Crystal blue persuasion Crystal blue persuasion, crystal blue persuasion Better get ready He looks down On every green field

In every town Gonna see all of his children In every nation There'll be peace and good brotherhood And crystal blue persuasion Wow. That sounded great. Yeah.

Thank you. It was missing me, but still. Considering. I told you, you get a tambourine, you got it good. How did that song come together, Tom? Well. Because it was a big departure. Yeah, it was one of those songs that just kind of happened by accident.

We were playing at college in Atlanta, and a kid came up to me with a poem called Crystal Persuasion. And I went, whoa. And we were always on the make for neat titles or neat hooks, something. And I looked at it. I thought that was such a great combination of words. It had nothing to do with the song, the end of the song. So we went back to the room, and Mike and Eddie and I wrote the song in about 20 minutes. And Eddie came up with just a little line like that.

And it was really taken lyrically from book of revelation in the bible and then um we went in the studio and produced it and we just totally overproduced it it was i never have ruined a record like i ruined crystal blue and i went and and and we had guitars and we had a full set of drums. And I just remember looking at the engineer. I said, this is not the song. And so we spent the next two weeks unproducing it, pulling everything out. And when it ended up finished, it was nothing but a conga drum, a flamencoco guitar a little rhythm guitar with the tremolo on it and an organ no drums nothing and so we had to empty it out and let it breathe to be crystal

blue great one of my favorites thank you you know it's great too you you always feel guilty when it's just the two of us gilbert when somebody brings a guitar and pours their heart out and sings the song, and then you and I become the sound of two people clapping? Yes. And it always sounds, on the podcast, it always sounds ridiculous to hear two people clapping. It's kind of like, I think they did that at the end of Laughing. Yeah, right.

There would be like one clap. That's all we can generate as two people. But we are genuinely thrilled when these people play for us and when they bring an instrument with them. They're amazing moments. Yeah. Here's an amazing moment, I think, with a borrowed guitar. I think if memory serves, and this is an actor slash singer, something a little bit different. As memory serves, I don't think he showed up with his own guitar.

Frankie Verderosa had a guitar sitting around in Nutmeg, and I think he picked up... Were you there that night, John? No, I wasn't there that night. I remember the episode well. I think he picked up the guitar. It was an electric guitar. He was playing a Gibson SG, real nice wood. Beautiful guitar. Yeah, and he played, and we weren't expecting this at all. This was a pleasant surprise.

And Gilbert, I can see by the puzzled look on your face, I'm referring to Uncle Junior from The Sopranos, Dominic Chianese. Oh my God. He was terrific. Remember? And I asked him if he could sing Brother, Can You Spare a Dime? And he did an amazing version of that. And we just happened to have it with us.

Yes. This is one of my favorite moments in the history of this podcast. Dominic, Uncle Junior. Yes. Interpreting Yip Harburg. Can I put you on the spot and ask you to sing a little bit of Brother Can You Spare a Dime? Sure, yeah. Should I use the guitar?

Yeah, why not? Now, this is a wonderful song. You know who wrote the words to this was Yip Harburg. Oh, Yip Harburg. Yeah. Over the Rainbow. Over the Rainbow. Once I built a railroad I made it run

I made it race against time. Once I built a railroad. Now it's done. Brother, can you spare a dime? Once I built a tower to the sun. Brick and rivet and lime. Once I built a tower, now it's done.

Brother, can you spare a dime? paradigm once in khaki suits gee we look swell full of that yankee doodle dumb half a million boots went slogging through hell I was a kid with a drum

say don't you remember I was a kid with a drum. Say, don't you remember? They called me Al. It was Al all the time. Say, don't you remember? I'm your pal. Brother, can you spare a dime? Fantastic! That was a treat.

Your pal, Brett, wrote those lyrics. Thank you, Tommy. That was one of the great songs to come out of the Depression. Exactly. Wonderful. Yeah. And I remember the Depression, you know, back in the 30s. My sister and I would put little nickels and pennies in the paper and throw it down the fire escape

because there'd always be somebody down in the buildings in the Bronx, you know. There were trumpeters and guys with accordions trying to earn a living. You know, they didn't beg. They just sang. They tried to make that. Nickel brought him, you know, got him a cup of coffee, at least probably a sandwich in those days. So I remember the depression. You know, I hear that song, Gilbert, and it's it's a heartbreaking song. It really is. I mean, it's from the Depression. And the way he sings it was just great. Yeah, he really felt it.

That's a great episode. I mean, again, that was fairly early in the run for us. I think one of the first shows with Verdi Rosa when we got into Nutmeg. But I thought that was a fantastic episode in so many ways. Yes. And he sang an Italian song too, but that version of Brother Can You Spare a Dime tore my heart out. Yeah, chilling. Here's a complete change of direction. And I know this was one of your favorite guests at Earwolf because he sang a couple of medleys for us, and that was our friend Charlie Fox.

Oh, my God. Charles Fox. Charlie Fox. There's basically a tits and ass teen comedy with Scott Baio called Zapped. Oh, you don't say. What's it called? Zapped. Oh, yes.

Zapped. I remember now. And I love the music music i always loved the music yeah uh in that movie and and i then i found out we're having the guy who composed that was like having beethoven so the fact that he wrote beautiful melodies like killing me softly with with his song means nothing to you. You're just into, you just want to hear the songs from Zapped. Yeah.

Where the king and queen of hearts hold me when the music starts. With the lights down low, never let you go. What do you think, John? Like I said, his voice hasn't changed a bit. I'm a fan. How many singers have come on this show and said Gilbert sings in perfect pitch? Take me to your heart

Take me to your heart Show me where to start Let me be the star Of your first love. Yeah. And then he did a medley of all the TV tunes. We just might have it. Yeah, that that was amazing. Now, do people need to see Zapped or can they just get the album? Now, do people need to see Zapped or can they just get the album? Well, you got to have the full you got to have the artificial, artificial tits of Heather Thomas. I see. She already had a great pair of manmade boobs.

made boobs and yet in the movie they have the most obvious stand-in this headless body that appears uh-huh i so so if i'm a scott a cinema of scott baio completist i have to see that right yeah okay yeah you have to and uh oh and and the song that I remembered and he didn't was the closing song of Zapped. And I said it to him and he said, I don't remember doing that. And then he said he went home and asked his son and the son said, yes, you did write that. I love it. I love it. He was very amused by you and how much you remembered songs that he was trying to forget. Yes. And he said that me, one of those songs, I think, Gotta Believe in Magic.

Yeah. That me and the people of the Philippines. Oh, yeah. He's huge in the Philippines. Yeah. Love that song. Yeah. He's gigantic in Manila.

Yeah, and I remember when you first asked him, will you come on the show and sing some song? And he said, I'll only do it if Gilbert doesn't sing. Well, he was a holdout for a while. Yeah, yeah and and it was great he was like uh he would like play the p you know the keyboard for me and nod his head when it

was time for me to jump in it was well we got two medleys john came up with uh because john john went through the whole archive and thank you you, John, again, and cherry-picked these wonderful pieces. And Charlie did two medleys for us. He did a commercial medley, or at least he played one of his jingles, or perhaps I think it was a jingle he arranged. But we loved it. And then he treated us to his primetime medley. So we're going to play both of those clips back-to-back. And a versatile artist, a great composer, a guy who's...

And he also wrote, we can't forget that he also wrote Ready to Take a Chance Again, which Gilbert loves. Yes, and he let me sing that one. And that was great. Yes. Great. We'll do... Well, down the road, we'll do another montage episode

of just all Gilbert sing-alongs. If people can take it. And this is a couple of quick medleys with the wonderful, versatile Charles Fox. I love your career at that point, too, because you're bouncing around and you're doing so many interesting things. You did commercials.

You did the Parker Brothers commercials. I did a lot of commercials. And the White Owl cigars. When the values go up, up, up, and the prices go down, down, down, Robin Hole in season will show you the reason. Low overhead, low overhead. Yay!

Oh, man. Hilarious, Charles. I think I'm going to regret this hour. Hilarious. Our listeners are going to eat this up. Are there any other famous ones like that? Do you remember the White Owl cigars? You know what? I have to confess.

I didn't write that song. I only arranged it. You arranged it. I arranged it a hundred different ways. We had the Christmas thing. I don't know. I did all the commercials. See, I promise I won't sing these songs. It's too late for that promise. We'll wait beyond that.

If we could hear a snippet of some of these great like Love American style. Love, love, love, love, love, love, love, love, love, American style. True love, love, love, American style. Truer than the red, red, and blue.

Love, American style. That's me and you. And then Sunday, Monday, happy days. Tuesday, Wednesday, happy days. Thursday, Friday, happy days. Saturday, what a day. Rocking all week With you and me Give us any chance, we'll take it

Read us any rule, we'll break it We're gonna make our dreams Come true Wonder Woman Wonder Woman The love of Anyway Oh, my God

I love the way they just Go right, flow right into each other Well, I just did that It doesn't usually, you know Oh, my I didn't sing the love I just said the word But anyway

Fantastic That was great. Now, Gilbert. Oh, Don. Is Don on the phone? Were you doing Benny or Frank Nelson? Our friend John Fodiatis, who's probably listening to this because he never misses one, is obsessed with Frank Nelson. So give him a little Frank Nelson.

It's you again. Beautiful. Frank Nelson interlude. Back to the task at hand. I was talking about musicians who were kind enough to come in with their own instruments. John, I believe you were there on this particular night. Oh, you're talking about Kenny. I'm talking about Kenny Loggins. I befriended Michael Jensen and Ryan Romanesco, who work with Kenny, and they said, hey, how about Kenny Loggins for the show? And I said, the first thing that popped into my mind was Gilbert singing Footloose. Yes, yes. And it happened. No way that wasn't gonna happen. It happened. I think you also,

did you also do the theme from Caddyshack with him or did he might have done that one? He might have done that one by himself. But I definitely did Fuddle of the Shoe. You definitely did.

He did, I think, four or five numbers for us. He showed up with a friend of his, a gentleman named Rick Cowling, who we also have to thank. It's nice when everything just kind of gels, when musicians walk into the room and you can see they're into it

and they're into the show, and they're happy to be playing these songs. You know, we always feel like we're imposing on them. We always say things like, can we impose upon you to play this song? Or could we trouble you? Yeah, it's always like, okay, you're probably tired of hearing this, but you think you...

You don't want to go to a party and have somebody say gilbert could you do the ben gaza a bit yeah which i get all the time of course you could you entertain us but you know we needn't worry uh with some of these people neil was thrilled to play uh charles fox was thrilled to play and Charles Fox was thrilled to play. And Kenny Loggins put so much effort into it. I think they flew Rick in just for the podcast,

which I couldn't believe. So our hats are off to Ryan Romanesco and Michael Jensen for making this happen. And Kenny's been a favorite of mine my whole life, going back to the Loggins and Messina albums. And so's been a favorite of mine my whole life, going back to the Lagas and Messina albums. And so it was a pinch-yourself kind of night.

John Murray was there. I think we dedicated a song to your sister. Yes, you did. And I got to hang out with the guys afterwards. We were talking guitars backstage, and I got to share some of my favorite guitars with them. That was a real treat. That was a great night for me, yeah.

Yeah, he was a great guest. He was. I'm so glad treat that was a great night for me yeah yeah he was a great guest i'm so glad it was a magical night it really was he did a couple of songs i think he did four or five we're gonna narrow it down to two one of kenny's big hits danny's song which gilbert requested here's a version of that followed by a song from later in kenny's career called conviction of the, which is a song with an environmental message. And he talks about both songs. So again, one of my favorite moments. I know I keep saying that, but the great Kenny Lockett. And before we get too late out of it,

I have to ask you to do something to any song. Oh, okay. As long as you're on the subject. Well, does anybody have a guitar? Here, you can use mine. You know, we... Alright, got it. I'm not sure that these guitars...

Let me see. If I do this and sing down a little, it might work. That should work. Alright. Is it? It is? Oh good, they got it Got it People smile and tell me I'm the lucky one And we've just begun

Think I'm gonna have a son You'll be like she and me As free as a dove Conceived in love Sun is gonna shine above Even though we ain't got money I'm so in love Honey, everything to bring a change love

in the morning when I rise bring a tear of joy to my eyes and tell me everything is gonna be

alright love the girl who holds the world in a paper cup Come on, drink and do Love her and she'll bring you love If you find she helps you mind Brother, take her on Boy, don't you live alone

Try to run with lovers on Take a wrong one. Boy, don't you live alone. Try to run with lovers on. Even though we ain't got money, I'm so in love. Honey, everything will bring a change. Love. change every morning when I rise bring the cheer and joy

to my eyes and tell me everything is gonna be alright And here's the verse I wrote for my granddaughter. I see a smile, a baby child in my grown boy's eyes. And I realize there couldn't be a better life. Now I know what I've been told is really true, my friend. Yeah, the circle never ends.

Gonna catch it coming round and round again. Even though we ain't got money, I'm so in love with you, honey. And everything will bring a change. Everything will bring a change Love, love, love In the morning when I rise Bring a tear of joy to my eyes And tell me everything's gonna be alright all right Beautiful. What a treat.

Thank you, thank you. Fantastic. That note gets higher. What's that? Every year. It gets a little higher. Something, I don't know, they're changing pitch on me. There was a letter that you sent to your brother?

No, a letter I got from my brother. And the lyrics were lifted right out of the letter. Some of the lyrics were pulled right out of the letter. Beautiful. Was this the same brother whose guitar you snatched down from the... Oh, so you more than made it up to him. Yeah, I think so. How did this song get to Anne Murray?

She took it off the first Loggins and Messina record. She did a lovely version of it. Yeah, she did a great version of it. And then I wrote a song called Love Song. Right. And so I took it right to her then at that point i met her and you know showed her some stuff and then when um when the i was vindicated with love song because because jimmy uh jimmy didn't like it and he didn't want love song on the second yeah really

he didn't want it on the second album and uh so so then when she loved it and she turned it into a hit, and I said, I think we should put it on the record. Oh, yeah. You were vindicated. Yeah. Wonderful piece of music. This is a song that has been called Environmental Anthem. I got asked to rewrite the lyrics to this to make it more on point for for as an environmental anthem.

And I said, no, it's it's done. It's not neat. It doesn't need to be rewritten because the environmental movement is not a thing. It should not be a finger pointing movement about you do this and you do that, except that for me, the issue is a spiritual one. It's each individual's awareness of his connection to each other and to the planet. And so Conviction of the Heart becomes a song about someone who wakes up from his sense of aloneness and gets that we're all dreams that we once had This is the time to bring them back

What were the promises Caught on the tips of our tongues Do we forget or forget There's a whole other life Waiting to be lived One day we're brave enough. To talk with conviction of the heart. Down your roads I'd walked alone

As if my feet were not my own Such is the path I chose Doors I have opened and closed I'm tired of living this life Fooling myself, believing we're right When I'd never given love With any conviction of the heart With the earth, with the sky One with everything in life

I believe we'll survive If we only try. How long must we all wait to change? The world bound in chains that we live in. To know what it is to forgive and be forgiven. Too many years of taking now. Isn't it time to stop somehow? If that's too angry to breathe Water our children can't drink

You've heard it hundreds of times You say you're aware Believe and you care Do you care in love Where's your conviction DeJuan Thank you, Gilbert. I appreciate it. Here we go.

One with the earth, with the sky. One with everything in life. With everything in life I believe This will start With conviction of the heart One earth One sky One world

With everything in life Only one world, only one chance for one life. When will we live? Conviction. Only one earth, only one sky, only one child. We've only got one Just to live in one life I believe

It's only gonna start When we begin With some conviction of the heart Beautiful. Applause in that room. Look at that. You got a standing ovation in the control room. Thank you. You ran out of chairs.

It looks beautiful. We will return to Gilbert Gottfried's amazing, colossal podcast. But first, a word from our sponsor. At Miele, our partner is the planet. Our appliances use less water and energy and are tested to last for 20 years of use. That's the ultimate form of sustainability. I'm Nelson Fresco, President of Mila Canada. From now until June 30th, every Mila dishwasher purchased supports the planting and preservation of Canadian forests through the Mila Forest Initiative. Join us in making

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in pure Michigan. Keep it fresh at michigan.org. I heard you say some good songs come to you in dreams. Was that one? That was, well, the song, it guy and i guy thomas and i wrote uh that song and the the verses and the whole um down your streets i walked alone all that stuff we wrote in the afternoon called it a night had dinner i went to bed and i dreamed the chorus the one with the earth with the sky i woke up with that melody in my head.

Amazing to me. And I said, I went to him and I said, I don't know why, but this belongs in that song. So it took me a few years to actually understand what the connection of that refrain was to that song. So sometimes you'll dream pieces and then the pieces won't fit into the puzzle until well down the line. Well, at least as far as understanding, but I know the music of it. Right. The music of it belongs together.

How do you retain it? Who can remember this stuff when they wake up? I've taught myself to do that. I remember I have usually a melody every morning, and then I can assess whether it's worth recording or not. Wow. Do you have a little handheld thing? Well, I had cassettes back in the day, but now I have my iPhone. Just use the memos. Will you wake up in the middle of the night and just put it right into the...

It's good. Yeah, I'll lay there and I will actually think, is this good enough to put down? Because I know I have to I have to set the pitch I have to say you know I'll sing the triad so I know what key it's in I tell myself what beat the song starts on because when you listen it a few days later you don't know if I'm if you're singing the downbeat or what it is so I back into that so I lay that I lay the groove down and I'm playing the groove while I'm singing it I know what key it's in. And then if I hear harmonic things to it, chord changes,

I have to lay those in to outline what the harmonic changes would be. Fascinating. It's a lot of work. And I always heard it. So I really have to be motivated. I have to believe it's a really good song or I'm not going to wake myself up. And I always heard that musicians have what they call the dummy lyrics. Oh, yeah, yeah, yeah.

Most of my songs keep those. You know, the famous story of McCartney's Yesterday was scrambled eggs. today was scrambled eggs. But Celebrate Me Home, I thought, was my dummy lyric because I didn't think it made any sense. And then when I showed it to Phil Ramone in New York,

yeah, that's what the brothers would say. Celebrate Me Home. Okay. Hey Gil, I can see by the look on your face you're thinking, okay, but did they include my pal John Davidson in this musical montage? John Davidson, my wife asked him, like she would see there was a club that he would play at in the Berkshires. And she went up to him like about 50 times. Each time he said no.

Yeah. I think Davidson thought we're going to have him on and rip him to shreds. And he doesn't, a lot of our guests don't realize we want to honor all of our guests. Well, I wonder if one of us has that reputation because it isn't me. Yeah. And why would they be afraid? Pray tell. And he enjoyed it so much. He sent us messages saying that that was one of the most fun times he's ever had. And he invited us to a show that he did. He was great. He was wonderful for so many reasons, but it brings up an interesting point,

which is that when we started this show, Gilbert's history on shows like The Stern Show preceded him a little bit. And some guests were tentative, not realizing that the show was going to be an all out tribute. I think you radically changed your image with this show, Gilbert. People people learned that you were a super fan of show of show business and and and great performers. Yeah. And it's like, you know, we both want to honor these people that were such great influences. That's been the intention of this show from day one.

But for whatever reason, John kept turning down Dara, and it became a running joke. I'd say, how are things with John Davidson? He said he'd rather listen to the show than be on it. Wasn't that it, Dara? Was something like, we got 50 or 60 very polite, different versions of turndowns. So our pal, audio producer John Murray, picked some songs out of the John Davidson episode,

and John talks a little bit about different things. He was doing a live show in Manhattan at the time, and these were some of the selections. People forget you put out 15 albums. Yeah. Yeah. Yeah. Yeah. Yeah. Recorded a lot of music. Yeah, and still am.

You know, I still do shows with my guitar and telling jokes, and I just put out a new album. So what can people expect when they come to Birdland on the 27th? Well, I open with this. No, I open with this. If my song can raise your spirits, if my song can make you dance, if my song can make you dare enough

to chant some new romance, if my song can make you reminisce of some sweet day gone by, then let me be your songbird and soon your soul will die. I'm standing on the corner Of nothing and nowhere And basically it's a busker singing on the corner Just realizing that at this point in my life I'm nowhere

And it's the confusion of trying to figure out life What do you do with your life? And I'm developing a pilot for a TV show Tell us about that Yeah, Gil is one of my celebrity guests and I'm developing a pilot for a TV show. Tell us about that. Yeah. Gil is one of my celebrity guests. It's Gil and Penn Jillette, my two guests. Can't wait.

And the whole idea is what's next? The show's called What's Next? What do you do with yourself in your 60s? Now, I know what Gil does. He's doing what he does best and still doing it. But for a lot of people, the challenge of I've just been let go of my job or I'm tired of doing what I'm doing, how do I reinvent myself for the 60s, 70s, 80s, whatever. That's what it's all about.

And I wrote the theme song. What's next? Over the hill and round the bend. These golden years will make us great, my friend. and round the bend. These golden years will make us great, my friend. I'm not gonna take that final vow. The show ain't over, no way, no how.

We've all been shakers, fakers, money makers, dads or stay-at-home moms. We've been finders, keepers, losers, weepers, creatures of dot com. Each time I start to whine about the wrinkled state I'm in, I step it up, suck in my gut, and grab a second when what's next? So, it's a song

about what do I do with my life? And so I'm interviewing people. I'm going to go to after we do your show, I'm going to go out to Times Square and find people in their 60s and do Man on the Street. I'm going to walk up to them. Really? Yeah.

Good for you. Just like you were in 63, smiling at strangers. Yes. On the street. I'm going to say, what are you doing with your life? You know? That John Davidson episode, we keep talking about it, but it's worth talking about. It was worth the wait, Gil.

Yeah. worth talking about. It was worth the wait, Gil. Yeah, he was putting up the biggest fight. Yeah. And when he finally agreed to do it, he totally agreed. He was brave. He was open. He was funny. He was sarcastic. Everything you really want a guest to to bring to the show. And we should have John back. Yes. I bet he's I bet he wouldn't put us off for seven years now. John back. Yes. I bet he wouldn't put us off for seven years now. Maybe six. So we hope you guys

enjoyed this. This was a thrill for us to do, and we have to thank John Murray, who came up with this idea and said to me, what about a musical montage episode? What about a greatest hits collection of musical moments? And you forget, you know, we've done so many of these, Gil, almost 350 now.

We forget how many musicians, we forget all the people who've passed through those doors. Yes, there are people who we've had, who I swear we've never had on the show. I know, like Dick Van Dyke. Yes, yes. Who's getting an honor. He's going to get an honor from the Kennedy Center. Yes. We should mention, long overdue. So let's going to get an honor from the Kennedy Center. Yes. We should mention, long overdue.

So let's thank some people in addition to the great Murray who made this episode possible. We want to thank also Frank Verderosa who engineered, who recorded and engineered and edited these original episodes. We want to thank, too, the people who brought us these great great talents helped us book them, Barry Daugherty Norman Steinberg, Robert Cotto our friend Jackie Martling who brought us Mark Hudson and Tommy James and Jackie's been a godsend helping us book this show the person Gilbert

loves to give credit to, Gino Salamone who booked Dennis DeYoung I already mentioned Ryan Romanesco and Michael Alamo, who booked Dennis DeYoung. I already mentioned Ryan Romanesco and Michael Jensen. And like I always say, it takes a village to make this show. Great musical memories. We had fun doing every one of them. What can I say?

More to come. Okay. And I'm Gilbert Gottfried. And this has been Gilbert Gottfried's amazing, colossal podcast, Musical Moments, with my co-host, Frank Santopadre. And this is Musical Moments. Does Gilbert, do you sing? Do you sing? That's it. That's it. Stop me. You are my sunshine. My only sunshine. You make me happy.

You make me happy when skies are gray. Good, I chose the right key. That's right, and your key. Yeah, it's an other key. You, you'll never know, dear, how much I love you. Please don't take my sunshine away. Are we still on? It's a parking lot now, right?

We stopped recording 25 minutes ago. Oh, okay.